Thesis (doctoral)--Panepistēmion Athēnōn, 1977. / Title on added t.p.: Les monastères de Myriokéfala et de Roustica (Crète) et leurs chapelles. Summary in French. Includes bibliographical references (p. [189]-194).

Thesis (Ph.D.)--University of Wisconsin--Madison, 2001. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 310-320).

Thesis--Heidelberg. / Vita. Includes bibliographical references (p. 235-242).

Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains vi, 78 p. : ill. (some col.) Includes bibliographical references.

Esta dissertação pretende analisar a pintura mural de Ângelo Lazzarini nas igrejas da Quarta Colônia, região localizada no centro geográfico do Rio Grande do Sul. Nesta abordagem analisamos principalmente o período compreendido entre 1955 e 1963, correspondendo à época em que este pintor realizou a maioria de seus murais na região. A análise utiliza-se de dados fornecidos por documentos paroquiais, entrevistas, observações locai s e levantamento fotográfico das obras, procurando resgatar a cronologia histórica da execução destes murais, assim como as técn icas utilizadas. As principais questões que orientaram estas atividades foram : com que intensidade esta produção foi influenciada por padrões da iconografia histórica européia? Quais os processos técnicos que nela intervieram? E por que suas formas parecem preservar padrões estilísticos que poderiam ser considerados distantes de seu período de maior expressão histórica? Questões estas, que procuramos responder, através da identificação da iconografia, da técnica e de documentos históricos. / This dissertation intends to analyse the mural paintings of Ângelo Lazzarini in the churches of Quarta Colônia, a region found in the geographical centre of Rio Grande do Sul. In this approach we mainly analyse the period between 1955 and 1963 which corresponds to the period when the painter carried out the majority of his murais in the region. The analysis makes use of data supplied by pari sh documents, interviews, local observation and photographic survey of the works, seeking to salvage the hi storical chronology of the execution of these murais as well as the techniques employed. The principal questions that directed these activities were: to what extent was this output infl uenced by the historical patterns of European iconography? VVhat are the technical processes that affected it? And, why do its forms seem to retain styl istic patte rns that could be considered to be removed from the historical period of their major manifestation? We try to answer these questions th rough identification of iconography, technique. and historical documents.

In the small town of Assisi in Italy, there is a chapel dedicated to Mary Magdalen. This well known figure from the New Testament Gospels is an anomaly. To many she is the prostitute turned disciple: to others she is a key witness to the resurrection. The frescoes show this Magdalen, but they also show her in strange scenes not found in the Bible. The Gospels tell us that Mary Magdalen was with Jesus in his ministry, at the crucifixion and at the resurrection. Early church fathers picked up on this and linked her with other unnamed women in the Gospels to develop an ideal model of discipleship. From there, legends developed this conflated Magdalen into the embodiment of chastity, penitence and devotion. As such, she became the focus of one of the greatest cult followings of the Middle Ages and her relics where at the heart of the fourth most visited pilgrimage site in Christendom. In the thirteenth century, a young man, Francis of Assisi helped to revolutionise and revive the life of the Church by his personal example of poverty, benevolence and pure devotion; virtues embodied by the Magdalen. It is then understandable that a chapel dedicated to her should be found in the basilica built to honour Francis. However, the reasons behind the chapel's existence and location also have a great deal to do with the power and influence of the secular (Angevin) and religious establishment of the time as well as the controversies burgeoning within the Franciscan Order including the roles of second order women and the influence of the two factions of Franciscanism, Spirituals and Conventuals. Finally, it must not be forgotten that the Magdalen chapel, a means of theological and political dogma, was also a very tangible and real visual sermon to the masses of pilgrims who flocked to visit the shrine of Francis. This project is an attempt to uncover the identity of the woman in and the meaning of the Magdalen Chapel in the Lower Church of the Basilica of St Francis in Assisi.

