{"id":34586,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-litografia-contemporanea-en-espana\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"la-litografia-contemporanea-en-espana","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-litografia-contemporanea-en-espana\/","title":{"rendered":"La litografia contemporanea en espa\u00f1a."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Alfredo Piquer Garzon <\/strong><\/h2>\n<p>La litograf\u00eda se ha considerado hasta ahora una t\u00e9cnica de orden menor con respecto al grabado calcogr\u00e1fico y sus hechos han sido mencionados solamente de manera secundaria y dentro del mismo contexto que el grabado cuando en realidad se trata de t\u00e9cnicas muy diferentes y que merecen la consideraci\u00f3n de importancia en pi\u00e9 de igualdad. La historia de los hechos referentes a litograf\u00eda es una historia espec\u00edfica que necesitaba un estudio aparte que diese una visi\u00f3n conexa y unitaria de sus hechos. El trabajo de la presente tesis doctoral establece el comienzo real de la litograf\u00eda del siglo xx en espa\u00f1a tras recordar los precedentes del siglo xix y sigue su evoluci\u00f3n en el primer tercio de siglo, con el estudio de los artistas que la han cultivado: regoyos, vazquez d\u00edaz, solana &#8230; Durante la guerra civily sobre todo a partir de la posguerra con artistas como maeztu y saenz de tejada, estudiando las primeras colecciones y editoriales en sus \u00e1mbitos m\u00e1s importantes Madrid y barcelona, en talleres de estampaci\u00f3n profesionales y en las instituciones de ense\u00f1anza. En el \u00e1mbito de Madrid, la tarea de carlos pascual de lara y dimitri papagueorguiu, la colecci\u00f3n boj y otras editoras posteriores en los 70 como grupo 15. En el \u00e1mbito catal\u00e1n, los precedentes de la bibliofilia hasta las rupturas de vanguardia, dau al set etc. Y las editoras como pol\u00edgrafa, gaspar, etc. Se estudia tambi\u00e9n el desarrollo de la litograf\u00eda en otras regiones espa\u00f1olas y asimismo, los artistas que han cultivado la t\u00e9cnica. Se dedica, tambi\u00e9n, un cap\u00edtulo al an\u00e1lisis de los aspectos docentes y referidos a la ense\u00f1anza de la litograf\u00eda.  finalmente se a\u00f1ade un ap\u00e9ndice sobre algunos aspectos de la litograf\u00eda dedicada a fines comerciales como parte de la historia del desarrollo de la t\u00e9cnica en el presente siglo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La litografia contemporanea en espa\u00f1a.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La litografia contemporanea en espa\u00f1a. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Alfredo Piquer Garzon <\/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>Dimitri Papegeorguiu Kastanioti<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: \u00e1lvaro Paricio Latasa <\/li>\n<li> Guillen Ramon Jos\u00e9 Manuel (vocal)<\/li>\n<li> Herrero Gomez Jos\u00e9 M. (vocal)<\/li>\n<li>Juan  Carlos Ramos Guadix (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Alfredo Piquer Garzon La litograf\u00eda se ha considerado hasta ahora una t\u00e9cnica de orden menor con respecto [&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":[147,4100,104,1014,222,1111],"tags":[93187,6694,93188,16910,10167,35696],"class_list":["post-34586","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-dibujo-y-grabado","category-historia","category-historia-del-arte","category-historias-especializadas","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-alfredo-piquer-garzon","tag-alvaro-paricio-latasa","tag-dimitri-papegeorguiu-kastanioti","tag-guillen-ramon-jose-manuel","tag-herrero-gomez-jose-m","tag-juan-carlos-ramos-guadix"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/34586","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=34586"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/34586\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=34586"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=34586"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=34586"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}