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Journal articles on the topic 'Painting panels'
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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.
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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.
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Imbert, Isabelle. "Patronage and Productions of Paintings and Albums in 18th-Century Awadh." Journal of Islamic Manuscripts 12, no. 2 (2021): 174–201. http://dx.doi.org/10.1163/1878464x-01102002.
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Abstract During the 18th century, Faizābād and Lucknow became strategic centres of painting production in Northern India. Encouraged by the patronage of European collectors, but most probably by unnamed Indian patrons as well, the region experienced an intense period marked by the large number of albums and paintings in circulation. Based on the in-depth analysis of a selection of albums, paintings, and manuscripts, this article aims to highlight the evolution of compilation practices and painting productions. Full-page flower paintings, in particular, became increasingly popular in muraqqaʿ, to the point where calligraphic panels were completely replaced by colourful plants. Floral designs also appear in the margins, and the repetition of motives and patterns on several pages of different dimensions revealed an extensive commercialization based on a standardized production. In addition, the collections of European collectors such as Antoine-Louis Polier and Jean-Baptiste-Joseph Gentil bear the traces of commercial transactions between European and Indian collectors, as well as prices and possession marks. Together with their writings, correspondences, and memoirs, they bring new information on previously unknown Indian collectors, and more generally on the dynamism of the 18th-century book market.
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Álvarez-Romero, Carla, Ana García-Bueno, Teresa López-Martínez, Rafael Turatti-Guerrero, Noemí Montoya, and María Teresa Doménech-Carbó. "New Insights into the Medieval Hispano-Muslim Panel Painting: The Alfarje Found in a Balearic Casal (Spain)." Molecules 28, no. 3 (2023): 1235. http://dx.doi.org/10.3390/molecules28031235.
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Hispano-Muslim culture flourished during the Middle Ages in the Iberian Peninsula and Balearic Islands. During the restoration of a Balearic nobiliary building (casal), several panels with polychrome decoration on the back side were found. They were part of an old Muslim wooden ceiling (alfarje). A multi-technique strategy including optical microscopy, infrared and μRaman spectroscopies, field emission scanning electron microscopy-X-ray microanalysis (FESEM-EDX), focused ion beam (FIB-FESEM-EDX), atomic force microscopy nanoindentation (AFM-NI), and gas chromatography-mass spectrometry (GC-MS) has been applied in the analysis of these panel paintings and has provided morphological and compositional data that have led to the identification of the materials and artistic technique as well as the alteration mechanisms due to the natural aging and the adverse conditions of conservation. As a novelty, this study has confirmed the use of indigo as a blue pigment, an unusual material in Hispano-Muslim panel painting. Apart from the notable change in the visual appearance observed in the paintings, the study has also confirmed a change in the mechanical resistance in the paint layers. These changes have been induced by the combination of the chemical and microbiological alteration mechanisms identified.
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Min, Gilhong. "Pyeongsaeng-do, Paintings of an Ideal Life by Chae Yong-sin - Self-fashioning by display of selected memories." Korean Journal of Art History 320 (December 31, 2023): 37–64. http://dx.doi.org/10.31065/kjah.320.202312.002.
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<i>Pyeongsaeng-do, Paintings of an Ideal Life</i> by Chae Yong-sin, a part of the Lee Kun-hee Bequest now stored at the National Museum of Korea, is a ten-panel folding screen that depicts scenes from the painter’s life: at eight years old, he learns to read from his father; at thirty-one, he marries his wife; at thirty-seven, he passes Kwagŏ, the civil service examination and takes up a government position; at fifty-one, he paints a posthumous portrait of King Taejo; he serves as governor to Ch’ilgok-gun and Chŏngsan-gun; and celebrates his 60th birthday in 1910.</br>On the ten panels, Chae Yong-sin depicted important events of his life such as his successful career and participation in the production of King Taejo’s portrait, to present to and commemorate with his progeny his moments of glory. Important events were carefully chosen, edited, and drawn on each screen. The correspondence of represented events with the record of Chae’s life made by Kwŏn Ch’ŏlsu in 1924, the similarity in style of the people, buildings and other motifs to his other paintings, and the fact that he referred to himself as “an old man of eighty years” since he was seventy years old, all suggest that Chae actively participated in the making of this ten-panel painting around 1920. In addition, the painting faithfully reflects contemporary culture—the white patterns for pŏsŏn, changsŭng that acted as a signpost—, serving as an important visual document to how people lived in early modern Korea.
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Blažič, Milena, and Arburim Iseni. "MAPPING CULTURAL HERITAGE IN AN INTERNATIONAL CONTEXT - THE SLOVENIAN UNIQUE - PAINTED BEEHIVE PANELS (USING ICT IN THE CLASSROOM)." ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, no. 12 (2023): 11–19. http://dx.doi.org/10.58885/ijllis.v12i12.11mb.
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Republic of Slovenia is the only European Union Member State to have protected its native bee [The Carniolian bee (Apis mellifera carnica)]. Slovenian Ethnographic Museum have preserved about one thousand of original beehive panels and they have permanent online exhibition of painting beehive panels. The academic book on painted beehive panels is based on the collection of the Slovene Ethnographic Museum. Keywords: mapping, cultural heritage, literary culture, painted beehive panels, ICT, Google Maps.
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Wulandari, Anak Agung Ayu. "Membaca Simbol pada Lukisan Pertempuran Antara Sultan Agung dan Jan Pieterszoon Coen (1974) Karya S. Sudjojono." Humaniora 6, no. 2 (2015): 249. http://dx.doi.org/10.21512/humaniora.v6i2.3337.
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Sudjojono has produced hundreds of artworks, one of them is the painting of “The Battle between Sultan Agung and Jan Pieterszoon Coen”. Sizing 3 x 10 m, not only this painting is significant in size, it also shows Sudjojono’s in-depth study from aesthetic and historical side. The painting consists of 3 panels depicting Sultan Agung’s meeting with his royals, the battle scene between Mataram and Dutch troops, and the last panel depicting the meeting between JP Coen and Kyai Rangga. Some of the message conveyed by the painter is that the painting was 70% made of historical facts and did not come from the painter imagination only, better to be in peace than war and revenge and the last message is that western and eastern people are actually equal, and as eastern people should not need to have low self-esteem. Besides those messages there are still many symbols and signs that have in-depth meaning which will be studied and examined thoroughly such as figures involved in the battle, location of battle, clothing, etc.
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Mousavi, Atefeh Seyed. "Mīrzā ʿAbd al-Razzāq Faġfurī: Master of Persian Tilework in the Late Qajar and Early Pahlavi Period". Journal of Material Cultures in the Muslim World 5, № 1-2 (2024): 92–133. https://doi.org/10.1163/26666286-12340057.
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Abstract Mīrzā ʿAbd al-Razzāq Faġfurī was the most prolific tile-painting artist in Shiraz of the late Qajar and early Pahlavi periods. Exercising a great influence on subsequent tile artists, he became an identification figure of Qajar narrative tilework and contributed decisively to the visual culture of the Qajar period. This study investigates ʿAbd al-Razzāq’s life and career, his signature work, his traditional tile workshop and his main apprentices. It classifies and analyzes the themes and narratives depicted by ʿAbd al-Razzāq on the tile panels and explores his unique visual vocabulary. Moreover, the architectural structures decorated with ʿAbd al-Razzāq’s tile paintings will be briefly discussed.
