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Artykuły w czasopismach na temat "Dirección General de Bellas Artes"
Almansa Moreno, José Manuel. "La recuperación del patrimonio y el desarrollo del turismo durante el Franquismo. Las intervenciones de la Dirección General de Arquitectura en Úbeda (Jaén)". De Arte. Revista de Historia del Arte, nr 16 (20.11.2017): 189. http://dx.doi.org/10.18002/da.v0i16.4982.
Pełny tekst źródłaCabañas Bravo, Miguel. "La Dirección General de Bellas Artes republicana y su reiterada gestión por Ricardo de Orueta (1931-1936)". Archivo Español de Arte 82, nr 326 (30.06.2009): 169–93. http://dx.doi.org/10.3989/aearte.2009.v82.i326.149.
Pełny tekst źródłaDíaz-Hernández, Onésimo. "Antecedentes de la vuelta del Guernica a España (1968-1971): las gestiones del director general de Bellas Artes, Florentino Pérez Embid". Arte, Individuo y Sociedad 34, nr 4 (27.06.2022): 1301–16. http://dx.doi.org/10.5209/aris.78025.
Pełny tekst źródłaSan Cristóbal, Paula. "Por un museo para gente sin carruaje". Octante, nr 7 (26.08.2022): e067. http://dx.doi.org/10.24215/25250914e067.
Pełny tekst źródłaMozzati, Tommaso. "El Casón del Buen Retiro y la exposición centenaria de Alonso Berruguete en 1961: cultura y propaganda entre España, Europa y América Latina". Archivo Español de Arte 94, nr 375 (20.09.2021): 281–96. http://dx.doi.org/10.3989/aearte.2021.17.
Pełny tekst źródłaPardo Fernández, María Antonia. "Una “Toledo Extremeña”. Contribución del Servicio de Ordenación de Ciudades Históricas a la monumentalización de Trujillo (Cáceres) durante el desarrollismo franquista". De Arte. Revista de Historia del Arte, nr 16 (20.11.2017): 167. http://dx.doi.org/10.18002/da.v0i16.4931.
Pełny tekst źródłaAguerre, Andrea, María Eugenia Busse Corbalán, Analía Francia, Gabriel Ruiz, Juan Ignacio Palacios, Luciano Peralta, Máximo Cerdá i in. "Nuevos territorios para construir presencia en la Escuela: la experiencia de USINA BBA". Plurentes. Artes y Letras, nr 14 (27.10.2023): 061. http://dx.doi.org/10.24215/18536212e061.
Pełny tekst źródłaTrabucco, Sergio, i Jorge Ferrada. "CARTOGRAFÍAS EXPERIENCIALES DESDE EL ARCHIPIÉLAGO DE CHILOÉ (CHILE): RELATOS SOBRE EL CONGRESO INTERNACIONAL PENSAR LO INVISIBLE, MARZO 2022". ARTSEDUCA, nr 33 (30.09.2022): 167–70. http://dx.doi.org/10.6035/artseduca.6897.
Pełny tekst źródłaBasualdo, Patricia. "La expansión del campo artístico argentino en la década de 1930". Antíteses 16, nr 31 (18.09.2023): 252–552. http://dx.doi.org/10.5433/1984-3356.2023v16n31p252-552.
Pełny tekst źródłaOlivares Chávez, Carolina. "Montemayor García, Alicia, La trama de los discursos y las artes. El Canon de Policleto de Argos, México, Dirección General de Publicaciones del Consejo Nacional para la Cultura y las Artes, 2013, 292 págs." Nova Tellus 34, nr 2 (6.04.2017): 145. http://dx.doi.org/10.19130/iifl.nt.2016.34.2.745.
Pełny tekst źródłaRozprawy doktorskie na temat "Dirección General de Bellas Artes"
García, Cano Antonio José. "Prácticas artísticas ecológicas relativas al agua en un contexto de cambio climático. Estrategias y procesos de aprendizaje". Doctoral thesis, Universidad de Murcia, 2014. http://hdl.handle.net/10803/147273.
