Ignacio DÍAZ BALERDI's scientific contributions
What is this page?
This page lists the scientific contributions of an author, who either does not have a ResearchGate profile, or has not yet added these contributions to their profile.
It was automatically created by ResearchGate to create a record of this author's body of work. We create such pages to advance our goal of creating and maintaining the most comprehensive scientific repository possible. In doing so, we process publicly available (personal) data relating to the author as a member of the scientific community.
If you're a ResearchGate member, you can follow this page to keep up with this author's work.
If you are this author, and you don't want us to display this page anymore, please let us know.
It was automatically created by ResearchGate to create a record of this author's body of work. We create such pages to advance our goal of creating and maintaining the most comprehensive scientific repository possible. In doing so, we process publicly available (personal) data relating to the author as a member of the scientific community.
If you're a ResearchGate member, you can follow this page to keep up with this author's work.
If you are this author, and you don't want us to display this page anymore, please let us know.
Publication (1)
ResumenIdioma Se realiza una descripción y un diagnóstico de los museos de Euskadi creados a lo largo del siglo XX. Este recorrido museológico lo divide en tres periodos, determinados por la propia historia del País Vasco: (a) desde comienzos del siglo XX hasta la Guerra Civil (1936), (b) los años de la Dictadura franquista y (c) desde 1975 hasta l...
Citations
... Los museos modernos nacen como lugares reservados a las élites y donde el deleite estético será la única conexión con el patrimonio expuesto (Bolaños, 2008); espacios reservados al «coleccionismo burgués y el culto a la historia» (Labandeira, 2008, p. 320). Desde la apertura del Louvre en 1793 hasta la Segunda Guerra Mundial, este modelo de museo será la tendencia predominante (Ballart, 2004;Díaz Balerdi, 2008). Sin embargo, algunos museos norteamericanos y británicos serán las excepciones de la herencia decimonónica, ya que comienzan a mostrar sus colecciones e interactuar con el público visitante de una manera distinta desde comienzos del siglo xx (Arriaga, 2011;Gómez Martínez, 2006;Santiago Restoy, 1999). ...
