Relevant bibliographies by topics / Painting panels

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painting panels'

Author: Grafiati
Published: 5 June 2025
Last updated: 24 June 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Painting panels.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Painting panels"

1

Bagshaw, Steve, Richard Bryant, and Michael Hare. "The Discovery of an Anglo-Saxon Painted Figure at St Mary's Church, Deerhurst, Gloucestershire." Antiquaries Journal 86 (September 2006): 66–109. http://dx.doi.org/10.1017/s0003581500000068.

Full text
Abstract:
The church of St Mary at Deerhurst in Gloucestershire is well known for its Anglo-Saxon fabric and sculpture. In 1993 a painting of an Anglo-Saxon figure was discovered, and in 2002 it became possible for the authors to study the painting in detail.The painting is on one of a pair of triangular-headed stone panels set high in the internal east wall of the church. The discovery provides a significant addition to the tiny corpus of known Anglo-Saxon wall paintings. The identity of the standing, nimbed figure remains elusive, but the figure can be tentatively dated on art historical grounds to the middle to late tenth century.The authors also explore the structural context of the painting. It is suggested that in the first half of the ninth century the church had an upper floor over the central space (the present east end), and that this floor possibly extended over the whole church. At the east end, there were internal openings from this upper floor into a high-level space in the polygonal apse. At a later date two of these openings were blocked and covered by stone panels, one of which is the subject of this paper. It is possible that the panels flanked a high-level altar or an opening through which a shrine, set on a high-level floor in the apse, could be viewed.
APA, Harvard, Vancouver, ISO, and other styles
2

A. M., Bisalla,, Osakor, A. A., and Oboshi, O. S. "Developing Painting Possibilities on Calabash as a Support." Journal of Advanced Research and Multidisciplinary Studies 4, no. 4 (2024): 150–61. https://doi.org/10.52589/jarms-gqioxeao.

Full text
Abstract:
Creating artworks, especially, painting have undergone a lot of changes overtime. Over the years, artists have adopted different styles and techniques in creating painting using different materials. Most of the inspirations for creating the work are gathered from their immediate environment. This paper discusses how cave walls, rocks, animal skins, animal horns and bones became surfaces on which drawings and paintings were depicted. It also notes how assorted papers, canvases, walls, wood, metal panels and many others have become surfaces used by contemporary artists in creating paintings. In another breath, the paper also takes a look at how calabashes of different shapes and sizes have been used by traditional craftsmen in Nigeria for making a variety of carved and decorative craft works. It discusses how the calabash could be adopted to serve as a support for creating modern paintings. It further explains application of the action based studio methodology in creating over one hundred (100) paintings in acrylic with some analysis
APA, Harvard, Vancouver, ISO, and other styles
3

Gómez-Morón, María Auxiliadora, Rocío Ortiz, Francesco Colao, et al. "Monitoring the Restoration of a Seventeenth-Century Wooden Artwork Using Laser-Induced Fluorescence and Digital Image Analysis." Applied Spectroscopy 75, no. 1 (2020): 70–80. http://dx.doi.org/10.1177/0003702820944505.

Full text
Abstract:
The present paper is aimed at demonstrating the capabilities of digital image analysis (DIA) to support conservation of painted artwork. Laser-induced fluorescence (LIF) imaging has been usually used in the diagnosis of wall paintings. In this case, LIF is applied to the case study of a painted wooden canopy, and most successful data processing techniques are presented in the discussion of results. The Jesús del Gran Poder canopy, completed by Francisco Ruiz Gijón in 1692, is an oil panel painting on wood. Eight panels of the canopy have been study by LIF. This technique is capable of remotely acquiring hyperspectral images operating in fluorescence mode following ultraviolet laser excitation. LIF spectra combined with principal component analysis, spectral angle mapper, and DIA provide a chemical mapping of the treated wooden surface of the panels. Besides, LIF spectrum is as a fingerprint of the panels that allows stablishing differences between them. LIF imaging analysis has proven to be a very useful tool for mapping retouching work, tracking previous restorations, and detecting chemicals on the wood in order to monitor restorations.
APA, Harvard, Vancouver, ISO, and other styles
4

Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33. http://dx.doi.org/10.2307/3179650.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (2018): 81–104. http://dx.doi.org/10.15291/ars.2756.

Full text
Abstract:
This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.
APA, Harvard, Vancouver, ISO, and other styles
7

Ulfa, Maria, and Lela Nurpulaela. "Analysis of Improvements to Bank Capacitor Requirements in 20kv Voltage Distribution Network Panels for Power Plant 2 at PT. Toyota Motor Manufacturing Indonesia." INNOVATION RESEARCH JOURNAL 5, no. 1 (2024): 73. http://dx.doi.org/10.30587/innovation.v5i1.8083.

