Academic literature on the topic 'Mural painter'
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Journal articles on the topic "Mural painter"
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Castilla, Manuel V. "The Cultural Heritage of Architectural Linear Perspective: The Mural Paintings in Nantang Church." Heritage 4, no. 3 (2021): 1773–85. http://dx.doi.org/10.3390/heritage4030099.
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This paper presents a contextual use of the innovative drawing techniques that involved architecture and painting in the Qing court during the first half of the eighteenth century. At this point architectural linear perspective in painting (quadratura) and stage design had become common fields of experimentation for the Chinese and Jesuit artists missionaries. In this conceptual context, Western quadratura was developed in China by Giovanni Gherardini. (1655–1729), and especially by Giuseppe Castiglione (1688–1766), who is remembered as an extraordinarily versatile architect–painter. The focus of this paper is on the “illusory mural paintings of architectural perspective in Nantang Church” (Beijing), which has now disappeared, and which spread the influence of the Western Renaissance. The imported Western linear perspective and the fundamentals of architectural drawing facilitated the systematization and dissemination of the quadratura as an unknown technique in China. Based on the text described by the contemporary scholar Yao Yuan Zhi, an original interpretation of the architectural perspective mural paintings in Nantang Church is proposed. These paintings provide an important case study of Sino-European collaboration in the eighteenth century from different points of view: the representation of the light in drawings and the fact that the concept of shadow in some respects was unknown to the Chinese artist.
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Ocaña, Sandra Zetina, Manuel Espinosa Pesqueira, Nora Ariadna Pérez Castellanos, and Renato Robert Pappereti. "Xavier Guerrero, De México a Chile (From Mexico to Chile), Some Remarks About the Use of Portland Cement in Mexican Muralism." MRS Proceedings 1374 (2012): 73–85. http://dx.doi.org/10.1557/opl.2012.1379.
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ABSTRACTXavier Guerrero (1896-1974) had an important role in the so-called Mexican Mural Renaissance, as a technical leader in the murals painted by Roberto Montenegro and Diego Rivera in the early 1920’s. Jean Charlot, Diego Rivera and David Alfaro Siqueiros considered him as a sophisticated fresco craftsman, whose knowledge came from a popular mural painters guild.In 1941 the Mexican Government donated a School to Chillan, a Chilean town almost destroyed by a strong earthquake. David Alfaro Siqueiros and Xavier Guerrero were commissioned to paint murals on the Mexico School. Between 1941-1942 Guerrero decorated several walls and the staircase ceiling, the mural program is called De México a Chile (From Mexico to Chile). In 2010 another earthquake destroyed part of the ceiling. This study is part of the diagnosis project of De México a Chile, and consists in the characterization of the mortar and painting layers with optical microscopy, X-ray diffraction (XRD), scanning electron microscopy (SEM) and thermal analysis (TGA), while textural properties of the mortars were studied with nitrogen adsorption-desorption techniques.Analytical results show a stratigraphic sequence composed of several layers of Portland and lime combinations, and also an interesting painting technique that possibly involves the Portland cement setting process, with the development of specular gypsum.
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Meijer, Bert W. "Lambert Sustris in Padua: fresco's en tekeningen." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 3–16. http://dx.doi.org/10.1163/187501793x00072.
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AbstractThe Amsterdam painter Lambert Sustris stayed in Padua in the 1540s. During this period he worked, among other things, on a number of murals in palazzi and ville suburbane, and also in villas outside Padua and near Vicenza. Some of these murals still exist, others have vanished. A few drawings by Sustris associated with lost murals have however survived. In Padua, Sustris first worked in a subordinate position under Domenico Campagnola and Gualterio Padovano; later, having attained an independent status, he collaborated with the latter and with Andrea Schiavone, among others. Most of the buildings and mural decorations were designed to recreate and renew Classical Antiquity. Some were influenced by Raphael and the artistic climate in Rome and Mantua after 1530, in which followers such as Giulio Romano figured so prominently. Before going to Padua, Sustris had very likely been in Rome and perhaps in Mantua as well. His patrons in Padua, men like Alvise Cornaro and Marco Mantova Benavides, were members of the city's humanist circles, which were strongly orientated towards Rome and Classical Antiquity. The Amsterdam artist is largely responsible for the importance of the landscape in these paintings with their air of antiquity, paintings which in the case of the villas represent the earliest phase of villa decoration in the Veneto. Sustris' landscapes and figures alike clearly bear witness to a connection with Titian, whose paintings Sustris had probably furnished with landscapes earlier on. Further influences on Sustris' work during this period were primarily Raphael, Francesco Salviati and Parmigianino. Partly on the basis of the murals and drawings attributed here to Sustris, there are justifiable grounds for concluding that in recent decades the influence and position of Giuseppe Porta Salviati in Venice and Padua has been overestimated, to Sustris' disadvantage. Except for during his Padua period, the Amsterdam artist received few public commissions. He consequently sank into almost total oblivion fairly soon after his death. From as early on as the late sixteenth century some of his paintings, by virtue of their style and high quality, were taken for masterpieces by Titian.
