Academic literature on the topic 'Primato Painter'
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Journal articles on the topic "Primato Painter"
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Gautama, Kurniawati. "Membedah Karya Erica Hestuwahyuni Melalui Studi Bahasa Rupa." JURNAL RUPA 2, no. 2 (2018): 104. http://dx.doi.org/10.25124/rupa.v2i2.1006.
Full textAbstract:
Bahasa Rupa (picture-writing) is an invention of Prof.Dr. Primadi Tabrani to analize the specific character of Eastern tradition which is different from Western. It is a visual communication study in modern and traditional picture-writing system. The modern (western) bahasa rupa uses ‘close up’ format which recognized universally, whereas the traditional (eastern) system such as the relief of Borobudur Temple, Wayang Beber (scroll-painted picture presentations), Balinesse Painting, have specific drawing technique.
This essay, will analize an Indonesian and international recognized female painter, Erica Hestuwahyuni, whose artworks show childlike character.
As introduction this essay will elaborate the differences between painting and drawing, also Bahasa Rupa theory and character of children drawings.
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Fajardo de Rueda, Marta. "Del Grabado Europeo a la Pintura Americana. La serie El Credo del pintor quiteño Miguel de Santiago." HiSTOReLo. Revista de Historia Regional y Local 3, no. 5 (2011): 191. http://dx.doi.org/10.15446/historelo.v3n5.20655.
Full textAbstract:
El hallazgo de dos series de grabados flamencos del siglo XVII sobre el tema El Credo, de los artistas Adrian Collaert (1560-1618) y Johan Sadeler (1550-1600), permiten confirmar la importante presencia de los grabados europeos en los talleres de pintura de la América Hispana y su influencia decisiva en la formación de nuestros artistas. Se analizan entonces bajo esta perspectiva, las once pinturas al óleo que conforman la Serie de los Artículos de El Credo, obra del pintor quiteño Miguel de Santiago (1603-1706) que se encuentran en la Catedral Primada de Bogotá desde la época colonial.Palabras clave: Grabados europeos, pintores coloniales, Miguel de Santiago, Quito, Santafé de Bogotá. From European Engraving to American Painting. El Credo Series From The Painter From Quito Miguel de Santiago AbstractThe discovery of two engraving Flemish series from 17th century about El Credo, from the artists Adrian Collaert (1560-1618) and Johan Sadeler (1550-1600), allows proving the presence of European engravings within the painting works in the Hispanic America and the great influence on our artists’ formation. Thus based on this, are analyzed the eleven oil paintings that constitute the Series of Goods from El Credo, from the painter from Quito Miguel de Santiago (1603-1706) that are from the colonial time in the Catedral Primada de Bogotá.KeywordsEuropean engravings, colonial painters, Miguel de Santiago, Quito, Santafé de Bogotá
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Masseti, Marco, and Cecilia Veracini. "The first record of Marcgrave's capuchin in Europe: South American monkeys in Italy during the early sixteenth century." Archives of Natural History 37, no. 1 (2010): 91–101. http://dx.doi.org/10.3366/e0260954109001673.
Full textAbstract:
Around the end of the second decade of the sixteenth century, in the Villa Medici of Poggio a Caiano in the vicinity of Florence, the Florentine artist Andrea del Sarto painted a great fresco, commissioned by Pope Leo X in honour of his late father, Lorenzo de’ Medici. This fresco contains one of the earliest representations in Europe of a living South American primate, which can easily be identified as Marcgrave's capuchin, Cebus flavius ( Schreber, 1774 ). The appearance is so accurate that we can assume that the painter was familiar with the animal, and may even have used a live monkey as a model. Marcgrave's capuchin is a taxon that was recently rediscovered in Brazil, where it has been found in fragments of the Atlantic Forest in the states of Rio Grande do Norte, Pernambuco, Alagoas and Paraíba. The portrayal of this species in the early sixteenth-century decoration of Poggio a Caiano raises interesting questions about the popularity of Brazilian primates in European artistic and scientific circles from the time of the discovery of the New World, and about the rapidity of the initial anthropogenic diffusion of some of these animals beyond their homeland.
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Vitagliano, Maria A. "Painting and Poetry in Early Modern Spain: The Primacy of VenetianColorein Góngora’sPolyphemusandThe Solitudes*." Renaissance Quarterly 66, no. 3 (2013): 904–36. http://dx.doi.org/10.1086/673586.
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AbstractLuis de Góngora’sFable of Polyphemus and Galatea(1612) andThe Solitudes(1613) have inspired comparisons to painting ever since they first appeared in manuscript form at the Court of Philip III. Engaging the doctrine ofut pictura poesis, which notes the kinship between painting and poetry, Góngora creates pictorial conceits modeled in color as if using a painter’s palette, and thus his poems read like imaginary art galleries. By way of both plastic and discursive references to the Venetian school, Góngora inserts his poetry into one of the most salient polemics of his time, theparagone tra colore e disegno, the debate over the supremacy of Venetian color versus Florentine draftsmanship. This essay seeks to provide a reading of Góngora’s major poems in light of theparagoneas it played out in seventeenth-century Spain among art theorists and painters such as Francisco Pacheco and Domenico Theotocopoulis (El Greco), and intertwined with related discourses pertaining to artistic progress and innovation, including the link between aesthetics and religious reform.
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Tamás, Horogszegi. "Egy elfeledett Szent István király-falképciklus. •." Művészettörténeti Értesítő 69, no. 1 (2020): 71–102. http://dx.doi.org/10.1556/080.2020.00005.
