scholarly journals A pioneer of acrylic painting: new insights into Carmen Herrera’s studio practice

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Federica Pozzi ◽  
Elena Basso ◽  
Silvia A. Centeno ◽  
Isabelle Duvernois ◽  
Julie Arslanoglu
Keyword(s):  
New York ◽  
Treatment Plan ◽  
Scientific Study ◽  
Second Phase ◽  
Color Palette ◽  
Tetragonal Form ◽  
Studio Practice ◽  
Post War ◽  
Titanium White ◽  
Acrylic Paints

AbstractCarmen Herrera, born on May 30th, 1915, is a Cuban American abstract minimalist artist, whose first solo show was held at the Whitney Museum of American Art, New York, in 2016–2017. On this occasion, a scientific study of five paintings from the artist’s time in Paris (1948–1953) revealed her pioneering use of solvent-based acrylic paints in post-war Europe. This article presents a second phase of research into Herrera’s work aiming to shed light on her studio practice and ascertain the possible presence of other early acrylic paints in her pre-1963 artistic production. A selection of four paintings, namely Iberia #25 (1948), Iberic (1949), Flights of Colors #16 (1949), and Early Dynasty (1953), was subjected to an analytical campaign that relied on both non-invasive and micro-invasive techniques. Results confirmed the use of both oil and solvent-based acrylic paints, supporting our primary research and uncovering the first-known occurrence of acrylic binders in Herrera’s Iberia #25. In all cases, the ground layer consists of a mixture of titanium white in its tetragonal form of rutile, anhydrite, and talc, while the color palette was found to be based on both traditional and modern pigments. In most areas, several paint layers appeared to be overlaid on top of one another, revealing a creative process that developed through subsequent compositions. Remnants of earlier paint layers, which appeared to have been scraped off before new ones were applied, were observed directly above the ground in some of the samples examined. In addition, Iberia #25 and Iberic, with analogous geometric and chromatic schemes, underwent technical imaging, which exposed pencil lines and notes underneath the paint layers likely indicative of the intended design and polychromy. Besides corroborating a major alteration in the current scholarship on the availability and use of acrylic-based artists’ paints in post-war Europe, this research provides new insights into Herrera’s materials, techniques, and studio practice. In addition, the results of this scientific study assisted the development of a suitable treatment plan for Iberic in preparation for its display in The Metropolitan Museum of Art’s galleries as part of the museum’s 150th anniversary exhibition Making The Met, 1870–2020.

scholarly journals Alexander Calder’s Half-Circle, Quarter-Circle, and Sphere (1932): A Complex History of Repainting Unraveled

2020 ◽  
Author(s):  
Federica Pozzi ◽  
Julie Arslanoglu ◽  
Eleonora Nagy
Keyword(s):  
New York ◽  
Cross Sections ◽  
Treatment Plan ◽  
Gas Chromatography Mass Spectrometry ◽  
Pyrolysis Gas ◽  
X Ray ◽  
Drying Oil ◽  
Non Invasive ◽  
History Of ◽  
Titanium White

