Dissertations / Theses: 'Mural painting and decoration, Italian'

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Damiani, Piergiovanni. "L'oratorio dei confratelli di Civo religiosità popolare ed arte in Valtellina tra Quattro e Cinquecento /." Sondrio : Società storica valtellinese, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53878936.html.

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Cavazzini, Patrizia. "Palazzo Lancellotti ai Coronari /." Roma : Istituto poligrafico e Zecca dello stato, 1998. http://catalogue.bnf.fr/ark:/12148/cb388096867.

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Tera, Eloi de. "Arte y reforma monástica en la Florencia posmasacciana: El ciclo mural del Chiostro degli Aranci en la Badia Fiorentina." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/399646.

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Esta tesis doctoral examina el encaje del ciclo mural que decora la galería superior del claustro principal de la Badia Fiorentina de Florencia, llamado Chiostro degli Aranci, en la pintura florentina posmacciana. El ciclo está compuesto por 10 lunetos pintados entre 1436 y 1438 con la técnica del buon fresco y de una franja de decoración basamental que los acompaña. La obra se atribuye en esta tesis a Giovanni di Consalvo, supuesto pintor de origen portugués, cuyo nombre emana de un libro de cuentas del monasterio de la Badia Fiorentina, hoy conservado en el ASF, donde aparece citado repetidas veces como receptor de pagos por pigmentos y otros materiales para la realización de la obra. Los frescos del Chiostro degli Aranci son fruto de una comisión del abad Gomes Eannes de Portugal, que gobernaba la Badia Fiorentina durante la época, y responden a su voluntad reformadora para devolver el monaquismo a sus orígenes, a la Regla y a los Padres del Desierto, siguiendo los postulados de Ambrogio Traversari, amigo de Gomes y general de la Orden Camaldulense, que pudo tener un papel importante en la consecución de la obra por su conocimiento de los textos patrísticos. La voluntad reformadora se encuentra plasmada en la combinación de la vida de san Benito -en los lunetos- con retratos y frases extraídas de los Verba Seniorum -en la decoración basamental-. El resultado, destinado a la educación de los monjes de la Badia, es un manifiesto de la Reforma monacal de Gomes y Traversari de gran valor artístico. El análisis de los lunetos del ciclo nos indica la presencia de un mestizaje pictórico que combina la pintura florentina de raíz masacciana, con la luz y el color de Fra Angelico, junto a detalles y características propias de la pintura de los primitivos flamencos. El volumen, el uso de la luz y la sombra y las composiciones que concentran diversos episodios de la Storia en una sola imagen, responden a la influencia del arte de Masaccio, filtrado a través del arte lumínico de Fra Angelico. Por otro lado, el reflejo de los elementos en las aguas y el brillo en los objetos metálicos indican un conocimiento de las innovaciones pictóricas que habían tenido lugar en Flandes en los años anteriores a 1346. El conocimiento de estas por parte Consalvo pudo tener lugar en contacto directo con los talleres en Flandes durante el viaje del Infante Dom Pedro de Portugal o a través de la llegada de obras flamencas, durante los años (1431-1445) que duró el Concilio de Basilea-Ferrara-Florencia, a Florencia -lugar de residencia del Papa Eugenio IV durante gran parte del tiempo del Concilio-. Para entender el mestizaje presente en los frescos, en la investigación se realiza un análisis de la pintura florentina posmasacciana centrándose en la obra de Fra Angelico sobretodo, y en algunas de las obras perdidas del período posmasacciano, principalmente el ciclo mural de Sant’ Egidio. Estos análisis han permitido situar el ciclo mural de la Badia Fiorentina en su lugar correspondiente y revalorizar su papel en la evolución de la pintura florentina. El análisis realizado permite considerar el ciclo mural de la Badia Fiorentina como el primer introductor del influjo flamenco en la pintura florentina, principalmente del recurso pictórico de reflejar los objetos en el agua. El papel del ciclo como introductor de este recurso permite analizar las obras de algunos de los pintores de la generación siguiente como Piero della Francesca o Alesso Baldovinetti y ver la influencia ejercida por el ciclo en sus obras de juventud. Y por otra parte, nos instruye hoy en día, sobre un período de la pintura florentina, dominado por grandes ciclos murales como el del ábside de Sant’Egidio o el de la capilla Gianfigliazzi de Santa Trinita y del que solo tenemos constancia prácticamente a través de su antecesor, el ciclo de la Badia.
This PhD examines the mural cycle that decorates the upper gallery of the main cloister of the Badia Fiorentina in Florence, called Chiostro degli Aranci, in relation to the postmasaccian Florentine painting. The cycle consists of 10 lunettes painted between 1436 and 1438 with the buon fresco technique and a strip of basement decoration that accompanies them. This work is attributed in this PhD to Giovanni di Consalvo, painter of Portuguese origins, whose name comes from a ledger of the monastery of the Badia Fiorentina, now preserved in the ASF, that mentions repeatedly Consalvo as a recipient of payments for pigments and other materials to carry out the work of the frescoes. The frescoes in the Chiostro degli Aranci are the result of a commission Abbot Gomes of Portugal, who ruled the Badia Fiorentina during the period, and respond to his desire for reform monasticism and to return it to its origins, to the Rule and to the Desert Fathers. The analysis allows us to consider the mural cycle of Badia Fiorentina as the first introducer of Flemish influence on Florentine painting, mainly with the pictorial resource of the reflection of objects in the water. The role of the cycle as the introducer of this resource in Florentine painting was very important for the early work of some of the painters of the next generation as Piero della Francesca or Alesso Baldovinetti. On the other hand, teaches us today, over a period of the Florentine painting, dominated by large mural cycles as the apse of Sant'Egidio or the Gianfigliazzi chapel of Santa Trinita and that today we can only learn about them through its predecessor, the cycle of Badia.

