Gotowe bibliografie tematyczne / Pictorial works

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Gotowa bibliografia na temat „Pictorial works”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Pictorial works"

Dviniatina, J. R. "Pictorial Pretexts in A. Tarkovsky’s Works." Art & Culture Studies, no. 1 (March 2024): 102–37. http://dx.doi.org/10.51678/2226-0072-2024-1-102-137.

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The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the direct

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Bragina, Liubov. "Shukshin’s Theme in the Pictorial Works of Siberian Artists." Izvestiya of Altai State University 2, no. 2 (November 2013): 202–5. http://dx.doi.org/10.14258/izvasu(2013)2.2-43.

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Cerquera Hurtado, Miguel Ángel. "Libros y escritura en la pintura de Murillo." ACCADERE. Revista de Historia del Arte 6 (2023): 37–63. http://dx.doi.org/10.25145/j.histarte.2023.06.02.

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"This article addresses the world of books in the pictorial works of Bartolomé Esteban Murillo. Firstly, it focuses on studying the formal representation of books depicted in the paintings of the Sevillian artist, analyzing their binding, closures, format, cuts, inscriptions, and other relevant aspects. Secondly, it examines all the elements present in these paintings from which we can obtain information related to the reading and writing practices characteristic of the 17th century. The aim is to demonstrate how pictorial works offer us insights into various aspects of books and written cultu

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Khomenko, Iryna. "Body as a medium in the works of Maria Kylikovska." CONTEMPORARY ART, no. 18 (November 29, 2022): 201–10. http://dx.doi.org/10.31500/2309-8813.18.2022.269730.

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The article considers the topic of the body in art, its methods of use and the problem of its theoretical elaboration. The aim of the article is to study the body as a medium in the works of Maria Kulikovska. The choice of Maria Kulikowska’s work is not accidental, because she used the body both as a medium and as a pictorial object in one work, where we can observe exactly how these methods are combined. Also, Maria Kulikovska uses different visual categories of body, gender and context, sometimes combining them. The article marked the beginning of a certain systematization: the body is divid

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Karpenko, Olga. "Reminiscences of Impressionism in the works of Ukrainian avant-garde artists." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 194–99. http://dx.doi.org/10.32461/2226-0285.1.2021.238620.

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The purpose of the study is to reveal the identification of common features in the work of Ukrainian avant-garde artists, which have the character of impressionism. Methodology of the study employs historical-logical, comparative methods, formal analysis and method of interpretation. Scientific novelty of the research consists in the role of impressionism in the formation of the creative manner of such artists of the Ukrainian avant-garde as O. Bogomazov, D. Burliuk, K. Malevich, O. Exter was first explored in the article. Conclusions. Experiments in the spirit of impressionism and post-impres

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Semerenko, Lubov I., and Oleksandr O. Pliushchai. "Pictorial as readable: ekphrasis in a literary work and reader’s p." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 50–59. http://dx.doi.org/10.32342/2523-4463-2022-1-23-4.

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The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative

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Trukhan, E. D. "THE NAIVE ARTIST IVAN SELIVANOV IN THE POETRY AND PROSE OF LYUBOV NIKONOVA." Culture and Text, no. 51 (2022): 116–31. http://dx.doi.org/10.37386/2305-4077-2022-4-116-131.

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The article examines the dialogue of words and painting in the works of Kuzbass authors – writer L.A. Nikonova and naive artist I. Selivanov. Theoretical issues of perception of painting, problems of intersection of pictorial and verbal creativity, etc. are revealed in connection with the analysis of metatext, with an emphasis on L.A. Nikonova’s understanding of the image of I.E. Selivanov as an artist close to her in spirit.

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Pazuchanics, Skye Lee, and Douglas J. Gillan. "Displaying Depth in Computer Systems: Lessons from Two-Dimensional Works of Art." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, no. 17 (September 2005): 1583–87. http://dx.doi.org/10.1177/154193120504901718.

