Journal articles: 'Painted objects'

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Stulik, Dusan, and Henry Florsheim. "Binding Media Identification in Painted Ethnographic Objects." Journal of the American Institute for Conservation 31, no. 3 (1992): 275. http://dx.doi.org/10.2307/3179724.

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Stulik, Dusan, and Henry Florsheim. "Binding Media Identification in Painted Ethnographic Objects." Journal of the American Institute for Conservation 31, no. 3 (January 1992): 275–88. http://dx.doi.org/10.1179/019713692806066565.

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Setiawan, Andreas, Fransiscus Dalu Setiaji, Gunawan Dewantoro, and Nur Aji Wibowo. "Photoacoustic Tomography System for Roughly Painted Micro Objects." Journal of Electromagnetic Engineering and Science 19, no. 3 (July 31, 2019): 197–203. http://dx.doi.org/10.26866/jees.2019.19.3.197.

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Gravit, Marina, Artem Krivtcov, Iurii Mingalimov, and Ivanna Popovych. "Сolour Design of Intumescences Сoatings for Building Constructions." Materials Science Forum 871 (September 2016): 146–53. http://dx.doi.org/10.4028/www.scientific.net/msf.871.146.

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For the rational decision of colors on the different building objects it is recommended to use optimal colors to create the best climate at industrial enterprises. For this purpose the appropriate building codes are developed. Building constructions in the industrial enterprises, which are applied fire-retardant paint, also painted in the appropriate color with tinting paste, or applying the finishing coat with that color. It is shown, that the introduction of tinting paste in the fire-retardant paint as overcoating of the fire-retardant paint leads to chaotic effect on height of foam of the intumescing coatings. The conclusions about invalidity of coloring with the fire-retardant paints in saturated tones used tinting paste without preliminary testing on the fire retardant efficiency are made. Similar conclusions are applied to the paint systems for an intumescing fire protective coatings using surface finishing.

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Marx, Annegret. "Blau aus der Waschküche: Wege einer Farbe nach Äthiopien." Aethiopica 4 (June 30, 2013): 158–68. http://dx.doi.org/10.15460/aethiopica.4.1.494.

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In traditional Ethiopian paintings a shining blue is observed. An analysis of four objects from the Museum Haus Völker und Kulturen in St. Augustin shows that they were painted with laundry blue. This substance is of varying composition, and has contained synthetic ultramarine since 1830. Laundry blue was of daily use and carried by travellers and missionaries. It was widely used by painters because of its shining colour and good technical properties. In this article the most likely paths by which synthetic ultramarine could have reached Ethiopia are described. This can be shown to have taken place several decades before 1900, the date that has been hitherto assumed to mark the introduction of synthetic colours. The German Zander was probably the first painter in Ethiopia to decorate a church (Därasge Maryam) with synthetic ultramarine in 1852.

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Umitkaliev, Ulan U., Oleg A. Mitko, and Liudmila V. Lbova. "Painted Astragals of the Bronze Age (Kyrykungir burial ground, East Kazakhstan)." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 1, no. 35 (March 25, 2021): 232–46. http://dx.doi.org/10.24852/pa2021.1.35.232.246.

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The publication presents materials of the funeral necropolis Kyrykungir (East Kazakhstan), in which two sets of astragals with traces of coloring pigments were discovered. The design of the burials accompanying the inventory and the general archaeological context allows dating these objects from the 12th to 13th centuries BC. Data from archaeozoological analysis and SEM-EDX analysis of the painted surface of objects (alchiks) are present in the paper. The species composition of animals has been established, demonstrating a combination of astragals of both domestic and wild species. A diverse chemical composition of paints with which objects were covered, as well as cases of renewal of staining, was revealed. In the initial version, individual astragals could belong to population with different traditions of making paints, possibly from different regions. The results allow us to offer a different point of view on the phenomenon of the presence of alchiks in archaeological cultures. The range of interpretations of astragals (alchiks) finds implies not only understanding them as elements of game traditions, but also designating their complex social and cultural role in the funeral rites of the population of Eurasia in the Bronze Age.

