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Journal articles on the topic 'Roman Mural painting and decoration'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Meijer, Bert W. "Lambert Sustris in Padua: fresco's en tekeningen." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 3–16. http://dx.doi.org/10.1163/187501793x00072.

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AbstractThe Amsterdam painter Lambert Sustris stayed in Padua in the 1540s. During this period he worked, among other things, on a number of murals in palazzi and ville suburbane, and also in villas outside Padua and near Vicenza. Some of these murals still exist, others have vanished. A few drawings by Sustris associated with lost murals have however survived. In Padua, Sustris first worked in a subordinate position under Domenico Campagnola and Gualterio Padovano; later, having attained an independent status, he collaborated with the latter and with Andrea Schiavone, among others. Most of th

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Calonge Miranda, Adrián. "Los procesos de monumentalización de los enclaves rurales romanos en el Ebro Medio. Estudio de casos entre los siglos III y VI." Antigüedad y Cristianismo, no. 39 (December 16, 2022): 83–106. http://dx.doi.org/10.6018/ayc.532721.

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The typological variety of Roman rural settlement is wide and heterogeneous. The best known unit is that of the villa type that united political, economic, social and, eventually, religious power around one owner. However, there were also vici, small villages, and other settlements. The low empire led to a complex transformation where the monumentalization of the living spaces where the decorative programs with mosaics or brightly colored mural paintings stood out. This phenomenon in the Ebro valley began during the last decades of the 3rd century, became more acute in the fourth and can be tr

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Gil-Torrano, Andrea, Auxiliadora Gómez-Morón, José María Martín, Rocío Ortiz, Mª del Camino Fuertes Santos, and Pilar Ortiz. "Characterization of Roman and Arabic Mural Paintings of the Archaeological Site of Cercadilla (Cordoba, Spain)." Scanning 2019 (July 28, 2019): 1–14. http://dx.doi.org/10.1155/2019/3578083.

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The archaeological site of Cercadilla (Cordoba, Spain) includes a complete chronological sequence from the 3rd to 12th centuries. The most relevant monument is a Roman palace dated between the end of the 3rd century and the beginning of the 4th century AD. It is believed that it was the headquarters of the Emperor Maximiano Herculeo. A bathtub with mural paintings has been found in the thermal zone of the palace. Regarding the occupation of the archaeological site in the medieval period, it should be pointed out that two houses with mural paintings were found; these belong to the Caliphal era

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Santiago Godos, Victoria. "La recuperación y restauración de la pintura mural romana en el sureste español." Virtual Archaeology Review 4, no. 9 (2013): 135. http://dx.doi.org/10.4995/var.2013.4264.

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<p>Recovery of the Roman wall painting in the southeast Spanish is done, by a party's own excavations in the archaeological site, where you can find this mural in two ways, still located in the walls of Roman villas or at the foot of these walls collapsed, fragmented and even buried, making it necessary cooperation in the recovery work of the archaeologist and restorer. You can also recall Roman wall paintings in the collections of archaeological museums, as many boxes remain innumerable multitude of fragments of mural pieces found in excavations and record stored there pending further s

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Kudinova, Maria. "“Persian” and “Roman” Dogs in Medieval China." Stratum plus. Archaeology and Cultural Anthropology, no. 5 (October 29, 2021): 187–94. http://dx.doi.org/10.55086/sp215187194.

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Historical and literary works and archaeological materials (such as pottery figurines, tomb murals and reliefs, paintings etc.) recorded the spread of foreign dog breeds in the territory of China since the period of the Northern dynasties and their highest popularity among Chinese upper class during Tang epoch. At the present time there is information about two breeds — “Persian” dogs and “Roman” dogs. “Persian” dogs (Bosi gou, Bosi quan) were the hunting dogs with a thin elongated body, long legs, short-haired, probably, related to Saluki. “Roman” dogs (Fulin gou, Fulin quan) were miniature d

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Dietrich, Nikolaus. "Spatial Dimensions in Roman Wall Painting and the Interplay of Enclosing and Enclosed Space: A New Perspective on Second Style." Arts 8, no. 2 (2019): 68. http://dx.doi.org/10.3390/arts8020068.

