Esta dissertação tem como intenção analisar a obra parietal de Paulo Werneck, ilustrador, gravador, muralista e mosaicista, cuja produção é fundamental para compreender a arte mural de meados do século XX no Brasil. Para tanto, este estudo se inicia a partir de uma breve explanação sobre o desenvolver da arquitetura moderna brasileira e a sua consolidação como uma linguagem própria, independente da matriz europeia. A seguir, será apresentado o conceito estético síntese das artes, que é geralmente utilizado pela historiografia tradicional para justificar o alastre da arte mural em edificações racionalistas a partir da década de 40. Nessa parte do trabalho, a intenção é apresentar o desenvolvimento histórico do tema, do seu surgimento até a leitura que irá impactar a obra de arquitetos como Le Corbusier - pela qual a questão chega no país- Lúcio Costa e Oscar Niemeyer. Por fim, a primeira parte do trabalho se debruça sobre a arte mural brasileira- seja ela pintura, azulejaria ou mosaico- tentando compreender a sua motivação estética e política. A segunda parte do trabalho é dedicada à figura e a obra musiva de Paulo Werneck. Nela apresenta-se o seu desenvolvimento como artista, o seu relacionamento com a arquitetura moderna, a sua passagem da ilustração para a arte mural e a sua chegada ao mosaico, técnica na qual se tornará um experto. Também é analisada as visualidades presentes no seu trabalho, da figuração ao abstracionismo, a partir de estudos de caso das obras mais significativas do artista, buscando sempre relacionar as suas escolhas com o que estava sendo produzindo no país na mesma época. Portanto, esse trabalho se dedica a estudar a arte mural brasileira e a importância dos painéis de Werneck, artista responsável pela renovação da linguagem do mosaico no Brasil e, quiçá, no mundo. / This dissertation analyzes the parietal work of Paulo Werneck, illustrator, engraver, muralist and mosaic designer whose production is fundamental to understand the mid-twentieth century mural art in Brazil. In this regard, the study begins with a brief explanation about the development of Brazilian modern architecture and its consolidation as a language of its own, independent of the European matrix. Then, the aesthetic concept of \"synthesis of the arts\" is going to be presented. Usually, the concept is used by traditional historiography to justify the spreading of mural art in rationalist constructions from the 1940s. This part of the dissertation intends to point out the historical development of the theme, from its appearance until the \"reading\" that would make an impact in the work of architects such as Le Corbusier the aesthetic concept arrives in Brazil via his work - Lucio Costa and Oscar Niemeyer. Finally, the first part of the dissertation focuses on the Brazilian art mural such as painting, tilery or mosaic making and tries to comprehend its aesthetic and political motivation. The second part of the dissertation is dedicated to the figure and the musive work of Paulo Werneck. It presents his development as an artist, his relationship with the modern architecture, his transition from illustration to the mural art as well as his approach to the mosaic art whose technique would convert him into an expert. Also, it analyzes the visualities in his work from the figuration to the abstractionism through case studies of the most significant works of the artist, always trying to connect his choices with things that were being produced in the country at that time. In conclusion, this dissertation intends to study the Brazilian mural art and the importance of the panels of Paulo Werneck, the artist who is responsible for the renewal of the mosaic language in Brazil and, perhaps, in the world.

