scholarly journals Correction to: Conservation of Modern Oil Paintings

2020 ◽  
pp. C1-C1
Author(s):  
Klaas Jan van den Berg ◽  
Ilaria Bonaduce ◽  
Aviva Burnstock ◽  
Bronwyn Ormsby ◽  
Mikkel Scharff ◽  
...  
Keyword(s):  
Oil Paintings

scholarly journals Characterizing Color Quality, Damage to Artwork, and Light Intensity of Multi-Primary LEDs for Museums

Heritage ◽  
2021 ◽  
Vol 4 (1) ◽  
pp. 188-197
Author(s):  
Dorukalp Durmus
Keyword(s):  
Energy Efficiency ◽  
Appearance Model ◽  
Light Sources ◽  
Great Flexibility ◽  
Oil Paintings ◽  
Damage Reduction ◽  
Output Variability ◽  
Color Quality ◽  
Trade Offs

Light causes damage when it is absorbed by sensitive artwork, such as oil paintings. However, light is needed to initiate vision and display artwork. The dilemma between visibility and damage, coupled with the inverse relationship between color quality and energy efficiency, poses a challenge for curators, conservators, and lighting designers in identifying optimal light sources. Multi-primary LEDs can provide great flexibility in terms of color quality, damage reduction, and energy efficiency for artwork illumination. However, there are no established metrics that quantify the output variability or highlight the trade-offs between different metrics. Here, various metrics related to museum lighting (damage, the color quality of paintings, illuminance, luminous efficacy of radiation) are analyzed using a voxelated 3-D volume. The continuous data in each dimension of the 3-D volume are converted to discrete data by identifying a significant minimum value (unit voxel). Resulting discretized 3-D volumes display the trade-offs between selected measures. It is possible to quantify the volume of the graph by summing unique voxels, which enables comparison of the performance of different light sources. The proposed representation model can be used for individual pigments or paintings with numerous pigments. The proposed method can be the foundation of a damage appearance model (DAM).

Revealing the Fugitive Palette of the Early American South: A SERS Study of Eighteenth-century Oil Paintings

2021 ◽  
pp. 1-13
Author(s):  
Marisa A. Choffel ◽  
Carolyn G. Farling ◽  
Kristen A. Frano ◽  
Mary K. Matecki ◽  
Zhaoyun Zheng ◽  
...  
Keyword(s):  
Eighteenth Century ◽  
American South ◽  
Oil Paintings ◽  
Early American

The Tercentenary Conversazione, 23 July 1960

1961 ◽  
Vol 16 (1) ◽  
pp. 25-30 ◽  
Keyword(s):  
Royal Academy ◽  
Chemical Society ◽  
Southern Chile ◽  
Architectural Drawings ◽  
Geological Society ◽  
Oil Paintings ◽  
Royal Astronomical Society ◽  
Meeting Room ◽  
The World ◽  
Antarctic Expedition

The Conversazione on Saturday 23 July, honoured by the presence of H.R.H. The Prince Philip, Duke of Edinburgh, was the principal occasion during the Celebrations when the Society was able to entertain its guests within Burlington House. This was made possible by the generous co-operation of the neighbouring Societies in Burlington House, and the willingness of the Presidents and Councils of the Society of Antiquaries, the Royal Academy of Arts, the Royal Astronomical Society, the Chemical Society, the Geological Society and the Linnean Society not only to open their rooms but also to arrange appropriate exhibits for the occasion. Some 2000 persons attended and in addition to the scientific exhibits they were able to view the Academy’s i960 Summer Exhibition of oil paintings, water colours, pastels, tempera and miniatures; drawings, engravings, etchings; sculpture; architectural drawings and models in the main galleries of the Royal Academy of Arts. Two colour films, each relating to expeditions directly sponsored by the Society, were on view during the evening, Halley Bay, prepared by members of the Society’s I.G.Y. Antarctic Expedition, was shown in the Meeting Room of the Society of Antiquaries and South from Chiloe , which described the Society’s expedition to Southern Chile to study biological and geological problems among the islands of Western Patagonia, was shown in the Meeting Room of the Geological Society. In the Royal Society’s own rooms there were displayed some three hundred congratulatory addresses as well as the several gifts received by the Society from Academies, Universities and Learned Institutions from all over the world on the occasion of the Tercentenary Celebrations (see pp. 103-113). These were arranged around the walls and on tables in the Library making a very impressive display. The Society’s own Treasures, the Mace, the Charter Book, the manuscript of the Principia and Newton’s telescope were also on view and in addition there was a small exhibit of books and pamphlets illustrating attacks made on the Society during its history. This was arranged by Professor E. N. da C. Andrade who also lent the material for it.