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Bragina, L. L., S. O. Vetvytska, S. K. Fomichov, and O. E. Starolat. "The use of refractory materials in the artistic painting of glass panels." Scientific research on refractories and technical ceramics 121 (December 30, 2021): 169–77. http://dx.doi.org/10.35857/2663-3566.121.18.
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Based on the analysis of the glass use evolution in architecture and construction, the need to improve or search for new types of glass as an element of the interior or exterior and ways to decorate them and the feasibility of using artistic painting was shown. The purpose of this work was its use in the manufacture of decorative elements for architectural and construction purposes with different surface textures and relief of polished float sheet glass while providing significant resource and energy savings with the use of refractory materials. The equipment and materials which were used included: Z. Bavelloni grinder; muffle furnace CGB-100.150.55-10- 380 for painting and annealing; sprayer type LVLP 1.3 mm INTERTOOL PT-0132 for spraying fine kaolin suspension; degreasing solution; panels from the polished float glass with the following chemical composition, wt. %: SiO2 — 73.0; Al2O3 — 1.0; Fe2O3 — 0.1; CaO — 8.6; MgO — 3.6; Na2O — 13.4; SO3 — 0.3 and 6 mm thick; refractory plates LYTX—264B and heat-resistant paper LYTX—236B from ceramic fibers. The coefficient of thermal linear expansion of glasses and refractories was determined using a quartz vertical dilatometer.
 As a result of the carried out researches the possibility of obtaining the set texture and three-dimensional relief of the surface of architectural and construction decorative products from polished float glass sheet by artistic painting with the use of refractory materials was shown.
 The factors that are decisive in the choice of such materials and their effectiveness were identified.
 Significant simplification and cheapening of the method of making decorative glass by artistic painting has been achieved due to the fact that to obtain each effect on the surface of the product it is enough to replace the refractory fragments of the composition and their arrangement instead of making new support plates.
 Further research of forming processes and phase generations in compositions based on applied and new refractory materials and their waste will contribute to a significant expansion of the range and areas of use the artistic and decorative glass products use.
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HAMID, Alaa Eldin M., Khaled M. Al SAUD, Rommel ALALI, Adel Roshdy Abd El MOATY, Adab M. Al SAUD, and Said Mostafa Mohammed HAMED. "LEVERAGING ARABIC CALLIGRAPHY SYSTEMS AND ISLAMIC ARCHITECTURAL SYMBOLS TO ENRICH THE AESTHETIC VALUES OF METAL PAINTING." GeoJournal of Tourism and Geosites 56, no. 4 (2024): 1671–87. http://dx.doi.org/10.30892/gtg.56423-1337.
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This study aimed to investigate the potential for utilizing Arabic calligraphy and the symbols of Islamic architecture to enrich the aesthetic values of metal painting. The study presented a conceptual framework that included an exploration of calligraphy, its letters, plastic values, expressive values, and select symbols of Islamic architecture. The study employed a descriptive-analytical approach, as well as a quasi-experimental method. It examined the linear systems that can be created through various types of lines in terms of form, as well as the diverse relationships that can be achieved between those line types. An evaluation tool based on frequencies and percentages was utilized, and its validity and reliability were verified. The study sample consisted of 15 specialized arbitrators who assessed the executed metal plates. A total of 12 meta l paintings were analyzed, with their content and components described and analyzed according to the study variables. The results indicated that it is possible to benefit from linear systems in creating metal panels with diverse aesthetic values. Linear systems possess the characteristics of diversity to generate formal and expressive relationships in combination with the elements and symbols of Islamic architecture, making them suitable as a primary basis for the design and construction of metal paintings. The linear system also contributed to achieving multiple functions with the metal painting and enhancing artistic values in general. The study recommends an in-depth examination of the vocabulary of Islamic architecture and Arabic calligraphy in terms of their compositional structure, to extract the fundamental principles for creating metal panels inspired by their integration. Additionally, the study suggests adapting the aesthetic and plastic capabilities of metals and employing them in new plastic formulations, both in terms of design and performance methods.
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Kubies, Grzegorz. "Fantasy or a Transcendent Experience? Study of the Painting Ascent into Heaven by Jheronimus Bosch from the Palazzo Ducale in Venice." Roczniki Humanistyczne 66, no. 4 SELECTED PAPERS IN ENGLISH (2019): 87–120. http://dx.doi.org/10.18290/rh.2018.66.4-4e.
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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 63 (2015), issue 4.
 The painting Ascent into Heaven (88.8 x 39.9 cm; dendrological dating: 1482–1490) kept in the Palazzo Ducale in Venice is one of the four eschatological panels (the other three are: Earthly Paradise, Fall of the Damned, Hell) which probably were in the collection of the Venetian Cardinal Domenico Grimani in the 1520s. The panels’ original arrangement and function are unknown. The paintings are not signed and their attribution to Jheronimus Bosch (c. 1450–1516 ) is based largely on the grounds of stylistic criteria. In the study, I put Ascent into Heaven into two fundamental contexts for the iconographic analysis of this work: eschatological literature and Netherlandish/ Flemish painting and in the context of near-death experiences (NDE) as well. The answer to the question posed in the title of the study must remain twofold. On the basis of the data gathered in the study, the content of the painting can be comprehended by references to the most frequently quoted sources of inspiration for Bosch: one painting by Dieric Bouts (left wing of the Last Judgement Altarpiece; Lille, Palais des Beaux Arts), two illuminations by Simon Marmion (Le livre des sept Ages du monde; Brussels, Bibliothèque royale de Belgique, Ms. 9047, fols. IV & 12r) and a literary work Dat rike der ghelieven by Jan van Ruusbroec. Its content can be equally understood by reference to the role of the painter’s imagination (categories of inventio and fantasia), using his theological and astronomical knowledge. The above line of interpretation that emphasizes the influence of biblical logosphere, takes into account undeniable religious experience of the painter from ‘s-Hertogenbosch resulting from being a member of the Church. The factor of an epistemological importance which influences the form of the answer to the title question is hypothetical non-verifiable Bosch’s personal transcendental experience, thus it becomes impossible to evaluate the translation of what is spiritual (experience) into visual (image). Due to the elusive, not fully scientific nature of NDE this phenomenon should be excluded from the final conclusion.
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Babunych, Yulia. "National-romantic manifestations of secession in the Ukrainian painting of modernism." Bulletin of Lviv National Academy of Arts, no. 43 (February 25, 2020): 20–25. http://dx.doi.org/10.37131/2524-0943-2020-43-3.
