Showing papers on "Mural published in 1998"

Mural painting and social revolution in Mexico, 1920-1940 : art of the new order

Abstract: Mural Painting and Social Revolution in Mexico, 1920-1940: Art o f the New Order is a full-length critical history of this major movement in the history of modern Latin American art. Following the Revolution of 1910, Mexican society underwent a profound transformation in every sector of political and cultural life. Mexican artists participated in this social revolution during a vital two-decade period through public art programs funded by the government and other institutions. Applying a social-historical methodology, Leonard Folgarait examines this phenomenon and focuses on the mural paintings of Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros produced during this period. He provides an in-depth analysis of the form and meaning of these mural cycles, while documenting the sytstem of patronage, the critical connections between state policy and aesthetics, and the visual strategies devised by patrons and artists in order to maximize the impact of these propagandistic images.

The Indian Conquest of Catholic Art: The Mughals, the Jesuits, and Imperial Mural Painting

Abstract: The EncounterRecent scholarship has acknowledged that the art of early colonial Latin America was often the product of a partnership between indigenous and conquest civilizations, and not merely a provincial variation on European models.1 Either covertly or with the tacit encouragement of their European employers, Amerindian artisans perpetuated pre-Conquest iconographies, ideals, and rituals in their Catholic art commissions. Nahua artists in sixteenth-century New Spain, for example, introduced pre-Conquest glyphs and styles into conventual mural cycles, making it possible for them not only to understand the new faith on their own terms but even to assert their own identity or resist church authority. Nevertheless, among the peoples of the former Aztec and Inka empires—along with other groups under Spanish rule from Hispaniola to Luzon—conquest was the reality. The imported civilization had the upper hand, and the art of these regions became increasingly dominated by European forms and meanings.

Ford Madox Brown, Carlyle, Macaulay and Bakhtin: The Pratfalls and Penultimates of History

Abstract: Ford Madox Brown’s Manchester Town Hall mural series was the site of late Victorian contentions about both history and history painting. A long-standing discourse of history, represented in Manchester’s many local histories and guidebooks, debated the ‘facts’ and significance of Manchester’s history and contributions to British history. Brown’s murals participated in this debate at the very moment of the city’s new emergence as an independent municipality with its own self-government and new rebuilding projects. Brown’s murals commented on this discourse through imagery and the accompanying narratives he wrote. Unlike his earlier narratives for paintings, these narratives were not about Brown’s ideas and intentions. Instead, they incorporated the new historical language of satire, displacement and factual ambiguity. Brown was an avid reader of Carlyle and Macaulay who, despite their differences, shared innovative methods; a criticism of cause and effect; and a focus on quotidian, collective, and anonymous actors and motives. Brown employed their methods, including passages from Carlyle’s French Revolution, to satirize official history. His selection of ‘minor’ details and figures foregrounded the selection process itself and problematized historical content, as did Carlyle’s and Macaulay’s methods. Brown’s relationship to history painting, however, was not satirical. He admired Dyce, Maclise and the German Nazarenes without imitating their idealism. Brown eschewed high seriousness, diluted important events with banal incidents, put crucial events in the street rather than the court, and juxtaposed ‘heroes’ with anonymous passers-by to interrogate notions of idealism and heroism. Respectfully quoting Maclise’s works through visual reversals, Brown conveyed his own `reversal’ away from idealism toward the revisionism of Carlyle and Macaulay. The murals authored and authorized Manchester history. Bakhtin’s themes of the carnival, novelization, surprise and the ‘word with a loophole’ illuminate how the murals forged a new civic history built on collectivity, working-class contributions, and corporate capital. Radical in his support for the working class, Brown was also nationalistic in his expression of Manchester’s English pedigree and mercantile hegemony. His murals express innovations and contradictions in their melding of Manchester history into broader Victorian discourses of history, history painting, British hegemony and the Empire, while offering criticism of cherished Victorian ideals and revealing the depths of Brown’s own intellectual comprehension of changing Victorian notions of history.