Full text
Abstract:
This research aims to describe and analyze the effectiveness of using capacitor bank capacity in PT's power plant 2 distribution system. TMMIN. The focus is to analyze the initial design of capacitor bank requirements for each panel in the substation production line, including Painting, Assembly and Welding, to increase capacitor bank requirements according to electrical theory standards. The Power Factor calculation method is used to measure the required capacitor bank capacity. The power factor is influenced by the type of electrical load which is resistive, inductive or capacitive, with a value range between 0 and 1. A power factor close to 1 indicates high active power and better electrical power quality, while a power factor close to 0 indicates high reactive power. reducing power quality and increasing electrical energy use. The current power factor value is obtained from the actual voltage and active power conditions, and the required capacitor bank value is calculated with a target power factor of 0.9 or 0.95. According to calculations, the panels that can be repaired are panels 3, 4, 5, 6 Painting, panel 1 Assembly, and panel 1 Welding. The results show that 2 MDB panels reach ideal conditions with 6 steps of 2x50kVAR capacitor bank, while the other 6 MDB panels require an additional 2 steps of 2x50kVAR capacitor bank to achieve ideal conditions.
APA, Harvard, Vancouver, ISO, and other styles
8

Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (1994): 149–66. http://dx.doi.org/10.2307/25011012.

Full text
Abstract:
This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are (also) copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings (both extant and lost) of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons.
APA, Harvard, Vancouver, ISO, and other styles
9

Obushnyy, Mykola. "THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)." Almanac of Ukrainian Studies, no. 28 (2021): 137–39. http://dx.doi.org/10.17721/2520-2626/2021.28.22.

Full text
Abstract:
The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "joy to people." It was in the colors of straw that O. Saenko saw such energy. O. Saenko's paintings are not only artistically perfect, but also the vast majority of them are filled with nationalpatriotic content. Among them, one of the most famous is the decorative painting "Kozak Mamai" (1928, 1936). The analysis of O. Saenko's paintings shows that they are deeply folk, and therefore perceived as modern in their content and style.
APA, Harvard, Vancouver, ISO, and other styles
10

Van Der Ploeg, Frank. "Jan II van Coninxloo en zijn werkzaamheden voor het benedictinessenklooster van Groot-Bijgaarden bij Brussel." Oud Holland - Quarterly for Dutch Art History 112, no. 2-3 (1998): 104–26. http://dx.doi.org/10.1163/187501798x00293.

Full text
Abstract:
AbstractThis article examines the relationship between the Brussels painter Jan 11 van Coninxloo (ca. 1489-1561 or later) and the Benedictine convent of Groot-Bijgaarden. In earlier publications by J. Maquet-Tombu the link between certain members of the Van Coninxloo family and the Vorst convent have already been pointed out. A new chapter can now be added. In the archive of Groot-Bijgaarden convent are two books in which payments made by the prioresses Françoise and Catherine van Straten for the dccoration of the convent and the church are recorded. The books list a separate item for painting and polychrome work. Here, for the first time, the name Jan van Coninxloo crops up in connection with a sum paid for painting the side panels of the main altar. Van Coninxloo was also paid for painting organ doors, a vaulted ceiling and for 'rough painting'. Four triptychs by Van Coninxloo have also been preserved; they were commissions from women of noble birth who had taken the veil. The names of three of these nuns are known: Anthonine de Locquenghien, Berbel van dcr Noot and Marie Brant. The fourth was called Barbara (Berbel). In view of all this material it may be concluded that Van Coninxloo played a significant part in the decorative appearance of the convent church. He was responsible for triptychs on altars dedicated to St. Anne, St. John and St. Benedict. He also painted the smaller triptych with the Seven Sorrows of the Virgin, the panels of the high altar, doors for an organ and (part of) the ceiling decorations. The article offers a new insight into the context of a group of paintings and adds a number of works to Jan 11 van Coninxloo's oeuvre.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Painting panels"

1

Ichikawa, Kayoko. "Guido da Siena's narrative panels and the Madonna del Voto : the formation of the Marian civic identity in Sienese Art c.1260." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/77733/.

Full text
Abstract:
This thesis examines the reconstructed altarpiece formed by the Madonna del Voto, the Coronation of the Virgin, and the twelve narrative panels dated circa 1267 and attributed to Guido da Siena, currently dispersed in museums in Europe and America. The reconstructed altarpiece is vital to the study of early Sienese art because of its association with the Madonna del Voto in Siena cathedral, the most venerated icon believed to be once on the high altar. If proven, it represents a significant rediscovery of an altarpiece commissioned to commemorate the miraculous intercession of the Virgin who granted Sienese victory over Florence in 1260 at the Battle of Montaperti, giving birth to Siena’s identity as ‘the City of the Virgin’. Moreover, it reveals a more comprehensive view of the precedent of the complex altarpiece, the Maestà by Duccio di Buoninsegna dated 1308-11. However, the unconventional format and the iconographical programme of Guido’s reconstructed altarpiece has been criticised, and its original location on the cathedral high altar is questioned. The four chapters of this thesis reassessed the validity of the reconstruction of Guido’s altarpiece and its original location on the high altar by combining the methodological tools of altarpiece studies and pictorial narrative studies. Chapter 1 clarified that the reconstruction is highly probable from a technical viewpoint. Chapter 2 proposed an alternative interpretation of the historical documents suggesting its original location on the high altar. Chapters 3 and 4 examined the two extra-biblical episodes (the Ascent of the Cross and the Coronation of the Virgin), which are often associated with Franciscan commissions, and argued that they were selected to emphasise the Virgin’s intercession. The reconstructed altarpiece of exceptional format and iconographical selection was thus probably an invention for the important commission for Siena cathedral where art embodied the Marian civic identity.
APA, Harvard, Vancouver, ISO, and other styles
2

Kisiel, Marine. "La peinture impressionniste et la décoration dans les années 1870." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22985.