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Antropova, Nataliya D. "HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-21.
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The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.
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McNiven, Timothy J. "Odysseus on the Niobid Krater." Journal of Hellenic Studies 109 (November 1989): 191–98. http://dx.doi.org/10.2307/632051.
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The Niobid krater in Paris (Louvre G341) is not one of the masterpieces of Greek vase painting. The vase is not even one of the best works of the artist, who receives his name, the Niobid Painter, from the rare depiction of Apollo and Artemis killing the children of Niobe on the reverse. The vase is, however, one of the touchstones of the history of ancient Greek art. The Niobid krater has this distinction because it is the earliest contemporaneous witness to the new developments in mural painting in the Early Classical Period, developments best understood from the descriptions of the traveler Pausanias six centuries later. The actual quality of the Niobid krater is therefore secondary to its documentary value.Since the krater's discovery in 1881, most discussion has focused on the iconography of the scene on the obverse, showing a group of warriors with Athena (PLATE IIa). The ambiguity of the scene comes from the large number of figures and the lack of action or iconographical evidence to help in their identification. Of the 11 figures, only Herakles (figure 6 on PLATE IIb), with his club and lionskin and Athena (4) in her aegis and helmet are clearly identifiable.
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Shao, Anding, Qianli Fu, Zhouyong Sun, and Jing Shao. "Studies on the materials and manufacturing technology of the murals unearthed at Shimao Site in Shenmu County, Shaanxi." Chinese Archaeology 17, no. 1 (2017): 193–200. http://dx.doi.org/10.1515/char-2017-0017.
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AbstractThis paper presents preliminary scientific analytical results and discussion on the murals unearthed at the Shimao Site in Shenmu County, Shaanxi Province. The murals were composed of pigment layer, plaster base layer and daub layer. The pigments used include hematite, goethite, glauconite and carbon black. Same with the floor plaster layer of the house foundations in the site, the plaster layer of murals is made of calcium carbonate. For the painting procedure, a draft had firstly been designed by engraved lines, and then the murals were painted with various pigments. A tentative comparative study shows that the manufacturing technology and painting techniques of the Shimao mural are similar to that of the murals of the Han and Tang Dynasties. It indicates that the fundamental manufacturing technology of mural had probably been established in the Erlitou Period at latest, which was just followed and enriched over the Han and Tang Dynasties.
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Shemyakina, Sophia. "History of One Portrait." Bulletin of Baikal State University 29, no. 1 (2019): 32–38. http://dx.doi.org/10.17150/2500-2759.2019.29(1).32-38.
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Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofeevich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.
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Wang, Q., M. Hou, and S. Lyu. "VIRTUAL RESTORATION OF MISSING PAINT LOSS OF MURAL BASED ON GENERATIVE ADVERSARIAL NETWORK." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 807–11. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-807-2021.
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Abstract. Mural painting is one of the important cultural heritage reflecting the historical migration of the nation. In order to inherit these precious historical and cultural heritage, how to non - destructively and digitally protect and restore the existing murals has become an urgent task. The use of computer - assisted restoration of murals can not only save manpower and material resources, but also avoid secondary damage to the murals.However, most of the existing computer-assisted mural restoration algorithms use similar blocks with priority calculations and matching blocks in adjacent areas to guide mural restoration. There are some problems such as incoherent overall semantic structure, unnatural detail texture and inability to effectively repair large area missing remain to be solved. Aiming at the problems existing in the restoration of large area diseases such as paint loss and color fading in murals, we constructed a fine image restoration network model which based on generative adversarial network. A multi-scale dense matching repair network based on a generative adversarial network is constructed. First, the dense combination of dilated convolutions is used to improve the repair effect of detailed textures, Then, mean absolute Error, (Visual Geometry Group, VGG) feature matching, auto-guided regression, and geometric alignment are used as the loss function to guide the training of the generative network. Second, the discriminator with local and global branches is used to train the discriminant network, so that the repaired image is in the local and global content. Experiments were performed on the three mural data sets one by one. The results show that the network model can effectively restore the lines and faces in the murals. The images restored are not only coherent in semantic details, but also natural in color, which is conducive to the appreciation and display of murals. Thus, as one of the important directions of cultural heritage digital protection，the use of generative adversarial network in the digital restoration of ancient murals have been proved to be effective. It not only provides a reference for the true restoration of the murals but also means a lot to the preservation of murals.
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Shaftel, A., and J. Ward. "CONSERVATION OF THE SINCLAIR INN MUSEUM, AND THE PAINTED ROOM ANNAPOLIS ROYAL, NOVA SCOTIA, CANADA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 21, 2017): 641–47. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-641-2017.
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Conservation of the historic 18<sup>th</sup>C. Sinclair Inn Museum, and of the recently discovered late 18th/early 19thC. unique panoramic wall paintings located in an upstairs room, are co-dependent. This project was carried out with Canadian Conservation Institute (CCI) staff, and Conservator in Private Practice Ann Shaftel. This paper will introduce the Sinclair Inn Museum, outline the CCI murals and building investigations of 2011-15, the mural investigation of 2015-16, which confirmed that the mural extended to all four walls of the function room, now referred to as the Painted Room, and to describe how it has been revealed and conserved to date.
