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

Carmen 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.

New stylistic discoveries “Fluid Fusion” and “Flowinggraphics” in the works of the duet of artists Alexei and Irina Polyakov

In the world history of art, various graphic techniques for making and printing works of art have had their own names: etching, woodcut, linocut, lithography, etc. The new definitions of the 21st century sound quite reasonable: “Flowinggraphics” and “Fluid Fusion”, based on technological and chemical discoveries work with acrylic paints. The purpose of my article is to acquaint the art community with new techniques and terms. English version of the article on pp. 756-760 is available at URL: https://panor.ru/articles/fluid-fusion-and-flowing-graphics-new-stylistic-descoveries-in-the-works-of-the-duet-of-artists-alexey-and-irina-polyakov/70067.html

Auto-Disinfectant Acrylic Paints Functionalised with Triclosan and Isoborneol—Antibacterial Assessment

Environmental surface contamination with microorganisms is a serious concern worldwide. Triclosan and isoborneol present good antimicrobial activity. Their immobilisation to paint substrates allows for development of a material that stays effective over a longer time. In this work, we disclosed the preliminary studies to evaluate the antimicrobial activity of the active molecule after being functionalised with isocyanates for further immobilisation on the paint substrate. Overall, the newly developed non-release antimicrobial coating provides an effective way of preventing the spread of diseases and has been proven to inhibit bacterial growth and with a considerable antimicrobial activity towards S. aureus, E. coli, and K. variicola at the tested concentrations.

Morphometric traits of selected heart veins of standard and mutational colour variants of American mink (Neovison vison)

The aim of the study was to estimate the values of metric traits of selected mink heart veins of standard and mutation colour variants. The study was conducted on 342 hearts of seven-month-old males and 405 hearts of seven-month-old females. Mink colour, resulting from mutation or from crossbreeding mutational colour variants with each other. Metric traits of the coronary sinus, great cardiac vein, middle cardiac vein, posterior vein, and small cardiac vein were determined by photographic recording of the sub-epicardial picture of these vessels after filling them with a water-dilutable dye for acrylic paints together with a 30% food gelatin solution. In addition, the number of the veins forming the great cardiac vein and that of the posterior veins of the left ventricle were determined. Based on the measurement of the width and length of the mink hearts, the heart shape was determined. Differences were found between the traits of the mink heart vessels of standard and mutational colour variants, but they did not allow to formulate clearly the thesis about the effect of mutations on these traits.