Dissertations / Theses on the topic 'Painting – Technique'

The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist.
Department of Art

From Introduction: The balance between practical and theoretic components in the total submission bears relation to the title of this essay where aesthetic advantages are largely theoretical and where technical advantages refer mainly to the practical component. The historical significance of this structure is to be found in the earliest treatises on painting, Cenninni's treatment of painting as a purely practical matter is in accord with medieval tradition. His recipes are aligned according to the various individual techniques, tempera painting being the most significant to this essay. Practical recipes are interspersed with directions for the representation of various pictorial themes, and in the resultant conglomeration, the subdivisions are discernible only as basic premises. In contrast to him, the Renaissance authors beginning with Alberti make a significant innovation in that they divide their material into a theoretical and a practical part . The inter-relationship of practical and theoretical - aesthetic and technical aspects are un-avoidable when it comes down to realities. This is clearly illustrated in the notes of Leonardo da Vinci. Plans for the organization of the treatise are vaguely formulated .

Archaeometrical investigations were performed on 127 samples collected from the Temple of Venus at Pompeii, by means of OM, SEM, ESEM, XRD, micro-ATR, FT-IR, Mössbauer spectroscopy, EMPA and image analysis. The materials analysed were composed of mortars (from walls, floors and hydraulic structures) and paintings. The main aim of the research was to characterise these materials to determine the preparation recipes, the technological knowledge and the provenance of the raw materials. To this aim the aggregates identified in the mortars were petrographically compared with eighteen samples of sand from the Neapolitan coastline and from borehole cores performed in the area that lies in front of the Temple of Venus. A correlation between functionality and age of the structures and recipes of samples was also carried out. Experiments were also performed in order to recognise an objective method for the recognition of the fresco and the mezzofresco painting techniques. Results from experiments were tested against samples of paintings from the Chiaravalle Abbey (XIV century) for which the use of fresco, dry finishing and mezzofresco is well documented, and then compared with the paintings of the Temple of Venus.
Numerosi campioni di malta e finiture pittoriche (127) provenienti da ambienti funzionalmente e cronologicamente differenti sono stati prelevati dal sito archeologico del Tempio di Venere a Pompei e sottoposti ad indagini OM, SEM, ESEM, XRD, micro-ATR, FT-IR, spettroscopia Mössbauer, EMPA e analisi di immagine. Lo scopo principale dello studio è stato quello di caratterizzate tali materiali per ricavare informazioni riguardanti le ricette di preparazione, le conoscenze tecnologiche e la provenienza delle materie prime. A tale scopo, l’aggregato identificato nelle malte analizzate è stato confrontato da un punto di vista petrografico con diciotto campioni di sabbia provenienti dalla costa napoletana e da sondaggi eseguiti nell’area prospiciente il tempio di Venere. Le ricette riconosciute sono state inoltre correlate con la funzionalità e l’età delle strutture architettoniche di provenienza. Allo scopo di determinare una procedura analitica efficace per il riconoscimento delle tecniche pittoriche ad affresco e mezzofresco è stato inoltre svolto uno studio su campioni appositamente prodotti. I risultati di tale sperimentazione sono stati testati su cinque campioni provenienti dalla abbazia di Chiaravalle (Milano) per i quali dati storico-artistici confermano l’esecuzione secondo tecnica pittorica ad affresco, secco e mezzofresco. I criteri e la metodologia così ricavati sono stati applicati ai campioni di finiture pittoriche murarie provenienti dal tempio di Venere.

The purpose of this creative project was to explore various ways of using acrylic paint other than the traditional methods of direct application to canvas or paper and produce a suite of fifteen mixed media drawings using methods developed during the creative project. With the drawings produced during the creative project the writer discovered a new approach in using acrylic polymers. Subtle relationships of color, texture, value, and spacial illusion were achieved through the use of this method. The technique involved making a thin sheet of nonsoluable, flexible acrylic, cutting it, manipulating it, and applying it to a sheet of paper. Through the creative project the writer explored riew concepts in composition and personal imagery. Work completed during the project yielded over one hundred drawings. Works from the project have been exhibited regionally and nationally. Two pieces were included in Indiana Artists Exhibition in 1983 and two others were purchased by the Evansville Museum for their permanent collection.

The purpose of this Creative Project was to create and analyze the student's art work,which was finished within the academic year 1985-86, at Ball State University. Due to the difference in geographical features between Indiana and Hong Kong (where the student originally came from), the attitude and approach of the student towards painting was affected. This paper traced and identified how and where his works of art changed.The whole analysis was based on three major pieces. They were Frankton I, A Cold Summer, Frankton II and LandscaDe VI (which was a landscape of Muncie). These three works were oil paintings. The student also used some of the preparatory watercolor sketches that he made to help describe the different developing stages of his art. During the analysis, technical aspects of handling oil paint were discussed too.

Painter's Wilderness is a transition between painting strictly from imagination to painting with the use of drawings and sketches to interpret and authenticate an observation. The transition became an exploration of value patterns, compositional shapes and color correspondence in building a technically successful painting while allowing the piece to have its own life.

The post-Byzantine Art was not only one of the most important artistic movements of Greece, but it was also a period in which serious and decisive changes took place. The most important change was the change of the materials and techniques; from egg yolk to drying oil and from panel paintings on wood to easel paintings on canvas. A series of a hundred and twenty one panel paintings, representative samples of this period (late 15th century up to the early 19th century) and from the work of the most important artists, who represent this period but who also contributed to the evolution of the later pictorial art were studied in the current research. Trying to find evidence of time and location for changes in practice between Constantinople, Greece and Venice, two hundred and one samples were collected from Crete, Athens Thessaloniki, Cephalonia, Zakynthos and Patmos. The aim was to provide timellocation data slices concerning the creation of the artwork~nd to identify the materials present in order to be able to detect any possible changes to the technique. The research proved to be quite a complicated task, not only due to the nature of the materials studied, but also due to the limited samples and sample quantity available. A multi-method approach was employed in order to characterise the artists' materials. The analytical means with which the investigation was carried out were: Energy Dispersive X-ray Analysis, .Fourier Transform Infrared Microscopy and Gas Chromatography. Additionally,· other.two techniques were used to offer complementary information wherever necessary: Raman microscopy and staining of cross-sections. Pure binding media, as well as emulsions were detected, while the nature of the selected pigments was identified. The artistic changes that took place in the postByzantine of painting did record on the techniques available. It is obvious that while in the Byzantine art the main binder is egg yolk, immediately after the formation of the post-Byzantine School egg/oil emulsion and drying oil are introduced. In the 16th century there seems to be a rise in the use of drying oils, either in the form of an additive layer over a proteinaceous one or in the form of a single layer binder. The 17th century establishes the use of emulsions, until the 18th century where the. use of drying oils prevails. This unexpected sequence of changes was repeated through all the schools studied, it seems reproducible through each series of samples and is not being influenced by other considerations. The results of this research led to one main conclusion: Western Europe did affect the icon painters. It gave them the examples and the materials for them to free themselves and move on to more contemporary styles. Only a fraction of the data obtained has 'been published. The results of this study may have thrown some light onto this dark transitional period of the Hellenic art, but as research never ends, new questions have been born, for scientists to answer.

Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para a obtenção do grau de Mestre em Conservação e Restauro, especialização em pintura sobre tela
This thesis concerns the study of the materials and techniques of the painting on canvas “Interior de um Convento” belonging to the Portuguese monument Pena National Palace (PNP) and the description of the conservation treatment carried out. The study required the use of several examination and analysis tools such as OM (Optical Microscopy), UV (ultraviolet) and IR (infrared) photography, μ-EDXRF (Energy Dispersive X-ray Fluorescence), μ-Raman (Raman spectroscopy) μ-FTIR (Fourier Transform Infrared Spectroscopy) and SEM-EDX (Electron Scanning Microscopy with Energy Dispersive X-ray Spectroscopy). The conservation treatment focused on minimal intervention with the purpose of maintaining the integrity of a nineteen century painting that has never been restored until the present date. Simultaneously, a project to investigate the best back and front protection system for the PNP’s paintings collection was initiated. Relative Humidity (RH) and temperature fluctuations were measured in the Palace and inside the half-closed and fully closed systems used to protect twelve model paintings constructed for the purpose. The objective was to choose the best protection system for dampening RH and temperature fluctuations while preventing the risk of mould occurrence. The preliminary results (4 months of readings) showed that the risk of mould growth requires further study for in a more prolonged period which encompasses seasonal changes.

