Showing papers on "Mural published in 2014"
Dissertation•
28 Aug 2014
TL;DR: The Sturdy-Stone Centre's monumental ceramic mural project is the subject of a case study that examines its agency as discussed by the authors, arguing the decorative and ornamental aspects of these murals transmit intellectual content through their sensuality and visual and material delight.
Abstract: The modernist Sturdy-Stone Centre’s monumental ceramic mural project is the subject of this case study that examines its agency. Initiated in 1975 by the Saskatchewan government for their new Saskatoon office building it was commissioned in two stages and completed by 1983. Six designer/makers executed two exterior and six interior relief murals in a variety of styles, making this the largest and arguably most eclectic ensemble created by studio ceramicists for any building in Canada. Despite local interest at the time of its reception this remarkable project has remained at the periphery of art, ceramic, craft, and architectural discourses. To address the agency of these murals throughout their lives this study adopts an interdisciplinary approach that promotes their integration into architectural, ceramic, sculpture, and craft histories. It argues the decorative and ornamental aspects of these murals transmit intellectual content through their sensuality and visual and material delight.
The first section, “A Social and Material Complex,” presents an overview of the development of this unique project as group formations, methodologically using a combination of sociology and material culture. These groups comprise the government with its attendant political and social agendas, arts and crafts organizations and their aesthetic concerns, and the physical unit created by the building and the murals. A particular concern is the implication of ceramics as the designated mural material.
The second section, “The Lives of the Murals,” looks at the biography of each mural, arguing they emerged from and contributed to political and cultural ideologies active in Saskatchewan, including discourses of multiculturalism and socialism. Each chapter combines the biographies of the murals with those of their makers, from their commissioning to their installation. An important aspect in each discussion is the co-constitution of the murals and their makers, as suggested by a postphenomenological approach. This involves taking into account a variety of group formations involving, among other things, materials, technology, tools, architectural spaces, humans, and ideas. As agents these murals promote the professionalism of ceramic practices and dialogically address issues touching the rural and urban, local and global, vernacular and modern, and fine art and folk craft.
56 citations
TL;DR: In this paper, the advantages of an initial exhaustive research using latest generation hand-held spectrometers (Raman mainly) in order to perform the characterization of valuable objects of cultural heritage are exemplified, over a mural painting from the 14th century.
Abstract: The present work exemplifies, over a mural painting from the 14th century, the advantages of an initial exhaustive research using latest generation hand-held spectrometers (Raman mainly) in order to perform the characterization of valuable objects of cultural heritage. These in-situ techniques (meaning on-site and non-destructive) are very useful to study the pigments and materials, to identify the nature and causes of some of the main sources of deterioration and to examine past repaints. In addition, the in-situ measurements are of great importance in the selection of micro-samples for the laboratory analyses. In this particular case, the combination of these results with the chemical imaging analyses in the laboratory (such as Raman and energy dispersive X-ray spectrometry imaging) allowed the characterization of the mural painting, including, the identification of all restoration works applied in the past. Copyright © 2014 John Wiley & Sons, Ltd.
23 citations
01 Jan 2014
TL;DR: Gladis as mentioned in this paper showed a photo of the mural that was painted on the walls outside their school, which depicted Mayan history, from ancient times to present day, and it stretched nearly 200 feet from the neighboring cemetery to the school entrance, an intentional crossroads between youth and their Mayan ancestry.
Abstract: In Gladis’s social studies classroom, rows of uniformed 10th graders concentrated on the blackboard at the front of the room, where I displayed a photo of the mural that was painted on the walls outside their school.i The mural depicted Mayan history, from ancient times to present day, and it stretched nearly 200 feet from the neighboring cemetery to the school entrance, an intentional crossroads between youth and their Mayan ancestry.
20 citations
TL;DR: In this article, the authors traced the development of corporate mural commissions in Los Angeles during the 1930s and found that labor, modernity's notion of progress, local history, civic identity and art's pedagogical purpose are the themes found within the murals which reflect the complicated and often paradoxical, role of private corporations in this emerging city.