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Bevz, Mykola. "Artistic painted decorations on the outside walls of the castles in western Ukraine." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 2 (2020): 94–106. http://dx.doi.org/10.35784/teka.812.
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The article describes the newfound fragments of polychrome paintings in the upper tiers of the southeastern castle tower in Pomoriany (Pomorzany – in polish). The pictures are found on the outside wall of the tower. The polychrome murals are preserved in fragments. The paintings decorated the plastered walls of the at the top two levels of the tower and can be dated roughly to the 17th century. Another mural fragment, discovered on the outside of the north wall of the castle in Yazlivets, is much smaller, but with more vibrant colors. Such exterior castle walls decorating with polychrome paintings are rare in Ukraine. It is proposed to preserve and conserve these fragments of murals. Remains of polychrome art paintings are also found in other castles – in Zhovkva, Pidhirtsi, Stare Selo.
Dissertations / Theses on the topic "Mural painter"
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Malbranche, Chloë. "Le retour de l'art mural à l'époque contemporaine." Thesis, Dijon, 2011. http://www.theses.fr/2011DIJOL009.
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Le retour de l'Art mural à l'époque contemporaine" tourne autour de la problématique suivante: en quoi l'Art Mural est-il une nouvelle forme de métaphysique puisqu’elle permet à l'homme de projeter son âme sur un support et se retrouve ainsi dévoilée aux yeux de tous sous cette forme qui s’apparente à l" ekstase "soit un au dehors mis en mouvement par une "corporéité habitée" car le peintre muraliste est celui qui revendique l'esprit d'une époque et fusionne avec le mur pour créer une image, celle de l'invisible rendue visible. Le concept de « mur » sera abordé comme une pierre angulaire au travers des âges, comme support dans l’art moderne, art qui permet de faire un lien avec le passé mais surtout se démarque des arts contemporains car il sera nécessaire d’approcher les œuvres murales et le graffiti en général qui sera défini et fera l’objet d’une étude approfondie. Ainsi l’art rupestre qu’il est possible de comprendre d’après les études de Henri LHOTE, d’André LEROI-GOURHAN et de l’Abbé BREUIL pourra être mis en lumière notamment en décrivant les peintures pariétales retrouvées dans la grotte de Niaux, de Kapova, de Altamira, de Lascaux et de Chauvet qui représentent la première forme d’art humain et le commencement d’une spiritualité naissante. Le lien pourra être fait avec le symbolisme de l’Art égyptien et sa construction de l’image pour arriver à l’art décoratif des fresques de Pompéi et d’Herculanum où les graffitis de ces villes ont été étudiés par Eva CANTARELLA. De manière chronologique il sera intéressant de rappeler que le Moyen Age fut l’époque de la naissance des fresques romanes en vue de promouvoir une spiritualité qui évolue au cours des âges. Il existe aussi des techniques selon Cennino CENNINI qui explique les procédés de l’« intonaco » et de la fresque « a fresco » associés au père Ignazio POZZO. Enfin la période contemporaine fera l’objet de cette réflexion car les mouvements en peinture sont faits de liens mais surtout font rupture avec ce qui précède pour s’établir dans le temps selon l’expression de Valérie DUPONT, historienne de l’ArtThe return of Mural Art in the contemporary period” revolves round the following issue: In what way can one consider art to be a new form of metaphysics, since it allows man to project his soul on a support thus unveiling it to all in this form, which is close to a kind of “ecstasy”, i.e. an outside that is made to move through a “lived-in corporality”, for the mural painter claims the spirit of a period and merges with the wall so as to created an image – that of the invisible made visible. The “wall” concept will be examined as a foundation stone through the ages, as a support in modern art, a type of art that can create a link with the past but which especially stands out from contemporary art types, since we'll be studying mural works made by muralists as well as graffiti in general, which will be defined and studied in depth. Thus, rupestral art, which may be understood through the studies of Henri LHOTE, André LEROI-GOURHAN and Abbot BREUIL, can be explained most notably by looking at parietal paintings found in the Niaux, Kapova, Altamira, Lascaux and Chauvet caves, which represent the first form of human art and the beginning of a nascent spirituality. A link may be made to the symbolism of Egyptian art and its construction of image before reaching the decorative art of the Pompei and Herculanum frescoes – graffitis in those cities were studied by Eva CANTARELLA. It will be interesting, from a chronological point of view, to remember that the Middle Ages were the period when romanesque frescoes were born in order to further foster that age-old evolving spirituality. Such art was considered by Cennino CENNINI, who, along with father Ignazio POSSO explains the processes of “intonaco and the “a fresco” fresco. Finally, we'll have to study the modern period, since painting movements are made up of links and, more importantly, make a break with what preceded them, in order to last in time, as Valérie DUPONT, an arti historian, says
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Baiza, Martínez Berenice. "Studies of the effect of nanoconsolidants on mural paint layers." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29078.