Full text
Abstract:
Throughout their careers the Impressionists demonstrated a strong, but rarely examined, interest for decoration. A careful examination of both archival material and well-known artworks produced between 1870 and 1895 shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot and Caillebotte never ceased to explore the values of decoration and the decorative. Set in the context of the Third Republic’s passion for monumental decoration and deep interest in the decorative arts, the Impressionists’ experiments range from ceilings to ceramic tiles, and from never achieved projects to ambitious realisations (although none remain in their original location). One painter among those surveyed also engaged with theoretical thinking: Renoir wrote for the press and drew up the drafts of a Grammar mainly focused on the decorative arts. Along with a number of artworks explicitly designated as decorative that were predominantly exhibited at the Impressionist shows, the Impressionists further produced more than twenty decorative ensembles made for the interiors of amateurs who then became patrons. Renoir, who started his career as a painter on porcelain, worked in the 1870s for the Parisian homes of a Romanian aristocrat, prince Bibesco, and of a leading publisher, Georges Charpentier, but also for the country house of Paul Berard. Monet, in a similar fashion, painted for the department store magnate Ernest Hoschedé in his property of Montgeron. Initially publicised by the painters in the 1870s, the decade on which this thesis focuses, the Impressionists’ decorative works were subsequently undertaken more quietly though continuously. Morisot painted a chimney trumeau for her own salon, to which Monet gave a pendant (they were eventually used as overdoor panels). Monet and Renoir also painted door-panels for Durand-Ruel. None of these later schemes were actually promoted towards a wide public, showing how the Impressionists’ commitment to painting decorations went from a strategic (and partly commercial) vision to embody a deeper reflection on the essence of painting and its relation to the wall – a reflection that the larger dissertation submitted to the Université de Bourgogne embraces. The critics’ attention, however, went the opposite way. It grew from a relative but highly meaningful disinterest to making the decorative key to their approach at the turn of the century, but in all situations, mocking or praising, their comments shed a crucial light on the Impressionist’s enterprises and their relations to the society’s concerns. An analysis of the Impressionists’ decorative experiments and their critical reception encourages, as this thesis aims to demonstrate, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been discussed.
APA, Harvard, Vancouver, ISO, and other styles
3

Howard, Helen Catherine. "The pigments of English medieval wall painting." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369503.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Farquhar, Jillian Clare. "Trecento panel painting in Romagna and Marche : iconography, form and function." Thesis, University of Warwick, 2004. http://wrap.warwick.ac.uk/73552/.

Full text
Abstract:
This thesis investigates the panel paintings produced in the Riminese context in the first half of the Trecento. These altarpieces, crosses and devotional panels have been widely dispersed, fragmented and decontextualised over the centuries, and this study reunites the panels and investigates the unusual iconographical traits and distinctive formats employed. The introduction looks at previous discussions of the panels and at the available documentary evidence. It also discusses the historical context in which the panels were produced. The first chapter re-examines the relationship of Giotto to Rimini and to the Riminese painters by investigating the nature of Giotto's work in Rimini, at the beginning of the Trecento, and how this work influenced local panel painting in the following decades. The second chapter investigates the surviving visual evidence and analyses the forms of iconography, and the types of visual language, utilised by the Riminese painters. The chapter also investigates, in detail, specific images employed by the painters. It reveals that the narrative image was predominant, whereas iconic imagery tended to be subordinated, and highlights the dual impact of Byzantine and modern Italian iconography. The third chapter investigates the group of extant painted crosses from the area around Rimini and proposes that the Franciscan Order was instrumental in the popularity of the painted cross in the region. The fourth chapter discusses the extant altarpieces and attempts to contextualise these fragmented works. It investigates the development of the Riminese altarpiece, from dossal to polyptych, with particular reference to the unusual formats employed in the structures. The final chapter investigates the Riminese devotional panels and links the iconographies with the female mystics of the early Trecento, as well as the Franciscan Spirituals of the Marches. The impact of Adriatic trade on the devotional panels is discussed in terms of the powerful influence of imports from Byzantium, such as mosaic and ivory icons.
APA, Harvard, Vancouver, ISO, and other styles
5

Váňová, Gabriela. "Panel art." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232434.