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Barov, Zdravko. "REMOVAL OF INORGANIC DEPOSITS FROM EGYPTIAN PAINTED WOODEN OBJECTS." Studies in Conservation 35, sup1 (September 1990): 19–22. http://dx.doi.org/10.1179/sic.1990.35.s1.005.

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Rogers, Dylan. "The Hanging Garlands of Pompeii: Mimetic Acts of Ancient Lived Religion." Arts 9, no. 2 (May 26, 2020): 65. http://dx.doi.org/10.3390/arts9020065.

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Roman painting is full of items associated with religious practice. Garlands, in particular, are found represented in Roman frescoes, often draped over different panels to enliven the painted surface with the semblance of abundant fresh flowers. There are indications, however, that in Roman domestic spaces, latrines, and streets, physical garlands were actually attached to the frescoes as votive offerings that mimic the painted garlands behind them. This paper considers how Roman paintings worked in tandem with garlands and other physical objects, and how Pompeiians engaged in mimetic acts. The two-dimensional painted surface depicting “mimetic votives” should be viewed within a three-dimensional space inhabited by people and objects. The mimetic act of hanging a garland was part of ancient lived religion, and, as such, enables us to examine past religious experiences, focusing on the individual and communication with the divine. The relationship between these various visual media would have created unique experiences in the daily lives of ancient Romans that are rarely considered today.

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Tserevelakis, George J., Antonina Chaban, Evgenia Klironomou, Kristalia Melessanaki, Jana Striova, and Giannis Zacharakis. "Revealing Hidden Features in Multilayered Artworks by Means of an Epi-Illumination Photoacoustic Imaging System." Journal of Imaging 7, no. 9 (September 10, 2021): 183. http://dx.doi.org/10.3390/jimaging7090183.

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Photoacoustic imaging is a novel, rapidly expanding technique, which has recently found several applications in artwork diagnostics, including the uncovering of hidden layers in paintings and multilayered documents, as well as the thickness measurement of optically turbid paint layers with high accuracy. However, thus far, all the presented photoacoustic-based imaging technologies dedicated to such measurements have been strictly limited to thin objects due to the detection of signals in transmission geometry. Unavoidably, this issue restricts seriously the applicability of the imaging method, hindering investigations over a wide range of cultural heritage objects with diverse geometrical and structural features. Here, we present an epi-illumination photoacoustic apparatus for diagnosis in heritage science, which integrates laser excitation and respective signal detection on one side, aiming to provide universal information in objects of arbitrary thickness and shape. To evaluate the capabilities of the developed system, we imaged thickly painted mock-ups, in an attempt to reveal hidden graphite layers covered by various optically turbid paints, and compared the measurements with standard near-infrared (NIR) imaging. The obtained results prove that photoacoustic signals reveal underlying sketches with up to 8 times improved contrast, thus paving the way for more relevant applications in the field.

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Krąpiec, Marek, and Joanna Barniak. "Dendrochronological Dating of Icons from the Museum of the Folk Building in Sanok." Geochronometria 26, no. -1 (January 1, 2007): 53–59. http://dx.doi.org/10.2478/v10003-007-0003-4.

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Dendrochronological Dating of Icons from the Museum of the Folk Building in SanokDendrochronological analysis was carried out for 13 historic icons from the collection of the Museum of the Folk Building in Sanok, painted on fir and spruce boards. Eleven sequences of the annual growth rings produced from the analysed fir boards were absolutely dated against the fir dendrochronological standard for S Poland, constructed by E. Szychowska-Krąpiec. Most of the analysed objects date back to the seventeenth and eighteenth centuries, only one board was dated to the midnineteenth century. The dendrochronological analyses carried out prove broad possibilities of dating objects of the iconographic art painted on panels from fir wood, originating from south-eastern Poland and adjacent areas.

