Relevant bibliographies by topics / Decorative painter

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Decorative painter'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Decorative painter"

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Olstad, Tone Marie, and Kristin Solberg. "Eight seventeenth-century decorative paintings - one painter?" Studies in Conservation 43, sup1 (1998): 175–79. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.175.

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Wansink, Christina J. A. "De decoratieve schilderkunst van Mattheus Terwesten, een Haagse meester uit de achttiende eeuw." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 270–92. http://dx.doi.org/10.1163/187501790x00138.

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AbstractThe painter Mattheus Terwesten, much esteemed in his own day, and highly praised by Van Gool, was born in 1670 in The Hague. He was taught by his older brother Augustinus, Willem Doudyns and Daniel Mytens. In 1695 he travelled by way of Berlin, where Augustinus was court painter, to Rome, where he became a member of the Bentyvueghels, who nicknamed him 'Arend' (eagle). Back in Berlin in 1698, he was commissioned by the Elector to design two ceilings for the palace in Charlottenburg. From 1699 on, apart from a brief sojourn in Berlin as court painter in 1710, he lived in The Hague. Many of his patrons were prominent members of the regent class. Terwesten continued to paint until a ripe old age; throughout his life he was an active member of the Pictura Confrerie and the Hague Academy. He died in 1757. The Rijksprcntenkabinet possesses a biography written by his son Pieter, based on the painter's own notes. The carliest known work is a Liberation of Andromeda in the Herzog Anton Ulrich-Museum in Brunswick, dated 1697 Berlin', a combination of location and year that cannot be correct. The ceilings painted by Augustinus and Mattheus for Charlottenburg have been lost; since 1977 however, the palace again contains four large paintings by Mattheus with scenes from the story of Aeneas and Dido, one of them signed and dated 1702. Preparatory studies, as part of a series of twelve drawings, are in the Rijksprentenkabinct in Amsterdam. The paintings probably belong to the series of twelve pieces devoted to Aeneas which Mattheus, according to Pieter's manuscript, painted in 1702 for the house of Van der Straaten in the Hoogstraat, The Hague. Terwesten's most ambitious ceiling is the cupola of Fagel, a combination of painting and painted stucco, done in collaboration with the flower painter Gaspar Peeter Verbrugghen. Restoration of the old town hall of The Hague in 1974 revealed a ceiling painted by Terwesten in 1737. ln the Drents Provinciaal Museum in Assen is a Terwestcn ceiling, regarded as an anonymous work, which has been established as coming from 22, Hooglandse Kerkgracht in Leiden. Terwesten rarely received church commissions; an exception is an altarpiece, the Transfiguration, for the Old Catholic church in the Juffrouw Idastraat, The Hague. His later works, like Solomon's first judgment in the town hall of Monster, are characterized by a certain rigidity. This also applies to an Allegory on peace, catalogued as an anonymous painting, in the Mauritshuis in The Hague, which may be attributed to Terwesten. Mattheus Terwesten not only carried out commissions but painted for the open market as well. In view of the relatively large number of religious works listed in the catalogue of his estate, which was auctioned in 1757, there seems to have been a market for biblical scenes. His paintings of children or putti at play were very popular. Many of them have been erroneously attributed over the years: an Allegory on spring in the museum at Tarbes and an Allegory on spring in the Bayerische Staatsgemäldesammlungen in Munich arc attributed to Augustinus Terwesten. Mattheus Terwesten collaborated with various flower painters, in keeping with a Flemish tradition to which he had been introduced by Gaspar Peeter Verbrugghen, who came from Antwerp. After Verbrugghen left The Haguc (in 1732), Terwesten worked with Pieter Hardimé and Coenraet Roepel, who later taught his son Pieter. Terwesten's decorative and later somewhat mechanical style catered to the taste of the wealthy citizens of his day. It is in this light that his works mcrit attention.
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Daskas, Beatrice. "A literary self-portrait of Nikolaos Mesarites." Byzantine and Modern Greek Studies 40, no. 1 (2016): 151–69. http://dx.doi.org/10.1017/byz.2015.15.

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This contribution is based on a new interpretation of the well-known passage found in the Description of the church of the Holy Apostles at Constantinople by Nikolaos Mesarites (XXVIII, 63.18–64.3 Heisenberg = 910b.[23] Downey), normally dated to the late twelfth century. It provides a reappraisal of the question regarding the Byzantine painter Eulalios and his alleged self-portrait in one of the scenes of the monument's decorative cycle.
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MALCOCI, Vitalie. "Scenographer Constantin Lodzeiski as true promotor of theatrical arts’ values." Arta 31, no. 1 (2022): 83–87. http://dx.doi.org/10.52603/arta.2022.31-1.11.