Full text
Abstract:
The main theme of the thesis are surface mines in northern Bohemia, the Most. Grasping the subject is moving mainly in personal as well as social aspects. The basis for practical thesis served theoretical thesis. Exploring the phenomenon of a block of flats in theoretical thesis led to turn to the topic of the panel surface mines. At first glance unrelated topics, however, contains an important connection. The coal industry forms an essential part of the development of the current form of North Bohemia, a form of large prefabricated housing. Interest in the originality of the construction in the settlements led to this issue. The work consists of several authentic records and materials from surface mines in Bílina processed in painting and video.
APA, Harvard, Vancouver, ISO, and other styles
6

Froidevaux, Julien. "Wood and paint layers aging and risk analysis of ancient panel painting." Thesis, Montpellier 2, 2012. http://www.theses.fr/2012MON20032/document.

Full text
Abstract:
Les anciennes peintures sur bois représentent une part importante du patrimoine culturel européen. Depuis longtemps, il est connu que les conditions de stockage peuvent entraîner des dégradations et endommagements aux panneaux. Une bonne compréhension de l'état actuel des peintures sur bois ainsi que la prédiction de leur comportement dans diverses conditions climatiques est essentielle pour mieux les conserver et les restaurer. De telles analyses peuvent être faites par le biais de la modélisation numérique. Cependant, la modélisation numérique est efficace que si les paramètres des matériaux sont équivalents à ceux de la réalité. Dans ce travail, les modifications mécaniques, physiques et chimiques qui se produisent au cours du vieillissement naturel ont été étudiées pour le bois et les couches de peintures. Les possibilités d'accélérer le vieillissement par des traitements thermo-hydrique ont été appliquées avec succès au bois. Une loi de vieillissement du bois a été trouvée pour la résistance radiale et la luminosité de la couleur. Malheureusement, une tel loi n'a pas été trouvé pour les couches de peinture. Ensuite, un modèle numérique tridimensionnel sur le comportement hygroscopique et mécanique des panneaux peints a été développé. La comparaison entre ce modèle et des expériences sont en bon accord. Finalement, une analyse de risques sur une ancienne peinture a montré que des fluctuations d'humidité relative normales ne devraient pas promouvoir de dommages dans le support en bois, mais la fissuration de la couche picturale est possible<br>Ancient wood panel paintings represent an important part of the European cultural heritage. Since long time it is known that the storing condition can degrade and damage them. Understanding of the actual state of old panel paintings and the prediction of their behaviour under various climatic conditions is essential to better conserve and restore them. Such analysis could be done by numerical modelling. However, numerical modelling can achieved good predictions only if the materials parameters are adequately determined. In this work, the mechanical, physical and chemical modifications occurring during natural aging have been investigated for wood and paint layers. The possibility to accelerate the aging with thermo-hydro treatments has been successfully applied to wood. A wood aging law has been found for the radial strength and the lightness. Unfortunately, no such law has been found for the paint layers. The hygroscopic and mechanical behaviour of panel paintings has been then simulated in 3D by finite element method model including time dependent behaviour. The comparison between the model and experiments shows good agreement. Finally, risk analysis on an old painting shows that normal climate fluctuation should not promote cracks in the wooden support but the cracking of the ground layer is possible
APA, Harvard, Vancouver, ISO, and other styles
7

Brewer, Jon Allison. "Effects of reinforcements on the preservation of paintings on wood panel." Thesis, City University London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266373.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hayashi, Mikiko <1976&gt. "The Effect of Preservative Interventions on the Chemical- Physical and Structural Characteristics of Panel Painting." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2270/1/hayashi_mikiko_tesi.pdf.

Full text
Abstract:
This work studies the impact of two traditional Romanian treatments, Red Petroleum and Propolis, in terms of real efficiency and consequence on the wooden artifacts. The application of these solutions is still a widely adopted and popular technique in preservative conservation but the impact of these solutions is not well known. It is important to know the effect of treatments on chemical-physical and structural characteristics of the artifacts, not only for understanding the influence on present conditions but also for foreseeing the future behavior. These treatments with Romanian traditional products are compared with a commercial antifungal product, Biotin R, which is utilized as reference to control the effectiveness of Red Petroleum and Propolis. Red Petroleum and Propolis are not active against mould while Biotin R is very active. Mould attack is mostly concentrated in the painted layer, where the tempera, containing glue and egg, enhance nutrition availability for moulds. Biotin R, even if is not a real insecticide but a fungicide, was the most active product against insect attack of the three products, followed by Red Petroleum, Propolis and untreated reference. As for colour, it did not change so much after the application of Red Petroleum and Biotin R and the colour difference was almost not perceptible. On the contrary, Propolis affected the colour a lot. During the exposure at different RH, the colour changes significantly at 100% RH at equilibrium and this is mainly due to the mould attack. Red Petroleum penetrates deeply into wood, while Propolis does not penetrate and remains only on the surface. However, Red Petroleum does not interact chemically with wood substance and it is easy volatilized in oven-dry condition. On the contrary Propolis interacts chemically with wood substance and hardly volatilized, even in oven-dry condition and consequently Propolis remains where it penetrated, mostly on the surface. Treatment by immersion has impact on wood physical parameters while treatment by brushing does not have significant impact. Especially Red Petroleum has an apparent impact on moisture content (MC) due to the penetration of solution, while Propolis does not penetrate so much and remains only on surface therefore Propolis does not have so much impact as Red Petroleum. However, if the weight of the solution penetrated in wood is eliminated, there is not significant difference in MC between treated and untreated samples. Considering physical parameters, dimensional stability is an important parameter. The variation of wood moisture content causes shrinkages/swelling of the wood that polychrome layer can only partially follow. The dimension of wooden supports varied under different moisture conditioning; the painted layer cannot completely follow this deformation, and consequently a degradation and deterioration caused by detachment, occurs. That detachment affects the polychrome stratification of the panel painting and eventually the connections between the different layer compositions of the panel painting.
APA, Harvard, Vancouver, ISO, and other styles
9

