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Dissertations / Theses on the topic 'Muralism'
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Rosette, Arturo. "Critical muralism /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2009. http://uclibs.org/PID/11984.
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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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Gonçalves, Josilena Maria Zanello. "Integração das artes no Paraná - 1950 - 1970: a conquista do espaço público." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/16/16131/tde-10102006-143702/.
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A partir da segunda metade da década de 1940,a arte moderna deixa o confinamento das galerias e ganha as ruas através de sua integração com a arquitetura. Esta pesquisa estuda a relação entre arquitetura moderna e arte no Paraná , no período compreendido entre os anos 1950 e 1970, e sua ação conjunta no sentido de consolidar o projeto moderno no Estado, através do estudo de murais concebidos integrados a obras de arquitetura.From the second half of the decade of 1940, the modern art leaves the confinement of the galleries and gains the streets through its integration with the architecture.This research studies the relation between architecture and modern art in the Paraná, in the period between years 1950 and 1970,and its joint action in the direction to consolidate the modern project in the State, through the study of murals conceived integrated with architecture.
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Healey, Gavin A. "American Indian Graffiti Muralism: Survivance and Geosemiotic Signposts in the American Cityscape." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613132.
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American Indian graffiti muralism is a terminology that embodies the contemporary public art form of mural production by American Indian artists using public art installations to express ontologies of sovereignty, self-determination, and identity in different public spaces and on different objects. To date, there is no scholarship that has focused solely on American Indian graffiti muralism and ethnic markers within the medium of graffiti muralism. The dissertation, "American Indian Graffiti Muralism: Demystifying the Graffiti Medium and the Visual Harmonics of American Indian Signatures on the Modern Landscape," centers on the functionality of American Indian graffiti murals as markers of sovereignty, self-determination and identity in off-reservation municipal urban settings. Using a mixed methods framework of both qualitative and quantitative analysis this dissertation will provide new scholarship within the field of American Indian/Native American Studies and discourses on Native art and Native public art. Due to the fact that these public artworks contain multiple functions and meanings a mixed methods interdisciplinary analysis using the American Indian theoretical model of Survivance coupled with a social science theory of Geosemiotics, interviews with American Indian graffiti muralists, and quantitative empirical data collected through community-based Q survey creates a multi-narrative on the functionality of American Indian graffiti muralism. The aim of this research is to explore the functionality of different American Indian graffiti mural installations using Gerald Vizenor's Indigenous theory of survivance and the social science theory of geosemiotics. The theory of survivance aids analysis on how American Indian graffiti muralists infuse iconography and visual semiotic elements in their public art installations that (re)claim public spaces and infuse ontologies of sovereignty, self-determination, and identity in cityscapes. This is the first usage of survivance theory with Native public art and provides an ethnically appropriate means to investigate American Indian graffiti muralism. Geosemiotics theory provides analysis on how different American Indian graffiti murals interact with the physical landscape they reside within to create ideals of place and place perceptions in the populace. Geosemiotic analysis of American Indian graffiti murals illuminates how the art adds to a pluralistic public dialectic of place. By creating a dualistic theoretical lens this research addresses the suggestion that new discourses on Native art and Native public art require more analysis involving theoretical models and Indigenous ways of knowing through use of survivance theory, while also showing how a secondary social science theory can bolster a qualitative narrative on the functionality of Native public art. Artistic analysis is inherently subjective and the multi-theoretical application in this dissertation addresses how subjectivity and socio-political elements of American Indian graffiti muralism require a fully rounded framework to explore the function of these installations in our cities. The narratives of American Indian graffiti muralists regarding their mural installations offer intimate knowledge on the function of this art form and in this research provides first-person accounts of how artists approach public art differently than their studio art productions. It was also important to offer the perspectives from the artists themselves to illuminate how this graffiti muralism came to be the chosen form of artistic expression. The conversations with Yatika Fields and Jaque Fragua offer a secondary perspective to those of the researcher and public citizens. To further capture all of the perceptions surrounding American Indian graffiti muralism a public survey using Q methodology was completed to provide a platform for community-based input. Q methodology was used as a means to collect empirical data on the subjective attitudes towards American Indian graffiti murals. The output of Q surveying provided the first empirical data on American Indian graffiti muralism and concluded the multi-narrative of this project in the statements generated and tested by multiple public citizens. Furthermore, this multi-narrative foundation furthers future discourses in American Indian/Native American studies, the social sciences, and Native art historical research by offering elements that each can utilize as points of discussion and dissection.
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Ahmanson, Kathryn. "Images of the Part Sharing Stories for the Future: The Social, Political, and Aesthetic Influence of Chicana Revisionist Muralism in Los Angeles." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2272.
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Through the analysis of Judy Baca's mural, The Great Wall of Los Angeles, Baca's reevaluates muralism to create her revisionist take on the Mexican tradition of muralism. The piece combines different cultural and historical perspectives that convey the diversity of California, and bring people together through shared experiences. In addition to portraying the histories of minority races, ethnicities, religions and sexuality, the piece was created by a diverse team of community members who each contributed their own viewpoints to the piece. Unlike the traditional practice of muralism, Baca works with community members to create a mural that includes a varied sense of identity so as to facilitate social change and foster community.
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Arbaiza, Aguilar Lorena Milagros. "La influencia de la gráfica popular en la identidad cultural del distrito de Barranco." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655964.
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El objetivo de la presente investigación es determinar la influencia que ejerce la gráfica popular dentro de la identidad cultural del distrito de Barranco. La hipótesis para este trabajo parte por considerar que cada artista que elabora gráfica popular en el distrito contribuye a la construcción de una identidad cultural que lleva años gestándose. Cada uno de estos artistas, partiendo desde su propia idiosincrasia y contexto, aporta en conjunto contenidos ricos en cultura que van transformando constantemente la identidad del distrito.
Para la metodología del trabajo se escogieron quince piezas de gráfica popular plasmada en zonas específicas de Barranco que fueron estudiadas bajo los parámetros de una ficha de análisis visual. También se recopilaron los datos de las entrevistas a tres informantes clave que brindaron alcances sobre lo que involucra el fenómeno.
Los resultados fueron clasificaron dependiendo de la zona en la que están ubicadas, específicamente entre la Avenida Pedro de Osma con 28 de Julio, en la Bajada de Baños con el pasaje Oroya y por último la zona del puente San Martín. Como parte de los resultados, se evidenció que el contenido de ciertas piezas responde al contexto y espacio en el que están inscritos y que no son necesariamente creados desde la espontaneidad de cada artista.
Por último, se llegó a la conclusión de que los artistas de la gráfica popular resignifican el espacio urbano mediante su obra, marcando tendencias y aportando contenido visual que construye y configura constantemente la identidad cultural de Barranco.The objective of the present investigation is to determine the influence that popular graphics exerts within the cultural identity of the Barranco district. The hypothesis for this work begins by considering that each artist who produces popular graphics in the district contributes to the construction of cultural identity that has been brewing for years. Each of these artists, starting from their own idiosyncrasy and context, together contribute content rich in culture that is constantly transforming the identity of the district. Fifteen pieces of popular graphic captured in specific areas of Barranco were chosen for the work methodology, which were studied under the parameters of a visual analysis card. At the same time, the data from the interviews with three key informants who provided insights on what the phenomenon involves were also collected. The results were classified depending on the area in which they were located, specifically between Av. With 28 de Julio with Pedro de Osma, Bajada de Baños with the Oroya passage and finally the San Martín bridge area. As part of the results, it was evidenced that the content of certain pieces responds to the context and space in which they are inscribed and they are not necessarily created from the spontaneity of each artist. Finally, it was concluded that the artists of popular graphics resignify the urban space through their work, setting trends and providing visual content that builds and configures the cultural identity of Barranco.
Trabajo de investigación
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BARBOSA, Luciana Coelho. "Uma perspectiva sobre a identidade mexicana na obra de David Alfaro Siqueiros (1920-1959)." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2290.
