Restaurarea unei picturi pe pânză de Aurél Náray (1883–1948)

2020 ◽  
Vol 34 ◽  
pp. 317-330
Author(s):  
Dana Benkara
Keyword(s):  
Small Area ◽  
Oil Content ◽  
Paint Layer ◽  
Lower Edge ◽  
Oil Painting ◽  
Varnish Layer ◽  
Lower Left Corner ◽  
The Face ◽  
Restoration Work ◽  
Left Corner

"The restoration of a painted canvas by Aurél Náray (1883-1948) This study shows the restoration work made on the painted canvas of the Hungarian artist Aurél Náray (1883-1948), depicting an ecclesiastic subject (Saint Joseph with the infant Jesus). This oil painting comes from a private art collector and has the following dimensions: 42x57.5 cm, being sustained by a wooden stretcher. The painting is signed and dated by the artist himself on the lower left corner (“Aurél Náray 909”). The canvas is fixed on the underframe with metallic nails; as a result of the wood having dried, the frame shows slight distortions. The face of the painting displays small portions of missing white primer and/ or colour, erosions of the paint layer, two little punctures in the canvas, and a small area of distorted canvas placed toward the lower edge of the painting. Adherence of thin dirt can be observed on the surface of the painting while the back of the canvas bears heavy traces of dust and dirt, especially on its margins. The actual restoration process of the painted canvas referred to the following: drawing up the initial photograhic documentation, superficial dust cleaning on the back of the canvas, detachment of the painting from its old underframe and the building of a new and proper wooden stretcher. After the plainness of the painting was restored and the two small pricked points on the canvas were consolidated (with the use of Beva 371 adhesive), a strip lining on the margins of the canvas was carried out, in order to be able to fix the canvas on the new underframe. Cleaning of the surface came next, followed by the filling of the missing primer layer with putty. The chromatic integration of the painting was accomplished (after having sealed the original paint with a thin layer of intermediary varnish) with the use of low oil content colours and the final protection of a second satin varnish layer. Keywords: painted canvas, restoration, stretcher, strip lining, varnish "

scholarly journals Recovery of a vandalized canvas painting our Lady of the Rosary from Vrlika (Croatia)

2020 ◽  
Vol 18 (1) ◽  
pp. 247-257
Author(s):  
Sandra Sustic ◽  
Ivan Rezic ◽  
Mario Cvetkovic
Keyword(s):  
Visual Analysis ◽  
18Th Century ◽  
Paint Layer ◽  
General Factor ◽  
Oil Painting ◽  
War Of Independence ◽  
Black And White ◽  
Parish Community ◽  
Visual Materials ◽  
Painting On Canvas

This study is related to the major recovery project of an 18th century oil painting on canvas depicting Our Lady of the Rosary, the patron saint of the parish community of Vrlika and its surroundings. During the Croatian War of Independence in 1992 it was taken off the main altar and vandalized by the paramilitary units. This resulted in termination of a century long tradition of annual feasts in Vrlika in which the painting was publicly displayed and carried by the townsmen. Based on the available visual materials: a high resolution old black and white photograph and the low resolution coloured one, respectfully, using the computer colorization algorithm, and also relying on detailed visual analysis of the original paint layer, a major reconstruction was carried out in 2017. This research has demonstrated that the recovery of the artworks with dramatic losses is an extremely complex social phenomenon difficult to characterize by any general factor or based on any general approach.

scholarly journals A NEW SPECIES OF PROTANDRENA, CKLL.

1897 ◽  
Vol 29 (2) ◽  
pp. 47-48
Author(s):  
S. N. Dunning
Keyword(s):  
New Species ◽  
Black Vertex ◽  
Lower Portion ◽  
Lower Edge ◽  
Gray Hair ◽  
Bright Yellow ◽  
The Face ◽  
A New Species

Protandrena Cockerelli, n. sp.—♀. Length, 12 mm.; shining black. Upper half of clypeus, lower portion of supraclypeal area, and part of side pieces, bright yellow, all forming a band across the face one-half broader than high, and of equal breadth throughout; knees yellow spotted. Head rounded, broader than high, and covered with a short growth of gray hair, longer on cheeks and thickest at bave of antennæ; lower haif of clypeus and two small dots near lower edge of band black, not deeply or closely punctured; antennæ black at base, becoming brown towards the tip; first joint of flagellum not quite as long as the second and third combined; mandibles black; vertex deeply but not very closely punctate.

scholarly journals APPLICATION OF AUGMENTED REALITY TOOLS TO THE DESIGN PREPARATION OF PRODUCTION

