Relevant bibliographies by topics / Paintings in France

Contents

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

Academic literature on the topic 'Paintings in France'

Author: Grafiati
Published: 28 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Paintings in France"

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De Kinkelder, Marijke C. "Franciscus Hamers, dozijnschilder in Antwerpen." Oud Holland - Quarterly for Dutch Art History 118, no. 3-4 (2005): 203–12. http://dx.doi.org/10.1163/187501705x00349.

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AbstractIn I987 a painting with illegible signature was shown at the RKD. When in spring 2002 a painting with similar signature came alight at a Paris art-dealer, it proved possible to read the signature correctly and identify the artist as the Antwerp-based Franciscus Hamers, only known through his membership of the guild in I674. Several other paintings could be attributed to him either on stylistic grounds or by recognising the characteristic signature. The paintings presented here show that he proved to be what was known in the seventeenth century as 'dozijnschilder' (lit: dozen painter), assembling his works by imitating, borrowing and copying from examples by other artists, notably Haarlem painters such as Pieter van Laer, Philips Wouwerman and Nicolaes Pietersz. Berchem. This proved to be a typical feature of the artistic climate in the I670s in Antwerp when economic recession forced many artists to produce paintings and copies by the dozen for art-dealers such as Guillaume Forchondt and Bartholomeus Floquet who then exported these paintings to France, Austria, Spain and Portugal.
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Lemainque, Ingrid. "Les tableaux italiens du Settecento dans les ventes parisiennes au XVIIe siècle." Studiolo 2, no. 1 (2003): 138–66. http://dx.doi.org/10.3406/studi.2003.1118.

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Ingrid Lemainque, Italian paintings of the Settecento in 18th-century Parisian sales ; In 19th-century France, contemporary Italian painting seems to have been little valued, if one believes the artistic literature of the time. A statistical analysis based on the thorough survey of Parisian sales catalogues between 1730 and 1799 enables one to distinguish a different truth, the presence of a particular taste for Settecento Italian paintings and reveals the importance of landscape and the Venetian school in these sales, to the detriment of more conventional schools and artists.
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Elsaed, Hala Ibrahim Mohamed. "Vision of Vincent van Gogh and Maurice Utrillo in Landscape Paintings and their Impact in Establishing the Identity of the Place." Academic Research Community publication 1, no. 1 (2017): 12. http://dx.doi.org/10.21625/archive.v1i1.133.

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There are varieties of visions, visual solutions and plastic relations for various painting topics, but the landscape painting is still the closest subject to the identity of the place.When the artist translates the realistic features of the place describing it with his special style and touches, this represents a record for characteristics of a certain period related to this place. It might also depict the landscape by his sense, telling us with his painting brush the story of its heritage. The artist links it with the reality experienced -here the memory adds the highest value to the view and translates features of nature of this place in terms of form- or feelings and influence through the ages.When Van Gogh was influenced by a city, like Arles in France, he produced the most beautiful of his paintings, which appeared to show his style and colors. Actually, we see this city through a creative artist with radiant colors, each panting as a celebration or a poem singing the beauty of this place.And when Maurice Utrillo was influenced by a city -like Paris in France especially Montmartre district with its steep winding streets, picturesque windmills, snowfall, and clouds of gray affected- he created his most important paintings of landscape. The paintings reflected the nature of this place by his simple style which seems like a zap from the internal inventory of the artist about this place.
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Gao, Hui. "Oriental Elements in Cezanne’s Art." BCP Social Sciences & Humanities 18 (June 30, 2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.

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Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.
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Park, Joohyang. "A Study of the Roman de Fauvel, a 14th Century French Manuscript: Focusing on the Satirical Technique of Images in Roman de Fauvel." Korean Society of Culture and Convergence 45, no. 9 (2023): 435–49. http://dx.doi.org/10.33645/cnc.2023.09.45.09.435.

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Roman de Fauvel conveys the turbulent politics of France during the reign of Philip IV (1268-1314) through poetry, music and painting. This thesis discusses how such political themes were expressed in paintings in Roman de Fauvel. Before discussing the paintings, a discussion of the two authors of Roman de Fauvel will examine the context in which they were created and their intentions. Because the manuscript was created from the perspective of Roman de Fauvel's alignment with political forces and criticism of his time. Based on this understanding, the painting techniques used in Roman de Fauvel to convey the intent of the work include the choice of colors according to the characters, Fauvel's imitation of the French royal family, and the use of anti-biographical techniques, which expose the fake as a clumsy imitation of the real thing. Through this study, we hope to get closer to the achievements of Roman de Fauvel, who achieved a complete fusion of literature, music, and painting.
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Pullins, David. "“Quelques misérables places à remplir”Locating Shaped Painting in Eighteenth-Century France." Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 544–71. http://dx.doi.org/10.1515/zkg-2017-0029.

