Relevant bibliographies by topics / Of easel painting

Academic literature on the topic 'Of easel painting'

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Published: 10 March 2023

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Journal articles on the topic "Of easel painting"

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Li, Meiru. "The Non-interpretability of Painting." International Academic Journal of Humanities and Social Sciences 1, no. 1 (May 28, 2022): 9. http://dx.doi.org/10.56028/iajhss.1.1.9.

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Goethe once said that everyone could see materials, but connotation was only found by those who dealt with it, and form was a secret to the majority of people. This article is aim to discuss the currently situation of contemporary easel painting and its de-interpretation,from the development of easel painting,i present the irreplaceable visual sense,and therefore ,to offer a referent direction about the easel painting’s future.
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Chen, Hanyi, and Hua Li. "Painting Creation in the Context of Contemporary Art: A Brief Discussion on the Painting Art of Marlene Dumas." Region - Educational Research and Reviews 3, no. 1 (February 4, 2021): 20. http://dx.doi.org/10.32629/rerr.v3i1.243.

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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.
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Bordalo, Rui, Paulo J. Morais, Helena Gouveia, and Christina Young. "Laser Cleaning of Easel Paintings: An Overview." Laser Chemistry 2006 (January 11, 2006): 1–9. http://dx.doi.org/10.1155/2006/90279.

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The application of laser cleaning to paintings is relatively recent despite its use on stone-based materials for over 30 years. The cleaning of paintings is of high importance, because it is the least reversible invasive intervention, as well as the most usual of all conservation treatments. Paintings are multilayer system of heterogeneous nature, often very sensitive and inherent difficult to clean. Being a noncontact method, laser cleaning has advantages compared to alternative techniques. Over the last decade, there have been important research studies and advances. However, they are far from sufficient to study the effects on painting materials and to establish the best parameters for each material under investigation. This paper presents a historical overview of the application of laser technology to the cleaning of paintings giving special emphasis on the research of the last decade. An overview of the current research into the interaction between the radiation and the different painting materials (varnish, pigments, and medium) is also given. The pigment's mechanisms of discoloration and the presence of media as a variable factor in the discoloration of pigments are discussed.
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.

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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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Zverev, Vladimir Vladimirovich. "Artistic peculiarities of Nikolay Koshelev’s church painting." Исторический журнал: научные исследования, no. 5 (May 2021): 127–37. http://dx.doi.org/10.7256/2454-0609.2021.5.35681.

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This article is dedicated to the works of the Russian artist Nikolay Koshelev of the turn of the XIX – XX centuries in the genres of religious and church painting. The introduction of the principles of historicism and realism into the Russian culture of the XIX century discovered a new perspective on religion themed easel paintings, church art and iconography, as well as created opportunities for the new content and formal means for depicting the subjects of painting. The article leans on the monumental cycle “The Passion Journey of Christ” by Nikolai Koshelev for the Church of Saint Alexander Nevsky in Jerusalem. The article traces the complex intertwinement with of the features of church painting with the features of academic easel religious painting in the context of artistic culture of the turn of the XIX – XX centuries. The detailed analysis of the monumental cycle of “The Passion Journey of Christ” at the Alexander Metochion in Jerusalem (created between 1890 and 1900)  reveals certain peculiarities of the artistic form of Nikolay Koshelev's works in the context of Russian church and religious painting of the XIX - early XX centuries. This topic should be viewed in relation to the general problems of modernization of public consciousness and cultural life in Russia of that time.
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Sun, Yang. "In Pursuit of the Primitiveness of Easel Painting - The Emergence of Bad Painting." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 1638–42. http://dx.doi.org/10.54097/ehss.v8i.4537.