Cette thèse porte sur l’application des images multispectrales pour l’analyse des matériaux utilisés dans une peinture par comparaison avec la photographie traditionnelle de fluorescence induite par rayons UV et la réflectoraphgie infrarouge. L’application des images multispectrales à l'étude des matériaux picturaux a été appuyée par d'autres techniques analytiques telles que la spectroscopie de réflectance et de fluorescence, la spectroscopie de fluorescence X, la spectroscopie d'absorption UV-visible et la spectroscopie infrarouge transformée de Fourier en réflectance totale atténuée. L’imagerie multispectrale a été testée comme outil de laboratoire d’identification des matériaux picturaux. Ainsi, des couches de peinture constituées de pigments (anciens et modernes), de liants (œufs et l’huile de lin) et de vernis naturels ont été analysées. Pour les matériaux organiques, des expériences de vieillissement accéléré (photodégradation et dégradation thermique) ont permis de modéliser les changements optiques et chimiques intervenant au cours de la vie d’un tableau. De plus, une analyse diagnostique a été réalisée sur deux tableaux conservés à « Accademia di San Luca » (Rome) par photographie de fluorescence induite par rayonnement UV, radiographie, spectroscopie de réflectance, spectroscopie de fluorescence X, images de fluorescence UV et réflectance multispectrale, réflectographie infrarouge multispectrale. Par rapport aux techniques traditionnelles, les images multispectrales permettent d’analyser de nombreuses régions spectrales qui, dans certains cas, permettent d’identifier le pigment et/ou des zones non homogènes de la couche superficielle picturale. Certaines gammes de longueurs d’onde infrarouge permettent notamment de voir les détails des différentes couches préparatoires, amenant à une analyse plus précise de la technique d’exécution. Cependant, une des limites des images multispectrales concerne l’identification des mélanges complexes et/ou des différentes strates de matériaux en fonction du type de filtre utilisé
This thesis focus on the application of multispectral images for the analysis of pictorial materials in comparison with the traditional UV-fluorescence photography and infrared reflectography. The assessment of multispectral imaging for the study of pictorial materials was supported by other analytical techniques such as reflectance and fluorescence spectroscopy, X-Ray Fluorescence (XRF), UV-visible absorption spectroscopy and Total Attenuated Reflectance - Fourier Transform Infrared Spectroscopy (ATR-FTIR). The multispectral imaging was tested on swatches of pictorial layers (constituted by ancient and modern pigment), binders (egg and linseed oil) and natural varnishes. For the organic materials, accelerated ageing methods (photo-chemical and thermal degradation) were used to model the optical and chemical changes occurring during the lifetime of a painting. In addition, a diagnostic investigation was performed on two paintings placed in "Accademia di San Luca" (Rome) by means of UV-fluorescence photography, radiography, reflectance spectroscopy, X-ray fluorescence spectroscopy, UV-VIS-NIR multispectral imaging. Multispectral images, comparing to traditional techniques, permit to individuate specific spectral behaviors, and, in some cases, identify the pigment and/or non-homogeneous areas of the pictorial or varnish layers. The possibility to select some infrared wavelengths allows to see details of the preparatory layers, leading to a more accurate analysis of the technique of execution. However, the limitations of multispectral images for the identification of complex mixtures and/or different layers of materials depending on the type of filter used

La recherche est représentée en deux volumes et un enregistrement sur un DVD. Dans le volume est présentée la particularité du texte qui se consiste en introduction, six chapitres, abréviation, sigle et bibliographie. Le deuxième volume représente des 267 planches et des 17 tableaux. Dans introduction ont été déterminées les limites chronologiques – fin du III ème jusqu’au chute de la civilisation de l’antiquité tardive sur les Balkans à la fin du VIe et au début du VIIe siècle ap. J.-C. On a fait un bref aperçu sur les recherches de ces monuments. Dans le Chapitre I ont été envisagées les différentes méthodes analytiques. Au début, on a décrit la recherche des peintures murales des tombeaux réalisée in situ. Pour obtenir des informations concernant les types des colorants et des liants de la couche picturale, ainsi que l’établissement de la composition quantitative et qualitative de différents mortiers ont été appliquées les méthodes analytiques suivantes : pétrographique et minéralogique, granulométrie, microsonde électronique et microscopie électronique à balayage (MEB), diffraction des rayons X, spectrométrie IR et spectrométrie IR Raman. Dans le Chapitre II a été faite une recherche sur les divers matériaux de la structure des peintures : matériaux de construction, mortier de liaison, couches d’enduit, pigments et liants. On a constaté que les peintres ont utilisé, au début de la période, des pigments chers et que l’on les a appliqués en état pur. Tels pigment ont été le cinabre et le bleu égyptien. D’autre part la palette s’est progressivement appauvrie. La riche gamme de pigments, existant pendant la période de la fin du IIIe au début du Ve, a devenu de plus en plus restreinte en aboutissant également à l’usage de l’ocre rouge qui a été rarement accompagné de couleur verte (terre verte) vers la fin du Ve et au VIe siècle ap. J.-C. Le Chapitre III présente les techniques de réalisation et le système de travail. On a déterminé que la technique principale d’exécution est a fresco, mais on a constaté aussi d’autres techniques (fresque à la chaux, peinture à la chaux, détrampe). Les constatations notées dans les chapitres précédents nous ont permis de faites la synthèse dans le Chapitre IV. Les matériaux et les techniques de réalisation de la peinture funéraire sont représentés en ordre chronologique. Dans le Chapitre V on a montré en détail 48 tombeaux de deux diocèses. Les décors des tombeaux ne sont pas figurés seulement au point de vue de matériaux et de techniques, on a aussi étudié leurs thèmes iconographiques et leurs motifs ornaméntaux. Le chapitre VI présente la conclusion principale de la thèse. Il évoque sous en résumé l’influence directe de l’art de l’Asie Mineure ainsi que l’influence indirecte de l’art des terres italiques. Le riche répertoire de thèmes est accompagné d’une large palette d’interprétations créatrices et de solutions techniques. Á la fin de la période, la peinture funéraire disparait. Ce fait nous incite à établir un lien avec le changement du rite funéraire. D’autre part, le matériau archéologique permet de constater un développement important de l’art figuratif pendant cette période. Ainsi la peinture murale rend-elle prioritaires d’autres structures architecturales, notamment les basiliques, les églises et les baptistaires chrétiens. Les abréviations présentent les publications périodiques et de diverses institutions. On a ajouté une liste des nomes antique des sites et leurs nomes modernes. La bibliographie représentent des sources et des textes antiques, des livre de base, ainsi que des publications sur la peinture antique grecque et romaine, recherche sur des monuments donnés, ainsi que telles présentant des problèmes déterminés sur les matériaux et la technologie de la peinture pariétale. Une liste des sites électroniques est également montrée
The research is presented in two volumes and a DVD record. Volume one represents the text part of the thesis consisting of introduction and 6 chapters with abbreviations, bibliography and indexes. The second volume includes 267 plates and 17 tables.In the introduction has been defined the chronological period of the review spanning through the years of the end of the ІІІd century until the fall of the late antique civilization on the Balkans in the end of the VІth and beginning of the VІІth century AC. A review of the study of the objects in Thracia and Dacia is presented in briefs.In chapter I examined the different analytical methods. The beginning part presents the research of the objects in situ. For the gathering of the information concerning the type of the pigments and adhesives used for realization of the murals, as well as for the differentiation of the qualitative and quantitative characteristics of the ingredient components of the different ground layers there have been used the following analytical methods: pictographic and mineralogical analyses, granulometry, electronic microprobes, CEM, structural Х-ray analysis, AEA-ICP, IR spectrometry and IR Raman spectrometry. The second chapter contains the examination of the different types of materials as: plasters, pigments and adhesives used for the realization of the tomb murals. The results are classified according to belonging to three basic groups – of natural origin, synthetic and mixed pigments. There has been proved that in the beginning of the period there had been used some most expensive pigments in an almost clear form as cinnabar and egyptian blue. However in time the palette gradually got poorer and by the end of the period it became limited to only dark red pigments (red ochre, rarely accompanied by green pigment (green earth). The results of the type of the adhesives used for the realization of the murals are presented in particulars. The use of non-organic adhesive - calcium hydroxide has been found. In Chapter ІІІ there are reviewed the picturesque technique and system of implementation. There has been defined the main technique a fresco, however the presence of other techniques has been also found. The constatations made in all previous chapters are summarized in Chapter ІV. In a chronological plan there were reviewed the materials and techniques which were in use. The Chapter V in details are presented all available tombs with painting murals, that were a subject of the present research. The murals have been outlined not only in the perspective of the implemented materials and techniques of realization, but also from the position of the analysis of the ornamental motives and iconographic system. The Chapter VI presents the main conclusion of the thesis. The direct influence of the art of Asia Minor is given in summarized form, as well as the indirect one – through the art of the land of Italy, for example. The rich repertoire of subjects is accompanied by a wealth of creative interpretations and technical solutions. The wall painting became a priority of the Church architecture at the end of Late Antiquity, which has also been proven by archaeological surveys. The palette of colours and technique of application used in tomb art found new implementation in depicting images of the already regulated Christian art in church architecture. The abbreviations contain periodical press publications and public institutions. There has been attached a list with the names of the archeological objects as known in ancient and contemporary time. The bibliography contains: the ancient authors, basic sources of information, specialized researches and publications on roman and late antique painting, publications on particular cultural monuments, as well as expert publications focused on specific problems of the materials and technology research