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Previous issue date: 2009-10-23This work has for proposal the analysis of the construction of a Mexican identity under the perspective of David Alfaro Siqueiros. This artist is an important character for the understanding of the transformations occurred in the Mexican society under the revolutionary context. The Mexican Revolution succeeded in motivating and involving the whole society and, due to the great popular participation in the uprisings, engendered the need to rethink this population contingent, surpassing the political and military character, and greatly affecting the culture. The muralist movement, on which Siqueiros took part, was significant to this question, since it tried to represent the inferior classes, inserting them in the official discourse. Under this perspective it is valid to point out that the analysis of the construction of identities is intrinsically connected to the social and political imaginary. In the Latin-American countries and especially in Mexico, object of this study, this relationship is directly connected to the notion of miscegenation. We cannot discuss Mexican identity without taking into consideration this question that is crystalline in the muralist movement and consequently in the work of Siqueiros. This identitary process is essential for the individual to engender the nation since it makes possible the integration between individual and society, despite its ocurrence in a contradictory manner, since it includes and excludes simultaneously. Hence, the emphasis of this work consists in the comprehension of how the Mexican historical context supported the Siqueirian identitary discourse.
Este trabalho tem como proposta a análise da construção de uma identidade mexicana sob a perspectiva de David Alfaro Siqueiros. Este artista é um personagem importante para a compreensão das transformações ocorridas na sociedade mexicana sob o contexto revolucionário. A Revolução Mexicana conseguiu dinamizar e comprometer toda a sociedade e, devido à grande participação popular nos levantes, engendrou a necessidade de se repensar este contingente populacional, ultrapassando o caráter político-militar, afetando sobremaneira a cultura. O movimento muralista, do qual Siqueiros fazia parte, foi significativo nessa questão, uma vez que buscou representar as classes subalternizadas inserindo-as no discurso oficial. Sob esta perspectiva é válido destacar que a análise da construção das identidades está intrinsecamente ligada ao imaginário político e social. Nos países latino-americanos e em especial no México, objeto desse estudo, essa relação está diretamente ligada à noção de mestiçagem. Não podemos discutir identidade mexicana sem levarmos em consideração essa questão que é cristalina no movimento muralista e conseqüentemente na obra de Siqueiros. Esse processo identitário é essencial para que o indivíduo possa engendrar a nação haja vista que possibilita a integração entre indivíduo e sociedade, mesmo ocorrendo de forma contraditória, pois inclui e exclui simultaneamente. Assim, a ênfase desse trabalho consiste, pois, na compreensão de como o contexto histórico mexicano subsidiou o discurso identitário siqueiriano.
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Racine, Nathaniel. "Unusual Occurrences in the Desert: Symbolic Landscapes in the Cultural Exchange between the United States and Mexico, 1920-1939." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/488068.
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EnglishPh.D.
What does Mexico mean to the cultural imagination of the United States? What has it meant in the past? In what ways has the U.S. incorporated aspects of Mexican culture into its own? This dissertation explores these questions of cultural and intellectual exchange between the U.S. and Mexico during the 1920s and 1930s by positioning itself amid the present “transnational” and “hemispheric” turn in U.S. literary study. Its subject matter ranges from architecture and urbanism to journalism and travel writing to short stories and novels to muralism and the visual arts. Such an interdisciplinary approach is bolstered by crossing scales of geography from the international to the continental, the national, the regional and the local. Positioning the discussion in geographic terms allows one to see how the possibilities for cultural exchange could never be fully realized, as the ways in which U.S. writers and intellectuals understood Mexico-- then and now-- can rarely be separated from either the physical proximity or the cultural dissimilarity of the two countries, a relationship that has been described as one of “distant neighbors.” This dissertation takes the spatial components of culture seriously, employing useful concepts from the disciplines of human geography and cultural landscape studies to inform its understanding of how diverse figures ranging from Conrad Aiken, Stuart Chase, José Clemente Orozco, Katherine Anne Porter, Sophie Treadwell, William Carlos Williams-- among others less widely known-- understood Mexico and presented it to a U.S. audience during the interwar period. Their narratives often employ the symbolic landscape of Mexico to communicate the qualities of Mexican culture while unwittingly obscuring the reality of what the country itself. Nonetheless, each example points to possible correctives in the pattern, offering a hemispheric perspective from which much can still be learned today.
Temple University--Theses
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Malo, Martínez Elena. "Muralismo en Loja, Ecuador." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/284970.
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Introducción:
La investigación histórica en el arte de los murales es compleja, especialmente en nuestro país, donde no se ha llevado un protocolo de registro de contratos de realización, obra o autores.
La importancia de incrementar nuestro conocimiento sobre arte ecuatoriano y específicamente el de Loja, me han llevado a iniciar una investigación que por su magnitud ha tomado aproximadamente cinco años. Dentro del proceso histórico analítico se ha revisado el contexto de la producción mural en la Provincia de Loja, desde sus inicios a finales del siglo XIX, hasta el 2006.
Objetivos:
1. Obtener un inventario de los Murales producidos en esta provincia a lo largo de un periodo de 30 años, considerando además sus antecedentes históricos como parte del levantamiento.
2. Generar conocimiento del fenómeno mural que se produce en Loja desde el año 1971 hasta la finalización del presente estudio en 2006, donde se incluyan los autores, así como un análisis de obras y técnicas artísticas.
3. Producir un libro donde se evidencien los resultados obtenidos en esta investigación.
Metodología:
Se utiliza el método histórico crítico, basado en Kant, mediante el cual la presencia de la obra en tanto fenómeno se explica por una secuencia de causas-efecto.
Para este proyecto partimos del registro de lo físicamente visible, los murales, con cuyo apoyo estudiamos los aspectos formales, técnicos y su razón histórica. Esto se hizo efectivo mediante una tesis de licenciatura que recogió 500 obras.
Nuestro estudio ha reducido a 356 las obras consideradas murales dentro del período de estudio, las cuales has sido a su vez sometidas a un proceso de descripción e interpretación, hasta llegar a aplicar la crítica artística a aquellos autores, reconocidos como de singular importancia.
Resultado y discusión:
Consideramos innovador este trabajo ya que, metodológicamente, rompe los esquemas trazados por los estudiosos de arte en el país. Sin embargo nuestro enfoque ha tenido que sortear la dificultad de la falta de bibliografía e información para su verificación.
Dejamos constancia de nuestro aporte al poner en evidencia temáticas variadas, enfocadas en religión, cultura, ciencia, deporte, indigenismo y costumbrismo; generadas mediante diversas técnicas artísticas que van desde el fresco hasta piroxilina, pasando por acrílico y la aplicación de placas cerámicas; y, considerando la interpretación artística, siempre, dentro del grupo selecto de autores mas productivos, que no llegan a más de diez y cuyo trabajo es analizado a profundidad.In Ecuador, it is a very complex task to research the art of the muralist, even more so since there are not systemic records of the assignments, placement and even authors of the murals. I consider it very important to increase our knowledge of Ecuadorian -and most specifically Lojan- art. This has led me into this investigation which has taken approximately five years. As a historic-analytic process, I have been able to analyze the murals produced in Loja from the late 1800’s to the end of 2006. Goals: 1. To procure an inventory of all murals painted in Loja over a period of 30 years, considering the historical backgrounds. 2. To spread the knowledge of this artistic manifestation that took place in Loja from 1971 until the conclusion of this study in 2006. This should include the artists, and an analysis of the artistic works and the techniques used. 3. To publish the results of this research. Methodology The Historical criticism approach from Kant was used. The cause and effect chain observed in this artistic phenomenon helps to explain its sequential movement. In order to achieve my goals, I had to begin from what was visible, the murals. From there came the formal study going through the technical and historical analysis. I started by analyzing and classifying 500 art works. Finally, only 356 were considered “murals” according to the criteria used throughout the investigation. These paintings have been subjected to a process of description, interpretation and finally art analysis that made possible to further study those made by the most important artists. Results: This is a pioneer study. The methodology used is ground-breaking because it has not used before by art historians in Ecuador. Nevertheless, I did encounter some setbacks due to the lack of bibliography and verification sources. I have been able to cover a variety of topics, most of them focusing on religion, culture, science, sport, indigenism and traditions. All made using different artistic techniques going from fresco (wall painting) to pyroxilin (guncotton, pyrites), through the application of acrylic and ceramic plaques. All of these pieces made by a select group of the most productive authors, not more than ten, and whose work is analyzed deeply.
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Moreno, Camilla Cafuoco. "Os sentidos do olhar sobre a identidade: Diego Rivera e Octávio Paz." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/2103.
