{"id":97019,"date":"2009-05-11T00:00:00","date_gmt":"2009-05-11T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/a-proposito-del-problema-del-arte-plastico-la-desarticulacion-del-signo-en-la-pintura-postcubista\/"},"modified":"2009-05-11T00:00:00","modified_gmt":"2009-05-11T00:00:00","slug":"a-proposito-del-problema-del-arte-plastico-la-desarticulacion-del-signo-en-la-pintura-postcubista","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/pintura\/a-proposito-del-problema-del-arte-plastico-la-desarticulacion-del-signo-en-la-pintura-postcubista\/","title":{"rendered":"A prop\u00f3sito del problema del arte pl\u00e1stico: la desarticulaci\u00f3n del signo en la pintura postcubista"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Francisco Javier D\u00edez De Balde\u00f3n Garc\u00eda <\/strong><\/h2>\n<p>La desarticulaci\u00f3n del signo en la pintura poscubista: c\u00e9zanne se\u00f1al\u00f3 en su obra la naturaleza semiol\u00f3gica de la representaci\u00f3n. El signo pict\u00f3rico, articulado de una nueva manera en su pintura, hizo evidente lo que hasta entonces se hab\u00eda hecho transparente. El cubismo, que se puede calificar como el arte del signo, ya sea de una manera intuitiva, ya conscientemente, se lanz\u00f3 de lleno a experimentar nuevas articulaciones.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>A prop\u00f3sito del problema del arte pl\u00e1stico: la desarticulaci\u00f3n del signo en la pintura postcubista<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 A prop\u00f3sito del problema del arte pl\u00e1stico: la desarticulaci\u00f3n del signo en la pintura postcubista <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Francisco Javier D\u00edez De Balde\u00f3n Garc\u00eda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Castilla-la mancha<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 05\/11\/2009<\/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>Jos\u00e9 Mar\u00eda Lillo Perez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: ignacio Oliva mompe\u00e1n <\/li>\n<li>marina N\u00fa\u00f1ez jim\u00e9nez (vocal)<\/li>\n<li>ramon Salas lamamie de clairac (vocal)<\/li>\n<li>Antonio Bandera vera (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Francisco Javier D\u00edez De Balde\u00f3n Garc\u00eda La desarticulaci\u00f3n del signo en la pintura poscubista: c\u00e9zanne se\u00f1al\u00f3 en [&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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