Dissertations / Theses on the topic 'Painters'

This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
Master of Arts (Hons)

This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists

Esta pesquisa pretende analisar a produção de material gráfico produzido pelas classes populares, o que é aqui denominado Design Gráfico Vernacular. O objetivo do trabalho é analisar este fenômeno através de pesquisa teórica, entrevistas, observações e análise gráfica do objeto em questão considerando o contexto social em que surge esse tipo de produção, o que a define, assim como o uso desses objetos. O objeto de estudo consiste em um conjunto de letreiros formado por três categorias de negócios de prestação de serviços, sendo eles: bares, restaurantes e lanchonetes; cabeleireiros e chaveiros, registrados na cidade do Rio de Janeiro. A partir da observação e análise do conjunto de letreiros confeccionados artesanalmente por profissionais especializados, os letristas, o trabalho busca também verificar a existência de uma linguagem própria desse tipo de produção. A pesquisa parte do princípio de que instâncias de legitimação provenientes de grupos sociais distintos, impõem valores e critérios de julgamento que afetam a produção de um campo de produção de bens simbólicos como o design. A importância desta pesquisa reside no fato de que a produção do design gráfico vernacular, mesmo caracterizando uma produção artesanal em uma sociedade pós-industrial, ainda é uma prática comum em todo o país. Esse tipo de produção convive com a produção do design gráfico culto dentro de uma mesma sociedade, porém ambos os campos de produção se formam para atender as necessidades de grupos sociais distintos.
This dissertation intends to analyse the production of graphical material proceeding from popular social groups, which is herein named Graphic Vernacular Design. The focus of the work is to analyse this phenomenon through theoretical research, surveys, observation and graphical analyses of the object at issue, observing the social context in which that production arises, what defines it and the use of such objects. The object of study is based on a set of signs featured by three categories of business and services, such as: bars, restaurants and snack-bars; hairdressers and locksmiths registered in the city of Rio de Janeiro. From the observation and analysis of a handmade set of signs made by skilled professionals in that area of production, the so-called letter painters, this piece of work also investigates the existence of a particular language in that kind of production. The research takes as principle the fact that legitimation instances proceeding from different social groups impose values and rules of judgement which affect the production of a field of production of symbolic goods as occurs with the design. The importance of this study is based on the fact that the production of graphic vernacular design, even though characterizing a handmade production in a post- industrial society is still a regular practice in the country. That kind of production lives together with the production of cultured graphic design inside the same society: however, both fields of production are formed to attend the needs of distinct social groups.

David Scott (1806-1849) recorded his developing religious and aesthetic philosophies in private notes and in published essays, and his aesthetic ideal is exemplified in works expressing metaphysical aspects of man. Comparison of his purely imaginative works on paper with some of the exhibited history paintings - inspired by the Bible, classical sources and literature - reveals enduring themes and motifs and the consistent application of the central concepts of his aesthetic philosophy from an early age.

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O trabalho Pintores fundadores da Academia de Belas Artes da Bahia: João Francisco Lopes Rodrigues (1825-1893) e Miguel Navarro y Cañizares (1834-1913) foi desenvolvido como atividade do Curso de Mestrado em Artes Visuais (MAV) da Universidade Federal da Bahia (UFBA), com inserção na linha de História da Arte Brasileira (ênfase Norte / Nordeste). Tem como objeto de pesquisa os pintores Miguel Navarro y Cañizares e João Francisco Lopes Rodrigues, integrantes do grupo de fundadores da Academia de Belas Artes da Bahia, hoje Escola de Belas Artes (EBA) da UFBA, da qual o primeiro foi fundador-idealizador e o segundo professor-fundador. Nesse estudo é investigada cientificamente a atuação artística e profissional/institucional, bem como são analisadas obras dos referidos pintores. São consideradas suas relações profissionais e artísticas com o meio sócio-cultural e a citada Academia de Belas Artes. Desse modo busca-se compreender contextos e contribuições para a institucionalização acadêmica do ensino das artes plásticas na Bahia. Tal pesquisa compreendeu duas fases. Uma indireta, que se constituiu de uma pesquisa bibliográfica (ou de fontes secundárias) e documental (ou de fontes primárias). A segunda, direta, compreendeu pesquisa de campo. Nesta, foram utilizadas técnicas de observação direta intensiva para estudo analítico-descritivo da produção artística dos biografados. Na pesquisa indireta aplicou-se as abordagens próprias da História da Arte: biográfica, sociológica e histórica. É feita descrição e análise de documentos e manuscritos encontrados, muitos deles até aqui inéditos na literatura, como também análise de dados bibliográficos, além da descrição de obras localizadas, sendo algumas inéditas. Considera-se que esta pesquisa contribui para o preenchimento de lacunas na busca de compreensão sobre a vida e atuação dos dois artistas em pauta, assim como de parte da história dos primórdios do ensino acadêmico das artes na Bahia.
Salvador