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This article engages with the interplay of two-dimensional and three-dimensional wall decoration in Roman wall decoration of the so-called four Pompeian styles. Instead of describing the rapid changes in the use (or non-use) of techniques for creating perspectival depth in August Mau’s four styles within an autonomous development of decorative principles, either favoring surface over depth, or vice versa, this article will discuss the imaginary space/surface on the walls in relation to the ‘real’ space enclosed by the decorated walls and—foremost—their inhabitants as the actual referent of the

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Gheorghiță, Romeo. "Câteva aspecte privind tehnica de realizare şi starea de conservare a picturilor murale ale mormântului hipogeu roman „cu banchet" din Tomis - Constanţa." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 1 (2010): 75–86. http://dx.doi.org/10.47950/caieteara.2010.1.10.

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One of the cases in which the application of the basic principles of in situ conservation and restoration was tried is the hypogeum-tomb with mural painting in Tomis - Constanţa. It was discovered in 1988 in the north-western area of the ancient city of Tomis. Th e archaeologists set its construction and usage between the Roman and Byzantine period, starting with the 4th century. The hypogeum in Constanţa preserves its original mural painting almost entirely. It has a coherent iconographic program, with significant stylistic marks, which demonstrates its origin as a Roman paleochristian tomb.

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Vojvodic, Dragan. "Wall paintings of the Davidovica monastery: Additions to the thematical programme and dating." Zograf, no. 39 (2015): 177–92. http://dx.doi.org/10.2298/zog1539177v.

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Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we

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Cristescu, Cătălin. "Tradition and infl uence in the Dacian pottery discovered at Sarmizegetusa Regia." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 5 (2014): 37–53. http://dx.doi.org/10.47950/caieteara.2014.5.03.

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Dacians, Sarmizegetusa Regia, painted pottery, stamped decoration, cooking ware. Abstract: This paper aims to identify the Mediterranean and Celtic influences in the Dacian pottery from Sarmizegetusa Regia. The imitated or influenced vessels correspond mainly to tableware and storage jars, while cooking ware tends to belong to a local cultural layer, in regards to morphology and technology. Late Hellenistic and Roman technical influences used by the Dacian craftsmen are: slip, painting and stamped decoration. Laboratory analyses showed that both in the cases of tableware and kitchen pottery, t

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Lampakis, Dimitrios, Ioannis Karapanagiotis, and Olga Katsibiri. "Spectroscopic Investigation Leading to the Documentation of Three Post-Byzantine Wall Paintings." Applied Spectroscopy 71, no. 1 (2016): 129–40. http://dx.doi.org/10.1177/0003702816654151.

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The main churches of three monasteries in Thessalia, Central Greece, were decorated with wall paintings in the post-Byzantine period. The main goal of the present study is to characterize the inorganic and organic materials present in the paint layers of areas that have been gilded. Optical microscopic examination was carried out on samples taken from the gilded decoration of the paintings to view their layer build-up. The combined use of micro Fourier transform infrared (FT-IR) and micro-Raman spectroscopy led to the detection of the pigments and the binding media used. The results from speci

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Tomic-Djuric, Marka. "To picture and to perform: The image of the Eucharistic Liturgy at Markov Manastir (I)." Zograf, no. 38 (2014): 123–41. http://dx.doi.org/10.2298/zog1438123t.

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This paper presents and interprets the iconographic programme of the frescoes in the lowest register of the sanctuary in the church of St Demetrios at Markov Manastir in the context of the relationship between mural decoration and the contemporary Eucharistic rite. In the first part of the paper special attention is paid to the scene in the north pastophorion, which illustrates the prothesis rite, and the depiction of the Great Entrance, placed in the sanctuary apse. The iconographic and programmatic features of the fresco ensemble, the most pominent place among which is occupied by the repres

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D’Angelo, Tiziana. "Jerome J. Pollitt (ed.) The Cambridge History of Painting in the Classical World." Journal of Greek Archaeology 4 (January 1, 2019): 508–19. http://dx.doi.org/10.32028/jga.v4i.513.

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Reconstructing a single coherent history of painted images over almost two and a half millennia and across a wide variety of cultural contexts in the Mediterranean and Europe is a daunting task, especially today, at a time when the notions of diversity and multiplicity play a crucial role in the study of classical antiquity. The editor Jerome J. Pollitt introduces this study as the first attempt, after Mary Hamilton Swindler’s 1929 Ancient Painting, to provide a comprehensive and up-to-date survey of ancient Greek and Roman panel and mural painting from the Bronze Age to Late Antiquity, and to

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Lysun, Yaryna. "Monumental painting in stone Catholic churches of Eastern Galicia in the second half of XVIII century. Topography, compositional types and techniques of illusionistic monumental art." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 200–204. http://dx.doi.org/10.32461/2226-0285.1.2021.238622.

