{"id":75297,"date":"2005-01-07T00:00:00","date_gmt":"2005-01-07T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/arquitectura-e-iconografia-del-retablo-ceramico-de-la-tradicion-al-revival-en-la-azulejeria-talaverana\/"},"modified":"2005-01-07T00:00:00","modified_gmt":"2005-01-07T00:00:00","slug":"arquitectura-e-iconografia-del-retablo-ceramico-de-la-tradicion-al-revival-en-la-azulejeria-talaverana","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/arquitectura-e-iconografia-del-retablo-ceramico-de-la-tradicion-al-revival-en-la-azulejeria-talaverana\/","title":{"rendered":"Arquitectura e iconografia del retablo ceramico. de la tradicion al revival en la azulejeria talaverana."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Fernando Gonzalez Moreno <\/strong><\/h2>\n<p>La tesis presenta el estudio de los frontales de altar y de los retablos producidos por los alfares de talavera de la reina (toledo) desde la segunda mitad del siglo xvi hasta 1961, fecha que coincide con el cierre de la f\u00e1brica \u00abnuestra se\u00f1ora del prado\u00bb. Dichos retablos, fingidos sobre composiciones de azuelos o de volumen real mediante piezas de molde, presentan diversas variantes que podemos clasificar en siete tipolog\u00edas principales: retablos-cuadro, retablos-tr\u00edptico, retablos-soporte de pinturas, retablos-arco de triunfo, retablos herrerianos, retablos cer\u00e1micos sobre estructura arquitect\u00f3nica y retablillos de pared. El estudio de estas piezas atiende principalmente a dos aspectos. En primer lugar, a los modelos arquitect\u00f3nicos que reproducen en sus estructuras, localizando aquellos tratados arquitect\u00f3nicos de los siglos xvi y xvii en cuyas l\u00e1minas los pintores de azulejos coet\u00e1neos encontraron su fuente de inspiraci\u00f3n (andrea palladio, iacomo barozzio da vignola, diego de sagredo, sebastiano serlio&#8230;) O las piezas antiguas que los pintores del siglo xx reprodujeron dentro del proceso de revival que supuso la f\u00e1brica de los ruiz de luna. El segundo aspecto tratado concierne a las representaciones religiosas que aparecen en estos retablos. Se han estudiado las estampas de donde se extraen  los modelos iconogr\u00e1ficos, indic\u00e1ndose relaciones con l\u00e1minas de cherubino alberti, cornelis bos, agostino carracci, hieronymus cock, marcellus coffermans, dirk volkertsz coornhert, cornelis cort, pietro paolo palombo, sebastiano del piombo, marcantonio raimondi, jan sadeler, rafaello schiaminossi, lorenzo vaccari, enea vico y los hermanos anton y hieronymus wierix, entre otros. El estudio de las representaciones hagiogr\u00e1ficas de estos retablos se plantea en un sentido amplio, poni\u00e9ndolas en com\u00fan con el conjunto de las im\u00e1genes de la azulejer\u00eda religiosa talaverana y se\u00f1alando los procesos espirituales, religiosos, culturales e<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Arquitectura e iconografia del retablo ceramico. de la tradicion al revival en la azulejeria talaverana.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Arquitectura e iconografia del retablo ceramico. de la tradicion al revival en la azulejeria talaverana. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Fernando Gonzalez Moreno <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Castilla-la mancha<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/07\/2005<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>herrador Almarcha N\u00fa\u00f1ez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: gonzalo Borras gualis <\/li>\n<li>isidro Sanchez sanchez (vocal)<\/li>\n<li> Cuesta Garc\u00eda de leonardo Mar\u00eda Jos\u00e9 (vocal)<\/li>\n<li>alfonso Pleguezuelo hernandez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Fernando Gonzalez Moreno La tesis presenta el estudio de los frontales de altar y de los retablos [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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