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Constantin Lodzeiski was one of the foremost theatre, opera, and ballet designers in the Republic of Moldova. He started his activity in 1947, when he was employed as chief painter at the State Dramatic Theater from Bălţi. Initially, C. Lodzeiski worked on the decoration of drama performances, which can be explained not so much by his interest in this type of dramaturgy, but by the lack of a musical theatre in the country, the latter being closer to his artistic nature. It was only at the end of the 1950s, when the State Opera and Ballet Theatre was established in Chişinău, that C. Lodzeiski began to work mainly on the stage decoration of musical performances. The adoption of the latest trends in the decoration of opera and ballet performances allowed C. Lodzeiski to move to a new stage in the development of the Moldovan scenographic art. Finding himself at the dawn of Moldovan Soviet scenography, the artist contributed to the development of new directions and principles for the organization of the scenic space and theatrical scenery, advancing the development of professional theatrical-decorative art of the republic. During his creation, the artist makes decoration sketches for over 100 shows from national and universal classical and contemporary drama.
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Van Sasse Van Ysselt, Dorine. "Johannes Stradanus: de decoraties voor intochten en uitvaarten aan het hof van de Medici te Florence." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 149–79. http://dx.doi.org/10.1163/187501790x00075.

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AbstractSources show that the Flemish artist Johannes Stradanus, whose career flourished from about 1555 in Florence, collaborated on several occasions on large-scale, temporary decorations, most of them commissioned by the grand dukes de'Medici, for important dynastic events such as baptisms, entries into cities and funerals. A multitude of artists and craftsmen carried out these decorations on the basis of often complicated iconographic programmes. In 1564, for instance, on the occasion of Michelangelo's funeral in S. Lorenzo, Stradanus painted the grisaille Michelangelo in 1529 in his dwelling in the Giudecca being received by the nobles of Venice by order of the Doge Andrea Gritti and the Signoria. In 1565, for the triumphal entry into the city of Johanna of Austria, he painted all the pictures decorating the triumphal arch erected on the Canto de' Tornaquinci. These consisted of five scenes glorifying the following exploits of rulers of the House of Austria: Rudolf conferring the Archdukedom of Austria on Albrecht I, Maximilian II being crowned emperor, Ferdinand I defending Vienna against the Turks, Albrecht slaing Adolf of Nassau in a battle, Philip II of Spain receiving the corona obsidionalis from Malta and two large trompe-l'oeil street views. In 1574, for the funeral of Cosimo I de'Medici in S. Lorenzo, Stradanus was probably involved in the painting of the skeletons and coats of arms. Furthermore, on the occasion of Francesco I de' Medici's funeral in S. Lorenzo in 1587, he painted the grisaille Francesco visiting his betrothed, Johanna of Austria, in Innsbruck; in 1588, for the entry of Ferdinando I de' Medici into Pisa, the canvas The burial of Pope Stephen I in the catacomb of Callixtus for the decoration of S. Stefano dei Cavalieri; in 1589, for the entry of Christina of Lorraine, the painting The retreat of the Turks after the siege of Vienna, as part of the decorations on the Canto de' Bischeri. Finally, in 1598, for the obsequies in memory of Philip II of Spain in S. Lorenzo, the grisaillc The siege and capture of Antwerp; for the same occasion he also provided the design for the grisaille The conquest of the Philippine islands, painted by his son Scipione. Stradanus' first commissions date from the start of his career in Florence, when he was working in Vasari's studio. As one of the master's assistants in decorating the Palazzo Vecchio, he had already gained ample experience in large-scale painting for the Medici. After leaving Vasari's studio in about 157 and setting up as an independent artist, Stradanus remained one of the leading Florentine artists who received commissions for official large-scale decors. He retained this status up to a venerable age, a sign of the appreciation he continued to enjoy in this field. Unfortunately none of Stradanus' decorative work has survived, with the exception of the canvas in Pisa. An impression of his skill in this field in conveyed by contemporary sources and the sketches, drawings, etchings and engravings presented in this article. This material clearly shows that in his long and productive life Stradanus was not only active as a painter of frescos and altarpieces and a designer of tapestries and engravings, but also played a prominent role at the court of the Medici as a painter of decorations.
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CURTA, LUCIA. "Painter and King: Gustav Klimt's Early Decorative Work at Peleş Castle, Romania, 1883-1884." Studies in the Decorative Arts 12, no. 1 (2004): 98–129. http://dx.doi.org/10.1086/studdecoarts.12.1.40663099.

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North, Laurence. "Architecture and the graphic novel." Journal of Illustration 6, no. 2 (2019): 341–64. http://dx.doi.org/10.1386/jill_00018_1.