This study focuses on the Ottoman art world during the First World War and explores how the war changed the conditions of art production, its agents, and the art itself between 1914 and 1918, a topic that has remained peripheral to international cultural histories of the First World War and modern art more generally. In modern Turkish history and art history too, the art of the war years has either been overlooked - buried in the images of the Independence War that followed - or distorted for ideological purposes - emphasizing the militaristic and pro-war aspects of wartime artworks and marginalizing or excluding non-Muslim Ottoman artists from the story. This study details the diverse institutions, exhibitions, patrons, collectors, critics, and artists who made up wartime Ottoman art world, as well as the rich variety of visual images produced during the war years, from popular illustrations to easel paintings. During the war, like other belligerent governments, the Ottoman state and semi-official patriotic associations commissioned artists to produce war-related works for internal and international propaganda purposes and, as the war progressed, as a historical record of national endeavour. Whilst some Ottoman artists gained a more popular appeal via the propagandistic wartime mass culture, the current of ethnic Turkism which fed into this posed a major challenge to the empire's well-established cosmopolitan artistic milieu. Above all, this study reconsiders the view that propaganda, jingoism, and militarism entirely dominated the cultural scene between 1914 and 1918, recovering how Ottoman artists' paintings often figured the struggles of soldiers in battle and of civilians on the home front in ways that were, if not openly pacifistic, more complex and ambivalent than later mythmaking allowed. The thesis hopes to make original contributions to the history of modern Ottoman/Turkish art, the social history of the Ottoman home front, and the international cultural and art history of the First World War.

A cohort study was carried out to investigate mortality of 1292 male painters who had worked in a Royal Naval dockyard in Scotland for at least one year during 1950 and 1992. The mortality of the painters were compared to that of general male population of Scotland in 5-year ages and 5-year periods. Among the cohort there were 205 deaths, 58 from cancer. Proportionate mortality ratios suggested elevated risks of death from all cancers (PMR=110, 95%CI 84-143), prostate cancer (225, 83-489), bladder cancer (219, 60-560) and lymphosarcoma and reticulosarcoma (769, 93-2780). Excess deaths also were found from the central nervous system disease (221, 46-645) and ischaemic heart disease (132, 105-164). Standardised mortality ratios from a subcohort of painters born in 1900 and 1929 showed a similar mortality pattern for 123 deaths: SMR for all cancers was 122 (88-165), cancer of lung 112, (64-182), prostate 263, (97-573), bladder 305, (83-782). 953 surviving painters from the dockyard cohort and 953 controls (non-painters randomly selected from the local population) were invited to participate in a questionnaire study of neuropsychological symptoms. In all, 259 painters and 529 controls took part, a practical 56.6% response. The questionnaire included occupational, smoking and alcohol histories, neuropsychological symptoms, and a personality inventory. A significant excess of symptoms was found among painters over controls. The ORs for painters with a high score (12-22) for all neuropsychological symptoms were 2.73 (0.92-8.17) for 1-4 years of exposure, 6.35 (1.66-24.31) for 5-9 years, 7.34 (1.84-29.31) for 10-14 years and 10.22 (2.53-41.20) for 15-41 years, compared with controls after adjustment for age, educational level, smoking, alcohol, neuroticism and social conformity. In multivariate analyses of subjects with high scores against those with lower scores, besides painting exposure and its dose response, smoking was associated with symptoms: OR for psychological symptoms was 1.47, 0.95-2.29 and OR for neurological symptoms was 2.59, 1.39-4.83.