Esta dissertação pretende analisar a pintura mural de Ângelo Lazzarini nas igrejas da Quarta Colônia, região localizada no centro geográfico do Rio Grande do Sul. Nesta abordagem analisamos principalmente o período compreendido entre 1955 e 1963, correspondendo à época em que este pintor realizou a maioria de seus murais na região. A análise utiliza-se de dados fornecidos por documentos paroquiais, entrevistas, observações locai s e levantamento fotográfico das obras, procurando resgatar a cronologia histórica da execução destes murais, assim como as técn icas utilizadas. As principais questões que orientaram estas atividades foram : com que intensidade esta produção foi influenciada por padrões da iconografia histórica européia? Quais os processos técnicos que nela intervieram? E por que suas formas parecem preservar padrões estilísticos que poderiam ser considerados distantes de seu período de maior expressão histórica? Questões estas, que procuramos responder, através da identificação da iconografia, da técnica e de documentos históricos. / This dissertation intends to analyse the mural paintings of Ângelo Lazzarini in the churches of Quarta Colônia, a region found in the geographical centre of Rio Grande do Sul. In this approach we mainly analyse the period between 1955 and 1963 which corresponds to the period when the painter carried out the majority of his murais in the region. The analysis makes use of data supplied by pari sh documents, interviews, local observation and photographic survey of the works, seeking to salvage the hi storical chronology of the execution of these murais as well as the techniques employed. The principal questions that directed these activities were: to what extent was this output infl uenced by the historical patterns of European iconography? VVhat are the technical processes that affected it? And, why do its forms seem to retain styl istic patte rns that could be considered to be removed from the historical period of their major manifestation? We try to answer these questions th rough identification of iconography, technique. and historical documents.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro Tecnológico, Programa de Pós-Graduação em Arquitetura e Urbanismo, Florianópolis, 2014. / Made available in DSpace on 2015-05-12T04:04:31Z (GMT). No. of bitstreams: 1 333356.pdf: 12204006 bytes, checksum: fd7db98d505bf0ee8e91088765dff8b8 (MD5) Previous issue date: 2014 / Este trabalho é o resultado de uma pesquisa franco-brasileira que pretende estimular ações de preservação e valorização das pinturas murais como patrimônio cultural, tendo como foco a identificação das técnicas murais e seus materiais, com a finalidade de determinar procedimentos de restauro que contribuam na preservação dessas pinturas. Maior enfoque é dado à pintura mural da Sala do Telégrafo do Palácio Cruz e Sousa (edificada no séc. XVIII na Ilha de Santa Catarina- Florianópolis), como estudo de caso, por conter dois exemplares de pinturas sobrepostas com técnicas diferenciadas. Metodologicamente, iniciou-se com a pesquisa bibliográfica e documental referente ao tema, estruturando a fundamentação teórica que forneceu informações circunstanciais para a compreensão das técnicas murais. Em seguida, na Etapa Preliminar foi diagnosticado seu estado de conservação; mapeadas as áreas deterioradas e coletadas as amostras da camada pictórica (intonaco, pigmentos e ligantes). Logo, as amostras foram analisadas em laboratório através de ensaios fisico-químicos com a finalidade de identificar e caracterizar materiais, através de métodos analíticos de cortes estratigráficos, espectroscopia de absorção infravermelho, microscopia de luz polarizada, microquímica, microscopia eletrônica de varredura e espectroscopia por dispersão de energia - raio X. Estas análises possibilitaram a identificação da carga, predominando o carbonato de cálcio, bem como aglutinantes de base proteica dissolvida em água, que determinaram as técnicas pictóricas: uma têmpera (1898) sobreposta pela pintura a óleo 1986); quanto à caracterização química de pigmentos utilizados, destacam-se o azul ultramar, vermelho-ocre e branco litopônio. Após a Etapa Experimental- ensaios e experimentos laboratoriais (LabRestauro/UFSC), visou-se à recuperação das pinturas com produtos e materiais descritos em manuais técnicos antigos. Testaram-se materiais orgânicos naturais e sintéticos. Durante os ensaios laboratoriais, experimentos com argamassas de cal calcítica e magnesiana foram desenvolvidos para recompor as áreas faltantes (lacunas e fissuras) presentes no reboco (intonaco e arriccio). Testaram-se ainda fixadores para recuperação das áreas com craquelês em estado de desprendimento, os fixadores sintéticos (mowiol, primal e acetato de polivinila- cola PVA) e naturais: vegetal (goma arábica e carboximetilcelulose), animal( cola de coelho, cola de peixe, caseína e albumina) e mineral ( água de hidróxido de cálcio e magnésio). Receitas tradicionais de tintas foram testadas, aquelas designadas como "ecotintas" foram aplicadas com base em manuais técnicos antigos, a exemplo de Cennino Cennini (séc. XV) e outros. O resultado obtido a partir dos experimentos foi a composição da argamassa de cal similar e compatível para recompor argamassas históricas, com boa adesão e carbonatação. Esta argamassa é resultante da mistura de hidróxido de cálcio, hidróxido de magnésio e areia peneirada (granulometrias 0,30 mm e 0,15 mm) para recomposição de fissuras e lacunas, semelhante ao arriccio. A mesma composição de hidróxidos, no entanto, sem a mistura de areia, foi utilizada para fazer a massa de nivelamento (intonaco) para recuperar as áreas de perda superficial, que receberam, em seguida, a aplicação das eco-tintas (água de hidróxido de cálcio e magnésio + pigmento). Na elaboração e aplicação das ecotintas com água de hidróxido de cálcio e magnésio + pigmento, obteve-se resultado satisfatório, todavia, observou-se que a aplicação com a massa de nivelamento úmida, os