A FLEXIBLE BALSA BACK FOR THE STABILIZATION OF A BOTTICELLI PANEL PAINTING

1978 ◽  
Vol 23 (sup1) ◽  
pp. 153-155
Author(s):  
Barbara H. Beardsley
Keyword(s):  
Panel Painting

Suitability of Ag-agar gel for the micro-extraction of organic dyes on different substrates: the case study of wool, silk, printed cotton and a panel painting mock-up

2014 ◽  
Vol 45 (11-12) ◽  
pp. 1133-1139 ◽  
Author(s):  
Elena Platania ◽  
John R. Lombardi ◽  
Marco Leona ◽  
Nobuko Shibayama ◽  
Cristiana Lofrumento ◽  
...  
Keyword(s):  
Organic Dyes ◽  
Agar Gel ◽  
Panel Painting

scholarly journals Study of Some Archaeometric Characteristics Used in Panel Painting Icons Authentication

2014 ◽  
Vol 9 (2) ◽  
pp. 14-18
Author(s):  
Raluca Anamaria Cristache ◽  
Ana Maria Budu ◽  
Petronela Spiridon ◽  
Viorica Vasilache ◽  
Ion Sandu
Keyword(s):  
Panel Painting

scholarly journals The colours of a 16th century panel painting, from the church of Pavia (Mora, Portugal), attributed to Francisco João

2009 ◽  
Vol 9 ◽  
pp. 47-55 ◽  
Author(s):  
Helena Pinheiro de Melo ◽  
António João Cruz
Keyword(s):  
16Th Century ◽  
Panel Painting ◽  
The Church

WALL-AND PANEL-PAINTING

2015 ◽  
pp. 56-63
Author(s):  
Jeffrey M. Hurwit
Keyword(s):  
Panel Painting

Streaming Music into Renaissance Studies: The Case of L’homme armé

2017 ◽  
Vol 43 (2) ◽  
pp. 109-139
Author(s):  
Kevin N. Moll
Keyword(s):  
Primary Sources ◽  
College Level ◽  
Instructional Resources ◽  
Musical Tradition ◽  
Panel Painting ◽  
Literary Art ◽  
Renaissance Studies ◽  
Mass Settings ◽  
Rogier Van Der Weyden ◽  
Historical Nature

College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthetic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme armé – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L’homme armé, and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden.

Italian Panel Painting of the Early Renaissance in the Collection of the Los Angeles County Museum of Art.

1997 ◽  
Vol 28 (1) ◽  
pp. 361
Author(s):  
Rona Goffen ◽  
Susan L. Caroselli ◽  
Joseph Fronek
Keyword(s):  
Los Angeles ◽  
Los Angeles County ◽  
Panel Painting
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