Full textAbstract:
Tradition had it that the rectangular Romanesque hall with a central column in the royal and later archiepiscopal palace on Castle Hill in Esztergom was the birthplace of King Saint Stephen, although it was already clear in the 19th century that this part of the building dated from after the 11th century. Nevertheless, in view of the salient role of the castle in the cult of Saint Stephen, the prince primate and archbishop of Esztergom (1867–1891) János Simor (1813–1891) had the Romanesque room converted into a chapel in 1873–74, a thousand years after the birth of the state and church founder king. The reconstruction was planned by József Lippert, the chief architect of the prince primate who planned in this capacity, among other things, the transformation of the interior of the cathedral and the construction of its vestibule, the primate’s palace, and the purist reconstruction of Pozsony cathedral. The transformation of the hall with the central column included a new aperture, walling up of a niche, erection of an altar, and embellishing of the walls and vault with neo-Romanesque frescoes imitating the Byzantine style painted by the brothers Karl and Franz Xaver Jobst (fig. 3). The completed chapel became a neo-Romanesque Gesamtkunswerk down to the smallest detail, a venue of cult and memory.The decisive part of the painted decoration was the cycle of the salient episodes in St Stephen’s life on the vault arches: 1. Apparition of St Stephen protomartyr to Sarolt, wife of prince Géza (fig. 7). 2. The baptism of Vajk (fig. 11). 3. Bishop Astrick shows the crown brought from Rome to St Stephen (fig. 15). 6. Offering of the country to God (fig. 23). The paper reviews the iconographic antecedents of the scenes and the respective source texts, mentioning so-far unpublished works (figs. 13, 22). In addition to several other findings, it could be concluded that unlike in the period from the 17th to the mid-19th century when the depictions of King St Stephen were imbued with currently topical political implications, the images of the Esztergom cycle are free from such readings. The painters of the frescoes ordered by archbishop Simor mainly used recognized schemes and panels aligning themselves with the iconographic tradition, and therefore the novelty of the decoration which contemporary accounts emphasized must have been their neo-Byzantine style. A few decades later, however, this style must have appeared obsolete, nor did it have followers in its time, either. Apart from the demonstration of iconographic motifs, the direct models of the scenes cannot be determined even for such an extremely rare theme as Sarolt’s dream. That is at the same time proof of the invention of the painters and that is what ranges their work among the important achievements of post-Compromise painting: the ingenious use of motifs of mostly familiar scenes (identified by captions as well) and their arrangement in a new composition in the chosen or required style, with the prudent use of the semi-circular shape of the picture field when need be. It is important to note that no other picture cycle was created of St Stephen’s life in the second half of the 19th century. Moreover, some of the scenes have demonstrable linkage to stations in the life path of archbishop Simor, which must have influenced the finalization of the programme.During the archaeological excavations and reconstruction on Castle Hill in 1934–1938 the historicist elements of the hall with a central column were removed (fig. 4). Until how, research thought the painted decoration by the Jobst brothers had perished and were only known in reproduction. However, it must have been removed by Mauro Pellicioli or an assistant of his who had been invited to Hungary from Milan by Tibor Gerevich. I chanced upon the removed frescoes in a remote storeroom of Esztergom cathedral in 2011 with Veronika Nagy.
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Tamás, Horogszegi. "Egy elfeledett Szent István király-falképciklus. •." Művészettörténeti Értesítő 69, no. 1 (2020): 71–102. http://dx.doi.org/10.1556/080.2020.00005.
Full textAbstract:
Tradition had it that the rectangular Romanesque hall with a central column in the royal and later archiepiscopal palace on Castle Hill in Esztergom was the birthplace of King Saint Stephen, although it was already clear in the 19th century that this part of the building dated from after the 11th century. Nevertheless, in view of the salient role of the castle in the cult of Saint Stephen, the prince primate and archbishop of Esztergom (1867–1891) János Simor (1813–1891) had the Romanesque room converted into a chapel in 1873–74, a thousand years after the birth of the state and church founder king. The reconstruction was planned by József Lippert, the chief architect of the prince primate who planned in this capacity, among other things, the transformation of the interior of the cathedral and the construction of its vestibule, the primate’s palace, and the purist reconstruction of Pozsony cathedral. The transformation of the hall with the central column included a new aperture, walling up of a niche, erection of an altar, and embellishing of the walls and vault with neo-Romanesque frescoes imitating the Byzantine style painted by the brothers Karl and Franz Xaver Jobst (fig. 3). The completed chapel became a neo-Romanesque Gesamtkunswerk down to the smallest detail, a venue of cult and memory.The decisive part of the painted decoration was the cycle of the salient episodes in St Stephen’s life on the vault arches: 1. Apparition of St Stephen protomartyr to Sarolt, wife of prince Géza (fig. 7). 2. The baptism of Vajk (fig. 11). 3. Bishop Astrick shows the crown brought from Rome to St Stephen (fig. 15). 6. Offering of the country to God (fig. 23). The paper reviews the iconographic antecedents of the scenes and the respective source texts, mentioning so-far unpublished works (figs. 13, 22). In addition to several other findings, it could be concluded that unlike in the period from the 17th to the mid-19th century when the depictions of King St Stephen were imbued with currently topical political implications, the images of the Esztergom cycle are free from such readings. The painters of the frescoes ordered by archbishop Simor mainly used recognized schemes and panels aligning themselves with the iconographic tradition, and therefore the novelty of the decoration which contemporary accounts emphasized must have been their neo-Byzantine style. A few decades later, however, this style must have appeared obsolete, nor did it have followers in its time, either. Apart from the demonstration of iconographic motifs, the direct models of the scenes cannot be determined even for such an extremely rare theme as Sarolt’s dream. That is at the same time proof of the invention of the painters and that is what ranges their work among the important achievements of post-Compromise painting: the ingenious use of motifs of mostly familiar scenes (identified by captions as well) and their arrangement in a new composition in the chosen or required style, with the prudent use of the semi-circular shape of the picture field when need be. It is important to note that no other picture cycle was created of St Stephen’s life in the second half of the 19th century. Moreover, some of the scenes have demonstrable linkage to stations in the life path of archbishop Simor, which must have influenced the finalization of the programme.During the archaeological excavations and reconstruction on Castle Hill in 1934–1938 the historicist elements of the hall with a central column were removed (fig. 4). Until how, research thought the painted decoration by the Jobst brothers had perished and were only known in reproduction. However, it must have been removed by Mauro Pellicioli or an assistant of his who had been invited to Hungary from Milan by Tibor Gerevich. I chanced upon the removed frescoes in a remote storeroom of Esztergom cathedral in 2011 with Veronika Nagy.