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Austin, J. C., C. R. Day, A. T. Kearon, D. L. Evans, and P. W. Haycock. "Comparison method to differentiate between painted objects using polychromatic X-rays." Insight - Non-Destructive Testing and Condition Monitoring 52, no. 3 (March 2010): 140–43. http://dx.doi.org/10.1784/insi.2010.52.3.140.

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Finegold, Andrew. "Objects without Texts: Mimbres Painted Bowls and the Problematics of Interpretation." Art History 42, no. 2 (March 6, 2019): 216–41. http://dx.doi.org/10.1111/1467-8365.12438.

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McGill, Dru, and Jennifer St. Germain. "Nazi Science, wartime collections, and an American museum: An object itinerary of the Anthropologie Symbol." International Journal of Cultural Property 28, no. 1 (February 2021): 87–106. http://dx.doi.org/10.1017/s0940739121000096.

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AbstractA number of recent works have explored the value of scholarly efforts to “unpack” museum collections and examine the constitutive networks and histories of objects. The interrogations of collections through methods such as object biographies and itineraries imparts important knowledge about the institutions, disciplines, and individuals who made museum collections, contribute to deeper understandings of the roles of objects in creating meaning in and of the world, and suggest implications for future practice and policies. This article examines the object itinerary of a cultural property item of negative heritage: a three-dimensional painted plaster work of craft-art originally designed to symbolize the scientific practice of anthropology in early twentieth-century Germany and later associated with wartime collecting during World War II, the history of American archaeology, and the modern repatriation movement in museums.

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Chiabrando, F., A. Lingua, F. Noardo, and A. Spano. "3D modelling of trompe l'oeil decorated vaults using dense matching techniques." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5 (May 28, 2014): 97–104. http://dx.doi.org/10.5194/isprsannals-ii-5-97-2014.

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Dense matching techniques, implemented in many commercial and open source software, are useful instruments for carrying out a rapid and detailed analysis of complex objects, including various types of details and surfaces. For this reason these tools were tested in the metric survey of a frescoed ceiling in the hall of honour of a baroque building. The surfaces are covered with trompe-l’oeil paintings which theoretically can give a very good texture to automatic matching algorithms but in this case problems arise when attempting to reconstruct the correct geometry: in fact, in correspondence with the main architectonic painted details, the models present some irregularities, unexpectedly coherent with the painted drawing. The photogrammetric models have been compared with data deriving from a LIDAR survey of the same object, to evaluate the entity of this blunder: some profiles of selected sections have been extracted, verifying the different behaviours of the software tools.

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Meyer, Caspar. "Ancient vases in modern vitrines: the sensory dynamics and social implications of museum display." Bulletin of the Institute of Classical Studies 63, no. 1 (June 1, 2020): 91–109. http://dx.doi.org/10.1093/bics/qbaa009.

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Abstract This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.

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Aguilar-Téllez, Dulce María, José Luis Ruvalcaba-Sil, Pieterjan Claes, and Diana González-González. "False Color and Infrared Imaging for the Identification of Pigments in Paintings." MRS Proceedings 1618 (2014): 3–15. http://dx.doi.org/10.1557/opl.2014.451.

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ABSTRACTIn the study of cultural heritage, most of the analytical techniques are point-specific or give information about small areas of the object. Therefore it is essential to obtain an overview of which points are suitable for these further investigations. To fulfill this, a first imaging study is the best way to proceed. Hereby, we can record the entire piece at once and observe the behavior and relation between different materials of the object. Various types of light can be used to obtain a selection of images and consequently also different information about the artifacts. Among them, infrared (IR) photography can be used as a first analysis, for instance, to reveal the pigments’ response upon interaction with IR radiation.In following we will present results obtained via IR video-photography on a selection of painted objects from the Mexican cultural heritage. These items are analyzed by False Color procedure, where colors are assigned to every grey tone of the pure IR photo. Hereby it is possible to distinguish between certain pigments on the painted surface.

