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Dissertations / Theses on the topic 'Murals painting'
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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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Martinez, De Luna Lucha Aztzin. "Murals and the Development of Merchant Activity at Chichen Itza." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd1026.pdf.
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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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Yang, Jeongmu. "Giovanni Bellini : experience and experiment in Venetian painting, c. 1460-1516." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/1318058/.
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Giovanni Bellini (b. 1435/40-d. 1516) has long been considered a dominant figure in the Venetian painting of the Early-High Renaissance, his main reputation being a colourist. The distinctive optical and technical characteristics of his work have drawn substantial scholarly attention in the present century, but the studies in this subject have not been developed as a coherent theory with regard to changes in painting technique in the fiftenth-century Italy. The purpose of this dissertation, therefore, is to investigate Bellini's choice and application of painting materials, attempting to establish links between the technical qualities and the formal values of his work. In the process of establishing Bellini's position with regard to the use of paint media and support, this thesis also provides a substantial overview of the use of canvas and of oil pain in the later fifteenth century. The study is encouraged by recent discoveries about Bellini's technique that have emerged from conservation of his paintings. As well as addressing published conservation results, the thesis includes new observations on four canvases attributed to Bellini's father Jacopo, and two Madonnas from Bellini's workshop scientifically examined at UCL Painting Analysis. In order to investigate Bellini's colour and handling of paint within a broader socio-economic milieu, this study deals with the commercial documents such as tariffs, government records, and merchant account books, indicating that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade. The resulting advantages of Venetian painters who were active at this commercial heart, and the question of how deeply the pragmatic experience of colours that Venetian merchants obtained from the trade penetrated their aesthetic taste will be discussed. Using both scientific and documentary analyses in combination with visual analysis which integrates these findings, this study examines Bellini's translation of the skills of tempera to oil pain and the stylistic changes that occurred with the extensive use of oil medium. It looks at how Bellini developed canvas as a support for mural painting and the technique he employed on such an unconventional support. It will also study the methods in which he established the predominance of colour as an element of composition at the early sixteenth century. In conclusion, it will argue that Bellini's increasing choice of canvas and corresponding use of oil on it changed the general concept of picture-making and became a new format of painting that was to exert a crucial influence on Cinquecento Venetian painting.
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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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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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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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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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Mouhoubi, Kamel. "Thermographie infrarouge stimulée appliquée à la détection et à la caractérisation d'altérations structurales de peintures murales du patrimoine." Thesis, Reims, 2016. http://www.theses.fr/2016REIMS001/document.
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L’objectif de ce projet est de développer des méthodes d’analyse et de caractérisation des défauts structurels des matériaux s’appuyant sur la thermographie infrarouge stimulée. Nous pouvons à l’aide d’une excitation photothermique distante et d’un outil d’analyse que nous avons développé en laboratoire, déterminer la structure sous jacente d’un matériau, repérer précisément ses défauts et les mesurer. L’application qui nous intéresse ici porte sur la prévention, le diagnostique et la restauration des oeuvres d’art, nous avons démontré par de précédents travaux, la pertinence de cette approche et son potentiel important dans de nombreux domaines, qu’ils soient industriels, culturels, médicales ou autres. Nous avons fait la démonstration qu’il était possible d’analyse des matériaux fragiles de façon fiable et sans contact et nous comptons généraliser cette approche en l’étendant dans ses domaines d’intervention et dans sa précision<br>The objective of this project is to develop analysis and characterization of structural defects in material methods based on photothermal radiometry,We can by means of a remote photothermal excitation and an analysis tool that we have developed in the laboratory to determine the underlying structure of a material, precisely locate its flaws and measure. The application of interest here focuses on the prevention, diagnosis and restoration of works of art, we have demonstrated by previous work, the relevance of this approach and its significant potential in many areas, such as industrial cultural, medical or other. We have demonstrated that it was possible to analyze fragile materials reliably and without contact and we intend to generalize this approach by extending its focal areas and its accuracy
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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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Holzworth, Rebecca Joy. "The Apse Murals in San Agustin de Acolman: Augustinian Friars as the Foundation of the Roman Church in Sixteenth-Century New Spain." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193471.
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This thesis considers the apse murals in the sixteenth-century Augustinian mission church of San Agustin de Acolman. These murals feature three horizontal rows of enthroned popes, bishops, cardinals, and friars. I connect these murals to contemporary conflicts between the regular and secular clergy in the New Spanish church, arguing that the Augustinians at Acolman used their apse to hierarchically position themselves within the New Spanish church.The figures in these murals will be identified as an allegory of the Roman Church. Comparisons will be drawn between the murals and the Sistine Chapel, suggesting that Acolman's allegorical image of the Church connoted papal power. I also highlight the position of the friars in the lowest level of the murals. Through a comparison with retablos, I demonstrate that these friars are the foundation of the Church. Finally, I reflect upon the implications of allegorizing the Church as a collection of Augustinians.
