Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This study is limited to the murals of Théodore Chassériau (1819-1856). In the brief working period of less than fifteen years (1841-1855), Chassériau painted four important murals in Paris for: the church of Saint-Merri (1841-1843); the Cour des Comptes (1844-1848); the church of Saint-Roch (1851-1853); and the church of Saint-Philippe-du-Roule (1853-1855). Much of the reputation of Chassériau during his career rested on his murals, yet in less than fifty years after his death in 1856 he became virtually forgotten as a muralist. His portraits in the style of his master Ingres and his easel paintings more in the manner of Delacroix are well known but his murals have never been stuied separately. Moreover, the preparations for the murals recently willed to the Cabinet des Dessins du Louvre have not been published. The research was done almost entirely in Paris from the remaining murals, the drawings and studies, documents in archives, church records, old graphic works, architectural plans and records, articles in periodicals contemporary with the murals, and the artist's studio notes. Although Chassériau retained the decorative style of Ingres and borrowed the color of Delacroix, the artist's notes reveal a decided interest in realism. The evolution of his mural style was in this direction. The trip to Italy in 1840 and the one to Algeria in 1846 were the turning points in Chassériau's mural style. This is supported by his notes. His first two murals depended upon the classical souvenirs of Italy and is last two reflect the sun of Africa. Most of all, starting with a cool classicism close to Ingres's in his first mural, Chassériau achieved a decorative realism in his last mural. This realism has been overlooked until now but did not go unnoticed by the artist's contemporary critics in rare and forgotten articles. The same age as Courbet, the champion of realism, Chassériau was indeed an artist of his time. Yet it was the eclectic style and the exotic nature of Chassériau that influenced Puvis de Chavannes, Gustave Moreau, and the early Degas. His mural style formed a watershed of currents that found their channels only after him. The first volume contains the text. Each mural is studied separately from the first sketch to the finished work in position. Each mural is considered in its: a. architectural position; b. iconography; c. drawings and studies; d. formal elements; e. nineteenth-century criticism; f. summary. The second volume contains 210 black and white photographs. These cover the murals with several details but the greater number are of the drawings and studies along with architectural plans, diagrams, and reproductions of lost works taken from old prints. In addition, there are eight compositional studies by the author, two for each major mural . There are also two drawings by the author reconstructing for the first time the position and the iconography of the fifteen panels for the grand staircase of the Cour des Comptes burned in 1871. / 2031-01-01

Major social and demographic changes occurred during the Pueblo IV Period (AD 1300-1600) in the American Southwest. Small scattered communities aggregated into large settlement centers with more complex social organization during this period. Mural paintings created at this time are dramatically different stylistically from murals created before the social and demographic shift. At Homol'ovi in northeastern Arizona, these mural changes were accompanied by changes in plastering behaviors, including the development of distinct pigment use patterns.The hypothesis of the present study is that the visual performance characteristics of Hopi wall decorations, such as pigment sources, wall plaster colors and mural painting motifs, were part of a complex communicative system that changed as social power relationships changed and new rituals were established to support and legitimize the new social organization.Using inexpensive optical plaster and mural analysis techniques and XRF analysis of pigment samples from the ancestral Hopi sites of Homol'ovi I, Homol'ovi II and Chevelon, this research demonstrates the significance of wall decorations as social and political indicators marking transitions that occurred during the Pueblo IV and contact periods.

TITLE: The mural paintings in the Augustinian monastery in Třeboň AUTHOR: Michaela Vrchotová DEPARTMENT: Department of Art History SUPERVISOR: Prof. PhDr. Ing. Jan Royt, Ph.D. ABSTRACT: The subject of this thesis are the mural paintings in St. Giles church and the former monastery of Augustinian Canons in Třeboň, which date from the last quarter of the 14th century until the late Middle Ages and the onset of Renaissance at the beginning of the 16th century. The main objective was to gather all available information that could contribute to elucidating the period context of the creation of the mural paintings in the monastery of Třeboň. The intended output was, to the extent of objective possibilities, an art historical analysis of the works, backed by all the researched facts, and the assessment of the significance of Rosenberg donators and of their links to the imperial court. The extent of preservation and the possibilities for assessment of the artistic quality of the individual mural images form a relatively broad range. The mural paintings were divided into three time periods and the pictures that were the focus of the thesis stand as interesting period documents, not only from the artistic, but also from the cultural point of view, and as such they deserve a place in the history of Třeboň monastery...

