HISTORY OF ART (2)

Author: RIOS MOYANO SONIA.
Year: 2004.
University: MÁLAGA [www.uma.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Author: DIAZ QUIROS GERARDO.
Year: 2004.
University: OVIEDO [www.uniovi.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: UNIVERSIDAD DE OVIEDO.

Summary: It is analyzed in this study the figure and artistic work of Felix Granda Buylla (Pola de Lena 1868, Madrid, 1954), as well as the history and evolution of workshops based in Madrid: all in the context of Spanish-century sacred art XX. It articulates the doctoral thesis in three volumes plus a CD annexed chart. There is the first volume in the situation of the church in Spain in the twentieth century, as well as issues surrounding the nature of the sacred, the history of the liturgy in the last century and their implications artistic, dedicating the following chart the overview of sacred art in Spain. Chapter independent incorporates artistic biography of Felix Granda Buylla, their theoretical connection to art, his face paint, their considerations regarding the sculpture and its work in the field of silversmithing. The study of workshops led by Granda and that from 1913 to be considered as Trade Society, revising sections and teachers who integrates, and how to work on them and give an account of the most outstanding works of accounts made through time. Although there have been some slides interspersed in the text to facilitate understanding of certain aspects, is attached a collection of images on computer graphics as an adjunct.

Author: AMENOS MARTINEZ LLUҏSA.
Year: 2004.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: That thesis deals with the activity of blacksmiths in the context of religious architecture, in particular the cathedral of Barcelona and analyzes their productions more luxury gates, door hardware, locks. Methodology multidisciplinary combining methodologies own documentary in history, art history, archeology and ethnography.

Author: MACAYA RUIZ ALBERT.
Year: 2004.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE BELLES ARTS.
Place of preparation: FACULTAT DE BELLES ARTS.

Summary: Analysis of the skills of reasoning and language mobilized by children in a range of specific ages (10-11 years). The study deals with educational research as a case study technique. After establishing a theoretical foundation based on cognitive psychology and learning, as well as theories about the development aesthetic and creative turns to the case study. It presents and justifies the research design, establishing the reliability criteria, the criteria for selecting the case and negotiating access to the scene of the investigation. The presentation and data reduction give way to triangulation and developing conclusions.

Author: SARRIUGARTE GOMEZ IÑIGO.
Year: 2004.
University: PAÍS VASCO [www.ehu.es].
Place of defense: FACULTAD DE FILOLOGIA Y GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Analysis of context histórico-escultórico the Basque country during the decade of the 80's, with special emphasis on the section of postmodernism and its relationship with various young artists. IN First, it examines the influence of the work of Jorge Oteiza plastic in the work of several sculptors novel, as well as its subsequent artistic evolution. Furthermore, it investigates the area of figurative sculpture by guipuzcoan Andres Ãngel, and the plastic nature of satirical and critical of the social environment by Jose Ramon vizcaíno Sainz Morquillas. He also addressed the presence of women sculptor, through the study of three creators like Juncal Ballestín, Dora Salazar and Maria Luisa Fernandez. To conclude this investigation, also discusses other trends plastic relevant in the Basque Country, you can see a large number of creators

Author: MADRIGAL NEIRA MARIÁN.
Year: 2004.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FAC. GEOGRAFIA E HISTORIA . UNIV. COMPLUTENSE.