Este trabalho analisa pinturas murais religiosas sobre temáticas relacionadas à morte e ao além, encontradas em igrejas católicas da região central do Rio Grande do Sul. Pinturas realizadas ao longo do século XX e selecionadas com base em amostragem reunida em arquivos fotográficos representativos de 192 municípios. A partir de uma abordagem iconológica, busca entender: como os modelos iconográficos europeus foram retomados pelo muralismo religioso regional. Para tanto, identifica a origem dos principais temas escatológicos representados, bem como algumas das fontes visuais utilizadas, compostas, sobretudo, por gravuras que reproduzem temas religiosos de obras dos séculos XV ao início do século XX. Entre as formas evitadas pelo muralismo rio-grandense destacam-se: alusões à nudez, poses com pouco dinamismo, e gestos considerados constrangedores para os padrões morais da região. Nas formas incluídas, destacam-se as poses com expressão gestual mais acentuada, vestes moralizantes e detalhes zoomórficos na figuração de demônios. Enquanto que o conjunto das formas preservadas aponta para um predomínio dos gestos representativos de emoções intensas. Com base nos estudos de Aby Warburg sobre a influência da empatia no resgate de configurações emotivas, e a partir do resultado das análises formais, foi estruturada a proposição principal desta pesquisa. Proposição que procura evidenciar uma relação entre a eficiência empática dos antigos gestos de ações passionais e a conseqüente preservação desses no muralismo religioso escatológico regional. / This work analyzes paintings murais on themes related to the death and to the beyond found at Catholic churches of the central area of Rio Grande do Sul. These paintings accomplished along the century XX there were selected from the sampling gathered in representative photographic files of 192 municipal districts. Starting from an iconological approach it looks for to understand: How the European iconographic models were retaken by the regional religious mural painting . For so much, it identifies the origin of the main eschatological themes represented and some of the visual sources used, which were composed, above all, for engravings that reproduce religious themes from works of art originated between the century XV and the beginning of the century XX. Among the forms avoided by the mural paintings of Rio Grande do Sul stand out: allusions to the nakedness, pose with little dynamism, and gestures considered constraining for the moral patterns of the region. In the included forms, there are poses with gesture expression more accentuated, zoomorphic details in the demons' figuration, and moralized garments, while the group of preserved forms appears for a prevalence of the representative gestures of intense emotions. With base in Aby Warburg's studies ou the influence of the empathy in the rescue emotional configurations, and starting from the result of the formal analyses, the main proposition of this research was structured . Proposition that tries to evidence a relationship: that links the emphatic efficiency of the old gestures of passionate actions and the consequent preservation of those in the regional religious mural paintings.

The problem of this investigation is determining the artists, places, dates, subjects, and types of frescoes done in nineteenth century England. Through research in nineteenth and twentieth century materials, this information was disclosed. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons fro using fresco, and fresco's relevance to the subjects of the paintings. The differences in the technical aspects of fresco and its adaptations are explored. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons for using fresco, and fresco's relevance to the subjects of the paintings. It is concluded that the fresco revival was a part of the prevalent Romantic mood of the period and a wish to make England an important nation in the art world's eyes. The revival, however, failed. Its fresco scenes crumbled off the walls that supported them.