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Whalen, Michael E., and Paul E. Minnis. "Ceramics and Polity in the Casas Grandes Area, Chihuahua, Mexico." American Antiquity 77, no. 3 (2012): 403–23. http://dx.doi.org/10.7183/0002-7316.77.3.403.
Full textAbstract:
AbstractThe Medio period (ca. A.D. 1150–1475) at the primate center of Casas Grandes, Chihuahua, Mexico, is characterized by polychrome pottery with elaborate, finely painted designs. This originally was presumed to be the peak of an evolutionary sequence that began with coarse, simple decoration. New research and dating show that this was not the case. Instead, fine painting and an elaborate set of design motifs are added to the older, simpler style at about A.D. 1300. Both types of decoration are produced through the fourteenth century. The addition of the new style is coincident with the rise of Casas Grandes and was one part of a symbolic package that emphasized the prestige of the center. It is further argued that the collapse of the primate center in the fifteenth century saw the demise of its symbolism. The older and simpler part of the Medio period tradition, however, likely continued to be made at small, scattered post-Casas Grandes communities. These have been unrecognizable in surface surveys, as their sparse surface ceramic assemblages contain Medio period utilitarian wares. This has led to the supposition that the Casas Grandes area was abandoned after the fall of the primate center. This long-popular belief may be incorrect.
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Gascoigne, David. "Georges Perec's La Vie mode d'emploi; or, How to Take on Painting and Win." Nottingham French Studies 51, no. 3 (2012): 286–97. http://dx.doi.org/10.3366/nfs.2012.0028.
Full textAbstract:
Notes by Perec on his reaction to paintings and on his collaboration with painters suggest a complex, but potentially conflictual relationship. In his fictional masterpiece La Vie mode d'emploi (1978) he pursues an elaborate confrontation on many levels with paintings and painters, whose prestige he recognizes as a rival to writing, which is thus challenged to reassert its primacy. Intradiegetically, the narrative turns centrally on accounts of failed projects related to painting. Extradiegetically, ‘Old Master’ paintings are dismantled to provide details for insertion into quite alien contexts in Perec's textual construction, and the aspect of framing central to traditional canvas painting is consistently challenged. Strategically, Perec's whole project in this work can be read as a calculated invasion, by the writer, of the domain of spatial representation seen since Lessing as proper to painting, and as an assertion of the supremacy of the textual.
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Froenicke, L., S. M. Nichols, H. M. Kubisch, L. A. Lyons, B. D. Bavister, and C. A. Brenner. "242 DEVELOPMENT OF BAC FISH PROBES FOR GENETIC ANALYSIS OF NON-HUMAN PRIMATE GAMETES AND EMBRYONIC STEM CELLS." Reproduction, Fertility and Development 17, no. 2 (2005): 271. http://dx.doi.org/10.1071/rdv17n2ab242.
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Several factors relating to reproductive health and gamete competence must be considered when implementing programs for propagation of genetically valuable primates via natural breeding or assisted reproductive technologies. These relevant factors include ascertaining gamete chromosome normality of individuals. Our early attempts at characterizing aneuploidy levels of gametes within a model primate species, the rhesus macaque, utilizing Vysis centromeric fluorescent in situ hybridization (FISH) probes, failed to produce a signal. Commercially available probe sets for interphase cytogenetics rely partly on repetitive DNA probes. Therefore, we have employed either pools of human BACs or clones selected from a rhesus macaque BAC library for interphase cytogenetics. Bacterial artificial chromosome (BAC) FISH probes specific to regions of human DNA that are homologous to macaque DNA were produced, in collaboration with researchers at the University of California-Davis. The most common aneuploidies implicated in human birth defects or pregnancy failures are those involving the sex chromosomes and chromosomes HSA (human) 13, 16, 18, and 21 (Munne 2003 Placenta 24, 70–76). Hence, we have initially used human BAC FISH probes on the equivalent chromosome homologs in Macaca mulatta (MMU): X, Y, MMU 17 (HSA13), MMU 20 (HSA16), and MMU18 (HSA18). The homolog of HSA 21 is part of a larger chromosome in the macaque (MMU3) that also contains HSA 7 (based on nomenclature by Cambefort et al. 1976 Ann. Genet. 19, 5–9). Since aneuploidy has been linked to chromosome size and MMU3 is large, this macaque chromosome may be involved in aneuploidies. In addition, we determined the suitability of commercially available “chromosome paints” that target repetitive sequences and are widely used in determining karyotypes in human fertility clinics. Initial work was performed on cultured macaque blood cells exposed to Colcemid. Our preliminary data clearly demonstrate the feasibility of using probes that are commonly used in the analysis of human karyotypes to examine chromosomal anomalies in macaque gametes and embryos. Additional probes for other chromosomes are currently under investigation. The development of a large panel of available probes will provide a rapid and accurate method to assess aneuploidy/mosaicism levels in genetically valuable primate spermatozoa, in vitro-matured oocytes and blastomeres of IVP embryos. Furthermore, these probes will be useful to determine the karyotypic normalcy of cultured non-human primate embryonic stem cells. This research has been supported by the University of New Orleans to CAB, Tulane National Primate Research Center base grant NIH 5P51 RR00164-41, and the Joe W. and Dorothy Dorsett Brown Foundation Cellular Imaging Facility.