Abstract: While examples of both governmental patronage and private sponsorship of art during the 1930s have been well documented, the history of corporate commissions has not yet received the same degree of critical attention. By tracing the development of corporate mural commissions in Los Angeles during the 1930s, larger concepts emerge beyond that of simple corporate branding. Labor, modernity's notion of progress, local history, civic identity and art's pedagogical purpose are the themes found within the murals which reflect the complicated, and often paradoxical, role of private corporations in this emerging city. The inclusion of murals by local artists Hugo Ballin, Conrad Buff and Barse Miller within the highly trafficked lobbies of the corporate headquarters for the Title Guarantee and Trust Company (1931), the Southern California Edison Company (1931) and the Los Angeles Times (1935) was a way for these powerful corporations to frame public opinion about business through carefully constructed narratives o...
9 citations
TL;DR: The mural America tropical, painted by David Alfaro Siqueiros in 1932 in downtown Los Angeles and whitewashed soon thereafter, has a complicated history that resulted in significant deterioration of the work as discussed by the authors.
Abstract: The mural America tropical, painted by David Alfaro Siqueiros in 1932 in downtown Los Angeles and whitewashed soon thereafter, has a complicated history that resulted in significant deterioration of the work. Efforts to preserve America tropical, begun in the 1960s, led to a collaborative project in 1988 between the Getty Conservation Institute and the City of Los Angeles to develop and implement a comprehensive plan to protect, preserve, interpret, and present the mural to the public through study and conservation; the design and construction of a protective canopy and public viewing platform; and the installation of an interpretive center.The essay discusses the history and condition of the mural and the documentation, conservation, and long-term monitoring and maintenance undertaken. Conservation included surface cleaning, plaster stabilization, removal of tar and remnant whitewash, loss compensation, and visual reintegration. The aim of the latter was to preserve the artist's hand and delicate...
8 citations
TL;DR: The authors examines how the creation and social legitimisation of new mural painting techniques, and the increasing fluidity of the genre during the nineteenth century, enabled women artists not only to make the transition to but also succeed in the field of public mural painting.
Abstract: Mural painting, historically categorised as one of the highest of the fine arts, was also traditionally defined as a masculine form of art and thus unsuitable for women. This article, however, examines how the creation and social legitimisation of new mural painting techniques, and the increasing fluidity of the genre during the nineteenth century, enabled women artists not only to make the transition to but also succeed in the field of public mural painting. In doing so, women muralists aided in redefining both the genre as well as the definition of the late-nineteenth-century woman artist and, more generally, women of the Victorian period.
8 citations
TL;DR: In a country still negotiating a brutal civil war (1980-1992), El Salvador's search for collective identity actively defines its socio-political life and, consequently, public walls as mentioned in this paper.
Abstract: Walls define El Salvador. Littered with advertisements, political propaganda, murals and graffiti, the nation's walls reveal tensions, propagate values and narrate everyday life. In a country still negotiating a brutal civil war (1980–1992), El Salvador's search for collective identity actively defines its socio-political life and, consequently, public walls.Despite this, Salvadoran mural painting has never been internationally studied, celebrated or defined. It has existed for decades, influenced by Mexico's mural legacy, while deeply reflecting El Salvador's cultural and political identities. Since the 1990s, painted symbols, themes and motifs specific to Salvadoran history have become active material markers in the struggle for nationhood. Mural painting has become a leftist tool to reclaim local identities, subvert contemporary struggles and exert political power. Pieced together, El Salvador's murals reveal attempts to construct a shared cultural identity as it actively defines, interprets and debate...
8 citations
TL;DR: Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century).
Abstract: Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century). The murals were painted by applying mortar on the walls and the ceiling after building a stone chamber and creating ground layers on mortar layers. Mud was applied on most of the mortar layers on four sides of the walls except the ceiling. Sand was not used in mortar but was made of materials with pure calcium substances. In addition, shells in irregular sizes with incomplete calcination were mixed; and the mortar's white powder was inferred as lime obtained by calcination of oyster shells. Kaolinite(Al2Si2O5(OH)4) was used in the ground layer, Cinnabar(HgS) was used for red pigment, Malachite(Cu2CO3(OH)2) for green and Lead white(PbCO3·Pb(OH)2) for white. Mud plaster was applied on the mortar and was composed thinly and densely using clayey of particle size smaller than that of medium sand. It was assumed that the finishing was for repair after long time had passed since the mortar layer came off. Using lime made with oyster shells as mortar is unprecedented in ancient Korean mural tombs and its durability was very poor, suggesting that Gaya's mortar production technique was relatively 458 | 보존과학회지 Vol.30, No.4, 2014 behind compared to that of Koguryo's in the same era.