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Previous issue date: 2011-02-16This paper is about an existent dialogue between texts with a distinct nature, meaning, it is a study about the dialogism in literature and mural painting. For that, is used as a analysis corpus, a chapter that is a part of the book El laberinto de la soledad, by Octavio Paz, title De la independencia a la revolucion, in which, the author brings up a reflection about the constitution of the identity formation and ideological of the Mexicans in the XIX century. As a imagery analysis corpus are in two murals of Diego Rivera title The marriage of the artistic expression of the north and south of the continent e la lluvia. The theoretical foundation used to develop this paper comprises authors that discuss the dialogical relations in art and also politics issues and imagery, such as Bakthin, Ferrara, Kristeva, Barros among others, in the matter of dialogical issues and intertextual; Gomes Filho, Dondis, Arnheim, Manguel and others in order to support the imagery analysis and to clarify politics issues and the rehearsals Krauze, Fuentes, Vasconcellos, among others.
O presente trabalho desenvolve o diálogo existente entre textos de naturezas distintas, ou seja, estuda o dialogismo existente na literatura e na pintura mural. Para tanto, utiliza-se, como corpus de análise, um capítulo que compõe o livro El laberinto de la soledad, de Octavio Paz, intitulado "De la independencia a la revolución", em que o autor propõe uma reflexão sobre a constituição da formação identitária e ideológica do ser mexicano do século XX. Como corpus de análise imagética estão presentes dois murais de Diego Rivera, intitulados The marriage of the artistic expression of the North and South of the continent e La lluvia. A base teórica utilizada para o desenvolvimento do trabalho compreende autores que discutem questões políticas, identitárias e ensaísticas, tais como Krauze, Fuentes e Vasconcellos, e autores que discutem a questão dialógica e intertextual, como Bakthin, Ferrara, Kristeva e Barros. Para embasar a análise imagética, recorreu-se às considerações de Gomes Filho, Dondis, Arnhei e, Manguel.
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Pouget, Grenier Martine. "Le Muralisme de Fernand Léger." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37605592f.
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Pouget, Grenier Martine. "Le muralisme de Fernand Léger." Paris 1, 1987. http://www.theses.fr/1987PA010509.
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Reconnu comme un des grands créateurs contemporains, le peintre Fernand Léger (1881-1955) s'est passionné pour l'art mural. Apres avoir définir la notion de muralisme, nous avons cherché à montrer l'originalité du "muralisme de Fernand Léger" à la fois dans son œuvre et dans son temps. Nous avons étudié d'abord son cheminement du tableau de chevalet vers le mur, en indiquant les étapes de son évolution jusqu'à la guerre de 1914 (Léger et l'impressionnisme, et Cézanne, et le cubisme) puis l'influence que cette épreuve a eu sur son art (socialité, beauté de la machine - valeur spatiale). Enfin ses expériences extra-picturales (Léger et les arts du spectacle, ballet, cinéma. . . ) Pour aboutir dans les années 25-30 au mur nu (exposition de 1925), et a sa confrontation aux avant gardes contemporaines (de Stijl, Bauhaus et purisme), ainsi qu'à la question de l'abstraction. Puis passant de la théorie à la pratique nous avons considéré ses grandes réalisations. Celles des années 30 dominées par le problème de l'art et des masses, dont les solutions trouvées par différentes nations (usa, Mexique, Italie, Allemagne, Urss. . . ) Sont illustrées par des exemples précis - face à elles, F. Léger garde son indépendance. Alors nait en France un véritable mouvement avec les expositions de 35, le salon et l'exposition de 37, auxquels Léger participe. Enfin, après la guerre, le muralisme de Léger trouve son épanouissement grâce aux commandes religieuses et laïques.
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Rodriguez, Abigail E. "Playing With Fire: An Examination of the Context and Conservation of Jose Clemente Orozco's Prometheus." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/860.
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Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of removing the protective coating. In addition, this research looks at the potential of art conservation as a means of reactivating the mural and promoting discussions across campus about the preservation of this cultural landmark. The thesis is culminated by a detailed proposal for the continued conservation of the mural, using Prometheus as a starting point for further discussions about aesthetics and ethics within the discourses of art history, art conservation and art restoration.
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GONCALVES, M. B. "RAPHAEL SAMÚ: Experiências do muralismo no Espírito Santo." Universidade Federal do Espírito Santo, 2014. http://repositorio.ufes.br/handle/10/2122.
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Previous issue date: 2014-12-02A proposta deste estudo é investigar o processo de criação do artista plástico brasileiro Raphael Samú, tendo como recorte sua obra em mosaico mural, mais especificamente o mural presente na entrada da Universidade Federal do Espírito Santo UFES, em Vitória - Espírito Santo. Para tal, investigaremos através dos pressupostos da Crítica Genética e da Crítica Inferencial quais foram os caminhos tomados pelo artista durante a confecção de tal obra, apontando assim a intencionalidade do projeto poético. Agregado a este estudo localizaremos grande parte de sua produção no Estado, situando-as no âmbito do Muralismo Capixaba. Palavras-chave: Processo de Criação. Muralismo. Arte Pública. Mosaico.
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Olesen, Díaz Margarita María. "El muralismo como la estética de la utopía." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/101258.
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La presente tesis se propone demostrar que el muralismo, considerado como una tendencia de arte figurativo, textual y de marcada orientación social, es una expresión de significados simbólicos asociados a la utopía y el mesianismo, en cuanto modelos o categorías que representan aspectos arquetípicos de la mentalidad colectiva. Analizando el desarrollo histórico del concepto de utopía, del movimiento muralista y la temática simbólico-mítica de algunas obras de los principales representantes del muralismo mexicano y chileno, en esta investigación se ha adoptado la visión del mural como un texto posible de ser leído, de modo análogo a algunas expresiones del arte precolombino. En este sentido la pintura mural es un relato seudo-histórico construido a partir de estructuras simbólico-míticas, con temas reiterativos de carácter cosmovisional centrados en parámetros básicos de la existencia humana, como, por ejemplo, el paso del tiempo, la muerte y la preocupación por el origen.The current thesis try to demonstrate that muralism, conceived as a stream of figurative, narrative and social-leaded art, is an expression of symbolics meanings related to utopia and mesianism, as cathegories or models expressing arquetypic topics of collective mind. Analyzing the historical development of utopia concept, muralist stream and symbolic-historic thematic about some work of art performed by most important mexican and chilean muralist painters, this investigation has adopted a sight about mural as an legible text, in a analogic way to some precolombine expressions. At this meaning, mural paint is a pseudo-historic narration based on symbolic-mythic structures, with reiterative cosmovisional themes focused on basic existentials parameters, for instance, passaging of time, the death and origin’s concern.
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Bonavia, Duccio. "Pinturas murales Mochicas: algunas consideraciones." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/121616.
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Giner, Martínez Francisco. "Los murales de Torres García." Doctoral thesis, Universitat Politècnica de València, 2003. http://hdl.handle.net/10251/86027.
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Joaquín Torres García es un artista uruguayo que formado en Cataluña, recorrió a lo
largo de su vida los principales focos del nuevo arte que anunciaban las vanguardias
históricas de principios del siglo XX, formando parte definitoria de ellas. Figura
indispensable para entender el actual arte latinoamericano, desarrolló su trabajo desde el
compromiso que pocos artistas asumen de formar al espectador, y a través de diferentes
disciplinas como la pintura, la escultura, el ensayo, y la docencia, conformó un legado
plástico y teórico de indudable valor. Especial atención merece su aportación en el
campo plástico, y que centramos en este proyecto en sus pinturas murales, donde nos
muestra la imagen de un artista comprometido con sus principios, formado en el
clasicismo más puro, pero permeable a las nuevas tendencias, de las que fue al final de
su vida, precursor.
Los murales de Torres García, son pues el tema principal de esta Tesis doctoral. El
estudio se ha planteado desde la necesaria catalogación de las obras de este género que
llevó a cabo a lo largo de su carrera, así como la recreación del contexto en el que
fueron llevadas a cabo, con el propósito de establecer las condiciones evolutivas
plásticas y de pensamiento que llevaron a Torres García a realizar obras tan sumamente
diferentes.
Su catalogación ha supuesto, ante la notoria falta de documentación publicada, el
desplazamiento a los dos lugares en donde restan las únicas intervenciones murales en
pie, Cataluña, en las ciudades de Terrassa y de Barcelona, y Montevideo, en Uruguay.