In this study, two sample sets from Zeugma Archaeological Area had been examined. The sample Set I includes 7 sediment, 18 stone, 4 brick/roof tile, 9 mortar, 4 plaster samples and the sample Set II consists of 24 mural painting samples. Samples were examined to get their raw material characteristics, mineralogical and chemical compositions, and microstructural properties using various analytical techniques such as Optical Microscopy, XRD, FTIR, PED-XRF, SEM-EDX and Raman Spectroscopy. In addition, mikroclimatic monitorings for temperature and relative humidity were also performed in that area. Sediments were calcereous soils of Eocene. Rock types of stones were mainly limestone which had 3 subgroups: micritic, biomicritic and recrytallised micritic limestones. The source of the limestones should be from the local formation. The firing temperature of brick/roof tile samples were estimated as 800-850&deg / C. Binder of mortar samples were mainly lime. Aggregate materials of brick/roof tiles, mortars, plasters and mural paintings may come from the river deposites of Euphrates. Mural painting samples have one intonaco layer, and single or double arriccio layers. The mural painting technique was fresco technique. Calcite was common mineral identified for all pigments. The sources of white, black and green coloured pigments were found as vaterite, graphite and malachite respectively. The sources of yellow coloured pigments were identified as ankerite, siderite and goethite. The red colours were identified as hematite, jasper and red earth/ochre. Jasper and vaterite, jasper and calcite, red earth/ochre and calcite, and hematite were the colour forming minerals of pink coloured pigments.

Cette thèse a pour objet les images narratives de la Passion du Christ dans les peintures murales tardobyzantines, leur place et leur fonctionnement dans l’espace rituel dont elles constituent le décor. Développé en dessous des images du Dodekaorton, il a une forme et une place très particulières : faisant le tour de la nef et intégrant généralement le sanctuaire dans son parcours, il participe de la construction de l’espace cultuel. Cette approche des images a montré que la forme narrative donnée à ces cycles composant les décors pariétaux, loin d’être fortuite, est porteuse de sens et de discours. Décorant d’abord des fondations byzantines prestigieuses à la fin du XIIIe siècle, le motif ne tarde pas à apparaître dans les églises serbes peintes dans l’entourage du Kralj Milutin, avant de devenir courant dans des monuments plus modestes. Le cycle est envisagé dans sa globalité et non image par image, à l’aide des outils traditionnels de l’iconographie mais aussi de la narratologie, ce qui a permis de mettre en évidence sa structure narrative. Dans une troisième partie, le fonctionnement liturgique du cycle est détaillé, révélant un discours eucharistique et mystagogique qui n’est pas tant superposé au récit en images, qu’il n’est au contraire produit par lui. / This doctoral thesis addresses the narrative images of the Passion of Christ in Late Byzantine mural paintings, their place and their ritual function. This cycle, which takes place under the Dodekaorton, has a clear sequence. Going around the nave and generally passing through the sanctuary space, it participated in the construction of the worship space. A study of the images used shows that such the narrative form given to these cycles, far from being accidental, is a carrier of meaning and discourse. Firstly decorating prestigious Byzantine foundations in the late thirteenth century, this kind cycle soon appeared in Serbian churches painted in the Kralj Milutin’s milieu and then became common in more modest monuments. In this study, the cycle is considered as a whole, using the traditional tools of iconography but also narratology, which helped to highlight its narrative structure. At last, the liturgical function of the cycle is explored, revealing a Eucharistic and mystagogic discours produced by the narrative.

