HISTORY OF ART (5)

Author: LOPEZ MANZANARES JUAN ANGEL.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: This thesis aims to demonstrate that prior to the founding of the group "El Paso", in February 1957, Madrid played a very active role in the updating of the art of the Spanish war. Through the study of the artistic events of the era as well as the direct testimony of the protagonists, attempts to demonstrate that there was a renewed artistic cutting advanced -presta to take the witness Spanish art of the twenties and thirties, and endorse the new proposals of the postwar international art, which is largely comparable to other contemporaneous "Dau al Set in Barcelona," Portico Group "in Zaragoza, or" LADAC "(The Archers of Contemporary Art) in Las Palmas de Gran Canaria. The work is divided into five major sections, which relate to many other avenues for renewal plastic, entitled: echoes of Paris, An art synthesis. Around surrealism, abstraction of the mid-fifties, and Genesis of informality Madrid. All this is complemented with an appendix of illustrations and an extensive appendix documentary relapse into the uniqueness of the proposals studied compared with other initiatives court moderate.

Author: JARDÍ I ANGUERA M. MONTSERRAT.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE GEOGRAFÍA I HISTÓRIA.
Place of preparation: UNIVERSITAT DE BARCELONA.

Author: MORILLO SANTACRUZ ORLANDO.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: GEOGRAFIA E HISTORIA.
Place of preparation: GEOGRAFÍA E HISTORIA UNIVERSIDAD DE BARCELONA.

Summary: Knowledge of the most important features of contemporary art that defined why the eclecitismo and processes for Historical Review. We know, the various sources that generated the ecleciticismo well as the three modalities eclecticas herein. Eclecticismo Reviewer, Eclecticismo Conservative and intermediate positions. The development of the investigation revolved around the assumption that arose in the following terms, processes eclecticos contemporaries are the product of discussions modernidad-postmoderndiad, which consequently brings fracture of the principles of modern representation, such as for originality, uniqueness artistic genius, stylistic purity. As a result of this development research revealed the approach from previous works of the most significant artists of contemporary art.

Author: MATEOS RUSILLO SANTOS M..
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: The concept of historical heritage, as cultural creation, has undergone a clear evolution along the twentieth century, alongside the cultural and social developments of this period. The notion nineteenth century, restricted to certain components and / or joint undoubted power historical or aesthetic value, has finished covering certain physical remnants of the past that were not necessarily those characteristics unquestionable. This extension of the concept itself, parallel to the democratization culture experienced during much of the twentieth century, has enabled certain social groups in local areas side is dotasen their own concerning historical-artistic. In an attempt to understand and analyze the evolutionary process of the very concept of historical heritage in the course of the twentieth century, and the consequences arising therefrom, has selected an approach microhistórico by marking a few geographical coordinates (the city of Barcelona cornellá de Llobregat), which analyzed according to this analysis of three variables: valuation, preservation and communication.

Author: GARCÍA DE OTEYZA FERNANDEZ-CID M. JESUS.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE GEOGRAFÍA I HISTÓRIA.
Place of preparation: FACULTAD DE GEOGRAFÍA HISTORIA DE LA UB.

Summary: Study biographical and artistic painters Sevillians Rafael and Manuel Garcia hispaleto within the Spanish artistic scene of the second half of the nineteenth century. Training artistic and aesthetic evolution. Analysis of his work. The painters in the exhibition institutional. The painters to criticism.

Author: GARCIA-LUENGO MANCHADO JAVIER.
Year: 2005.
University: SALAMANCA [www.usal.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD GEOGRAFIA E HISTORIA.

Summary: As indicated by the title of the thesis, it makes a detailed study of the biography and the artistic career of the painter Gregorio Prieto. It is imperative to conduct a study of this nature, because until now, when they had covered the analysis of this artistic creator had been made in a very cursory, with a body full of critical topics. There was, therefore, be reviewed every fact, consider directly the work of the painter as well as analyze the documentation staff. The first part presents his biography, developing harder stages those lesser known, like stay at the Academy of Spain in Rome between 1928 and 1933 and lived in England the period between 1937-1950. As for the chapter devoted to the study of his painting, stressed his strong ties with the lead, both with surrealism as with the postcubismo or postismo, as well as its relationship with the so-called "return to order" with the Generation of 27 or fauvismo Iberian. Similarly discusses one of the periods of their production unknown, as fotocollages or what Prieto of nominated popares, his version castiza pop art. There is a final section devoted to aesthetic ideas and the main themes that Gregorio Prieto developed in its creation. Here it comes at some length his loyalty to figuration, as popular religiosity, which convivirá with strong homoerótico many of their creations. Among the most prominent: La Mancha; mannequin, the mills; poetry; sailors, angels, etc.. It also includes an extensive bibliography section, which is largely devoted to books that illustrated and / or written Gregorio Prieto.

