Relevant bibliographies by topics / Casta Paintings

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Casta Paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "Casta Paintings"

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scott, nina m. "Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings." Gastronomica 5, no. 1 (2005): 70–79. http://dx.doi.org/10.1525/gfc.2005.5.1.70.

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Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings Mexican casta paintings flourished as a popular art form in the eighteenth century. No one is sure of the exact origin of this type of painting, which depicted racial mixtures accompanied by local foods; most likely it was an export item for wealthy Spaniards who were returning home and wanted a souvenir of colorful and exotic Mexico. Casta paintings were generally created in sets of sixteen canvases, and depicted all manner of racial hybridization among Whites, Blacks and Amerindians. The common trope was to portray a father, a mother, and an offspring, beginning with the Spanish male with Indian and Black consorts, and ending with an Indian couple, groupings which reflected social hierarchies of the colonial world. Most were painted by anonymous artists, though the canvases analyzed in this study are by known painters. Because of the emphasis on domestic relations, couples were often portrayed in kitchens or markets, which gives us valuable information on this aspect of daily life. The foods associated with the different castes also reflected socio-economic hierarchies, as well as reinforced the idea of America as land of bounty. Colonial artists generally imitated European models, but with the casta paintings Mexican artists were instead urged to paint what distinguished their country from Spain, hereby contributing to a growing sense of independence from the metropolis.
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Del Val, Nasheli Jiménez. "Pinturas de Casta: Mexican Caste Paintings, a Foucauldian Reading." New Readings 10 (January 1, 2009): 1. http://dx.doi.org/10.18573/newreadings.67.

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Morrison, Katherine. "The Colonial Efficacy of Casta Paintings." NASKO 7, no. 1 (September 23, 2019): 190. http://dx.doi.org/10.7152/nasko.v7i1.15643.

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Rebecca Earle. "The Pleasures of Taxonomy: Casta Paintings, Classification, and Colonialism." William and Mary Quarterly 73, no. 3 (2016): 427. http://dx.doi.org/10.5309/willmaryquar.73.3.0427.

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Knaus, Juliann. "Dissolution of Racial Boundaries." JAAAS: Journal of the Austrian Association for American Studies 2, no. 1 (December 31, 2020): 29–45. http://dx.doi.org/10.47060/jaaas.v2i1.73.

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As the field of mixed-race studies continues to expand, my article adds to this growth by analyzing the representation of mixed-race children in Natasha Trethewey's Thrall in relation to the corresponding Mexican casta paintings she refers to. I explore how Trethewey uses diction and etymology in Thrall by performing close readings of her Mexican casta painting poems. Throughout my analysis, I pay special attention to how aspects of knowledge and colonialism affect the portrayal of these mixed-race offspring. The aim of this article is to demonstrate that Trethewey skillfully uses diction and etymology to emphasize the relationship between knowledge and power, particularly with regard to the representation of mixed-race people in society. Trethewey intertwines mixed-race representation and experiences that seem disparate—her poems cross geographical, temporal, and spatial boundaries—in order to illustrate how mixed-race peoples' positioning and representation in society often transcends such boundaries while additionally critically assessing power dynamics controlling said representation. Accordingly, by closely examining the representation of mixed-race people and miscegenation in art and poetry, this article sheds a new light on how meaning can be developed between races and cultures and stresses how colonialism and knowledge can be connected to contextualizing difference across time and space.
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Schwaller, Robert C., and Matthew P. Bowman. "Capturing the quotidian: casta paintings and demographic trends in late colonial Mexico." Colonial Latin American Review 30, no. 3 (July 3, 2021): 423–44. http://dx.doi.org/10.1080/10609164.2021.1947048.

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Loren, Diana DiPaolo. "Corporeal Concerns: Eighteenth-Century Casta Paintings and Colonial Bodies in Spanish Texas." Historical Archaeology 41, no. 1 (March 2007): 23–36. http://dx.doi.org/10.1007/bf03376991.

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Fronek, Joseph. "Observations on Miguel Cabrera after the Conservation of One of His Casta Paintings." Latin American and Latinx Visual Culture 1, no. 2 (April 2019): 122–30. http://dx.doi.org/10.1525/lavc.2019.120007d.