South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the post-Impressionists and finally, I.Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return was imperative. Simultaneously, as part of the analysis, reference was also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of t he styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa.

This thesis is about art produced in Bali by village painters who have learned traditional ways of painting from mentors. The research places this art in the context of Balinese social and cultural history. Despite various external forces affecting Balinese culture over the last century - colonisation, revolution, political upheaval and most recently mass tourism - the evidence suggests that while Balinese art has changed in line with broader social change, it has survived the various onslaughts and remains highly creative and distinctively Balinese. The art examined in the thesis is produced almost exclusively for foreigners. It thus seems necessary to look not only at the circumstances of its production but also at those who purchase it. The thesis therefore considers Western approaches to the art of other cultures, first in general terms and then as applied specifically to Bali, where identity and cultural production are in some senses "created" to satisfy the expectations of foreign visitors. Concepts of value and quality are examined along with factors, particularly commercialism, which are often considered to have an adverse effect on the quality of art. Three generations of artists (generations in the sense of mentor/student) are examined: Tjokorde Oka Gambir of Peliatan, who was born in 1900; two of his students, Wayan Tohjiwa of Peliatan and Gusti Ketut Kobot of Pengosekan; and two Pengosekan students of Kobot, Dewa Putu Mokoh and Gusti Putu Sana. The work of these artists spans the last century and can be seen as an illustration of changing artistic practice and value. The thesis challenges prevailing views that Balinese art lacks individual creativity and is compromised by the commercialism associated with tourism.

From the 1880s, the first generation of Australian artists began to travel abroad and many chose Paris, the undisputed capital of the arts in the nineteenth century, as their final destination. With them began a long tradition to go to the French capital to complete one’s artistic training and obtain acceptance in official artistic circles there. This thesis attempts to reveal the extent of Australian artists’ engagement with Parisian artistic practices from 1885 to 1939. The argument is divided into two main sections: the first section investigates the notions of expatriatism, migration and sense of belonging among the Australian community in the French capital, while the second section explores the responses Australian artists brought to Parisian artistic institutions. The research pays particular attention to their participation in the major Paris Salons and the rare Australian solo exhibitions organised in Paris in the early twentieth century. The result underlines the predominant position of Rupert Bunny, the most successful and best-integrated into Parisian art circles during the five decades he spent in France. A crucial component of this research is a dictionary of artists active in Paris and an illustrated catalogue of their works in colour. If the predominance of the Salon system slowly attenuated during the twentieth century, the tradition prospered until the Second World War among foreign artists. The thesis is not an exhaustive account of the Australian presence in Paris and does not take in account some Australian artists such as John Power and Anne Dangar who took alternative paths in the early 1920s, the focus here is rather on the painters who exhibited at least once in the official Paris Salons.

Thesis (M.F.A.)--Boston University
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This publication is the discussion and examination of work produced for the degree of Masters of Fine Arts in enameling and metal work. The body of work created consists of enameled brooches and wall panels. The thesis paper documents the technical and aesthetic developments in painting and metals as they pertain to the thesis work, and discusses the landscape subjects which so strongly influence the images that I create. The work produced for the thesis show is discussed in the manner in which it was conceived, as groupings; or as series. Methods of manipulating enamels for specific visual and textural results, various enamel finishes, and the use of enamel oxides are documented. Metal techniques employed as well as the framing method devised for the presentation of the wall panels are also documented. References and key incluences are painters and artists working in metalsmithing and jewelry. In the painting field Narcisse Diaz, Charles-Francois Daubigny, Eduard Vuillard and George Inness are nineteenth century artists who greatly influenced my artistic development. In the metals field Charles Loloma, Georg Jensen and Rene Lalique are influences which established the foundations of my ideas and tastes in my jewelry . While at graduate school the work and teachings of enamelists Jamie Bennett and William Hellwig initiated the interests I developed for enameling. The paper is essentially an indepth analysis of the way in which I perceive my work, what I want to communicate to the viewer, and how and why I create the kinds of objects that I do.
2031-01-01

