Giovanni Bellini (b. 1435/40-d. 1516) has long been considered a dominant figure in the Venetian painting of the Early-High Renaissance, his main reputation being a colourist. The distinctive optical and technical characteristics of his work have drawn substantial scholarly attention in the present century, but the studies in this subject have not been developed as a coherent theory with regard to changes in painting technique in the fiftenth-century Italy. The purpose of this dissertation, therefore, is to investigate Bellini's choice and application of painting materials, attempting to establish links between the technical qualities and the formal values of his work. In the process of establishing Bellini's position with regard to the use of paint media and support, this thesis also provides a substantial overview of the use of canvas and of oil pain in the later fifteenth century. The study is encouraged by recent discoveries about Bellini's technique that have emerged from conservation of his paintings. As well as addressing published conservation results, the thesis includes new observations on four canvases attributed to Bellini's father Jacopo, and two Madonnas from Bellini's workshop scientifically examined at UCL Painting Analysis. In order to investigate Bellini's colour and handling of paint within a broader socio-economic milieu, this study deals with the commercial documents such as tariffs, government records, and merchant account books, indicating that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade. The resulting advantages of Venetian painters who were active at this commercial heart, and the question of how deeply the pragmatic experience of colours that Venetian merchants obtained from the trade penetrated their aesthetic taste will be discussed. Using both scientific and documentary analyses in combination with visual analysis which integrates these findings, this study examines Bellini's translation of the skills of tempera to oil pain and the stylistic changes that occurred with the extensive use of oil medium. It looks at how Bellini developed canvas as a support for mural painting and the technique he employed on such an unconventional support. It will also study the methods in which he established the predominance of colour as an element of composition at the early sixteenth century. In conclusion, it will argue that Bellini's increasing choice of canvas and corresponding use of oil on it changed the general concept of picture-making and became a new format of painting that was to exert a crucial influence on Cinquecento Venetian painting.

Thesis (Master)--İzmir Institute of Technology, İzmir, 2004. / Includes bibliographical references (leaves. 70-73).

This document vaguely describes what happened to me and my paintings during my time spent at VCU.

The artist discusses the influence, concept, and process behind creating a cohesive body of work and accompanying show, Submersion, for the completion of her Bachelor of Arts degree and undergraduate research for the Fine and Performing Art Scholars branch of East Tennessee State University's Honors College. The show is to be held May 1st through May 7th of 2014 with its reception on May 3rd in the Submarine Gallery located on ETSU campus. The artist explored themes of the unknown, subconscious, and memory, using water as a reoccurring symbol. The works include five large portraits and two small to medium underwater landscapes in oil paint completed between Fall of 2012 and Spring of 2014. Three large-scale charcoal drawings completed in the Spring of 2013 relate to this body of work as part of a further exploration of the concepts of interest, but will not be included in the Submarine Gallery show and were instead presented as part of the B.A. Senior show in the Fall of 2013. Influences on the artist's work come from artists Jeremy Miranda, Alyssa Monks, Bill Viola, Susanna Majuri, Andreas Franke, and the work and techniques of the Old Masters

In Painter, Painter, Elle Chae explores the home as an unstable, unpredictable environment that is highly sensitive to the traces emanating from the domestic space, including its inhabitants. This body of work examines how the occupant’s interactions can blur the notion of home as a shelter. Using the creative deconstruction as a mode of generating new meanings, Chae’s conceptual juxtaposition and wide range of techniques and surface create reverie scenes that are open to and encourage freedom of interpretations.

