Relevant bibliographies by topics / Artistic dyes

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Artistic dyes'

Author: Grafiati
Published: 1 April 2023

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Journal articles on the topic "Artistic dyes"

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Rahaman, G. M. Atiqur, Jussi Parkkinen, and Markku Hauta-Kasari. "A Novel Approach to Using Spectral Imaging to Classify Dyes in Colored Fibers." Sensors 20, no. 16 (August 5, 2020): 4379. http://dx.doi.org/10.3390/s20164379.

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In the field of cultural heritage, applied dyes on textiles are studied to explore their great artistic and historic values. Dye analysis is essential and important to plan correct restoration, preservation and display strategy in museums and art galleries. However, most of the existing diagnostic technologies are destructive to the historical objects. In contrast to that, spectral reflectance imaging is potential as a non-destructive and spatially resolved technique. There have been hardly any studies in classification of dyes in textile fibers using spectral imaging. In this study, we show that spectral imaging with machine learning technique is capable in preliminary screening of dyes into the natural or synthetic class. At first, sparse logistic regression algorithm is applied on reflectance data of dyed fibers to determine some discriminating bands. Then support vector machine algorithm (SVM) is applied for classification considering the reflectance of the selected spectral bands. The results show nine selected bands in short wave infrared region (SWIR, 1000–2500 nm) classify dyes with 97.4% accuracy (kappa 0.94). Interestingly, the results show that fairly accurate dye classification can be achieved using the bands at 1480nm, 1640 nm, and 2330 nm. This indicates possibilities to build an inexpensive handheld screening device for field studies.
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Zalaffi, Maria Sole, Ines Agostinelli, Najmeh Karimian, and Paolo Ugo. "Ag-Nanostars for the Sensitive SERS Detection of Dyes in Artistic Cross-Sections—Madonna della Misericordia of the National Gallery of Parma: A Case Study." Heritage 3, no. 4 (November 12, 2020): 1344–59. http://dx.doi.org/10.3390/heritage3040074.

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In historical paintings, the detection of low amounts of pigments and dyes by Raman spectroscopy can sometimes be challenging, in particular for fluorescent dyes. This issue can be overcome by using SERS (surface-enhanced Raman spectroscopy) which takes advantage of the properties of nanostructured metal surfaces to quench fluorescence and enhance Raman signals. In this work, silver nanostars (AgNSs) are applied for the first time to real art samples, in particular to painting cross-sections, exploiting their effective SERS properties for pigment identification. The case study is the Madonna della Misericordia of the National Gallery of Parma (Italy). Cross-sections were analyzed at first by optical microscopy, SEM-EDS, and micro-Raman spectroscopy. Unfortunately, in some cross-sections, the application of conventional Raman spectroscopy was hindered by an intense background fluorescence. Therefore, AgNSs were deposited and used as SERS-active agent. The experimentation was successful, allowing us to identify a modern dye, namely copper phthalocyanine. This result, together with the detection of other modern pigments (titanium white) and expert visual examination, allowed to reconstruct the painting history, postdating its realization from the 15th century (according to the Gallery inventory) to 19th century with a heavy role of recent (middle 20th century) restoration interventions.
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Ardila-Leal, Leidy D., Raúl A. Poutou-Piñales, Aura M. Pedroza-Rodríguez, and Balkys E. Quevedo-Hidalgo. "A Brief History of Colour, the Environmental Impact of Synthetic Dyes and Removal by Using Laccases." Molecules 26, no. 13 (June 22, 2021): 3813. http://dx.doi.org/10.3390/molecules26133813.