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Simons, Patricia. "Portraiture and patronage in quattrocento Florence with special reference to the Tornaquinci and their chapel in S. Maria Novella /." Connect to thesis, 1985. http://eprints.unimelb.edu.au/archive/00000836.

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Tamm, John A. "Argentum potorium in Romano-Campanian wall-painting /." *McMaster only, 2001.

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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.

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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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Master of Visual Arts
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.

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Baird, Kathryn. "Secular wall painting in the sixteenth and seventeenth centuries." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:bcc25824-3997-43ce-91d1-a58331519d68.

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Wall paintings survive in many houses dating from the late sixteenth and early seventeenth centuries yet, apart from recording the phenomenon, there has been very little written about them. This research explores how common wall paintings were, what sort of houses had them, when they were painted and most importantly, what was their significance in terms of what they can reveal about the lives of the people who chose to decorate their homes in this manner. Research has concentrated on the Welsh Marches although examples from elsewhere have been referred to. The research hypotheses are:

1. Wall paintings were much more widespread than existing records suggest and were probably universal where there was money to spend on embellishing a house.
2. Following on from this, wall paintings would have been found in houses throughout the social scale, apart from the humblest dwellings.
3. The paintings were executed by itinerant painters who used pattern books as a source of design.
4. This form of decoration was most commonly found in the period 1550-1625, with few paintings prior to this date and a rapid decline in numbers after this period.
5. In some cases there is a connection between the content of the painting and the function of the room.

The fifth hypothesis was widened during the course of the research to examine the significance of wall paintings generally. In trying to find out what wall paintings signified to the owners of houses, this research has attempted to look at all the facets of their life and environment which may have a bearing on this. This includes an understanding of the buildings themselves, exploring who the people were who might have lived in them and placing these people in their social and cultural contexts. Always the emphasis has been on the small and local rather than on the bigger picture. as this is what touched people at the vernacular level most closely. In order to do this, the research has adopted a wide-ranging and multidisciplinary approach which cuts across traditional fields of knowledge. Therefore, the study combines library and documentary-based evidence with extensive fieldwork, in order to investigate diverse kinds of evidence. This includes research on the wall paintings themselves, the buildings in which they were found and the social, religious and cultural circumstances in which they were created. The research synthesises a wide range of methods for gathering and interpreting data: study and analysis of contemporary literature and documents, the study of a wide range of published and unpublished research, and a substantial fieldwork survey. First the context in which wall paintings were created is explored, in terms of physical environment, cultural and social characteristics of the period, and the church. Then the key findings arising from the fieldwork are discussed, looking at the sorts of houses that have wall paintings, the people who lived in them, and in detail at the characteristics of the paintings found. 233 wall paintings were recorded in 188 buildings. The hypotheses about universality and status are explored by investigating the vernacular qualities of wall painting in terms of materials and techniques required, who was doing the paintings, and their cost. Through the identification of a range of iconography, and the classification of paintings, possible sources for wall painting designs are explored. Finally the key issue of the significance of painted decoration at the vernacular level is discussed drawing on the various strands of the research in order to understand why particular forms of decoration might have been chosen, and what social and cultural meanings they may have had. The findings of the research indicate that wall paintings were very widespread. They were found throughout the area of study in houses of all but the very poor. Whilst the majority of paintings surveyed were in houses of the gentry or better-off members of society it is argued that this reflects the differential rate of survival of vernacular buildings. A technical analysis of wall paintings and an assessment of their total cost reveals the vernacular qualities of the wall paintings. This also suggests that wall paintings were only ever intended as short term decoration as some of the pigments used were very fugitive. Further evidence for this has been found in the practice of overpainting one scheme with another within a short period, which was revealed through microscopic analysis of paint samples. The contemporary aesthetic included striking yet crude designs which were capable of being executed by local craftsmen. These findings indicate that wall paintings could have been extensive lower down the social scale. Whilst painted decoration throughout the sixteenth and seventeenth centuries was examined, it is submitted that the majority of paintings were executed during the late sixteenth and early seventeenth centuries - a period of considerable change during the transition from a medieval to an early modern society. The paintings dating from this period have a character quite distinct from the limited number found earlier and later than this period. The significance of wall paintings is closely bound up with issues of status. This period of transition was characterised by outward expressions of status by means of display in a variety of forms. It is argued in this research that wall paintings were an element of such display. Iconography included decorative as well as figure subjects and it is this that holds the key to the significance of the paintings. The higher status houses had the more complex figurative and ornamental schemes whilst, for the most part, the humbler houses had simpler ornamental schemes. Also the simpler, decorative schemes seem to have been more common in halls whilst more sophisticated paintings appear to have been in the more private rooms of the house. The iconography and the context of the wall paintings can provide an important insight into some of the more intangible and elusive aspects of vernacular life. Social and cultural values of the period are particularly difficult to access as surviving indicators of these are limited. Literary sources have limited value in a society which expressed itself in a predominantly non-literate fashion. Vernacular buildings can provide a major source of information and this research argues that wall paintings were a key element in vernacular buildings at a specific time during the transition from a medieval to an early modern society and are, therefore, a crucial record of changing social and cultural values.