L’art décoratif qui émerge à la fin de la République romaine sous la forme du trompe-l’œil architectural est fascinant par la technicité nouvellement éprouvée pour représenter un espace tridimensionnel. La perspective y est une composante majeure mais elle est assistée par d’autres innovations tout aussi essentielles. La connaissance de l’impact lumineux sur la matière et la capacité à suggérer les volumes contribuent efficacement aux exigences de la mimesis. D’autres usages picturaux restent mystérieux et leur fin se dérobe à nos regards trop jeunes de deux millénaires.La diversité et la richesse des matériaux rassemblés dans ces décors inspirés de plusieurs univers s’apparentent à la notion de varietas ou poikilia, ce goût délibéré pour la bigarrure. Pierres précieuses et métaux brillants, bois exotiques, écailles de tortues et ivoire, textile lourd et verre translucide y rivalisent avec la multitude des marbres polychromes imaginaires ou d’origine souvent lointaine. La valeur signifiante de ces parois imagées passe aussi par la distribution des couleurs – austeri ou floridi d’après la classification de Pline l’Ancien. Les lamentations de l’architecte passéiste Vitruve comme ses prescriptions pragmatiques nous permettent de saisir quelques aspects de la polysémie des couleurs. Souvent multiples par la combinaison d’éléments juxtaposés ou mêlées en une surface multicolore, elles daignent parfois endosser modestement le monochrome pour orner avec élégance une salle entière.La singularité de ce système décoratif appelé IIe style est accentuée par le fait qu’il apparaît subrepticement à l’aurore du Ier siècle avant notre ère pour disparaître tout aussi furtivement, avant même le trépas de ce siècle, avec l’émergence du nouveau langage visuel de l’art augustéen
A new decorative art appears at the end of the Roman Republic: the architectural trompe-l'oeil. The new techniques used to represent the three dimensions of space are fascinating. Perspective is the major one, but other complementary innovations are just as essential. The perfect command of how light impacts on matter and the ability to suggest volumes efficiently meet the requirements of the mimesis. Certain other painting techniques however still remain mysterious to us after two thousand years.The diversity and magnificence of the materials gathered in these decors inspired from several sources evoke the concept of varietas or poikilia (the deliberate preference for the multi-coloured). Precious stones and shiny metals, exotic woods, tortoiseshells and ivory, heavy textile and translucent glass rival the multitude of polychromatic marbles either imaginary or often coming from far away. The meaning of these painted walls is also expressed through the distribution of colours - austeri or floridi according to Pliny the Elder's classification. Conservative Vitruvius' lament as well as his pragmatic advice enable us to understand some aspects of the colours' polysemy. Often multiple through the combination of various elements either side by side or mixed together, forming a multi-coloured area, they sometimes modestly condescend to monochrome and elegantly decorate a whole room.This decorative art is all the more singular that it appears furtively at the dawn of the first century and disappears as furtively even before the end of that same century, with the emergence of the Augustan art as a new visual language

Elizabeth Waltenburg es una artista contemporánea argentina. En su muestra, despierta!, las obras en óleo sobre tela representan a mujeres, niños y animales en fondos extraños y deprimidos. Ella utilize simbolismo de animales y figuras femeninas para discutir el feminismo actual. Ella trabaja en un tiempo complicado por el feminismo, el postfeminismo, la critica de ambos, y un sistema de comunicación global. Su trabajo marca una tendencia hecho por la confusión de todos estos movimientos. Esta tesis discute su trabajo en el contexto de la historia de representaciones de mujeres, de niños y de animales para llegar a una mejor comprensión de los que hace ella. English: Elizabeth Waltenburg is a contemporary Argentine artist. In her show, “Wake Up!”, the oil on canvas works represent women, children and animals on strange and depressed backgrounds. She uses the symbolism of feminine and animal figures to comment on contemporary feminism. She works in a complex era marked by feminism, post-feminism, criticism of both schools and a system of global communication. Her work incorporates elements from all the issues above. This thesis discusses her work in the context of the history of representation of women, children, and animals in order to arrive to a better comprehension of the kind of work she does.