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Deans-Smith, Susan. "Creating the Colonial Subject: Casta Paintings, Collectors, and Critics in Eighteenth-Century Mexico and Spain*." Colonial Latin American Review 14, no. 2 (December 2005): 169–204. http://dx.doi.org/10.1080/10609160500314980.

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Donahue-Wallace, Kelly, and Magali M. Carrera. "Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1244. http://dx.doi.org/10.2307/20477229.

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Dissertations / Theses on the topic "Casta Paintings"

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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.

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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
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Grene, Ruth. "The Colonizers and Their Colonized." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/99233.

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This study is concerned with the Self/Other dichotomy, originally formulated by scholars of South Asian history in the context of European imperialistic treatments of the peoples whom they colonized for centuries, as applied to Mexican history. I have chosen some visual, cinematic, and literary representations of indigenous and other dispossessed peoples from both colonial and post-colonial Mexico in order to gain some insights into the vision of the powerless, (the 'Other'), held by the powerful (the colonizers, whether internal or external), especially, but not exclusively, in the context of race. Some public and private works of Mexican art from the 18th , 19th. and the 20th centuries are used to understand the perceptions of the Other in Colonial Mexico City, at the time of Independence, in state-sponsored pre and post-Revolutionary spectacles representing indigenous peoples, cinematic representations of the marginalized and the dispossessed from the Golden Age of Mexican cinema, and in the representation of the marginalized in the literary and photographic works of Juan Rulfo. I conclude that an ambivalent mixture co-existed in Mexican culture through the centuries, on the one hand, honoring the blending that is expressed in the word 'mestizaje', and on the other, adhering to a thoroughly Eurocentric world view. This ambivalence persisted from the 18th century through Independence and the Revolution and its aftermath, albeit in transformed '
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Alves, Maria João Pinto Barreiro. "Louise Bourgeois-uma mulher em casa." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2003. http://dited.bn.pt:80/30508.

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Arana, Emilia. "Eighteenth century caste paintings: The implications of Miguel Cabrera's series." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278537.

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This study examines caste paintings, an art form unique to eighteenth century colonial Mexico. Hundreds of caste paintings were produced, following a compositional template that remained fairly uniform throughout the century. The distinguishing characteristic of these images is their depiction and labeling of Mexico's racially mixed population. A broad discussion of the caste genre places these works in the context of hierarchical colonial society. Focus is on select images by prominent Mexican artist Miguel Cabrera, and the changes Cabrera brings to the caste template. This study places particular emphasis on the women of Cabrera's first two caste paintings, using examples from portraiture and other art forms for contrast. The noble cacique Indian woman of the first image is used as a way to highlight and explore representation of the European and Indian cultures that comprised the major dichotomy of New Spain's social organization.
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Morais, Maria Antonieta Lopes Vilão Vaz. "Pintura nos séculos XVIII e XIX na galeria de retratos dos benfeitores da Santa Casa da Misericórdia do Porto." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras -- -Departamento de Ciências e Técnicas do Património, 2001. http://dited.bn.pt:80/30046.

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Olsson, Melinda. "The Casa della Venere in Bikini (I 11, 6-7) at Pompeii : its decoration and finds /." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09pha733.pdf.

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Thesis (Ph. D.)--University of Adelaide, Dept. of Classics, 1989?
Vol. 2. consists of 64 leaves of mounted photographs. Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide. Includes bibliographical references (leaves 276-291).
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Torrisi, Valentina. "La Casa di Livia al Palatino. Un nuovo studio topografico." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL122.

