{"id":10099,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1996\/01\/01\/el-taller-de-los-gasco-y-la-pintura-de-la-primera-mitad-del-s-xvi-en-vic\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"el-taller-de-los-gasco-y-la-pintura-de-la-primera-mitad-del-s-xvi-en-vic","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/el-taller-de-los-gasco-y-la-pintura-de-la-primera-mitad-del-s-xvi-en-vic\/","title":{"rendered":"El taller de los gasco y la pintura de la primera mitad del s. xvi en vic."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Miguel Mirambell Abanco <\/strong><\/h2>\n<p>Se analiza la organizacion, integrantes y produccion del taller pictorico de la familia gasco, establecida en vic entre 1502\/1503 y 1546, en dos etapas: 1502\/1503 &#8211; 1529 (cuando el jefe del taller era joan gasco) y 1529 &#8211; 1546 (cuando el jefe del taller era su hijo pere o perot gasco).Se cataloga su produccion pictorica en cuatro apartados: obras documentadas; obras atribuidas no documentadas y fechadas; obras atribuidas, no documentadas, no fechadas o con datacion imprecisa; obras atribuidas dudosas no documentadas. Finalmente, se completa este estudio monografico sobre la familia gasco con una vision panoramica de la actividad y produccion de los otros pintores contemporaneos al taller documentados en la ciudad de vic y dentro del obispado vicense durante el siglo xvi, con el fin de establecer los vinculos con dicho taller y precisar su desintegracion, asi como sus sucesores.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El taller de los gasco y la pintura de la primera mitad del s. xvi en vic.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El taller de los gasco y la pintura de la primera mitad del s. xvi en vic. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Miguel Mirambell Abanco <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Joaquin Garriga Riera<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Joan Sureda I Pons <\/li>\n<li>Ximo Company Climent (vocal)<\/li>\n<li>M. Josefa Arnall Juan (vocal)<\/li>\n<li>Carmen Morte Garc\u00eda (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Miguel Mirambell Abanco Se analiza la organizacion, integrantes y produccion del taller pictorico de la familia gasco, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[951,104,1014,222],"tags":[34068,6786,30420,34067,34065,34066],"class_list":["post-10099","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-historia","category-historia-del-arte","category-historias-especializadas","tag-carmen-morte-garcia","tag-joan-sureda-i-pons","tag-joaquin-garriga-riera","tag-m-josefa-arnall-juan","tag-miguel-mirambell-abanco","tag-ximo-company-climent"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/10099","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=10099"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/10099\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=10099"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=10099"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=10099"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}