Desde el análisis del contexto histórico y los lugares originales de realización de las
obras, hemos reconstruido la razón de ser, el proceso y las repercusiones de cada una de
ellas, presentando por primera vez en su totalidad una catalogación que abarca todos las
fases históricas y geográficas que hasta el momento se habían estudiado por separado y
que nos permite contrastar las premisas de diferente índole desde las que fueron
realizadas, arrojando una nueva luz sobre la obra de este autor.Giner Martínez, F. (2002). Los murales de Torres García [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86027
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Lambrecht, Susanne. "Lecanora muralis: eine epilithische Krustenflechte als Biomonitor für luftgetragene Spurenmetalle." Doctoral thesis, Technische Universitaet Bergakademie Freiberg Universitaetsbibliothek "Georgius Agricola", 2009. http://nbn-resolving.de/urn:nbn:de:swb:105-0503886.
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In der vorliegenden Dissertation wurde die Eignung von Flechten als Biomonitor für die retrospektive Ermittlung der Luftqualität im Hinblick auf Spurenstoffe systematisch untersucht. Dazu wurde die ubiquitär verbreitete Krustenflechte Lecanora muralis ausgewählt und mit ihrer Hilfe der Einfluss von Lokalität, Probennahmehöhe und -position, Sammelmethodik, Präparationsmethodik, Wachstum etc. eingehend bearbeitet. Die Luftqualität in Nordrhein-Westfalen galt es als regionales Beispiel mit hochdifferenzierten Einflüssen zu charakterisieren. Hierfür wurden Flechten an ihren natürlichen Standorten gesammelt und auf die folgenden Elementgehalte analysiert (sog. passives Biomonitoring): Ag, As, Ba, Ce, Cd, Cu, Fe, Mn, Ni, Pb, Se, Sn, Tl, V und Zn.
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Homan, Cassandra M. "Bottlenecks and Microhabitat Preference in Invasive Wall Lizard, Podarcis muralis." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377868885.
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Barros, Yara Amaral Gurgel de. "Novo muralismo: a pintura pública das últimas décadas na metrópole paulista." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-20102017-203933/.
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Novo-muralismo: A pintura pública das últimas décadas na metrópole paulistana trata de uma apresentação reflexiva sobre a produção da Nova Escola como Arte Urbana e os afetos que se desdobram da mesma nos corpos da cidade, por meio de investigações no campo das pinturas urbanas e seus processos de desenvolvimento, realizadas em São Paulo, nas décadas de 2000e 2010, por Highraff, Milo, Paulo Ito,e Yá!. O estudo desenvolve-se a partir da vivência destes atores em seus ambientes de ação, com foco nas intervenções que produzem e nos impactos resultantes. Aborda também três experiências em arte-educação e projetos sociais que tem como fundamento um conjunto de recursos expressivos oriundos da pintura mural, as quais: Educação com Arte - intermediada pela ONG CENPEC, na Fundação Casa; Jovens Urbanos, também promovida pelo CENPEC, em diversos bairros periféricos com alto índice de vulnerabilidade e, por último, Fábrica de Cultura, através da ONG POIESIS, na Brasilândia. Com base na noção de Novo Muralismo utilizada,de modo geral, para caracterizaras obras cujo grupo de artistas rompe com a estética pictórica mural do hip hop, o estudo traz uma diversidade de referências, estilos e técnicas que dá continuidade à história da pintura de rua influenciado pelo muralismo latino-americano.O conteúdo, pouco discutido no âmbito acadêmico, evidencia o potencial transformador deste meio,através da avaliação do antes e depois da intervenção no espaço público. Por meio de registros visuais ilustrativos das obras e de alguns procedimentos são desenvolvidos rebatimentos conceituais que explicitam e comentamas expressões de distintas visões de mundo e de pensamento crítico, multiplicando o espectro a partir do qual é possível intervir poética e performativamente na construção de espaços de interação sensível, de comunicação e de manifestação no campo social - arte de rua, arte direta. A relação corpo-espaço coletivo,nas diferentes poéticas da esfera pública,passa por variadas estratégias,como artivismo, site specific, muralismo,que transformam substancialmente a paisagem urbana de São Paulo.Nuevo Muralismo: La pintura pública de las últimas décadas en la metrópoli paulistana es una presentación reflexiva sobre la producción de la Nueva Escuela como Arte Urbano y los afectos que se despliegan de la misma en los cuerpos de la ciudad, mediante investigaciones en el campo de las pinturas urbanas y sus procesos de desarrollo, realizadas en São Paulo, en las décadas de 2000 y 2010, por Highraff, Milo, Paulo Ito, y Yá!. El estudio se desarrolla a partir de la vivencia de estos actores en sus ambientes de acción, y está enfocado en las intervenciones que producen y sus impactos. Aborda también tres experiencias en arte-educación y proyectos sociales fundamentados en un conjunto de recursos expresivos oriundos de la pintura mural: Educação com Arte (Educación con Arte) intermediada por la ONG CENPEC en la Fundação Casa (Fundación Casa); Jovens Urbanos (Jóvenes Urbanos), igualmente promovida por CENPEC en diferentes barrios periféricos de São Paulo con alto nivel de vulnerabilidad, y, por último, Fábrica de Cultura, desarrollada por la ONG POIESIS en el barrio Brasilândia. Basados en la noción de Nuevo Muralismo utilizada, de modo general, para caracterizar las obras cuyo grupo de artistas rompe con la estética pictórica mural del hip hop, el estudio aporta una diversidad de referencias, estilos y técnicas lo que da continuación a la historia de la pintura callejera influida por el muralismo latinoamericano. El contenido, poco discutido en el ámbito académico, pone de relieve el potencial transformador de este medio, a través de la evaluación del antes y del después de las intervenciones en el espacio público. A partir de registros visuales ilustrativos de las obras y de algunos procedimientos, se desarrollan debates conceptuales que explicitan y comentan las expresiones de distintas visiones de mundo y de pensamiento crítico de modo a multiplicar el espectro desde el cual es posible intervenir poética y performativamente en la construcción de espacios de interacción sensibles, de comunicación y de manifestación en el campo social arte callejero, arte directo. La relación cuerpo-espacio colectivo, en las diferentes poéticas de la esfera pública, transita por variadas estrategias, como, por ejemplo, el artivismo, site specific, muralismo, que transforman substancialmente el paisaje urbano de São Paulo.
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Magloire, Marie-Christine. "Approche intersémiotique des inscriptions murales taguées." Besançon, 2001. http://www.theses.fr/2001BESA1015.
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L'objet d'étude de cette recherche concerne les inscriptions graphiques désignées sous le nom de tag et apparues au début des années quatre-vingt en France. Relevant à la fois, de problématique linguistique de par sa relation au nom et à la signature, de problématique de l'image par son attrait visuel et spacial par son inscription dans les lieux publics urbains, le tag au carrefour de pratique humaine et sociale nous invite à ré-interroger l'écrit ou du moins le "faire scriptural" autrement. La pratique scripturale taguée comme objet d'étude ne peut être appréhendée uniquement sous l'angle sociologique. Système non clos, le tag implique dans son fonctionnement des relations avec d'autres systèmes pour mieux en saisir sa portée, dans une démarche interdisciplinaire (intersémiotique). . .
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Silva, Andréa do Nascimento Mascarenhas. "Em busca de vozes perdidas: Lênio Braga, muralismo, "arquivo" e comunicação oral." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5215.