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Virtual depth displays depend on static, monocular cues. Models of integrating monocular cues may be continuous (additive) or discontinuous. Previous research using simple displays and a small number of cues supported continuous cue integration. The present research is designed to expand the understanding of how the visual system integrates information from multiple pictorial cues by investigating combinations of one to ten pictorial cues in visually-rich, two-dimensional displays (paintings and photographs). Participants estimated depth in target paintings and photographs relative to a standa

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BRANIŞTE, Ludmila. "Text et langaje visuel: un proces de mise en abîme." Arta 31, no. 1 (September 2022): 115–19. http://dx.doi.org/10.52603/arta.2022.31-1.16.

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The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the

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Koenderink, Jan. "Parts and Wholes in Pictorial Art." Art & Perception 3, no. 3 (2015): 303–17. http://dx.doi.org/10.1163/22134913-00002035.

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The part–whole relation is fundamental to the Gestalt description of visual awareness; therefore one expects it to play an equally important role in the visual arts. The formal science of parthood relations is mereology. Thus, it is natural to attempt to construct a mereological account of the structure of works of the visual arts. However, I argue in this paper that such a program is headed for failure. There are various reasons for this, perhaps the more interesting being that one deals with parallel pictorial worlds.

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Rozprawy doktorskie na temat "Pictorial works"

Stewart, Heather, and heather stewart@deakin edu au. "Beyond the analogon; the 'transfer of the referent' :bthe relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referents." Deakin University, 1994. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071120.120343.

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Within 20th. Century art, the concept of the normative image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the real world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cu

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Reynolds, D. A. "Imagination and the aesthetic function of signification in the works of Rimbaud, Mallarme, Kandinsky and Mondrian." Thesis, University of East Anglia, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376063.

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Stretch, Eleanor Eunice, and mikewood@deakin edu au. "Using site as the medium of image-making at Tower Hill." Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.144857.

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Williamson, Rebecca Boatwright. "Diagonal vision." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52238.

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Tolonen, Juha. "Waste*lands : landscape photography modernity." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/268.

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This is a thesis with two distinct but connected halves. Text and image are applied to the subject of wastelands; the former works to raise the status of wastelands while the latter gathers visual fragments of wastelands to harness a picture of contemporary modernity. The two combine to create a practical and poetic, a social and flaneurial picture of wastelands. I identify wastelands as the material manifestation of industrial modernity. Although wasteland is an overarching term used to describe general decline in many social, cultural and natural spheres. I adopt it specifically to describe

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Altschuler, Jenny. "Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/7802.

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Includes bibliographical references (p. 62-64).<br>In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to d

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Vallie, Zubeida. "Social dynamics of a resistance photographer in the 1980s in Cape Town." Thesis, Cape Peninsula University of Technology, 2014. http://hdl.handle.net/20.500.11838/1327.

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Thesis submitted in fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2014<br>This study seeks to contribute to the field of documentary photography by looking at a resistance photographer who documented events during the liberation struggle against Apartheid in the 1980s in Cape Town, South Africa. The research explores the richness, depth and complexity of the reflective knowledge of the phenomenon and develops a sense of understanding of the meanings of the circumstances and

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Blake, Amanda Beth. "Images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh, ca 1920-1930." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5327/.

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This thesis examines images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh during the 1920s and 1930s. New York City's Fourteenth Street served Kenneth Hayes Miller and Reginald Marsh, respectively, as a location generating the inspiration to study and visually represent its contemporaneity. Of particular interest to this thesis are relationships between developments in shopping and the images of women shopping in and around Fourteenth Street that populate the paintings of Miller and Marsh. Although, as Ellen Todd Wiley has shown, the emerging notion of the New Woman h

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Mundy, Robyn C. "A novel, The nature of ice and exegesis, Writing with light : truth and meaning in visual representations of Antarctica." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/356.