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Cette thèse montre qu’il y a lieu de s’interroger sur l’extension et les différentes phases de construction de la première résidence augustéenne du Palatin et en particulier sur une partie de celle-ci: la maison de Livie. Actuellement, j'ai établi quatre phases de construction pour la Maison de Livie, la première peut être datée aux alentours de 70 av. J.-C. en raison des similitudes entre le type de ses murs et ceux des substructions du théâtre de Pompée, construit entre 61 et 55 av. J.-C. et aussi à cause d’une estampille de tuile trouvée dans la substruction du complexe sud-est, datée par Margareta Steinby autour de 79 av. J.-C en raison des vestiges souterrains, je suppose l'existence au premier étage, aujourd’hui disparu, d'un oecus corinthius du côté sud-est et d'une basilique du côté nord-ouest du bâtiment. Les trois autres phases relèvent de l’initiative d’Auguste, qui a acheté plusieurs maisons sur la colline de Palatin afin de construire un complexe résidentiel sur le modèle des palais hellénistiques. Les peintures de la Maison de Livie datées auparavant d'environ 30 av. J.-C. sont datées actuellement au tour de 40 avant J.-C. par Eugenio La Rocca qui a démontré que la maison avait été construite et décorée beaucoup plus tôt. Selon son hypothèse, la « rupture » stylistique entre la première phase et la deuxième phase du second style peut être attribuée à la présence de Cléopâtre à Rome entre 46 et 44 av. J.-C. La reine était très probablement accompagnée d'artistes travaillant pour elle dans les ateliers royaux d'Alexandrie. Il est donc probable que l'élite romaine aurait reproduit les styles et les goûts de César et de Cléopâtre
This thesis show that there is cause to question the extension and the different construction phases of the House of Augustus and in particular, of a part of it, the House of Livia as recently Irene Iacopi and Giovanna Tedone published an important paper about the accuracy of dating of the construction phases in the Augustan palace. Currently I established four construction phases for the House of Livia, the first one can be dated around 70 B.C. because of the similarities between the type of its walls and the ones of Pompey’s theatre, built between 61 and 55 B.C. and also because of a tile’s stamp found in the substructure of the south-east complex, dated by Margareta Steinby around 79 B.C. Because of the underground remains I suppose the existence at the first floor, actually destroyed, of an oecus corinthius in the south-east side and a basilica in the north-west side of the building. The three more phases should have been linked to Augustus, who bought several houses on the Palatin hill in order to build a Hellenistic palace styled complex. La Rocca demonstrated that the decoration of the House of Livia started from 40 BC due to the presence of Cleopatra near Rome between 46 and 44 BC. The queen very probably was accompanied by artists working for her in the royal Alexandrian workshops. It is likely, therefore, that the Roman elite would have replicated the styles and tastes of Caesar and Cleopatra
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Auria, Addolorata. "Recherches sur l’habitat domestique à Pompéi à l’époque samnite : les maisons de taille moyenne." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100191.

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Cette étude doctorale s’inscrit dans le cadre d’une cotutelle de thèse entre les universités de Paris Ouest Nanterre La Défense et de « l’Orientale » de Naples. Elle vise à étudier les typologies architecturales et décoratives utilisées dans les maisons des classes moyennes de Pompéi entre la fin du IVe et le début du Ier s. av. J.-C. Cette thématique est encore incomplètement traitée par la littérature spécialisée, qui s’est souvent concentrée sur des contextes plus raffinés et des périodes ultérieures. La recherche a été appuyée sur l’analyse conjointe des données de fouilles, si ces dernières sont disponibles, et des structures d’époque samnite encore in situ. Par ailleurs, la participation à un projet de recherche sur la Regio VI, nous a offert l’occasion de travailler sur du matériel inédit et de démarrer notre enquête à partir d’un cas d’étude spécifique, la Casa del Granduca Michele (VI,5,5) et ensuite de vérifier la diffusion des données acquises à l’échelle de la ville. Le travail a été donc divisé en trois parties. La première a été consacrée au cas d’étude, avec une analyse approfondie de la structure et de la décoration de la maison notamment au IIe s. av. J.-C. La deuxième a concerné l’étude des types architecturaux diffusés dans la cité vésuvienne l’époque samnite, avec un regard particulier sur le type de la maison à atrium testudinatum qui n’avait pas fait l’objet d’une étude systématique. La troisième partie a enfin concerné des décors des maisons de taille moyenne. L’analyse a concerné, avec une approche diachronique, d’abord les décorations peintes des parois et des plafonds, ensuite les éléments accessoires et pour finir les revêtements de sols
This Ph.D is prepared in co-tutorship between the Université de Paris Ouest Nanterre La Défense and the Università degli studi di Napoli « l’Orientale ». Its aim is to analyze the architectural and decorative typologies used in the construction of Pompeian middle class houses between the end of forth and the beginning of first c. B.C. As a matter of fact, if the most luxurious domus of this period are well known, many aspects of the middle-class houses are still to be studied, for they have long been left aside by the scientific research. The study has been based on the analysis of data coming both from excavations and from a survey of the samnitic structures still in situ. Moreover, the participation to a research program centered on the Regio VI has offered the occasion to work with unpublished material and to start the research from a case study, the Casa del Granduca Michele (VI,5,5). The diffusion of data collected in this house have later been verified with a research on the city level. Therefore, work has been divided in three parts. The first one has been dedicated to the case study by a deepened analysis of structure and decoration of this house in the second c. B.C. The second one to the architectural typologies used in middle class houses during the samnite period, with a particular regard to the type of the atrium testudinatum house, which previously had never been systematically studied. The third part has dealt with the decoration of these houses. The analysis, carried out with a diachronic approach, has concerned walls and ceilings’ paintings, floors and other elements like terracotta and main door stone capitals
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Merling, Mitchell Frank. "Marco Boschini's La carta del navegar pitoresco art theory and virtuoso culture in seventeenth-century Venice /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/31532271.html.