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This research has been focused on the comparison of the effect and impact of three consolidants
on mural paint layers with lack of cohesion. The experiments were carried out in vitro with a
laboratory synthesized nanolime (HERCULES nanolime), a commercial nanolime (CaLoSiL®
IP25), and with commercial acrylic resin (Primal ™ SF-016 ER®). Two sets of replicas of mural
paint layers, buon fresco and lime fresco, were prepared with red and yellow ochre and smalt
pigments. Both pictorial techniques and pigments are found in historical mural paintings in the
Alentejo region of Portugal.
The characterization and comparison analysis of the paint layers before and after treatment with
the three consolidant materials at different time intervals (right before, in one week and in one
moth) were carried out with photographic documentation in visible (Vis) and ultraviolet
fluorescence induced in visible (UVF), Optical microscopy (OM-Vis), colorimetry and
spectrometry and Scanning Electron Microscopy coupled with Energy Dispersive X-ray
Spectroscopy (SEM-EDS). Experimental work also included synthesis of nanolime and its
characterization by X-ray diffraction (XRD), Scanning Electron Microscopy (SEM), Fouriertransform
infrared spectroscopy (FTIR), Thermogravimetry Analysis (TGA-DTG) and Dynamic
light scattering (DLS).
This study has indicated that the HERCULES nanolime has potential to be used effectively for
consolidation of fresco paintings affected by lack of cohesion and it represent a viable alternative
to organic consolidants; Estudos do efeito de aplicação de nanoconsolidantes em
camadas cromáticas - RESUMO:
O trabalho apresentado teve como principal objetivo o estudo comparativo do efeito da aplicação
de três consolidantes em pintura mural com falta de coesão. Os ensaios foram realizados in vitro
com uma nanocal sintetizada no laboratório (HERCULES nanolime), uma nanocal comercial
(CaLoSiL® IP25) e uma resina acrílica comercial (Primal ™ SF-016 ER®). Foram preparados
dois conjuntos de réplicas de pintura mural recorrendo às técnicas de buon fresco e fresco em
cal, e utilizando, como pigmentos, os ocres vermelho e amarelo e o azul esmalte. Tanto as
técnicas pictóricas como os pigmentos utilizados são frequentemente encontrados em pinturas
murais históricas da região do Alentejo, em Portugal.
A caracterização e análise comparativa das pinturas murais, após a aplicação dos três materiais
consolidantes, realizou-se em três períodos de tempo distintos: imediatamente após a sua
aplicação, ao final de uma semana e ao final de um mês. As técnicas de análise utilizadas foram a
fotografia no visível (Vis) e a fluorescência de ultravioleta induzida no visível (UVF), a
Microscopia Ótica (OM), a Colorimetria e Espectrometria, e a Microscopia eletrónica de
varrimento acoplada a espectroscopia de raios X dispersiva de energia (MEV-EDS). O trabalho
experimental incluiu a síntese de nanocal e sua caracterização por recurso às técnicas de difração
de raios X (DRX), Microscopia eletrónica de varrimento acoplada a espectroscopia de raios X
dispersiva de energia (MEV-EDS), Espectroscopia de infravermelho por transformada de Fourier
(FTIR), Análise Termogravimétrica (TGA-DTG) e Espalhamento Dinâmico de Luz (DLS).
Este estudo revelou que nanocais apresentam potencial para serem usadas na consolidação de
pinturas murais a fresco afetadas pela falta de coesão e representam uma alternativa viável aos
consolidantes orgânicos.
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Jody, Patterson. "Modernism for the masses : painters, politics and public murals in New Deal New York." Thesis, University College London (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690021.
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London, William H. "Politics and Paint: Murals, Memory, and Archives in Northern Ireland, 1968-1998." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469988055.
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Cvetkovic, Mila. "Unveiling the mural art of Almada Negreiros at the Maritime Stations of Lisbon: diagnosis research of paint layers as a guide for its future." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29079.
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Diagnostic research of the three mural paintings from Alcântara Maritime Station in Lisbon was conducted in order to understand the main decay phenomena and their dynamics, with respect for future conservation work. The analytical setup was composed of in-situ analyses by p-OM, spectro-colorimetry and h-EDXRF, followed by micro-sampling for a more profound analyses with OM, SEM-EDS, μ-XRD, FT-IR and py-GC-MS. Deterioration features identified include salts (salts efflorescence and sub efflorescence), flaking, lacunae, erosion and lack of cohesion of paint layers. Developed salts were classified as sulphates and their origin seems to be linked to polluted atmosphere and water infiltration into building materials. Greenish paint layer present in all three murals appears as the most deteriorated one, as it shows problems of severe flaking and lacunae; Resumo:
Desvelando a arte mural de Almada Negreiros nas estações marítimas de Lisboa: Diagnóstico de pesquisa de camadas de pintura como guia para sua conservação futura
Uma pesquisa diagnóstica das três pinturas murais da Estação Marítima de Alcântara, em Lisboa, foi realizada para entender os principais fenômenos de degradação e sua dinâmica com respeito a trabalhos futuros de conservação. A configuração analítica foi composta por análises in-situ com p-OM, espectro-colorimetria e h-EDXRF, seguida de micro-amostragem para análises mais profundas com OM, SEM-EDS, μ-XRD, FT-IR e py-GC-MS. As características de deterioração incluem sais (eflorescência e subflorescência), descamação, lacunas, erosão e falta de coesão. Os sais desenvolvidos foram classificados como sulfatos e sua origem parece estar ligada à atmosfera poluída e à infiltração de água em materiais de construção. A camada de tinta esverdeada presente nos três murais aparece como a mais deteriorada, pois apresenta severos problemas de descamação e lacunas.