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The Nature of Ice' comprises a dual narrative with two Antarctic stories set one century apart. The contemporary strand concerns three central characters: Freyr Jorgensen, a photographer working for a summer at Davis Station who is inspired by Frank Hurley's early Antarctic photography; Davis Station chippie Chad McGonigal, assigned as Freyr's field assistant; and Freyr's husband Marcus, who is at home in Perth researching the 1911-14 Australasian Antarctic Expedition (AAE) in preparation for Freyr's Antarctic photographic exhibition.

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Kilian, Julie. "Traditional and Christian elements in contemporary pictorial African art in South Africa with special reference to the works of John Muafangejo, Azariah Mbatha and Dan Rakgoathe." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012635.

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Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary

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Książki na temat "Pictorial works"

Dilwali, Ashok. Pictorial Himachal. New Delhi: Jointly produced by Ashok Dilwali & Rave India, 2007.

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Melody. Mineralogical pictorial. Wheat Ridge, CO: Earth-Love Pub. House, 1993.

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Coughlin, Neal W. Pictorial Strongsville. Marceline, MO: Heritage House Pub., 1992.

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James, Jim. Parade pictorial. 2nd ed. San Francisco, Calif: Notoriou$ Publications, 1995.

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Allan, Esma. Sale, pictorial nostalgia. Sale, Vic: Southern Newspapers, 1985.

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Porter, Russ. America's rail: Pictorial. Forest Park, Ill: Heimburger House Pub. Co., 1997.

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Macleod, Virginia. Pictorial history Manly. Alexandria [N.S.W.]: Kingsclear Books, 2008.

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Evans, R. E. Pictorial Pentewan. Pentewan: Pentewan Publications, 1994.

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Shrestha, Dinesh. Nepal, a pictorial journey. Kathmandu: Himalayan MapHouse, 2009.

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Eddie, Scott. Hove: A pictorial history. Chichester, West Sussex: Phillimore, 1995.

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Części książek na temat "Pictorial works"

Boehme-Neßler, Volker. "Words and Images in the Law – Looking for the Lost Balance." In Pictorial Law, 217–21. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11889-0_8.

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Rigal-Aragón, Margarita, and Fernando González-Moreno. "The Pictorial Richness of Poe’s Oeuvre." In Painting Words, 93–112. New York : Routledge, 2020. | Series: Routledge interdisciplinary perspectives on literature: Routledge, 2020. http://dx.doi.org/10.4324/9780429242601-10.

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Lemke, H. U. "Medical Work Stations in Radiology." In Pictorial Information Systems in Medicine, 421–31. Berlin, Heidelberg: Springer Berlin Heidelberg, 1986. http://dx.doi.org/10.1007/978-3-642-82384-8_17.

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Posey, Jack W. "Pictorial and Text Editors for the Collaborative Work Environment." In Information and Collaboration Models of Integration, 301–20. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-1132-4_18.

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Gisquet, Elsa, and Gwenaële Rot. "Visualization for the Safe Occupation of Workspaces." In Visualising Safety, an Exploration, 93–100. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33786-4_11.

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AbstractThrough the example of the underground construction site for the extension of the Parisian subway, it will be analysed how, in this fluctuating, dark environment, visualization help to maintain safety requirements. How does visualization help with work? Based on the observation that pictorial representation can be used to drive and organize activities, this chapter will highlight the ways in which these visual artefacts advance safety in three ways, by helping participants inhabit, discuss, and synchronize their workspaces.

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Méndez Baiges, Maite. "“Naked Problems”. Origin and Reach of the Formalist Interpretations." In Les Demoiselles d'Avignon and Modernism, 29–36. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.04.

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The first solid interpretation of the damsels to make a mark was delivered from formalist criteria. Thus, as far as was possible the content of the work was disregarded, studying only in great detail all its pictorial or purely plastic values that proclaimed the great avant-guard revolution: the substitution of the Renaissance visual order with the modern visual order. From this point of view the Demoiselles appear as the seed of one of the most relevant avant-guard movements —Cubism. This chapter deals with the origin and how the formalist version shaped the painting —and Modern Art itself (from the 1920s until approximately the 1960s).