Hayashi, Mikiko <1976&gt. "The Effect of Preservative Interventions on the Chemical- Physical and Structural Characteristics of Panel Painting." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2270/.

Full text
Abstract:
This work studies the impact of two traditional Romanian treatments, Red Petroleum and Propolis, in terms of real efficiency and consequence on the wooden artifacts. The application of these solutions is still a widely adopted and popular technique in preservative conservation but the impact of these solutions is not well known. It is important to know the effect of treatments on chemical-physical and structural characteristics of the artifacts, not only for understanding the influence on present conditions but also for foreseeing the future behavior. These treatments with Romanian traditional products are compared with a commercial antifungal product, Biotin R, which is utilized as reference to control the effectiveness of Red Petroleum and Propolis. Red Petroleum and Propolis are not active against mould while Biotin R is very active. Mould attack is mostly concentrated in the painted layer, where the tempera, containing glue and egg, enhance nutrition availability for moulds. Biotin R, even if is not a real insecticide but a fungicide, was the most active product against insect attack of the three products, followed by Red Petroleum, Propolis and untreated reference. As for colour, it did not change so much after the application of Red Petroleum and Biotin R and the colour difference was almost not perceptible. On the contrary, Propolis affected the colour a lot. During the exposure at different RH, the colour changes significantly at 100% RH at equilibrium and this is mainly due to the mould attack. Red Petroleum penetrates deeply into wood, while Propolis does not penetrate and remains only on the surface. However, Red Petroleum does not interact chemically with wood substance and it is easy volatilized in oven-dry condition. On the contrary Propolis interacts chemically with wood substance and hardly volatilized, even in oven-dry condition and consequently Propolis remains where it penetrated, mostly on the surface. Treatment by immersion has impact on wood physical parameters while treatment by brushing does not have significant impact. Especially Red Petroleum has an apparent impact on moisture content (MC) due to the penetration of solution, while Propolis does not penetrate so much and remains only on surface therefore Propolis does not have so much impact as Red Petroleum. However, if the weight of the solution penetrated in wood is eliminated, there is not significant difference in MC between treated and untreated samples. Considering physical parameters, dimensional stability is an important parameter. The variation of wood moisture content causes shrinkages/swelling of the wood that polychrome layer can only partially follow. The dimension of wooden supports varied under different moisture conditioning; the painted layer cannot completely follow this deformation, and consequently a degradation and deterioration caused by detachment, occurs. That detachment affects the polychrome stratification of the panel painting and eventually the connections between the different layer compositions of the panel painting.
APA, Harvard, Vancouver, ISO, and other styles
10

Kubátová, Veronika. "Domov jako místo rituálů / Nevstupovat prosím! / Zóna domova." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-396093.

Full text
Abstract:
I have been dealing with the themes of prefabricated houses and housing estates until recently. I was especially interested in their aesthetics. Order, grid and certain regularity and repeatability. At the same time, I was always interested in his social connotations, mainly because I live in these places. Gradually I became more interested in topics related to my own home. So I moved from the general themes to my own experience. But what is my home? Home is a place of utmost importance in our society. Home is made up of people, family. People have it associated with many rituals that accompany their lives often without actually being considered for them. Thanks to these rituals, we manage, among other things, the everyday influx of positive and negative influences of the surroundings and deal with them in various ways. Morning coffee, brushing your teeth, lighting a candle, wiping dust, filling a bath, scattering water on flowers, etc. Balance is the key to everything we do. And I would like to analyze, document and process these home and personal rituals in this work. The final thesis will consist of a free series of paintings with possible interventions and overlaps into video or installation, etc.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Painting panels"