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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Davos, Afroditi Climis. "Locating the politics of contemporary public art towards a new historiography /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973060661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Olsson, Melinda. "The Casa della Venere in Bikini (I 11, 6-7) at Pompeii : its decoration and finds /." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09pha733.pdf.

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Thesis (Ph. D.)--University of Adelaide, Dept. of Classics, 1989?
Vol. 2. consists of 64 leaves of mounted photographs. Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide. Includes bibliographical references (leaves 276-291).

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Segal, Marcelle. "Street art commentary as inspiration for jewellery design." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1442.

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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010
The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.

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Samuel, Anne E. "Vision conceptualized in the American Renaissance murals of Edwin Howland Blashfield." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 817 p, 2007. http://proquest.umi.com/pqdweb?did=1397902901&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Estrella, Rachel Joy Tancioco. "Lessons from the wall muralism and the art of empowerment /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324368911&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Pätzold, Alexandra. "Der Akathistos-Hymnos die Bilderzyklen in der byzantinischen Wandmalerei des 14. Jahrhunderts /." Stuttgart : F. Steiner Verlag Wiesbaden, 1989. http://catalog.hathitrust.org/api/volumes/oclc/20586117.html.

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Loon, Gertrud J. M. van. "The gate of heaven wall paintings with Old Testament scenes in the altar room and the h̲ūrus of Coptic churches /." Istanbul : Leiden : Nederlands Historisch-Archaeologisch Instituut te Instanbul [sic] ; Nederlands Instituut voor het Nabije Oosten, distributor, 1999. http://catalog.hathitrust.org/api/volumes/oclc/43423978.html.

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Conley, Dannie D. "Mosaic mural : community of Bradford, Ohio." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/724969.

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The purpose of this creative project was to research, build, and replicate portions of the history of the town of Bradford, Ohio in order to create a permanent community monument. Glazed tiles were mounted together to form an artpiece four feet by sixteen feet, preserved for future generations to appreciate and enjoy.Upon completion of research on the community, drawings of area business establishmentswere diligently developed for the clay bas relief tiles, which were sculptured by the artist and his Art I-IV students. Individual clay tiles, composed of terra-cotta stoneware, were bisque fired, underglazed, and refired. To mount the tiles, concrete was applied to sections of plywood (which had been covered with chicken wire). The stoneware tiles were then organized, arranged, and embedded in concrete to create a mosaic mural.The process of the mural forged an unmistakable bond between teacher, students, school, and community. The completed mosaic mural was framed and permanently mounted on location at the Bradford Public Library, 138 E. Main Street, Bradford, Ohio, involving the remodelling of the facility to accommodate the sculpture's size.
Department of Art

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Ranoutsaki, Chryssoula. "Die Fresken der Soteras Christos-Kirche bei Potamies : Studie zur byzantinischen Wandmalerei auf Kreta im 14. Jahrhundert /." München : Institut für Byzantinistik, 1992. http://catalogue.bnf.fr/ark:/12148/cb35577693j.

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Popp, Sigrid. "Die Fresken von St. Vigil und St. Zyprian Studien zur Bozner Wandmalerei um 1400 /." Access full-text online, 1996. http://edocs.tu-berlin.de/diss/1996/popp%5Fsigrid.pdf.

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Li, Chun-tung, and 李俊彤. "Envisioning authority: the Mongol imperium and the Yonglegong mural paintings and architecture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48079911.

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This thesis addresses the question of how the Mongol imperium’s patronage in combination with Quanzhen Taoist proselytism inspired the mural paintings and architectural forms of the Yonglegong永樂宮. The Taoist temple of Yonglegong was constructed during the Yuan dynasty (1279-1368) on the site of the former residence of the Taoist immortal L? Dongbin呂洞賓. During the period of the temple’s construction from 1244 to 1358, the Quanzhen 全真order, to which the Yonglegong was affiliated, thrived under the Mongol imperium. Previous scholarship has emphasized the Quanzhen order’s autonomous and exclusive role in the formation of Yonglegong. An analysis of the development of the Quanzhen from its establishment in late Jin dynasty (1115-1234) to its rise to prominence during the Yuan suggests that it received significant imperial supports and thus was not wholly autonomous. The Quanzhen order’s development was intertwined with and propounded by imperial patronage. The Yonglegong’s status as one the three holiest patriarch halls of the order ensured its centrality as a showpiece of the Mongol-Quanzhen collaboration. This study explores the iconographic innovations of Chaoyuantu 朝元圖 (Paying homage to the Origins), a representation of the Taoist universe, a subject that existed in pre-Yuan art; and the Hagiography of L? Dongbin, a new category of Taoist imagery. These two mural painting programs show different modes of appropriation. In the Chaoyuantu, the Mongol imperium altered the scheme of depiction and inserted new iconography in order to register their claims over established traditions of representation. As for the depiction of L? Dongbin, prior to Yonglegong, the immortal was only represented in single scenes, not in a fully developed biographical narrative. The Hagiography of L? Dongbin represents arguably a new genre of narrative depiction that facilitated an alternative ideology. Such alterations are regarded in this thesis as evidence that illustrates the shared interests of the Mongol imperium and the Quanzhen order as they intersected. In comparison with the mural paintings, the Yuan dynasty architectural structures’ significance has not been adequately recognized in earlier scholarship. This thesis reexamines the implications of the architectural features’ parameters and the unique alignment of structures in the Yonglegong. As such this study acknowledges the Yonglegong’s multiple identities as a complex that serves both the imperial and religious interests. It also evaluates the extent to which the architectural structures directed the organization and presentation of the mural paintings they housed. Through the reclamation of Yongleong’s historical context, aligned as it was with a Mongol-Quanzhen collaboration, this study recognizes the larger significance of the temple complex. The Mongol imperium in combination with the Quanzhen order have given rise to a new formulation of Taoist mural paintings and architecture with new iconography, themes and modes of representation.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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Leist, Marnie. "The Virgin and Hell: An Anomalous Fifteenth-Century Italian Mural." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1120757484.

