Academic literature on the topic 'American Lithography'
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Journal articles on the topic "American Lithography"
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Lahiri, Smita. "Rhetorical Indios: Propagandists and Their Publics in the Spanish Philippines." Comparative Studies in Society and History 49, no. 2 (April 2007): 243–75. http://dx.doi.org/10.1017/s0010417507000485.
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Censorship notwithstanding, the final half-century of Spanish rule in the Philippines was a time of efflorescence in colonial print culture. Between the advent of typo-lithography in 1858 and the successive occurrence, in 1896 and 1898, of the Filipino revolution and the Spanish-American War, printing presses operating in Manila and beyond issued thousands of books and periodicals, the first public library, the Muséo-Bibliotéca de Filipinas, opened its doors in 1887, and the importation of books from Europe and America could scarcely keep pace with demand.
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Piola, Erika. "The Rise of Early American Lithography and Antebellum Visual Culture." Winterthur Portfolio 48, no. 2/3 (June 2014): 125–38. http://dx.doi.org/10.1086/677303.
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Blum, Ann. ""A Better Style of Art": The Illustrations of the Paleontology of New York." Earth Sciences History 6, no. 1 (January 1, 1987): 72–85. http://dx.doi.org/10.17704/eshi.6.1.5635758n4521384g.
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James Hall, like other authors and editors of 19th-century American state and federal surveys, learned first hand that publishing illustrations was time-consuming, frustrating and expensive. But illustrations were indispensible, providing the graphic communication of morphology that justified the author's taxonomic decisions. That essential information, however, passed through the hands of an illustrator and either an engraver or lithographer before it reached the scientific audience that would test and judge it. Artists and printers, therefore, needed close supervision; plates required careful proofing and sometimes cancellation. Hall, like his colleagues, vastly underestimated the time and expense that his project would entail. The plates illustrating the Palaeontology reflected changes occurring in American science and printing. Over the decades spanned by the publication, picture printing techniques changed from craft to industry, and converted from engraving to lithography; so did the New York survey. Meanwhile, the scientific profession developed illustration conventions to which publications with professional intent increasingly conformed. These conventions combined standards of "accuracy" with issues of style to reflect both scientific activity and its social context. The early illustrations drawn by Mrs. Hall were no less "accurate" although clearly less polished than the collaborations between R.P. Whitfield and F.J. Swinton, or the later work of J.H. Emerton and E. Emmons, Jr. The artists and printers of the Palaeontology plates emulated and contributed to the emerging national style of zoological and paleontological illustration, and thus helped consolidate the "look" of American science.
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Schein, R. H. "Representing Urban America: 19th-Century Views of Landscape, Space, and Power." Environment and Planning D: Society and Space 11, no. 1 (February 1993): 7–21. http://dx.doi.org/10.1068/d110007.
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Approximately 5000 lithographic views of cities across America were produced and copies were widely disseminated in the century after 1825, In this paper, urban lithographs are examined as landscape texts in light of contemporary notions of space, vision, representation, and power. A major shift in the genre of urban representation from ‘pictorial’ to ‘bird's-eye’ views is presented as capturing the story of an emerging industrial-capitalist order; as embodying the place of the individual within that order; and as actively legitimating/promoting particular visions of change and progress. Interpreting urban views illustrates the problematic nature of representation and the need to examine particular landscapes/representations within their cultural contexts.
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Dorakh, Alena. "Interdependence and specialization in the global semiconductor industry." Journal of Infrastructure, Policy and Development 8, no. 6 (June 3, 2024): 2436. http://dx.doi.org/10.24294/jipd.v8i6.2436.
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Interdependence between the United States (U.S.), European Union (EU) and Asia in the semiconductor industry, driven by specialization, can serve as a preventive measure against disruptions in the global semiconductor supply chain. Moreover, with rising geopolitical tensions, the cost-intensive nature of the semiconductor industry and a slowdown in demand, interdependence and partnership provide countries with opportunities and benefits. Specifically, by analyzing global trade patterns, developing the Interdependence Index within the semiconductor market, and applying the Grubel-Lloyd Index to the U.S., the EU, and Asian countries from 2011 to 2022, our findings reveal that interdependence enhances regional semiconductor supply chains, such as the establishment of semiconductor foundries in the U.S., Japan, and the EU; reduces dependence on a single supplier, such as the U.S. distancing from China; and increases market share in different semiconductor segments, as demonstrated by Taiwan in automobile chips. The evidence indicates that China heavily depends on foreign sources to meet its semiconductor demand, while Taiwan and South Korea specialize as foundry service providers with lower Interdependence Index values. The U.S. maintains a moderate level of dependence on semiconductor imports due to its strong presence in manufacturing and research, while the EU exhibits a relatively higher level of interdependence, emphasizing its reliance on semiconductor imports. The stage-specific analyses indicate that the U.S. and the EU rely on Asia for semiconductor devices, while China and Taiwan have a higher dependence on American intermediate inputs and European lithography machines.
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Denker, Bert. "Book ReviewJay T. Last. The Color Explosion: Nineteenth‐Century American Lithography. Santa Ana, CA: Hillcrest Press, 2005. ix+311 pp.; 400 color plates, lithographers’ portraits, references, bibliography, index, illustration credits. $65.00." Winterthur Portfolio 41, no. 1 (March 2007): 89–90. http://dx.doi.org/10.1086/518914.
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Sun, Yan Jun, Yan Bing Leng, Zhe Chen, and Lian He Dong. "Study on Optical Property of Fabricating Free-Form Micro-Optical Element by Varying Dose Exposure Method." Key Engineering Materials 552 (May 2013): 131–36. http://dx.doi.org/10.4028/www.scientific.net/kem.552.131.
