{"id":80671,"date":"2018-03-10T00:04:27","date_gmt":"2018-03-10T00:04:27","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/anatomia-artistica-bases-anatomicas-del-retrato-escultorico-realista\/"},"modified":"2018-03-10T00:04:27","modified_gmt":"2018-03-10T00:04:27","slug":"anatomia-artistica-bases-anatomicas-del-retrato-escultorico-realista","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/anatomia-artistica-bases-anatomicas-del-retrato-escultorico-realista\/","title":{"rendered":"\u00abanatomia artistica: bases anatomicas del retrato escultorico realista\u00bb"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Miguel Angel Jimenez Mateos <\/strong><\/h2>\n<p>Nuestro trabajo pretende analizar la estrucutra del rostro humano, como base de la representaci\u00f3n escult\u00f3rica del retrato realista.  la forma de conocer la estructura facial, de c\u00f3mo se organizan sus huesos, como funcionan sus m\u00fasculos y c\u00f3mo se genera la m\u00edmica del rostro, parte del conocimiento del propio cuerpo humano.  en la actualidad no existe ning\u00fan m\u00e9todo que permita conocer lo anteriormente definido, que pueda sustituir al cad\u00e1ver.  aportamos un nuevo m\u00e9todo para conocer la anatom\u00eda facial utilizando reproducciones en poli\u00e9ster de cad\u00e1ver (atalas tridimensional) obtenida a partir de moldes, negativos en escayola y silicona l\u00edquida.  a parte de esto, utilizaremos la r\u00e9plica en pol\u00edester del sustrato \u00f3seo para interpretar con barro las estructuras blandas de la cara, aumentando y disminuyendo con vol\u00famen. Todo ello para conseguir una interpretaci\u00f3n libre en el expresi\u00f3n de la alegr\u00eda y la expresi\u00f3n de tristeza; tras el an\u00e1lisis y conocimiento anat\u00f3mico.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>\u00abanatomia artistica: bases anatomicas del retrato escultorico realista\u00bb<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 \u00abanatomia artistica: bases anatomicas del retrato escultorico realista\u00bb <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Miguel Angel Jimenez Mateos <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 21\/09\/1999<\/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>Sebasti\u00e1n Santos Calero<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio Gavira alba <\/li>\n<li>Mar\u00eda  de los desamparados Carbonell tatay (vocal)<\/li>\n<li>gonzalo Martinez andrade (vocal)<\/li>\n<li>rodolfo Conesa bermejo (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Miguel Angel Jimenez Mateos Nuestro trabajo pretende analizar la estrucutra del rostro humano, como base de la [&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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[147,4363,10715,1111],"tags":[172582,58671,11165,172581,36204,70920],"class_list":["post-80671","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-escultura","category-sevilla","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-antonio-gavira-alba","tag-gonzalo-Martinez-andrade","tag-maria-de-los-desamparados-carbonell-tatay","tag-miguel-angel-jimenez-mateos","tag-rodolfo-conesa-bermejo","tag-sebastian-santos-calero"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/80671","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=80671"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/80671\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=80671"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=80671"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=80671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}