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Books on the topic "Casta Paintings"

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Imagining identity in New Spain: Race, lineage, and the colonial body in portraiture and casta paintings. Austin, TX: University of Texas Press, 2002.

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The paintings of the Casa Vasari. New York: Garland Pub., 1985.

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Carta, Mino. Mino Carta oil paintings: Boudoirs and gardens. London: Hyde Park Gallery, 1993.

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Casta painting: Images of race in eighteenth-century Mexico. New Haven: Yale University Press, 2004.

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Maffeis, Rodolfo. Storie di Casa Rucellai. Firenze: Giovanni Pratesi Antiquario, 2001.

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Saiz, María Concepción García. Las castas mexicanas: Un género pictórico americano. [S.l.]: Olivetti, 1989.

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Bertolotti, Rossana Maseroli. La stanza Antonio Fontanesi di casa Camellini. Reggio Emilia: Camellini, 1999.

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Bertolotti, Rossana Maseroli. La stanza Antonio Fontanesi di casa Camellini. Reggio Emilia: Camellini, 1999.

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Casa-Museo Boschi Di Stefano. Milano: Skira, 2003.

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Franco, Zuliani, and Potocnik Michele, eds. Casa Sbarra: Un sogno rinascimentale. Ponzano: Vianello libri, 1990.

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Book chapters on the topic "Casta Paintings"

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Morelli, Laura. "L’esperienza formativa di Anton Domenico Gabbiani a Venezia. Disegni e dipinti inediti." In Studi e saggi, 107–45. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.08.

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This paper aims to cast new light on Anton Domenico Gabbiani’s first sojourn in Venice, which took place between 1678 and 1681, by following the two main biographies of the artist, written by Ignazio Enrico Hugford and Francesco Saverio Baldinucci, and by analysing new archival documents. Specific attention is given to the constant study of artworks by the great Venetian masters of the Sixteenth century, especially Titian, to whom Gabbiani devoted himself also in his later years, copying famous masterpieces of the Cadore painter. Through some unpublished drawings of the Uffizi and new or little-known paintings, the Venetian component of Gabbiani’s style is identified in the way of composing and in the execution of airy and light figures. The highlights and intense Venetian colorism contributed to the creation of sophisticated chiaroscuro modulations expressed in the mimetic rendering of animals and landscape settings.
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Evans, Dorinda. "7. The Death and Legacy of a Maverick Artist." In William Rimmer, 197–208. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.07.

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The concluding chapter weighs Rimmer's recognition or historical status at the time of his death and now. His first biography, written by someone who did not know him –Truman H. Bartlett – has had a disproportionate impact on how he is seen, even today. That is, his sheer originality – attested to by students as well as contemporaries – has been largely overlooked or misunderstood. The fact that he critiqued neoclassicism has been lost. So has his strong spiritual orientation and his emphasis, in teaching and in his own work, on imagination and self-expression. Despite his attachment to subject matter as a Romantic, he can be seen as a forerunner of modernism – in purely formal terms – in his fragmented statues. These precede, by a decade, similar work by Auguste Rodin. His personal symbolism is also prescient in being evocative of the production of the later Symbolists. Fortunately, Rimmer had loyal students and friends who tried to keep his memory alive after his death. Their efforts resulted in three of his plaster-cast sculptures being cast in bronze, and a selection of his drawings exhibited at the famous 1913 International Exhibition of Modern Art (the Armory Show) in New York. He also had two paintings in the 1915 Panama-Pacific International Exposition.But the fact that Rimmer did not explain his seemingly aberrant creations, and Bartlett did not understand him, has had a detrimental impact on his reputation. His importance for the period and today lies in his insistence on working solely from imagination which was a radical idea at the time. According to his thinking, the artist’s contribution in creating a work of art should be self-expression.
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"Casta Paintings (1785)." In Mexican History, edited by Nora E. Jaffary, Edward W. Osowski, and Susie S. Porter, 174–77. Routledge, 2018. http://dx.doi.org/10.4324/9780429498978-36.