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Cheung, Shin-yee. "A study of the tomb murals depicting the ascent to paradise during the Wei, Jin, Northern-and-Southern dynasties Wei Jin Nan bei chao "sheng tian tu" yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B38301362.

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Mancho, Suàrez Carles. "La Pintura mural a Catalunya durant l'alta edat mitjana." Doctoral thesis, Universitat de Barcelona, 2003. http://hdl.handle.net/10803/663743.

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Aquesta tesi pretén, mitjançant l’estudi de la pintura mural dels segles IX i X a Catalunya, arribar a comprendre de quina manera aquest territori pertanyent a l’Imperi romà va entrar en l’edat mitjana. Per tal d’assolir aquest objectiu, realitzem una anàlisi exhaustiva dels conjunts conservats de pintura mural entre els segles IX i X, és a dir: les restes desconstextualitzades que es conserven al Museu d’Història de Barcelona; les decoracions in situ de Sant Miquel i Santa Maria de Terrassa (Vallès occidental); els frescos anomenats prerromànics de Sant Quirze de Pedret (Museu Diocesà de Solsona, Solsonès); i els frescos desapareguts de Sant Cristòfol de Campdevànol (Ripollès). Els estudis monogràfics se centren, fonamentalment, en la iconografia, sense però deixar de banda les qüestions estilístiques. En darrer terme volem identificar amb la major precisió possible en quin moment van ser executats aquests conjunts, i si es tracta d’obres locals o fruit de la connexió del territori de Catalunya amb centres exteriors. De les anàlisis dutes a terme se’n deriva la constatació, forta i directa, però puntual, d’una influència carolíngia a finals del segle IX en el bisbat de Barcelona –pintures de Barcelona i Terrassa–, així com una influència no menys important però més dilatada en el temps de la cultura carolíngia en el gran centre monàstic de Ripoll que arribarà des del segle IX fins l’XI, que confirmaria algunes de les hipòtesis proposades per a comprendre la producció de manuscrits il·lustrats de l’esmentat monestir. Fruit indirecte i testimoni d’aquesta connexió son les pintures de Campdevànol. Al costat d’aquests lligams de Catalunya amb el món carolingi, el segle X –pintures de Pedret– també mostra l’assimilació local d’alguns elements forans amb elements autòctons.
La presente tesis pretende, a través del estudio de la pintura mural de los siglos IX y X en Catalunya, llegar a la comprensión del proceso por el cual este territorio que había pertenecido al Imperio Romano entra en la Edad Media. Para alcanzar este objetivo, se realiza un análisis exhaustivo de los conjuntos conservados de pintura mural entre los siglos IX y X, esto es: los restos descontextualizados que se conservan en el Museu d'Historia de Barcelona; las decoraciones in situ de San Miguel y de Santa María de Tarrasa (Vallès occidental); los frescos llamados prerrománicos de San Quirico de Pedret (Museu Diocesà de Solsona, Solsonès); y los frescos desaparecidos de San Cristóbal de Campdevànol (Ripollès). Los estudios monográficos se centran, fundamentalmente, en la iconografía, sin olvidar las cuestiones estilísticas. La finalidad última es situar con la mayor precisión el momento de su ejecución y si se trata de obras locales o fruto de la conexión del territorio de Cataluña con centros exteriores. Del análisis realizado deriva la constatación de una fuerte y directa, pero puntual, influencia carolingia a finales del siglo IX en el obispado de Barcelona –pinturas de Barcelona y Terrassa–, y una influencia no menos importante pero más dilatada en el tiempo de la cultura carolingia en el gran centro monástico de Ripoll que se prolongará desde el siglo IX hasta el siglo XI, confirmado, así, algunas de las hipótesis mantenidas para la comprensión de la producción de manuscritos ilustrados del citado monasterio. Fruto indirecto y testimonio de esta conexión son las pinturas de Campdevànol. Al lado de esta vinculación de Cataluña con el mundo carolingio, el siglo X –pinturas de Pedret– también nos ofrece la asimilación local de algunos elementos foráneos con elementos autóctonos

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Şerifaki, Kerem Böke Hasan. "Conservation problems of historic wall paintings of taxiarhis church in cunda, ayvalık/." [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/mimarirestorasyon/T000393.pdf.

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Wu, Ming-Kuo. "The Jataka tales of the Mogao Caves, China in anthropological perspective." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Dissertations/Spring2008/m_wu_041808.pdf.

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Guerry, Emily Davenport. "The wall paintings of the Sainte-Chapelle." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608270.

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Medich, Melissa N. "Etruscan mortuary practice a comparative analysis of funerary art in Etruscan tombs during the fourth and fifth centuries BCE /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/662.

