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Journal articles on the topic 'Museum in painting'
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1
Miyashita, Tsutomu. "A New System to Appreciate the Visual Characteristics of a Painting." Leonardo 42, no. 4 (2009): 342–49. http://dx.doi.org/10.1162/leon.2009.42.4.342.
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A painting-viewing system is proposed as a tool to help painting appreciation and to improve the museum experience. This system simultaneously highlights certain visual characteristics of multiple paintings, thus informing users of the links between paintings and the semantic elements that may appear superficially different, and also conveying the art-historical explanation of those characteristics. Through this system's evaluation, the approach based on “the awareness of the visual characteristics” may be effective as a method of developing the user's interest in the paintings. When this system is placed in museums and galleries as a mediation tool, it will be useful to a viewer's preparation for the art-viewing experience. This paper presents the concepts behind the system's development and the results of the first survey as a piece of a larger project to explore the improvement of painting appreciation as a museum experience.
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Iranowska, Joanna. "What is a ‘Good’ Copy of Edvard Munch’s Painting? Painting Reproductions on Display." Culture Unbound 9, no. 1 (2017): 38–61. http://dx.doi.org/10.3384/cu.2000.1525.179138.
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Paintings in museums might occasionally be replaced by a photoprint mimicking the original. This article is an investigation of what constitutes a good reproduction of an artwork (oil painting) that is meant to be displayed. The article discusses what the usefulness of reproductions depends on, applying the Valuation Studies approach, which means the primary concern is with the practice of valuing itself. In other words, the study focuses on how museum experts evaluate reproduc-tions of oil paintings. The article analyses three cases of displaying digitally prin-ted copies of Edvard Munch’s oil paintings between 2013 and 2015 in the Munch Museum and in the National Gallery in Oslo. The study is based on a series of semi-structured interviews with the experts, working at and for the museums, that were involved in producing and exhibiting of the photoprints: curators, con-servators, museum educators, and external manufacturers. The interviews were grouped into five clusters, which I have chosen to call registers of valuing following Frank Heuts and Annemarie Mol (2013). The described valuation practices have to do with delivering experiences to the public, obtaining mimetic resemblance, solving ethical aspects, exhibitions’ budget, and last but not least, with the time perspective.
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.
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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Suhendroyono, Suhendroyono, and Novita Nugraheni. "MIXED MEDIA SEBAGAI ALTERNATIF PENCIPTAAN LUKISAN DI MUSEUM RUDY ISBANDI SURABAYA." Kepariwisataan: Jurnal Ilmiah 10, no. 02 (2016): 15–22. http://dx.doi.org/10.47256/kepariwisataan.v10i02.124.
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Mixed Media developments in the manufacture of paintings at the Museum Rudy Isbandi has evolved with new innovations to be able to attract the attention of visitors. Utilization of used goods for Mixed Media painting techniques as an alternative of making the painting a positive impact on the environment even though not all of the junk could dimanfaatakn to be a painting that transform media and creative. The use of second-hand goods can produce works of art that manifold visual and 3-dimensional character who is able to make the artists are interested in collecting. The facilities provided by the Museum Rudy Isbandi not been standardized to make visitors comfortable.
 Keywords: Rudy Isbndi Museum, Development of Mixed Media, Utilization of thrift, appeal used goods
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Zbuchea, Alexandra, and Loredana Ivan. "Painting Shades of Gray: How to Communicate the History of Communism in Museums." Romanian Journal of Communication and Public Relations 17, no. 2 (2015): 21. http://dx.doi.org/10.21018/rjcpr.2015.2.14.
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<p>Communication of sciences / arts lies at the core of a museum public activity. It is a special type of communication, meant to make the collections and the domain of the expertise of the museum accessible to a wide public in order to fulfill the special cultural and social role that museums have in the contemporary society. This cannot be achieved without the cooperation of visitors, as well as the museum stakeholders. For fruitful relationships, museums have to design their activity and public offer taking into account the characteristics as well as the interests of various segments of its audience. The present paper discusses the prerequisites for a successful museum exhibition. Special attention is given to designing an effective exhibition on the history of communism. By investigating the profile of the potential visitors for such an exhibition, the paper draws a framework to be considered when designing it. The discussion is timely, since in the last few years there are discussions and initiatives related with the establishment of a museum of communism.</p>
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Titarenko, E. M. "Russian painting of the 19th century in the context of the projective aesthetics of N.F. Fyodorov." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 114–27. http://dx.doi.org/10.17588/2076-9210.2019.4.114-127.
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The article is dedicated to the insufficiently studied problem of N.F. Fyodorov’s projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as “The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)” (1880s), “About the Kremlin Walls Paintings” (1893), “Kremlin Walls” (1893), “The brilliant robber. (About Ge’s Painting “The Crucifixion”)” (1894), “Moscow Rumyantsev’s Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin” (1898) and other works. The article considers N.F. Fyodorov’s analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting “The Apparition of Christ before the People” (1858). The article traces the influence of the artist’s works on the conceptual and compositional creation of the “pictorial demonstration” of Fyodorov’s aesthetic supramoralism. It uncovers the specificity of the philosopher’s religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov’s texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov’s critical account of Ge’s “Biblical cycle” as a theurgical project. The reception of Vereschagin’s painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.
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Краснова, И. В. "An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions". Nasledie Vekov, № 1(25) (22 квітня 2021): 109–17. http://dx.doi.org/10.36343/sb.2021.25.1.009.
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В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.
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Fragasso, Laura, and Nicola Masini. "Postprocessing of Infrared Reflectography to Support the Study of a Painting: The Case of Vivarini's Polyptych." International Journal of Geophysics 2011 (2011): 1–8. http://dx.doi.org/10.1155/2011/738279.
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Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings' conservation state. The study case analyzed in this paper is related to a polyptych panel attributed to Vivarini's workshop conserved in the “Sigismondo Castromediano” Museum in Lecce. The painting's IR reflectography has been acquired through a CCD camera with spectral sensitivity ranging 400–1150 nm and manual positioning system. In order to offset the technological limits of the CCD camera, reflectograms have been processed through Principal Component Analysis and spectral indices. Postprocessing provided information related to the different pictorial drafting and restoration works, as well as emphasized graphic details and shadings, useful to improve the knowledge of the painting techniques.
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Horváth, János. "Rippl-Rónai József, mint Munkácsy tanítvány. Egy Rippl-Rónai által festett Munkácsy kép." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 1 (2013): 305–14. http://dx.doi.org/10.26080/krrmkozl.2013.1.305.