pigmentos adentram mais na camada de substrato (o intonaco úmido), havendo melhor fixação que quando seco. O intonaco seco faz com que haja desprendimento de parte do pigmento. Objetivando que não houvesse este desprendimento de pigmento, foi adicionado um fixador a mistura das eco-tintas, optando por um dos produtos já testado na fixação dos craquelês; a cola de coelho. Quanto aos fixadores foram testados os mesmos utilizados em laboratório (naturais e sintéticos) para refixar os craquelês. Os fixadores que obtiveram resultado satisfatório quanto à adesão e ao tempo de fixação, foram: a cola de coelho, cola de peixe, metilcelulose, cola PVA, primal e mowiol; havendo divergência quanto ao resultado da goma arábica, em laboratório não houve aderência, e na área in loco umedecida com vapor de água morna fixou. Por fim, com base nos resultados obtidos, elaborou-se um conjunto de procedimentos de restauro, que poderão ser aplicados em outros exemplares de pinturas murais. A reversibilidade e a compatibilidade dos materiais foram os critérios que nortearam a escolha dos produtos a serem recomendados para a recomposição mural.<br> / Abstract : For the purpose of ensuring heritage preservation and stimulating accurate practices of mural paintings restoration as cultural heritage; that doctoral thesis based on a Franco-brazilian research focuses on identifying material's samples, techniques of mural paintings restoration and application process by determining technical restoration process.The case study that has been chosen- the Telegraph room- situated in Cruz and Souza Palace- historic building from XVIII thcentury - as a result of two examples of murals, which were found and also were superimposed by different techniques. The methodological process started with bibliographic and documentary sources research about mural paintings. Then, theoretical foundations' structure permitted an overall comprehension about murals.In addition to prefatory phase, theconservation condition was studied, damaged areas were identified and samples of murals were collected ( intonaco, pigment and binder). Afterthat, those samples were analysed in the laboratory by physico-chemical and analytical studies and also the state of conservation of mural paintings the characterization of the original organic and inorganic materials used in painting preparation and plaster coat enables to determine ancient painting techniques. Besides, the nature and the extent of the deterioration causes and materials used in subsequent restorations have been identified and the poor state of conservation of the mural painting, due to quite severe deterioration processes, noticeable detachments calls for an immediate intervention by following technical restoration process and methodology. This doctoral study offered the possibility to compare results obtained by different techniques on the samples, in order to evaluate performance, advantages and limits of them. Physico-chemical and analytical studies of pictorial fragments collected from different areas of the wall painting were addressed toward the determination of the stratigraphy and the characterization of the original composition and the restoration materials, in order to define the state of conservation and the pictorial technique by using Crosssection of sample, EDS-X MEV, Raman Spectroscopy, Fourier Transform Infrared spectrometer FI IR 4100. The Components analysis of the examined samples indicated the presence of Calcium Carbonate, and water-soluble protein binder that ascertain techniques of mural paintings, to quote as an example tempera paintings dating back to the XIXth century, precisely in 1898 that was superimposed by a coat of oil paint in 1986. According to the doctoral studies- ultramarine, vermilion cinnabar, lithopone- were the main pigments analysed. After the experimental phase at the LabRestauro UFSC, aiming murals' recovery by material application and products described in ancient technical handbooks. In addition, during the doctoral studies, organic and inorganic materials were tested. Lime plaster experimental analysis indicated calcite and dolomite was used to repair damaged areas (intonaco and arriccio). Several fixative substances were testedmowiol, primal, PVA, casein, albumen, fish glue, rabbit glue; aiming cracked recovery on areas that were untying. Traditionals recipes were tested and those that appointed as eco-friendly paints were applied according to ancient technical handbooks; for instance Cennino Cennini's handbook (XV th century).The final experimental result was a lime plaster chemically compatible, presenting a good adherence and fast process of carbonation to salvage historical lime plaster. The ensuing lime plaster of a blending of Calcium Hydroxide, Magnesium Hydroxide and coarse fine sand (granulometric analysis- grain shapes analysed 0.15 mm and 0.30 mm) similar to arriccio. The same chemical composition used to make intonaco to repair superficial losses areas, owing to eco-friendly paints applied, summed water-soluble Calcium Hydroxide and Magnesium Hydroxide + pigment up.Therefore, a notable observation that has been done, when the pigment is applied on a fresh lime plaster it better fastened and integrated the dry plaster; even though, when the pigment is applied on dryied intonaco, the pigment comes off. The objective of not having cracking and detachment, problem that was solved by adding a fixative substance in a mixing of eco-friendly paints; rabbit glue. Lastly, fixative substances that bring in good results as for adherence and fastening time - rabbit glue, methylcellulose, fish glue, PVA, primal and mowiol; with the exception of arabic gum in loco that only with steam it fastened. In conclusion, based on doctoral studies, experimental analysis the outcome is proposing mural painting's technical restoration process and methodology by heading north as for intervention processes' revertibility and compatibility on mural paintings restoration.