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Papathomas, Thomas V., and Patrick Hughes. "Hughes’s Reverspectives: Radical Uses of Linear Perspective on Non-Coplanar Surfaces." Vision 3, no. 4 (November 18, 2019): 63. http://dx.doi.org/10.3390/vision3040063.

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Two major uses of linear perspective are in planar paintings—the flat canvas is incongruent with the painted 3-D scene—and in forced perspectives, such as theater stages that are concave truncated pyramids, where the physical geometry and the depicted scene are congruent. Patrick Hughes pioneered a third major art form, the reverse perspective, where the depicted scene opposes the physical geometry. Reverse perspectives comprise solid forms composed of multiple planar surfaces (truncated pyramids and prisms) jutting toward the viewer, thus forming concave spaces between the solids. The solids are painted in reverse perspective: as an example, the left and right trapezoids of a truncated pyramid are painted as rows of houses; the bottom trapezoid is painted as the road between them and the top forms the sky. This elicits the percept of a street receding away, even though it physically juts toward the viewer. Under this illusion, the concave void spaces between the solids are transformed into convex volumes. This depth inversion creates a concomitant motion illusion: when a viewer moves in front of the art piece, the scene appears to move vividly. Two additional contributions by the artist are discussed, in which he combines reverse-perspective parts with forced and planar-perspective parts on the same art piece. The effect is spectacular, creating objects on the same planar surface that move in different directions, thus “breaking” the surface apart, demonstrating the superiority of objects over surfaces. We conclude with a discussion on the value of these art pieces in vision science.

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BELLINI, CHIARA. "Surrounding the Sacred Space: Two Painted Scrolls from the Collection of Namgyal Monastery in Mustang, Nepal." Journal of the Royal Asiatic Society 30, no. 4 (June 30, 2020): 635–78. http://dx.doi.org/10.1017/s1356186320000413.

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AbstractThe Collection of Namgyal Monastery (Mustang, Nepal) preserves two long and narrow scrolls painted on both sides, of exquisite artistic quality. This article describes and investigates the iconographic and symbolic meaning of the paintings and the use of these objects. One of the scrolls shows the Eight Auspicious Symbols and deities that personify diverse group of offerings painted in an elegant Newari style. The other scroll features an intriguing representation of the Eight Charnel Grounds in a continuous landscape. Full of delicate and charming details, it illustrates the Mahasiddhas, Guardians, Nāgas and stupa of the respective directions. The back of both scrolls has a vajra chain at the bottom and flames represented above it. The scrolls must have been used to encircle specific mandalas. Such objects are rather rare, and it is interesting to reflect on their former use, even more so as no contemporaneous objects of that type are known. The stylistic features of the paintings reveal the broader relationships of the Mustang region to neighbouring areas. Relationships can also be established to objects preserved in the same collection, such as a collection of metal stupa of similar design and typical for the Mustang region and the western Himalayas.

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Han, Lian Ying, Kai Cheng, and Li Yan. "The Ambulatory UV Light Soure Dry Curing Machine Designing." Advanced Materials Research 472-475 (February 2012): 1107–9. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.1107.

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A kind of ambulatory UV light source specific use inverter as the UV light source supporting power. Self-drive four machines running system, the wind turbine strengthen exhaust circulate cooling system。The objects are painted by light solid painting ,which keep still in situation.Accepting high-intensity UV light irradiation which is emitted by light curing machine to achieve the dry film coating. This machine is especially suitable for this kind object which is weight ,larger ,inconvenience delivery.It is ideal coating drying equipment for film covering coating light solid production process.

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WAINWRIGHT, I. N. M., E. A. MOFFATT, and P. J. SIROIS. "OCCURRENCES OF GREEN EARTH PIGMENT ON NORTHWEST COAST FIRST NATIONS PAINTED OBJECTS." Archaeometry 51, no. 3 (June 2009): 440–56. http://dx.doi.org/10.1111/j.1475-4754.2008.00410.x.

