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Sociales y Jurídicas en la I Reunión de Investigadores en Formación de la Universidad de Jaén (2013).<br />- Licenciado en Historia del Arte, Universidad de Jaén.<br />- Licenciado en Humanidades, Universidad de Jaén.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="61722037">View All (27)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="61722037" href="https://www.academia.edu/Documents/in/Patrimonio_historico"><div id="js-react-on-rails-context" style="display:none" 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role="tab" style="border: none;"><span>1</span> Número 25, 2019</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Tesis-doctoral" data-toggle="tab" href="#tesisdoctoral" role="tab" style="border: none;"><span>1</span> Tesis doctoral</a></li></ul></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Articulos" id="Articulos"><h3 class="profile--tab_heading_container">Articulos by Rafael Mantas Fernández</h3></div><div class="js-work-strip profile--work_container" data-work-id="112097427"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/112097427/Y_lleg%C3%B3_a_la_Corte_Sebasti%C3%A1n_Mart%C3%ADnez_tras_los_pasos_de_Diego_Vel%C3%A1zquez"><img alt="Research paper thumbnail of Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez" class="work-thumbnail" src="https://attachments.academia-assets.com/109433316/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/112097427/Y_lleg%C3%B3_a_la_Corte_Sebasti%C3%A1n_Mart%C3%ADnez_tras_los_pasos_de_Diego_Vel%C3%A1zquez">Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez</a></div><div class="wp-workCard_item"><span>Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El Museo pictórico y escala óptica aportó una breve, pero interesante, información sobre la estan...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El Museo pictórico y escala óptica aportó una breve, pero interesante, información sobre la estancia de Sebastián Martínez Domedel en la Corte de Felipe IV. Según Antonio Palomino, este acontecimiento se produjo en 1660, tras la muerte de Diego Velázquez. El presente trabajo contextualiza la actividad productiva del pintor giennense antes de su llegada a Madrid. Posteriormente, analiza las noticias recogidas por el tratadista natural de Bujalance sobre la presencia del pintor en la Corte y su relación con el monarca. Por último, examina el enriquecimiento de su estilo al entrar en contacto con las obras de los grandes maestros de la pintura que formaban parte de las colecciones reales. <br /> <br />Disponible en: <br /><a href="https://revistascientificas.us.es/index.php/va-in-art/article/view/25154" rel="nofollow">https://revistascientificas.us.es/index.php/va-in-art/article/view/25154</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2d98b8b313c18ae0aa3e29c03eea1614" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":109433316,"asset_id":112097427,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/109433316/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="112097427"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="112097427"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 112097427; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=112097427]").text(description); $(".js-view-count[data-work-id=112097427]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 112097427; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='112097427']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 112097427, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2d98b8b313c18ae0aa3e29c03eea1614" } } $('.js-work-strip[data-work-id=112097427]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":112097427,"title":"Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez","translated_title":"","metadata":{"doi":"10.12795/va-in-art.2023.i05.05","issue":"1697-6479","volume":"5","abstract":"El Museo pictórico y escala óptica aportó una breve, pero interesante, información sobre la estancia de Sebastián Martínez Domedel en la Corte de Felipe IV. 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Revista de arte y coleccionismo</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Presentamos ahora una Virgen con el Niño y Santa Ana que ha sido localizada en el oratorio de la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Presentamos ahora una Virgen con el Niño y Santa Ana que ha sido localizada en el oratorio de la Institución Benéfica del Sagrado Corazón de Jesús de Granada. El cuadro posee una notable factura y un buen estado de conservación. <br /> <br />Disponible en: <br /> <br /><a href="https://arsmagazine.com/producto/atribuciones-2-i-martinez-domedel-en-granada/" rel="nofollow">https://arsmagazine.com/producto/atribuciones-2-i-martinez-domedel-en-granada/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e51f230725bc5465386bb2c0219a65fe" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100984402,"asset_id":100058811,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100984402/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100058811"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100058811"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100058811; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100058811]").text(description); $(".js-view-count[data-work-id=100058811]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100058811; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100058811']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100058811, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e51f230725bc5465386bb2c0219a65fe" } } $('.js-work-strip[data-work-id=100058811]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100058811,"title":"Martínez Domedel en Granada","translated_title":"","metadata":{"issue":"1889-1462","volume":"58","abstract":"Presentamos ahora una Virgen con el Niño y Santa Ana que ha sido localizada en el oratorio de la Institución Benéfica del Sagrado Corazón de Jesús de Granada. 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M., y Mantas Fernández, R. (2017). Aplicación de una rúbrica de evaluación en los Grados de Historia del Arte de Andalucía. Observar, 11(1), 25-54." class="work-thumbnail" src="https://attachments.academia-assets.com/55137908/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35277393/Almansa_Moreno_J_M_y_Mantas_Fern%C3%A1ndez_R_2017_Aplicaci%C3%B3n_de_una_r%C3%BAbrica_de_evaluaci%C3%B3n_en_los_Grados_de_Historia_del_Arte_de_Andaluc%C3%ADa_Observar_11_1_25_54">Almansa Moreno, J. M., y Mantas Fernández, R. (2017). Aplicación de una rúbrica de evaluación en los Grados de Historia del Arte de Andalucía. Observar, 11(1), 25-54.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a></span></div><div class="wp-workCard_item"><span>Observar</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: http://hdl.handle.net/10810/25444 La guía docente es un instrumento de comunica...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="http://hdl.handle.net/10810/25444" rel="nofollow">http://hdl.handle.net/10810/25444</a> <br /> <br />La guía docente es un instrumento de comunicación entre el profesorado y el alumnado que refleja la planificación docente de una asignatura. El presente artículo pretende analizar los documentos oficiales de los Grados de Historia del Arte que se ofertan en cinco universidades andaluzas (Córdoba, Granada, Jaén, Málaga y Sevilla). Para llevar a cabo la validación de su contenido de una forma objetiva se tendrá como referencia la rúbrica elaborada por el Observatorio sobre la Didáctica de las Artes (ODAS). Los resultados obtenidos nos servirán para reflexionar sobre la aprobación de algunos modelos y para la subsanación de los errores y las carencias detectadas</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="40fcbecad06473dcae016e2b787f52c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55137908,"asset_id":35277393,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55137908/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35277393"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35277393"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35277393; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35277393]").text(description); $(".js-view-count[data-work-id=35277393]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35277393; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35277393']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 35277393, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "40fcbecad06473dcae016e2b787f52c2" } } $('.js-work-strip[data-work-id=35277393]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35277393,"title":"Almansa Moreno, J. 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M. y MANTAS FERNÁNDEZ, R. (2016). Nuevas propuestas curriculares en la formación del Historiador del Arte en Andalucía. Observar, 10 (1), 16-46." class="work-thumbnail" src="https://attachments.academia-assets.com/52257300/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31986700/ALMANSA_MORENO_J_M_y_MANTAS_FERN%C3%81NDEZ_R_2016_Nuevas_propuestas_curriculares_en_la_formaci%C3%B3n_del_Historiador_del_Arte_en_Andaluc%C3%ADa_Observar_10_1_16_46">ALMANSA MORENO, J. M. y MANTAS FERNÁNDEZ, R. (2016). Nuevas propuestas curriculares en la formación del Historiador del Arte en Andalucía. Observar, 10 (1), 16-46.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a></span></div><div class="wp-workCard_item"><span>Observar</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: http://hdl.handle.net/10810/25311 La implantación del Plan Bolonia ha introduci...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="http://hdl.handle.net/10810/25311" rel="nofollow">http://hdl.handle.net/10810/25311</a> <br /> <br />La implantación del Plan Bolonia ha introducido cambios en los programas curriculares de la titulación de Historia del Arte, lo cual ha supuesto adaptar la formación del alumnado a las necesidades que demanda la sociedad actual centradas en torno a la gestión cultural y el patrimonio. El presente estudio pretende analizar las guías docentes de las asignaturas del Grado de Historia del Arte que se oferta en las cinco universidades andaluzas (Córdoba, Granada, Jaén, Málaga y Sevilla) para determinar el nuevo perfil profesional de sus estudiantes y las diferentes vías de acceso que tienen al mercado laboral.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e8b6fb8b29d9300737d61b9d6983df49" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52257300,"asset_id":31986700,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52257300/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31986700"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31986700"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31986700; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31986700]").text(description); $(".js-view-count[data-work-id=31986700]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31986700; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31986700']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31986700, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e8b6fb8b29d9300737d61b9d6983df49" } } $('.js-work-strip[data-work-id=31986700]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31986700,"title":"ALMANSA MORENO, J. 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Historia de la actividad expositiva y su repercusión». Siete esquinas, nº 7. Linares: Centro de Estudios Linarenses, 2014, pp. 31-62." class="work-thumbnail" src="https://attachments.academia-assets.com/52256971/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31986117/AR%C3%81NEGA_CASTILLA_Francisco_Miguel_MANTAS_FERN%C3%81NDEZ_Rafael_Exposiciones_de_Bellas_Artes_en_Linares_1942_1957_Historia_de_la_actividad_expositiva_y_su_repercusi%C3%B3n_Siete_esquinas_no_7_Linares_Centro_de_Estudios_Linarenses_2014_pp_31_62">ARÁNEGA CASTILLA, Francisco Miguel; MANTAS FERNÁNDEZ, Rafael: «Exposiciones de Bellas Artes en Linares, 1942-1957. Historia de la actividad expositiva y su repercusión». Siete esquinas, nº 7. Linares: Centro de Estudios Linarenses, 2014, pp. 31-62.</a></div><div class="wp-workCard_item"><span>Siete Esquinas</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Este artículo parte de la localización y la recopilación de la documentación aparecida a partir d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Este artículo parte de la localización y la recopilación de la documentación aparecida a partir del proceso de elaboración del proyecto de investigación elaborado para el Centro de Estudios Linarenses, Revisión e inventariado de la Pinacoteca Municipal de Linares. La ordenación y análisis de la información ha permitido el estudio de las características y la evolución de los distintos tipos de concursos/exposiciones, que han venido realizándose en Linares, pudiéndose constatar la existencia de tres periodos: de 1910 a 1941, antecedentes e inicios; de 1942 a 1957 Exposición de Bellas Artes y por último 1958 a 2008, Exposición y Bienal de Pintura. Acompañamos este artículo de una valoración artística de las principales obras pictóricas e información anexa sobre autores/as y trabajos galardonados en las distintas secciones.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8c7f83a13c48c519329c67a223315a12" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52256971,"asset_id":31986117,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52256971/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31986117"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31986117"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31986117; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31986117]").text(description); $(".js-view-count[data-work-id=31986117]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31986117; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31986117']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31986117, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8c7f83a13c48c519329c67a223315a12" } } $('.js-work-strip[data-work-id=31986117]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31986117,"title":"ARÁNEGA CASTILLA, Francisco Miguel; MANTAS FERNÁNDEZ, Rafael: «Exposiciones de Bellas Artes en Linares, 1942-1957. 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De la Edad Moderna a la Contemporánea». Asparkía. Investigació feminista, nº 21, Publicación Anual. Castellón: Universitat Jaume I, 2010, pp. 47-64." class="work-thumbnail" src="https://attachments.academia-assets.com/52236204/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31961423/_La_mujer_en_el_espacio_pintado_De_la_Edad_Moderna_a_la_Contempor%C3%A1nea_Aspark%C3%ADa_Investigaci%C3%B3_feminista_no_21_Publicaci%C3%B3n_Anual_Castell%C3%B3n_Universitat_Jaume_I_2010_pp_47_64">«La mujer en el espacio pintado. De la Edad Moderna a la Contemporánea». Asparkía. Investigació feminista, nº 21, Publicación Anual. Castellón: Universitat Jaume I, 2010, pp. 47-64.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Asparkía</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pintura es una fuente esencial para la historia y un elemento revelador para la investigación ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pintura es una fuente esencial para la historia y un elemento revelador para la investigación sobre el papel de la mujer en la sociedad a lo largo de la historia. En este breve estudio se analiza a grandes rasgos el diálogo que se produce entre arquitectura, pintura y mujer en el paso de la Edad Moderna a la Contemporánea.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e198729af2bff2f9003836de317d4d9f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52236204,"asset_id":31961423,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52236204/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31961423"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31961423"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31961423; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31961423]").text(description); $(".js-view-count[data-work-id=31961423]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31961423; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31961423']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31961423, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e198729af2bff2f9003836de317d4d9f" } } $('.js-work-strip[data-work-id=31961423]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31961423,"title":"«La mujer en el espacio pintado. 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Revista de arte contemporáneo, nº 1, 2015, pp. 43-52." class="work-thumbnail" src="https://attachments.academia-assets.com/52212159/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31933482/_Miguel_P%C3%A9rez_Aguilera_Luz_de_modernidad_en_la_pintura_y_en_la_docencia_en_Galer%C3%ADa_Abierta_Revista_de_arte_contempor%C3%A1neo_no_1_2015_pp_43_52">«Miguel Pérez Aguilera: Luz de modernidad en la pintura y en la docencia», en Galería Abierta. Revista de arte contemporáneo, nº 1, 2015, pp. 43-52.</a></div><div class="wp-workCard_item"><span>Galería Abierta. Revista de arte contemporáneo</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En 2015 se cumplió el primer aniversario del nacimiento de Miguel Pérez Aguilera, una de las pers...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En 2015 se cumplió el primer aniversario del nacimiento de Miguel Pérez Aguilera, una de las personalidades más relevantes del arte contemporáneo andaluz en el siglo XX. El expresionismo abstracto de su obra nos habla de modernidad y de una continua investigación de la luz y del color. El presente artículo pretende homenajear a uno de los renovadores del lenguaje plástico español, cuya influencia perdura hasta nuestros días.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="75e4bbc89b9e73347e590ce3d0f0437a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52212159,"asset_id":31933482,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52212159/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31933482"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31933482"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31933482; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31933482]").text(description); $(".js-view-count[data-work-id=31933482]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31933482; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31933482']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31933482, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "75e4bbc89b9e73347e590ce3d0f0437a" } } $('.js-work-strip[data-work-id=31933482]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31933482,"title":"«Miguel Pérez Aguilera: Luz de modernidad en la pintura y en la docencia», en Galería Abierta. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="31925232"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/31925232/_La_presencia_del_olivar_en_el_arte_contempor%C3%A1neo_giennense_en_Revista_de_la_CECEL_no_11_2011_pp_199_224"><img alt="Research paper thumbnail of «La presencia del olivar en el arte contemporáneo giennense», en Revista de la CECEL, nº 11, 2011, pp. 199-224." class="work-thumbnail" src="https://attachments.academia-assets.com/52204654/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31925232/_La_presencia_del_olivar_en_el_arte_contempor%C3%A1neo_giennense_en_Revista_de_la_CECEL_no_11_2011_pp_199_224">«La presencia del olivar en el arte contemporáneo giennense», en Revista de la CECEL, nº 11, 2011, pp. 199-224.