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Previous issue date: 2009-05-18Universidade do Estado da Bahia
The ideas that shape the pursuit of doctoral walk two parallel directions: 1) the living presence of objects in the oral traditions of culture, indicated by the maximum reflection of the Africa "every time an old man who dies is a library burning," motto of the project and that maximizes the sense of what I call "archives" of orality, 2) recognition of media able to capture the voice of the text and giving oral to listen / communicate matters apparently "immaterial." Generally, in an attempt to "see" the voice through the image, try to understanding the coming to be more different "archives" of orality, its scope and configurations plastic: material spaces almost invisible to the unsuspecting eye, sometimes hidden in the collective and individual memories, sometimes materialized in mechanical records (such as burning, shooting, etc virtual spaces.) or artistic creations. And in this study the fine arts make an example of such communicative reading to be possible on an "archive" from the mouth. Looking then study the muralist of plastic Lênio Braga. I want to emphasize the potential of "archives" moving, unconventional (and) that can record, to "pass" and deal with the presence of voice in multiple media. The corpus of the analysis is composed of digital photos of three murals installed in stations road of the Bahia: Jequié, Itabuna and Feira de Santana, which were created by the artist in the 1960s. The wall is justified by the interest in this approach, by considering them "media" art or other "archives" of the orality. Can establish connections: the popular imagination and swing stories typical to each local municipality in which the murals are in establishing and activating 'hypertexts'. The direction of the research seeks to understand the "passage" of oral communication for the image and the image for voice, continually. The vectors that theoretical concepts guiding the study are as 'sensitive listening' and 'culture as a memory '(by Claude Filteau and Jerusa Pires Ferreira), records of imagination (by Marlyse Meyer) 'movência' (by Paul Zumthor); 'cultural transfer' - which includes the idea of intermedialidade (by Walter Moser); 'shift translation and mestizo' culture (by José Lezama Lima and José Amálio Pinheiro Branco). Since the murals are of Lênio Braga as "texts" of culture and memory - areas of communication and interaction of orality/voice detected in the image - note the communicative aspect of greater interest as a field of work. The methodology was based on qualitative/participative research, field research (partially), researches biographical and bibliographical; included the steps of criticism, "reading" / analysis of the images and communicative plan had the support of the theories above
As idéias que dão forma ao exercício de doutoramento caminham por dois sentidos paralelos: 1) presença viva de tradições orais nos objetos de cultura, reflexão apontada pela máxima africana a cada vez que morre um velho se queima uma biblioteca , mote do projeto e que potencializa a noção do que chamo arquivos de oralidade; 2) reconhecimento de suportes capazes de captar a voz do texto oral e que dêem a escutar/comunicar matéria aparentemente imaterial . De modo geral, na tentativa de ver a voz por meio da imagem, busca-se o entendimento do que vêm a ser os mais diversos arquivos de oralidade, sua abrangência e configurações plásticas: espaços materiais quase invisíveis ao olhar desavisado, ora escondidos nas memórias coletivas e individuais, ora materializados em registros mecânicos (como gravação, filmagem, espaços virtuais etc.) ou em criações artísticas. E nesse estudo as artes plásticas dão um exemplo comunicativo desse tipo de leitura a fazer-se sobre um possível arquivo do oral. Busco, então, estudar parte do muralismo do artista plástico Lênio Braga. Quero aqui ressaltar a potencialidade de arquivos moventes, não convencionais (e também), que possam registrar, dar passagem e lidar com a presença da voz por várias mídias. O corpus da análise é composto por fotos digitais de três murais instalados em estações rodoviárias baianas: Jequié, Itabuna e Feira de Santana, que foram criados pelo artista na década de 1960. O interesse pelos murais se justifica, nesta abordagem, por considerá-los suportes artísticos ou outros arquivos orais. São capazes de estabelecer conexões: do imaginário popular sertanejo e das histórias locais peculiares a cada municípiosede dos painéis, estabelecendo e ativando hipertextos . Basicamente a direção da pesquisa aponta para a passagem comunicativa do oral para a imagem e vice-versa. Os vetores teóricos que norteiam o estudo são conceitos como: escuta sensível e cultura como memória (cf. Claude Filteau e Jerusa Pires Ferreira); registros de imaginário (cf. Marlyse Meyer); movência (cf. Paul Zumthor); transferência cultural que contempla a idéia de intermedialidade (cf. Walter Moser); guinada tradutória e mestiça da cultura (cf. José Lezama Lima e José Amálio Pinheiro Branco). Já que os murais de Lênio Braga são como textos de cultura e memória espaços de comunicação e interação da oralidade/voz detectada na imagem assinalo esse prisma comunicativo como campo maior de interesse do trabalho. A metodologia foi baseada nas pesquisas qualitativo-participativa, de campo (parcial) e biobibliográfica; contemplou as etapas de observação crítica, leitura /análise do plano comunicativo das imagens e contou com o aporte das teorias supra citadas
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Abett, de la Torre Díaz Paloma, and Lara Marcela Acuña. "El arte muralista de las Brigadas Ramona Parra 1967-1973." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/110120.
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Informe de Seminario para optar al grado de Licenciado en Historia.Este trabajo de investigación, se centra en la historia de las brigadas que alcanzaron mayor relevancia en Santiago entre 1968 y 1973, vale decir las Brigadas Ramona Parra.
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SOUZA, Elizabet Soares de. "Entre a arte e a política : brigadas muralistas nas cidades de Olinda e Recife na década de 1980." Universidade Federal Rural de Pernambuco, 2012. http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/4727.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The brigades of Pernambuco appeared in the walls of cities, as an alternative to of political propaganda taxes devices even during the Civil Military Dictatorship. However, the movement created was not only restricted to the political game, he was also a way for local artists present their works in large panels outdoors and, therefore, approaching art and people. The murals drawn by brigades to political parties represented, too, a project originated cultural and political and ideological struggles of that time. Based on these findings and considering the historical and political moment experienced at the time, with the political opening in which the country was going through, we aimed to analyze the murals of brigades who colored the cities of Olinda and Recife in two campaigns: 1982 (the first moment of creation muralist brigade), 1986 (creation of new brigades). Thus, we begin from the analysis of images of murals, to establish a relationship between politics and culture, and propose an understanding of these panels as a field of disputes and artistic experimentations.
As brigadas de Pernambuco surgiram, nos muros das cidades, como uma alternativa de propaganda política aos dispositivos impostos ainda no período da Ditadura Civil Militar. No entanto, o movimento criado não se restringiu apenas ao jogo político, ele também foi uma maneira de artistas locais exporem suas obras em grandes painéis ao ar livre e, com isso, aproximarem arte e população. As pinturas murais elaboradas pelas brigadas para os partidos politicos representavam, também, um projeto cutural originado das lutas político-ideológicas daquele momento. Partindo dessas constatações e considerando o momento histórico-político vivenciado à época, com a abertura política em que o país atravessava, objetivamos analisar os murais brigadistas que coloriram as cidades de Olinda e de Recife em duas campanhas eleitorais: 1982 (momento de criação da primeira brigada muralista), 1986 (surgimento de novas brigadas). Dessa forma, partimos da análise das imagens dos murais, para estabelecer uma relação entre política e cultura, e propor um entendimento desses painéis como um campo de disputas e experimentações artísticas.
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Green, Alexandra Raissa. "Buddhist narrative in Burmese murals." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367563.
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Mackey, Tracy L. "Habitat Selection and Overwintering Survival of the Introduced Wall Lizard, Podarcis muralis." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1291050368.
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Zapata, Liempi Cristina Andrea. "Pégalo! : stickers murales para la educación parvularia." Tesis, Universidad de Chile, 2008. http://www.repositorio.uchile.cl/handle/2250/111738.
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Memoria (diseñador gráfico)Este proyecto pretende identificar la forma en que el diseño gráfico podrá ser un buen aporte y una herramienta útil para la educación parvularia, en su transmisión de conocimientos formativos para el aprendizaje. Durante las visitas realizadas a establecimientos infantiles, se observó que los murales eran herramientas multifacéticas, por medio de las cuales, era posible entregar información relacionada, no sólo con una materia en particular, sino que también estaban se relacionaban con el lenguaje verbal y el lenguaje artístico, además de ser una fuente importante de estímulos visuales para los niños. Pese a lo anterior, se detectaron varios déficit en cuanto a la implementación del material aplicado, influyendo directamente sobre el aprendizaje y la estimulación. Así es como se llega a una solución que no solo propone un producto estético, sino que también posee una característica educativa que facilita la labor de la educadora y permite al menor asociar los conocimientos entregados. A través de la aplicación de este producto de diseño, se pretende favorecer la creación de espacios acogedores, divertidos, ricos en estímulos, pero que a su vez entreguen aprendizaje a los niños ayudándolos a asociar el entorno que los rodea.
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Wyatt, Kimberly M. "Rapid morphological divergence among subpopulations of the introduced common wall lizard, Podarcis muralis." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377874890.
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Morechand, Laurence. "Le muralisme chicano aux etats-unis : san francisco, los angeles, san diego (1968-1988)." Paris 3, 1991. http://www.theses.fr/1991PA030071.