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The history of colour is fascinating from a social and artistic viewpoint because it shows the way; use; and importance acquired. The use of colours date back to the Stone Age (the first news of cave paintings); colour has contributed to the social and symbolic development of civilizations. Colour has been associated with hierarchy; power and leadership in some of them. The advent of synthetic dyes has revolutionized the colour industry; and due to their low cost; their use has spread to different industrial sectors. Although the percentage of coloured wastewater discharged by the textile; food; pharmaceutical; cosmetic; and paper industries; among other productive areas; are unknown; the toxic effect and ecological implications of this discharged into water bodies are harmful. This review briefly shows the social and artistic history surrounding the discovery and use of natural and synthetic dyes. We summarise the environmental impact caused by the discharge of untreated or poorly treated coloured wastewater to water bodies; which has led to physical; chemical and biological treatments to reduce the colour units so as important physicochemical parameters. We also focus on laccase utility (EC 1.10.3.2), for discolouration enzymatic treatment of coloured wastewater, before its discharge into water bodies. Laccases (p-diphenol: oxidoreductase dioxide) are multicopper oxidoreductase enzymes widely distributed in plants, insects, bacteria, and fungi. Fungal laccases have employed for wastewater colour removal due to their high redox potential. This review includes an analysis of the stability of laccases, the factors that influence production at high scales to achieve discolouration of high volumes of contaminated wastewater, the biotechnological impact of laccases, and the degradation routes that some dyes may follow when using the laccase for colour removal
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Silva, Joana, António Jorge Parola, Maria Conceição Oliveira, Bertrand Lavédrine, and Ana Maria Ramos. "Contributions to the Characterization of Chromogenic Dyes in Color Slides." Heritage 5, no. 4 (December 4, 2022): 3946–69. http://dx.doi.org/10.3390/heritage5040203.

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Chromogenic reversal films (or color slides) are first-generation positive transparencies. These were used for various purposes, namely as an artistic medium, especially from the 1960s onwards. However, these materials are intrinsically vulnerable to chemical degradation and have poor long-term stability. Although over time significant improvements have been achieved in the stability of chromogenic products, chromogenic dyes are highly susceptible to oxidation and hydrolysis, both induced by light and/or relative humidity and temperature, leading to the fading and shift in the original color balance of the images. During the present investigation, a gap of knowledge regarding chromogenic materials in general, and chromogenic reversal films specifically, was detected. Today, there is still no methodology to identify the dyes present in a specific work and, therefore, to study their chemical mechanism of degradation. From this premise and focused on case studies from the Portuguese artist Ângelo de Sousa (1938–2011), a research study was carried out seeking the characterization of chromogenic dyes. Based on the isolation of the different dyes composing a chromogenic material, several procedures were tested to describe the dyes found in chromogenic reversal films, such as Raman spectroscopy, thin-layer chromatography (TLC), infrared spectroscopy, high-performance liquid chromatography with diode array detector (HPLC-DAD) and coupled with mass spectrometry (HPLC-HRMS). Promising results were achieved with this approach, opening new paths for the understanding of these materials.
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Scott, Kirsten, Jonathan A. Butler, Karen Spurgin, and Prabhuraj D. Venkatraman. "Restorative fashion: Collaborative research, benign design and the healing powers of the mutuba tree." Journal of Applied Arts & Health 13, no. 3 (December 1, 2022): 357–72. http://dx.doi.org/10.1386/jaah_00116_1.

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The potential of a radically Indigenous and endangered textile to improve human well-being and environmental health is the subject of an ongoing cross-disciplinary and multi-faceted research project between the United Kingdom and Uganda. This article presents the researchers’ findings to date on Ugandan barkcloth, produced from the mutuba tree and part of the Intangible Cultural Heritage of Humanity. Methods included fieldwork in Uganda, natural dye experiments, testing a biodesign strategy, textile laboratory testing and scientific laboratory testing of the unique antimicrobial properties of barkcloth. Although beginning with artistic, practice-based research, the group uncovers important knowledge that may provide significant medical science benefits. They identify the central role of the mutuba tree in restorative and agroforestry systems; create natural dyes that may confer barkcloth’s properties to other materials. Thus demonstrating barkcloth production as a truly slow fashion textile and well-making system that promotes the well-being of people and planet in multiple ways.
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Cesaratto, Anna, Silvia A. Centeno, John R. Lombardi, Nobuko Shibayama, and Marco Leona. "A complete Raman study of common acid red dyes: application to the identification of artistic materials in polychrome prints." Journal of Raman Spectroscopy 48, no. 4 (February 8, 2017): 601–9. http://dx.doi.org/10.1002/jrs.5082.

