Showing papers on "Mural published in 2007"

Entre mercados, ferias y festines : los murales de la Sub 1-4 de Chiik Nahb, Calakmul

Abstract: In 2004, Ramon Carrasco, from INAH, and his team discovered the first scenes of mural paintings that cover the substructure 1-4, a three tiered platform with radial stairways under structure 1 in the North Acropolis of Calakmul, Camp. Since then, different interpretations have tried to explain these surprisingly prosaic scenes, which have been linked to a market or the preparation of a ceremony. The proposed date of the murals also presents some discrepancies. The preliminary ceramic analysis dates the material, based on construction fills, to the late Early Classic. Nevertheless, some of the shapes of the vessels represented in the murals belong to the Late Classic. And, in Simon Martin's opinion, the glyphs are from that period too. This article presents new stratigraphic evidence, supporting the date of substructure 1-4. Likewise the vessel represented in the murals are compared to the ceramic corpus from the Calakmul Archaeological Project. And the scenes from the murals are interpreted as a banquet.

Woman Traveller/Colonial Tourist

Abstract: I promised to show you a map but you say this is a mural Then yes let it be these are small distinctions Where do we see it from is the question1

Lucas Cranach the Elder: Painting Materials, Techniques and Workshop Practice

Abstract: A comprehensive study of the painting technique of Lucas Cranach the Elder. In the first chapter, the author compiles the available information from historic sources, scholars and biographers, since the 17th to the 20th century. The three next chapters are divided according to the painting support: panel, canvas or other supports, including a short reference to paintings on parchment, paper, metal, mural painting and architectural decoration. The fifth chapter is dedicated to the workshop organization.

The beach versus “Blade Runner”: recasting Los Angeles’ relationship to modernity

Abstract: On a quiet side street in Venice, California, three blocks from the bustling Ocean Front Walk, a mural that few tourists are likely to see offers a bitter commentary on the historic-geographic dynamics of the landscape they have come to visit (Figure 1). This is the landscape of Los Angeles’ “first” public park, the beach. Painted in 1975 (and re-furbished in 1997 by the community-based arts center SPARC (Social and Public Art Resource Center), the now graffiti-covered mural portrays a bulldozer and an excavator demolishing a simple, shore-adjacent cottage. As the house collapses a woman is revealed sitting cross-legged on the floor inside, making the viewer not only witness to a scene of violence but also an inadvertent peeping tom. The woman clutches her blue-scarfed head in fear and bewilderment while her cat leaps for safety. In the left foreground a group of Venetians protests the demolition, one by spray painting “Stop the PIG!” on a wall. “The People of Venice vs. the Developers” was painted when both property condemnations by the city and gentrification had begun to force out

A Visual Mirror of Princes: The Wheel on the Mural of Longthorpe Tower

Abstract: Ihis article is about a medieval mural (Fig. i), the existence of which came to be known to the modern world when it was found just after World War II. The mural is on the east wall of the vaulted Great Chamber in Longthorpe Tower, a fortified manor in Peterborough. It was most probably painted in the second quarter of the fourteenth century, and completed not later than I340, together with the other murals which cover the four walls and ceiling of the chamber. The knight Robert de Thorpe, who succeeded his father as steward of the Liberty of Peterborough Abbey in I330, is believed to have commissioned the paintings around that time.' The mural we are concerned with here depicts a large wheel with five creatures on the outer side of the rim (referred to hereafter as 'the Longthorpe Wheel'). A male figure stands behind the wheel, a crown on his head. The creatures are an ape, a vulture, a spider, a boar and a cockerel-though some identify the latter as a basilisk.2 The kingly figure looks toward the spider on his right. His right arm is raised askew across his body, from the lower right flank to his left shoulder. His fingers are outstretched, and his thumb and index finger lightly touch the wheel rim; with his left hand he holds one of its five spokes. Previous archaeological research indicates that initially there were inscriptions around the wheel and on the spokes. Today, only the letters 'VE' are discernable on the rim, just beneath the spider's web. It is agreed in the literature that the five creatures on the wheel are symbols of the five senses: the ape represents taste, the vulture smell, the spider touch, the boar hearing, and the cockerel sight.3 Such allegorical references were familiar around the time the

