{"id":293,"date":"2018-02-06T09:08:10","date_gmt":"2018-02-06T09:08:10","guid":{"rendered":"https:\/\/www.upo.es\/ceiba\/?page_id=293"},"modified":"2019-02-13T08:18:05","modified_gmt":"2019-02-13T08:18:05","slug":"ubicars","status":"publish","type":"page","link":"https:\/\/www.upo.es\/ceiba\/publicaciones\/ubicars\/","title":{"rendered":"UBI"},"content":{"rendered":"<h3>Quiles Garc\u00eda, Fernando; Fern\u00e1ndez Chaves, Manuel; Fialho Conde, Ant\u00f3nia (coords) .\u00a0<a href=\"https:\/\/www.upo.es\/investiga\/enredars\/?page_id=684\"><em>La Sevilla lusa. La presencia portuguesa en el Reino de Sevilla durante el Barroco<\/em>.\u00a0<\/a>Vol. 4.\u00a0Sevilla, Universo Barroco Iberoamericano, 2018.<\/h3>\n<p><img class=\"aligncenter\" src=\"https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2018\/11\/Sevilla-Lusa-212x300.jpg\" \/><\/p>\n<h3>Quiles Garc\u00eda, Fernando.\u00a0<em><a href=\"https:\/\/rio.upo.es\/xmlui\/handle\/10433\/5905\">Santidad Barroca. Roma, Sevilla y Am\u00e9rica hispana<\/a><\/em>.\u00a0Vol. 3.\u00a0Sevilla, Universo Barroco Iberoamericano, 2018.<\/h3>\n<h3><img class=\"aligncenter\" src=\"https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2018\/11\/Santidad-Barroca-213x300.jpg\" \/><\/h3>\n<h3>Almansa Moreno, Jos\u00e9 Manuel; Mart\u00ednez Jim\u00e9nez, Nuria; Garc\u00eda Quiles, Fernando (des).\u00a0<a href=\"https:\/\/www.upo.es\/investiga\/enredars\/?page_id=564\"><em>Pintura mural en la Edad Moderna. Entre Andaluc\u00eda e Iberoam\u00e9rica<\/em><\/a>. Sevilla,\u00a0E.R.A. Arte, Creaci\u00f3n y Patrimonio Iberoamericano en Redes, 2018.<\/h3>\n<h3><img class=\"aligncenter\" src=\"https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2018\/06\/Pintura-mural-2018-212x300.jpg\" \/><\/h3>\n<h3>Quiles Garc\u00eda, Fernando; L\u00f3pez, Mar\u00eda del Pilar.<a href=\"https:\/\/www.upo.es\/investiga\/enredars\/?page_id=56\"><strong> \u00a0<em>Visiones renovadas del barroco iberoamericano<\/em><\/strong><\/a><strong>. \u00a0<\/strong>Vol. 1.\u00a0Sevilla, Universidad Pablo de Olavide; Bogot\u00e1, Universidad Nacional de Colombia, 2016.<img loading=\"lazy\" class=\"wp-image-435 aligncenter\" src=\"https:\/\/www.upo.es\/ceiba\/wp-content\/uploads\/2018\/02\/Visiones-renovadas.jpg\" alt=\"\" width=\"234\" height=\"323\" srcset=\"https:\/\/www.upo.es\/ceiba\/wp-content\/uploads\/2018\/02\/Visiones-renovadas.jpg 289w, https:\/\/www.upo.es\/ceiba\/wp-content\/uploads\/2018\/02\/Visiones-renovadas-217x300.jpg 217w, https:\/\/www.upo.es\/ceiba\/wp-content\/uploads\/2018\/02\/Visiones-renovadas-195x270.jpg 195w\" sizes=\"(max-width: 234px) 100vw, 234px\" \/><\/h3>\n<h3>Beltr\u00e1n Mart\u00ednez, Lidia; Quiles Garc\u00eda, Fernando (eds.).<strong><em>\u00a0<a href=\"https:\/\/www.upo.es\/investiga\/enredars\/?page_id=438\">Cartograf\u00eda Murillesca. Los pasos contados.\u00a0A\u00f1o de Murillo MMXVII<\/a><a href=\"http:\/\/hdl.handle.net\/10433\/5075\">.<\/a><\/em><\/strong><a href=\"http:\/\/hdl.handle.net\/10433\/5075\">\u00a0<\/a>\u00a0Sevilla,\u00a0Universo Barroco Iberoamericano, 2017.<a href=\"https:\/\/www.upo.es\/ceiba\/publicaciones\/ubicars\/cartografia-murillesca-los-pasos-contados\/?preview_id=459&amp;preview_nonce=eafd0c5dcd&amp;_thumbnail_id=-1&amp;preview=true\"><img loading=\"lazy\" class=\" wp-image-455 aligncenter\" src=\"https:\/\/www.upo.es\/ceiba\/wp-content\/uploads\/2018\/02\/Portada-Murillo-215x300.jpg\" alt=\"\" width=\"232\" height=\"323\" srcset=\"https:\/\/www.upo.es\/ceiba\/wp-content\/uploads\/2018\/02\/Portada-Murillo-215x300.jpg 215w, https:\/\/www.upo.es\/ceiba\/wp-content\/uploads\/2018\/02\/Portada-Murillo-215x300-194x270.jpg 194w\" sizes=\"(max-width: 232px) 100vw, 232px\" \/><\/a><\/h3>\n","protected":false},"excerpt":{"rendered":"<p>Quiles Garc\u00eda, Fernando; Fern\u00e1ndez Chaves, Manuel; Fialho Conde, Ant\u00f3nia (coords) .\u00a0La Sevilla lusa. La presencia portuguesa en el Reino de Sevilla durante el Barroco.\u00a0Vol. 4.\u00a0Sevilla, Universo Barroco Iberoamericano, 2018. Quiles Garc\u00eda, Fernando.\u00a0Santidad Barroca. Roma, Sevilla y Am\u00e9rica hispana.\u00a0Vol. 3.\u00a0Sevilla, Universo Barroco Iberoamericano, 2018. Almansa Moreno, Jos\u00e9 Manuel; Mart\u00ednez Jim\u00e9nez, Nuria; Garc\u00eda Quiles, Fernando (des).\u00a0Pintura mural en la Edad Moderna. Entre Andaluc\u00eda e Iberoam\u00e9rica. Sevilla,\u00a0E.R.A. Arte, Creaci\u00f3n y Patrimonio Iberoamericano en Redes, 2018. Quiles Garc\u00eda, Fernando; L\u00f3pez, Mar\u00eda del Pilar. \u00a0Visiones&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/www.upo.es\/ceiba\/publicaciones\/ubicars\/\">Leer m\u00e1s<span class=\"screen-reader-text\"> Leer m\u00e1s<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":281,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/pages\/293"}],"collection":[{"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/comments?post=293"}],"version-history":[{"count":25,"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/pages\/293\/revisions"}],"predecessor-version":[{"id":592,"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/pages\/293\/revisions\/592"}],"up":[{"embeddable":true,"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/pages\/281"}],"wp:attachment":[{"href":"https:\/\/www.upo.es\/ceiba\/wp-json\/wp\/v2\/media?parent=293"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}