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Abstract This article addresses in depth for the first time the irregularly shaped canvases known as tableaux chantournés (cut-out paintings) that were produced in vast numbers by leading academicians between the 1730s and 1750s and occupy a tenuous place between fine and applied or decorative arts. Through an examination of the term’s first uses in regard to painting and eighteenth-century critics’ responses to these works, tableaux chantournés are positioned as a means of rethinking the extraction of painting from a richer visual field and the relationship of this medium-specific agenda to the historiography of the rococo.
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Tomalska-Więcek, Joanna. "Pracownia kopii artystycznych w białostockim getcie." Studia Podlaskie, no. 31 (2023): 43–56. http://dx.doi.org/10.15290/sp.2023.31.02.

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The article presents a poorly recognized thread in the history of the German occupation of Bialystok. In September 1939, a wave of refugees from other parts of Poland flowed into the city and region. Among them were a significant number of artists, mainly – though not exclusively – of Jewish origin. Under Soviet occupation, they were absorbed into the propaganda machine, painting portraits of officials and decorations for state holidays. Their fate changed after the outbreak of the German-Soviet war, when the Jews were confined to a ghetto. There, a Wehrmacht officer set up a workshop for artistic copies or, rather, forged paintings, employing some 20 painters. Few witnesses claimed that the production of paintings was very large and was sent to art dealers in the Third Reich, France, the Netherlands and other occupied countries. The further fate of the paintings painted in the ghetto remains unknown.
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Colas, Gérard, Usha Colas-Chauhan, and Francis Richard. "Text and Paintings." Cracow Indological Studies 24, no. 2 (2022): 25–58. http://dx.doi.org/10.12797/cis.24.2022.02.02.

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The manuscript now preserved as Indien 745 in the Manuscript Department of the Bibliothèque nationale de France (BnF) contains 137 paintings by an Indian artist, each accompanied by an explanation in French. These paintings depict deities and sages in static posture or narrative mode, as well as icons associated with temples. The present contribution forms a preliminary study of this manuscript in our project on South Indian manuscripts with paintings of deities preserved in the BnF.
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Wang, Yaoxuan. "Exploring The Impressionist Style: The Language of Manet's Two-Dimensional Planar Paintings as An Example." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 608–12. http://dx.doi.org/10.54097/m9wsmx70.

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With the development and progress of the 19th century in culture, science, and technology, the Industrial Revolution, and other aspects, Paris, France, was undoubtedly pushed to the focus of art development. This article takes the 18th and early 19th-century Impressionist paintings from being denied and not accepted to finally establishing their position in the whole world as the research background. Taking the flatness characteristic in Manet's works as the starting point, through the study of Manet's paintings, it is found that he was deeply influenced by photography, Spanish painting style, Japanese ukiyo-e prints, and so on, and gradually discovered and perfected his own personal style. The specific analysis method is used to analyze and feel Manet's two-dimensional planar style of composition and the technique of flat painting in his works. Eventually, it was concluded that he liberated his painting from the traditional constraints of pursuing three-dimensional space since the Renaissance, and took a crucial step towards two-dimensional planar creation, which not only influenced the trend of art in the same period but also led the way forward to modern art.
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Wang, Xinchi. "Enlightenment Response: A Study of Rational Spirit in the Works of Jean-Honoré Fragonard." International Journal of Arts and Humanities Studies 3, no. 4 (2023): 48–59. http://dx.doi.org/10.32996/ijahs.2023.3.4.7.

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This paper utilizes Jean-Honoré Fragonard’s paintings, housed in collections across Europe and North America, as primary source material. Employing methods from art history, social art history, literary analysis, and intellectual history, the study aims to explore the connections between Fragonard’s artistic philosophy, the social context of 18th-century France, and the cultural trends of the time. The paper investigates Fragonard’s response to Enlightenment and rationality through his paintings. The results indicate that, situated in an era oscillating between Rococo and realistic styles, Fragonard’s works provide a glimpse into the social and cultural milieu of late 18th-century France. Driven by the spirit of reason, Fragonard created a series of landscapes and genre paintings. Simultaneously, his sensitivity to emotions rendered his works vivid and dynamic, embodying the collaborative interplay of sensibility and reason.
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Dissertations / Theses on the topic "Paintings in France"

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Guerry, Emily Davenport. "The wall paintings of the Sainte-Chapelle." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608270.