La LIBS est une technique d’analyse élémentaire dont la rapidité d’exécution et la portabilité en font une technique idéale pour l’analyse des matériaux sur site. Elle a déjà largement fait ses preuves dans le cadre de l’analyse de matériaux inorganiques. Mais les molécules organiques usuelles présentent des compositions atomiques similaires (C, O, H, N), rendant leur identification en LIBS difficile. L’utilisation de traitements de données tels que les rapports de raies ou la chimiométrie est donc inéluctable pour séparer efficacement plusieurs types de molécules organiques en LIBS. Malgré le caractère élémentaire de cette technique, les spectres obtenus lors de l’analyse de matériaux organiques montrent la signature spectrale de molécules diatomiques C2 et CN. Longtemps considéré comme des recombinaisons aléatoires des atomes présents dans le plasma, le signal de ces molécules s’avère d´dépendant de la nature des liaisons moléculaires de la molécule d’origine. Ce travail de thèse s’oriente autour de trois grands axes d’études - L’utilisation de traitements de données tels que la chimiométrie pour établir un protocole de traitements optimal visant à la discrimination des polymères dans le cadre du tri des plastiques. Un protocole optimisé a pu être avancé en UV et en IR. - L’identification des matières organiques utilisées en peinture murale (liants, adhésifs et consolidants) a pu être réalisée sur des échantillons de peinture de référence. Les traitements de données utilisés précédemment ont pu être appliqués sur ces échantillons présentant une matrice majoritairement inorganique. - La compréhension des procédés de formation des molécules diatomiques dans le plasma pour améliorer leur utilisation et ainsi optimiser la discrimination des matériaux organiques sur la base du signal moléculaire en LIBS. Le développement d’un système d’imagerie a permis de suivre le comportement spatio-temporel des espèces atomiques et moléculaires dans le plasma sous régimes UV et IR. Une hypothèse de formation des molécules sous ablation UV et IR a pu être établie. / LIBS is an analytical technique usable on-site because of its speed ant its transportability. It has already been used many times for the characterization of inorganic materials. The problematic of organic materials identification is still a subject of many researches, particularly concerning the plastic sorting and the conservation of artworks. Usual organic molecules indeed present similar atomic compositions (C, O, H, N) that make difficult their discrimination by LIBS. The use of data treatments like line ratios or chemometric tools is clearly primordial to separate effectively several organic molecules.Over the elementary nature of LIBS analysis, spectra obtained with this technique from organic materials present molecular signals belonging to diatomic molecules like C2 or CN. Those molecules have been considered as being the result of random recombinations of atoms present in the plasma. But their signals appear to be dependent of the molecular nature of the analyzed organic materials. This PhD work has been based on three studies ; - The use of data treatments like chemometric tools in order to establish a treatment protocol for the discrimination of polymers. An optimized protocol was validated for UV and IR impulsions. - The identification of organic materials used on mural paintings (binders, adhesives and consolidants) was realized on several reference samples. The data treatments used previously were successfully applied on those samples whose nature is mostly inorganic. - The comprehension of the process of formation of diatomic molecules in order to optimize the discrimination of organic materials based on molecular signals obtained by LIBS. A system was developed for the imagery of laser-induced plasmas to detect the spatio-temporal behavior of atomic and molecular species under UV and IR ablation. A hypothesis about their formation in the plasmas was advanced.

L’enjeu de cette thèse est de fonder une réflexion sur la représentation mentale et spirituelle du monde côtier par le biais des ornementations pariétales dans les espaces privés à Rome et en Campanie. Le sentiment de la nature côtière, qui se démarque de celui de la nature dans son ensemble autant qu’il s’y incorpore, n’est pas figé ; son évolution, perceptible dans le choix des thèmes et la manière stylistique avec laquelle ces derniers sont traités est déterminée par le contexte socio-politique de la genèse de ces expressions artistiques. Ainsi, nous traversons trois grandes époques : républicaine, post-républicaine et vespasienne correspondant aux trois styles pompéiens : deuxième, troisième et quatrième. Au fil de ces périodes, les paysages littoraux recèlent une symbolisation essentielle de l’ordre cosmique et de la structure idéologique qui permet l’interprétation de l’Univers. / The aim of this Ph D is to provide a consideration of the mental and spiritual representation of the coastal world through the mural paintings of Romano-Campanian houses. The sense of beauty in coastal nature which in fact differs from the sense of nature as a whole as much as it incorporates it is not set. Its evolution which is perceptible through choice of themes and through the iconographic styles is determined by the social and political context. Our investigation is based on three historical periods: a republican, post republican and vespasian, one corresponding to the three decorative Pompeian styles: the second, the third and the fourth. Throughout these periods, coastal landscapes involve a fundamental symbolisation of cosmic nature and of the ideological structure which allow an interpretation of the universe.

