PAINTING (2)

Author: CALDITO AUNIÓN MARÍA SOLEDAD.
Year: 2004.
University: SEVILLA [www.us.es].
Place of defense: FACULTAD DE BELLAS ARTES DE SEVILLA.
Place of preparation: FACULTAD DE BELLAS ARTES DE SEVILLA.

Summary: MOTIVE OF STUDY widespread Ignorance of this work. STRUCTURE 1, Bio-party meaningful and artistic career. 2, party-depth analysis of the book: influences, styles, features plastic and social dimension of the work. CONCLUSIONS Highlight numerous plastic qualities of his work, its critical social recognition of these in Europe and the reasons of a political nature that led his relegation in our country to date.

Author: GALINDO OCAÑA ESPERANZA.
Year: 2004.
University: SEVILLA [www.us.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Analysis of the paintings from the National Museum Biblical Message Marc Chagall, as a sign artistic applying the methodology lingüstico-literaria within the conception of the work of art as part of an act of communication. Reading the Bible Message Marc Chagall, from this perspective is descended from the higher external dela instance of the deepest expression of the substance of the contents, to discover that there is a creative mechanism own Chagall, which applies transgression from tradition .

Author: BENITO OLLERO ROSA.
Year: 2005.
University: CASTILLA-LA MANCHA [www.uclm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This study shows a specific rule on the painting in the digital society as a context. It comes from an artistic event and a specific date: the exhibition "painting pictures," 2003-2004. The sample is expressed through the texts of critics who participate in the exhibition, the views of some of the participating artists and very current Spanish artists who have contributed to this work. Also at some considerations about the theoretical concept of practical paint in the digital society: the digital society - the shared culture-painting today. Theory and practice, information and documentation in electronic format and the support of the participating artists, and a reading inconográfica up this thesis.

Author: BENOSA LALAGUNA JUAN.
Year: 2005.
University: CASTILLA-LA MANCHA [www.uclm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Study life, work and legacy of the painter José Beulas (Santa Coloma de Farnés 1921). It is one of the most important painters of the mid-70 in the Spanish landscape painting. Gerundense birth, adoption of Huesca, has developed a comprehensive study on the theme of landscape altoaragonés in their work. Finds in the landscape of the surroundings of Huesca, his excuse, a pretext and reason to develop a speech and evolution pictorial, rescuing those characteristic elements of the same (Margins burned, parcelaciones and stubble) to raise his painting, is not substantiated by a pictorial design at the same table, making the painter, is abstract at all times. Thus, his painting focuses on the investigation of pure pictorial values (color, texture, quality of the art, etc.) develop some types of landscape, type tables where the painter may experience plastically. Besides this issue, has developed other themes, but its development has not been as pronounced. The tables in towns like Avila and Toledo, also are based on these criteria painting, but in this case, the discard of the plea is not possible. In his career highlights conducting numerous exhibitions, both in Spain and Europe and the United States, plus a large number of citations, awards and decorations received. In this paper, which consists of three volumes, he examines this whole problem, starting with the study defining the stages pictorial: Geological, stubble and abstract, which respond to visual analysis of much of his work. The biography of the painter, his studies in San Fernando, his stay in the Spanish Academy of Fine Arts in Rome, its development pictorial in Madrid and Barcelona on his return from Italy, their exhibitions in Europe and America, and his desire to create a foundation of art Museum Aragonese and the future of contemporary art. Analyzing l theme of landscape in his painting, his discovery to his arrival in Huesca, the process of understanding, analysis and the collection of plastic, and its design highly abstract. The creative process of Jose Beulas, tracking the implementation of a table from the beginning until its completion defining the stages in the process where it is based. The influences Two: The painters Benjamin Palencia and Godofredo Ortega Munoz, an analysis of his painting and the incorporation of elements of each of the painter to paint. Also at work is a documentation of five hundred eighty-five paintings and one hundred and seventy four graphic works, which includes an allocation likely, all this is carried out in the second volume. Finally in the third of the volume raises a péndice documentary, which collects all the problematic policy Aragonese creation of a museum of contemporary art in the city of Huesca, being germén it, the assignment by the painter and his wife its entire collection of art, painting, sculpture and artwork and tapestries. This is because this city was the one that led the painter could make their studies of Fine Arts, a scholarship granted by the County Council in this city. It examines the quest for a place in Huesca exhibition, the creation of the Foundation Beulas and construction of the first building of the Aragonese Museum of Contemporary Art, designed by the prestigious architect Rafael Moneo Vallés. In addition, this volume is completed with additional documentation to work. Outline this thesis based development, can count on at all times with the collaboration of the very purpose of the study, the painter and obtained material, graphics, audio and video, which dramatically weapon such work.