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It is open to doubt, whether some of the paintings in the works of Munkácsy Mihály belongs to the master or some of his pupils. The problem was brought to light by the critiques, following the Munkacsy exhibitions organized in the last 7-8 years throughout Hungary, including Kaposvar.Rippl-Rónai József was one among the wide range of pupils who worked for Munkacsy in Paris at the end of the 19th centu-ry. In his Memoirs he described a curious case about a reduc-tive reproduction of his master’s painting, the “Two families”.The writer of the present study, also a Ripple Ronai researcher, identified this painting to be the one residing in the Munkacsy Mihaly Museum in Bekescsaba, called the Dogfamily. In the identification process the author has used another painting by Rippl-Rónai called “The interior of a room on the outskirt of Paris” as proof. It was painted approximately at the same time frame and in the same manner as the painting mentioned in Rippl-Rónai’s memoir.This is the first attempt to clarify the uncertainty around the originality of the paintings in the case of Munkacsy’s and Rippl-Rónai’s painting
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wissman, fronia e. "Renoir's Onions." Gastronomica 9, no. 2 (2009): 7–9. http://dx.doi.org/10.1525/gfc.2009.9.2.7.
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Pierre-Auguste Renoir's painting Onions, at the Clark Art Institute in Williamstown, Massachusetts, was painted in Naples in 1881. Renoir went to Italy in part to see the art of the Renaissance, especially the frescoes of Raphael. Onions is his response to frescoes, but not Raphael's. Instead, he was energized by seeing frescoes from Pompeii and Herculaneum that he saw installed in the National Archaeological Museum in Naples. Renoir's painting also is testimony to his difficulty in finding suitable models from whom to paint. A comparison is made with John Singer Sargent's contemporaneous paintings of onion sellers.
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Antunes, Vanessa, Maria J.Oliveira, Helena Vargas та ін. "Characterization of Glue Sizing Layers in Portuguese Wood Paintings from the 15th and 16th Centuries by SEM Secondary Electron Images and μ-FTIR". Microscopy and Microanalysis 20, № 1 (2013): 66–71. http://dx.doi.org/10.1017/s1431927613013561.
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AbstractAccording to treatises on 15th and 16th century paintings, artists dedicated particular attention to the sizing layer—consisting mainly of animal glue applied onto the wood support before further application of the ground layer. The stability of a painting mainly depends on the presence of a very cohesive sizing layer. However, the study of these layers has not received special attention from researchers. In this article we present a methodology for characterization of the sizing layer both chemically, by IR spectroscopy (Fourier transform infrared spectroscopy), and morphologically, by scanning electron microscopy (SEM). Secondary electron images obtained by SEM allow precise characterization of such layers. Painting reconstructions were used as references in development of the method to study the sizing layer in real painting samples. Presented herein are examples of this study on 15th and 16th century Portuguese paintings, particularly on the Triptych of S. Simão, from the Aveiro Museum, and S. Pedro, belonging to the Mercy of Tavira.
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Bellia, L., F. Fragliasso, and E. Stefanizzi. "Effects of light source spectrum and background colour on the perception of paintings." Lighting Research & Technology 52, no. 1 (2019): 36–63. http://dx.doi.org/10.1177/1477153519847254.
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This paper presents an experiment on the effect of light on the perception of paintings. The experiment was performed in a test-room where a typical museum exhibition set-up was simulated. Two different paintings were shown to 44 participants, under different light scenes obtained by using tuneable LED (Light Emitting Diode) wallwashers. To set the light scenes, the following parameters were modified: correlated colour temperature of the lighting, illuminance on the painting and the colour of the background wall. Participants answered a questionnaire to assess the perception of the paintings’ colours, the lighting conditions and the pleasantness of the exhibition set-up. The results demonstrated that illuminance is the parameter mainly affecting perception, for both paintings. However, correlated colour temperature and wall colour, as well as the combination of the three different considered parameters, can more or less influence perception depending on the chromatic composition of the painting.
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Grimsted, Patricia Kennedy. "A Goudstikker van Goyen in Gdańsk: A Case Study of Nazi-Looted Art in Poland." International Journal of Cultural Property 27, no. 1 (2020): 53–96. http://dx.doi.org/10.1017/s0940739120000016.
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Abstract:This article traces the provenance and migration of a painting by Jan van Goyen (1595–1656), River Landscape with a Swineherd, from the Jacques Goudstikker Collection and now in Gdańsk Muzeum Narodowe. After the “red-flag sale” of the Goudstikker Collection in July 1940 to German banker Alois Miedl, and then to Hermann Göring, this painting—after its sale on Berlin’s Lange Auction in December 1940 to Hitler’s agent Almas-Dietrich—was returned to Miedl-Goudstikker in Amsterdam. Miedl then sold it (with two other Dutch paintings) to the Nazi Gauleiter of Danzig, Albert Forster, among many wartime Dutch acquisitions for the Municipal Museum (Stadtmuseum). Evacuated to Thuringia and captured by a Soviet trophy brigade, it thus avoided postwar Dutch claims. Returned to Poland from the Hermitage in 1956, it was exhibited in the Netherlands and the United States (despite its Goudstikker label). Tracing its wartime and postwar odyssey highlights the transparent provenance research needed for Nazi-era acquisitions, especially in former National Socialist (NS) Germanized museums in countries such as Poland, where viable claims procedures for Holocaust victims and heirs are still lacking. This example of many “missing” Dutch paintings sold to NS-era German museums in cities that became part of postwar Poland, raises several important issues deserving attention in provenance research for still-displaced Nazi-looted art.
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Parovatkina, H. Y. "THE RIDER OF THE SKY (VASYL’ BARKA – A PAINTER)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 326–28. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-326-328.
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For the first time the article reveals a so far recondite facet of Vasyl’ Barka’s creative endowment – the art of painting. On examining his artistic paintings, exhibited in the National Museum of Literature of Ukraine a few years ago, the author of the article briefly acquaints with the exhibits of the display, draws parallels with the visual art works by Čiurlionis and Roerich.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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Снытко, Людмила Николаевна. "The fate of the painting “Dinner of Tractorists” (1951) by A.A. Plastov." Искусство Евразии, no. 2(17) (June 27, 2020): 306–19. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.020.
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Статья посвящена одному из самых замечательных произведений советской эпохи – картине выдающегося советского художника Аркадия Александровича Пластова «Ужин трактористов» (1951 года), которая с 1952 года хранится в Иркутском областном художественном музее имени В.П. Сукачева. Судьба этой картины складывалась драматично. В сталинское время она была подвергнута критике как не соответствующая идейным канонам социалистического реализма и, отвергнутая столичными музеями, оказалась в собрании Иркутского областного художественного музея. Ее триумф пришелся на времена хрущевской «оттепели», когда картина прославилась не только на выставках в нашей стране, но и далеко за рубежом. Возросшая оценка живописного полотна стала причиной претензий на него со стороны Третьяковской галереи. Сотрудникам сибирского музея удалось вернуть картину в свою коллекцию. А для Государственной Третьяковской галереи А.А. Пластов в 1961 г. создал ее повторение. На основе документов автор статьи опровергает возникшие в искусствоведческой литературе неточности в толковании судьбы этой картины. The article is about one of the most remarkable works of the Soviet epoch – the painting “Dinner of Tractorists” (1951) by the outstanding Soviet artist Arkady Plastov. This painting is kept in the Sukachev Irkutsk Regional Art Museum. The fate of this picture was dramatic. In Stalin's time, it was criticized as not corresponding to the ideological canons of socialist realism and, rejected by the capital's museums, ended up in the collection of the Irkutsk Regional Art Museum. The triumph for the painting came in the mid-1950s – 1960s, when it became famous not only at Russian exhibitions, but also far abroad. The increased appreciation of the painting became the reason for pretension on it from the Tretyakov Gallery. The staff of the Irkutsk museum managed to return the painting to its collection. And Arkady Plastov created the replay for the State Tretyakov Gallery in 1961. Based on the documents, the author of the article refutes the inaccuracies in the interpretation of the fate of this picture that arose in the literature of art history.