Author: MARTINS PAULA ARMANDO JESUS.
Year: 2005.
University: SALAMANCA [www.usal.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: DEPARTAMENTO HISTORIA DEL ARTE / BELLAS ARTES.

Summary: The paper analyzes the evolution of the Portuguese art in general and particularly sculpture, organized into three sections which are interrelated. In Primeira party, in Chapter I is a reflection and analysis on Portuguese society in general com in order to capture the nature and specifications political, cultural, social and economic. In Chapter II treat exclusively the domain of Fine Arts. In Part Two, Chapter III, we stopped in the study of the status of national sculpture from 1945 until the end of that century. The Third Party is fully engaged in what is usually designated by "Field Research" - research itself, including analysis and presentation of descriptive data and a visual reduction of the same across different arrays and tables built from those data processing and data interpretation.

Author: PEÑA PUENTE SATURNINA.
Year: 2005.
University: PAÍS VASCO [www.ehu.es].
Place of defense: FACULTAD DE BLLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: As indicated in the title above, we have tried to analyze the role that copying and reproduction sculpture has been over the history of art, his contribution in shaping the teaching histórico-artítisca, conducting a study of the academies Art, primarily de Bellas Artes de San Fernando in Madrid, stressing the classicism of the sculpture marked by the movement Academicist. We have also emphasized the concepts to differentiate between original work and any copying process. An important chapter is devoted to you we have different technical procedures for obtaining copies (height) and reproduction (by molds and castings), as well as shops emptied in plaster. As for the collectors and the public exhibition of sculpture reproduced, to hold the city of Bilbao Museum Reproductions Artistic specific, we have done some research work of this center. We want to emphasize that the study of the Museum of Art Reproductions of Bilbao, we have dedicated the second volume of the two comprising the thesis has been a thorough analysis of the existing documentation on file with the center, as well as the Municipal and Regional Council, both patronas of their training and subsequent support.

Author: FRUTOS SASTRE LETICIA DE.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: This thesis aims reconstuir image of the Courts that Don Gaspar de Haro and Guzman (1629-1687), VII Marquis del Carpio, forged through the cultural artifacts that launched. The reconstruction of these Courts and models, and the role it played in Don Gaspar coding, especially cultural and artistic, is the original purpose of this work. It is structured in three main sections, which coincide with the Marquis biographical stages: the period of the embassy Roman (1677-1682) and the viceroyalty of Naples (1683-1687), and closes with a chapter, as an epilogue , in which we talk about the death of His Excellency, the chaotic and complex situation that was his testamentaría and finance, while leaving open the broad outlines of the dispersal of its collection, one of the largest in the seventeenth century. The complexity of the case has forced us to raise the Court as a reference point and stage on which to deploy the different aspects that make up the person of Don Gaspar. A court that will be analyzed according to three major lines, which are along the three main sections which divides the thesis, depending on the different stages that marked his biography. In the first case, the Court is defined by the space or spaces occupied, namely his palace or palaces, we should not forget that we are seat of government, as well as residence. We turn much of the reconstruction of the physical and architectural spaces, and the invisible, these is the dictates for the family and the ceremonial. The Court of a prince is also defined by the relationship with art manifested through three levels: the prince's relationship with the ownership of the object, namely collectors, the prince's relationship with the artist, that is, as patrons, and at a higher level, the prince's relationship with the promotion of the arts in general, as skipper.

Author: SESTELO LONGUEIRA ESTHER.
Year: 2005.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: The Doctoral Thesis in 1097 pages divided into nine chapters, preceded by an introduction and completed by the findings, is a scientific study, aesthetic and artistic heritage of one of the most important composers of our time. In the first three chapters contextualiza internationally and nationally by establishing the composer, then his thinking filosófico-estético-artístico and his constant compositivas. In the remaining chapters-through the biographical study of the composer and his relationship with other arts, and artists and intellectuals peers, are classified its compositional periods, including musical analysis of a selection of reference works. This Doctoral Thesis ends by the conclusions where, and through a brief recap of the foregoing, setting the input and developments achieved over this extensive and detailed work.