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The purpose of the article is to analyze compositional types, topography, methods, and techniques used in the formal solution of mural compositions in the Catholic churches of Eastern Galicia in the second half of the XVIII century. The methodology lies in the usage of art historical methods of stylistic analysis and generally scientific methods of analysis, synthesis, induction, deduction. The scientific novelty of the research is in the analysis of methods and techniques used by Galician masters in the second half of XVII century for implementation of mural compositions that were interpreted

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Jernyei Kiss, János. "Emlékszerűség és egyöntetűség. Hauszmann, Stróbl, Lotz és a budapesti Igazságügyi palota központi csarnoka." Művészettörténeti Értesítő 71, no. 2 (2023): 255–66. http://dx.doi.org/10.1556/080.2022.00016.

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The Palace of Justice opened in 1896 is among the country’s most important public buildings; its central hall is one of the most grandiose spaces of late historicism in size and decoration. A year after its inauguration Alajos Hauszmann, the architect, summed up the construction history and programme of the building, and the work appeared in ornate folio edition in 1901. the architect designed the central hall in the style of Rome’s baroque architecture reviving the spirit of antiquity, and also drew on the tradition of the space type of salles des pas perdus. As regards space forms and struct

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Mezzadri, P., and J. Russo. "THE CASE OF CAPOGROSSI IN ROME: COLLECTING DATA WITH DIFFERENT TECHNOLOGIES ON A CONTEMPORARY MURAL PAINTING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 15, 2017): 211–18. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-211-2017.

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This paper focuses on the presentation of a part of the main thematic data documenting the pathologies and the degradation problems of a contemporary mural painting, which was designed and carried out by the italian artist Giuseppe Capogrossi in 1954. This forgotten masterpiece is developed on the ceilings of the main double stairscase at the entrance of the Airone, an ex-cinema-theatre in Rome (Italy). In time, the original project was completely damaged and now the Airone cinema is abandoned since 1999; the decoration, strictly connected to the function of the original project, has been comp

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Dardenay, Alexandra. "Roman wall-painting in southern Gaul (Gallia Narbonensis and Gallia Aquitania)." Journal of Roman Archaeology 31 (2018): 53–89. http://dx.doi.org/10.1017/s1047759418001241.

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In the Greek world, the practice of decorating walls with painted stucco emerged in the 5th or 4th c. B.C. and was at first limited to public and religious monuments and the palaces of rulers, later spreading to the houses of the aristocracy. In the homes of the nobility, painted decoration enhanced the ornamentation of rooms used for receiving visitors, such as the dining room (andron), in which the floors were sometimes decorated with mosaics, most often with geometric motifs. In the wealthiest abodes, as seen at Pella in the 4th c. B.C., Alexandria, or on Delos in the 2nd c. B.C., a mosaic

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Bąkowska-Czerner, Grażyna, and Rafał Czerner. "Marina el-Alamein as an Example of Painting Decoration of Main Spaces of Hellenistic-Roman Houses in Egypt." Arts 11, no. 1 (2021): 2. http://dx.doi.org/10.3390/arts11010002.

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The article is based on the research conducted by the authors. The houses from the ancient town discovered in 1985 on the Mediterranean coast at the location of today’s Marina el-Alamein, are among the rare remains of Egyptian residential buildings from Hellenistic and Roman times. There are few remains of houses from this period in major cities, including the capital of Alexandria. The ancient town, which functioned under the influence of nearby Alexandria, developed from the second century BC to the sixth century AD. Various types of buildings, relatively well preserved here, provide informa

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Starodubcev, Tatjana. "Physician and miracle worker. The cult of Saint Sampson the Xenodochos and his images in eastern Orthodox medieval painting." Zograf, no. 39 (2015): 25–46. http://dx.doi.org/10.2298/zog1539025s.

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Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he

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Aravecchia, Nicola. "Geometric painting in late-antique Egypt: the ceiling of a 4th-c. church at Amheida (Dakhla Oasis)." Journal of Roman Archaeology 33 (2020): 449–66. http://dx.doi.org/10.1017/s1047759420001117.

