Showing papers on "Mural published in 1995"

The murals of revolutionary Nicaragua, 1979-1992

Abstract: In the years following Nicaragua's 1979 Sandinista Revolution, more than three hundred murals were created by Nicaraguan and international artist brigades. David Kunzle was profoundly moved by the aesthetic and political power of these murals, and when he saw that they were being destroyed after the Sandinistas were voted out in 1990, he resolved to document them. This visually exciting, emotionally compelling book is the result of his efforts. Today many of Nicaragua's murals have been obliterated, and Kunzle's book may be the only record of these works. Approximately eighty percent of the murals are reproduced here, many with extensive commentary. Artistic styles from the primitivist to the highly sophisticated are represented, showing themes of literacy, health, family, and always the Revolution. Kunzle outlines the historical conditions in Nicaragua - including U.S. interference - that gave rise to the Revolution and to the murals. He chronicles the politically vindictive destruction of many of the best murals and the rise and fall of Managua's Mural School. Kunzle also refers to other Nicaraguan public media such as billboards and graffiti, the great mural precedent in Mexico, and the more recent attempts at socialist art in Cuba and Chile. Nicaraguan murals became blackboards of the people, a forum for self-image, self-education, and popular autobiography. Kunzle pleads for the restoration of the surviving murals and for the revival of the mural movement, for it is, he says, 'art that belongs to and benefits us all'.

Redefining American history painting

Abstract: Introduction: history painting: how it works Patricia M. Burnham and Lucretia Hoover Giese Part I. Historicity: 1. The hoop of history: native American murals and the historical present Francis V. O'Connor 2. John Trumbull historian: the case of the Battle of Bunker's Hill Patricia M. Burnham 3. Democracy, regionalism, and the saga of Major Andre Ann Uhry Abrams 4. 'Harvesting' the Civil War: art in wartime New York Lucretia Hoover Giese 5. 'A stirring and crawling of the yeasty thing': evolution and misogyny in the art of Frederick Remington Alexander Nemerov 6. Hidden histories: the Chicano experience Shifra M. Goldman 7. Installing history Lisa G. Corrin Part II. Narrativity: 8. Washington Allston: great painting as mute poetry Diana Strazdes 9. History in natural sequence: the Civil War polyptych of Frederic Edwin Church Joni L. Kinsey 10. '... one of the most powerful horrible and yet fascinating pictures ...': Thomas Eakins' The Gross Clinic as history painting Eric M. Rosenberg 11. Abstract expressionism as historical myth Stephen Polcari 12. Revival, reflection, and parody: history painting in the postmodern era Mark Thistlethwaite Part III. Didactic Intent: 13. History painting at the American Academy of the Fine Arts Carrie Rebora 14. History as ideology or 'What You Don't See Can't Hurt You Mr. Bingham' Bryan J. Wolf 15. Imperiled ideals: British historical heroines in antebellum American history painting Wendy Greenhouse 16. Negotiating nationalism representing region: art history and ideology at the Minnesota and Texas capitols Emily Fourmy Cutrer 17. The Jersey Homesteads mural: Ben Shahn, Bernarda Bryson, and history painting in the 1930s Susan Noyes Platt 18. May Stevens: painting history as lived feminist experience Patricia Hills.

Medieval Pigment and Plaster Technology in the XII-XIII Century Mural Paintings at David-Garedji, Georgia

Abstract: The David-Garedji mural painting of XII-XIII cent. were made on gypsum plaster with tempera technique “in secco”. The egg yolk and organic glue served as a colour bound agent. The plaster substratum designed for painting was mixed with organic glue.

Original technique of the mural América Tropical by David Alfaro Siqueiros

Abstract: While living in Los Angeles in political exile in 1932, Mexican artist David Alfaro Siqueiros painted Amirica Tropical. The mural, 24 meters long and five meters high, is painted on the exterior south-facing wall of the Italian Hall building on Olvera Street, part of the historic monument of El Pueblo de Los Angeles. For this mural, Siqueiros used an experimentalfresco technique in which he painted on fresh cement using an airbrush. Shortly after its execution, the mural was covered with white paint because of its controversial political message. The mural’s exposure to harsh environmental conditions, under direct sunlight and heat as well as the painting technique used, resulted in its deterioration. Since the late 1980s, the Getty Conservation Institute has been involved in a project to conserve the only surviving public mural by Siqueiros in the United States. In order to develop an appropriate conservation treatment it was necessary to understand the causes of its deterioration through the study of the original materials and the painting technique used, and the history of the mural. In this article, historical information and scientific evidences are combined to discuss Siqueiros’ innovative technique -fresco on cement - and the mural’s deterioration. Contemporary and historical sources provide information on the materials and the technique used in this mural; but give also contradictory evidences regarding the type of paint used. Scientific investigation was carried out on samples of the mural to identify the materials used to paint America Tropical. The pigments were identified using polarized light microscopy and x-ray fluorescence analysis. The identification of the binder was carried out using Fourier transform infra-red spectroscopy, organic elemental analysis and gas chromatography. Scientific investigation, in particular infrared analysis, seems to suggest that cellulose nitrate was the principal component of the binder. The deterioration of the mural is discussed in the light of these results.

"Things to Cover Walls": Ellsworth Kelly's Paris Paintings and the Tradition of Mural Decoration

Abstract: decorative qualities are exactly what distinguish Kelly's works from those of his American peers, particularly the minimalists, with whom he is too often associated. Kelly's work relates more directly to the tradition of mural painting that developed in France after World War II and that revitalized the nineteenthcentury tradition of decorative painting. In fact, Kelly's work in general has been misread by American critics, who for too long have overlooked the importance of his Paris years.' Through his exhibitions in the late 1950s at the Betty Parsons Gallery in New York, a resolutely abstract expressionist milieu, Ellsworth Kelly (b. 1923) is routinely cited as having announced the end of gestural abstraction-the so-called Tenth Street Touch-in New York. In accounts of American art of this period, he and Jack Youngerman are invariably categorized as "bridges" spanning the divide between abstract expressionism and the minimalism and color-field painting of the 1960s. But the particulars of Kelly's art have always been difficult to set in an American framework, perhaps because Kelly's art was not reactive to abstract expressionism and because American critics had ceased looking to Europe for aesthetic ideas. Developed in France and presented to New York audiences as a fait accompli, Kelly's works proved unnerving or at least puzzling. But they had been well received in Paris, where from 1948 to 1954 Kelly had absorbed many of the formal and intellectual issues that engaged the city's geometric abstract artists during the immediate postwar years. More important, he had developed his pictorial strategies at a time when French artists were once again exploring issues involving the execution and installation of mural paintings. Paris in the late 1940s was key for Kelly, not only in terms of his artistic development but also for the connections

Stone plate mural painting

Abstract: The present invention relates to a marble wall painting. It is a wall painting made of slabstone material. In particular, it is a wall painting made up by choosing natural granite or marble slab as base material. It is characterized by that it is smooth, flattening, solid, and has the natural varvity of natural stone material, and is different from existent wall painting whose form of expression is simple, and its painting effect is distinct, artistic appeal is strong, and has the water-proofing, fire-proofing and acid-resisting and alkali-resisting functions.

Red-on-granite rock painting in the Sierra de San Borja, Baja California

Abstract: New discoveries in Baja California, north of the 28th parallel contradict an old tradition, and push the boundary of the Great Mural paintings further north than had been previously suggested. The new area not only displays works akin in size and subject matter to their more southern counterparts, but also shows some changes in choice of surfaces, paint colors, and stylistic conventions. Seven sites are reported; many others are predicted.