Abstract The purpose of this article is to interpret a selection of El Greco’s Italian paintings (1560-1576) based on Bible texts in which ideas current during the Catholic Counter- Reformation are symbolised. At the age of nineteen El Greco, who was born in Crete in 1541 and was initially an icon painter in the Byzantine tradition, went to Venice. Through study and experiment, and by following the examples of other artists who had achieved artistic mastery and was of proven Catholic orthodoxy, he educated himself as an artist in the Western manner. Even during his years as an apprentice El Greco’s art is proof that he aspired to the highest humanly accessible values exemplified by Renaissance artistic theory, humanism and Christian spirituality — all of which later came to fruition in an unprecedented original combination in Toledo, Spain, where he settled permanently in 1577.

The thesis explores the phenomenon of a `Newlyn school'; it contextualizes its origins in the later 1880s focussing on the artistic and cultural values associated with it and examines subsequent developments. The thesis looks at the settlement of artists in Newlyn in the 1880s, and the connections between developments there and the impact of the work of Bastien- Lepage as well as making links to the contemporary Nature Movement in England. It considers the painting of rural imagery `on the spot' and the concern to achieve `open-air effects'. The latter did not necessarily imply painting out of doors indeed it could include interiors. Artists working in Newlyn attracted patronage from philanthropic industrialists desirous of effecting beneficial influence on the urban poor. This appears to account for the early interest in Newlyn-based artists in Birmingham. It is argued that there was nothing unique about the interests of artists who settled in Newlyn nor any interest in developing a special `school' in the early 1880s. However, after the work of Frank Bramley and Stanhope Forbes began to interest critics in London matters changed. While Braniley's A Hopeless Dawn (RA 1888) stimulated the notion that there was something special about Newlyn art, it was the highly ambitious Forbes who , profited most from the concept. In the following decade he successfully promoted himself as the guiding light of Newlyn art. The thesis also considers how the promotion of a `Newlyn school' in 1889 coincided with the concerns at the Royal Academy to promote a national form of art to counter the threat of Whistlerian internationalism and other types of modernism. However, subsequent coverage was unenthusiastic and short-lived. The thesis concludes with exploring how Forbes subsequently mythologized Newlyn, identifying the `school' with his own artistic persona.

