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Document Details :

Title: Peindre au pluriel
Subtitle: Le geste du peintre mural
Author(s): FONTAINE, Claire
Journal: Tijdschrift voor Interieurgeschiedenis en Design
Volume: 38    Date: 2012-2013   
Pages: 143-156
DOI: 10.2143/GBI.38.0.3139360

Abstract :
The gestures of the mural painter present fixed elements throughout the history of art. They are linked to physical, technical and spatial constraints, more than to a period or to a location. They depend on the painter’s posture, his materials, his tools…. They are associated with the viewing distance and the speed of execution. If we look closely, the information is clear for us to see. After all, because of the large surfaces covered, we do not have (as in easel painting) reworked areas and sequences of superimposed gestures. Instead we find gestures placed alongside each other, in just a few stages. We see how the composition was constructed, how the project was transferred onto the walls, and how the painter effectively faced up to the job. My article aims to demonstrate, through a range of examples, how the creative process is reflected through the materiality of painting, allowing us to observe the painter’s gestures on the walls.

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