Relevant bibliographies by topics / Spanish Mural painting and decoration

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

Academic literature on the topic 'Spanish Mural painting and decoration'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Spanish Mural painting and decoration"

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Romaniv, Oksana, Oleksii Rybachok, and Daria Savelyeva. "STREET ART IN THE SPACE OF THE TOURIST ENVIRONMENT OF ZHYTOMYR." GEOGRAPHY AND TOURISM, no. 54 (2019): 41–49. http://dx.doi.org/10.17721/2308-135x.2019.54.41-49.

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The aim - to study the main characteristics of the tour "Street art Zhitomir" and its strategy to promote on the urban tourism market. Research methodology includes a system of methods and techniques: monographic, methods of market research (applied in the study of the existing demand for the proposed type of travel products and attitudes of local people to the street art), interviews with experts (used in collecting information about sightseeing objects), the method of field research (used in the study of the actual state of excursions subjects in real-world conditions of the area). Research results. Reviewed the role of street art in urban space rethinking the example of prominent projects in the world. Established terminological meaning of "street art", "mural", "graffiti" and so on. The benefits of increasing the popularity of street art are noted. Wall painting or mural (in Spanish muro - "wall", "masonry") - a kind of monumental and decorative painting, performed directly on the wall or plaster, in which the images and decorative ornaments are subordinated to architectural forms. It allows to improve urban landscapes in combination with post-Soviet architecture. Other positives of street art are: creating landmarks, designing space, marking space, and more. A separate positive of the Murals: they help attract more tourists to the cities. The text of the publication gives examples of murals in famous tourist centers, which have helped to transform the urban space. The article discusses the importance of street art as one of the most popular and fastest growing types of contemporary art in shaping the space of the urban tourism environment of Zhytomyr. It defines the role of murals as the most common direction of Zhytomyr street art. The results of the study of the most famous and significant murals of the city of Zhytomyr by available sources of information are presented, the possibility of their involvement in the excursion program is analyzed. The main components of the excursion product "Street Art Zhytomyr" in the publication are developed. The tools for promoting the proposed excursion product to the urban tourism market are identified. The scientific novelty of the work: an innovative city excursion product was developed. The excursion program includes fifteen locations. The content of the tour is designed for both professional artists and those who are not experts in the field of art. The practical significance of the work: this excursion product can be introduced into the tourism market and it will contribute to the formation of a positive tourist image of the city of Zhytomyr.
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Kawamura, Yayoi. "The Art of Barniz de Pasto and Its Appropriation of Other Cultures." Heritage 6, no. 3 (March 22, 2023): 3292–306. http://dx.doi.org/10.3390/heritage6030174.

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This study analyzes the techniques and decorative motifs of several works made using barniz de Pasto, highlighting their characteristics in order to establish comparisons with artistic phenomena of Asia and Europe. A possible link can be observed between barniz de Pasto and the Namban and Pictorial style Japanese export lacquer works of the 17th and 18th centuries. A search for similarity is justified by the documentary and material evidence of Japanese works created in these styles being transported from Japan to the Viceroyalty of New Spain by Manila galleons via the trade route between Acapulco and Callao. Additionally, traces of the Spanish culture have been recognized in barniz de Pasto. For example, printed images that circulated in the Viceroyalty of Peru have been observed on a coffer. This appropriation, also observed in the mural painting of a Central Andean church, and the presence of the image of Amaru, a Quechua deity, on the same coffer, marks the Central Andes as one of the possible places where the practice of barniz de Pasto could have been established. All of this points to Central and South America’s great ability to appropriate foreign cultures and fuse them with their own during the viceregal period, as manifested in the art of barniz de Pasto.
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Flores-Sasso, Virginia, Gloria Pérez, Letzai Ruiz-Valero, Sagrario Martínez-Ramírez, Ana Guerrero, and Esteban Prieto-Vicioso. "Physical and Chemical Characterisation of the Pigments of a 17th-Century Mural Painting in the Spanish Caribbean." Materials 14, no. 22 (November 14, 2021): 6866. http://dx.doi.org/10.3390/ma14226866.

