PAINTING

Author: MENDEZ RAMIREZ MARIO ALBERTO.
Year: 2003.
University: BARCELONA [More theses of this university] [www.ub.es].
Place of defense: BELLAS ARTES.
Place of preparation: FAC. DE BELLAS ARTES , UNV, DE BARCELONA.

Summary: The text of the thesis recogé reflections made during four years of artistic production in relation to artistic values, concepts, precedimientos and materials. These reflections are trying imaginary tour the course of the fragility of all that is human, and how that is reflected in the art object. It also discusses the works of other artists who situán in the same territory, trying to reflect the foregoing poetizar a way of life from an awareness of how fragile is everything that constitutes us.

Author: PASTÓ AGUILÀ CRISTINA.
Year: 2003.
University: BARCELONA [More theses of this university] [www.ub.es].
Place of defense: BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This thesis subjectividad the romantic element as a crucial and pivotal in the birth of the photographic image. The redescubrimientos of sight by artists and poets of romanticism joins a decisive with the work of optics and photochemistry of scientists and inventors at the beginning of s.XX. The figure of William Henry Fox Talbot (1800-1877) who made the first photographs with Daguerre, shows a very clear picture is further assumed that the conquest of an image technique adventure to conquer a space intimate. The study begins with the analysis of the paintings German romantic evening, especially CDFriedrich (1774-1840) and CGCarus before transferring to analysis of phenomena how the shadows, dioramas and scenarios, the flashlight mágicaâ |. Etc.inventos to medo path between science and art, where esperiencia of light and darkness are crucial to reach the photographic gaze with the first photographs of Niépce, Daguerre and Talbot and then back towards the concept of the night in the art conteporáneo with artists like Christian Boltaski (1944), Kara Walker (1969), or Vija Celmins (1938). In the picture takes place the fundamental principles of the romantics according to which knowledge is produced by a combination of art and ciencia.En the eye of the camera is where the match look scientific and artistic.

Author: TRINIDAD MUÑOZ ANTONIO.
Year: 2003.
University: EXTREMADURA [More theses of this university] [www.unex.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: It conducts an analysis of modernism Portuguese as a whole and then focused on the figure of a prominent painter of this periónu and Spanish origin: Dominguez Alvarez

Author: CHALYVOPOULOU EVANTHIA.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This thesis explores the relationship between art painting romaica in Spain and the mural paintings in Byzantine Greece's twelfth century. It is a comparative research and intercultural's figures of the religious iconography. It analyzes meticulously, all anatomical components of the Byzantine painting and corresponding romantic in Spain, inserting it into historical aspects. By linking different modes of contact between the two cultures. Aspects on the social conditions of the time, the artists and spectators to run this works. Whereas four major aspects of interpretation: 1 - The pictorial tradition of Byzantine and Romanesque. 2 - The duration of the Roman and Byzantine paintings. 3, - The relationship of the believer with the supernatural. 4 - The different conception of the world of man Romanesque and Byzantine. The development of the research is presented with an introduction and justification of work, continuing in Chapter I with historical data. Deepening the study of the techniques of mural paintings in chapter II. In Chapter III discusses extensively strokes so comparative figures. Finishing with conclusions that the synthesized into four main points: 1 - The pitaras Romance tends to some esquematización well as its ornamentation moving away from the viewer in some respects. The Byzantine to peesar its stylization is closer to the viewer. 2 - The artist looks for the Byzantine relationship between the represented and the viewer uses the feeling of volume. The Romanesque painting is more two-dimensional and more distant. 3, the paint-Romanesque maintaining a distance between the viewer and what represented a inexpresivo, while the Byzantine communicates much more expressions. 4 - The Byzantine artists finds freedom of expression through their own language in the details. The Romanesque show a kind of freedom that makes escape from the established forms.