This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.
Department of English

This practice led research investigates the relationship between cycling and abstract painting. It is a written commentary presented alongside my artwork that gives voice to my studio practice. The history of abstraction and cycling are explored to discuss the myths and nuances of painterly practice, cycling and the studio. The text is an assemblage or collage, put together to represent the modality of interests in the studio and an exploration of key motivations that have driven my practice during this research. There are chronological and parallel developments in the history of Modernist painting and the history of cycling, I will use these to illuminate my relationship to painting and explore the mechanics of the studio. The fact that cycling and painting are both caught up in their own histories is evidenced and also how at certain moments these histories have intertwined and overlapped, such as, in the work of Marcel Duchamp and Alfred Jarry. I have produced a text that is intended to reflect the complexities and impossibilities of explaining an intuitive, visually driven studio practice. It seeks to examine and present key relationships within my painting and the studio in order to extend my knowledge and the vocabulary of my making. The writing touches on the not always immediately apparent connection between my work and those things that populate the studio, I am interested here in the coincidences, references and happenchance that enable and nourish my work in the studio. I discuss first hand meetings between myself and other artists, how work is sustained through studio visits and discussion. I investigate the placement and logic of references and how they function. I am interested in how past historical works enable, inform and develop artwork, these precedents are explored here to gain insight into practice. I consider the role of abstraction in my practice, what it means and how the idea of non-figurative painting is negotiated by myself and others. The history of painting and the work of other artists leave a trace in my studio, a catalogue of references, which allow me to navigate my paintings and give them context. This is in no way a definitive history of abstraction but an attempt to map a personal dialogue, implied by the paintings and suggested by theoretical writings and the curatorial landscape of contemporary painting in London. The reflection on paintings’ past is to be focused on the early and mid-twentieth century traditions of abstraction and its persistence in the post-conceptual art landscape of contemporary artistic practice and current painting. I do envisage this as an attempt to address the specific and historical problems of painting, in particular the contested and shifting position of abstraction. I decided to research abstract painting because it is the domain in which my own practice situates itself, but it also allows me to direct my historical study towards a particular period of painting and pick up on a current dialogue on the reach of modernist practice and the contemporary place of abstraction. In order to do this I will use the somewhat disparate voices that are the key texts that have informed and become my influences in the studio. The texts of Jean Luc Nancy, Ludwig Wittgenstein’s and Roland Barthes have been a constant presence throughout this research and have provided a framework for this writing. The relevance, pertinence and necessity of these writings have not always been immediately apparent, their relationship to the vocabulary of a painting sometimes oblique. I have appropriated the Wittgenstein’s text Zettel, a post-humously published series of numbered fragments and quoted them here to enable me to respond to them and use Wittgenstein’s language of visual depiction (to explore philosophical thought) to give a structure to my reflections on painting. Jean Luc Nancy’s writing has allowed me to place texts together that are both attracting and repelling, pleasing and repulsing, hoping to find a traction between them and to draw out invisible, previously untraced lines between what concerns my practice and my writing. I take from Nancy the idea of presence in terms of painting and how might this be considered, that text and painting both present something, have presence. Nancy is instructional for shedding light on my thinking about text and image, to assist the discussion, to develop the relationship, to signal ideas about painting and writing. The text explores image, the image therefore captures the text. In this research I consider moments of cyclings past, in order to explore the way in which cycling might describe ways of being. A way of describing movement and existing, of going beyond or outside of oneself, exceeding. So cycling, as discussed here, is often the negotiation of a climb, the assent, the rise, moments where the essence of the race is found; altitude, height, the peak. Nancy speaks of the intimately mingled relationship between form and intensity, that intensity animates form. And so to interpret, to understand and to position my thinking about painting, cycling has been useful and insightful. In Hubert Damisch’s discussion on the tradition of Chinese painting there is the opportunity to think outside of a Western Tradition about how to animate the field of a painting. Considered here is the idea of painting made up of limits, paths and journeys. The order in which the development of an image might be traced, how a brush might journey through a work. The flesh and bone of a work are discussed through a meditation and reflection on the relationship of brush to ink. In Chinese painting the pictorial field and its orientation are, says Damisch, given priority over delineation. But this kind of delineation is not set up to separate or isolate the fields of the painting but to open up a relationship of opposites and allow a dialectical relationship to occur across the painting. A pivotal part of this research, is the reading of Zettel by Ludwig Wittgenstein, which allowed me to respond to my practice as a thread of connected but unrelated ideas. A discussion on how a text might explore and reflect the content in my work but also the continuity or discontinuity of approaches in my thinking about painting. Visually specific and descriptive Zettel connected to my paintings with its open and abstract propositions. The question of intention, connectivity and meaning are brought up by these writings and help to establish a pattern for a series of responses to my own painting and reflections on practice. The quotes I use are part of a posthumously published, fragmented collection, open-ended, they are descriptions of ideas that conjure visual pictures and enable me to respond with a collection of ideas on practice. The writings were found clipped together, somewhat ordered and boxed. Are they random? What interested me about this is that they ask questions about arrangement, for my work and this writing. And so, this allows me to touch on the openness of my practice and the question of refinement and resolution that the painting presents. I discuss how Modernist painterly abstraction and in particular how the writing of this period sought to resist depiction and mimicry. Placement is suggested by my reading and revealed in the arrangement of these writings and how they are placed or collaged together. The possibility of leaving something unsaid is explored here and considered alongside the impossibility of description when discussing painterly abstraction. The associations or representations about practice are oblique, lateral and sometimes silent. I have sought an open interpretation to these writings, suggested by my practice. The relationship between the text and painting affirm a language that is an attempt at equivalence, seeking to engage the impossibility of writing about painting, within the text.