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Papathomas, T. V. "Painted objects influence perceived depth of 3-D surfaces they are painted on - Two examples from Patrick Hughes's art pieces." Journal of Vision 13, no. 9 (July 25, 2013): 268. http://dx.doi.org/10.1167/13.9.268.

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Rana, Poonam R. L. "Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (December 1, 2019): 54–61. http://dx.doi.org/10.3126/sirjana.v6i1.39673.

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Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.

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Motoki, Akihisa, Giannis Hans Petrakis, Rodrigo Soares, Susanna Eleonora Sichel, and José Ribeiro Aires. "New method of semi-automatic modal analyses for phenocrysts of porphyritic rocks based on quantitative digital colour specification technique." Rem: Revista Escola de Minas 60, no. 1 (March 2007): 13–20. http://dx.doi.org/10.1590/s0370-44672007000100003.

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This paper proposes a new method for modal analyses of centimetric phenocrysts and porphyroblasts using a digital rock image. The dot matrix image of the rock is imported into vectorial draw software as background. The outline of all of the phenocrysts is marked on the overlay by closed vectorial curves and their internal area is painted in black. After this operation, the rock image on the background is deleted and the background is painted in white. The vectorial objects composed of the background and the overlay are exported as a matrix image of BMP format. The percentage of the areas painted in black corresponds to modal abundance of the phenocrysts, and it is calculated by the Wilber colour specification software. This method has high precision in graphic processing. However the translucency of the groundmass causes uncertainness in vectorial phenocryst marking. Therefore, it is recommended for rocks with phenocrysts larger than 5 mm.

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Buchanan, Ruth, and Jeffery G. Hewitt. "Encountering settler colonialism through legal objects: a painted drum and handwritten treaty from Manitoulin Island." Northern Ireland Legal Quarterly 68, no. 3 (November 7, 2017): 291–304. http://dx.doi.org/10.53386/nilq.v68i3.41.

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Anishinaabe of the Great Lakes region and the British. Two such objects, a drum painted with Anishinaabe imagery and a treaty, handwritten by a British treaty commissioner, were created in close proximity in both time and location. This paper explores the encounter between the Anishinaabe and the British through a parallel engagement with both drum and treaty; placing them in conversation with each other. We consider the divergent paths taken by these objects by comparing the material, legal and sensory landscapes in which they were produced with their current contexts. In dialogue, the objects reveal their performative contributions to the British imperial project; one as an authorised claim to (indigenous) property, the other as (British Museum) property, displayed as artefact. Read in parallel, the treaty’s assertions of authority and the drum’s mute resistance interrogate the form of law itself, and the agency of law’s objects.

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Bücking, Sebastian. ""Painting cows" from a type-logical perspective." ZAS Papers in Linguistics 60 (January 1, 2018): 277–94. http://dx.doi.org/10.21248/zaspil.60.2018.467.

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Depiction verbs such as paint license i(mage)- and p(ortrait)-readings; for instance,Ben painted a cow can convey that Ben produced an image of an unspecific cow or a portrait ofa specific cow. This paper takes issue with a property-based intensional analysis of depictionverbs (Zimmermann, 2006b, 2016) and instead argues for an extensional account. Accordingly,the i-reading is rooted in the introduction of worldly representations by the explicit noun cowas such, whereas the p-reading is rooted in the interpolation of an implicit representation viacoercion. This take on the ambiguity captures the following key traits. On i-readings, only representationsare accessible to quantifiers and anaphors; moreover, intensional effects such assubstitution failure disappear once ordinary objects and representations are adequately distinguished.P-readings, by contrast, involve representations that depend on the portrayed ordinaryobjects as particulars; correspondingly, only ordinary objects are accessible to quantifiers andanaphors. The proposal is spelled out in Asher’s (2011) Type Composition Logic.Keywords: depiction verbs, visual representations, intensional transitives, coercion, TypeComposition Logic.