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As part of an investigation of the use of geometric painting on ceilings in late-antique Egypt, this article will focus on the evidence found in a 4th-c. A.D. church at the polis of Trimithis (Amheida), located in the Dakhla Oasis of Egypt‘s Western Desert. Excavation in 2012-13 as part of a project directed by R. S. Bagnall highlighted the church‘s rôle for both cult and burials. Thousands of fragments of painted plaster, part of the church‘s collapsed flat ceiling, revealed a wide array of interlocked geometrical shapes in vivid colors, creating a visually dramatic contrast with the church‘s

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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

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Waliszewski, Tomasz, and Julia Burdajewicz. "Unearthing Houses in Porphyreon and Chhim. Structure, Spatial Development, and Decoration of Domestic Spaces in Late Antique Phoenicia." Światowit, no. 58 (September 14, 2020): 173–95. http://dx.doi.org/10.31338/0082-044x.swiatowit.58.10.

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Porphyreon (Jiyeh/Nebi Younis) and Chhim were large rural settlements situated on the coast of modernday Lebanon, north of the Phoenician city of Sidon. As attested by the remains of residential architecture, they were thriving during the Roman Period and late Antiquity (1st–7th centuries AD). This article presents the preliminary observations on the domestic architecture uncovered at both sites, their spatial and social structure, as well as their furnishing and decoration, based on the fieldwork carried out in recent years by the joint PolishLebanese research team. The focus will be put on t

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Nabil Alshehadeh, Gharam. "The colors used in the mural painting of Roman houses in the oases of Dakhla and Kharga." International Journal of Multidisciplinary Studies in Architecture and Cultural Heritage 6, no. 2 (2023): 51–73. http://dx.doi.org/10.21608/ijmsac.2024.230576.1024.

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Rousseau. "Reflection, Ritual, and Memory in the Late Roman Painted Hypogea at Sardis." Arts 8, no. 3 (2019): 103. http://dx.doi.org/10.3390/arts8030103.

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Wall painting in the Sardis hypogea expresses a regional visual language situated within the context of Late Antique approaches to decorative surfaces and multivalent motifs of indeterminate religious affiliation. Iconographic ambivalence and a typically Late Antique absence of illusionism creates a supranatural world that is grounded in the familiar imagery of home and gardens but does not quite reflect the natural world. Ubiquitous and mundane motifs were thus elevated and potentially charged with polysemic allusions to funerary practice and belief. Twelve fourth century C.E. hypogea form a

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Guglielmi, Vittoria, Valeria Comite, Martina Andreoli, Francesco Demartin, Chiara Andrea Lombardi, and Paola Fermo. "Pigments on Roman Wall Painting and Stucco Fragments from the Monte d’Oro Area (Rome): A Multi-Technique Approach." Applied Sciences 10, no. 20 (2020): 7121. http://dx.doi.org/10.3390/app10207121.

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This work concerns the characterisation of a set of wall painting and stucco fragments collected during a rescue excavation carried out in 2013 by the Soprintendenza Archeologica in the Monte d’Oro area (Rome). Due to the contextless archaeological situation, analyses were performed to obtain more information about the collected materials. A multi-analytical approach has been applied including spectroscopic (FTIR, Raman and visible reflectance analyses) and elemental analysis (SEM-EDS) techniques. The chromatic palette has been in this way disclosed evidencing the use of pigments such as cinna

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Czerner, Rafał, and Grażyna Bąkowska-Czerner. "House H10 from Marina el-Alamein on the northwest coast of Egypt." Polish Archaeology in the Mediterranean, no. 29/2 (December 31, 2020): 319–46. http://dx.doi.org/10.31338/uw.2083-537x.pam29.2.14.

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House H10 was one of the buildings located in a Hellenistic-Roman city at the Marina el-Alamein site in Egypt, whose relics were the first to be discovered. Successive research, conducted since 1997 along with initial conservation work, has provided a comprehensive overview. The house is one of the largest and most extensive of this site. Its spatial design is a showcase for the technology typical of houses from Marina. The house is embedded in both Greco-Hellenic and Roman traditions. It is an oikos house with a courtyard with two columned porticoes situated symmetrically on either side paral

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Fredrick, David. "Beyond the Atrium to Ariadne: Erotic Painting and Visual Pleasure in the Roman House." Classical Antiquity 14, no. 2 (1995): 266–88. http://dx.doi.org/10.2307/25011023.

