Kinds Of Paints Research Articles

Powder Coating, a Better Kind of Paint

Powder Coating, a Better Kind of Paint

Norval Morrisseau: Man Changing into Thunderbird by Armand Garnet Ruffo

Reviewed by: Norval Morrisseau: Man Changing into Thunderbird by Armand Garnet Ruffo Albert Braz Armand Garnet Ruffo, Norval Morrisseau: Man Changing into Thunderbird. Vancouver: Douglas and McIntyre, 2014. 320 pp. $32.95. Perhaps it should not have come as a surprise that the growing presence of indigenous people in Canadian cultural and academic life would not only add new perspectives to scholarly discourse but also challenge the very notion of what constitutes scholarship. This is certainly the case with Armand Garnet Ruffo’s Norval Morrisseau: Man Changing into Thunderbird, a learned biography that does not include a single citation and tests the distinction between the factual and the fictive and the empirical and the mythical. An Anishnaabe from the northern Ontario town of Chapleau, Ruffo is a poet-academic who has made a reputation for himself primarily with biographical long poems about figures like the conservationist and nature writer Grey Owl, the Apache political leader Geronimo, and now the iconic Anishnaabe painter Morrisseau. His best known book is arguably Grey Owl: The Mystery of Archie Belaney, in which Ruffo documents the relationship between the Englishman who pretended to be indigenous and his own family, the Espaniels. In terms of form, though, Grey Owl is a traditional text that borrows heavily from published biographies of the subject. However, this is not what Ruffo does in Norval Morrisseau, which is not only (mostly) in prose but also eschews empirically-based Western research methods in favour of an “Anishinaabe epistemology” (3) that embodies other ways of knowing. Ruffo makes his perspective explicit from the outset. He explains that the impetus for his study of Morrisseau was the 2005 invitation that he received from the art curator Greg Hill to produce a text for the catalogue of the National Gallery of Canada’s retrospective Norval Morrisseau: Shaman Artist. Since at the time Ruffo knew little about “the acclaimed Ojibway painter,” he pondered the offer and “waited. Waited for something to tell me either to take on the project or let it go” (1). That all changed one fateful night. While in bed, through “a combination of dreaming and remembering,” he thought he heard voices, voices that “had come from [End Page 241] the old flat-roof house of my childhood in the north. Perhaps from my mother and the neighbours who had dropped by for a visit, a chat, a drink” (1, 2). Upon reflecting on what he believed the voices had imparted to him, Ruffo deduced that Morrisseau’s “experiences, while extraordinary in their own right because of his unique gifts, were fundamentally connected to something larger than himself. I realized that Morrisseau’s life was representative of the profound upheaval that had taken place in the lives of Native people across the country” (2). Consequently, the significance of the painter’s achievement could only be captured from an Anishinaabe “mythic worldview” (5), which is what Ruffo proceeded to do. In his book, Ruffo traces the life and career of Norval Morrisseau, Copper Thunderbird (circa 1932 to 2007), from his birth in an isolated Anishinaabe community in northern Ontario, through his emergence as the founder of the Woodlands School of art, to his apotheosis as one of Canada’s most celebrated artists. Since Morrisseau had no formal training in art, many critics have been perplexed by his achievement. Ruffo, however, has a culturally-informed explanation: Morrisseau is a shaman-artist. In fact, he is not only a shaman-artist but comes from a long line of shaman-artists. As Ruffo has the painter explain to a client, “ ‘All the pictures that you bought from me are taken from the dreams of my grandfather.’ ” Or as Ruffo elaborates, “Whatever good fortune [Morrisseau] has he credits to his grandfather, Potan, the man who raised him in a world of manitous and demigods” (64). Ruffo goes so far as to state that by the time Morrisseau has his major success in the early 1960s, he “firmly believes that he is a born artist and cannot learn his kind of painting from anyone—as the sacred drum arises from the earth, his paintings arise from the old stories, and he is merely the instrument of their creation...