Graf ti and street art are two young artistic and expressive manifestations present - both directly or indirectly - in the day-to-day life of almost anyone. Beyond their initial categorization as vandalistic expressions far from the perception of an organized society, graf ti and street art have transformed the conception of mural art and regained its importance again in the public environment. Despite the rejection that these practices have suffered for years - due to the illegal condition of their actions -, many people do not pay attention to those particularities, and focus on what the artworks have to offer to the environment. On the one hand, this produces the promotion of maintenance campaigns to keep them in their best state inside - or outside - from where they were created. But, on the other hand, the procedures, the techniques and the concepts, differ from a traditional practice, so that, due to the youth, general incomprehension and variety of materials, studies related to their conservation in this matter are scarce. The research made for this doctoral thesis tries to compensate this shortage, initiating a search on mechanisms of conservation and restoration applicable to those typology of artworks. In order to achieve this, it has been completed a rst approach to understand their concepts, objectives, relationships with the environment and procedures. Similarly, the research has focussed in the application of a particular conservation system: the strappo detachment; adapting this mechanism to aerosol mural paint as a last safeguard avaliable. For all this, the research in this doctoral thesis is divided into two distinct but continuous parts, the theoretical corpus and the experimental corpus, which are distributed as follows. Firstly, the theoretical corpus, deals with all those questions related to the understanding of contemporary graf ti as a social artistic movement, begun in the late 1960s in the United States. In addition to its relationship with other artistic practices, and with it, the development of what is known nowadays as street art. At the same time, it is exposed the importance that both forms of independent public art have supposed for the contemporary mural art and the peculiarities that the aerosol painting offers within it. And, nally, the possibilities of the application of conservation and restoration processes on the same practices. Also, considering the opinion of graf ti writers and street artists, the public support, and the criteria and adaptations needed in behalf the restoration in contemporary times and speci cally, the use of the detachment systems. Secondly, the experimental corpus, which focusses on the application of the strappo system following the re ections provided by the theoretical corpus. This part presents an in depth study of material possibilities in the application of strappo on murals made with aerosol paint, a fundamental technique in graf ti and very recurrent in street art murals. In this way, structured trials are presented in which diverse materials are combined. The results are evaluated both during and at the end of the processes, individually and in general. Also, all the trials used have the objective to analyse the changes present in their surface. This research aims only to open the way to the possibilities of conservation of these alternative artistic practices, adapting some particularities of graf ti ans street art to the perspective of art restoration. / El gra ti y el arte urbano son dos manifestaciones arti'stico-expresivas relativamente jo'venes, pero presentes -directa o indirectamente- en el di'a al di'a de casi cualquier persona. Ma's alla' de su encasillamiento inicial como expresiones vanda'licas alejadas de la percepcio'n de una sociedad organizada, el gra ti y el arte urbano han transformado la concepcio'n del arte mural y recuperado su importancia nuevamente en el entorno pu'blico. A pesar del rechazo que estas pra'cticas han sufrido durante an¿os -por el condicionante ilegal de sus acciones- son muchos los que no atienden a este hecho y se centran en lo que tales obras ofrecen al entorno. Por un lado, esto produce la promocio'n de campan¿as por el mantenimiento de las mismas en su mejor estado dentro -o fuera- de donde fueron creadas. Pero, por otro lado, sus procedimientos, te'cnicas y tambie'n conceptos, di eren de una pra'ctica tradicional; por lo que, su juventud, incomprensio'n y variedad de materiales producen que los estudios relativos a su conservacio'n sean escasos en este tema. La investigacio'n de esta tesis doctoral intenta suplir esa escasez, iniciando una bu'squeda hacia mecanismos de conservacio'n y restauracio'n aplicables a esta tipologi'a de obras. Para ello, se ha realizado un acercamiento hacia sus conceptos, objetivos, relaciones con el entorno y procedimientos; y al mismo tiempo, se ha estudiado un sistema de conservacio'n aplicado a las obras de tipologi'a mural, en concreto, el arranque a strappo sobre pintura en aerosol, planteado como medio de salvaguarda aplicable en u'ltima instancia. Por todo ello, la investigacio'n en esta tesis doctoral se divide en dos bloques diferenciados pero continuos, el corpus teo'rico y el corpus experimental, los cuales se distribuyen de la siguiente manera. En la primera parte, el corpus teo'rico, se tratan todas esas cuestiones relacionadas con el entendimiento del gra ti contempora'neo como movimiento arti'stico social, iniciado a nales de los an¿os 60 en Estados Unidos, su relacio'n con otras pra'cticas arti'sticas, y con ello, el desarrollo de lo que hoy se conoce como arte