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Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items (mirrors, lamps, Arretine ware) suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film is adapted

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Liberotti, Riccardo, and Vittorio Gusella. "INFRA REDable. Thermography for the diagnosis and conservation of frescoed walls: the case of the Templar Church of San Bevignate." Restauro Archeologico 30, no. 1 (2022): 114–33. http://dx.doi.org/10.36253/rar-12594.

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The importance of research that addresses the numerous themes of architectural and cultural heritage conservation is a fact that has now been acquired on the national and international scene. The objective of the ongoing research presented is the study and development of infrared thermography as an innovative technique for non-contact, and absolutely non-invasive, investigations for the diagnosis of ancient masonry walls with specific attention to frescoes. In parallel, the devised technique is applied to a case study of very high historical value: the cycles of mural paintings of the Templar

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Ion, Rodica-Mariana, Marius Gheorghe Barbu, Andrei Gonciar, et al. "A Multi-Analytical Investigation of Roman Frescoes from Rapoltu Mare (Romania)." Coatings 12, no. 4 (2022): 530. http://dx.doi.org/10.3390/coatings12040530.

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(1) Background: Due to the precarious situation of many monuments or archeological sites, analytical investigations are necessary to obtain information about the used materials, as well as to identify the most appropriate solutions for their conservation/restoration. This paper addresses the characterization of mural painting fragments collected during the excavation in 2018 in Rapoltu Mare (La vie), Deva. (2) Methods: Specific analytical techniques were used, as follows: X-ray diffractometry (XRD), wavelength dispersive X-ray fluorescence (WDXRF), optical microscopy (OM), zoom microscopy and

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Ditta, A., André Carneiro, Cristina Galacho, and Patrícia Moita. "Mortars and Renders: The Case of the Roman Villa Horta da Torre Fronteira, Portugal." Heritage 7, no. 3 (2024): 1589–617. http://dx.doi.org/10.3390/heritage7030076.

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The archaeological site of villa Horta da Torre in Portugal reveals distinctive architectural features within the context of Roman villae in Hispania. Notably, the triclinium was designed with an artificial cascade originating from a double apse wall, and the walls were adorned with mosaic tessellae panels and marble skirting. During the Roman era, the surrounding area belonged to the former province of Lusitania, with Augusta Emerita serving as its capital. This study examines 11 mortar samples from various contexts and functions, such as masonry, preparatory, render, and opus signinum mortar

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Pogliani, Paola, Claudia Pelosi, Luca Lanteri, and Giulia Bordi. "Imaging Based Techniques Combined with Color Measurements for the Enhancement of Medieval Wall Paintings in the Framework of EHEM Project." Journal of Imaging 10, no. 7 (2024): 159. http://dx.doi.org/10.3390/jimaging10070159.

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(1) Background: This paper illustrates an innovative methodological approach chosen to study and map the colors of the medieval wall painting of Santa Maria Antiqua in the Roman Forum, one of the pilot sites of the EHEM project (Enhancement of Heritage Experiences: The Middle Ages). Digital Layered Models of Architecture and Mural Paintings over Time). (2) Methods: Two methods were employed to gather information about colors and mapping. Specifically, colorimetry was utilized for spot measurements, and hypercolorimetric multispectral imaging (HMI) was employed to map the same colors sampled th

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Jastrzębowska, Elzbieta. "Wall Paintings in the House of Aion at Nea Paphos." Polish Archaeology in the Mediterranean 27, no. 1 (2018): 527–97. http://dx.doi.org/10.5604/01.3001.0013.2015.

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This paper studies a collection of painted plaster fragments excavated between 1984 and 1989 in the northern part of the so-called House of Aion, that is, three small rooms (Nos 3, 13, 14, 15 and 7). The architectural context of these finds and their dating is first recapitulated: the house was constructed in the second half of the 4th century only to be demolished by a strong earthquake at the end of the century or the beginning of the following one. Most of the plaster pieces were small and of little significance in terms of the remaining colors, but a few from Room 7 were sufficiently well

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Basso, Elena, Federico Carò, and Dorothy H. Abramitis. "Polychromy in Ancient Greek Sculpture: New Scientific Research on an Attic Funerary Stele at the Metropolitan Museum of Art." Applied Sciences 13, no. 5 (2023): 3102. http://dx.doi.org/10.3390/app13053102.