Archetypal psychology and non-figurative painting

Given that the idiom of archetypal psychology is emphatically figurative, how do we deal with non-figurative painting from this perspective? This paper focuses on the kind of abstract painting in which spontaneous, gestural marks create a ground where specific forms cannot be clearly distinguished (Jackson Pollock's ‘drip’ paintings being a well-known example). Such ‘chaotic’ paintings call into question the whole notion of what we mean by ‘image’. I relate these to Anton Ehrenzweig's concept of ‘inarticulate form’, as well as to some of James Hillman's ideas about aesthetic apprehension, and also draw on my own experience as an artist in creating a series called ‘The ground of All Being’.

Painting: Is It Indigenous to Ghanaian Culture?

Painting could be said to be well grounded in all cultures worldwide. This is underpinned by the vast record of cave art as globally represented, even though this phenomenon does not seamlessly continue into some ancient traditions that followed. In the face of the above however, to find the traditional period of a people one has to identify the geographical area of this group in order to consider the autochthonous art practice of the place so as to determine its cultural beginnings, extent, and forms of art explored. In the case of Ghana, one observes that, art historians usually site the beginning of painting at the time when colonial educational training of the arts was begun in Achimota from the 1900s. The study was conducted using historical review and analysis, unstructured interview guides as well as participant and non-participant observational techniques in a descriptive design at Sirigu, Ahwiaa and Ntonso, revealing the forms of painting that existed in the country before the introduction of formal training by the colonial masters. The result showed that Ghanaians traditionally practiced different kinds of painting, long before the colonial art training programme was introduced. We feel it should be of concern for any people to be able to tell, not only how, and why but also when they started doing the things that matter to their existence and cultural heritage .

싸우는 미술(戦ふ美術) 아시아태평양전쟁기 일본의 미술은 어떻게 싸웠는가

During the Asia-Pacific War, Japanese art was closely associated with nationalism and its philosophy of a shared common destiny. Hence, wartime Japanese art was created with the intention of combatting alongside the Japanese nation under the new political system. This new conception reached a climax with the organization of the exhibition “Nihon Bijyutsu Houkoku-Kai” in May, 1943. Although there have been many studies focusing on war paintings which were made during wartime Japan, the study of other kinds of paintings and the general trends that were set by art during that period has been insufficient. This article therefore proposes an approach whereby an integrated view of art and nationalism is taken rather than a literal analysis of paintings created during the war.

Contact Analysis of Tooth Surface in Gear Meshing Based on Infrared Ray Imagery

Improving accuracy ofthe gear tooth surface has become an important challenge, because the toothsurface accuracy greatly influences vibration of gears. However, for the spiralbevel gear, the tooth surface accuracy is considered to be very difficult toevaluate because the geometrical theory is difficult. Generally, the managementof tooth surface accuracy has conventionally been substituted by the toothsurface contact evaluation with red lead, which is a kind of paint. However,the results of visual examinations are too subjective. We therefore focused onthe infrared ray imagery to investigate the gear tooth meshing. In this research,a high response infrared thermography was used to estimate the tooth contact ofa hypoid gear under running conditions. Specifically, we looked at the increasein temperature on the tooth surface caused by gear meshing. The results clearlyshowed that the temperature was affected by load, sliding speed between toothsurfaces, and the average peripheral speed of tooth surface. We also proposedan equation that predicts tooth surface temperature rise and showed its utility.Thus, the proposed method effectively evaluates the tooth surface accuracy ofhypoid gear.

Necessità delle immagini: artisti a fianco dei botanici nel Sei-Settecento

The art of botanic illustration takes place in two fields: illustrating to botanic texts and still life. From the first half of the XVII Century the plantes introduced in Europe from faraway land, Asia and the New World, encourage a more attentive study than before by the naturalists. The paintings are no more purely ornamental, but they become an integral part of the text. Naturalists try to solicite the collaboration of the best contemporary painters for the illustrational part of their work. The first part of this text is dedicated to the relationship between botanists and artists particularly regarding plants introduced into Europe from America. Of great interest are the result of the Earl of Nassau-Siegen’s expedition (1637-1644), whose following included cartographs, naturalists and painters, the latter's whose task was to document the scenary, the indigenous population, the flora and the fauna. The second part deals with still life, a kind of painting that might seem timeless, at least as to the subjects, but even in this field changes in history may be observed, some of which are illustrated in the text. The iconographic sources, however must always be examined very carefully and together with other sources, because they are often tied to traditional schemes.