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Schizas, Nicholas. "A theological study of the frescoes painted by Spyridon Papaloukas in the cathedral of Amfissa." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683253.
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Hussein, Adam Gabriel. "The ancient mural paintings from the Eastern region of Libya (Cyrenaica), with special reference to the painted tombs in the North and West Necropolis of Cyrene." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560533.
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This study describesa nd analyses the painted murals contained within selected ancient tombs in the Eastern region of Libya (Cyrenaica), with particular reference to tombs in the North and West Necropolises of Cyrene. Chapter One outlines the purpose of the study, and describes the geography and history of the area, including a summary of earlier expeditions to the tombs, and of descriptions of the murals and architecture. The reasons for selecting the particular sites are discussed, and the next three chapters are analytical studies of the individual murals, including their location, (approximate) dating, detailed descriptions of the exterior and interior, and comparison with earlier descriptions. Chapter Two deals with the tombs from the Hellenistic period. Chapter Three discusses two Roman tombs, and, briefly, the painted tomb at Tocra described by Porcher. Chapter Four discusses Later Roman and Christian-influenced murals in tombs and in the cavern at Kedra, and important features of a Hellenistic tomb that was re-used during the Roman period. Two painted tombs outside the area of Cyrene are also discussed. The fifth and final chapter gives an overview of the entire thesis, discusses the key points, and sets the Libyan material in its ancient context. This study is a detailed account of the wall murals and decorative features. It highlights their value, and the contribution they make to the study of past culture and history in Cyrenaica, and hopes to raise awareness of the need to preserve these valuable historical paintings.
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Yang, Jeongmu. "Giovanni Bellini : experience and experiment in Venetian painting, c. 1460-1516." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/1318058/.
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Giovanni Bellini (b. 1435/40-d. 1516) has long been considered a dominant figure in the Venetian painting of the Early-High Renaissance, his main reputation being a colourist. The distinctive optical and technical characteristics of his work have drawn substantial scholarly attention in the present century, but the studies in this subject have not been developed as a coherent theory with regard to changes in painting technique in the fiftenth-century Italy. The purpose of this dissertation, therefore, is to investigate Bellini's choice and application of painting materials, attempting to establish links between the technical qualities and the formal values of his work. In the process of establishing Bellini's position with regard to the use of paint media and support, this thesis also provides a substantial overview of the use of canvas and of oil pain in the later fifteenth century. The study is encouraged by recent discoveries about Bellini's technique that have emerged from conservation of his paintings. As well as addressing published conservation results, the thesis includes new observations on four canvases attributed to Bellini's father Jacopo, and two Madonnas from Bellini's workshop scientifically examined at UCL Painting Analysis. In order to investigate Bellini's colour and handling of paint within a broader socio-economic milieu, this study deals with the commercial documents such as tariffs, government records, and merchant account books, indicating that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade. The resulting advantages of Venetian painters who were active at this commercial heart, and the question of how deeply the pragmatic experience of colours that Venetian merchants obtained from the trade penetrated their aesthetic taste will be discussed. Using both scientific and documentary analyses in combination with visual analysis which integrates these findings, this study examines Bellini's translation of the skills of tempera to oil pain and the stylistic changes that occurred with the extensive use of oil medium. It looks at how Bellini developed canvas as a support for mural painting and the technique he employed on such an unconventional support. It will also study the methods in which he established the predominance of colour as an element of composition at the early sixteenth century. In conclusion, it will argue that Bellini's increasing choice of canvas and corresponding use of oil on it changed the general concept of picture-making and became a new format of painting that was to exert a crucial influence on Cinquecento Venetian painting.
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Purmale, Zané. "Habiller le mur : les relations entre la tapisserie et la peinture sous la Troisième République : le cas des Gobelins (1870-1925)." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30017.