7 citations
Book•
11 Mar 2014
TL;DR: A fascinating behind-the-scenes look at the making of a post-war masterpiece and its restoration can be found in this paper, which includes an essay by eminent Pollock scholar Ellen Landau and an introduction by comedian Steve Martin.
Abstract: This is a fascinating behind-the-scenes look at the making of a post-war masterpiece and its restoration. In many ways, Mural, Jackson Pollock's (1912-1956) first large-scale painting represents the birth of his legend. The controversial artist's creation of this painting has been recounted in dozens of books and dramatized in the Oscar-winning Pollock. Rumours about its creation abound - such as it being painted in one alcohol-fuelled night and at first didn't fit the intended space. But never in doubt was that it was pivotal, not only for Pollock but for the Abstract Expressionists who would follow his radical conception of art - "no limits, just edges." Mural, painted in 1943, was Pollock's first major commission. It was made for the entrance hall of the Manhattan duplex of Peggy Guggenheim who donated it to the University of Iowa in the 1950s where it stayed until its 2012 arrival for conservation and study at the Getty Center. This book unveils the findings of that examination providing a more complete picture of Pollock's process than ever before and includes an essay by eminent Pollock scholar Ellen Landau and an introduction by comedian Steve Martin.
7 citations
TL;DR: This paper demonstrates a simple, yet powerful method to automatically identify the aesthetic visual style that lies in Dunhuang murals by explicitly predicting some of possible image attributes that a human might use to understand the aestheticVisual style of a mural.
Abstract: Dunhuang murals are gems of Chinese traditional art. This paper demonstrates a simple, yet powerful method to automatically identify the aesthetic visual style that lies in Dunhuang murals. Based on the art knowledge on Dunhuang murals, the method explicitly predicts some of possible image attributes that a human might use to understand the aesthetic visual style of a mural. These cues fall into three broad types: ① composition attributes related to mural layout or configuration; ② color attributes related to color types depicted; ③ brightness attributes related to bright conditions. We show that a classifier trained on these attributes can provide an efficient way to predict the aesthetic visual style of Dunhuang murals.
6 citations
TL;DR: In this article, a method was proposed to identify traditional Thai colors used in mural paintings using only the names in old textbooks, without any quantitative information about the colors used by the artists.
Abstract: The major obstacle in identifying traditional Thai colors used in mural paintings is that most exist today only as names in old textbooks. The textbooks mention the name of each color without giving quantitative information about it. Mural paintings in Thailand have never been restored by matching the original colors, and, therefore, it is impossible to gather colorimetric data from any mural painting. Only few artists posses today the knowledge, inherited from their elders, to produce traditional Thai color names from natural pigments. However, there is no general accepted recipe among artists to produce any of these colors by means of pigment proportions and dilutions. For this reason, there is no other way to identify traditional Thai color names except for studying the color characteristics of samples painted by artists who still know how the colors look. Thai mural painting colors will be one of Thai's lost cultural treasures once these artists disappear. Therefore, the identification and quantitative description of these colors became a high priority. In this article, we review the method used in our research for identifying more than half of the studied traditional Thai mural painting colors and describe an improved method for identifying the rest of the colors. We show calculation processes used in the software that we created as part of the improved method. We also suggest a way for restoring the mural paintings, using the identified color names, given the fact that the latest restorations totally destroyed the old paintings in Lampang province. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 616–629, 2014
Posted Content•
TL;DR: The origins of the mural tradition in the events of the late 1960s and early 1970s in the town of Orgosolo in the mountains of Sardinia are described in this article.
Abstract: The small town of Orgosolo in the mountains of Sardinia is known for its murals: hundreds of them in a town of only 5,000 inhabitants. Although murals exist throughout Sardinia, those of Orgosolo are noteworthy because of their political content. This article describes the origins of the mural tradition in the events of the late 1960s and early 1970s in the town. The combination of a left-wing council and youth group, as well as the powerful influence of an art teacher, led to the start of a process that continues to this day. The murals are classified into four interrelated themes: war, resistance, ethnic pride and resonance. But most importantly, the relevance of the mural tradition is placed in the context of the rejection by local people of northern Italian stereotypes which display them as backward shepherds and bandits, wedded inexorably to tradition and the rejection of progress.