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Zdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.

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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.
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Halkias, Maria. "Les yeux de la mémoire : the paintings of Maria Helena Vieira da Silva 1930-1946." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/835.

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Atwater, Vivian Lee. "A catalogue and analysis of eighteenth-century French prints after Netherlandish Baroque paintings /." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/6218.

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Desvaux-Drubay, Cécile. "La mise en couleur des églises rurales d'Île-de-France du XIIe au XVIe siècle." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010517.

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La mise en couleur de l’intérieur d’une église parachève sa construction. Simples badigeons, décors géométriques, rehauts rythmant l’architecture ou programmes iconographiques, cette mise en couleur est appelée à des modifications au fil du temps. La recherche porte sur les petites églises rurales de l’Île-de-France, moins étudiées que celles des villes. Elles sont souvent remarquables par la multiplicité des campagnes de construction encore lisibles dans leurs murs. La mise en couleur des églises suit, en particulier, cette évolution. L’étude du bâti permet d’avoir une chronologie fine qui introduit à l’analyse de la mise en couleur et les modifications de celle-ci au cours des siècles. Une recherche de type historique aussi précise que possible cherche à mettre en évidence les probables commanditaires des œuvres. Les similitudes ou différences dans les techniques, couleurs, types de décor et choix iconographiques analysés dans quelques dizaines d’édifices permettent de saisir les variations sur la longue durée, notamment entre le Moyen Âge "classique" (XIIe et XIIIe siècles), et la fin du Moyen Âge (mi XVe - mi XVIe siècle). Par ailleurs, chaque partie de l’église a une fonction bien précise, et l’on s’attachera à montrer les rapports entre les peintures, leur emplacement dans l’édifice et leurs commanditaires. Au final, il s’agit de mettre en évidence les multiples choix opérés dans des paroisses rurales, et de saisir leurs particularités, pour autant qu’il y en ait, par rapport à celles d’autres régions françaises ou de milieux urbains proches<br>The colour setting of the church interior completes its building. Distempers, geometrical decorations, highlights putting rythm into the architecture or iconographic programs, this colour setting is doomed to be altered over time. The research focuses on small rural churches of Ile-de-France, less studied than those of towns. They are often remarkable by their multiple building campaigns still to be observed in their walls. Notably, the colour setting of the churches is following this evolution. Study of the building allows getting a finer chronology which introduces to colour setting’s analysis and its evolution throughout centuries. A historical research, as accurate as it can be, tries to highlight the possible sponsors of the painting. The similarities and differences in techniques, colours, kinds of decoration, and iconographic choices among a number of churches allows to capture changes on the long run, particularly between "classic" Middle Ages (XIIth and XIIIth centuries) and the end of Middle Ages (half XVth – halph XVIth century). Moreover, each part of a church has a very specific function to fulfill and we shall attempt to show relationships between paintings, their location in the building and their sponsors. Finally, we shall try to identify the multiple choices made within the rural churches, and to understand their differences, should there be any compared to other regions of France or neighboring towns
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Herrick, Jason N. R. "Louis Robert de Saint Victor (1738-1822) : a case study on collecting paintings in France from the 1770s to the 1820s with particular reference to Dutch and Flemish art." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365564.

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Howard, Jane. "The Sublime and the Beautiful in the Works of Claude-Joseph Vernet." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500913/.

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This thesis examines the roles of the sublime and the beautiful in the works of eighteenth-century French landscape painter Claude-Joseph Vernet. An introduction to the study, a history of the sublime and beautiful, and an overview of the way these ideas are portrayed in Vernet's calm and storm pendants are provided. How commissions for these pendants relate to theoretical developments of the sublime and beautiful and how Vernet became aware of the these ideas are addressed. The thesis shows Vernet was not dependent on British patrons or on the century's most influential aesthetic treatise on the sublime and the beautiful by Edmund Burke, because Vernet started painting such themes well before Burke's treatise (1757) and did so in response to French patrons.
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Chastagnol, Karen. "La seconde génération des peintres de Louis XIV (1665-1715) : peindre l'Histoire : formation, culture visuelle et production." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30035.