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Dharmayanti, Luky. "PEMANFAATAN EKSTRAK BIJI KESUMBA KELING ( Bixa orellana L) SEBAGAI PEWARNA ALAMI PADA SEDIAN LIPSTIK." Jurnal Ilmiah Pharmacy 7, no. 2 (October 4, 2020): 222–31. http://dx.doi.org/10.52161/jiphar.v7i2.172.

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Lipstick (Lipstick) is a cosmetic sedan that is used to color the lips with an artistic touch so as to enhance aesthetics in facial makeup. One of the plants that can be used as natural dyes is kelumba keling (Bixa orellana L). Kesumba rivet contains bixsin and nonbixin compounds, which can be used as natural dyes that have the potential as antioxidants. The aim of this study is to utilize kelumba keling as a natural coloring agent in lipstick sedans.Making Keeling keumba seed extract by maceration using 70% ethanol as a solvent. The formulation was made by means of a lipstick base added with variations in the concentration of kesumba keling seed extract 18%, 20%, 22%. Tests carried out on a lipstick sedan made include organoleptic test, irritation test, PH test, melting point test, lipstick sediment test , during storage for 30 days.The results of the test of the lipstick extract of the kesumba rivet seed in the stable orange color organoleptic test can be seen in the irritation test of the non-irritating lipstick sedan, at the melting point test at 51oC for 15 minutes formulation F0, F1, F2, F3 the lipstick made can melt, at Sedian rub test was carried out 5 times basting. In this study it can be concluded that the kesumba keling seed extract can be used as a natural coloring agent in lipstick sedans. Kata Kunci : Biji Kesumba Keling, Lipstik, Evaluasi lipstik
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Fabbri, Daniele, Giuseppe Chiavari, and He Ling. "Analysis of anthraquinoid and indigoid dyes used in ancient artistic works by thermally assisted hydrolysis and methylation in the presence of tetramethylammonium hydroxide." Journal of Analytical and Applied Pyrolysis 56, no. 2 (November 2000): 167–78. http://dx.doi.org/10.1016/s0165-2370(00)00092-9.

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Opoku-Bonsu, Kwame. "Rethinking Materiality In Pre-Tertiary Studio Art Education In Ghana." Journal of Arts and Humanities 6, no. 12 (December 30, 2017): 11. http://dx.doi.org/10.18533/journal.v6i12.1311.

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<p><em>This paper explores the conventional artist and environment connections, and argues that, environment that produce the Senior High School student do so with peculiar material affinities and competences ripe for 21<sup>st</sup> century art. The culture of obliging student to a few institutionalised media like clay, dyes and paints in the studio based art disciplines inhibit the numerous possibilities available, and confines art education to limited aptitudes and few institutionally expected expressions in pre-tertiary art education in Ghana. Using content analysis, the paper examines the Art Curricula and WAEC examination questions for Art Students at the SHS level. It recommends that, curricula and examination item reviews, as well as the incorporation of visual and material culture into artistic processes through democratization and participations of candidates’ cultural backgrounds, will usher in an art education premised on meaning making and conception, and institutionally groomed cultural ambassadors with significant material and visual diversities and competences.</em></p>
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Imronah, Ainul, and Nely Fatmawati. "Pemberdayaan Ekonomi Masyarakat melalui Home Industry Kerajinan Anyaman Bambu di Desa Banjarwaru Kecamatan Nusawungu Kabupaten Cilacap." JEKSYAH (Islamic Economics Journal) 1, no. 02 (September 29, 2021): 80–88. http://dx.doi.org/10.54045/jeksyah.v1i02.41.