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Sous la Troisième République, les quatre administrateurs successifs de la manufacture nationale des Gobelins, Alfred Darcel, Edouard Gerspach, Jules Guiffrey et Gustave Geffroy, cherchent à imprimer, chacun à leur manière, un renouveau à l’art de la tapisserie. Si les trois premiers cherchent à retrouver la vraie nature de la tapisserie, dont les principes peuvent être découverts en étudiant le passé, pour lui redonner une vigueur nouvelle dans le présent et augmenter ainsi son indépendance vis-à-vis de la peinture, le dernier cherche, au contraire, à faire entrer les Gobelins dans la modernité en rapprochant la tapisserie de la peinture. Cette thèse cherche à comprendre, de façon aussi complète que possible, la création artistique à la manufacture des Gobelins pendant cette période, qui se caractérise par une activité extraordinaire. Grâce à l’analyse du contexte intellectuel, il a été précisé les idées qui ont permis de donner l’impulsion et la direction à ce renouveau en détaillant également les conditions matérielles, institutionnelles et économiques qui permettent d’étudier les moyens dont dispose la manufacture. Ainsi sont révélés les impératifs imposés par les conditions matérielles et l’organisation du processus créatif impliquant un nombre d’acteurs et de procédures important, ralentissant et rendant contraignante toute démarche. Surtout il a été montré dans quelle mesure les moyens économiques étaient en totale inadéquation avec les objectifs de la manufacture. Malgré ces difficultés, la manufacture joue un rôle central dans le renouveau de la tapisserie. Si les progrès sont lents à émerger en raison de la nature même du fonctionnement des Gobelins, ils donnent une impulsion formidable à l’industrie privée grâce à son intense activité intellectuelle et artistique et le rayonnement international qu’ils exercent, et ceci malgré les critiques portant sur le choix des modèles. En effet, si les efforts de la manufacture sont justement reconnus, les choix esthétiques sont souvent remis en cause. Ainsi, la seconde partie de cette thèse étudie la politique artistique de chaque administrateur afin de comprendre comment cette dernière se concrétise, et quelles sont les principales lignes de l’action artistique de chacun des administrateurs. Ce travail s’appuie sur un catalogue exhaustif fait de notices approfondies et d’une iconographie abondante, retraçant l’historique des tentures murales en haute lisse et au point noué de Savonnerie réalisées à la manufacture des Gobelins, leurs cartons et maquettes mais aussi d’un nombre important de projets non aboutis, dessinant ainsi le panorama le plus complet sur la création à la manufacture des Gobelins dans les années 1870-1925During the French Third Republic, the four successive administrators of the National Gobelins’ manufactory, Alfred Darcel, Edouard Gerspach, Jules Guiffrey and Gustave Geffroy, sought to give an impulsion, each in his own way, in order to provoke a tapestry revival. The first three administrators seek to rediscover the true nature of tapestry, the principles of which can be discovered by studying the past, in order to give it new vigour in the present and increase its independence from painting. Geffroy, on the contrary, seeks to guide the Gobelins to modernity by imposing the tapestry to follow the paths of painting. This thesis makes understand the artistic creation at the Gobelins’ manufactory during this period of extraordinary activity. It specifies not only the intellectual context and ideas which give its direction to the tapestry revival, but also it takes into consideration the material, institutional and economic conditions of the manufactory. Thus are revealed the imperatives imposed by the material conditions of creation, its organization involving a large number of actors and highly restraining procedures, but, above all, economic means revealed to be in total inadequacy with the goals of the manufacture. Despite these difficulties, through intense intellectual and artistic activity, the manufactory plays a central role in the revival of tapestry. If progress is slow to emerge due to the very nature of the Gobelins' functioning and despite criticism of the choice of models, Gobelins gives a tremendous boost to private industry thanks to the international influence that the manufactory plays into tapestry field. Indeed, if the contemporary critics recognized the efforts of the manufacture to be in the right direction, very often this is not the case for the models. As in most of cases they are still unknown to modern art historians, the second part of this thesis studies the artistic policy of each administrator in order to understand how it was carried out and what were the main lines of the artistic action of each administrator. This work is accompanied of an exhaustive catalog records and images retracing the history of the conception of wall hangings in haute lisse (high-warp loom) and Savonnerie murals woven at the Gobelins’ manufactory and also their cartoons and preparatory models including abandoned projects, thus drawing a most complete panorama on artistic creation at the Gobelins manufactory from 1870 to 1925
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Le, Bars-Tosi Florence. "Les Français et l’archéologie au Royaume de Naples pendant le Decennio francese (1806-1815) : l’exemple des découvertes de céramique antique." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100111/document.