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A travers quelles modalités la peinture d’histoire se transforme-t-elle sous le règne de Louis XIV ? La peinture d’histoire connaît une évolution durant la période qui couvre la seconde partie du règne de Louis XIV. Ce changement résulte à la fois de modifications liées à l’évolution des commandes royales et à celle du cadre académique lui-même, ainsi qu’aux mutations du contexte de création en dehors de l’Académie royale qui renouvelle la manière d’appréhender et de concevoir la peinture d’histoire. A partir de l’étude et de l’analyse de la production des peintres reçus comme peintres d’histoire à l’Académie royale de peinture et de sculpture entre 1673 et 1694, cette thèse reconsidère les critères d’évolution du genre historique en peinture au tournant du XVIIe siècle. Sont d’abord étudiées la formation des artistes et la définition de la peinture d’Histoire au temps de cette formation (I). Puis vient l’analyse de la production de ces peintres pour l’Académie royale et pour le roi après leur agrément au sein de l’institution royale (II). Parallèlement, et pour mieux définir les caractéristiques de la peinture d’histoire de cette période, l’étude de la production pour les particuliers et les institutions religieuses, soit en dehors de l’Académie royale, viendra remettre en cause la vision historiographique selon laquelle cette peinture émane d’une crise et éclairer ses nouvelles voies de transformation, en particulier à travers l’hybridation des genres (III)<br>Through which terms History painting is changing under the reign of Louis XIV? History painting evolves during the period which covers the second part of the reign of Louis XIV. This change is due to modifications dependent on the evolution of the Royal commissions and of the Academic framework itself, as well as the transformation of the context of creation apart from the Royal Academy which renews the way of apprehending and conceiving the History painting. From the study and analysis of the works of History painters members of the Royal Academy of Painting and Sculpture between 1673 and 1694, this thesis reconsiders the criteria of evolution of historical style in painting at the turn of the XVIIe Century. To begin with, the artists’ training and the definition of History painting at that time shall be discussed (I). Then we shall analyze the production of these painters for the Royal Academy and for the King after their approval within the Royal institution (II). Furthermore, in order to define better the History painting characteristics at this time, the study of the works for private individuals and religious institutions (i.e. apart from the Royal Academy) will question the historiographic vision which claims that History painting comes from a crisis; it will also clarify its new ways of transformation, in particular through the hybridization of styles (III)
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Di, Pasquale Maria Elena. "The crise catholique : avant-garde religious painting in France, 1890-1912 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.<br>Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Books on the topic "Paintings in France"

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Loxton, Margaret. Travels through Burgundy: Paintings. Pavilion, 1991.

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Donaldson, David. Some time in France: Recent paintings. Fine Art Society, 1990.

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Heck, Michèle-Caroline. LexArt Words for Painting : (France, Germany, England, The Netherlands, 1600-1750). Presses Universitaires de la Méditerranée - PULM, 2018.

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Fergusson, J. D. J.D. Ferguson in France: Paintings from private collections. Bourne Fine Art, 2004.

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Gallery, Walpole, ed. France in the Golden Age: Seventeenth century French paintings. Walpole Gallery, 1996.

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Boudin, Eugène. Boudin: Impressionist marine paintings. Peabody Museum of Salem, 1991.

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Rémi, Labrusse, Claerbergen Ernst Vegelin van, Wright Barnaby, and Courtauld Institute Galleries, eds. The London paintings. Courtauld Institute of Art Gallery in association with Paul Holberton Publishing, 2005.

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Ryman, Robert. Robert Ryman: New paintings. Pace Gallery, 1990.

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England), Wallace Collection (London. French marquetry furniture: Paintings in wood. The Wallace Collection, 2008.

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Bénard, Alain. Symboles et mystères: L'art rupestre du sud de l'Ile-de-France. Éditions Errance, 2014.

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Book chapters on the topic "Paintings in France"

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Yao, Yingtong. "Pioneer Expression of Édouard Manet's Paintings in Paris, France in 1863." In Proceedings of the 3rd International Conference on Education, Language and Art (ICELA 2023). Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-214-9_53.

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Mounier, A., F. Daniel, and F. Bechtel. "Gilding Techniques in Mural Paintings: Three Examples from the Romanesque Period in France." In Proceedings of the 37th International Symposium on Archaeometry, 13th - 16th May 2008, Siena, Italy. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14678-7_39.

