El arte y las culturas amazónicas despertaron en mí el interés para investigar sobre el kené, elemento de identidad, simbólico y espiritual, de la cultura shipibo-konibo, que a su vez se convierte en cultura viva y en Patrimonio Cultural Inmaterial del Perú. La presente investigación busca visualizar el arte tradicional del kené y cómo se está adaptando a nuevos soportes que se han incorporado como producto de la migración y la globalización. En un nuevo contexto para la cultura nativa, se da paso a un diálogo entre la tradición y la cultura actual citadina en relación a la producción, representación y la significación, y cómo en torno a ellas se generan nuevas prácticas con el fin de estar en relación a las nuevas condiciones de producción y mercados. Así, busco desarrollar un documental participativo que muestre la nueva forma de producción y las redes de circulación que se dan alrededor del kené mural, a través de una comparación con la producción tradicional y el mural, visibilizando procesos de hibridación cultural. Para esto me enfocaré en los murales kené que comenzaron a producirse de manera constante en la ciudad de Lima en espacios públicos (tren Línea 1) y espacios de arte (Lugar de la Memoria- LUM). Las madres artesanas shipibo-konibo de Cantagallo innovan constantemente la representación del kené sobre nuevos soportes: en la moda, la pintura, los murales y otros soportes tecnológicos. Esto permitirá cuestionar sobre la identidad y representación del kené, su futuro como Patrimonio Cultural Inmaterial del Perú, la identidad shipibo-konibo y sobre los nuevos soportes de producción del kené, como también de las prácticas sociales y los nuevos espacios de circulación. El kené como objeto de diseño ha permitido a la cultura shipibo-konibo desarrollarse en diferentes niveles artísticos, sociales, económicos y, por supuesto, tener el reconocimiento y la distinción de su cultura en la sociedad limeña, peruana y mundial.

It is my thesis that the impetus for Minerva Teichert's prolific mural production came from the lofty ideals of the Beaux Art mural tradition which she encountered and embraced during her studies at the Art Institute of Chicago from 1909 to 1912. Furthermore, it was the great interest in mural decoration during the 1930s, spurred by government patronage, that provided Teichert with the opportunity to apply these ideals to large-scale works. Research into the Beaux Art mural tradition has been difficult, as recent scholarship on the subject is negligible. An understanding of this early mural movement however, yields a greater understanding of later mural production in America. I am convinced that not only Teichert, but other muralists of the 1930s, were motivated by Beaux Art ideals.

Lloyd Raymond "Bill" Ney's mural New London Facets was commissioned for the New London, Ohio post office through the Treasury Department-run New Deal program, the Section of Fine Arts (the Section), and is the only mural that program officials considered abstract. An examination of the mural today reveals that the label of "abstract" may be a bit extreme; objects in the piece have been abstracted but the mural as a whole is not at all strictly non-representational. This discrepancy and the ensuing controversy over Ney's mural reveal much about the sensitivity of Section officials to abstraction and to subjects outside genre or allegorical scenes typical of Section commissions. Correspondence between Ney and Section officials indicate a fear in the Section that the public would reject and fail to understand or relate to anything outside of the representational norm, a belief against which Ney adamantly and successfully argued. As a result, the Section made its lone exception in the case of Ney and New London Facets. While Ney did not achieve national renown as an artist within his lifetime, his work is still exhibited and auctioned relatively regularly in his hometown of New Hope, Pennsylvania. With the exception of Karal Ann Marling's description of the New London Facets incident in her book Wall to Wall America: A Cultural History of Post-Office Murals in the Great Depression, there is nothing significant published on Ney or his mural. With this thesis I hope to raise awareness of Ney as an artist, provide readers with a complete understanding of the New London Facets commission and approval, and explore the relationship between abstraction and the New Deal art programs. / Art History