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Revista de la CECEL</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El olivo es uno de los principales signos de identidad de la cultura giennense. Los artistas han ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El olivo es uno de los principales signos de identidad de la cultura giennense. Los artistas han convertido el olivar en telón de fondo de sus creaciones o incluso en protagonistas de las mismas. No sólo el árbol y el paisaje sino toda la cultura que se genera a su alrededor, los olivareros y los trabajos del campo son dignificados en estas representaciones plásticas que nos han dejado artistas tales como Rafael Zabaleta, Manuel Moral, Constantino Unghetti, Juan Moral, José Ríos o Miguel Viribay. En este trabajo pretendemos analizar el papel que ejerce el olivo en estas manifestaciones artísticas, tomando como referencia las propias obras y los testimonios de sus creadores.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3f6cb179b7ea626468c65689848cea3a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52204654,"asset_id":31925232,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52204654/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31925232"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31925232"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31925232; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31925232]").text(description); $(".js-view-count[data-work-id=31925232]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31925232; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31925232']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31925232, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3f6cb179b7ea626468c65689848cea3a" } } $('.js-work-strip[data-work-id=31925232]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31925232,"title":"«La presencia del olivar en el arte contemporáneo giennense», en Revista de la CECEL, nº 11, 2011, pp. 199-224.","translated_title":"","metadata":{"issue":"1578-570X","volume":"11","abstract":"El olivo es uno de los principales signos de identidad de la cultura giennense. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Libros" id="Libros"><h3 class="profile--tab_heading_container">Libros by Rafael Mantas Fernández</h3></div><div class="js-work-strip profile--work_container" data-work-id="83783476"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/83783476/Redescubriendo_Exposici%C3%B3n_del_patrimonio_pict%C3%B3rico_del_Ayuntamiento_de_Linares"><img alt="Research paper thumbnail of Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares." class="work-thumbnail" src="https://attachments.academia-assets.com/89017345/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/83783476/Redescubriendo_Exposici%C3%B3n_del_patrimonio_pict%C3%B3rico_del_Ayuntamiento_de_Linares">Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares.</a></div><div class="wp-workCard_item"><span>Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares.</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares reúne las obras m...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares reúne las obras más significativas de la colección del consistorio municipal linarense que fueron adquiridas tras ser premiadas en el Concurso de Bellas Artes o de Pintura que se celebró desde 1942 hasta 2008. La recopilación muestra cuadros de Rufino Martos Ortiz, Amalio García del Moral, Guillermo Vargas Ruíz, Francisco Baños Martos, Domingo Molina Sánchez, José María Cózar Viedma, Juan Manuel García Maldonado "Brazam", Andrés Barajas Díaz, Marcelo Góngora Ramos, Manuel Kayser Zapata o Santiago Tirado Franco.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="812e47c5430a1712fe5d2653206e0c28" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89017345,"asset_id":83783476,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89017345/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="83783476"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="83783476"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 83783476; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=83783476]").text(description); $(".js-view-count[data-work-id=83783476]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 83783476; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='83783476']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 83783476, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "812e47c5430a1712fe5d2653206e0c28" } } $('.js-work-strip[data-work-id=83783476]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":83783476,"title":"Redescubriendo. 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Exposición del patrimonio pictórico del Ayuntamiento de Linares reúne las obras más significativas de la colección del consistorio municipal linarense que fueron adquiridas tras ser premiadas en el Concurso de Bellas Artes o de Pintura que se celebró desde 1942 hasta 2008. 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Vida y obra." class="work-thumbnail" src="https://attachments.academia-assets.com/66066556/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45587479/Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Vida_y_obra">Sebastián Martínez Domedel. Vida y obra.</a></div><div class="wp-workCard_item"><span>Sebastián Martínez Domedel. Vida y obra. Jaén: Diputación Provincial de Jaén; Instituto de Estudios Giennenses</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: http://absys.dipujaen.es/digital/libros/D_12.867.pdf Sebastián Martínez Domedel (...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="http://absys.dipujaen.es/digital/libros/D_12.867.pdf" rel="nofollow">http://absys.dipujaen.es/digital/libros/D_12.867.pdf</a><br /><br />Sebastián Martínez Domedel (Jaén, 1615/1620 – Madrid, 1667) fue el pintor barroco más destacado en la capital del Santo Reino durante el Seiscientos, sin embargo el paso del tiempo fue injusto con él debido a las escasas y parciales noticias en torno a su figura que nos han llegado hasta la actualidad. Afortunadamente, esta situación se está paliando en los últimos años gracias a las aportaciones de recientes trabajos de investigación y a la puesta en valor de su obra. El presente trabajo ofrece un estudio global sobre su vida y su producción pictórica que está estructurado en tres bloques: el primero contiene una aproximación al contexto histórico en el que transcurrió su vida, seguido de un análisis de su gura en las fuentes y en la historiografía; posteriormente se trata la biografía del artista, a partir de la información localizada en diversos archivos, la cual ha sido transcrita de forma íntegra en un corpus documental; por último, el trabajo presenta un catálogo razonado que contiene toda su obra documentada, nuevas atribuciones, obras citadas en las fuentes pero no localizadas, así como atribuciones rechazadas. En consecuencia, esta publicación pretende profundizar el conocimiento sobre uno de los artistas más destacados dentro de la historia del arte giennense para devolver su nombre junto al de los más ilustres maestros de la pintura andaluza del siglo XVII.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2a234e2bf46322422f6a39eca81de902" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66066556,"asset_id":45587479,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66066556/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45587479"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45587479"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45587479; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45587479]").text(description); $(".js-view-count[data-work-id=45587479]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45587479; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45587479']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 45587479, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2a234e2bf46322422f6a39eca81de902" } } $('.js-work-strip[data-work-id=45587479]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45587479,"title":"Sebastián Martínez Domedel. Vida y obra.","translated_title":"","metadata":{"issue":"978-84-92876-99-0","abstract":"Disponible en: http://absys.dipujaen.es/digital/libros/D_12.867.pdf\n\nSebastián Martínez Domedel (Jaén, 1615/1620 – Madrid, 1667) fue el pintor barroco más destacado en la capital del Santo Reino durante el Seiscientos, sin embargo el paso del tiempo fue injusto con él debido a las escasas y parciales noticias en torno a su figura que nos han llegado hasta la actualidad. Afortunadamente, esta situación se está paliando en los últimos años gracias a las aportaciones de recientes trabajos de investigación y a la puesta en valor de su obra. El presente trabajo ofrece un estudio global sobre su vida y su producción pictórica que está estructurado en tres bloques: el primero contiene una aproximación al contexto histórico en el que transcurrió su vida, seguido de un análisis de su \u001fgura en las fuentes y en la historiografía; posteriormente se trata la biografía del artista, a partir de la información localizada en diversos archivos, la cual ha sido transcrita de forma íntegra en un corpus documental; por último, el trabajo presenta un catálogo razonado que contiene toda su obra documentada, nuevas atribuciones, obras citadas en las fuentes pero no localizadas, así como atribuciones rechazadas. En consecuencia, esta publicación pretende profundizar el conocimiento sobre uno de los artistas más destacados dentro de la historia del arte giennense para devolver su nombre junto al de los más ilustres maestros de la pintura andaluza del siglo XVII.","page_numbers":"630","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Sebastián Martínez Domedel. Vida y obra. Jaén: Diputación Provincial de Jaén; Instituto de Estudios Giennenses"},"translated_abstract":"Disponible en: http://absys.dipujaen.es/digital/libros/D_12.867.pdf\n\nSebastián Martínez Domedel (Jaén, 1615/1620 – Madrid, 1667) fue el pintor barroco más destacado en la capital del Santo Reino durante el Seiscientos, sin embargo el paso del tiempo fue injusto con él debido a las escasas y parciales noticias en torno a su figura que nos han llegado hasta la actualidad. Afortunadamente, esta situación se está paliando en los últimos años gracias a las aportaciones de recientes trabajos de investigación y a la puesta en valor de su obra. El presente trabajo ofrece un estudio global sobre su vida y su producción pictórica que está estructurado en tres bloques: el primero contiene una aproximación al contexto histórico en el que transcurrió su vida, seguido de un análisis de su \u001fgura en las fuentes y en la historiografía; posteriormente se trata la biografía del artista, a partir de la información localizada en diversos archivos, la cual ha sido transcrita de forma íntegra en un corpus documental; por último, el trabajo presenta un catálogo razonado que contiene toda su obra documentada, nuevas atribuciones, obras citadas en las fuentes pero no localizadas, así como atribuciones rechazadas. 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Investigación y difusión desde una perspectiva interdisciplinar</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unizar.academia.edu/Mar%C3%ADaAuroraGarc%C3%ADaRuiz">María Aurora García Ruiz</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Esta publicación recoge los resultados del Proyecto de Innovación Docente "La literatura como fue...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Esta publicación recoge los resultados del Proyecto de Innovación Docente "La literatura como fuente para la Historia del Arte. Investigación y difusión desde una perspectiva interdisciplinar" (PID17_2017/18), financiado por la Universidad de Jaén y desarrollado por el alumnado de los Grados de Historia del Arte, Filología Hispánica, Estudios Ingleses, Educación Infantil y Educación Primaria (contando con la supervisión del profesorado participante en dicho proyecto).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="71662e1a83004737dd40fbc622b6c1af" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61527154,"asset_id":41321443,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61527154/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41321443"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41321443"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41321443; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41321443]").text(description); $(".js-view-count[data-work-id=41321443]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41321443; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41321443']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41321443, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "71662e1a83004737dd40fbc622b6c1af" } } $('.js-work-strip[data-work-id=41321443]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41321443,"title":"La literatura como fuente para la Historia del Arte. 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Creación, medios y espacios (1960-2010)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="497b654c0fdf61e76df310d6bcb64a88" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53972420,"asset_id":31832860,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53972420/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31832860"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31832860"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31832860; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31832860]").text(description); $(".js-view-count[data-work-id=31832860]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31832860; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31832860']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31832860, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "497b654c0fdf61e76df310d6bcb64a88" } } $('.js-work-strip[data-work-id=31832860]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31832860,"title":"50 años de artes plásticas en Jaén. 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href="https://www.academia.edu/125665232/Santos_reliquias_y_santuarios_del_Reino_de_Ja%C3%A9n_durante_la_Edad_Moderna"><img alt="Research paper thumbnail of Santos, reliquias y santuarios del Reino de Jaén durante la Edad Moderna" class="work-thumbnail" src="https://attachments.academia-assets.com/119666872/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125665232/Santos_reliquias_y_santuarios_del_Reino_de_Ja%C3%A9n_durante_la_Edad_Moderna">Santos, reliquias y santuarios del Reino de Jaén durante la Edad Moderna</a></div><div class="wp-workCard_item"><span>Trampantojos a lo divino: devociones pintadas en el Barroco giennense</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El catálogo de la exposición "Trampantojos a lo divino: devociones pintadas en el Barroco giennen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El catálogo de la exposición "Trampantojos a lo divino: devociones pintadas en el Barroco giennense" reúne una selección de obras que plasman a la manera de un retrato imágenes religiosas de especial prestigio devocional. <br /> <br />El trabajo "Santos, reliquias y santuarios en el Reino de Jaén durante la Edad Moderna" aborda la singularidad e importancia de las principales imágenes devocionales giennenses y de sus templos durante el Barroco. <br /> <br />El catálogo se encuentra disponible en la tienda de publicaciones online de la Fundación de la Caja Rural de Jaén: <br /> <br /><a href="https://publicaciones.fundacioncrj.es/p/trampantojos-a-lo-divino-devociones-pintadas-en-el-barroco-giennense" rel="nofollow">https://publicaciones.fundacioncrj.es/p/trampantojos-a-lo-divino-devociones-pintadas-en-el-barroco-giennense</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="aba123b19ef60477baaaa70687a05466" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119666872,"asset_id":125665232,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119666872/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" 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[En] GALERA ANDREU, Pedro A.; SERRANO ESTRELLA, Felipe (Coords.): Sebastianus. Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615 – Madrid, 1667). Jaén: Instituto de Estudios Giennenses, 2016, pp. 250-253." class="work-thumbnail" src="https://attachments.academia-assets.com/63954597/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43654061/_San_Crisp%C3%ADn_y_san_Crispiniano_En_GALERA_ANDREU_Pedro_A_SERRANO_ESTRELLA_Felipe_Coords_Sebastianus_Pintor_de_Ja%C3%A9n_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Ja%C3%A9n_1615_Madrid_1667_Ja%C3%A9n_Instituto_de_Estudios_Giennenses_2016_pp_250_253">«San Crispín y san Crispiniano». [En] GALERA ANDREU, Pedro A.; SERRANO ESTRELLA, Felipe (Coords.): Sebastianus. Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615 – Madrid, 1667). 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Sebastián Martínez Domedel (Jaén, 1615 – Madrid, 1667)</span><span>, 2016</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ec529ac0b34bccd83213ffd8007029f5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63954572,"asset_id":43654004,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63954572/download_file?st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43654004"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43654004"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43654004; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43654004]").text(description); $(".js-view-count[data-work-id=43654004]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43654004; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43654004']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43654004, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ec529ac0b34bccd83213ffd8007029f5" } } $('.js-work-strip[data-work-id=43654004]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43654004,"title":"«Crucificado». 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43257267"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43257267/Educaci%C3%B3n_colectiva_a_trav%C3%A9s_de_colecciones_de_arte_p%C3%BAblico_la_creaci%C3%B3n_como_forma_de_identidad"><img alt="Research paper thumbnail of Educación colectiva a través de colecciones de arte público: la creación como forma de identidad." class="work-thumbnail" src="https://attachments.academia-assets.com/63528774/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43257267/Educaci%C3%B3n_colectiva_a_trav%C3%A9s_de_colecciones_de_arte_p%C3%BAblico_la_creaci%C3%B3n_como_forma_de_identidad">Educación colectiva a través de colecciones de arte público: la creación como forma de identidad.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Avances en ciencias de la Educación y del Desarrollo</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: https://www.educationcongress8.com/libro-de-capitulos Resumen: Antecedentes: Com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="https://www.educationcongress8.com/libro-de-capitulos" rel="nofollow">https://www.educationcongress8.com/libro-de-capitulos</a><br /><br />Resumen:<br /><br />Antecedentes: Como indica la Unesco, somos identidad, entre otras cosas, porque somos memoria. Este concepto, el de identidad, comienza a forjarse desde el propio nacimiento, es mutable y está en constante transformación. Pero, ¿qué pasa con lo contemporáneo? Es evidente que buena parte de la sociedad, sigue sin identificarse con el arte contemporáneo. Método: Estudiar ejemplos de arte público y sus respectivos programas educativos, del territorio nacional, aunque destaquen más en este tipo de iniciativas otros países como Holanda, Bélgica o Inglaterra. Resultado: Análisis de los beneficios educativos de distintos programas relacionados con el arte público. Conclusiones: El arte público, se ha demostrado, que en múltiples ocasiones produce aquello que Lerner (2010) llamó ‘acupuntura social’. Además, el arte público, generalmente, cuestiona y genera un discurso reflexivo del propio contexto.<br /><br />Palabras clave: arte público, educación, arte relacional.