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Raux, Sophie. "Circulation, Distribution and Consumption of Antwerp Paintings in the Markets of the Southern Netherlands and Northern France (1570-1680)." In Moving Pictures. Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.seuh-eb.4.2017006.

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Adams, Steven. "Landscape painting and the pastoral vision." In Landscape Painting in Revolutionary France. Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-2.

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Adams, Steven. "Introduction." In Landscape Painting in Revolutionary France. Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-1.

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Adams, Steven. "Making space for the Revolution." In Landscape Painting in Revolutionary France. Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-3.

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Adams, Steven. "‘The passive instrument of the First Consul’s will’." In Landscape Painting in Revolutionary France. Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-4.

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Adams, Steven. "Blindness, amnesia and consumption." In Landscape Painting in Revolutionary France. Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-5.

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Adams, Steven. "‘Comment cela finira-t-il?’: A postscript." In Landscape Painting in Revolutionary France. Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-6.

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Gonneau, Pierre. "Les tableaux maudits, en France et en Russie." In Biblioteca di Studi Slavistici. Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-507-4.14.

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I. Repin’s “Ivan the Terrible and his son”, exhibited in 1885, in a very tense social and political context, sparked off fierce reactions. While the Itinerant painter Kramskoj is enthusiastic, the ge-neral-prosecutor of the Holy Synod, K. Pobedonoscev, finds the painting “simply repulsive”. In France a similar scandal was caused by Gericault’s “Raft of the Medusa” (1819). It represents the last instants of the martyrdom of the survivors of the Medusa’s shipwreck (1816). Repin’s painting, unlike that of Gericault, keeps on arousing a great hostility nowadays in conservative Russian circles.
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Conference papers on the topic "Paintings in France"

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Boubanga Tombet, S., E. Guyot, R. Huillery, et al. "Active thermography for panel paintings inspection: A comparative study of mid-wave and long-wave Infrared spectral analysis." In QIRT. QIRT Council, 2022. http://dx.doi.org/10.21611/qirt.2022.2018.

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Active thermography was used as a multispectral non-destructive approach for characterization of multi-layered panel paintings and analysis of their defects caused by aging and environmental effects. Twooil compositions painted on canvas, provided by C2RMF in the Louvre museum (Centre de Recherche et de Restauration desMusées de France) were under inspection. Active Thermography was demonstrated as being appropriate for the characterization of various defects on painting layers and the detection of under−drawings, pentimenti and canvas. Pulsed thermography system (PTvis setup of EDEVIS GmbH, provided by Thermoconcept) was applied to obtain and to inspect a dynamic thermal response, which was recorded by mid-and long-wavelength infrared TELOPS cameras. Control, synchronization and data analyses were made by EDEVIS DisplayImg Professional software (provided by Thermoconcept). In our studies, the combined approach provided by mid-and long-wavelength infrared cameras allowed us to obtain simultaneous complementary information on the painting specimen for its internal defects characterization and in situinspection
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Vallet, J. M., V. Detalle, L. De Luca, et al. "Development of a NDT toolbox dedicated to the conservation of wall paintings: Application to the frescoes chapel in the Charterhouse of Villeneuve-lez-Avignon (France)." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744731.

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Meister, C. "POSSIBLE OR NOT: PARIETAL IN THE SWABIAN JURA?" In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.18-19.