Author: PEREZ TOMAS JOSEP.
Year: 2005.
University: MIGUEL HERNÁNDEZ DE ELCHE [www.umh.es].
Place of defense: DPTO DE ARTE,H.C.S.Y JURIDICAS.
Place of preparation: FACULTAD DE BELLAS ARTES DE ALTEA.

Summary: Discusses the publication Text Poético, appeared in Valencia from 1977 to 1989, as an illustration of the convergence between experimental poetry and conceptual art.

Author: PREDEBON LUCIMAR INÉS.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: That argument is theoretical in nature which combine assumptions about technical, theoretical and practical. The focus of this research is the use of polymer acrylic Paraloid B-72 used as a binder pictorial. The theoretical aspects and descriptive refer to the description of the materials used, the analysis of the intervention of this polymer in the pictorial technique and its impact histórico-artística. The empirical aspects relate to the practice pilot through plastic exploring possibilities to be gained from the use of this binder. The practice consists of three pilot moments: 1-Technical process of selecting materials and the development of putty. 2-Distribution of putty in the media and pictorial exploration procedure pictorial in its potentiality. 3-Profiling of the experimental samples through observation and interpretation of the results obtained in practice.

Author: PARRALO AGUAYO CARMEN.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The importance of the notion of trace lies in the fact that these concepts that implicitly involves the opening image, and that "imprint" as a source of meaning and absolute key to various reflections on the threshold of a man's life or ancient civilizations, to interpret world or the cosmos and driving thoughts philosophical, metaphysical, historical or artistic. The inclusion of various reflections on the works of authors such as Jacques Derrida, George Didi-Huberman, Georg WF Hegel, Martin Heidegger or Theodor W. Adorno, among others, is enlightening of these concepts, especially with regard to three of them: being, the footprint and time. This concept of "mark" is placed by George Kubler in connection with the work of art, because it's part of this "world of things, this archeology widespread that the author speaks in his work, a concept related to the notion of "document" and the play "witness" of history, as Walter Benjamin said. Around these notions, is a detailed study of the use of this concept within the Western art. A survey, conducted from several perspectives, being central axis of all the existential angst against the phenomenon of death. From this aspect, built a whole series of chapters and sections in which discusses the importance gained at present, the notions of footprint and fragment in contemporary art as expressive constant in the representation of these concepts, conducting a study of productions of multiple artists and analyzing in detail some of the most representative in the second part of this thesis: as works by Alberto Giacometti, Arnulf Rainer, Christian Boltanski, Magdalena Abakanowicz, Louise Bourgeosi or Georg Baselitz, among other artists.

Author: CANO VIDAL FERNANDO.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES DE LA UNIVERSIDAD COMPLUTENSE DE MADRID.

Summary: Study on the relationship between art and nature divided into 5 chapters which deals with the concepts of nature and artistic attitude, which also makes a shift in the terminology ecological field of the arts and discusses the speculative nature of what branded as "green" or "green" and the nature of the plastic nature as a subject of work for the artist. Finally the thesis is accompanied by an appendix "esporografías" which shows the work produced by the author during the course of his thesis, which will show table made with mushroom spores.

Author: CONTINENTE GAZTELAKUTO JAVIER.
Year: 2005.
University: CASTILLA-LA MANCHA [www.uclm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The initial hypothesis of the research is to study the issues on which our artistic practice reflects plastically an intuitive way to develop and rely on other proposals artistic and / or philosophical to which they relate. Towards transparency in the eyes is a theoretical and practical work, a reflection on the potential of art to raise awareness of the processes perceptive; showing on the one hand, the constraints involved in the look and on the other, our own ability to overcome and therefore, to revise our conception of the world.