Author: SANCET BUENO MARIA PILAR.
Year: 2005.
University: ZARAGOZA [www.unizar.es].
Place of defense: FACULTAD DE FILOSOFIA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFIA Y LETRAS.

Summary: The purpose of this dissertation is to make the biography of the artist, encuadrándola in the historical context of his time (1924-1990); periodization and detailed study, analytical and critical of his compositions. Studying as is their creative process, their workshops, their work habits and techniques used in your work of art. See how affecting his cultural and social influences that receives over their lives, and make a tour of Spain from the fifties to nineties through their artistic work. The subject is the creative process of Joanna French, the different moments of his career, changes, breaks between phases and the common thread that binds all his work, his technical consistency and discursive in stages and in the subjective objective. For this work have been carried out interviews with people who surrounded him in these environments, friends, fellow students, members of El Paso, artists, gallery owners and families. It has analyzed all kinds of documents: personal papers, correspondence, photographs, books, catalogs and critical articles on the work of the artist and their submissions made in many countries. Joan French was a very prolific painter, his death bequeathed much of his work to four museums: the Museum of Contemporary Art in Alicante, Valencia Institute of Modern Art in Valencia, Museo Nacional Centro de Arte Reina Sofia Museum in Madrid and Pablo Serrano - Zaragoza. It has analyzed all of this work, in addition to belonging to the family of the artist, art galleries, institutions and private collections. In total we have cataloged 383 works from engravings, drawings, paintings and constructions. All this work has been divided for study and documentation in the following phases: Training Stage figurative Informalismo, Man and the City, and funds Submarines and Comets. This is an artist very intellectually formed, and concerned about the changes that need to produce creative and socio-political level. Studied at the Royal Academy of Fine Arts of San Fernando in Madrid, get scholarships and prizes, conducts tours to learn about museums and cultural trends and plastic exterior. Participates as founding in the group will have greater relevance in changing artistic, El Paso, as well as several groups plastics. Married to the sculptor Paul Serrano and chairman of its foundation in Zaragoza.

Author: GUTIÉRREZ RECACHA PEDRO.
Year: 2005.
University: AUTÓNOMA DE MADRID [www.uam.es].
Place of defense: UNVIERSIDAD AUTÓNOMA DE MADRID.
Place of preparation: UNIVERSIDAD AUTÓNOMA DE MADRID.

Summary: Before the outbreak of Sergio Leone in the landscape of Western Europe, the continental slope of gender had a certain tradition in Spain. This tradition has its roots in popular literature published in western Spain, where the author would be more prominent Mallorquí Jose. Precisely adaptation of his most famous character, Coyote, it will give rise to the first western shot in Spain noise, led by Joaquin Romero Marchent: El Coyote 1954. Faced with a model of film in which the main characters were shown his Hispanic heritage, will soon emerge productions that seek to imitate the canons of western Hollywood, being its first record co Earth Brutal / The Savage Guns (Michael Carreras, 1961) . The evolution of western Spanish finally will fight for this course. Also in the mid delos 60 is a real industrial development of the national cinema in the west, reaching gender become more cultivated in our film production. The success of the first westerns of Sergio Leone marked a turning point, increasing doses of violence associated with the genre and moving the creative initiative of the same from Spain to Italy: what was formerly known as "Spanish Westerm" will be renamed "Spaghetti Western ".