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Art, as a manifestation of the human mind, is not valued for its objective depiction of the external world but the subjective recreation based on objective objects. The intuitive feelings and inner beliefs of painting override the objective reality of the depicted objects. And bad painting with the unreserved catharsis of emotions exists as a new artistic trend and a creative path that emerged in Europe and America in the late 1970s. At the same time, Gombrich believed that any painting that meets the two criteria of baseline mode and minimum mode can be classified as primitivism art, and the rebelliousness of bad painting to the established rules, the originality of its content and the pursuit of the true nature of painting share similarity to primitivism art. Throughout the history of art in China and abroad, the phenomenon of bad painting has appeared periodically in the process of art everywhere, and the development process of art itself has also undergone a spiral development from barbaric obscurantism to scientific truth-seeking and finally return to primitive. Therefore, this paper will analyze the phenomenon of bad painting at home and abroad, its spiritual connotation and philosophical foundation, establish the connection between bad painting and primitivism art, explore the primitive interest in bad painting art, and discuss how bad painting uses its unique approach to promote the aesthetic revolution of contemporary easel painting.
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NEKHVYADOVICH, Larisa Ivanovna, and Gela Borisovna FRADKINA. "KAZAKH EASEL PAINTING OF THE LATE TWENTIETH CENTURY." European Journal of Arts, no. 2 (2021): 3–13. http://dx.doi.org/10.29013/eja-21-2-3-13.

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Doutre, Michael, Alison Murray, and Laura Fuster-López. "Effects of Humidity on Gessoes for Easel Paintings." MRS Proceedings 1656 (August 22, 2014): 167–71. http://dx.doi.org/10.1557/opl.2014.828.

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ABSTRACTGessoes are widely used in easel painting as grounds or preparatory layers; in art conservation, gessoes are employed as infill materials to level a loss in the paint surface in preparation for inpainting. The goal of this investigation was to establish the relationship between the mechanical behavior of various gessoes when exposed to different relative humidities (25%, 50%, and 100%) and to compare modern commercial gesso products with a traditional gesso. The materials included two commercial artists’ acrylic gessoes (composed of largely titanium dioxide and aqueous dispersions of acrylic polymers), two commercial spackling compounds frequently used in the conservation of easel paintings, and a traditional gesso (calcium carbonate and rabbit skin glue). Uniaxial tensile testing was used to characterize the elastic modulus, strain at failure, and ultimate tensile strength (UTS) of the materials. By understanding the physical limits of these materials under different conditions, damage to artworks and the failure of conservation treatments containing these types of materials may be prevented or reduced.
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Porter, Jennifer Herrick, Chiara Pasian, Roberta De Angelis, and Nathalie Debono. "Cleaning of Oil-on-Stone Wall Paintings: Lessons Learned From Easel Painting Conservation." Studies in Conservation 65, sup1 (April 29, 2020): P254—P257. http://dx.doi.org/10.1080/00393630.2020.1753354.

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Elsayed, Yosr. "IDENTIFICATION OF THE PAINTING MATERIALS OF A UNIQUE EASEL PAINTING BY MAHMOUD SA'ID." Egyptian Journal of Archaeological and Restoration Studies 9, no. 2 (December 1, 2019): 155–69. http://dx.doi.org/10.21608/ejars.2019.66984.

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Dissertations / Theses on the topic "Of easel painting"

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Murphy, Michele P. "Colour choice and exploratory behaviour in the easel painting of nursery school children /." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsm978.pdf.

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Boothroyd, Brooks Hero. "Practical developments in English easel-painting conservation c.1824-1968 from written sources." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300536.

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Contreras, Maya María Celina. "Preservation of modern easel painting, a multidisciplinary study for the preservation of two of David Alfaro Siqueiros' so-called pyroxyline paintings : Mine Drillers and Portrait of a Dead Girl and Live Girl." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36019.pdf.

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Vitkauskas, Sigitas. "Molbertinės tapybos kūriniai Lietuvos visuomeninių pastatų architektūroje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110630_105254-43014.