Le retour de l'Art mural à l'époque contemporaine" tourne autour de la problématique suivante: en quoi l'Art Mural est-il une nouvelle forme de métaphysique puisqu’elle permet à l'homme de projeter son âme sur un support et se retrouve ainsi dévoilée aux yeux de tous sous cette forme qui s’apparente à l" ekstase "soit un au dehors mis en mouvement par une "corporéité habitée" car le peintre muraliste est celui qui revendique l'esprit d'une époque et fusionne avec le mur pour créer une image, celle de l'invisible rendue visible. Le concept de « mur » sera abordé comme une pierre angulaire au travers des âges, comme support dans l’art moderne, art qui permet de faire un lien avec le passé mais surtout se démarque des arts contemporains car il sera nécessaire d’approcher les œuvres murales et le graffiti en général qui sera défini et fera l’objet d’une étude approfondie. Ainsi l’art rupestre qu’il est possible de comprendre d’après les études de Henri LHOTE, d’André LEROI-GOURHAN et de l’Abbé BREUIL pourra être mis en lumière notamment en décrivant les peintures pariétales retrouvées dans la grotte de Niaux, de Kapova, de Altamira, de Lascaux et de Chauvet qui représentent la première forme d’art humain et le commencement d’une spiritualité naissante. Le lien pourra être fait avec le symbolisme de l’Art égyptien et sa construction de l’image pour arriver à l’art décoratif des fresques de Pompéi et d’Herculanum où les graffitis de ces villes ont été étudiés par Eva CANTARELLA. De manière chronologique il sera intéressant de rappeler que le Moyen Age fut l’époque de la naissance des fresques romanes en vue de promouvoir une spiritualité qui évolue au cours des âges. Il existe aussi des techniques selon Cennino CENNINI qui explique les procédés de l’« intonaco » et de la fresque « a fresco » associés au père Ignazio POZZO. Enfin la période contemporaine fera l’objet de cette réflexion car les mouvements en peinture sont faits de liens mais surtout font rupture avec ce qui précède pour s’établir dans le temps selon l’expression de Valérie DUPONT, historienne de l’Art. / The return of Mural Art in the contemporary period” revolves round the following issue: In what way can one consider art to be a new form of metaphysics, since it allows man to project his soul on a support thus unveiling it to all in this form, which is close to a kind of “ecstasy”, i.e. an outside that is made to move through a “lived-in corporality”, for the mural painter claims the spirit of a period and merges with the wall so as to created an image – that of the invisible made visible. The “wall” concept will be examined as a foundation stone through the ages, as a support in modern art, a type of art that can create a link with the past but which especially stands out from contemporary art types, since we'll be studying mural works made by muralists as well as graffiti in general, which will be defined and studied in depth. Thus, rupestral art, which may be understood through the studies of Henri LHOTE, André LEROI-GOURHAN and Abbot BREUIL, can be explained most notably by looking at parietal paintings found in the Niaux, Kapova, Altamira, Lascaux and Chauvet caves, which represent the first form of human art and the beginning of a nascent spirituality. A link may be made to the symbolism of Egyptian art and its construction of image before reaching the decorative art of the Pompei and Herculanum frescoes – graffitis in those cities were studied by Eva CANTARELLA. It will be interesting, from a chronological point of view, to remember that the Middle Ages were the period when romanesque frescoes were born in order to further foster that age-old evolving spirituality. Such art was considered by Cennino CENNINI, who, along with father Ignazio POSSO explains the processes of “intonaco and the “a fresco” fresco. Finally, we'll have to study the modern period, since painting movements are made up of links and, more importantly, make a break with what preceded them, in order to last in time, as Valérie DUPONT, an arti historian, says.

No description available.

Recruitment of mural cells, i.e. pericytes and smooth muscle cells (SMC), is essential to improve the maturation of newly formed vessels. One of the major factors involved in this process is the endothelial cell-secreted Platelet-Derived Growth Factor BB (PDGF BB). Sonic hedgehog (Shh) has also been suggested to promote the formation of larger and more muscularized vessels, but the underlying mechanisms involved have not yet been elucidated. We first identified Shh as a target of PDGF BB and found that SMC respond to Shh not only by upregulating the Gli1-dependent canonical pathway, but also by activating ERK1/2 and PI3K-dependent non-canonical pathways. Moreover, we found that PDGF BB-induced SMC migration, involves Shh-dependent PI3K, ERK1/2 and Gli1 activation. In the mouse model of corneal angiogenesis, PDGF BB and Shh were expressed by endothelial cells and mural cells of VEGF-induced newly formed blood vessels, respectively. PDGF BB inhibition reduced Shh expression, confirming that Shh is a target of PDGF BB, as demonstrated by in vitro experiments. Finally, we found that inhibition of either PDGF BB or Shh signaling reduced NG2+ mural cell recruitment into neovessels and subsequently reduced the neo-vessel lifespan. In this work, we demonstrate, for the first time, that Shh is a key mediator of PDGF BB-induced mural cell migration and recruitment into neo-vessels and elucidates the molecular signaling pathway involved in this process. / Recruitment of mural cells, i.e. pericytes and smooth muscle cells (SMC), is essential to improve the maturation of newly formed vessels. One of the major factors involved in this process is the endothelial cell-secreted Platelet-Derived Growth Factor BB (PDGF BB). Sonic hedgehog (Shh) has also been suggested to promote the formation of larger and more muscularized vessels, but the underlying mechanisms involved have not yet been elucidated. We first identified Shh as a target of PDGF BB and found that SMC respond to Shh not only by upregulating the Gli1-dependent canonical pathway, but also by activating ERK1/2 and PI3K-dependent non-canonical pathways. Moreover, we found that PDGF BB-induced SMC migration, involves Shh-dependent PI3K, ERK1/2 and Gli1 activation. In the mouse model of corneal angiogenesis, PDGF BB and Shh were expressed by endothelial cells and mural cells of VEGF-induced newly formed blood vessels, respectively. PDGF BB inhibition reduced Shh expression, confirming that Shh is a target of PDGF BB, as demonstrated by in vitro experiments. Finally, we found that inhibition of either PDGF BB or Shh signaling reduced NG2+ mural cell recruitment into neovessels and subsequently reduced the neo-vessel lifespan. In this work, we demonstrate, for the first time, that Shh is a key mediator of PDGF BB-induced mural cell migration and recruitment into neo-vessels and elucidates the molecular signaling pathway involved in this process.