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Free-form lens is a special element with non-rotating body and aspheric structure. The surface can’t be expressed by stationary analytic formula, and generally it expressed by discrete list point. Free-form lens can distribute light intensity freely,and control light angle、optical path difference etc. Specific light spot is formed in illumination surface, meanwhile the light energy utilization ratio is improved greatly. There are two kinds of methods about Free-form fabrication, and the first kind of method is that free-form is grinded by a small grinding head ,which is controlled by computer; its disadvantage is low precision、high waster rate，especially for optical material; The second kind fabricating method is that multi-degree-of-freedom single-point diamond turning equipment; its disadvantage is that plenty of sub-micron crack formed when brittle material fabricated. In addition, micro-lens array element can’t be fabricated by the two kinds of methods. In allusion to the feature of free-form without stationary analytic formula ,which varying dose exposure lithography method for free-form micro-optical element is presented for free-form micro-lens and array. The method is from the theory that the relation between different exposure energy and different developing depth, adopting laser direct writing equipment free-form photoresist structure is formed in material surface, then the free-form photoresist structure is transfered on the substrate by ion etching method. Any surface figure can be fabricated by controlling every point laser energy for this method, and surface roughness can’t be effected because ion etching belongs to nanofabrication. In this paper, that low Distribution of light amplitude and relation of between exposure energy and exposure time was analysised on base of optical propagation theory and mathematical model of light distribution law was built and simulated by computer program.The results indicate that light energy distributes in accordance with specific law; the exposure depth increases with exposure time. The experiment of exposure and developing finished, used the BOL-500 laser direct writing system in Changchun University of Science and technology,american Futurrex62A photoresist, 412nn He-Ne laser device, 5‰NaOH developing solution. The experimental data coincide with simulation result via comparative analysis. Meanwhile，a set of free-form micro-lens array testing system was established and focal spot shape,energy distribution,focal distance,F parameter were tested about the micro-lens array.
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ROTSKOFF, LORI E. "Decorating the Dining-Room: Still-Life Chromolithographs and Domestic Ideology in Nineteenth-Century America." Journal of American Studies 31, no. 1 (April 1997): 19–42. http://dx.doi.org/10.1017/s0021875896005543.
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On several occasions during the late 1860s, the novelist Harriet Beecher Stowe exhorted readers to adorn their homes with chromolithographs, color prints which reproduced original oil-paintings or, less often, depicted images created specifically for the print medium. In her 1869 domestic advice manual, The American Woman's Home, co-authored with her sister Catharine Beecher, Stowe described chromolithographs (or “chromos,” as they were commonly called) as essential components of a properly embellished home interior. In proposing a hypothetical budget devoted to parlor furnishings, the authors recommended that almost one-fourth of the total be allocated to lithographic reproductions of “really admirable pictures” by some of “America's best artists.” Stowe's advocacy of chromos also appeared in the promotional publications of L. Prang & Company, one of the country's largest publishers of these images. The short-lived quarterly Prang's Chromo: A Journal of Popular Art (published in five issues from January 1868 to April 1869) printed a letter in which Stowe thanked Louis Prang for sending her several free chromolithographs. After praising the “beautiful objects,” Stowe concluded her note with the kind of testimonial Prang no doubt had been seeking when he sent her the complimentary items: “Be assured I shall neglect no opportunity of proving my sympathy with your so charming and beautiful mission, and bringing it to everyone's notice, so far as I can.” And, though it is impossible to know what exact role Stowe's promotions played in the overall sale of chromos, it is clear that she aligned herself with a hot commodity: from 1840 to 1900, chromolithographs in America sold by the millions.
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Carlino, Delia, Ashley Martier, Yasmin Maurice, G. Wills Kpeli, Matthew Burow, and Mark Mondrinos. "Abstract 6791: Investigation of sex hormone effects in an organ chip model of endothelial barrier dysfunction in the triple negative breast cancer microenvironment." Cancer Research 84, no. 6_Supplement (March 22, 2024): 6791. http://dx.doi.org/10.1158/1538-7445.am2024-6791.
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Abstract Inflammation and pathological vasculature are common features of the tumor microenvironment (TME). Sex hormones potently modulate vascular physiology and immune cell functions, and there are established correlations with the outcomes of triple negative (TNBC) despite the defining feature of receptor negativity. Circulating estrogens and androgens have been hypothesized as drivers of TNBC through the actions exerted by receptor-positive cells in the TME. Here, we present an organ chip model of the TNBC microenvironment for quantifying the impact of configurable TME variables such as the ECM composition and the relative densities and phenotypes of tumor cells, cancer associated fibroblasts, and myeloid cells on endothelial barrier function. After establishing baselines of vascular permeability in the presence and absence of TNBC cells, we tested the effect of estradiol, estrone, and dihydrotestosterone on barrier permeability. Multilayer polydimethylsiloxane (PDMS) organ chips were fabricated using standard soft lithography. The layers of the device were separated with semi-permeable membranes that allow exchange of soluble factors. Once assembled, the upper channel was loaded with female (XX) human umbilical vein endothelial cells. Collagen hydrogels were injected into the tissue layer and the devices were cultured on a rocker to induce endothelial barrier alignment via application of an average shear stress of 5 dynes/cm2. We optimized rocking conditions by assessing endothelial layer alignment, junctional organization, and permeability. TNBC cells and XX mammary carcinoma fibroblasts were added to the hydrogel to model the effects of TME-derived signals on endothelial barrier permeability. 40 kDa FITC- Dextran was chosen to assay permeability as it can show leakage due to active disruption of the barrier. Staining for F-actin and ZO-1 allowed for quantification of junctional organization. Sex hormone modulation of proinflammatory gene expression was assessed by RT-qPCR. The presence of TNBC cells significantly increased transport of 40kDa FITC-Dextran across the endothelial barrier, disrupted intercellular junction quality, and induced the expression of inflammatory adhesion molecules including ICAM-1. Our results demonstrate that sex hormones modulate TNBC-associated changes in endothelial cell bioenergetics, junctional organization, and macromolecular barrier permeability. Ongoing work will investigate the effects of age-matched XX monocyte derived macrophages on barrier function in the model. This organ chip platform provides an assay for measuring altered vascular inflammation and permeability in the TNBC microenvironment and may provide a venue for investigating vascular-normalizing effects of various candidate therapeutics. Citation Format: Delia Carlino, Ashley Martier, Yasmin Maurice, G. Wills Kpeli, Matthew Burow, Mark Mondrinos. Investigation of sex hormone effects in an organ chip model of endothelial barrier dysfunction in the triple negative breast cancer microenvironment [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2024; Part 1 (Regular Abstracts); 2024 Apr 5-10; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2024;84(6_Suppl):Abstract nr 6791.