Author: PERALTA SIERRA YOLANDA.
Year: 2006.
University: LA LAGUNA [www.ull.es].
Place of defense: DEPARTAMENTO DE HISTORIA DEL ARTE.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: THE NEED FOR A FIRST APPROXIMATION OF THE HISTORY OF ART IN PERSPECTIVE FROM A CANARY FEMINIST FUNDAMENTA THIS STUDY, WE HOPE TO OPEN NEW LINES OF RESEARCH FOR WHICH MAY BE KNOWN AND THEREFORE VALORADAS, THE CONTRIBUTIONS OF WOMEN IN THE ARTS CANARY. THIS DOUBLE THESIS DOCTORAL PRESENTS AN ADDRESS: BY SIDE, AS REVIEW HAVE BEEN MADE AND RETRATADAS WOMEN THROUGH THE IMAGES AND TEXT AND ANOTHER RESTITUIR THE STORY THE NAMES OF THE ARTISTS TO BE PROVIDED TO THEIR ART CREATIONS CANARIO. ALL THAT FROM A PERSPECTIVE ON INTEGRATING TO BE HAD IN MIND PROCESSES SOCIAL, IDEOLOGICOS AND CULTURAL AND HISTORICAL CONTEXT THE GENERAL TRYING FOR ACERCARNOS TO SOCIAL CONDITIONS IN THE FEMINAS BE DONE IN CONNECTION WITH THE ARTISTICO AS CREADORAS AND THE VARIOUS MODELS, ARQUETIPOS AND IMAGES ON WOMEN THAT HAS PLASMADO art. HAS BECOME EMPHASIS ON EDUCATIONAL AND CULTURAL ASPECTS FOR BEING OUR OPINION IN WHICH HAVE EJERCIDO GREATER INFLUENCE IN BOTH THE PRACTICE OF ARTISTIC WOMEN IN AS AGENTS IN PLASTIC FEMENINAS CANARIA. OUR APPROXIMATION OF THE HISTORY OF ART FROM THE CANARIES IN CRITICAL AND FEMINIST THEORY HAS GIVEN AS A GENERAL OBJECTIVE ENTER THE PRESENCE OF WOMEN IN THE RECONSTRUCTION OF THE PAST, DOCUMENTANDO ITS PAST EXPERIENCE IN THE FIELD OF ART, BUT HAS BEEN IN ADDITION INTENDED TO DETERMINE SOCIAL CONDITIONS WHICH ARE PRODUJO THE CREATION OF WOMEN; ENCUADRAR THE INCORPORATION OF FEMINAS TO PRACTICE IN ARTISTIC CANARIES IN THE CENTURIES XVII and XX; ANALYZING THE DIFFERENCES AND RELATIONS BETWEEN MEN AND WOMEN IN THE FIELD OF ART; MALE STUDY THE CONSTRUCTION OF FIGURES OF WOMEN; SORT THE BACKGROUND AND KEY DEVELOPMENTS IN THE PROCESS BY WHICH WOMEN ARE MADE VISIBLE IN THE FIELD OF PUBLIC ART IN CANARIES SEñALANDO WHO HAVE BEEN THE KEY PLAYERS; FURNISH THE ROLE JUGADO BY CREADORAS IN DEVELOPMENT OF ART IN CANARIES ; DESCRIPTIVE STUDY AND THE CRITICAL CONDITION OF THE FEMINAS IN ART CANARIO; RESCATAR TO ARTISTS DESCONOCIDAS And EXPONER THEIR WORKS TO AWAY INTERPRETATIONS OF THE PARAMETERS OF TRADITIONAL ART HISTORY; ESBOZAR THE HISTORY OF SOCIAL CONDITIONS FOR PRODUCTION OF ARTISTIC WOMEN; DETECT THE EXISTENCE OF ARRAIGADOS bias RECEPTION IN CRITICAL OF THE WORK OF ARTISTS AND CRITICAL REVIEW THE DIFFERENCES BETWEEN MEN AND WOMEN IN THE FIELD OF ART IN RELATION TO THE LEGITIMACY ITEMS AS SOCIAL FEATURES AND ACCEPTANCE OF ITS SOCIAL AND PRODUCTION THEM SAME AS CREADORAS. THE THESIS INCORPORATES A DICTIONARY BIOGRAFICO OF ARTISTS CITED IN THE TEXT AND TRANSCRIPT OF INTERVIEW MANTENIDAS WITH PROMINENT CREADORAS OF THE ISLANDS.