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Vázquez, Oscar E. "Allegories of Race: Casta Paintings and Models for Theorizing Race." In Early Modern Visual Allegory, 57–74. Routledge, 2017. http://dx.doi.org/10.4324/9781315094724-4.

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Zell, Michael. "For the Love of Art: Vermeer and the Poetics of the Gift." In Rembrandt, Vermeer, and the Gift in Seventeenth-Century Dutch Art. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726429_ch05.

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This chapter explores Vermeer’s art in relation to the ethics and aesthetics of the gift. The gift culture of Dutch burgher society together with the conceptual framework of the gift paradigm cast new light on Vermeer’s exceptionalism. Vermeer’s depictions of beautiful women and refined courtship encourage the art lover to experience his paintings as if in love with their seductive beauty, figuring the ideal relationship between beholder and artwork, and painter and painting, in contemporary Dutch art theory. As objects of desire of the viewer and Vermeer himself, his paintings thematize art’s inspiration in love, not the desire for fame or profit, laying claim to a gift-like status and carving out a symbolic space exempt from ordinary measures of value.
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Leach, Eleanor Winsor. "Mythography and Roman Wall Painting." In The Oxford Handbook of Greek and Roman Mythography, 490—C35.P107. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.36.

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Abstract In the first sustained study how Roman wall painting intersects with mythography, this essay explores how both the depiction of myth on walls and the interpretative recreation of mythical narratives by viewers reflect a mythographical mindset. In a careful selection of case studies, the author considers: episodic narratives (Odyssey frieze from the Esquiline); variations on a theme (Actaeon in Casa del Frutteto and Casa di Epidius Rufus); synoptic mythography (Dirce cycle in Casa di Giulio Polibio); and ensemble collections with thematic connections (Casa di Giasone, Casa dei Dioscuri). All of these place active demands on the viewer in seeking connections to literary works as well as the “myth” itself. By contrast, the work of Philostratus, with its fictive educational setting, offers a glimpse how a rhetor might employ such interpretative strategies in the service of paideia.
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"RACIALIZED SOCIAL SPACES IN CASTA AND COSTUMBRISTA PAINTING." In Mexican Costumbrismo, 11–29. Penn State University Press, 2018. http://dx.doi.org/10.5325/j.ctv14gpbkg.6.

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Ling, Roger, and Lesley Ling. "I. 10. 7: CASA DEL FABBRO." In The Insula of the Menander at Pompeii. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780199266951.003.0011.

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The Surviving Decorations in the Casa Del Fabbro belong to two main phases: the late Third Style and a crude and simple form of the Fourth Style. Late Third Style paintings occur in the two rooms (8 and 9) that open southwards to the portico (10) and garden at the rear of the house, one on either side of the tablinum. They are accompanied in one case (room 9) by a decorated pavement assignable to the same phase. The only other space which may have had Third Style paintings at the time of the eruption was the tablinum itself (room 7). Here Elia records a wall-decoration that was ‘molto rovinata’, a description often applicable to paintings which had been on the walls for some decades before 79; remnants on the east wall consisted of ‘specchi rossi e gialli, divisi da sottili fasce verdi e zoccolo a fondo nero ornato di sagome verdi e gialle’. This description could fit a Third Style scheme, though it does not exclude the Fourth Style. Unfortunately nothing legible now survives, but the plaster of the pilasters at the entrance predates the final coat of plaster in the atrium. Simple Fourth Style paintings occur in the cubicula to the west of the fauces and atrium (rooms 2, 4, and 5). Further fragments in the rooms above these cubicula are too incomplete for detailed analysis but are likely to belong to the same period. The atrium itself (room 3) is plastered plain white, and the fauces has only coarse plaster: one wonders whether these were provisional arrangements pending full redecoration or a sign of the house’s conversion to commercial or manufacturing activities (see below, pp. 144–5). The only decorated pavement which can be dated, with some confidence, to the Third Style is that of the black room (9), a cocciopesto containing patterns of inset white tesserae which delineate the position of triclinium couches (pp. 262–3; Fig. 111). The area covered by the couches is marked by a semis of five-tessera crosslets, the central area by a mat of swastika meander, and the area at the front and sides by mats containing lozenge grids.
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Ferreira, Cláudia. "Fernando Namora e a Pintura." In Medicina e Outras Artes: Fernando Namora no Centenário do seu Nascimento, 23–30. FLUP-ILC, 2020. http://dx.doi.org/10.21747/978-9895478422/lib23a2.