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Cutler-Bittner, Jody B. "Charles White." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 140–49. http://dx.doi.org/10.1215/10757163-7917192.
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The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poignant, politically charged lithographs in a realist drawing style set in increasingly abstract environments. By then associated with the Black Arts Movement, he continued to recycle historical figures and references from his earliest work in the milieu of a Black Renaissance in Chicago and bolstered by the Works Progress Administration, which, with reciprocal viewing, takes on a collective modernist context in terms of current events related to African American experience and American life broadly, even where allegorical. White’s prolific graphic experimentation yielded varied surface patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured.
Dissertations / Theses on the topic "American Lithography"
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Bieber, Jay A. "Synthesis of Nanoscale Structures in Single Crystal Silicon Carbide by Electron Beam Lithography." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/960.
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Nanostructures were formed on diced specimens of several silicon carbide polytypes and silicon using electron beam lithography. A general introduction to nanostructure synthesis and electron beam lithography,are presented. A scanning electron microscope was retrofitted with a commercially available electron beam lithography package and an electrostatic beam blanker to permit nanoscale lithography to be performed.
A process was first developed and optimized on silicon substrates to expose, poly-methyl-methacrylate (PMMA) resist with an electron beam to make nanoscale nickel masks for reactive ion etching. The masks consist of an array of nickel dots that range in size from 20 to 100 nm in diameter. Several nanoscale structures were then fabricated in silicon carbide using electron beam lithography. The structures produced are characterized by field emission Scanning Electron Microscopy.
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Chaudhari, Amol V. "Development of Surface Acoustic Wave Sensors Using Nanostructured Palladium for Hydrogen Detection." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/989.
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This thesis addresses the development of new gas sensor using surface acoustic wave (SAW) technology. SAW sensors detect the change in mass, modulus, and conductivity of a sensing layer material via absorption or adsorption of an analyte. The advantage of SAW sensor includes low cost, small size, high sensitivity.
We investigated the use of nano-crystalline palladium film for sensing hydrogen gas. We also investigated SAW fabrication for radio frequency (RF) range operation where high signal-to-noise ratios can be achieved. A test-bed consisting of a gas dilution system, a temperature-controlled test cell, a network analyzer, and computer-based measurement system was used for evaluating the performance of SAW gas sensors at very low concentrations. Both single and dual delay line SAW devices were fabricated by means of photolithography on a lithium niobate substrate. Tests are carried to determine response speed, resolution, reproducibility, and linear characteristics, over a range of analyte concentrations.
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Bello, Carlos A. "Microsphere-aided characterization of stimuli-responsive polymer networks." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002788.
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Schumacher, Joshua David. "Design and Construction of Plasma Enhanced Chemical Vapor Deposition Reactor and Directed Assembly of Carbon Nanotubes." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000214.
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Fields, Kyle David. "Death and Memory in the Napoleonic and American Civil Wars." Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1278824193.
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Cates, Ryan S. "Influence of Crosslink Density on Swelling and Conformation of Surface-Constrained Poly(N-Isopropylacrylamide) Hydrogels." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1592.
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A stimuli-responsive microgel is a three-dimensional polymer network that is able to absorb and expel a solvent (commonly water). These materials are unique in the fact that their sponge-like behavior can be actuated by environmental cues, like temperature, ion concentration, pH, and light. Because of the dynamic properties of these materials they have found applications in drug-delivery systems, micro-assays, selective filtration, artificial muscle, and non-fouling surfaces. The most well-known stimuli-responsive polymer is Poly(N-isopropylacrylamide) or PNIPAAm and it experiences a switchable swelling or deswelling over a critical temperature ( Tc=~32°C). Below the critical temperature, the gel begins mixing with the surrounding solvent and swells; above this temperature, the opposite is true. The unconstrained hydrogel will continue to swell in all directions until equilibrium is established between its propensity for mixing with the surrounding solvent and the elastic restoring forces of the gel matrix. The strength of the elastic restoring forces is dependent on the interconnectedness of the polymer network and is therefore a function of crosslink density. An increase in crosslink density results in a decreased swelling and vice versa. If the hydrogel is mechanically constrained to a surface, it can experience various wrinkling and buckling conformations upon swelling, as the stresses associated with its confinement are relieved. These conformation characteristics are a strong function of geometry (aspect ratio) and extent of swelling (i.e. crosslink density). In order to capitalize on the utility of this material, it is imperative that its volume transition is well characterized and understood.