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The woven bamboo craft is a hereditary heritage from our ancestors who keep artistic concepts purely for beauty. Banjarwaru Village is one of the villages that have the potential to develop woven bamboo crafts in the Nusawungu District. The development of the art of weaving batik has become one of the economic potentials and sources of changing the community’s economy. This research is field research (field research) with qualitative data analysis. The results of the study show that: (1) there are several efforts made in community economic empowerment, namely: human development (conducted by socialization in the form of mentoring and coaching), business development (done by conducting job training), environmental development (counseling on environmental care) and institutional development (providing facilities from agencies and institutions that cooperate with the home industry). (2) The impacts of community economic empowerment positive impacts such the fulfillment of daily needs, reduced unemployment, being able to increase the production of goods for weavers. And the negative impact is the use of dyes that can pollute the environment.
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Dissertations / Theses on the topic "Artistic dyes"

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Mcclure, Kathryn Raeburn. "Development of new extraction methods for analysis of natural and synthetic organic colourants from historical and artistic matrices." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29168.

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Abstract: In this thesis, an innovative approach for the extraction and clean-up of natural and synthetic textile dyes based on a recently developed ammonia extraction protocol and a novel Dispersive Liquid-Liquid Microextraction (DLLME) is presented. The thesis builds upon recent research highlighting the benefits of the ammonia-based extraction protocol for efficient extraction and preservation of the glycosyl moieties present in some types of natural dyes. This state-of-the-art extraction technique requires the use of a clean-up step to purify and preconcentrate the dye molecules for analysis. This clean-up step has never before been investigated or developed, and current methods rely upon traditional Liquid-Liquid Extractions (LLE), which are not well suited to the very small quantities of materials available for the analysis of artefacts of cultural heritage. The novel DLLME protocol presented by this thesis was developed in order to improve the recovery of natural dyes for analysis, and is also the first clean-up protocol to be developed for the analysis of synthetic textile dyes from cultural heritage matrices. Whilst a clean-up system has never before been applied to synthetic dyes within cultural heritage, pre-concentration and pre-treatment protocols are frequently reported for analysis of the same type of dyes used in food colourants. For this reason, this research adapts a DLLME method from the analysis of edible products, and combines this with the state-of-the-art ammonia extraction method reported in literature. DLLME protocols for both natural and synthetic dyes were developed and optimised first on known analytical standards, considered representative of the possible structures of natural dyes and synthetic azoic acid dyes respectively. The extraction recoveries of a variety of disperser and extraction solvents were analysed using HPLC coupled with targeted mass spectrometry. The optimised conditions were then coupled with the ammonia based extraction to ensure coherence of the methods. The results showed significant improvements in the recovery of natural dye analytes compared to current methods, as well as increased precision and efficiency. For synthetic dyes, results showed adequate recovery of analytes and allowed the ammonia-based extraction method to be applied successfully for the first time. After optimisation, the protocol for synthetic dyes was applied successfully to 15 samples (11 fibres, 4 powders) of suspected azo dyes from the Azienda Coloranti Nazionali e Affini (ACNA) synthetic dye collection housed at Sapienza University of Rome’s Museum of Chemistry. The novel protocol was performed after preliminary Raman screening to obtain some introductory information about the unknown samples in the collection. After application of the novel protocol, the samples were identified through untargeted analysis by HPLC-HRMS.
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Krull, Eriksen Katrine. "Introducing Plaster : Exploring Artistic Expressions of Natural Dyed Plaster." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14892.

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Introducing Plaster is a degree work in textile design exploring the fusion of natural dyes and plaster, and how this can be applied as a textile design material. The outcome is presented as an experimental investigation, placed in the context of surface and material design. This study derived from a growing interest in how new materials can be implemented into the field of textile design using established textile techniques and methods. Natural dye, texture and flexibility where explored through the method of hands-on-experimentation. The study moved foreword by asking the question: “What happens if?”, and the findings have been analyzed and selected for further development. The final collection consists of five pieces made entirely from plaster, showing another approach to how textile techniques and methods can be developed and adapted to fit materials from another field, for instance: Plaster.
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Walsh, Kerry. "Potions and painting." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.
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Pemberton, Diana Ruth. "The Sacred Transfigured." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587732487572178.

