Presencia Del Neoclásico en El Peru

7/25/2019 Presencia Del Neoclsico en El Peru

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FACULTAD DE ARQUITECTURA, URBANISMO Y

ARTES

CURSO : ARQUITECTURA PERUNA IITEMA: LA PRESENCIA DEL NEOCLASICA EN EL PERU

DOCENTE: MARMANILLO CASAPINO LUIS

INTEGRANTES : CONTRERAS BERMUDEZ ALDAIR ABANTO PARRAMO VICTOR

Trujillo, junio del 2016

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INDICE............................................................................................................................ 1PRESENCIA DEL NEOCLSICO EN LE PERU..........................................................4

1 SURGIMIENTO Y DESARROLLO DEL NEOCLSICO EN EURO A .........4OM EYA ........................................................................................................5

1!1 AR"UITECTURA NEOCLSICA EURO EA ..........................................61!2 LA INTURA NEOCLASICA ..................................................................81!# ESCULTURA NEOCLASICA ...................................................................92! SURGIMIENTO DEL NEOCLSICO EN EL ER$ .................................12!1 LA INDE ENDENCIA DEL ER$ .......................................................12!2 EL ACADEMISISMO ............................................................................14

#! IN%LUENCIA DEL DESARROLLO DEL NEOCLSICO EN EL ER$ .......16#!1! AS ECTO OL&TICO! .........................................................................16#!2! AS ECTO SOCIAL! ............................................................................16#!#! AS ECTO ART&STICO ........................................................................16#!'! AS ECTO EDUCATI(O ......................................................................1!

'! DESARROLLO DEL NEOCLSICO EN EL ER$ .....................................18'!1! AR"UITECTURA NEOCLSICA EN EL ER$ ...................................18'!2 INTURA NEOCLSICA EN EL ER$ ...............................................19

'!#! ESCULTURA NEOCLSICA EN EL ER$ ......................................... ")! CONCLUSIONES* ...................................................................................6! +I+LIOGRA%IA.........................................................................................! LIN-OGRA%&A*.........................................................................................


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PRESENCIA DEL NEOCLSICO EN LE PERU

1 SURGIMIENTO Y DESARROLLO DEL NEOCLSICO ENEURO A

E$ %&'($)*+(' * - & &% E -'/0 (' ' -&*/ &*20 0 $03&* +-2 0- 0% 3&$ 0--'(' 7 &$ -'('( , & *& & (&3 0% &%'-%0 &%2' *+% *&%2+3' %+ ; %(+'%0$+303 )* 0$$) 3& $'3&('-02+ '.

E$


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OM EYA

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1!1 AR"UITECTURA NEOCLSICA EURO EAE% &*&%(+0 $0 0- +2&(2 -0 %&'($)*+(0-&/-'3 (& $0* ;'- 0* &%&-030* /'- $'*

-+& '* 7 -' 0%'*, 0* %' 20-30 %* /-+ +- 2'30 -&;&-&%(+0 0 $0* &3+30*3&$ ( &-/' < 0%' /-& -+&%3' &$ % & '*+*2& 0 2-+(' 3&(+ 0$ 03'/203' /'-$'* ;-0%(&*&* ;0 '-&(+&%3' $0'% &%20$+303.U*0 $'* * '$'* 7 '2+ '*-&3&*( +&-2'* &% $'* & $&* 7&3+ (+'* 3& P' /&70 7 &-( $0%' ( 70*& (0 0(+'%&* (' &%@0-'% 0 &3+03'*3&$ *. GVIII, + / $*030* /'- &$ -&7 C0-$'*III.D&*/ * 3&$ 0--'(' 7 &$ -'('( &$

%&'($)*+(' -&/-&*&%20 %0*+ /$+ (0(+ %H $0* $ %&0* -&(20%/-&3' +%0% *' -& $0* ( - 0*, & +*2&%&%'* ('%2-0*2&* 3& '$ &%&*, &%'*03'-%'*, $0 *+ &2- 0 *& &%&-0$+@0,3+%2&$&* 7 ('$ %0* -&& /$0@0% 0 $'*0-('*. L'* ;-'%2'%&* 2-+0% $0-&* 0 '*(+-( $0-&* 7 $0* 0$0 *2-030* -&0/0-&(&%*' -& $'* &3+ (+'*. L'* '$ &%&*3' +%0%2&* *'% &$ ( ' 7 $0 &*;&-0 (' ';'- 0* &' 2-+(0* & -&/-&*&%20% $0/&-;&((+ %.