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Polychromy in Ancient Greek Sculpture was the subject of the exhibition Chroma: Ancient Greek Sculpture in Color, held at The Metropolitan Museum of Art (The Met), New York, in 2022–2023. On this occasion, a multidisciplinary project involving The Met’s Departments of Greek and Roman Art, Objects Conservation, Imaging, Scientific Research, and colleagues from the Liebieghaus Polychromy Research Project in Frankfurt, Germany, was carried out to study an Attic funerary monument. The color decoration of the sphinx was reconstructed by combining non-invasive and minimally invasive techniques that

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Castaldi, Martina, and Agostina Maria Giusto. "The Drawn Garden: Historical, Iconographical and Representative Analysis through Time of the “Villa Di Livia” in Rome." Athens Journal of Architecture 10, no. 3 (2024): 279–310. http://dx.doi.org/10.30958/aja.10-3-4.

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“Villa di Livia” at Prima Porta is an archaeological complex located in the suburban area of Rome. This villa was built in 39-38 B.D. at the behest of Livia Drusilla Claudia, the wife of Gaius Julius Caesar Augustus. The discovery of this complex took place in 1863 and brought to light several archaeological finds: one of particular aesthetic value are the frescoes with naturalistic motifs, where the attention to detail, the pictorial technique and the variety of flora and fauna make it one of the most famous examples of Roman garden motif painting. The aim of this research is to analyse the w

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Friedrich, Jacek. "Ikonografia witraży Wiktora Ostrzołka w gdańskim kościele Mariackim (1977–1980)." Porta Aurea, no. 20 (December 21, 2021): 206–17. http://dx.doi.org/10.26881/porta.2021.20.09.

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In 1966, a commemorative decoration appeared inside St Mary’s Church in Gdansk: its main component was the painting showing Poland’s Baptism placed in the chancel. Meanwhile, a pillar by the Priests’ Chapel was decorated with a standard bearing striped concentration camp uniform cloth with numbers of priests -prisoners in Nazi camps. This referred directly to the décor of the Priests’ Chapel created not long before, and in which Polish priests murdered during WW II had been commemorated in 1965. Thus the millennial decoration of the chancel clearly associated the history of the Polish state wi

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Lopukhova, Marina Aleksandrovna. "THE “ALLEGORY OF MUSIC” BY FILIPPINO LIPPI. GENEALOGY OF IMAGE." LOMONOSOV HISTORY JOURNAL 64, no. 2023, №3 (2023): 174–93. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-3-174-193.

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The female image presented in the small painting “Allegory of Music” by Filippino Lippi (Gemaeldegalerie, Berlin) is most likely associated with the plot of a theatrical performance played out in 1475 in Pesaro on the occasion of the wedding of Costanzo Sforza and Camilla of Aragon. Th e similarity of the attributes of the heroine with the attributes of the muse Erato, who greeted the newlyweds, was pointed out by A. Warburg, who placed two images, the Filippino board and an illustration from the Vatican manuscript containing the text of the wedding performance, next to each other in his “Mnem

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Williams-Beck, Lorraine A. "THE PENINSULAR MAYA’S UNFINISHED SPIRITUAL CONQUEST." Contributions in New World Archaeology 14 (June 30, 2020): 201–34. http://dx.doi.org/10.33547/cnwa.14.06.

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Do Maya sacred artistic manifestations in sixteenth to eighteenth-century Franciscan convents, churches, and chapels reflect native ideological persistence, a Maya and Christian amalgamation, or a European Catholic subsumed spiritual meld? This study explores the sculptural and painted expressions that adorn Colonial religious architecture found in the Yucatan Peninsula. Ethnohistoric sources, historic documents, physical geographical location, and spatial layout for these buildings, their sculptural programs and mural painting iconographic motifs, and spiritual spaces surrounding those edific

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Gavrilovic-Vitas, Nadezda, and Bojan Popovic. "Late antique domus in Skelani (Municipium Malvesiatium)." Starinar, no. 65 (2015): 197–220. http://dx.doi.org/10.2298/sta1565197g.