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Taplin, Oliver. "A disguised Pentheus hiding in the British Museum?" Letras Clássicas, no. 8 (November 1, 2004): 27. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p27-35.
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During the last twenty-five years, two opposing trends have dominated over the debate about the relationship between mythological narratives in vase-painting and those in tragedy. On the one hand, there are those who regard the paintings as dependent upon works of literature; on the other hand, there are those who argue that the artistic tradition is fully self-explanatory with no need of any reference to any literature. This paper analyzes some cases, in which the whole phenomenon seems to be more complex, and to be inextricable from the part played both by painted pottery and by the theatre in the whole lives of those who were the public for these pots and these plays.
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Stoneley, Peter. ""The Fellows from the Fogg": Modernism, Homosexuality, and Art-World Authority." New England Quarterly 84, no. 3 (2011): 473–95. http://dx.doi.org/10.1162/tneq_a_00112.
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The spread of modernist painting in the early-twentieth-century United States was met with cries of "degeneracy" and "homosexual conspiracy." This essay explores the claims and counter-claims. Above all, Stoneley argues that the battles reflected larger shifts in art-world authority, with the museums and the "museum professional" emerging as controlling forces.
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Dang, R., Y. Yuan, C. Luo, and J. Liu. "Chromaticity shifts due to light exposure of inorganic pigments used in traditional Chinese painting." Lighting Research & Technology 49, no. 7 (2016): 818–28. http://dx.doi.org/10.1177/1477153516644866.
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Museum lighting must use a light source suitable for preserving the colours of the objects being lit. This paper examines how prolonged exposure to three light sources typically used in museums affect the chromaticity of five pigments commonly used in Chinese traditional heavy colour painting. The three light sources were tungsten halogen with an infrared filter, metal halide and an RYGB-type LED. The chromaticities of the pigments were measured at regular intervals over 1152 hours of exposure. These data were used to reveal the chromaticity shifts occurring and hence the relative effect of each typical light source. Of the three light sources measured, the RYGB-type LED had the least chromaticity shift, on average. These results provide a database for related research on Chinese traditional heavy colour painting illumination and provide a more general reference for the choice of light source in the design of museum lighting.
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Andone Rotaru, Mariana. "Ouă încondeiate de Paști. Ateliere de pedagogie muzeală la Muzeul de Istorie Turda, județul Cluj." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 199–208. http://dx.doi.org/10.47802/amet.2020.34.11.
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"Easter eggs. Workshops of museum education at the History Museum in Turda, Cluj County The pedagogical programme of the History Museum in Turda, had a great evolution in 2019, by providing 11 interactive workshops to students, in order to improve their talents, extracurricular work and to develop their skills in several domains. Our ‘Easter egg painting’ programme stands for continuing the tradition by meetings between artisans and public, through the interactive workshops, not just as demonstration. In the seven editions, there were organized around 30 workshops, with more than 500 participants, students and adults from Turda, Cluj-Napoca and surrounding areas, activity which was very much appreciated. The purpose of this workshop is to convey the correct value of the egg painting activity to a large and diverse public, so that they perceive it as important as the pottery and glass painting. Our workshops go through all the stages of the egg painting, decorating with the archaic techniques of successive color baths, protecting with bee wax, decorated with vegetal, zoomorphic, solar and more. The colors used are also limited to the traditional ones, monochrome or polychrome – red, white, yellow and black. Via this workshop, made in the old times at the countryside, the museum has direct implication in the preservation of traditional handcraft, loaded with symbolism. Keywords: Easter eggs, painted eggs, traditional craft, workshops, museum education "
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Bulkeley, Rip. "Aivazovsky's Icebergs: an Antarctic mystery." Polar Record 51, no. 2 (2014): 212–15. http://dx.doi.org/10.1017/s0032247414000047.
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ABSTRACTThe Armenian-Russian artist Ivan Aivazovsky completed a painting of a polar seascape entitled Ledyanyye gory [Ice mountains] in 1870. The picture has usually been taken for an Antarctic scene depicting HIMS Mirnyi, one of the two ships of the Russian Antarctic Expedition of 1819–1821, in the presence of icebergs, ice cliffs and floes. The author contends, first, that this identification is open to considerable doubt, and second, that other aspects of the painting are also problematic. The painting is in the Aivazovsky Museum in Ukraine. The Museum kindly supplied him with high resolution photographs of the painting but personal scrutiny has proved impossible hitherto. Further research, especially into Aivazovsky's papers, might resolve some of the questions which it raises.
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Starn, Randolph. "Three Ages of ''Patina'' in Painting." Representations 78, no. 1 (2002): 86–115. http://dx.doi.org/10.1525/rep.2002.78.1.86.
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THIS ARTICLE TRACES THE HISTORY of a byword for the look of age since the early seventeenth century in art writing, the museum, the restorer's studio, and the art market. The seemingly material fact of patina has a career in the history of taste in Old Master painting through its old regime in the seventeenth and eighteenth centuries, when it was much prized as an effect of time and as an artifice; in its modern age beginning with the formation of national museums, patina becomes an object of contention in the ''cleaning controversies'' that revolve around the obligations of the present toward the cultural legacy of the past. Postmodern patina has come to register the complex and precarious effects of age on old pictures in ways that should enable us to appreciate and to care for them more knowingly than we have been able to do before.
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Rozaq, M. Kholid Arif, Vicky Ferdian Saputra, and Mikke Susanto. "Konservasi Preventif Lukisan Koleksi Museum Istana Kepresidenan Yogyakarta (Preventive Conservation Painting Collection Yogyakarta Presidential Palace Museum)." JURNAL TATA KELOLA SENI 5, no. 2 (2019): 121–31. http://dx.doi.org/10.24821/jtks.v5i2.3262.
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Museum Istana Kepresidenan Yogyakarta sebagai lembaga kenegaraan memiliki fungsi untuk melindungi, mengembangkan, dan memanfaatkan koleksi yang dimiliki. Konservasi preventif merupakan tindakan untuk mencegah dan meminimalisasi kerusakan atau kerugian di masa mendatang dengan cara mengontrol berbagai faktor deteriorasi objek koleksi. Penelitian ini bertujuan untuk mengetahui bagaimana praktik konservasi preventif lukisan di Museum Istana Kepresidenan Yogyakarta. Metode pendekatan yang digunakan adalah deskriptif analisis danevaluasi. Hasil penelitian, ditemukan bahwa praktik konservasi lukisandi Museum Istana Kepresidenan Yogyakarta telah sesuai dengan standar pelayanan yang diacu. Akan tetapi masih ditemukan beberapa kerusakan yang disebabkan oleh faktor deteriorasi seperti faktor inherent vice dan faktor elemen iklim.AbstractYogyakarta Presidential Palace Museum as a state institution has the function to protect, develop and utilize its collections. Preventive conservation is an action to prevent and minimize future damage or loss by controlling various deterioration factors of collection objects. This study aims to determine how the practice of preventive conservation of painting in the Yogyakarta Presidential Palace Museum. The method used is descriptive analysis and evaluation. The results of the study, it was found that the practice of conservation of painting at the YogyakartaPresidential Palace Museum was in accordance with the service standards referred to. However, it still found some damage caused by deterioration factors such as inherent vice factors and climate element factors. Therefore it is necessary to reevaluate the service standards that have been set as guidelines for preventive conservation practice of painting.