Made available in DSpace on 2016-04-18T21:32:02Z (GMT). No. of bitstreams: 3 Alessandra Ferrari1.pdf: 842585 bytes, checksum: 7d1b75a548de27393c8bef0c7d65a862 (MD5) Alessandra Ferrari2.pdf: 376944 bytes, checksum: b908f74a72e594fe571ac830cf17beeb (MD5) Alessandra Ferrari3.pdf: 680077 bytes, checksum: 03328ef09daf62c0374f8928bf4b368b (MD5) Previous issue date: 2006-08-10 / The conservation and restoration of mural painting conceived in this investigation from Carlos Paez Vilaró s painting restoration study, suggests reflections on intervention criteria and methods. The cutting out of the research tried to understand not just the theoretical material and multidisciplinary investigation, but the complexity inherent to the restoration of the artistic object in what refers to the challenges assumed by the restorer and all those that that have the custody of cultural assets. This research has been guided, in order to consolidate the relevant criteria, by selecting a mural painting offering discussions around the complexity of its implications in the choice of intervention criteria. Restoration was carried successfully, being subsequently redone under request of the painting owner. Such an event opened the discussion as for the criteria and concepts of restoration. / A conservação e o restauro da pintura mural concebida nesta investigação a partir do estudo do restauro da pintura de Carlos Paez Vilaró, sugere reflexões sobre critérios e métodos de intervenção. O recorte da pesquisa procurou compreender não apenas a investigação material e teórica multidisciplinar, mas a complexidade inerente à restauração do objeto artístico no que se refere aos desafios por parte do restaurador e de todos aqueles que possuem a custódia de bens culturais. Esta pesquisa orientou-se, a fim de consolidar os critérios pertinentes, selecionando uma pintura mural que oferecesse discussões em torno da complexidade de suas implicações na escolha dos critérios de intervenção. O restauro foi realizado com sucesso, sendo posteriormente refeito a pedido do proprietário da pintura. Tal acontecimento abriu a discussão a respeito dos critérios e conceitos de restauro.