La present tesi és de naturalesa experimental i explica diferents processos pictòrics, dels quals se n'extreu un cos teòric capaç de convertir-se en transmissor de coneixement. Per tant, és una tesi proveïda d'un marcat caràcter pedagògic. La tesi està molt implicada en el projecte artístic propi, tant, que en darrera instància ho ha dirigit vertebrant-ho. En un primer moment la tesi versava sobre com procedir per pintar “a la manera Flamenca”, manera pictòrica que es caracteritza per treballar el color i la llum de manera indirecta i acumulativa. A mesura que el coneixement sobre la tècnica pictòrica repercutia en la sofisticació amb la qual s'aplicava, malgrat i tota la millorança en l'aplicació de la tècnica, o fins i tot, a causa d'ella i de sa consegüent ampliació en les possibilitats figuratives i expressives, un aspecte essencial romania irresolt. L’aspecte era com procedir amb les eventuals alteracions de la imatge que implica el desenvolupament del fet pictòric. De fet, a mesura que s’avançava en el coneixement pictòric, més es dubtava de la possibilitat del canvi en si mateix, qüestionant fins a quin punt el pintor que utilitza un sistema pictòric indirecte és lliure d'alterar el seu pla d’imatge una vegada assentades les bases de dibuix. Aquest assumpte va acabar sent el nus de la tesi, es podria resumir en una pregunta: Es licit fer alteracions del dibuix inicial si es pinta per sostres pictórics determinants? El fet d'haver desenvolupat la manera pictòrica “a la Flamenca”, desvinculada de tota tradició viva i de manera pràcticament solitària, feia que en alguns moments es tengués por d’estar construint castells de sorra; per tant es necessitava un punt de suport sòlid i irrefutable des d’on poder revisar el sistema, i poder sentenciar sobre les alteracions. Aquest punt em va atreure, i la pintura bizantina va entrar en la meva vida. Primerament vaig aprendre la tècnica de pintura de les Icones a Xipre, successivament vaig desenvolupar una activitat paral•lela a la meva obra personal com iconògraf amb (òbvia) influència recíproca; i finalment, entre la tardor i l'hivern de 2009-10, vaig realitzar un estudi exhaustiu, sistemàtic i documental de la pintura bizantina grega per tal d’extrapolar, pel que fa a alteracions, a “la manera Flamenca”. Cal tenir present que la pintura bizantina crea les seves imatges mitjançant l'acumulació determinant de capes de llum-color, de manera altament organitzada. L'única diferència bàsica entre la pintura bizantina i el sistema pictòric “a la Flamenca” és que aquest darrer segrega en accions separades la llum del color. Les dues metodologies són en definitiva fàcilment equiparables, per tant, exportables en les seves constants processuals. A més, vist i considerat que la pintura bizantina és un sistema viu i que es va practicant ininterrompudament des dels dies en què el Cristianisme era la religió oficial de l'imperi Romà, els anteriors temors solipsistes desapareixen. La pràctica bizantina s'il•lustra —prèvia una breu introducció històrica al tema—, amb l'elaboració documentada de tres exemples d'Icona. Tot tres elaborats en la més estricta tradició bizantina grega escola de Creta, des de la construcció del suport inclús. Juntament amb les Icones, s'hi inclou l'elaboració documental d'una Tixografia o pintura mural bizantina. Amb la finalitat d'ampliar i reafirmar el que dels quatre exemples pràctics es desprèn, la secció bizantina es complementa amb una llarga visualització de la multipossibilitat d'opcions estètiques que intervenen en la creació d'una obra bizantina, a priori tan aparentment fitada i inamovible. L'estudi de les possibilitats en la praxi bizantina aconsegueix en no donar res per assegut, aguditzar la seva percepció i multiplicar-les fins a l'infinit; deixant ben palès fins que punt una obra pictòrica elaborada per capes és complexa en la seva manufactura, necessitada per tant de gran previsió projectual. Del bloc bizantí se n'extreu les següents conclusions: 1- En la pintura bizantina no es donen pràcticament alteracions de la imatge representada. Per corregir errors importants es tapa o s’esborra l'àrea afectada i es comença de bell nou el protocol pictòric. 2- Gràcies a utilitzar com a punt de partida, referent i guia del protocol creatiu una versió completament acabada de la mateixa Icona que s'està gestant, és possible pintar-la de manera unidireccional sense por a equivocar-se. 3- Si es volgués gestar una Icona des de l'escena mateixa, és a dir, generar un prototip, seria necessària una maqueta a escala 1:1 des d'on construir-la. Allà figurarien tots els aspectes de la nova imatge de manera detallada, alhora que el cromatisme i la seva ruta a seguir. Aquesta maqueta és coneguda com a cartró. El cartró que utilitzen regularment els pintors d’Icones contemporanis, és la fotocòpia d'una versió prèvia de la Icona que es pretén pintar. En no existir aquesta possibilitat al proveïment d'un prototip, solament quedarà l'opció de, mitjançant els estudis de dibuix que siguin necessaris, tancar el projecte per endavant. Llavors, a la pregunta de com d’acabat hauria de ser el dibuix preparatori per a un prototip, la resposta seria que hauria d'estar tan acabat com l'obra final. De manera que es podria afirmar que: Dibuix preparatori=resultat pictòric Totes aquestes consideracions es tracten i cristal•litzen en una definició precisa i útil del cartró perfecte per al treball pictòric per capes. Sobre la base del coneixement adquirit amb la pràctica bizantina, i aplicant les consideracions del capítol just acabat d'esmentar, es desenvolupen i s'il•lustren documentalment tres exemples de prototip d'obra pictòrica per capes”a la Flamenca”. Els dos primers exemples se sustenten en un cartró correcte, però solament correcte. En el primer d'ells es té sort en el seu desenvolupament, podent completar la peça sense problemes. En el segon exemple, en canvi, el procés es complica, havent d'improvisar sobre la marxa unes modificacions parcials que tampoc aconseguiran satisfer les necessitats de la imatge. Com a única solució, solament quedarà ampliar en estudis de dibuix a banda, la preparació de la imatge primer, i després incorporar-la a l'obra final, seguint el sistema bizantí correctiu, que és com ja s'ha dit, tapar i recomençar des de l'inici la part afectada. El tercer exemple es construeix sobre la base d'un cartró no correcte com en els dos casos anteriors, sinó perfecte, obtenint un desenvolupament pictòric a l'una. La demostració de la tesi es veu coronada amb la incorporació de dos exemples d'inestimable vàlua, pel definitori en el seu plantejo i desenvolupament. Els exemples estan meticulosament documentats, però amb la seva presència en el llibre final destil•lada, a fi de no fer-los immanejables o incomprensibles. El primer exemple documenta l'elaboració d'una obra complexa sustentada en un cartró premeditadament obert a les hipotètiques variables que el procés pictòric pugui suggerir a la imatge. El resultat pictòric és poc menys que un gran fracàs, una obra densament embafadora, que a més, va exigir un treball exagerat, demostrant els postulats de la tesi. El segon exemple té la particularitat d'utilitzar dos tipus de resolució diferents en el cartró per a sengles àrees diferenciades de l'obra. Un d'ells és correcte, l'altre és perfecte. El resultat pictòric final demostra que com millor sigui el cartró per a una obra pictòrica per capes, millor invariablement serà aquesta. Amb la intenció d'il•lustrar el procés de destil•lació d'una imatge preparatòria, tres exemples més d'obra personal completen la tesi. Els dos primers exemples recullen raonadament els esbossos per a obra de petit format, sobre paper i a l'aquarel•la. El tercer exemple, bastant més ambiciós, comprèn el material preparatori per a una futura obra pictòrica de gran envergadura, encara en procés de gestació. La tesi, arribant al final dels sistemes pictòrics per capes, afirma el següent: 1- En el dibuix preparatori s'ha d'experimentar l'èxtasi creatiu de la futura peça. És a dir, el nus de l'obra es resol en el cartró, restant el treball pictòric en el suport últim com una activitat dirigida i programada des del primer, desproveïda sobretot de suspens i incògnites. 2- Qualsevol alteració en l'obra pictòrica concebuda per capes s’haurà de considerar com quelcom precari, per tant, les correccions no formen part del procés natural creatiu, sinó que en són una tara. 3- No solament el dibuix preliminar o cartró ha d'estar detallat fins al màxim, sinó que aquest s'haurà de transcendir de manera precisa en bolcar-ho al suport últim, ja que el treball pictòric es desenvolupa sempre de particular a general i no a l'inrevés com podria semblar en un principi.
The thesis “Icon & Reality: Cartoon as an essential element in paint layers” deals with the problem of preparatory work in paint layers. It should emphasize on strong experimental nature of research, which is mainly focused on practical and pedagogical application. The thesis is based on the idea of developing and analyzing the old Flemish painting technique, nowadays abandoned, but in a natural and necessary way it flowed until got focused on one of its specific aspects, the apparent lack of technique’s capacity for corrections, while the image is pictorially constructed. Therefore, the key question that summarizes the thesis is: Relevant changes are or are not possible in an image while this is pictorially constructed by an indirect method, as might be the Flemish. The initial work to study the subject interweaves with other similar spiritual subject – Byzantine painting – an artistic form with regular practice in large parts of Europe still today. By comparing both working ways, circumstantial aspects tend to fade and then is easier to get clear and understand the essence of the image constructed by addition of paint layers. The author creates, search and collects a generous number of examples in both mentioned above pictorial techniques. The examples are extended in two more types of paintings, one using third painting technique also imbued with similar problems, and another getting focused in exclusively drawings’ aspects. Of all the experimental material, a number of conclusions regarding the preparatory, general and procedural implementation work are extracted in the following summary. The ecstasy of the creative work should be experienced through preparatory drawings. That is, the climax of the painting must be developed on the cartoon reminding the consequent pictorial work in the strict support as a drawing’s programmed and directed task. No suspense or unknown activity must be in the specifically painting work. Any correction in painting of the original projected drawn image should be considered as something precarious, as a tare. The preliminary drawing or cartoon should be detailed to the max, and, be transferred accurately in its complexity to the ultimate format.
La tesis “Icono y Realidad: El Cartón como elemento esencial a la pintura por capas” versa sobre la problemática preparatoria de la pintura por capas determinante. Cabe destacar del trabajo de investigación su marcado carácter experimental, orientado sobre todo a la aplicación práctica y pedagógica. La tesis, partiendo en un principio de la idea de desarrollar a la práctica una técnica pictórica en desuso hoy, como es la Flamenca, acaba centrándose de manera natural y necesaria en uno de sus aspectos concretos; su hipotética falta de capacidad aparente para obrar correcciones mientras se construye el cuerpo pictórico. La pregunta clave que resume la Tesis sería la siguiente: ¿Son posibles las alteraciones relevantes de la imagen que se construya utilizando a una metodología pictórica indirecta, como podría ser la Flamenca? El trabajo inicial sujeto a estudio se imbrica con otra de talante semejante, la pintura Bizantina, cuya praxis regular aún pervive en amplias zonas de Europa. El motivo es conseguir —mediante la comparación— borrar lo circunstancial y llegar a la esencia de las imágenes construidas por adicción de estratos pictóricos. El propio autor realiza y recoge testimonio documental de una generosa cantidad de ejemplos en las dos técnicas pictóricas ya mencionadas. Ejemplos que se extienden en dos tipologías mas; unos elaborados desde una tercera técnica pictórica imbuida de problemática similar, y otros centrándose exclusivamente en los aspectos de dibujo. De todo el material experimental se extrae una serie de conclusiones respecto al trabajo preparatorio, genéricas y de aplicación procesual que en resumen son las siguientes: 1- En el dibujo preparatorio debe experimentarse el extasis creativo de la futura obra. Es decir, el nudo de la obra se desarrolla sobre el carton; siendo el consiguiente trabajo pictorico en el soporte último una actividad dirigida y programada desde el primero, sin suspense ni incognitas. 2- Cualquier corrección de la imagen original de la pieza pictorica por capas se deberá considerar como algo precario, como una tara. 3- El dibujo preliminar o cartón debe estar detallado al máximo, y ser traspasado al formato último de manera precisa y preciosista, so pena de perder todo lo estudiado en el primero.

This Master´s thesis is devoted to the basic theory from semester project. There are describe completed practical tests, measurements and results. This project was written below patronage of company Siemens s.r.o. odštěpný závod Elektromotory Mohelnice, which is at the same time also my employer. There is production of asynchronous electromotors frame size 56 to 200. On the all of electromotors is desired quality surface treatment with difference on the base of request of customers.

Le contexte historique d'implantation du peuple des Bituriges Vivisques sur les pourtours de l'estuaire de la Garonne est relativement tardif, au lendemain de la conquête romaine, et pose de nombreuses questions quant à la réception de la culture romaine au sein d'une cité reconnue pour son identité culturelle forte. L'agglomération antique de Bordeaux, chef-lieu de la cité des Bituriges Vivisques, offre une grande diversité de décors peints fragmentaires entre le Ier siècle et le Ve siècle P.C. L'introduction de cet art et de modes ornementales typiquement italiennes dans la cité interroge alors sur le degré d'adhésion aux modèles romains. L'évolution des connaissances de la peinture murale antique et de la toichographologie permet désormais de répondre à des problématiques stylistiques, techniques et architecturales par le biais d'une approche pluridisciplinaire et de protocoles d'études raisonnés. Entre conservatisme et innovations, les décors de Burdigala traduisent une assimilation précoce du vocabulaire ornemental inspiré des schémas décoratifs italiens avec cependant quelques interprétations aboutissant parfois à des productions originales. Ce travail de synthèse régionale permet ainsi une meilleure connaissance et la classification des décors de la cité, en fonction du style, du cadre chronologique, du contexte architectural et socio-culturel
The historical context of establishment of Bituriges Vivisques people on the circumferences of the estuary of the Garonne is relatively late, the shortly after the Roman conquest, and raises many questions as for the reception of the Roman culture within a city recognized for its strong cultural identity. The ancient agglomeration of Bordeaux, chief town of Bituriges Vivisques' city, offers a great diversity of fragmentary decorations painted between Ist century and Vth century PC. The introduction of this art and typically Italian decorative modes into city questions then on the degree of adhesion to the Roman models. The evolution of knowledge of the ancient mural and the toichographology makes it possible from now to answer architectural, stylistics and techniques problems by the means of a multi-field approach and protocol studies reasoned. Between conservatism and innovations, the decorations of Burdigala represent an early assimilation of the decorative vocabulary inspired of the Italian decorative diagrams with however some interpretations leading sometimes to original productions. This work of regional synthesis allows a better knowledge thus and the classification of the decorations within Bituriges Vivisques' city, according to the style, of chronological framework, the architectural and sociocultural context

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present research on Visual Poetics was developed between 2011 and 2013 as an investigation that was established by the combination of artistic practices and theoretical reflections, whose results reflect upon poetic strategies adopted by the conception and realization of those works. The proposal is based on contemporary issues that deal with the representation of objects in painting (still life) through the use of technical image, pictorial process that relates the concept of miscegenation. It was identified in those poetic strategies that the questions moved from the objects to the noise through mediated technique (optic) of the model. The confrontation between practice of studio and the data collected, visual and conceptual, intend to revitalize painting, permeating manual work with the perception from the mediated technique in order to demonstrate a view that makes connection with the issues from contemporaneity. Keywords: Painting, Mediation Technique, Still life, Optics, Noise
A presente pesquisa em Poéticas Visuais foi desenvolvida entre 2011 e 2013, como uma investigação que se estabeleceu na conjugação da prática artística a uma reflexão teórica, cujo resultado aborda as estratégias poéticas adotadas na concepção e realização desses trabalhos. A proposta instaura-se nas problemáticas contemporâneas da representação de objetos na pintura (natureza-morta) através do emprego da imagem técnica, processo pictórico relacionado ao conceito de mestiçagem. Identificadas nas estratégias poéticas as questões deslocaram-se dos objetos para o ruído gerado pela mediação técnica (óptica) do modelo. O confronto entre a prática de ateliê e os dados coletados, visuais e conceituais, pretende revitalizar a pintura, permeando este fazer manual com a percepção adquirida da mediação técnica, a fim de gerar uma visualidade que dialogue com as questões eminentes da contemporaneidade.

L’objectif de ce projet est de développer des méthodes d’analyse et de caractérisation des défauts structurels des matériaux s’appuyant sur la thermographie infrarouge stimulée. Nous pouvons à l’aide d’une excitation photothermique distante et d’un outil d’analyse que nous avons développé en laboratoire, déterminer la structure sous jacente d’un matériau, repérer précisément ses défauts et les mesurer. L’application qui nous intéresse ici porte sur la prévention, le diagnostique et la restauration des oeuvres d’art, nous avons démontré par de précédents travaux, la pertinence de cette approche et son potentiel important dans de nombreux domaines, qu’ils soient industriels, culturels, médicales ou autres. Nous avons fait la démonstration qu’il était possible d’analyse des matériaux fragiles de façon fiable et sans contact et nous comptons généraliser cette approche en l’étendant dans ses domaines d’intervention et dans sa précision
The objective of this project is to develop analysis and characterization of structural defects in material methods based on photothermal radiometry,We can by means of a remote photothermal excitation and an analysis tool that we have developed in the laboratory to determine the underlying structure of a material, precisely locate its flaws and measure. The application of interest here focuses on the prevention, diagnosis and restoration of works of art, we have demonstrated by previous work, the relevance of this approach and its significant potential in many areas, such as industrial cultural, medical or other. We have demonstrated that it was possible to analyze fragile materials reliably and without contact and we intend to generalize this approach by extending its focal areas and its accuracy

“In the decomposition of organic/botanic materiality, decayed and decaying exotic weeds are printed and imprinted on the host vessel: The surviving trace becomes a code - a sign - a semiotic map = disjecta membra: being there ... then destroyed... but still remaining.” THE BODY OF VISUAL AND WRITTEN RESEARCH, 'DECOMPOSE', is a cross-disciplinary interrogation, interpreting overlapping meanings in the Botanical Biodegradation of Weeds through Visual Art/Science practices and processes expressed as Text +Paintings. DECOMPOSE validates the Act of Art, Botanical Biodegradation of Weeds, as both: I. An expression of the Subjective, Expansive and Ephemeral nature of Art, Artist and Materials and II. An incarnation of the nature of Time and Sublime Beauty, that articulates, and expands perceptions of Art, Artist and Materials as Text + Paintings. The 'equation': DECAY + WEEDS = BEAUTY expands to encompass key elements in the DECOMPOSE body of research: BOTANICAL BIODEGRADATION + AUSTRALIAN EXOTIC, FERAL and NOXIOUS WEED SPECIES + ARTIST + MATERIALS + ART + SCIENCE + TIME = DECAY-PAINTINGS = RESEARCH = SUBLIME BEAUTY Argued by quantitative and qualitative example, DECOMPOSE is at once: I. Subjective: a conceptual and translative process expressed through the personal vision of the artist. II. Expansive: an interrogation of a single process, at once finite and infinite in meanings and extractions. III. Ephemeral: investigations and results signifying the specific and universal decay of all things.

Cet écrit traverse l'encre de la peinture par la sienne propre. Elle a ce corps en partage, à la fois fraternel et inconciliable. L'encre de l'écrit a voulu ici se frayer un chemin de liquidité dans la peinture, donnant à son mouvement l'ébranlement de la couleur, qui est un geste de la matière elle-même. Mon geste, lui, bu par le papier et retiré dans des plis de vagues, opère un glissement jusqu'au blanc d'une page sur la table qui se déploie jusqu'à cet objet singulier qu'est la thèse en arts. De fait, comme la peinture accompagne dans son sillage d'ombres le questionnement d'un regard, son itinéraire sans tracé, l'écrit depuis la peinture, se retourne sur son propre objet — d'une encre à l'autre. La construction d'une parole en prise avec une errance d'atelier est délicate. Elle mêle son corps résonant d'images à celui des mots des poètes, travaillant un langage inconnu au creux de l'impasse même que constituent les mots, la prise de parole. La voix du peintre est la seule que je connaisse. Elle est issue de l'abandon et du dessaisissement à l’œuvre. Elle engage la pensée dans le faire, au milieu d'une déposition qui est celle, multiple, d'un corps d'encre, d'une peinture en éclat, d'un geste et sa dépose, d'une voix et de ses fragments. La déposition appelle le sol. C'est bien de ce sol dont il est question tout au long de cet écrit. Un fondement, comme fondation mais aussi comme ce qui fond sous les pas. Liquide, fluide, mouvante. Une déprise qui est aussi un ancrage, une attache qui est aussi un débord
This writing goes through the ink of painting through its own. It has this body to share, both fraternal and irreconcilable. Here the ink of writing sought to pave a liquid way in painting, giving to its movement the trembling of color, which is a gesture of matter itself. As for my gesture, drunk by the paper and withdrawn in folds of waves, operates a drift to the white of a page on the table, that unfolds to this singular object that is the thesis in fine arts. In fact, as painting accompanies in its shadowy wake the questioning of a gaze, its course without outline, writing from painting, turns on its own object - from one ink to another. The construction of a discourse in touch with the wandering of the studio is delicate. It merges its body resonant with images with that of words from poets, working an unknown language in the very core of the impasse that constitutes words, access to speech. The painter's voice is the only one I know. It is the result of the abandonment and divestment at work. It engages thought in making, in the midst of a deposition which is, multiple, that of a body of ink, of a radiant painting, of a gesture and its removal, of a voice and its fragments. Deposition calls for the ground. It is that very ground that is being discussed throughout this writing. A grounding, as foundation but also as what melts under the steps. Liquid, fluid, moving. A release that is also an anchor, a tie that is also an overflow

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

Au cours de cette recherche, nous avons contribué à l’étude et à la caractérisation des pigments utilisés par le peintre français Étienne Dinet à l’aube du XXe siècle. Notre approche a consisté à nous appuyer sur les manuels de peinture écrits par le peintre (Les fléaux de la peinture) dans lesquels il expose sa recherche des matériaux à utiliser en peinture. En nous basant sur ces écrits, nous avons créé une base de données de photographies scientifiques et de spectres de réflectance (visible et proche infrarouge) pour pouvoir déterminer les pigments employés dans ses tableaux. Sept tableaux ont ensuite étudié. L’imagerie scientifique nous a permis de caractériser la palette du peintre, en particulier lorsque nous avons eu la possibilité d’associer plusieurs techniques d’analyse produisant des données complémentaires. Nous avons ainsi montré l’intérêt d’employer simultanément un ensemble de techniques non invasives d’imagerie pour la caractérisation des pigments : aucun prélèvement de matière picturale n’est nécessaire et la faible quantité de lumière irradiant l’œuvre durant les mesures n’affecte pas sa conservation. La photographie technique peut fournir de nombreuses informations sur l’état de conservation d’une peinture et nous permet de détecter les interventions de restaurations effectuées au cours du temps. Elle nous permet aussi de formuler des hypothèses sur la palette du peintre. Pour confirmer ces hypothèses, il est nécessaire d’effectuer des analyses comme la fluorescence des rayons X et l’imagerie hyperspectrale, qui fournissent des informations plus précises et dont l’interprétation est plus certaine
This research aims to contribute to the study and characterization of the pigments used by the French painter Étienne Dinet at the dawn of the 20th century. Our approach draws on painting manuals written by the artist (Les fléaux de la peinture), in which he shows his search for materials to be used in painting. Based on these writings, a database of scientific photographs and reflectance spectra (visible and near infrared) was created to determine the pigments used in his paintings. Seven paintings were then studied. Scientific imaging enabled us to characterize the painter’s palette, especially when we had the opportunity to combine several analytical techniques producing complementary data. We have thus shown the value of using a set of non-invasive imaging techniques simultaneously for pigment characterization: no pictorial material is required and the low amount of light radiation during measurements does not affect its conservation. Technical photography can provide a lot of information about the state of preservation of a painting and allows us to detect restoration interventions done over time. It also allows us to make hypotheses about the painter’s palette. To confirm these hypotheses, analyses such as X-ray fluorescence and hyperspectral imaging, which provide more accurate information and more direct interpretation, are required

Le Liber diversarum artium, seconde copie d'un traité de technologie artistique vraisemblablement écrit dans les années 1350, est conservé à la Bibliothèque inter-universitaire de Médecine de Montpellier, dans un manuscrit du XVe siècle, le Ms H277 (vers 1470). Ce texte, par sa structure novatrice, les sources connues antérieures aux années 1300 qui l'alimentent, et leur diffusion, nous a autorisé à le mettre en regard d'œuvres peintes sur bois et sur mur des XIIe et XIIIe siècles conservées en Catalogne, comme nous aurions pu le faire avec n'importe quel autre corpus cohérent. Par le territoire « historique » qu'elle recouvre au Moyen Âge, par le nombre d'œuvres conservées et par leur grande variété esthétique et technique, la Catalogne répondait à cette cohérence. Les peintures retenues ont été envisagées du point de vue leur matérialité. La méthodologie développée pour l'aborder s'est articulée dans une dialectique constante entre le savoir écrit, théorique, du Liber ou d'autres traités, et le savoir pratique mis en œuvre par les peintres en Catalogne aux âges romans. L'observation macroscopique des œuvres, ainsi que la collecte de données physico-chimiques concernant certaines d'entre elles, ou encore notre propre expérience, nous a donné une matière propice à la compréhension du métier de peintre. De cette confrontation est née une lecture singulière, mettant au cœur de notre réflexion le peintre dans l'apprentissage et l'exercice de son métier
The Liber diversarum artium, second copy of a treatise on artistic technology probably written in the 1350s, is held at the Inter-university Library of Medicine of Montpellier, in a fifteenth century manuscript, Ms H277 (1470). The innovative structure of this text, the pre-1300s sources it draws on, and their dissemination, enabled us to compare it with works painted on wood and walls in the twelfth and thirteenth centuries preserved in Catalonia, as with any other coherent corpus. By virtue of the "historical" territory it covers in the Middle Ages, the number of works conserved and their wide aesthetic and technical variety, Catalonia provided this coherence. The selected paintings were considered from the perspective of materiality. The methodology developed for the task was structured as a constant dialectic between written and theoretical knowledge contained in the Liber or other treatises, and the practical knowledge applied by painters in Catalonia in the Romanesque period. Macroscopic observation of the works, the collection of physicochemical data concerning some of them, and our own experience, provided us with material that was conducive to understanding the painter's craft. This comparison produced a singular reading, in which thinking is focused on the painter in the learning and the exercise of his craft

Introduction: The Polyptych of the Virgin studied by this thesis, is composed of five tempera paintings. They’re painted by two different artists, Antonio Vivarini and Stefano da Sant’Agnese. Currently, this Polyptych of the Virgin has been commissioned by ICR for restoration. In so far, there have been no attempts to analyze this “Polyptych of the Virgin.” Therefore, the scientific results can help understand the artist’s techniques and the material used to understand the paintings better. In this thesis, the objects will be studied mainly by image analysis (IR\UV\radiographic) and in-situ XRF analytical. Specifically, the following questions were asked: 1. Draft drawings or modifications in these five wooden paintings. 2. Interventions of paintings in the past. 3. The chemical composition of some pigments used in these paintings. In this type of research, a complete IR image needs to be stitched together from multiple partial images, usually done manually. On the one hand, this approach should minimize the number of partial photos, which will reduce the fineness of the photos to a certain extent; On the other hand, it is extremely time-consuming. A major challenge in this experiment is that we need to collect IR images of five paintings, which will involve a large number of partial pictures. Manually stitching pictures is almost hard to do. So, this research will try to find a suitable method of automatically stitching IR images. In order to improve the resolution of the image, show as many details as possible, and improve work efficiency at the same time. The focus of this research is not only to improve the scientific information of this object, it is also essential to provide more effective information for the work of the restorers and by understanding the needs of the restoration process, carrying out targeted testing, and integrating scientific analysis for restoration, instead of just providing scientific data. This research is carried out simultaneously with the restoration work, which could provide a significant opportunity to establish a close connection between restoration work and scientific analysis to use the information and technology held by both parties effectively.

Abstract Several techniques exist for mapping the element pigments on painting using the synchrotron light or quasi monochromatic sources. K-edge subtraction technique is a well known technique and based on discontinuity in the attenuation coefficient due to photoelectric K-edge of the absorbing materials. A couple of filters with slightly different K -edge energies, if are with balanced thicknesses, can isolate spectra in a narrow energy band. Quasi monoenergetic X-rays with a spectral width Ek that is the difference in K-edge energies will be taken by subtracting images or spectral data. Thus by using filter foils with appropriate thicknesses with the K-edge absorption just below and above the K-edge energy of an element allows us evaluating the distribution of that element in whole painting. The aim of this thesis has been application of K-edge subtraction technique to determine pigment composition in paintings by using common X-ray sources with balanced filters. The K-edge digital subtraction technique actually is investigated for estimation of Cadmium element. By choosing the Silver Cadmium and Indium as filter materials with properly thickness and with K-edge energies very close to the Cadmium element, determination of cadmium content has been presented as qualitative and quantitative result. The technique is tested by using a RadEye200 CMOS sensor. Theoretical simulations considering the experimental setup of technique has been presented as preliminary investigation. Complementary analyses are preformed with micro X-ray fluorescence spectrometry (μXRF), in order to validate the technique for cadmium element with the same samples. Theoretical aspects of K-edge imaging, the algorithms used for elaboration of images, detailed information for cadmium pigments and samples tests, are described in first chapters. An evaluation of X-ray performance of RadEye200 CMOS sensor has been performed in terms of MTF, NPS and DQE. Preliminary theoretical simulation is performed to determine the range where KES imaging technique with balanced filters response linear with the element content in paintings. In chapter 5 after description of spectral characteristics of the tungsten X-ray tube with additional K-edge filtering, imaging and steps of elaborating images has been described. Determination of Cadmium element in its pigments it is performed by KES and Lehmann algorithm applied on digital images. Results obtained on different samples are presented by a couple of images, graphically, tabulated data, and discussed. In chapter 6 introduction in theoretical aspects of XRF spectrometry is presented. Measurements for sampling area of μXRF ArtaxBruker200 and for Cadmium content in same samples used for imaging are presented. In chapter 7 the results carry out from KES technique and XRF for cadmium element in different samples are compared. The comparison between KES and XRF technique performed with the same sampling area of two detection systems (CMOS sensor with SDD solid drift detector) on the same area of the test sample shows a very good correlation among them.

Cette etude sur la contribution du painting chromosomique a la phylogenie des lemuriens a ete entreprise pour valider ou preciser les remaniements chromosomiques survenus au cours de l'evolution, determines jusqu'ici par les techniques de marquages habituelles. Une partie du travail experimental de cette these est consacree a la mise au point d'une part, de techniques de chromosome painting sur les chromosomes des lemuriens a partir de sondes commerciales d'adn specifique pour les chromosomes humains et d'autre part, d'une methode assez efficace pour l'obtention simultanee des bandes r et de chromosome painting. Ces techniques ont ete utilisees pour etudier les rearrangements chromosomiques survenus au cours de l'evolution des lemuridae. Les resultats obtenus par le chromosome painting interspecifique ont montre que les sondes d'adn specifique pour les chromosomes humains s'hybrident egalement chez les lemuriens d'une facon specifique, sur des chromosomes entiers, des bras chromosomiques ou des segments chromosomiques de differents longueurs. L'application du chromosome painting confirme certains remaniements chromosomiques detectes par les marquages en bandes r, et revele d'autres remaniements qui etaient indetectables avec les techniques precedentes. Les resultats obtenus nous ont amene a une reconstitution de l'arbre de l'evolution chromosomique des lemuridae. L'information et les precisions qu'apporte la methode de chromosome painting sont precieuses dans l'etude de l'evolution chromosomique. L'utilisation de cette methode nous permettra d'etendre l'etude de l'evolution chromosomique sur la phylogenie d'autres especes de lemuriens ou d'autres familles, et faire progresser, ainsi, les connaissances sur la phylogenie des primates.

This inter-disciplinary thesis addresses the authenticity and social context of surviving portraits of Scottish monarchs between 1530 and c.1590, bringing the study of the Scottish portraits closer to the standard undertaken upon surviving English works. This research focuses upon key questions to begin to reveal the nature of commission and execution of sixteenth-century portraits in Scotland, focusing upon a pair of double portraits from Blair Castle, Pitlochery, Perthshire. The two paintings will form the key case-studies for this research, and the central question to the thesis is whether they are authentic, sixteenth-century Scottish-made images. The thesis will address questions such as: How do they fit into the contemporaneous culture of court portraiture production in Northern Europe and across the border in England? Does the physical evidence support the notion of Netherlandish influence? Surviving documentary evidence of the painterly aspects of the courts of King James V and his grandson King James VI is presented, and the results of interdisciplinary technical analysis used to explore whether the materials and techniques of the Blair portraits and their surviving counterparts demonstrate enough Netherlandish influence to present the existence of a Scoto-Netherlandish school of painting. The National Portrait Gallery’s research project Making Art in Tudor Britain (2007-2014) 2010 conference Tudor and Jacobean Painting: Production, Influences and Patronage raised the issue of the need for a parallel project for Scotland, tracing the highly-developed use of portraiture by the later Stewart dynasty to its fifteenth-century Scottish beginnings. This thesis argues that far from being culturally backwards in terms of portraiture, the Scottish court employed fashionable Netherlandish techniques from an early date, with a strong understanding of the impact of the arts dating from the earliest Stewarts. Most importantly, this research is the first to undertake a full technical examination of the Blair Castle portraits, placing these works within a comprehensive material context. Such examination of the visual arts commissioned at this time can only further our understanding of the wider context of production in Scotland at this time. Additionally, understanding the nature of the commission of royal portraits by those in noble families makes clearer the use of the visual arts to enhance careers and reputation, as well as social identity. In focusing the discussion purely upon Scottish portraits in native collections, this research unites works which have not been comprehensively studied as a whole. The study of the sixteenth-century Scottish court has advanced considerably in recent years, but without an in-depth examination of the artworks produced as visual representation of these courts, a complete understanding cannot be achieved. This thesis demonstrates that much of the production of royal portraits was based upon the copying of copies. It is thus not the aesthetic quality which should be the focus, but the circumstances of their existence and material composition which is most revealing about the place Scotland holds within the study of early modern European art.

Aujourd’hui, des résurgences classiques prennent une place importante dans la peinture contemporaine. Cette thèse explore ces modes de réapparition après leur traversée de la période de l’art moderne, d’où l’hypothèse d’un « filtre » de la modernité. Le terrain de recherche, spécifiquement défini pour aborder le tableau peint, est nommé en la circonstance « le plan pictural ». Les processus de survivance des images sont observés pendant leurs migrations, puis sur la manière dont la rémanence de ces antériorités les réactive alors au cœur de la scène artistique internationale. Enfin, cette mémoire est convoquée et étudiée avec des variables d’ajustement en fonction de l’histoire et de la géographie. L’exposé s’organise en 6 chapitres. Le premier définit le terrain de recherche. Le deuxième présente trois peintres vivants revendiquant une filiation classique. Les trois suivants explorent la problématique à travers des textes d’auteurs confrontés aux peintures sélectionnées. Enfin le dernier chapitre conclut les recherches par un retour sur expérience
The revival of classicism today plays an important role in contemporary painting. Classicism re-emerged after spanning the period of modern art; this thesis explores the different means through which this resurgence materialized, hence the hypothesis of a “filter” of modernity. The framework of this research, called “pictorial map”, is defined specifically to tackle the medium of painting. This thesis first examines the continued survival of these images during their different stages, then the ways in which the persistence of classicism imbues them with new life within the heart of the international art scene. Finally, this memory of these images is studied through the lens of various historical and geographical perspectives. The thesis is structured in six chapters. The first defines the framework of research. The second presents three live painters, each of whom is classically influenced in his work. The following three explore the topic through the analysis of texts by authors confronted to the aforementioned paintings. Finally, the last chapter concludes the research with relevant feedback

Ce travail explore l’utilisation des couleurs à la fin de la préhistoire au Proche-Orient, incluant le Levant Nord et Sud, les Hautes vallées et la Mésopotamie, de la fin de l’Epipaléolithique à la fin du Chalcolithique (env. 12000-3000 av. J. C.). Cette longue période témoigne d’innovations techniques et d’évolutions sociales inédites : sédentarisation, développement de l’agriculture et de l’élevage, invention de la céramique et urbanisation. Notre objectif a été d’explorer la manière dont ces différentes cultures ont mis en œuvre les couleurs en contexte architectural et funéraire. Quels sont les rapports que ces sociétés entretiennent avec les matériaux colorés et les matières colorantes, locaux ou importés ? Quels sont les changements observés dans l’utilisation des couleurs ? Qu’expriment ces changements ? Peut-on les mettre en relation, et de quelle manière, avec les évolutions technologiques et sociales propres à chaque période et culture ? Est-il possible de reconnaitre des systèmes et des dynamiques à différentes échelles — site, région, culture – et sur le temps long ? L’approche diachronique et la mise en perspective des résultats sur plusieurs millénaires montrent une utilisation dynamique des couleurs, variant selon les périodes et les aires géographiques, et apportent un nouvel éclairage à la compréhension des sociétés de la fin de la préhistoire en Orient
This study focuses on the use of colors during the last stages of prehistory in the Near East, encompassing the Northern and Southern Levant, the Upper Tigris and Euphrates valleys and Mesopotamia, from the end of the Epipalaeolithic to the end of the Chalcolithic (ca. 12000-3000 cal. BC).This long period witnessed technical innovations and unprecedented social evolutions : sedentarization, development of agriculture and herding, invention of pottery and urbanization. Our aim was to explore how these different cultures have implemented colors in their architecture and their burials. What are these societies’ relationships to colored materials, local or imported ? How the use of colours changes ? What does it tell us about these societies ? Can we -and how- correlate them with technical and social developments specific to each culture ? Is it possible to recognize systems and dynamics at different scales – site, region, culture – and over the long term ? Data have been synthetized according a diachronic approach and put into perspective over several millennia. They show a dynamic use of colors, varying according to periods and geographical areas, and bring a new light to the understanding of these societies at the end of prehistory in the Near East

This report outlines the overriding themes, concepts, processes, and influences in my work over the last three years. Although my work has progressed much during that time, I still have a fundamental interest in using a reactive and intuitive process to elicit ideas. This process undermines legibility through layering and then imposes a frame to contain each piece to let specific images emerge. Much of my work relates to the human form either formally or through its uncanny relation to the viewers own body. Through these methods I make images and objects that project my personal psychological cycle of fascination, repression, terror and humor.
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碩士
國立臺北藝術大學
科技藝術研究所數位藝術創作組
94
This research discusses the implementation of the interactive installation, "The Ink Pool". It consists of three sections：human-machine interaction, Chinese painting simulation, and behavioral model. We integrated them to establish an interactive installation system, and then applied it in the field of digital art. The concept of "The Ink Pool" is attempting to combine Chinese painting with interactive technology, for the sake of continuing the spirit of traditonal art with modern digital media. The intallation is made up of virtual scenes and real objects. The virtual scenes include virtual water and swimming fishes in Chinese painting style. And the real objects contain a water vat and a ladle. Users can interact with the virtual water and fishes, which projected on the water vat, by operating the ladle directly. Consider the implementation of this work. In human-machine interacion, the virtual scenes and the real objects are merged seamlessly and associated dynamically, by a projector and a 3D tracker. In Chinese painting simulation, we focused on the feature of ink diffusion and the movement of strokes. We materialize both above two effects in a single stroke model，and then assembled several strokes as a fish in Chinese painting style. In behavior model，the fishes have automatic behaviors and reactions. We made them represent various behaviors, such as swimming，flocking, flee and so on, according to the control models of perception，behavior, and motor.

This report outlines the conceptual, procedural and material evolution of my artistic practice over the course of the past three years. Throughout all of the changes my artwork has undergone during this time, my work has always dealt with the combination of (and sometimes conflict between) a scientific, logical, utilitarian truth, and a more poetic, emotive and oblique conception of knowledge. This preoccupation reflects my own impulse to both understand my environment in the most conventionally factual way, while simultaneously acknowledging its hopeless (but profound and poetic) complexity, subjectivity and obscurity. As a manifestation of these concerns, my artistic output includes diagrammatic compositions, philosophical illustrations, drawings of scientific imagery, portfolios of cartographic documents and methodical replications of scientific experiments. In this report I outline the various, complimentary ways in which I consider the notion of epistemological collapse.
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This report is a compilation of the influences that shape my current work. In this written representation of my process I mimic how ideas overlap and collide, rather than taking a chronological approach to my development over the past three years. The role of ornament to engage contemporary viewing is a dominant theme, in both my work and the report. I approach painting as an attempt to understand contemporary visual culture and how we look at objects today. My paintings rely on ornament as an entrance into exploring aesthetics and my personal history.
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碩士
國立臺灣師範大學
美術學系
100
Traditional inscription of Chinese painting has long history, and it also acts as a crucial part of traditional Chinese painting. By the experiments of artists from ancient times to contemporary, the inscription of Chinese painting theory has formed a unique technique in arranging type and picture. How to expanded inscription of Chinese painting in practical layout design, is the main concern of the research. By analyzing elements of Chinese painting, it can be separated as inscription, picture, stamp, outline of frame, and empty space. And the method of composition includes the transitions from beginning to end, the distance of object, the path of viewing experience, the mutual existence of empty space and filled space. The traditional critique of Chinese painting is based on if the work has a vivid appearance and gesture. By relation between location of type and picture the research categorizes inscription of Chinese painting into six different styles as far separated, separated, overlapped, acts as the picture goes, more than one location, indistinct location. By length of inscription, it can be categorized as four styles that includes short length in a single line, short length in more than one line, long length in a single line, long length in more than one line. When composing layout design, the inscription of Chinese painting do provide different styles to graphic designers, and create infinite possibility of layout form with different aligning styles. The research uses environment issue poster series as experiment of layout practice of techniques of inscription of Chinese painting. The research discovered that inscription of Chinese painting has flexible to Chinese character layout design and enchantment of visual effects. The method of short length in more than one line can be used in normal main texts. Although inscription makes enriches the effect of the main title of layout, if the text extends too long and requires more patience to read.

碩士
國立臺中技術學院
多媒體設計研究所
96
With the development of the information technology and advancement of digital image processing techniques, an increasing number of digital images are being produced. In the past, owing to insufficient computation speed and storage capacity, storing or processing a large amount of digital images was almost impossible. In nowadays, computer’s processing speed has significantly improved, and the hardware storage capacity has also been expanded. Storing or processing digital images has become not only possible but also popular. However, one issue has arisen with the growing prevalence of digital images. That is, how to fast and accurately retrieve the expected image from a huge database of digital images? Most of the current retrieval techniques are based on keyword search. Users need to manually input all the information of the expected images when performing a keyword search. However, such retrieval method is effort-taking and inefficient, because the returned results may not be the expected images. In recent years, Content-Based Image Retrieval (CBIR) has been extensively researched and discussed. In this method, color histogram is used as an important feature in image retrieval. Nonetheless, the main problem of using color histogram in the retrieval is that color distribution is not considered, so the retrieved images may have similar colors but different color distributions. Precision of image retrieval will be affected as a result. In this study, annular histogram is used. Concentric circles are drawn around the center of image to record the color information. Besides, the method proposed by J. Sun[1] is also modified and applied to Chinese painting images. Texture is another feature for image retrieval [2]. So far, numerous texture-based retrieval methods are available. In this study, a new texture extraction method is proposed. This method converts images into ASCII codes and calculates the statistics of each code to generate a histogram as another feature for image retrieval. Through the promotion of National Digital Archive Program and digitalization of Chinese paintings, more and more artists are now displaying their works online. Common search engines on the Internet provide search only by keywords. To search for a particular Chinese painting, users cannot effectively and accurately obtain the result and may waste a lot of time. CBIR is a relatively more accurate method. Hence, in image retrieval, feature selection is of great importance. Chinese paintings can be classified into various genres. The main characteristics of Chinese paintings are strokes and colors used by artists. In this study, digitalized Chinese paintings are used to construct a database, where paintings are classified by artist. This database contains images of paintings created by five artists [3]. In the experimental chapter, image classification precision and image retrieval precision will be respectively analyzed. In the experiment of image classification precision, color distribution and texture are used as classification features. Textures on the Chinese paintings are converted into ASCII codes to obtain the distribution of textures. Later, color histogram is used to calculate the statistics of each color. Finally, images are classified using Decision Tree. The experimental results show that the precision of the proposed classification method is higher [3]. In the image retrieval experiment, color distribution and texture are used as features for image retrieval. Through feature extraction, similar images in the database are retrieved to achieve search by image. This approach helps users more accurately and conveniently retrieve the expected image using less computational efforts. The experimental results also indicate that the proposed method can effectively enhance the retrieval precision.

碩士
中國文化大學
藝術研究所
96
The presentation of the Western arts still cannot infringe the scopes of Realism in the early period. However, right after the master of Impressionism, Paul Cézanne, made the discourse regarding abstract geometry, artists were released from restraints of the delicate description of objects. This progressive style of art has generated the revolutionary influence on the Modern arts, modern design, and even the notion of modern buildings. In 2002, Taiwan founded its first local school of painting—“Post-Cubism”. This school was not only the combination of the theories of Impressionism, Purism, Cubism, Futurism, and Post-Cubism but also the connection through the context of the History of Art. Later, the synthesis of these elements leads the school to enter a new century of art. “Post-Cubism” doesn’t put emphasis on the outward appearance of Nature but on the construction of painting elements, such as pure images, colors, lines, and spaces. Therefore, the Post-Cubism strengthen that art should subsume Nature and express one’s ego through creator’s internal feelings. This concept of creation could be regarded as the visualization of the internal world of artists. Compared with “mimicking” Nature, the post-cubistic way of expression is far more real and contains the significance of existence. This thesis is mainly based on the painting theories of Post-Cubism, and then displays novel frames with the combination of people and things of daily life. In addition, not only do I manage to express the pure visual sensation through the creative and abstract thoughts of subjectivity, but I even utilize the painting skills of transparency derived from “Post-Cubism” to discuss the Eastern and Western concept of space, “Vacuity” and “Substance.” Hence, through the idea and structure of self-creation, I intend to search for the true colors on my road of creation so that to demonstrate the infinite “vitality” of painting in the future.

方鳳婷.
"2009年8月".
"2009 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 64-69).
Abstracts in Chinese and English.
Fang Fengting.
鳴謝
論文提要 --- p.i
圖版目錄 --- p.iv
引言 --- p.1
Chapter 第一章 --- 博古畫緣起 --- p.5
Chapter 一. --- 歷史中的「博古」 --- p.5
Chapter 二. --- 全形拓技術與拓片入畫的傳統 --- p.8
Chapter 三. --- 混合槪念´ؤ´ؤ「博古」與「清供」 --- p.11
Chapter 第二章 --- 鄦叀鼎´ؤ´ؤ個案硏究 --- p.17
Chapter 一. --- 焦山寺與古鼎 --- p.18
Chapter 二. --- 全形拓片的其他來源 --- p.23
Chapter 三. --- 鄦叀鼎的意涵及畫家筆下的鄦叀鼎 --- p.26
Chapter 第三章 --- 磚甓博古畫 --- p.31
Chapter 一. --- 以古磚作「清供」 --- p.32
Chapter 二. --- 磚甓文字的角色 --- p.35
Chapter 三. --- 改製古物以爲今用 --- p.40
Chapter 第四章 --- 博古畫的變奏 --- p.44
Chapter ´ؤ. --- 黃士陵的博古畫 --- p.44
Chapter 二. --- 以筆墨仿拓片效果 --- p.50
結語 --- p.55
附錄一鄦叀鼎全形拓片 --- p.60
附錄二陶陵鼎全形拓片 --- p.62
參考書目 --- p.64
圖版 第一章圖版 --- p.70
第二章圖版 --- p.82
第三章圖版 --- p.99
第四章圖版 --- p.112
結語圖版 --- p.134

碩士
中國文化大學
美術學系
104
I have the privilege to live in Yangmingshan, facing the nature, and the mountains. Resulting in a break from the busy life is--eyes full of lush and closely layered green. The breath is full of phytoncid from mountains and tree, as well as soul cleansing. Tree are everywhere in the campus on the mountains; looking at the robust trees, like a strong vitality in the sunlight seemed brilliant flourish. In the campus of different seasons can have different feelings, for example salmon red tree in spring, exuberant tree in summer, bleak foliage in autumn and dead leaves and lonely branches in winter. Tree of four-season style are beautiful and with diverse colors. Shuttling in the lines aesthetics is like in the halls of the art, wandering nature and experiencing nature. In a quiet and green tree atmosphere, the author is inspired using the “Tree”, a landscape painting to write the contents of this thesis, and using the performance techniques and forms of drawing elements of the same as the spindle to create this thesis. 　　Artists with their works to express their inner thoughts; only to understand themselves can create a breathtakingly works, i.e. so called: “Beauty is in the grasp of things over people is reflected, it is personal, and no one in mind, it does not matter of beauty"--by Liu Zong Yuan. Landscape paintings are a combination of art and nature, so that the artist works have strong emotional projection. The manifestation of tree is even more closely linked with the painter; if books allow people to talk with the ancients, painting can achieve the same effect. Tree with all-inclusive gesture and color, is one of the indispensable elements in the landscape paintings, so I start with the tree of Impressionism’s landscape paintings as the focus of the painting, and analyze the aesthetic categories and creative thinking of tree, as well as performance techniques of tree by the artist's appreciation of landscape paintings, to discuss the symbolic meaning of tree in shape, composition, space, and color display, and the vitality of stokes, and aesthetic category, etc. 　　As for the aspect of creative works, in the landscape paintings, with tree to construct four seasons as spring, summer, autumn and winter to show diverse style of tree, in which discover the mysteries of beauty. Standing in front of tree, not just draw the tough life outside of a tree, but also experience symbol of the spirit and emotional thinking given by the nature, through the tree in landscape paintings to show truth, goodness and beauty in artistic creation.