Toward this end, pNIPAAm gels have been created with 1x10-7 to 2x10-³ mol/cm³ crosslink density and characterized. This was done by first examining its bulk, unattached swelling ability and then by evaluating its microscale properties as a surfaceconfined monolithe. The latter was achieved through the use of confocal microscopy and copolymerization with a fluorescent monomer. This method allows for a detail analysis of the deformations experienced (bulk-structural bending and surface undulating) and will ultimately lend itself to the correlation between crosslink density and the onset of mechanical phenomena.
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Ribeiro, Edméia [UNESP]. "Costumbrismo, hispanismo e caráter nacional em Las mujeres españolas, portuguesas y americanas: imagens, textos e política nos anos 1870." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/103144.
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ribeiro_ea_dr_assis.pdf: 2491911 bytes, checksum: 0aabf1551cbf9326812aef61b892f12d (MD5)Esta tese procura refletir sobre a coleção Las Mujeres Españolas, Portuguesas y Americanas, publicação composta por três volumes de textos abordando espaços territoriais na Espanha, América e Portugal e por litografias – comercializadas em separado –, produzida no decorrer da década de 1870 na Espanha, e que fez uso da simbologia feminina para representar tais espaços. Essa obra constitui-se, ao mesmo tempo, em fonte e objeto desta pesquisa. Neste estudo, parte-se da hipótese de que essa coleção possui um sentido político e configura-se em produção material que constrói uma representação simbólica das características nacionais espanholas, elaborando um discurso sobre si, perceptível no conjunto de sua concepção, produção e composição. Foi produzida na segunda metade dos oitocentos, sob a raiz do movimento romântico e moldada pela estética costumbrista – gênero que se destacou por descrever tipos sociais, hábitos, costumes e tradições. Sobre a temática feminina, partiu-se do pressuposto de que imagens idealizadas de mulheres foram utilizadas para tocar os imaginários sociais pelo que representavam – amor, submissão, honra, fecundidade, educação, abnegação – e também como símbolos dos novos tipos sociais que surgiam em cena nos espaços nacionais que se configuravam perante as transformações européias. O hispanismo, discurso ideológico pautado nas experiências comuns e espírito espanhol, permeou toda a coleção, e este trabalho sustenta a hipótese de que não só referendou, mas construiu e disseminou esse ideário. Por fim, defendeu-se que tanto a linguagem textual como a iconográfica localizaram e salientaram elementos formadores das sociedades espanholas, revelando origens, tradição, peculiaridades e singularidades desses povos – sob o signo feminino – que remetiam à problemática do caráter nacional espanhol.
This proposition tries to disclose on the collection Las Mujeres Españolas, Portuguesas y Americanas, a publication composed by three tomes of texts which discuss the territorial spaces in Spain, America and Portugal and by lithographs - separately sold -, produced in Spain during the 1870 decade, using the feminine symbology to represent those spaces. This work consists of, at the same time, origin and object of this research. This treatise starts with the hypothesis that this collection has a political meaning and happens to have a material production which builds a symbolical representation of the Spanish national characteristics, elaborating a “self-speech” about itself, perceptible on the entirety of its conception, production and composition. It was introduced on the second half of the XVIII century, under the roots of the Romanticism and molded by the costumbrista esthetics – gender that distinguished itself by describing the social models, habits, uses and traditions. From the feminine themes, the treatise starts from the pretext that the use of idealized images of women were used to reach the social imaginary of what they represented – love, submission, honor, fecundity, education, self-denial – and also as symbols of the new social types that emerged in the national spaces that appeared in the face of the European transformations. The hispanism, ideological speech based on the common experiences and on the Spanish spirits, pierced all the collection, and this treatise supports the hypothesis that it not only countersigned, but built and spread this ideas. And, last but not least, defended that both textual language and iconography placed and emphasized the elements which built the Spanish societies, revealing origins, tradition, peculiarities and singularities of this people – under the feminine sign- that alluded to the a set of problems of the Spanish national character.
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Ribeiro, Edméia. ""Costumbrismo", hispanismo e caráter nacional em "Las mujeres españolas, portuguesas y americanas" : imagens, textos e política nos anos 1870 /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/103144.
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Orientador: Carlos Alberto Sampaio BarbosaBanca: José Luis Bendicho Beired
Banca: Célia Reis Camargo
Banca: Maria Ligia Coelho Prado
Banca: Stella Maris Scatena Franco Vilardaga
Resumo: Esta tese procura refletir sobre a coleção Las Mujeres Españolas, Portuguesas y Americanas, publicação composta por três volumes de textos abordando espaços territoriais na Espanha, América e Portugal e por litografias - comercializadas em separado -, produzida no decorrer da década de 1870 na Espanha, e que fez uso da simbologia feminina para representar tais espaços. Essa obra constitui-se, ao mesmo tempo, em fonte e objeto desta pesquisa. Neste estudo, parte-se da hipótese de que essa coleção possui um sentido político e configura-se em produção material que constrói uma representação simbólica das características nacionais espanholas, elaborando um discurso sobre si, perceptível no conjunto de sua concepção, produção e composição. Foi produzida na segunda metade dos oitocentos, sob a raiz do movimento romântico e moldada pela estética costumbrista - gênero que se destacou por descrever tipos sociais, hábitos, costumes e tradições. Sobre a temática feminina, partiu-se do pressuposto de que imagens idealizadas de mulheres foram utilizadas para tocar os imaginários sociais pelo que representavam - amor, submissão, honra, fecundidade, educação, abnegação - e também como símbolos dos novos tipos sociais que surgiam em cena nos espaços nacionais que se configuravam perante as transformações européias. O hispanismo, discurso ideológico pautado nas experiências comuns e espírito espanhol, permeou toda a coleção, e este trabalho sustenta a hipótese de que não só referendou, mas construiu e disseminou esse ideário. Por fim, defendeu-se que tanto a linguagem textual como a iconográfica localizaram e salientaram elementos formadores das sociedades espanholas, revelando origens, tradição, peculiaridades e singularidades desses povos - sob o signo feminino - que remetiam à problemática do caráter nacional espanhol.