Author: LI CHANG KUO.
Year: 2004.
University: SEVILLA [More theses of this university] [www.us.es].
Place of defense: FACULTAD BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This thesis analyzed from the point of view of a painter Eastern history painting in Taiwan, relacionádolo with social movements, political and religosos that have influenced their evolution. Describes historic and technically works that have come down to our day in terms of composition, line, stroke, and so on. To eventual link with the current painters in Taiwan and their training, making comparisons between the eastern and western painting. Throughout the investigation relates comparatively painting Eastern impacted on the western influences between the two cultures, interrelated works and authors with their respective visions, obtaining both extensive and interesting conclusions. Full research with extensive documentation and graphic literature.

Author: GARCÍA GARCÍA FERNANDO.
Year: 2004.
University: SEVILLA [More theses of this university] [www.us.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The thesis arises from an interdisciplinary perspective, an overview on which to build a discussion around the discrediting of pictorial representation of the figure in relation to its role whatsoever in the art of the past. Based on the analysis of certain historical factors, cultural, technical and artistic influence of this discredited figure and the painting during the second half of the twentieth century, attempts to trace them sonlas relations can be established between the still body as a theme artistic representation through images of the entire nature and the possible continuation of these pictorial images inthe half. With these permisas, the thesis is divided into three parts that are trying to clarify what are the continuities between body art, image and paint. The first part crawls the new positions of the body as a factor in some creative proposals of contemporary art away from figuration and genetic carriers tradicionales.La second part deals with socio-cultural approach to the functions of the represntación body in imágeners; through trend analysis figurative contemporary, and in relation to new ways of creating and disseminating images, the relationship is evident in the image of the body in the process of establishing identity of the subject of a sistema.Por its part, the third stretch study investigates the potential for continuity of such representation of the body in pictorial images from the middle, through the study of a number of contemporary painters belonging to the so-called School of London, the work of these painters brings the possibility of realizing them are the specific qualities of the painting in relation to the body represented.

Author: MEJÍA MORENO RAÚL.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: One of the main reasons for this work, is to seek new ways and symbolic meanings, some of the best-known self-portraits of the artist Frida Kahlo. The symbol is defined in this paper as an object cut into dos.Dos people are left with each of the partes.Estas to bring later, reminds them of their ties hospitality, their debts or their friendship. Each symbol carries its share of sign roto.Inmiscuirse it is unraveling and unite what was separated or take what was unijdo and break to decipher origins olvidados.Así are unexpected situations and solutions surprising. We selected twenty of the self Frida, analyzed its constituent elements, looking for a connection between his work and his life. Work is qualitative and quantitative in nature, seeking to deepen the narrative form in the symbolic meaning of his work. When women artists of the twentieth century, the topic of his own image, raise the possibility exists irrespective of sight masculina.Creando and forging an image free over the male gaze, emancipated his condition erótica.Fida fought for a new symbol , which means to be a woman, from the look of itself. The significance of the work of Kahlo painting is revolucionario.Su attack on the dominant ideology and against the tradition of silence that envelops the world femenino.Su slogan is justified with the popular adage year setenta.Lo staff is politics.

Author: KRAHN URIBE MATIAS.
Year: 2004.
University: BARCELONA [More theses of this university] [www.ub.es].
Place of preparation: FACULTAD BELLAS ARTES SANT JORDI.

Summary: The theme revolves throne to the painting, and the idea of the end of history.

Author: RODRÍGUEZ VAZQUEZ DANIEL.
Year: 2004.
University: PAÍS VASCO [More theses of this university] [www.ehu.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The thesis presents an inquiry into the role, structure and poetic color in the argument plastic dela modern monochromatic painting. Have been identified as poetic and complex system requirements, and analytical understanding of color that make the key instrument and characteristic of speeches monochromatic painting. Likewise linking analytical approaches and concludes with a pictorial practice staff have called blue and that closes the investigation.