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BATEY, COLLEEN. "‘A Shetland Voyage of Discovery Starts Here….’: Reflections on the New Shetland Museum and Archive." Scottish Archaeological Journal 28, no. 2 (2006): 151–52. http://dx.doi.org/10.3366/e1471576707000071.
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As a publicity slogan, this ranks amongst the best: short, to the point and accurate! On 31 May 2007 the flagship development of Shetland's Museum and Archive received its royal opening. Appropriately enough, Her Majesty the Queen of Norway takes primacy over Their Royal Highnesses the Duke and Duchess of Rothesay, not only following protocol in such matters, but reflecting Shetland's close links with their Scandinavian neighbours. Located on the last remaining area of original 19th century dock in Lerwick, the capital of Shetland, this energetic new building with sail-shaped extension, sits comfortably adjacent to the red painted and timber buildings which are more reminiscent of Faroese architecture than those found elsewhere in the British Isles. Incorporating also old boat sheds which will enable visitors to see the boatmen as they restore the traditional boats, many of which reflect original Norse forms, this development is both high quality and award-winning for its sustainable architecture. The culmination of eight years of planning, and funded by a consortium of Heritage Lottery, Shetland Islands Council and Shetland Amenity Trust funds in excess of 10 million pounds, the museum provides a heritage hub for visitors to the islands and locals alike.
Dissertations / Theses on the topic "Primato Painter"
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Attia, Alexandra. "Étude et contextualisation des ateliers à figures rouges du "Lucanien récent" (2ème moitié du IVè siècle av. J.-C.) : le cas du Peintre du Primato." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H107.
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La céramique du « Lucanien récent » - désignant la céramique à figures rouges produite en Lucanie à partir des années 360-340 av. J.-C jusqu'à ce qu' A.D. Trendall appelle la «barbarisation» du style, vraisemblablement dans les dernières décennies du IVe siècle av. J .-C. -, n'a fait l'objet d'aucune étude approfondie depuis la classification stylistique proposée par le savant néo-zélandais en 1967. Les zones d'ombres persistantes quant à la localisation et l'articulation de ces ateliers de production, que la seule orientation stylistique ne permet pas d'éclairer, et le grand nombre de vases exhumés récemment en Basilicate et dans la région des Pouilles, nécessitaient la mise en œuvre d'une nouvelle étude. Ce travail de recherche, mené à partir du corpus stylistique initial attribué au Peintre du Primato, dresse un état des lieux et en propose une nouvelle lecture basée sur la pluridisciplinarité des approches, de l'archéologie contextuelle à l'archéologie de la production. Le matériel est envisagé dans ses aspects formel, iconographique, stylistique et technologique, et interprété à la lumière de nouveaux contextes comme réponse à la demande d'une clientèle indigène : de Basilicate. La prise en considération de réalités productives contemporaines, celle du Peintre de Naples 1959 et de ses collaborateurs autour desquels semble s'articuler la fin de la production lucanienne, et celle du Peintre de Lycurgue, peintre apulien avec lequel il a entretenu des liens privilégiés, contribuent à mettre en évidence la spécificité de son langage autant que les réseaux de contacts et d'influences accompagnant la création d'une culture d'atelierSince 1967 and New Zealander's A.D. Trendall 's stylistic classification of Late Lucanian vases -designating South-italian red-figure vases produced in Lucania around the second half of the 4th century B.C. until its so-called «barbarization» presumably occuring in the last decades of that same century -this field of research has not expanded. To overcome persistent shadows regarding the location and articulation of these workshops' production and in the face of numerous recent archeological finds in Basilicata and Puglia, this research offers a new awaited methodological study. Multidisciplinary, it encompasses the initial stylistic corpus, an updated inventory, and new approaches informed by contextual archeology and archeology of production. Focusing on late Lucanian vases attributed to the Primato Painter and his colleagues, considered in their formal, iconographic, stylistic, and technological aspects, the scope interprets the established new contexts while responding to a local demand, from italic people of ancient Lucania. The analysis of contemporary productions both Lucanian, with the Painter of Naples 1959 and his followers in an era of decline of Lucanian wares, and Apulian, with the Lycurgus painter from whom the Primato sourced his main inspiration, contributes to highlight the specificities of his “language”, as well as his networks of contacts and influences that accompanied the emerging of a workshop culture
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Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty, and School of Design. "Paint, painters and primary perception." THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.
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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artistsMaster of Arts (Hons)
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Brewer, Rhett. "Paint, painters and primary perception." View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.175546/index.html.
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Pandurangan, Sudhakar. "One year performance of longitudinal waterborne paint pavement markings used on primary and secondary roads of South Carolina." Connect to this title online, 2009. http://etd.lib.clemson.edu/documents/1263409857/.
Full textBooks on the topic "Primato Painter"
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Miulasek, John. John James Audubon: American painter. Houghton Mifflin, 2005.