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Magistro baigiamajame darbe „Molbertinės tapybos darbai Lietuvos visuomeninių pastatų architektūroje“ nagrinėjami XX-XXI a. pr. Lietuvos visuomenių pastatų interjerai, kurių svarbi meninės raiškos priemonė yra molbertinės tapybos paveikslai. Išsamiai analizuojamos paveikslų naudojimo visuomeniniuose interjeruose prasmės, tapybos integravimo architektūroje istorinės raidos ir dabarties tendencijos. Išryškinami tapybos ir interjero architektūros sąveikos kompoziciniai principai ir dermės dėsningumai. Daroma išvada, kad tiek estetiniu, tiek semantiniu požiūriu tapybos kūriniai gali būti svarbūs architektūrinės erdvės formantai ir, nepaisant daiktinės aplinkos formavimo tendencijų XX a. pabaigoje - XXI a. pr. pokyčių, molbertinės tapybos naudojimas architektūroje išlieka tvarus. Darbo apimtis - 94 psl. 97 iliustracios, 1 lentelė, 94 bibliografiniai šaltiniai.
In master's thesis final paper work “Easel painting in the architecture of Lithuanian public buildings” interiors of public buildings at the period of XX and the beginning of XXI century in Lithuania are considered. Easel paintings have a very important mean of art expression in these interiors. Meanings of use of paintings in interiors of public buildings, historical developments and tendencies of paintings integration in nowadays architecture are analyzed at length. Fundamentals and consistent pattern of harmony of interaction between painting and architecture of interior are highlighted. The conclusion is done that painting works could be important formants of architectural space in esthetical and semantic points of view. Moreover, the usage of easel painting remains stable despite the tendency changes in formation of materialistic surrounding at the end of XX century and at the beginning of XXI century. Size of the paper work - 94 pages, 97 figures, 1 table, 94 bibliographical sources.
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Alba, Paola. "Remoistenable temporary supports for facing of canvas paintings." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/164901.