William Blake's “Portable Fresco”

Writing in his Descriptive Catalogue of 1809, William Blake declares that he had invented “a portable fresco,” and “fresco” is a term he uses a number of times in the Catalogue and elsewhere. Blake's was a personal medium, involving tempera, gum, and glue on a ground of plaster whiting. The support could be canvas, wood, metal, or even paper (Blake considered the color-printed drawings he produced starting in 1795 as frescoes). This of course is not how the frescoes of Raphael and Michelangelo were made, and Blake had ample opportunity to learn from authors like William Aglionby and Cennino Cennini that they painted in water-soluble colors on wet plaster. Why, then, did he use the term for a different kind of painting? The answer lies partly in his desire to emulate the Italian Renaissance painters that he so much admired, by using what he considered to be an equivalent of their medium. The “portable” aspect would enable the painting to be moved from one site to another, an experiment to be repeated by the great muralist Diego Rivera at the Museum of Modern Art in 1931. Also salient is the matter of size. Blake's pictures with a very few exceptions were relatively small, but he aspired to paint “Pictures on a scale that is suitable to the grandeur of the nation,” and he mentioned a height of “one hundred feet.” Circumstances permitting, Blake would have worked on such a scale, but as they did not, his works could be thought of as models in portable fresco.

고반사 도료를 사용한 차열성 아스팔트 도로포장의 온도저감특성

Air pollution and artificial heat of urban areas have caused the urban heat island in which asphalt pavements absorb solar heat during the daytime and release the heat at night. Hence, in order to improve the environment of urban areas, it is necessary to examine cooling pavements that can reduce heat on road pavements in urban areas. The application of temperature insulation paints on road pavements require to reduce black brightness for visibility, to increase the reflection rate of infrared light and minimize the reflection rate of visible light. In the study, one part of Acrylic-emulsion was used as a main binder, and the changes in black brightness and the changes of addition ratio (0%, 15%, 30%) of hollow ceramics, as well as kinds of paints (carbon black pigment, mixed mineral pigment) were selected as the main experimental factors. The performance of temperature reduction of cooling pavements was analyzed through the reflection rate of spectrum, the reflection rate of solar heat, and the lamp test. Abrasion resistance, UV accelerated weather resistance, and sliding resistance were tested in real situations. In addition, the performance of heat reduction of testing pavements covered with high-reflection paints was analyzed by using an infrared camera. As the test results, when using mixed mineral paints and hollow ceramic of 30%, the reflection rate of spectrum was 43% in the area of near-infrared ray and 17% in the area of visible light at black brightness of

Discourse, Figure

Discourse, Figure

Archaelogical Analysis to Pictorial Shahnameh of Baysongor Mirza Tiymouri

After invention of writing, this new innovation jointed images, and writing together with painting became able to transfer human’s information and ideas. During the Islamic period, simultaneously with the widespread use of paper in painting and calligraphy, a kind of painting developed that is called as miniature.The illustrated inscription of Iran in Islamic period have different type of political,cultural historical and etc information .The informations are important to historians ,archaeologists and other scientists. The Purpose of writing this essay is to introduce the pictorial inscription “Shahname of Baysongor Merza” as a historical, archaeological source of taymourid period. In addition, importance of this pictorial inscription in Archaeology and History interpretions will be expressed.