Pełny tekst źródłaThis thesis proposes a specific definition of ecological art and describes the main properties of this genre. Considering the diversity of such artworks, a selection of criteria was established to delimit the field of study. Therefore, the research focused on ecological art projects that address aquatic ecosystems. These projects conceptualize ecology as a set of complex relationships between living beings and their environment and aspire to improve the ecological status in which they work. They consider Climate Change to be an ecologically modifying phenomenon at the global level. The main research question is: how can ecological art practices contribute to improving the ecological situation? The methodology used to answer this question includes three elements. Firstly, a review of publications regarding environmental art as well as other publications from different disciplines like Ecology and Hydrology. Secondly, interviews were conducted with most of the featured artists, as well as people from other disciplines with whom they worked. And finally, the author of this research includes the development of his own artistic project related to the ecological memory of Rincón de Beniscornia, a borough of Murcia. This thesis analyses different projects by the artists Helen Mayer Harrison and Newton Harrison, David Haley, and Aviva Rahmani. This research presents the artists’ different approaches to ecological processes and their ways of learning. The Harrisons’ projects focus on adaptation to Climate Change and the phenomena it provokes, like ocean level rise and temperature increase. David Haley also promotes the need to learn from Global Warming, and imagines diverse practical adaptations for various potential future scenarios. Finally, Aviva Rahmani proposes acting in key places that can trigger the ecological improvement of large areas. Other art practices are also presented, including those that address aquatic ecosystems. They are not focused on Climate Change directly but they can be very useful to mitigate its consequences. These initiatives have been organised into five groups, depending on their most prominent characteristics, such as the level of activism, or the capacity to promote community collaboration, or the ability to create water treatment systems. This research has shown that most ecological artists develop learning processes to better understand the situation that they face. They often deploy the following strategies: collaboration with the local community, dialogue with other disciplines, recovery of ecological memory of the ecosystem where they want to intervene, and an art practice that allows them a different point of view. Given the properties of water and how water is related to the environment, another kind of learning is proposed. Finally, this thesis includes a description of the practical part of the research, the Iskurna Project, which allows us to explore the different learning strategies in a real-world environment. This thesis critically analyses a series of art projects that address Climate Change and contribute to the improvement of the related ecological situation. It questions how they do this and how art learns from ecology.
López, Ruiz David. "Estudio general del uso y aplicación de materiales artísticos en el contexto arteterapéutico español". Doctoral thesis, Universidad de Murcia, 2015. http://hdl.handle.net/10803/327315.
Pełny tekst źródła1. OBJECTIVES 1. Indicate the characterization of art therapists. 2. To explore art, wet, dry, sculpture, mixed media and technology art therapists apply and how often. 3. Establish what tools and supports offered by art therapists in their programs and how often. 4. Know how to proceed in art therapy with respect to materials for use optimal application of art therapy in their practice. 5. To study the influence of demographic factors on how to proceed art therapy. 6. Determine which features art therapist gives the conservation of Works made in the hearing. 2. METHODOLOGICAL APPROACH In the absence of a clear description, when proceeding in the work of the art therapists know what materials to use and how to use them, arose to develop a empirical study, based on a descriptive quantitative methodology, a design cross-sectional. Specifically, a sample survey design, based on a structured questionnaire with a high degree of direction. It is therefore a descriptive-survey comparison with a specific purpose. The research presented is a cross-sectional study and has focused on what has been differentially comparable groups of subjects (McMillan and Schumacher, 2005, p.43). Hence, substantial changes are not apparent on the subject, but these are analyzed in their natural environment and therefore in their daily life. The application of this questionnaire is to provide opinions and viewpoints, based questions raised by the investigator, the population group will respond. The quantitative information from participants will allow a set of clarification as regards research. (Benito Gomez, 1990). The constraint on the model chosen to carry out this research process has party of the need to know and understand the materials and activities that are using and developing art therapists. The fact that the survey has been cross-sectional or transactional allows collecting information for a specific period of time, which makes a sample is taken at a particular time and in a specific and particular population. (Cohen and Manion, 1990). In turn, they also wanted to introduce, in support of quantitative research, evaluative research "a type of research focused on the practice, which is identified as a systematic and selective process of gathering information on a given problema social, educational or health, with the intention to improve the situation and solve problems " (Ramos, 2011, p. 411). That is why "methodological diversity enables the study of social reality from various perspectives, since no methodological perspective alone fully responds to questions that may be asked in the social context "(Del Rincon, Arnal, Latorre and Sans, 1995, p. 26). 3. CONCLUSIONS 1. 75% of the population of art therapists often women with p <0.05 and age it is between 39 and 43 years old. Approximately 48% of them they possess an array of Fine Arts and 21% of Psychology. Years of experience of these professionals is usually between 4 and 6 years with an interval 95% confidence. 2. The results of the investigation show that the pictorial material wet it is most widely used tempera p <0.05. Art therapists often use waxes soft as artistic material with a dry, above the rest of graphic materials plastics. The sculptural material most commonly used are the waste with p <0.05. as an extra pictorial material, the most frequently used are the textiles with a p <0.05. With regard to the technological means, the camera photographic, p <0.05, is the most used. 3. The brushes and brushes are the tools most commonly used with a p <0.05. As it relates to the frequency and using media, it is noted that the defendants are cardboards, cartons and newspapers as well as the different types of roles, both recycled and colors. 4. Over 65% of the art therapists give much importance to the space where he works. But only 15% supported work in optimum conditions although more than 75% ago in fair condition. It is true that over 85% of the population gives enough or great importance to time with regard to materials and labor. Over 80% considered positive to offer a variety of materials for the development work. 5. Men give a higher valuation at the time of the session with a p <0.0001. Similarly, the man who usually provides more material for the development of the session with a p <0.002. 6. More than 80% of the population of art therapists feel quite or very important preserve the work of art therapy sessions
Moreira, Giovana Loos. "A construção da história nacional pelo pintor Firmino Monteiro entre 1879 e 1884". Universidade Federal de Juiz de Fora, 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/2241.