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The arrival of Spaniards in the Caribbean islands introduced to the region the practice of applying pigments onto buildings. The pigments that remain on these buildings may provide data on their historical evolution and essential information for tackling restoration tasks. In this study, a 17th-century mural painting located in the Cathedral of Santo Domingo on the Hispaniola island of the Caribbean is characterised via UV–VIS–NIR, Raman and FTIR spectroscopy, XRD and SEM/EDX. The pigments are found in the older Chapel of Our Lady of Candelaria, currently Chapel of Our Lady of Mercy. The chapel was built in the 17th century by black slave brotherhood and extended by Spaniards. During a recent restoration process of the chapel, remains of mural painting appeared, which were covered by several layers of lime. Five colours were identified: ochre, green, red, blue and white. Moreover, it was determined that this mural painting was made before the end of the 18th century, because many of the materials used were no longer used after the industrialisation of painting. However, since both rutile and anatase appear as a white pigment, a restoration may have been carried out in the 20th century, and it has been painted white.
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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 are dealing with paintings done in the second half of the sixteenth century.
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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 (November 5, 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 study, grading and restoration. Examples of the above are discussed.</p>
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Grau Tello, María Luisa. "Pintando la Transición. El caso del Colectivo Plástico de Zaragoza." Artigrama, no. 38 (June 27, 2024): 167–83. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.20233810762.

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Resumen Durante los años 60 y 70, la pintura mural en el espacio urbano se convierte en una expresión artística que recorre el panorama internacional al calor de los acontecimientos políticos y movimientos sociales que acontecen en diversos países. España forma parte también de esa tendencia que discurre en paralelo, y con especial intensidad, durante los últimos estertores del franquismo y el desarrollo de la Transición. El Colectivo Plástico de Zaragoza es uno de los nombres propios de esta corriente, poniendo en práctica un nuevo modo de entender la creación artística, tanto en su concepción material como en el proceso de creación. Abstract During the 60s and 70s, mural painting in urban spaces becomes an artistic expression across the international scene and in the middle of the events and social movements that took place in different countries. Spain is part of that trend that runs during the last death throes of Franco’s regime and the first steps of the Transition. The Colectivo Plástico de Zaragoza is one of the main characters of this artistic scene, putting into practice a new way of understanding artistic creation, both in its material conception and the creation process. Keywords Mural painting, poster, sticker, Spanish Transition, Social Movements, resident’s association, neighbourhood.
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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 (July 20, 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 specimens taken from different wall paintings were compared with each other to observe their differences and similarities. The three investigated churches are believed to have been painted by the same iconographer, Tzortzis, who however has only been identified in only one of them. The comparison led to the conclusion that there are many similarities in the painting materials used and the general methodology adopted and, therefore, this study offers support to the belief that the mural paintings of the three monasteries could have been painted by the same iconographer. While not authenticating the two painting as being by Tzortzis, the results provide further critical material that is consistent with this attribution. However, this statement must be carefully considered because the pigments identified have been commonly and diffusely used in historic mural paintings.
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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 representations of the deceased Saviour and Christ the Great Archpriest - are compared to various liturgical sources and visual analogies (monumetal painting and liturgical textiles) in the medieval art of Serbia and Byzantium.
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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, adapted to local artistic traditions. The research can be used in the attribution of saved samples of the monumental art. Conclusions. The monumental painting in the Polish-Lithuanian Commonwealth, in particular in Galicia, developed in the context of artistic trends in West and Central European countries. Chronologically, the development of monumental painting in Galicia ranged from the thirties until the late XVIII century. As for the formal characteristics of monumental art, in the territory of the Commonwealth, the most common were three compositional types of polychrome: local variation of Italian «quadro riportato», illusionistic and panoramic. The basis of the first is the method of placing of the image on the vault area, framed with imitated or sculpted frame, the second is based on the quadrature and other methods and techniques of illusionistic monumental art, the third includes a panoramic image on the vault. In Galicia, the third type of vault decoration has not become widespread. Visiting masters were the bearers of these trends. They implemented the polychrome in local cathedrals, using a wide variety of methods and techniques for the formal solutions of mural compositions, typical for European art schools. Later, local artists adopted this experience, creating polychromes with certain interpretations of compositional types.
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García Valgañón, Rocío. "LAS ANCIANAS MAYAS PREHISPÁNICAS EN LA ICONOGRAFÍA Y LAS FUENTES COLONIALES." Studia Europaea Gnesnensia, no. 15 (June 15, 2017): 95–131. http://dx.doi.org/10.14746/seg.2017.15.5.