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Abstract Richard McGuire's Here (2014) and Chris Ware's Lost Buildings (Glass et al. 2004) are discussed as examples of graphic novels that demonstrate a synergistic relationship with architecture. The synergistic relationship is examined through its use of decorative forms and the use of architectural reference as a narrative device and a signifier of space and time. The article goes on to explore the potential for architectural structures to function as graphic novels. The late medieval frescos attributed to the architect and painter Giotto, that decorate the chapels at Assisi and Padua, are used as examples of illustrations that rely on their architectural context. Giotto's work is explored as a model to inform the development of the graphic novel into an architectural form. Laura Jacobus' (1999) and Jenetta Rebold Benton's (1989) analyses of Giotto's works at Padua and Assisi provide us with an understanding of Giotto's work and the importance of decorative features in relation to the audience's perception of real and pictorial space, experienced time and narrative time. Jacobus' and Rebold Benton's analysis is then applied to two of London's Art on the Underground projects by Wallinger and Trabizian and also The Factory, Hong Kong. At these contemporary architectural sites, images have been installed to rehabilitate mundane structures and enrich the users experience. The installed imagery allows users to become immersed in narratives by eroding barriers between real and pictorial space, experienced time and narrative time. These contemporary examples describe the graphic novel's potential to be authored and read as an architectural form.
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Cordonnier, Lucile. "The Temporalities of Agony." tba: Journal of Art, Media, and Visual Culture 4, no. 1 (2023): 30–43. http://dx.doi.org/10.5206/tba.v4i1.14924.

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In 1893, painter Maurice Denis collaborated with his friend, the novelist André Gide, for the illustrations of Le Voyage d'Urien. This short novel narrates the story of a symbolic and fantasised journey, which leads Urien and his fellow travelers to land on an island struck by the plague. With the lithograph on page 48, representing four plague-stricken individuals, I argue that Denis transposed his theories on the decorative, formulated in his "Définition du Néo-Traditionnisme" in 1890. I contend in this essay that through this lithograph Denis synchronizes multiple temporal levels by representing the same figure four times. On the level of the subject, the agony of the plague-stricken relates to a private time distinct from society’s public time. Moreover, the sequencing of the disease into four stages partakes in the journey towards absolution. Regarding the composition of the work, the decorative elements belong to their own temporality which is integrated on the spatiality of the page and recalls a so-called “archaic” and “primitive” time.
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Mazur, V. "Iconography and Artificial Features of Unknown Memory of the Decorative Art of the End of the XVIII – the Beginning of XIX Centuries." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 133–38. http://dx.doi.org/10.33838/naoma.27.2018.133-138.

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The article deals with the iconographic and artistic features of an unknown monument of decorative art of the late XVIII – early XIX centuries. The central elements of the Analogion's design and carving are researched. The publication highlights the main features of the individual handwriting of an unknown master of the painter who was the author of images of the figures of the saints placed on the Analogion. On the basis of the comparative analysis, an attempt to outline the chronological and probable geographic boundaries of the creation of a monument was made, the definition of which is complicated by the mobility of the memorial.
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Fischer, Peter M., Teresa Bürge, R. Árnadóttir, et al. "The New Swedish Cyprus Expedition 2013. Excavations at Hala Sultan Tekke. Preliminary results." Opuscula. Annual of the Swedish Institutes at Athens and Rome 7 (November 2014): 61–106. http://dx.doi.org/10.30549/opathrom-07-04.

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The results from a 1.3-hectare GPR survey in 2012 were confirmed during the 2013 excavation of a limited area (200 m2). Three phases of occupation were partly exposed. The most recent phase, Stratum 1, contained living and working facilities, e.g. for spinning, weaving and purple dyeing. Textile production also took place in the older Stratum 2, where the major activity was metal-working: 300 kg of remains from copperworking consist of tapped slag, furnace walls, fragments of at least five tuyères, crucible fragments, copper/bronze fragments and pieces of raw copper. Another of these unique kraters of White Painted Wheel-made Pictorial Style (WPPS) was found. It was termed “Horned God Krater” on account of one of the decorative elements. These kraters may indicate that there was a “Hala Sultan Tekke painter”. The oldest phase of occupation so far, “Stratum 3”, which is a reused and looted tomb, produced two cylinder seals and numerous finds which are related to textile production. The findings from test trenches west of the main area suggest a street which separated two city quarters: one to the east (our main area) and one to the west. Test excavations in the western city quarter produced two anthropomorphic figurines and a horse figurine.
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Dissertations / Theses on the topic "Decorative painter"

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Ruszala, Matthew James Amor. "Functional fillers for decorative paints." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8260/.