TL;DR: The authors departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945-1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with...
Abstract: This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945–1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with ...
TL;DR: In the context of pre-1989 West Berlin, murals became a vehicle for citizens to contribute to the discourse of urban development by challenging mainstream practices, creating solidarity, redefining citizens' place in the urban community, and r... The shift in mural art to neighborhood locations and to themes addressing local issues suggests a new role for public art as discussed by the authors.
Abstract: During the fifteen-year period before the fall of the Berlin Wall, roughly 250 murals were painted in West Berlin. The initiative for their creation often came from local residents in the neighborhoods where the murals were located. There was a range of skill levels and various involvements by local government, but even when municipal programs were created to underwrite murals, they were a response to what had already been initiated at the community level. Many murals address the quality of urban life by protesting specific urban or industrial changes or projecting alternative cityscapes. The shift in mural art to neighborhood locations and to themes addressing local issues suggests a new role for public art and a new position for murals in relation to public space. In the context of pre-1989 West Berlin, murals became a vehicle for citizens to contribute to the discourse of urban development by challenging mainstream practices, creating solidarity, redefining citizens' place in the urban community, and r...
Journal Article•
TL;DR: In this article, the data acquired by using Fibre Optic Reflectance Spectroscopy (FORS) and spectrocolorimetry on the mural Tuttomondo (1989) painted by Keith Haring (1958-1990) on the wall of the Church of Sant'Antonio Abate in Pisa (Italy) is reported.
Abstract: In this paper the data acquired by using Fibre Optic Reflectance Spectroscopy (FORS) and spectrocolorimetry on the mural Tuttomondo (1989) painted by Keith Haring (1958-1990) on the wall of the Church of Sant'Antonio Abate in Pisa (Italy) will be reported. Tuttomondo is one of a few extant Haring large murals worldwide. Although it was in a relatively good state of conservation, alterations and fading of the colours, yellowing and darkening of the white background, and losses in the black lines were observed. A diagnostic survey was begun in September 2011 to evaluate the state of conservation of the mural in order to support the conservation intervention which was focused on cleaning and the subsequent consolidation of the mural painting. The FORS data recorded on several spots (about 1.5-mm in diameter) of the mural before any conservation procedures provided useful information on the composition of the acrylic paints supplied to the artist by Caparol Italy GmbH & Co. In regards to the yellowing and darkening of the white background, as well as the fading of the colours, cleaning tests were carried out, using various materials (e.g. hard erasers, deionised water, wishab, and cleaning emulsions). For some of these tests it was decided to use spectrocolorimetres to monitor and document the colour variations caused by each cleaning test on selected areas both before and after the cleaning process. The colorimetric data supported the choice of the final cleaning procedure, which, to a great extent, enabled the recovery of the vivid original colours. The colorimetric measurements will be used to monitor the state of conservation of the mural on a regular basis.
TL;DR: In this article, a study was conducted using historical review and analysis, unstructured interview guides as well as participant and non-participant observational techniques in a descriptive design at Sirigu, Ahwiaa and Ntonso, revealing the forms of painting that existed in the country before the introduction of formal training by the colonial masters.
Abstract: Painting could be said to be well grounded in all cultures worldwide. This is underpinned by the vast record of cave art as globally represented, even though this phenomenon does not seamlessly continue into some ancient traditions that followed. In the face of the above however, to find the traditional period of a people one has to identify the geographical area of this group in order to consider the autochthonous art practice of the place so as to determine its cultural beginnings, extent, and forms of art explored. In the case of Ghana, one observes that, art historians usually site the beginning of painting at the time when colonial educational training of the arts was begun in Achimota from the 1900s. The study was conducted using historical review and analysis, unstructured interview guides as well as participant and non-participant observational techniques in a descriptive design at Sirigu, Ahwiaa and Ntonso, revealing the forms of painting that existed in the country before the introduction of formal training by the colonial masters. The result showed that Ghanaians traditionally practiced different kinds of painting, long before the colonial art training programme was introduced. We feel it should be of concern for any people to be able to tell, not only how, and why but also when they started doing the things that matter to their existence and cultural heritage .