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Gambirasi, A., L. Peruzzo, S. Bianchin, and M. Favaro. "Electron Backscatter Diffraction in Conservation Science: Phase Identification of Pigments in Paint Layers." Microscopy and Microanalysis 19, no. 4 (2013): 921–28. http://dx.doi.org/10.1017/s1431927613000184.
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AbstractElectron backscatter diffraction (EBSD) was used in Conservation Science for characterization of ancient materials collected from works of art. The results demonstrate the feasibility of EBSD analysis on heterogeneous matrices as very small samples of paint layers collected from paintings. Two reference pigments were selected from those used by artists to investigate the relationship existing between EBSD pattern quality and properties of the investigated material (i.e., average atomic number, density, and Mohs hardness). The technique was also tested to investigate the pigment phases on two real samples collected from Romanino's Santa Giustina altarpiece, an oil on wood painting dated 1514 (Civic Museum, Padova, Italy). Results show for the first time the acquisition of EBSD patterns from painting samples mounted in resin, i.e., painting cross sections, opening a new powerful tool to elucidate the pigment phases avoiding large sampling on works of arts and to further study the complex mechanisms of pigment deterioration.
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Vallez, Noelia, Stephan Krauss, Jose Luis Espinosa-Aranda, Alain Pagani, Kasra Seirafi, and Oscar Deniz. "Automatic Museum Audio Guide." Sensors 20, no. 3 (2020): 779. http://dx.doi.org/10.3390/s20030779.
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An automatic “museum audio guide” is presented as a new type of audio guide for museums. The device consists of a headset equipped with a camera that captures exhibit pictures and the eyes of things computer vision device (EoT). The EoT board is capable of recognizing artworks using features from accelerated segment test (FAST) keypoints and a random forest classifier, and is able to be used for an entire day without the need to recharge the batteries. In addition, an application logic has been implemented, which allows for a special highly-efficient behavior upon recognition of the painting. Two different use case scenarios have been implemented. The main testing was performed with a piloting phase in a real world museum. Results show that the system keeps its promises regarding its main benefit, which is simplicity of use and the user’s preference of the proposed system over traditional audioguides.
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Vugar Aliyev, Elshad, and Mehbara Tahir Abbasova. "The “Sufi” Portrait in the Giovio Series." SCIENTIFIC WORK 15, no. 2 (2021): 16–18. http://dx.doi.org/10.36719/2663-4619/63/16-18.
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Founded in 1501, the Safavid state and the young leader of this state, Shah Ismail I, attracted the attention of European aristocratic dynasties, kings and religious leaders. Ambassadors, diplomats and merchants sent from Europe to Azerbaijan conveyed various information about Ismail to their homeland, and later these records and sources were published in books, albums and memoirs. Gradually, engravings and paintings depicting Ismail Safavid appeared in the European fine arts. Unfortunately, the descriptions of Shah Ismail I in the European visual arts have not been sufficiently studied. It is known that the portrait, taken as the standard of appearance of Ismail the First, was exhibited at the Paolo Giovio Museum in Como. The article examines the activities of Paolo Giovio, his famous museum and the portrait of "Sufi" in Giovio's collection. Key words: Shah Ismayil, Paolo Giovio, Italian art, portrait painting, Museum of Como, Safavid period
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Sokolova, Alla Nikolaevna. "Visualization of music, musicians, and musical instruments in the works of Adyghe artists." Философия и культура, no. 3 (March 2021): 1–21. http://dx.doi.org/10.7256/2454-0757.2021.3.35413.
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This article reviews painting and graphics of Adyghe artists, which plotlines and images resemble musical instruments, musicians, and in a certain way, music itself. The author assumes that the entire heritage in this area can be divided into three groups. The first group contains the artworks that are perceived as historical documents testifying to the presence or absence of certain types of musical instruments, ways of playing those, dances, dance positions, moves, etc.; this also includes paintings with ethnographically precise reproduction of the past or present reality, which depicts music and motions. The second group contains the portraits of prominent musicians who significantly contributed to the history of regional culture. The third group is comprised of the musical instruments and dance, which visualize something secret behind the traditional things. Each group has a special technique and means of visualization of music and musical instruments. The novelty of this research lies in examination of the canvases of Adyghe painters preserved in the funds of the North Caucasus branch of the State Museum of Oriental Art (Maykop), and are virtually unknown to the general audience; in articulation of the topic aimed at examination of means of visualization of music, musical instruments and musicians in painting and graphics; in the proposed non-homogeneous classification of painting heritage related to music, musical instruments and musicians, which can be implicated to any other regional culture; in determination of the role of this type of cultural heritage for future generation. It is stated that painting and graphics exhibited in museums are not perceives so much the past as the present, which is included in the cultural and emotional-psychological life of modernity.
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Clini, Paolo, Emanuele Frontoni, Ramona Quattrini, and Roberto Pierdicca. "Augmented Reality Experience: From High-Resolution Acquisition to Real Time Augmented Contents." Advances in Multimedia 2014 (2014): 1–9. http://dx.doi.org/10.1155/2014/597476.
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This paper presents results of a research project “dUcale” that experiments ICT solutions for the museum of Palazzo Ducale (Urbino). In this project, the famed painting the “Città Ideale” becomes a case to exemplify a specific approach to the digital mediation of cultural heritage. An augmented reality (AR) mobile application, able to enhance the museum visit experience, is presented. The computing technologies involved in the project (websites, desktop and social applications, mobile software, and AR) constitute a persuasive environment for the artwork knowledge. The overall goal of our research is to provide to cultural institutions best practices efficiently on low budgets. Therefore, we present a low cost method for high-resolution acquisition of paintings; the image is used as a base in AR approach. The proposed methodology consists of an improved SIFT extractor for real time image. The other novelty of this work is the multipoint probabilistic layer. Experimental results demonstrated the robustness of the proposed approach with extensive use of the AR application in front of the “Città Ideale” painting. To prove the usability of the application and to ensure a good user experience, we also carried out several users tests in the real scenario.
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Mitjans, Frank. "Oedipus's Riddle: Elizabethan transformation of the family portrait of Thomas More, an Appendix to “Non sum Oedipus sed Morus”." Moreana 56 (Number 212), no. 2 (2019): 133–59. http://dx.doi.org/10.3366/more.2019.0058.