1

Johnston, Michael. Making stained glass panels. Stackpole Books, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dierickx, John. Artglas: Artistic glass panels. Stichting Kunstboek, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Robinson, Michael. Problems with panels: Three case histories. Association of British Picture Restorers, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ana Maria Teves Franco de Lemos. A face, a face oculta dos painéis de Setúbal =: On the face, the hidden face of the Setúbal panels. [s.n.], 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Wilks, Diane. Showing the path to Heaven: A celebration of painted panels in Devon churches. Azure Publications, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Berserik, C. J. Silver-stained roundels and unipartite panels before the French Revolution. Brepols Pub., 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Klaus, Tiedemann. Gemalt auf Glas & Licht: Kabinettscheiben von Gotik bis Barock = Painted on glass & light : stained glass panels from the Gothic to the Baroque period. Röll, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Maurice, Guillaud, ed. Fra Angelico: The light of the soul : painting panels and frescoes from the Convent of San Marco, Florence. Clarkson N. Potter, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Gallery, Johannesburg Art, ed. Pierneef, land, and landscape: The Johannesburg Station panels in context = Pierneef, land en landskap die Johannesburg Stasiepanele in konteks. CBM Pub., 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Ligęza, Maria. Technologia malowideł włoskich z XIV i XV wieku z kolekcji Lanckorońskich Zamku Królewskiego na Wawelu =: Studies in technology of the 14th and 15th century Italian panels belonging to the Lanckoroński collection in the Royal Castle Wawel. Akademia Sztuk Pięknych w Krakowie, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Painting panels"

1

Marsengill, Katherine. "Panel Paintings and Early Christian Icons." In The Routledge Handbook of Early Christian Art. Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bucur, Voichita. "Ultrasound for Imaging Wood Panel Paintings." In Acoustics of Wood. Springer Berlin Heidelberg, 2025. https://doi.org/10.1007/978-3-662-70209-3_24.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Murray, A., R. E. Green, M. F. Mecklenburg, and C. M. Fortunko. "NDE Applied to the Conservation of Wooden Panel Paintings." In Nondestructive Characterization of Materials IV. Springer US, 1991. http://dx.doi.org/10.1007/978-1-4899-0670-0_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Fernández Naranjo, María Isabel, and Tomás García García. "MICROGRAPHS OF INTANGIBLE SPACE. Triptychs, Panels, Paintings and Glass-Graphs of Architectures." In Graphic Horizons. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57583-9_43.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

van Bueren, Truus, and Corinne van Dijk. "The Memorial Painting which Became a Text Panel. Intended and Actual Functions." In Reformations and their Impact on the Culture of Memoria. Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.memo-eb.5.110758.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Jongstra, Alma, Klaas Jan van den Berg, Ella Hendriks, Suzan de Groot, Henk van Keulen, and Maartje Stols-Witlox. "‘Breaking Waves’. The Relation Between Zinc-Oxide Degradation and Extreme Delamination from the Panel Support of Beach Scene, by J.E.H. Akkeringa (1861–1942)." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_22.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lähnemann, Henrike, and Eva Schlotheuber. "VI. Reformation." In The Life of Nuns. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0397.06.

Full text
Abstract:
The Lutheran Reformation of the 16th century in many ways follows on from previous monastic reform movements. A pertinent example is the discussion of indulgences which features also in the late 15th-century convent diary. The nun describes at length the events surrounding the visit by a papal legate in Braunschweig. The main part of the chapter details the ways in which the nuns during the Lutheran Reformation dealt with pressure to conform to the new regime and the ways in which the convents survived as Protestant institutions. This is visualized by the 17th-century panel painting (used also for the title image) which shows the vision of the nuns in Kloster Lüne of the crucified Christ advising them to become Protestant.
APA, Harvard, Vancouver, ISO, and other styles
8

Cortea, I. M., L. Ratoiu, and R. Rădvan. "Non-destructive investigation of a late panel painting by Lucas Cranach the Elder." In Lasers in the Conservation of Artworks XIII. CRC Press, 2023. http://dx.doi.org/10.1201/9781003386872-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cannon, Joanna. "An Enigmatic Italian Panel Painting of the Crucifixion in the Národní galerie, Prague." In Image, Memory and Devotion. Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.sga-eb.1.100582.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Murray, A., E. S. Boltz, M. C. Renken, C. M. Fortunko, M. F. Mecklenburg, and R. E. Green. "Air-Coupled Ultrasonic System for Detecting Delaminations and Cracks in Paintings on Wooden Panels." In Nondestructive Characterization of Materials VI. Springer US, 1994. http://dx.doi.org/10.1007/978-1-4615-2574-5_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Painting panels"

1

Loukusa, James. "Cleaning and Painting Techniques and Practices Used on Commercial Stores." In SSPC 2011. SSPC, 2011. https://doi.org/10.5006/s2011-00043.

Full text
Abstract:
The following describes some equipment and practices used for cleaning and painting the variety of substrates found on commercial stores: concrete masonry units (CMU), precast and tilt-up panels, steel awnings and canopies, Exterior Insulation Finish Systems (EIFS), and polycarbonate. Many contributing factors can create either a fairly straightforward and simple process or a very complex project. Contractors and manufacturers must be able recognize the different situations, locations, conditions, substrates and adapt accordingly. Most commercial stores are constructed using a single Wythe wall that consists of CMU, precast panels, or tilt-up panels. The walls include steel columns, and ceilings and canopies consist of decking and joists. Although painting these substrates does not appear to be complicated at first glance, this could not be further from the truth.
APA, Harvard, Vancouver, ISO, and other styles
2

Bodington, Andy B., and Di Yang. "Evaluation of Surface Tolerant Offshore Maintenance Coating Systems and Surface Preparation." In CORROSION 2014. NACE International, 2014. https://doi.org/10.5006/c2014-3996.

