Showing papers on "Mural published in 1997"

The Language of Art: Studies in Interpretation

Abstract: Moshe Barasch, an authority on art theory, tackles the complex question of how art works as language. Barasch shows how, once an art work is seen and understood, a new, communicative function is effectively added to the work. In an engaging style Barasch moves from the art and civilization of Ancient Egypt to that of modern Europe, and effortlessly shows a full and surprising range of language in art--from the magical to the impious, from the ambiguous to the didactic, from the scientific to the propagandistic. Barasch contemplates a variety of mediums including sculpture, painting, mural, statuary, woodcuts, bas-relief, even music. Over one hundred illustrations are included as an integral part of the discussion.

Public Art: The Problems and Potential of Multiple Meanings

Abstract: Public art is not just sculpture and mural painting: it can take the form of stained–glass windows, textile wall–hangings, mosaic pavements and works of art that are not even designed to be long–lasting or permanent. It is found in city squares, and secluded countryside; in National Health Service hospitals and the national headquarters of major companies. Public art can now be studied at any level from primary to postgraduate, and because art and its context are so closely related in these settings beyond the gallery, it affords a particularly rich object of analysis for all age groups. What has so far received relatively little attention is the way in which public art is read. An examination of works of art from France and America reveals that visual literacy cannot be seen in isolation, for how we read depends as much on what we bring to our reading as it does on the text or image we seek to understand.

Willem Einthoven (1860–1927)

Abstract: The Institute of Cardiology in Mexico was created in 1944 by Professor Ignacio Chavez and it has two large murals in the entrance hall that were painted by the eminent artist Diego Rivera. These murals illustrate the history of the heart and circulation and they have the portraits of many famous men. A portion of the mural appears on an 80 centavos airmail stamp and it has Einthoven as the central figure. The issue was limited to one million stamps. Diego Rivera was also the designer of this stamp, which was one of two that were issued on 8 …

Estudio de las pinturas murales en la 'uilla' romana de la Huerta del Paturro en Portmán

Abstract: In this work we tried to hollow in a box of the archaeological investigation that until it makes very few decades had not been kept in mind and with the that, however, we can get surprising outputs We referred to the study of the mural Roman painting like one of the principal ornamental carried out techniques so much for public buildings like private In this occasion, we have the opportunity of could show them the conclusions to that we have arrived after analyzing technique and style the great quantity of fragments of painting located in the bottoms of the Archaeological Provincial Museum of Murcia and that they belong to the Roman uilla of the Huerta del Paturro in Portman, Cartagena

The Pisan Triumph of Death and the Papal Constitution Benedictus Deus

Abstract: The new interpretation of a fresco known as the Triumph of Death in Pisa concerns itself with issues of Western theology such as Pope Benedict XII's bull of 1336. The pontiff stated ex cathedra that each soul will be judged immediately after death and not solely at the end of time as his predecessor, John XXII, had proposed. Thus, Benedictus Deus was an important document in the contemporary debate on eschatology. The Triumph of Death visualizes these dogmatic changes in its allegorical devices. Most importantly, the painting alludes to the increased significance of the immortal soul. The mural portrays the transi (the decaying corpse) as expendable. Formally, the body was thought essential for its resurrection, now it has become merely a sym­bol and a reminder of the soul's impending trial at the time of death.