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Green, Susan. I like to paint. Dominie Press, 1992.
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Green, Susan. I like to paint. Gage Educational Pub., 1986.
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Betz, Adrienne. Plum's paint brush: A Chinese tale / retold by Adrienne Betz ; illustrated by Cristina Ong. Scholastic Inc., 1999.
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Heuer, Elaine Engle. "I want to paint a zebra, but I don't know how". Small Business Press, 1987.
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Live butterfly activity book: Activities, suggestions, and resources for teachers, parents, and kids using live painted lady butterflies from insect lore. Insect Lore, 2002.
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Buell, Janet. Elephant painter. Scott Foresman, 2003.
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Williams, Rebel. Painters. Wright Group, 1990.
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Edward, Lear. Journal of a Landscape Painter in Corsica - Primary Source Edition. Nabu Press, 2013.
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Troisi, Alfonso. The Painted Mind. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780199393404.001.0001.
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The scientific focus of this book is on the human mind and behavior viewed from an evolutionary perspective. The author is a clinical psychiatrist but his research background ranges from primate ethology to neuroscience, behavioral biology to molecular genetics, and Darwinian psychiatry to evolutionary psychology. Discussion of emotions, cognitive capacities, and behaviors integrates a variety of research and clinical findings that, ultimately, can be reduced to the evolutionary distinction between proximate mechanisms and adaptive functions. An original feature of the book is that it combines science and art. Each chapter is inspired by a painting masterpiece, and a substantial portion of the text is devoted to introducing the reader to the artistic significance of the works and to biographical notes concerning the painters who made them. In addition, each painting is accurately reproduced in a full-page color plate. Description of the evolutionary theories that explain how the human mind works are intermixed with the critical discussion of the perspectives of humanistic disciplines such as philosophy, sociology, religion, or literature. In order to give the reader lively examples of psychological and behavioral patterns, the chapters are filled with stories of people—stories of literary characters, stories of historical characters, and clinical cases.
Book chapters on the topic "Primato Painter"
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Gamberini, Cecilia. "Sofonisba Anguissola, a Painter and a Lady-in-Waiting." In Women Artists in the Early Modern Courts of Europe. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988194_ch04.
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Relying on primary source documents, Cecilia Gamberini outlines the reality of Sofonisba Anguissola’s experiences in the Household of Queen Isabel of Valois following the artist’s appointment to the Spanish court in 1559. Anguissola’s position is generally credited to her two roles there: painter and lady-in-waiting. The author argues that while Anguissola’s appointment was due in part to her remarkable painted self-representations, it was also facilitated by a largely overlooked network of familial contacts and the political climate of the time. Analyses of Anguissola’s behaviour in the Queen’s Household also offers a glimpse into the young woman’s personality, which was at times irreverent and rebellious, and the opportunity for new attributions.
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Philo, John-Mark. "Shakespeare’s Macbeth and Livy’s Legendary Rome." In An Ocean Untouched and Untried. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857983.003.0006.
Full textAbstract:
Chapter 5 explores the influence exerted by Livy on Shakespeare’s Macbeth. Livy’s account of the early, legendary Rome makes itself felt in Macbeth in two distinct but complementary ways. When Hector Boece wrote his national history of Scotland, the Scotorum Historia (1527), he turned to Livy to fill the historical blanks in Scotland’s past. The Macbeth episode was no exception, and Boece modelled his Maccabeus closely on Livy’s Tarquin the Proud. Raphael Holinshed (c.1525–80?), relying on Boece’s Scotorum Historia, as well as its Scots translation by John Bellenden, for his Historie of Scotland, thereby incorporated these distinctly Livian elements into his own account of Macbeth’s reign. Shakespeare used Holinshed as his primary source for Macbeth and thus rehearsed a portrait of tyranny which was ultimately inspired by Livy’s Tarquin. The second means of transmission involves a new source for consideration: William Painter’s Second Tome of the Palace of Pleasure. By translating Livy for his novel the Two Roman Queenes, Painter highlighted the roles played by two female king-makers, Tanaquil and Tullia, in establishing and edifying the Tarquinian dynasty at Rome. It was Painter’s interpretation of Livy, this chapter argues, that alerted Shakespeare to the dramatically satisfying prospect of a wife who not only encourages her husband with an appeal to his masculinity, but readily participates in the crimes she would have her husband commit. There is more of ancient Rome to Shakespeare’s Scottish play, this chapter argues, than first meets the eye.
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Stein, Michael D., and Sandro Galea. "Denying Climate Change Is Denying Health." In Pained. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510384.003.0008.
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This chapter explores the politics of climate change and how politics can affect people’s health. In recent years, global environmental climate change has become a third rail in American culture, dividing people along political lines. The Republican Party espouses a range of positions, from the denial of climate change to denial of people’s role in causing the problem. The Democratic Party falls more in line with the science on this issue, which is largely settled. There is little disagreement among scientists that the earth is getting warmer. Hence, the political argument is not really about the science as much as it is about priorities. The Republican Party prioritizes deregulation and corporate interests over the potential disruption of these interests caused by the structural changes necessary to address climate change. The Democratic Party, for its part, has increasingly chosen to prioritize the future of the planet over the unfettered primacy of markets. Ultimately, climate change threatens health. When people recognize that climate change matters for health, they open the door for health to become an organizing principle in addressing this issue. Indeed, if people do not act on climate change, they are compromising their health.
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Popenhagen, Ron J. "Facing Change and Changing Masks." In Modernist Disguise. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.003.0002.
