{"id":99921,"date":"2018-03-11T10:21:11","date_gmt":"2018-03-11T10:21:11","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-metal-como-elemento-renovador-de-la-escultura-del-siglo-xx-antecedentes-tecnicas-y-procesos-la-orfebreria-sevillana-como-fuente-de-nuevos-recursos\/"},"modified":"2018-03-11T10:21:11","modified_gmt":"2018-03-11T10:21:11","slug":"el-metal-como-elemento-renovador-de-la-escultura-del-siglo-xx-antecedentes-tecnicas-y-procesos-la-orfebreria-sevillana-como-fuente-de-nuevos-recursos","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/escultura\/el-metal-como-elemento-renovador-de-la-escultura-del-siglo-xx-antecedentes-tecnicas-y-procesos-la-orfebreria-sevillana-como-fuente-de-nuevos-recursos\/","title":{"rendered":"El metal como elemento renovador de la escultura del siglo xx. antecedentes, t\u00e9cnicas y procesos. la orfebrer\u00eda sevillana como fuente de nuevos recursos"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda Angeles Maqueda P\u00e9rez <\/strong><\/h2>\n<p>El metal como elemento renovador de la escultura del siglo xx. Antecedentes, t\u00e9cnicas y procesos. La orfebrer\u00eda sevillana como fuente de nuevos recursos.   no se dispone de resumen.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El metal como elemento renovador de la escultura del siglo xx. antecedentes, t\u00e9cnicas y procesos. la orfebrer\u00eda sevillana como fuente de nuevos recursos<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El metal como elemento renovador de la escultura del siglo xx. antecedentes, t\u00e9cnicas y procesos. la orfebrer\u00eda sevillana como fuente de nuevos recursos <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda Angeles Maqueda P\u00e9rez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 23\/03\/2010<\/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>Juan  Manuel Mi\u00f1arro Lopez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Miguel Fuentes del olmo <\/li>\n<li>pedr\u00f3s esteban Armand-thierry (vocal)<\/li>\n<li>olegario Mart\u00edn s\u00e1nchez (vocal)<\/li>\n<li>ramiro Megias l\u00f3pez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Angeles Maqueda P\u00e9rez El metal como elemento renovador de la escultura del siglo xx. Antecedentes, t\u00e9cnicas [&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":[4363,10715],"tags":[201307,203730,203731,117641,203732,203733],"class_list":["post-99921","post","type-post","status-publish","format-standard","hentry","category-escultura","category-sevilla","tag-juan-manuel-minarro-lopez","tag-maria-angeles-maqueda-perez","tag-miguel-fuentes-del-olmo","tag-olegario-martin-sanchez","tag-pedros-esteban-armand-thierry","tag-ramiro-megias-lopez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/99921","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=99921"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/99921\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=99921"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=99921"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=99921"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}