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A formulation process for CaCO3 spheres (D50 of 5.1 μm) for use as a functional filler in decorative paints was optimised. This increased the yield of CaCO3 spheres 20-fold and made the process less hazardous, with organic oils, namely rapeseed oil, being used successfully as a replacement for toluene. The CaCO3 spheres contained a multitude of < 250 nm nanovoids, with some spheres containing a core void > 800 nm. These pores formed because the crystals nucleated at the interface of emulsion droplets, resulting in CaCO3 spheres (2.42 g cm-3; 2,420 kg m-3) composed of calcite and vaterite, with a density lower than either mineral (2.71 g cm-3 (2,710 kg m-3) and 2.65 g cm-3 (2,650 kg m-3), respectively). The characterisation and performance of CaCO3 spheres in paint formulations were compared against commercially available products, namely Microdoll H600 (5 μm dolomite). There was no opacity benefit, however a 4-fold scrub resistance benefit was observed. Different oils can be used in the emulsification step in CaCO3 spheres production whilst others cannot, most likely because of the ratio of mono- to poly-unsaturated fatty acids. A technique for improving scrub resistance of other mineral extenders was developed, with AkzoNobel continuing the research into this area.
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Callaghan, Angela. "The ceiling of Skelmorlie Aisle : a narrative articulated in paint." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4891/.

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The intention of this thesis was to demonstrate that, with in-depth analysis, a carefully and deliberately constructed narrative could be revealed within the ceiling paintings of Skelmorlie Aisle, Largs, Scotland (c.1638). The ceiling adorned a burial aisle, which was erected by Sir Robert Montgomerie, seventh of Skelmorlie, in honour of his wife, Dame Margaret Douglas. The paintings, executed by Edinburgh apprentice James Stalker, are the only surviving example of the genre signed and dated by the artist. The ceiling was composed of forty-one individual compartments each one containing different combinations of emblems, designs, human figures, animals, birds and heraldic representations. Of the forty-one compartments, four of these contained landscape paintings, depicting the seasons, and their associated labours. Two unusual paintings were also executed each containing representations of a female figure on the land and by the sea. By a study of semiotics, this dissertation systematically re-constructed the narrative concealed within the paintings. This revealed the intrinsic meaning of the iconography. The thesis argued that simple observation revealed very little information relating to the understanding of the paintings and in-depth study was required to elucidate this. The narrative began with an exploration of seventeenth-century nobility with a particular focus on the patron, Sit Robert Montgomerie of Skelmorlie. It then considered the role of architecture and design in Early Modern Scotland with a discussion on domestic architecture and burial aisles. An exploration into the painted ceiling in seventeenth-century Scotland was also included as was a consideration of the role of the artist and patron. A focus on the sources available to artists in Scotland during the Early Modern period, followed with a particular investigation into those used within the ceiling iconography of Skelmorlie Aisle. Whether it was intended that the ceiling iconography was to be read in a specific order was also included. These initial stages provided a platform from which an in-depth analysis of the iconography within the paintings, could be undertaken. The methodology applied here was that composed by German born art historian Erwin Panofsky. Panofsky argued that identifying objects, shapes and forms did not convey why certain components were chosen or what they meant. The first step was to ascertain the genesis of the sources, as this provided a greater understanding of the narrative and why they were chosen by Montgomerie. The research revealed that, with the exception of generic designs of floral patterns and scrollwork, the iconography within the paintings was not chosen at random; each component was selected for a very specific reason. When all of the factors were considered and the iconography analysed in depth, the full narrative became exposed.
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Narayanan, Bethany M. "The painted barns of southeastern Indiana : decorative painting and commercial advertisement." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214383.

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Many barns in the United States were painted at one time, most of them a solid color, usually red or white. A small proportion of barns were further embellished with decorative painting or commercial advertisements.This creative project studies such decoratively painted barns. It examines the reasons barns were painted, the materials and methods used in painting, and color preferences. It describes the four major types of decorative barn painting, and it traces the history of advertisements painted on barns, with special focus on the advertising campaign for Mail Pouch Tobacco.The project also includes a survey of the decoratively painted barns within a seven county region in southeastern Indiana and a preservation strategy for those barns. The region, which encompasses Dearborn, Franklin, Jefferson, Jennings, Ohio, Ripley, and Switzerland counties, was chosen because it has a relatively high concentration of Mail Pouch Tobacco advertisements and because it remains very agricultural in nature. The barns in the survey area remain in their rural historic context.A list of Mail Pouch Tobacco signs in the survey area was available as a result of prior research by others. The survey was conducted by driving the roads on which Mail Pouch signs had been recorded previously, looking also for other barn advertisements and decorative painting along the route. For each example noted, information was recorded on a survey form about the location, condition, and function of the barn as well as the type of painting, and photographs were taken in both black and white and color.As part of the preservation strategy, three driving tours were devised, and a full-color brochure describing the driving tours was designed. Application was made for a grant to fund production of the brochure for distribution to county visitor's bureaus and historic preservation agencies in the seven surveyed counties. If the grant is received, One thousand five hundred copies of the brochure will be printed.<br>Department of Architecture
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Talbot, Kathleen. "Nostalgia and identity : British hand-painted ceramic decoration 1870-1920." Thesis, Aberystwyth University, 2010. http://hdl.handle.net/2160/830497a4-b387-492e-ac83-c477b55b1b51.

