Showing papers on "Mural published in 1993"

Mexican Muralists: Orozco, Rivera, Siqueiros

Abstract: The Mexican Mural movement lasted from the 1920s until the early 1970s and represented one of the most powerful and significant achievements for public art this century. This book follows the careers of the three most prominent artists of the movement, 'los tres Grandes' - Jose Clemente Orozco, Diego Rivera and David Alfaro Siqueiros. Dr Rochfort traces their lives from childhood in a rural, feudal society through the bloody years of the revolution and the first commissions from the new state, and on to the years of their artistic maturity and their greatest works. The first study to offer comprehensive color illustrations of all the major murals, both those sited in Mexico and in the United States, where all three artists worked in the 1930s, it also looks at the paintings in the context of their cultural background and assesses the artists' achievements within the political framework of their country. The story is an extraordinary and moving one, telling of the forging of a national identity through an unprecedented marriage between politics and art. Dr Rochfort has written a lively, accessible text which presents a complex period of art history clearly and well, while the illustrations ensure that the sheer scale of the works is never forgotten.

Conservation of mural paintings

Abstract: Deals with the application of scientific techniques in mural painting conservation, especially in India where there are many such paintings. Discusses different aspects of mural paintings, such as techniques, causes of deterioration, and conservation methods. Recent developments in world conservation techniques on mural paintings are also highlighted. Some case studies of work done on different sites of Indian mural paintings are also described.

Seeing the unseen in visionary painting

Abstract: In accordance with Seerveld's cartographic methodology 'visionary optics' is defined in terms of a recurrent set of connections between a certain type of pictorial representation and visual perceptions of mythical meaning. A perennial typiconic format stems from the tradition of painting historically associated with 'mythologising' thought patterns and worldviews. The cases examined to trace the development of the visionary format include examples of Bushman rock art, mural decoration from Roman antiquity, medieval altar painting, history painting from the Renaissance, Romantic landscape painting and modern abstract painting.

The Decorative Landscape, Fauvism, and the Arabesque of Observation

Abstract: Beginning with a critique of the “site-specific” method of reading landscape painting, this essay proposes landscape as an artifice in which place is “staged” decoratively. The historical discourse on the decorative landscape places it between mural painting, stage design, and classical easal painting, as a category emergent in the 1890s. The decorative is exacerbated in the fauve landscape and there the organizing principle of the arabesque becomes paramount. The etymology of the “arabesque” indicates its trans-cultural status: it is a metaphor for cursive organization of a kind employed by Matisse and Derain to avoid hierarchic relations between figure and ground in paintings tending to abstraction.

A program for the conservation of prehistoric mural paintings on mud renderings in the American Southwest

Abstract: The paper will describe the conservation treatments of prehistoric mural paintings (c. AD 1150) on mud renderings in two rooms at Aztec Ruins National Monument, New Mexico, an archaeological site under the jurisdiction of the National Park Service. The objectives of the projects were: utilization of the inherent rheological properties of the murals as part of the conservation treatment; development of methods to remove deleterious aged coatings of shellac and cellulose nitrate; and implementation of conservation backfilling of one mural to address long-term preservation. These treatments are the first comprehensive conservation programmes for prehistoric murals on mud renderings in the United States.

Painted Promises: The Politics of Public Art in Late Nineteenth-Century France

Abstract: During the Second Empire, according to this essay, prescriptive principles for mural painting served as a common aesthetic for artists, provided industrial workers with an appropriate vocabulary of form, and associated all aspects of production with the fine arts. By contrast, in a cultural turning point for public art, Third Republic policy associated public art projects with new marketing techniques of mass consumption that stressed individual subjectivity and feeling, personal fantasy and taste, and the immediacy of pure aesthetic effect.

A Cuban donation to Los Angeles for US‐Cuba‐Vietnam reconciliation: A mural by Rene Mederos

Abstract: (1993). A Cuban donation to Los Angeles for US‐Cuba‐Vietnam reconciliation: A mural by Rene Mederos. Third Text: Vol. 7, No. 25, pp. 33-42.

Mathematics for the Garden of the Mind

Abstract: The artist examines the many ways in which mathematics has influenced her work, with particular reference to a recent computer-based mural. Mathematical concepts provide direct inspiration or appear, through other disciplines, in a larger context. linking the Data-Processing Center to the office building at the Utah State Capitol. It is seen daily by visitors and staff of both buildings. Since they pass within arms' reach of the mural, it was important to me for viewers to be able both to understand the work in comprehensible units-as a sequence of eventsand to have the opportunity to discover its many layers over a