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CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico
O estudo se deterá na compreensão da narrativa de História do Brasil produzida por Antônio Firmino Monteiro. Pintor do século XIX que se destacou, sobretudo, nas Exposições Gerais de Bellas Artes de 1879 e 1884. Recortaremos três telas, “Um episódio da Retirada da Laguna”, “O Vidigal” e “Capitão João Homem”, a fim de visualizarmos aspectos de contexto histórico e trajetória que formularam sua concepção crítica sobre a História do Brasil.
The study purpose is to provide an understanding of Brazil history writing as produced by Antônio Firmino Monteiro. Monteiro was a 19th century painter that stood out, above all, in the 1879 and 1884 General Exhibition of Fine Arts (Exposições Gerais de Bellas Artes). Three paintings are highlighted in order to expose aspects of historical context, as well the path that formulated his critical review about the history of Brazil.
Ordás, Manuel Alejandro. "Seven Last Words from the Cross (1993) - James MacMillan". Tesis, 2008. http://hdl.handle.net/10915/40672.
Pełny tekst źródłaEl video completo del concierto puede accederse desde aquí.
Książki na temat "Dirección General de Bellas Artes"
Ma. del Pilar Mogollón Cano-Cortés. La restauración monumental durante la posguerra en Extremadura y la dirección general de Bellas Artes, 1940-1958. Cáceres: Universidad de Extremadura, 2011.
Znajdź pełny tekst źródłaAlonso, Carlos. Carlos Alonso: En el Museo Municipal de Bellas Artes de General Villegas. Buenos Aires: Municipalidad de General Villegas, 2004.
Znajdź pełny tekst źródłaRodin, Auguste. Rodin: Museo del Palacio de Bellas Artes, Sala Nacional, Julio-Septiembre, 1995, México D.F. México D.F: Instituto Nacional de Belles Artes, 1995.
Znajdź pełny tekst źródłaNavarro, Miquel. Les ciutats : IVAM Centre Julio González, València, 18 de enero-18 de marzo 1990 ; Minerva paranoica : Palacio de Cristal, Madrid, 27 octubre 1989-8 enero 1990, Centro de Arte Reina Sofía [y] Ministerio de Cultura, Dirrección General de Bellas Artes y Archivos, Centro nacional de Exposiciones. [València]: Ministerio de Cultura, Dirección General de Bellas Artes y Archivos, 1989.
Znajdź pełny tekst źródłaMuseo de Bellas Artes de Valencia., Centre Técnic de Restauració (Consellería de Cultura, Educación y Ciencia de la Generalidad Valenciana. Direcció General de Promoció Cultural, Museus i Belles Arts) i Consellería de Cultura, Educación y Ciencia de la Generalidad Valenciana. Direcció General de Promoció Cultural, Museus i Belles Arts., red. Recuperando nuestro patrimonio II. [València]: Generalitat Valenciana, Direcció General de Promoció Cultural, Museus i Belles Arts, 2002.
Znajdź pełny tekst źródłaExposiciones realizadas por Direccion General de Bellas Artes y Bienes Culturales. Madrid: Album letras-artes, 2003.
Znajdź pełny tekst źródłaAguirre, Susana E., i María Luján Lanciotti, red. Voces del relato histórico. Editorial de la Universidad Nacional de La Plata (EDULP), 2017. http://dx.doi.org/10.35537/10915/63692.
Pełny tekst źródłaAndruchow, Marcela, red. Colección de obras de la Facultad de Artes. Papel Cosido, 2020. http://dx.doi.org/10.35537/10915/120423.
Pełny tekst źródłaGarcía, Silvia, red. Aproximaciones políticas en el arte contemporáneo. Papel Cosido (FBA-UNLP), 2019. http://dx.doi.org/10.35537/10915/84321.
Pełny tekst źródłaRecuperando nuestro patrimonio. València: Museu de Belles Arts de València, 1999.
Znajdź pełny tekst źródłaStreszczenia konferencji na temat "Dirección General de Bellas Artes"
Seane, Ángel Luís De Sousa, i Cristina Moreno De acevedo. "GESTIÓN DIGITAL DE INFORMACIÓN PARA LA PROTECCIÓN DEL PATRIMONIO CULTURAL EN CONTEXTOS DE EMERGENCIAS. SALVAR DATOS, PROTEGE EL PATRIMONIO CULTURAL". W II Simposio de Patrimonio Cultural ICOMOS España. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/icomos2022.2022.14940.
Pełny tekst źródłaCarabal Montagud, María Ángeles, María De-Miguel-Molina, Virginia Santamarina-Campos i Blanca De-Miguel-Molina. "Notas móviles y resolución de problemas en equipo: del texto al dibujo". W IN-RED 2017: III Congreso Nacional de Innovación Educativa y Docencia en Red. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/inred2017.2017.6732.
Pełny tekst źródłaLegido, Toya. "La enseñanza de la fotografía de objetos en la facultad de Bellas Artes de la Universidad Complutense de Madrid." W I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6778.
Pełny tekst źródłaGonzález Martínez, Felip. "Protoacciones artísticas en la Valencia del primer franquismo(1939-1959): prácticas locales bajo el desconocimiento global." W III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5823.
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