<br /><br />Abstract:<br /><br /> Background: As Unesco indicates, we are identity, among other things, because we are memory. This concept, that of identity, begins to be forged from one's birth, is mutable and is constantly changing. But what about the contemporary? It is evident that a good part of society still does not identify with contemporary art. Method: Study examples of public art and their respective educational programs in the national territory, although other countries such as the Netherlands, Belgium and England stand out more in this type of initiative. Results: Analysis of the educational benefits of different programs related to public art. Conclusions: Public art has been shown to produce what Lerner (2010) called "social acupuncture" on multiple occasions. In addition, the public art, generally, questions and generates a reflective discourse of the own context.<br /><br />Keywords: Public art, education, relational art.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="27b4514f00b2167a7925665f4214b6ae" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63528774,"asset_id":43257267,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63528774/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43257267"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43257267"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43257267; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43257267]").text(description); $(".js-view-count[data-work-id=43257267]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43257267; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43257267']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43257267, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "27b4514f00b2167a7925665f4214b6ae" } } $('.js-work-strip[data-work-id=43257267]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43257267,"title":"Educación colectiva a través de colecciones de arte público: la creación como forma de identidad.","translated_title":"","metadata":{"issue":"978-84-09-19788-0","abstract":"Disponible en: https://www.educationcongress8.com/libro-de-capitulos\n\nResumen:\n\nAntecedentes: Como indica la Unesco, somos identidad, entre otras cosas, porque somos memoria. Este concepto, el de identidad, comienza a forjarse desde el propio nacimiento, es mutable y está en constante transformación. Pero, ¿qué pasa con lo contemporáneo? Es evidente que buena parte de la sociedad, sigue sin identificarse con el arte contemporáneo. Método: Estudiar ejemplos de arte público y sus respectivos programas educativos, del territorio nacional, aunque destaquen más en este tipo de iniciativas otros países como Holanda, Bélgica o Inglaterra. Resultado: Análisis de los beneficios educativos de distintos programas relacionados con el arte público. Conclusiones: El arte público, se ha demostrado, que en múltiples ocasiones produce aquello que Lerner (2010) llamó ‘acupuntura social’. Además, el arte público, generalmente, cuestiona y genera un discurso reflexivo del propio contexto.\n\nPalabras clave: arte público, educación, arte relacional.\n\nAbstract:\n\n Background: As Unesco indicates, we are identity, among other things, because we are memory. This concept, that of identity, begins to be forged from one's birth, is mutable and is constantly changing. But what about the contemporary? It is evident that a good part of society still does not identify with contemporary art. Method: Study examples of public art and their respective educational programs in the national territory, although other countries such as the Netherlands, Belgium and England stand out more in this type of initiative. Results: Analysis of the educational benefits of different programs related to public art. Conclusions: Public art has been shown to produce what Lerner (2010) called \"social acupuncture\" on multiple occasions. In addition, the public art, generally, questions and generates a reflective discourse of the own context.\n\nKeywords: Public art, education, relational art.","page_numbers":"477-482","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Avances en ciencias de la Educación y del Desarrollo"},"translated_abstract":"Disponible en: https://www.educationcongress8.com/libro-de-capitulos\n\nResumen:\n\nAntecedentes: Como indica la Unesco, somos identidad, entre otras cosas, porque somos memoria. Este concepto, el de identidad, comienza a forjarse desde el propio nacimiento, es mutable y está en constante transformación. Pero, ¿qué pasa con lo contemporáneo? Es evidente que buena parte de la sociedad, sigue sin identificarse con el arte contemporáneo. Método: Estudiar ejemplos de arte público y sus respectivos programas educativos, del territorio nacional, aunque destaquen más en este tipo de iniciativas otros países como Holanda, Bélgica o Inglaterra. Resultado: Análisis de los beneficios educativos de distintos programas relacionados con el arte público. Conclusiones: El arte público, se ha demostrado, que en múltiples ocasiones produce aquello que Lerner (2010) llamó ‘acupuntura social’. Además, el arte público, generalmente, cuestiona y genera un discurso reflexivo del propio contexto.\n\nPalabras clave: arte público, educación, arte relacional.\n\nAbstract:\n\n Background: As Unesco indicates, we are identity, among other things, because we are memory. This concept, that of identity, begins to be forged from one's birth, is mutable and is constantly changing. But what about the contemporary? It is evident that a good part of society still does not identify with contemporary art. Method: Study examples of public art and their respective educational programs in the national territory, although other countries such as the Netherlands, Belgium and England stand out more in this type of initiative. Results: Analysis of the educational benefits of different programs related to public art. Conclusions: Public art has been shown to produce what Lerner (2010) called \"social acupuncture\" on multiple occasions. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42616176"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42616176/_Ut_pictura_poesis_complementariedad_narrativa_de_las_artes_pl%C3%A1sticas_y_la_literatura"><img alt="Research paper thumbnail of "Ut pictura poesis”: complementariedad narrativa de las artes plásticas y la literatura" class="work-thumbnail" src="https://attachments.academia-assets.com/62820874/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42616176/_Ut_pictura_poesis_complementariedad_narrativa_de_las_artes_pl%C3%A1sticas_y_la_literatura">"Ut pictura poesis”: complementariedad narrativa de las artes plásticas y la literatura</a></div><div class="wp-workCard_item"><span>La literatura como fuente para la Historia del Arte. Investigación y difusión desde una perspectiva interdisciplinar</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La complementariedad entre la literatura y las artes visuales ha marcado una retroalimentación en...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La complementariedad entre la literatura y las artes visuales ha marcado una retroalimentación entre ambas. El Laocoonte fue esculpido durante el periodo helenístico a través del relato de Virgilio, pintado por el Greco siglos más tarde. Pero el orden no siempre ha sido así, por ejemplo, el mito de Frankenstein debe más al cine que a su autora literaria, Mary Shelley, la creación de un modelo estético, protagonizado por Boris Karloff, que permanece en el imaginario popular. En otras ocasiones esta relación venía marcada por las ediciones ilustradas de clásicos literarios como es el caso de El Quijote, que van perfilando la psicología de los personajes a través de características propias reconocibles hoy día.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f0fbed5d7ade9c38f52cca4f05955893" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62820874,"asset_id":42616176,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62820874/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42616176"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42616176"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42616176; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42616176]").text(description); $(".js-view-count[data-work-id=42616176]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42616176; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42616176']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42616176, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f0fbed5d7ade9c38f52cca4f05955893" } } $('.js-work-strip[data-work-id=42616176]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42616176,"title":"\"Ut pictura poesis”: complementariedad narrativa de las artes plásticas y la literatura","translated_title":"","metadata":{"issue":"978-84-9159-292-1","abstract":"La complementariedad entre la literatura y las artes visuales ha marcado una retroalimentación entre ambas. El Laocoonte fue esculpido durante el periodo helenístico a través del relato de Virgilio, pintado por el Greco siglos más tarde. Pero el orden no siempre ha sido así, por ejemplo, el mito de Frankenstein debe más al cine que a su autora literaria, Mary Shelley, la creación de un modelo estético, protagonizado por Boris Karloff, que permanece en el imaginario popular. En otras ocasiones esta relación venía marcada por las ediciones ilustradas de clásicos literarios como es el caso de El Quijote, que van perfilando la psicología de los personajes a través de características propias reconocibles hoy día.","page_numbers":"8-20","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"La literatura como fuente para la Historia del Arte. Investigación y difusión desde una perspectiva interdisciplinar"},"translated_abstract":"La complementariedad entre la literatura y las artes visuales ha marcado una retroalimentación entre ambas. El Laocoonte fue esculpido durante el periodo helenístico a través del relato de Virgilio, pintado por el Greco siglos más tarde. Pero el orden no siempre ha sido así, por ejemplo, el mito de Frankenstein debe más al cine que a su autora literaria, Mary Shelley, la creación de un modelo estético, protagonizado por Boris Karloff, que permanece en el imaginario popular. 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Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615-Madrid, 1667). Jaén: Diputación Provincial de Jaén; Instituto de Estudios Giennenses, 2016, pp. 195-213." class="work-thumbnail" src="https://attachments.academia-assets.com/63940698/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40504659/_Cronolog%C3%ADa_En_GALERA_ANDREU_Pedro_A_SERRANO_ESTRELLA_Felipe_coords_Sebastianus_Pintor_de_Ja%C3%A9n_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Ja%C3%A9n_1615_Madrid_1667_Ja%C3%A9n_Diputaci%C3%B3n_Provincial_de_Ja%C3%A9n_Instituto_de_Estudios_Giennenses_2016_pp_195_213">«Cronología» [En] GALERA ANDREU, Pedro A.; SERRANO ESTRELLA, Felipe (coords.): Sebastianus. Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615-Madrid, 1667). Jaén: Diputación Provincial de Jaén; Instituto de Estudios Giennenses, 2016, pp. 195-213.</a></div><div class="wp-workCard_item"><span>Sebastianus. Pintor de Jaén. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40031535"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40031535/An%C3%A1lisis_de_cuestiones_de_g%C3%A9nero_en_las_asignaturas_de_Humanidades_de_Educaci%C3%B3n_Secundaria_en_Andaluc%C3%ADa"><img alt="Research paper thumbnail of Análisis de cuestiones de género en las asignaturas de Humanidades de Educación Secundaria en Andalucía" class="work-thumbnail" src="https://attachments.academia-assets.com/60228163/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40031535/An%C3%A1lisis_de_cuestiones_de_g%C3%A9nero_en_las_asignaturas_de_Humanidades_de_Educaci%C3%B3n_Secundaria_en_Andaluc%C3%ADa">Análisis de cuestiones de género en las asignaturas de Humanidades de Educación Secundaria en Andalucía</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://aguapedia.academia.edu/CarmenMoralRuiz">Carmen Moral Ruiz</a></span></div><div class="wp-workCard_item"><span>Avances en Ciencias de la Educación y Desarrollo, 2018</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La formación del alumnado en cuestiones de género es una prioridad de la Consejería de Educación ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La formación del alumnado en cuestiones de género es una prioridad de la Consejería de Educación de la Junta de Andalucía durante la Educación Secundaria Obligatoria a través del II Plan Estratégico de Igualdad en la Educación 2016-2021 para promover la igualdad y la prevención de la violencia de género entre el personal docente y discente de sus centros educativos. A la hora de abordar este tema analizamos la presencia de cuestiones de género en las programaciones didácticas de asignaturas del ámbito de las humanidades como Educación para la ciudadanía y los Derechos Humanos, Valores Éticos o Geografía e Historia. Además, prestamos especial atención a la materia Cambios Sociales y Género que aborda este tema de forma específica. Igualmente, a través de una visión transversal hemos examinado la presencia y el papel que desempeña la mujer en los libros de texto. Así, nuestro estudio visibiliza la labor educativa sobre temas de género realizada desde la comunidad autónoma de Andalucía y reflexiona sobre la incorporación de propuestas que arrojen nueva luz en el futuro.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="accfb2c4d52727b852e8a091e852d74c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60228163,"asset_id":40031535,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60228163/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40031535"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40031535"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40031535; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40031535]").text(description); $(".js-view-count[data-work-id=40031535]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40031535; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40031535']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40031535, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "accfb2c4d52727b852e8a091e852d74c" } } $('.js-work-strip[data-work-id=40031535]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40031535,"title":"Análisis de cuestiones de género en las asignaturas de Humanidades de Educación Secundaria en Andalucía","translated_title":"","metadata":{"issue":"978-84-09-13321-5","abstract":"La formación del alumnado en cuestiones de género es una prioridad de la Consejería de Educación de la Junta de Andalucía durante la Educación Secundaria Obligatoria a través del II Plan Estratégico de Igualdad en la Educación 2016-2021 para promover la igualdad y la prevención de la violencia de género entre el personal docente y discente de sus centros educativos. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="6693930" id="articulos"><div class="js-work-strip profile--work_container" data-work-id="112097427"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/112097427/Y_lleg%C3%B3_a_la_Corte_Sebasti%C3%A1n_Mart%C3%ADnez_tras_los_pasos_de_Diego_Vel%C3%A1zquez"><img alt="Research paper thumbnail of Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez" class="work-thumbnail" src="https://attachments.academia-assets.com/109433316/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/112097427/Y_lleg%C3%B3_a_la_Corte_Sebasti%C3%A1n_Mart%C3%ADnez_tras_los_pasos_de_Diego_Vel%C3%A1zquez">Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez</a></div><div class="wp-workCard_item"><span>Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El Museo pictórico y escala óptica aportó una breve, pero interesante, información sobre la estan...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El Museo pictórico y escala óptica aportó una breve, pero interesante, información sobre la estancia de Sebastián Martínez Domedel en la Corte de Felipe IV. Según Antonio Palomino, este acontecimiento se produjo en 1660, tras la muerte de Diego Velázquez. El presente trabajo contextualiza la actividad productiva del pintor giennense antes de su llegada a Madrid. Posteriormente, analiza las noticias recogidas por el tratadista natural de Bujalance sobre la presencia del pintor en la Corte y su relación con el monarca. Por último, examina el enriquecimiento de su estilo al entrar en contacto con las obras de los grandes maestros de la pintura que formaban parte de las colecciones reales. <br /> <br />Disponible en: <br /><a href="https://revistascientificas.us.es/index.php/va-in-art/article/view/25154" rel="nofollow">https://revistascientificas.us.es/index.php/va-in-art/article/view/25154</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2d98b8b313c18ae0aa3e29c03eea1614" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":109433316,"asset_id":112097427,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/109433316/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="112097427"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="112097427"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 112097427; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=112097427]").text(description); $(".js-view-count[data-work-id=112097427]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 112097427; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='112097427']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 112097427, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2d98b8b313c18ae0aa3e29c03eea1614" } } $('.js-work-strip[data-work-id=112097427]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":112097427,"title":"Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez","translated_title":"","metadata":{"doi":"10.12795/va-in-art.2023.i05.05","issue":"1697-6479","volume":"5","abstract":"El Museo pictórico y escala óptica aportó una breve, pero interesante, información sobre la estancia de Sebastián Martínez Domedel en la Corte de Felipe IV. Según Antonio Palomino, este acontecimiento se produjo en 1660, tras la muerte de Diego Velázquez. El presente trabajo contextualiza la actividad productiva del pintor giennense antes de su llegada a Madrid. Posteriormente, analiza las noticias recogidas por el tratadista natural de Bujalance sobre la presencia del pintor en la Corte y su relación con el monarca. Por último, examina el enriquecimiento de su estilo al entrar en contacto con las obras de los grandes maestros de la pintura que formaban parte de las colecciones reales.\r\n\r\nDisponible en:\r\nhttps://revistascientificas.us.es/index.php/va-in-art/article/view/25154","page_numbers":"78-93","publication_date":{"day":null,"month":null,"year":2023,"errors":{}},"publication_name":"Y llegó a la Corte… Sebastián Martínez tras los pasos de Diego Velázquez"},"translated_abstract":"El Museo pictórico y escala óptica aportó una breve, pero interesante, información sobre la estancia de Sebastián Martínez Domedel en la Corte de Felipe IV. Según Antonio Palomino, este acontecimiento se produjo en 1660, tras la muerte de Diego Velázquez. El presente trabajo contextualiza la actividad productiva del pintor giennense antes de su llegada a Madrid. Posteriormente, analiza las noticias recogidas por el tratadista natural de Bujalance sobre la presencia del pintor en la Corte y su relación con el monarca. Por último, examina el enriquecimiento de su estilo al entrar en contacto con las obras de los grandes maestros de la pintura que formaban parte de las colecciones reales.\r\n\r\nDisponible en:\r\nhttps://revistascientificas.us.es/index.php/va-in-art/article/view/25154","internal_url":"https://www.academia.edu/112097427/Y_lleg%C3%B3_a_la_Corte_Sebasti%C3%A1n_Mart%C3%ADnez_tras_los_pasos_de_Diego_Vel%C3%A1zquez","translated_internal_url":"","created_at":"2023-12-22T13:02:04.078-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":61722037,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":109433316,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/109433316/thumbnails/1.jpg","file_name":"1496_822_PB.pdf","download_url":"https://www.academia.edu/attachments/109433316/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Y_llego_a_la_Corte_Sebastian_Martinez_tr.