Painting for Profit: The Economic Lives of Seventeenth-Century Italian Painters (review)

Reviewed by: Painting for Profit: The Economic Lives of Seventeenth-Century Italian Painters Alexander Nagel (bio) Richard E. Spear and Philip Sohm. Painting for Profit: The Economic Lives of Seventeenth-Century Italian Painters. Yale University Press. 400. $85.00 The real lives of seventeenth-century Italian artists were, with few exceptions, nasty and brutish. As Raffaella Morselli, one of the authors in this collection, observes, ‘Painters became and remained poor in a variety of ways.’ The premise of this book is that we are not really seeing the art of this period until we come to grips with the tough economic realities that artists faced. Don’t take the empty stretches of canvas in the later paintings of Guercino simply as expressions of a minimalist aesthetic. Fed up with patrons who did not pay the correct amount, he delivered paintings with fewer figures than they bargained for. No one would deny that more information of this sort is helpful and necessary to know. It is equally true that we need lots of it for the information to rise above the level of the anecdotal. This book is presented as a survey of findings from various regions of Italy, with essays on Rome (Richard Spear), Naples (Christopher R. Marshall), Bologna (Raffaella Morselli), Florence (Elena Fumagalli), and Venice (Philip Sohm). Two efforts at a round-up by the economic historians Renata Ago and Richard A. Goldthwaite make it clear how difficult it is to see clear patterns in the data. Painting had undeniably achieved a new cultural standing by 1600, and yet (possibly for that very reason) the protocols for monetizing that value were unclear. Some painters and buyers adhered to the old guidelines whereby size, materials, and the number of figures determined price; others embraced more modern, intangible criteria. With [End Page 772] few exceptions, such as the superstar Guido Reni, the lack of systematically applied criteria was to the disadvantage of the artists. There are many tables in this book, and they are extremely useful, often enough because they make it clear just how hard it is to draw patterns from the data. Global conclusions are occasionally drawn out of them, for example that pricing in Venice was primarily by size of the picture rather than the number of figures, but such global conclusions are rare. And yet the accumulation of these numbers, disparate as they are, does induce a different view of things. One cannot come away from this book and still see swift and open brushwork, a defining feature of a good deal of painting after 1600, as a purely stylistic matter. There is no getting around the fact that it was a real solution to the pressures of time and money that most artists faced – a solution, of course, legitimized by a new aesthetic that allowed and cultivated the taste for it. To see the stylistic fact in the context of the hard economic reality is to view the paintings more subtly, not less. Even as the insufficiency of the available data is lamented, the unchallenged premise throughout the book is that empirical information about pricing and earnings can tell us something fundamental about the kinds of paintings that were produced and the way they look. Well, almost unchallenged: Richard Goldthwaite is the only author in the collection to confront head-on the difficulty of drawing a useful link between economics and artworks. He points out, first off, that expenditures on paintings constitute an infinitesimal portion of the overall economy, and yet leaving that aside, taken on its own, this sector reveals a basic incoherence. ‘The authors of this volume, whose charge was to say what they could about the subject, have produced arrays of prices that almost defy analysis.’ In other words, there was a basically unsystematic relation between art and money, beyond our incidental difficulty in reconstructing the relationship on the available evidence. As Goldthwaite puts it, ‘[T]he cultural value of paintings was not expressed in the market.’ Such a contention, offered at the end of the book, opens a perspective onto a different line of inquiry. With no pricing system in place, immediate precedents and relevant comparisons counted for a great deal, suggesting...

Effect of hydrophobic paints coating for tritium reduction in concrete materials

The effects of hydrophobic paint coating on a concrete material of cement paste on the tritium transport are investigated. The cement paste is coated with two kinds of paints, acrylic-silicon resin paint and epoxy resin paint. We investigated the amount of tritium trapped in the samples exposed to tritiated water vapor by means of sorption and release. It was found that both the hydrophobic paints could reduce effectively tritium permeation during 50 days exposure of tritiated water vapor. The effect of tritium reduction of the epoxy paint was higher than that of silicon while the amount of tritium trapped in the epoxy paint was larger than that of silicon due to difference of the structure. Based on an analysis of a diffusion model, the rate-determining step of tritium migration through cement paste coated with the paints is diffusion through the paints respectively. It was found that tritium was easy to penetrate through silicon because there were many pores or voids in the silicon comparatively. In the case of tritium released from the epoxy paint, it is considered that tritium diffusion in epoxy is slow due to retardation by isotope exchange reaction to water included in epoxy paint.