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LAI, MEI-CHIH, and 賴美智. "Dialogue between Spirit and Rhombus--Indigo-Dye Artistic Creation of Lai Mei-Chih." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/e48pxp.

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碩士
南華大學
視覺藝術與設計學系
107
Indigo, a traditional craft art, can be used tocreate modern works with new developments of technology. This project aims to increase artistic levels with adding more spiritual elements into indigo craft. 　　In Taiwan aboriginal tribes' traditional worship ceremonies, spiritual symbols from legends are found on their costume texture designs and represent specific cultural meanings. This project thoroughly investigates the most important spiritual elements and their symbols, then applies them in the creative design by infusing modern concepts to create new life into traditional fabric pattern designs. 　　Most of Taiwan aboriginal tribes are Animism. For example, tribe Say-Siyat's Pasta'ai and tribe Atayal's Maho. Tribal people wear traditional costumes, full of cultural patterns, to attend the spiritual ceremonies. 　　Indigo is applied in this project because indigo plant once was a major export crop in Taiwan. With the increase of environmental awareness, indigo craft now revives and becomes a distinct local art. As an indigo artist, the author has full knowledge of indigo dyeing skills through planting indigo, making indigo extraction, and establishing dyeing process. 　　In recent years, the author has researched deeply on the aboriginal culture, especially the legends. Major common concepts, like spiritual birds and owls, are selected from those legends and applied as design elements in this project. And then by using scamper method to reform and rearrange these extracted elements. 　　The dyeing skills applied in this project including shibori, past dyeing, batik, folding dyeing and discharge print. The author presented 4 sets of art works to resemble 4 different cultural meanings of the aboriginals. These 4 sets are "Sparkle Ideas", "Synchronized Sensation", "Rhombus Connected", and "Spiritual Guardians." 　　The indigo patterns created in this project can be applied on commercial products and then increase additional value. These pattern designs also can be perfectly applied on clothes and upholstery, which not only to make art alive butalso can transform to be an artistic beauty that everyone can enjoy in their daily life.
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Walsh, Kerry Patricia, University of Western Sydney, and of Arts Education and Social Sciences College. "Potions and painting." 2003. http://handle.uws.edu.au:8081/1959.7/27666.

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This study traces the adaptation of the traditional gathering practices of Anglo/Celtic women to the landscape of Colonial Australia, thus developing a context for contemporary land-based art practices. Traditional gathering practices became one of the important forces that influenced and shaped the work of many women artists in post colonial Australia. Interacting with the landscape on a personal level helped contextualize women's gathering role into a contemporary theme, which linked past knowledge to present day voices. The author's art work is an interpretation of this traditional gathering practice. By relating herbal knowledge to present day concerns, she is able to extend the knowledge of past generations of women gatherers into present day images. The art work is also a diary of experiments, that are concerned with preserving the dye making recipes that have been handed down for generations. These botanical experiments have enabled the author to re-present herbal knowledge that took hundreds of years to glean, and to extend the use of the dyes obtained to create the art works.
Master of Arts (Hons) (Creative Arts)
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Walsh, Kerry Patricia. "Potions and painting." Thesis, 2003. http://handle.uws.edu.au:8081/1959.7/27666.

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This study traces the adaptation of the traditional gathering practices of Anglo/Celtic women to the landscape of Colonial Australia, thus developing a context for contemporary land-based art practices. Traditional gathering practices became one of the important forces that influenced and shaped the work of many women artists in post colonial Australia. Interacting with the landscape on a personal level helped contextualize women's gathering role into a contemporary theme, which linked past knowledge to present day voices. The author's art work is an interpretation of this traditional gathering practice. By relating herbal knowledge to present day concerns, she is able to extend the knowledge of past generations of women gatherers into present day images. The art work is also a diary of experiments, that are concerned with preserving the dye making recipes that have been handed down for generations. These botanical experiments have enabled the author to re-present herbal knowledge that took hundreds of years to glean, and to extend the use of the dyes obtained to create the art works.
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Books on the topic "Artistic dyes"

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Strobl, Rudolf. Dye. Salzburg: Fotohof edition, 2018.