Abstract The Whitney Museum of American Art, New York, owns one of the largest motorized works made by the renowned American artist Alexander Calder, titled Half-Circle, Quarter-Circle, and Sphere. Created in 1932, and acquired by the Whitney in 1969, this seminal work was featured in an iconic exhibition held in 2017 and entitled Calder: Hypermobility. Prior to that, the object underwent a series of treatments in order to repair its main kinetic elements that had become compromised during its lifetime. While the work’s mechanism retained its creator’s ingenious engineering solutions, the motor, urethane belts, plug, and electrical wires turned out to be neither original, nor authentic to the period. The appearance of the piece had also been altered, as most surfaces displayed multiple layers of overpainting and, thus, did not deliver the proper gloss, hue, and texture. These observations prompted a first, comprehensive scientific study to investigate the stratigraphy of Calder’s painted surfaces on Half-Circle, Quarter-Circle, and Sphere, with the final goal to comprehend and restore its original appearance through careful removal of the overpaint. Non-invasive X-ray fluorescence (XRF) analysis was carried out to gain initial insight into the paints’ composition. After that, extensive microscopic sampling was performed to assess the possible presence of original layers below the repainting throughout the object’s surface. Cross sections were examined with optical microscopy and analyzed with Fourier-transform infrared (FTIR) and Raman spectroscopies, as well as scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS), in order to identify pigments, colorants, and extenders located in the various paint layers. Scrapings were also investigated with pyrolysis – gas chromatography / mass spectrometry (Py-GC/MS) for a detailed characterization of the binding media. Scientific analysis revealed, in selected white and red areas, up to eleven layers of overpaint composed of a wide array of modern materials, including pigments (titanium white in the form of tetragonal rutile and a variety of synthetic organic red pigments) and binders (alkyd or late formulations of enamels based on ortho-phthalic acid / phthalic anhydride, glycerol and pentaerythritol, polyvinyl acetate with various plasticizers, and acrylics). On the other hand, the identification of materials that were available in the early 1930s, such as zinc white, calcite, and gypsum, as well as traditional drying oil binders, supported the hypothesis that a layer of original paint may still be present in certain areas. In addition to shedding new light on the stratigraphy of Calder’s painted surfaces, this study informed the optimization of a treatment plan tailored for the safe removal of the overpaint to uncover the original layer, wherever present.

scholarly journals Alexander Calder’s Half-Circle, Quarter-Circle, and Sphere (1932):A Complex History of Repainting Unraveled

2020 ◽  
Author(s):  
Federica Pozzi ◽  
Julie Arslanoglu ◽  
Eleonora Nagy
Keyword(s):  
New York ◽  
Cross Sections ◽  
Treatment Plan ◽  
Gas Chromatography Mass Spectrometry ◽  
Pyrolysis Gas ◽  
X Ray ◽  
Drying Oil ◽  
Non Invasive ◽  
History Of ◽  
Titanium White

Abstract The Whitney Museum of American Art, New York, owns one of the largest motorized works made by the renowned American artist Alexander Calder, titled Half-Circle, Quarter-Circle, and Sphere. Created in 1932, and acquired by the Whitney in 1969, this seminal work was featured in an iconic exhibition held in 2017 and entitled Calder: Hypermobility. Prior to that, the object underwent a series of treatments in order to repair its main kinetic elements that had become compromised during its lifetime. While the work’s mechanism retained its creator’s ingenious engineering solutions, the motor, urethane belts, plug, and electrical wires turned out to be neither original, nor authentic to the period. The appearance of the piece had also been altered, as most surfaces displayed multiple layers of overpainting and, thus, did not deliver the proper gloss, hue, and texture. These observations prompted a first, comprehensive scientific study to investigate the stratigraphy of Calder’s painted surfaces on Half-Circle, Quarter-Circle, and Sphere, with the final goal to comprehend and restore its original appearance through careful removal of the overpaint. Non-invasive X-ray fluorescence (XRF) analysis was carried out to gain initial insight into the paints’ composition. After that, extensive microscopic sampling was performed to assess the possible presence of original layers below the repainting throughout the object’s surface. Cross sections were examined with optical microscopy and analyzed with Fourier-transform infrared (FTIR) and Raman spectroscopies, as well as scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS), in order to identify pigments, colorants, and extenders located in the various paint layers. Scrapings were also investigated with pyrolysis – gas chromatography / mass spectrometry (Py-GC/MS) for a detailed characterization of the binding media. Scientific analysis revealed, in selected white and red areas, up to eleven layers of overpaint composed of a wide array of modern materials, including pigments (titanium white in the form of tetragonal rutile and a variety of synthetic organic red pigments) and binders (alkyd or late formulations of enamels based on ortho-phthalic acid / phthalic anhydride, glycerol and pentaerythritol, polyvinyl acetate with various plasticizers, and acrylics). On the other hand, the identification of materials that were available in the early 1930s, such as zinc white, calcite, and gypsum, as well as traditional drying oil binders, supported the hypothesis that a layer of original paint may still be present in certain areas. In addition to shedding new light on the stratigraphy of Calder’s painted surfaces, this study informed the optimization of a treatment plan tailored for the safe removal of the overpaint to uncover the original layer, wherever present.