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[ES] Aunque el empapelado es una técnica ampliamente utilizada en restauración con diversos propósitos, todavía no se dispone de mucha información técnica sobre la misma. A primera vista, acarrea consecuencias complejas, incluyendo cambios en lascapas pictoricas, pudiendo tener también potenciales repercusiones en la propia conservación de la obra. En la mayoría de casos, sería más adecuado recurrir a otras técnicas alternativas y menos intrusivas. Por este motivo, a lo largo de esta tesis doctoral se ha desarrollado un protocolo de investigación orientado al diseño de soportes temporales rehumectables (remoistenable temporary supports: RTS) para la protección de pinturas sobre lienzos, un método alternativo que permite un mayor control de la penetración de adhesivo en el sustrato, y por tanto una remoción de residuos más sencilla y eficaz. Durante este estudio se prestó especial atención a las necesidades de los restauradores, no solo en términos de disponibilidad y eficiencia económica, sino también en lo concerniente a la salud de los operadores y el cuidado del medio ambiente. En la primera sección de esta tesis se ha realizado una revisión histórica, comenzando por las primeras fuentes indirectas del Siglo XVIII hasta la actualidad. A continuación, se analizan los mecanismos adhesivos y de penetración del empapelado, focalizándose en aspectos relacionados con la conservación, relacionados con los materiales empleados y metodologías de aplicación. En la segunda sección se describe el estudio de la metodología innovadora de los RTS, ensayada de acuerdo a un meticuloso proyecto de investigación adaptando tecnologías analíticas avanzadas a las necesidades específicas del estudio realizado. Durante la primera etapa experimental, se realizaron análisis químicos, físicos y mecánicos de las diferentes clases de materiales (adhesivos y soportes temporales) y su compatibilidad para la preparación de tejidos rehumectables. La segunda etapa de la investigación se centró en la evaluación de la aplicación de soportes temporales rehumectables en maquetas simuladoras de pinturas en lienzo, con el fin de ensayar aquellos factores considerados más relevantes. Se realizaron observaciones con Microscopía Óptica empleando luz visible y UV, Microscopía electrónica de barrido de emisión de campo (FESEM) para evaluar la permanencia de residuos y el estudio de posibles modificaciones que podrían darse en la superficie de la pintura. Se empleó micro-espectroscopía Raman asociada a un microscopio de alta resolución para determinar la penetración del adhesivo en las grietas de las maquetas. Finalmente, se realizaron pruebas de desprendimiento (peeling test) en diferentes condiciones ambientales para estudiar la fuerza adhesiva de los RTS seleccionados.
[CA] Tot i que la protecció del color és una tècnica àmpliament utilitzada en restauració amb diversos propòsits, encara no s'hi disposa de molta informació tècnica. A primera vista, implica conseqüències complexes, incloent-hi canvis en les capes pictòriques, que poden tenir també potencials repercussions en la mateixa conservació de l'obra. En la majoria de casos, seria més adequat recórrer a altres tècniques alternatives i menys intrusives. Per aquest motiu, al llarg d'aquesta tesi doctoral s'ha desenvolupat un protocol d'investigació orientat al disseny de suports temporals rehumectables (Remoistenable Temporary Supports: RTS) per a la protecció de pintures sobre llenç, un mètode alternatiu que permet un major control de la penetració d'adhesiu en el substrat i, per tant, una eliminació de residus més senzilla i eficaç. Durant aquest estudi es va prestar especial atenció a les necessitats dels restauradors, no solament en termes de disponibilitat i eficiència econòmica, sinó també pel que fa a la salut dels operadors i la cura del medi ambient. En la primera secció d'aquesta tesi s'ha realitzat una revisió històrica, començant per les primeres fonts indirectes del segle XVIII fins a l'actualitat. A continuació, s'analitzen els mecanismes adhesius i de penetració de l'empaperat, i es focalitza en aspectes relacionats amb la conservació futura dels materials emprats i metodologies d'aplicació. En la segona secció es descriu l'estudi de la metodologia innovadora dels RTS, assajada d'acord amb un meticulós projecte d'investigació que adapta tecnologies analítiques avançades a les necessitats específiques de l'estudi realitzat. Durant la primera etapa experimental, es realitzaren anàlisis químiques, físiques i mecàniques de les diferents classes de materials (adhesius i suports temporals) i la seua compatibilitat per a la preparació de teixits rehumectables. La segona etapa de la investigació es va centrar en l'avaluació de l'aplicació de suports temporals rehumectables en maquetes simuladores de pintures en llenç, amb la finalitat d'assajar aquells factors considerats més rellevants. Es realitzaren observacions amb microscòpia òptica emprant llum visible i UV, Microscòpia electrònica d'escaneig d'emissió de camp (FESEM) per a avaluar la permanència de residus i l'estudi de possibles modificacions que podrien donarse en la superfície de la pintura. S'empraren microespectroscòpia Raman associada a un microscopi d'alta resolució per a determinar la penetració de l'adhesiu en les clivelles de les provetes. Finalment, es realitzaren proves de despreniment (peeling test) en diferents condicions ambientals per a estudiar la força adhesiva dels RTS seleccionats.
[EN] Although facing is widely used for multiple purposes, there is still little information about it. At first glance, facing seems to be an almost neutral and simple intervention. Its application, however, entails complex consequences including changes to a painting's strata, and it can have potential repercussions on the conservation of the paint itself. In most cases, it would be better to recur to alternative and less intrusive methods, but sometimes the use of facing is strictly necessary. For this reason, during this PhD a research protocol addressed the design of remoistenable temporary supports (RTS) for the facing of canvas paintings, an alternative method that enables a higher control of the adhesive penetration into the substrate, and thus the easier removal of residues. Great attention was given in this assessment to the needs of restorers, in terms of not only availability and the cost-effectiveness of materials, but also for the concerns of the safety of the operator as well as the environment. In the first section of this dissertation, a historical review is made starting from the first indirect sources of the 18th century up to the present day. Then facing's adhesive and penetrative mechanisms are analysed, focusing on conservative issues related to the used materials and application methodologies. The second section describes the assessment of the innovative RTS methodology, tested according to a meticulous research project adapting advanced analytical technologies to the specific needs. During the first experimental stage, chemical, physical and mechanical analyses of the different classes of materials (adhesives and temporary supports) and their compatibility for the preparation of remoistenable tissues were carried out. The second step of the investigation focused on the evaluation of the application of remoistenable temporary supports on mock-ups reproducing a canvas painting, in order to test those considered the most relevant factors. Observations with optical microscope in visible and ultraviolet (UV) light and analyses with fieldemission scanning electron microscopy (FESEM) were carried out to evaluate the permanence of residues and the assessment of the possible modifications that may have occurred on the painted surface. Micro-Raman spectroscopy associated with a high-resolution microscope was used to determine the penetration of the adhesive into the cracks of the mock-ups. Finally, peeling tests at different environmental conditions were carried out to assess the adhesion strength of the selected RTS.
An acknowledgment to the financial support from the Spanish “I+D+I” project CTQ2017-85317-C2-1-P, which is supported by the Ministerio de Ciencia, Innovación y Universidades, Fondo Europeo de Desarrollo Regional (ERDF) funds and Agencia Estatal de Investigación(AEI).
Alba, P. (2021). Remoistenable temporary supports for facing of canvas paintings [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/164901
TESIS
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Fourrier, Thierry. "Investigation of the potential of 308nm excimer laser light for cleaning easel paintings." Thesis, University of Salford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365951.