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The primary focus of this chapter is the fixed-form mask in its many manifestations, beginning with ‘Death Masks Re-membered’. The difference between performance masks and death masks is theorised, including a discussion of photographs of the death masks of notable figures. The fascination of modernist painters with African masks in British, French and German museums is discussed with reference to the Picasso Primitif exhibition (2017) and to the history of anthropological exhibitions of the ‘savage’ during the early years of Modernism. Indigenous masquerade is further explored by commentary on photographic portraits of the ‘other’, with consideration of the rapport between subject and photographer. Painted images of the mask object and disguised individuals by Paul Cézanne, James Ensor, Émil Nolde and Pablo Picasso are contrasted with Edward Sheriff Curtis’s photos of Native American masking. Modernist innovations in masquerade, like the dance scenography of Loïe Fuller, highlight alternative methods of changing the body image, as well as transforming the human figure into a part-object form (an aspect exhibited also in a painting by Margaret Macdonald Mackinstosh). Modernist Pierrots in Berlin, Copenhagen and St Petersburg, for example, suggest that playful disguise was an almost-universal impulse in Modernism across Europe and the United Kingdom.
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"Hitler’s Dürer? The Nuremberg Painter between Self-Portrayal and National Appropriation." In The Primacy of the Image in Northern European Art, 1400–1700. BRILL, 2017. http://dx.doi.org/10.1163/9789004354128_025.
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Epstein, Charlotte. "The Public Anatomy Lesson." In Birth of the State. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190917623.003.0007.
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This chapter analyses a crucible of the state’s making in the sixteenth and seventeenth centuries, the public anatomy lesson. The body, this piece of ‘natural’ property that every human ‘has’, was being increasingly opened up and peered into for the purposes of finally seeing human nature itself. Bringing together visual studies and international relations, the chapter charts the scopic regime that established vision as modernity’s primary ordered instrument and that was honed upon the body dissected in public. To map its contours, it begins with the writings of anatomist William Harvey and scientist-statesman Francis Bacon. The chapter then tracks how this scopic regime was institutionalised by the spread of the highly popular public anatomy lesson across early modern Europe. It then analyses Renaissance and early modern representations of the public anatomy lesson, notably the frontispiece of the first manual of modern medicine, Andrea Vesalius’s On the Fabric of the Human Body (1943), and Dutch painter Rembrandt’s anatomy lesson paintings. The chapter examines the work of boundary-drawing and state-building wrought by these public performances by tracking the roles of the female and the poor body in their crafting.
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Grose, Timothy. "Incubating Loyalty (or Resistance) in Chinese Boarding Schools." In Negotiating Inseparability in China. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528097.003.0002.
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Chapter One introduces the major institutional hallmarks of the Xinjiang Class. It carefully interrogates the CCP’s current objectives for maintaining boarding schools for Uyghur students. It draws on documents drafted by China’s Ministry of Education, Xinjiang’s Education Department, and individual schools hosting a Xinjiang Class as well as individual testimony to paint a vivid picture of the daily life of Xinjiang Class students. The chapter contends that the primary objective of the Xinjiang Class is to create, from scratch, a cohort of Uyghurs who are loyal to the CCP
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Holloway, David. "The Unmaking of a Diva." In Diva Nation. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297722.003.0011.
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This chapter traces the life of author Kanehara Hitomi, whose Akutagawa Prize–winning Snakes and Earrings (2003) remains the author’s primary claim to fame. In the wake of her sudden success, and due in no small part to her bold taste in fashion, Kanehara was quickly branded a diva in the media. She has since slipped from the limelight and has cultivated a “comfortable anonymity.” This chapter paints in broad strokes Kanehara’s troubled teens as well as her recent attempts to shed the diva label. The chapter also argues that what made Kanehara a diva had less to do with her novella or fashion sense and more to do with her experiences growing up in recessionary Japan and the ways in which her celebrity illuminated fissures in Japanese social life.
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"‘And I Bear Your Beautiful Face Painted on My Chest’. The Longevity of the Heart as the Primal Organ in the Renaissance." In Disembodied Heads in Medieval and Early Modern Culture. BRILL, 2013. http://dx.doi.org/10.1163/9789004253551_012.
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Arbib, Michael A. "A look at vision, and a touch more." In When Brains Meet Buildings. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780190060954.003.0003.
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Le Corbusier’s distinction between engineering and architectural aesthetics introduces the challenges of balancing the practical and the aesthetic, and introduces his dictum, “A house is a machine for living in.” Here, beauty is just one aspect of the emotional impact of a building. Early visual processing in the frog is action-oriented, while in the primate it is general-purpose. These support different approaches to aesthetic judgment of visual form and suggest deep evolutionary underpinnings of aesthetic judgment. Neuroscientists distinguish working memory, episodic memory, procedural memory, and semantic memory. The VISIONS model exemplifies some of these, as well as principles of brain operation, including competition and cooperation of schema instances in constructing an interpretation of a visual scene. What people attend to is influenced by task and motivation. After assessing how a blind artist developed the ability to paint pictures, the chapter outlines MULTIMODES, a cognitive model that extends the principles of VISIONS to multimodal action-oriented perception of episodes.
Conference papers on the topic "Primato Painter"
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Ahn, Ye Jin. "Amazing portrait [al·la prima]; process of drawing teapot (drawing of oils painterly rendering)." In ACM SIGGRAPH 2006 Teapot. ACM Press, 2006. http://dx.doi.org/10.1145/1180098.1180129.
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Joshi, S. G., A. S. Pujari, R. D. Kale, and B. K. Sreedhar. "Cavitation Studies on a Model of Primary Sodium Pump." In ASME 2002 Joint U.S.-European Fluids Engineering Division Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/fedsm2002-31172.
