{"id":86710,"date":"2018-03-10T00:11:20","date_gmt":"2018-03-10T00:11:20","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/recepcion-y-demanda-de-modelos-artisticos-en-la-pintura-del-siglo-xvi-en-cordoba\/"},"modified":"2018-03-10T00:11:20","modified_gmt":"2018-03-10T00:11:20","slug":"recepcion-y-demanda-de-modelos-artisticos-en-la-pintura-del-siglo-xvi-en-cordoba","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/recepcion-y-demanda-de-modelos-artisticos-en-la-pintura-del-siglo-xvi-en-cordoba\/","title":{"rendered":"Recepcion y demanda de modelos artisticos en la pintura del siglo xvi en cordoba"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Antonio Urquizar Herrera <\/strong><\/h2>\n<p>Esta tesis doctoral pretende analizar la traducci\u00f3n perif\u00e9rica del renacimiento italiano y su reflejo n\u00f3rdico en la pen\u00ednsula ib\u00e9rica mediante el an\u00e1lisi particular de la puntura cordobesa del siglo xvi.Para ello se emprende un etudio que abarca las circunstancias sociales, culturales y econ\u00f3micas en las que se produc\u00eda y recib\u00eda la pintura en ese tiempo. Gracias al recurso metodol\u00f3gico a la teor\u00eda de la est\u00e9tica de la recepci\u00f3n, y mediante la clasificaci\u00f3n de la demanda y los usos y funciones que recib\u00eda la pintura, se abunda en la experiencia de la pintura que se realizaba en la c\u00f3rdoba del quininetos. Se evita especialmente la separaci\u00f3n entre cotexto hist\u00f3rico y explicaci\u00f3n hist\u00f3rico-art\u00edstica, para llegar a un modelo integral que explique la producci\u00f3n y recepci\u00f3n de las obras desde sus circunstancias hist\u00f3ricas y culturales, puesto que el modelo renacentista comprend\u00eda aspectos fundamentales de car\u00e1cter extra-est\u00e9tico.  las conclusiones del trabajo, obtenidas a partir del estudio del foco cordob\u00e9s, tratan de ser \u00fatiles para la compresi\u00f3n del fen\u00f3meno en una escala m\u00e1s amplia, puesto que la din\u00e1mica cordobesa es compartida por la inmensa mayor\u00eda de los centros secundarios espa\u00f1oles.  estas conclusiones se dirigen a tres \u00e1mbitos fundamentales:  primero, el contenido sem\u00e1ntico de la pintura, las razones que explican el dominio de lo religioso en un contexto cultural en el que abundan lo pagano.  segundo, la experiencia de la pintura a la luz de las caracter\u00edsticas de su demanda, es decir las valoraci\u00f3n que recibe la obra art\u00edstica a partir de las circunstancias de su encargo, produccion y uso.  y tercero, la explicaci\u00f3n de la asunci\u00f3n de modelos renacentistas a partir de la din\u00e1mica centro-perif\u00e9ria, que tiene como resultado la definici\u00f3n de dos momentos sucesivos en el siglo, basados en la interacci\u00f3n entre la compresi\u00f3n correcta o deficiente de los modelos italianos y la respuesta a<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Recepcion y demanda de modelos artisticos en la pintura del siglo xvi en cordoba<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Recepcion y demanda de modelos artisticos en la pintura del siglo xvi en cordoba <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Antonio Urquizar Herrera <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 C\u00f3rdoba<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 30\/09\/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>Manuel Perez Lozano<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: alberto Villar movellan <\/li>\n<li>palma Mart\u00ednez-burgos Garc\u00eda (vocal)<\/li>\n<li> P\u00e9rez s\u00e1nchez alfonso Emilio (vocal)<\/li>\n<li>Miguel Falomir faus (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Antonio Urquizar Herrera Esta tesis doctoral pretende analizar la traducci\u00f3n perif\u00e9rica del renacimiento italiano y su reflejo [&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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