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Holbein produced a drawing of Sir Thomas More and his Family which was a preparatory sketch for a larger painting. The painting was acquired by Karl von Liechtenstein-Kastelkron (1623–95), Archbishop of Olomouc, Moravia, and was last recorded in 1691 as being kept in the episcopal residence in Olomouc; it is generally assumed that the painting was lost in the 1752 fire at the Archbishop's château in Kroměřiž. There are, however, five extant versions of the Family Group. The three main versions are the full-sized oil on canvas, The Family of Sir Thomas More (1592), now at Nostell Priory, and two paintings of Sir Thomas More, his Household, and Descendants: one kept at the National Portrait Gallery, the other at the Victoria and Albert Museum, London. There has been much discussion about the transformation from a family at prayer—as portrayed in the original drawing—to a conversation on Seneca. Based on editions of Oedipus prior to the Nostell painting, the history of More's descendants, and a cameo that belonged to More's family, this paper argues that the Elizabethan transformation is a story of conformity and non-conformity.
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Pistsov, Konstantin M. "Modest Worker of Russian Sinology: Remembering Vadim L’vovich Sichev." Oriental Courier, no. 1-2 (2021): 258. http://dx.doi.org/10.18254/s268684310015783-9.
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The author recalls the outstanding Russian sinologist Vadim L’vovich Sichev (1940–2019): He narrates the scientist’s biography and names his main academic works. Vadim L. Sichev was born in the family of famous soviet artist Lev P. Sichev. After graduation from the Institute of Asian and African Countries at Lomonosov Moscow State University, he worked in the State Museum of Oriental Art for a long time. The main areas of his scientific research were the study of Chinese costume and Chinese classical painting. Vadim L. Sichev has published a large number of books and academic articles. The most famous works of the scholar are “Chinese Costume: Symbolism, History, Interpretation in Literature and Art” (1975, co-written with his farther Lev P. Sichev), “Chinese Classical Paintings in the Collection of State Museum of Oriental Art” (2016), “Modern Chinese Prints in the Collection of State Museum of Oriental Art” (2016). The article contains reflections about the creative method and research principles of Vadim L. Sichev.
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Pollock, Griselda. "Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch." Text Matters, no. 7 (October 16, 2017): 114–44. http://dx.doi.org/10.1515/texmat-2017-0007.
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This paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche.
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Ekkart, Rudolf E. O. "Vijf kinderportretten door Dirck Santvoort." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 249–55. http://dx.doi.org/10.1163/187501790x00110.
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AbstractA portrait of a young girl with a flute, painted by the Amsterdam artist Dirck Dircksz. Santvoort, has been in the Cleveland Museum of Art since 1975 (fig.1). An inscription on the back of the unsigned painting states that the portrayed child is 'Elisabeth Spiegel'. The museum catalogue relates this painting with two other portraits of children: another unsigned one of a girl with fruit (fig. 3) and a signed painting, dated 1639, of a girl with a dog and a mirror (fig. 2). A fourth work can be added to these three, a picture of a child with a bird perched on her hand, in the National Gallery in London (fig. 4). Contrary to previous assumptions that it was painted in 1630 or 1631, it can now be dated in 1639. The choice of attributes suggest, as was recently intimated by Peter Sutton, that these portraits belong to a series of the Five Senses, the Cleveland painting representing Hearing, and the girls with fruit, the dog and mirror, and the bird picturing Taste, Sight and Touch. The fifth sense, Smell, is probably symbolized in a painting in the museum in Rodez (fig. 5), showing a girl dressed as a shepherdess with a wreath of flowers. Parallels of all depictions of the Senses arc to be found in series of prints and paintings from the sixteenth and seventeenth centuries. Pictures of the Senses in portraits are fairly rare, and were of course only painted when a series of exactly five portraits was required, for instance by a family with five children. An investigation of the Spiegel family confirms the identification given here, yielding the information that in 1638/1639 Elbert Dircksz. Spiegel and Petronella Rocters had five daughters. The portrayed children are Rebecca (fig. 3), Elisabeth (fig. I), Petronella (fig. 5), Margaretha (fig. 2) and Geertruyt Spiegel (fig. 4), born respectively in 1625, 1628, 1630, 1631 and 1635. Evidence that the descendants of the sisters portrayed by Santvoort upheld the tradition of the Five Senses theme in the late seventeenth century is supplied bv an old inventory of a series of portraits of five children from the Slicher family. The respective mothers of their parents, Elbert Slicher and Catharina dc Hochepied, were Elisabeth and Geertruyt Spiegel.
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Woziński, Andrzej. "Co wspólnego ma Wniebowzięcie Marii z Ostatnią Wieczerzą, czyli o genezie formy i ikonografii późnośredniowiecznego obrazu ze zbiorów Muzeum Narodowego w Poznaniu,(...)." Porta Aurea, no. 19 (December 22, 2020): 57–76. http://dx.doi.org/10.26881/porta.2020.19.02.
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The late medieval panel painting of the Assumption of Virgin Mary from the Collection of the National Museum in Poznań was most likely created in Greater Poland (Wielkopolska), probably in Poznań, in the early 16th century. Scholars have pointed out the connection of its iconography with several other art pieces from the area of Greater Poland. In the light of these findings, our painting seemed to be traditional in the terms of form, as well as of content. This paper shows that some formal solutions and motifs used in the painting from Poznań differ from a typical iconographic practice, and it has only partial coverage in literary sources. The Apostles’ behaviour not fully corresponding to the subject and the chair in which an unidentified Apostle is sitting in a strangely complicated pose by the sarcophagus are the exceptional traits of the Poznań painting. The reason for their presence is the fact that the painter quoted a large part of the copperplate engraving of the Netherlandish Master IAM of Zwolle on a completely different subject: the Last Supper. The painter repeated selected elements quite accurately, without trying too much to adopt them to the new context. The Poznań painting is one of the countless examples of the use of prints as a pattern in the late medieval workshop practice. But at the same time, it belongs to the smaller in number works that were created in a more sophisticated way, through a compilation of motifs taken from various sources, combined with iconographic transformations. The paintings of Jörg Stoker, active in Ulm, and the prominent Antwerp artist Joos van Cleve analysed in the paper, are the examples of the application of a similar creative procedure. The last part of the text is devoted to the reception of the copperplate engraving by Master IAM of Zwolle, which determined so markedly the form and iconography of the painting at the National Museum in Poznań. The range of impact of this pattern, including Northern France, Greater Poland, Austria, Southern Germany (?), Northern Italy, Sardinia and Castilla, illustrates how universal, despite all the regional differences, the visual culture of Latin Europe was at the time.
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Korotkov, M. V. "Restoration and storage of Buddhist painting from the Khara-Khoto collections of XII–XIV centuries." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 57–62. http://dx.doi.org/10.30725/2619-0303-2020-3-57-62.