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The paper offers a revision of the current knowledge concerning elderly Maya women, based on Maya and Spanish colonial sources, as well as iconographic artefacts such as vessels, figurines and mural painting. The main objective is to determine whether information derived from the above sources is congruent and whether it coincides with the current notions about these women. Moreover, special attention is paid to certain roles played by the elderly Maya women, which distinguish them from other female members of the community and, at the same time, bring them almost on a par with men.
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Dissertations / Theses on the topic "Spanish Mural painting and decoration"

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Tamm, John A. "Argentum potorium in Romano-Campanian wall-painting /." *McMaster only, 2001.

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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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Master of Visual Arts
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Damiani, Piergiovanni. "L'oratorio dei confratelli di Civo religiosità popolare ed arte in Valtellina tra Quattro e Cinquecento /." Sondrio : Società storica valtellinese, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53878936.html.

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Baird, Kathryn. "Secular wall painting in the sixteenth and seventeenth centuries." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:bcc25824-3997-43ce-91d1-a58331519d68.

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Wall paintings survive in many houses dating from the late sixteenth and early seventeenth centuries yet, apart from recording the phenomenon, there has been very little written about them. This research explores how common wall paintings were, what sort of houses had them, when they were painted and most importantly, what was their significance in terms of what they can reveal about the lives of the people who chose to decorate their homes in this manner. Research has concentrated on the Welsh Marches although examples from elsewhere have been referred to. The research hypotheses are:
  • 1. Wall paintings were much more widespread than existing records suggest and were probably universal where there was money to spend on embellishing a house.
  • 2. Following on from this, wall paintings would have been found in houses throughout the social scale, apart from the humblest dwellings.
  • 3. The paintings were executed by itinerant painters who used pattern books as a source of design.
  • 4. This form of decoration was most commonly found in the period 1550-1625, with few paintings prior to this date and a rapid decline in numbers after this period.
  • 5. In some cases there is a connection between the content of the painting and the function of the room.
The fifth hypothesis was widened during the course of the research to examine the significance of wall paintings generally. In trying to find out what wall paintings signified to the owners of houses, this research has attempted to look at all the facets of their life and environment which may have a bearing on this. This includes an understanding of the buildings themselves, exploring who the people were who might have lived in them and placing these people in their social and cultural contexts. Always the emphasis has been on the small and local rather than on the bigger picture. as this is what touched people at the vernacular level most closely. In order to do this, the research has adopted a wide-ranging and multidisciplinary approach which cuts across traditional fields of knowledge. Therefore, the study combines library and documentary-based evidence with extensive fieldwork, in order to investigate diverse kinds of evidence. This includes research on the wall paintings themselves, the buildings in which they were found and the social, religious and cultural circumstances in which they were created. The research synthesises a wide range of methods for gathering and interpreting data: study and analysis of contemporary literature and documents, the study of a wide range of published and unpublished research, and a substantial fieldwork survey. First the context in which wall paintings were created is explored, in terms of physical environment, cultural and social characteristics of the period, and the church. Then the key findings arising from the fieldwork are discussed, looking at the sorts of houses that have wall paintings, the people who lived in them, and in detail at the characteristics of the paintings found. 