{"id":34288,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/coleccionismo-privado-de-arte-contemporaneo-madrid-1970-1990\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"coleccionismo-privado-de-arte-contemporaneo-madrid-1970-1990","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/coleccionismo-privado-de-arte-contemporaneo-madrid-1970-1990\/","title":{"rendered":"Coleccionismo privado de arte contemporaneo (Madrid 1970-1990)."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Galvan Romarate Zabala Ana <\/strong><\/h2>\n<p>Durante los a\u00f1os ochenta el coleccionismo de arte contempor\u00e1neo en Madrid experiment\u00f3 un auge sin precedentes. Surgi\u00f3 una nueva hornada de coleccionistas pertenecientes en su mayor parte al mundo empresarial y art\u00edstico que con entusiasmo fueron creando colecciones.  una parte sustancial de ese coleccionismo fue especulativo. Las colecciones de altura son excepcionales. Predominan las colecciones a peque\u00f1a escala fundamentalmente de pintura espa\u00f1ola contempor\u00e1nea antes que de arte internacional. No existe un arquetipo de coleccionista de arte contempor\u00e1neo aunque predominan abrumadoramente los varones de profesiones liberales, con edad oscilante entre los treinta y los sesenta a\u00f1os, cultos y con cierta holgura econ\u00f3mica. Fatalmente representan un sector muy minoritario de la sociedad, una sociedad que todav\u00eda experimenta un cierto recelo hacia el arte contempor\u00e1neo y su coleccionismo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Coleccionismo privado de arte contemporaneo (Madrid 1970-1990).<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Coleccionismo privado de arte contemporaneo (Madrid 1970-1990). <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Galvan Romarate Zabala Ana <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1998<\/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>Fernando Checa Cremades<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jose Alvarez Lopera <\/li>\n<li>Miguel Moran Turina (vocal)<\/li>\n<li>Carlos Cachan Alcolea (vocal)<\/li>\n<li> Ubeda De Los Cobos Andr\u00e9s (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Galvan Romarate Zabala Ana Durante los a\u00f1os ochenta el coleccionismo de arte contempor\u00e1neo en Madrid experiment\u00f3 un [&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 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