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This text discusses paintings by Fernando Namora, a craft he never abandoned although he kept it private. This aspect of his creative works has been virtually forgotten, to the extent that it is a surprise to discover the extent of his dedication and authenticity. First, we clarify our conceptual frame and then we present the set of paintings which are part of the collection of Casa Museu Fernando Namora; Finally, through dance, we experiment a dialogue between two of his works: Estudo/ Study (1944/45) and Auto-retrato/ Self-portrait (1947).
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"chapter 1 Racialized Social Spaces in Casta and Costumbrista Painting." In Mexican Costumbrismo, 11–30. Penn State University Press, 2018. http://dx.doi.org/10.1515/9780271081540-004.

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Conference papers on the topic "Casta Paintings"

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Stork, David G. "Mathematical foundations for quantifying shape, shading, and cast shadows in realist master drawings and paintings." In SPIE Optics + Photonics, edited by Gerhard X. Ritter, Mark S. Schmalz, Junior Barrera, and Jaakko T. Astola. SPIE, 2006. http://dx.doi.org/10.1117/12.681141.

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Chueh, Juyu, Ajay K. Wakhloo, and Matthew J. Gounis. "An Innovative Method to Construct Silicone Cerebrovascular Replicas." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192642.

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Our objective is to create cerebrovascular replicas that offer detailed geometry from clinical imaging data and have versatile applications such as testing new endovascular devices. To facilitate optical observation, simulate physiological environment and obtain reliable data, the replica is designed to be transparent and elastic with uniform thickness and good compatibility with imaging modalities such as computed tomography (CT), magnetic resonance imaging (MRI) and three-dimensional rotational angiography (3DRA). Several different manufacturing processes have been demonstrated in previous studies [1,2]. The physical 3D vasculature models were first obtained either by injecting methylmethacrylate into the human specimens to get vascular lumen casts of the part of interest or sending data derived from images generated from the imaging facilities to 3D printer for rapid prototyping. Different methods including repeated painting, dip-spin processing, and lost-wax technique were then applied to the casts to form the elastomeric replicas.
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Arosio, Franco, and Ingo Lange. "Lifetime Protection of Iron Casted Brake Discs for Electric Vehicles through Advanced Heat Treatment Technology." In EuroBrake 2021. FISITA, 2021. http://dx.doi.org/10.46720/1978791eb2021-mds-006.