The eighteenth century saw the emergence of Britain as a pre-eminent imperial, mercantile and maritime power. At home, the 1707 Act of Union between England and Scotland, and the advances in communications stimulated new opportunities for artists working inside and outside of London. Overseas, the aftermath of the Seven Years War (1756-1763) in particular, saw the spectacular growth of Britain's world-wide interests through imperial expansion. Britain's triumph over France resulted in impressive territorial gains which opened up a wealth of commercial possibilities and generated new markets for artistic goods and a demand for British artists. My approach is focused on the following major hubs of artistic activity in the period: the provinces and London, Edinburgh and America. Through a series of case studies, the different modes of artistic mobility demonstrated by British portrait painters are recovered to explore how they negotiated the location's distinct characters (metropolitan, provincial and colonial) in relation to their respective markets for artistic goods, their cultivation of patron networks, artistic connections and their artistic identity. This thesis, by engaging with the artistic mobility of eighteenth-century British portrait painters, seeks to challenge the standard narratives of the visual arts in this period, which have tended to concentrate on London in isolation. In doing so it raises the question whether our conceptions of the British art produced in the period may be better understood in terms of a broader circulation of artists and goods across and between interconnecting art worlds, and visual cultures.

Following an earlier study of different coloured pigments used in Roman wall-plaster paintings, this research project investigates the use of the synthetic pigment commonly known as Egyptian Blue in Romano-British wall-plaster paintings. Samples of Egyptian Blue pellets were obtained from excavations at the Romano-British sites of Fishbourne Roman Palace, near Chichester, Piddington near Northampton, Turners Hall Farm, near St Albans, and from excavations at Verulamium (Roman St Albans). The aim of this study is to determine the chemical composition, fabric and texture of each pellet as well as attempting a textural and geochemical classification of the pellets, using well established analytical techniques, particularly LA-ICP-MS and SEM-EDAX. The colour of the pellets was examined and identified using the Munsell Book of Color (Matte Finish Collection) 1973. The results of the analysis of the Egyptian Blue pellets found on Romano-British sites showed that differing amounts of silica, copper, calcium, as well as smaller amounts of other elements, were used in their manufacture. Most of the pellets examined appear to have been manufactured locally, though some were almost certainly imported. Experimental work was undertaken, both in the laboratory and out in-the-field where a reconstructed Bronze Age Clamp Kiln and an Iron Age Belgic Kiln were used, to reproduce the synthetic pigment Egyptian Blue, using a recipe similar to that used by earlier investigators. Such recently manufactured Egyptian Blue pellets were applied, as a pigment, to damp lime mortar, in an attempt to correlate the achieved colour with the firing time. Similar techniques were used in an attempt to ascertain the nature of the pigments used on the small fragments of painted wall-plaster found in a back filled trench, from Wheeler's 1930 - 33 excavations at Verulamium. On two of the fragments gas chromatographic analysis was applied to determine the nature of the binding material that might have been used. This study is thought to be the first in-depth investigation of Romano-British Egyptian Blue pellets and thereby contributes to the art history and archaeological knowledge of this period.

