{"id":84043,"date":"2000-04-04T00:00:00","date_gmt":"2000-04-04T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/pervivencia-de-la-iconografa%c2%ada-surrealista-en-la-pintura-catalana-contemporanea-1948-1998\/"},"modified":"2000-04-04T00:00:00","modified_gmt":"2000-04-04T00:00:00","slug":"pervivencia-de-la-iconografa%c2%ada-surrealista-en-la-pintura-catalana-contemporanea-1948-1998","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/pervivencia-de-la-iconografa%c2%ada-surrealista-en-la-pintura-catalana-contemporanea-1948-1998\/","title":{"rendered":"Pervivencia de la iconograf\u00edasurrealista en la pintura catalana contempor\u00e1nea 1948-1998"},"content":{"rendered":"<h2>Tesis doctoral de <strong> M. Roser Martinez Torrente <\/strong><\/h2>\n<p>Volumen i  cap\u00edtulo i  introducci\u00f3n tem\u00e1tica. Motivaciones. Especificaci\u00f3n del t\u00edtulo.An\u00e1lisis del contexto y gestaci\u00f3n del surrealismo. Particularidades de la iconograf\u00eda surrealista. Antecedentes y vanguardistas de la pintura catalana. Segundas vanguardias y crisis de la modernidad. Posmodernismo. Tendencias de la dimensi\u00f3n figurativa. Panorama art\u00edstico espa\u00f1ol en la posguerra. Panorama art\u00edstico actual. Constantes de la pintura figurativa actual. Introducci\u00f3n metodol\u00f3gica.  cap\u00edtulo ii  aproximaci\u00f3n al an\u00e1lisis de la iconografr\u00eda surrealista. Caracter\u00edsticas. clasificaci\u00f3n. Tem\u00e1ticas. Cad\u00e1veres exquisitos. Caracter\u00edsticas generales. caracter\u00edsticas iconogr\u00e1ficas. Clasificaci\u00f3n de los elementos iconogr\u00e1ficos de la pintura surrealista.El surreralismo en catalu\u00f1a 1924-1936.  cap\u00edtulo iii  posguerra y dau al set. Aproximaci\u00f3n a las biograf\u00edas y trayectorias art\u00edsticas de los pintores de dau al set. An\u00e1lisis de la iconograf\u00eda de dau al set. Caracter\u00edsticas. Tem\u00e1ticas. Influencias de dau al set en la misma \u00e9poca.  cap\u00edtulo iv  an\u00e1lisis de la iconograf\u00eda de los pintores catalanes contempor\u00e1neos: coet\u00e1neos y posteriores dau al set. Caracter\u00edsticas. Trayectorias art\u00edsticas de los pintores.  cap\u00edtuo v  consideraciones finales. Pervivencia de ciertas caracter\u00edsticas conceptuales y formales en la pintura catalana contempor\u00e1nea.  bibliografia.  apendice  resumen biogr\u00e1fico de algunos pintores surrealistas y surrealistas catalanes.  volumen ii  apuntes y documentos de algunos pintores catalanes contempor\u00e1neos.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Pervivencia de la iconograf\u00edasurrealista en la pintura catalana contempor\u00e1nea 1948-1998<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Pervivencia de la iconograf\u00edasurrealista en la pintura catalana contempor\u00e1nea 1948-1998 <\/li>\n<li><strong>Autor:<\/strong>\u00a0 M. Roser Martinez Torrente <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 04\/04\/2000<\/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>Lourdes Cirlot Valenzuela<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: ricardo Salvat ferr\u00e9 <\/li>\n<li>Alberto Estevez escalera (vocal)<\/li>\n<li>teresa Camps  mir\u00f3 (vocal)<\/li>\n<li>Mar\u00eda carmen R\u00e1banos faci (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de M. Roser Martinez Torrente Volumen i cap\u00edtulo i introducci\u00f3n tem\u00e1tica. Motivaciones. Especificaci\u00f3n del t\u00edtulo.An\u00e1lisis del contexto y [&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":[951,1624,104,2563,222],"tags":[70292,37555,177761,36356,1873,59951],"class_list":["post-84043","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-ciencias-auxiliares-de-la-historia","category-historia","category-historia-del-arte-de-los-siglos-xix-y-xx","category-historias-especializadas","tag-alberto-estevez-escalera","tag-lourdes-cirlot-valenzuela","tag-m-roser-Martinez-torrente","tag-maria-carmen-rabanos-faci","tag-ricardo-salvat-ferre","tag-teresa-camps-miro"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/84043","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=84043"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/84043\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=84043"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=84043"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=84043"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}