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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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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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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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Guerrero, Ryan. "Mural Graffiti Painting: Positively Affecting a Community." Fogler Library, University of Maine, 2011. http://www.library.umaine.edu/theses/pdf/GuerreroR2011.pdf.
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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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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<br>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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Willsdon, Clare Annabella Paton. "Aspects of mural painting in London, 1890-1930." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283657.
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Purmale, Zané. "Habiller le mur : les relations entre la tapisserie et la peinture sous la Troisième République : le cas des Gobelins (1870-1925)." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30017.
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Sous la Troisième République, les quatre administrateurs successifs de la manufacture nationale des Gobelins, Alfred Darcel, Edouard Gerspach, Jules Guiffrey et Gustave Geffroy, cherchent à imprimer, chacun à leur manière, un renouveau à l’art de la tapisserie. Si les trois premiers cherchent à retrouver la vraie nature de la tapisserie, dont les principes peuvent être découverts en étudiant le passé, pour lui redonner une vigueur nouvelle dans le présent et augmenter ainsi son indépendance vis-à-vis de la peinture, le dernier cherche, au contraire, à faire entrer les Gobelins dans la modernité en rapprochant la tapisserie de la peinture. Cette thèse cherche à comprendre, de façon aussi complète que possible, la création artistique à la manufacture des Gobelins pendant cette période, qui se caractérise par une activité extraordinaire. Grâce à l’analyse du contexte intellectuel, il a été précisé les idées qui ont permis de donner l’impulsion et la direction à ce renouveau en détaillant également les conditions matérielles, institutionnelles et économiques qui permettent d’étudier les moyens dont dispose la manufacture. Ainsi sont révélés les impératifs imposés par les conditions matérielles et l’organisation du processus créatif impliquant un nombre d’acteurs et de procédures important, ralentissant et rendant contraignante toute démarche. Surtout il a été montré dans quelle mesure les moyens économiques étaient en totale inadéquation avec les objectifs de la manufacture. Malgré ces difficultés, la manufacture joue un rôle central dans le renouveau de la tapisserie. Si les progrès sont lents à émerger en raison de la nature même du fonctionnement des Gobelins, ils donnent une impulsion formidable à l’industrie privée grâce à son intense activité intellectuelle et artistique et le rayonnement international qu’ils exercent, et ceci malgré les critiques portant sur le choix des modèles. En effet, si les efforts de la manufacture sont justement reconnus, les choix esthétiques sont souvent remis en cause. Ainsi, la seconde partie de cette thèse étudie la politique artistique de chaque administrateur afin de comprendre comment cette dernière se concrétise, et quelles sont les principales lignes de l’action artistique de chacun des administrateurs. Ce travail s’appuie sur un catalogue exhaustif fait de notices approfondies et d’une iconographie abondante, retraçant l’historique des tentures murales en haute lisse et au point noué de Savonnerie réalisées à la manufacture des Gobelins, leurs cartons et maquettes mais aussi d’un nombre important de projets non aboutis, dessinant ainsi le panorama le plus complet sur la création à la manufacture des Gobelins dans les années 1870-1925<br>During the French Third Republic, the four successive administrators of the National Gobelins’ manufactory, Alfred Darcel, Edouard Gerspach, Jules Guiffrey and Gustave Geffroy, sought to give an impulsion, each in his own way, in order to provoke a tapestry revival. The first three administrators seek to rediscover the true nature of tapestry, the principles of which can be discovered by studying the past, in order to give it new vigour in the present and increase its independence from painting. Geffroy, on the contrary, seeks to guide the Gobelins to modernity by imposing the tapestry to follow the paths of painting. This thesis makes understand the artistic creation at the Gobelins’ manufactory during this period of extraordinary activity. It specifies not only the intellectual context and ideas which give its direction to the tapestry revival, but also it takes into consideration the material, institutional and economic conditions of the manufactory. Thus are revealed the imperatives imposed by the material conditions of creation, its organization involving a large number of actors and highly restraining procedures, but, above all, economic means revealed to be in total inadequacy with the goals of the manufacture. Despite these difficulties, through intense intellectual and artistic activity, the manufactory plays a central role in the revival of tapestry. If progress is slow to emerge due to the very nature of the Gobelins' functioning and despite criticism of the choice of models, Gobelins gives a tremendous boost to private industry thanks to the international influence that the manufactory plays into tapestry field. Indeed, if the contemporary critics recognized the efforts of the manufacture to be in the right direction, very often this is not the case for the models. As in most of cases they are still unknown to modern art historians, the second part of this thesis studies the artistic policy of each administrator in order to understand how it was carried out and what were the main lines of the artistic action of each administrator. This work is accompanied of an exhaustive catalog records and images retracing the history of the conception of wall hangings in haute lisse (high-warp loom) and Savonnerie murals woven at the Gobelins’ manufactory and also their cartoons and preparatory models including abandoned projects, thus drawing a most complete panorama on artistic creation at the Gobelins manufactory from 1870 to 1925
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Tamm, John A. "Argentum potorium in Romano-Campanian wall-painting /." *McMaster only, 2001.