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This thesis discusses hand-painted decoration on British ceramics in the period 1870 to 1920 in the context of changing economic and social climates and gendered employment and occupation. The original impetus for this research came from analysis of ware produced at the South Wales Pottery in Llanelli sometime in the period 1877 to 1920. As the research expanded and links with other potteries were established, it became evident that varied innovations in hand-painted ceramic decoration were influenced by national, local and gendered responses to a period of transition in Britain.
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Saigne, Guy. "Léon Bonnat (1833-1922) portraitiste : Catalogue raisonné des portraits peints, dessinés et gravés." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040202.

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Léon Bonnat (1833-1922) reçoit sa formation artistique en Espagne, puis dans l’atelier parisien du peintre Léon Cogniet, enfin à Rome. Ses premières grandes compositions religieuses lui apportent très tôt le succès, la renommée, les commandes de l’État, et ses scènes de genre italiennes ou orientalistes sont achetées par la clientèle privée. Vers le milieu des années 1870, il se tourne définitivement vers la peinture de portrait dans laquelle il remporte un immense succès faisant de lui, selon ses contemporains, l’un des plus grands portraitistes de son époque. Il peint les portraits des représentants de la classe dirigeante et fortunée française ou étrangère, en particulier américaine, jusqu’à la Première Guerre mondiale. Il pratique ce genre jusqu’à la fin de ses jours, laissant derrière lui, au-delà des portraits d’amis artistes ou de membres de sa famille, une exceptionnelle « galerie » des personnalités du moment, aristocrates, hommes politiques, grands bourgeois français et étrangers, dont quelques œuvres « iconiques » qui marquent la mémoire collective<br>Léon Bonnat (1833-1922) received artistic training in Spain, then in the Parisian studio of the painter Léon Cogniet, and finally in Rome. His early large religious pictures quickly brought him success, fame, and State commissions, while his Italian and Orientalist genres scenes were purchased by private patrons. Around the middle of the 1870s he made a definitive turn toward portrait painting that became immensely successful and made him, according to his contemporaries, one of the greatest portraitists of the wealthy and ruling class in France or abroad, particularly in the United States, before the First World War. He practiced in this genre until the end of his life, leaving behind - except for the portraits of his artist friends and members of his family - an exceptional gallery of personalities of the time, primarily aristocrats, politicians, and French and foreign grands bourgeois, including several iconic works that mark the collective memory
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Beresford, Richard Charles. "Domestic interior decoration in Paris, 1630-1660 : a catalogue based on the written sources." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312589.

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Nadolny, Jilleen M. "The techniques and use of gilded relief decoration by northern European painters, c. 1200-1500." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392039.

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Wako, Miho. "Figured in lively paint : Eastern decorative art, English aestheticism, and consumer culture 1862-1900." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/51548/.

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My thesis aims to explore how John Ruskin's idea of the workman's "freedom of thought" was disseminated to late Victorian female consumer culture, through the transformation of its ideal from Gothic architecture into Eastern decorative art. By examining both elite and popular Aesthetic texts, I will argue that references to Eastern art are not only about the issue of style, but also involve theoretical interests about how to integrate art, consumption, women and the home. In chapter one, I examine Ruskin's conception of workmen's free thought, and how the architect William Godwin adapted it by transferring his ideal example of it from Gothic to Eastern architecture. In chapter two, I discuss how manual books by Mary Eliza Haweis acknowledged the authority of wealthy middle-class women's consumption by using Ruskin's ideas alongside Eastern dress examples. In chapters three and four, I examine the Art at Home series, an affordable set of household manuals, to see how they acknowledged less wealthy middle-class women's capacity to be effective house decorators by raising the status of inexpensive Eastern art. Chapter five analyses the catalogues of Liberty's, an Oriental goods shop, and examines how they presented the principles of Eastern art as their own. In chapter six, I discuss The Woman's World, edited by Oscar Wilde, to show how the perspective of Eastern art can crystallise the definitions of female artists by both elite and popular Aesthetes. In chapter seven, I will examine the representation of Eastern art in Vernon Lee's Miss Brown, and show how her text is a critical response to the definition of female artists in elite and popular Aestheticism. By focusing on these various approaches to Eastern art, we can see that Aestheticism was engaged in a process of critiquing and customising Ruskin's ideas in order to acknowledge the artistry and autonomy of consumers.
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El-Hassan, Ahmed Abu El Gassim. "A study of the main religious motifs in the decoration of Meroitic painted and stamped pottery." Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242763.

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Dias, Carolina Kesser Barcellos. "O pintor de Gela: características formais e estilísticas, decorativas e iconográficas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-21092009-094148/.