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Background. The article highlights the stylistic search for secession (modern) in the context of formative principles in Ukrainian painting of modernism. Objectives. The work reveals the features of modern, stylistic, pictorial, ideological search of a number of Ukrainian artists of the first third of the twentieth century. The genre differences of the principles of secession in Ukrainian painting and their synthesis by other stylistic tendencies are highlighted. The philosophical and ideological-aesthetic basis of secession in the art of the first third of the XX century is studied. The decorative beauty of nature invariably dominates in A. Manevych's landscapes. He stylizes its forms, synthesizing in his work the latest artistic trends of Impressionism, Post-Impressionism, secession in combination with realistic traditions of the Ukrainian landscape genre. F. Krychevsky in his work combines the innovations of secession with the decorativeness of folk art. His works are characterized by breadth of design, confidence in drawing, attention to detail, epic images. M. Zhuk was close to literary symbolism and secession, most developing in his own work genres of decorative panels and portraits. The artist resorts to symbolism, poeticization of images, boldly filling them with associations. The work of V. Maksymovych, as well as M. Zhuk, demonstrates connections with the art of secession and symbolism. His panels - unusual in design and technique - are full of romanticism, combining the real and stylized. The defining feature of K. Piskorsky's work is the depth of his artistic worldview and philosophical nature. The balance of compositional elements, rhythmicity, geometry of volumes and clear linearity are among the main arsenal of the artist's means of expression. Results. The article proves that powerful inspirations of secession came to our lands through artists who studied in Krakow, Vienna, Munich: M. Zhuk, F. Krychevsky, O. Novakivsky, O. Murashko, A. Manevych. The publication highlights the regional features of secession in Ukrainian painting: the attraction of Western Ukrainian artists to monumental and decorative religious compositions, and Eastern Ukrainian - to paintings on secular themes. The national sources of secession in Ukrainian painting, which are organically combined with Western European figurative and plastic principles, are also indicated.
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Torras Tilló, Santi. "Rembrandt behind the scenes. Christ disputing with the doctors: An intriguing panel from seventeenth-century Barcelona." Matèria. Revista internacional d'Art, no. 23 (October 1, 2024): 61–80. http://dx.doi.org/10.1344/materia2024.23.5.
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Between July 2012 and December 2013, the CRBMC (Centre de Restauració de Béns Mobles de Catalunya) restored two severely damaged works, painted probably around the middle of the seventeenth century by an anonymous and second-rate artist. The paintings were Christ Disputing with the Doctors and The Flight into Egypt. When the restoration was completed, it brought to light several interesting aspects: New painting had been applied over ancient panels from a sixteenth-century altarpiece, and the details in the new works, especially the first, did not follow the usual formula of Catalan baroque masters. The article analyses the clues that could point to the author’s being a Dutch or Flemish Rembrandtesque artist temporarily settled in Barcelona.
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Salikhov, Omonulla. "MONUMENTAL PAINTING DURING THE PERIOD OF INDEPENDENCE." JOURNAL OF LOOK TO THE PAST 4, no. 6 (2021): 4–9. http://dx.doi.org/10.26739/2181-9599-2021-6-13.
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The article analyzes the features of the formation of the school of painting in Uzbekistan in the twentieth century, the harmony of painting with modern urban planning, analysis of the work of greatpainters. In particular, in the works of B. Jalolov, one of the most prominent artists in the field of monumental painting, we see that he skillfully combined the strong traditions of the academic school, the aesthetics of Western and Eastern art. His work can be seen in a series of frescoes. The interior of theTurkiston concert palace in Tashkent contains analytical information about the work of Umar Khayyam on oriental lyrics, “Nobody said why I was born” at the National Bank of Uzbekistan, as well as about his monumental works in many other regions. On the example of Samarkand, A. Isaev was one of the most versatile artists in the field of monumental painting, he also wrote “The Great Silk Road” on the walls of the foyer of the Institute of Foreign Languages and “Friendship of Peoples” for the foyer of the academic lyceum of the Institute, Examples “History of Samarkand” for the hotel “ Afrosiyab ", at the Samarkand Agricultural Institute, such as" The Generosity of Mother Earth ", 41 ceramic panels on Tashkent Street and many other monumental paintings. By the colors in the artist's works, one can imagine that the artist played the melody in a lyrical tone. The article notes that almost all compositions are characterized by a description of the artist's work, such as the observation ofwarmth, a set of warm colors, oriental colors, a patriotic mood, which is typical for all artists
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Shixnazar, Rakhimberganovich Jumaniyazov. "Important Properties and Principles of Using Color in Monumental Paintings." International Journal of Multidisciplinary Research and Analysis 04, no. 07 (2021): 960–62. https://doi.org/10.5281/zenodo.5115752.
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This article discusses the important features and principles of the use of color in monumental paintings. There is also talk about the importance of colors, the level of vitality, the creation of colors. In order to properly guide the work of young artists, the future teacher must master the basics of painting and know the theory of color. At the same time, as a result of mastering the knowledge of the theoretical foundations of real painting and practical exercises, it is possible to teach literate ways of painting. To achieve this, it is necessary to study the science of color in depth and to address these issues repeatedly in the process of practical work.
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Radu, Nicoleta, Narcisa Babeanu, Petruta Cornea, et al. "Painting Degradation from Inside Wooden Churches Achieved in the Period 1750–1850." Proceedings 57, no. 1 (2020): 19. http://dx.doi.org/10.3390/proceedings2020057019.
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Van Bueren, Truus. "Gegevens over enkele epitafen uit het Sint Jansklooster te Haarlem." Oud Holland - Quarterly for Dutch Art History 103, no. 3 (1989): 121–49. http://dx.doi.org/10.1163/187501789x00103.
