Bibliografías temáticas / Decorative Plasterwork

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Literatura académica sobre el tema "Decorative Plasterwork"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "Decorative Plasterwork"

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Thon, Christina, and Geoffrey Beard. "Stucco and Decorative Plasterwork in Europe." Zeitschrift für Kunstgeschichte 49, no. 3 (1986): 416. http://dx.doi.org/10.2307/1482366.

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Alfrey, G. F., and K. James. "The Gamma-Ray Radiography of Decorative Plasterwork." Studies in Conservation 31, no. 2 (1986): 70. http://dx.doi.org/10.2307/1506004.

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Alfrey, G. F., and K. James. "The gamma-ray radiography of decorative plasterwork." Studies in Conservation 31, no. 2 (1986): 70–76. http://dx.doi.org/10.1179/sic.1986.31.2.70.

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Saunt, Jenny. "The Abbotts and Their Book: A Dynasty of Decorative Plasterers and Their Work in Devon, c. 1580–1727." Architectural History 64 (2021): 285–320. http://dx.doi.org/10.1017/arh.2021.12.

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ABSTRACTThe ‘Abbott Book’ is a seventeenth-century pocketbook of over three hundred pages of drawings and notes on decorative plaster and paint made by members of the Abbott family of Devonshire. It has a long and contested history. From the 1920s through to the 1950s, it was given sixteenth-century origins and described as a compilation made by several generations of the Abbott family. During this period, the book’s drawings were used to attribute much sixteenth- and seventeenth-century decorative plaster in the south-west of England to the Abbott dynasty of plasterers. Then, through the 1980s and 1990s, the Abbott story was revisited and dramatically revised. The book was declared a post-1660 work and previous notions of several generations of Abbotts creating it were dispelled. The whole work was reattributed to one man, John Abbott, who was born in 1642 and died in 1727. As a result, plasterwork across the south-west was reattributed to an anonymous ‘Devon School’ of plasterers and, with its new and dramatically shortened lifespan, the book’s usefulness as a source for the broader practices of plasterwork in the period was diminished. Using new evidence relating to watermarks, the genealogy of the Abbotts, the plasterwork they produced and the print sources they used for drawings in the book, this article rewrites the Abbott Book story. It restores the notion that the pocketbook was used by several different members of the Abbott family — at least three and possibly four — over the 150 years between c. 1580 and 1727. By providing a logic and a timeline for its complex compilation pattern, it allows the drawings in the book to shed new light on the design and production processes of seventeenth-century plasterwork not just in Devon, but also in England as a whole.
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Fenlon, Jane. "The Decorative Plasterwork at Ormond Castle: A Unique Survival." Architectural History 41 (1998): 67. http://dx.doi.org/10.2307/1568648.

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Gapper, Claire. "The Impact of Inigo Jones on London Decorative Plasterwork." Architectural History 44 (2001): 82. http://dx.doi.org/10.2307/1568736.

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Gapper, Claire. "Four Worthies on plaster ceilings in Scotland (1617–25)." Proceedings of the Society of Antiquaries of Scotland 151 (November 30, 2022): 203–21. http://dx.doi.org/10.9750/psas.151.1337.

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This article aims to contextualise a group of Scottish plaster ceilings dating from c 1617–1625 which all include roundels with busts of four of the Nine Worthies, to be found in houses identified by William Napier as comprising the Kellie Group. They will be viewed from two different perspectives. First, the Worthies will be considered as a subject popular in the literature and decorative arts of the period. Engravings of the Nine Worthies in a variety of formats enabled this medieval topos to retain its popularity throughout Europe in the 16th and 17th centuries. They featured widely in ornament and interior decoration of this period, not least in plasterwork. By setting these Scottish ceilings within this broader context, this paper will attempt to understand the reasons for their selection. Secondly, in the light of current research into London’s plasterwork and its production in the early 17th century, the provenance of these busts will be reassessed. In 1900 Lord Balcarres’s observation of the similarity between a plaster ceiling in his house and one from the ‘Old Palace’, Bromley-by-Bow, first appeared in print. The similarities included the repetition of roundels containing three of the Nine Worthies. The London building and/or its plasterwork had already been erroneously attributed to James VI/I for many decades and this article will present the historical evidence to dispel the myths which have continued to surface into the 21st century. In addition, the documentary and visual evidence that was adduced prior to the re-creation of two Jacobean ceilings in the State Apartment of Edinburgh Castle will be examined within these contexts.
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Napier, William. "Continuity, Transition and Change: Decorative Plasterwork of Late Seventeenth-Century Scotland." Architectural Heritage 26, no. 1 (2015): 105–20. http://dx.doi.org/10.3366/arch.2015.0070.

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Volyk, Yu P., and O. N. Razumovskaya. "PROBLEMS OF RESTORATION OF DECORATIVE INTERIOR PAINTINGS OF CLASSICISM." National Association of Scientists 4, no. 26(53) (2020): 7–25. http://dx.doi.org/10.31618/nas.2413-5291.2020.4.53.178.