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Nesta tese, estudamos os vasos cerâmicos produzidos pelo Pintor de Gela, um artista ático, cujo período de atividade vai da última década do século VI a meados do século V. Esse Pintor pertence à geração de artistas tradicionalistas que prossegue produzindo vasos de figuras negras no período em que a técnica de figuras vermelhas é introduzida e adotada por diversos artistas em Atenas. O Pintor de Gela pode ser considerado um artista completo, uma vez que tanto molda como decora seus vasos com a mesma dedicação; ele pensa como um ceramista, porque ele é um deles, consciente do volume sobre o qual ele coloca os elementos da imagem que constrói, consciente assim da natureza do objeto suporte da imagem e das manipulações e rotações que serão feitas ao longo de sua utilização. Em sua obra, o Pintor apresenta qualidades artísticas interessantes e importantes que devem ser levadas em conta sob diversos aspectos: a originalidade técnica com a qual produz vasos em que se percebe a preocupação com simetria, volume e proporção; a capacidade de abstração e ordenação de imagens; a criatividade e liberdade artísticas com que apresenta novas representações e versões de temas desenvolvidos por outros artistas e oficinas contemporâneos a ele. A produção desse Pintor merece uma revisão e novas interpretações já que o que possuímos de publicações dedicadas ele é muito pouco em relação à sua importância como artista pertencente a um período tão produtivo da arte grega. Apontamentos sobre qualidade artística, estilo, produção e cronologia podem ser feitos a partir do estudo sistemático de seus vasos, inseridos no universo de artistas e da produção de vasos áticos de figuras negras. O conhecimento da produção desse artista, tanto no nível formal quanto imagético, contribui para uma caracterização e maior conhecimento do desenvolvimento técnico e artístico pelos quais passa a cerâmica grega, permitindo questionamentos sobre o que conhecemos da arte, tecnologia e iconografia gregas do período<br>This thesis deals with the pottery vases produced by the Gela Painter, an attic artist who worked from the last decade of the sixth to the beginning of the fifth century BC. This painter belongs to a generation of traditional artists who keeps on producing black figured vases when the red figured technique is introduced and adopted by many artists in Athens. The Gela Painter can be considered a complete artist due to the fact that he makes and decorates his vases with the same dedication. He thinks as a ceramist because he is one - he is aware of the volume in which he creates the elements of image, conscious of the nature of the object in which the image is placed and of the manipulations and shifts that will happen during its use. In his work, the Painter shows interesting and important artistic qualities which have to be considered under different aspects: the technical originality used to produce his vases through which it is possible to notice his worries about symmetry, volume and proportion; the capacity of abstracting and arranging images; the artistic creativity and liberty with which he shows new representations and versions of the same theme developed by other contemporary artists and workshops. This Painter\'s production deserves to be reviewed and re-interpreted due to the fact that all the works dedicated to him are really few when we take into account his importance as an artist belonging to such a fruitful period of the Greek art. Considerations about artistic quality, style, production and chronology can be taken out studying his vases systematically, always having in mind the production of attic black figured vases universe. The knowledge of this Painter\'s production, taking into account both its form and imagery characteristics, contributes to a better characterization and a greater understanding of the artistic and technical development seen in the Greek ceramic production, allowing us to question what we know about art, technology and iconography of this period
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Books on the topic "Decorative painter"

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Spargo, Gillie. The complete decorative painter. Colour Library Direct, 1997.

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The decorative painter: Over 100 designs and ideas for painted projects. Little, Brown, 1996.

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Nadia, Mackenzie, ed. The decorative painter: Over 100 designs and ideas for painted projects. Conran Octopus, 1996.

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Terry, Taylor, ed. The Life and Times of Ernest Dobson. John Fleming & Terry Taylor, 2006.

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Azade, Akar, ed. Sanat tarihimizin bilinmeyen bir ressamı: Ali en-Nakşibendî er-Râkım = a painter unknown to the history of art. Nakkaş Tezyini Sanatlar Merkezi, 2012.

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Wortham, Jean. Yes, we do windows! Yes, we do floors!: A collection of original designs by Jean and Hal Wortham especially for the decorative painter. Cinnamon Bend Publishers, 1992.

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Saporiti, Teresa. Azulejaria de Luís Ferreira o "Ferreira das tabuletas": Um pintor fr Lisboa = Decorative tiles of Luís Ferreira, "Ferreira das tabuletas" : a Lisbon painter. Lisboa Câmara Municipal Cultura, 1993.

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(Group), Provo Craft, ed. Decorative painted wood projects. Sterling Pub., 1996.

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1956-, Sutcliffe John. Paint: Decorating with water-based paints. Frances Lincoln Ltd., 1996.

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Hunt, Belinda. Decorative paint finishes. Edited by Leach Alison and Yelland Anne. Tiger Books International, 1995.

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Book chapters on the topic "Decorative painter"

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de Jong, Jan L. "The painted decoration of the Sala Regia in the Vatican. Intention and reception." In Functions and Decorations: Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance. Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.cascam-eb.3.1472.