Author: MIQUEL JUAN MATILDE.
Year: 2006.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: WORKSHOPS AND MARKET OF PAINTING IN VALENCIA (1370-1430) Matilda Juan Miquel Between the late fourteenth century and the beginning of the fifteenth century, Valencia had a special attraction to the arrival and establishment of artists, and specifically for painters of the major European schools; Italians as Starnina, Francesco di Simone or Nicolao dÂ'Antonio, flamingos as Marcal of Sas, and even elsewhere in the Crown of Aragon, as is the case with the Catalan Pere Nicolau, Francesc Serra or Guerau Gener, the Majorcan Miquel Alcanyís, or Aragonese Llorens Saragossa. Our research is divided into three major blocs that analyze the process and the protagonists of the pictorial activity in the city. First, the demand for art, sees the role played by customers in the development of international Gothic, with a special attention to particular social groups, such as the monarchy, the Church, the patrician urban, guilds or unions, and certain characters who are part of a close-knit social fabric. The second block, and core of the thesis, which focuses on the working conditions of the painter looks members of the workshop, its functioning, social relationships between teachers, and the type of work or geographical area in which it took place major obradores of Moscow. And finally, the art market, studies the interaction between the union and two blocks earlier, ie the client and painter, with a special emphasis on the artwork as a consumer product of a society Valencia. The investigation focused on general aspects, also responds to specific issues such as the continuing workshop Pere Nicolau in the figure Gonçal Peris, the work done by Starnina in the city, activities decorative Jaume Mateu or complex trajectory of the painter Miquel Alcanyiç , among others. Remote of the stylistic and formal studies, the thesis employs social history and the history of art as a tool to reveal the way for the introduction of international Gothic in the kingdom of Valencia.

Author: GONZALEZ RUIZ NUBIA JANETH.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: Aula Pi Calleja-ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Author: LOPEZ ALBERT SUSANA.
Year: 2006.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAT DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: Beginning in the second half of the nineteenth century there was a new way of looking at nature, leaving the artists of the first study and taking notes from life. This has been the point from which established a connection point between the Botany and the History of Art, seeking closer landscapes painted landscapes authentic. The vision of art historian has been enriched from the perspective of a botanist, forming a different approach to that normally takes place around the artwork. The intention of linking these two aspects, has given an analysis of the different environments landscape, both local and national, to see to what extent the landscape Valencians came into contact with nature, incorporating it into the works. Aspects such as the new scientific thinking that required a greater touch with reality, the legacy of the Barbizon School and Impresionistas, as well as the work done by artists such as Charles de Haes, were important factors in the change process. The process that began from the School of Fine Arts of San Fernando and through it to reach all the other arts centers, emphasizing the representation of a landscape in its own right outside the figurative elements-both anecdotal as arquitectónicos- it deserved find a worthy place in the national art scene. Through the analysis of both artwork as news and press reviews, it has been proved that the artists were set in the geographical and landscape that strictly botanical performed rather differentiation of plant groupings rather than specific species . However, fidelity to the natural and closer to the public of the different ecosystems was more than evident.