Author: ARANDA BARRIO IRENE.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The thesis submitted trying to defend, through a plan of exposure factors, the icon of car accidents and derivatives thereof, are not just isolated elements in the Arts, but forming a specific issue in the History of Modern Art and Posmoderno and we have stretched until today. This is the accident as a theme, not as a technique or concept, although sometimes make any allusion as additional support. From analysis, we can extract that although the issue of automobile, accident and / or death is present in many modern and contemporary artists, how they represent the aforementioned items varies so significativa.Ponce de Leon, Monory, Repollés , Arroyo, Estes or De la Concha, for instance prefer the traditional easel painting of oil (and acrylic) on canvas, leaving the image in the maximum force expresiva.Los Chapman and Baltazar Torres prefiern models to express their art . Lavier, Cesar, Barney, Chaberlain, Rauschenberg, Orozco, Sarah Lucas, Villasante, Segura, Ortega, Paola Pivi, Andrea Zittel or Chakaia Booker, among others, use your vehicle damaged portions of mosmo to perform their esculturas.A Warhol However, the prints will fascinate, while Pettibon, Iuso or Lichtenstein looking at the comic way to show their ideas, trabajándolo from very different techniques (the first marker on paper, photography and mixed media and the second oil on canvas third). The vision of the art world from childhood is important in the work of Andreas Schulze, Georgina Starr, Tobias Rehberger, Thomas Hirschhorn, Iñaki Larrimbe or Abel Barroso, from where critcan or denouncing the world of adultos.Matesanz and Friedman seeking extreme expressiveness the dripping, both in painting (she) and sculpture (him), while artists like Muntean and Rosenblum, Davila, Siquier Bechtle or prefer to hide the icon of covering car or package, which reinforces even more the icon itself. Serrano Adelantado, Tandberg, Tabara Vostell or make use of the photograph (retouched or not), among other techniques representativas.Por its part, Viola, Scurti, Moffatt, Euba, Albarracin, Ajemian or Miguel Palma include video, video wave - installation, its strong point of artistic expression. It has attempted to exercise this analysis or reflection, providing the reader with the broad field that exists with regard to the car accident and within the Arts, inviting him to continue fijándoser works that relate to the topic. Although not discussed in this Tesis.El Italian Alberto Burri, with his tire tracks, the French Jean Oliver Hucleaux, with burial cars, the Spanish Federico Guzman, with its hit or American Cady Noland, hanged with their tires, also, among many others, representatives of the major car accident in the Arts.

Author: GARCERÁ RUIZ FRANCISCO JAVIER.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Based on the observation of certain proposals of contemporary art that insistently pose a reflection on the continuing division between man and the world, presents an interdisciplinary study of a complex and problematic knot has been called sense of exile. Focusing temporarily in the period from the beginning of modernity to this day, and through the artistic, literary and philosophical that it has been generated, the work raises an analysis of the nature and evolution of this feeling of exile , understood as an inevitable attitude of uprooting and strangeness that has served as a stimulus to the creation in any of its expressions.

Author: TIMOTY BAIRD LAYDEN.
Year: 2004.
University: BARCELONA [More theses of this university] [www.ub.es].
Place of defense: FACULTAT DE BELLAS ARTS.
Place of preparation: UNIVERSIDAD DE BARCELONA - FACULTAD DE BELLAS ARTES.