Hip Hop graffiti has been marking our urban landscapes for decades. However street art, a much less researched topic, has claimed notoriety in recent years. Much of the existing research groups hip-hop graffiti, gang graffiti and street art together and calls for a uniform response from communities, city officials and law enforcement. While street artists have made their mark in the urban landscapes of the United States as well as internationally, it is important to define the terms "street art"and "graffiti" and where they deviate from one another in order for cities to begin to address these expressions with any level of success. As municipalities grapple with visual public expression--street art and graffiti--a framework must be established taking into consideration legal parameters for both cities and artists.

Made available in DSpace on 2015-04-14T13:47:35Z (GMT). No. of bitstreams: 1 433597.pdf: 15467920 bytes, checksum: 9f51c8872afcde7d0ee58dd5e8cbe752 (MD5) Previous issue date: 2011-08-26 / A presente disserta??o tem por objetivo central analisar os murais elaborados por Aldo Locatelli, entre os anos de 1951 e 1955, nas salas e sal?es do segundo piso da Ala Governamental do Pal?cio Piratini. Ao serem trabalhados as pinturas A forma??o hist?rico-etnogr?fica do povo rio-grandense, A funda??o de Rio Grande (ambos elaborados no Sal?o Alberto Pasqualini), O Negrinho do Pastoreio (localizado no Sal?o que leva o mesmo nome) e O Estado (executado na Antessala do Gabinete do Governador), pretende-se, fundamentalmente, estabelecer a rede de rela??es que envolveram tanto o artista quanto os elementos externos ? sua produ??o pict?rica. Nesse sentido, a partir do estudo dos murais de car?ter hist?rico, formativo e folcl?rico que aludem ao Rio Grande do Sul, buscar-se-? analisar as representa??es e as quest?es formais presentes nas citadas obras, em conjunto com os elementos do contexto cultural e intelectual do per?odo.