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Indira Gandhi Centre for Atomic Research for their Fast Breeder Reactor had a requirement of two primary sodium pumps, with relatively medium head and comparatively large flow rate. The pumps had to be vertical bowl type, with inverted suction, drawing the relatively cold liquid sodium from the reactor pool, and forcing it over the fuel rods. The flow involved was 4.3 M3/sec. per pump and the head involved was 75 m. The available NPSH was 16.02m. The choice of the right speed was the first hurdle to be overcome. The size of the pump governed the cost of the reactor. Hence it was essential to make the pump as compact as practicable, by designing it to run at the highest possible speed. On the other hand the required NPSH of the pump increased with speed, there by reducing the safety cushion between required NPSH and available NPSH. Increasing the available NPSH beyond 15.55 m to accommodate higher speeds also increased the cost of the reactor phenomenally. Coupled with the requirement of head, flow rate, efficiency, the application demanded a certain erosion life of the pump impeller. Concluding from the previous experience and available literature on the subject, it was necessary to limit the size of the cavitation bubble patch, during operation under available NPSH, to meet erosion life requirement. The paper describes how the choice of speed was made and what were the criteria applied for deciding the value of 3% head drop NPSH. It also describes how a closed circuit test rig was installed for the purpose of testing a model pump and how the usual performance and NPSHR tests paint erosion tests and visual cavitation tests were carried out on a geometrically similar, smaller model pump, to decide that the prototype pump built from the model will meet all the requirements of head, flow rate, efficiency, 3% head drop NPSHR, 0% head drop NPSHR, Paint erosion NPSHR, and the cavitation patch size to meet desired erosion life criteria, in the laboratories of Kirloskar Brothers Limited.
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Shams, N., M. Mc Keever, S. Mc Cormack, and B. Norton. "Design and Experiment of a Concentrating Transpired Air Heating System." In ASME 2011 5th International Conference on Energy Sustainability. ASMEDC, 2011. http://dx.doi.org/10.1115/es2011-54114.
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This paper presents the physical design and experiments of the Concentrating Transpired Air Heating (CTAH) system as a combination of subsystems of parabolic primary and circular secondary reflector that concentrates incident solar radiation onto an inverted perforated absorber. Optical efficiency of the CTAH system has been analysed using a 2D ray tracing model. Experiments have been carried out for 50% perforated black painted aluminium inverted absorber for glazed and unglazed systems. Results show a significant temperature rise of the absorber surface in both cases. The maximum temperature of the absorber for the unglazed system is 52.1°C at 22.5°C ambient temperature, where as for the covered system, it is 67.9°C at 23.2°C ambient temperature.
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Thota, A. K., and J. L. Alberts. "Novel Use of Retro-reflective Paint to Capture 3D Kinematic Gait Data in Non-human Primates." In 2013 29th Southern Biomedical Engineering Conference (SBEC 2013). IEEE, 2013. http://dx.doi.org/10.1109/sbec.2013.65.
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Maradey Lázaro, Jessica Gissella, Kevin Cáceres, and Gianina Garrido. "Design and Start-Up of an Automatic Paint Mixer." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-11557.
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Abstract In daily life, is very common to witness scenes in which it is necessary to obtain different ranges of colors in the paintings that are used either with water or oil. This range of colors comes from the fusion and homogenization of primary colors or tones. Frequently, the process of mixing and dosing are carried out by people who, by trial and error, determine the color desired by the user. Then, the quality and precision of the paint is affected and generate customer dissatisfaction, claims, waste, and low productivity. This article shows the design and start up process of an automatic mixer prototype that doses and mixes paint to create complex color shades by implementing a human-machine interface and a control stage and verification. Also, the results of this investigation shows the engineering process carried out to obtain a prototype of a functional, automatic, exact mixing machine and a homogenous and quality product that meets the customer’s requirements. Improvements that will can do and future work are included too.
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GINTHOTAVIDANA, S. S. C., and K. G. A. S. WAIDYASEKARA. "AN INSIGHT INTO THE HOUSEKEEPING PRACTICES OF SRI LANKAN HEALTHCARE FACILITIES IN PRIVATE SECTOR." In 13th International Research Conference - FARU 2020. Faculty of Architecture Research Unit (FARU), University of Moratuwa, 2020. http://dx.doi.org/10.31705/faru.2020.1.
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The inferior performance in housekeeping services has contributed to distinguishable levels of patient dissatisfaction. Therefore, similar to primary processes like medical treatment in healthcare sector same attention should be paid on secondary processes such as housekeeping services by the management. Moreover, the knowledge on housekeeping services is critical to plan and design proper housekeeping mechanisms in healthcare facilities. Therefore, this paper aims to explore the nature of housekeeping services in order to design proper housekeeping processes for private healthcare facilities in Sri Lanka. This research follows a qualitative research approach to examine the current housekeeping practices by adopting case study strategy. Semi structured interviews were conducted with seven respondents of the selected three cases from the private sector and direct observation method was used to better understand the housekeeping procedures. The results revealed that even though the bed capacity belongs to three groups, the housekeeping practices remain almost similar and the housekeeping in hospitals is essentially based on infection control and hygiene rather than aesthetical appearance compared to other facilities. Furthermore, the key differences such as absence of key designations such as upholsterers, painters, wall washers and catering team in the hierarchy and the absence of floor plans and area responsibility plans in the housekeeping divisions in Sri Lankan context were determined by comparing the research findings with the literature sources.