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/109433316/1496_822_PB-libre.pdf?1703281580=\u0026response-content-disposition=attachment%3B+filename%3DY_llego_a_la_Corte_Sebastian_Martinez_tr.pdf\u0026Expires=1733350476\u0026Signature=alEvRO1nntrWCsQ7Qab1rcDD282Kmq0dok8c7zZIhYNdK4rT1nDBsoiyEqjfgHPniI6ymKgVZGaPsM977q8fjGjB-HbRqBcaKYNVfD8VbPSSOxLsaYE~SRna2twZVdMwQv-p9L6Z0zzGmkTezgArJEkYP3FEjcrRS~EkPTIJlwfKo24JDIjWrEvt6nRWFcDIO0xZlQD2gP3eMUAHF~Prkf48g9vjmxmQzwAV-ejJviwbiLGnNUCdLlhVv-l7gstA-PtWDCKW3NxfWkFX6m-SG~l72rgYoYaXTEWtlCtY549honbuIhb-Lhn~xLjFziTlDkaNvxCGS8in6gbRk4XGlw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Y_llegó_a_la_Corte_Sebastián_Martínez_tras_los_pasos_de_Diego_Velázquez","translated_slug":"","page_count":22,"language":"es","content_type":"Work","owner":{"id":61722037,"first_name":"Rafael","middle_initials":null,"last_name":"Mantas Fernández","page_name":"RafaelMantasFernández","domain_name":"jaen","created_at":"2017-03-18T16:23:57.742-07:00","display_name":"Rafael Mantas Fernández","url":"https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez"},"attachments":[{"id":109433316,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/109433316/thumbnails/1.jpg","file_name":"1496_822_PB.pdf","download_url":"https://www.academia.edu/attachments/109433316/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Y_llego_a_la_Corte_Sebastian_Martinez_tr.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/109433316/1496_822_PB-libre.pdf?1703281580=\u0026response-content-disposition=attachment%3B+filename%3DY_llego_a_la_Corte_Sebastian_Martinez_tr.pdf\u0026Expires=1733350476\u0026Signature=alEvRO1nntrWCsQ7Qab1rcDD282Kmq0dok8c7zZIhYNdK4rT1nDBsoiyEqjfgHPniI6ymKgVZGaPsM977q8fjGjB-HbRqBcaKYNVfD8VbPSSOxLsaYE~SRna2twZVdMwQv-p9L6Z0zzGmkTezgArJEkYP3FEjcrRS~EkPTIJlwfKo24JDIjWrEvt6nRWFcDIO0xZlQD2gP3eMUAHF~Prkf48g9vjmxmQzwAV-ejJviwbiLGnNUCdLlhVv-l7gstA-PtWDCKW3NxfWkFX6m-SG~l72rgYoYaXTEWtlCtY549honbuIhb-Lhn~xLjFziTlDkaNvxCGS8in6gbRk4XGlw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":668172,"name":"Pintura Barroca Española","url":"https://www.academia.edu/Documents/in/Pintura_Barroca_Espanola"},{"id":3283544,"name":"Sebastián Martínez Domedel","url":"https://www.academia.edu/Documents/in/Sebasti%C3%A1n_Mart%C3%ADnez_Domedel"}],"urls":[{"id":37590071,"url":"https://revistascientificas.us.es/index.php/va-in-art/article/view/25154"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100058811"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/100058811/Mart%C3%ADnez_Domedel_en_Granada"><img alt="Research paper thumbnail of Martínez Domedel en Granada" class="work-thumbnail" src="https://attachments.academia-assets.com/100984402/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/100058811/Mart%C3%ADnez_Domedel_en_Granada">Martínez Domedel en Granada</a></div><div class="wp-workCard_item"><span>Ars Magazine. Revista de arte y coleccionismo</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Presentamos ahora una Virgen con el Niño y Santa Ana que ha sido localizada en el oratorio de la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Presentamos ahora una Virgen con el Niño y Santa Ana que ha sido localizada en el oratorio de la Institución Benéfica del Sagrado Corazón de Jesús de Granada. El cuadro posee una notable factura y un buen estado de conservación. <br /> <br />Disponible en: <br /> <br /><a href="https://arsmagazine.com/producto/atribuciones-2-i-martinez-domedel-en-granada/" rel="nofollow">https://arsmagazine.com/producto/atribuciones-2-i-martinez-domedel-en-granada/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e51f230725bc5465386bb2c0219a65fe" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100984402,"asset_id":100058811,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100984402/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100058811"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100058811"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100058811; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100058811]").text(description); $(".js-view-count[data-work-id=100058811]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100058811; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100058811']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100058811, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e51f230725bc5465386bb2c0219a65fe" } } $('.js-work-strip[data-work-id=100058811]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100058811,"title":"Martínez Domedel en Granada","translated_title":"","metadata":{"issue":"1889-1462","volume":"58","abstract":"Presentamos ahora una Virgen con el Niño y Santa Ana que ha sido localizada en el oratorio de la Institución Benéfica del Sagrado Corazón de Jesús de Granada. 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M., y Mantas Fernández, R. (2017). Aplicación de una rúbrica de evaluación en los Grados de Historia del Arte de Andalucía. Observar, 11(1), 25-54." class="work-thumbnail" src="https://attachments.academia-assets.com/55137908/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35277393/Almansa_Moreno_J_M_y_Mantas_Fern%C3%A1ndez_R_2017_Aplicaci%C3%B3n_de_una_r%C3%BAbrica_de_evaluaci%C3%B3n_en_los_Grados_de_Historia_del_Arte_de_Andaluc%C3%ADa_Observar_11_1_25_54">Almansa Moreno, J. M., y Mantas Fernández, R. (2017). Aplicación de una rúbrica de evaluación en los Grados de Historia del Arte de Andalucía. Observar, 11(1), 25-54.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a></span></div><div class="wp-workCard_item"><span>Observar</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: http://hdl.handle.net/10810/25444 La guía docente es un instrumento de comunica...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="http://hdl.handle.net/10810/25444" rel="nofollow">http://hdl.handle.net/10810/25444</a> <br /> <br />La guía docente es un instrumento de comunicación entre el profesorado y el alumnado que refleja la planificación docente de una asignatura. El presente artículo pretende analizar los documentos oficiales de los Grados de Historia del Arte que se ofertan en cinco universidades andaluzas (Córdoba, Granada, Jaén, Málaga y Sevilla). Para llevar a cabo la validación de su contenido de una forma objetiva se tendrá como referencia la rúbrica elaborada por el Observatorio sobre la Didáctica de las Artes (ODAS). Los resultados obtenidos nos servirán para reflexionar sobre la aprobación de algunos modelos y para la subsanación de los errores y las carencias detectadas</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="40fcbecad06473dcae016e2b787f52c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55137908,"asset_id":35277393,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55137908/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35277393"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35277393"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35277393; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35277393]").text(description); $(".js-view-count[data-work-id=35277393]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35277393; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35277393']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 35277393, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "40fcbecad06473dcae016e2b787f52c2" } } $('.js-work-strip[data-work-id=35277393]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35277393,"title":"Almansa Moreno, J. 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M. y MANTAS FERNÁNDEZ, R. (2016). Nuevas propuestas curriculares en la formación del Historiador del Arte en Andalucía. Observar, 10 (1), 16-46." class="work-thumbnail" src="https://attachments.academia-assets.com/52257300/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31986700/ALMANSA_MORENO_J_M_y_MANTAS_FERN%C3%81NDEZ_R_2016_Nuevas_propuestas_curriculares_en_la_formaci%C3%B3n_del_Historiador_del_Arte_en_Andaluc%C3%ADa_Observar_10_1_16_46">ALMANSA MORENO, J. M. y MANTAS FERNÁNDEZ, R. (2016). Nuevas propuestas curriculares en la formación del Historiador del Arte en Andalucía. Observar, 10 (1), 16-46.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a></span></div><div class="wp-workCard_item"><span>Observar</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: http://hdl.handle.net/10810/25311 La implantación del Plan Bolonia ha introduci...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="http://hdl.handle.net/10810/25311" rel="nofollow">http://hdl.handle.net/10810/25311</a> <br /> <br />La implantación del Plan Bolonia ha introducido cambios en los programas curriculares de la titulación de Historia del Arte, lo cual ha supuesto adaptar la formación del alumnado a las necesidades que demanda la sociedad actual centradas en torno a la gestión cultural y el patrimonio. El presente estudio pretende analizar las guías docentes de las asignaturas del Grado de Historia del Arte que se oferta en las cinco universidades andaluzas (Córdoba, Granada, Jaén, Málaga y Sevilla) para determinar el nuevo perfil profesional de sus estudiantes y las diferentes vías de acceso que tienen al mercado laboral.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e8b6fb8b29d9300737d61b9d6983df49" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52257300,"asset_id":31986700,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52257300/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31986700"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31986700"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31986700; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31986700]").text(description); $(".js-view-count[data-work-id=31986700]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31986700; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31986700']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31986700, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e8b6fb8b29d9300737d61b9d6983df49" } } $('.js-work-strip[data-work-id=31986700]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31986700,"title":"ALMANSA MORENO, J. 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Historia de la actividad expositiva y su repercusión». Siete esquinas, nº 7. Linares: Centro de Estudios Linarenses, 2014, pp. 31-62." class="work-thumbnail" src="https://attachments.academia-assets.com/52256971/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31986117/AR%C3%81NEGA_CASTILLA_Francisco_Miguel_MANTAS_FERN%C3%81NDEZ_Rafael_Exposiciones_de_Bellas_Artes_en_Linares_1942_1957_Historia_de_la_actividad_expositiva_y_su_repercusi%C3%B3n_Siete_esquinas_no_7_Linares_Centro_de_Estudios_Linarenses_2014_pp_31_62">ARÁNEGA CASTILLA, Francisco Miguel; MANTAS FERNÁNDEZ, Rafael: «Exposiciones de Bellas Artes en Linares, 1942-1957. Historia de la actividad expositiva y su repercusión». Siete esquinas, nº 7. Linares: Centro de Estudios Linarenses, 2014, pp. 31-62.</a></div><div class="wp-workCard_item"><span>Siete Esquinas</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Este artículo parte de la localización y la recopilación de la documentación aparecida a partir d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Este artículo parte de la localización y la recopilación de la documentación aparecida a partir del proceso de elaboración del proyecto de investigación elaborado para el Centro de Estudios Linarenses, Revisión e inventariado de la Pinacoteca Municipal de Linares. La ordenación y análisis de la información ha permitido el estudio de las características y la evolución de los distintos tipos de concursos/exposiciones, que han venido realizándose en Linares, pudiéndose constatar la existencia de tres periodos: de 1910 a 1941, antecedentes e inicios; de 1942 a 1957 Exposición de Bellas Artes y por último 1958 a 2008, Exposición y Bienal de Pintura. Acompañamos este artículo de una valoración artística de las principales obras pictóricas e información anexa sobre autores/as y trabajos galardonados en las distintas secciones.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8c7f83a13c48c519329c67a223315a12" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52256971,"asset_id":31986117,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52256971/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31986117"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31986117"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31986117; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31986117]").text(description); $(".js-view-count[data-work-id=31986117]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31986117; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31986117']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31986117, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8c7f83a13c48c519329c67a223315a12" } } $('.js-work-strip[data-work-id=31986117]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31986117,"title":"ARÁNEGA CASTILLA, Francisco Miguel; MANTAS FERNÁNDEZ, Rafael: «Exposiciones de Bellas Artes en Linares, 1942-1957. 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De la Edad Moderna a la Contemporánea». Asparkía. Investigació feminista, nº 21, Publicación Anual. Castellón: Universitat Jaume I, 2010, pp. 47-64." class="work-thumbnail" src="https://attachments.academia-assets.com/52236204/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31961423/_La_mujer_en_el_espacio_pintado_De_la_Edad_Moderna_a_la_Contempor%C3%A1nea_Aspark%C3%ADa_Investigaci%C3%B3_feminista_no_21_Publicaci%C3%B3n_Anual_Castell%C3%B3n_Universitat_Jaume_I_2010_pp_47_64">«La mujer en el espacio pintado. De la Edad Moderna a la Contemporánea». Asparkía. Investigació feminista, nº 21, Publicación Anual. Castellón: Universitat Jaume I, 2010, pp. 47-64.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Asparkía</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pintura es una fuente esencial para la historia y un elemento revelador para la investigación ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pintura es una fuente esencial para la historia y un elemento revelador para la investigación sobre el papel de la mujer en la sociedad a lo largo de la historia. En este breve estudio se analiza a grandes rasgos el diálogo que se produce entre arquitectura, pintura y mujer en el paso de la Edad Moderna a la Contemporánea.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e198729af2bff2f9003836de317d4d9f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52236204,"asset_id":31961423,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52236204/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31961423"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31961423"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31961423; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31961423]").text(description); $(".js-view-count[data-work-id=31961423]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31961423; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31961423']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31961423, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e198729af2bff2f9003836de317d4d9f" } } $('.js-work-strip[data-work-id=31961423]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31961423,"title":"«La mujer en el espacio pintado. 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Revista de arte contemporáneo, nº 1, 2015, pp. 43-52." class="work-thumbnail" src="https://attachments.academia-assets.com/52212159/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31933482/_Miguel_P%C3%A9rez_Aguilera_Luz_de_modernidad_en_la_pintura_y_en_la_docencia_en_Galer%C3%ADa_Abierta_Revista_de_arte_contempor%C3%A1neo_no_1_2015_pp_43_52">«Miguel Pérez Aguilera: Luz de modernidad en la pintura y en la docencia», en Galería Abierta. Revista de arte contemporáneo, nº 1, 2015, pp. 43-52.</a></div><div class="wp-workCard_item"><span>Galería Abierta. Revista de arte contemporáneo</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En 2015 se cumplió el primer aniversario del nacimiento de Miguel Pérez Aguilera, una de las pers...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En 2015 se cumplió el primer aniversario del nacimiento de Miguel Pérez Aguilera, una de las personalidades más relevantes del arte contemporáneo andaluz en el siglo XX. El expresionismo abstracto de su obra nos habla de modernidad y de una continua investigación de la luz y del color. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="31925232"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/31925232/_La_presencia_del_olivar_en_el_arte_contempor%C3%A1neo_giennense_en_Revista_de_la_CECEL_no_11_2011_pp_199_224"><img alt="Research paper thumbnail of «La presencia del olivar en el arte contemporáneo giennense», en Revista de la CECEL, nº 11, 2011, pp. 199-224." class="work-thumbnail" src="https://attachments.academia-assets.com/52204654/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31925232/_La_presencia_del_olivar_en_el_arte_contempor%C3%A1neo_giennense_en_Revista_de_la_CECEL_no_11_2011_pp_199_224">«La presencia del olivar en el arte contemporáneo giennense», en Revista de la CECEL, nº 11, 2011, pp. 199-224.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Revista de la CECEL</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El olivo es uno de los principales signos de identidad de la cultura giennense. Los artistas han ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El olivo es uno de los principales signos de identidad de la cultura giennense. Los artistas han convertido el olivar en telón de fondo de sus creaciones o incluso en protagonistas de las mismas. No sólo el árbol y el paisaje sino toda la cultura que se genera a su alrededor, los olivareros y los trabajos del campo son dignificados en estas representaciones plásticas que nos han dejado artistas tales como Rafael Zabaleta, Manuel Moral, Constantino Unghetti, Juan Moral, José Ríos o Miguel Viribay. En este trabajo pretendemos analizar el papel que ejerce el olivo en estas manifestaciones artísticas, tomando como referencia las propias obras y los testimonios de sus creadores.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3f6cb179b7ea626468c65689848cea3a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52204654,"asset_id":31925232,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52204654/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31925232"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31925232"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31925232; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31925232]").text(description); $(".js-view-count[data-work-id=31925232]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31925232; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31925232']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31925232, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3f6cb179b7ea626468c65689848cea3a" } } $('.js-work-strip[data-work-id=31925232]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31925232,"title":"«La presencia del olivar en el arte contemporáneo giennense», en Revista de la CECEL, nº 11, 2011, pp. 199-224.","translated_title":"","metadata":{"issue":"1578-570X","volume":"11","abstract":"El olivo es uno de los principales signos de identidad de la cultura giennense. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="6755887" id="libros"><div class="js-work-strip profile--work_container" data-work-id="83783476"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/83783476/Redescubriendo_Exposici%C3%B3n_del_patrimonio_pict%C3%B3rico_del_Ayuntamiento_de_Linares"><img alt="Research paper thumbnail of Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares." class="work-thumbnail" src="https://attachments.academia-assets.com/89017345/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/83783476/Redescubriendo_Exposici%C3%B3n_del_patrimonio_pict%C3%B3rico_del_Ayuntamiento_de_Linares">Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares.</a></div><div class="wp-workCard_item"><span>Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares.</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares reúne las obras m...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Redescubriendo. Exposición del patrimonio pictórico del Ayuntamiento de Linares reúne las obras más significativas de la colección del consistorio municipal linarense que fueron adquiridas tras ser premiadas en el Concurso de Bellas Artes o de Pintura que se celebró desde 1942 hasta 2008. La recopilación muestra cuadros de Rufino Martos Ortiz, Amalio García del Moral, Guillermo Vargas Ruíz, Francisco Baños Martos, Domingo Molina Sánchez, José María Cózar Viedma, Juan Manuel García Maldonado "Brazam", Andrés Barajas Díaz, Marcelo Góngora Ramos, Manuel Kayser Zapata o Santiago Tirado Franco.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="812e47c5430a1712fe5d2653206e0c28" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89017345,"asset_id":83783476,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89017345/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="83783476"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="83783476"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 83783476; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=83783476]").text(description); $(".js-view-count[data-work-id=83783476]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 83783476; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='83783476']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 83783476, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "812e47c5430a1712fe5d2653206e0c28" } } $('.js-work-strip[data-work-id=83783476]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":83783476,"title":"Redescubriendo. 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Exposición del patrimonio pictórico del Ayuntamiento de Linares reúne las obras más significativas de la colección del consistorio municipal linarense que fueron adquiridas tras ser premiadas en el Concurso de Bellas Artes o de Pintura que se celebró desde 1942 hasta 2008. La recopilación muestra cuadros de Rufino Martos Ortiz, Amalio García del Moral, Guillermo Vargas Ruíz, Francisco Baños Martos, Domingo Molina Sánchez, José María Cózar Viedma, Juan Manuel García Maldonado \"Brazam\", Andrés Barajas Díaz, Marcelo Góngora Ramos, Manuel Kayser Zapata o Santiago Tirado Franco.","internal_url":"https://www.academia.edu/83783476/Redescubriendo_Exposici%C3%B3n_del_patrimonio_pict%C3%B3rico_del_Ayuntamiento_de_Linares","translated_internal_url":"","created_at":"2022-07-26T09:53:24.894-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":61722037,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":89017345,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/89017345/thumbnails/1.jpg","file_name":"Separata.pdf","download_url":"https://www.academia.edu/attachments/89017345/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Redescubriendo_Exposicion_del_patrimonio.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/89017345/Separata-libre.pdf?1658854802=\u0026response-content-disposition=attachment%3B+filename%3DRedescubriendo_Exposicion_del_patrimonio.pdf\u0026Expires=1733350476\u0026Signature=fCeTLrZRyNcgL0spzMqbNdf6aCHJ0SYjif1-ZifvOslJ3MSHg1QBor4yOsmss-OnfWFakySolJQzRP4LrvCbp1nSj2pygKyMuTZxLKobgAynuSvm5SOleQsvlRUDljUChEmsvP0oUqkFM4ij~zYjWjUx2a6hVKY71tRKWbdcEw7IN7loxvJEPkfsDj6QyBOMNVzBFZZtah7KNJ-6DKnX0CZQ3naeKcXX11yj2YhEa0arLPaWB55A00G6hZ3yJRva1URDMSIyAD62wVV4ZhXk9KtutYRItPiC6lFq1EMBrSlGyrwWDYo~OyxyMlLqIG3qe9nRIE18C4MlxRHwOL4ucA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Redescubriendo_Exposición_del_patrimonio_pictórico_del_Ayuntamiento_de_Linares","translated_slug":"","page_count":4,"language":"es","content_type":"Work","owner":{"id":61722037,"first_name":"Rafael","middle_initials":null,"last_name":"Mantas Fernández","page_name":"RafaelMantasFernández","domain_name":"jaen","created_at":"2017-03-18T16:23:57.742-07:00","display_name":"Rafael Mantas Fernández","url":"https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez"},"attachments":[{"id":89017345,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/89017345/thumbnails/1.jpg","file_name":"Separata.pdf","download_url":"https://www.academia.edu/attachments/89017345/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Redescubriendo_Exposicion_del_patrimonio.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/89017345/Separata-libre.pdf?1658854802=\u0026response-content-disposition=attachment%3B+filename%3DRedescubriendo_Exposicion_del_patrimonio.pdf\u0026Expires=1733350476\u0026Signature=fCeTLrZRyNcgL0spzMqbNdf6aCHJ0SYjif1-ZifvOslJ3MSHg1QBor4yOsmss-OnfWFakySolJQzRP4LrvCbp1nSj2pygKyMuTZxLKobgAynuSvm5SOleQsvlRUDljUChEmsvP0oUqkFM4ij~zYjWjUx2a6hVKY71tRKWbdcEw7IN7loxvJEPkfsDj6QyBOMNVzBFZZtah7KNJ-6DKnX0CZQ3naeKcXX11yj2YhEa0arLPaWB55A00G6hZ3yJRva1URDMSIyAD62wVV4ZhXk9KtutYRItPiC6lFq1EMBrSlGyrwWDYo~OyxyMlLqIG3qe9nRIE18C4MlxRHwOL4ucA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":99300,"name":"Pintura","url":"https://www.academia.edu/Documents/in/Pintura"},{"id":108450,"name":"Arte contemporáneo","url":"https://www.academia.edu/Documents/in/Arte_contempor%C3%A1neo"},{"id":199628,"name":"Patrimonio","url":"https://www.academia.edu/Documents/in/Patrimonio"}],"urls":[{"id":22467497,"url":"https://books.google.es/books?id=s_jFzgEACAAJ\u0026dq=redescubriendo+patrimonio+linares\u0026hl=es\u0026sa=X\u0026redir_esc=y"},{"id":22567723,"url":"https://dialnet.unirioja.es/servlet/libro?codigo=867980"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="45587479"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/45587479/Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Vida_y_obra"><img alt="Research paper thumbnail of Sebastián Martínez Domedel. Vida y obra." class="work-thumbnail" src="https://attachments.academia-assets.com/66066556/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45587479/Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Vida_y_obra">Sebastián Martínez Domedel. Vida y obra.</a></div><div class="wp-workCard_item"><span>Sebastián Martínez Domedel. Vida y obra. Jaén: Diputación Provincial de Jaén; Instituto de Estudios Giennenses</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: http://absys.dipujaen.es/digital/libros/D_12.867.pdf Sebastián Martínez Domedel (...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="http://absys.dipujaen.es/digital/libros/D_12.867.pdf" rel="nofollow">http://absys.dipujaen.es/digital/libros/D_12.867.pdf</a><br /><br />Sebastián Martínez Domedel (Jaén, 1615/1620 – Madrid, 1667) fue el pintor barroco más destacado en la capital del Santo Reino durante el Seiscientos, sin embargo el paso del tiempo fue injusto con él debido a las escasas y parciales noticias en torno a su figura que nos han llegado hasta la actualidad. Afortunadamente, esta situación se está paliando en los últimos años gracias a las aportaciones de recientes trabajos de investigación y a la puesta en valor de su obra. El presente trabajo ofrece un estudio global sobre su vida y su producción pictórica que está estructurado en tres bloques: el primero contiene una aproximación al contexto histórico en el que transcurrió su vida, seguido de un análisis de su gura en las fuentes y en la historiografía; posteriormente se trata la biografía del artista, a partir de la información localizada en diversos archivos, la cual ha sido transcrita de forma íntegra en un corpus documental; por último, el trabajo presenta un catálogo razonado que contiene toda su obra documentada, nuevas atribuciones, obras citadas en las fuentes pero no localizadas, así como atribuciones rechazadas. En consecuencia, esta publicación pretende profundizar el conocimiento sobre uno de los artistas más destacados dentro de la historia del arte giennense para devolver su nombre junto al de los más ilustres maestros de la pintura andaluza del siglo XVII.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2a234e2bf46322422f6a39eca81de902" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66066556,"asset_id":45587479,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66066556/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45587479"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45587479"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45587479; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45587479]").text(description); $(".js-view-count[data-work-id=45587479]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45587479; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45587479']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 45587479, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2a234e2bf46322422f6a39eca81de902" } } $('.js-work-strip[data-work-id=45587479]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45587479,"title":"Sebastián Martínez Domedel. Vida y obra.","translated_title":"","metadata":{"issue":"978-84-92876-99-0","abstract":"Disponible en: http://absys.dipujaen.es/digital/libros/D_12.867.pdf\n\nSebastián Martínez Domedel (Jaén, 1615/1620 – Madrid, 1667) fue el pintor barroco más destacado en la capital del Santo Reino durante el Seiscientos, sin embargo el paso del tiempo fue injusto con él debido a las escasas y parciales noticias en torno a su figura que nos han llegado hasta la actualidad. Afortunadamente, esta situación se está paliando en los últimos años gracias a las aportaciones de recientes trabajos de investigación y a la puesta en valor de su obra. El presente trabajo ofrece un estudio global sobre su vida y su producción pictórica que está estructurado en tres bloques: el primero contiene una aproximación al contexto histórico en el que transcurrió su vida, seguido de un análisis de su \u001fgura en las fuentes y en la historiografía; posteriormente se trata la biografía del artista, a partir de la información localizada en diversos archivos, la cual ha sido transcrita de forma íntegra en un corpus documental; por último, el trabajo presenta un catálogo razonado que contiene toda su obra documentada, nuevas atribuciones, obras citadas en las fuentes pero no localizadas, así como atribuciones rechazadas. 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Investigación y difusión desde una perspectiva interdisciplinar</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unizar.academia.edu/Mar%C3%ADaAuroraGarc%C3%ADaRuiz">María Aurora García Ruiz</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Esta publicación recoge los resultados del Proyecto de Innovación Docente "La literatura como fue...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Esta publicación recoge los resultados del Proyecto de Innovación Docente "La literatura como fuente para la Historia del Arte. Investigación y difusión desde una perspectiva interdisciplinar" (PID17_2017/18), financiado por la Universidad de Jaén y desarrollado por el alumnado de los Grados de Historia del Arte, Filología Hispánica, Estudios Ingleses, Educación Infantil y Educación Primaria (contando con la supervisión del profesorado participante en dicho proyecto).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="71662e1a83004737dd40fbc622b6c1af" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61527154,"asset_id":41321443,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61527154/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41321443"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41321443"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41321443; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41321443]").text(description); $(".js-view-count[data-work-id=41321443]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41321443; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41321443']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41321443, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "71662e1a83004737dd40fbc622b6c1af" } } $('.js-work-strip[data-work-id=41321443]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41321443,"title":"La literatura como fuente para la Historia del Arte. 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durante la Edad Moderna" class="work-thumbnail" src="https://attachments.academia-assets.com/119666872/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125665232/Santos_reliquias_y_santuarios_del_Reino_de_Ja%C3%A9n_durante_la_Edad_Moderna">Santos, reliquias y santuarios del Reino de Jaén durante la Edad Moderna</a></div><div class="wp-workCard_item"><span>Trampantojos a lo divino: devociones pintadas en el Barroco giennense</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El catálogo de la exposición "Trampantojos a lo divino: devociones pintadas en el Barroco giennen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El catálogo de la exposición "Trampantojos a lo divino: devociones pintadas en el Barroco giennense" reúne una selección de obras que plasman a la manera de un retrato imágenes religiosas de especial prestigio devocional. <br /> <br />El trabajo "Santos, reliquias y santuarios en el Reino de Jaén durante la Edad Moderna" aborda la singularidad e importancia de las principales imágenes devocionales giennenses y de sus templos durante el Barroco. <br /> <br />El catálogo se encuentra disponible en la tienda de publicaciones online de la Fundación de la Caja Rural de Jaén: <br /> <br /><a href="https://publicaciones.fundacioncrj.es/p/trampantojos-a-lo-divino-devociones-pintadas-en-el-barroco-giennense" rel="nofollow">https://publicaciones.fundacioncrj.es/p/trampantojos-a-lo-divino-devociones-pintadas-en-el-barroco-giennense</a></span></div><div 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[En] GALERA ANDREU, Pedro A.; SERRANO ESTRELLA, Felipe (Coords.): Sebastianus. Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615 – Madrid, 1667). Jaén: Instituto de Estudios Giennenses, 2016, pp. 250-253." class="work-thumbnail" src="https://attachments.academia-assets.com/63954597/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43654061/_San_Crisp%C3%ADn_y_san_Crispiniano_En_GALERA_ANDREU_Pedro_A_SERRANO_ESTRELLA_Felipe_Coords_Sebastianus_Pintor_de_Ja%C3%A9n_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Ja%C3%A9n_1615_Madrid_1667_Ja%C3%A9n_Instituto_de_Estudios_Giennenses_2016_pp_250_253">«San Crispín y san Crispiniano». [En] GALERA ANDREU, Pedro A.; SERRANO ESTRELLA, Felipe (Coords.): Sebastianus. Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615 – Madrid, 1667). Jaén: Instituto de Estudios Giennenses, 2016, pp. 250-253.</a></div><div class="wp-workCard_item"><span>Sebastianus. Pintor de Jaén. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43257267"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43257267/Educaci%C3%B3n_colectiva_a_trav%C3%A9s_de_colecciones_de_arte_p%C3%BAblico_la_creaci%C3%B3n_como_forma_de_identidad"><img alt="Research paper thumbnail of Educación colectiva a través de colecciones de arte público: la creación como forma de identidad." class="work-thumbnail" src="https://attachments.academia-assets.com/63528774/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43257267/Educaci%C3%B3n_colectiva_a_trav%C3%A9s_de_colecciones_de_arte_p%C3%BAblico_la_creaci%C3%B3n_como_forma_de_identidad">Educación colectiva a través de colecciones de arte público: la creación como forma de identidad.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Avances en ciencias de la Educación y del Desarrollo</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: https://www.educationcongress8.com/libro-de-capitulos Resumen: Antecedentes: Com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="https://www.educationcongress8.com/libro-de-capitulos" rel="nofollow">https://www.educationcongress8.com/libro-de-capitulos</a><br /><br />Resumen:<br /><br />Antecedentes: Como indica la Unesco, somos identidad, entre otras cosas, porque somos memoria. Este concepto, el de identidad, comienza a forjarse desde el propio nacimiento, es mutable y está en constante transformación. Pero, ¿qué pasa con lo contemporáneo? Es evidente que buena parte de la sociedad, sigue sin identificarse con el arte contemporáneo. Método: Estudiar ejemplos de arte público y sus respectivos programas educativos, del territorio nacional, aunque destaquen más en este tipo de iniciativas otros países como Holanda, Bélgica o Inglaterra. Resultado: Análisis de los beneficios educativos de distintos programas relacionados con el arte público. Conclusiones: El arte público, se ha demostrado, que en múltiples ocasiones produce aquello que Lerner (2010) llamó ‘acupuntura social’. Además, el arte público, generalmente, cuestiona y genera un discurso reflexivo del propio contexto.<br /><br />Palabras clave: arte público, educación, arte relacional.<br /><br />Abstract:<br /><br /> Background: As Unesco indicates, we are identity, among other things, because we are memory. This concept, that of identity, begins to be forged from one's birth, is mutable and is constantly changing. But what about the contemporary? It is evident that a good part of society still does not identify with contemporary art. Method: Study examples of public art and their respective educational programs in the national territory, although other countries such as the Netherlands, Belgium and England stand out more in this type of initiative. Results: Analysis of the educational benefits of different programs related to public art. Conclusions: Public art has been shown to produce what Lerner (2010) called "social acupuncture" on multiple occasions. In addition, the public art, generally, questions and generates a reflective discourse of the own context.<br /><br />Keywords: Public art, education, relational art.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="27b4514f00b2167a7925665f4214b6ae" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63528774,"asset_id":43257267,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63528774/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43257267"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43257267"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43257267; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43257267]").text(description); $(".js-view-count[data-work-id=43257267]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43257267; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43257267']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43257267, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "27b4514f00b2167a7925665f4214b6ae" } } $('.js-work-strip[data-work-id=43257267]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43257267,"title":"Educación colectiva a través de colecciones de arte público: la creación como forma de identidad.","translated_title":"","metadata":{"issue":"978-84-09-19788-0","abstract":"Disponible en: https://www.educationcongress8.com/libro-de-capitulos\n\nResumen:\n\nAntecedentes: Como indica la Unesco, somos identidad, entre otras cosas, porque somos memoria. 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profile--work_container" data-work-id="42616176"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42616176/_Ut_pictura_poesis_complementariedad_narrativa_de_las_artes_pl%C3%A1sticas_y_la_literatura"><img alt="Research paper thumbnail of "Ut pictura poesis”: complementariedad narrativa de las artes plásticas y la literatura" class="work-thumbnail" src="https://attachments.academia-assets.com/62820874/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42616176/_Ut_pictura_poesis_complementariedad_narrativa_de_las_artes_pl%C3%A1sticas_y_la_literatura">"Ut pictura poesis”: complementariedad narrativa de las artes plásticas y la literatura</a></div><div class="wp-workCard_item"><span>La literatura como fuente para la Historia del Arte. Investigación y difusión desde una perspectiva interdisciplinar</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La complementariedad entre la literatura y las artes visuales ha marcado una retroalimentación en...