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Athanassiou, Athanassia. "Physical effects in the UV-laser ablation of polymeric materials : implications for the laser cleaning of easel paintings." Thesis, University of Salford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366063.

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Tsan-Wei, Huang, and 黃贊維. "The Easel Painting of William Dyce." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/6pfkv6.

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碩士
國立高雄師範大學
美術學系
97
William Dyce, one of the important painters of the Victorian era, was considered by his contemporaries as the representative figure of paintings, which conveyed doctrinal meanings. His works are so strongly fuelled by his devout beliefs in God as to centre on the issues of religious and moral education. Moreover, his peregrination and paintings are sometimes regarded as the epitome of the Victorian religious culture. This dissertation, looking into Dyce’s easel paintings, is divided into three parts. In order to investigate further into the contents and style of Dyce, the focus of chapter one will be placed on Dyce’s biographical and the then-current socio-cultural background. Chapter two consists of a number of themes: portrait, religious and landscape paintings. In chapter three, the artistic manner in the paintings of Dyce will be explored from the perspectives of his spirituality and aesthetics. Dyce life underwent a radical social change after the industrial revolution; his concerns regarding the cultural, religious values in the transitional society made his works significant when it comes to the Victorian paintings.
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Costello, Eileen Elizabeth. "Beyond the easel : the dissolution of abstract expressionist painting into the realm of architecture." 2010. http://hdl.handle.net/2152/19840.

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A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework.
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CIOFINI, DANIELE. "REMOVAL OF VARNISH AND OVERPAINT LAYERS FROM EASEL PAINTINGS USING PULSED Nd:YAG LASERS." Doctoral thesis, 2015. http://hdl.handle.net/2158/1003245.

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With the aim of finding less invasive and selective cleaning strategies for paintings restoration, this thesis provides novel insights and successful applications on the use of pulsed Nd:YAG lasers to safely remove aged varnish coatings and overpaint layers. The laser-material interaction under different irradiation conditions of several painting materials, such as terpenoid-based varnishes and oil paint layers, was extensively characterized using different analytical techniques. Laser ablation tests carried out on a large number of naturally and artificially aged varnish samples using the fifth (213 nm) and fourth (266 nm) harmonics of a QSwitch (15 ns) Nd:YAG laser evidence the fundamental importance of following a wavelength-based approach for the selective removal of painting varnishes. The promising results achieved on samples irradiated at 213 nm envisage very good prospects for the transfer of this laser cleaning approach in the field. Similarly, Long Q-Switching Nd:YAG (1064 nm) laser with a pulse duration of 120 ns was successfully tested for dealing the conservation problems of two female portraits dated around 1930 and 1910, respectively. The latter painting was found on the backside of a signed artwork by Giacomo Balla, one of the founding members of the Futurist Painters. These artworks were almost completely disguised by thick layers of oil overpaintings, which did not have any artistic relevance.Thorough characterization of the original pigments, binders, overpaintings and deterioration mechanisms allowed performing the complete restoration of the painting from Balla's studio, which returned an unknown Pre-Futurist artwork, and to plan that of the other female portrait by anonymous. At the same time, a systematic laboratory experimentation on prepared samples simulating the uncovering problems encountered in the real case has been carried out. This improved the knowledge of the laser induced-effects and ablation processes on different modern pigments and allowed to exploit such features for the selective removal of the undesired layers. The results reported disclose a significant application perspective for Nd:YAG laser ablation in conservation of modern easel paintings.
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Books on the topic "Of easel painting"