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Horrocks, Paul. "The architecture of the Forum of Pompeii." Title page, contents and synopsis only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phh161.pdf.

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"Thesis presented June 1998, amended February 2000." Includes bibliography. V. I: text -- v. IIa: Figures -- v. IIb: Figures. This thesis demonstrates the falsity of the assumptions that ancient architects followed innate spatial cues or responses in their designs, that ancient people experienced the resulting buildings through the same responses, and that modern scholars can thus reconstruct both the intentions of the ancient architects and the architectural effects experienced by ancient visitors to ancient buildings throught the medium of their own spatial reactions. This underlying belief is contestable given its basis in unproven and untested late nineteenth century theories of perception. The thesis also demonstrates that the assumption made by modern scholars that the architects of the Forum of Pompeii were primarily concerned with uniformly enclosed space, axial symmetry, and orthogonality, is wrong, and is contradicted by the actual form of the buildings around the Forum.

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Leathem, Kevin Wolhuter. "Locating the border the development of the framing device in Western art." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002204.

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A frame can be understood to act as something both complementary and even intrinsic to the work it houses. But the frame also acts as more than just a physical object. It serves as a guiding principle, perhaps even a controlling device, in the sense that it provides a context for the work as well as informing the way in which a work is read. Acting with the image it surrounds, it links the artwork to the surrounding space as well as the viewer. In this study, I explore these various functions and effects by providing an overview of framing devices that have been used by artists in the West as well as referring to guiding principles that some museums in South Africa have used when making choices about the ways in which they frame works in their collections. This examination provides a context for my paintings. Based on photographs of the walls of various small galleries in the Eastern Cape, my works take as their subject the notion of the ‘frame’ as both a physical object and the marker of a historically contextualized viewpoint.

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Gannaway, Ethan Rautman Marcus Louis. "Praesentia et potentia in the Cubiculum Leonis in the catacomb of Commodilla, Rome late ancient martyr cult in a late Roman's tomb /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6881.

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Title from PDF of title page (University of Missouri--Columbia, viewed on Apr. 14, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Marcus Rautman. Vita. Includes bibliographical references.

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Barnes, John Tristan. "Painting the wine-dark sea traveling Aegean fresco artists in the Middle and late Bronze Age Eastern Mediterranean /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5762.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 22, 2008) Includes bibliographical references.

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Lin, Fan 1972. "Visual images of Vimalakīrti in the Mogao caves (581-1036)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98553.

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This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same prototype? Is there a spiritual function contained in the layout of the caves and composition of the wall paintings? Did the meaning of these images change according to historical context? Did the patrons have a political scheme in mind when commissioning these devotional artworks? While it is difficult to provide definitive answers to all these questions, this thesis will attempt to clarify them and offer preliminary answers on the basis of available visual and textual sources.
The introduction of this thesis includes an overview of basic concepts related to wall paintings, a short history of the transmission of the Vimalakirti,-nirdesa Sutra, and a review of past scholarship on Vimalakirti, paintings and related subjects. The body of the thesis is divided into three main chapters. The first chapter describes the important visual representations of Vimalakirti, before the Sui dynasty. The second chapter of the thesis will provide an introduction to representations of Vimalakirti, at Dunhuang from the late sixth to the early eleventh centuries. The third chapter examines the social functions and symbolic meanings of the Vimalakirti, paintings at Dunhuang.

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Cheung, Shin-yee, and 張倩儀. "A study of the tomb murals depicting the ascent to paradise during the Wei, Jin, Northern-and-Southern dynasties =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B38301362.

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Marquès, Balagué Mercè Esther. "Sant Climent de Taüll: La restauració de les pintures murals i les aportacions a l’estudi del monument." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/399996.

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El projecte de la tesi doctoral sorgeix després de la realització de les campanyes de restauració de la pintura mural fetes a l’església de Sant Climent de Taüll. El treball d’investigació dut a terme en el marc de la tesi se centra en l’estudi de les pintures murals però també fa una aproximació a l’estudi de les fases de configuració constructiva de l’església. Es presenta un compendi dels models de les decoracions monocromes simples, associades al carreuat constructiu i es reclama l’atenció sobre la decoració cromàtica pintada a les façanes exteriors de la torre del campanar i dels absis. Es descriuen els conjunts murals pictòrics de l’interior de l’església i posteriorment s’inclou el seu estudi perceptiu i analític, tot associant aquesta investigació a l’observació de les pintures que van ser arrencades de l’església el segle passat i que actualment estan conservades i exposades en el Museu Nacional d’Art de Catalunya. S’inclouen les còpies de les memòries de les campanyes de restauració realitzades els anys 2000,2001, i 2013 com annex I i annex II.

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Guisset, Jacqueline. "Les travaux des peintres de la Société de l'art monumental: leurs antécédents et leurs prolongements." Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212513.

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Lott, Stefanie B. "Mary Magdalen, Franciscan ideal : a theological analysis of the frescoes in the Magdalen Chapel in the Basilica of St Francis of Assisi." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/13378.