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En se proposant d’étudier les relations des Français avec le Royaume de Naples dans la mise en place d’une politique archéologique parmi les plus modernes d’Europe sous les règnes de Joseph Bonaparte et Joachim Murat, cette thèse s’inscrit dans plusieurs domaines de la recherche en Histoire (politique et culturelle), Histoire de l’Art et Archéologie. Il s’agit ainsi de nous pencher surl’Antiquité à travers le prisme du XIXe siècle, tout en tentant de répondre aux questions actuelles de l’Histoire de l’art sur les provenances archéologiques et le destin des oeuvres découvertes dans ces années. Devant l’ampleur des découvertes archéologiques faites pendant le decennio francese, nous choisissons de limiter la recherche au matériel céramique. Ce corpus homogène permet de revenir sur les découvertes et l’histoire des sites archéologiques de l’Italie méridionale dans les années 1806-1815, en explorant des archives inédites. Leur dépouillement systématique apporte de nouvelles connaissances sur l’histoire des sites fouillés et permet de retrouver la provenance perdue d’objets aujourd’hui conservés dans les musées européens. Par ce croisement inédit de sources, nous espérons donner une vision plus complète de la Naples du decennio francese, tout en élargissant les connaissances sur l’Histoire de l’Archéologie en Italieméridionale. C’est là tout l’enjeu d’un sujet aux confluences des différents courants de l’Histoire,contemplant l’Antiquité dans le miroir des premières années du XIXe siècleDealing with the relationships between the French connoisseurship and the Kingdom of Naples in building of one of the most modern archeological policies in Europe under Joseph Bonaparte and Joachim Murat's reigns, this doctorate takes a part in several fields of research in History (political and cultural), Art History and Archeology. It makes us look at the Antiquity through the prism of the XIX Century, trying at the same time to answer today’s questions of Art History about the archeological proveniences and the faith of the vases discovered in those years. In front of the large number of archeological discoveries made during the French Decade, we choose to focus our research on ancient painted vases. This homogeneous corpus leads us back to the discoveries and the history of archeological sites in the south of Italy during the years 1806-1815 by exploring ancient and unpublished archives. Their systematic sorting gives new information on the History of excavations, allowing us to find out the lost provenance of ancient vases, today conserved in several museums in Europe.With this original sources crossing, we aimed at offering a more complete vision of Naples during the French Decade by broadening the knowledge on the Southern Italian archeological History.Here stands the stake of a study at the confluences of different streams of History, looking at the Antiquity in the mirror of the first years of the XIX Century
Books on the topic "Mural painter"
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Spargo, Gillie. The complete decorative painter. Colour Library Direct, 1997.
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George D. and Harriet W. Cornell Fine Arts Museum. and Blumenthal Arthur R, eds. Cosimo Rosselli: Painter of the Sistine Chapel. George D. and Harriet W. Cornell Fine Arts Museum at Rollins College, 2001.
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Rosselli, Cosimo. Cosimo Rosselli: Painter of the Sistine Chapel. George D. and Harriet W. Cornell Fine Arts Museum, Rollins College, 2001.
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Chatzēdakēs, Manolēs. The Cretan Painter Theophanis: The final phase of his art in the wall-paintings of the Holy Monastery of Stauronikita. Holy Monastery of Stauronikēta, 1986.
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1450-1500, Canavesio Giovanni fl, ed. Painter and priest: Giovanni Canavesio's visual rhetoric and the Passion cycle at La Brigue. University of Notre Dame Press, 2005.
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Phelps, John E. Forgotten mural painters of Springfield, 1933-1938. Mansir/Holden Printing Co., 1992.
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Siqueiros, David Alfaro. How to paint a mural. Journeyman, 1990.
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Indira Gandhi National Centre for the Arts. and Vadehra Art Gallery, eds. Painted abode of Gods: Mural traditions of Kerala. Indira Gandhi National Centre for the Arts, 2005.
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Bundi: The city of painted walls. Agam Kala Prakashan, 1996.
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1910-1975, O'Brien Edward, ed. Edward O'Brien, mural artist: 1910-1975. Sunstone Press, 2012.
Book chapters on the topic "Mural painter"
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"A Thai Mural Painter in Singapore." In Figures of Buddhist Modernity in Asia. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824858582-018.
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Leturque, Anne. "The scope of competence of the painter and the patron in mural painting in the Romanesque period." In Romanesque Patrons and Processes. Routledge, 2018. http://dx.doi.org/10.4324/9781351105606-24.
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Porter, Yves. "Mural Painting and Ceramics: A Parallel." In Painters, Paintings and Books. Routledge, 2020. http://dx.doi.org/10.4324/9781003082217-9.
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Carvalho, José. "As pinturas murais romanas da Rua General Sousa Machado, n.º51, Chaves." In Arqueologia em Portugal 2020 - Estado da Questão - Textos. Associação dos Arqueólogos Portugueses e CITCEM, 2020. http://dx.doi.org/10.21747/978-989-8970-25-1/arqa89.
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In the archaeological diagnosis carried out in the pre-construction phase, at Rua General Sousa Machado, 51, in Chaves, as part of a work related to the rehabilitation of a property, the archeology team identified Roman structures belonging to a residential building. In two of the walls belonging to the referenced building, were detected two freshly painted panels (mural paintings). A plan for the conservation and restoration of the paintings was carried out to allow their preservation. The mural contexts under analysis were totally unknown in the current territory of Trás-os-Montes.
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Jones, Michael. "Conservation of Mural Paintings in the Coptic Museum." In Christianity and Monasticism in Northern Egypt. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774167775.003.0026.
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This chapter describes the preservation efforts undertaken by the American Research Center in Egypt on the famous murals, preserved in the Cairo Coptic Museum, which were originally excavated in Apa Jeremiah's Saqqara monastery and Apa Apollo's Bawit monastery. These wall paintings have traditionally been considered the principal symbols of Coptic art. The Saqqara niches were excavated between 1906 and 1910. In keeping with Egyptian tradition, all the paintings are painted on plaster a secco. The Saqqara niches were constructed of mud brick lined with a white lime plaster arricio, often quite coarse and uneven, containing siliceous alluvial sand and some occasional plant fibers. The Bawit niches were excavated in 1913. The two niches were painted on mud with only a thin white lime wash applied for the paintings, rendering them considerably more delicate than the Saqqara niches.