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La complementariedad entre la literatura y las artes visuales ha marcado una retroalimentación entre ambas. El Laocoonte fue esculpido durante el periodo helenístico a través del relato de Virgilio, pintado por el Greco siglos más tarde. Pero el orden no siempre ha sido así, por ejemplo, el mito de Frankenstein debe más al cine que a su autora literaria, Mary Shelley, la creación de un modelo estético, protagonizado por Boris Karloff, que permanece en el imaginario popular. En otras ocasiones esta relación venía marcada por las ediciones ilustradas de clásicos literarios como es el caso de El Quijote, que van perfilando la psicología de los personajes a través de características propias reconocibles hoy día.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f0fbed5d7ade9c38f52cca4f05955893" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62820874,"asset_id":42616176,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62820874/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42616176"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42616176"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42616176; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42616176]").text(description); $(".js-view-count[data-work-id=42616176]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42616176; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42616176']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42616176, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f0fbed5d7ade9c38f52cca4f05955893" } } $('.js-work-strip[data-work-id=42616176]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42616176,"title":"\"Ut pictura poesis”: complementariedad narrativa de las artes plásticas y la literatura","translated_title":"","metadata":{"issue":"978-84-9159-292-1","abstract":"La complementariedad entre la literatura y las artes visuales ha marcado una retroalimentación entre ambas. 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Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615-Madrid, 1667). Jaén: Diputación Provincial de Jaén; Instituto de Estudios Giennenses, 2016, pp. 195-213." class="work-thumbnail" src="https://attachments.academia-assets.com/63940698/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40504659/_Cronolog%C3%ADa_En_GALERA_ANDREU_Pedro_A_SERRANO_ESTRELLA_Felipe_coords_Sebastianus_Pintor_de_Ja%C3%A9n_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Ja%C3%A9n_1615_Madrid_1667_Ja%C3%A9n_Diputaci%C3%B3n_Provincial_de_Ja%C3%A9n_Instituto_de_Estudios_Giennenses_2016_pp_195_213">«Cronología» [En] GALERA ANDREU, Pedro A.; SERRANO ESTRELLA, Felipe (coords.): Sebastianus. Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615-Madrid, 1667). Jaén: Diputación Provincial de Jaén; Instituto de Estudios Giennenses, 2016, pp. 195-213.</a></div><div class="wp-workCard_item"><span>Sebastianus. Pintor de Jaén. Sebastián Martínez Domedel (Jaén, 1615-Madrid, 1667)</span><span>, 2016</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d32ae8c9681eddd6645f76f8b1ccad6d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63940698,"asset_id":40504659,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63940698/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40504659"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40504659"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40504659; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40504659]").text(description); $(".js-view-count[data-work-id=40504659]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40504659; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40504659']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40504659, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d32ae8c9681eddd6645f76f8b1ccad6d" } } $('.js-work-strip[data-work-id=40504659]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40504659,"title":"«Cronología» [En] GALERA ANDREU, Pedro A.; SERRANO ESTRELLA, Felipe (coords.): Sebastianus. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40031535"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40031535/An%C3%A1lisis_de_cuestiones_de_g%C3%A9nero_en_las_asignaturas_de_Humanidades_de_Educaci%C3%B3n_Secundaria_en_Andaluc%C3%ADa"><img alt="Research paper thumbnail of Análisis de cuestiones de género en las asignaturas de Humanidades de Educación Secundaria en Andalucía" class="work-thumbnail" src="https://attachments.academia-assets.com/60228163/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40031535/An%C3%A1lisis_de_cuestiones_de_g%C3%A9nero_en_las_asignaturas_de_Humanidades_de_Educaci%C3%B3n_Secundaria_en_Andaluc%C3%ADa">Análisis de cuestiones de género en las asignaturas de Humanidades de Educación Secundaria en Andalucía</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://aguapedia.academia.edu/CarmenMoralRuiz">Carmen Moral Ruiz</a></span></div><div class="wp-workCard_item"><span>Avances en Ciencias de la Educación y Desarrollo, 2018</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La formación del alumnado en cuestiones de género es una prioridad de la Consejería de Educación ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La formación del alumnado en cuestiones de género es una prioridad de la Consejería de Educación de la Junta de Andalucía durante la Educación Secundaria Obligatoria a través del II Plan Estratégico de Igualdad en la Educación 2016-2021 para promover la igualdad y la prevención de la violencia de género entre el personal docente y discente de sus centros educativos. A la hora de abordar este tema analizamos la presencia de cuestiones de género en las programaciones didácticas de asignaturas del ámbito de las humanidades como Educación para la ciudadanía y los Derechos Humanos, Valores Éticos o Geografía e Historia. Además, prestamos especial atención a la materia Cambios Sociales y Género que aborda este tema de forma específica. Igualmente, a través de una visión transversal hemos examinado la presencia y el papel que desempeña la mujer en los libros de texto. Así, nuestro estudio visibiliza la labor educativa sobre temas de género realizada desde la comunidad autónoma de Andalucía y reflexiona sobre la incorporación de propuestas que arrojen nueva luz en el futuro.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="accfb2c4d52727b852e8a091e852d74c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60228163,"asset_id":40031535,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60228163/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40031535"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40031535"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40031535; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40031535]").text(description); $(".js-view-count[data-work-id=40031535]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40031535; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40031535']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40031535, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "accfb2c4d52727b852e8a091e852d74c" } } $('.js-work-strip[data-work-id=40031535]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40031535,"title":"Análisis de cuestiones de género en las asignaturas de Humanidades de Educación Secundaria en Andalucía","translated_title":"","metadata":{"issue":"978-84-09-13321-5","abstract":"La formación del alumnado en cuestiones de género es una prioridad de la Consejería de Educación de la Junta de Andalucía durante la Educación Secundaria Obligatoria a través del II Plan Estratégico de Igualdad en la Educación 2016-2021 para promover la igualdad y la prevención de la violencia de género entre el personal docente y discente de sus centros educativos. 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A la hora de abordar este tema analizamos la presencia de cuestiones de género en las programaciones didácticas de asignaturas del ámbito de las humanidades como Educación para la ciudadanía y los Derechos Humanos, Valores Éticos o Geografía e Historia. Además, prestamos especial atención a la materia Cambios Sociales y Género que aborda este tema de forma específica. Igualmente, a través de una visión transversal hemos examinado la presencia y el papel que desempeña la mujer en los libros de texto. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39751335"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39751335/La_formaci%C3%B3n_transdiciplinar_de_los_profesionales_en_torno_al_arte_en_respuesta_a_las_nuevas_necesidades_laborales"><img alt="Research paper thumbnail of La formación transdiciplinar de los profesionales en torno al arte en respuesta a las nuevas necesidades laborales" class="work-thumbnail" src="https://attachments.academia-assets.com/59932006/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39751335/La_formaci%C3%B3n_transdiciplinar_de_los_profesionales_en_torno_al_arte_en_respuesta_a_las_nuevas_necesidades_laborales">La formación transdiciplinar de los profesionales en torno al arte en respuesta a las nuevas necesidades laborales</a></div><div class="wp-workCard_item"><span>Avances en ciencias de la Educación y del Desarrollo, 2017</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El futuro de las profesiones relacionadas con el Arte se concibe como un reto para las nuevas gen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El futuro de las profesiones relacionadas con el Arte se concibe como un reto para las nuevas generaciones que deben superar la devaluación de dichas disciplinas para potenciar la búsqueda de nuevos perfiles y diferentes vías de acceso al mercado laboral. El objetivo de este estudio es la inclusión de contenidos para mejorar la formación transdisciplinar en los Grados que giran en torno al Arte, de forma que se tomen conocimientos de varias disciplinas que den lugar a investigaciones más eficaces con un proceso de estudio global afín a la sociedad actual. La metodología parte del análisis de las guías docentes de los Grados de Historia del Arte, Bellas Artes y Restauración ofertadas en las universidades andaluzas para detectar la falta de formación transdisciplinar y la inclusión de dichos contenidos para evitar la separación entre las materias. Así, daría lugar al aumento del aprendizaje significativo, mejorando la preparación del alumnado para vivir en sociedad y desarrollar todo su potencial creativo de cara a mejorar la relación entre el contexto real y laboral.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e87feb44539db6da8c21525534707957" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59932006,"asset_id":39751335,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59932006/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39751335"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39751335"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39751335; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39751335]").text(description); $(".js-view-count[data-work-id=39751335]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39751335; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39751335']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39751335, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e87feb44539db6da8c21525534707957" } } $('.js-work-strip[data-work-id=39751335]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39751335,"title":"La formación transdiciplinar de los profesionales en torno al arte en respuesta a las nuevas necesidades laborales","translated_title":"","metadata":{"issue":"978-84-09-02097-3","abstract":"El futuro de las profesiones relacionadas con el Arte se concibe como un reto para las nuevas generaciones que deben superar la devaluación de dichas disciplinas para potenciar la búsqueda de nuevos perfiles y diferentes vías de acceso al mercado laboral. El objetivo de este estudio es la inclusión de contenidos para mejorar la formación transdisciplinar en los Grados que giran en torno al Arte, de forma que se tomen conocimientos de varias disciplinas que den lugar a investigaciones más eficaces con un proceso de estudio global afín a la sociedad actual. La metodología parte del análisis de las guías docentes de los Grados de Historia del Arte, Bellas Artes y Restauración ofertadas en las universidades andaluzas para detectar la falta de formación transdisciplinar y la inclusión de dichos contenidos para evitar la separación entre las materias. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38073834"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38073834/Arte_y_literatura_en_las_redes_sociales"><img alt="Research paper thumbnail of Arte y literatura en las redes sociales" class="work-thumbnail" src="https://attachments.academia-assets.com/58099877/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38073834/Arte_y_literatura_en_las_redes_sociales">Arte y literatura en las redes sociales</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unizar.academia.edu/Mar%C3%ADaAuroraGarc%C3%ADaRuiz">María Aurora García Ruiz</a></span></div><div class="wp-workCard_item"><span>VII Congreso online internacional sobre arte y sociedad: Arte de los nuevos medios</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Las redes sociales no sólo han cambiado la forma en que nos comunicamos y relacionamos, sino que ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Las redes sociales no sólo han cambiado la forma en que nos comunicamos y relacionamos, sino que han supuesto una revolución en otros campos como el marketing o la prensa, ahora estamos informados en el mismo instante en que suceden los hechos, pero a cambio encontramos la contrapartida de las fake news. ¿Cómo distinguir la realidad de la invención? Y ¿en qué medida el arte se ve involucrado? En este texto reflexionaremos sobre las oportunidades que brindan las redes sociales a los artistas plásticos y escritores para difundir sus obras y eventos, gracias a estas se consigue llegar a más público, convirtiendo además a las redes en una fuente de información más para los investigadores; pero, ¿sabemos distinguir qué información es certera? ¿Cómo afecta esto al valor de las obras?<br /><br />Social networks have not only changed the way we communicate and relate, but have also brought about a revolution in other fields such as marketing or the press, now we are informed at the same moment that the events happen, but in return we find the counterpart of the fake news, how to distinguish reality from invention? In addition, to what extent art is involved? In this text we will reflect on the opportunities that social networks provide to visual artists and writers to disseminate their works and events, getting to reach more public, also making networks a source of information for researchers; but, do we know what information is accurate and what information? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="31961111"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/31961111/_La_soledad_del_Crucificado_de_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_en_la_redenci%C3%B3n_del_pecado_de_la_humanidad_Los_crucificados_religiosidad_cofrad%C3%ADas_y_arte_Actas_del_Simposium_3_6_IX_2010_San_Lorenzo_del_Escorial_Real_Centro_Universitario_Escorial_Mar%C3%ADa_Cristina_2010_pp_887_906"><img alt="Research paper thumbnail of «La soledad del Crucificado de Sebastián Martínez Domedel en la redención del pecado de la humanidad». Los crucificados, religiosidad, cofradías y arte: Actas del Simposium 3/6-IX-2010. San Lorenzo del Escorial: Real Centro Universitario Escorial-María Cristina, 2010, pp. 887-906." class="work-thumbnail" src="https://attachments.academia-assets.com/52235923/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31961111/_La_soledad_del_Crucificado_de_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_en_la_redenci%C3%B3n_del_pecado_de_la_humanidad_Los_crucificados_religiosidad_cofrad%C3%ADas_y_arte_Actas_del_Simposium_3_6_IX_2010_San_Lorenzo_del_Escorial_Real_Centro_Universitario_Escorial_Mar%C3%ADa_Cristina_2010_pp_887_906">«La soledad del Crucificado de Sebastián Martínez Domedel en la redención del pecado de la humanidad». Los crucificados, religiosidad, cofradías y arte: Actas del Simposium 3/6-IX-2010. San Lorenzo del Escorial: Real Centro Universitario Escorial-María Cristina, 2010, pp. 887-906.</a></div><div class="wp-workCard_item"><span>Los crucificados, religiosidad, cofradías y arte: Actas del Simposium 3/6-IX-2010</span><span>, 2010</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="006f94aa78654418779b374277567aa2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52235923,"asset_id":31961111,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52235923/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31961111"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31961111"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31961111; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31961111]").text(description); $(".js-view-count[data-work-id=31961111]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31961111; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31961111']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31961111, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "006f94aa78654418779b374277567aa2" } } $('.js-work-strip[data-work-id=31961111]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31961111,"title":"«La soledad del Crucificado de Sebastián Martínez Domedel en la redención del pecado de la humanidad». 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Fernández</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dentro del libro VV.AA. (Coord: José Luis Crespo Fajardo). "Estéticas del Media Art". 2013 Aleja...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dentro del libro VV.AA. (Coord: José Luis Crespo Fajardo). "Estéticas del Media Art". 2013<br /><br />Alejada de los ámbitos de la vanguardia española, la <br />provincia de Jaén ha quedado tradicionalmente marginada en <br />cuanto a los estudios sobre arte contemporáneo. A pesar de <br />ello, el arte jiennense de las últimas décadas presenta una gran <br />variedad de expresiones artísticas, enmarcadas entre la <br />tradición y las últimas tendencias. Pretendemos hacer una <br />aproximación a una de las parcelas menos conocidas del actual <br />arte jiennense como es el videoarte que, aunque con menor <br />repercusión en relación a otras artes, sobresale por la <br />presencia de artistas conocidos nacional e internacionalmente <br />como Cristina Lucas, Isidro López Aparicio o Julio Juste, entre <br />otros.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="368bce1a7d094683d43765aa707bb5fb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":35289658,"asset_id":8974657,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/35289658/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="8974657"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="8974657"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 8974657; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=8974657]").text(description); $(".js-view-count[data-work-id=8974657]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 8974657; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='8974657']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 8974657, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "368bce1a7d094683d43765aa707bb5fb" } } $('.js-work-strip[data-work-id=8974657]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":8974657,"title":"Videoarte en Jaén","translated_title":"","metadata":{"abstract":"Dentro del libro VV.AA. 