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Academic literature on the topic 'Translucence in paintings'
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Journal articles on the topic "Translucence in paintings"
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Wijntjes, M. W. A., C. Spoiala, and H. de Ridder. "Thurstonian Scaling and the Perception of Painterly Translucency." Art and Perception 8, no. 3-4 (2020): 363–86. http://dx.doi.org/10.1163/22134913-bja10021.
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Abstract Visual material perception is often studied with physically well-defined stimuli that lack ecological variety. Yet, even the visual variety found in our natural environment is limited when compared to artistic depiction. A similar object can be depicted in numerous different ways that all make visual sense. We studied the perception of translucency using 38 paintings of sea waves as experimental stimuli. It has previously been shown that translucency depends on the shape of the translucent object and on the light conditions. Both shape and light appear in many variations in depictions of seas. In the first experiment we explored the use of Thurstonian scaling and introduce the concept of Number of Distinguishable Levels (NDL). We found that the NDL ranged between 1.5 in a set with small waves to 4 in a set with large waves. While Experiment 1 took place in the lab, Experiment 2 was performed online and replicated the data from Experiment 1 qualitatively, although the NDL was lower in the online experiment. Furthermore, in this experiment we conducted Thurstonian scaling on a number of other attributes that possibly contribute to translucency perception, such as wavetip shading, surface reflections and realism. We found that many of these correlated significantly with translucency. In sum, this study advocates and demonstrates the use of uncontrolled stimuli, in our case paintings, to explore the wide variety of input the human visual system can process.
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Walter, Philippe. "Chemical Analysis and Painted Colours: the Mystery of Leonardo's Sfumato." European Review 21, no. 2 (2013): 175–89. http://dx.doi.org/10.1017/s1062798712000348.
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At the end of the 15th century, Italian painters explored the new effects made possible by the use of the oil medium. They created a sense of depth and relief by following the Flemish technique of glazes, which allowed the spreading of very thin and translucent layers, rich in medium and with low pigment content. A striking example is given by the realization of the shadows in the paintings of Leonardo da Vinci: the Master used the so-called ‘sfumato’ technique based on the use of glazes to obtain a ‘smoky’ aspect for the creation of flesh tones, with very subtle contours that seem to have no hard edges. Since the 16th century, his technique was famous due to the perfection of the works of art that glazes have allowed artists to reach. Analytical characterizations of painting materials have helped us to improve our knowledge about this technique. X-ray fluorescence measurements were carried out on seven paintings by Leonardo da Vinci preserved in the Louvre museum. This technique is widely used for qualitative determination of the pigments but it is very difficult to interpret the data quantitatively in the case of layered structures such as easel paintings. As well as the characterization of the palette, we obtain in-depth information on how Leonardo modelled his shadows. Comparisons between the different paintings of Leonardo highlight the specific features in the Leonardo technique.
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Arroyo, Elsa, Adriana Cruz Lara, Manuel Espinosa, et al. "The Influence of Glass in the Color of Red Lakes Layers in Oil Painting: A Case Study in a Pictorial Series Attributed to Murillo Located in Guadalajara, Mexico." MRS Proceedings 1374 (2012): 61–72. http://dx.doi.org/10.1557/opl.2012.1378.
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ABSTRACTThis paper discuss the presence of powdered glass and quartz integrated in the red lake layers of two paintings attributed to the Sevillian painter Bartolome Esteban Murillo that belongs to the Guadalajara’s Regional Museum’s art collection. A laboratory experimental reproduction of the Sevillian painting technique was made using three different lakes (cochineal, madder lake and brazilwood) mixed with four varieties of glass to explore the optical properties and the influence of the transparent and translucent aggregates into the oil paint layers. The experimental reproductions were analyzed using ultraviolet-visible spectroscopy, optical and fluorescence microscopy and scanning electron microscopy (SEM-EDX). A comparison between the originals and the reproduced red lakes layers was carried out to understand the artistic process of Murillo’s color application. Preliminary results suggest that glass was not used as a siccative agent as the historical treatises mentioned but mainly as an additive to increase brightness, thickness and color saturation of the red lake layers related to the artist’s intention.
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Di Cicco, Francesca, Lisa Wiersma, Maarten Wijntjes, and Sylvia Pont. "Material Properties and Image Cues for Convincing Grapes: The Know-How of the 17th-Century Pictorial Recipe by Willem Beurs." Art and Perception 8, no. 3-4 (2020): 337–62. http://dx.doi.org/10.1163/22134913-bja10019.
