{"id":128652,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/restauracion-y-conservacion-de-los-acrilicos-y-su-tecnica-de-reintegracion\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"restauracion-y-conservacion-de-los-acrilicos-y-su-tecnica-de-reintegracion","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/restauracion-y-conservacion-de-los-acrilicos-y-su-tecnica-de-reintegracion\/","title":{"rendered":"Restauracion y conservacion de los acrilicos y su tecnica de reintegracion."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Herrero Alonso M. Jes\u00fas <\/strong><\/h2>\n<p>Esta tesis trata de las pinturas acrilicas en sus diversas representaciones y clases, informando en lo posible a todos los que se interesen por estas tecnicas, pues en espa\u00f1a se ha escrito muy poco sobre estos nuevos materiales artisticos.Al mismo tiempo se muestran ilustraciones de cuadros hechos con acrilicos en una gama variada de tecnicas, comentando sus caracteristicas mas interesantes.Se describen asimismo los materiales sinteticos mas importantes que se aplican hoy dia en restauracion de obras de arte; cuales son los mas idoneos que se deben utilizar en cada caso particular, su aplicacion y manejo.Por ultimo se describe la restauracion de tres cuadros pintados con acrilicos, facilitada esta informacion por el departamento de conservacion y restauracion de obras de arte del museo nacional centro de arte reina sofia de Madrid.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Restauracion y conservacion de los acrilicos y su tecnica de reintegracion.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Restauracion y conservacion de los acrilicos y su tecnica de reintegracion. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Herrero Alonso M. Jes\u00fas <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/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>Mar\u00eda  Teresa Escohotado Ibor<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Manuel Parralo Dorado <\/li>\n<li>Pilar Legorburu Escudero (vocal)<\/li>\n<li>Carmen P\u00e9rez Garc\u00eda (vocal)<\/li>\n<li>Teresa Espejo Arias (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Herrero Alonso M. Jes\u00fas Esta tesis trata de las pinturas acrilicas en sus diversas representaciones y clases, [&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":[147,986,3806,23330,1111],"tags":[97679,241936,6562,6561,24022,35697],"class_list":["post-128652","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-complutense-de-madrid","category-pintura","category-restauracion-de-obras-de-arte","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-carmen-perez-garcia","tag-herrero-alonso-m-jesus","tag-manuel-parralo-dorado","tag-maria-teresa-escohotado-ibor","tag-pilar-legorburu-escudero","tag-teresa-espejo-arias"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/128652","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=128652"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/128652\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=128652"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=128652"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=128652"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}