Summary: The thesis memory is not nostalgia. Joseph Knight made a tour of all the work and life of one of the most anxious and interesting painters of the twentieth century Spanish. Joseph Knight arrived in Madrid in 1931 where he came into contact with the core artístíco most innovative and 1 rabó deep aniis1ad with Federico Garcia Larca and Pablo Neruda quíenes influenced decisively in his life and in his work. With them came squarely in the poetic surreaTIstareaflzando some díbLijosllenos of mystery and unease. It was Federico Garcia Larca who introduced him at the theater Universitario La Barraca, where he carried out figurines and decorations, and made him the first artistic commissions: illustrations for the Llanto por Ignacio Sanchez Mejias and decorated Blood Wedding. After the Civil War Joseph Knight stayed in Spain alone, desperate and surrounded by an immense intellectual vacuum. During some years turned its activity in the theater and making decorated figurines but was gradually returning to the brush, which at the end of the decade of the forty began to paint again with a hectic activity. He continued with surrealism but quickly realized he needed a new language and it began a relentless pursuit to a new form of expression. This resulted in a number of successive stages in. Forms which were going through a process of dehumanization until they reached the informality matérico the late fifties. With  ¡nformalismo and handling of materials found a language personnel returning thread that had been broken with the war and postwar. He began doing barriers bulls and white walls of Andalusia to move to a stage where the main protagonist was the circular shape. Both with the barriers and walls with circles Jose Caballero tried to express all the anxiety, loneliness and-tear that had gone into the Civil War for Spain and for himself. The painting of Joseph Knight suffered the same evolutionary process that the European Surrealism became the American Abstract Expressionism after JaSegunda World War. Already at the end of his life Jose Caballero conducted some works with a script nervous "and spontaneously, in which the signs and calligraphy become the only players.

Author: RUBIO CELADA ABRAHAM.
Year: 2004.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: DEPARTAMENTO DE ARTE III GEOGRAFÍA E HISTORIA VCM.

Summary: The Zuloaga highlighted as artists in the field of ceramics Spanish late nineteenth century and the first half of the twentieth century. The family has several generations of potters:-From year 70 to 90 of the nineteenth century, working brothers Guillermo (1848-?), German (1855-1886) and Daniel (1852-1921), identified the first period with the factory of the MoncIoa in Madrid. - From 1893 to 1906 worked at the factory Daniel earthenware The Segoviana, installed in Segovia. - Part of 1906 and 1907 works Daniel in the porcelain factory of Pasajes de San Juan, in Guipuzcoa. - From 1907 to 1921, the year in which Daniel died, he worked in the company of their children Hope (1882-1937), John (1884-1968) and Teodora (1886-1976), in the old Romanesque church of San Juan de los Knights Segovia, who had bought years ago, after acondicionarla for workshop. - From 1921 to 1949, still Hope, John and Teodora production workshop in San Juan, in line with his father, repeating the same patterns fundamentally. Starting this year, the church became Museum and School of Ceramics, where teachers Zuloaga. John taught the craft to his son Daniel Zuloaga Olalla. Daniel Zuloaga Boneta, the potter's most prominent families, as well as painter and decorator, has created a series of designs in the most varied styles would evolve as art, since neorrenacentista to modernist. His mastery of very different techniques, both traditional Spanish, as the cord dry or reflective metal, such as being made in Europe at that time, as the entubadO ', as well as continuous experimentation was a constant in his work, whose spirit inherited their children. It was to highlight the crucial role played by the photograph in the book of Zuloaga, to the point where his style better known, and the types of landscapes, was based entirely on photographs taken of the natural and used as models to decorate pottery.

Author: GAVIRA BRANDT MARTIN.
Year: 2004.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: A principios del siglo XX surge in the flow Europe Germanic cultural the expresionismo-, covering virtually all the art forms. Coinciding with the development and dissemination of an art born a few years earlier, the movie, the introduction of expressionism in this field during the second decade of the twentieth century will give some features and a personality that would lead to importantaes consequences artistic. In order to show the roots from which nurtured the film expressionism, the first part of this research work is devoted to presenting the genesis and development of this artistic manifestation diffuse and unspecific, many authors refer to as a sensitivity which is known under the term "expressionism." That part that we could consider as introductory amounts to support the ultimate goal of this thesis, which is to analyze the characteristics expressionist contenidad in the material we deal cinematografico. The next step is the analysis of what it means the emergence of cinema as an artistic and cultural phenomenon, exploring its evolution to the point at which it is influenced by the expressionist movement; key point to focus this issue is the review of aesthetics created and developed for the movies, as well as the relationship cinema / expressionism. The last part of the investigation deals with the analysis that follows an order cronológico-, fourteen films which we regard as the most representative of expressionist cinema and its evolución.Como colofón gives an overview of the influence exerted in this hundred cinematography today.