Author: CASTRO FERNÁNDEZ BELÉN MARÍA.
Year: 2006.
University: SANTIAGO DE COMPOSTELA [www.usc.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: The restoration of monuments in Galicia during the past with few studies, so overview or detailed explanation of the changes, and stays losses in its Cultural Heritage. One such historical stages in which it operates, so intense about it is during the Francoism. In fact, between 1950 and 1985, Galicia becomes the third Spanish region with the largest number of approved projects and interventions in architectural restoration and management carried out in urban areas monumental. The impact of Franco's regime on the conservation of monuments is particularly attractive for the exclusive participation of the central government in this task and the consequent imposition of conceptual and methodological guidelines for compliance. The study of this issue in the picture galician can not be understood without the figure of the architect Francisco Pons-Sorolla, whose career extends from 1945 - to be appointed Assistant Luis Menendez Pidal at the First National Artistic Heritage Area until 1985 - when his jubilación-. The relevance operational Pons-Sorolla is based on his appointment as Conservative Architect de Compostela in 1945 and in the right direction, since the fifties, "Section Cities Artistic National Interest", subsequently named "Restaurant Service Architectural" in Madrid. To this is added, the conflict of some performances under his leadership, both on the criteria applied by the relevance of the subject matter involved -sirva reference withdrawing choirs Chapter of the cathedrals of Santiago de Compostela, Mondoñedo and Tui, the release of the Wall Lugo, moving Portomarín, archaeological excavations of the cathedral compostelana-, and the possibility of entroncar his work with related international from the same period, such as post-conflict reconstruction in Germany and Italy, the main theories architectural restoration and transfers monumental coordinated by UNESCO since the construction of the dam Assuán in Egypt. In a few years when the restoration of monuments practiced in Spain is quite far from the international debate, an attempt to preserve historic architecture and joint crystallizes in the preparation of our own style of speech characterized mainly by the search for unity aesthetics. While the architectures makes its cleansing removing furniture -coros, retablos- and coatings modern historical look at the sets that unit, for example, with the use of curved porch, as an element regularizador or replacement of prefabricated elements in facades solutions that are traditional. The criticism about its mode of operation is based mainly in its irreversibility, by the massive reinforced concrete and morphological transformation of historic buildings through the demolition of elements, as in his political manipulation, while the link with Franco's ideological intent is inevitable by the time he touches historic live. In the mid-twentieth century, Galicia is a region potentially attractive to recoup through their values connected, which, until that time, had not been recognized by the state. El Camino de Santiago becomes suitable pretext to adopt budgetary allocations for the restoration of monuments, while holding Holy Years enhances their international promotion. Sometimes Pons-Sorolla supplies precarious means that during the Franco conditional restoration of monuments -obligando so, in cases of emergency, it is undertaking actions without providing their results-through a streamlined work plan based on the scientific study of monument. The interdisciplinary collaboration that accompanies their most prominent becomes one of its most prominent successes; addition to the technical Catalan Llopart Antonio for the conservation of mural paintings, is continuing its work ju 8 nt to C 50e omisario Fine Arts Manuel Chamoso Lamas, in charge of archaeological explorations, implementation of cultural projects, official statements protection histórico-artística, disclosure statements, ... . The attention to the environment of the monument, valuing the so-called "minor architecture," the emphasis of the tourist value of Cultural Heritage by setting itineraries or artistic lighting, drafting ordinances special antechamber of Special Plans, and the strength to buildings inert of social use are other inputs from Pons-Sorolla better valued.

Author: Diez del Corral Corredoira Pilar.
Year: 2006.
University: SANTIAGO DE COMPOSTELA [www.usc.es].
Place of defense: Facultad de Goegrafía, Historia y Arte.
Place of preparation: Facultad de Geografía e Historia.

Summary: The objective of this thesis is the study of Ariadne in the field of Dionysus. It is based on the joint analysis of the sources of literature and art vascular, devoting special attention to the latter. Methodologically it is a theory that applies the method iconographic corrected with aspects relating to society and the receipt and use of the images. We present a portfolio of several hundred pieces organized thematically link which is the representation of Ariane as a companion DIoniso. The thesis that defends is the value of Ariadne as contained associated with the field of love happy within marriage and the importance of this component to interpret its role alongside Dionysus, arrived with her romance.

Author: REAL AMADO JESÚS DEL.
Year: 2006.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA. DEPARTAMENTO HISTORIA DEL ARTE III.

Summary: It's thesis from the maximum horaciana ut pictura poesis we see in the course of a loss domain of the text on the pictorial image. In this spirit, transforming the slogan ut pictura poesis in ut picture kynesis in an attempt to match two demonstrative process, and as well as in painting, also in the film. We intend to delve into this issue, background on the other hand, the behavior of cinema as an art, not responding drawn from technical or biographical or from the exhibition of works it into such, but from theoretical, beyond literary theory that engarcen theory of art with film.

Author: FERNÁNDEZ MUÑOZ YOLANDA.
Year: 2006.
University: EXTREMADURA [www.unex.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: During the second half of the sixteenth century were forged lines and models of architecture virreinal, where teachers extremeños émigrés in the Indian developed a key role. Highlight among all the stonecutter trujillano, Francisco Becerra, who apart from being the author of numerous buildings in Extremadura, trace some of the most important buildings of the Spanish America, as the cathedrals of populated of the Angels, Lima and Cuzco, and influence will be critical in further development of the Hispanic American architecture. Becerra will entail, in addition to its large training craft, aspects of goticismo rooted in Trujillo, both in plants and in covers. Use decorated Plateresque to root Toledo in courtyards and back covers, and a purity of architectural forms where prevail on the ornamental apuntandose and new fees for the last quarter of the sixteenth century. All this, coupled with the high quality of the works that made this artist, makes Becerra a prominent figure. Moreover, it may be considered as one of the introducing of Purim classicist, both in populated of the Angels in the City of Kings, and by extension in the respective virreinatos.