Paintings mural

Wafld-malerei,/. house painting mural painting. -putz, m. plastering, wandst dig, a. parietal, marginal. Wand-starke, /. thickness of wall, -tafel, /. 

Proteins in Colour Layers of Easel Paintings, Murals, Polychrome Statues, etc. 

There are historic reports of floods in the area (32 J. Rutherford, personal communication) and of an earthquake in 18 B.C. (33). The movement of the expansive Esna shale bed formation that underlies the whole area is also a source of disruption (32). The Esna shale bed formation, which contains montmorillonite clay, swells upon hydration by about 12.5% (32). Therefore, if an adequate amount of water is available, for example from increased irrigation, humidification, or flooding, the movement of this shale formation accelerates. Collectively, these dramatic natural events are the most probable causes of the loss of plaster and painted murals in the lower chamber of the tomb prior to its discovery, and they increasingly (32) threaten tombs in the Thebes area. 

Natiual colorants can be conveniently divided into two categories pigments, which are insoluble solids commonly of mineral origin, and dyes, which are normally used in liquid form and are commonly of organic origin. Pigments are used as paints and to create colored surface treatments, e.g., to paint murals and to decorate pottery dyes are mainly used to color animal and plant fibers. 

Cartoon . (1) Preliminary sketch or detailed drawing for a painting, mural, etc., either to scale or actual size. The design is transferred from the paper to the working surface. (2) Term also used to describe a comic drawing or an animated film based on a succession of comic, grotesque drawings. 

Tempera tem-po-ro [It tempera, literally, temper, fr. temperare to temper, fr. L] (1832) n. (1) A rapidly drying paint consisting of egg white (or egg yolk, or a mixture of egg white and yolk), gum, pigment, and water especially used in painting murals. (2) A method of painting using tempera. 

Shirono, S. and Y. Hayakawa (2006), Identification of painting materials used for mural paintings by image analysis and XRF, Adv. in X-Ray Anal. 49, 213-217. 

Mural paintings at the Kariye Museum Casein as painting binder and animal 125... 

S. Bianchin, U. Casellato, M. Favaro, P.A. Vigato, M.P. Colombini, G. Gautier, Physico Chemical and Analytical Studies of the Mural Paintings at Kariye Museum of Istanbul, Journal of Cultural Heritage, 9, 179 183 (2008). 

Case Study 2 Characterisation of Carbohydrate Material on the Paint Surfaces of Mural Paintings by Bonamico Bulffalmacco (Fourteenth Century), in the Monumental Cemetery of Pisa, Italy [30]... 

The mural paintings in the Monumental Cemetery of Pisa were detached in a restoration after the Second World War, and were later restored on several occasions. They showed an advanced state of degradation. In Figure 11.10 the pyrograms of two samples collected from the paint surfaces (CSG 13bis from Universal Judgement and CSA 5b from Stories of Holy Fathers ) are compared with the pyrograms of nitrocellulose, starch and arabic gum. 

Case Study 4 Characterisation of the Organic Binders in a Mordant Gilding from the Fifteenth Century Mural Paintings of Teodolinda s Chapel (Duomo of Monza, Italy) [53]... 

G. Chiavari, M. Ioele, S. Prati and S. Santopadre, Py GC MS of the synthetic polymers used in past restorations on Giotto s mural paintings at the Scrovegni Chapel (Padova),... 

K. Pawlak, M. Puchalska, A. Miszczak, E. Rosloniec and M. Jarosz, Blue natural organic dyestuffs from textile dyeing to mural painting. Separation and characterization of coloring matters present in elderberry, logwood and indigo, J. Mass Spectrom., 41, 613 622 (2006). 

One of Balsamo s most effective modes of warfare was to paint Masonic and biblical emblems and prophecies on the walls of his cell—the Sicilian had, it seems, returned to one of his earliest talents. Most of these murals were smeared on the plaster with a paint he created by blending his urine with rust from the bars of the cell. Sometimes he also used excrement. He made a brush by ripping away pieces of wood from his bed with his teeth. To this handle he somehow sewed a straw and cotton tip. He could use his improvised brush with uncanny speed on one occasion Marinis spyhole was unattended for only an hour, during which time Balsamo managed to fill an entire wall with loathsome drawings. ... 

In 1918, at the express command of Katherine Dreier, Duchamp executed his last oil painting (MD-114), which also happens to be his largest canvas (27.5 by 122.5 inches) (fig. 13). Called Turn . . . , this is a mural which was designed to complement Dreier s library, filled with numerous... 

Diego Rivera (1886-1957), a Mexican mural artist, painted a four-wall panorama at the Detroit Institute of Arts illustrating every job in the automobile industry. 

You might think a memorable picture would have vivid color, an appealing or inspirational theme, or be something you might want to display and look at every day. That is not the case with the picture that is most memorable to me. Rather, it is a large mural, painted in 1937 by the Spanish artist, Pablo Picasso, to protest the bombing of a small village in northern Spain. 

The first and last forms are the most stable forms (38) the two hexagonal forms are metastable. The transformation from monoclinic gypsum to orthorhombic anhydrite involves a decrease in specific volume of approximately 22%, which contributes greatly to the physical weakening of the painting substrate and the fragility of the murals in Nefertari s tomb. 

The first step will be dust removal. The influx of dust and other desert debris is a natural consequence of increased access to the tomb. Furthermore, the tomb floor is a reservoir of dust. We have examined the role of dust in the deterioration of mural surfaces (17-21), After the removal of dust, a dust-free, preformed cement, or better still, granite floor should be installed. Parts of the tombs in which paintings are already irretrievably lost must be covered with polished granite slabs to prevent dust generation from these obvious dust sources. Structural consolidation, cleaning of paint layers, and protection can then follow. 

The polymers used must protect murals from moisture, must be totally inert, and must not alter the appearance of the paint layer or cause structural changes within it. Proper ventilation requirements for polymer use during conservation must also be considered. When new and better techniques become available, it must be possible to remove these polymers and the polymers used in the structural consolidation of the plasters with minimal or no damage to the tomb, in the tradition of reversible conservation treatments. 

Among many technological marvels from that era is a pigment known as Maya Blue. This startling, turquoise-like color was used extensively by the Maya for many purposes (Fig. 6.3). The Maya used the pigment for paint that was applied to sculpture, wall murals and pottery, among other objects. They also used the pigment to color the bodies of sacrificial victims before they were thrown into sacred wells or had their hearts cut out at temple altars. 

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