Past, Place and Paint: A Neighbourhood Mural Project in Suburban Buenos Aires

Abstract: This article discusses the creation of a mural by the neighbourhood history workshop in a working-class district of Buenos Aires. The mural was chosen as a way of giving immediacy and visibility to memories of three distinct intervals in the history of the neighbourhood, the periods before, during and after military rule. In creating the mural, participants were able to re-establish some of the community solidarity lost during the era when community leaders were subject to repression and "disappearance" and give voice to some of the insecurities of the present. The mural portrays some surprising presences and absences in the collective memory of the different phases of the neighbourhood's existence and points to ways in which old and new members of the community can work toward a common future.How do people make sense of a past fraught with danger and contradiction? For the members of a history workshop in a working-class neighbourhood, one answer was to paint a mural. The mural, like the workshop that produced it, calls our attention to the difficult relationship between community and place in the Greater Buenos Aires neighbourhood called Jose Ingenieros. Much of the literature on memory sees working on the past as a way of getting at and thinking about collective identity (cf. Boyarin, 1994; Friedman, 1992a, 1992b). Workshop participants also saw the neighbourhood history workshop as a location where community might be remembered and thus somehow reconstituted and positively valued. In the attempt a group of neighbours engaged their past in a process and through images that provide a point of entry for considerations of popular memory on one hand, and the social constitution of place on the other.The SettingJose Ingenieros is an intriguing location from which to examine working-class memories of Argentina's last 25 years. The neighbourhood where I conducted field work in 1991 and 1992 is comprised of 2 500 apartments in four-storey blocks with a total population of about 15 000. It is located in La Matanza, the most populous of the formerly industrial and working-class boroughs which form a ring around Argentina's cosmopolitan capital. Most residents are domestic labourers, semi-skilled construction workers, pieceworkers, low-income wage earners or self-employed.An acute housing shortage set the stage for a squatter occupation of these apartments even before they were completed. Squatters were thus part of a moment of almost revolutionary effervescence surrounding the return of Peron at the beginning of the 1973 democratic period. The space they occupied was originally constructed as part of the National Plan for the Eradication of Shanty Towns, and some of the intended inhabitants were placed in the neighbourhood as well. In the time between the "toma," as the takeover is known, and the military coup in March 1976, squatters organized for the completion of the unfinished apartments and infrastructure, and for official recognition. They went beyond these most immediate concerns, however, generating lively community organizations including a health centre and a mothers' child care cooperative.Things changed after the 1976 coup. There were disappearances: delegates to the neighbourhood council, political activists and doctors from the community clinic were among those kidnapped by plain-clothes military and police. The repression included other less horrific activities as well: there were "censuses" in which military conscripts surrounded the neighbourhood, searched apartments, checked documents and took people in for questioning. From 1979, the neighbourhood even had a military administrator. In general, poorer neighbourhoods were seen by the state as either a refuge for, or a hotbed of subversion. These experiences made manifest the ways in which the neighbourhood itself -- unlike middleclass neighbourhoods, I would argue -- was a target of suspicion.After 10 years of democracy, everyday concerns in the neighbourhood are drugs, crime and the physical deterioration of the buildings and infrastructure due to vandalism and neglect. …

Unfolding the mural of group interaction, creative writing and the computer: a case study of three English as an additional language (EAL) learners

Abstract: This research explores the group interaction of three adult English as an Additional Language (EAL) university students in the context of the computer. The group met five times over a period of five weeks to collaborate for two hours on creative writing tasks at the computer. The five activities were linked to the theme of Identity and included a short story, a poem, a letter, a television commercial and a written dialogue. Through a qualitative case study approach, the research sought to meld the learners' perceptions of the interactive process with that of the researcher. The study describes the themes and patterns which emerge from the collaborative sessions and also examines the role that process plays in the outcome of the product. To document the process I kept a journal, took notes during the sessions and conducted both group and individual discussion/interviews. Each session was both audio and video taped. The findings of the study suggest that the interaction surrounding the computer is a complex phenomenon influenced by factors such as, group dynamics and task type, as well as individual factors. The study showed that the computer facilitated group oral corrections to grammar, vocabulary, spelling and punctuation, but that the talk which surrounded the computer tended to be less fluid and less complex from that of conversational interaction. The computer also prompted alternate means of communication in terms of body language and "talk through the screen". Implications from the findings suggest that the communication which surrounds group interaction on the computer is indeed different then that of group written and oral interaction. The advent of the computer has created a whole new sea of interchange, one which requires further inquiry.

Sargent's truncated Triumph: art and religion at the Boston Public Library, 1890-1925

Abstract: After investing significant parts of three decades in his Triumph of Religion, John Singer Sargent never painted the final image, the panel he called the keynote of the mural program. This article reconstructs the artist's declared intentions for his decoration, clarifies the project's narrative design, anchors the reception of the work in relation to contemporary politics of religion and race, and accounts for the unfinished state of the murals at the time of Sargent's death. Incompletion dramatically altered possible readings of Triumph, redirecting its narrative energies and generating new meanings that stood in marked contrast to the idea Sargent proposed.

Los gozos de san ramón nonato y el retablo pintado de la ermita de la concepción de cehegín (murcia)

Abstract: There are examples of decorative painting in Murcia in the religious,field as well as in the civil andproofofthis are the mural paintings that we find in the villages of Cehegin and Caravaca towards the end of fhe 18 th century.This was a practice that had been habitual since the 16 th century in the region and an example of this is the altarpiece of the hermitage of Saint Sebastian de Caravaca in the moment of maximum splendour when the ilalian painter Pablo Sistori arrived in Murcia in the second half of fhe 18 th century. In this line we can include the mural paintings of the altarpiece, copied,from the chapel of San Juan de Letran, in the hermifage of the Concepcion de Cehegin, at the end of the 18 th century, dedicated to Saint Roman Nonato in which the life and pleasures of the saint are represented in the iconographical programme. Similarly where are some mural paintings thaf we find in fhe so-called Palace of the Fajardo in the same locality, with heraldic emblems and a small altar above which there is a canvas of the Virgin.

Puvis De Chavannes

Abstract: Puvis de Chavannes (1824-98) acquired great fame and the reputation as the foremost mural painter of his generation. Unusually, he also gained the approval and acclaim both of the artistic establishment and the younger generation of artists such as Van Gogh, Gauguin and Seurat. This study presents a