scholarly journals Alexander Calder’s Half-Circle, Quarter-Circle, and Sphere (1932):A Complex History of Repainting Unraveled

2020 ◽  
Author(s):  
Federica Pozzi ◽  
Julie Arslanoglu ◽  
Eleonora Nagy
Keyword(s):  
New York ◽  
Cross Sections ◽  
Treatment Plan ◽  
Gas Chromatography Mass Spectrometry ◽  
Pyrolysis Gas ◽  
X Ray ◽  
Drying Oil ◽  
Non Invasive ◽  
History Of ◽  
Titanium White

Abstract The Whitney Museum of American Art, New York, owns one of the largest motorized works made by the renowned American artist Alexander Calder, titled Half-Circle, Quarter-Circle, and Sphere. Created in 1932, and acquired by the Whitney in 1969, this seminal work was featured in an iconic exhibition held in 2017 and entitled Calder: Hypermobility. Prior to that, the object underwent a series of treatments in order to repair its main kinetic elements that had become compromised during its lifetime. While the work’s mechanism retained its creator’s ingenious engineering solutions, the motor, urethane belts, plug, and electrical wires turned out to be neither original, nor authentic to the period. The appearance of the piece had also been altered, as most surfaces displayed multiple layers of overpainting and, thus, did not deliver the proper gloss, hue, and texture. These observations prompted a first, comprehensive scientific study to investigate the stratigraphy of Calder’s painted surfaces on Half-Circle, Quarter-Circle, and Sphere, with the final goal to comprehend and restore its original appearance through careful removal of the overpaint. Non-invasive X-ray fluorescence (XRF) analysis was carried out to gain initial insight into the paints’ composition. After that, extensive microscopic sampling was performed to assess the possible presence of original layers below the repainting throughout the object’s surface. Cross sections were examined with optical microscopy and analyzed with Fourier-transform infrared (FTIR) and Raman spectroscopies, as well as scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS), in order to identify pigments, colorants, and extenders located in the various paint layers. Scrapings were also investigated with pyrolysis – gas chromatography / mass spectrometry (Py-GC/MS) for a detailed characterization of the binding media. Scientific analysis revealed, in selected white and red areas, up to eleven layers of overpaint composed of a wide array of modern materials, including pigments (titanium white in the form of tetragonal rutile and a variety of synthetic organic red pigments) and binders (alkyd or late formulations of enamels based on ortho-phthalic acid / phthalic anhydride, glycerol and pentaerythritol, polyvinyl acetate with various plasticizers, and acrylics). On the other hand, the identification of materials that were available in the early 1930s, such as zinc white, calcite, and gypsum, as well as traditional drying oil binders, supported the hypothesis that a layer of original paint may still be present in certain areas. In addition to shedding new light on the stratigraphy of Calder’s painted surfaces, this study informed the optimization of a treatment plan tailored for the safe removal of the overpaint to uncover the original layer, wherever present.

scholarly journals Association between ventilatory efficiency, oxygen uptake, and Glittre-ADL test results in patients with chronic heart failure: a preliminary study

2021 ◽  
Vol 14 (1) ◽  
Author(s):  
Hebert Olímpio Júnior ◽  
Agnaldo José Lopes ◽  
Fernando Silva Guimarães ◽  
Sergio Luiz Soares Marcos da Cunha Chermont ◽  
Sara Lúcia Silveira de Menezes
Keyword(s):  
Heart Failure ◽  
New York ◽  
Chronic Heart Failure ◽  
Functional Capacity ◽  
Treatment Plan ◽  
Minute Ventilation ◽  
Heart Association ◽  
Gas Analysis ◽  
Ventilatory Efficiency ◽  
Scale Scores