Abstract: This proposition tries to disclose on the collection Las Mujeres Españolas, Portuguesas y Americanas, a publication composed by three tomes of texts which discuss the territorial spaces in Spain, America and Portugal and by lithographs - separately sold -, produced in Spain during the 1870 decade, using the feminine symbology to represent those spaces. This work consists of, at the same time, origin and object of this research. This treatise starts with the hypothesis that this collection has a political meaning and happens to have a material production which builds a symbolical representation of the Spanish national characteristics, elaborating a "self-speech" about itself, perceptible on the entirety of its conception, production and composition. It was introduced on the second half of the XVIII century, under the roots of the Romanticism and molded by the costumbrista esthetics - gender that distinguished itself by describing the social models, habits, uses and traditions. From the feminine themes, the treatise starts from the pretext that the use of idealized images of women were used to reach the social imaginary of what they represented - love, submission, honor, fecundity, education, self-denial - and also as symbols of the new social types that emerged in the national spaces that appeared in the face of the European transformations. The hispanism, ideological speech based on the common experiences and on the Spanish spirits, pierced all the collection, and this treatise supports the hypothesis that it not only countersigned, but built and spread this ideas. And, last but not least, defended that both textual language and iconography placed and emphasized the elements which built the Spanish societies, revealing origins, tradition, peculiarities and singularities of this people - under the feminine sign- that alluded to the a set of problems of the Spanish national character.
Doutor
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Magnin, Lucile. ""Un épisodio en la vida del pintor viajero" de César Aira : le peintre voyageur dans l'Amérique latine du 19è siècle entre littérature, art et science." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00787085.
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Le roman de César Aira, l'un des plus grands écrivains argentins actuels, Un episodio en la vida del pintor viajero (Un épisode dans la vie du peintre voyageur), publié en 2000 en Argentine et traduit en français en 2001, constitue le fil conducteur de notre recherche. Dans cette fiction inspirée d'un fait réel, Aira raconte le premier voyage en Argentine de Johann Moritz Rugendas, peintre romantique allemand de la première partie du XIXe siècle, qui sillonna l'Amérique latine durant vingt ans et rapporta de ses voyages des milliers de dessins et de peintures. Inspiré par les théories du savant Alexandre de Humboldt, et en particulier par la pensée de la " physionomie de la nature ", Rugendas fit également partie de ces artistes naturalistes dont l'art servit la science. En 1838, accompagné du peintre Robert Krause, il traversa les Andes puis la pampa argentine, mais il fut victime d'une grave chute de cheval avant d'arriver à San Luis. Durant le trajet de retour vers le Chili, il aurait approché les Indiens de la région du sud de Mendoza. C'est cet épisode de la vie de Rugendas que Aira relate, à sa façon. La première partie de cette thèse consiste en l'analyse littéraire approfondie du roman, à travers ses différentes thématiques. Parmi celles-ci, figurent l'art en voyage, les liens entre écriture et peinture, art et science, la perception de la beauté et de la laideur. Ce périple fait d'épreuves et de découvertes se révèle être finalement un véritable voyage initiatique pour l'artiste. Dans la deuxième partie, nous adoptons un point de vue historique pour confronter le roman aux faits vécus, tels qu'ils sont racontés dans les biographies de Rugendas ou dans les témoignages de ses contemporains, et réfléchissons à la dialectique entre fiction et réalité. Tout cela nous amène à réfléchir, dans une troisième partie, à l'activité de peintre voyageur. Nous retraçons l'itinéraire des deux artistes en mettant en parallèle les peintures de Rugendas et le récit de Krause, puis nous nous intéressons à chacune des caractéristiques de la pratique de l'art en voyage à travers les expériences de ces deux peintres mais aussi à travers celles d'autres artistes ayant voyagé en Amérique latine au XIXe siècle, tels Léon Pallière, Auguste Borget ou Raymond Monvoisin par exemple, et les peintres de l'école artistique humboldtienne. Cette thèse, qui allie littérature, histoire de l'art et esthétique, est à vocation pluridisciplinaire.
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Ysasi, Alonso Alejandro. "La obra gráfica de Pedro Quetglas “Xam” (1915-2001): la riqueza de un patrimonio." Doctoral thesis, Universitat de les Illes Balears, 2014. http://hdl.handle.net/10803/284394.
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És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn.
Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realitza la seva última litografia.
El treball s'insereix en un àmbit sense tradició immediata sobre l'obra gràfica a Mallorca, pràcticament desapareguda després de la important impremta Guasp.
S'han pogut documentar més de 400 matrius. Alhora, s'han treballat les estampacions d'aquestes, que ascendeixen a 600 estampes calcogràfiques, xilogràfiques, serigràfiques i litogràfiques.Es una investigación, análisis, y aproximación a la obra gráfica del artista mallorquín, del siglo XX, Pedro Quetglas, conocido por el seudónimo de “Xam”. Su actividad se ha sistematizado en base a la biografía, técnicas trabajadas y a su entorno. Xam, se ejercitó en la caricatura, el dibujo, el cartel, el grabado xilográfico, la pintura, los monotipos, la serigrafía y en el grabado calcográfico. Del conjunto de toda su producción se centra en la obra gráfica producida a partir de 1944, cuando puede datarse su primera xilografía, y su fallecimiento, en 2001, en el cual realiza su última litografía. La tarea se inserta en un ámbito sin tradición inmediata sobre la obra gráfica en Mallorca, prácticamente desaparecida tras la importante imprenta Guasp. Se han podido documentar más de 400 matrices. A su vez, se han trabajado las estampaciones de estas, que ascienden a 600 estampas calcográficas, xilográficas, serigráficas y litográficas.