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Le muralisme chicano, a la difference du mouvement muraliste mexicain des annees 1920, est ne de la lutte de cesar chavez. C'est au sein de la lutte de chavez et de son syndicat qu'apparaissent les signes avant-coureurs du muralisme chicano: la banniere de la vierge de guadalupe, l'aigle noir sur fond blanc et l'illustration graphique du journal el malcriado. Sur le plan socio-philosophique, le muralisme chicano a emerge du vide culturel: vide dans la formation des peintres ou exclusion des musees pour les artistes chicanos. Afin de pallier ces problemes, ils ont cree des centres culturels et alabore une conception de l'art non-occidentale. Dans les trois villes etudiees, le muralisme a ete tres different. A los angeles, le muralisme est ne des graffiti et a ete initie dans des cites tres pauvres par charles felix. Par la suite, de militant, le muralisme chicano est devenu environnemental. A san francisco, le muralisme chicano est ne du chomage et a pris un caractere multi-ethnique. A san diego, le muralisme est ne de la renovation urbaine et de la construction de "chicano park" pour lutter contre la construction du pont coronado. Nous avons trois mouvements muralistes chicanos. L'indigenisme est un thele recurrent dans les trois villes et est lie au plan espiritual de aztlanChicano mural painting in the united states was born within cesar chavez movement and the farmworkers movement. The banners of the virgin de guadalupe and the aztec eagle as well as graphic illustration in el malcriado are the signs that foretell the mural movement. On a socio-philosophical and esthetic levels, chicano murals emerged from a cultural nothingness both on the point of view of lack of education for some painters as well as the exclusion of chicano artists from the artistic scenne. That is why they created cultural centers and built up a non-occidental conception of art. In the three cities we studied, chicano murals were very different. In los angeles, chicano murals emerged from graffiti and was initiated in poor housing projects by charles felix. Afterwards, from militant chicano muralism became environmental. In san francisco, chicano muralism was born from unemployment and had a multi-ethnic charcter. In san diego, muralism was born from urban renewal and from the buildin of chicano park to. Struggle against the building of coronado bridge. So, in fact, we have three chicano mural movements. Indigenism is a recurrent theme in the three cities and is linked to the plan espiritua of aztlan
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Domínguez, Correa Paula. "De los artistas al pueblo: esbozos para una historia del muralismo social en Chile." Tesis, Universidad de Chile, 2006. http://www.repositorio.uchile.cl/handle/2250/101636.
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Nos atrevemos a plantear “esbozos para una historia del muralismo social en Chile”, pues en esta investigación se tratan también las circunstancias extraartísticas que llevaron a la práctica de esta disciplina: las razones que, ajenas al mundo propio del arte, jugaron un rol muy importante para la ejecución de murales en el país.
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Bernales, Ballesteros Jorge. "Las pinturas murales de la Quinta del Prado." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/114150.
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Cozzolino, Francesca. "Les peintures murales d’Orgosolo en Sardaigne : étude anthropologique." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0445.
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Cette enquête s’est donnée pour objectif de décrire et analyser le phénomène des « murales » en Sardaigne tout au long de son évolution, de la fin des années 1970 à aujourd’hui. Elle cherche à déterminer l’usage de ces artefacts avant tout dans le village d’Orgosolo – où ce phénomène a vu le jour – à comprendre comment la pratique de la peinture murale a marqué l’histoire et la vie sociale de ctte communauté. La dimension anthropologique prime dans ce travail, pour la réalisation duquel nous nous sommes attaché à faire l’ethnographie d’une pratique artistique. L’étude met en avant la richesse d’un cas de peinture murale tout à fait singulier, qui se diffuse dans toute l’île et permet de saisir comment ces artefacts sont devenus un bien patrimonial, à la suite, d’une part, d’une adaptation au marché touristique, et de l’autre, d’une opération institutionnelle. Cette recherche est largement exploratrice et part du constat que les travaux sur la peinture murale dans une perspective anthropologique sont très rares. Elle met à profit différents travaux d’ethnographes portant sur la notion d’exotisme et les enjeux liés au tourisme dans une perspective anthropologique (Satta, 2001 et Ciarcria, 2003), elle s’appuie sur des travaux d’anthropologie de l’écriture (Fraenkel, 1995, 2001 et 2005), ainsi que d’une sociologie de l’art travaillant sur la notion d’artification (Shapiro 2004, 2007 et Heinich 2008)This investigation has the objective to give a description of the phenomenon « murals » in Sardinia in its different moments of evolution from the late 1970s to today. It seeks to determine the use of these artifacts primarily in the village of Orgosolo – where this phenomenon has emerged – to understand how the practice of mural painting has marked the history and the social life of this community. The anthropological aspect comes first in this work, which has led us to realize the ethnography of an artistic practice. The analysis highlights the richness of a case of mural painting quite singular, which is spreading, throughout the island and helps seize how these artifacts have become a patrimonial property, due to, on one hand, an adaptation to the tourist market, and on the other an institutional process. This research is largely exploratory and based on the fact that work on murals in an anthropological perspective are very rare. Rather it leverages on works of ethnographers who worked the notion of exoticism and issues related to tourism from an anthropological perspective (Satta, 2001 and Ciarcia, 2003), on various anthropological works of writing (Fraenkel, 1995, 2001 and 2005), and on a sociology of art working the concept of artification (Shapiro 2004, 2007 and Heinich 2008)
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Tosini, Gianluca. "Thermoregulation in the lizard Podarcis muralis : application of thermography and similar infra-red technologies." Thesis, University of Bristol, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357912.
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Pinochet, Cobos Natalia. "El muralismo social y la identidad comunitaria: dinámicas de relación y significación cotidianas. (1990-2009)." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/109858.
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El presente trabajo tiene como principal objetivo analizar el movimiento muralista post dictadura para comprender cuáles son las dinámicas que lo reproducen y qué significación tiene para la sociedad en términos comunitarios y urbanos. No cabe duda de que el muralismo social ha mutado sus formas, sus necesidades y sus objetivos, lo que necesariamente nos enfrenta al desafío de responder si los murales siguen siendo sociales, y en caso de serlo, qué significado tiene esta afirmación. Desde esta perspectiva y bajo estas premisas es que la presente investigación intenta esclarecer los cambios y continuidades que ha tenido el muralismo en tanto formas, estética, relaciones, urgencias, representaciones, mensajes y funciones; no obstante, no ha de partir de la diferencia, sino que desde lo que hoy es. Desde lo que podemos ver diariamente en las calles, lo que escuchamos de un brigadista, lo que entendemos de un poblador, e inclusive, lo que sabemos nosotros mismos desde nuestra individual y sencilla posición. Sólo así podremos recién acercarnos al desafío que el muralismo plantea a la historia: vislumbrar y comprender las relaciones y significaciones que cotidianamente surgen en las personas y comunidades gracias a la presencia y vida de los murales.
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Lambrecht, Susanne. "Lecanora muralis: eine epilithische Krustenflechte als Biomonitor für luftgetragene Spurenmetalle systematische Untersuchung und regionale Anwendungsbeispiele /." [S.l. : s.n.], 2001. http://deposit.ddb.de/cgi-bin/dokserv?idn=963515454.
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Mou, Yung-Ping. "Ecologie comparée de deux populations de lézards des murailles, Podarcis muralis (Laurenti, 1768) en France." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376082016.
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Lambrecht, Susanne. "Lecanora muralis: eine epilithische Krustenflechte als Biomonitor für luftgetragene Spurenmentalle : systematische Untersuchung und regionale Anwendungsbeispiele /." [S.l. : s.n.], 2001. https://fridolin.tu-freiberg.de/archiv/html/GeowissenschaftenLambrechtSusanne050388.html.
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Le, Henanff Maxime. "Stratégie reproductrice d'une espèce de lézard à pontes multiples (Podarcis muralis) dans un environnement contraignant." Poitiers, 2011. http://nuxeo.edel.univ-poitiers.fr/nuxeo/site/esupversions/9c818478-b13a-4a8d-a2c7-36b913e4cde9.
