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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TL;DR: In Orihuela in the province of Valencia, Spain, there is a festival of mural painting in honour of local poet Miguel Hernandez, who died in a fascist jail in 1942 as mentioned in this paper.
Abstract: Each March in Orihuela in the province of Valencia, Spain, there is a festival of mural painting in honour of local poet Miguel Hernandez. For long the poet, who died in a fascist jail in 1942, had...
5 citations
Book•
01 Jan 2002
TL;DR: A detailed portrait of El Pueblo de Los Angeles is presented in this article, which combines text with historical paintings, archival photographs and newly-commissioned photography to create a portrait of the pueblo, its history and heritage.
Abstract: El Pueblo de Los Angeles was founded in 1781 as a Spanish colony by settlers from present-day Mexico, as well as settlers of Indian, African and European descent. Its story represents a microcosm of the city's multiethnic history and heritage. Capital of Mexican California in the 1840s, the town grew with the influx of Anglo-Americans, Europeans and Chinese later in the 19th century. As Los Angeles blossomed into a modern metropolis, the old pueblo fell into disrepair. It was revitalized with the opening in 1930 of the Mexican marketplace at Olvera Street, which reflected popular romantic notions of old California. In 1953 the historic district was made a California state park; it is now a department of the city of Los Angeles. Illustrated in colour throughout, this volume combines text with historical paintings, archival photographs and newly-commissioned photography to create a portrait of the pueblo, its history, and its heritage. Initial chapters survey life in the Spanish, Mexican and early American periods. The work then discusses the transformation of Olvera Street and tells the story of the Siqueiros mural "America Tropical", a remarkable tale of art, ideology and politics in 1930s Los Angeles. The final chapters tour the pueblo's historic buildings and discuss initiatives for preserving its rich heritage, including the collaboration between the Getty Conservation Institute, El Pueblo Historical Monument, and others to conserve "America Tropical".
5 citations
Book•
31 Dec 2004
TL;DR: A collection of essays devoted exclusively to the contextual interpretation of Romanesque mural painting is presented in this article. But their focus is on the use of narrative disposition in the context of Romanesque mural paintings.
Abstract: Romanesque mural painting was arguably the most visible field for religious images in Western churches between the eleventh and thirteenth centuries. Beyond its traditional justification as Bible of the illiterate mural painting demarcated the principal functional spaces within the church and propagated the sacred narratives, the systems of belief and institutional politics. The present volume provides the first accessible collection of essays devoted exclusively to the contextual interpretation of Romanesque mural painting. They are offered in homage to Otto Demus, who established the essential parameters for the field with his unsurpassed survey of the field over thirty years ago. Presenting previously unpublished research on individual case studies from Italy, France and Spain, the collection of essays published here pursues Demuss premise that mural painting was designed both to shape the experience and ritual use of distinctive spaces within the medieval church, and to advertise certain institutional affiliations and political agendas. The introduction, by Thomas Dale, provides a methodological overview to the field, assessing Demuss contribution to the study of Romanesque mural painting and surveying the scholarship of the past thirty years. It also furnishes the first overview of primary texts that refer to the functions and exegesis of mural painting between the tenth and thirteenth centuries. The ten essays are grouped under four topics: 1. Patterns of Narrative Disposition in Sacred Space 2. Reinforcing the Praesentia of the Saints: The Church as Locus Sanctus 3. The Burial Crypt as Mediator between the Living and the Dead, Terrestrial and Celestial Space 4. Ecclesiastical Politics and Institutional Identity.
5 citations
TL;DR: In this paper, non-destructive analytical techniques in the hands of a conservator reveal a painted surface beneath Vasari's frescoes on the west wall of the Salone dei 500 in Florence.
Abstract: Non-destructive analytical techniques in the hands of a conservator reveal a painted surface beneath Vasari's frescoes on the west wall of the Salone dei 500 in Florence. Analysis of the pigments suggests that it is not related to the Vasari fresco over it, that it uses a toothy ground in an oil or resin binder, and contains pigments that can be associated with Leonardo. Art-historical re-examination of documents and descriptions of the Hall supports the suggestions of the conservator. Misinterpretation of a document established the tradition of locating the Battle of Anghiari on the east wall. Analysis of the building and the documents helps clarify Vasari's description of the Hall and suggests that the seat of the Gonfaloniere and Leonardo's mural were on the west wall.
5 citations
TL;DR: The Romanesque mural paintings from the Roman Church of Barcelona were saved from despoilment and dispersion in 1919, when the Junta de Museus (Board of Museums) of Barcelona embarked upon a major campaign of purchase and removal, which is a unique heritage of universal value as mentioned in this paper.
Abstract: The Romanesque mural painting in Catalonia which was saved from despoilment and dispersion in 1919, when the Junta de Museus (Board of Museums) of Barcelona embarked upon a major campaign of purchase and removal, is a unique heritage of universal value. Even though the mural paintings from the Romanesque cathedrals or the great abbeys like Ripoll no longer survive, what has been conserved is quite notable both stylistically and iconographically. The surviving frescoes were mainly inspired by the art of early Christian Rome and that of the Gregorian reform, yet also by Byzantine sources and by Lombard and Germanic styles and prototypes, all translated into highly original programmes of images. The most emblematic works are conserved at the Museu Nacional d'Art de Catalunya (MNAC), such as the apse from Sant Climent de Taull, a capolavoro of European Romanesque painting, and the apses from Sant Pere de la Seu d'Urgell and Santa Maria d'Aneu, both boasting outstanding quality, along with the paintings from Sant Joan in Boi, Sant Quirze de Pedret, Sorpe and el Burgal. Together with the frescoes at the Museu Diocesa i Comarcal de Solsona, the Museu Episcopal de Vic, the Museu d'Art de Girona and the Museu Diocesa d'Urgell, along with the numerous murals and remains of paintings conserved in situ, many of them discovered in recent years, they enable us to envisage the scope of this Catalan Romanesque art. Of these discoveries, perhaps the most noteworthy are the paintings from Sant Vicenc d'Estamariu, as well as the new images on the triumphant arches of Sant Climent de Taull. This article summarises the most important part of this mural painting heritage as well as the most recent literature on the subject.
5 citations