Author: MOSQUERA CAMBA JOSÉ LUIS.
Year: 2004.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FTAD. DE GEOGRAFÍA E HISTORIA UNED.

Summary: This research deals with the systematic study of a phenomenon that was blatantly obvious in the art of the last decades of the twentieth century, but trying to find their verdadereas and deeper roots in the avant-garde movement of the historical period before the Second World War. Thus, based on precedents decimonónicos (infancy), it performs a thorough analysis of those artistic movements in the qu showed that a certain symbiosis between the image and the word, ie essentially the Cubism, Futurism Italian, buana part of vanuardismo Russian (neoprimitivistas, rayonistas, cubo-futuristas, constructivist), Dada and Surrealism. Through the study of the works of artists representing each one of these movements was intended as a show of a continuous and uninterrupted process of integration between word and visual arts had experienced at this stage a whole host of possibilities of having an so difinitiva developments in the art of war. In many works of Picasso and Braque, Carrá or Sofficci, Larionov or Malevitch or Goncharova, Duchamp or Ernst, Magritte and Miro, etc., and would be a large part of the pattern that defined many of the proposals made then that plastic call your primary essence, as it aims to demonstrate through a choice of more than three hundred examples, many of them discussed in profundidaz.

Author: SOLANS BLANCO PIEDAD.
Year: 2004.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: - Addressing the problems posed by accionismo Viennese around key categories aesthetic of modernity: the identity and. Construcciónimaginariay simbólicadel body, organizaciónvisualde the realidady desu significance, desplazamientode borders of representation - table, sculpture, construction of space, time and the look - the transgression of the boundaries, violence and líbertad. - To draw the various sources or raster art, thought and language that has shaped the accionismo -expresionismo, romanticism, structuralism, existentialism, nihilism-his relationship with a historical context and aesthetic and other body art movements in the 70's , as well as the interaction of accionismo with other fields such as psychoanalysis, anthropology and lingà ¼ sistica, and its projections poJiticas and social, symbolic and mythical. - Addressing also analyzing the visual structure, conceptual of processes and formal action, its design and development and the means of reproduction empleadosen their translation as image and its translation to artwork. • To highlight the uniqueness of accionismo Viennese and its importance as a moviemiento that collects and condenses budgets fundamental modernity and precedes much of the performance after more radical.

Author: GARCÍA SANGUINO MANUEL J..
Year: 2004.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: Work is dedicated to one of the Arts Minors: wood, amply represented in the furniture carpentry joinery-hosting such famous monument. In it I have tried to analyze the art furniture and carpentry work from the time of founding until interventions conducted by the Bourbons, and the mansions in the mediation of the Monastery: Casita Prince and Casita de Arriba . The thesis is divided into six chapters, of which the first is about the links between Juan Bautista de Toledo and Juan de Rerrera. The tradition c1asicista that permeates the entire work escurialense and its influence on the architecture of wood. Furthermore also discusses the impact the architecture of the Monastery of St. Lawrence Real, the Spanish classical architecture of the sixteenth century. This is an issue truly novel and unprecedented in the bibliography of the woodwork escurialense to discuss the architecture of movable escurialense. In the following two chapters are studied orders carpentry and joinery. The fourth chapter focuses on artists who worked in the Royal Monastery, since the time of founding until completion of the works. This chapter deals especially, the trade union organization and the creation of the congregation as the governing body of works of the Monastery. Chapter V deals with the woodwork done at the time of the Bourbons in the monastery and in the palaces of the Casita de Abajo and Casita de Arriba, of the eighteenth century, respectively. Finally, Chapter VI explains the materials and techniques used in the manufacture of carpentry, the mills and diverse mibiliario which houses the Monastery.

Author: PARDO GONZÁLEZ JUAN CARLOS.
Year: 2004.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA DEPARTAMENTO HISTORIA DEL ARTE - UNED.