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AbstractIn 1625 the Monastery of St. John's in Haarlem, which housed the local Order of the Knights of the Hospital of St. John of Jerusalem (Hospitallers), was dissolved. The property, including a large collection of paintings, passed to the City of Haarlem, which claimed all the monasteries in the district of Haarlen as compensation for damage sustairted during the siege and rebellion against Spain. In the monastery's archives, now in the Haarlem Municipal Archives, memorial panels are menizoned fourteen times. Nine of thern occur in three inventories of 1573, one in a testament of 1574 and the rest in the Commander's accounts of 1572, 1573 and 1574. In the case of six of the thirteen items there is no description of the representation at all; one is simply said to depict a number of persons. Four of the six other items are Passion representations. Like The Last Judgment, such themes are in keeping with the functiort of a memorial panel. The description of one epitaph as 'in laudem artis musiccs' is not sufficiently clear to give an idea of the representation. More information is available as to the patrons or commemorated persons. All of them seem to have been members of the Order of St. John: four panels were memorials to commanders, three to ordinary hospitallers and one painting commemorated the founder of the monastery. All were priests. Nothing in the archives suggests that the church contained memorials to non-members of the order. This must nonetheless have been the case: a 'Liber- memoriarum' compiled in 1570 indicates that numerous memorial services were held for the laity, many of whom apparently chose St. John's as their last resting-place. It is thus highly likely that memorials for these worshippers were placed in the church. A 1572 inventory of St. John's Monastery makes no mention of memorial panels, probably because the contents of the church were not listed. After the monastery had been destroyed during the siege of Haarlem, three inventories were drawn up: one of the ruined monastery, one of the items - mainly paintings which were moved to Utrecht, and one of the property taken to the Sint Adriaansdoelen, the temporary home of the order after the destruction of the monastery. Only in these three inventories are epitaphs mentioned. The inventories of 1580 and 1606 were drawn up by order of the City, the claimant to the mortastery's propery. They make no mention of private possessions, not even those of the members of the Order. The 1625 inventory, drawn up after the death of the last inmate, only mentiorts the painting that was bought by the convent to be placed on the grave of its founder. Epitaphs which were not orderend by the convent were probably regarded as private property, and passed to the heirs prior to 1625. Exact dates cannot be ascertained. The author has identified two epitaphs and a painting coming from St. John's. It is not clear whether the small painting of Mary, her cousin Elizabeth and Commander Jan Willem Jansz. (1484-1514) (Staatliche Kunstsammlungen, Weimar) is (part of) an epitaph or a devotional painting (ill. 2). The 1572 inventory mentions a picture of Jan Willem. It is not described, but the painting in Weimar is a likely candidate because of its small size (72 x 50). The 1573 inventory of the property in the Adriaansdoelen lists a wing of the epitaph of 'Heer Jan', but again, the representation is not described. The 17thcentury genealogist Opt Straeten van der Moelen described the four family coats of arms on the painting, but said nothing about the representation or where he saw it. It was possible to identify the Hospitaller in the Weimar work because of the armorial shield hanging on a tree behind the kneeling figure. The arms correspond with what Opt Straeten van der Moelen described as the arms of the Hospitaller's father, and with a wax impression of Jan Willem Jansz.'s arms (ill. 1) on a document of 1494, now in the Haarlem Municipal Archive. The date and painter of the picture are not known. In the series of portraits of the Commanders of St. John's Monastery in Haarlem (Frans Hals Museum) is a second portrait of Jan Willem. In this, the seventeenth portrait in the series (ill. 3), he is grey-haired, in contrast to the Weimar painting, in which he is depicted with black hair. Jan Willem Jansz. was born in about 1450. In 1484 he was elected Commander of the order, a function which he held until his death in 1514. The Bowes Museum, Durham, owns a triptych of an Entombment (ills. 4 and 5). On the middle panel is a kneeling Knight Hospitaller; on each of the side panels are four persons, arranged in pairs. One of them, on the right wing, is another member of the Order. Coats of arms can be seen on the prie-dieu's behind which three of the four couples kneel, and on the back of the panels (ill. 6). Comparison of these arms with the one on the seal of Philips van Hogesteyn, Commander of the Order frorn 1571 to 1574, suggests that this is his epitaph (ill. 7). The memorial panel is mentioned in the 1573 inventory of property in the Adriaansdoelen. In 1570, before becoming prior of the monastery, Philips had a 'Liber memoriarum' compiled which contained the names of his grandparents and parents. His grandmother came from the Van Arkel family, whose arms bore two opposing embattled bars. This coal of arms facilitated identification of the couples on the left wing. The grandparents are kneeling behind the last prie-dieu - the Van Arkel arms are on the heraldic left of the shield. In front of them are Philips van Hogesteyn's parents. It is harder to establish the identity of the people on the right wing, but the couple kneeling behind the prie-dieu are very likely Philips' brother and sister-in-law. The woman behind them could be his sister. The brother and sister are mentioned in his will, which he made in 1568. However, it is not clear who the Hospitaller on this panel is. It could be an unknown member of the family, but it is also possible that Philips van Hogesteyn was depicted in the triplych twice, first simply as a member of the family on one wing and again, later on in life, on the middle panel as the most important patron. Besides this painted epitaph, an elegy on Philips van Hogesteyn, written bij Cornelys Schonaeus, headmaster of the Latin school in Haarlem, has been preserved. This poem only mentions the effigy of the late Philips in front of the 'worthy reader' - not a word about his family. The 1572 inventory lists two separate portraits of Philips. It is not known where he was buried, nor has it been possible to establish whether his epitaph, with or without the elegy, or a portrait plus an elegy were ever placed on his grave. The painter is not mentioned by name anywhere either. Philips van Hogesteyn took holy orders in 1553. Assuming that he was 17 years old when he joined the Order of St. John, he would have entered the monastery in 1544. If this assumption is correct and he is portrayed twice on the triplych, it could have been painted any time from 1544 on. The reason for the commission must remain unanswered. In the Catharijneconvent Museum in Utrechl is a triptych with a Crucifixion. On the left wing is a kneeling man in a chasuble and stole, and on the right wing a Hospitaller (ill. 8). Today the outsides of the panels are empty. In the catalogue of an exhibition of North-Netherlandish painting and sculpture before 1575, held in 1913, however, the vestiges of the armorial shields -- four on each panel - are mentioned. Apparently this is an epitaph for a member of the Oem van Wijngaarden family, brought to Utrecht in 1573. The Hospitaller is Tieleman Oem van Wijngaarden, who was living in St. John's Monastery in Haarlem at the beginning of the 16th century and died in 1518 person on the right-hand panel appears to be Dirk van Raaphorst -- also known as Dirk van Noordwijk. The Utrecht triptych is identified here as the Van Wijngaarden epitaph from St. John's Monastery despite the fact that the description of shield I on the right-hand panel does not point towards the Oem van Wijngaarden family. Thanks to the fourth shield on the same panel, still in fairly good condition in 1913, it was possible, by dint of invenstigating Tieleman's family, to establish him as the person portrayed on the right-hand panel (see Appendix II). Dirk van Raaphorst of Noordwijk was a canon of St. Pancras' Church in Leiden. He probably owed the name 'van Raaphorst of Noordwijk' to the fact that he was called after his maternal grandfather. For the same reason, the armorial shields on the back of the lefthand panel are not arranged in the usual manner but inverted, i being the mother's arms, II the father's (see also Appendix III). Dirk van Noordwijk was a nephew of Tieleman Oem van Wijngaarden (see Appendix IV). He died in 1502. In 15 18 Tieleman was buried in the same grave in the church of St. John's Monastery. This memorial panel, too, prompts several questions. It is not clear why distant relatives, whose deaths moreover were sixteen years apart, were commemorated on the same panel. Neither the painter nor the dale of the triptych is known. However, perhaps the source of Tieleman's portrait can be established (fig.9). The features in this portrait bear a marked resemblance to those in the portrait of the Hospitaller on the Van Wijngaarden epitaph in Utrecht. Despite publications on individual North-Netherlandish memorial panels, no scholarly examination of the total number of known pieces has yet been initiated. The author is preparing such an examination, which may yield more insight into the customs pertaining to the corramemoration of the dead and the place accupied by memorial panels.
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Xu, Zhenhai, Gerald Anyasodor, and Yi Qin. "Painting of aluminium panels – state of the art and development issues." MATEC Web of Conferences 21 (2015): 05012. http://dx.doi.org/10.1051/matecconf/20152105012.
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Salema de Carvalho, Rosário. "The afterlife of François Le Moyne’s Annunciation on eighteenth-century Portuguese azulejos." Eikon / Imago 14 (February 7, 2025): e92881. https://doi.org/10.5209/eiko.92881.
