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.
Full textBoothroyd, 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.
Full textContreras, 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.
Full textVitkauskas, 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.
Full textIn 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.
Alba, Paola. "Remoistenable temporary supports for facing of canvas paintings." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/164901.
Full text[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
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.
Full textAthanassiou, 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.
Full textTsan-Wei, Huang, and 黃贊維. "The Easel Painting of William Dyce." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/6pfkv6.
Full text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.
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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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.
Full textMorais, Rita Machado Maltieira de Almeida. "A tela na pintura portuguesa : materiais e técnicas, do século XV ao século XIX." Doctoral thesis, 2016. http://hdl.handle.net/10400.14/24174.
Full textThis thesis addresses canvas as a support for painting in Portugal. Concerning the area of conservation, this pictorial support is investigated from a material and technical point of view, through a set of ninety and six existing works in museums and other institutions where the Portuguese painting is well represented. Covering both religious and civil typologies, this research focuses on the evolution of the use of canvas, initially with the distemper technique, through an exemplar of late fifteenth century, and then with the oil painting technique, through paintings from late sixteenth century to late eighteenth century, when the industrial revolution promotes a new period to painting on canvas. From the technical and material point of view, the investigation focused on direct and detailed in situ observation of the reverse of paintings and involved a quantitative and qualitative analysis of the canvas. These were carried out with the support of visible light, digital photography of the front and reverse of paintings and with the use of a thread-count. The formal characteristics of the canvas were examined and micro-samples of it were collected and analysed by optical microscopy, to identify the material present. In relation to the distemper painting on canvas, the opportunity to analyse some of the constituent materials by optical microscopy, SEM-EDS and μ-FTIR, allowed to identify the raw material of the canvas, as well as some of the pigments, grounds and binder present. The approach confirmed the uniqueness of this painting, whose pictorial technique preceded the use of oil in this weaved support. For a better understanding of canvas, the traditional process of weaving in a handloom was discussed and fibres and traditional fabrics used as paintings supports were related with specific international and national artistic periods. The information gathered in this interdisciplinary approach was contextualized through coeval treatises and national and European custom of the use of canvas in the painting. It sought, with that, answer to questions about the choice of certain materials and woven structures, about cloth sizes and paintings’ dimensions, about marks and stamps on canvas over the period investigated and, therefore, relate them with preferences of local artists and also insert them in European pictorial practice. The presentation of these results allowed outlining a first idea of the distinguishing features of the canvas as fundamental elements for national painting, a subject that matters to deepen in the future, given to its influence on pictorial technique.
Figueiredo, Ana Pinto Leite Braamcamp de. "Cristo diante do Sumo Sacerdote : a problemática das costuras na conservação e restauro de pintura sobre tela." Master's thesis, 2015. http://hdl.handle.net/10400.14/29612.
Full textChrist before the High Priest, of unknown author, is a tenebrist seventeenth century painting, from Torre de Moncorvo (Bragança) which has been studied and has suffered a conservation and restoration treatment at the Portuguese Catholic University of Porto. During the research of the historic and artistic context of this work, we discovered that it was a copy of a painting by Gerrit van Honthorst (1592-1656, Utrecht), an important Dutch painter not just for his artistic quality but mostly for the way he painted night scenes illuminated by candlelight, creating a dramatic effect marked by strong chiaroscuro contrasts. Besides this copy, we have found three others at Estremoz (Portugal), Madrid (Spain) and Bordeaux (France). The painting in study has been analysed in terms of artistic materials and techniques, including textile fibres identification and pigments, fillers and binders characterization. In terms of conservation, the correction of significant deformations (mainly in the lower zone) along to a vertical seam led to the need of undoing part of the seam. The fragility and the high content of acidity in the textile support, due to hydrolysis and oxidation mechanisms, justified the lining choice. The high risk of detachment of the ground and chromatic layers led to its consolidation. Also, at the pictorial level, the lacunae were filled and retouching was made. The problems caused by de adhesion of a new support to canvas with seams have been solved in different ways by conservators over time. Thus, in a second part of this research we did a survey of several proposals and we evaluated their efficiency by making test models, and submitting them to tensile tests until rupture occur.For the lining of the test models, we used the same adhesive (BEVA 371 O. F.®) and four types of reinforcement fabric: linen, sized linen, polyester and sized polyester. We concluded that it is preferable to apply a mid-material to offset the seam’s relief and also that the used polyester textile has an inferior performance when compared to linen.