2021 ◽  
Vol 2021 (2) ◽  
pp. 4428-4433
Author(s):  
PETR BARON ◽  
◽  
MAREK KOCISKO ◽  
EDUARD FRANAS ◽  
◽  
...  
Keyword(s):  
Augmented Reality ◽  
Mobile Phone ◽  
Mobile Devices ◽  
Design Stage ◽  
Basic Information ◽  
Marker Tracking ◽  
Lower Left Corner ◽  
Left Corner ◽  
Intelligent Tools ◽  
Production Preparation

The paper describes the application of augmented reality tools to create an auxiliary interactive tool in the field of design. To mediate it, an application with AR operation based on marker tracking has been designed. The created application works with the mobile devices platform. Two types of markers have been used in the application. To display basic information, buttons with functions are added to the scene, such as part information, rotation and change of position in the X, Y, Z direction. The application runs on a mobile phone, with a built-in camera. The marker is displayed in the drawing's lower left corner. The model is positioned so that it appears above the view of the part in the drawing. The task of the application is to support intelligent tools applicable in the design stage of production preparation, in the creation of drawing documentation.

scholarly journals Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo

2021 ◽  
Vol 37 (6) ◽  
pp. 701-711
Author(s):  
Na Ra Lee ◽  
Yeong Gyeong Yu ◽  
Hwa Soo Lee
Keyword(s):  
Paint Layer ◽  
Particle Size Analysis ◽  
Size Analysis ◽  
Oil Painting ◽  
Oil Paintings ◽  
Drying Oil ◽  
Painting Technique ◽  
Mural Paintings ◽  
Manufacturing Techniques ◽  
Typical Soil

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

Ventilation of Square Cavity Containing a Heat Source

2021 ◽  
Vol 406 ◽  
pp. 149-163
Author(s):  
Djelloul Chati ◽  
Said Bouabdallah ◽  
Badia Ghernaout
Keyword(s):  
Heat Source ◽  
Mixed Convection ◽  
Governing Equations ◽  
Square Cavity ◽  
Numerical Resolution ◽  
Ventilated Cavity ◽  
Lower Left Corner ◽  
Left Corner ◽  
Volume Method ◽  
Cavity Effect

A numerical simulation of turbulent mixed convection of a ventilated cavity containing a heat source placed of the center has been carried out. This cavity is outfitted along couple holes: one placed within the lower left corner and the other in the top right corner. The width of the hole "H" represents is 1/5 of the length of the cavity side. The diameter regarding the round heat source "D" is equal in accordance with the breadth of the inlet gap’s H (D = H). The walls of the cavity considered are maintained adiabatic, while the temperature of the heat source T is higher than the ambient temperature. The turbulence model k-ε was used for governing equations of turbulent mixed convection inside the cavity. The finite volume method was used for numerical resolution. The parameters of flow are: the Grashof number is set to Gr = 109 and the Reynolds number (Re) varies so that the number of Richardson (Ri) takes the values Ri = 0.01, 0.05, 0.1, 1, 2, 5, 10, 20 and 30 (Ri = Gr/ Re2). The effect of thermo-dynamic parameters and the shape geometric cavity effect are investigated.

scholarly journals Designing Smart Student Savings Tools Based on Arduino and Web

2020 ◽  
Vol 8 (03) ◽  
pp. 73-89
Author(s):  
Sigit Pardjono ◽  
Asep Juarna
Keyword(s):  
Radio Frequency Identification ◽  
Color Sensor ◽  
Dc Motors ◽  
Electronic Transactions ◽  
Lower Left Corner ◽  
Frequency Identification ◽  
Storage Area ◽  
Left Corner ◽  
Financial Balance ◽  
Modern Era

In this modern era, everything is done easily, from electronic equipment to electronic transactions is developed increasingly sophisticated. The equipment and sophisticated electronic transactions turned out to have major problems that could result in dissipation, especially students in schools. The purpose of this study is to create and design a smart savings machine tool, where this machine will be controlled via RFID and a sensor with a microcontroller, so that each individual can learn to economize in managing finances. This machine is designed by adding a color sensor for depositing and withdrawing cash with only three nominal banknotes, namely Rp. 10,000, Rp. 5,000 and Rp. 2,000. Furthermore, this device is also able to calculate the financial balance that has been entered. As an input, Arduino Mega 2560 is needed for data processing. Whereas, the color sensor output is used to read the basic colors red, green and blue on the surface of the lower left corner of the rupiah banknotes. This tool works as desired, can read RFID (Radio Frequency Identification) cards that have been determined and the color sensor can respond to colors on a nominal bill of Rp 2,000, Rp.5,000 or Rp. 10,000 and able to detect the time when saving and accumulating the balance. To attract money into the storage area, two DC motors are used. When the TCS230 color sensor detects money, there are several times that the currency is unreadable due to the influence of external light which causes the sensor to be inaccurate in reading the frequency value of the money color.