Tritium Transfer in Porous Concrete Materials Coated with Hydrophobic Paints

An experimental study on tritium transfer in porous concrete materials for the tertiary tritium safety containment is performed to investigate; (i) how fast tritium is transferred through porous concrete walls coated with or without a hydrophobic paint, and (ii) how well the hydrophobic paint coating works as a film protecting against tritium migrating through concrete. The experiment is comparatively carried out using two types of cement-paste and mortar disks with or without two kinds of paints. The results obtained here are summarized as follows: (1) Tritium transfer can be correlated in terms of the effective tritium diffusivity of DT=1.2x10-11 m2/s in porous cement. (2) Adsorbed or condensed liquid HTO itself is transferred only through pores in cement, and no tritium transfer path is present in non-porous sand. (3) Rates of tritium sorption and dissolution in cement and mortar coated with an epoxy-resin paint is correlated in terms of the diffusivity through the paint film of DT=1.0x10-16 m2/s. (4) The epoxy paint works more effectively as an anti-tritium diffusion coating than the acrylic-silicon resin paint. (5) The hydrophobic property of the silicon resin paint is deteriorated with elongating the contact time with H2O.

Aboriginality, hyper-visibility and wobbliness in paintings from Australia's Western Desert

In the Gibson desert of Australia, elderly Aboriginal people took up painting as recently as the twenty-first century. Many grew up in the bush, as hunter-gatherers, and have lived much of their lives in remote Aboriginal communities. Their decision to become artists, and the kinds of paintings that they make, reflect their place in the history of Aboriginal Australian art, as well as the changes that global capital is bringing to remote Australia. Here I look at the work of one artist from the Gibson Desert, Coiley Campbell, whose style of painting pertains to the construction of Aboriginality amidst the hyper-visible cultures of globalisation. In two of Campbell's period styles, in his overdotting and minimal works, it is possible to read the complexities of making Aboriginality visible for an international art market. Comparisons with the work of highly successful European artists Damien Hirst and Andreas Gursky illustrate the way in which overdetermined visual motifs are a trope of contemporary art made within a global economy.

