PAINTING (3)

Author: RUIZ HELGUERA ALMUDENA.
Year: 2005.
University: PAÍS VASCO [www.ehu.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD BELLAS ARTES.

Summary: This investigation has sought a methodology to develop better methods of cleaning paper and having the right products, this has done extensive literature review. In order to achieve our goals we have undertaken a pilot part, through test tubes to define the behavior of different cleaning products on various pictorial techniques.

Author: FERNÁNDEZ PRADA ELENA.
Year: 2005.
University: VIGO [www.uvigo.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The purpose of the study is a form of story that appears in contemporary photography and that due to the use of conventions and thematic escenografic linked to a current daily experience, mediated by the film presents an aspect that many authors have called cinema. The study verifies the existence of aspects that allow talk of such cinematización and analyzed. Likewise, the specific characteristics of this form photographic considering a trend.

Author: YOUSSEF RAMADAN YEHIA.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Our goal throughout this study was an analysis of the technical and historical icons Copts of Egypt. With a view to establishing an effective method to conserve and restore this legacy Egyptian. Therefore, in this paper we have addressed the following issues: 1-Comparative analysis and historical changes in the Coptic iconography along the history. 2-A Comparative Analysis of different colors, layers and techniques generally used along the different stages as well as style and the artists who made them icons. 3-Study on the types of wood used in icons and their potential d field, as well as ways to prevent it and its treatment in the event that these icons were damaged. 4, - Analysis of the layers and materials used in its preparation, from both chemical and pathological. In the same way we have looked at the deterioration of the layers, the agents responsible, ways to prevent and, if found damaged, the most appropriate treatments for conservation and restoration.

Author: SUMMERS DE AGUINAGA BEGOÑA.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Ricardo Summers Isern, "SERNY" (Puerto de Santa María, Cadiz, 6-V-1908, Madrid, 12-XI-1995). Self-taught painter. In 1984 he was named academic at the Academy of Santa Cecilia in El Puerto de Santa Maria. Andalusian birth, develops its work in Madrid, place of residence since childhood. If anything it was characterized give each of his creations a very sharp personality; took the reality of how subjective and poured into a vast work that reached many areas of art: drawing, illustration, poster, picture, painting, mural painting and engraved. During his career he won a big consideration for his work and appreciation for your person, by writers, artists and art critics: French Jose Cesar González-Ruano, Daniel Vazquez Diaz, Eugene d'Ors, Jose Hierro, Rafael de Penagos , Federico Carlos Sainz de Robles, Manuel Pombo Angulo, among others, who saw in him a teacher and his artistic journey at the heart of one of the spectrum of contemporary painting, as has been recorded in a multitude of comments that are a part key to approach Serny through major figures of his time. Ultimately, the trajectory of this artist is significant, not only with respect to the development of contemporary figuration in Spanish art, but also in a comprehensive manner, in terms of its applications, to understand and practice the art in a that generation, according to the names that made up and the quality of their production, has highlighted in the cultural history of our country. This thesis has wanted to be, above all, reasoned and duly ordered compilation of the most significant of the extensive work Serny, in order that it be properly recorded in the artistic context it deserves.

Author: LÁZARO PUEBLA ÁNGEL TOMÁS.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Color, movement and drama, comprising the combination of fundamental ideas that have built this paper. Has interested address the dynamics of the colors together with its expressive capacity, its dramatic potential, ie recognize the kinds of moves in color along with the permits that have to be encouraged through art. It has placed special emphasis on study and keep track of what happened and dynamic dramatically in relation to each variable that provides color to be adapted and transformed, ie through its parameters tone, brightness and saturation. Ele study has been undertaken since three key aspects: from the history, from theories presented by artists from the proposed Yvogiros color, is as follows: * Dynamics of historical development. * Dynamic referential systems in relation to the color. * Dynamic called: Yvogiros color. These approaches result in the overall structure of work in three main blocks: 1, Skit-color, 2-Movement colors, 3-Yvogiros chromatic

Author: MARTÍN LOBO M. JESÚS.
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 meaning of the term Latino is a source patina or pot. Its evolution semantics to designate the aging paint is not very clear, though the texts consulted, it is likely its use by extension from the designation of the continent to nominate the content. Similarly, states that its origin appears linked to wing painting, subsequently applied to metals. The emergence of the term patina on painting dates from the seventeenth century Italian texts. The first definition corresponds to the pattern of vocabulary Tuscan Filippo Baldinucci in 1681. From here, the concept has been the subject of controversy in terms of aesthetic reasons, commercial or historical. In the seventeenth century, appears linked to the concept of "Time painter" clearly positive connotations with regard it as an ally of the artist. In the second half of the eighteenth century growing criticism of the patina by increasing consideration of Time as a destroyer, a concept which is based on the large number of discoveries of technical and scientific occurring at that time. Still, the defense of Time painter alive in letters of Crespi, Algarotti or Goya. The nineteenth century was the century of false pátinas. Not only are used after restorations, but the painters used their new works as a response to popular taste to the shade ambers. In this context, the patina loses its traditional meaning to be used in the name of dirt, varnish or rusty colored. The opening of the great European museums in the nineteenth century brought with it a public impact of disputes on the cleaning of paintings, and hence the patina, controversy continued in the twentieth century with a major influx of texts and research literature. Ultimately, the analysis of the development of the concept patina in painting, from his birth in the seventeenth century until the late twentieth century, is a great and important analysis of texts that serve to give the term an objective evaluation and justification of its importance .