Summary: This thesis see various aspects of synaesthesia in the painting and the relationship between the ear and the vision in the arts. Analyzes the history of the relationship between sound and form from the Orphic philosophy and theories pitagóricas. Insight into the thoughts of some important thinkers (such as Newton and Runge) on the correlation between musical notes and colors of the rainbow or the wheel and the area of colors. Talk about myths and concepts of spirituality related to the sound and color that exerted strong influence on many artists of the twentieth century, through schools of thought as teosofía and psychology, studied by painters, musicians and philosophers important in the evolution of arts at the beginning of the twentieth century (for example, Goethe, Rudolf Steiner, Wassily Kandinsky, Arnold Schà ¶ nberg and Henri Bergson). It investigates the relationship between músic ay paint based on the correspondence between painters and musicians (which is the case of Kandinsky, Schà ¶ nberg, Cage and Johns). - Speaking of interdisciplinary artists (eg Èiurlionis, Cage, Vladamir-Rossine and Russolo). Look at the influence of perceptions and sound synaesthesia on the painting in Europe and America. Destca relationships and influences shared between Europe and America in the thoughts and the development of painting sinestésica sound visual, and the relationship between the arts of music and painting. It journey through the history of contemporary paintings sinestésica western expressing perceptions sound. It shows that the relationship between music and painting and interest to explore, understand and express the world sinestésico in paint have gone through, the history of contemporary art. Explains and analyzes recent studies by scientists working with the phenomenon of synaesthesia and see the works of recent major painters who are sinestetas-like david Hockney, Mark Safan and Carol Steen (people who perceive synaesthesia heavily all the time). He suggested that synaesthesia and the artistic expression is part of human nature and has much to do with its evolution as a species. Concludes that the painting is the easy draw lessons sinestésicas from the depths of being, regardless of the level conscious or subconscious realms. The painting carries such experiences to the conscience of the artist and the art world through analogies and symbolic abstractions created in the act of painting.

Author: PUIG MESTRES LLUIS ELOI.
Year: 2004.
University: BARCELONA [More theses of this university] [www.ub.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Â What is the relationship between your computer and the chance?, Â In what way using computer components random?, Â How Computer-art uses random to develop creative projects?, Â To what extent has the chance given the development of Computer-art? This thesis is in three segments approaches that focus on a single project under the name "Alear." These three approaches are: 1Â th APPROXIMATION .- The project is a "reactive" and presented on a CD-Rom entitled "Alear v-cd." As you can see, there is no interaction, the machine is the one who decides everything development of the piece. It is an interpretation on various concepts of communication represented through random factors that will determine a single display for each time it is run, without narrative content vary. 2 Â ª APPROXIMATION .- "Alear v-shots" is a publication in book form of a selection of screenshots of "Alear v-cd" and a picture made previously to the development of running and that motivated his conduct. 3 Â ª APPROXIMATION .- "Alear Art procesual-aleatorio" The randomness in the Computer-art is a theoretical study and thoughtful about the randomness applied to Computer-art, including analysis of texts and works of other artists and scientists who have used the concept by chance to articulate their own work and reflect on the complex nature of our reality. It was also interpreted some of the points raised by the debate created by the union of the artistic and technological. If in the past chaotic, uneven was a little concerning provoking, now with the computer and with a simple mathematical operation that could generate randomness, it has become a crucial element in understanding today's contemporary art. I submit this thesis with the attempt to introduce and explore applications artistic and theoretical variants arising from the presence surprisingly large and multifaceted as computing, numeracy and randomness in our contemporary creative environment, and to see how they have become half powerfully conditioner our artistic activities. This thesis is structured essentially in two large blocks of theoretical content to communicate clearly their main ideal: the relationship of chance with the computer. First there is a large section entitled "Scientific research and artistic practices around randomness" which meet environment random thoughts from the perspective science, technology, music and literature. The second major block, under the name "Computer-art and randomness," focuses on the territory's own Computer-art to analyze its relationship with the random components, see when that relationship originates and why. It should be noted in this summary, the chapter 'o4. Art procesual-aleatorio "describing the need to give a name to all qualifying jobs on the one hand the microprocessor used as a basic element for development and implementation, and on the other hand , which incorporates all components random and to provide a distinctive. That's why I propose a new team composed of "procesual" and "random". To demonstrate that this categorization aesthetics emerges not only by a determination to narrow technical and a little more line of inquiry, will be identified and developed the main features of this package of work encompassed within what we call "Art procesual-aleatorio." There are guidelines that attempt to provide this aesthetic identity and differentiate it from the vast proliferation of theoretical studies on our new digital culture. It is an attempt to analyze "the aesthetics of chance" reflected through six features that are fulfilled partly or wholly in the works that were later exposed.