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Méndez Baiges, Maite. "After Picasso: Reinterpretations and recreations of Les Demoiselles D’Avignon in Contemporary Art." In Les Demoiselles d'Avignon and Modernism, 103–23. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.08.

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Another way of showing interpretations of Picasso's Demoiselles is to heed the replicas, copies, pictorial or artistic versions made by contemporary artists. This chapter presents the artistic versions of the work done by artists at the end of the 20th and start of the 21st century. It begins the pop replicas by Caulfield or Equipo Crónico and the appropriationists like Richard Prince or Mark Bidlo. And continuing with those done by feminist or Afroamerican artists like Faith Ringgold or the queer versions of Rafael Agredano. Finally it deals with the geographical and culturally situated critical proposals of Francis Alÿs or Rogelio López Cuenca/Elo Vega.

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Viney, William, and Sophie Day. "Figuring Molecular Relapse in Breast Cancer Medicine." In Figure, 127–48. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2476-7_7.

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AbstractWe wanted to learn about new ways of diagnosing and treating cancers that are associated with what in the UK is called ‘personalised medicine’. We followed the work of one scientific team who use samples to develop ‘liquid biopsies’, extracting and tracking circulating tumour DNA. We propose this ‘personalised’ monitoring involves the figuration of disease. Using the terms developed by Erich Auerbach (1938; 1946), we suggest that personalised tracking may establish serial, figure-fulfilment relationships, connecting events and persons. We show how the development of liquid biopsies in oncology involves multiple figures in pictorial, numerical, and conceptual forms. Using serial liquid biopsies, patients can be stratified into sub-groups but also into figures of personalisation.

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Bayard, Marc. "In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400-1700." In Theatricality in Early Modern Art and Architecture, 62–77. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396744.ch5.

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Kudielka, Robert. "“The Beholder’s Share”: Pictorial Colour and Neurobiology. E. H. Gombrich looking at the work of Bridget Riley." In ART and the MIND – Ernst H. GOMBRICH, 347–62. Göttingen: V&R unipress, 2018. http://dx.doi.org/10.14220/9783737007948.347.

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Streszczenia konferencji na temat "Pictorial works"

"A Study of the Works of the Jinggangshan Rendezvous in the Perspective of Pictorial Narrative." In 2021 International Conference on Society Science. Scholar Publishing Group, 2021. http://dx.doi.org/10.38007/proceedings.0001972.

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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "THE CRISIS OF THE EGO IN THE PAINTINGS AND DRAWINGS OF GIAN CARLO RICCARDI: BRIEF PSYCHOLOGICAL REFLECTIONS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.10.

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The main purpose of this study is to analyse and examine some of the paintings of the Italian avant-garde artist Gian Carlo Riccardi. Our work will focus in particular on a psychological study of the paintings and drawings realised by the artist. Our study basically focuses on the compositions created between the 1980s and 1990s and the graphic works executed in the 2000s. The first category examines certain works characterised by intense abstractionism. The pictorial material used by Gian Carlo Riccardi is manipulated, contaminated and destroyed, leaving only �relics�, symbolising a crisis of

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Seredkina, Natalia. "PHILOSOPHIC AND ART ANALYSIS OF PICTORIAL WORKS BY E. MUNCH: MELANCHOLY, SEPARATION, THE DANCE OF LIFE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s22.005.

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Frasca, Roberto, Antonio Mazzeo, Davide Pantile, Matteo Ventrella, and Giovanni Verreschi. "Innovative systems for the enjoyment of pictorial works the experience of Gallerie dell'Accademia Museum in Venice." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413899.

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Mouhoubi, K., K. Dieng, C. Fomena, H. Feddini, A. Salami, J. M. Vallet, and JL Bodnar. "Examples of singular value decomposition contribution in helping cultural heritage works of art conservation using stimulated infrared thermography." In QIRT. QIRT Council, 2022. http://dx.doi.org/10.21611/qirt.2022.2012.