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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.<br>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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Kitanov, Kitan. "Les matériaux et les techniques de réalisation de la peinture murale des tombeaux de l’antiquité tardive en Thracia et en Dacia (fin IIIe - VIe siècle ap. J.-C)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040301.
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La recherche est représentée en deux volumes et un enregistrement sur un DVD. Dans le volume est présentée la particularité du texte qui se consiste en introduction, six chapitres, abréviation, sigle et bibliographie. Le deuxième volume représente des 267 planches et des 17 tableaux. Dans introduction ont été déterminées les limites chronologiques – fin du III ème jusqu’au chute de la civilisation de l’antiquité tardive sur les Balkans à la fin du VIe et au début du VIIe siècle ap. J.-C. On a fait un bref aperçu sur les recherches de ces monuments. Dans le Chapitre I ont été envisagées les différentes méthodes analytiques. Au début, on a décrit la recherche des peintures murales des tombeaux réalisée in situ. Pour obtenir des informations concernant les types des colorants et des liants de la couche picturale, ainsi que l’établissement de la composition quantitative et qualitative de différents mortiers ont été appliquées les méthodes analytiques suivantes : pétrographique et minéralogique, granulométrie, microsonde électronique et microscopie électronique à balayage (MEB), diffraction des rayons X, spectrométrie IR et spectrométrie IR Raman. Dans le Chapitre II a été faite une recherche sur les divers matériaux de la structure des peintures : matériaux de construction, mortier de liaison, couches d’enduit, pigments et liants. On a constaté que les peintres ont utilisé, au début de la période, des pigments chers et que l’on les a appliqués en état pur. Tels pigment ont été le cinabre et le bleu égyptien. D’autre part la palette s’est progressivement appauvrie. La riche gamme de pigments, existant pendant la période de la fin du IIIe au début du Ve, a devenu de plus en plus restreinte en aboutissant également à l’usage de l’ocre rouge qui a été rarement accompagné de couleur verte (terre verte) vers la fin du Ve et au VIe siècle ap. J.-C. Le Chapitre III présente les techniques de réalisation et le système de travail. On a déterminé que la technique principale d’exécution est a fresco, mais on a constaté aussi d’autres techniques (fresque à la chaux, peinture à la chaux, détrampe). Les constatations notées dans les chapitres précédents nous ont permis de faites la synthèse dans le Chapitre IV. Les matériaux et les techniques de réalisation de la peinture funéraire sont représentés en ordre chronologique. Dans le Chapitre V on a montré en détail 48 tombeaux de deux diocèses. Les décors des tombeaux ne sont pas figurés seulement au point de vue de matériaux et de techniques, on a aussi étudié leurs thèmes iconographiques et leurs motifs ornaméntaux. Le chapitre VI présente la conclusion principale de la thèse. Il évoque sous en résumé l’influence directe de l’art de l’Asie Mineure ainsi que l’influence indirecte de l’art des terres italiques. Le riche répertoire de thèmes est accompagné d’une large palette d’interprétations créatrices et de solutions techniques. Á la fin de la période, la peinture funéraire disparait. Ce fait nous incite à établir un lien avec le changement du rite funéraire. D’autre part, le matériau archéologique permet de constater un développement important de l’art figuratif pendant cette période. Ainsi la peinture murale rend-elle prioritaires d’autres structures architecturales, notamment les basiliques, les églises et les baptistaires chrétiens. Les abréviations présentent les publications périodiques et de diverses institutions. On a ajouté une liste des nomes antique des sites et leurs nomes modernes. La bibliographie représentent des sources et des textes antiques, des livre de base, ainsi que des publications sur la peinture antique grecque et romaine, recherche sur des monuments donnés, ainsi que telles présentant des problèmes déterminés sur les matériaux et la technologie de la peinture pariétale. Une liste des sites électroniques est également montrée<br>The research is presented in two volumes and a DVD record. Volume one represents the text part of the thesis consisting of introduction and 6 chapters with abbreviations, bibliography and indexes. The second volume includes 267 plates and 17 tables.In the introduction has been defined the chronological period of the review spanning through the years of the end of the ІІІd century until the fall of the late antique civilization on the Balkans in the end of the VІth and beginning of the VІІth century AC. A review of the study of the objects in Thracia and Dacia is presented in briefs.In chapter I examined the different analytical methods. The beginning part presents the research of the objects in situ. For the gathering of the information concerning the type of the pigments and adhesives used for realization of the murals, as well as for the differentiation of the qualitative and quantitative characteristics of the ingredient components of the different ground layers there have been used the following analytical methods: pictographic and mineralogical analyses, granulometry, electronic microprobes, CEM, structural Х-ray analysis, AEA-ICP, IR spectrometry and IR Raman spectrometry. The second chapter contains the examination of the different types of materials as: plasters, pigments and adhesives used for the realization of the tomb murals. The results are classified according to belonging to three basic groups – of natural origin, synthetic and mixed pigments. There has been proved that in the beginning of the period there had been used some most expensive pigments in an almost clear form as cinnabar and egyptian blue. However in time the palette gradually got poorer and by the end of the period it became limited to only dark red pigments (red ochre, rarely accompanied by green pigment (green earth). The results of the type of the adhesives used for the realization of the murals