Author: FERNÁNDEZ FREIJANES JOSE M..
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This thesis uses paths comes as heterogeneous as anthropology, colonialism, racism, social conflict, etc., the artist's own resources, such as that being considered protein that touches every human behavior without any further, but needed to conduct the achievement of creative activity. The framework of action of the artist is bounded by current approaches are living from Postmodernism: globalization, multiculturalism, panculturalidad, etc., are terms with a new type of characteristics shown an unprecedented aggressiveness and control, so far , desconocidos.Las new communication technologies and their influence on the development of villages destroyed factor space / time that siponían different cultures to maintain their status d'res. This comprehensive framework, combined with the ultimate establishment of art as part of globalization, coupled with the final installation of art as objects of consumption and determining influence of the market on the artistic product made change the old concepts and classifications that still remained in the decade of 80.Desaparecidos styles, trends gender, specialty, art moves in other parameters between that of "Identity" appears as an increasingly decisive factor. The current artist, and incapable of fighting for utopia, disillusioned and ironic, has disintegrated into multiple attitudes individuales.El theoretical incoscientemenete or almost obligation, is forced to assume the role of the artist, in the absence of objects, which necessarily need to show, these become artists themselves. Terms such as "primitive" and "primitivism" lost its raison d'être within the territory of "otherness" living art actual.Algo same could be said of "evolution" comtemporaneidad "trend" style. " Magiciens de la terre is the first major international exhibition which addresses these problems in profundidad.Su comparative analysis with another single sample conducted by its commissioner, Jean-Hubert Martin, in the year 2000: partage d'exotismes allows focus all these attitudes.

Author: OTAOLEA MONTENEGRO PAULA.
Year: 2004.
University: PAÍS VASCO [More theses of this university] [www.ehu.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The starting point for this Doctoral Thesis has been the need to find solutions for the Preservation and Restoration of wallpapers in various palaces of the Basque Country. The objectives we are pursuing knowledge of the degradation of this specific type of roles and his involvement with the wall, as well as to determine the influence of the architectural elements in the conservation of these wallpapers. In order to achieve these purposes, this research focused on the wallpapers of the nineteenth century, have addressed the history of the Middle starting with wallpapers, passing by the West, USA and finishing in the Basque Country. We have also investigated the technical procedures Stamping that were used to carry out wallpapers. It also has been revised conservation problems presented by papal painted given its peculiar location on walls, cabinets, etc.. On the other hand, at the stage of restoration itself, depending on the conditions, treatments have been identified for conservation and restoration to continue. Finally, in accordance with the methodology established, we boarded the restoration of different wallpapers Palace Ganuza, Escoriaza (Guipúzcoa).

Author: GALLEGO GARRIDO JUAN.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The thesis focuses on glosar activity Luis Lugán, an artist unique in the Spanish landscape whose work has been focused on being able to combine art and technology. To focus the issue more rigorously the first two chapters are devoted to analyzing attempts to include technology in the arts, both internationally and in Spain during the second half of the twentieth century, an era in which Lugán has developed its activity . In the third, heart of this work is studied in detail artistic activity Luis Lugán to him throughout his career and until today. As noted at the outset, the primary purpose of this thesis has been to analyze their work situándo in place that it deserves within the panorama of plastic Spanish in the second half of the twentieth century.

Author: ALONSO CAZORLA SANTIAGO.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES..