urbano. Al mismo tiempo, se expone la importancia que ambas formas de arte pu'blico independiente han supuesto para el entendimiento de la pintura mural contempora'nea y las particularidades de que la pintura en aerosol ofrece dentro de ella. Y, por u'ltimo, se evalu'an las posibilidades de la aplicacio'n de la conservacio'n y restauracio'n sobre las mismas pra'cticas, teniendo en cuenta la opinio'n de los escritores de gra ti y artistas urbanos, la realidad actual respecto a la opinio'n del pu'blico y los criterios y adaptaciones con relacio'n a la restauracio'n en e'poca contempora'nea, y el empleo de los sistemas de arranque. En la segunda parte, el corpus experimental, se realiza la aplicacio'n del sistema de arranque a strappo siguiendo las re exiones aportadas por el corpus teo'rico. Realizando un estudio en profundidad de posibilidades materiales en la aplicacio'n del strappo sobre murales realizados con pintura en aerosol, te'cnica fundamental en el gra ti y muy recurrente en el arte urbano mural. De este modo, se exponen ensayos estructurados en los que se combinan materiales diversos, cuyos resultados se evalu'an a lo largo y nal de los procesos. Tal evaluacio'n de los ensayos se realiza tanto individualmente como en conjunto, aplicando sistemas de ana'lisis generales y especi' cos, focalizados en los cambios presentes en la super cie de las pinturas empleadas en los ensayos. Esta investigacio'n pretende u'nicamente abrir camino hacia las posibilidades de conservacio'n de estas pra'cticas arti'sticas alternativas, adaptando cuestiones particulares de las mismas a la perspectiva de la restauracio'n. / El gra t i l'art urba¿ so'n dues manifestacions arti'stic-expressives relativament joves, pero¿ presents -directa o indirectament- en el dia a dia de qualsevol persona. Me's enlla¿ del seu encasellament inicial com a expressions vanda¿liques allunyades de la percepcio' d'una societat organitzada, el gra t i l'art urba¿ han transformat la concepcio' de l'art mural, i han recuperat la seua importa¿ncia novament en l'entorn pu'blic. Malgrat el rebuig que aquestes pra¿ctiques han sofert durant anys -pel condicionant il·legal de les seues accions- so'n molts membres del pu'blic els que no atenen a aquest fet i se centren en gaudir el que tals obres ofereixen a l'entorn. D'una banda, aixo¿ produeix la promocio' de campanyes pel manteniment de les mateixes obres en el seu millor estat dins -o fora- d'on van ser creades. Pero¿, d'altra banda, els seus procediments, te¿cniques i tambe' conceptes, difereixen d'una pra¿ctica arti'stica tradicional. D'aquesta manera, la seua joventut, la incomprensio' a la qual s'enfronten i la varietat de materials que utilitzen, produeixen que els estudis relatius a la seua conservacio' siguen escassos. La recerca que es troba en aquesta tesi doctoral intenta suplir aquesta escassetat, iniciant una cerca de mecanismes de conservacio' i restauracio' aplicables a aquesta tipologia d'obres. Per aixo¿, s'ha realitzat un acostament als seus conceptes, objectius, relacions amb l'entorn i procediments; i al mateix temps, s'ha estudiat un sistema de conservacio' aplicat a les obres de tipologia mural, en concret, l'arrencament a strappo sobre pintura en aerosol, plantejat com a mitja¿ de salvaguarda aplicable en u'ltima insta¿ncia. Per tot aixo¿, la recerca en aquesta tesi doctoral es divideix en dos blocs diferenciats pero¿ continus, el corpus teo¿ric i el corpus experimental, els quals es distribueixen de la segu¿ent manera. En la primera part, el corpus teo¿ric, es tracten totes aquestes qu¿estions relacionades amb l'enteniment del gra t contemporani com a moviment arti'stic social, iniciat a la dels anys 60 a Estats Units; la seua relacio' amb altres pra¿ctiques arti'stiques; i tambe', el desenvolupament del que avui es coneix com a art urba¿. Al mateix temps, s'exposa la importa¿ncia que ambdues formes d'art pu'blic independent han suposat per la pintura mural contempora¿nia i les particularitats que la pintura en aerosol ofereix dins d'ella. I, nalment, s'avaluen les possibilitats de l'aplicacio' de la conservacio' i restauracio' sobre les mateixes pra¿ctiques, tenint en compte l'opinio' dels escriptors de gra t i dels artistes urbans, la realitat actual respecte a l'opinio' del pu'blic i els criteris i adaptacions en relacio' amb la restauracio' en e¿poca contempora¿nia, aixi' com els sistemes d'arrencament. En la segona part, el corpus experimental, es realitza l'aplicacio' del sistema d'arrencament a strappo seguint les re exions aportades pel corpus teo¿ric. Realitzant un estudi en profunditat de possibilitats materials en l'aplicacio' d'aquest sistema de conservacio' sobre murals realitzats amb pintura en aerosol, te¿cnica fonamental en el gra t i molt recurrent en l'art urba¿ mural. D'aquesta manera, s'exposen assajos estructurats en els quals es combinen materials diversos, els resultats dels quals s'avaluen al llarg i nal dels processos. Tal avaluacio' dels assajos es realitza tant individualment com en conjunt, aplicant sistemes d'ana¿lisis generals i especi' cs, focalitzats en els canvis presents en la superfi'cie de les pintures emprades en les provetes. Aquesta recerca prete'n u'nicament obrir cami' cap a les possibilitats de conservacio' d'aquestes pra¿ctiques arti'stiques alternatives, adaptant qu¿estions particulars de les mateixes a la perspectiva de la restauracio'. / Amor García, RL. (2017). ANÁLISIS DE ACTUACIÓN PARA LA CONSERVACIÓN DE GRAFITIS Y PINTURA MURAL EN AEROSOL. ESTUDIO DEL STRAPPO COMO MEDIDA DE SALVAGUARDA [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/89086