Author: MONTOYA ALONSO CARLOS.
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 research work is dedicated to exploring within the mural painting, the problematic relationship between two areas of sacred art, on the one hand, the dimension catechetical, social and moral development, and secondly, the possible influence of different aesthetic and the impact of the various vanguards, and highlighted the mutual relationship between these two dimensions, more política-pastoral-religiosa the first, and most proper aesthetics second. This will also highlights the tension that religious art painting of the twentieth century has suffered by a side with the concerns inherent aesthetic criteria and on the other with the fluctuating demands of the challenging political landscape, social and religious Spanish, especially in the second half of the century. The exploration of the contradictions generated by the intersection of a well-established tradition, a politico cambiente and not always tolerant of innovation of all kinds, and the derivative of some artistic movements claiming freedom of the artist, is the spinal axis it is this research, based on the study of the os murals themselves, and their aesthetic explanation related to the above. Emphasis is also placed on the current manifestation of sacred art and its possible future, and the relationship between artists, the people and the Church, all seen from the main and basically own religious works of art developed, and supported by states opinion, thought and theory, using them as a result of plastic or explanation studied the murals.

Author: ROMERO PINEDA RAFAEL.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of preparation: FACULTAD DE BELLAS ARTES. UNIVERSIDAD DE BARCELONA.

Author: CRUZ GARCÍA CAYETANO JOSÉ.
Year: 2006.
University: SEVILLA [www.us.es].
Place of defense: FACULTAD DE BELLAS ARTES DE SEVILLA.
Place of preparation: FACULTAD DE BELLAS ARTES, UNIVERSIDAD DE SEVILLA.

Author: CANTALOZELLA PLNAS JOAQUIM.
Year: 2006.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES DE LA UNIVERSIDAD DE BARCELONA.

Summary: The imatge neutral: photography com a model in the painting of the finals segle XX. Study the influence it has exercised the photographic medium, both in the process and in the analog, digital, in the transformation of the parameters set by modernity in the painting of the late twentieth century, from the analysis of the flow and artists significant discussion, all of them associated with the artistic work of the author. It shows how the optical image varies our way of perceiving reality, and as this has been a cause and manner of many of the current pictorial figurative emerged from the sixties. Try to see as photography, far from impeding the natural process of painting, has helped to give new perspectives formal and conceptual. Study the encoding function exercised by photographic models in the final product, and shows how the painting accepts its limits and leaves contaminated by other disciplines, to the detriment of the formal purity, to stand at a more modest but still effective.

Author: MARTINEZ RODRIGUEZ FERNANDO JOSE.
Year: 2006.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES UNIVERSIDAD COMPLUTENSE DE MADRID.

Summary: Painter, drawing and printmaker Francisco Lameyer and Berenguer, born in Puerto de Santa Maria in 1825, locality reached his grandfather, a native of Bremen, as a vice-consul of Prussia. In 1839, Lameyer arrives in Madrid, led by his uncle, General Dionisio Capable of the Navy, to be widowed, with fourteen years, Lameyer enters workshops Vincent Castellon. His facility for drawing, he quickly gets to work in publications of the period and in 1841 he enrolled at the Academy of San Fernando, until 1843, leaving record for a year that there is preserved and signed on the back by his teacher, John Ribera. At that time, he married Isabel Soriano, niece of the Caretaker of the Academy and had two sons, Francisco de Paula and Alfredo, both dead at an early age. That same year enters the Administrative Corps of the Navy, military occupation that will lead in 1848 to Rome once removed competitions as pensioner by the Academy, to provide relief to Pope Pius IX in the Italian revolution and in 1854 as intended in Philippines in his passion for travel to exotic countries to discover the Far East. Promoted to the Commissioner of War in 1856, and authorizing the Apostadero return to Spain in 1859 to quit for health reasons, his military career in 1861. The fortune left after the death of his uncle Dionisio Able, we allow travel for health reasons, his military career in 1861. The fortune left after the death of his uncle Dionisio Able, enabling him to travel to Africa in 1862, after the war hispano-marroquí, to coincide with Fortuny in 1863. Back in Madrid, alternating lengthy stays in Paris, along with the family Madrazo. A long illness led him to die in Madrid in 1877. Francis Lameyer, how Leonardo Alenz ay Eugene Luke School Madrid costumbrista called "vein brava" in the wake left by Francisco de Goya countless followers, but his meeting with Mariano Fortuny in Africa and his admiration for Eugéne Delacroix, go to orientalism as style and subject choice.

Author: GÓMEZ GARCÍA M. DEL CARMEN.
Year: 2006.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Differences variations that the cloth purity has experienced in the sculpture of Christ crucified between XII and XVIII centuries are the reason for this work. The objectives are to be dating at the time (actual time) and space (Spanish region), iconographic figure in the sculpture of the Crucified through the cloth of purity. This has been structured according to the labor camp times and regions, according to the socio-political, aesthetic and iconographic, and have been analyzed existing data on each a sculptural study, conducted a descriptive study, analyzing and comparing the figure of Christ crucified. The development of a catalog, with a selection of works studied, using a computerized system chips through an interactive database, is attached to a CD. This will establish comparative studies of the structure's original cloth, it provides information on the work (stylistic identification, chronological and geographical school and authorship, and so on.), Grouping them according to seasons, geographical location and iconographic features, in order to obtain conclusions that finally results in summary tables on disposal of cloth as time and regions.

Author: ORNELAS MAGALHAES VITOR MANUEL.
Year: 2006.
University: CASTILLA-LA MANCHA [www.uclm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The thesis has sought to engage on the concept of interruption, as the analytical basis for contemporary image and especially in the moving image (film and video), taking into account their most varied shapes and patterns. It is divided into three parts, that despite autonomous maintain linkages that create different purposes and contacts between them. It analyzes the conceptual and methodological different positions with respect to the interruption in art and the moving image (from modernism to the present) from works and writings, both artists and theorists relevant to the topic.