Freeman, ASHLEY. "CHARACTERIZATION OF FILLING MATERIALS FOR EASEL PAINTINGS." Thesis, 2013. http://hdl.handle.net/1974/8400.
Full textThesis (Master, Art Conservation) -- Queen's University, 2013-09-30 23:24:52.475
Branco, Carolina de Bruges Bettencourt Meneses. "Tratamento de rasgões e lacunas em suporte de tela : retrato equestre de D. Miguel e representação de São josé." Master's thesis, 2016. http://hdl.handle.net/10400.14/21535.
Full textThis dissertation had as objectives to develop two aspects: on the one hand, the study historical, artistic, technical and material of two paintings on canvas, as well as performing an intervention of conservation and restoration, planned in advance, undertake a review of the methodology used for the treatment of tear mending and testing for the comparison of different adhesives and its application in cotton and linen canvas. As regards the two paintings, from Terceira Island, in the Azores islands, the first one refers to an equestrian representation of D. Miguel I, oil on canvas, probably painted around 1802-1866. The second painting portrays St Joseph with the child at his breast, painted probably with a binder aqueous medium, signed Valentina and dated 1926. Both were studied from a historical, stylistic, formal and iconographic point of view. In view of the material and technical study of the works of art, began a photographic documentation and observation of their organoleptic characteristics, having been this complemented, only in the case of the equestrian portrait of D. Miguel I, with an analytical study. The laboratorial study had as objective the identification of pigments, loads and binders, using a variety of analytical techniques; optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX) and Fourier transform infrared spectroscopy (μ-FTIR). After the analytical information collected that enabled a better knowledge of the constituent materials, a strategy of conservation and restoration was planned, appropriate to each case, which has been carried out, as it is exposed in this dissertation. Relating to the treatment of tear mending, which is the case of study of this paper, had as objectives to understand the most suitable techniques for the success of this kind of procedures, taking as a starting point the cotton canvas, which constitutes the support of the two paintings. For such, there were prepared test pieces in cotton and linen, which were submitted to tests with several adhesives, aqueous non aqueous, whose results were compared with the information available in previous studies.
SHIH, Yi-chieh, and 施以潔. "The Easel Paintings of Paul Bril in Rome- Historical Landscapesfrom 1595 to 1626." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/00475519496438227282.
Full textLIN, JI-SIAN, and 林季嫻. "Be Existent and Eased while Painting - Ji-Sian Lin’s Creative Discourse." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5s55v5.
Full text國立臺北教育大學
藝術與造形設計學系碩士班
107
Painting for me, not just a skill or tools, but instead my language, ideas expressed inside said exports; idea is not only the concept of specific statements more abstract, ambiguous and unknown emotions the use paint-ing find themselves emotional exports. This paper use the method of the Mandala creation of the art therapy and witness the writing method, to guide the creation of a series of works, from the work of self-analysis form, content, and explore the meaning of self-works; understanding explicit personality and ideas from the active conduct of the painting then reverse by the works of image rendering dia-logue with the self, and tap the subconscious escape, re-representations camouflage the true idea in real life, and to face the trauma (hereinafter referred to as "traumatic"), to obtain self recognition.
Zhang, Yuqing. "Partially perfluorinated derivatives as powerful components for artwork restoration." Doctoral thesis, 2022. https://hdl.handle.net/2158/1290796.
Full textLin, Pi-Li, and 林碧麗. "Gazing at the Ease of Efflorescence:A Study of the Creation of Painting." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/3dg3gv.