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The conservation of easel paintings. Abingdon, Oxon [England]: Routledge, 2012.

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Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia) and Gosudarstvennyĭ istoriko-arkhitekturnyĭ, khudozhestvennyĭ i landshaftnyĭ muzeĭ-zapovednik "T︠S︡arit︠s︡yno.", eds. Around the world with an easel. [Bad Breisig]: Palace Editions, 2009.

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Behind the easel: The unique voices of 20 contemporary representational painters. Atglen, PA: Schiffer Pub., 2014.

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Georgian easel painting (second half of the 18th century to the 1920's). Hauppauge, NY: Nova Science Publishers, 2009.

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1951-, Butler Charles T., Southeastern Art Museum Directors Consortium., Columbus Museum (Columbus, Ga.), Tampa Museum of Art, and J.B. Speed Art Museum., eds. Tales from the easel: American narrative paintings from southeastern museums, circa 1800-1950. Athens: University of Georgia Press, 2004.

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Lempart-Geratowska, Marta. Rozwarstwianie malowideł sztalugowych na podłożu drewnianym =: The splitting of easel paintings on wooden supports. Kraków: Akademia Sztuk Pięknych w Krakowie, 2002.

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Verougstraete-Marcq, Heĺeǹe, and R. van Schoute. Scientific examination of easel paintings: Art history and laboratory : published on the occasion of the Xth Anniversary Meeting of the PACT Group at Louvain-la-Neuve, 1986. Strasbourg: Council of Europe, 1986.

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Smolińska, Marta. Otwieranie obrazu: De(kon)strukcja uniwersalnych mechanizmów widzenia w nieprzedstawiającym malarstwie sztalugowym II połowy XX wieku = Opening a painting : de(con)struction of universal seeing mechanisms in non-representational easel painting of the 2nd half of the 20th century. Toruń: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, 2012.

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Mills, John S. Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture : preprints of the contributions to the Brussels congress, 3-7 September 1990. London: International Institute for Conservation of Historic and Artistic Works, 1990.

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Roger, Van Schoute, Verougstraete-Marcq Hélene, and Pact Group, eds. Scientific examination of easel paintings. Strasbourg: Council of Europe, 1986.

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Book chapters on the topic "Of easel painting"

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Burnstock, Aviva. "The Role of Technical Study and Chemical Analysis on Questions of Attribution and Dating of Paintings and on Easel Painting Conservation Practice: Selected Case Studies." In Analytical Chemistry for the Study of Paintings and the Detection of Forgeries, 475–93. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-86865-9_15.

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Baglioni, Piero, David Chelazzi, and Rodorico Giorgi. "Cleaning of Easel Paintings." In Nanotechnologies in the Conservation of Cultural Heritage, 83–116. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9303-2_4.

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Hill, A. E., A. Athanassiou, T. Fourrier, J. Anderson, and C. Whitehead. "Progress in the Use of Excimer Lasers to Clean Easel Paintings." In Optics and Lasers in Biomedicine and Culture, 203–7. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-642-56965-4_40.

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Salvador, Cátia, Rui Bordalo, Mara Silva, Tânia Rosado, António Candeias, and Ana Teresa Caldeira. "On the conservation of easel paintings: evaluation of microbial contamination and artists materials." In inArt 2016, 341–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-55417-3_34.