The thesis is research, analysis and approach to the graphic work of the Majorcan artist of the 20th century, Pedro Quetglas, known by his pseudonym "Xam". Xam worked in several art fields, such as caricature, drawing, designing and painting posters, woodcut, painting, monotype, serigraphy and calcography engraving. From the sum of his work the thesis is centred in the graphic work produced between 1944, when we can date the first xylography, and his death, 2001, when he finished his last lithography. The task was inserted in a field without immediate tradition on the graphic work in Mallorca, which practically went missing after the important Guasp printing house closed down. It has been possible to document more than 400 blocks and, at the same time, the prints of those which add up to 600 prints on chalcography, xylography, serigraphy and lithography.
Books on the topic "American Lithography"
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Catharina, Slautterback, Barnhill Georgia Brady 1944-, Boston Athenaeum, and American Antiquarian Society, eds. Early American lithography: Images to 1830. Boston, Mass: Boston Athenaeum, 1997.
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Pat, Gilmour, ed. Lasting impressions: Lithography as art. Philadelphia: University of Pennsylvania Press, 1988.
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Kelley, Don. Pushing boundaries: Lithographs from 9 American fine art presses. Cincinnati, Ohio: DAAP Galleries, College of Design, Architecture, Art, and Planning, University of Cincinnati, 1998.
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Kelley, Don. Pushing boundaries: Lithographs from 9 American fine art presses. Cincinnati, Ohio: DAAP Galleries, College of Design, Architecture, Art, and Planning, University of Cincinnati, 1998.
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Healy, Seamus. Ireland, o Ireland. Cape Cod, Mass: Designed and published by J.F. Healy, 1990.
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Davis Museum and Cultural Center, ed. With a French accent: American lithography to 1860. Worcester: American Antiquarian Society, 2012.
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Samuel Dorsky Museum of Art, ed. Bolton Coit Brown: A retrospective, April 5 - June 15, 2003, Samuel Dorsky Museum of Art, State University of New York, New Palty. New Palty, NY: Samuel Dorsky Museum of Art, 2003, 2003.
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ill, Nebel Carl, ed. The war between the United States and Mexico illustrated. Austin: Texas State Historical Association, 1994.
Find full textBook chapters on the topic "American Lithography"
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Bellows, Amanda Brickell. "Illustrated Periodicals and Lithographs." In American Slavery and Russian Serfdom in the Post-Emancipation Imagination, 72–107. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655543.003.0004.
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This chapter categorizes and analyzes representations of Russian peasants and African Americans in illustrated periodicals and lithographs between 1865 and 1905. It examines popular American publications including Harper’s Weekly, Frank Leslie’s Illustrated Newspaper, the Indianapolis Freeman, the Colored American Magazine, and the lithographs of Currier and Ives. It also assesses widely circulated Russian periodicals Niva and Vsemirnaia illiustratsiia, as well as lubochnaia literatura and lubki, illustrated materials written for the peasantry. The range of portrayals reveals both the multiplicity and evolution of perspectives of peasants and freedpeople during the four decades that followed emancipation.
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Miller, Nicola. "Land and Territory." In Republics of Knowledge, 142–63. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691176758.003.0008.
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This chapter explains that the arrival of lithography in the 1820s made it possible to illustrate printed matter with beautiful scenic engravings. It analyses the evocations of distinctive natural phenomena that constituted a rare element of continuity between the creole patriotism of the late eighteenth century and the post-independence debates about the future. It also discusses how utility and utopianism were enfolded into investigations of the biblical and secular paradise of American nature. The chapter cites how Bello's famous Ode to Tropical Agriculture summoned its audience to live out the freedom won by independence through working the soil, exhorting them not to let the prodigious bounty of tropical fruits lure them into sterile idleness. It mentions that the Argentine anthem mapped out the battlegrounds where liberty had been won, and the Chilean anthem celebrated the clarity of the sky, the tranquillity of the sea, and the majesty of the mountains.
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Branson, Susan. "Grand Designs." In Scientific Americans, 102–23. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501760914.003.0005.
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This chapter illustrates how civic projects articulated national ambitions. The United States needed technologies to develop industry, transport American-made products, and protect the health and homes of urban citizens. But it was the way Americans chose to promote inventions, devices, and civic constructions that put national aspirations into public conversation. Although the Erie Canal was the most prominent public works project in the early nineteenth century, water systems undertaken in American cities between the 1810s and 1850s were the most tangible evidence of civic development. Celebrated as representations of America's place among the nations of the world, the magnitude of these projects made them tourist attractions. Lithographs, paintings, sculpture, and music depicted these achievements. Moreover, the brick-and-mortar constructions visually articulated empirical ambitions through their design and embellishment. Reservoirs, pumping stations, and fountains incorporated references to ancient empires and communicated Americans' conception of nationhood with an easily understood visual rhetoric.
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Elliott, William S. "Significance of New Harmony, Indiana, USA, to nineteenth-century paleontological investigations of North America: Progressive education through arts and sciences." In The Evolution of Paleontological Art. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.1218(07).
