Academic literature on the topic 'House Painter'

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.

1 Acute pancreatic injury has been attributed to occupational exposure to chemical agents in workers, but there have been no previous reports of occupationally induced chronic pancreatitis. 2 Severe chronic exocrine pancreatic insufficiency was found in a 29-year-old house painter, where other known causes of chronic pancreatitis could be ruled out. The patient had previously experienced abdominal pain and diarrhoea associated with exposure to spray paints followed by remission of the symptoms during vacations. 3 Although the association between exposure and pancreatic insufficiency may be a random one, a possible causal relation should be further evaluated.

Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.

Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.

The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the back of the painting. After protecting the entire face of the painting (by applying the Japanese paper), the old patch on the back of the painting (covering a small area of torn canvas) was replaced with a new one. The cleaning process (the removal of the light dirt and the old varnish layer) was followed by the filling of all the gaps of the painted layer with putty. The chromatic integration and the final varnishing ended the restoration process of the painted canvas.

The importance of scene painters to English theatre increased markedly toward the end of the eighteenth century—in part a response to the contributions of Philip James De Loutherbourg at Drury Lane in the 1770s. Advertisements began routinely to record the name of what we would now call the scene designer. Gaetano Marinari was identified as principal painter and machinist at the King's Theatre in the Haymarket between 1785 and 1789, when the old opera house burned. Thomas Greenwood held the equivalent position at Drury Lane, John Inigo Richards at Covent Garden, and Michael Angelo Rooker at the Little Theatre in the Haymarket. For particular productions the names of assistant painters might also be advertised. On 20 December 1785, for example, Covent Garden listed Richards, Carver, Hodgins, Catton Jun., and Turner as the crew that executed scenery for the travelogueOmai, which turned out to be De Loutherbourg's last designs for the London theatre.

The author deals with two country houses of Vuko Crnica which have not hitherto been subject to scholarly research. One of them is no longer extant residential and agricultural complex of the Crnica Family on the island of Vir which consisted of a country house, a chapel and a small utility building. These structures were built by Vuko Crnica, a colonel in the Venetian army, after 1634, when he received the island of Vir as a concession, but before 1666, when they were mentioned for the first time in his will. The country house at Preko on the island of Ugljan was erected in 1666, as is recorded on the inscription installed above the entrance to the garden. This house is well-preserved albeit in a modified form because of the nineteenth-century intervention which occured when it was owned by the painter Franjo Salghetti-Drioli. Significant features of the summer residence at Preko include a large, well-preserved garden, as well as the original articulation of the living quarters inside the house. The inventories of the country houses at Vir and Preko, recorded in 1683, enable us to reconstruct their original appearance and furnishings. Both country houses belong to the large group of seventeenth-century summer residencies being built on Zadar islands. Both, through their characteristic locations by the sea, one with a chapel, the other with a large garden, fit into the contemporary trends in country house architecture on Dalmatian islands, marked by simple, utilitarian architecture with hints of Baroque morphology applied to specific elements of architectural and sculptural decoration.

AbstractSince the 1993 publication, in this journal, of an article about Philips Wouwerman (1619-1668), little new information about the artist has emerged. There have been some shorter publications and recently a monograph with a catalogue raisonné of Wouwerman. The 1993 article discussed roughly two dozen dated works. In addition there are a few references to dated paintings in old sale catalogues. Among these was a Calvary, known to be dated 1651. This painting has recently been rediscovered (fig. i). It is in excellent condition and forms an important addition to the artist's known work, not only because it is dated, but also because its biblical subject is unusual for the artist. The crucifixion itself is given a relatively modest place in the composition. It is possible that an engraving by Lucas van Leyden inspired Wouwerman when he painted the scene. Stylistically the painting fits with Wouwerman's other works from around 1652. Certain aspects of the composition are reminiscent of his earlier work, but the rendering of landscape and figures, and the use of colour arc characteristic of his canvases from the period 1652-1654, for example Peasants making merry in front of an inn of 1653, now in Minneapolis (fig. 2) and the Peasant wedding in the Samuel Collection at the Mansion House, London. The painting was probably sold at auction in Amsterdam in 1709, together with two other New Testament scenes by Wouwerman, and a Crucifixion of 1661 by Karel du Jardin. Hofstede de Groot noted that the latter work and Wouwerman's Calvary were paintcd in response to a competition announced by the Count of Wassenaar, but this seems untenable. If both pieces were indeed painted for one collector, it seems more likely that this was Jacob Cromhout from Amsterdam. The rediscovery of the Calvary adds important information to our picture of Wouwerman and reminds us that he was not just a successful painter of horse scenes. It also provided a helpful reference point for the chronology of his mostly undated work.

Background: House painters are increased as people prefer to live in good and decorated houses. Mishandling of paints and inhalation of paint materials become a problem as this paints contain chemicals which are poisonous upon inhalation. However, few studies have assessed respiratory symptoms among house painters in the Africa. The main objective of this study was to assess respiratory symptoms and associated factors among house painters.
 Methods: We used a questionnaire to interview 172 house painters and 148 non exposed group in different construction sites. A sub sample of 25 house painters was evaluated for lung function using EasyOne spirometer
 Results: The study revealed significant results when respiratory symptoms were compared among painters and non-exposed group (p<0.05). Low level of knowledge among workers and poor use of PPE were the main factors associated with exposed to paints. Protection of those workers would be only successfully if enforcement policy is enacted about every site to provide personal protective equipment (PPE) to workers.
 Conclusion: House painters are exposed to different painting materials and therefore appropriate measures are recommended.