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In the small town of Assisi in Italy, there is a chapel dedicated to Mary Magdalen. This well known figure from the New Testament Gospels is an anomaly. To many she is the prostitute turned disciple: to others she is a key witness to the resurrection. The frescoes show this Magdalen, but they also show her in strange scenes not found in the Bible. The Gospels tell us that Mary Magdalen was with Jesus in his ministry, at the crucifixion and at the resurrection. Early church fathers picked up on this and linked her with other unnamed women in the Gospels to develop an ideal model of discipleship. From there, legends developed this conflated Magdalen into the embodiment of chastity, penitence and devotion. As such, she became the focus of one of the greatest cult followings of the Middle Ages and her relics where at the heart of the fourth most visited pilgrimage site in Christendom. In the thirteenth century, a young man, Francis of Assisi helped to revolutionise and revive the life of the Church by his personal example of poverty, benevolence and pure devotion; virtues embodied by the Magdalen. It is then understandable that a chapel dedicated to her should be found in the basilica built to honour Francis. However, the reasons behind the chapel's existence and location also have a great deal to do with the power and influence of the secular (Angevin) and religious establishment of the time as well as the controversies burgeoning within the Franciscan Order including the roles of second order women and the influence of the two factions of Franciscanism, Spirituals and Conventuals. Finally, it must not be forgotten that the Magdalen chapel, a means of theological and political dogma, was also a very tangible and real visual sermon to the masses of pilgrims who flocked to visit the shrine of Francis. This project is an attempt to uncover the identity of the woman in and the meaning of the Magdalen Chapel in the Lower Church of the Basilica of St Francis in Assisi.

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Wardle, Marian Eastwood. "Minerva Teichert's Murals: The Motivation for her Large-Scale Production." Diss., CLICK HERE for online access, 1988. http://patriot.lib.byu.edu/u?/MTNZ,31051.

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Ogonovszky, Judith. "La peinture monumentale d'histoire dans les édifices civils en Belgique (1842-1923): naissance, histoire, caractéristiques." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212666.

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Carrive, Mathilde. "Habiter le décor. Peinture murale et architecture domestique en Italie centrale et septentrionale, de la fin du Ier à la fin du IIIe s. ap. J.-C." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3008.

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Dans l'histoire de la peinture murale en Italie, la riche documentation campanienne, antérieure à l'éruption du Vésuve, a longtemps retenu l'attention des chercheurs, au détriment de la période comprise entre la fin du Ier et la fin du IIIe s. Nous avons choisi de nous intéresser à cette dernière, en l'abordant par le prisme du décor domestique. L'objectif principal était de replacer les évolutions stylistiques dans le contexte des maisons. Pour ce faire, nous avons développé une base de données qui a permis de mettre en relation le décor peint, les caractéristiques spatiales d'une pièce et les autres éléments de décor associés. A ainsi été mise en lumière la façon dont la peinture structure l'espace domestique tout au long de la période. Celle-ci montre une cohérence certaine d'un point de vue chronologique, sans bouleversement profond - au moins jusqu'au milieu du IIIe s., date après laquelle la documentation se fait rare. Les différences sont d'une autre nature. Les deux zones géographiques sur lesquelles nous avons centré nos recherches, l'Italie centrale et l'Italie septentrionale, connaissent en effet des évolutions divergentes, non seulement d'un point de vue stylistique, mais également dans la façon dont le décor structure l'habitat. La riche documentation d'Ostie, examinée dans le contexte plus large de l'Italie centrale, a également permis de mettre en lumière les écarts qui existent entre les différents milieux socio-économiques. Ainsi, en replaçant les peintures dans leur contexte, nous espérons leur avoir redonné toutes leurs dimensions, celles d'objets vivants, qui habitaient le quotidien de toute une société
For a long time, studies on Roman wall paintings in Italy have been focusing their attention on the glorious Vesuvian documents, consequently overlooking evidence from the late 1st to the late 3rd c. AD. This thesis aims at exploring this neglected period and at understanding stylistic evolutions in relation to domestic architecture and decoration. In order to reach this objective, a relational database has been designed, bringing together data on wall painting, other elements of decoration, and architectural and spatial features of the room. This has enables us to bring to light how wall painting structured domestic space throughout the period. From the late 1st up to the mid 3rd c. (after which evidence become scarce), there are strong elements of continuity. But the zone under study can be divided in two main regions, Central Italy and Northern Italy, that experienced divergent evolutions, not only stylistically, but also in the way decoration structured domestic space. Furthermore, a particular focus on the rich evidence from Ostia, considered in the broader context of Central Italy, emphasised how the role assigned to decoration was also dependent on the socioeconomic bakcground of the occupant. By putting wall paintings back in its context, this study thus contributes to a better understanding of its evolution, function and status, at the heart of Roman everyday life

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Grimkowski, Rüdiger Willmann Michael. "Michael Willmann : Barockmaler im Dienst der katholischen Konfessionalisierung ; der Grüssauer Josephszyklus /." Berlin : Weißensee-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2669394&prov=M&dok_var=1&dok_ext=htm.

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Sinkević, Ida. "The Church of St. Panteleimon at Nerezi architecture, programme, patronage /." Wiesbaden : Reichert, 2000. http://catalogue.bnf.fr/ark:/12148/cb39168651h.

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Sangrà, Boladeres Antonio. "El pintor Agustí Ferrer Pino (1884-1960)." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285168.