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ABSTRACT William Maclure, Father of North American Geology, partnered with Robert Owen in 1825 to establish an experimental socialistic community focusing on equitable reform in New Harmony, Indiana, USA. Artists, educators, and natural scientists recruited from Philadelphia arrived on a keel boat named Philanthropist in January 1826. Upon their arrival, Maclure established the New Harmony schools using a modified Pestalozzian educational approach under the guidance of Madame Fretageot. The New Harmony schools focused on practical education through direct observation of nature as well as a curriculum involving drawing, music, science, writing, and trade skills such as carpentry, engraving, and printing. Furthermore, the integration of arts and sciences with hands-on experiences led to a productive community of natural scientists who published significant works on the conchology, geology, ichthyology, and paleontology of North America. In the mid-nineteenth century, hand-drawn illustrations were reproduced through engravings, etchings, or lithography prior to the invention of the daguerreotype process in 1839, collodion wet plate process in 1851, and flexible celluloid film in 1888. In particular, the published works of David Dale Owen demonstrate the increasing importance of evolving reproduction techniques to paleontological illustration as well as the significance of hand-drawn artistic renderings. Interestingly, the modified Pestalozzian educational approach introduced by Maclure in New Harmony has several implications for the modern classroom. For instance, recent studies suggest that drawing improves spatial reasoning skills and increases comprehension of complex scientific principles. Likewise, engaging students in the drawing of fossils delivers a meaningful learning experience in the paleontology classroom.
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Edelstein, Sari. "“May I Never Be a Man”." In Adulthood and Other Fictions, 18–43. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198831884.003.0002.
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The first chapter reads Herman Melville’s semi-autobiographical novel Redburn: His First Voyage (1849) as an anti-coming-of-age novel that exposes maturity as profoundly ideological, tied to capitalist and nationalist agendas. Published during a moment in which calls proliferated for individual Americans and the nation at large to grow up, Redburn rejects the trajectory toward adult masculinity defined exhaustively in this moment as the basis of American development. The chapter positions Melville’s work amidst the cultural preoccupation with linear life-course trajectories, represented in popular broadsides and lithographs enshrining the stages of life. Melville’s career, which took a well-known plunge after Moby-Dick, might be recast as a refusal to embrace the terms by which market society defined adulthood and success.
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Samuels, Shirley. "Introduction." In Facing America, 3–15. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195128970.003.0001.
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Abstract The cover of this book shows a familiar iconographic imagining of nations as women in a nineteenth-century commemoration of the Four Continents motif. Produced for the Philadelphia Centennial of 1876, nominally a celebration of the century that had passed since the Declaration of Independence was read aloud in that city, this colored lithograph introduced the program. Inside, artistic and mechanical objects appeared that were, in the newly minted tradition of such fairs, designed to celebrate the future as well as the past. That past included the war, the still rawly remembered conflict that had sent troop trains south and wounded men north along Philadelphia’s rails. In reproducing the spectacle and its commemoration here, I propose to begin my consideration of national iconography through a scrutiny of these faces and the processes of recognition they invoke.
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Novak, Barbara. "Fitz H. Lane: A Paradigm Of Luminism." In American Painting of the Nineteenth Century, 89–102. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0006.
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Abstract When Emerson wrote this famous statement in Nature in 1836, Fitz H. Lane (1804–65), a native of Gloucester, was in Boston serving as an apprentice to the lithographer William S. Pendleton. The following year, he worked with the Boston publishers Keith and Moore, and in 1845 formed his own business with John W. A. Scott. He returned to Gloucester about 1848. Shortly after, he built a stone house with a southeast studio and a view of the harbor, and he lived there until his death, apart from short trips to Maine, New York, Baltimore, and probably Puerto Rico.
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Beauchamp-Byrd, Mora J. "John McCrady’s “Southern Eccentric” Regionalism." In Walking Raddy, 235–60. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817396.003.0017.
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This chapter examines a 1948 lithograph entitled Negro Maskers by New Orleans-based Southern Regionalist painter John McCrady (1911-1968), who produced the image for Mardi Gras Day, a book project completed with fellow artists Ralph Wickiser and Caroline Durieux. It documents McCrady’s conception of the southern US, in the decade following the Depression, as a site of singular “folk” distinction, rendered unique by picturesque scenery, African American cultural expressions, dockside scenes along the Mississippi, and carnivalesque traditions such as the Baby Doll masqueraders. Negro Maskers’ stylistic references to EI Greco, Mannerism, American Regionalist painter Thomas Hart Benton, and dream-like Symbolism will be discussed, charting how the image fits snugly into McCrady’s cultivation of a “Southern Eccentric” aesthetic. Above all, McCrady's print will be examined within the context of other sentimentalized, yet often subversive, images of southern, vernacular U.S. culture that distinguished his work from that of Midwestern-centered American Regionalist painters.
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Wójcik, Agata. "Wystawa drukarska w 1904/05 roku w Krakowie." In O miejsce książki w historii sztuki. Część III: Sztuka książki około 1900. W 150. rocznicę urodzin Stanisława Wyspiańskiego, 205–16. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381386548.14.