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Wedvik, Barbro. "A Glimpse into the House and Decorative Paint Market in Norway During World War I (1914–1918)." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_6.

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Innemée, Karel C. "Kellia: Its Decoration in Painting and Stucco." In Christianity and Monasticism in Northern Egypt. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774167775.003.0024.

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This chapter discusses the artistic elements excavated at Kellia. Numerous buildings, decorations of some sort have been unearthed, ranging from simple graffito-like drawings in red ocher to elaborate painted stucco imitations of columns. Most of these decorations were found in the oratories, the private or communal rooms for prayer. Many of the paintings are of a decorative character and do not show any religious characteristics. Red ocher was often used for painting floors and a dado decoration that reached to approximately one meter high on the walls of certain rooms. Geometrical, floral, and animal motifs were used, while crosses are the most frequent elements with an obvious Christian meaning.
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"Decorative paint effects." In Painting and Decorating. Routledge, 2006. http://dx.doi.org/10.4324/9780080459486-14.

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"Hellenistic pottery with painted decoration." In Greek Painted Pottery. Routledge, 2013. http://dx.doi.org/10.4324/9780203714355-12.

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"Basic coatings (paints, stains and varnishes)." In Painting and Decorating. Routledge, 2006. http://dx.doi.org/10.4324/9780080459486-10.

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Van Keuren, Scott. "Decorating Glaze-Painted Pottery in East-Central Arizona." In The Social Life of Pots. University of Arizona Press, 2022. http://dx.doi.org/10.2307/j.ctv2vt055b.8.

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Ignatiadou, Despina. "A Lidded Glass Phiale with Reverse-Painted Decoration." In Les arts de la couleur en Grece ancienne... et ailleurs. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26mm2.15.

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"Catalogue of Painted Wall Decoration Found in the Village." In ‘Scènes de Gynécées’ Figured Ostraca from New Kingdom Egypt. Archaeopress Publishing Ltd, 2020. http://dx.doi.org/10.2307/j.ctvxrq1dt.8.

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Ling, Roger, and Lesley Ling. "I. 10. 4: CASA DEL MENANDRO." In The Insula of the Menander at Pompeii. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780199266951.003.0009.

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In its Final form, the CASA Del Menandro was adorned with decorations which can be ascribed (leaving aside a few which are too simple or too damaged to be classified at all) to the late Second and Fourth Styles (see Figs. 2–3). Remains from other phases will be considered in the next section but none of these were visible in AD 79. The First Style pavements and painted stuccowork in the rooms excavated beneath the floor of room 18 (Figs. 27B, 64; Pl. 1) had of course been buried before AD 79, and they probably belonged to a separate house anyway. A piece of a First (or early Second) Style dado carrying a curtain motif, preserved inside the cupboard 10 (Fig. 27A), belongs to a phase when this space was a passage; it would have been out of sight in subsequent periods. Other remains of similarly early phases in the atrium area are chance survivals beneath later plaster. The only remnant of a Third Style decoration (Fig. 93B; Pl. 15) is on a fragment of plaster found (probably) in the pit in passage P1; and it clearly derives from a painted scheme which had been dismantled before the final years. All that was visible in 79, then, was work from the third quarter of the first century BC and the third quarter of the first century AD—what we have classified in terms of the structural history as the end of Phase 3 and Phase 5. The late-Second Style paintings and stuccoes are confined to the southern arm of the peristyle and the bath-suite. In the peristyle there is a relatively well-preserved painted scheme of trees seen through arched openings on the walls of exedra 25 (Col. Pl. 39; Figs. 77– 9) and a stucco decoration with birds in spiralling acanthus tendrils in the semi-dome of exedra 24 (Fig. 89D; Col. Pl. 38; Pl. 13); it appears that a similar stucco decoration adorned the semi-dome of exedra 22, but only a fragment of this survives.
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Conference papers on the topic "Decorative painter"

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Matković, Paola, Lucija Duplančić, Klaudia Hozjan, and Sandra Šustić Cvetković. "MOCK-UP RECONSTRUCTIONS OF GOLDEN TEXTILES DEPICTED IN THREE RENAISSANCE PAINTINGS FROM CROATIA: THE PURSUIT OF EMBELLISHMENT TECHNIQUES." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13603.