Full text
Abstract:
ABSTRACT Offshore platforms in the Gulf of Mexico are in a very corrosive environment and the maintenance coatings require regular attention. Coating maintenance should progress at a reasonable rate to preserve the integrity of the operating facilities. Since the bulk of the time is spent on surface preparation and coating application, if the time for these two activities could be reduced with a less degree of surface cleanliness without too much compromising corrosion mitigation and coating life, this will be of great benefit, providing a higher success of being ahead of the painting program and thus reduces corrosion risks. Presently, in Gulf of Mexico oil and gas production facilities, the most common maintenance painting surface preparation techniques are, ultra high pressure (UHP) water jetting, power tools and in some cases abrasive blasting. The main maintenance protective coating systems are 3-coat protective coating systems (Primer + Epoxy midcoat + UV resistant Polyurethane topcoat). The main objective of this study is to conduct laboratory testing of six different types of protective coating systems that could be applied on pre-corroded panels with less prepared surface (SSPC①, SP-2). The protective coating systems tested are claimed by the manufacturers can be used as “1 coat” systems but for these tests a topcoat is used for color and further UV protection. The performance of these coating systems will be compared with the current 3-coat maintenance coating system. The secondary objective of this study is to conduct laboratory testing on pre-corroded panels with different types of surface preparation techniques (hand tool, power tools, UHP, dry abrasive blasting and wet abrasive blasting) then use the same coating system on all panels. The aim is to identify a power tool for the surface preparation in the future to save operating cost and also compare the performance of the various surface preparation.
APA, Harvard, Vancouver, ISO, and other styles
3

Berry, Fred, Brad Shaw, and Wayne McGaulley. "Flash Rusting: Characterization and Effect on Coating Performance." In SSPC 2002. SSPC, 2002. https://doi.org/10.5006/s2002-00003.

Full text
Abstract:
Abstract No concise direction has been provided relating to the issue of painting over flash rusting. This is mainly due to a shortage of data collected from controlled experiments, either in a laboratory or in the field. The purpose of this paper is to present data collected during a Naval Sea Systems Command (NAVSEA) study of flash rusting and its impact on coating system performance. Flash rusting is characterized by chemical make-up, adhesion to the surface, color, and degree of coverage. In this study, flash rusted panels are coated with US Navy approved coating systems and tested in the following situations: marine atmospheric exposure, immersion chamber, condensing humidity chamber, prohesion cabinet, and cathodic disbondment. Coating performance is measured by adhesion to substrate, scribe cutback, and general paint failure. Performance is correlated to the flash rust characteristics of the panels to provide general guidance to the US Navy.
APA, Harvard, Vancouver, ISO, and other styles
4

Woodson, Jerry P., Tao Xu, and Halina Wisniewski. "The Effect of a Cleaning Additive in Conjunction with Waterjetting or Abrasive Blasting for Offshore Coating Maintenance." In CORROSION 2017. NACE International, 2017. https://doi.org/10.5006/c2017-09629.

Full text
Abstract:
Abstract A method to test new surface preparation techniques for preparing existing offshore structures for maintenance painting has been developed. A method was developed to pre-rust test panels with salt water to simulate heavy offshore rust scale, then remove the rust scale using either waterjetting or dry abrasive blasting followed by power washing. Surface preparation was performed with and without cleaning additives in the water. Salt levels were measured during the surface preparation processes. The twelve inch by twenty-four-inch (305 mm X 610 mm) test panels were then coated with epoxy at a total dry film thickness of 16 to 20 dry mils (400 μm to 500 μm). Test specimens cut from these panels were subjected to ISO 20340(1) testing by major oil company and are being exposed per ASTM G-50(4) for five years at the NASA Beachside Atmospheric Test Facility at the Kennedy Space Center. This paper will explain how the tests were conducted, how effective each method was at removing salts, and how the coatings performed in the ISO and NASA tests. It will also describe how long the cleaning additive prevented flash rust in offshore conditions, and its effect on performance.
APA, Harvard, Vancouver, ISO, and other styles
5

Servais, J. P., B. Schmitz, and V. Leroy. "Thermal and Chemical Stability of Phosphate Layers on Cold-Rolled Steel and Coated Products During Carbody Corrosion." In CORROSION 1988. NACE International, 1988. https://doi.org/10.5006/c1988-88041.

Full text
Abstract:
Abstract Zinc phosphating is widely used in industrial coating applications as surface pretreatments for the painting of metals. In car industry, this conversion coating process is applied as well on coated products (zinc electrocoated or hot dip galvanized steel) as on bare steel. It results in the formation of a densely packed crystals layer of phosphophyllite (mixed Zn Fe phosphate) on bare steel and of hopeite (Zn phosphate) on coated products. The phosphate layer formed on a carbody undergoes different aggressions: thermal aggressions during paint baking and chemical aggressions during cathodic electrodeposition of paint coating and during car service. The present work aims to define the thermal and chemical stability of phosphate layers during cataphoretic paint and baking simulations and after immersion in different buffers ranging from pH 1 to 14. The last results are compared with analyses of phosphate layers of painted panels that have undergone corrosion tests.
APA, Harvard, Vancouver, ISO, and other styles
6

Laliberte, L. H., R. G. Miller, B. A. Shaw, and J. A. Escarsega. "An Evaluation of Sacrificial Metallic Coatings for Service Life Extension of U.S. Army Vehicles." In CORROSION 2005. NACE International, 2005. https://doi.org/10.5006/c2005-05210.