Summary: The territory of the work is a systemic guidance on the practice of intervention and contemporary installation art. It represents an application of concepts gnoseológicas as the theory of closed systems and a space multiescalar not measurable, on the text that guides the artistic practices. This thesis aims to be a twin lingà ¼ istico, a mimesis alternative, which is the territory of a particular type of art, an art nomad who proposes a vision no-euclideana and autopoiética, what we create in our minds. We refer to the "systemic work," as a replacement lingüstica an artistic communion in which objects are used, have no intrinsic artistic value. It is the relationship between these objects themselves, the objects with the place, its relationship with the viewer and with the various branches of human knowledge, which constitute the artwork. Somehow the artistic work, is made up of this space transitive, conceived as a system, ie a whole which intersects producing an area fraught with unpredictable events and sinérgicos.Con This is not to just develop a estudiio parallel to this " nomadic art "today. Taking a step further, proposing the study - the creation of a territory that is itself artistic work.

Author: MESEGUER MAYORAL ROSELL.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This thesis is primarily an investigation of the technical and plastic photosensitive emulsions in relation to the pictorial techniques. Centered in the emulsion of gelatin silver, research collects data and retrieves old recipes of the first amulsiones photographic, taking these as a basis for the development, conservation and study of artistic possibilities that can add to the liquid emulsion of gelatin silver. It is a compilation and testing of the processes involved. On the one hand we have a theoretically block quese focuses on the procedures and techniques of painting and another on the emulsions fotográficas.Esta data collection on the history, generalities and their characteristics, leading to the historical relationship of painting and photography as creative and technical areas. By hand, a series of chapters that form a bloc pilot, which in a way instructivio explains the processes emulsionado with silver salts in unconventional media and its combination with pictorial procedures. There is one scenario where he wondered to what extent in terms of stability and plastic materials, photographic emulsions are compatible salts of silver with the procedures and techniques pictorial, when we worked on media not convencionales.Para It poses a theoretical and practical research , where the fund has a number of conclusions in forms. It is important to emphasize that the investigation presents the basis for a novel and interesting study because it looks the combination of procedures of a pictorial and photographic materials such as emulsion of silver salts, known and used by artists of world renown but little documentation in English literature.

Author: MESTRE FROISSARD JOÒL.
Year: 2004.
University: POLITÉCNICA DE VALENCIA [More theses of this university] [www.upv.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES DE VALENCIA.

Summary: Alberto Savinio (Athens 1891 -Roma 1952), is an actor known for his literary fiction, essay and theater, as well as his dedication to important painting and supporting theoretical presto metaphysical Italian art. During the last decade there has been a change of sensitivity towards his work and international interest toward his legacy, while in Spain remains a virtual unknown. The nineties have generated, in part of Europe, a recovery program: anthological exhibition, thematic, reprints of his literary work, and some important case studies, in most cases from a historical or literary critic. The particularity of this tesi are only in this historic recovery of Alberto Savinio, but as a demonstration of the validity of their contributions have a projection and suggest new avenues of creation. A speech that the author of this thesis demonstrates through his own pictorial activity and the impact that the legacy of alberto Savinio has had in his painting.

Author: ROMÁN SÁNCHEZ CARMEN.
Year: 2004.
University: SEVILLA [More theses of this university] [www.us.es].
Place of defense: FACULTAD DE BELLAS ARTES DE SEVILLA.
Place of preparation: FACULTAD DE BELLAS ARTES DE SEVILLA.

Summary: This thesis deals with the study of altering the murals identifying and characterizing factors or agents that induce art painting experiencing changes that are manifested in the form of indicators and the processes of change and its effects on the stability of the paintings . From a historical overview of the evolution of materials, components, procedures and techniques used as needed aesthetic, economic, cultural, â |, mural painting and characterization and description of the techniques and procedures painting murals. To conclude with a study of the state of conservation of mural paintings to diagnose, beginning with the indicators of change, the factors that produce and mechanisms triggered after the break physico balance through analysis techniques and terminology of a proxy indicators . The fourth item evaluated and diagnosed the state of conservation of mural paintings of the Source of Catherine de Ribera (Seville).