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Painters mastered replicating the regularities of the visual patterns that we use to infer different materials and their properties, via meticulous observation of the way light reveals the world’s textures. The convincing depiction of bunches of grapes is particularly interesting. A convincing portrayal of grapes requires a balanced combination of different material properties, such as glossiness, translucency and bloom, as we learn from the 17th-century pictorial recipe by Willem Beurs. These material properties, together with three-dimensionality and convincingness, were rated in experiment 1 on 17th-century paintings, and in experiment 2 on optical mixtures of layers derived from a reconstruction of one of the 17th-century paintings, made following Beurs’s recipe. In experiment 3 only convincingness was rated, using again the 17th-century paintings. With a multiple linear regression, we found glossiness, translucency and bloom not to be good predictors of convincingness of the 17th-century paintings, but they were for the reconstruction. Overall, convincingness was judged consistently, showing that people agreed on its meaning. However, the agreement was higher when the material properties indicated by Beurs were also rated (experiment 1) than if not (experiment 3), suggesting that these properties are associated with what makes grapes look convincing. The 17th-century workshop practices showed more variability than standardization of grapes, as different combinations of the material properties could lead to a highly convincing representation. Beurs’s recipe provides a list of all the possible optical interactions of grapes, and the economic yet effective image cues to render them.
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Berrie, Barbara H. "Mining for Color: New Blues, Yellows, and Translucent Paint." Early Science and Medicine 20, no. 4-6 (2015): 308–34. http://dx.doi.org/10.1163/15733823-02046p02.
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In the sixteenth century, the Erzgebirge mountains were mined for mineral ores of cobalt and antimony that were used to make the blue pigment smalt, a potash glass, and yellow pigments based on lead-antimony oxides, respectively. By the beginning of the seventeenth century, these pigments had found a permanent place on the easel painter’s palette, smalt used in place of ultramarine and the antimonial compounds enlivening the yellows of the spectrum. Mining efforts also located sources for naphtha, and improvements in distillation would have allowed it (and other solvents) to be fractioned and purified for use as a solvent and diluent for oil paint. The mention of naphtha in treatises and color-sellers’ inventories attests to its use in color making. Thinning paint allowed artists to use glazes of paint to lively, luminous, coloristic effect and made blending easier. These three discoveries contributed to the saturated colors characteristic of seventeenth-century painting and offered artists latitude in the ways they pursued their goal of imitative painting.
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Davidson, Michael W. "Pioneers in Optics: Louis Daguerre and George Eastman." Microscopy Today 18, no. 2 (2010): 48–49. http://dx.doi.org/10.1017/s1551929510000118.
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Born near Paris, France on November 18, 1787, Louis-Jacques-Mandé Daguerre was to become both a painter and the inventor of the first successful form of photography. Originally trained as an architect, Daguerre later became a pupil of E. M. Degotti at the Paris Opera and a thriving scene painter. In 1822, working with Charles Boulton, Daguerre helped develop the Diorama, a Paris illusionistic exhibition that contained paintings on large translucent screens, which seemed to come to life with skillful light manipulation.From humble beginnings, George Eastman revolutionized the field of photography by simplifying the process and making it accessible to the masses. The youngest of three children, Eastman was born in Waterville, New York on July 12, 1854. His family moved to Rochester when he was still a young child so his father, George Washington Eastman, could establish a business school. However, his father died in 1862 and the institution failed.
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Ezcurdia, Iñigo, Adriana Arregui, Oscar Ardaiz, Amalia Ortiz, and Asier Marzo. "Content Adaptation and Depth Perception in an Affordable Multi-View Display." Applied Sciences 10, no. 20 (2020): 7357. http://dx.doi.org/10.3390/app10207357.
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We present SliceView, a simple and inexpensive multi-view display made with multiple parallel translucent sheets that sit on top of a regular monitor; each sheet reflects different 2D images that are perceived cumulatively. A technical study is performed on the reflected and transmitted light for sheets of different thicknesses. A user study compares SliceView with a commercial light-field display (LookingGlass) regarding the perception of information at multiple depths. More importantly, we present automatic adaptations of existing content to SliceView: 2D layered graphics such as retro-games or painting tools, movies and subtitles, and regular 3D scenes with multiple clipping z-planes. We show that it is possible to create an inexpensive multi-view display and automatically adapt content for it; moreover, the depth perception on some tasks is superior to the one obtained in a commercial light-field display. We hope that this work stimulates more research and applications with multi-view displays.
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Mulhall, Stephen. "Constructing a Hall of Reflection." Philosophy 72, no. 280 (1997): 219–39. http://dx.doi.org/10.1017/s0031819100056850.
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Tom Phillips' painting for the dustjacket of the hardback edition of Metaphysics as a Guide to Morals depicts a faintly translucent, darkly-coloured, multi-layered lattice of letters, in which each character abuts directly upon others above, below and beside it, each overwrites or is overwritten by others of varying dimensions, but none is immediately decipherable as part of a word; and at the centre of this array is a geometrically precise, illuminated circle—perhaps emanating from a light located behind or under the layers of letters, perhaps from one directed at them from above. This image is open to many interpretations. It could represent the sun from Plato's myth of the cave shining through the dialogue in which he presents it (a myth that irradiates Iris Murdoch's text); it could also represent the light of Miss Murdoch's attention playing over the palimpsest of texts that make up the Western tradition of metaphysical thought. But for anyone encountering it upon closing the book after a first reading, it may also seem very precisely to crystallize one's initial impression of that text.
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Wiersma, Lisa. "‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory." Art and Perception 8, no. 3-4 (2020): 243–65. http://dx.doi.org/10.1163/22134913-bja10005.
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Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly means best: it includes rendering of surface effects, while revealing the underlying substance, and it implies that weight and mass are suggested. Simple strokes of paint add up to materials and things that are convincingly percieved. At first glance, material depiction hardly seems a topic in early-modern art theory, yet 17th-century painters are virtually unequalled as regards this elaborate skill. Therefore, 17th-century written sources were studied to define how these might discuss material depiction, if not distinctly. This study concerns one of many questions regarding the incredible convincingness of 17th-century material depiction: besides wondering why the illusions work (Di Cicco et al., this issue) and how these were achieved (Wiersma, in press), the question should be asked why this convincingness was sought after. Was it mere display of ability and skill? And how was material depiction perceived, valued and enjoyed? First, contemporary terminology is determined: the seemingly generic term ‘colouring’ signified the application of convincing material depiction especially — which is not as self-evident as it sounds. Second, and extensively, the reader will find that convincing or appealing material depiction was considered a reference to religion and natural philosophy.
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Kuzeeva, Zuhra Z. "CLASSIFICATION OF ARTISTIC GLAZED CERAMICS OF DERBENT OF THE END VIII-X CENTURIES. (on the example of materials from excavations XXVII and XXXIII)." History, Archeology and Ethnography of the Caucasus 16, no. 3 (2020): 714–59. http://dx.doi.org/10.32653/ch163714-759.
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The article is devoted to the classification analysis of the glazed ceramics of Derbent, originating from the materials of archaeological excavations (excavations XXVII and XXXIII), carried out in 2014-2015. in the city. The chronological framework of the study was presumably determined by the end of the VIII-X centuries. The relevance of the topic is characterized by the importance of studying the glazed ceramics of Derbent as a source of a large set of information (historical, cultural and socio-economic interactions of Derbent with a wide range of countries of the Near and Far Abroad).Typology of glazed ceramics in Derbent at the end of the 8th-10th centuries is considered in the article on the basis of modern methodological developments based on three main approaches to the study of any ceramics: the study of technology together with the morphology and decor of the dishes. All investigated ceramics, consisting of fragments of rims, bodies, bases and handles of vessels, are included in one large Section - Household ceramics. This section includes three sections, which are based on the analysis of the clay color of the shard (red clay, brown clay, beige clay ceramics), which determines the technology for the production of dishes. Based on the presence or absence of engobe on ceramics, two subsections are allocated in each department. The next division is the groups that are formed according to the degree of transparency of the opaque glaze. There are three of them: ceramics with transparent, translucent, opaque (dull) glaze. Within some groups, four subgroups are additionally distinguished, determined by the color of the glaze. According to the peculiarities of the additional decor, the types (overglaze, underglaze ornament) and subtypes (painting, engraving, combination of painting with engraving, relief ornament) of ceramics are distinguished. Thus, the characteristics of the glazed ceramics of Derbent from these excavations include: Section, department, sub-department, group, subgroup, type, subtype.