Full text
Abstract:
Abstract Corrosion costs for United States (U.S.) Army ground vehicles are estimated at $2 billion per year. A study was conducted to evaluate how sacrificial metallic coatings applied on steel by electroplating, galvanizing, spray painting, flame spray (FS), arc spray (AS) and high-velocity particle consolidation (HVPC) enhance the corrosion protection afforded by coating systems. The coatings in this study were Zn, Zn-1Co and Zn-12Ni electroplates; Zn, Zn-5Al and Al-44Zn-1.6Si galvanized coatings, zinc-rich primers, Zn, Al, and Zn-15Al thermal sprays and Zn and Al HVPC. Thickness of the metallic coatings ranged from 4.8 μm for electroplated Zn-1Co to 279.4 μm for FS Zn-15Al. A salt fog test and a cosmetic corrosion laboratory test were carried out on scribed steel panels with the above coatings. Atmospheric exposure tests of these metallic coating systems are underway at an oceanfront test site. The top twelve coatings in the cosmetic corrosion laboratory test included eight thermal sprayed Zn, two HVPC-Zn, and a flame sprayed Zn-15Al and Al.
APA, Harvard, Vancouver, ISO, and other styles
7

Sondag, Sarah K., and Richard A. Burgess. "Bridge Maintenance Painting in the Land of 10,000 Lakes MnDOT’S Approach to Improving Bridge Maintenance Painting Operations." In SSPC 2015 Greencoat. SSPC, 2015. https://doi.org/10.5006/s2015-00058.

Full text
Abstract:
The Minnesota Department of Transportation (MnDOT) with KTA-Tator, Inc. (KTA) conducted a one-day seminar on Bridge Maintenance Painting Strategy &amp; Project Design in May 2013. One outcome of that seminar was the realization that MnDOT needed a more uniform method to rate the condition of coatings statewide during the biennial bridge safety inspections and a process to select and prioritize maintenance painting strategies. MnDOT assembled a Technical Advisory Panel to address these needs and launched a multi-objective study from October 2013 through June 2014. This paper describes the outcomes of the objectives undertaken and MnDOT’s approach to improving statewide bridge maintenance painting operations.
APA, Harvard, Vancouver, ISO, and other styles
8

Cogswell, Steve, and Judie Blakey. "NSRP Surface Preparation and Coating Panel Update Initiatives to Reduce the Costs of Painting Navy Ships." In SSPC 2012 Greencoat. SSPC, 2012. https://doi.org/10.5006/s2012-00009.

Full text
Abstract:
Abstract An overview of the NSRP Surface Preparation and Coating Panel’s (SPC) mission to reduce the cost of building, repairing and maintaining US Navy ships. The work the NSRP program does as NAVSEA’s industry partner. It is whom we are, how we work and examples of our work that have been implemented on the deck plates. SPC is NAVSEA’s industry partner in preservation. This paper will provide an overview of SPC Panel’s work from 2010 to current, including recently completed projects on: RH, Retention of Pre Construction Primer, Single Coat application, Salt Mitigation, data loggers, Cost of QA, Evaluation of Spot and Sweep surface preparation and new projects including; zeroG mechanical arm SY applications and the future state of the Navy paining process. This work is focused on reducing cost to the US Navy while maintaining quality. The SPC Panel’s works is a collaborative effort from private yards, public yards/CWP working groups, vendors, academia, NAVSEA and RMC’s. We routinely partner with the CWP working groups to share issues, ideas and results. We vet one another’s work as part of the implementation guidelines and procedures are presented to the 009-32 TWH for guidance. Approved results are submitted to the SSRAC 009-32 committee for consideration of acceptance into the Universal Paint document 009-32 annually.
APA, Harvard, Vancouver, ISO, and other styles
9

Atluri, Himaja, Narmada Alaparthi, and Durga Srinivas Kora. "Autonomous Quadcopter for Multipurpose Applications Like Painting High Rise Structures, Window Cleaning and Solar Panel Cleaning." In 2024 IEEE 6th International Conference on Cybernetics, Cognition and Machine Learning Applications (ICCCMLA). IEEE, 2024. https://doi.org/10.1109/icccmla63077.2024.10871786.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Huanca, Jhonatan, Jose Zamora, Jose Cornejo, and Ricardo Palomares. "Mechatronic Design and Kinematic Analysis of 8 DOF Serial Robot Manipulator to Perform Electrostatic Spray Painting Process on Electrical Panels." In 2022 IEEE Engineering International Research Conference (EIRCON). IEEE, 2022. http://dx.doi.org/10.1109/eircon56026.2022.9934104.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Painting panels' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography