Bibliografías temáticas / Overpaintings

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Literatura académica sobre el tema "Overpaintings"

Autor: Grafiati
Publicado: 10 de marzo de 2023

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Artículos de revistas sobre el tema "Overpaintings"

1

Hawker, Rosemary. "Painting Over Photography: Questions Of Medium In Richter's Overpaintings". Australian and New Zealand Journal of Art 8, n.º 1 (enero de 2007): 42–59. http://dx.doi.org/10.1080/14434318.2007.11432779.

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Ciofini, D., I. Osticioli, A. Pavia y S. Siano. "Removal of overpaintings from easel paintings using LQS Nd:YAG laser". Applied Physics A 117, n.º 1 (26 de febrero de 2014): 341–46. http://dx.doi.org/10.1007/s00339-014-8318-2.

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Sucevic Miklin, Maja. "Overpaints and inpainting on the “Black flag” by Ljubo Babić". Ge-conservacion 18, n.º 1 (10 de diciembre de 2020): 291–97. http://dx.doi.org/10.37558/gec.v18i1.848.

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This paper will present the restoration carried out at the end of 2017 on an oil painting called the “Black flag”, by Ljubo Babić, that stands today as one of the five more important paintings in Croatian modern art history. The focus will be on previous interventions – retouches and overpaintings – that were found on such an important painting, as well as the complex process of inpainting. After a partial removal of the previous interventions, some particles of dirt were still left embedded in the texture. This condition and the artist's paint effects determined the inpainting process. A mimetic inpainting method was chosen, consisting into a two stages process, intermediated with a varnish application: gouache colours to reconstruct the image and pigments mixed with Canada balsam to finish the process. This method resulted in a good reintegration of the retouch and in the overall appearance of the painting.
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4

Giorgi, Rodorico, Michele Baglioni y Piero Baglioni. "Nanofluids and chemical highly retentive hydrogels for controlled and selective removal of overpaintings and undesired graffiti from street art". Analytical and Bioanalytical Chemistry 409, n.º 15 (10 de abril de 2017): 3707–12. http://dx.doi.org/10.1007/s00216-017-0357-z.

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Seyller, John. "Overpainting in the Cleveland Tutinama". Artibus Asiae 52, n.º 3/4 (1992): 283. http://dx.doi.org/10.2307/3249892.

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Joseph, Ron. "Can overpainting affect car prices?" Metal Finishing 104, n.º 2 (febrero de 2006): 48–49. http://dx.doi.org/10.1016/s0026-0576(06)80011-5.

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Piqué, Francesca y Giacinta Jean. "ETHICAL CHALLENGES IN THE CONSERVATION OF THE WALL PAINTINGS OF CHAPEL 11 AT THE SACRO MONTE DI VARALLO". Protection of Cultural Heritage, n.º 8 (20 de diciembre de 2019): 255–68. http://dx.doi.org/10.35784/odk.1092.

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Chapel 11 is one of the 45 chapels of the Sacro Monte di Varallo. It is decorated with 16th century polychrome terracotta statues and wall paintings representing the Massacre of the Innocents. Since 2015, the University of Applied Sciences and Arts of Southern Switzerland (SUPSI) is in charge of its conservation. Up-close examination of the wall paintings allowed to observe the presence of overpainting, which were evaluated to have no aesthetical and/or technical quality. During the study phase and with preliminary tests for treatment development, it became clear that the removal of this overpaint was risky for the underlying original decoration. Moreover, it was not possible to determine if under the overpainting there was the original layer and in what condition it was. Although IR Reflectography showed the presence of underdrawings, this information did not always coincided with the presence of a paint layer. Considering that the overpainting covers about 80% of the surface, SUPSI strongly advised against embarking on its removal. This conclusion was achieved after several removal attempts and through regular communication meeting with the stakeholders aimed at illustrating the situation and the results achieved. SUPSI considered more ethical to focus on the development of a ‚reversible’ stabilization intervention considering that in the future new technologies (to assess the presence of paintings below and to remove overpainting) could make the recovery of what remains of the original decoration easier.This paper describes the project in terms of the ethical challenges faced when conflicting expectations about the project arised.
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Exe Christoffersen, Erik. "Samtidskunst, repræsentation og remediering". Peripeti 19, S11 (29 de noviembre de 2022): 166–81. http://dx.doi.org/10.7146/peri.v19is11.134860.

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Samtidskunst, repræsentation og remediering by Erik Exe Christoffersen. Christoffersen emphasizes FIX&FOXY’s way of doing remediation, perceived as a way of ‘overpainting’ a work like a palimpsest.
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Apostol, I., V. Damian, F. Garoi, I. Iordache, M. Bojan, D. Apostol, A. Armaselu, P. J. Morais, D. Postolache y I. Darida. "Controlled removal of overpainting and painting layers under the action of UV laser radiation". Optics and Spectroscopy 111, n.º 2 (agosto de 2011): 287–92. http://dx.doi.org/10.1134/s0030400x11080054.

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Kisová, Zuzana, Jelena Pavlović, Lucia Šefčiková, Mária Bučková, Andrea Puškárová, Lucia Kraková, Alena Opálková Šišková, Angela Kleinová, Zuzana Machatová y Domenico Pangallo. "Removal of overpainting from an historical painting of the XVIII Century: A yeast enzymatic approach". Journal of Biotechnology 335 (julio de 2021): 55–64. http://dx.doi.org/10.1016/j.jbiotec.2021.06.008.

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Tesis sobre el tema "Overpaintings"

1

Fili, Kalliniki. "Der lidlose Blick oder das Geheimnis der Faszination". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2009. http://dx.doi.org/10.18452/15884.

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Die vorliegende Arbeit eröffnet einen weit über den „unmittelbaren“ Gegenstand Bildbeschreibung hinausweisenden allgemeinen theoretischen Horizont. Heiner Müllers Text wird als Fallstudie eines Umgangs mit dem antiken Mythos und in Hinblick auf seine Intertextualität weitgefächert untersucht. Die intensivierte Auseinandersetzung Müllers mit der Bildenden Kunst, besonders der Arbeitstechnik der Übermalung, welche sich in dem Stück Bildbeschreibung wiederfindet, wird aufgezeigt und anhand von Fallbeispielen aus der Bildenden Kunst in Zusammenhang gestellt. Die von Müller sorgfältig ausgelegten Zeichen werden durch ein close reading erschlossen: Auf der Grundlage der Prätexte und Bilder wird nach jenen Codes gesucht, die sich in Müllers Arbeiten in einer „Sprache, die niemand lesen kann“ auffinden und beschreiben lassen. Die Arbeit liefert Proben solcher Möglichkeiten der Annäherung an das Material. Der Untersuchungsbogen reicht von dem minoischen Totenkult bis zur japanischen Theatertradition des Nô-Theaters. Dabei wird über Exkurse zur Geschichtlichkeit der Mythenbilder, zur Kunst- und Filmgeschichte ein neues Erkenntnisfeld literaturwissenschaftlicher und geschichtsphilosophischer Erörterungen zum Werk Heiner Müllers eröffnet.
In this paper a new theoretical horizon is opened that goes far beyond a mere analysis of Mueller’s “Bildbeschreibung”. The text though is meticulously examined in terms of its intertextuality and serves mainly as a case study of a new approach to the ancient myth. Mueller’s work has a strong affinity to the visual arts, especially the “overpainting” technique, which is thoroughly used in “Bildbeschreibung”. In this paper this particular relationship is highlighted and through the use of specific examples from the visual arts is made explicit and put into context. Mueller’s carefully selected “signs” are decodified through a close reading. There is the attempt to find the codes of Mueller’s oeuvre, using the prototypical texts and images. These codes are located and described in “a language that no one can read”. The present paper provides concrete proof that such an approach to the material is possible. The analytical framework ranges from the Minoan death cult to the traditional Japanese No-theatre. The paper also makes use of the historicity of the mythical imagery and of elements of the history of art and cinematographic studies. The result is a new theoretical field into Heiner Mueller’s work that is mainly anchored in the disciplines of literary studies, history and philosophy.
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2

Touzet, Jean-Rémi. "Les deux réalités : surpeinture et sousimages dans l’œuvre de Gerhard Richter (1956-2016)". Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100099.

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« L’image est la représentation et la peinture la technique qui permet de la faire éclater » (Richter 1991). Cette thèse analyse la dialectique entre peinture et images dans l’œuvre de Richter, non pas en termes de médiums mais en se concentrant sur son pouvoir de métaphorisation des rapports entre culture et nature, société et individu, architecture et corps, etc. Peu à peu, elle se focalise sur l’idée et la pratique de surpeinture [Übermalung]. Une première partie est consacrée, de la RDA à la RFA, au passage d’une représentation de la santé sociale à une « Augenklinik », exploration de la « santé moyenne » de l’artiste, de l’impureté des images, qu’elles soient hygiéniques, politiques ou artistiques, et de la vision (1956-1967). Une seconde partie est composée de deux études iconologiques d’œuvres rapprochant par superposition ou juxtaposition le corps et la vision de la structure des escaliers : Ema (Nu sur un escalier) (1966) et Kugelobjekt (1969-1970). Replaçant cette union dans la culture visuelle occidentale, notamment celle des années 1960, elle indique les recherches de Richter sur l’autonomisation de la peinture, de la vision et de l’individu de tout cadre social. Dans cette optique est ensuite présenté le corpus méconnu des photographies surpeintes (1986 ; 1989-2016). Il est analysé, à partir des dits et écrits de l’artiste, comme une métaphore d’un dépassement de l’art et de la culture au regard du contexte des années 1986-1990 : la « querelle des historiens », les catastrophes écologiques et la chute du mur de Berlin. Enfin, à partir d’interprétations iconographiques nouvelles et d’images sources inédites, c’est la surpeinture comme flux de l’histoire qui est étudiée autour de trois dates : le 14 février 1945, le 18 octobre 1977 et le 11 septembre 2011
"The picture is the depiction, and the painting is the technique for shattering it" (Richter 1991). This thesis analyzes the dialectic between painting and images in Richter's work, not in terms of mediums but in its power to metaphorize the links between culture and nature, society and the individual, architecture and the body, etc. Gradually, it focuses on the idea and practice of overpainting [Übermalung]. A first part is devoted, from the GDR to the FRG, to the transition from a representation of social health to an "Augenklinik", an exploration of the artist's "average health", the impurity of images, whether hygienic, political or artistic, and of vision (1956-1967). A second part consists in two iconological studies of works that bring the body and vision closer to the structure of stairs by superimposition or juxtaposition: Ema (Nude on a Staircase) (1966) and Kugelobjekt (1969-1970). Repositioning this union in Western visual culture, particularly that of the 1960s, it points to Richter's research on the empowerment of painting, vision and the individual from any social setting. In this perspective, the little-known body of work of the overpainted photographs (1986; 1989-2016) is then presented. It is analyzed, based on the artist's words and writings, as a metaphor for the overcoming of art and culture in the context of the years 1986-1990: the "historians’s dispute", the ecological catastrophes and the fall of the Berlin Wall. Finally, based on new iconographic interpretations and unpublished source images, overpainting as a flow of history is studied around three dates: February 14, 1945, October 18, 1977, and September 11, 2011
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3

CIOFINI, DANIELE. "REMOVAL OF VARNISH AND OVERPAINT LAYERS FROM EASEL PAINTINGS USING PULSED Nd:YAG LASERS". Doctoral thesis, 2015. http://hdl.handle.net/2158/1003245.

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

1

Rainer, Arnulf. Bible overpaintings: From the Sammlung Frieder Burda. Ostfildern-Ruit: Hatje Cantz, 2000.

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2

Weissbach, Georg, Franz Hempel y Franciska Zólyom. Georg Weissbach: The joy of overpainting. Leipzig: Lubok Verlag, 2021.

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(Contributor), Rudi Fuchs, Helmut Friedel (Editor) y Arnulf Rainer (Photographer), eds. Arnulf Rainer: Bible Overpaintings from the Sammlung Frieder Burda. Hatje Cantz Publishers, 2001.

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Capítulos de libros sobre el tema "Overpaintings"

1

Sawicki, Malgorzata, Emma Rouse, Sofia Lo Bianco y Seela Kautto. "An Investigation of the Feasibility of the Use of Gels and Emulsions in Cleaning of Gilded Wooden Surfaces. Part A: Removal of Brass-Based Overpainting". En Cultural Heritage Science, 1–36. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11054-3_1.

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Stevanović, Tijana y Sophie Read. "Overpainting that jostles". En Architecture and Feminisms, 49–53. Routledge, 2017. http://dx.doi.org/10.4324/9780203729717-6.

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"OVERPAINTING AND REPLICATING THE FACE:". En Face and Mask, 221–29. Princeton University Press, 2022. http://dx.doi.org/10.2307/j.ctv29sfzv4.22.

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Schaefer, Sarah C. "Epilogue: The Invisible Hand". En Gustave Doré and the Modern Biblical Imagination, 270–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190075811.003.0007.

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The book concludes with an epilogue, “The Invisible Hand,” that explores the afterlife of Doré’s imagery as it has been subject to creative erasure. The extent to which these images have been appropriated and adapted is foregrounded in the very process of their original creation, as Doré’s designs were transformed into reproducible matrices through the work of the engravers. The examples of cutting and overpainting of Doré’s work with which the book concludes should be understood not as iconoclastic but as entirely consistent with and the inevitable outcome of both the history of the Bible writ large and Doré’s intervention therein.
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"19 Overpainting and Replicating the Face: Signs of Crisis". En Face and Mask, 221–29. Princeton University Press, 2017. http://dx.doi.org/10.1515/9780691244594-020.

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Bauman, Matthew. "Chapter 5 THE TRANSGRESSION OF OVERPAINTING Jürgen Böttcher’s Radical Experiments with Intermediality in Transformations (1981)". En Moving Frames, 101–21. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781800733770-008.

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Actas de conferencias sobre el tema "Overpaintings"

1

Hontzopoulos, E., C. Fotakis y M. Doulgeridis. "Art conservation studies by excimer laser". En The European Conference on Lasers and Electro-Optics. Washington, D.C.: Optica Publishing Group, 1994. http://dx.doi.org/10.1364/cleo_europe.1994.cmb6.

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Excimer lasers have been employed in a variety of diverse surface cleaning and surface modification applications. The present work investigates the application of excimer lasers for cleaning paintings of the ingrained layers of dirt from paintings that have accumulated from the surrounding atmosphere over the years, and for the removal of overpaintings.
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