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During June and July 2014, at the site of Zadruzni Dom in Skelani, archaeological investigations of the late antique building were carried out, whose rooms were first discovered in the course of archaeological excavations in 2008. The building has a rectangular base, of a northeast-southwest orientation, with the discovered part measuring 20.90 x 30.90 m. What is distinguishable within the asymmetrical base is an entrance, along with eleven rooms, two of which have apses, and a peristyle, i.e. an inner courtyard with a roofed corridor surrounding it which connects all the rooms of the building

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Van Den Boogert, C. "Habsburgs imperialisme en de verspreiding van renaissancevormen in de Nederlanden: de vensters van Michiel Coxcie in de Sint-Goedele te Brussel." Oud Holland - Quarterly for Dutch Art History 106, no. 2 (1992): 57–80. http://dx.doi.org/10.1163/187501792x00082.

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AbstractThe introduction and diffusion of Italian Renaissance forms in sixteenth-century Netherlandish art has usually been described as a process initiated by artists who travelled south, adopted the new style and reaped success after their return to the Netherlands. In giving full credit to the artists and considering this phcnomenon to be a process of artistic exchange in the modern sense, art historians have wrongly disregarded the historical circumstances that caused patrons' preference for the new style. The earliest use of Renaissance forms in the Low Countries on a large scale may be o

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Tyshchyk, V. "Programmability projections in “The Ancient Kiev Frescoes” by A. Stashevsky for the button accordion." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 33–49. http://dx.doi.org/10.34064/khnum1-55.03.

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The article explains the role of extra-musical factors in the creation of the compositions, caused by the action of the art synthesis as a cross-cutting theme of the composer’s creativity in the European tradition. In the academic art, this phenomenon has acquired the status of the program method, which to some extent has directed the listeners’ perceptions. The actualization of the present topic and its predetermined task is to determine the degree of the correlation of the semantics of a new composition to its artistic original, since it is precisely on the “artistic type translation” that b

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Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.

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Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this pr

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Novakova, Mrg Lucia. "Symbolic figures in Early Imperial Asia Minor. Reshaping of funeral architecture?" ILIRIA International Review 6, no. 2 (2017). http://dx.doi.org/10.21113/iir.v6i2.246.

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The Hellenistic tradition of funerary monuments in Early Imperial Asia Minor was based equally on both, the form and decoration of tomb monument. Figural decoration on panel reliefs or sarcophagi embodied political allegory and civic ideology together with the depiction of the deceased. Unfortunately, various free standing statues and mural paintings are nowadays consider lost, despite numerous references of ancient authors and epigraphic evidence. How much of funerary decoration should be understood in terms of traditional civic ideas of the Hellenistic world and how much in terms of Roman co

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Pannuzi, Simona, Marina Marcelli, Cecilia Balsi, Carla Giovannone, Mauro Torre, and Stefano Ridolfi. "Roma, Sepolcreto della via Ostiense: le pitture murali e la loro conservazione. Tecnica, modalità decorative, cronologia." Restauro Archeologico 30, no. 2 (2023). http://dx.doi.org/10.36253/rar-14205.

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Along via Ostiensis, near the St. Paul’s Basilica, an important part of a roman cemetery was digged up in 1917 during roadworks and now it is still visible. This funerary area, where the most common typology is a small familiar building (columbarium), was dated from the 2nd century B.C. to 3rd-4th century A.D. At the end of the archaeological survey, only a little part of the funerary area was restored, provided with a covering and opened to the public. Elegant paintings of natural and mythological elements decorate most of the tombs, in some cases also connected with stucco decorations, and t

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Bardik, Maryna. "The Great Pechersk Church’ Mural Paintings of the Late 19th Century as the Interpretation of Its Old Russian Image." National Academy of Managerial Staff of Culture and Arts Herald, no. 3 (November 16, 2021). http://dx.doi.org/10.32461/2226-3209.3.2021.244412.

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The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880. The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientif

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Bardik, Maryna. "Theological Programme, Analogies, Innovations in Mural Painting of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894." Almanac "Culture and Contemporaneity", no. 2 (December 20, 2023). http://dx.doi.org/10.32461/2226-0285.2.2023.293872.

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The purpose of the article is to investigate the theological programme, continuity and originality of the mural paintings of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894. The research methodology is based on historical and cultural analysis, as well as art historical analysis. The scientific novelty of the study. The theological programme of the mural painting of the Cross Exaltation Church of the Kyiv-Pechersk Lavra in 1894 has been studied: its genesis, ideological basis, main theme, thematic plot lines, and thematic hierarchy have been determined. The conti

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Tarakanova, Ekaterina I. "Antique motifs in Pinturicchio decoration of Roman chapels." Academia 4 (2020). http://dx.doi.org/10.37953/2079-0341-2020-4-1-464-478.