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Natsui, Greg, Zachary Little, Jayanta S. Kapat, Jason E. Dees, and Gregory Laskowski. "A Detailed Uncertainty Analysis of Adiabatic Film Cooling Effectiveness Measurements Using Pressure Sensitive Paint." In ASME Turbo Expo 2015: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/gt2015-42707.
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Pressure sensitive paint (PSP) can be a powerful tool in measuring the adiabatic film cooling effectiveness. There are two distinct sources of error for this measurement technique; the ability to experimentally obtain the data and the validity of the heat and mass transfer analogy for the problem being studied. This paper will assess the experimental aspect of this PSP measurement specifically for film cooling applications. Experiments are conducted in an effort to quantifiably bound expected errors associated with temperature non-uniformities in testing and photo-degradation effects. Results show that if careful experimental procedures are put in place, both of these effects can be maintained to have less than 0.022 impact on effectiveness. Through accurate semi-in-situ calibration down to 4% atmospheric pressure, the near-hole distribution of effectiveness is measured with high accuracy. PSP calibrations are performed for multiple coupons, over multiple days. In addition, to reach a partial pressure of 0 the calibration vessel was purged of all air by flowing CO2. The primary contribution of this paper lies in the uncertainty analysis performed on the PSP measurement technique. A thorough uncertainty analysis is conducted and described, in order to completely understand the presented measurements and any shortcomings of the PSP technique. This quantification results in larger, albeit more realistic, values of uncertainty, and helps provide a better understanding of film cooling effectiveness measurements taken using the PSP technique. The presented uncertainty analysis takes into account all random error sources associated with sampling and calibration, from intensities to effectiveness. Adiabatic film cooling effectiveness measurements are obtained for a single row of film cooling holes inclined at 20 degrees, with CO2 used as coolant. Data is obtained for six blowing ratios. Maps of uncertainty corresponding to each effectiveness profile are available for each test case. These maps show that the uncertainty varies spatially over the test surface, high effectiveness corresponds to low uncertainty. The noise floors can be as high as 0.04 at effectiveness levels of 0. Day-to-day repeatability is presented for each blowing ratio and shows that laterally averaged effectiveness data is repeatable within 0.02 effectiveness.
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Vasilijević, Vasilije, Nenad Kojić, and Natalija Vugdelija. "NEW APPROACH IN QUANTIFYING USER EXPERIENCE IN WEB-ORIENTED APPLICATIONS." In Fourth International Scientific Conference ITEMA Recent Advances in Information Technology, Tourism, Economics, Management and Agriculture. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/itema.2020.9.
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The primary goal of every developer is to develop the highest quality web application. The quality of the application is not only a subjective assessment of the developer, but objective and representative criteria for measuring performance must be defined. Google provides a model called Web Vitals with a subset of core Web Vitals that are important for quantifying user experience on the web. Some of the metrics are LCP (Largest Contentful Paint, refers to loading), FID (First Input Delay, refers to interactivity) and CLS (Cumulative Layout Shift, refers to visual stability). This paper will present modern technologies and tools for measuring the performance of websites and analyze them on a real example of a web application. The analysis will include the use and measurement of the most important parameters: Lighthouse, PageSpeed Insights, Chrome DevTools, Search Console, web.dev's measure tool, the Web Vitals Chrome extension and Chrome UX Report API.
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B. Kretchmer, Susan, Rod Carveth, and Karen Riggs. "Panel on: Global Perspectives and Partnership on the Information and Communication Technology Divide." In 2002 Informing Science + IT Education Conference. Informing Science Institute, 2002. http://dx.doi.org/10.28945/2517.
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This paper explores the contours of old age as it meets up with new technologies in contexts of work. Old age is a problematic field, always subject to renegotiation of meaning due to changes in life expectancy and never more so than in the critical first three decades of the 21st century, when the proportion of older people is dramatically increasing, with the West in the lead. I attempt to provide a context in which scholars, activists, and others might begin talking about the changing role of work for older adults in a hightech economy. Instead of offering a statistical breakdown that can be generalized to our entire older adult population, it tells the stories of real people associated with this complex set of concerns, demonstrating how difficult it is to paint any definitive sort of portrait of aging in American culture. Its primary usefulness might be in the recognition it offers for us that, like the rest of us who are reeling from the velocity at which change is arriving in contemporary life, elders are facing myriad tensions, consequences, and challenges and are meeting these with varying outcomes.
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Coday, Eric, Jordan Parker, Randall Johnson, and Shawn Duan. "Design and Analysis of an Innovative Portable Water-Cooled Thermoelectric Generator Apparatus." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-10804.
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Abstract Thermoelectric generator technology can be utilized as a renewable energy source and has untapped potential. Thermoelectric generators (TEGs) have been used by industry experts to make some thermodynamic processes slightly more efficient. However, TEGs can be operated in a manner that allows for greater energy production at a higher efficiency and in a stand-alone setting. This paper presents design and analysis of an innovative portable water-cooled thermoelectric generator apparatus. The apparatus can create clean energy using optimal heat transfer through the device. To reduce the amount of power lost to internal heat resistance, the device is cooled by a large body of water. Solar irradiation is the primary heat source for the TEGs and is absorbed using copper foil and high emissive paint. The temperature differential predicted during device operation was modeled using ANSYS. The ANSYS heat transfer model revealed that heat absorption and subsequent transfer to a body of water was possible without exceeding the operating parameters of the TEGs. Experimental results revealed that a 120°C temperature difference across the TEGs produced 12.5 V of electricity. Analysis of the water-cooled TEG prototype performance revealed that power production is possible, and the design has numerous applications.