Verde, gris y blanco. Naturaleza y arquitectura en los planos del catastro de Ensenada y los croquis del Diccionario geográfico de Tomás López
As opposed to the grey line that defines public and private space of cohabitation, and the colour white that takes us to marginal, unproductive or inaccessible spaces, we find in these images the colour green as an expression of that remote sensibility –almost magical– which links man with nature. T...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2016 |
| País: | España |
| Institución: | Universidad de Salamanca (USAL) |
| Repositorio: | GREDOS. Repositorio Institucional de la Universidad de Salamanca |
| OAI Identifier: | oai:gredos.usal.es:10366/133693 |
| Acceso en línea: | http://hdl.handle.net/10366/133693 |
| Access Level: | acceso abierto |
| Palabra clave: | Historia Literatura Pensamiento Arte Ciencia Siglo dieciocho History Literature Thought and thinking Arts. Science Eighteenth century |
| Sumario: | As opposed to the grey line that defines public and private space of cohabitation, and the colour white that takes us to marginal, unproductive or inaccessible spaces, we find in these images the colour green as an expression of that remote sensibility –almost magical– which links man with nature. The study of the colour, lines and composition of the maps that appear in the Respuestas Generales of the Catastro de Ensenada and the sketches sent by the pastors of the different Spanish cities to the geographer Tomás López, in this article I analyse. |
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