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This research will focus on three small-scale mock-up reconstructions of several embellishment motifs used by renaissance painter Nikola Bozidarevic from Dubrovnik (Croatia). The reconstructions were carried out as a part of the practical portion of the Technical analyses and historical reconstructions course at the Arts Academy of the University of Split during the academic year 2020/2021. During the reconstruction process a number of questions concerning the painter’s working properties aroused. The attempt was made to answer which methods of transferring the pattern on the gilded surface could have been used. Further questions concerned the subsequent steps of decoration, for example did the pouncing of the surface occurred before or after delineation of the motifs in thick paint. In spite the fact that most of these questions remind ambiguous, the experience gained from the reconstruction process emphasized the importance of understanding the practical aspects of decorative techniques as well as the high level of knowledge about the painter’s materials required for this kind of process.
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Yeskov, V., Valentina Dorofeeva, and Svetlana Degtyareva. "SOME ASPECTS OF THE DECORATION OF ARBORETUM TREE-SHRUBS VSUFT." In Modern problems of animal and plant ecology. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2021. http://dx.doi.org/10.34220/mpeapw2021_10-14.

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This article presents aspects of decoration of wood-shrub arboretum species of VSUFT. The relative limitations of floristic composition in parks and squares indicate the need for enrichment by representatives of the Rosaceae Juss family. The task of the study was to select species that are more decorative and adaptable to the extreme conditions of the modern environment. It is possible to increase species diversity in various ways, including through landscaping. For this, various techniques and combinations of forms and paints of vegetation are used, since the enrichment and renewal of the assortment of decorative rocks is very important. Shrub-tree species of the Rosaceae Juss family. are the most promising breeds in Voronezh and the Voronezh region as a whole.
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Overdiep, W. S. "APPLICATION PROPERTIES OF DECORATIVE PAINTS." In Proceedings of the First European Coating Symposium. WORLD SCIENTIFIC, 1996. http://dx.doi.org/10.1142/9789814503914_0024.

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Li, Peng, Enzhi Xu, Chaoquan Tang, et al. "Design of a sanding robot for wooden painted decoration box." In 2017 IEEE International Conference on Real-time Computing and Robotics (RCAR). IEEE, 2017. http://dx.doi.org/10.1109/rcar.2017.8311846.

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Bermejo-Soler, Juan, Iñigo González-González, Estíbaliz Lama-Ochoa, Fernando Baceta-Gobantes, and MªDolores Rodríguez-Laso. "The volumetric and chromatic reintegration of hydraulic mosaics: comparison between four different techniques." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13539.

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The mosaic made of hydraulic tiles, is an architectural coating with a significant decorative importance, characteristic of both modernist and Art Deco architectures. This technique appeared in France in the decade of the 1860s, spreading all over Europe with great rapidity, and with a remarkable impact until the beginning of World War II. The decoration with hydraulic mosaic is based on the use of tiles made of compressed cement, adorned with intense colours and a glossy appearance. After been used for more than a century, many of these decorations are in need of an immediate intervention. As they are serialized and mass-produced elements, their volumetric and chromatic reintegration becomes easier. Non-interventional procedures are not usually acceptable, as they often have pavement function. In this work, four different restoration techniques have been compared. Starting from inorganic binders, we have proposed 1) white cement / silicate mineral paint; 2) acrylic resin / paint and 3) epoxy resin / paint. Last, reintegration tests were made on marble stucco using a combination of plaster, pigments and animal glue. The results of these four systems were compared with the ones obtained from the traditional hydraulic mosaic, paying special attention to gloss, hardness, and porosity. As the goal is to choose the most appropriate technique applied to Cultural Heritage, its behaviour was tested through two accelerated aging tests. On one hand, a group of test samples have been exposed to the penetration of salts by capillarity, very common in pavements. On the other hand, the samples were placed in a climatic chamber with the aim of accelerating its aging, exposing them to humidity, heat and UV radiation. These tests have made possible to know the potential of each of these materials and their suitability for volumetric and chromatic reintegration.
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Hanano, Shingo, Kanehiro Nagata, and Yusuke Murase. "Development of Paint-Less Black Gloss Decorative Technology for Frame Molding." In SAE 2016 World Congress and Exhibition. SAE International, 2016. http://dx.doi.org/10.4271/2016-01-1331.

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Rode, Lisa, Blaz Šeme, and Janja Slabe. "ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS: THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13538.

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The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia
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Yu, Lan. "Study on the Blending of National Culture in the Painted Decoration of Tibetan Dwellings." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.62.

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Purnama, Gun Nanda Tian, Sawarni Hasibuan, and Zulfa Fitri Ikatrinasari. "Developing green manufacturing indicators for the decorative paint industry: A case study of Indonesia." In THE 5TH INTERNATIONAL CONFERENCE ON INDUSTRIAL, MECHANICAL, ELECTRICAL, AND CHEMICAL ENGINEERING 2019 (ICIMECE 2019). AIP Publishing, 2020. http://dx.doi.org/10.1063/5.0000831.

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Yin, Xizhu, and Yalan Liu. "Quality control and insulation construction technology of exterior house paint decoration." In 2016 5th International Conference on Environment, Materials, Chemistry and Power Electronics. Atlantis Press, 2016. http://dx.doi.org/10.2991/emcpe-16.2016.35.

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