Cette thèse porte sur l’iconographie de la Crucifixion dans les peintures murales carolingiennes entre le IXe et le début du XIe siècle. Pivot dans la pensée chrétienne par sa portée dogmatique, la Crucifixion reste cependant peu représentée dans l’Occident latin jusqu’au milieu du VIIIe siècle. La période carolingienne marque, de fait, un tournant décisif où la Crucifixion s’affiche progressivement sur tous les supports et à travers des techniques différentes, en même temps que l’iconographie tend à se cristalliser. Nous appuyant sur une documentation comptant treize décors peints entre le IXe et le début XIe siècle et répartis dans les anciennes limites de l’Empire carolingien et ses marges, notre étude vise à analyser ce thème dans l’art monumental, peu étudié jusqu’alors. Outre la persistance de formes au-delà de la chute de l’Empire et des frontières politiques, les peintures recensées mettent en évidence le recours à une construction visuelle tributaire de traditions diverses – en premier lieu textuelles – permettant d’exalter la divinité du Christ sur la croix, mais aussi d’insister davantage sur son humanité souffrante. Ces choix iconographiques font écho à l’orientation théologique qui se manifeste sous le règne de Charlemagne et de ses successeurs et au sein de laquelle la Croix et le Crucifié occupent une place majeure. Mais, bien plus que de réserver notre analyse au cadre de l’image, il s’agit également de dépasser le champ figuratif pour prendre en compte l’environnement spatial et cultuel de la Crucifixion, et ce, afin d’envisager les lectures de ce décor dans l’espace qui lui est imparti. En étant peinte sur la paroi de l’édifice religieux, la peinture fait partie non seulement du décorum de l’édifice cultuel, mais participe parfois également aux rites qu’elle encadre. Ainsi, à la lumière des sources exégétiques et liturgiques, il convient de replacer le décor dans la scénographie dans laquelle elle s’inscrit. Souvent associée à un autel (majeur ou secondaire), voire à des fonts baptismaux, la Crucifixion s’inscrit bien souvent dans des temps rituels spécifiques ou des pratiques dévotionnelles qui témoignent d’une transformation du sentiment religieux à l’égard de la Passion et de ses représentations. / This Dissertation focuses on the iconography of the Crucifixion in the Carolingian mural painting between the 9th and the beginning of the 11th century. Pivot in the Christian thought with its dogmatic scope, the Crucifixion remains however poorly represented in the Latin West until the middle of the 8th century. Actually, the Carolingian period is a decisive turning point when the Crucifixion displays gradually on all the supports and through different technics, at the same time as the iconography tends to be crystallized. Based on a documentation composed of thirteen decorations painted between the 9th and the beginning of the 11th century and distributed in the former limits of the Carolingian Empire and its margins, our study aims at analyzing this subject in the monumental art, poorly studied yet. Besides the obstinacy of forms beyond the fall of the Roman Empire and the political limits, the paintings listed highlight the appeal to a visual construction due to diverse traditions - first of all textual - allowing to exalt the Christ's divinity on the cross, but also to insist more on his suffering humanity. These iconographic choices comes from the theological shifting under the reign of Charlemagne and his successors. At this time, the Cross and the Crucified occupy a major place. However, this analysis exceeds the figurative meaning, in the way to consider the spatial and religious environment of the Crucifixion and clarify the readings of the decoration within its own space. Painted on the religious buildings’ walls, images are a part of the decorum. Moreover, based on exegetical and liturgical sources, we can argue that the paintings are sometimes used to the scenography of rites. Often associated with an altar (major or secondary), even in baptismal fonts, the Crucifixion seats in specific ritual times or devotional practices testifying of a transformation of the religious feeling towards the Passion and its representations.

Les clochers des petites églises rurales de Bourgogne du Sud sont étudiés pour leur architecture et leur décor mural des XIe-XIIe siècles. Ces deux éléments peuvent être à la fois partenaires et étrangers l'un à l'autre. Cette double situation entraîne des jugements parfois erronés quand on les rapproche dans une même classification. De fait, la première impression donnée par leur décor mural rappelle les caractéristiques du « premier art roman ». Or, construire un mur avec des moellons simplement équarris et un abondant mortier correspond au bon usage des matériaux disponibles et ne classe pas automatiquement les clochers en «premier art roman». À partir d'un corpus de 112 clochers, les choix constructifs et décoratifs de leurs commanditaires et maîtres ­maçons font apparaître l'existence d'un «modèle-type» de clocher auquel un décor mural du «premier art roman» est parfois ajouté. Il y a donc un élément invariant : celui du matériau, simple, peu coûteux et un «phénomène de mode». La répétition de ce modèle joue un rôle unificateur dans un paysage qui apparaît alors comme participant de la chrétienté voulue par la Réforme grégorienne. / This thesis studies South Burgundy small rural churches steeple focusing on their 11th-12th centuries architecture and wall decoration. These two elements can be either connected or unrelated. This opens the door to erroneous judgments when both are approached into a single classification. In fact, the first impression mural a decoration often conveys is reminiscent of the "first Romanesque art". However, building a wall out of simply squared rubble stones and heavy mortar corresponds to the proper use of available materials and does not automatically classify the steeples in "first Romanesque art". The analysis of constructive and decorative choices made by master masons and sponsoring benefactors across the corpus of 112 steeples considered in this research reveals the existence of a typical "standard" bell tower constructive design to which a mural decoration is added. This highlights the existence of a clear constant: the choice of construction materials, simple expensive, low-tech, while also fashionable. The recurrence of this model has played a unifying role in the Christian landscape the resulting from and aspired to by the Gregorian reform.