Author: ACEVES BARAJAS DAVID.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Research based on the study on the death, art, Mexican society and its worldview around these concepts. Based on a timetable from the earliest manifestations of cultural Native Mesoamerican reaching progressively more current artistic conceptions of Mexican society, as well as the analysis of eschatology in general, and the manifestations of it raised by checking the historical evolution Conceptual about religion, rituals and customs, as well as the willingness of an individual to the inevitability of death. Based on the presence of societies evolved extensively in Mesoamerica, the Mayas, Aztecs and The Tomb of Tire. This creates a thorough study on these three companies about their conceptions and expressions arising from the transcendence of death. Continuing research, an analysis of the historical moment in medieval Europe, where ideological conceptions change from the waves of the Black Plague, an event that transformed the economy, customs and reconsideration of the religious. All this reflected in ideas, literature and art as much expression man performs at this time, and exporting this concept to Mesoamerica through conquest, resulting in a new world view and that the emergence of a distinctly Mexican syncretism. The War of Independence, will lead the subsequent resurgence of a new nationalism where reborn ideas prehispánicas sacrifice, identifying the independence heroes such as giving liberty, similar to the worldview prehispánia. One hundred years after these same ideas reappear in the ideals of the revolution, the proletariat is the new hero builder freedom to deliver his life and death to be reborn again in the great igualadora. The stadium continues as the unifying theme death, focusing on the artistic events, both approaches as popular expressions highest level. Finally, he examines the career of the group SEMEFO, and Teresa Margolles, a former member of the group, which is currently considered the best artist of the Mexican landscape and influential in the artistic vanguard. Both SEMEFO as Teresa Margolles his theories based on the fact of death, using speech as the life of a corpse. With these approaches concludes research arguing the great importance for the Mexican symbolizes death, the result of historic syncretism.

Author: BARRALLO SUÁREZ ROMÁN.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: BELLAS ARTES.

Summary: The contents of this research focuses on the psychological conditions -anímicas and mentales- the will, in shaping the physical world, enabling the rational intuition of an essential form. Because these conditions relating to unconditional, we talk about metaphysical assumptions,. From those assumptions, and from the consideration that art as a human activity of significance is no stranger to the relationship between truth and canon is as drive inherent in the very nature of human beings as such, the objective will be to determine the fundamentals on that define the painting as a means of aesthetic interpretation of being in general. This work is desired sense of union with all that is experienced in nature is very existential experience of a pictorial practice that is oriented to the contemplation and knowledge of the abstract idea of unity. Since the possibility of access through art-while experience true knowledge of things and, ultimately, thought immediately of all, and wanting to argue deepening through the paint in the truth of being, the objective of the work is to investigate those cases metaphysical theory that a conceptual structure on which seat the pictorial experience of college, trying to establish the conditions sound underpinning artistic pursuit of the universal and determine the significance of their reality plastic through the plastic through the paint. Thus, the performance of work part of a theoretical study basically philosophical and aesthetic of reality, which is analyzed from my experience and knowledge to the nature and art, to achieve a result that shed light on the question, namely: the possibility and, ultimately, the current validity of the painting from a metaphysical foundation of pictorial expression in terms of cognitive act in itself.

Author: SANTOS GÓMEZ SONIA.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This dissertation pursues an approach to the methods of application and characteristics of the materials used in the development of the layers of paint on the preparation table in Spain. It is given special attention to the composite gypsum, as this material has been used extensively on this type of support. Reasons of various kinds, which are discussed in the thesis, promoted its use in the Spanish School. The development of this study includes the reproduction of the treatments to which it was subjected this material according to the instructions of the former scholars. The products obtained have been characterized from the corresponding morphological studies and analytical. This characterization has been done on both the material in dust on layers obtained after application to the method of preparation. The results have been compared with the characteristics observed in preparations for actual work. Similarly, the plaster has been compared mate obtained under the guidance of scholars and for the real work plasters currently marketed under the name "cast mate or plaster gilder." The analysis done on the latter concluded that no, in any case, the morphological characteristics of plaster mate that has been observed in preparations for actual work. Their morphology nor fully coincides with that of the goods that have been obtained through the implementation of indications of scholars on the development of gypsum mate. With regard to its chemical composition, no response in many cases to the usual cast mate, ie, calcium sulfate dihydrate, despite the fact that manufacturing processes are simple materials, as reflected in the thesis. Throughout this vast part of the study have been used optical microscopy (OM), scanning electron microscopy (SEM), dispersion energy X-ray (DEX) and X-ray Diffraction (XRD). All these analysis methods, including spectroscopy by Fourier transform infrared (FTIR), have been applied to the study of the preparations of various works of the School Castellana from the fifteenth and seventeenth centuries, consisting mainly of calcium sulphate, and provides information on the number of layers, morphology and electronic density of the particles, as well as on the nature of the majority and minority components constituting these strata of preparation. Another of the materials studied (although with less detail), by virtue of their employment in preparations labor Spanish, has been the calcium carbonate. The methodology used in this study has involved also reviewing multiple treaties and ancient manuscripts and ordinances that relate to the various types of preparations. Similarly, consideration has been given copious documentation relating to investigations carried out real work on preparations. Furthermore, the thesis contains numerous data on the use of gypsum for other purposes, including the preparation of canvas. It is, therefore, reference to the painting sargas.

