Mural

About: Mural is a research topic. Over the lifetime, 1144 publications have been published within this topic receiving 5050 citations.

William Nicholson, painter : paintings, woodcuts, writings, photographs

Abstract: Foreword by Alan Bowness Judd's Farm his life grew out of his paintings - a profile outline chronology 1872-1949 the Nicholsons of Newark an enterprising family - the Trent ironworks Magnus Grammar School, Newark Herkomer Art School L'Academie Julian, Paris marriage to 'Prydie' J. and W. Beggarstaff William turns to the woodcut Chaucer's House, Woodstock, Oxfordshire Mecklenburgh Square, London Rottingdean, the Windmill, and the Sussex Downs letters begin from William to Ben abroad Prydie's painting flourished as the children grew older painting a glass mural in a Paris flat to India with Lutyens to paint the Viceroy a family house near Harlech painting Ursula Lutyens began at Folly Farm Apple Tree Yard, St James's London "The Lady in Grey" - Edie and William Sutton Veny and the Wiltshire Downs to paint in Spain, with Marguerite Steen painting at La Rochelle, France "not too good a time for a chap to paint in" retrospective exhibition at the National Gallery Blewbury -return to the Downs Ben Nicholson wrote about William's painting in two letters in 1953 public galleries with pictures by William Nicholson select bibliography select articles, reviews and catalogues acknowledgements credits general index index of works by title.

John Singer Sargent : figures and landscapes, 1908-1913

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.

Painting Ethics: Death, Love, and Moral Vision in the Mahāparinibbāna

Abstract: This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language (such as scriptural texts) can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death of the Buddha (mahāparinibbāna) located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love.

English Medieval Murals

Abstract: English Medieval Mural Paintings By A. Caiger-Smith. Pp. xvii + 190 + 25 plates. (Oxford: Clarendon Press; London: Oxford University Press, 1963.) 45s. net.