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The rise of Electrical Vehicles (EVs) is unstoppable and EVs will become a key part of the mainstream automotive market. According to recent post-COVID-19 scenarios based on IHS data, EVs will surge up to 14% of global passenger car sales in 2027 and go up to 57% in 2040. The electrification of future mobility concepts is going along with new requirements also for the brake system. EVs with regenerative braking applications utilize the traditional friction brakes in fewer circumstances due to recuperation: therefore the risk of superficial corrosion increases. In case of an emergency brake situation the basic requirement is that the braking surface will be free of corrosion to have maximum brake power. Thus, the corrosion-free condition on the braking surface is a safety requirement at any time. The state of the art solution consists of paintings or “coatings”, such as ultraviolet (UV)-hardening paint, Zn or Zn/Al paints, which can perform well in new conditions (e.g. up to 120 hours in standard UNI ISO 9227 salt fog chamber). But these solutions will be easily abraded within approximately 20 standard-condition braking applications. The corrosion-free condition during the lifetime of the disc is not achieved yet in the current state of the art; rust or corrosion can seriously downgrade the braking performances. This paper is describing an innovative 2-step process to improve the corrosion and wear resistance of standard cast iron brake discs. In the first step, the amount of undesired graphite lamellae will be reduced from the surface with customized parameters, according to the individual types of grey cast iron material of the substrate. This pre-process is followed by a thermochemical diffusion process including controlled oxidation of the substrate resulting in high corrosion protection of the rotors. The authors will produce proof of corrosion resistance up to 300 hours in salt conditions according to UNI ISO 9277. In addition, bench tests and vehicle endurance tests have been performed in cooperation with Tier 1 and OEMs and have shown increased wear resistance even with non-electric cars and with standard ECE brake pads. The novel surface solution could be also applied to non-functional areas of the brake disc like cooling channels, bell and swan neck in order to substitute the current paintings. In summary, the new 2-step heat treatment process is a price competitive solution for corrosion protection of functional and non-functional areas of iron casted brake discs over the entire lifetime, especially on EVs with strong recuperation. But this solution also works for hybrid and conventional cars in preferably on the rear axis with low-abrasive brake pads (e.g. NAO pads). Finally, even when the vehicle fleet goes all-electric, dust emission from brakes and tyres will still pollute the environment. Addressing this topic, the authors will provide an outlook of the ongoing activities to reduce brake dust emissions with innovative surface solutions.
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Fonti, Alessandro. "Le Corbusier and Ariadne." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.957.

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Abstract: From a letter dated 1913 to W. Ritter in which he described the “erotic obsession” which had caused him to depict the statue of the Sleeping Ariadne in the gardens of Versailles as a scantily-clad odalisque in the painting entitled La Versailles du Grand Turc, up to his last graphic project of 1964 entitled “Nassaince du Minotaure II”, the “private mythology” of Le Corbusier’s works was dominated by Minoan-Cretan mythology, to the point that the bull symbol became the unifying principle of his entire pictorial, plastic and architectural work. Dozens of Le Corbusier’s architectural projects include the theme of the labyrinth. The “main ouverte” and Ariadne - la Licorne were intended to “join up” from afar Chandigarh with the Bhakra dam. For the dam Le Corbusier designed architectural elements and he planned to install a copy of the “Ariadne” sculpture, similar in size to the “open hand” at Chandigarh. The Chandigarh-Bhakra complex – the planned city and the hydroelectric infrastructure – was the realization of the global post-war reconstruction plan, an approach devised by Le Corbusier together with the UN’s CIAM, based on the model of the TVA, the New-Deal Federal Agency, which had planned the development of the most backward area in the States starting from hydropower generation. The story is encrypted on the back of the tabernacle at Ronchamp. Resumen: De una carta de fecha 1913 a W. Ritter en el que describía la "obsesión erótica", que le había hecho representar la imagen de la Ariadna dormiente en los jardines de Versalles como una odalisca desnuda en el cuadro titulado La Versalles du Grand Turc, hasta su último proyecto gráfico de 1964 titulado "Nassaince du Minotaure II", la "mitología privada" de las obras de Le Corbusier fue dominado por la mitología minoico-cretense, hasta el punto de que el símbolo del toro se convirtió en el principio unificador de toda su obra pictórica, plástica y arquitectónica. Decenas de proyectos de arquitectura de Le Corbusier incluyen el tema del laberinto. La “main ouverte” y Ariadna - la Licorne estaban destinadas a unirse de lejos Chandigarh con la presa de Bhakra. Para la presa Le Corbusier diseñó elementos arquitectónicos y que planeaba instalar una copia de la escultura "Ariadna", similar en tamaño a la "mano abierta" en Chandigarh. El complejo de ChandigarhBhakra - la ciudad planificada y la infraestructura hidroeléctrica - fue la realización del plan mundial de la reconstrucció posguerra, un enfoque ideado por Le Corbusier, junto con el CIAM de la ONU, basado en el modelo de la TVA, el New-Deal Agencia Federal, que había planeado el desarrollo de la zona más atrasada de los Estados Unidos a partir de la generación de energía hidroeléctrica. La historia está cifrada en la parte posterior del tabernáculo en Ronchamp. Keywords: Minoan-Cretan mythology; Ariadne; Taureaux; hydropower; Chandigarh; Ronchamp. Palabras clave: Mitología minoico-cretense; Ariadna; Taureaux; energía hidroeléctrica; Chandigarh; Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.957
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