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1!2 LA INTURA NEOCLASICAB *(0 07'- *' -+&303 &% $0 ;'- 0 7 $'* ;'%3'*2-020%3' 3& '$ &- 0 $'* +3&0$&* ($)*+('*

K*&%(+$$&@ 7 0- '% 0 , &% &*20 /-&3' +%' &$3+ J' 7 $0 ;'- 0, *' -& &$ ('$'-+3', -&;'-@0%3'&$ 2-0203' 3& $0 $ @ ($0-0 7 ;- 0 &% $0* &*(&%0*. E$($0-' '*( -' *& 2+$+@0 0, ('% %0 +$ +%0(+ % 0$'* /&-*'%0J&* & +%2&-/-&20 0% $0 &*(&%0

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1!# ESCULTURA NEOCLASICAA$ + 0$ & $0 0- +2&(2 -0 7 $0 /+%2 -0 $0&*( $2 -0 &*2 ' +% &%(+030 /'- $0

0%2+ 0 2-03+(+ % -&('--' 0%0.P-& 0$&(& $0 *&%(+$$&@ 7 $0 / -&@0 3& $0$ %&0* & *& 0/0-20% 3&$ *2' ( - +$ %&'3&$ 0--'('. E$ 3&*% 3' 2 ' %0 %'20 $&+ /'-20%(+0 70 & *(0 -'3&0- %0(+&-20 +%2&-/'$0-+303. L'* '3&$'* -+& '*7 -' 0%'*, $'* 2& 0* +2'$ +('* ($)*+('*7 $0* 0$& '- 0* *' -& +-2 3&* ( +(0*$$&%0-'% $'* -&$+& &* 3& $'* &3+ (+'*. L'*;-'%2'%&* 3& $'* / -2+('* 7 $'*'% &%2'* (' ' 0-('* 3&$ 2-+ %;' '('$ %0* ('% & '-02+ 0*. E$ -&2-02'20 + % *& -&/-&*&%2 ('% 07'- -&$+& &

0 $0 /-'3 ((+ % 3& $' *2'*.

1"


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ANTONIO CANOVA: PERSEO CON LA CABEZADE MEDUSA, C. 18"", MUSEOS VATICANOS.


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NINFA ATACADA POR UN ESCORPI N, C. 1845. LOUVRE.LORENZO BARTOLINI


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2! SURGIMIENTO DEL NEOCLSICO EN ELER$E$ %&'($)*+(' *& / 3' 3&*0--'$$0- &% &$ P&- /'-

(' ' 3+J+ '* 0%2&-+'- &%2& /'- $0 * &30 3&3&*$+%30- 2'3' $' & -&('-30 0 0 $0 /' $0(+ %*' -& $0 ('$'%+0 &* 0* & &$ %&'($)*+('/-& 0$&(& &% * % & ' +%2&- * 3& &- $0 +30 3&;'- 0 3+*2+%20 70 & $0 0(' &% (' ' / %2' 3&/0-2+30 /0-0 3&*0--'$$0-*& (' ' -&/ $+(0.2!1 LA INDE ENDENCIA DEL ER$A /0-2+- 3&$ 8 3& J $+' 3& 18 1 &$ P&- &*3&($0-03' $+ -& & +%3&/&%3+&%2& /'- & 0


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2!2 EL ACADEMISISMOE$ 3&*( -+ +&%2' 3& P' /&70 7 &-( $0%' 30%; &-0 0$ * - + +&%2' 3& 0(03& +0* & / &30%

&*2 3+0- &$ $& 03' 3& $0 0%2+ 0 -&(+0 7 R' 0 7/-' ' &- 2 (%+('* & / &30% &J&-(&- &$ 0-2&(' ' 3&3+(0(+ % ('% % -03' 3&/-';&*+'%0$+303, & 03& )* $&* /&- +2&3&3+(0-*& 0 ' (+' ('% (+&-2' -03' 3&-&('%'(+&%3' 7 -&*/&2', &*2' $&* /&- +2& 3&J0-3& *&- *+ /$&* 0-2+*20* 0-2&*0%'* 7 03 +&-&% %