Summary: In this thesis is a journey through the iconography of the Campo de Gibraltar, a territory traditionally art history has paid little interest, but that nevertheless there are a large number of works aimed at their representation. In the absence of major monuments area has always had great strategic importance and its location paisajístivo is quite spectacular, this coupled with the particular political situation of Gibraltar from XVII translates into a big production of works aimed at the representation of this county. The book begins with an introduction that focuses on a topic associated with this mythological landscape as is the Hercules and columns. It happens after studying major works essentially directing them in a chronological study completed at the beginning of the twentieth century. There is a separate chapter with photographic works of particular interest to the author, to finish with a apígrafe in which he explores the character of a smuggler, a topic iconographic traditionally close ties to this area. After the findings were generally provides a bibliography which joined the bibliographies used in each chapter.

Author: GUERRA CABRERA JOSÉ CARLOS.
Year: 2004.
University: LA LAGUNA [www.ull.es].
Place of defense: DEPARTAMENTO DE HISTORIA DEL ARTE.
Place of preparation: FACULTAD DE GEOGRAFA E HISTORIA.

Summary: Approximation historico-contextual the following seven cycles of pictorial narrative sacred that have survived, commissioned by two Venetian brotherhoods of 1490-1535. It consists of eleven chapters: Introduction. 1. The religiosity in the late fifteenth century Venice and the integration of cofrade movement in the Republic. The government of the brotherhoods. 2. The religiosity of the brotherhoods. 3. The social composition of the brotherhoods. 4. Demand for the art of brotherhoods. 5. The pictorial narrative sacred and their characteristics in Italy in the second half of the fifteenth century and the beginning of the sixteenth, with special attention to Venice. 6. The cycle on the life of St. Ursula in the Scuola di Sant Orsola. 7. The cycle of the cross to the Scuola di San Giovanni Evangelista. 8. The cycle of San Marcos to the Scuola dei Tessitori di Seta. 9. The narrative cycles of the Scuola di San Giorgio degli Schiavonni. 10. The cycle of the Virgin of the Scuola degli Albanesi. 11. The cycle of San Marcos to the Scuola di San Marco. 12. The cycle of St. Stephen for the Scuola di Santo Stefano. Conclusions and Literature. The thesis also contains the transcription and translation into Spanish sixty documents, some completely novel and other non transcribed earlier, which included four of the statutes of the brotherhoods studied.

Author: CIUDAD GONZALEZ AGUSTIN.
Year: 2004.
University: CASTILLA-LA MANCHA [www.uclm.es].
Place of defense: FACULTAD DE LETRAS DE CIUDAD REAL.
Place of preparation: FACULTAD DE LETRAS DE CIUDAD REAL.

Summary: The author conducted a study of major interdisciplinary journal published in Spain female youth in the early twenty-first century (Super Pop, Bravo, Vale, Ragazza, You). From a visual analysis extends over natural cycles (cronológico-festivo and biological), rites body (bodies classes, maturation and care, sexuality) and vital strategies (friendship, ligue, committed partner, social mobility) affecting the youth female Spanish. The author concludes that while schools and media have functions found in the opposite sense. However, it is possible that education and media are in the sense approach to common ground for action and follow-up purposes.

Author: CRUZ PEREZ FERNANDO JAVIER DE LA.
Year: 2004.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE LETRAS.
Place of preparation: FACULTAD DE LETRAS.

Summary: The creations by Francisco Ibanez part of the iconic memory crowd. They have transcended the world of the cartoon, becoming icons of the mass culture. Analyzing the work of Ibanez in context, we wanted to offer a review of the mass culture, and a description of the evolution of society and the Spanish culture in the past 50 years, with the many developments that have conditioned. This work is at the same time, a catalog of drawings since recovered and looks almost forgotten series. It has chosen to approach the job as a biography, in accordance with the idea of offering a consistent time management in the evolutionary process of the author. Ibanez becomes a common thread to help them find the position of the authors, publications and trends more representative of the history of comic Spanish. Along this route are articulating the different influences that receives the drawer, through which will build its own style building. It also provides a systematic classification of his repertoire lexipictográfico, and a description of the designer's creative process. It also describes the traditional sources and universal that have inspired his mood.