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The Swabian Alb is known for its caves, in which figural ivory carvings and flutes from the Aurignacian period were found. Parietal art, on the other hand, as known from sites in France, Spain, Romania or Russia, has not been discovered in this region so far. In fact, up to now, there are no documented caves with Pleistocene wall paintings in Germany. Nevertheless, the presence of ochre traces on mobile artefacts indicates the purposeful application of pigments by humans during the Pleistocene in the region, for example stone pebbles or possible wall fragments from Magdalenian occupations bear series of dots (Conard, Floss, 1998). The paint is, however, fixed to portable objects and not to the cave walls. Not at least for these reasons, the question arises how the lack of parietal art in this region can be explained. If we assume from the known finds in Hohle Fels and Geienklsterle, which demonstrate that ochre was known and accessible to humans at least during the Aurignacian and the Gravettian (Conard, Malina, 2019), a lack of raw material as an explanation for the absence of caves with wall paintings in this region can be excluded. Moreover, at that time humans were able to reproduce the environment in the form of highly realistic images of the Ice Age fauna (Conard, Kind, 2017). A large number of ivory carvings from this period are, if one considers the degree of realism, comparable with the paintings in Chauvet, Altamira or Kapova Cave. Other aspects must therefore be taken into account when determining the reasons for the absence of parietal art. On the one hand, it is possible that the limestone rocks of the Swabian Jura are not suitable for a permanent preservation of ochrebased colors. Most of them are active caves, which are still strongly influenced by geological processes, but above all by water and karst. In addition, it is possible that the knowledge of the existence of caves which goes with long periods of use by people from all times may have destroyed existing paintings. However, one would expect to find some remains or at least residues of paint, if existing images were demolished by the permanent use of the caves. Ultimately, and although it cannot be ruled out that people during the Upper Palaeolithic in southern Germany have expressed themselves artistically in other forms, we must assume that there is a research gap. So far, a systematic research and analysis of the cave walls has not yet been carried out in the Swabian Jura. Today, the use of new technologies can be utilized to confirm or deny the current state of research. At the moment we aim to systematically examine the cave walls in the archaeological sites of the World Heritage Site Caves and Ice Age Art in the Swabian Jura. We consider them an excellent test cluster for the Paleolithic of this region. Three-dimensional recordings of the caves have already been produced. In the next steps we will test these recordings of the known caves with different filters and light conditions for parietal art, but at the same time continue to look for new and up to now unknown caves in the region. Conard, N. J., Floss, H. (1999). Ein bemalter Stein vom Hohle Fels bei Schelklingen und die Frage nach palolithischer Hhlenkunst in Mitteleuropa. Archologisches Korrespondenzblatt, 29 (3), 307316. Conard, N. J., Kind, C.-J. (2017). Als der Mensch die Kunst erfand: Eiszeithhlen auf der Schwbischen Alb. Darmstadt: Theiss Verlag. Conard, N. J., Malina, M. (2019). Weiterfhrende Ausgrabungen im Hohle Fels und neue Einblicke in die Nutzung von Ocker im Jungpalolitikum. Archologische Ausgrabungen in Baden-Wrttemberg 2018, 5659.
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Klokočovnik, Jure, and Deja Muck. "3D printed lithophane." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p44.

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Lithophane is a transparent plate on which, with the help of the different thickness of this plate, an image is formed. Light that passes through the plate from the back side of the plate shows a clear gray image on the front side of this plate. The strength of the transparency is determined by the material of the plate and the light source coming from behind. Without backlighting, the subject on the lithophane cannot be seen. Lithophanes in the form of porcelain vases were discovered in China long before the technique made its way to Europe. In Europe the origins of lithophanes date back to the early 19th century in France. Europeans perfected the technique and also used it to reproduce famous portraits and paintings. Today, the production of lithophanes is experiencing a renaissance with the advent of 3D printing technologies. In the research paper, the process of making lithophane using 3D printing is presented. First, 3D printing technologies are presented, more specifically the technology of extrusion of materials or thermoplastics modelled by joining layers. Then, the materials used for 3D printing with the mentioned technology are presented. Next, the procedures for 3D acquisition and reproduction of reliefs are described, and at the end, the lithophane itself is presented. In the practical part, the whole process of making lithophane is presented. For the creation of the lithophane model, the 3D modelling program Blender was used, and the lithophanes in physical form were made with the Creality Ender 3 3D printer using PLA filament. Droplet and electrophotographic printers were also used to produce colour lithophanes. The influence of LED and halogen lamps on the final impression of lithophane reproduction was also compared. Lithophanes produced with different print settings and different colour reproductions were compared. The results showed that the best wall thickness is one millimetre, and the layer thickness is the smallest value allowed by the printer. The orientation of the lithophane during printing has a great influence on the final image of the design. The best orientation is upright. Color reproduction is best when using electrophotographic printing in combination with acrylic varnish. Lighting research showed that LED is better than halogen lamps. The finished lithophane was of satisfactory quality and could be used as a decoration for the home or to organize an art exhibition with a large number of coloured lithophanes reproducing various artworks and motifs.
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Morozova, Anna V. "TRAVELLING EXHIBITIONS OF SPANISH PAINTING IN THE CONTEXT OF FRANCO�S POLICY." In 7th SWS International Scientific Conference on ART and HUMANITIES - ISCAH 2020 Proceedings. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.2020.7.1/s22.08.

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Brunet-Gaston, Véronique, and Christophe Gaston. "Painting and Sculpture Conservation in Two Gallo-Roman Temples in Picardy (France): Champlieu and Pont-Sainte-Maxence." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/07.01.

