Across Edges: Art to Cartography; One Landscape to the Next

Maps have the empowering effect of placing the “world at your fingertips,” compressing portions of it into a more “knowable” form. I find that some places have this map-like character even in real life—natural environments that are sliced by sharp, unexpected edges and contrasts into more accessible and digestible fragments. Over the years I have explored creating maps that heighten these places’ compressed quality but also preserve their immersive aspect.This search led me first to the field of landscape architecture, and then into two dimensions after I realized that creating these idealized places out in real world was mostly a fantasy. I began piecing together travel photographs into abstract photomontages, later reinterpreted in oil paints, that sharpen natural edges and contrasts to depict imaginary places. I then transitioned to watercolors, and toward depicting places not quite as imaginary, using the same fractured style to combine travel-inspired landscapes with bird’s-eye views.Finding the task of painting the individual fragments less engaging than the process of shaping them into compositions, I came to think of these works as maps in terms of both theory and process—in emphasizing the spatial relationships between scenes rather than the individual scenes themselves. My motivation for creating these maps has expanded beyond personal fulfilment to include conveying the fragility of the natural remnants and contrasts that captivate me.

The influence of light and relative humidity on the formation of epsomite in cadmium yellow and French ultramarine modern oil paints

The effect of relative humidity (RH) and light on the development of epsomite (MgSO4·7H2O) in Winsor & Newton cadmium yellow (CY) and French ultramarine (FU) artists’ oil colour paints was investigated. Tube paint samples were aged for 12 weeks at either 50% or 75% RH, under ambient light (200 ± 1 lx), elevated light (11,807 ± 328 lx), and near-dark conditions. Aged paint samples were characterised using light microscopy (LM), scanning electron microscopy (SEM), energy dispersive X-ray spectroscopy (EDX), attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR), X-ray diffraction (XRD), and X-ray photoelectron spectroscopy (XPS). Results indicated that ageing at 75% RH in elevated light conditions, promoted the formation of hydrated magnesium sulphate (MgSO4·6–7H2O) crystals on the surface of both paints. The formation of sodium sulphate (Na2SO4) as a degradation product of French ultramarine oil paints after ageing at 75% RH in elevated light conditions is described. The formation of magnesium sulphate crystals in the absence of elevated SO2 is a new finding. For both cadmium yellow and French ultramarine oil paints, the pigments present are a likely source of sulphur, enabling the formation of sulphate salts, i.e., cadmium sulphide (CdS) yellow, and the sulphur radical anions (S3−) present in ultramarine pigment. Sulphur-containing impurities arising from pigment manufacture are an additional possibility. It was previously theorised that epsomite formation in water-sensitive twentieth century oil paintings resulted from exposure to the elevated atmospheric sulphur dioxide (SO2) levels of the 1950s–1970s. This study demonstrates that hydromagnesite-containing cadmium yellow and French ultramarine oil paints of any period may be vulnerable to water-soluble sulphate salts formation and that this process is promoted by exposure to light and high (75%) RH environments. The formation of sulphate salts as a degradation product is known to contribute toward the development of water sensitivity of modern oil paintings which can pose significant challenges to conservation. Therefore this study highlights the importance of minimising exposure to light and raised relative humidity for paintings containing such CY and FU oil paint passages, to help slow down these types of degradation phenomena which have implications for preservation.

Utilization of Porcelain Tile Polishing Residue

The research focuses on the properties of by-products formed in the production of porcelain stoneware: polishing residue and residue of the mixture-preparation shop. The polishing residue consists of glassy phase (80%), quartz (14%), mullite (5%). Residue of the mixture-preparation shop consists of quartz (~ 18%), muscovite (~ 6.9%), kaolinite (~ 20.5%), calcium-sodium feldspar (~ 51.4%), diopside (~ 2.98%). Polishing residue occurs when polishing porcelain stoneware to create a glossy surface and when polishing the side faces of porcelain stoneware to obtain accurate tile geometry. The particle size of the polishing residue is less than 0.2 mm, and the residue of the mixture-preparation shop is less than 40 microns. Residue of the mixture-preparation shop is formed when cleaning equipment: mills, mixers, slipways, etc. The ways of utilization of by-product are follows: as a filler for the silicate production; for polymer-cement, water-dispersion and oil paints; as a filler for the production of roofing materials, bituminous roofing mastics based on organic binders; raw materials for the production of foam glass materials and products.

Identification of Pre-1950 Synthetic Organic Pigments in Artists’ Paints. A Non-Invasive Approach Using Handheld Raman Spectroscopy

There is little information on the actual use of early synthetic organic pigments (SOPs) in art objects, especially those from before 1950. Their presence can, however, pose a challenge to conservation because their chemical composition, as well as their lightfastness and sensitivity to solvents, are often unknown. Here, a study on the non-invasive identification of SOPs in historic pre-1950 varnished paint-outs from artists’ materials manufacturer Royal Talens is presented. The paints were analysed using a handheld Raman device. Spectra were evaluated by recording the spectra of the same samples with a benchtop instrument. This study demonstrated that the identification of SOPs in varnished oil paints with a non-invasive approach is possible and rather straightforward. The handheld Raman device allowed us to identify fourteen SOPs from eight pigment classes. Besides the occurrence of expected and the known SOPs of this time period, there were also some surprising results, like the detection of the triarylcarbonium pigments PG2 and PB8, and the monoazo Mordant Yellow 1.