are presented in particulars. The use of non-organic adhesive - calcium hydroxide has been found. In Chapter ІІІ there are reviewed the picturesque technique and system of implementation. There has been defined the main technique a fresco, however the presence of other techniques has been also found. The constatations made in all previous chapters are summarized in Chapter ІV. In a chronological plan there were reviewed the materials and techniques which were in use. The Chapter V in details are presented all available tombs with painting murals, that were a subject of the present research. The murals have been outlined not only in the perspective of the implemented materials and techniques of realization, but also from the position of the analysis of the ornamental motives and iconographic system. The Chapter VI presents the main conclusion of the thesis. The direct influence of the art of Asia Minor is given in summarized form, as well as the indirect one – through the art of the land of Italy, for example. The rich repertoire of subjects is accompanied by a wealth of creative interpretations and technical solutions. The wall painting became a priority of the Church architecture at the end of Late Antiquity, which has also been proven by archaeological surveys. The palette of colours and technique of application used in tomb art found new implementation in depicting images of the already regulated Christian art in church architecture. The abbreviations contain periodical press publications and public institutions. There has been attached a list with the names of the archeological objects as known in ancient and contemporary time. The bibliography contains: the ancient authors, basic sources of information, specialized researches and publications on roman and late antique painting, publications on particular cultural monuments, as well as expert publications focused on specific problems of the materials and technology research
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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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Persson, Allan. "Prins Eugen som monumentalmålare : A study of mural painting as an artform." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-444.
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<p>The aim of this essay is to examine the relationship between picture and room, between wallpainting and architecture. The basis for such exploration is the mural painting in Sweden at the turn of the 20th century, and the artist in focus is Prince Eugen (1865-1947).</p><p>His works "Sommar"(1904), "Rimfrosr"(1909) & "Staden vid vattnet"(1922) and the rooms in which they are in make for an anlysis concerning how the totality of the space is experienced by the viewer.</p><p>The main issue in mentioned expeience is how the mural is perceived with regard to the other elements in the room. And here, the walls' "flatness" enhancing its decorative qualities plays in. The problem with a mural built on the principles of perspective becomes evident when a wall is seen to vanish through the painting of an illusion on it.</p>
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Aksoy, Turan M. "The concepts and practices of urban mural painting since 1970 : artists' perspectives." Thesis, Birmingham City University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264344.
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Mural art has become a familiar feature of urban-public places. This is reflected within a broader debate on 'public' and 'community arts' by the number of books and articles published, conferences held, attention within art institutions, agencies for funding. and public reactions. The modern mural movement, especially in terms of 'community'. has had strong socio-cultural and political bonds, particularly since the end of the 1960s. However, although 'public', 'community' and 'environmental' art has received much attention, specific literature on the urban mural is limited. The research involved the coaecnon and selection of primary and secondary sources. analyses and interpretation of the questionnaires and interviews, personal experience, observation and collaboration in practical work, and site visits in order to identify the social, cultural, architectural and collaborative characteristics of murals and explain them within an urban context. Therefore the research is historical, analytical, experimental and theoretical. The urban phenomenon has started to be understood within its socio-cultural as well as its architectural framework, indeed the changing locations of mural art has focused attention more on the former. The findings of the literature review, analyses of the questionnaire, and the experiences of personal practical work, suggest that the dominant am of the modern urban murals is to democratise art, and humanise urban spaces. Within an increasing number of other types of 'public' art works, mLl'als seem less important at present, yet the study suggests that an increasing number of murals have been made in recent years. Due to their accessibility murals are an important visual pan of the urban landscape and reveal more developed ideas of locally related content mutually agreed styles and the effect of artistic and public collaboration. In conclusion the dissertation argues for a clearer understanding of the different roles and expectations of public and community art within the modern urban mural and an improved awareness of the complexities of negotiation and collaboration. It uses a range of readings; historical, social, cultural and artistic values to construct a multiple typology where parallel sources and influences are revealed. The current variability in the quality of art in public spaces might benefit from specific courses which introduce the idea of collaborative working alternative collective aesthetic values and a new role for an integrated artist. The study shows that local characteristics and community identity are paramount in arts integration within the urban context. and that connection with (urban) sociology and (local) cultural studies might help to develop a more critical language and understanding of art in urban places.