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Una primera aproximació d’aquest estudi, molt preliminar, la vam fer quan varem presentar la tesina l’any 2008. El resultat final, però, el presentem en aquest treball en el que procurarem mostrar, estudiar i analitzar la vida artística i l’obra d’Agustí Ferrer Pino, fins aquest moment quasi bé inèdita. Podríem dir que intentarem rememorar un pintor pràcticament desconegut en l’àmbit català i poc reconegut en la seva població d’origen, Sitges. Potser pel tipus d’obra, per les seves circumstàncies, per com era ell, per haver estat de Sitges... mai no acabat de quallar un nom i una obra dispersa en les col•leccions particulars de moltes famílies sitgetanes. Ara que hem descobert el seu fosc amagatall volem il•luminar-lo amb un estudi en profunditat, de la mateixa manera que altres pintors més o menys emparentats cronològica i conceptualment també l’han tingut. El present treball s’estructurarà en tres volums: El primer volum, que abraçarà el cos total del treball sobre Agustí Ferrer Pino, estarà dividit en dues parts. En la primera part es desenvoluparà el marc històric i estètic en el que s’inscriu gran part de la trajectòria artística d’Agustí Ferrer. Essencialment, s’estudiarà el període noucentista de començaments del segle XX a Catalunya, però sense oblidar les altres corrents estètiques que cohabitaren i s’interpel•laren durant el Noucentisme. En aquesta primera part, també li voldrem dedicar una especial atenció al context artístic que configura a Sitges com una població important en el mapa cultural de la Catalunya de començaments de segle. En la segona part entrarem a fons en l’estudi i anàlisi d’Agustí Ferrer i la seva obra. També, com a pintor muralista, pretenem dedicar un espai diferencial a la localització i estudi de les seves pintures murals més importants. En el segon volum es presentarà la proposta d’una primera catalogació de l’obra d’Agustí Ferrer Pino (dibuix i pintura). En el tercer i últim volum es presentarà l’apèndix documental de la relació d’articles localitzats en diaris i revistes referents a Ferrer Pino, els seus escrits inèdits i la seva documentació, que haurem fet servir per la construcció d’aquesta tesi.

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Brinkman, Lynn M. "From Apartheid to HIV/AIDS: The Construction of Memory, Identity, and Communication Through Public Murals in South Africa." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174923130.

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Chuzeville, Sylvain. "Vie, œuvre et carrière de Jean-Antoine Morand, peintre et architecte à Lyon au XVIIIe." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20076/document.

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Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu
Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology

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Trempler, Jörg. "Das Wandbildprogramm von Karl Friedrich Schinkel : Altes Museum Berlin /." Berlin : Gebr. Mann, 2001. http://catalogue.bnf.fr/ark:/12148/cb39131321f.

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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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Nualart, i. Torroja Anna. "Les pintures murals negres del Monestir de Pedralbes: Problemes de conservació-restauració causats per l'envelliment de l'acetat de polivinil." Doctoral thesis, Universitat de Barcelona, 2007. http://hdl.handle.net/10803/52894.

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El mes de juny de l’any 2000 es va inaugurar l’exposició “Petras Albas. El monestir de Pedralbes i els Montcada (1326-1673)” al Museu-Monestir de Pedralbes. Aquesta exposició, que havia de ser temporal i es va acabar convertint en semi-permanent, estava constituïda en la seva major part per obres del fons de la col•lecció de les monges, amb l’aportació externa d’alguna altra obra per completar-ne el discurs museològic. Els comissaris de l’exposició havien inclòs entre les peces escollides les anomenades “pintures negres”, que són l’objecte principa d’aquesta tesi. Aquestes pintures murals són una de les obres menys vistoses, de les que tenen menys protagonisme, d’entre les que integren la col•lecció del Museu- Monestir de Pedralbes. No semblen, a priori, l’obra més interessant des del punt de vista d’un encàrrec professional per a un conservador-restaurador. però el poc que es coneix de les pintures negres i la seva raresa (es desconeixen altres pintures similars que s’hagin pogut conservar), així com les patologies derivades del seu arrencament i traspàs l’any 1974, aconsellaven aprofundir en el seu estudi, que, mica en mica, va acabar resultant absorbent. Volem posar en relleu amb el treball realitzat el fet que de l’estudi d’un objecte en procés de restauració, aparentment intranscendent i opac, que s’ha mantingut al marge de l’interès dels estudiosos, amb la voluntat de respondre les preguntes menys evidents, és possible arribar a entendre com pensaven i vivien les persones d’una època tan allunyada del nostre temps com és el segle XIV, més enllà d’intentar resoldre els problemes estrictes de conservació que pugui presentar. El treball es va iniciar l’any 2000 amb l’encàrrec de restaurar les pintures negres traspassades per poder-les exhibir en condicions acceptables en l’exposició. El primer contacte amb les pintures va ser una inspecció visual en què es va constatar un problema important de conservació-restauració i es va elaborar una llista de qüestions per respondre que abraçaven un espectre d’àmbits força diversos. La informació que hem anat obtenint de la investigació duta a terme s’ha organitzat en els quatre capítols de la tesi. Al primer capítol s’ha agrupat la informació referent a l’entorn de les pintures: qui les va encarregar i on eren quan es van realitzar. S’ha fet un treball de documentació de la figura de la reina Elisenda i de la seva obra, el monestir de Pedralbes, des de la fundació d’aquest fins la mort de la reina fundadora. Al segon capítol s’han posat en comú dos fonts de documentació fonamentals per conèixer com es va dur a terme l’arrencament i el traspàs de les pintures negres: una filmació en pel•lícula de 16 mm realitzada per documentar el procés i la fitxa del catàleg de l’exposició Barcelona restaura, realitzada l’any 1980. S’ha pogut recórrer també, sortosament, a informació de primera mà d’alguns dels protagonistes de la intervenció: el Sr. Joaquim Pradell i Ventura, restaurador de l’antic Servei de Museus d’Art, i la Sra. M. Assumpta Escudero i Ribot, primera directora del Museu- Monestir de Pedralbes i impulsora de les excavacions que van perpetre identificar part del palau de la reina Elisenda al mateix monestir, tots dos jubilats en l’actualitat. El tercer capítol aprofundeix en el tractament realitzat a les pintures negres en el moment del seu traspàs a un nou suport. En aquest moment, es consuma el canvi d’estat de les pintures, que deixen de ser «pintures murals» per passar a convertir-se de fet en un nou bé cultural moble. S’ha obtingut la informació del procés amb l’ajut de les fonts citades en el segon capítol, però l’estudi de les pintures s’ha complementat amb anàlisis físiques i químiques de la seva estructura i composició. S’ha dut a terme també un estudi de l’adhesiu utilitzat per al traspàs de les pintures al nou suport, el poliacetat de vinil, i del procés d’envelliment o degradació que aquest pateix, atès que és el principal causant de les patologies que presenten actualment les pintures negres El quart capítol vol respondre les preguntes menys pragmàtiques que generen les pintures negres, és a dir aquelles qüestions relacionades amb el seu significat. S’hi recull la informació de l’anàlisi iconogràfica de les pintures i també els referents culturals i religiosos del moment en què es van crear, així com una aproximació a la presència de la mort en la vida quotidiana al segle XIV. Per respondre aquestes qüestions ha calgut recórrer a la bibliografia especialitzada en iconografia i simbologia, i a les mateixes fonts de la literatura religiosa que les ha generades, així com a la bibliografia sobre la història de les mentalitats, el pensament i la vida quotidiana. Finalment, a l’apèndix documental s’aporten documents de referència necessaris per a la consulta durant la lectura de la tesi.