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Saint, Amani-Christiana, Vasiliki Dritsa, Eleni Cheilakou, Evangelia Valavani, Christina Margariti, Katerina Efthimiou, and Maria Koui. "Non-invasive Identification of the Pigments and Their Application on Theophilos Hatzimihail’s Easel Paintings." In 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, 217–31. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78093-1_22.

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"EASEL PAINTING." In Art, Artisans and Apprentices, 158–77. Oxbow Books, 2014. http://dx.doi.org/10.2307/j.ctvh1djn3.13.

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Hermens, Erma, and Joyce Townsend. "Pigments in Western easel painting." In Conservation of Easel Paintings, 192–215. Routledge, 2020. http://dx.doi.org/10.4324/9780429399916-10.

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Seggerman, Alex Dika. "Lawyerly Luxury of Easel Painting." In Modernism on the Nile, 101–40. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653044.003.0004.

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This chapter shifts focus from Cairo to Alexandria, away from the anticolonial nationalism of the former toward a deliberate cosmopolitanism observable in the latter. From the reign of Muhammad Ali Pasha in 1805 until Gamal Abdel Nasser’s rise in 1952, Alexandria was a veritable second capital to Cairo, and in many ways it was better connected with the Mediterranean world. The informal infrastructure of arts education and exhibition in Alexandria led to a subtler form of Egyptian modernism. Alexandrian artists visualized the multinational atmosphere of their coastal city rather than portraying an outward Egyptian nationalism. In the vibrant oil paintings of the aristocratic lawyer Mahmoud Said (1897–1966), I locate a visual code that echoes the transnationalism of the Mixed Courts, Said’s employer and a pioneering legal institution that adjudicated contracts between the international business communities in Alexandria. I employ this comparison to argue that late Ottoman representations of race repurpose Orientalist idioms to position the author as superior to both colonial powers and local subjects. Through this repurposing, Said visualizes multiple Mediterranean image traditions implicit in Egyptian modernism.
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Mayer, Debora D. "Identification of textile fibres found in common painting supports." In Conservation of Easel Paintings, 335–43. Routledge, 2020. http://dx.doi.org/10.4324/9780429399916-22.

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"A HISTORY OF WESTERN EASEL PAINTING MATERIALS FROM THE EARLY RENAISSANCE THROUGH THE TWENTIETH CENTURY." In Conservation of Easel Paintings, 83–301. Routledge, 2013. http://dx.doi.org/10.4324/9780080941691-13.

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Conference papers on the topic "Of easel painting"

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XAVIER, ALEXANDRE FERREIRA, Ana Bailão, and Marta Manso. "THE INFLUENCE OF FILLERS ON THE CHROMATIC REINTEGRATION PROCESS ON EASEL PAINTINGS: ANALYTICAL STUDY FOR SKIN COLOR." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13605.

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Mimetic chromatic reintegration in easel paintings is usually achieved by levelling the surface of losses (lacunae) with a white filler, followed by its retouching with an appropriate paint. This investigation aimed to understand how different formulations of fillers (colored fillers and white fillers covered with three kinds of paints: watercolor, gouache, and mastic resin) influence mimetic reintegration. Colorimetry, using a smartphone with a color measurement application, and Fiber Optics Reflectance Spectroscopy (FORS) measurements were made on 29 samples of fillers and on the surface of the pictorial layer of our case study - a painting by Veloso Salgado.The combined use of these techniques allowed us to choose the most similar material filler system. The pigmented fillers gave us the best results to perform a safer and faster chromatic reintegration procedure. This procedure appears to be suitable for contemporary art as which usually do not present a protective layer. Also, the use of pigmented fillers simplifies the color achievement.
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Morales Martín, Daniel, Antonella Magali Della Festa, and Alicia Sánchez Ortiz. "MOISTURE SENSITIVE EASEL PAINTINGS: A PRACTICAL APPLICATION OF FILLING AND TEXTURING OF LOSSES WITH AQUAZOL® BASED FILLER." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13547.