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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: <ul><li> 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.</li><li>2. Following on from this, wall paintings would have been found in houses throughout the social scale, apart from the humblest dwellings.</li><li>3. The paintings were executed by itinerant painters who used pattern books as a source of design.</li><li>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.</li><li>5. In some cases there is a connection between the content of the painting and the function of the room.</li></ul> 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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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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Reiss, Athene. "The Sunday Christ : Sabbatarianism in English medieval wall painting /." Oxford : Archaeopress, 2000. http://catalogue.bnf.fr/ark:/12148/cb371977705.
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Picot, Natasha Mathilde. "The representation of the indigenous peoples of Mexico in Diego Rivera's National Palace mural, 1929-1935." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/10578/.
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This thesis is a multidisciplinary project, drawing on the discourses of Visual Cultural Studies, Latin American history and Critical Theory. Insights from each of these disciplines interact to investigate the representation of the indigenous peoples of Mexico in the mural triptych entitled History of the Mexican People painted by Diego Rivera in the National Palace, Mexico City between 1929 and 1935. The main focus is an exploration of the mural as a cultural text, which is formed through socio-political structures and homogenising nationalist visions. The artist is seen as partly a product of history who acts, both consciously and subconsciously, as a conduit for such historical structures. The investigation requires a multi-dimensional approach as it includes emotional, aesthetic, sociological, political, cultural, philosophical, biographical and material elements. A close-reading of the National Palace mural as a cultural 'text' is undertaken in order to deconstruct certain culturally-specific political myths. The production of the fresco triptych is inextricably interlinked with the construction of the post-revolutionary Mexican nation and socio-cultural mythologies regarding the 'Indian' which are central to nationalist imagery and the post-revolutionary, anthropological theories of indigenismo. Certain distinctive racial strands of nationalist mythology which are represented in the mural are analysed within the framework of Anthony D. Smith's (1999) theory of historical ethno-mythology. I argue, following Smith, that what gives nationalism its power are the myths, memories, traditions and symbols of ethnic heritages and the ways in which a popular living past has been, can be and is rediscovered and reinterpreted by modern, nationalist intelligentsias. Smith's universal theory has not previously been applied in depth to a complex concrete situation. This thesis relates the insights of the theory of nationalist ethno-mythology to the tangible cultural text of History of the Mexican People.
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Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.
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This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals.
This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described.
Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created.<br>Master of Arts
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Afonso, Luís Filipe Ferreira. "As pinturas murais da igreja do Convento de S. Francisco de Leiria." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1999. http://dited.bn.pt:80/29119.
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Rosado, Tânia Isabel Soares. "New methodologies for the characterisation and biodegradation assessment of mural paintings." Doctoral thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/13363.
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Mural paintings are an ancient art form, with historic and cultural value, whose preservation is
imperative.
These artworks have suffered degradation, promoted by several agents, however, the
contribution of the microorganisms on the paintings alteration has been undervalued.
This work aimed the development of innovative strategies that allow to identify and
characterise the role of the microorganisms in the degradation/deterioration of mural paintings.
Complementary methodologies, including culture-dependent methods and molecular
approaches were used, combining with microanalytical techniques to material characterisation.
This enabled the development of novel analytical protocols for microbial population assessment.
Following the characterisation of the microbial diversity, the metabolically active population
were assessed by enzymatic markers and viability assays, in order to signalise the main
biodeteriogenic agents involved in the biodeterioration of these heritage assets.
Through simulation assays, using high cells density from the microbial isolates, complemented
with in situ tests, it was possible to detect the presence of several alteration products namely
oxalates, plattnerite and carotenoids, attributed to specific biodeteriogenic agents. Mitigation
strategies, directed to the identified biodeteriogenic agents, were also developed; Novas metodologias para Caracterização e Avaliação da Biodegradação de pinturas murais
Resumo:
A pintura mural é uma ancestral forma de arte, com enorme valor histórico e cultural, cuja
preservação é imperativa.
Estas obras de arte têm sido alvo de degradação, provocada por diversos agentes, no entanto,
a contribuição dos microrganismos para o processo de alteração das pinturas tem sido pouco
valorizada.