The stability of paintings and the molecular structure of the oil paint polymeric network

A molecular-level understanding of the structure of the polymeric network formed upon the curing of air-drying artists’ oil paints still represents a challenge. In this study we used a set of analytical methodologies classically employed for the characterisation of a paint film—based on infrared spectroscopy and mass spectrometry—in combination with solid state NMR (SSNMR), to characterise model paint layers which present different behaviours towards surface cleaning with water, a commonly applied procedure in art conservation. The study demonstrates, with the fundamental contribution of SSNMR, a relationship between the painting stability and the chemical structure of the polymeric network. In particular, it is demonstrated for the first time that a low degree of cross-linking in combination with a high degree of oxidation of the polymeric network render the oil paint layer sensitive to water.

A full catalogue and analysis of Indian painted photographs at Royal Ontario Museum's South Asian photographic collection

This thesis is based on a photographic collection of Indian painted photographs from the South Asian Photographic collection at the Royal Ontario Museum (ROM). There are fifty-four photographic objects created by various makers and photographers with dates ranging from the 1880's to the 1990's. For the most part the objects are examples of studio portraiture. Most of them are photographic images with applied colour, however, there are some examples of paintings in this group that were executed in the tradition of photographic studio portraiture, but have no evidence of a photosensitive material underneath. The paintings, as well as the painted photographs, employ different media, such as watercolour, gouache and oil paints. The objects I investigated and catalogued fall under three categories: prints made by contact printing, by enlargement, and finally paintings produced using a photograph as a model. Tinting of photographs was a well-known Western tradition in the nineteenth century, while the process that Indian artists developed was a synthesis of their long practiced tradition of miniature painting and the newly developed technology of photography. Finally this thesis unveils the means of production of Indian painted photographs, and tries to find the reason for Indian artists employing opaque medium in their colourings.

A full catalogue and analysis of Indian painted photographs at Royal Ontario Museum's South Asian photographic collection

This thesis is based on a photographic collection of Indian painted photographs from the South Asian Photographic collection at the Royal Ontario Museum (ROM). There are fifty-four photographic objects created by various makers and photographers with dates ranging from the 1880's to the 1990's. For the most part the objects are examples of studio portraiture. Most of them are photographic images with applied colour, however, there are some examples of paintings in this group that were executed in the tradition of photographic studio portraiture, but have no evidence of a photosensitive material underneath. The paintings, as well as the painted photographs, employ different media, such as watercolour, gouache and oil paints. The objects I investigated and catalogued fall under three categories: prints made by contact printing, by enlargement, and finally paintings produced using a photograph as a model. Tinting of photographs was a well-known Western tradition in the nineteenth century, while the process that Indian artists developed was a synthesis of their long practiced tradition of miniature painting and the newly developed technology of photography. Finally this thesis unveils the means of production of Indian painted photographs, and tries to find the reason for Indian artists employing opaque medium in their colourings.

Sources of Arterial Vascularization of the Polar Owl’s Kidneys

The sources of vascularization of the kidneys of five polar owl carcasses were studied by filling the vessels with self-hardening plastic Belokril through the femoral artery. High-grade oil paints were added to the monomer to give the vessels the desired color. After the injection, the carcasses were placed in a high concentration caustic soda solution for three days. The resulting corrosion impression was washed under warm water and dried. It was identified that in the lumbar trunk, the main vessel was the descending aorta, from which extra- and intraorganic arteries departed for vascularizing the kidneys. Extraorganic arteries included external and internal iliac, sciatic and middle sacral arteries. Intraorganic arteries included cranial, middle, and caudal renal arteries. Inside the parenchyma of each lobe of the kidney, intraorganic arteries branched in the main type of caudomedial, dorsomedial and lateromedial directions and were subdivided into segmental, interlobular and perilobular arteries and intralobular capillaries. An asymmetry in the branching of the renal arteries was observed. During histological examination, we noted that the renal arteries were lined with endothelium on the inner side and the intima contained endotheliocytes with oval nuclei. Under the endothelial layer were loose collagen fibers running along the middle shell. There was no loose connective tissue between the inner and middle shells, so the subendothelial layer was very weak and there was no internal elastic membrane. The muscle membrane was well developed, with collagen and elastic fibers located between the muscle fibers. The outer shell was represented by loose connective tissue with the presence of arterial and venous vessels. The collagen fibers had a slightly convoluted course. Keywords: birds, polar owl, arteries, kidneys, parenchyma, capillaries, endotheliocytes, intima