La obra mural “Vida y Trabajo”, del artista Alejandro “Mono” González y ubicada en la Estación del Metro de Santiago “Parque Bustamante” permite a esta investigación profundizar y revisar la noción de “arte marginal” para elaborar una propuesta crítica sobre una “estética de lo subalterno” desde el muralismo urbano a lo largo de la historia gráfica social, particularmente desde la experiencia de la Brigada Ramona Parra en el contexto del vínculo entre las nociones de arte y política. Con todo, nuestra propuesta apunta a la reflexión sobre nuestra historia reciente en el contexto de la sociedad de la “sobremodernidad”. En esta perspectiva, el arte marginal es comprendido en su dimensión crítica, más allá de la común oposición con el arte “oficial”, ubicándolo en sus constantes relaciones con las estéticas del malestar

abstract: In contemporary society, educators teach adolescent students about the importance of developmental growth. This growth transitions into leadership, which prepares youth to collaborate with adults in a working environment. Additionally, youth mural programs generate leadership skills, yet not many art educators are using mural projects as a means to develop leadership in their students. This study explored the connection between working collaboratively on a mural project and the impact it had on leadership traits and skills in adolescent girls. I created an action research project in conjunction with Girl Scouts to encourage a group of girls while creating a mural. The mural project took place at an Arizona Girl Scout resident camp for a total of 11 days. Seven participants between the ages of 14-17 engaged in planning and executing a tile mosaic mural. The image they created remains as a permanent mural for the camp. Qualitative data includes responses to reflection questions and observations. Quantitative data consist of self-reported questionnaire scores before and after the mural project. The data is analyzed to understand if there was a difference in leadership traits and skills before and after instruction. Data is also used to see which leadership traits and/ or skills, if any, were impacted. Findings in the study reveal differences in leadership skills before and after instruction. However, there was not a significant impact to leadership traits. Specific skills that improved include those that involve communication and working with others. I conclude that adolescent girls became more aware of communicating effectively, adapting ideas to others, and working with others after they finished the mural. Additionally participants were more open to sharing thoughts near the end of the project than at the start. / Dissertation/Thesis / Masters Thesis Art 2014