Este trabalho teve como objetivo o desenvolvimento de estratégias inovadoras que permitam
identificar e caracterizar o papel dos microrganismos no processo de degradação/deterioração
de pinturas murais.
Metodologias complementares, incluindo métodos de cultura e abordagens moleculares,
foram usadas em combinação com técnicas micro-analíticas de caracterização material,
permitindo o desenvolvimento de protocolos analíticos inovadores para avaliação da população
microbiológica.
Após a caracterização da diversidade microbiológica avaliou-se a população metabolicamente
ativa recorrendo a marcadores enzimáticos e testes de viabilidade celular para sinalizar os
principais agentes biodeteriogénicos envolvidos na biodeterioração destes bens patrimoniais.
Através de ensaios de simulação laboratorial, utilizando elevadas densidades celulares de
isolados microbianos, complementadas com ensaios in situ, foi possível detetar a presença de
diversos produtos de alteração nomeadamente oxalatos, platenerite e carotenoides, atribuídos a
agentes biodeteriogénicos específicos. Foram ainda desenvolvidas estratégias de mitigação
direcionadas para os agentes biodeteriogénicos identificados.
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Heston, Mary Coffman. "The Mattāncheri Palace mural paintings of Kērala, India : a stylistic study." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259760981.
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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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Skaug, Erling. "Punch marks from Giotto to Fra Angelico : attribution, chronology and workshop relationships in Tuscan panel painting : with particular consideration to Florence, c. 1330-1430 /." Oslo : IIC Nordic Group, 1994. http://catalogue.bnf.fr/ark:/12148/cb37672034m.
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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.<br>Department of Art
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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.<br>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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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.<br>published_or_final_version<br>Fine Arts<br>Master<br>Master of Philosophy
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Barros, Antônio Leandro Gomes de Souza. "Chapingo: Capela." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3316.
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Essa dissertação é uma proposta de releitura do conjunto de murais no interior da Capela de Chapingo, México. Tal releitura de crítica artística relaciona-se à apropriação de uma metodologia derivada da própria noção de capela, metodologia essa que compactua com o ambiente artístico em questão e com a fenomenologia do contemplador desse conjunto. O objetivo dessa proposta é apresentar as nuances envolvidas no conceito-chave, por parte da historiografia artístico-religiosa, de suporte-capela, isto é, a capela não apenas como ambiente religioso, mas como ocasião artística<br>This paper is a re-reading proposal for the set murals inside the Chapingos Chapel, Mexico. Such critice of art are related to appropiation of a methodology derived from the own notion of chapel. The objetive of this proposal and methodology is to present the details involved in the key-concept of support-chapel not only as a religius espace, but as artistic medium too
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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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Stravinskas, Vytautas. "Sieninė tapyba - atspindžiai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060116_203043-81603.
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Architecture is living surrounding a human, a part of his life, it doesn’t matter if it’s a primitive cave, or a contemporary building with a leading-edge multiplex constructions. A settled architecture is filled of soul, it gets it’s aura that affects a human living in that environment with it’s reversible connection. In this case we felt like these settlers, that have to accost a cold plane surface of walls, that could give them new colors, compositions, moods. We felt large responsibility of a formation of an upcoming environment. We show a new surrounding model that existed only in our dreams yet. A large plane surface we planned to decorate with a mural painting while modern technologies.
We endeavored to convey an impression of space. Final goal of our mural painting is tightly coherence with interior, it makes accommodation optically augmentative by pastel colors and flat planes, it must impress audience with positive aesthetical sense. This job: suppress inside aggression, gives comfort, makes this hoosegow accommodation wide space illusion. We hope, that people tired of reading, lectures or working with computer will look up and overlook behind our fantastic town’s, flooded by sunset, distance. They will take good emotions. Our goal is going to be succeed, if visitor’s dreams could fly to full of reflections our future town.
Painting archaism is usually accent in context of modern expression devices. Our exploration in fresco creation technologies is good... [to full text]
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Gonçalves, Catarina Valença 1976. "A pintura mural em Portugal-os casos da Igreja de Santiago de Belmonte e da Capela do Espírito Santo de Maçainhas." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2001. http://dited.bn.pt:80/29347.
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Trever, Lisa Senchyshyn. "Moche Mural Painting at Pañamarca: A Study of Image Making and Experience in Ancient Peru." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11013.