Big pictures: Ethnic identity as a mutable concept in New York City street murals

Abstract: Long‐term collaborative participant observation of street murals in New York City shows many ways in which aspects of culture are flexible and mutable. Even the concept of self‐defined ethnic identity, supposedly a bedrock notion within culture, changes greatly. Ethnic identity moves back and forth across a continuum, extremely exclusive at one end and comprehensive at the other. The degree of exclusivity or comprehensiveness depends on the mural's theme. Important factors determining this process are the global/local infrastructure, the process of perception itself, and time‐honored muralists' conventions such as representational ambiguity.

York Wilson: His Life and Work, 1907-1984

Abstract: This detailed biographical account of Wilson's life was published in conjunction with an exhibition of the artist's mural studies Lela Wilson traces the development of her husband's artistic career, highlighting his involvement in various arts milieus and experiences travelling/living in various places througout the world - Mexico, New York, Paris, etc Includes afterword (reprinted) by Marshall McLuhan Index of names and artworks Circa 190 bibl ref

Image and semantic feature based dunhuang mural retrieval

Abstract: How to preserve Dunhuang mural art is a very important task. This paper firstly analyzes the styles of Dunhuang mural, discusses various kinds of mural features, such as basis, image and semantics, which represent the styles. Secondly it illustrates three types of queries: Symbol-Symbol, Image-Symbol-Image and Image-Image. Thirdly it defines various language variables, three kinds of features representation, mural data model, general mural query language as well as process algorithm. Then, it investigates the features conversion and matching techniques used in retrieval processing, and proposes color, line feature matching operators.In the end, a prototype system is introduced and the future research aspects are prospected.

Giovanni Bellini: experience and experiment in Venetian painting, c. 1460-1516

Abstract: Giovanni Bellini (b. 1435/40-d. 1516) has long been considered a dominant figure in the Venetian painting of the Early-High Renaissance, his main reputation being a colourist. The distinctive optical and technical characteristics of his work have drawn substantial scholarly attention in the present century, but the studies in this subject have not been developed as a coherent theory with regard to changes in painting technique in the fiftenth-century Italy. The purpose of this dissertation, therefore, is to investigate Bellini's choice and application of painting materials, attempting to establish links between the technical qualities and the formal values of his work. In the process of establishing Bellini's position with regard to the use of paint media and support, this thesis also provides a substantial overview of the use of canvas and of oil pain in the later fifteenth century. The study is encouraged by recent discoveries about Bellini's technique that have emerged from conservation of his paintings. As well as addressing published conservation results, the thesis includes new observations on four canvases attributed to Bellini's father Jacopo, and two Madonnas from Bellini's workshop scientifically examined at UCL Painting Analysis. In order to investigate Bellini's colour and handling of paint within a broader socio-economic milieu, this study deals with the commercial documents such as tariffs, government records, and merchant account books, indicating that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade. The resulting advantages of Venetian painters who were active at this commercial heart, and the question of how deeply the pragmatic experience of colours that Venetian merchants obtained from the trade penetrated their aesthetic taste will be discussed. Using both scientific and documentary analyses in combination with visual analysis which integrates these findings, this study examines Bellini's translation of the skills of tempera to oil pain and the stylistic changes that occurred with the extensive use of oil medium. It looks at how Bellini developed canvas as a support for mural painting and the technique he employed on such an unconventional support. It will also study the methods in which he established the predominance of colour as an element of composition at the early sixteenth century. In conclusion, it will argue that Bellini's increasing choice of canvas and corresponding use of oil on it changed the general concept of picture-making and became a new format of painting that was to exert a crucial influence on Cinquecento Venetian painting.

Las pinturas murales de la ermita de la Virgen del Consuelo: Camañas. Teruel

Abstract: The mural paintings of the hermitage of the Virgin of the Consolation. Camanas (Teruel). In the hermitage of the Virgin of the Consolation in the turolense village of Camanas are preserved the remains of some interesting paintings. These paintings represent the Pantocrator Christ accompained by the four Evangelists. The paintings are in a terrible state of preservation, on which would be necessary to act, but constitute, until the moment, the unique example in the zone not only by their traditional Romanesque religious subject but their type of absidial mural painting. It is a clear example of the survival of the iconographic and stylistic models, usually used more to the North, in an area out of the big artistic communication routes and with a chronology that certainly we could carry around the 14 century.