TL;DR: The Ixil Maya area is located in Quiche Department of the north-western part of the Guatemalan Highlands and has witnessed a continuous occupation since the 1st millennium BC till today as discussed by the authors.
Abstract: The Ixil Maya area is located in Quiche Department of the north-western part of the Guatemalan Highlands. It has witnessed a continuous occupation since the 1st millennium BC till today. This archaeologically interesting region has provided many important discoveries of rare cultural mixture, with distinct features typical for both Maya Highlands and more distant Lowlands. Recently, the scholarly interest has focused on Chajul where a few years ago, in one of the local houses, well preserved wall paintings dated to the Colonial period were exposed by the house owner during the process of its renovation. With this extraordinary finding a question emerged - are we able to confirm the cultural continuity between the pre-Columbian settlers and modem Ixil who claim «to be always here»? This paper presents a brief outline of the history of the Ixil Maya. It also presents results of some recent and preliminary studies conducted by Polish scholars in this region.
06 May 2014
TL;DR: This paper designs an user-friendly interface for Goguryeo tome murals by Flash, and makes a modelling and rendering with 3D Max, and creates an educational animation with Adobe Premiere.
Abstract: In this paper, we design and develop an educational virtual system which can experience Goguryeo tomb murals in the virtual world. Goguryeo tomb murals are well known in the world, and they are registered as a UNESCO World Heritage site by the value Acknowledged worldwide. We design an user-friendly interface for Goguryeo tome murals by Flash, and make a modelling and rendering with 3D Max. In addition, we create an educational animation with Adobe Premiere. We choose some of items such as Goguryeo tomb murals, historical sites, high-level description of periodization, Goguryeo's clothes, home, play as sub-themes, and we develop a system with detailed views and informations for the daily life of the people of Goguryeo.
TL;DR: Two mural projects in Brunei offer insight into the specific and universal aspects of public art education and community art making as mentioned in this paper, which is the case in many parts of the world.
Abstract: Two mural projects in Brunei offer insight into the specific and universal aspects of public art education and community art making.
TL;DR: Juanqinzhai is the most celebrated structure in the retirement complex that was built 1771-1776 within the Forbidden City, Beijing, for the Qianlong Emperor, under his direct supervision as mentioned in this paper.
Abstract: Juanqinzhai is the most celebrated structure in the retirement complex that was built 1771–1776 within the Forbidden City, Beijing, for the Qianlong Emperor, under his direct supervision. One half of the building comprises a group of private rooms that surround an entry court and the other half contains a two-story theater. The interior is distinguished by the fully encompassing but different decorative schemes in these two areas and by the rarity of the materials used, most notably a group of trompe l'oeil murals in tempera on silk in the style of the Qing Dynasty court painter Giuseppe Castiglione (1688–1766). Largely unused after 1924, the interiors suffered from the increased building porosity and lack of attention. The World Monuments Fund provided technical assistance and financial support for the conservation of Juanqinzhai in specific areas that were identified by the Palace Museum: the mural painting, the architecture as a protective enclosure, and the applied and painted interior finishe...
Journal Article•
TL;DR: In this paper, the authors focus on exterior mural decoration imitating icons, which are placed on the south facades of the Church of the Archangels in Iprari and St. George church in Ipkhi (Upper Svaneti), dating from the 13 th century.
Abstract: The present article focuses on exterior mural decoration imitating icons, which are placed on the south facades of the Church of the Archangels in Iprari and St. George church in Ipkhi (Upper Svaneti), dating from the 13 th century. The iconography of these fresco-icons constituting the Deesis is interpreted as a visual reference to the chancel barrier. The facade murals discussed in the article play a role in the complex relations between individual parts of the Christian church. The templon imagery, intended for those for whom the sanctuary is not accessible, is a liminal marker. I argue that the facade fresco-icons depicting the Deesis function as templon imagery addressing the space in front of them.
Journal Article•
TL;DR: It is found that the dog collagen concentration in the dry red mural painting samples was 7.328mg / L, but no dog collagen was detected in the moist black, yellow and red mural paintings samples.