Elizabeth Barrett Browning and the Perils of Portraiture

Elizabeth Barrett Browning and the Perils of Portraiture Michele Martinez (bio) One of the most distinctive and neglected features of Elizabeth Barrett Browning's poetry and life writing is her engagement with the visual arts, particularly portraiture.1 Recent scholarship on the poet who signed herself "EBB" has focused on her political and social commitments, her theological and philosophical positions, and her role as both literary fan and celebrity.2 Notably, many of these subjects arise in poems about portraits, such as "On a Picture of Riego's Widow: Placed in an Exhibition" (1826), "The Picture Gallery at Penshurst" (1833), and "A Portrait" (1844). EBB seems to have preferred portraits to other kinds of painting because they provide historical records of individual identities. Moreover, she was as fascinated with the subject of a portrait as she was with the transaction that brought it into being. Art historians focus on the economic, social, and psychological imperatives that govern portrait transactions—that is, the dynamic and frequently triangular relationships among the portrait artist, the sitter, and the patron, who is sometimes but not always the portrait's recipient (Pointon 184-90; Rosenthal 147-66; West 37-41). This essay argues that Aurora Leigh (1857) brings EBB's lifelong interest in portrait transactions to the fore in order to wrest power over her likeness from painters, photographers, patrons, and recipients as well as to reveal the negotiations involved—with both male and female artists—in creating an iconic image of the woman poet. Having sat for approximately forty-six likenesses during her lifetime, EBB knew the perils of portraiture. With the exception of female artists, few women knew the iconographic conventions of portraiture as well as she, and few were as involved in their fashioning: as a young woman, EBB commissioned her own portraits (both amateur and professional) and, in one humorous incident, even produced her own. In my view, EBB was an exceptional celebrity who both courted her readership through likenesses and, in her poetry and correspondence, wrote about how the reader or viewer should interpret them.3 Unsurprisingly, a portrait of EBB was the first of a Victorian woman writer accepted by the Trustees of the National Portrait Gallery (Perry 157).4 According to Walter Benjamin, works of art in primitive societies had "cult value," and their ritual function meant that they did not leave the occult space that was open only to a select audience (224). But with the "emancipation" of artistic practices from ritual function through the proliferation of reproductive image-making technologies, modern art has acquired an "exhibition value" [End Page 62] that is nearly absolute (224-25). By the nineteenth century, portraits held both cult and exhibition value. For example, pictures of children, often referred to as keepsakes, preserved the cult of childhood that Victorian middle-class families held dear. But in the increasingly image-conscious literary marketplace, portraits also served the cult of celebrity, which relied on the exhibition and circulation of likenesses. The reproduction of portraits as frontispiece engravings, periodical illustrations, cartes-de-visite, and electroplated medallions meant that a mass readership could create shrines to authors.5 In her correspondence and portrait poetry of the 1830s and early 1840s, EBB registers both a resistance to portraits and a recognition of their necessity. Her portrait narratives (as I call them) reveal the evolution of her visual identity as a female poet, her ambivalence about women's portraiture in Victorian culture, and her belief that poetry, rather than painting, more vividly captures an individual's soul. However, her experience of transatlantic literary celebrity and married life among expatriate portrait artists in Italy helped temper her anxiety and ambivalence about likenesses. I argue that Aurora Leigh (1857) and contemporary correspondence documenting the poet's active quest for an authentic portrait reflect not only public demand for images of literary women but also EBB's unique assertion that female sitters could and should have an active role in their making. Defining an "Authentic" Portrait: Family Pictures, Portrait Poetry, and Literary Fame In what might be seen as a kind of higher idealism in portraiture, many Victorians called portraits—whether on paper or canvas, in plaster or marble—"authentic...

Appreciating art verbally: Verbalization can make a work of art be both undeservedly loved and unjustly maligned

Two experiments examined whether appreciating art verbally would aesthetically confuse viewers. Participants were asked to verbalize why they either liked or disliked two different kinds of paintings; one piece was representational, the other piece was abstract. Those who verbalized their reasons for liking the artworks were more likely to prefer the representational painting, whereas those who verbalized their reasons for disliking the paintings were also more likely to dislike the representational painting. While it was easy to describe reasons for both liking and disliking representational art, the same proved difficult for abstract art. The findings suggest that due to its figurative qualities people will be encouraged to generate reasons to describe representational art, rather than abstract art, and that these reasons could potentially be biased and cause them to change their preferences in line with these reasons.

Moldura e Horizontalidade na Primeira Missa no Brasil

^This article approachs the difference of languages between two kinds of painting of Victor Meirelles, a Primeira Missa no Brasil in 1860 and Panorama do Descobrimento do Brasil exposed in 1900. The Panoramas was paintings exposed at especial architecture called rotundas and they had they peak in 19th century. While the Panorama seems no limits at horizontal circularity, at traditional painting the space is delimited by the edge of frame. In the case of Primeira Missa no Brasil beside some reproductions put in evidence just the detail of central scene.