Abstract Objective The Glittre-ADL test (GA-T) is a functional capacity test that stands out for encompassing multiple tasks similar to activities of daily living. As ventilatory efficiency is one of the variables valued in the prognosis of chronic heart failure (CHF), this study aimed to evaluate associations between functional capacity and ventilatory variables in patients with CHF during the GA-T. Results Eight patients with CHF and New York Heart Association (NYHA) functional classification II–III underwent the GA-T coupled with metabolic gas analysis to obtain data by means of telemetry. The median total GA-T time was 00:04:39 (00:03:29–00:05:53). Borg dyspnoea scale scores before and after the GA-T were 2 (0–9) and 3 (1–10), respectively (P = 0.011). The relationship between the regression slope relating minute ventilation to carbon dioxide output (VE/VCO2 slope) was correlated with the total GA-T time (rs = 0.714, P = 0.047) and Borg dyspnoea score (rs = 0.761, P = 0.028). The other ventilatory variables showed no significant correlations. Our results suggest that the total GA-T time can be applied to estimate the ventilatory efficiency of patients with CHF. Future studies may use the GA-T in conjunction with other functional capacity tests to guide the treatment plan and evaluate the prognosis.

LinkedIn and recruitment: how profiles differ across occupations

2014 ◽  
Vol 36 (5) ◽  
pp. 583-604 ◽  
Author(s):  
Julie Zide ◽  
Ben Elman ◽  
Comila Shahani-Denning
Keyword(s):  
New York ◽  
Social Networking Sites ◽  
Personal Information ◽  
Phase 1 ◽  
Small Sample ◽  
Research Approach ◽  
Second Phase ◽  
Content Type ◽  
Two Phases ◽  
Group Member

Purpose – The purpose of this paper is to identify the elements of a LinkedIn profile that hiring professionals focus on most, and then examine LinkedIn profiles in terms of these identified elements across different industries. Design/methodology/approach – The methodology was comprised of two phases. In the first phase, researchers interviewed hiring professionals to determine their usage of LinkedIn. In the second phase, LinkedIn group member profiles from three industries – HR, sales/marketing and industrial/organizational (I/O) psychology – were compared on the 21 variables identified in Phase 1 (n=288). Findings – χ2 and ANOVA tests showed significant differences with respect to ten of the LinkedIn variables in how people presented themselves across the three groups. There were also several gender differences found. Research limitations/implications – A general limitation was the use of a qualitative research approach. A limitation of Phase 1 was that only a small sample of New York City-based hiring professionals was interviewed. Perhaps a wider, more diverse sample would have yielded different variables. In terms of Phase 2, it is possible that just utilizing the second connections of the researchers limited the generalizability of findings. Practical implications – User unwillingness to fully complete the LinkedIn profile suggests that it may not have replaced the traditional resume yet. Sales/marketing professionals were more likely than HR and I/O psychology professionals to complete multiple aspects of a LinkedIn profile. Women were also less likely than men to provide personal information on their profiles. Originality/value – Most of the empirical research on social networking sites has focussed on Facebook, a non-professional site. This is, from the knowledge, the first study that systematically examined the manner in which people present themselves on LinkedIn – the most popular professional site used by applicants and recruiters worldwide.

Post-War Blues (1945–1947)

2016 ◽  
Author(s):  
James King
Keyword(s):  
New York ◽  
New York City ◽  
Visual Arts ◽  
York City ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Post War ◽  
Similar Kind ◽  
At Home

This chapter details events in Roland Penrose's life from 1945 to 1947. Lee and Roland flew to New York City on 19 May 1946. Roland was elated to have the opportunity to rekindle his relationship with the Museum of Modern Art's (MOMA) director Alfred H. Barr, Jr., who likely warned him about the dangers he would face if he backed any kind of proposal to open a museum of modern art in London. Roland was taken with MOMA's collection: ‘Realizing that it was on a far greater scale that anything that could be dreamt of in London, consistently indifferent to all matters concerning the visual arts and still enfeebled by the war, this achievement nevertheless roused in me a longing to attempt some similar kind of folly at home’. Barr would also have expressed his gratitude to Roland for allowing his Picassos to be sent to MOMA during the war.

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