Abstract: Research on the binding media used in ancient tomb mural paintings is a hot topic in international scientific archaeology.In this study,the Enzyme-Linked ImmunoSorbent Assay(ELISA) technique was applied to analyze and determine the concentration of dog collagen in the red,black and yellow mural painting samples in the tombs built in 5th century in North China.It is found that the dog collagen concentration in the dry red mural painting samples was 7.328mg / L,but no dog collagen was detected in the moist black,yellow and red mural painting samples.This work was successful in using the ELISA method to detect the binding media in ancient Chinese mural paintings.ELISA can also be used for the rapid,direct detection of animal species in other ancient mural painting relics.
TL;DR: In Stemnitsa, a wealthy post-Byzantine town with a rich historical heritage in the central Peloponnese, five churches with mural paintings of the sixteenth and seventeenth centuries have been found as discussed by the authors.
Abstract: Five churches with mural paintings of the sixteenth and seventeenth centuries
have survived in Stemnitsa, a wealthy post-Byzantine town with a rich
historical heritage in the central Peloponnese. In the sixteenth century the
Church of St Nicholas and in the seventeenth century the wall-paintings in
four churches, Panagia Baphero, Prophet Elijah, St Panteleemon and the
katholikon of the monastery of the Zoodochos Pege are consistent with the
general clime of seventeenth-century painting in the Peloponnese where many
and different trends developed in this period.
TL;DR: In this paper, the authors used optical microscopy to observe the layers superposition and pigment distribution, while the stucco and rock support were characterized by X-ray Diffraction (XRD) and Xray Fluorescence (XRF).
Abstract: The Maya archaeological site of Ek’Balam is located in Yucatan, Mexico. This place is known for its artistic tradition of reliefs modeled in stucco as well as the rich pictorial and hieroglyphic texts. Although the mural played a key role in the artistic program architectural of elite groups, most of these remains have not been studied, either by its incomplete or fragile condition, or by localization in inaccessible substructures. In this study, technical aspects of the mural paintings from rooms 12 and 50 of the main building of the site are addressed by the spectroscopic analysis of its materials. Optical microscopy was used to observe the layers superposition and pigment distribution, while the stucco and rock support were characterized by X-ray Diffraction (XRD) and X-ray Fluorescence (XRF). Moreover, the chromatic palette composed of different colors and tones of red, yellow, orange, green, blue and black were analyzed mainly with non-invasive techniques using Raman and FTIR spectroscopies as well as XRF. The information obtained from the combination of these analytical techniques, allowed a better understanding of the similarities and differences between these two rooms that were built during the last construction stage of the Acropolis. These results were also compared with previous analyses of mural painting of this site and other Maya paintings.
01 Jan 2014
TL;DR: In this article, the authors present specific groups of paintings from Corinth that illustrate the patterns in painting techniques, material-use, and visual representations from the 1st to the 3rd centuries CE, and integrate technical and iconographic facets with the consideration of the artistic associations of the painters, the interests and cultural resources of Corinthian patrons, and the networks of exchange in which Corinth participated during these centuries.
Abstract: The most significant challenges facing a study of Roman-period mural paintings from Greece result from preservation, chronology, and academic traditions. This chapter presents specific groups of paintings from Corinth that illustrates the patterns in painting techniques, material-use, and visual representations from the 1st to the 3rd centuries CE. It traces these patterns diachronically, integrating discussion of technical and iconographic facets with the consideration of the artistic associations of the painters, the interests and cultural resources of Corinthian patrons, and the networks of exchange in which Corinth participated during these centuries. This perspective highlights the manner in which paintings reflect cultural practices and the dynamic and multifaceted nature of artistic production in the Roman Mediterranean. 1st-century CE Corinthian paintings demonstrate a complete adoption of Italic painting techniques following the city's founding as a Roman colony in 44 BCE. Keywords: Corinthian mural paintings; Italic painting techniques; Roman Mediterranean; Roman-period mural paintings; visual representations
01 Jan 2014
TL;DR: Singer Sargent (1856-1925) as mentioned in this paper produced a group of uniquely Floridian watercolors that are breathtaking arrangements of color, form, and light for the Somme battlefields as an official war artist.