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Considered lost until a few years ago, the Annunciation painted by François Le Moyne in 1727 (and turned into a print, in the following year, by Laurent Cars) was widely copied, both in paintings and prints. But while the paintings – some of them thought to have originated in Le Moyne’s own workshop – are well documented, the same cannot be said of the prints. Nonetheless, these works remain highly significant, as they were the main vehicles for the dissemination of images in the 18th century. In Portugal (and Brazil), researchers have found 34 eighteenth-century azulejo panels inspired by this composition. Based on these findings, they concluded that the model launched by Le Moyne’s painting and promoted by Cars’ print became highly popular from the 1740s on, and even more so with the rise of the Rococo style. In fact, it ended up replacing the previous models, thereby putting an end to the pictorial diversity that had characterized former depictions of the Annunciation in azulejo.
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Castillo Alcántara, Gonzalo, Daniel Cosano Hidalgo, Alicia Fernández Díaz, and José Rafael Ruiz Arrebola. "Archaeological and Archaeometric Insights into a Roman Wall Painting Assemblage from the Blanes Dump (Mérida)." Heritage 7, no. 6 (2024): 2709–29. http://dx.doi.org/10.3390/heritage7060129.
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In this paper we describe the archaeological and archaeometric analysis of a Third Pompeian Style assemblage from the Blanes dump in Mérida (Spain). Based on the pottery context, the material would have been part of the decoration of a public or private space remodelled towards the end of the 1st century AD. Several samples from to the middle area of the assemblage, including panels, inter-panels and a frieze, were selected and studied using X-ray diffraction (XRD), X-ray fluorescence (XRF), Raman, gas chromatography and petrographic analysis. The results revealed the use of hematite, cinnabar, minium and goethite in different panels, as well as goethite, Egyptian blue, calcite, glauconite and carbon for the decorative motifs. They allowed us to define the painting techniques used and how they have affected the degradation of the pigments.
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Gatani, Mariana, Victoria Granero, Juan Carlos Medina, et al. "New Process for Peanut Husks Panels: Incorporation of Castor Oil Polyurethane Adhesive and Different Particle Sizes." Key Engineering Materials 600 (March 2014): 452–59. http://dx.doi.org/10.4028/www.scientific.net/kem.600.452.
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New materials are being developed for architectural and design purposes. The recycling of waste is presented as an opportunity for new applications based on increased industrial waste and raw material shortages. Seeking an alternative to wooden panels, regional waste without sustainable disposal is being used as inputs in the production of lignocellulosic panels. We present the results of two experiments. The first one consists in the development of peanut husks ground-treated and untreated panels made in order to determine the influence of different particle sizes, shapes and their combinations, aiming to the physical and mechanical characterization of compact panels properties. In the second experiment, compact panels with whole peanut husks were made with polyurethane resin using castor oil painting. The object of this study was to analyze the influence of this new resin, without formaldehyde emissions, in the resulting panels physical and mechanical properties. It was concluded that the smaller particles had a positive influence in the panels physical-mechanical properties, and that the property characterization of panels made with castor oil resin was satisfactory for use in interior furniture. Peanut husks panels show good prospects for their integration in the field of design and architecture.
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Bacci, Michele. "On the Prehistory of Cretan Icon Painting." Frankokratia 1, no. 1-2 (2020): 108–64. http://dx.doi.org/10.1163/25895931-12340003.
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Abstract The present paper offers some thoughts on the complex issue of Italianate elements in Cretan icon painting by emphasizing the extent to which they can be considered to stem from motifs worked out in the mid-to-late fourteenth century in the wider, fluid space between Venice and the Eastern Mediterranean. It focuses on a cluster of Marian panels that, on account of their mixed Byzantine and Western character, have been hitherto confined to the margins of art-historical research and improperly labeled as works of a so-called “Adriatic” school. The critical reassessment of these works illuminates the ways in which innovative compositional, iconographic, and stylistic solutions were developed by masters well acquainted with both Palaiologan and Venetian art, and reproduced in a chain of replicas, some of which can be reasonably attributed to Cretan workshops.
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Renberg, Gil H. "Dedicatory Paintings in Greek Religion: An Initial Assessment." Acta Archaeologica 93, no. 1 (2023): 237–78. http://dx.doi.org/10.1163/16000390-20210027.
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Abstract This contribution presents the first survey of the full range of sources for the dedication of paintings to the gods of the Greek-speaking world, including Egypt. This phenomenon has been largely overlooked due to the rarity of such dedications, in contrast to the countless dedicatory objects fashioned from stone and other durable materials, which have survived in relative abundance. Although some types of dedicatory painting, particularly the well-known Archaic and Classical terracotta pinakes from Attika and the painted wooden panels from Pitsa, have been studied by numerous scholars, other examples have been neglected, along with many written sources. Seeking to fill this gap in the scholarship, this article collects the full range of sources demonstrating the importance of paintings as a type of dedication – not only the paintings that still survive on terracotta, stone, and stucco, but also a varied and intriguing body of literary and epigraphical testimonia. The result is a study that for the first time provides scholars of Greek religion and Greek art a detailed overview of this aspect of Greek cult, and delves into various issues – methodological and otherwise – crucial to understanding its nature.
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Abolonkova, Irina V., and Alexey K. Solodeynikov. "Painted Images of Mount Tepsei." Vestnik Tomskogo gosudarstvennogo universiteta, no. 468 (2021): 115–28. http://dx.doi.org/10.17223/15617793/468/13.
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The article considers painted images of Tepsei, which is one of the petroglyphic complexes of the Minusa basin. The images are found on the riverside rocks of Mount Tepsei at the Tepsei I site. The images are hard to see due to their poor preservation. All the discovered panels with painted images have natural cornices that protect the panels from surface water flows and calcite incrustation. The latter make the images hard to see, on the one hand, and make a conservation layer to prevent the images from discoloration, shedding, and pigment washout. These observations, concentration of the images on a confined part of the slope and uninterpreted spots of pigment on some of the panels make us to think that, at some ancient times, there were many more painted figures on the Tepsei cliffs, and they were lost as time went by. During the investigation, we used non-contact methods of documenting based on photography and digital image post-processing. Due to the overlapping of some painted images with ancient carved ones, we are able to attribute some of the painted figures. Similar overlapping cases are rare in the Minusa basin and in South Siberia, which makes them particularly valuable for the replenishment of the source base of earliest rock art images on this territory. Attributing some images is hard for today. The stylistic analysis along with the analysis of pigment maps also gives some basis for the relative chronology of the paintings. Most of the documented images are self-sufficient ochre paintings. There are some animal-style figures: aurochs, a deer, some zoomorphic images that are hard to be taxonomically defined. There is possibly one anthropomorphic figure with a bow in his hands. There is a carved zoomorphic figure with traces of ochre in the carving. On three other panels with the earliest stratum, there are just some relics of pigment. On one of the panels, there is an ochre relic documented only along the contour of the carved image, which tells that the carving was made over the painted image. We consider the findings presented to be an evidence of a broad usage of the painting technique in antiquity that widen the source base of pre-written South Siberian peoples' history.
