Topic
Mural
About: Mural is a research topic. Over the lifetime, 1144 publications have been published within this topic receiving 5050 citations.
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Book Chapter•
01 Jan 2012
2 citations
TL;DR: The IIC Rome Conference on MURAL PAINTINGS as discussed by the authors was the first conference devoted to the conservation of paintings, and was held in 1961, with the theme of "Recent Advances in Conservation".
Abstract: (1961). SOME OBSERVATIONS ON MURAL PAINTINGS. Studies in Conservation: Vol. 6, Recent Advances in Conservation: Contributions to the IIC Rome Conference, 1961. Edited by G. Thomson, pp. 123-124.
2 citations
02 Jun 2009
2 citations
TL;DR: In this paper, the authors investigate the rationale that lies behind, and the rhetorical and pragmatic content of the social and political wall murals created between the late 60s and early 70s in Sardinia, as well as the representational function they have played not only as an instrument to describe class conflicts, but also the active role they have served in efforts to catalyze cultural support for the organization of political goals.
Abstract: This study, part of an ongoing research project based on identity and authenticity in building the image of Sardinia in international tourist discourse, will focus on the active roles played by the ‘language’ (both visual and verbal) to “narrate the story of the many Sardinian identities and myths: rebellion against authority, ethnic uniqueness and strenuous protection of local values” (Fodde, in print). The study tries to investigate the rationale that lies behind, and the rhetorical and pragmatic content of the social and political wall murals created between the late 60s and early 70s in Sardinia, as well as the representational function they have played not only as an instrument to describe class conflicts, but also the active role they have served in efforts to catalyze cultural support for the organization of political goals. Initially introduced in the late 60s to reproduce scenes of everyday life, wall murals quickly became the striking medium used by political activists to express themes beyond local events: criticism of the capitalist society, denunciation and social conquest, accompanied by a sensibility and by a feeling of disillusion concerning the Italian government’s centralization policy. Therefore, a political, social and historical analysis of the main events that have led to this mural production is necessary to understand the wider context in which the factors and the dynamics of this form of “artification” (Cozzolino: 2014: 167) has acted. The methodology refers to modality as one of the key dimensions of “social semiotics” (van Leeuwen 2005: 91) and aims at analyzing the ways in which the symbolic contents of Sardinian murals create a communal self-identification, legitimizing this form of narrative to further ideological and political goals. In more specific terms, attention is called to the concept of epistemic modality of mural images, with the scope of providing a systematic and comprehensive account of the grammar of their visual design. By analyzing the formal elements and the structures of the murals’ design, that is colour, perspective, framing, composition, and the texturing of their texts, this contribution aims to examine the ways in which mural images communicate meaning and create the truth or reality values of their representations.
2 citations
20 Aug 2019
TL;DR: In this paper, a multi-sensory experience was organized together with the Professional Conservatory of Music of Teruel (Spain) for a concert-tribute to the pianist and composer Claude Debussy (on the centenary of his death) and a mural intervention was designed.
Abstract: Breaking the usual dynamics of the classroom to improve students´ performance and to encourage their learning spirit and creativity leads us to accept challenges to generate meaningful learning. In this article we approach a multisensory experience which was organized together with the Professional Conservatory of Music of Teruel (Spain). Visual Arts collaborate as guests in a concert-tribute to the pianist and composer Claude Debussy (on the centenary of his death) and, for this, a mural intervention was designed. The subject of Color I, from the Painting Area, developed a project from the selected repertoire, taking as a starting point synesthesia, which acted as a bridge between both forms of artistic expression and creation. In this way, music and painting were conjugated in a joint work within a collaborative project that was being constructed simultaneously. In our proposal, we chose Claude Monet and his water lily paintings, to recreate a pond in four mural panels that would be painted in situ by the first course’ students. Working together, we projected a collaborative work based in sensory perception, the technical skill, and as a point of union between both disciplines, the colors and sounds, which invited to feel and perceive tones, brightness and harmony in an activity of innovation. The mural intervention and the transformation of the space allowed the notes of color and sound to dance within the same melody, metaphor of a sensorial landscape created on the stage.
2 citations