Author: GONZALEZ MORENO FERNANDO.
Year: 2004.
University: CASTILLA-LA MANCHA [www.uclm.es].
Place of defense: FACULTAD DE HUMANIDADES DE ALBACETE.
Place of preparation: FACULTAD DE LETRAS.

Summary: THE THESIS PRESENTS THE STUDY OF ALTAR OF FRONTAL AND THE RETABLOS PRODUCED BY ALFARES OF THE QUEEN OF TALAVERA (TOLEDO) FROM THE SECOND HALF OF THE CENTURY XVI UNTIL 1961, DATE TO COINCIDE WITH THE CLOSING OF THE FACTORY âNUESTRA LADY OF PRADOâ. SUCH RETABLOS, FINGIDOS ON COMPOSICIONES VOLUME OF AZUELOS OR REAL THROUGH PARTS OF MOLD, BY OTHER ALTERNATIVE TO CLASSIFY CAN IN SEVEN MAJOR TYPOLOGIES: RETABLOS-CUADRO, RETABLOS-TRÍPTICO, RETABLOS-SOPORTE OF PAINTINGS, RETABLOS-ARCO OF TRIUMPH, RETABLOS HERRERIANOS , RETABLOS CERAMIC STRUCTURE ON ARCHITECTURAL AND RETABLILLOS WALL. THE STUDY OF THESE PARTS SERVES MAINLY TO TWO ASPECTS. AT FIRST, THE MODELS THAT REPRODUCED IN ITS ARCHITECTURAL STRUCTURES, LOCALIZANDO THOSE CONSIDERED XVI CENTURIES OF ARCHITECTURAL AND IN GOVERNING XVII LÁMINAS PAINTERS OF THE AZULEJOS COETÁNEOS ENCONTRARON ITS SOURCE OF INSPIRATION (ANDREA PALLADIO, IACOMO BAROZZIO DA VIGNOLA, SAGREDO DIEGO DE, SEBASTIANO SERLIOâ |) OR PARTS ANTIGUAS PAINTERS OF THE CENTURY XX REPRODUJERON WITHIN THE PROCESS THAT SUPUSO THE REVIVAL OF FACTORY Ruiz de Luna. THE SECOND LOOK TREATY CONCIERNE A RELIGIOUS AGENTS TO APPEAR ON THESE RETABLOS. ESTUDIADO HAVE BEEN THE ESTAMPAS WHERE ARE EXTRAEN MODELS ICONOGRÁFICOS, INDICÁNDOSE RELATIONS WITH THE LÁMINAS CHERUBINO ALBERTI, CORNELIS BOS, AGOSTINO CARRACCI, HIERONYMUS COCK, MARCELLUS COFFERMANS, DIRK VOLKERTSZ COORNHERT, CORNELIS CORT, PIETRO PAOLO PALOMBO, SEBASTIANO OF PIOMBO, MARCANTONIO RAIMONDI , JAN SADELER, RAFAELLO SCHIAMINOSSI, LORENZO VACCARI, ENEA VICO ANTON AND THE BROTHERS AND HIERONYMUS WIERIX, AMONG OTHERS. THE STUDY OF AGENTS HAGIOGRÁFICAS THESE RETABLOS BE RAISED IN A SENSE COMPREHENSIVE, PONIÉNDOLAS IN COMMON WITH THE SET OF THE IMAGES OF THE AZULEJERÍA RELIGIOUS TALAVERANA AND PROCESSES UNDERLINING THE SPIRITUAL, RELIGIOUS, CULTURAL AND IDEOLÓGICOS THAT JUSTIFICAN.

Author: SUMOZAS GARCIA PARDO RAFAEL.
Year: 2004.
University: CASTILLA-LA MANCHA [www.uclm.es].
Place of defense: FACULTAD DE LETRAS.
Place of preparation: FACULTAD DE LETRAS.