Populism Repackaged: The World Bank's Perspective on Equity and Youth

Abstract: shows a 1948 mural by communist artist Diego Rivera titled ‘Dream of aSunday Afternoon in Almaeda Park’ and is a fantastic representation of theinequalities in Mexican society, of aristocratic men and women enjoying thepark oblivious to poor workers and peasants around them, while state policeareshownpushingawaypoorcountryfolktocleartheparkfortheenjoymentof the rich. Lenin’s lookalike peers at the scene from above. An ironic thoughrefreshing choice for the cover of a World Bank report. One must mentionhere that in 1934 Diego Rivera’s depiction of a similar Lenin likeness in hismural ‘Man at the Crossroads’ in the lobby of the Rockefeller Center in NewYork City created such controversy that the large mural was taken apart anddestroyed overnight. In the absence of the ‘communist threat’, the WorldBank appreciates Rivera’s painting as just that, as art

Mural Gambits: Mexican Muralism in the United States and the "Portable" Fresco

Abstract: A unique medium developed in the 1930s by Diego Rivera and manipulated by the Museum of Modern Art to demonstrate the technique of fresco and the iconography of public art in Mexico, the portable fresco neglected to convey the monumentality and social grounding of muralism. In 1940, however, Jose Clemente Orozco overhauled the medium in order to communicate more effectively the goals of Mexican public mural painting to audiences in the United States, revealing the failure of cultural institutions and diplomatic efforts to usurp completely politicized art from Mexico.

The colour palette in the architecture of la blanca (Petén, Guatemala). Comparison between that of the Mayan owlands and that used in other civilizations of the ancient world

Abstract: The chemical characterization of the remains of mural painting conserved on the palace architecture in the Mayan city of La Blanca (Department of Peten, Guatemala) and the interpretation thereof, in light of current knowledge about the arts of this ancient American culture, constituted one of the lines of research promoted by the La Blanca Project since 2004. The importance of the data obtained during this time has led to the extension of this line of research, over the last year, to other settle- ments in the Mayan lowlands in order to analyse the possible relations between the materials, techniques and painters working at these settlements. This study provides a fairly representative panorama of the materials used in mural painting by this millenary prehispanic civilization and ultimately enables a very precise comparison to be made between these works and those carried out in other cultures of the ancient world.

Double Consciousness in Mexico

Abstract: Visitors to the Museo Michoacano in Morelia, Mexico, often react with puzzlement and awe when they come upon its most unusual feature, an epic 1930s mural that decorates the wall of an interior patio. The mural, known variously as The Struggle Against Terrorism, The Struggle against War and Fascism, or The Inquisition, takes viewers on an abbreviated journey from biblical times through the Middle Ages and beyond, to the eras of the Ku Klux Klan and Adolf Hitler. It is clear that its young American painters, Phillip Goldstein (later Philip Guston) and Reuben Kadish, worked hard to summarize a worldwide historical legacy of malefaction. What is not as immediately obvious, perhaps, is how a specific confluence of insecurity, persecution, and violence, a topos of Mexico equal in intensity to its natural beauty, is ingeniously signified. Deeply encoded in the mural's iconography of evil and pain are distinct clues, triggered by their understanding of Mexican alterity, to the artists' own sense of “otherness” a...

The influence of the Ramakien murals in the Grand Palace of Siam on the Reamker murals in the Royal Palace of Cambodia

Abstract: When the temple of the Emerald Buddha was built in the Royal Palace in Phnom Penh in 1895, the Cambodian version of the Rāmāya n a , known in Khmer as the Reamker , was selected to be painted on the gallery walls of the temple. Though the Rāmāya n a had been well known in Cambodia since pre-Angkorian times, these Reamker mural paintings were to become the first complete version of the epic tale ever known to have been produced in Cambodia. This situation raises the question of the source(s) used to compose the late 19th-century painted narrative.Reference is often made in art historical work to the influence of the Ramakien murals in the Siamese Grand Palace on the Reamker murals in the Cambodian Royal Palace, yet no sustained research has ever been carried out on the subject. This article explores this assumption of influence, and attempts to identify sources for the painted work, through a detailed comparative analysis of the Cambodian and Siamese Palace mural paintings, considering storyline, compositional organization, and technique. The socio-cultural context of the creation of both paintings will also be examined in order to identify key factors responsible for the similarities and differences between the Reamker and Ramakien murals.