Combined SERS and Raman analysis for the identification of red pigments in cross-sections from historic oil paintings

The Analyst ◽  
2014 ◽  
Vol 139 (24) ◽  
pp. 6450-6455 ◽  
Author(s):  
Kristen A. Frano ◽  
Hannah E. Mayhew ◽  
Shelley A. Svoboda ◽  
Kristin L. Wustholz
Keyword(s):  
Cross Sections ◽  
Red Pigments ◽  
Raman Analysis ◽  
Oil Paintings

SERS and normal Raman approach to identify red pigments in cross-sections from historic oil paintings.

Oil Paintings of India and the East by Thomas Daniell R. A. 1749-1840 and William Daniell R. A. 1769-1837

Artibus Asiae ◽  
1981 ◽  
Vol 43 (3) ◽  
pp. 247
Author(s):  
J. E. van Lohuizen-de Leeuw ◽  
M. Shellim
Keyword(s):  
Oil Paintings

An Exhibit for Touching

1979 ◽  
Vol 73 (9) ◽  
pp. 364-366
Author(s):  
Susan Hunt
Keyword(s):  
Oil Paintings ◽  
Visually Handicapped

An Exhibit for Touching, designed for visually handicapped persons, was presented by the Kalamazoo Institute of Art in Kalamazoo, Michigan, and was sponsored by the Kalamazoo chapter of the Lions Club. Bronze sculptures and oil paintings from the Institute's permanent collection made up the exhibit.

American Slavery and Russian Serfdom in the Post-Emancipation Imagination

2020 ◽  
Author(s):  
Amanda Brickell Bellows
Keyword(s):  
African American ◽  
African Americans ◽  
Collective Memory ◽  
National Consciousness ◽  
American Slavery ◽  
Oil Paintings ◽  
Cultural Productions ◽  
The Core ◽  
Chattel Slavery ◽  
Emancipation Era

The abolition of Russian serfdom in 1861 and American slavery in 1865 transformed both nations as Russian peasants and African Americans gained new rights as subjects and citizens. During the second half of the long nineteenth century, Americans and Russians responded to these societal transformations through a fascinating array of new cultural productions. Analyzing portrayals of African Americans and Russian serfs in oil paintings, advertisements, fiction, poetry, and ephemera housed in American and Russian archives, Amanda Brickell Bellows argues that these widely circulated depictions shaped collective memory of slavery and serfdom, affected the development of national consciousness, and influenced public opinion as peasants and freedpeople strove to exercise their newfound rights. While acknowledging the core differences between chattel slavery and serfdom, as well as the distinctions between each nation’s post-emancipation era, Bellows highlights striking similarities between representations of slaves and serfs that were produced by elites in both nations as they sought to uphold a patriarchal vision of society. Russian peasants and African American freedpeople countered simplistic, paternalistic, and racist depictions by producing dignified self-representations of their traditions, communities, and accomplishments. This book provides an important reconsideration of post-emancipation assimilation, race, class, and political power.

John Conrad Hansen (1869–1952) and his scientific illustrations

2018 ◽  
Vol 45 (2) ◽  
pp. 233-244 ◽  
Author(s):  
Paul D. Brinkman
Keyword(s):  
Natural History ◽  
Representative Sample ◽  
Scientific Literature ◽  
The Other ◽  
Field Museum ◽  
Oil Paintings ◽  
Other Hand

Over the course of his 14-year career at Chicago's Field Museum of Natural History, artist and engraver John Conrad Hansen rendered hundreds of beautiful and accurate scientific illustrations of animals – mostly extinct fossil vertebrates. His principal media were oil paintings, pencil, pen-and-ink and wash drawings. Many of his illustrations have been published in the scientific literature. His oil paintings, on the other hand, were made for display alongside specimens in the Field Museum's exhibits. Despite the quality of Hansen's full-colour reconstructions, few of them have been seen outside the Museum. A small, representative sample of his work is reproduced here, along with a brief account of his troubled life and career.

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