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The filling of losses in easel paintings must provide the level and texture of the original pictorial layers. Synthetic poly-2-ethyl-2-oxazoline based stucco (Aquazol®) has been one of the latest additions with good results in the filling of paintings on canvas. The main objective of this research is to determine the properties of Aquazol® 200 based filler as a texturing filling with respect to its workability and its mechanical behaviour in relation to the structural stability of different textile substrates. To this end, two case studies have been used as a starting point, both of which share the need to find a stucco that does not add moisture to the canvas and that can reproduce the texture of the painting layer. In the experimental part, 18 mock-ups were made reproducing the pictorial surface of each work, as well as the restoration treatments of their supports. These were subjected to accelerated ageing to qualitatively analyse the stability of the filling before and after. After testing, it was found that Aquazol® 200 has excellent qualities for levelling and texturing gaps on moisture-sensitive substrates. The good ability to reproduce brush grooves, small impasti and smooth surfaces is noteworthy. On the other hand, a satisfactory result was not achieved on very pronounced impasto, requiring further study.
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Sologub, G. N. "ORGANISATION OF VOCATIONAL GUIDANCE ACTIVITIES IN THE INSITUTE OF CULTURE (BY THE EXAMPLE OF THE CHAIR OF MONUMENTAL AND DECORATION ART AND EASEL PAINTING IN THE KUBAN STATE INSTITUTE OF CULTURE AND ART)." In Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/92.

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The article considers the main approaches of vocational guidance work, taking as an example the methods applied in the chair of monumental and decorative art and easel painting, due to its importance for stimulation of professional self-determination of art school students. Certain approaches can be distinguished in order to make the vocational guidance work more efficient.
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Castellini, Paolo, Enrico Esposito, Barbara Marchetti, Nicola Paone, and Enrico P. Tomasini. "New applications of scanning laser Doppler vibrometry (SLDV) to nondestructive diagnosis of artwork: mosaics, ceramics, inlaid wood, and easel painting." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445659.

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Liang, Haida, Rada Cucu, George M. Dobre, David A. Jackson, Justin Pedro, Christopher Pannell, David Saunders, and Adrian G. Podoleanu. "Application of OCT to examination of easel paintings." In Second European Workshop on Optical Fibre Sensors. SPIE, 2004. http://dx.doi.org/10.1117/12.566780.

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Tong, Xinyuan. "TRANSPARENT FLATBED SYSTEM IN THE CONSERVATION OF EASEL PAINTINGS." In Реставрация. Наш взгляд - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604831069_131.

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Kwiatkowska, Ewa, Marcin Sylwestrzak, Bogumiła J. Rouba, Ludmiła Tymińska-Widmer, Magdalena Iwanicka, and Piotr Targowski. "Optical Coherence Tomography for non-destructive investigations of structure of easel paintings." In 1st Canterbury Workshop and School in Optical Coherence Tomography and Adaptive Optics. SPIE, 2008. http://dx.doi.org/10.1117/12.813477.

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Lopez, Maxime, Xueshi Bai, Corinna Koch-Dandolo, Stéphane Serfaty, Nicolas Wilkie-Chancellier, and Vincent Detalle. "Nd:YAG vs Er:YAG : a comparative study of laser varnish removal on easel paintings." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2527437.

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Karaeva, A. K. "PREPARATION OF EASEL PAINTINGS FOR PHOTO FIXATION IN THE INFRARED AND ULTRAVIOLET RANGES." In Реставрация. Наш взгляд - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604831069_51.

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Zaggia, Caterina, Magdalena Kowalska, Magdalena A. Iwanicka, Giorgia Sciutto, Silvia Prati, and Piotr Targowski. "Application of optical coherence tomography for assessment of methodologies of varnish removal from easel paintings." In Optics for Arts, Architecture, and Archaeology (O3A) VIII, edited by Roger Groves and Haida Liang. SPIE, 2021. http://dx.doi.org/10.1117/12.2595361.

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