Author: BADRINAS BASSAS RAMÓN.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of preparation: UNIVERSIDAD DE BARCELONA - FACULTAD DE BELLAS ARTES.

Author: JOAO CABRAL DE SA VASCO.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE BELLES ARTS.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Deshabitando the body in its bowels: Link interface and is the result of my experiences in the world of the arts, and more specifically in the area of the subject in their different behaviors and attitudes. Inspiration and reason that fascinates me at the same time I believe. In undertaking this work investigaicón born of my laboratory, my works, I seek possible responses to a body that some denounced as dehumanized. Meandros that make me inquire about a subject that attaches indiscriminada-mente the object as an element of overcoming or as a heatsink of anxieties and empty. This thesis aims to introduce the facts arising from the processes of the psyche of the subject, allies in the creation and evolution of technology-mainly medicine-in the physical environment and the fumes of those in the art, in different motivations . A job that I come to develop for years, along with the medical community, in its various facets, or specialties, and that encounter as responsible for the origin of this theory, in simultaneity with the literature that I invades and appropriates me moldeándome and conditioning my personality. An extension of myself that is reflected in a specific taste and a desire to explore the origin and destination human project in the creative act. Visually it is not only of the union of gracious with the theoretical technique, if not, and more specifically, the density of the sublime, of the unconscious.

Author: PEDREGROSA GARCÍA NÚRIA.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAT DE BELLES ARTS DE LA UNIVERSITAT DE BARCELONA.

Author: MESA VÁZQUEZ RUFINO.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE BELLES ARTS.
Place of preparation: FACULTAD DE BELLAS ARTES.

Author: GASOL FARGAS ROSA MARIA.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE BELLES ARTS.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The primary objective of this thesis is to identify the materials and techniques of some sets of Romanesque murals highlighting the strategic role of genetic conservadores-restauradores of cultural property to him intimate knowledge of the art of painting and its technical execution. There has been a revision of treaties technical medieval, with recipes for obtaining pigments and the recommendations included on the application of paint and the compatibility of materials, to be able to relate to the results of the paintings studied. The technical study had been done in murals representing three periods within the Romanesque-mural altarpiece San Pere de Terrasa (s. IX-X), the murals of San Serni of Baiasca and St. Climent of Taà ¼ ll (S. XII) and the paintings of the Chapter Hall of St. Mary of Sixena (c.1200). Samples were extracted and analyzed the pigments scanning electron microscope (SEM / EDX) and by using reflectografía infrared Fourier transform (FTIR), and the result of analysis have been documented in some specially designed chips. Finally, we have established the technical comparisons with other sets of pictorial murals medieval Catalan, Aragonese and European level.

Author: GARRUT ROMÁ JOSEP MARÍA.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE BELLES ARTS.
Place of preparation: FACULTAD DE BELLAS ARTES.

Author: DOMINGO LAPLANA M. ANGELES.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE BELLES ARTS.
Place of preparation: FACULTAD DE BELLAS ARTES.

Author: ARREGUI PRADAS ROCIO.
Year: 2005.
University: SEVILLA [www.us.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The approach to contemporary art in our society is very unevenly according environments. Most of the population does not recognize a utility or enjoyment in contemplation or experimental art more present, thus losing the opportunity to get better acquainted with their own culture and stepping into the midst of a rich and knowledge of their environment and of itself . The root of the problem tends to come from a concept of art and reluctant closed to new developments. Education is the only means which can, of a widespread and effective manner, bringing the art of our day to the majority of genetic citizens and the subjects of arts education in the Compulsory Education are to be fulfilled this task. With this conviction, we have designed a contribution to the curriculum of the course and Visual Arts Education so that the debate on the processes contemporary art is something usual in the classroom and become the reference for the contents of the course. The method has been implemented in different groups of SCS, over five courses, recoplando activities, and conducting a survey on the concept that students have about what should be a work of art, both at the beginning and end of the course. Both activities as polls show the effectiveness of the method. We have seen how we can do away with prejudice and promote an enjoyment of the artistic works which, while initially be strange, they can make constructive experiences, as well as a broader view and a better understanding of the culture.