[ES] El strappo es una técnica de arranque que permite extraer la superficie más externa de una pintura mural. Sus orígenes se remontan al siglo XVIII y a lo largo de la historia ha sido empleado de forma extensa como recurso conservativo en la intervención de nuestro patrimonio, aunque también ha sido muy cuestionado y acotado, por lo que la presente investigación muestra la vigencia de la técnica. Por otro lado, desde hace algunas décadas este sistema de arranque ha sido adoptado por diversos artistas como método de producción de obras de arte. La hipótesis de esta tesis doctoral plantea que el strappo es un sistema de arranque de pintura mural que ofrece posibilidades válidas y aplicables tanto en el ámbito de la conservación del patrimonio cultural como en el contexto del arte contemporáneo. La presente tesis reúne en una misma investigación los diversos usos que puede proporcionar esta técnica de arranque, en los dos ámbitos mencionados anteriormente. Esta idea surge de la necesidad de hallar soluciones técnicas a diversas problemáticas específicas, por un lado, sobre los procedimientos requeridos para llevar a cabo un strappo de pintura mural minimizando sus riesgos y, por otro lado, sobre los tratamientos y materiales más adecuados para intervenir una pintura mural arrancada. La investigación teórico-experimental que se desarrolla a lo largo de la tesis tiene como finalidad actualizar el protocolo de intervención a seguir para la realización del proceso que conlleva un arranque a strappo, adaptando la técnica tradicional a las necesidades de las obras investigadas, aportando con ello nuevos conocimientos sobre sistemas de consolidación de pinturas murales al seco. Las casuísticas de este tipo de pinturas son diversas, y van desde la sensibilidad al agua, hasta los problemas derivados de la falta de cohesión de la estructura pictórica. Cualquiera de los sistemas de arranque de pintura mural conlleva en sí mismo un riesgo, las operaciones de extracción son complejas y pueden acontecer múltiples circunstancias que derivan en problemáticas que deben intentar solventarse. Ante esta situación la tesis reivindica la necesidad de continuar investigando sobre este recurso conservativo, para intentar progresar y minimizar los riesgos y las dificultades de una técnica (el strappo) que sigue vigente en la actualidad y continúa realizándose cuando las circunstancias lo justifican como único recurso de salvaguarda. / [CA] El strappo és una tècnica d'arrancament que permet extraure la superfície més externa d'una pintura mural. Els seus orígens es remunten al segle XVIII i al llarg de la història ha sigut emprat de manera extensa com a recurs conservatiu en la intervenció del nostre patrimoni, encara que també ha sigut molt qüestionat i delimitat, per la qual cosa la present investigació mostra la vigència de la tècnica. D'altra banda, des de fa algunes dècades este sistema d'arrancament ha sigut adoptat per diversos artistes com a mètode de producció d'obres d'art. La hipòtesi d'esta tesi doctoral planteja que el strappo és un sistema d'arrancament de pintura mural que oferix possibilitats vàlides i aplicables tant en l'àmbit de la conservació del patrimoni cultural com en el context de l'art contemporani. La present tesi reunix en una mateixa investigació els diversos usos que pot proporcionar esta tècnica d'arrancament, en els dos àmbits esmentats anteriorment. Esta idea sorgix de la necessitat de trobar solucions tècniques a diverses problemàtiques específiques, d'una banda, sobre els procediments requerits per a dur a terme un strappo de pintura mural minimitzant els seus riscos i, d'altra banda, sobre els tractaments i materials més adequats per a intervindre una pintura mural arrancada. La investigació teòric-experimental que es desenvolupa al llarg de la tesi té com a finalitat actualitzar el protocol d'intervenció a seguir per a la realització del procés que comporta un arrancament a strappo, adaptant la tècnica tradicional a les necessitats de les obres investigades, aportant amb això nous coneixements sobre sistemes de consolidació de pintures murals al sec. Les casuístiques d'esta mena de pintures són diverses, i van des de la sensibilitat a l'aigua, fins als problemes derivats de la falta de cohesió de l'estructura pictòrica. Qualsevol dels sistemes d'arrancament de pintura mural comporta en si mateix un risc, les operacions d'extracció són complexes i poden esdevindre múltiples circumstàncies que deriven en problemàtiques que han d'intentar solucionar-se. Davant esta situació la tesi reivindica la necessitat de continuar investigant sobre este recurs conservatiu, per a intentar progressar i minimitzar els riscos i les dificultats d'una tècnica (el strappo) que continua vigent en l'actualitat i continua realitzant-se quan les circumstàncies ho justifiquen com a l'únic recurs de salvaguarda. / [EN] Strappo is a detachment technique for removing the outermost surface of a mural painting. Its origins date back to the 18th century and throughout history it has been used extensively as a conservation technique. Even though it is a popular intervention, strappo has also been highly questioned in the conservation field; therefore, this research tries to show the validity of the technique. On the other hand, for some decades the strappo system has been adopted by various artists as a method of producing works of art. The hypothesis of this doctoral thesis is that strappo is a system for detachment of wall paintings that offers valid and applicable possibilities both in the field of cultural heritage conservation and in the context of contemporary art production. This thesis brings together in the same research the different uses that this starting technique can provide, in the two areas mentioned above. This idea arises from the need to find technical solutions to various specific problems, on the one hand, on the procedures required to carry out a mural painting removal minimising its risks and, on the other hand, on the most suitable treatments and materials to intervene on a torn mural painting. The theoretical-experimental research carried out throughout the thesis aims to update the intervention procedure for carrying out a strappo start-up, adapting the traditional technique to the needs of the works investigated, thereby providing new knowledge on systems for consolidating dry mural paintings. The casuistry of this type of painting is diverse, ranging from sensitivity to water to problems derived from the lack of cohesion of the pictorial structure. Any of the detachment of wall paintings systems involves a risk in itself, the extraction operations are complex and multiple circumstances can occur that lead to problems that must be solved. In view of this situation, the thesis claims the need to continue researching this conservation resource, in order to try to progress and minimise the risks and difficulties of a technique (strappo) that is still in use today and continues to be carried out when circumstances justify it as the only safeguarding resource. / Hernández Altarejos, I. (2024). El arranque a strappo de pinturas murales. Estudio de la técnica como método de conservación y como recurso artístico [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/206466

There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs. / <p>Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.</p><p>Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik &amp; Lily Philipsons minnesfond och Axelson Johnsons stiftelse.</p>