Art Historical Study on Rising and Declining of Painting Since the 1970s

This research draws attention to the current blooming of painting throughout the world and attempts to explore its art historical context and other social and cultural causes. In the essay, I've dealt with various kinds of painting which went through rises and falls since the 1970s and discursive arguments around them. Painting in recent few years has certainly received a flurry of attention not only from art periodicals but in the international exhibitions. For example, Saatchi's 2005 exhibition touting as “Triumph of Painting” was the first UK blockbuster on painting in 24 years after that of the Royal Academy in 1981. There have been several 'returns' of painting in previous decades but those large shows in Europe like Paris, Basel and the Venice Biennale on the subject recently attest to new way of painting's burgeoning, or different kind of desire for the medium called 'painting'. In Saatchi's case, fifty-four artists have been shown across the mammoth three-part exhibitions including the six most influential European painters. They are Marlene Dumas, Martin Kippenberger, Luc Tuymans, Peter Doig and Jorg Immendorff and Hermann Nitsch. For the trend of painting's comeback, the east German Liga group needs to be counted. Described as the equivalent of yBa, those young figurative painters are attracting the attention of heavyweight dealers. Their common educational ground is the highly conventional Leipzig academy. In this paper, I've traced the stream of painting in art historical context since the late 1970s when expressionist paintings asserted its rightful stake in the international art world after about two-decade recession of painting. Such comeback has occurred a few more time by now. With the primary question of 'why painting is coming back?,' I've probed in crucial arguments on the status and identity of painting itself taken place on entry into postmodern era. Lots of critical analysis and assertion of the two very contradictory parts, that is to say, pros and cons of painting, were summerised and compared. I underlined the severe arguments between the editorials of October who mainly opposed to the rise of painting and other curators or art historians who supported it. Those discussing points, significant as they seem to be, are still relevant in thinking painting in contemporary terms. In recent returning, painting has been identified as mainly figurative painting and so-called 'self-conscious' art, where the artists are concerned about the process of painting itself, and its illusory qualities rather than storytelling. In addition to it, distinction between abstraction and figurative has been blurred so that abstract images may represent quite concrete story whereas the figurative can imply ambiguous and general image of certain thing. And the essay in its ending introduces a new sort of realism executed in recent paintings. Such traits shown in contemporary painting today allow us to see painting opening up to quite different ways of expression and transgressing over what is defined as the 'painting' and its limit of capacity to articulate.

IMAGES IN ARCHITECTURE – FROM MURALS TO ILLUMINATING PROJECTIONS

As in every other domain of art, in contemporary mural painting it is possible to indicate great projects and realizations as well as failures. However, many examples confirm the thesis of an especially significant role of depicting in architectural and urban space. After all, like in other kinds of painting, the main feature here is the talent of an artist. Artistic quality of depicting in architectural scale is so important because of its aesthetical, ethical and education role. It is hard to answer the question about the future of mural paintings and the role of the new media of transmitting color and illusion in architectural space. Nowadays, in the time of instant development of science and technology, increasing tempo of life and continuous need of changes, it may turn out that the digital and hologram pictures better fulfil the expectation of the present recipient. It is not unlikely that the practical values of these techniques – their energetic and light features – might cause the elimination of traditional wall paintings which have accompanied architecture for so many ages. On the other hand, we could observe in the present culture evident “retro” tendencies – the growth of interest in the past, the recognition of traditional forms of expression, and a desire for their continuation. Materiality, touchable texture, and some mysterious load of energy executed by artists in traditional techniques are the elements acting to the advantage of old- fashioned painted walls. Paveikslai architektūroje – nuo freskų iki šviečiančių projekcijų Santrauka Sienų tapyba, kaip architektūros elementas, per amžius turėjo įvairių paskirčių: magišką, simbolinę, estetinę. Freskos suteikė vietai prestižo, perdavė religinio turinio žinias ir įamžino svarbiausias įvykius. Kadangi sienų tapyba visuomet egzistuoja architektūriniame kontekste ir perima architektūrinės formos specifiką, jos negalime suvokti kaip visiškai autonomiško meno. Dėl savo masto, spalvos, simbolinės prasmės ir tam tikrais atvejais aukštos meninės vertės freskos yra išraiškingi orientyrai miesto erdvėje, padedantys geriau susivokti „kognityviuose žemėlapiuose“. Šalia tradicinės sienų tapybos neseniai architektūrinėje aplinkoje ėmė atsirasti naujomis technologijomis – skaitmenine, lazerine ar hologramomis – atlikti paveikslai. Jų meninė vertė yra ypač svarbi dėl jų estetinės, etinės ir edukacinės reikšmės.