Les médiums étaient utilisés par les peintres afin de modifier la texture et le séchage de leur peinture. Au 19ème siècle, des artistes britanniques ont développé un médium composé d’huile siccative, de résine mastic et d’acétate de plomb trihydraté : le « gumtion ». Ce matériau de type gel surpasse les additifs alors existants. Dans cette thèse, nous contribuons à la compréhension des processus chimiques impliqués dans la formation et le vieillissement des gumtions. Dans un premier temps, nous avons centré l’étude sur la résine mastic, car il s’agit d’un élément clé dans la préparation des gels. La fraction triterpénique de la résine a été identifiée et quantifiée par GC/MS. De plus, nous avons étudié par ellipsométrie les propriétés optiques de vernis sous forme de films minces, ainsi que leur comportement (gonflement) sous différentes atmosphères. Puis, en reproduisant des recettes historiques et afin d’approfondir la compréhension des interactions chimiques entre les composants du gel, nous avons développé des formulations simplifiées à base d’acide oléanolique (triterpène commercial) et d’un composé de plomb (acétate ou oxyde). L’utilisation de techniques d’analyses complémentaires aux échelles moléculaire (IR, MAS-RMN) et supramoléculaire (cryo-TEM, SAXS) indique dans un premier temps la formation d’un complexe de coordination entre le plomb et les fonctions acides des triterpénoïdes, qui s’arrangent en objets 2D expliquant le comportement viscoélastique du matériau. Après plusieurs mois de vieillissement, nous avons observé l’auto-organisation de nanoparticules cristallines en en lamelles, témoignant du caractère dynamique de ce matériau même avec gélification
Mediums were used by painters in order to modify the texture and drying properties of their paint. During the 19th century, British artists developed a particular medium made of siccative oil, mastic resin and lead acetate trihydrate. The so-called “gumtions” form gel-like materials in a relatively short time, outperforming the existing paint media. This thesis contributes unveiling the chemical processes involved in the formation and ageing of gumtions. As a first step, we focused on mastic resin since it is a key component for the preparation of gumtion. The triterpenic fraction of the resin was identified and quantified using GC and GC/MS. Moreover, we took advantage of Spectroscopic Ellipsometry so as to study the optical properties of varnish thin films as well as their behaviour (swelling) under various atmospheres. Then, we reproduced historical recipes that helped us afterwards to define simplified formulations to deepen the understanding of the chemical interactions between the gel components, made of oleanolic acid (commercial triterpenoid) and a lead compound (acetate or oxide). They were investigated at dierent scales by spectroscopic (FTIR, MASNMR) and supramolecular analyses (Cryo-TEM, SAXS). The use of these complementary techniques gives an overview of the gel’s structure and formation: rapidly, a coordination complex is formed between lead and the carboxylic acid moieties of the triterpenoids, that organizeinto2Dobjectsleadingtothesolid-likebehaviorofthematerial. After few months ageing, we observed the self-assembly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation.bly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation

This study aims at an understanding of the function and representation of light and dark in painting and to make a systematic and comparative analysis of selected paintings within the tradition of chiaroscuro and tenebrism theory. How it is used and translated are core to the enquiry, which needs to be taken into consideration before and during the production of a painting. This research starts by looking at the broad history of chiaroscuro and tenebrism. This study will identify and analyze a small number of historical paintings to identify a clear basis for comparison. Based on this historical understanding, the study will focus into the effects of light and dark in three-dimensional illusionism technique and representational figure paintings. The comparative study will be based on three 17th century's artists namely Caravaggio, Georges de La Tour and Rembrandt. Based on the analysis and comparison through a methodology that I term 'deconstruction' (a technique which uses drawing as a medium), several new findings related to chiaroscuro and tenebrism have been identified. Through the analysis of few selected paintings, a comparative study is done in order to identify particular elements and approaches in the selected works with regards the academic canon view especially concerning their composition, space, mood and other technical aspects. Employing a trans-historical approach, I will reflect upon the practical and theoretical aspects of the actions, settings and narratives of selected artworks. Through critical enquiry and through a process of painterly reconstruction the various approaches to light and dark will be related to personal figurative painting practice. This practical study will covers the production of personal paintings which apply the understanding and techniques that been found from this research. To conclude, the research findings will be discussed through written argument and visual exposition of the contemporary relevance in traditions of tenebrism and chiaroscuro theory.