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Barrada, Yto. Yto Barrada: The dye garden. Purchase, New York: Neuberger Museum of Art, 2019.

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E, Moyer Dale, ed. Silk painting: The artist's guide to gutta and wax resist techniques. New York: Watson-Guptill Publications, 1991.

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Dyer, Geoff. A Tasmanian perspective: The art of Geoff Dyer. Edited by Stafford Victor, Grimmer Sam, and Pierce Peter 1950-. Southbank, Vic: Lygate Press Australia, 2008.

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Popovic, Visnja. The textile artist's studio handbook: Traditional and contemporary techniques for working with fiber, including dyeing, painting, and more. Beverly: Quarry Books, 2012.

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1948-, Lerner Loren R., and Leonard and Bina Ellen Art Gallery., eds. Memories and testimonies =: Memoires et témoignages : Liliana Berezowsky, Marcel Braitstein, Eva Brandl, Caroline Dukes, Georges Dyens, Werner David Feist, Angela Grossmann, Sadko Hadzihasanović, Natalka Husar, Gershon Iskowitz, Graham Metson. Montreal: Leonard & Bina Ellen Art Gallery, 2002.

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Biblioteca, Università di Bologna, and Università di Bologna Biblioteca, eds. Un trattato universale dei colori: Il ms. 2861 della Biblioteca universitaria di Bologna. Firenze: Leo S. Olschki editore, 2012.

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Teinturières à Bamako: Quand la couleur sort de sa réserve. Paris: Ibis press, 2008.

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Bright earth: The invention of colour. London: Viking, 2001.

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Bright earth: Art and the invention of color. Chicago: University of Chicago Press, 2003.

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Book chapters on the topic "Artistic dyes"

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Middleton, Katie. "Pigments & Dyes." In Color Theory for the Make-up Artist, 32–47. 2nd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003104742-2.

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Macdonald, Iain. "Eric Dyer: Moving Image Artist." In Hybrid Practices in Moving Image Design, 87–97. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-41375-4_10.

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Reynolds, Lucy. "The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings." In Cinematic Intermediality, 88–104. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0007.

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The film artist Annabel Nicolson’s 1972 article ‘The Artist as Filmmaker,’ written for a special artist film themed issue of Art and Artists, pinpoints in hindsight attitudes and approaches to the use of the film medium potentially shared between two artistic, and contemporaneous, movements in 1970s Britain who held themselves apart: conceptual artists and artist filmmakers. This essay considers the reasons for this disconnect, finding them in Britain’s wider cultural policies towards emergent art practices such as performance and film. Could, as Nicolson’s article intimates, there be much common ground – little acknowledged then, or in historical accounts since? Discussions of the film actions of Nicolson and the film installations of David Dye in relation to conceptual counterparts such as John Hilliard and Dan Graham, make the case that they were closer in method and medium than they thought.
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"Out of the Depths: Synthetic Colors From the Coal Tar Industry." In March of the Pigments, 341–64. The Royal Society of Chemistry, 2022. http://dx.doi.org/10.1039/9781837671403-00341.

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Surprisingly, in 1856, another accident set in motion the rise of the synthetic dye industry which, as it advanced, mowed down ages-old natural dye traditions and industries in its path. National rivalries culminated in Germany's hegemony in terms of chemical expertise, academic excellence, industrial-academic ties and favorable patent rights by the end of the 19th century. Based on its virtual monopoly on chemical know-how, Germany's ability to become a gigantic war machine wrote the history of most of the 20th century. But out of the thousands of new dyes and colors generated during this tumultuous time, hundreds found their way onto the palettes of the artists of a maturing new school.
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Carter, David. "Inception and the Arts." In Inception, 95–98. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325055.003.0007.

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This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.
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Mordden, Ethan. "The 1960s." In Gays on Broadway, 82—C5N‡‡. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063108.003.0006.