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In the first third of XIX century, the interiors of St. Petersburg buildings were often adorned with decorative paintings on plafonds and cambers. Polychrome painting and grisaille painting, which imitates plasterwork, were usually made with distemper colors. The focus of attention in the era of classicism was antiquity, mythological subjects and heroes. The article discusses the paintings in Kamennoostrovsky Palace, the General Staff building on the Palace square, the Laval's mansion. Decorative interior painting in St. Petersburg was created by artists of Italian origin, the most famous of them being D. B. Scotti. The time and environmental conditions affected these paintings, and their restoration takes a long time and very hard work. The article describes all the difficulties involved in restoration; one of the most important conditions is the use of natural materials. The article also has photos showing the paintings before restoration, in the process of restoration and after its completion
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de la Torre-López, Maria Jose, Ana Dominguez-Vidal, Maria Jose Campos-Suñol, Ramon Rubio-Domene, Ulrich Schade, and Maria Jose Ayora-Cañada. "Gold in the Alhambra: study of materials, technologies, and decay processes on decorative gilded plasterwork." Journal of Raman Spectroscopy 45, no. 11-12 (2014): 1052–58. http://dx.doi.org/10.1002/jrs.4454.

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Tesis sobre el tema "Decorative Plasterwork"

1

Bostwick, David. "Decorative plasterwork of the Yorkshire region, 1570-1670." Thesis, University of Sheffield, 1993. http://etheses.whiterose.ac.uk/1895/.

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Reid, Bronwyn. "Cast architectural ornament : plaster and compo." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214384.

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Plaster and compo are both materials used for cast architectural ornamentation. Preserving, repairing, and in-kind replacing cast architectural ornamentation is necessary to maintain the integrity of a space. Plaster and compo are visually and texturally very similar materials. Compo was invented to be a less costly substitute for plaster. Whereas the two materials are easily mistaken for one another, they are chemically quite different. The ingredients and methods used to create the two separate materials exemplify this difference. Understanding the differences is key to successfully preserving the ornaments and, thus, the spaces in which they are located. Repairing plaster with compo or compo with plaster can lead to the destruction of cast architectural ornaments. Furthermore, chemical paint removers that are safe to use on plaster can deteriorate compo. It is necessary to thoroughly understand the nature of the materials so that informed decisions can be made about their treatments. The study addresses the similarities and differences, the maintenance, deterioration, repair, and replacement of the two materials.<br>Department of Architecture
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Libros sobre el tema "Decorative Plasterwork"

1

Huls, Mary Ellen. Decorative plasterwork: A bibliography. Vance Bibliographies, 1986.

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2

Rawlings, C. E. The conservation of decorative plasterwork. Oxford Brookes University, 1996.

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3

Hanley, Roisin. The history of decorative plasterwork: With reference to the development of the composition and techniques of plasterwork and the role of the stuccodore. University College Dublin, 1999.

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4

Ciglenečki, Marjeta. Štukatura na ptujskem gradu. Pokrajinski muzej Ptuj, 1997.

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5

Dēchawongyā, Čhirasak. Lūatlāi pūnpan pradap bōrānnasathān nai Mư̄ang Chīang Mai. Sathāban Wičhai Sangkhom, Mahāwitthayālai Chīang Mai, 2002.

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Grandjean, Bredo L. Stukarbejder i Danmark: 1660-1800. Poul Kristensens forlag, 1994.

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Tǣngphan, Somsak. Lūatlāi samai ʻAyutthayā. Fāi ʻAnurak Čhittrakam Fāphanang læ Pratimākam Titthī, Kō̜ng Bōrānnakhadī, Krom Sinlapākō̜n, 1993.

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Ciglenečki, Marjeta. Štukatura na ptujskem gradu. Pokrajinski muzej, 1997.

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9

Leksukhum, Santi. Lūatlāi pūnpan bǣp ʻAyutthayā tō̜n plāi, Phō̜. Sō̜. 2172-2310. Mūnnithi Čhēm Thō̜msan, 1989.

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Leksukhum, Santi. Kranok nai dindǣn Thai. Samnakphim Matichon, 1996.

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Capítulos de libros sobre el tema "Decorative Plasterwork"

1

Holmes, Stafford, and Michael Wingate. "Decorative plasterwork." In Building with Lime. Practical Action Publishing, 2002. http://dx.doi.org/10.3362/9781780441047.008.

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Bostwick, David. "Decorative Plasterwork: Materials and Methods." In Interior Finishes & Fittings for Historic Building Conservation. Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444344837.ch4.

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Napier, William. "Thomas Albourn, William Bruce’s Plasterer: ‘An Englishman and the Best Plaisterer that was ever yet in Scotland’." In The Architecture of Scotland, 1660-1750. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455268.003.0008.

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This chapter explores the work and influence of Thomas Alburn an English plasterer who came to Scotland as a soldier and stayed on after the Restoration to work in houses thoughout the southern half of the country. The plasterwork created by Alburn and his men evolved from the 1660s when it relied on decorative elements borrowed from the early seventeenth century, before being influenced by plasterwork common in England.It then transformed completely after he worked alongside plasterers from London at Thirlestane, Holyrood and Balcaskie. Throughout this period the Alburn family seem to have been the plasterers of choice of Sir William Bruce, having worked under his direction at the Royal Palaces, directly for him at Balcaskie and Kinross, and in many of the houses of his private clients. The Alburns also undertook work for Bruce’s successor in office, James Smith. However, their influence in the eighteenth century appears to have lessened as plasterers Clayton, Enzer and Calderwood rose to prominence, the Alburn family plaster moulds eventually being sold at roup in 1750s.
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