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As part of aid for the conservation of cultural heritage works of art, Infrared thermography is already widely used. However, the photothermal signal obtained can be dependent on the different colors of the pictorial layer of the artwork studied and on the inhomogeneity of energy deposition. In this work, we show experimentally, during the study of a marquetry chessboard and a "Vallauris pottery", that the combination of singular value decomposition with stimulated infrared thermography allows a significant reduction of these radiative effects. Consequently, it allows for better detection of t

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Regidor Ros, José Luis, Clara Portilla Romero, Juan Valcárcel Andrés, and Pilar Roig Picazo. "Pictorial reconstruction of Palomino’s ceiling by digital techniques." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13528.

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The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In orde

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Пантелеев, А. Ю., and Р. А. Бахтияров. "TEXT LIKE ART-ELEMENT IN CONTEMPORARY ART WORK’S: E. RUSCHA AND E. BULATOV (COMPARATIVE ASPECT)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.57.

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На примере творчества Эрика Булатова и Эда Рушея рассматривается проблема восприятия текста как элемента образного решения в живописных произведениях американского и советского искусства второй половины XX в. Цель статьи — определить, насколько текст и слово способны стать равноправной частью живописного произведения. Актуальность статьи обусловлена новым взглядом на текст как элемент образного решения в живописных произведениях разных художников, но в рамках одного метода. The problem of perception of text as an element of figurative solutions in the pictorial works of American and Soviet art

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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "CREATION AND DESTRUCTION: SOME PSYCHOLOGICAL REFLECTIONS IN THE PAINTINGS OF GIAN CARLO RICCARDI." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. http://dx.doi.org/10.35603/sws.iscah.2024/fs10.20.

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The aim of this study is to analyse some paintings by the Italian, multimedia and avantgarde artist Gian Carlo Riccardi (1933-2015), in which the concept of creation and destruction, or rather, as Freud would say, Eros and the destructive drive, predominate at the same time. Our study will focus in particular on the execution of these works, leading to a kind of �creative destruction�. This work intends to show how Gian Carlo Riccardi uses heterogeneous and salvaged materials to create pictorial works in which contamination, manipulation and non-sense are the result of a creative action. The o

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Sánchez, Mónica. "PROPUESTA DE REUBICACIÓN MEDIANTE RECONSTRUCCIÓN VIRTUAL. CASO DE ESTUDIO: RETABLO MAYOR DE SAN FRANCISCO DE SAN ESTEBAN DE GORMAZ (SORIA)." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3537.

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This paper briefly shows the skills acquired not only in the field of Conservation-Restoration, but also in Virtual Restoration as applied to Cultrual Heritage. The work under consideration is the Mayor Altarpiece of the old Convent of San Francsico, today Church of San Esteban Protomartir in San Esteban de Gormaz, Soria. Built in 1628 in one of the most important workshops of the Diocese, in 1985 renovation works and refurbishment of the church had uncovered wall paintings in advocation to the founder of the Order behind the wooden reredos, one of the few examples of pictorial altarpieces pre

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Doménech, Beatriz, Vicente Guerola, María Castell, and Antoni Colomina. "THE PERCEPTION OF THE CHROMATIC REINTEGRATION FROM THE ADJUSTMENT OF THE WORK CLOTHING. THE LAB COAT AND ITS COLOUR ALTERNATIVES." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13482.

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The present study is focused on the revision of the work clothing of the conservator-restorer, specifically in the lab coat, analysing its colour and the interference it can create regarding the perception of the colours, both of the artwork and of the chromatic palette used to retouch. In this way, the study starts from the review of the corpuscular theory of light. Based on this theory, it is analysed the absorption-reflection process of the interaction of light with matter, as well as it is explained how the colour of the lab coat can hinder or favour the perception and adjustment of the co

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