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Alawady, Walaa. "The interchangeability of visual text and its variations in the linear painting." International Journal of Educational Sciences and Arts 4, no. 2 (2025): 10–25. https://doi.org/10.59992/ijesa.2025.v4n2p1.
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The current research aims to study is to reveal the ways of working textual exchange and what occurs from the visual illusion within the linear painting, such as research procedures, which included his community on linear panels embodied in which the exchange of visual text within it, has included most types of lines almost reached the number of community (30) panel has selected the researcher (3) models, a percentage representing (10%) of the original community and intentionally, according to what the researcher followed in his analysis on the descriptive approach (content analysis) adopting the analysis tool represented The analysis form, which included main and sub-paragraphs represented the pillars adopted in the analysis of his samples and designed according to the information outcome and the indicators that came out of the research trends, it was presented to a group of specialized experts to modify its paragraphs and indicate their suitability to the subject of the research and the researchers reached several results, including: The calligraphic painting varied on mutual formative bases by achieving aesthetic values based on the Innovation, and following the manifestations of exchange enabled the calligrapher to disassemble, reconvert and reconstruct the elements of the painting into a new concept and content. In addition, calligraphers resort to exchange in the text for a necessity imposed by meaning first, and to show skill second. The researchers also recommended a set of recommendations and proposals, including: Strengthening the link between research centers and academic researchers to investigate knowledge and benefit from it in developing contemporary linear formations according to the visions of the concept of visual text interchangeability to enhance aesthetic values in linear painting.
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Tripathi, Ragini, Ekta Sharma, and Nargis Fatima. "Adaptation of Kantha Motifs for Designing and Development of ready to use Centre Panels using Machine Embroidery." International Journal of Current Microbiology and Applied Sciences 13, no. 10 (2024): 240–47. https://doi.org/10.20546/ijcmas.2024.1310.028.
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There is a growing demand for the rebirth of traditional Indian embroideries due to their time-consuming procedures, antiquated appearance, and pursuit of the pinnacle of painting technique. These need to be developed using quicker methods and given a more modern appearance. Machine embroidery is an innovative, economical and time saving technique as compared to the hand embroidery. Present study was conducted on adoption of Kantha traditional embroidery designs for machine embroidery on centre panels. A total of fifteen motifs were collected and arranged to prepare design for centre panels. 8 designs were the prepared designs were evaluated for the selection. Experts' choices for developed centre panel was based on a variety of criteria showed that the machine embroidery approach of two prepared designs for preparation on centre panel a fabric using machine embroidery was the most favoured method in terms of overall appearance. The study will provide to create items with the same appearance as traditional embroidery techniques using quicker methods. It will provide women entrepreneurs with new opportunities to produce in-demand, low-cost items. Additionally, it will improve the classic Kantha embroidery's visual appeal.
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Andronikou, Anthi. "La Serenissima in Cyprus: Aspects of Venetian Art on the Edge of a Maritime Empire, 1474/89–1570/1." Arts 12, no. 5 (2023): 186. http://dx.doi.org/10.3390/arts12050186.
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This article investigates the manifestation of Venetian visual culture of the Renaissance in the island of Cyprus, which, between 1474/89 and 1570/1, stood as one of Venice’s Mediterranean colonies. To date, scholarship on panel and wall painting production of Venetian Cyprus has devoted careful attention to the infiltration of Italian details and styles in the broader sense—mainly drawn from the Italian Middle Ages—thus failing to notice any correlations between Cypriot visual arts and contemporary Venetian. In this study, I aim to provide an overarching perspective that will illuminate the presence and assimilation of fifteenth- and sixteenth-century Venetian visual vocabulary in Cypriot artistic capital. With an emphasis on devotional painting, I will examine iconographic schemes, such as the Man of Sorrows and the Holy Conversation, and facets of stylistic and iconographic correspondences between the two territories. I will also probe the architectural function, purpose, and tenor of lunette-shaped panels in Cyprus and collate them with their Venetian equivalents. Put simply, I hope to flesh out the artistic contact Cypriot artists and their sponsors maintained with Venice rather than with Italy as a whole.
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Allegretti, Ottaviano, and Francesca Raffaelli. "Barrier Effect to Water Vapour of Early European Painting Materials on Wood Panels." Studies in Conservation 53, no. 3 (2008): 187–97. http://dx.doi.org/10.1179/sic.2008.53.3.187.
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Gonca, Erim, Tetikci Ismail, and Ersoy Remziye. "Technical experience with tempera paintings in a bachelor degree course in Turkey." International Journal of Evaluation and Research in Education (IJERE) 10, no. 1 (2021): 245–54. https://doi.org/10.11591/ijere.v10i1.20667.
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This article aims to understand the place of the tempera technique in art history, which is thought to be encountered for the first time by art education undergraduate students, and to determine the effects on the participants after the application. The study consists of the findings and results of the first and second research questions in the master thesis “Tempera technique and its use in the course of painting courses on undergraduate level.” In this study the “case study” pattern was used, and is one of the qualitative research approaches. The participants of the research are eight students studying in Bursa Uludag University, Faculty of Education, Department of Fine Arts Education in the 2018-2019 academic year. The data collection tools of literature review and two interview forms interview were used. The findings obtained were evaluated by thematic analysis technique. According to the findings obtained in the research, it was observed that the participants did not have prior knowledge about the tempera technique before oral presentation and application. It was concluded that there were differences in the levels of interest and knowledge after the teaching process, and that there were positive changes in their opinions regarding the technique.
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Bonizzoni, Letizia, Simone Caglio, Anna Galli, Luca Lanteri, and Claudia Pelosi. "Materials and Technique: The First Look at Saturnino Gatti." Applied Sciences 13, no. 11 (2023): 6842. http://dx.doi.org/10.3390/app13116842.
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As part of the study project of the pictorial cycle, attributed to Saturnino Gatti, in the church of San Panfilo at Villagrande di Tornimparte (AQ), image analyses were performed in order to document the general conservation conditions of the surfaces, and to map the different painting materials to be subsequently examined using spectroscopic techniques. To acquire the images, radiation sources, ranging from ultraviolet to near infrared, were used; analyses of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false colors (IRFC), and optical microscopy in visible light (OM) were carried out on all the panels of the mural painting of the apsidal conch. The Hypercolorimetric Multispectral Imaging (HMI) technique was also applied in selected areas of two panels. Due to the accurate calibration system, this technique is able to obtain high-precision colorimetric and reflectance measurements, which can be repeated for proper surface monitoring. The integrated analysis of the different wavelengths’ images—in particular, the ones processed in false colors—made it possible to distinguish the portions affected by retouching or repainting and to recover the legibility of some figures that showed chromatic alterations of the original pictorial layers. The IR reflectography, in addition to highlighting the portions that lost materials and were subject to non-original interventions, emphasized the presence of the underdrawing, which was detected using the spolvero technique. UVF photography led to a preliminary mapping of the organic and inorganic materials that exhibited characteristic induced fluorescence, such as a binder in correspondence with the original azurite painting or the wide use of white zinc in the retouched areas. The collected data made it possible to form a better iconographic interpretation. Moreover, it also enabled us to accurately select the areas to be investigated using spectroscopic analyses, both in situ and on micro-samples, in order to deepen our knowledge of the techniques used by the artist to create the original painting, and to detect subsequent interventions.