published_or_final_version / abstract / Chinese / Master / Master of Philosophy

No description available.

Jean-Philippe Dallaire (1916 - 1965) est reconnu comme l’un des peintres canadiens les plus doués de sa génération. Guidé par un savoir-faire exceptionnel et par une imagination féconde, il a produit des œuvres nombreuses et variées durant une carrière qui s’étend sur plus de trente années dont presque la moitié en France. Considéré autodidacte par les historiens et les critiques d’art, il suit néanmoins un parcours d’étude qui le place sans ambages dans la lignée artistique de l’École française. L’étude des commandes qu’il exécute en art mural montre les multiples influences qu’il absorbe et surtout le respect rigoureux des préceptes de ses grands maîtres, Maurice Denis et André Lhote d’abord, et par la suite Jean Lurçat. Mais ces ascendants n’atténuent jamais l’originalité de sa manière. Si ses premières œuvres murales liturgiques montrent une recherche dirigée par le milieu religieux dans lequel il gravite, après la guerre, suite à son retour au Canada, ses œuvres murales, religieuses et profanes, révèlent un respect marqué des caractéristiques de la grande peinture. / Jean-Philippe Dallaire (1916 - 1965) is recognised as one of the most talented Canadian painters of his generation. Guided by an exceptional aptitude and a fertile imagination, he produced numerous and varied paintings during a career that spanned over thirty years, almost half of which in France. Considered as self-taught by art historians and art critics, he nonetheless pursued a course of study that positioned him within the clearly defined tradition of the French School. An attentive study of the mural art works he accomplished shows the multiple influences he absorbed, but mainly the rigorous respect of the precepts he acquired from two great masters, Maurice Denis and André Lhote, and later from Jean Lurçat. But these constituents, although they link him to his French genesis, never lessened the originality of his style. If his first religious murals are strongly tainted by the spiritual environment in which he gravitated, his mural art, religious or profane, following his return from France after the war, demonstrate a scrupulous respect of the features that identify masterpiece.

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...

This thesis focuses on the complex of medieval mural paintings in the church of St. James the Greater in Libis. It concerns the extant paintings, which are described, explained and compared to analogical works. The thesis turns its attention also to fragments of original paintings for the first time. It deeply touches the uncertain datation of some scenes and considers relevance of the sources, which have served for the datation until today. Powered by TCPDF (www.tcpdf.org)

Cheat River is a novel about balancing family obligations against self-preservation. That is what's at stake for Allison and Andrew McKenna, a pair of siblings in rural Appalachia who must endure their father's abandonment and their pregnant mother's breakdown. At first, the two find solace from their parents' problems on the banks of the river from which the novel takes its name. But eventually, Andrew's homosexual feelings drive him to the bohemian streets of Philadelphia in the early '90s where he falls in with political activists and a household of misfits. He disappears, and Allison comes to the city to look for him. By retracing her brother's life, she realizes not only what he meant to her but what it will take to survive on her own.