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Neyme, Dorothée. "Décor et architecture des monuments funéraires de la fin du Ier siècle de notre ère à la fin du IIIe siècle à Cumes et en Campanie." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0550.

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Le sujet de ce doctorat prend comme point de départ les découvertes faites dans la nécropole romaine de la Porte Médiane de Cumes (Campanie, Italie), où les fouilles archéologiques du Centre Jean Bérard (CJB, 3133-CNRS-EfR) ont révélé des tombes monumentales d’époque antonine et sévérienne aux décors funéraires bien conservés. Ces données étaient précieuses car insérées dans un contexte archéologique parfaitement documenté, ce qui donnait l’occasion de reprendre le dossier de la peinture funéraire d’époque impériale en Campanie, méconnue, en raison notamment de sa position chronologique située entre les grandes découvertes des cités vésuviennes et l’essor des catacombes chrétiennes, qui ont attiré toutes les attentions jusqu’à une époque récente. Après avoir dressé un état de la situation de ce corpus longtemps négligé, l’étude a permis, sur la base du matériel inédit de Cumes, de préciser : le cadre chronologique, les caractéristiques iconographiques et techniques, et les liens qui unissent le décor et le contexte architectural. Des questionnements qui reflètent les aspirations des commanditaires, permettant une lecture sociale de l’époque
This doctorate takes as its starting point the discoveries made in the roman necropolis of the Porta Mediana of Cumae (Campania, Italy), where the archaeological excavations made by the Centre Jean Bérard (CJB, 3133-CNRS-EfR) revealed monumental graves from Antonine and Severian times, whose funerary paintings well preserved.These pieces of information were really precious, as being inserted in a pretty well documented archaeological background, giving the chance to reopen the file of funeral painting from imperial ages in Campania, little known, especially because of its chronological position situated in between the vesuvian cities' great discoveries and the christian catacombs' rise, which until recent times have been focusing most of the attentions.After presenting the situation of this corpus disregarded for a long time, this study, based on the new material from Cumae, permitted to define : the chronological frame, the technical and iconographical features, and the link between the decoration and the architecture. Issues reflecting the graves owner ‘s aspirations, by offering a social reading of the age

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Robertson, Lindsey. "Artscapes: Community Perceptions of City Beautification through Murals in Denton, Texas." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062898/.

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Abstract:

Keep Denton Beautiful (KDB) is inspired by Keep America Beautiful's model of community engagement to create a clean, beautiful, and vibrant city. The community mural initiative, Artscapes, aims to enliven public spaces, abate graffiti, and inspire community members to keep Denton, Texas, clean and beautiful. The goals of this research project are to understand the impact of Artscapes initiative, community perceptions of public art, and find ways KDB can better align future mural projects with the needs and desires of community members. By talking to artists that have worked with KDB, members of the mural art committee, and community members from the neighborhoods that have existing murals, this research provides input from these three populations to continue creating public art for the Denton community. I discuss the context of my work through Lefebvre's concept of "Right to the City," Rafael Schacter's opposition between sanctioned and non-sanctioned murals, Bourdieu's concept of symbolic and social capital, and David Harvey's work on neoliberalism and the entrepreneurial city.

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Christen, Gabriela Hodler Ferdinand. "Ferdinand Hodler - Unendlichkeit und Tod : monumentale Frauenfiguren in den Zürcher Wandbildern /." Berlin : Reimer, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016153067&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA.

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Dissertations / Theses on the topic 'Mural painting and decoration, Italian'

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