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The paper is devoted to the conservation and early stages of maintenance and storage of the unique collection of Buddhist painting that was gathered by P. K. Kozlov in Mongolia in 1907–1909, 1926 and now belongs to the State Hermitage museum. History of its primary conservation is reconstructed using previously unexplored archival data. Of special interest are conditions of maintenance and actions taken to protect the monuments before they were given to the Hermitage. The article also analyses reasons why damage was caused to them. All this information is essential for fi guring out modern methods for their restoration that is a job of the Laboratory of scientifi c restoration of eastern painting of the Hermitage. The research goes beyond local museum practices as it helps to defi ne general problems in restoration of Buddhist painting
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Jiang, Chengzhi, and Chunshen Zhu. "Bilingual and intersemiotic representation of distance(s) in Chinese landscape painting: from yi (‘meaning’) to yi (‘freedom’)." Semiotica 2018, no. 225 (2018): 293–311. http://dx.doi.org/10.1515/sem-2016-0226.
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AbstractThis paper studies cross-modal distance representation in traditional Chinese landscape painting in a contemporary museum context with special reference to the classic three axes of distance, i.e. level, deep, and high “distance.” It observes how an artwork’s “meaning” can be perceived through the bilingual presentation of the “distances” to bring about the realization of a “meditative distance,” or the artist’s aesthetic aspiration for a spiritual “freedom.” Informed by the theory of three meta-functions in Systemic Functional Linguistics and Arnheim’s discussion about distance cues, the study has closely examined a classical landscape painting in conjunction with its Chinese and English bilingual museum captions, with a view to tracing out their discursive meta-functions based on the visual-verbal coherence of distance representation. In so doing, the study takes museum discourse as a holistic multimodal interactive process of different sign systems at three levels of communication (i.e. extratextual, intersemiotic, and intertextual) to enable the modern viewer to better appreciate the aesthetic aspiration nursed by the meaning of the pictorially depicted distance(s) in an ancient landscape painting. The findings of the study will not only contribute to a better aesthetic contextualization of the traditional Chinese visual arts but also, in a practical vein, to the construction of a more informed museum discursive environment conducive to a spiritual journey, or a mental transcendence, that keeps the mundane world at a “meditative distance.”
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Kwanghee Shin. "Hyangnimsa Arhat Painting in L.A. County Museum of Art." Dongak Art History ll, no. 11 (2010): 263–86. http://dx.doi.org/10.17300/jodah.2010..11.012.
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Monsuez, Jean-Jacques, Véronique François, Robert Ratiney, et al. "Museum Moving to Inpatients: Le Louvre à l’Hôpital." International Journal of Environmental Research and Public Health 16, no. 2 (2019): 206. http://dx.doi.org/10.3390/ijerph16020206.
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Anxiety and depressive symptoms are common in hospitalized patients. Arts and cultural programs were reported to enhance their quality of life. The Le Louvre à l’hôpital study presents a new approach in which the museum moves to the hospital by displaying and discussing artworks with patients interactively. Over one year, four large statues were disposed in the hospital gardens, 30 reprints of large painting were exhibited in the hospital hall, dining rooms, and circulations areas. A total of 83 small-group guided art discussions (90 min) were organized, which 451 patients attended. The 200 small-size reproductions of paintings placed in the patients’ rooms were chosen based on their individual preferences. Decreased anxiety after the art sessions was reported by 160 of 201 patients (79.6%). Out of 451 patients, 406 (90%) said the art program had met their expectations, and 372 (82.4%) wished to continue the experience with caregivers (162 paramedics trained for art activity during 66 workshops). In conclusion, moving the museum to the hospital constitutes a valuable way to provide art activities for inpatients in large numbers, which may reduce hospital-related anxiety in many instances.
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L’occaso, Stefano. "Thomas De Coloswar. On The Esztergom Altarpiece and An Addition to His Oeuvre." Acta Historiae Artium 61, no. 1 (2020): 55–67. http://dx.doi.org/10.1556/170.2020.00003.
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AbstractThe large triptych in the Esztergom Christian Museum, painted in 1427 by Thomas de Coloswar, is a work of art typical of the International Gothic style, and includes formal elements that can be related to the schools of Bohemia, or better to the school of Nuremberg. The painting is analysed from an iconographic point of view, pointing out the most peculiar features, that may lead to an interpretation of the altarpiece also as an affirmation of the Catholic Eucharist doctrine. A new panel painting is added here to Thomas’ catalogue: a Vir Dolorum with Saint Francis receiving the stigmata in Cologne (Wallraf-Richartz-Museum), formerly attributed to the Master of the Lindau Lamentation (Meister der Lindauer Beweinung).
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Pluta, Dominika, Magdalena Król, and Tadeusz Dobosz. "Plany ścieżki muzealnej Uniwersytetu Medycznego we Wrocławiu." Opuscula Musealia 26 (2019): 183–90. http://dx.doi.org/10.4467/20843852.om.18.012.11005.
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Plans for the museum path of the Medical University in Wrocław People have always been interested in discovering their past and seeking answers to their existential questions. Therefore institutions like museums, which collect exhibits related to the history and development of humans, have been known since antiquity. However, museology today has changed and is no longer confined to establishments related to popular fields like painting, sculpture and archaeology. Nowadays, there are also museums dedicated to medical sciences, which present the history of humanity in the sphere of its biological development. The Medical University in Wrocław can boast of several such establishments, although so far they have been treated as separate institutions. For this reason, the idea was created to combine them all into a single museum route, and to make it available to a broader visitor base. Thanks to this, people can view items from old and modern medicine practice located in many different sites, allowing them to deepen their knowledge and expand their interests. To make it easier for visitors to navigate through such a diverse complex, a special museum path has been created, along with a description of each location.
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Pluta, Dominika, Magdalena Król, and Tadeusz Dobosz. "Plany ścieżki muzealnej Uniwersytetu Medycznego we Wrocławiu." Opuscula Musealia 26 (2019): 183–90. http://dx.doi.org/10.4467/20843852.om.18.012.11005.
Full textAbstract:
Plans for the museum path of the Medical University in Wrocław People have always been interested in discovering their past and seeking answers to their existential questions. Therefore institutions like museums, which collect exhibits related to the history and development of humans, have been known since antiquity. However, museology today has changed and is no longer confined to establishments related to popular fields like painting, sculpture and archaeology. Nowadays, there are also museums dedicated to medical sciences, which present the history of humanity in the sphere of its biological development. The Medical University in Wrocław can boast of several such establishments, although so far they have been treated as separate institutions. For this reason, the idea was created to combine them all into a single museum route, and to make it available to a broader visitor base. Thanks to this, people can view items from old and modern medicine practice located in many different sites, allowing them to deepen their knowledge and expand their interests. To make it easier for visitors to navigate through such a diverse complex, a special museum path has been created, along with a description of each location.
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Procop, Natalia. "Recreational Centers in Chisinau in the Vision of Visual Artists." Supplement 9, no. 1 (2021): 116–29. http://dx.doi.org/10.37710/plural.v9i1s_8.