Floristic Composition in Chronosequence in Atlantic Rainforest Fragments

2019 ◽  
pp. 1-13
Author(s):  
Andréa V. F. Pinto ◽  
Maria A. M. Silva ◽  
Maria J. H. Leite ◽  
Girlânio H. Silva ◽  
Ana V. L. Leite ◽  
...  
Keyword(s):  
Floristic Composition ◽  
Ground Level ◽  
Atlantic Rainforest ◽  
Secondary Forests ◽  
Mature Forest ◽  
Lower Left Corner ◽  
Left Corner ◽  
Tropical Landscapes ◽  
Young Forests ◽  
Growth Habits

Secondary forests play an important role in tropical landscapes and have important ecological functions such as the ability to accumulate biomass. Although the literature points to the convergence between primary and secondary forests, however there are few studies in Atlantic Rainforest in a chronosequence to show it. This study aimed to characterize the changes of floristic composition in a chronosequence (5, 16, 24, 30 years of regeneration and mature forest) in the Atlantic Rainforest. In each forest 30 plots of 10 × 10 m were installed for canopy sampling, and within these 100 m2 were installed plots of 5 × 5 m for sampling the woody sub-forest at the lower left corner. The growth habits analyzed were arboreal (diameter at breast height, DBH ≥ 5 cm), shrubs (DBH < 5 cm and stem diameter at ground level > 1 cm), herbs, epiphytes and climbing plants. The results suggest that from 16 young forests tended to converge with the mature forest in terms of the proportion of growth forms.

The Icon of the Holy Unmercenaries (Greek: Άγιοι Ανάργυροι) Cosmas and Damian, as Bequeathed by Zofia Ruebenbauer, in the Collection of the National Museum in Cracow

Ikonotheka ◽  
2018 ◽  
Vol 27 ◽  
pp. 27-54
Author(s):  
Mirosław P. Kruk
Keyword(s):  
19Th Century ◽  
Paint Layer ◽  
National Museum ◽  
Northern Greece ◽  
Work Of Art ◽  
14Th Century ◽  
John Chrysostom ◽  
The Gift ◽  
Restoration Work ◽  
The 19Th Century

In 2011 the National Museum in Cracow received a bequest that had been specified in the last will and testament of Zofia Ruebenbauer from Ottawa. The gift was described as a 19th century Russian icon. Comparative stylistic analysis complemented by restoration work and a material study revealed an exquisite paint layer, for which analogies may be found in the mid-14th-century Greek art of the Paleologian period. The icon was probably painted in the third quarter of the 14th century in one of the centres in northern Greece including Kastoria, Veria, Mt. Athos, Thessalonike and Constantinople itself. The collection of the Byzantine Museum in Kastoria includes many icons of the holy physicians depicted in a similar pose. Iconographical details such as the surgical knives in the hands of the physicians and in the open tool case find close analogies in the 14th-century wall paintings in Peloponnese, e.g. in the Church of Saint Paraskevi (Αγία Παρασκευή, Agia Paraskevi) and Saint John Chrysostom (Άγιος Ιωάννης Χρυσόστομος, Agios Ioannes Chrisostomos) in Geraki, as well as in the Orthodox Church of the Holy Unmercenaries (Άγιοι Ανάργυροι, Agioi Anargyroi) in Nomitsi. The conclusions of the analysis regarding the icon’s provenance find indirect corroboration in the recently discovered fact that in the first half of the 19th century the work of art was owned by Haryklia Mavrocordatos-Serini, Sas-Hoszowska (1836–1906), a member of the Lvov line of the Greek princely family of Mavrocordatos. The names of her children with the exact dates of their birth appear on the reverse side of the icon. The work of art was passed down to Jerzy Ruebenbauer, who carried it away from Lvov during the Second World War, taking it first to Warsaw, where he met his future wife Zofia, and after the war to Canada via Belgium.

Restaurarea picturii Peisaj cu biserică, de Ștefan Popescu

2016 ◽  
Vol 30 ◽  
pp. 267-277
Author(s):  
Dana Maria Benkara ◽  
Keyword(s):  
20Th Century ◽  
Small Area ◽  
Detailed Account ◽  
Cleaning Process ◽  
Restoration Process ◽  
Japanese Paper ◽  
Varnish Layer ◽  
Painted Layer

The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the back of the painting. After protecting the entire face of the painting (by applying the Japanese paper), the old patch on the back of the painting (covering a small area of torn canvas) was replaced with a new one. The cleaning process (the removal of the light dirt and the old varnish layer) was followed by the filling of all the gaps of the painted layer with putty. The chromatic integration and the final varnishing ended the restoration process of the painted canvas.

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