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Rowan, Todd M., Thomas Brent Funderburk, and Renee M. Clary. "“But why paint a dinosaur blue?”: Envisioning the Cretaceous— A vitalizing, multidisciplinary project in a university museum." In The Evolution of Paleontological Art. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.1218(27).
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ABSTRACT In 2017–2018, two fine arts undergraduate students, Todd Rowan and Moesha Wright, conceived and created a mural for the Dunn-Seiler Museum at Mississippi State University, Mississippi, USA, under the supervision of art professor emeritus Brent Funderburk. Students researched, conceptualized, and painted Mississippi Cretaceous Panorama, which interpreted the Late Cretaceous landscape that once surrounded the university and the momentous extinction event that brought the Mesozoic Era to its close. The project necessitated creativity to address several chal lenges, including funding, space constraints, and a local population with Young Earth views. The completed mural engages museum visitors with a mosasaur, ceratopsian dinosaur, and a meteorite impact—illustrating the local, terminal Mesozoic geologic history in a nonthreatening venue that can improve community geoliteracy.
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Tone-Pah-Hote, Jenny. "We’ll Show You Boys How to Dance." In Crafting an Indigenous Nation. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469643663.003.0004.
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Through war-dancer imagery and its display in expressive culture in the Southwest, Kiowas and others created intertribal arenas that stretched beyond Oklahoma, and Kiowas contributed to the making of a larger intertribal, twentieth-century world. Fancy-dance imagery created a contemporary picture of Kiowa young men that was built from older Kiowa constructions of gender and the popular representation of Plains Indians. Painters forged war-dancer imagery though dance, regalia, paintings, and murals.
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STRING, TATIANA C. "Myth and Memory in Representations of Henry VIII, 1509–2009." In Tudorism. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264942.003.0011.
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This chapter explores a portrait of King Henry VIII that has played a key role in sustaining and inflecting received notions of the Tudor age in the post-Tudor period. It argues that almost without exception the Tudorist visual representations of King Henry VIII from the mid-sixteenth to the twenty-first century derive their communicative force from, and were indeed only made possible because of, the existence of an extraordinarily compelling and efficacious point of origin. The portrait of Henry VIII that set this cascade of information, ideas, and associations about the king in motion was the full-length portrait from the Whitehall Mural, painted by Hans Holbein the Younger (1497–1543) in 1537.
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Minich, Julie Avril. "Vulnerable Bodies." In Theories of the Flesh. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190062965.003.0018.
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This essay examines how the Chicana feminist muralist Juana Alicia fosters environmental justice activism that values vulnerable lives in her two most famous murals, both painted at Twenty-Fourth and York Streets in San Francisco’s Mission District: Las Lechugueras (1983) and La Llorona’s Sacred Waters (2004). It explores how Juana Alicia gives visual form to an environmental ethics that prompts a politics of inclusion, equitable resource distribution, and bodily diversity. Juana Alicia’s murals remind us what antiracist, feminist, disability, environmental, and other social justice movements share: an investment in radical interdependence between different kinds of bodies and beings. They depict disabilities created by environmental hazards (including pollution, pesticide poisoning, and the privatization of water) without reducing disability to tragedy, prompting viewers to envision a world in which working-class communities of color are not forced to bear the brunt of environmental risk.
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Green, Alexandra. "Presence and Memory." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0003.
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Chapter Two examines the depicted events and scenes as expressions of religious commemoration and as promoting particular social, political, and religious hierarchies. The relationships between the main, usually sculpted, Buddha image and the painted walls created a narrative structure that encompassed the temple interior as a whole and made the Buddha present within the space and in the contemporary moment. The mural sites created a place to remember and honor the Buddha, with the sculpted and painted biographical narratives making him available to contemporary Burmese. The wall paintings illustrated what was culturally praiseworthy to the Burmese, reinforced the relevance of these things socially, and inspired people to participate in the dominant cultural discourse. In the process of doing so, the commemorative imagery demonstrated the field of merit surrounding Gotama Buddha. It memorialized his great achievement and the awakenings of the Buddhas before him, presenting them to the current audience and preserving them for future ones. However, it is the structure of the paintings within the temple layout - the disposition of the images and the selection of stories - that integrated the representations of the Buddhas into a complete unit.
Conference papers on the topic "Mural painter"
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Novikova, Natalia Anatolyevna. "Reorganization of the grammatical structure of the authentic text as a result of adaptation by the example of the novel by Maugham «The Painted Veil»." In Internationa Extra-murral Online Conference, chair Andrej Anatolyevich Beresnev. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-111449.
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The article describes the main features of the grammatical adaptation of the original text on the example of a particular work of art. This article also identifies the most frequently exposed to simplification the grammatical phenomenon and the analysis of the above mentioned changes.
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Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.
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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828