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Les êtres vivants sont exposés aux variations environnementales (notamment thermiques) à l'échelle journalière, saisonnière ou annuelle. Chez les ectothermes, la température du milieu affecte directement la température corporelle et donc la physiologie, les performances locomotrices, l'activité et de façon ultime la "fitness" des individus. Le développement embryonnaire est une étape très sensible aux fluctuations thermiques et les ectothermes ont déployé une diversité de moyens pour en atténuer les effets. Chez les espèces à pontes annuelles multiples, la reproduction s'étale sur une période étendue pendant laquelle les conditions thermiques saisonnières varient fortement. Ces fluctuations peuvent profondément contraindre l'activité des individus et affecter les trajectoires de développement. Les déterminants du succès reproducteur impliquent donc la prise en compte des contraintes environnementales mais aussi de l'ontogénie des individus. En effet, chez les espèces à croissance indéterminée, la nature des compromis d'allocation devrait fortement dépendre de la taille et de l'âge des individus. Des changements ontogéniques dans les stratégies d'allocation de la ressource sont attendus en permettant une optimisation du succès reproducteur. Au cours de cette thèse, nous avons examiné les stratégies de reproduction chez une espèce à pontes multiples, le lézard des murailles (Podarcis muralis) dans un contexte thermique contraignant (climat océanique, Centre Ouest de la France). A l'aide d'une approche expérimentale, nous avons mis en évidence le fort impact des conditions thermiques sur la qualité du développement embryonnaire et l'importance de la phénologie (date de ponte) sur les trajectoires individuelles. Les dates de ponte précoces et les températures d'incubation élevées favorisent la survie des jeunes. Le suivi CMR lancé en 2006 a permis de mettre en évidence l'importance de l'âge et de la taille corporelle des femelles dans le compromis d'allocation. Ainsi les individus âgés cessent d'allouer leurs ressources dans la croissance et favorisent la capitalisation de l'énergie. Cette transition permet de soutenir un effort reproducteur plus élevé et un engagement plus précoce dans la reproduction. Des contraintes énergétiques induites par la reproduction ont également pu être révélées en étudiant les variations saisonnières des taux de corticoïdes et de l'ectoparasitisme. Enfin l'étude de la multipaternité souligne l'influence de la taille des femelles et de la séquence de ponte sur la stratégie de reproductionLiving organisms are exposed to environmental fluctuations (including temperature) at the daily, seasonal or annual scale. In ectotherms, environmental temperature directly affects body temperature and thus the physiology, locomotory performance, activity and ultimately the fitness of individuals. Embryonic development is a very sensitive step to thermal fluctuations and ectotherms have deployed a variety of means to buffer its effects. In annual multiple clutches species, reproduction spread over an extended period during which the seasonal thermal conditions vary widely. These fluctuations can profoundly constrain the activity of the individuals and affect developmental trajectories. Determinants of reproductive success thus involve the consideration of environmental constraints as well as ontogéniques trajectories. Indeed, in indeterminate growth species, the nature of allocation trade-offs should strongly depends on the size and age of the individuals. Ontogenetic changes in strategies for resource allocation are expected to optimize reproductive success. In this thesis, we examined the reproductive strategies in a species with multiple clutches, the wall lizard (Podarcis muralis) in a thermally challenging context (oceanic climate, Central West of France). Using an experimental approach, we demonstrated the strong impact of thermal conditions on the quality of embryonic development and the importance of phenology (laying date) on individual trajectories. Early laying dates and incubation temperatures promote high survival of juveniles. The population monitoring initiated in 2006 has highlighted the importance of age and body size of females in the allocation trade-offs. Thus older individuals cease to allocate their resources in growth and encourage the capitalization of energy. This ontogenic shift supports a higher reproductive effort and a earlier engagement in reproduction. Energy constraints induced by reproduction have also been revealed by studying the seasonal variations in levels of corticosteroids and ectoparasites. Finally the study of multipaternity emphasizes the influence of female size and laying sequence on the reproductive strategy
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Mou, Yung-Ping. "Ecologie comparee de deux populations de lezards des murailles, podarcis muralis (laurenti, 1768), en france." Paris 6, 1987. http://www.theses.fr/1987PA066544.
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Les 2 populations etudiees sont de chize (deux-sevres) et de julliac (massif central). Les durees d'activite journaliere et annuelle, selon le sexe, sont precisees. Le domaine vital est de 14 m**(2) chez les males, 7 m**(2) chez les femelles. Le comportement alimentaire est decrit, la ration alimentaire s'estime d'apres le poids des individus. La densite de population est plus elevee et plus stable a juillac. La proportion des pontes et les taux de survie sont fournis
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Gatellier, Marie. "Peintures murales du Sri Lanka : école kandyenne, XVIIIe-XIXe siècles /." Paris : EFEO, 1991. http://catalogue.bnf.fr/ark:/12148/cb35526724q.
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Lescano, Ninnia V. "Population Bottlenecks and Range Expansion in Podarcis muralis, a Wall Lizard Introduced from Italy." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275070519.
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Moraes, Mello Magno. "A pintura de tectos em perspectiva : no Portugal de D. João V /." Lisboa : Editorial Estampa, 1998. http://catalogue.bnf.fr/ark:/12148/cb388076993.
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Hulnet-Dupuy, Lise. "Les peintures murales romanes de Notre-Dame-La-Grande à poitiers." Poitiers, 1997. http://www.theses.fr/1997POIT5007.
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Les premiers chapitres sont consacres a l'etude du contexte historique et monumental, a l'histoire de la decouverte des fresques et de leurs restaurations, a l'etat de la question et a la description des peintures. Un gros chapitre est consacre a l'iconographie. Le dernier chapitre, enfin, aborde le probleme du style, de l'atelier, de la datation. L'etude des differentes unites iconographiques integre ces peintures a la longue chaine de la tradition figuree chretienne. Cependant, la facon dont ces sous-ensembles sont composes pour former un tout revele la conception d'un programme iconographique particulierement complexe et coherent. Dans le cadre d'une theophanie-vision synthetique sont mis en scene sur la voute du choeur les trois grands themes doctrinaux de la foi chretienne, l'origo, la passio, la glorificatio. Cette triple veneration, situee dans l'espace liturgique principal, insiste sur l'importance de l'eucharistie, et affirme le lien etroit qui unit la passion et la gloire. Cette vision triomphale de la cour celeste exprime aussi l'idee du regne deja commence, avec celle, sous-jacente, de la deuxieme venue. A l'amplitude majestueuse du programme du choeur repond sur le mode mineur celui de la crypte qui vehicule les memes verites essentielles de la doctrine chretienne. L'extraordinaire qualite du programme iconographique va de pair avec l'extraordinaire qualite picturale de l'ensemble, qui a ete le fait d'un grand atelier, dirige par un maitre experimente, aide par des disciples competents, qui s'inscrivent dans le cercle de ceux qui ont oeuvre, a la fin du onzieme siecle, a poitiers et a saint-savinThe first chapters recall the historical and monumental context, the history of the discovery and of the restaurations of the frescoes, the statement of the different works about the paintings, their description. A chapter is consacrated to iconography. Then are introduced in the last chapter the questions about style. Artists and datation. The study of the iconographic units integrates those pictures in the long chain of the christian figurative tradition. However, the composition which is situated on the vault of the choir reveals an iconographic programme which is particulary elaborated, complex and coherent in the same time. In that synthetic vision are exposed the three great themes of the christian doctrinal belief, origo, passio, glorificatio. This triple veneration, placed in the principal liturgical space, shows the importance of eucharist, and the tie which combines passion and glory. This triumphal vision of the heavenly court reveals too the present reign, with the underlying idea of the second coming. Comparated to the majestic amplitude of the programme painted in the choir, the programme painted in the crupt replies on a minor mode but nevertheless it conveys the same essential truths of the christian faith. The exceptional quality of the iconography is on a par with the exceptional quality of the paintings which have been realized by skilled master and disciples. Those are to be linked with the painters who have worked at the end of the eleventh century at poitiers-saint-savin
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Jarjanette-Broussaud, Virginie. "La restauration des peintures murales et des mosaïques dans l'Antiquité romaine." Paris 4, 1998. http://www.theses.fr/1998PA041053.