Abstract: The last in a series of books devoted to the work of John Singer Sargent (1856-1925), this volume covers the figure and landscape works that Sargent produced between 1914 and 1925. The story begins with the artist painting with friends on vacation in Austria in the summer of 1914, unaware that war was about to be declared. The following year, he began working in London on his ideas for the murals at the Boston Public Library and the Museum of Fine Arts, Boston, before spending two years in Boston and exploring other parts of America. While in Florida to paint a portrait of John D. Rockefeller, he produced a group of uniquely Floridian watercolors that are breathtaking arrangements of color, form, and light. In July 1918 he accepted an invitation from the British government to travel to the Somme battlefields as an official war artist. This experience led him to produce a remarkable group of works depicting troop movements, off-duty soldiers relaxing, and the studies for his epic canvas, Gassed. Sargent returned to Boston in 1921 and 1922 to complete his mural projects, and visits to Maine and New Hampshire yielded numerous watercolors. Chapters on Sargent's materials and the framing of his pictures complete this remarkable project.
TL;DR: In this article, the authors characterized the components of the pictorial surface which consists of pigments, the binding media, the plaster layer and its support and introduced the conservation project of the mural painting which was carried out at the dome "between" 2004-20013.
Abstract: The church of Mary Girgis (Saint George) was built by Athanasius "who also founded the Church of Saints Cyrus and John". The Church was destroyed, and all the rest of the original edifice is a room which covered by huge dome known as the Wedding Hall, dating to the 14th century. The huge dome of the wedding Hall contains several mural paintings represented Coptic arts. The dome mural paintings was darkened and severely damaged as significant detachments of the painted layer and the underneath support lost their cohesion and separated into many pieces, delamination and flaking of the ceiling painting. The most important causes for the monument state of degradation were the environmental condition such as the effects of the groundwater, the presence of salts, the humidity (active in all its forms as infiltration, capillarity and condensation) and the improper previous interventions at the structural level (fillings in the cracks with gypsum mortars). The aim of this study is to characterize the components of the pictorial surface which consists of pigments, the binding media, the plaster layer and its support and introduce the conservation project of the mural painting which was carried out at the dome "between" 2004-20013. Prior to the conservation intervention, the materials were characterized by optical microscopy, polarizing microscope, scanning electron microscopy with energy dispersive X-ray spectroscopy, X-ray diffraction and X-ray fluorescence. The chemical analyses have determined the nature and composition of the materials used in the painting process (mortars, pigments, binders), have identified the causes of physical and chemical altering processes of pigment layers and provided knowledge on the execution technique. The interior painting was executed according to the Byzantine technique, on a fresco plaster (intonaco) consisting of lime mortar, pigments were obtained by mixing pigments with water. After the material characterization, the conservation and restoration of the mural painting, which including cleaning, injection grouting, fixation of the paint layer, filling of the support gaps with mortar, consolidation, restoration and completion of lost parts, were carried out.
TL;DR: Wang et al. as mentioned in this paper reviewed recent Chinese publications (5 books and 30 articles) on Mayidari Juu (Maitreya Monastery, Ch. Meidaizhao, in Inner Mongolia, China) - a remarkable fortified Tibetan Buddhist monastery that has preserved sixteenth-to nineteenth-century mural paintings and architecture.
Abstract: This review article evaluates recent Chinese publications (5 books and 30 articles) on Mayidari Juu (Maitreya Monastery, Ch. Meidaizhao 美岱召), in Inner Mongolia, China) - a remarkable fortified Tibetan Buddhist monastery that has preserved sixteenth- to nineteenth-century mural paintings and architecture. Its study is not only important for the history of the Tumed Mongols, but also for the history of Mongol monasteries, art, architecture, religion, society, economy, and funerary practices. The recent books reviewed here, correspond to a new campaign of restoration of the monastery, and reflect the modern revalorisation of Inner Mongol tangible heritage. Besides introducing recently discovered archives, they provide excellent quality photographs of the murals and framework decor, as well as new hypotheses on the dating and function of buildings, and on the dating, iconography and authors of mural paintings. By synthesizing the main debates on history, architecture and painting of Mayidari Juu, the present review essay aims at helping global scholarship on this major part of the Mongol heritage move on to a new stage.
TL;DR: In the period from October 2011 to June 2012, the author completed the conservation treatment of a white silk robe unearthed from the Loulan mural tomb, Xinjiang Uyghur Autonomous Region as mentioned in this paper.
Abstract: In the period from October 2011 to June 2012, the author completed the conservation treatment of a white silk robe unearthed from the Loulan mural tomb, Xinjiang Uyghur Autonomous Region [1]. This ...