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PATTERN PAINT ROLLER LAB
Giacintová, Zdeňka ; Arndt, Jan (referee) ; Ondrík, Jozef (advisor)
My work focuses on the technique of pattern paint rollers and their historical context. Above all, the work presents an opportunity for me to engage with a phenomenon that was very popular in its time and to explore its potential beyond traditional perceptions. Through a series of tests, I experimented with creating new designs and explored the possibilities of this technology, which included, for example, tests of the materiality and size of the roller matrix or the transfer of the decor from its typical interior setting to an exterior environment.
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PATTERN PAINT ROLLER LAB
Giacintová, Zdeňka ; Arndt, Jan (referee) ; Ondrík, Jozef (advisor)
My work focuses on the technique of pattern paint rollers and their historical context. Above all, the work presents an opportunity for me to engage with a phenomenon that was very popular in its time and to explore its potential beyond traditional perceptions. Through a series of tests, I experimented with creating new designs and explored the possibilities of this technology, which included, for example, tests of the materiality and size of the roller matrix or the transfer of the decor from its typical interior setting to an exterior environment.
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Ceiling Paintings and their Interpretation between Image and Material Structure
Mádl, Martin
The study is devoted to the problem of material in the structure of a work of art and its importance in art historical interpretation. Using the example of wall paintings, we consider the problem of grasping the role of material in art historical interpretation of a painting and the difficulties of professional dialogue between art historians on the one hand and restorers and technologists on the other.
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Blue color in the development of fine arts (theoretical-practical thesis)
ČIHÁKOVÁ, Adéla
The bachelor's thesis titled Blue Color in the Development of Fine Arts is divided into two parts - theoretical and practical. The first part of the theoretical framework is devoted to the history of usage of particular blue pigments and their classification. The text also consist of the general history of painting techniques and paint production. The second part of the theoretical framework maps the use of blue color in the historical context of selected cultures, art styles and art movements. The text also further mentions particular artists with a attention to blue color in their art practice. The practical part of the bachelor's thesis is based on the theoretical part. There is a documentation of the art process with a final product of two 100 x 100 cm acrylic paintings.
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Rebecca and Eliezer at the well a mysterious oil painting from the Historical Museum of the Slovak National Museum at the Bratislava Castle
Hradilová, J. ; Kližanová, H. ; Bezák, M. ; Holcová, K. ; Bezdička, Petr
Light microscopy, scanning electron microscopy and microanalysis, X-ray powder micro-diffraction, infrared micro-spectrometry as well as palaeontological analysis have been applied in order to solve the question of provenance of the oil-on-canvas painting Rebecca and Eliezer at the well. In addition to the finding of pigments important for the dating of the painting, as, e.g. Naples yellow (Pb2Sb2O7), or smalt, fossil nannoplankton was described in the carbonate-rich clay ground. It indicates the use of marine sediments of Eocene to Oligocene age. According to mineralogical and paleontological data this ground may be included among grounds used in Italy, particularly in the 17th century. The studied painting is today greatly altered due to extensive reworkings. Prussian blue was used to overpaint faded ultramarine and degraded smalt, which is visibly affected by saponification processes.
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The origin issue of the head of John the Baptist from Tajov
Hradilová, J. ; Bezúchová, E. ; Hradil, David ; Šídová, K.
The significant work of art, the Head of John the Baptist from Tajov, from the Museum of Central Slovakia in Banska Bystrica, which is probably part of the works of Niclaus Gerhaert von Leiden (1420/30 - 1475), was subject to conservation as well as detailed material analysis - first using non-invasive methods (radiography computer tomography, X-ray fluorescence), then laboratory analysis of taken samples (elemental and phase analysis, analysis of organic binders, dendrochronology, radiocarbon dating). The specific painting technique was described. Gilding of the head was performed without any ground only on brown preparatory layer for oil gilding (mixtion), however, the incarnates with an oily binder did contain a light dolomitic ground layer. The blood drops painting employed madder lake including sheep wool shearlings. The work consists of two parts - the head and the bowl, which was understood not to be original. Both parts are made from poplar wood. The results of the dating indicate that the head was created in the second half of the 15th century. The bowl could have been added later, but no later than the beginning of the 16th century. Its inclusion may have happened (albeit it is less probable) in the 17th century, but any period of time after that can be ruled out. The original colouring of the bowl was different the earth pigments of specific composition used in the ground layer imitated terracotta - a clay bowl. Based on the location of the existing hanging points the head was probably on display occasionally in a vertical position with a slight bottom view of 45 degrees.
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