{"id":113981,"date":"2018-03-11T10:41:43","date_gmt":"2018-03-11T10:41:43","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/los-grabadores-de-las-decadas-de-los-sesenta-y-setenta-en-el-paa%c2%ads-vasco\/"},"modified":"2018-03-11T10:41:43","modified_gmt":"2018-03-11T10:41:43","slug":"los-grabadores-de-las-decadas-de-los-sesenta-y-setenta-en-el-paa%c2%ads-vasco","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte\/los-grabadores-de-las-decadas-de-los-sesenta-y-setenta-en-el-paa%c2%ads-vasco\/","title":{"rendered":"Los grabadores de las d\u00e9cadas de los sesenta y setenta en el pa\u00eds vasco"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Leire Macazaga Lanas <\/strong><\/h2>\n<p>Esta tesis doctoral da a conocer una visi\u00f3n de conjunto, a trav\u00e9s de los nombres m\u00e1s relevantes, de la situaci\u00f3n de la obra gr\u00e1fica en el pa\u00eds vasco durante los a\u00f1os sesenta y setenta. Mediante el an\u00e1lisis del contexto pol\u00edtico, econ\u00f3mico y social del pa\u00eds vasco, la contextualizaci\u00f3n del proceso del grabado, la informaci\u00f3n sobre la transmisi\u00f3n de procedimientos en diversas escuelas o talleres, el estudio de la situaci\u00f3n del mercado y de la producci\u00f3n de obra gr\u00e1fica de aquellos artistas que han destinado buena parte de su quehacer al impulso de esta disciplina, hemos tratado de despejar algunas lagunas informativas existentes hasta el momento.  Hemos partido de la idea de que pese a la complejidad existente para el desarrollo de esta sofistica t\u00e9cnica \u00c2\u00bfque exige de una amplia infraestructura (escuelas de formaci\u00f3n, talleres de estampaci\u00f3n, editores, centros de difusi\u00f3n, etc.) De la que, en los a\u00f1os que nos ocupa, carece el pa\u00eds vasco-, aquellos artistas que han realizado obra gr\u00e1fica original, unos con asiduidad y otros ocasionalmente, han producido grabados de calidad que han contribuido al est\u00edmulo, desarrollo y difusi\u00f3n de esta disciplina.   Nuestro objetivo principal ha sido hilvanar una obra que sirva de referencia para el estudio del arte gr\u00e1fico en el pa\u00eds vasco en los a\u00f1os sesenta y setenta, para lo cual hemos evaluado un panorama hasta ahora desordenado y que no ha recibido la atenci\u00f3n necesaria.   En cuanto a los recursos metodol\u00f3gicos, para la obtenci\u00f3n de datos hemos realizado una labor de rastreo en diversos centros. Especialmente esclarecedoras han resultado, sin embargo, las entrevistas realizas a las personas implicadas, cuyo testimonio han supuesto una fuente fundamental para nuestro trabajo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Los grabadores de las d\u00e9cadas de los sesenta y setenta en el pa\u00eds vasco<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Los grabadores de las d\u00e9cadas de los sesenta y setenta en el pa\u00eds vasco <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Leire Macazaga Lanas <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 20\/03\/2013<\/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>Eduardo Cortadi Olano<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Santiago de Pablo contreras <\/li>\n<li>Mar\u00eda  del carmen Alonso pimentel (vocal)<\/li>\n<li>Mar\u00eda  soledad Alvarez Martinez (vocal)<\/li>\n<li>Mar\u00eda Luisa Amigo fern\u00e1ndez de arroyabe (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Leire Macazaga Lanas Esta tesis doctoral da a conocer una visi\u00f3n de conjunto, a trav\u00e9s de los [&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":[1014,12909],"tags":[159801,226128,226129,146270,8860,23283],"class_list":["post-113981","post","type-post","status-publish","format-standard","hentry","category-historia-del-arte","category-pais-vasco-euskal-herriko-unibertsitatea","tag-eduardo-cortadi-olano","tag-leire-macazaga-lanas","tag-maria-del-carmen-alonso-pimentel","tag-maria-luisa-amigo-fernandez-de-arroyabe","tag-maria-soledad-alvarez-Martinez","tag-santiago-de-pablo-contreras"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/113981","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=113981"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/113981\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=113981"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=113981"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=113981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}