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[En] LÓPEZ CALDERÓN, Carme; FERNÁNDEZ VALLE, María Ángeles; RODRÍGUEZ MOYA, María Inmaculada (coord.): Barroco Iberoamericano: Identidades culturales de un Imperio. Santiago de Compostela: Andavira, 2013, pp. 389-406." class="work-thumbnail" src="https://attachments.academia-assets.com/52204650/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31925231/_Claves_estil%C3%ADsticas_y_formales_en_torno_a_la_paleta_de_Sebasti%C3%A1n_Mart%C3%ADnez_En_L%C3%93PEZ_CALDER%C3%93N_Carme_FERN%C3%81NDEZ_VALLE_Mar%C3%ADa_%C3%81ngeles_RODR%C3%8DGUEZ_MOYA_Mar%C3%ADa_Inmaculada_coord_Barroco_Iberoamericano_Identidades_culturales_de_un_Imperio_Santiago_de_Compostela_Andavira_2013_pp_389_406">«Claves estilísticas y formales en torno a la paleta de Sebastián Martínez». [En] LÓPEZ CALDERÓN, Carme; FERNÁNDEZ VALLE, María Ángeles; RODRÍGUEZ MOYA, María Inmaculada (coord.): Barroco Iberoamericano: Identidades culturales de un Imperio. Santiago de Compostela: Andavira, 2013, pp. 389-406.</a></div><div class="wp-workCard_item"><span>Barroco Iberoamericano: Identidades culturales de un Imperio</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sebastián Martínez Domedel (1615/1620-1667) es el exponente más destacado de la pintura barroca g...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sebastián Martínez Domedel (1615/1620-1667) es el exponente más destacado de la pintura barroca giennense. Desarrolló su carrera durante la primera mitad del siglo XVII en Jaén, su ciudad natal, siendo reconocido en 1640 como maestro de la pintura. Su buen hacer en este arte fue destacado por Palomino, Ceán Bermúdez o Antonio Ponz. Con el paso del tiempo su estela se fue diluyendo, siendo en la actualidad una figura enigmática y poco estudiada dentro de la pintura barroca andaluza. El eclecticismo de su paleta y la versatilidad de su estilo han dificultado el estudio de su obra, no obstante, la corrección en el dibujo, su gusto por las composiciones manieristas y la forma anieblada de sus obras, son el sello de identidad de una personalidad artística configurada en un constante y continuo proceso formativo, gestado durante los viajes que realizó a Córdoba y a Madrid. También fueron decisivos los contactos, directos o indirectos, que tuvo con otros grandes artistas de la época como Ribera, Antonio del Castillo, Alonso Cano o Velázquez. La presente comunicación pretende concretar las claves de la paleta de Sebastián Martínez y analizar la capacidad de este artista giennense a la hora de asimilar los recursos artísticos ajenos e interpretarlos de forma personal.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fec18dbd858b0907e8ff675bbc5b7a97" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52204650,"asset_id":31925231,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52204650/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31925231"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31925231"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31925231; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31925231]").text(description); $(".js-view-count[data-work-id=31925231]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31925231; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31925231']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31925231, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fec18dbd858b0907e8ff675bbc5b7a97" } } $('.js-work-strip[data-work-id=31925231]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31925231,"title":"«Claves estilísticas y formales en torno a la paleta de Sebastián Martínez». [En] LÓPEZ CALDERÓN, Carme; FERNÁNDEZ VALLE, María Ángeles; RODRÍGUEZ MOYA, María Inmaculada (coord.): Barroco Iberoamericano: Identidades culturales de un Imperio. Santiago de Compostela: Andavira, 2013, pp. 389-406.","translated_title":"","metadata":{"issue":"978-84-8408-743-4","volume":"1","abstract":"Sebastián Martínez Domedel (1615/1620-1667) es el exponente más destacado de la pintura barroca giennense. Desarrolló su carrera durante la primera mitad del siglo XVII en Jaén, su ciudad natal, siendo reconocido en 1640 como maestro de la pintura. Su buen hacer en este arte fue destacado por Palomino, Ceán Bermúdez o Antonio Ponz. Con el paso del tiempo su estela se fue diluyendo, siendo en la actualidad una figura enigmática y poco estudiada dentro de la pintura barroca andaluza. El eclecticismo de su paleta y la versatilidad de su estilo han dificultado el estudio de su obra, no obstante, la corrección en el dibujo, su gusto por las composiciones manieristas y la forma anieblada de sus obras, son el sello de identidad de una personalidad artística configurada en un constante y continuo proceso formativo, gestado durante los viajes que realizó a Córdoba y a Madrid. También fueron decisivos los contactos, directos o indirectos, que tuvo con otros grandes artistas de la época como Ribera, Antonio del Castillo, Alonso Cano o Velázquez. 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El eclecticismo de su paleta y la versatilidad de su estilo han dificultado el estudio de su obra, no obstante, la corrección en el dibujo, su gusto por las composiciones manieristas y la forma anieblada de sus obras, son el sello de identidad de una personalidad artística configurada en un constante y continuo proceso formativo, gestado durante los viajes que realizó a Córdoba y a Madrid. También fueron decisivos los contactos, directos o indirectos, que tuvo con otros grandes artistas de la época como Ribera, Antonio del Castillo, Alonso Cano o Velázquez. 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personal.","internal_url":"https://www.academia.edu/31925231/_Claves_estil%C3%ADsticas_y_formales_en_torno_a_la_paleta_de_Sebasti%C3%A1n_Mart%C3%ADnez_En_L%C3%93PEZ_CALDER%C3%93N_Carme_FERN%C3%81NDEZ_VALLE_Mar%C3%ADa_%C3%81ngeles_RODR%C3%8DGUEZ_MOYA_Mar%C3%ADa_Inmaculada_coord_Barroco_Iberoamericano_Identidades_culturales_de_un_Imperio_Santiago_de_Compostela_Andavira_2013_pp_389_406","translated_internal_url":"","created_at":"2017-03-18T16:26:59.170-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":61722037,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":52204650,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/52204650/thumbnails/1.jpg","file_name":"Separata_Rafael_Mantas_Fernandez.pdf","download_url":"https://www.academia.edu/attachments/52204650/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Claves_estilisticas_y_formales_en_torno.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/52204650/Separata_Rafael_Mantas_Fernandez-libre.pdf?1489880074=\u0026response-content-disposition=attachment%3B+filename%3DClaves_estilisticas_y_formales_en_torno.pdf\u0026Expires=1733350477\u0026Signature=Qj-vVPEQzJOOUzV1MVT1JAMkSQ7aeaoEKTo5SHocDtUseCPqhpoX9Wsv0MGpfTw37RJmcWBj9IBrqivaTWD8oSc3KP1Ux8mHkPu-~LANB5g9p3wT4ZzRxngQ3cUo~vcPGf6YC7I5XWk~sAV3sl3Hu-SBB0oODE1saXlMLg1SiIpzRdwSnExAhkBYZFkHUIcXlNGxilJd2cbGxoVr9vELRPjF~zpzJSwnBabwDeCwV7-b~t6319nLUUnTZyWsee005TRG1RQxjeppUHC2BtlMGWsDrcjCe7xP~NG0WmUI7ZK4W6EPA~VskBLYL7bC7YLXdS0FM~ZbdICHVmheXKnScw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_Claves_estilísticas_y_formales_en_torno_a_la_paleta_de_Sebastián_Martínez_En_LÓPEZ_CALDERÓN_Carme_FERNÁNDEZ_VALLE_María_Ángeles_RODRÍGUEZ_MOYA_María_Inmaculada_coord_Barroco_Iberoamericano_Identidades_culturales_de_un_Imperio_Santiago_de_Compostela_Andavira_2013_pp_389_406","translated_slug":"","page_count":32,"language":"es","content_type":"Work","owner":{"id":61722037,"first_name":"Rafael","middle_initials":null,"last_name":"Mantas 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href="https://www.academia.edu/31961606/_Conservaci%C3%B3n_del_Arte_urbano_en_Ja%C3%A9n_En_Conservaci%C3%B3n_de_Arte_Contempor%C3%A1neo_14a_Jornada_febrero_2013_Madrid_Museo_Nacional_y_Centro_de_Arte_Reina_Sof%C3%ADa_2013_pp_195_210"><img alt="Research paper thumbnail of «Conservación del Arte urbano en Jaén». [En] Conservación de Arte Contemporáneo: 14ª Jornada (febrero, 2013). Madrid: Museo Nacional y Centro de Arte Reina Sofía, 2013, pp. 195-210." class="work-thumbnail" src="https://attachments.academia-assets.com/52236338/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31961606/_Conservaci%C3%B3n_del_Arte_urbano_en_Ja%C3%A9n_En_Conservaci%C3%B3n_de_Arte_Contempor%C3%A1neo_14a_Jornada_febrero_2013_Madrid_Museo_Nacional_y_Centro_de_Arte_Reina_Sof%C3%ADa_2013_pp_195_210">«Conservación del Arte urbano en Jaén». [En] Conservación de Arte Contemporáneo: 14ª Jornada (febrero, 2013). Madrid: Museo Nacional y Centro de Arte Reina Sofía, 2013, pp. 195-210.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Conservación de Arte Contemporáneo: 14ª Jornada</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En la ciudad de Jaén están documentados una cincuentena de hitos urbanos dispersos por diversas v...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En la ciudad de Jaén están documentados una cincuentena de hitos urbanos dispersos por diversas vías y espacios abiertos de la misma, con un variado repertorio de técnicas, estilos y materiales.La finalidad de este texto es analizar las diferentes patologías que presentan todos los monumentos del patrimonio jiennense, degradación que viene causada por las condiciones climatológicas, la contaminación y la suciedad, las acciones deplorables del hombre, o la mala gestión por parte de las administraciones. Con ello pretendemos denunciar el mediocre estado de conservación de este patrimonio urbano, fomentando la concienciación de la ciudadanía para lograr su recuperación y conservación para las generaciones venideras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="32a2a1daee93cb322a919003e7c91917" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52236338,"asset_id":31961606,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52236338/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31961606"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31961606"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31961606; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31961606]").text(description); $(".js-view-count[data-work-id=31961606]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31961606; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31961606']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31961606, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "32a2a1daee93cb322a919003e7c91917" } } $('.js-work-strip[data-work-id=31961606]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31961606,"title":"«Conservación del Arte urbano en Jaén». [En] Conservación de Arte Contemporáneo: 14ª Jornada (febrero, 2013). Madrid: Museo Nacional y Centro de Arte Reina Sofía, 2013, pp. 195-210.","translated_title":"","metadata":{"abstract":"En la ciudad de Jaén están documentados una cincuentena de hitos urbanos dispersos por diversas vías y espacios abiertos de la misma, con un variado repertorio de técnicas, estilos y materiales.La finalidad de este texto es analizar las diferentes patologías que presentan todos los monumentos del patrimonio jiennense, degradación que viene causada por las condiciones climatológicas, la contaminación y la suciedad, las acciones deplorables del hombre, o la mala gestión por parte de las administraciones. 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Dentro de la provincia de Jaén destacan las Escuelas de Artes y Oficios de Jaén, Baeza y Ubeda, que jugaron un papel fundamental en la formación artística de los artistas de esta provincia. En este breve trabajo se analiza la historia de estos tres centros educativos, así como unas pinceladas sobre varios de los profesores y alumnos que pasaron por sus aulas (algunos de los cuales son considerados como algunos de los artistas contemporáneos más relevantes de la provincia).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="41bc344d7a24d1c0ca347d68075b9bba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41079366,"asset_id":20225060,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41079366/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20225060"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20225060"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20225060; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20225060]").text(description); $(".js-view-count[data-work-id=20225060]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20225060; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='20225060']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 20225060, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "41bc344d7a24d1c0ca347d68075b9bba" } } $('.js-work-strip[data-work-id=20225060]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":20225060,"title":"La formación artística en la provincia de Jaén: las escuelas de artes y oficios","translated_title":"","metadata":{"abstract":"Herederas de los gremios medievales, las Escuelas de Artes y Oficios surgieron a finales del siglo XIX con el fin de promover las artes y las industrias, teniendo como principal objetivo la educación del artesano y del obrero. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="32023469"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/32023469/_Textiles_y_orfebrer%C3%ADa_en_la_Sacrist%C3%ADa_de_la_Catedral_de_Ja%C3%A9n_En_QUIROSA_GARC%C3%8DA_Victoria_coord_Laboratorio_de_Arte_sensibilizaci%C3%B3n_y_conocimiento_del_Patrimonio_Hist%C3%B3rico_en_la_Provincia_de_Ja%C3%A9n_Ja%C3%A9n_Universidad_de_Ja%C3%A9n_2016_pp_619_651"><img alt="Research paper thumbnail of «Textiles y orfebrería en la Sacristía de la Catedral de Jaén». [En] QUIROSA GARCÍA, Victoria (coord.): Laboratorio de Arte: sensibilización y conocimiento del Patrimonio Histórico en la Provincia de Jaén. Jaén: Universidad de Jaén, 2016, pp. 619-651." class="work-thumbnail" src="https://attachments.academia-assets.com/52288098/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32023469/_Textiles_y_orfebrer%C3%ADa_en_la_Sacrist%C3%ADa_de_la_Catedral_de_Ja%C3%A9n_En_QUIROSA_GARC%C3%8DA_Victoria_coord_Laboratorio_de_Arte_sensibilizaci%C3%B3n_y_conocimiento_del_Patrimonio_Hist%C3%B3rico_en_la_Provincia_de_Ja%C3%A9n_Ja%C3%A9n_Universidad_de_Ja%C3%A9n_2016_pp_619_651">«Textiles y orfebrería en la Sacristía de la Catedral de Jaén». [En] QUIROSA GARCÍA, Victoria (coord.): Laboratorio de Arte: sensibilización y conocimiento del Patrimonio Histórico en la Provincia de Jaén. Jaén: Universidad de Jaén, 2016, pp. 619-651.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div><div class="wp-workCard_item"><span>Laboratorio de Arte: sensibilización y conocimiento del Patrimonio Histórico en la Provincia de Jaén</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente trabajo recoge el resultado del Inventario-Catalogación de los textiles y orfebrería ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente trabajo recoge el resultado del Inventario-Catalogación de los textiles y orfebrería de la Sacristía de la S.I. Catedral de Jaén, realizado entre los meses de junio y octubre de 2010. El interés del estudio reside en exponer y difundir obras hasta ahora desconocidas, así como autores no estudiados y explicar la metodología de trabajo y los criterios de conservación.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ca2a064856ca713b21b00ba6c3f98e09" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52288098,"asset_id":32023469,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52288098/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32023469"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32023469"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32023469; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32023469]").text(description); $(".js-view-count[data-work-id=32023469]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32023469; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='32023469']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 32023469, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ca2a064856ca713b21b00ba6c3f98e09" } } $('.js-work-strip[data-work-id=32023469]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":32023469,"title":"«Textiles y orfebrería en la Sacristía de la Catedral de Jaén». 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34528408"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34528408/Investigaci%C3%B3n_y_restauraci%C3%B3n_dos_factores_esenciales_para_la_puesta_en_valor_de_la_obra_del_pintor_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel"><img alt="Research paper thumbnail of Investigación y restauración: dos factores esenciales para la puesta en valor de la obra del pintor Sebastián Martínez Domedel" class="work-thumbnail" src="https://attachments.academia-assets.com/54393647/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34528408/Investigaci%C3%B3n_y_restauraci%C3%B3n_dos_factores_esenciales_para_la_puesta_en_valor_de_la_obra_del_pintor_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel">Investigación y restauración: dos factores esenciales para la puesta en valor de la obra del pintor Sebastián Martínez Domedel</a></div><div class="wp-workCard_item"><span>Libro de Actas del XI congreso internacional virtual sobre Turismo y Desarrollo / VII Simposio virtual Internacional Valor y Sugestión del Patrimonio Artístico y Cultural</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A excepción de las grandes figuras de la pintura barroca española,-como Velázquez, Murillo o Ribe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A excepción de las grandes figuras de la pintura barroca española,-como Velázquez, Murillo o Ribera-las referencias historiográficas que nos han llegado sobre los artistas que trabajaron durante el siglo XVII son discretas. Así, la mayoría de ellos han sido relegados a un segundo plano en la Historia del Arte. Sin embargo, esta situación está cambiando gracias a los recientes trabajos que centran su atención en estos pintores olvidados y en el estudio de sus producciones pictóricas, generalmente descuidadas por el paso del tiempo. Sebastián Martínez Domedel (Jaén, 1615/1620 – Madrid, 1667) ilustra perfectamente esta situación. A pesar de gozar de gran prestigio en vida, su nombre ha pasado desapercibido durante mucho tiempo, aunque las recientes actividades de investigación y restauración están siendo claves para rehabilitar la valoración crítica en torno su figura y su obra.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a6f9bc08689a6f0b810db98085fced9d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54393647,"asset_id":34528408,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54393647/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34528408"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34528408"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34528408; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34528408]").text(description); $(".js-view-count[data-work-id=34528408]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34528408; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34528408']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 34528408, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a6f9bc08689a6f0b810db98085fced9d" } } $('.js-work-strip[data-work-id=34528408]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34528408,"title":"Investigación y restauración: dos factores esenciales para la puesta en valor de la obra del pintor Sebastián Martínez Domedel","translated_title":"","metadata":{"issue":"978-84-16874-52-1","abstract":"A excepción de las grandes figuras de la pintura barroca española,-como Velázquez, Murillo o Ribera-las referencias historiográficas que nos han llegado sobre los artistas que trabajaron durante el siglo XVII son discretas. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36926572"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36926572/Reconstrucci%C3%B3n_de_Posguerra_La_intervenci%C3%B3n_de_la_Direcci%C3%B3n_General_de_Regiones_Devastadas_en_la_arquitectura_religiosa_de_la_provincia_de_Ja%C3%A9n"><img alt="Research paper thumbnail of Reconstrucción de Posguerra. La intervención de la Dirección General de Regiones Devastadas en la arquitectura religiosa de la provincia de Jaén" class="work-thumbnail" src="https://attachments.academia-assets.com/56876771/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36926572/Reconstrucci%C3%B3n_de_Posguerra_La_intervenci%C3%B3n_de_la_Direcci%C3%B3n_General_de_Regiones_Devastadas_en_la_arquitectura_religiosa_de_la_provincia_de_Ja%C3%A9n">Reconstrucción de Posguerra. La intervención de la Dirección General de Regiones Devastadas en la arquitectura religiosa de la provincia de Jaén</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Dirección General de Regiones Devastadas y Reparaciones fue un organismo creado en 1938, cuyo ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Dirección General de Regiones Devastadas y Reparaciones fue un organismo creado en 1938, cuyo fin principal fue reparar y reconstruir todo tipo de daños llevados a cabo durante la Guerra Civil. Con el fin de organizar las labores de reconstrucción, el territorio español quedaría dividido en siete comisiones de zona cada una de las cuales estaría bajo la dirección de un arquitecto principal.<br />La provincia de Jaén se situaría dentro de la Séptima Zona (Andalucía Oriental), cuyo responsable era el arquitecto Francisco Prieto-Moreno, quien centralizaría todos los trabajos desde la Oficina Comarcal de Andújar. Colaborador directo suyo y continuador de su obra sería Ramón Pajares Pardo, considerado como uno de los principales arquitectos en la provincia de Jaén durante el Franquismo. <br />Si bien su campo de actuación fue variado (proyectando ayuntamientos, colegios, mercados, etc.), es en el campo de la arquitectura religiosa donde más va a sobresalir, llevando a cabo tanto intervenciones puntuales como reconstrucciones de carácter global. A pesar de su importancia, es un arquitecto poco conocido del que pretendemos arrojar más luz a partir de la documentación extraída de las diversas fuentes consultadas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4dba8402f4a4205cf9cffc5a71d64758" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56876771,"asset_id":36926572,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56876771/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36926572"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36926572"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36926572; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36926572]").text(description); $(".js-view-count[data-work-id=36926572]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36926572; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36926572']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36926572, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4dba8402f4a4205cf9cffc5a71d64758" } } $('.js-work-strip[data-work-id=36926572]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36926572,"title":"Reconstrucción de Posguerra. 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Universidad Pablo de Olavide, Sevilla, 2018" class="work-thumbnail" src="https://attachments.academia-assets.com/97049945/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/94652959/_Rese%C3%B1a_ALMANSA_MORENO_Jos%C3%A9_Manuel_MART%C3%8DNEZ_JIM%C3%89NEZ_Nuria_y_QUILES_GARC%C3%8DA_Fernando_eds_Pintura_mural_en_la_Edad_Moderna_entre_Andaluc%C3%ADa_e_Iberoam%C3%A9rica_Universidad_Pablo_de_Olavide_Sevilla_2018">[Reseña] ALMANSA MORENO, José Manuel, MARTÍNEZ JIMÉNEZ, Nuria y QUILES GARCÍA, Fernando (eds.): Pintura mural en la Edad Moderna entre Andalucía e Iberoamérica. Universidad Pablo de Olavide, Sevilla, 2018</a></div><div class="wp-workCard_item"><span>Boletín de Arte</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: https://doi.org/10.24310/BoLArte.2022.vi43.14244 A lo largo de la historia, la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en:  <a href="https://doi.org/10.24310/BoLArte.2022.vi43.14244" rel="nofollow">https://doi.org/10.24310/BoLArte.2022.vi43.14244</a> <br /> <br />A lo largo de la historia, la pintura mural ha sido determinante en la configuración de la imagen de muchos edificios, siendo denominada en más de una ocasión como la piel de la arquitectura. Sin embargo, se trata de una técnica pictórica que en numerosas ocasiones ha sido infravalorada injustamente por la historiografía de la Historia del Arte por la ausencia de títulos que aborden el tema de forma específica. <br /> <br />Ante la necesidad de revertir esta realidad surge la publicación Pintura mural en la Edad Moderna entre Andalucía e Iberoamérica. Se trata del segundo volumen de la colección Universo Barroco, publicado en 2018 por EnredArs Publicaciones (Universidad Pablo de Olavide, Sevilla) y editado por José Manuel Almansa Moreno, Nuria Martínez Jiménez y Fernando Quiles García, todos ellos investigadores con una amplia y reconocida trayectoria científica. <br /> <br />Según exponen los editores en el prólogo, esta monografía recoge las intervenciones presentadas el 21 de abril de 2017 en el seminario «Pintura mural andaluza en la Edad Moderna», bajo la dirección de José Manuel Almansa Moreno y Nuria Martínez Jiménez, en colaboración con la Facultad de Humanidades y Ciencias de la Educación y del Departamento de Patrimonio Histórico (Área de Historia del Arte) de la Universidad de Jaén. Todos estos trabajos centraban su atención en distintas técnicas pictóricas y elementos de conservación de la producción muralista de Andalucía durante el Renacimiento y el Barroco. La publicación incluye además otros estudios que profundizan en la línea de investigación americanista, con la intención de analizar las relaciones históricas y artísticas del territorio andaluz con otras zonas de Europa e Iberoamérica.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3f1bc76cb101d95876377a0510e1d2f1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":97049945,"asset_id":94652959,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/97049945/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94652959"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94652959"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94652959; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94652959]").text(description); $(".js-view-count[data-work-id=94652959]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94652959; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94652959']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 94652959, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3f1bc76cb101d95876377a0510e1d2f1" } } $('.js-work-strip[data-work-id=94652959]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94652959,"title":"[Reseña] ALMANSA MORENO, José Manuel, MARTÍNEZ JIMÉNEZ, Nuria y QUILES GARCÍA, Fernando (eds.): Pintura mural en la Edad Moderna entre Andalucía e Iberoamérica. 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La publicación incluye además otros estudios que profundizan en la línea de investigación americanista, con la intención de analizar las relaciones históricas y artísticas del territorio andaluz con otras zonas de Europa e Iberoamérica.","page_numbers":"2","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Boletín de Arte"},"translated_abstract":"Disponible en: https://doi.org/10.24310/BoLArte.2022.vi43.14244\r\n\r\nA lo largo de la historia, la pintura mural ha sido determinante en la configuración de la imagen de muchos edificios, siendo denominada en más de una ocasión como la piel de la arquitectura. 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Sevilla: Diputación de Sevilla, 2018." class="work-thumbnail" src="https://attachments.academia-assets.com/59915394/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39736554/_Rese%C3%B1a_BESA_GUTIERREZ_R_El_Museo_de_Bellas_Artes_de_Sevilla_en_el_siglo_XIX_Sevilla_Diputaci%C3%B3n_de_Sevilla_2018">[Reseña] BESA GUTIERREZ, R.: El Museo de Bellas Artes de Sevilla en el siglo XIX. Sevilla: Diputación de Sevilla, 2018.</a></div><div class="wp-workCard_item"><span>Revista PH: Boletín del Instituto Andaluz de Patrimonio Histórico</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: https://doi.org/10.33349/2019.97.4408 El Museo de Bellas Artes de Sevilla en el...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="https://doi.org/10.33349/2019.97.4408" rel="nofollow">https://doi.org/10.33349/2019.97.4408</a> <br /> <br />El Museo de Bellas Artes de Sevilla en el siglo XIX es un estudio de Rafael de Besa Gutiérrez. A través de una lectura ágil y una cuidada edición, el autor hace una nueva lectura sobre la historia del Museo de Bellas Artes de Sevilla, ampliando notablemente el conocimiento aportado por Gestoso, Hernández Díaz o Gonzalo Bilbao, gracias a la revisión e incorporación de novedosas noticias respaldadas por un importante trabajo desarrollado desde el punto de vista documental y bibliográfico que dotan al estudio de un gran rigor científico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eb23e2fdc68e1f43a32d5d0d7782eed7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59915394,"asset_id":39736554,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59915394/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39736554"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39736554"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39736554; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39736554]").text(description); $(".js-view-count[data-work-id=39736554]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39736554; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39736554']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39736554, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "eb23e2fdc68e1f43a32d5d0d7782eed7" } } $('.js-work-strip[data-work-id=39736554]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39736554,"title":"[Reseña] BESA GUTIERREZ, R.: El Museo de Bellas Artes de Sevilla en el siglo XIX. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10249186" id="número252019"><div class="js-work-strip profile--work_container" data-work-id="42442821"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42442821/Un_San_Antonio_de_Padua_con_el_Ni%C3%B1o_in%C3%A9dito_de_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_en_el_museo_del_Monasterio_de_Poblet"><img alt="Research paper thumbnail of Un San Antonio de Padua con el Niño inédito de Sebastián Martínez Domedel en el museo del Monasterio de Poblet" class="work-thumbnail" src="https://attachments.academia-assets.com/62620686/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42442821/Un_San_Antonio_de_Padua_con_el_Ni%C3%B1o_in%C3%A9dito_de_Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_en_el_museo_del_Monasterio_de_Poblet">Un San Antonio de Padua con el Niño inédito de Sebastián Martínez Domedel en el museo del Monasterio de Poblet</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://upo.academia.edu/AtrioRevistadeHistoriadelArte">Atrio. Revista de Historia del Arte</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MuseuPoblet">Museu Poblet</a></span></div><div class="wp-workCard_item"><span>Atrio. Revista de Historia del Arte</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: https://www.upo.es/revistas/index.php/atrio/article/view/4260 Resumen: La creac...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="https://www.upo.es/revistas/index.php/atrio/article/view/4260" rel="nofollow">https://www.upo.es/revistas/index.php/atrio/article/view/4260</a> <br /> <br />Resumen: La creación de nuevos espacios expositivos de las instituciones museísticas o la mejora de sus instalaciones suponen una gran oportunidad para la realización de nuevos estudios de los inventarios y los catálogos de sus fondos artísticos. Así, las actividades de revisión y actualización de su información suelen arrojar nueva luz e interesantes novedades como la asignación de nuevas atribuciones sobre obras que hasta la fecha estaban catalogadas como anónimas. Gracias a la realización de estos trabajos, se ha ampliado el conocimiento en torno al lienzo de San Antonio de Padua con el Niño del museo del Real Monasterio de Poblet (Tarragona) al relacionar su autoría con el pintor Sebastián Martínez Domedel. Se trata por tanto de la presentación de una obra inédita que se incorpora al catálogo de este artista del siglo XVII. <br /> <br />Abstract: The creation of new exhibition spaces and the improvement of museum facilities represents a great opportunity for the realization of new studies regarding their art inventories and catalogs. In this way, the review and updating of existing information sheds new light on the works, including interesting developments such as the designation of works which until now were cataloged as anonymous. Thanks to the completion of these projects, knowledge surrounding the canvas Saint Anthony of Padua with the Child in the Real Monastery of Poblet Museum (Tarragona) has been extended, attributing its authorship to the painter Sebastián Martínez Domedel. Presented here is an unpublished work that is included in this XVII century artist’s catalog.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cc3dd9e69639ae94cb1632cec31d7fd5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62620686,"asset_id":42442821,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62620686/download_file?st=MTczMzM0Njg3Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42442821"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42442821"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42442821; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42442821]").text(description); $(".js-view-count[data-work-id=42442821]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42442821; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42442821']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42442821, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cc3dd9e69639ae94cb1632cec31d7fd5" } } $('.js-work-strip[data-work-id=42442821]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42442821,"title":"Un San Antonio de Padua con el Niño inédito de Sebastián Martínez Domedel en el museo del Monasterio de Poblet","translated_title":"","metadata":{"abstract":"Disponible en: https://www.upo.es/revistas/index.php/atrio/article/view/4260\r\n\r\nResumen: La creación de nuevos espacios expositivos de las instituciones museísticas o la mejora de sus instalaciones suponen una gran oportunidad para la realización de nuevos estudios de los inventarios y los catálogos de sus fondos artísticos. 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Un pintor giennense del seiscientos." class="work-thumbnail" src="https://attachments.academia-assets.com/62731668/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42543173/Sebasti%C3%A1n_Mart%C3%ADnez_Domedel_Un_pintor_giennense_del_seiscientos">Sebastián Martínez Domedel. Un pintor giennense del seiscientos.</a></div><div class="wp-workCard_item"><span>Universidad de Jaén</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disponible en: http://hdl.handle.net/10953/981 Sebastián Martínez Domedel es el exponente más ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disponible en: <a href="http://hdl.handle.net/10953/981" rel="nofollow">http://hdl.handle.net/10953/981</a> <br /> <br />Sebastián Martínez Domedel es el exponente más destacado de la pintura barroca giennense. El eclecticismo de su paleta y la versatilidad de su estilo han dificultado el estudio de su obra, no obstante, la corrección en el dibujo, su gusto por las composiciones manieristas y la forma anieblada de sus obras, son el sello de identidad de una personalidad artística configurada en un constante y continuo proceso formativo, gestado durante los viajes que realizó a Córdoba y a Madrid. También fueron decisivos los contactos, directos o indirectos, que tuvo con otros grandes artistas de la época como Ribera, Antonio del Castillo, Alonso Cano o Velázquez. La presente Tesis Doctoral pretende profundizar el conocimiento sobre su vida y concretar las claves de su estilo. <br /> <br />Sebastian Martinez Domedel is the most prominent exponent of the Baroque painting of Jaén. The eclecticism of his palette and the versatility of his style have hampered the study of his work. However, the correction of his drawing, his taste for Mannerist compositions and the way he darkens of his works, are the hallmark of an artistic personality set to a constant and continuous training process developed during the trips he made to Cordoba and Madrid. It was also decisive his contact, both direct and indirect, with other great artists of the time such as Ribera, Antonio del Castillo, Alonso Cano and Velazquez. This Doctoral Thesis aims to deepen the knowledge about life and to implement the keys to his style.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e95b5bf3a37d2c7fa06ea37fe098b098" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62731668,"asset_id":42543173,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62731668/download_file?st=MTczMzM0Njg3OCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42543173"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42543173"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42543173; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42543173]").text(description); $(".js-view-count[data-work-id=42543173]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42543173; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42543173']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42543173, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e95b5bf3a37d2c7fa06ea37fe098b098" } } $('.js-work-strip[data-work-id=42543173]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42543173,"title":"Sebastián Martínez Domedel. 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La presente Tesis Doctoral pretende profundizar el conocimiento sobre su vida y concretar las claves de su estilo.\r\n\r\nSebastian Martinez Domedel is the most prominent exponent of the Baroque painting of Jaén. The eclecticism of his palette and the versatility of his style have hampered the study of his work. However, the correction of his drawing, his taste for Mannerist compositions and the way he darkens of his works, are the hallmark of an artistic personality set to a constant and continuous training process developed during the trips he made to Cordoba and Madrid. It was also decisive his contact, both direct and indirect, with other great artists of the time such as Ribera, Antonio del Castillo, Alonso Cano and Velazquez. This Doctoral Thesis aims to deepen the knowledge about life and to implement the keys to his style.","more_info":"Disponible en: http://hdl.handle.net/10953/981","page_numbers":"505","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Universidad de Jaén"},"translated_abstract":"Disponible en: http://hdl.handle.net/10953/981\r\n\r\nSebastián Martínez Domedel es el exponente más destacado de la pintura barroca giennense. El eclecticismo de su paleta y la versatilidad de su estilo han dificultado el estudio de su obra, no obstante, la corrección en el dibujo, su gusto por las composiciones manieristas y la forma anieblada de sus obras, son el sello de identidad de una personalidad artística configurada en un constante y continuo proceso formativo, gestado durante los viajes que realizó a Córdoba y a Madrid. También fueron decisivos los contactos, directos o indirectos, que tuvo con otros grandes artistas de la época como Ribera, Antonio del Castillo, Alonso Cano o Velázquez. La presente Tesis Doctoral pretende profundizar el conocimiento sobre su vida y concretar las claves de su estilo.\r\n\r\nSebastian Martinez Domedel is the most prominent exponent of the Baroque painting of Jaén. The eclecticism of his palette and the versatility of his style have hampered the study of his work. However, the correction of his drawing, his taste for Mannerist compositions and the way he darkens of his works, are the hallmark of an artistic personality set to a constant and continuous training process developed during the trips he made to Cordoba and Madrid. It was also decisive his contact, both direct and indirect, with other great artists of the time such as Ribera, Antonio del Castillo, Alonso Cano and Velazquez. 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