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The article traces the evolution of ancient motifs in the Roman chapels painted by Pinturicchio and his workshop. For the first time, the symbolic significance of the grotesque is noted in the program of painting in these religious ensembles, most of which are somehow connected with an ancient history. It is shown how the use of antique techniques and characters embodies the idea of the triumph of Christianity over the pagan past. The role of Pinturicchio – an experienced and talented artist who masterfully painted frescoes – in inventive and witty thinking of the program of painting and skill

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Bardik, Maryna. "Classicism Style in Mural Painting of Kyiv-Pechersk Lavra Churches." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (April 16, 2024). http://dx.doi.org/10.32461/2226-3209.1.2024.302062.

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The purpose of the article is to study the features of the classicism style in mural paintings of the Kyiv-Pechersk Lavra churches. The research methodology based on the complex using of historical and cultural analysis, art study one, biographical method. The scientific novelty of the study. The implementation of the classicism style in the mural painting of the Kyiv-Pechersk Lavra is discovered. The archival descriptions of murals, photos, cartograms have been put into scientific circulation. On the basis of records, the stylistic signs of classicism in the mural paintings of the side-altar

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Bardik, Maryna. "Academicism in the Kyiv-Pechersk Lavra Mural Painting the Late 19th and Early 21st Centuries." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (December 20, 2023). http://dx.doi.org/10.32461/2226-3209.4.2023.293722.

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The purpose of the article is to introduce into scientific circulation, to attribute modern compositions of the academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra, to study their genesis. The research methodology consists in the complex application of historical and cultural analysis, art study, diachronic ones, as well as empirical observation. The scientific novelty of the study. The materials of the survey and proposals for restoration (1998) the compositions of academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra of the late 19th – early

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Bardik, Maryna. "To the Issue Concerning a Byzantine Iconostasis in the Kyiv-Pechersk Lavra, the 19th – Beginning of the 20th Centuries." Almanac "Culture and Contemporaneity", no. 2 (December 27, 2021). http://dx.doi.org/10.32461/2226-0285.2.2021.249250.

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The purpose of the article is to discover the issue of creating the Byzantine iconostasis in the artistic decoration of the Kyiv-Pechersk Lavra in the 19th – early 20th centuries a case study of the Great Pechersk Church (the Dormition Cathedral). The methodology is based on complex using historical and cultural analysis, and art study analysis. Scientific novelty. Milestones of creating the Byzantine style iconostasis in the Dormition Cathedral during the 19th – Early 20th centuries have been discovered. The cultural and artistic basis for implementing the idea of Byzantine iconostasis in 184

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Bardik, Maryna. "“Sacred Images” in the Interior of the Kyiv-Pechersk Lavra’s Great Church: the Factual System of Sacral Murals, 1897 – 1901." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 25, 2023). http://dx.doi.org/10.32461/2226-3209.3.2023.289826.

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The purpose of the article is to introduce into scientific circulation documents presenting the factual system of sacred compositions 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Dormition Cathedral (Great Church). The research methodology is synthesis of historical and cultural analysis, as well as art study analysis. Scientific novelty. The author has introduced the album of drawings by the artist Andrii Lakov into scientific circulation: “V. І. Vernadsky National Library of Ukraine. Lakov A. A. The album of plans and detailed drawings the inside of the Kyiv-Pechersk Lavra’s Grea

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Bardik, Maryna. "Baroque Painting of Great Pechersk Church: Unknown Compositions and Spatial Pauses." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 2 (September 3, 2023). http://dx.doi.org/10.32461/2226-3209.2.2023.286880.

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The purpose of the article is to present the visual sources of the original Baroque mural paintings of the Dormition Cathedral, as well as to discover the reason for the absence of murals in some compartments of the upper tier before 1843. The research methodology is based on historical, cultural analysis, and art study analysis. Scientific novelty. The author specifies which compartments of the upper tier in the Great Church (Dormition Cathedral) remained without paintings until the 1840s. The reason (the confidentiality of preservation of the Lavra treasury) for which these compartments were

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