El Mural del Cuarto 22 de la Acrópolis de Ek' Balam, Yucatán, México: ritual y profecía de Año Nuevo en el periodo Clásico maya

Abstract: Archaeological works in Room 22 of the Acropolis at Ek’ Balam have uncovered a remarkable hieroglyphic text because of the importance of its contents. A careful restoration and reconstruction of the hieroglyphic mural has recovered an exceptional ritual testimony of great significance, documenting in the Classic Period (in the second half of 8th Century AD) ceremonies only known before through the Postclassic codices and the descriptions written in 16th century by Spanish chroniclers, thus providing a great temporal depth to Mayan prophetic genre.

Widening the Frame: the Politics of Mural Photography in Northern Ireland

Abstract: Analysis of Northern Irish political wall murals and their symbols has been almost as ubiquitous as the murals themselves. Little has been written, however, about the implications of actually photographing and reproducing the murals — yet images of them circulate through postcards, books, souvenirs and the Internet, a colourful collection of images that continue to shape perceptions of Northern Ireland both at home and abroad. The constant reproduction, circulation and commodification of photographs of political murals, however, perpetuates a narrow vision of a Northern Ireland shaped primarily by a history of (para)military conflict. This in turn has material implications, effectively fetishizing a violent vision of Northern Ireland in both the local and international imaginary and thus shaping not only Northern Irish politics and culture but the economic and political relationship between Northern Ireland and the rest of the world. This chapter is an attempt to widen the frame: to make the photographic framing process more visible and in so doing to explore the ways in which the photographic frame creates the larger frame through which Northern Ireland is seen.

Images in Architecture – from Murals to Illuminating Projections

Abstract: As in every other domain of art, in contemporary mural painting it is possible to indicate great projects and realizations as well as failures. However, many examples confirm the thesis of an especially significant role of depicting in architectural and urban space. After all, like in other kinds of painting, the main feature here is the talent of an artist. Artistic quality of depicting in architectural scale is so important because of its aesthetical, ethical and education role. It is hard to answer the question about the future of mural paintings and the role of the new media of transmitting color and illusion in architectural space. Nowadays, in the time of instant development of science and technology, increasing tempo of life and continuous need of changes, it may turn out that the digital and hologram pictures better fulfil the expectation of the present recipient. It is not unlikely that the practical values of these techniques – their energetic and light features – might cause the elimin...

Dynamic assessment of detachment conditions on prehispanic mural paintings in Cacaxtla, Mexico Evaluación dinámica de las condiciones de soporte en murales prehispánicos en Cacaxtla, México

Abstract: According to archaeological evidence, mural paintings in the prehispanic site of Cacaxtla are original from 650- 900 a. C. The murals were discovered recently (in the 80's) and have suffered a strong degradation since then. The mural paints consist in a decorated layer supported in an adobe wall. During the last years, a strong degradation was observed in a group of paintings known as "Templo Rojo", probably due to atmospheric aggressions. Some segments of mural are detached of the wall in different degrees. Due to the high historical value off the paintings, a non-destructive technique was required to identify the connectivity condi- tion between the decorated layer and the supporting adobe walls. A grid of dynamic testing under forced vibration was applied in few hundreds of segments of the mural. Energy dissipation time and natural frequencies were used to iden- tify the attachment levels. A clear trend was observed when the results were graphically organized. Dynamic informa- tion was useful to characterize the detachment degree and to prepare a restoration project. Resumen

Geoffrey and the American Flapper

Abstract: Until the past fifty years it has been easy to ignore women’s roles disseminating Chaucer in America. To recognize women’s invisibility, consider the mural depicting the development of the written word on the portico outside the New York Public Library’s third floor reading rooms. As the floor sign tells curious observers, the four panels begin with Moses, continue to the medieval scribe, move to Gutenberg, and end with the linotypographer. The mural tells a story in which the written word is a work of labor that rightly belongs in the hands of men. It tells a story, too, of how writing and learning have filtered down from the highest orders, from the ruling and priestly class, to the merchant class, and then to the laborers, leaving women out of the equation. For Chaucerians accustomed to thinking of men and male scholars as the primary distributors of Chaucer until the middle of the twentieth century, the four large panels easily metamorphose into a familiar history: Chaucer was the inspired conduit of “good English verse,” scribes (such as Hoccleve) preserved his texts, Caxton first printed his text, and twentieth—century printers provided scholars with abundant, relatively inexpensive authoritative texts.