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Lanteri, Luca, Sara Calandra, Francesca Briani, et al. "3D Photogrammetric Survey, Raking Light Photography and Mapping of Degradation Phenomena of the Early Renaissance Wall Paintings by Saturnino Gatti—Case Study of the St. Panfilo Church in Tornimparte (L’Aquila, Italy)." Applied Sciences 13, no. 9 (2023): 5689. http://dx.doi.org/10.3390/app13095689.
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This paper provides the results of a 3D photogrammetric survey of the apsidal conch of St. Panfilo Church in Tornimparte (L’Aquila, Italy). The images were acquired and then processed in order to obtain a three-dimensional model available on Sketchfab platform. The five panels and the vault of the apsidal conch were exported from the 3D model as orthomosaics and then imported into CAD software for the mapping of the main degradation phenomena. The examined surface was almost entirely covered by mural painting and restoring mortars, the latter mainly located in the lower part of the apsidal conch. The whole surface of the apsidal conch was also examined by means of raking light that enabled highlighting of conservation problems and the presence of incision marks and giornata/pontate boundaries indicating the use of the fresco painting technique. Several degradation phenomena, attributable both to the executive technique of wall painting and the microclimate conditions, could be observed. According to the overlapping of weathering forms and the material involved, most of the examined surfaces exhibited moderate to very severe degradation.
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Rogers, Dylan. "The Hanging Garlands of Pompeii: Mimetic Acts of Ancient Lived Religion." Arts 9, no. 2 (2020): 65. http://dx.doi.org/10.3390/arts9020065.
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Roman painting is full of items associated with religious practice. Garlands, in particular, are found represented in Roman frescoes, often draped over different panels to enliven the painted surface with the semblance of abundant fresh flowers. There are indications, however, that in Roman domestic spaces, latrines, and streets, physical garlands were actually attached to the frescoes as votive offerings that mimic the painted garlands behind them. This paper considers how Roman paintings worked in tandem with garlands and other physical objects, and how Pompeiians engaged in mimetic acts. The two-dimensional painted surface depicting “mimetic votives” should be viewed within a three-dimensional space inhabited by people and objects. The mimetic act of hanging a garland was part of ancient lived religion, and, as such, enables us to examine past religious experiences, focusing on the individual and communication with the divine. The relationship between these various visual media would have created unique experiences in the daily lives of ancient Romans that are rarely considered today.
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Hindriks, Sandra. "Vanitas and trompe-l’œil." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 72, no. 1 (2022): 58–93. http://dx.doi.org/10.1163/22145966-07201003.
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Abstract This essay examines the complex ways in which early Netherlandish artists used illusionistic devices including trompe l’œil as a means of forcing viewers to confront their own mortality. Her analysis unpacks deep associations between the representation of memento mori motifs and the viewer’s response, focusing on how such paintings paradoxically appeal to the notoriously fallible sense of sight in order to provoke deeper reflection on, and preparation for, the inevitable end of life. The relationship of trompe l’œil to the memento mori rests, in this discussion, on how such devices call attention to the ways in which painting itself invites responses that are both sensual and cognitive. The deception of the eye leads to a higher cognitive state of questioning earthly perception as well as the unfathomable nature of death. The frequent use of folding panels served to ‘enfold’ the viewer actively in the visual and conative dynamics of the painted representation.
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Abd Razak, Haslinda, Rafeah Legino, and Baharim Samuri. "Interpreting the Batik Motif and Pattern in Mohd Nor Mahmud’s Painting: Pakai Semutar Kain Lepas." International Journal of Art and Design 2, no. 1 (2020): 27–31. http://dx.doi.org/10.24191/ijad.v2i1.2659.
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This study discusses the visual characteristic illustrated in a painting inspired from the traditional Malay batik design, called “Pakai Semutar Kain Lepas” created by Mohd Nor Mahmud. Visual analysis approach was chosen and highlighted through the application of line, shape, texture, balance, repetition and space. Indeed, the analysis discovered that the artwork expended with varieties of motifs design, which harmonized a unique pattern. The results also stated about seventeen motifs that were formed from the floral and pucuk rebung (bamboo shoots) motif. In fact, the composition was significantly composed based on five vertical panels within the landscape format. This painting was one of the artworks that was created through batik methods. This approach is actually an option in how batik was explored into fine art practice and was displayed in a gallery.
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Shirokovskikh, Margarita S. "The Painting on Fabric: History, Technology and Role in the Development of the Leningrad School of Artistic Textiles." Vestnik of Saint Petersburg University. Arts 15, no. 1 (2025): 93–116. https://doi.org/10.21638/spbu15.2025.106.
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The painting on fabric (or the batik technique) became firmly established in the educational process and creative practice of artists at the turn of the 20th–21st centuries. However, in Russian art history there are no publications that reflect the specifics of the spread of this technique in Europe, the USA and Russia. This article is devoted to the peculiarities of the use of painting on fabric in textile factories and its role in the development of the Leningrad school of artistic textiles. This article is about the peculiarities of using fabric painting in textile factories and its role in the development of the Leningrad school of artistic textiles. The purpose of the article is to summarize information about the applying of batik in the textile industry and art workshops. The article not only describes the historical stages of the introduction of batik into artistic practice, but also introduces into scientific circulation new data related to previously unpublished works of Leningrad textile artists. The author shares the concepts of “fabric painting”, “direct painting on fabric”, “hot batik”. It was revealed that in the USSR the most common term was “fabric painting,” which, on the one hand, reflected the hand-made nature of the technique, and on the other, emphasized that painted curtains and panels belonged to the sphere of monumental and decorative art. It has been established that the assortment has changed from small products to monumental curtains; from household items to art exhibits. It is shown that the evolution of artistic painting on fabric influenced educational programs in universities and technical schools; batik became a part of the art exhibitions and interiors of public buildings throughout the USSR. Based on the archival sources, Soviet periodicals and interviews with artists, the author concludes that painting on fabric was one of the main directions in which Leningrad textiles developed in the 1950–1980s.
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Brewer, J. A. "Effect of Selected Coatings on Moisture Sorption of Selected Wood Test Panels with Regard to Common Panel Painting Supports." Studies in Conservation 36, no. 1 (1991): 9. http://dx.doi.org/10.2307/1506448.
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Brewer, J. A. "Effect of selected coatings on moisture sorption of selected wood test panels with regard to common panel painting supports." Studies in Conservation 36, no. 1 (1991): 9–23. http://dx.doi.org/10.1179/sic.1991.36.1.9.
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Jernyei-Kiss, János. "Maulbertsch und die tragische Malerei : die Deckenbilder der Legende des hl. Stephan in der Pfarrkirche von Pápa." Opuscula historiae artium, no. 1-2 (2022): 36–59. http://dx.doi.org/10.5817/oha2022-1-2-5.