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do Amaral Moreira, Cintia Mariza. "THE FLIGHT INTO EGYPT PAINTING OF ALMEIDA JR : BETWEEN BRAZIL AND FRANCE ACADEMIES OF FINE ARTS ON LATE NINETEENTH CENTURY." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.005.

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Romani, Martina, Marco Marinelli, Alessandra Pasqualucci, and Gianluca Verona-Rinati. "A preliminary study of contemporary binders by Time Resolved Laser Induced Fluorescence (TR-LIF) spectroscopy: characterization of the painting Nascita Della Forma by Nato Frascà." In Lasers in the Conservation of Artworks XI. Nicolaus Copernicus University Press, 2017. http://dx.doi.org/10.12775/3875-4.12.

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Menon, Shankar, Bo Wirendal, Jan Bjerler, and Lucien Teunckens. "Validation of Dose Calculation Codes for Clearance." In ASME 2003 9th International Conference on Radioactive Waste Management and Environmental Remediation. ASMEDC, 2003. http://dx.doi.org/10.1115/icem2003-4667.

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All proposals for clearance from regulatory control of very low level radioactive material are based on predicted scenarios for subsequent utilisation of the released materials. The calculation models used in these scenarios tend to utilise conservative data regarding exposure times and dose uptake as well as other assumptions as a safeguard against uncertainties. Another aspects is common to all these calculation models and codes: none of them has ever been validated by comparison with the actual real life practice of recycling. An international project has recently been concluded where two calculation codes used for this purpose (the RESRAD-RECYCLE and CERISE codes) were used to calculate the dose uptake by workers, during the segmentation and melting of a contaminated fuel rack at Studsvik RadWaste, Sweden. These calculated doses were compared with electronic dosimeter measurements on workers participating in the various operations. The measurements showed that segmenting was the work operation that gave the highest dose, almost 65% of the total dose incurred, while melting itself accounted for only about 13%. The project was a co-operation between the Swedish Radiation Protection Institute, Studsvik (Sweden), the US Department of Energy, Argonne National Laboratory (USA), the Institute de Radioprotection et Securite´ Nucle´aire (France) and Belgoprocess (Belgium). The comparison of the calculation results indicated that, even with a carefully controlled reflection of reality with respect to geometry and exposure time and with a “best judgment” choice of densities for each operation, the calculation programmes have tended to overestimate the dose uptake by a factor 4 to 7, i.e. about an order of magnitude. An obvious explanation is the fact that the workers are not static, they move about constantly, changing the geometry, thus not taking the assumed doses. There are also some other practical aspects difficult to reflect exactly in the calculations. It should be noted that the Swedish Radiation Protection Institute were not completely of the same opinion as the project team, pointing out that the codes also underestimated doses for certain operations. We feel, however, that this is irrelevant, as only the maximum estimated doses for any operation in the process are used for the determination of clearance levels. It seems reasonable to state that the use of ‘enveloping’ scenarios, which necessarily cover a wide range of scenarios range of scenarios in connection with the calculation of clearance levels, would tend to accentuate this tendency of overestimation of dose uptake in most individual cases of recycling by melting. Taking into account the sensitivity of the modelling and the practical aspects listed above, the estimated doses can be, say, one or even more orders of magnitude higher than those actually taken. A side aspect of the execution of the Validation Project — specifically the background measurements — was the revelation of radioactivity in unexpected places: the paint used for the painting of moulds at A˚kers (3–5 Bq/g), the slag binding product (twice background radiation), the stamp mass, insulation and new asphalt at the Studsvik furnace (all at three to four times background). This serves to illustrate the undetected omnipresence of radioactivity in the human habitat at dose rate levels considerably higher (up to 400% over background) than the levels (ca 1% over background) at which the currently proposed clearance criteria are based on. Finally, it is important to note that the degree of overestimation (a factor of 4 −7), as recorded in the validation project, is generally regarded as ‘acceptable’ by dose modellers. The results will most probably not lead to any revision or refinement of these codes. For the nuclear decommissioner and the other producers of large volumes of only slightly radioactively contaminated material, the clearance levels resulting from such a degree of conservatism can lead to huge amounts of material unnecessarily being condemned to burial as radioactive waste. Considering that most such producers transfer their costs to the public, it is society at large that will foot the bill for this exercise in conservatism.
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