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One of the genres of easel painting that remains less pretentious to politics is landscape. The city of Chisinau, one of the most important cities of the Republic, was and remains a source of inspiration for artists Eugenia Gamburd, Rostislav Ocușco, Mihail Petric, Filimon Hămuraru, Ludmila Țonceva, Vasile Toma, Inesa Țîpina, Petru Jireghea, Ion Jumatii, Ion Chitoroagă, Florentin Leancă and others. That is one of the topics addressed by artists reflecting moments of relaxation, rest, sports - recreational centres (parks, lakes, stadiums etc.). This article analyzes the paintings from the collection of the National Museum of Art of Moldova, but also the private collections of plastic artists concerning the rest areas of Chisinau. These paintings made on the subject under research can be attributed not only to the landscape genre but also, in some cases, to genre painting. The subject becomes current for painters with the arrangement of the capital’s parks: The square of the Ensemble of the Metropolitan Cathedral of Chisinau, the Public Garden of Chisinau, the Botanical Garden, the Valley of Roses park, the Valley of Mills park, the Ghidighici Reservoir, the Dinamo Stadium etc.
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PINTO, PAULO D., JOÃO M. M. LINHARES, JOÃO A. CARVALHAL, and SÉRGIO M. C. NASCIMENTO. "Psychophysical estimation of the best illumination for appreciation of Renaissance paintings." Visual Neuroscience 23, no. 3-4 (2006): 669–74. http://dx.doi.org/10.1017/s0952523806233340.
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A variety of light sources are used in museum environments where the main concern is to prevent damaging effects of the light on paintings. Yet, the visual impression of an artistic painting is strongly influenced by the intensity and spectral profile of the illumination. The aim of this work was to determine psychophysically the spectral profile of the illumination preferred by observers when seeing paintings dated from the Renaissance époque and to investigate how their preferences correlate with the color temperature of the illumination and with the chromatic diversity of the paintings. Hyperspectral images of five oil paintings on wood were collected at the museum and the appearance of the paintings under five representative illuminants computed. Chromatic diversity was estimated by computing the representation of the paintings in the CIELAB color space and by counting the number of nonempty unit cubes occupied by the corresponding color volume. A paired-comparison experiment using precise cathode ray tube (CRT) reproductions of the paintings rendered with several illuminant pairs with different color temperatures was carried out to determine observers' preference. The illuminant with higher color temperature was always preferred except for one pair where no clear preference was expressed. The preferred illuminant produced the larger chromatic diversity, and for the condition where no specific illuminant was preferred the number of colors produced by the illuminant pair was very similar, a result suggesting that preference could have been influenced by chromatic diversity.
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Kanaryova, T. N. "Paintings by Yuri Pimenov in the collection of the State Art Museum of Altai Krai." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 179–86. http://dx.doi.org/10.46748/arteuras.2020.03.016.
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The article presents the results of research on a number of previously undescribed works by Yuri Pimenov, an academician of the USSR Academy of arts and people's artist of the USSR. The author for the first time carried out a comparative analysis of three paintings from the collection of the State Art Museum of Altai Krai – “Railway station”, “Apple Trees in the rain” and “Decorating the column”. Here coloristics, composition and plot of paintings are studied. The author analyzes the motif of the way and road, the characters of each painting, and describes the color scheme of the paintings. Similar features and motives have been identified in paintings belonging to the pre-war, post-war periods and the time of Great Patriotic war. The described paintings deepen the idea of Yuri Pimenov as an artist of the war years. Статья посвящена исследованию ряда ранее не описанных работ академика Академии художеств СССР, народного художника СССР Юрия Ивановича Пименова. Впервые проведен сравнительный анализ трех картин, находящихся в коллекции Государственного художественного музея Алтайского края: «Железнодорожная станция», «Яблони в дождь» и «Украшение колонны». Автор исследует колористику, композицию и сюжет живописных произведений. Проанализирован мотив пути-дороги, разобраны герои каждого полотна, описано цветовое решение картин. Выявлены схожие черты и мотивы в произведениях, принадлежащих к довоенному, военному и послевоенному периодам. Описанные картины углубляют представление о Юрии Пименове как художнике военных лет.
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Junaedi, Deni, and Adnan Aditya K. "KOMPOSISI EFEK SPONTAN CAT AIR DENGAN SULUR TRADISIONAL YOGYAKARTA PADA PENCIPTAAN LUKISAN." Corak 7, no. 1 (2018): 13–26. http://dx.doi.org/10.24821/corak.v7i1.2640.
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Penelitian “Komposisi Efek Spontan Cat Air dengan Sulur Tradisional Yogyakarta pada Penciptaan Lukisan” ini paling tidak memiliki tiga urgensi untuk pendidikan seni lukis maupun dunia seni lukis pada umumnya. Pertama, perpaduan efek spontan cat air yang terjadi dengan sendirinya dengan sulur tradisional Yogyakarta yang memiliki pakem akan menghasilkan dinamika bentuk yang diperlukan untuk penciptaan seni lukis. Kedua, sulur biasanya menjadi penghias barang fungsional, dan dalam penelitian ini ia diangkat sebagai pembangkit pengalaman estetis itu sendiri; dengan kata lain ‘sulur dihadirkan sebagai sulur itu sendiri’, bukan sekedar penghias yang menempatkannya sebagai aspek kedua setelah barang yang dihiasi. Ketiga, penelitian ini menerapkan kaidah langgam seni postmodern shock of the old, bukan shock of the new.Rumusan penciptaan dalam penelitian ini adalah bagaimana mengomposisi efek spontan cat air di kertas dengan bentuk sulur tradisional Yogyakarta untuk penciptaan lukisan. Data sulur diperoleh dengan kajian pustaka maupun observasi, yaitu di Keraton Kasultanan Yogyakarta, Makam Raja-Raja Mataram Kotagede, Makam Raja-Raja Imogiri, Museum Sonobudoyo, Taman Sari, Museum Kereta Keraton, dan Benteng Vredeburg.Hasil penciptaan lukisan kombinasi efek spontan cat air dengan sulur tradisional ini dikerjakan dengan dua cara yang berbeda. Cara pertama adalah menentukan bentuk sulur lalu diberi efek spontan cat air. Sebaliknya, cara kedua adalah membuat efek spontan cat air terlebih dahulu kemudian direspon dengan sulur. Kata Kunci: lukisan, sulur, efek spontan cat air, Yogyakarta This research, “Compositions between Watercolor Effects and Yogyakarta Traditional Sulurs for Painting Creations”, has at least three urgencies for painting educations and art worlds generally. First, on the one hand, watercolor effects give spontaneous forms; on the other hand, Yogyakarta traditional Sulurs (spiral forms of floral ornamens) have certain patterns. Combinations of both of them produce dynamic compositions needed for creating paintings. Second, the function of sulurs usually are for decorating things, such as ornamens on buidings, furniture, or book illuminations; in this case, sulur is as the second thing. Meanwhile, in this research, sulurs are used for arousing aesthetic experiences; it is as itself. Third, this study applies the postmodern art value ‘shock of the old’, not ‘shock of the new’. The research question is how to compose the spontaneous watercolor effects with Yogyakarta traditional sulurs for painting creations. Sulur data is obtained by literature review and observations at Yogyakarta Sultanate Palace, Tomb of the Kings of Mataram Kotagede, Tomb of the Kings of Imogiri, Sonobudoyo Museum, Taman Sari, Keraton Carriage Museum, and Vredeburg Fort. The result of this research is, the combinations of watercolor effects and sulur can be created in two different ways. The first way is determining the shape of the sulurs then given with watercolor effects. Instead, the second way is creating watercolor effects first then responded with sulurs. Keywords: painting, sulur, spontaneous watercolor effect, Yogyakarta
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Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.