Full text國立臺灣藝術大學
書畫藝術學系
107
The nature of art is truth and beauty, the idea of which varies from individual to individual though. Beauty is everywhere, available in endless grand mountains and also in one unknown leaf that falls on the ground. We are amazed by nature’s creations, the changing mist and the evanescent blooming of flowers. Art comes from everyday life. Beauty brings joy, rather unintentionally, while art tends to create. Art has no boundaries, and is only confined to infinite perfection. Integrated with diverse cultures, aesthetic viewpoints, global trends, various techniques and mediums of expression, artistic creation is inexhaustible. The thesis includes six chapters. Chapter one introduces the main motif and purpose of the thesis, along with the scale and methodology of the research. Chapter two is a theoretical elaboration on colors. It also discusses different legends, myths, religions and literature about flowers. Chapter three explores the nature of glue painting in terms of possible mixture of traditional and contemporary elements, such as structure, material, and technique. Chapter four is the practical application of key concepts, laying out the execution Chapter five work interpretation .Chapter six concludes the thesis and reflects upon the process of creation.
Yin, Ooi Su. "Labelling of proteinaceous binders in art." Doctoral thesis, 2019. http://hdl.handle.net/10174/25920.
Full textAlves, Stefan Ferreira. "Radiografia-X de pintura : fundamentos radiológicos, parâmetros radiográficos e potencialidades interpretativas." Master's thesis, 2015. http://hdl.handle.net/10400.14/23670.
Full textThis study aims to develop the knowledge about the application of X-radiographs to easel painting, focusing on those with wood and canvas supports. An historical perspective is drawn, from the discovery of X-rays by Wilhelm Röntgen, through the following radiological and radiographic impact, to the implementation in the field of art works. It is described the radiological basis involved in this type of examination, concerning the nature of electromagnetic radiation, the way X-rays are produced and the resultant phenomena of its interaction with matter. Every radiographic factor is evaluated such as the nature of the radiation, the instrumental parameters, geometrical and placements issues or the inclusion of additional structures, and then proceed to the systematic description of its impact on image quality, whether in analogic film, as on digital support. In the reading component of the data, it is outlined a specific methodology of image interpretation, being described and explored specific case studies that illustrate the ability to supply new information on easel painting, by this non-destructive exam.
Dias, Alfredo Manuel Ramos. "O retrato de D. Frei António de Sousa, Bispo do Porto : 1758 – 1766 : sistema de tensão de suporte têxtil." Master's thesis, 2020. http://hdl.handle.net/10400.14/33603.
Full textThe present work is the result of the study and intervention of conservation and restoration of an oil painting on canvas, dated between the end of the 18th century and the beginning of the 19th century, portraying the Bishop of Porto, D. Frei António de Sousa. Included in a collection of portraits of bishops from the diocese of Porto, it is exhibited in the Gallery of Bishops, in the Paço do Bispo do Porto, presently at the chapel antechamber. The painting presented pathologies essentially associated with constant fluctuations in relative humidity (HR) of the air, such as blooming varnish, cracking and structural deformations. The latter were defined by uneven tensions throughout the painting, stretcher marks and an inadequate setting system. During the process of varnish removal it was possible to identify elements and colours of the composition until then, imperceptible or misinterpreted and with the construction of a humidity chamber it was possible to flatten the painting structure, with the support of a temporary working stretcher. Challenged by the difficulty of controlling environmental conditions, which cause conservation problems common to all the paintings found in this building and in many others in similar institutions due to the architectural characteristics and/or budget constraints, we developed a textile support tension system that could minimize the negative effects on the canvas. Conceived to be accessible to all, at low cost and able to be used in any conservation and restoration workshop; capable of responding to the needs of tension changes, due to the action of humidity and with constant presentation of the real value of the forces exerted in the painting, in N (newtons). The final prototype was the result of several tests of different models, which allowed to evaluate and improve the system that allows tensioning a canvas without static attachment points, at low tension values and guaranteeing constant tension. Despite the disinterested contribution, to all those who want to use this construction solution in a workshop, a technical design was developed for mass production of a final model, hoping to obtain funding for patent registration, matrix production and commercialization of this product. This production can be carried out using metallurgical extrusion or, in a new approach that we intend to continue to develop, through 3D printing. Thus, the aim is to provide the market with a solution capable of responding to most works of art and without the need for the conservator-restorer to be limited to personalized orders and production times.