233 wall paintings were recorded in 188 buildings. The hypotheses about universality and status are explored by investigating the vernacular qualities of wall painting in terms of materials and techniques required, who was doing the paintings, and their cost. Through the identification of a range of iconography, and the classification of paintings, possible sources for wall painting designs are explored. Finally the key issue of the significance of painted decoration at the vernacular level is discussed drawing on the various strands of the research in order to understand why particular forms of decoration might have been chosen, and what social and cultural meanings they may have had. The findings of the research indicate that wall paintings were very widespread. They were found throughout the area of study in houses of all but the very poor. Whilst the majority of paintings surveyed were in houses of the gentry or better-off members of society it is argued that this reflects the differential rate of survival of vernacular buildings. A technical analysis of wall paintings and an assessment of their total cost reveals the vernacular qualities of the wall paintings. This also suggests that wall paintings were only ever intended as short term decoration as some of the pigments used were very fugitive. Further evidence for this has been found in the practice of overpainting one scheme with another within a short period, which was revealed through microscopic analysis of paint samples. The contemporary aesthetic included striking yet crude designs which were capable of being executed by local craftsmen. These findings indicate that wall paintings could have been extensive lower down the social scale. Whilst painted decoration throughout the sixteenth and seventeenth centuries was examined, it is submitted that the majority of paintings were executed during the late sixteenth and early seventeenth centuries - a period of considerable change during the transition from a medieval to an early modern society. The paintings dating from this period have a character quite distinct from the limited number found earlier and later than this period. The significance of wall paintings is closely bound up with issues of status. This period of transition was characterised by outward expressions of status by means of display in a variety of forms. It is argued in this research that wall paintings were an element of such display. Iconography included decorative as well as figure subjects and it is this that holds the key to the significance of the paintings. The higher status houses had the more complex figurative and ornamental schemes whilst, for the most part, the humbler houses had simpler ornamental schemes. Also the simpler, decorative schemes seem to have been more common in halls whilst more sophisticated paintings appear to have been in the more private rooms of the house. The iconography and the context of the wall paintings can provide an important insight into some of the more intangible and elusive aspects of vernacular life. Social and cultural values of the period are particularly difficult to access as surviving indicators of these are limited. Literary sources have limited value in a society which expressed itself in a predominantly non-literate fashion. Vernacular buildings can provide a major source of information and this research argues that wall paintings were a key element in vernacular buildings at a specific time during the transition from a medieval to an early modern society and are, therefore, a crucial record of changing social and cultural values.
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Davos, Afroditi Climis. "Locating the politics of contemporary public art towards a new historiography /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973060661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Olsson, Melinda. "The Casa della Venere in Bikini (I 11, 6-7) at Pompeii : its decoration and finds /." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09pha733.pdf.

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Thesis (Ph. D.)--University of Adelaide, Dept. of Classics, 1989?
Vol. 2. consists of 64 leaves of mounted photographs. Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide. Includes bibliographical references (leaves 276-291).
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Segal, Marcelle. "Street art commentary as inspiration for jewellery design." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1442.

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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010
The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.
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Samuel, Anne E. "Vision conceptualized in the American Renaissance murals of Edwin Howland Blashfield." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 817 p, 2007. http://proquest.umi.com/pqdweb?did=1397902901&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Books on the topic "Spanish Mural painting and decoration"

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Lasarte, Juan Ainaud de. Catalan painting. New York: Rizzoli, 1990.

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translator, Terry Judith, Opstelten Bram translator, Zürcher Kunstgesellschaft, Kunsthaus Zürich, and Schirn Kunsthalle Frankfurt, eds. Joan Miró: Wall, frieze, mural. Zürich: Kunsthaus Zürich, 2015.

