The Influence of Glass in the Color of Red Lakes Layers in Oil Painting: A Case Study in a Pictorial Series Attributed to Murillo Located in Guadalajara, Mexico

2012 ◽  
Vol 1374 ◽  
pp. 61-72
Author(s):  
Elsa Arroyo ◽  
Adriana Cruz Lara ◽  
Manuel Espinosa ◽  
José Luis Ruvalcaba ◽  
Sandra Zetina ◽  
...  
Keyword(s):  
Visible Spectroscopy ◽  
Oil Painting ◽  
Artistic Process ◽  
Painting Technique ◽  
Red Lake ◽  
Art Collection ◽  
Pictorial Series ◽  
Powdered Glass ◽  
Spectroscopy Optical

ABSTRACTThis paper discuss the presence of powdered glass and quartz integrated in the red lake layers of two paintings attributed to the Sevillian painter Bartolome Esteban Murillo that belongs to the Guadalajara’s Regional Museum’s art collection. A laboratory experimental reproduction of the Sevillian painting technique was made using three different lakes (cochineal, madder lake and brazilwood) mixed with four varieties of glass to explore the optical properties and the influence of the transparent and translucent aggregates into the oil paint layers. The experimental reproductions were analyzed using ultraviolet-visible spectroscopy, optical and fluorescence microscopy and scanning electron microscopy (SEM-EDX). A comparison between the originals and the reproduced red lakes layers was carried out to understand the artistic process of Murillo’s color application. Preliminary results suggest that glass was not used as a siccative agent as the historical treatises mentioned but mainly as an additive to increase brightness, thickness and color saturation of the red lake layers related to the artist’s intention.

scholarly journals Re-Constructing the Choreographic Studio of João Fiadeiro Through Animated Infographic Films

1969 ◽  
Vol 1 (1) ◽  
Author(s):  
Stephan Jürgens
Keyword(s):  
Academic Research ◽  
Contemporary Dance ◽  
Interesting Point ◽  
Creative Processes ◽  
Artistic Process ◽  
Conceptual Structures ◽  
Novel Approach ◽  
Starting Point ◽  
Interdisciplinary Arts

The starting point for this article is an artist-led practice developed by choreographer João Fiadeiro during the past two decades, which has been designated as "Composition in Real Time" (CTR). The interesting point about this methodology is that it has been applied in performance composition and in arts education by its author himself; but also in such diverse fields as anthropology, sociology, neurosciences, and economy by scientists and academics in collaboration with Fiadeiro. The authors of this article have conducted a long-lasting case study on the artistic process of Fiadeiro in the framework of an ERC-funded interdisciplinary arts and cognition project. We present our resulting novel approach to researching contemporary dance work through the creation and production of animated infographic films. Along with leading PaR theorists we argue that the utilization of adequate artistic techniques and methods in academic research can successfully reveal how unique creative ideas and conceptual structures come into being in the creative processes of today's contemporary artists. The article discusses specific excerpts of the provided animated infographic films to show how we digitally re-constructed Fiadeiro’s conceptual and imaginative universe, and how our findings can address both an academic and interested lay audience. SOLOS study: I am sitting in a different room you are in now from BlackBox Art&Cognition on Vimeo. SOLOS study: I was here from BlackBox Art&Cognition on Vimeo. Graphic models developed by João Fiadeiro from BlackBox Art&Cognition on Vimeo.

scholarly journals Paste backfill thermal contraction: Red Lake operations case study

2021 ◽  
Author(s):  
Jeffrey Oke ◽  
Katie Hawley ◽  
Tikou Belem ◽  
Ali Hashemi
Keyword(s):  
Thermal Contraction ◽  
Red Lake ◽  
Paste Backfill

The Museum of Primitive Art, 1940–1982

Entitled ◽  
2019 ◽  
pp. 41-69
Author(s):  
Jennifer C. Lena
Keyword(s):  
New York ◽  
Small Group ◽  
Detailed Analysis ◽  
Metropolitan Museum ◽  
Ideal Case ◽  
Metropolitan Museum Of Art ◽  
Art Collection ◽  
History Of ◽  
The Creation

This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.

ANNA TEACHING ELISABETHBY BARTOLOMEO ALTOMONTE: A CASE STUDY OF AUSTRIAN BAROQUE PAINTING TECHNIQUE

1998 ◽  
Vol 43 (sup2) ◽  
pp. 20-20
Author(s):  
B. Baatz-Fischer ◽  
M. Schreiner ◽  
W. Baatz
Keyword(s):  
Painting Technique

scholarly journals Transient soundscape production

2021 ◽  
Vol 10 (1) ◽  
pp. 142-157
Author(s):  
Daniel Walzer
Keyword(s):  
Narrative Analysis ◽  
Cultural Production ◽  
Music Technology ◽  
Steady Increase ◽  
Artistic Process ◽  
Music Production ◽  
The Past ◽  
Scholarly Output ◽  
A Site

Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education.

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.

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