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Abstract This chapter looks into the rise of gay characters on Broadway, especially in plays by Britons. It considers the plays featuring gay people written by John Osborne, Shelagh Delaney, Terence Rattigan, Charles Dyer, and Frank Marcus. The Killing of Sister George (1966), The Best Man (1960), and Advise and Consent (1960) are only some of the few American works that featured a full-scale gay relationship. American artists started creating gay theatre from the inside as the gay culture in the industry has been so highly developed despite being legally sub rosa. The chapter expounds on the rise of gay culture in the West End and Broadway by referencing Oscar Wilde, A Patriot For Me (1969), and The Killing of Sister George.
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Mordden, Ethan. "The 1910s and 1920s." In Gays on Broadway, 3—C1N**. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063108.003.0002.

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Abstract This chapter covers gay activities in the 1910s and 1920s. It highlights the rise of drag queens despite the antagonism that gay men and women have faced during their fight for visibility and civil rights. A man pretending to be a woman was the standard plot for America’s most prominent drag actor, Julian Eltinge. Another openly gay drag artist was Bert Savoy, who specialized in sophisticated Broadway revues such as Miss 1917 and Greenwich Village Follies. The chapter also looks at Broadway Brevities, a New York tabloid devoted to the doings of the famed and the reckless, as well as “pansies” and “dykes”, which emphasized popular stereotypes. It discusses the works of Mae West that featured narratives combining the outlaw world with Society and destabilized Americans’ respect for the elite.
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"Aztec Red and Maya Blue: Secrets of the New World." In March of the Pigments, 295–316. The Royal Society of Chemistry, 2022. http://dx.doi.org/10.1039/9781837671403-00295.

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Spain's conquest of the New World brought many exotic products to the European market. None was more spectacular than the deep luscious red color that they called grana cochinilla. Once its superb qualities were recognized, this so-called Aztec Red quickly eclipsed its Old World counterparts both in the dye bath and on the artists' palette. Its mysterious origin and recognized value, jealously guarded by the Spanish regime, was the object of both piracy and espionage. No less mysterious was the virtually indestructible ubiquitous blue pigment that graced ancient murals of the indigenous peoples of Mesoamerica. This is the tale of how this color, forever bearing the misnomer of Maya Blue, became the nexus of modern scientific research. As the first hybrid nanomaterial, its discovery borders on science fiction.
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9

Abulafia, David. "The Purple Traders, 1000 BC–700 BC." In The Great Sea. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195323344.003.0013.

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Abstract:
Recovery from the disasters of the twelfth century was slow. It is unclear how deep the recession in the Aegean lands was, but much was lost: the art of writing disappeared, except among the Greek refugees in Cyprus; the distinctive swirling styles of Minoan and Mycenaean pottery vanished, except, again, in Cyprus; trade withered; the palaces decayed. The Dark Age was not simply an Aegean phenomenon. There are signs of disorder as far west as the Lipari islands, for in Sicily the old order came to an end in the thirteenth century amid a wave of destruction, and the inhabitants of Lipari were able to preserve some measure of prosperity only by building strong defences. The power of the Pharaohs weakened; what saved the land of the Nile from further destruction was the falling away of raids from outside, as the raiders settled in new lands, rather than any internal strength. By the eighth century new networks of trade emerged, bringing the culture of the East to lands as far west as Etruria and southern Spain. What is astonishing about these new networks is that they were created not by a grand process of imperial expansion (as was happening in western Asia, under the formidable leadership of the Assyrians), but by communities of merchants: Greeks heading towards Sicily and Italy, consciously or unconsciously following in the wake of their Mycenaean predecessors; Etruscan pirates and traders, emerging from a land where cities were only now appearing for the first time; and, most precociously, the Canaanite merchants of Lebanon, known to the Greeks as Phoinikes, ‘Phoenicians’, and resented by Homer for their love of business and profit. So begins the long history of contempt for those engaged in ‘trade’. They took their name from the purple dye extracted from the murex shellfish, which was the most prized product of the Canaanite shores. Yet the Greeks also recognized the Phoenicians as the source of the alphabet which became the basis of their new writing system; and Phoenicia was the source of artistic models which transformed the art of archaic Greece and Italy in an age of great creative ferment.
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