plastery


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Related to plastery: plaster spreader

plas·ter

 (plăs′tər)
n.
1. A mixture of lime or gypsum, sand, and water, sometimes with fiber added, that hardens to a smooth solid and is used for coating walls and ceilings.
2. Plaster of Paris.
3. A pastelike mixture applied to a part of the body for healing or cosmetic purposes.
4. Chiefly British An adhesive bandage.
v. plas·tered, plas·ter·ing, plas·ters
v.tr.
1. To cover, coat, or repair with plaster.
2. To cover or hide with or as if with a coat of plaster: plastered over our differences.
3. To apply a plaster to: plaster an aching muscle.
4.
a. To cover conspicuously, as with things pasted on; overspread: plaster the walls with advertising.
b. To affix conspicuously, usually with a paste: plaster notices on all the doors.
5. To make smooth by applying a sticky substance: plaster one's hair with pomade.
6. To make adhere to another surface: "His hair was plastered to his forehead" (William Golding).
7. Informal
a. To inflict heavy damage or injury on.
b. To defeat decisively.
v.intr.
To apply plaster.

[Middle English, from Old English, medical dressing, and from Old French plastre, cementing material, both from Latin emplastrum, medical dressing, from Greek emplastron, from emplassein, to plaster on : en-, in, on; see en-2 + plassein, to mold; see pelə- in Indo-European roots.]

plas′ter·er n.
plas′ter·y adj.
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References in periodicals archive ?
Prepared training programs with examination for obtaining qualifications for EE building envelope (EE plastery and roof construction), thermal insulation of the building, carpentry, HVAC and EE electrical installations) for trainers and wokers
The plastery thickness of Olitski's early work, in light of his return in the '80s to a similar impasto (though now lustrous rather than matte), shows how much of himself Olitski sacrificed in order to produce his signature '60s canvases, with their slowly modulating fields of stained acrylic quasi-framed along two or more edges by subtly contrasting or dissonant hues--paintings of a sort in which Max Kozloff once sa "the aftermath of a physical event or contact seemingly absent from the canvas itself.