Summary: Over s. XVIII, the city was incorporated in Almadén model architecture industrial and mining not only for Spain but for the colonies overseas, especially for those engaged in the mining activity: Huancavelica and Potosi attest to that. The intense activity which it is developing not only covered the construction of civil works and religious deimportancia but forced to build fences, wells, castilletes, bariteles, furnaces and mills also motdivó to the establishment in their territory of a school Mine responsible for train engineers to be involved in the exploitation of resources that emanated from American soil. This thesis explores in detail such a process, starting from the description of the historical context in which the facts come and then reviewing the urban characteristics of the city of Almadén and formal features of its most representative buildings, while each and every one of the works devoted to industrial activity. Similarly, and thanks to an extensive and rigorous field work was continuing with the description and analysis of works of architecture of the same gender lifted in the mining towns of Huancavelica and Potosi, based on the current countries of Peru and Bolivia, respectively . This will complete the picture that allows develop a comparative analysis and conclusion, among many other things, that the technique is a legacy and that in this case, tacitly expressed at various levels that art and architecture can offer.

Author: SOUTO GALVAN ANA.
Year: 2004.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA UNED.

Summary: This Doctoral Thesis intended to highlight the close ties between architecture, and identity politics. Throughout the twentieth century, and especially since 1920 (the year in which the Mexican Revolution ends) can be seen in this diagram triangular architecture contemporfmea ex novo as in relation to protecting the heritage. The structure of this work is carried out in volume to three key ideas. The first focuses on the construction of identity in the post-revolutionary Mexican Republic. This period is inserted chronologically between 1920 and 1950. The second idea stresses the importance of identity in architecture in the second half of the twentieth century. Finally, the third line of research crosses the proceedings on the historical and artistic heritage to emphasize, again, the identity as a "central theme" of his achievements. In these three areas in the history of Mexican architecture of the twentieth century, identity becomes a recurring theme for the various political parties in power, who realized this abstraction in architecture.

Author: PICHEL MARTIN AGUSTIN.
Year: 2004.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: GEOGRAFÍA E HISTORIA.
Place of preparation: UNED.

Summary: The postmodern architecture in Madrid in the last quarter of the twentieth century, its ties and differences in thought and the implications of postmodern thought postmodern architecture in the "post": Death of the subject: history as a warehouse acopios denial of the thesis process , perdiad of modern values, the game of the differences, crises of identity, architectures, while simultaneously, and so on. It then describes, analyzes and reflects on the collective housing, single-family housing, buildings tertiary, the most important interventions in the historic center and the periphery and religious architecture, adding in all cases by a catalog typologies pormenorizdadas . It also describes, discusses and reflects on the "styles" post and what would recognize as "invariant" along architectural history.

Author: GIL RAMOS SARA ESTRELLA.
Year: 2004.
University: SALAMANCA [www.usal.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: Work on The Spanish painting in Museums and Collections of Scotland (from the fifteenth century until Goya), which we present is divided into two sections: The first one devoted to the theme of Collectors of Spanish painting, processed from a generic and facing progressively Collectibles British, and particularly the Scots Collectibles. This part is a statement of the subject matter of our survey and reflects the existing literature and testimony to our work. The first chapters are crucial for submission of the second part of the thesis which offer a detailed study of each of the works that form the Catalog Razonado of Spanish painting in Scotland, which is the body of research, and he time is divided into two parts: Works that are located in Museums and Art Galleries of a public nature, and works that are housed in private collections and special nature of Charitable Foundations. This study must be closed with the following conclusions: First, rescuing from oblivion some works that were unaccounted for or could even doubt its existence or ever have been scheduled. Second, drawing from our catalog reasoned that some works there feel Spanish, and after our thorough study and documentation, have come to include the works of schools Italian, English or Portuguese. And finally, we have incorporated some works of questionable attribution, in anticipation of any scholar can classify it and give it its rightful place. In these conclusions I would like to specify that although the topic of the thesis is very complex it can be done comprehensive treatment of Spanish painting housed there, and explain how his stay in different collections may have contributed to their conservation status, its heritage and taste for Spanish painting and its subsequent influence on the society that persists even today.