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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.
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Sobecka, Anna. "Świat zwierząt Daniela Schultza." Porta Aurea, no. 17 (November 27, 2018): 33–61. http://dx.doi.org/10.26881/porta.2018.17.02.
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Daniel Schultz (1615–1683) was one of the most important painters of his time, highly regarded among the Polish nobility and patricians of his native city of Gdańsk. Schultz’s game and animal pieces resemble works of Flemish artists. His earliest animal picture Trophies in the Pantry is perhaps most Southern Netherlandish in character. Fred G. Meijer attributed to Schultz a painting on the subject of hunting, bearing the monogram “DS” and dated 1649. Schultz also executed a smaller painting, which is a depiction of a fox (or rather a dog) head shown in profile and a bunch of grapes, with some killed birds. Furthermore, two other animal paintings by Schultz are known from the National Museum in Gdańsk. In 2014, a pair of pendant paintings of dead birds appeared on the art market. Their similarity to the Medicean Trophies led the experts of the Artcurial auction house to ascribe them to Schultz. As one compares them with some other works by the Gdańsk artist, the resemblance is even more pronounced. Both paintings are now in a Polish private collection. In the Museum of Fine Arts in Gent there are two other paintings attributed to Frans Snyders and Jan Fyt which could have been painted by Daniel Schultz. The focus on perfectly studied animals, framing of the composition, and a summary treatment of the background are characteristic of him. The ‘Ds 16__’ monogram bears the painting from the Kuscovo Palace (Moscow), which depicts A Heron, a Bittern and a Rabbit. Schultz was the first artist in the territories associated with the Polish-Lithuanian Commonwealth to create independent animal and still life paintings. Possibly a pupil of Elias Vonck, the Amsterdam master active in Prussia, Schultz was also influenced by Antwerp masters such as Frans Snyders and Johannes Spruyt. Schultz’s interest for animal themes and still life may have been connected with characteristic features of the culture of Gdańsk, such as, for instance, a penchant for hunting, viewed both as a pastime and a subject for art. Gdańsk citizens enjoyed the right to hunt as of 1588, earlier than any other European bourgeoisie. Most signed works by Schultz are his depictions of animals. Tis could be an indirect suggestion about the identity of the recipients of Schultz’s depictions of the animal world. As stated above, the Gdańsk citizens had a predilection for hunting pieces; they also cared more than courtiers about the fact that such representations were authored by a Gdańsk artist.
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Skorobogacheva, E. A. "И.С. Глазунов — меценат, коллекционер, основатель музея Российской академии живописи, ваяния и зодчества". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 206–19. http://dx.doi.org/10.46748/arteuras.2021.01.015.
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The article is devoted to the Museum of the Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture. With the help of a comprehensive analysis, the history of the foundation of the museum by Ilya S. Glazunov in the 1980s and 1990s, the stages of enriching the Museum's collections in the 2000s and 2010s are studied. The purpose of the study is to characterize the activities of the Academy's museum, to justify the importance, the value of Museum collections, primarily in the educational process in mastering the skills of the realist school. The combination of historical, problem-logical, typological-systemic methods made it possible to evaluate the samples of professional art, to give their interpretation against the background of the general historical situation and the processes that determine the development of the national culture of the present time. For the first time among the rarities of the Academy's museum, more than 20 works of painting and graphics of the 19th — first half of the 20th century, included in the state part of the Museum Fund of the Russian Federation, are marked, their art history analysis is given, and their artistic value is revealed. The study revealed the role of I.S. Glazunov as an outstanding public figure, philanthropist, collector. В статье посредством применения комплексного анализа изучена история основания И.С. Глазуновым музея Российской академии живописи, ваяния и зодчества в 1980–1990-х годах, этапы пополнения музейных коллекций в 2000–2010-е годы. Цель исследования — охарактеризовать деятельность музея академии, обосновать актуальность, значение музейного собрания, прежде всего, в учебном процессе — в овладении навыками реалистической школы. При сочетании исторического, проблемно-логического, типологически-системного методов оценены образцы профессионального искусства, дана их интерпретация на фоне общей исторической ситуации и процессов, определяющих развитие отечественной культуры настоящего времени. Впервые среди раритетов академического музея обозначено более 20 произведений живописи и графики XIX – первой половины ХХ века, включенных в государственную часть Музейного фонда Российской Федерации, дан их искусствоведческий анализ, раскрыта художественная ценность. В результате исследования выявлена роль И.С. Глазунова как выдающегося общественного деятеля, мецената, коллекционера.
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Bahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, no. 1 (2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.
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The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional and the modern. Through a varied set of abstract paintings and drawings, the exhibition illustrated and interpreted Cherkaoui's works, and it narrated the life of this artist to show how his hybrid cultural experience influenced his creation. Cherkaoui's fascination with the popular signs and decorative symbols of his civilization and his passion for abstraction in modern art inspired a unique plastic vocabulary and style that marked the birth, development and history of modern art inMorocco.
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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.
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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.
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Coli, M., A. L. Ciuffreda, and M. Micheloni. "AN INFORMATIVE CONTENT 3D MODEL FOR THE HALL HOLDING THE RESURRECTION OF CHRIST BY PIERO DELLA FRANCESCA MURAL PAINTING AT SANSEPOLCRO, ITALY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 435–42. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-435-2019.
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<p><strong>Abstract.</strong> The Resurrection of Christ by Piero della Francesca (about 1460) at Sansepolcro (Italy) is a masterpiece in the development of painting. The painting is located in a hall of the city government building, which today holds the Civic Museum of Sansepolcro. This mural painting was realized on a brick wall (15&amp;thinsp;cm thick) located in a different place as it is today. Shortly later, the painting was moved by means of a transport to solid-wall and placed against a pre-existing wall (60&amp;thinsp;cm thick), where it is today, erecting against this wall a counter wall (15&amp;thinsp;cm thick) where the mural painting wall-panel (225&amp;thinsp;&amp;times;&amp;thinsp;200&amp;thinsp;cm) had been inserted.</p><p>Within the studies aimed at restoration and conservation of the painting, the type and characteristics of the walls of the museum hall and of the wall where the painting is located have been defined through different types of diagnostic surveys. Geometric, physical, mechanical and material data from surveys are knowledge that must be archived and made accessible for future maintenance operations. Building Information Modeling (BIM) is a valid methodology that allows to build a three-dimensional database in which to collect information about diagnostics and conservation of the historical building. The aim of this paper is digitalization through the HBIM methodology of the hall of Resurrection, in order to create a “3D informative model” that describes the geometry with objects linking them the information related to knowledge of cultural heritage and it can represent a technical and organizational support for future conservation operations.</p>