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Goñi, Pedro Echeverría. Contribución del País Vasco a las artes pictóricas del Renacimiento: La pinceladura norteña. [Vitoria-Gasteiz: P.L. Echeverría Goñi, 1999.

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Consell Cultural de les Valls d'Aneu (Spain), ed. La pintura mural romànica de les Valls d'Àneu. Barcelona: Publicacions de L'Abadia de Montserrat, 2008.

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Manzarbeitia, Santiago, and Félix Díaz Moreno. Pintura mural en la Comunidad de Madrid. Madrid]: Comunidad de Madrid, Dirección General de Patrimonio Histórico, 2015.

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Jiménez, César Pacheco. Pintura mural del siglo XVIII en Talavera: Orgullo y expresión artística en el Barroco. Toledo: Instituto Provincial de Investigaciones y Estudios Toledanos, Diputación Provincial de Toledo, 1998.

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Guardiola, Lorenzo Hernández. Pintura decorativa barrocca en la provincia de Alicante. Alicante: Instituto de Cultura "Juan Gil-Albert," Diputación de Alicante, 1990.

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Arias, Lorenzo. La pintura mural en el Reino de Asturias en los siglos IX y X. Oviedo: Librería Cervantes, 1999.

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Checa, Carmen García-Frías. La pintura mural y de caballete en la Biblioteca del Real Monasterio de el Escorial. Madrid: Patrimonio Nacional, 1991.

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Flórez, Víctor Jesús Medina. Técnica y metodología en la restauración de pinturas murales nazaríes: Estudio comparado de cuatro zócalos en Granada. Granada: Universidad de Granada, 1995.

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Book chapters on the topic "Spanish Mural painting and decoration"

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Kriza, Ágnes. "Depicting Orthodoxy in Rus." In Depicting Orthodoxy in the Russian Middle Ages, 188–218. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.

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An outline of the history of mural and icon-painting in Novgorod demonstrates that the pictorial references in icons to church constructions, interiors, and their mural decorations had a long-standing tradition in Novgorod. Over time, these references became more and more explicit, so that they identified the Christian Church recognizably and exclusively with Byzantine Orthodoxy. The first half of the chapter analyses church decoration and the second icon-painting of Novgorod, thus seeking to explore the direct iconographic roots of the Wisdom icon. The chapter discusses the meaning of the prepared throne (Hetoimasia) in the Novgorod Sophia image, its light symbolism, and the development of anti-Latin ecclesiological iconographies in Novgorod.
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Gussak, David E. "Guernica." In The Frenzied Dance of Art and Violence, edited by David E. Gussak, 232–42. Oxford University Press, 2022. http://dx.doi.org/10.1093/med-psych/9780190064495.003.0010.

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Picasso’s Guernica captured his fury in response to the innocent Basque village of Guernica being destroyed by the German Luftwaffe during the Spanish Civil War. This painting became the template for the Guernica Children’s Peace Mural Project, developed by art educators to facilitate change by guiding children who are experiencing strife to redirect their frustrations into a transformative message of peace. This chapter provides a succinct examination of Picasso and the painting that captured the destruction of a peaceful village. Following this, an in-depth conversation with one of the founders of the Children’s Peace Mural Project, Dr. Tom Anderson, is presented along with a comprehensive review gleaned from the literature. This chapter ultimately explores how one painting provided the blueprint for how art can help children develop connections and help allay the powerlessness, fear, frustration, and anxiety derived from overwhelming circumstances.
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Conference papers on the topic "Spanish Mural painting and decoration"

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Saihoo, Nam-oi. "THE STUDY OF COLOR SCHEME OF MURAL PAINTING AND DECORATION IN INTERIOR ARCHITECTURE (CASE STUDY: TEMPLES IN KHONKAEN)." In International Conference on Arts and Humanities. The International Institute of Knowledge Management (TIIKM), 2018. http://dx.doi.org/10.17501/icoah.2017.4103.

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