Very few stone sculptures conserve their original polychromy nowadays so the exceptional condition presented by the oil paint film of the Tomb of Chancellor Villaespesa in the Cathedral of Tudela (Spain) here presented as case study suggested that both the chemical-mineral composition of the oil paint films and of the lithotypes chosen for the artists to be in contact with the polichromy, could be responsible for their unexpected durability. When the mechanisms governing these painted structures stability are not understood properly, conservation materials and methods and even environmental conditions can have a dramatic effect in their performance and compromise their stability in the long term. In this study, mock-ups simulating different oil paint layers on the sandstone of the case study have been prepared. Mock-ups with the same oil paint films on other substrates have been made for comparison purpose. After four years of natural ageing, the aggregation of lead and calcium carboxylates have been identified and characterized on some mock-ups by means of the combined use of UV-VIS light microscopy, SEM-EDX and micro FT-IR spectroscopy. pH and conductivity have been measured and monitorized both in the mock-ups and the case study. Saponification reactions, ionomer formation and carboxylate aggregation in lead white or minium oil paint films contributed to make them less acidic, less ionized, less hydrolyzed and less soluble after ageing sandstone or on pine wood at room environmental conditions for four years. The same given paint films became more acid and more ionized after ageing on a glass slide. Understanding the properties of such films, the chemical-physical mechanisms governing their adhesive and cohesive forces, and their surface pH is not easy. Mineral assemblages as well as the availability of ions in the substrate of a given oil paint film containing lead white or minium play a fundamental role in the eventual formation, migration and aggregation of lead and calcium carboxylates not only at their surface but also within the substrate-film interface. Furthermore, monitoring surface pH and conductivity as well as understanding solubility issues and the adhesion forces existing between soils, the paint layer and the substrate is needed when designing any conservation strategy to minimize risks and to preserve the balance acquired by these artworks in time. / Muy pocas esculturas pétreas conservan su policromía original. El excepcional estado en el se mantienen las películas pictóricas al óleo del caso de estudio de esta tesis doctoral (el Sepulcro de Villaespesa de la catedral de Tudela, Navarra, España) sugiere que tanto la composición químico-mineral de la roca seleccionada por sus escultores como la composición de las películas pictóricas al óleo con las que se policromó dicha piedra, podrían ser responsables de su inesperada durabilidad. En el transcurso de esta tesis doctoral se prepararon probetas con distintas películas pictóricas al óleo sobre la arenisca del caso de estudio. Para hacer un análisis comparativo también se prepararon probetas con las mismas películas sobre otros soportes. Se monitorizó el pH y la conductividad el caso de estudio así como de todas probetas. A través del uso combinado de microscopía óptica, SEM-EDX y micro espectroscopía FT-IR se estudió la formación y envejecimiento de las películas al óleo identificó y se caracterizó la agregación de carboxilatos de calcio y plomo en algunas de las películas pictóricas al óleo con pigmentos de plomo. En aquellas películas al óleo con albayalde o minio que envejecieron durante cuatro años sobre substratos de arenisca y madera de pino, las reacciones de saponificación, la formación de ionómeros y la agregación de carboxilatos contribuyeron a generar estratos pictóricos menos ácidos, menos ionizados, menos hidrolizados y menos solubles. Dichas películas pictóricas se tornaron más ácidas e ionizadas tras envejecer, en las mismas condiciones medioambientales, sobre vidrio de microscopio. La comprensión de los mecanismos físico-químicos que gobiernan no solo el pH y la conductividad sino también las fuerzas adhesivas y cohesivas de estas películas a lo largo del tiempo, no es sencilla. Tanto los agregados minerales como la disponibilidad de iones que presentan sus substratos juegan un papel fundamental en la eventual formación, migración y agregación de carboxilatos de calcio y plomo no solo en su superficie, sino también en la interfase substrato-película pictórica. Cuando los mecanismos que gobiernan los equilibrios físico-químicos de estos sistemas pictóricos no se comprenden adecuadamente, los materiales y métodos empleados en su conservación así como las condiciones medioambientales en las que se mantienen pueden tener un efecto dramático en el comportamiento de estos sistemas pictóricos y comprometer su estabilidad a largo plazo. / Molt poques escultures pètries conserven la seua policromia original. L'excepcional estat de conservación en que es conserven les policromies del cas d'estudi d'aquesta Tesi Doctoral (el Sepulcre de Villaespesa de la catedral de Tudela, Navarra, Espanya) sugereix que tant la composició química-mineral i la porositat de les roques seleccionades pels artistes com la composició de les pel·lícules pictòriques a l'oli que van preparar per a policromar la pedra, podrien ser responsables de la seua inesperada durabilitat. Quan els mecanismes que governen els seus equilibris fisicoquímics no han estat compresos adequadament, els materials i mètodes emprats en la seua conservació així com les condicions mediambientals en què es mantenen poden tinder un efecte dramatic al comportament d'aquests sistemes pictòrics i comprometre la seua estabilitat a llarg termini. En aquesta tesi es van preparar provetes amb diferents pel·lícules pictòriques a l'oli sobre l'arenisca emprada en el cas d'estudi. També es van preparar provetes amb les mateixes pel·lícules sobre altres suports per fer una anàlisi comparatiu. Després de quatre anys d'envelliment natural, es va identificar i caracteritzar l'agregació de carboxilats de calci i plom en algunes de les provetes a través de l'ús combinat de microscòpia òptica, SEM-EDX i micro espectroscòpia FT-IR. També es monitarizaren el pH i la conductivitat de les provetes així com del cas d'estudi. En aquelles pel·lícules a l'oli amb blanc de plom o mini que van envellir durant quatre anys sobre substrats de gres i fusta de pi, les reaccions de saponificació, la formació de ionómeros i l'agregació de carboxilats van contribuir a generar estrats pictòrics menys àcids, menys ionitzats, menys hidrolitzats i menys solubles. Aquestes pel·lícules pictòriques es van tornar més àcides i ionitzades després envellir, en les mateixes condicions mediambientals, sobre vidre de microscopi. La comprensió dels mecanismes fisicoquímics que governen el seu pH i la seua conductivitat així com les forces adhesives i cohesives d'aquestes pel·lícules al llarg del temps no és senzilla. Tant els agregats minerals com la disponibilitat de ions que presenten els seus substrats juguen un paper fonamental en l'eventual formació, migració i agregació de carboxilats de calci i plom no només en la seua superfície, sinó també en la interfase substrat-pel·lícula pictòrica. / Aguado Guardiola, E. (2017). Estudio del rol de los agregados minerales en la formación, envejecimiento y conservación de películas pictóricas al óleo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90462 / TESIS

I approach artmaking with a sense of intrigue, portraying the human condition as seen through my own eyes. The results that surface are female forms combined with subliminal subjective symbolism--a fusion of my personal experiences and influences created through a partially subconscious process. I use this artistic process to help me understand myself and I dare my viewers to seek their own answers within the implied narratives I choose to paint.

No description available.

This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.