-03' 2 (%+('.A3& )* $0* 0(03& +0* 20 + % /&- +2&% &$'* 0-2+*20* /&- 0%'* / &30% ;'- 0-*&&3 (02+ 0 &%2& 7 -&$0(+'%0-*& ('% '-'* 0-2+*20*,(' /0-2+- ;'- 0* 3& /&%*0- 7 % 2-+- )* *( $2 -0, ('% &*2& ('%'(+&%3' $'* 0-2+*20*/&- 0%'* ;'- 03'* &% 0(03& +0* E -'/0*0/$+(0% $'* ('(+ +&%2'* %&'($)*+('* &% &$ P&- ,*&0 030/20% $'* +3&0$&* %&'($)*+('* &% $0/-'/+0 -&0$+303 3&$ 0


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AUA ADEMIE,

ERLIN


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#! IN%LUENCIA DEL DESARROLLO DEL NEOCLSICO ENEL ER$

#!1! AS ECTO OL&TICO!E$ ( $2' 0 $0 -0@ % /-' ' +3' /'- $'* $ *';'*

+$ *2-03'* ('%$$& % -&(


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0$ 0-2& ($)*+(' K&*2' *& / 3' (' /-' 0- ('% $'*


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S& -&3 (& 0 $' &*&%(+0$, &$ 3+*& ', %' 30 $ 0- 0$/-' 0 $& +%2&-/-&20(+'%&*.

#!'! AS ECTO EDUCATI(OL0 &3 (0(+ % %&'($)*+(0 &* %0 0/-' + 0(+ % 0$0/-&%3+@0J& 2+$+@0%3' %0 *&-+& 3&


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'! DESARROLLO DEL NEOCLSICO EN EL ER$'!1! AR"UITECTURA NEOCLSICA EN EL ER$

S& % 0-( 0 B-7(&, $0 0- +2&(2 -0 /&- 0%0 3&$$2+ ' *+ $' 7 &3+' / &3& ($0*+ (0-*& &% ( 02-'/&-+'3'*:1. A- +2&(2 -0 R&/ $+(0%0 K18"" 18!" 8" ,. P&-+'3' A(03 +(' K18!" 8" 19 " #" ,#. B * &30 3& % 0-2& %0(+'%0$ K19 " #" 194! ,4. A- +2&(2 -0 M'3&-%0 K194!


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&*/&(20( $0- 3&*0--'$$' 3& $0 0- +2&(2 -0


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/0*' 0 %0 % & 0 &*2 2+(0 3&/ -030, 0(03 +(0,-& &*2+30 3& $'* )* 0J *203'* 7 * 2+$&* ()%'%&*3&$ ($0*+(+* '. M&-(&3 0 &*2& +%2&- *, &$ P&- / 3'+%2& -0-*& 0 $0 ( $2 -0 0-2 *2+(0 %+ &-*0$ 7 0*&%20-

0*&* * $+30* &% $0 &%*& 0%@0 3&%2-' 3&$ /0 *.C'%;'- 0% &$ - /' 3& /+%2'-&* 0(03 +('*:I %0(+' M&-+%', F-0%(+*(' L0@', L +* M'%2&-', D0%+&$&-%)%3&@, T& $' C0*2+$$', C0-$'* B0(0 F$'- &%2-&$'* )* 3&*20(03'*, /&-' 20 + % -&0$+@0-'% ' -0*3& ('%*+3&-0 $& 0$'- F&3&-+(' T'--+(', F-0%(+*('M0* 0*, = 0% L&/+0%+, L +* A*2&2&, A &$0-3' A$ 0-&@C0$3&- %, F&3&-+(' 3&$ C0 /', C0-$'* =+ %&@ 7

A$ &-2' L7%(


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(020( 0*, ; & %' 3& $'* &*/0(+'* )*


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Presencia Del Neoclásico en El Peru

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