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La restauration est une pratique courante dans l'antiquité, tant sur les peintures murales que sur les mosaïques. Ces décors sont en effet sujet à de multiples dégradations et usures, qui nécessitent un entretien régulier. A ceci s'ajoutent les impondérables (catastrophe naturelle,. . . ), qui engendrent des travaux de réfection. Par restauration, on entend toute tentative pour préserver, consolider, ou modifier d'une quelconque manière, toute surface d'une paroi murale ou d'un pavement portant un décor, après sa création, et au cours de l'époque romaine. Le sujet ne possède donc pas de limites chronologiques ou géographique précises. Afin de pouvoir repérer et authentifier une restauration antique, différents critères précis ont été définis. Ils reposent à la fois sur des observations techniques (examen des supports, des mortiers. . . ), et sur les nombreux indices que révèle le traitement en surface. Un grand nombre de cas de restaurations ont pu être recueillis, à partir de ces critères de sélection. Ces exemples ont permis la mise en place d'une typologie complète, qui met en évidence une grande diversité de méthodes et de soins. Dans l'analyse des données et l'essai de synthèse qui suivent, est proposée une définition de ce qui caractérise les techniques et le choix des méthodes de restauration, à travers des comparaisons, de leur répartition dans le temps et dans l'espace notamment, ainsi qu'une recherche des critères en fonctions desquels ces choix peuvent se déterminer. L'objectif de ces recherches est de montrer comment la notion de restauration se manifeste, de quelles façons on peut la définir, quelles sont ses intentions réelles, et la place qu'elle occupe dans la vie quotidienne.
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GATELLIER, BESNARD MARIE. "Les peintures murales singhalaises des xviiieme et xixeme siecles. (ecole kandyenne)." Paris 3, 1989. http://www.theses.fr/1989PA030136.
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Etude detaillee (technique, themes, iconographie) des peintures ornant les murs des sanctuaires bouddhiques de sri lanka, executees par les peintres locaux "les sittara" aux xviiieme et xixeme siecles, c'est a dire a l'apogee du royaume de kandy (le dernier royaume singhalais) puis apres sa chute et son annexion par les anglais. Parmi ces peintures, quelques-unes sont ornementales mais la plupart sont narratives, illustrant le passe historico-religieux de l'ile et surtout de nombreux themes bouddhiques (vie du buddha gotama, jataka. . . ). Elles constituent un ensemble pictural tout a fait original dans l'art du monde indienA complete study (technique, themes, iconography) of the mural paintings in the buddhist shrines of sri lanka, executed by the local "sittara" painters in the eighteenth and nineteenth centuries at the zenith of the kandyan kingdom (the last sinhalese kingdom) and after its fall and its annexation by the british. Some of these paintings are ornemental but most of them are narrative, illustrating the religious and historical past of the island and above all many buddhist themes (buddha gotama's life, jataka. . . ). They form a quite original pictorial production in the art of the indian world
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Ruiz, Janette Cynthia, and Janette Cynthia Ruiz. "Los Murales de Osaka: Mexican Modernism at the 1970 World's Fair." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/622864.
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In 1969 curator Fernando Gamboa commissioned eleven abstract artists to paint a collective mural to be displayed in the Mexico Pavilion at the 1970 World’s Fair held at Osaka, Japan. He instructed the artists to paint large sized individual paintings on stretched canvases that when joined collectively would form a mural measuring 400 sq ft. The artists selected by Gamboa were working in a style that broke the conventions of traditional Mexican muralism. They were a generation of painters who abandoned the ideologies of José Vasconcelos and the conception that artists should be responsible for changing society. Instead they embraced the words of José Luis Cuevas and based their work on the individual’s subjectivity. The binary Gamboa raises by linking Mexican muralism and modern painting problematizes the conception of murals in Mexico. Traditional muralism focused on public spaces and state forums for social communication. In contrast, mural-sized stretched canvases, which hung on the walls of the pavilion intended to provoke an international audience, produced an alternative meaning of muralism and questioned what artistic attributes constituted a Mexican mural in the 1970s
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Collings, J. "Murals and frescoes in greater Los Angeles 1900-1950." Thesis, University of East London, 2011. http://roar.uel.ac.uk/2635/.
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Murals are a highly prominent aspect of Los Angeles present day. The purpose of this study is to investigate the history and cultural production of early murals in greater Los Angeles, many of which still exist within interiors of old commercial and public buildings, together with a few external political murals from the 1930's. Little of this period has been previously documented and the scope of the study includes a short general history of American mural painting preceding the main period of focus which presents a survey of mural painting in the city from origin c.1900, and develops on the patrons and artists aligned with the city's history and political unrest prevalent in the United States throughout this period. My main conclusions revealed that unlike other cities in the U.S., Los Angeles does not have a history of Beaux-Arts murals; rather the mural movement sprang from the rapid development, commercialization and capitalization of the city from c.1900 to the late 1920's. During the Great Depression, the federal government took over sponsorship of the arts, and because capitalism as an economic system appeared to have failed, many artists became politicized; furthermore Mexican artists Rivera, Siqueiros and Orozco strongly influenced many American artists during the 1920s and 30s, aesthetically and politically. Among the issues the thesis examines in some depth includes the development over these Los Angeles years of the methods by which mural art was integrated into particular locations and the identities of public and private architectural formations. This establishes the collaboration between artists and architects and the way that some architects decided to push hard for its continuation, with artists devising a wealth of contrasting images. There is the expansion of urbanism, together with huge commercialization and the examination of creative street art. With the roots of the Depression the role of the state is identified and discussed, together with its major effects on Los Angeles mural artists, the role of various artists also identified together with a deep exploration of political convictions and their problematic outcomes. This is a marker on the way this inner city and its suburbs formed, and is original in displaying the visual terms of Greater Los Angeles and its mural outcomes in the first half of the twentieth century.
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Akey, Lisa J. "Community canvas the murals of Pilsen, a Chicago neighborhood /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3332471.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.Title from PDF t.p. (viewed on May 14, 2009). Source: Dissertation Abstracts International, Volume: 69-09, Section: A, page: 3690. Adviser: Henry Glassie.
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Grogan, Elise Kathleen. "Thomas Hart Benton's Indiana Murals in History and Memory." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/396679.
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Art HistoryM.A.
Thomas Hart Benton was commissioned to paint murals depicting Indiana history for the Indiana state pavilion at the 1933 Century of Progress Exposition in Chicago. The completed Indiana murals were twelve feet high and over two hundred feet long, wrapping around the entire exhibition hall. Visitors to the Indiana pavilion experienced Indiana’s history through a continuous stream of narrative imitating the flow of time. After several years of storage following the fair, the panels were given to Indiana University in Bloomington in 1938, where they currently reside. While most scholarship has focused on the original message and context of the Indiana murals, the murals’ nearly seventy-five year display at IU necessitates a more thorough analysis of the murals at the university, with specific attention to the contextual changes since the time of the fair. The relocation of the murals to IU and the resultant restructuring of their historical narrative have altered perceptions of their imagery and attributed new meanings to the historical scenes Benton depicted. The aim of this study it to better understand the complex nature of Benton’s Indiana murals by exploring the ways in which changes in context result in alteration of the original message and the viewers’ reception of the murals. My research explores the murals’ role in university politics, reactions to the murals by their university audience, and recent controversies. A study of the Indiana murals in terms of the fluidity of historical construction and the effects of collective memory on their reception is significant because it leads to a greater understanding of the present’s cultural ideals, and begins to explain why the murals continue to elicit such strong reactions from viewers—whether to protest against their presence at the university or promote their preservation for the benefit of future generations.
Temple University--Theses
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Solórzano, Solórzano Raúl. "Regarding the moral right of the authors to the integrity of their work: reflections about the damage done to the murals in the Centre of Lima." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115773.
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Based on the recent damage done to the murals in the Centre of Lima, this article analyzes the conflict that can occur between the moral right of authors to the integrity of their work and the property rights of the holders of the support containing the intellectual creation. Criteria are provided to analyze conflicts in which murals are involved. Finally, the infringement of moral right of integrity is discussed.Sobre la base del reciente daño efectuado a los murales en el Centro de Lima, a través del presente artículo se analiza el conflicto que puede producirse entre el derecho moral de los autores a la integridad de sus obras y el derecho de propiedad de los titulares del soporte que contiene la creación intelectual. Se brinda criterios a tomarse en cuenta en los conflictos donde estén involucrados murales. Finalmente, se examina las posibles infracciones al derecho moral de integridad.