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Polish Applied Art Society (Towarzystwo Polska Sztuka Stosowana) focused not only on designing interiors, furniture or tapestry, but was also interested in graphic design, to which an exhibition in Kraków was dedicated (24th December 1904 to 10th February 1905), organized in cooperation with the National Museum. The aim of the exhibition was ‘to present the degree of artistry in contemporary Polish printing, to emphasize the aspirations, to give it a distinct character, to give an overview of the artistic use of folk motifs and to inform about the current state of printing technology’. The exhibition was to draw the publishers’ attention to the issues of contemporary print design as well as to arouse the interest of artists in this field. Warchałowski argued that the exhibition was to show that the distinctive Polish character of printing consisted of two elements – the individuality of artists and the use of folk motifs. The National Museum was responsible for the exhibition of the old prints. The exhibition included the most interesting Polish posters of the period, made in the technique of lithography in the workshop of Aureliusz Pruszyński in Kraków. There was also a presentation of publications of the Jagiellonian University Printing House, National Printing House of Napoleon Telz, Piotr Laskauer in Warsaw and several others. The Society did not fail to boast about their own prints – to the quality of which they paid particular attention – the catalogues, periodicals, reports, exhibition posters, correspondence cards. There was a separate presentation of works of the artists who had already been successful in the field of graphic design, among others of Józef Mehoffer, Eugeniusz Dąbrowa-Dąbrowski, Karol Frycz, Stanisław Wyspiański, Henryk Uziembło. The last part of the exhibition was devoted to foreign prints, mostly from Feliks Jasieński’s collection. There were American, English, as well as Chinese and Japanese publications. The exhibition was widely commented on in the press, and it was quite well received. The selection of the presented works, their artistic level as well as the arrangement of the exhibition were praised. The TPSS appreciated several printing houses, awarded medals and distributed cash prizes.
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Gonzalez, Aston. "Introduction." In Visualizing Equality, 1–11. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.003.0001.
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This introduction explains the importance of visual culture to the United States in the middle decades of the nineteenth century. People believed images to have persuasive powers and activists used them to convince viewers to join various social movements that included antislavery and black emigration. Black activists produced images before, during, and after the Civil War that included daguerreotypes, lithographs, moving panoramas, and cartes de visite. They quickly seized these technologies and mobilized the popularity, desirability, and unique capabilities of each. Studying the works of these black cultural producers expands our understanding of the arsenal of strategies African Americans drew upon in the service of increasing black rights.
Conference papers on the topic "American Lithography"
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Ramirez, W. Fred, and Thomas A. Carroll. "Optimal Control and Identification for Optical Lithography." In 1990 American Control Conference. IEEE, 1990. http://dx.doi.org/10.23919/acc.1990.4790707.
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Ghalehbeygi, Omid T., John O'Connor, Ben S. Routley, and Andrew J. Fleming. "Iterative Deconvolution for Exposure Planning in Scanning Laser Lithography." In 2018 Annual American Control Conference (ACC). IEEE, 2018. http://dx.doi.org/10.23919/acc.2018.8431550.
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Zhang, Zezhou, Jianxiao Zou, Jian Zhang, and Chao Peng. "Rapid Precision Positioning with Transition-Positioning Switching in Stepper Lithography." In 2019 American Control Conference (ACC). IEEE, 2019. http://dx.doi.org/10.23919/acc.2019.8814382.
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Pai-Hsueh Yang, B. Alamo, and G. B. Andeen. "Control design for a 6 DOF e-beam lithography stage." In Proceedings of American Control Conference. IEEE, 2001. http://dx.doi.org/10.1109/acc.2001.946086.
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Xavier, Jolly, Joby Joseph, and Cornelia Denz. "Reconfigurable holographic lithography for photonic structure fabrication." In 2010 9th Euro-American Workshop on Information Optics (WIO). IEEE, 2010. http://dx.doi.org/10.1109/wio.2010.5582517.
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Fleming, Andrew J., Adrian Wills, Omid T. Ghalehbeygi, Ben Routley, and Brett Ninness. "A nonlinear programming approach to exposure optimization in scanning laser lithography." In 2016 American Control Conference (ACC). IEEE, 2016. http://dx.doi.org/10.1109/acc.2016.7526580.
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Zhao, Xiayun, and David W. Rosen. "Process modeling and advanced control methods for Exposure Controlled Projection Lithography." In 2015 American Control Conference (ACC). IEEE, 2015. http://dx.doi.org/10.1109/acc.2015.7171896.
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Zhihua Wang, Jun Tan, Qingze Zou, and Wei Jiang. "Control-based high-speed direct mask fabrication for lithography via mechanical plowing." In 2013 American Control Conference (ACC). IEEE, 2013. http://dx.doi.org/10.1109/acc.2013.6580644.
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Bikcora, Can, Siep Weiland, and Wim M. J. Coene. "Reduced-order modeling of thermally induced deformations on reticles for extreme ultraviolet lithography." In 2013 American Control Conference (ACC). IEEE, 2013. http://dx.doi.org/10.1109/acc.2013.6580705.
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"Comparing CVA and ERA in transfer function measurements for lithography applications." In Proceedings of the 1999 American Control Conference. IEEE, 1999. http://dx.doi.org/10.1109/acc.1999.783224.
Full textReports on the topic "American Lithography"
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Graphics from Latin America and the Caribbean: October 1 - 29, 2000. Inter-American Development Bank, October 2000. http://dx.doi.org/10.18235/0005917.
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43 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by 40 artists from the Americas were united in this exhibition presented at the art gallery of York College, in York, Pennsylvania, on occasion of the College's 2000-2201 academic year, which is dedicated to the culture of Latin America and the Caribbean. All works belong to the IDB art collection. Artists included Diego Rivera, Roberto Matta, and Carlos Mérida.
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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, September 2002. http://dx.doi.org/10.18235/0005919.
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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.
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Graphics from Latin America and the Caribbean: January 18th - March 9th, 2002. Inter-American Development Bank, January 2002. http://dx.doi.org/10.18235/0005918.
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43 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by 40 artists from the Americas were presented at the Riverside Art Museum, Riverside, California. On loan from the IDB Cultural Center; the artistic holdings serve to promote understanding of the cultural heritage of its member countries. Included in the exhibit are graphics by important 20th century Mexican muralists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros; the surrealist Roberto Sebastián Matta; Carlos Mérida and others.