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This dissertation is a study of the late Moche murals found within the adobe temples of Pañamarca, Peru (ca. 600-850 CE). This project was designed to redress the problem of iconographic decontextualization of the Pañamarca paintings that, through limited documentation and repetitive scholarly publication, had become effectively untethered from their material moorings and spatial settings. New fieldwork succeeded in contextualizing and conserving remains of all known mural paintings. This field research also resulted in the discovery of a new corpus of paintings at the site. Together these paintings form a case study on image making and visual experience in a Pre-Columbian era without contemporaneous writing. This art historical study of archaeological monuments makes several contextual moves. Most concretely it mounts evidence for the situated experiences of images by ancient beholders. This includes analysis of spatial patterns that governed both visual and kinaesthetic approaches to images, as well as forensic indices of human-image engagement and response through time. The approach is not, however, exhausted by the nested contexts of architecture, archaeology, and geography. Meaning is further established through the discernment of philosophical propositions set forth in the broader corpus of ancient Moche art, material culture, and ritual practice. This work proposes to yield emic perspectives on mimesis, corporeality, and spatiality. An embodied approach to image and space is not merely imported from theory developed elsewhere, but is grounded in the Andean cultural setting at hand. The orthodox Moche imagery of the Pañamarca murals was arrayed in specific, strategic ways in both plazas and private spaces. In some areas life-size paintings may have modeled mimetic performance that perpetually enlivened ritual architecture. Elsewhere densely composed imagery would have enveloped the bodies of ritual practitioners and devotees, as they were absorbed into a private architectural repository of specialized knowledge. This is unusual in the Moche world where the innermost spaces of lavishly decorated temple complexes are themselves usually devoid of painted images. The paintings of Pañamarca are interpreted as efficacious in the articulation, embodiment, and recollection of late Moche ideology and identity as it crystallized on the southern periphery in the Nepeña Valley.<br>History of Art and Architecture
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Debastiani, Rafaela [Verfasser], and Michael [Akademischer Betreuer] Fiederle. "Study of fragments of mural paintings from the Roman province of Germania Superior." Freiburg : Universität, 2016. http://d-nb.info/1127506617/34.
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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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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?<br>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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Ribeiro, Isa?as da Silva. "Murais modernos de Newton Navarro e Dorian Gray." Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12366.
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Previous issue date: 2011-04-11<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>This research aims to study wall paitings created by artists Newton Navarro and
Dorian Gray, installed in public buildings of modern architecture, in Natal/RN
from 1950 to 1970. The subject is seen by focusing on its concepts and
characterization, linked to the ideia of integration of the arts and the meaning
of modern mural painting in Brasil. The study presents an analyses of those
paitings considering themes, techiniques and dimensions, comparing the
solutions of local artists with brasilian muralist painters, particularly the work of
C?ndido Portinari. Registers of artistic works show a view of the inclusion of arts
in modern architecture in the city<br>Esta pesquisa tem como objetivo estudar a arte parietal produzida pelos
artistas potiguares Newton Navarro Bilro e Dorian Gray Caldas, instalada em
edif?cios p?blicos de arquitetura moderna, na cidade de Natal, no per?odo dos
anos 1950 a 1970. Neste estudo, o tema da pintura mural ? compreendido
atrav?s da sua conceitua??o e caracteriza??o, vinculadas ? id?ia de
integra??o das artes e ao entendimento do mural moderno no Brasil. O estudo
apresenta uma an?lise do mural moderno natalense considerando os temas,
t?cnicas e dimens?es, cotejando as solu??es dos artistas locais com a
produ??o mural?stica brasileira, em especial a obra mural do artista C?ndido
Portinari. Apresenta tamb?m um registro de obras art?sticas delineando um
panorama da inser??o da arte na arquitetura moderna na cidade
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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<br>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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Silva, Maria Laura Muller da Fonseca e. "Murilo Mendes em diálogo: intertextualidades." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/6005.