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The narrative unfolding in the ceiling paintings at Pápa can be taken for a painted tragedy of a complex plot based on Aristotle's notions of change of fate (peripeteia) and recognition (anagnorisis), the precedents of which are not to be sought in ceiling painting but much rather in the history of pictures of the classical approach produced in the early modern age. In terms of classical rhetoric, the style of the three ceiling frescoes corresponds to Quintilian's second category, the sublime and vehement mode of representation (genus sublime, genus vehemens) aimed at moving the recipient. The vision of heaven has a crucial role in the cycle, for the celestial sphere, in the plot the promise of salvation ensures areversal of fortune, an auspicious denouement. The earthly events stir the recipients' emotions but the involvement of justice in the afterlife calms them, thus allowing perfect catharsis to happen. The change of fate in the third fresco is related to the moment of recognition. Through the great masters of the 16th and 17th centuries, pathos theory and the conception of peripeteia became a fundamental, even commonplace pictorial narrative method in history painting and Tridentine religious art of the early modern age. With the Pápa ceiling frescoes Franz Anton Maulbertsch (1724–1796) gave evidence of his broad pictorial culture by choosing from among these visual panels and formulas with a keen eye and shaping them to his own liking.
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Detalle, Vincent, Jessica Auber--Le Saux, Xueshi Bai, Michalis Andrianakis, Nicolas Wilkie-Chancelier, and Vivi Tornari. "Vers des techniques de contrôle pour la conservation des panneaux de bois peints." Actualité Chimique 502 (March 2025): 28–30. https://doi.org/10.63133/scf.act-chim.2025.502.04.
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(Text in French)Towards control techniques for the conservation of painted wooden panels. Wood is a hydrophilic material, and wooden panels, which were very common before the advent of easel painting, are sensitive to the changes in humidity that occur in museums, whether in the exhibition hall or in storage. While preventive conservation approaches mostly involve controlling sudden changes in temperature and humidity, it is now possible to monitor the effects of these changes directly on the objects themselves. This article presents an experimental approach to assessing the impact of climatic variations based on actual measurements of humidity and temperature. The results show the real potential of digital holography speckle pattern interferometry (DHSPI) as a measurement and monitoring tool for this type of issue.
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Lavrentyeva, Elena V., and Irina F. Kadikova. "Technological Features of the Group of Nev’yansk Icons from Nev’yansk Icon Museum." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 122–41. http://dx.doi.org/10.21638/spbu15.2024.107.
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The article is devoted to the technological examination of eight icons from the largest collection of Ural icon painting in Russia. For the first time the subject of study is the material component of Nev’yansk icons of the first half of the 18th century. The authors determined the painting techniques and artistic materials used by the first icon painters of the mining and metallurgical Ural. The phenomenon of the Old Believers’ Ural Region icon school of this period is doubted and questioned by some modern experts, but in fact this phenomenon is confirmed by the coincidence of technological features of the Nev’yansk icon “Our Lady of Egypt” (1734) and other icons of that period (identical processing of wooden panels, composition of prime and paints, style of so-called lichnόe (painting of exposed body parts) and dolíchnoe (painting of clothing), as well as the painting stratigraphy). The icons were obviously painted in a very small workshop. One technological factor speaks in favor of their Ural Region origin: the use of anhydrite as a filler for the prime. The technique of lichnόe is also very special — alternating layers of white paint and ocher when painting a carnation; in some cases applying the first modeling layer (white) directly over the sankir (proplasmos). The second point indicates the early Nev’yansk icon painters’ familiarity with the techniques of the court icon painters in the Armory in Moscow. The latter in turn agrees with the historical facts that from the 20–30s of the 18th century masters from the Volga Region who had previously been employed by the Armoury then moved to the Ural Region. In addition, the blue pigments are the most important chronological indicator for the icons of this period. The synthetic azurite predominates among the author’s paints; also, indigo and smalt are found, while Prussian blue is completely absent.
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Meiler, M., and H. Jaschke. "Lubrication of Aluminium Sheet Metal within the Automotive Industry." Advanced Materials Research 6-8 (May 2005): 551–58. http://dx.doi.org/10.4028/www.scientific.net/amr.6-8.551.
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The production of automotive body parts and panels is a very complex process, starting with the raw materials and ending in the paint shop. Due to the fact that aluminium sheet metal has to be lubricated before forming, all of the following processes have to be considered. Lubricants, such as oils, dry-film lubricants or recently introduced hotmelts have to protect the material’s surface, reduce friction whilst drawing the panels and should not compromise further treatments [1]. Different types of lubricants show different characteristics. This difference is especially noticeable when comparing liquid and dry-film lubricants. As dry-film lubricants do not run off the blanks’ surface and are distributed homogeneously, they show different tribological properties compared to conventional liquid lubricants. The effect on friction of aluminium sheet metal is shown through several basic experiments [2, 3]. In addition, the paper shows the effect of further operations within the production chain. The advantages and disadvantages not only for drawing, but also for assembly lines and the painting process are described in this paper. Assembly issues are carried out on stability testings of riveted and clinched assemblies. These trials show how the assembly process is affected by different proceedings. The fact that every car body has to be completely free of grease before painting, signifies the necessity to get lubrication off the car body’s surface before painting. The interactions between lubrication and paint shop are shown on typical process parameters. Most typical characteristics considering bonding and riveting were tested out on a hood assembly of the current BMW 7-series. In addition to that, experiences made in the press shop at BMW’s Dingolfing plant were figured out and carried over to a long-term strategy of pre-lubrication of aluminium sheet metal. This includes adhesive compatibility as well as the above mentioned assembly process.
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Oetter, Rolf, Christopher D. Barry, Bryan Duffty, and Joel Welter. "Block Construction of Small Ships and Boats Through Use of Developable Panels*." Journal of Ship Production 18, no. 02 (2002): 65–72. http://dx.doi.org/10.5957/jsp.2002.18.2.65.
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The authors propose a simple method to improve productivity for construction and subsequent outfitting of typical hard-chine boats. This method uses CAD/CAM definition of the structure to manufacture the bottom and sides, decks and bulkheads of the boat as independent panels. The system divides such craft into construction modules by surfaces instead of by blocks as in standard shipbuilding practice. Since all of these panels are developable, an adjustable jigging system supports them essentially horizontally on their rulings. Transverse stiffeners are then welded to the panels. The system and details are optimized for maximum use of downhand welding and weld pacers. This system, however, requires specialized software to develop piece parts and to efficiently derive these modules from the product model. The developable panels can be outfitted with machinery, foundations, piping, wiring and insulation. Bottom and side panels can be tipped up, joined and more outfit installed in stages optimized for lifting and ready access. The deck is built and outfitted inverted, and then joined to the open hull. The bulkhead details and deck framing are also optimized to allow ready outfitting and subsequent joining of the deck as a unit. The easy access to the panels also allows effective, low-cost surface preparation and painting, so this system has benefits for both steel and aluminum construction.