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Previous issue date: 2017-09-25<br>A tese explora o conceito da intertextualidade, um dos princípios básicos da teoria formulada por Roland Barthes, Julia Kristeva e da interdiscursividade de M. Bakhtin, a fim de identificar e analisar diálogos da poética de Murilo Mendes com a de outros artistas e poetas, desenvolvidos em três eixos: o sagrado, a arte e o mito. Começando pelo nome feminino Berenice, investiga como o tema do sagrado se revela a partir da musa, fio condutor da primeira parte da pesquisa, que retoma as relações do poeta com Ismael Nery e Adalgisa Nery. A seguir, volta-se ao adágio horaciano Ut pictura poesis para explorar processos intertextuais que englobam não apenas citação, mas ainda metalinguagem, paráfrase e encaixes (mise en abyme e ekphrasis). Nessa segunda parte, a reflexão voltada para a arte, por meio de imagens literárias e pictóricas de traços estilísticos e processos de composição, tem como corpus Murilo Mendes, Ismael Nery, Vieira da Silva e Arpad Szenes. Por fim, calcada na comparação da obra poética de Maria da Saudade Cortesão Mendes com a de Murilo Mendes, a última seção aborda a reescrita literária do mito, processo recorrente na literatura contemporânea, além de procurar dar visibilidade à poesia de Saudade Cortesão, deixada à sombra pela crítica atual. Em linhas gerais, a tese evidencia a intertextualidade como recurso teórico que afirma, acima de tudo, o caráter profuso da poesia de Murilo, que se quis carregada de referências culturais diversas.<br>The thesis explores the concept of intertextuality, one of the basic principles of theory formulated by Roland Barthes, Julia Kristeva and M. Bakhtin’s interdiscusivity, in order to identify and analyze dialogues of the poetics of Murilo Mendes with that of other artists and poets, developed in three axes: the sacred, art and myth. Beginning with the feminine name Berenice, it investigates how the theme of the sacred reveals itself from the muse, the guiding thread of the first part of the research, that resumes the relations of the poet with Ismael Nery and Adalgisa Nery. Next, it turns to the horacian adage Ut pictura poesis to explore intertextual processes that encompass not only citation, but still metalanguage, paraphrase, mise en abyme and ekphrasis. In this second part, the reflection directed towards the art through literary and pictorial images of stylistic traits and composition processes, has as corpus Murilo Mendes, Ismael Nery, Vieira da Silva and Arpad Szenes. Finally, based on the comparison of the poetic work of Maria da Saudade Cortesão Mendes with that of Murilo Mendes, the last section deals with the literary rewriting of the myth, to seek to give visibility to the poetry of Saudade Cortesão, left in the shade by the current critics. In general terms, the thesis highlights that intertextuality is a theoretical resource that affirms, above all, the profuse character of Murilo's poetry, which was loaded with diverse cultural references.
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Kovalev, Ilia. "Unveiling portuguese modern mural painting: multi-analytical analysis of a pentecostes by Julio Resende (1917-2011)." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/24485.
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This work is focused on the materials study carried out on the mural painting Pentecostes executed by the Portuguese artist Julio Resende in 1955. The painting depicting Twelve Apostles is covering the altarpiece on the eastern wall of the Igreja da Nossa Senhora da Boa Esperança located in Canaviais, a small village near Évora. This study aimed to characterize the painting from a materials science perspective focusing on its execution techniques and pigment characterization. The investigation was carried out with the use of both in-situ non-destructive and laboratory micro-destructive techniques. In-situ examination included technical photography in visible (Vis), raking (Vis-RAK) and Infrared (IR) light, Ultraviolet induced visible fluorescence (UVF), portable optical microscopy, visible Spectro-photometry and Energy dispersive X-ray fluorescence spectroscopy (EDXRF). Further analysis of the collected powder and cross-section samples was undertaken by means of Dark field optical microscopy (OM), Scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS), micro Fourier transform infrared spectroscopy (μ-FTIR) and micro Raman spectroscopy (μ-Raman). According to the acquired data, the mural was mainly executed in a fresco technique, with the possible use of lime painting on a limited scale. Incised drawings and cartoons were used. No organic binder was detected and the analysis of the paint layers and cross-sections revealed the use of Cobalt blue, Red Ochre, Cadmium red, Chromium green and Barium white pigments. The use of Titanium white, Chromium red, and Green earth was hypothesized; RESUMO:
Este trabalho teve como foco o estudo conduzido na pintura Pentecostes, realizada pelo artista Luso Julio Resende em 1955. A pintura representando os doze apóstolos cobre a parede leste do altar da Igreja da Nossa Senhora da Boa Esperança em Canaviais, um pequeno vilarejo nas proximidades de Évora. O estudo conduzido visou caracterizar os métodos de execução da pintura bem como os pigmentos utilizados numa perspectiva de ciência dos materiais. A investigação envolveu o uso de técnicas não-destrutivas in-situ e técnicas laboratoriais micro-destrutivas. As análises in-situ incluem: fotografias técnicas com luz visível (Vis), rasante (Vis-RAK) e infravermelho (IR), Espectrofotometria no visível e Fluorescência de Raios-X por dispersão de energia (EDXRF). Demais análises dos pós coletados e secções transversais das amostras foram feitas através de Microscopia óptica de campo negro (OM), Microscopia eletrónica de varredura acoplada a um espectrômetro de fluorescência de raios-X por dispersão de energia (SEM-EDS), micro espetroscopia no infravermelho com transformada de Fourier (μ-FT-IR) e micro espectroscopia Raman (μ-Raman). De acordo com os dados obtidos, a pintura foi realizada em sua maior parte com a técnica de frescos com o possível uso de cal em uma escala limitada. Desenhos e cartuns incisos também foram utilizados. Nenhum ligante orgânico foi detectado e a análise das camadas da pintura e das secções transversais revelaram o uso de pigmentos como azul cobalto, ocre vermelho, verde cromo e branco bário. O uso de branco titánio, vermelho cromo e verde terra também foi hipotetizado.