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Yiu, Yvonne. "The Mirror and Painting in Early Renaissance Texts." Early Science and Medicine 10, no. 2 (2005): 187–210. http://dx.doi.org/10.1163/1573382054088114.

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AbstractIn Italy, notably Florence, the late fourteenth and the fifteenth centuries witnessed the proliferation of texts that discuss the relationship between the mirror and painting. In them, the mirror is closely associated with major innovations of the time such as naturalistic representation and linear perspective. On a technical level, the authors describe the mirror's function in the painting of self-portraits and recommend it be used to draw foreshortened objects more easily and to judge the quality of finished paintings. The technical aspects often lead over to theoretical considerations such as the limitations of perspective, the origins of painting, the analogy between the mirror image and the painted image, and the concept that the mind of the painter resembles a mirror. The fact that these texts do not mention the concave mirror projection method described by Hockney and Falco speaks strongly against its use in the early Renaissance.

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Radzevičienė, Aldona, and Jurgita Jankūnaitė. "Boundary Extension Effect Remembering Different Content Pictures." Psichologija 61 (June 29, 2020): 21–32. http://dx.doi.org/10.15388/psichol.2020.13.

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The goal of this study was to investigate in which cases boundary extension occurs when repainting visual images with different content from your memory. The method that was used in this study is based on a meta-analysis conducted by Hubbard et al. (2010). The method consists of 12 stimuli (dimensions 10x15 cm), which show a photographic image or sketch of a painting. Presented stimuli contain images with different content – finished object, object with its corners removed, emotionally neutral, positive and negative object, moving object; 120 respondents participated in the study, their age ranged from 14 to 45 years old (average age – 25,6). The first hypothesis, stating that boundary extension is more frequent with images of objects with removed corners than those of finished objects repainted from memory, was confirmed. The second hypothesis, stating that boundary extension is more frequent with images of emotionally neutral objects than those of emotionally positive or intense objects repainted from memory, was confirmed. The third hypothesis, stating that boundary extension while repainting images that contain containing moving objects, form memory, unfolds from the expected direction of object movement – the left side, was not confirmed. It was found that boundary extension unfolded at the top of a painting (bird) and at the bottom of a painting (vehicle). The fourth hypothesis was partly confirmed – that boundary extension while repainting images from memory with different content stimuli is more likely to happen among teenagers (years 14–19). The central tendency is more likely among younger adults (20–30), and boundary restriction – among older adults (31–45). The fifth hypothesis was confirmed. As expected, boundary extension when repainting images of different content from memory more often occurrs with women than men. The sixth hypothesis, stating that boundary extensions are more often when repainting images from memory that were painted and are not photographical images, was not confirmed.

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Makowska, Agnieszka. "Ushebtis of the Third Intermediate Period from the Chapel of Hatshepsut in the Queen’s temple at Deir el-Bahari." Polish Archaeology in the Mediterranean XXIV, no. 2 (January 31, 2016): 137–60. http://dx.doi.org/10.5604/01.3001.0010.0180.

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A collection of 619 whole and fragmentary ushebti figurines dating from the Third Intermediate Period was recovered between 2004 and 2007 by the Polish team excavating in the Chapel of Hatshepsut, an integral part of the Queen Pharaoh’s mortuary temple in Deir el-Bahari. The figurines include objects of faience, clay and painted clay, all relatively small and roughly modelled. They represent a category of objects that is seldom published separately. The paper presents a typology of the ushebtis based primarily on the material from which they were produced, discussing their chronology and find contexts as well.

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Atoyan, Ruben Vladimirovic, and Anna German. "New Technologies in 3D Mapping." Bulletin of Geography. Physical Geography Series 12, no. 1 (June 27, 2017): 31–40. http://dx.doi.org/10.1515/bgeo-2017-0003.

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Abstract Among cartographic works, three-dimensional panoramas should be marked out as a special kind of map, which are characterised by visual modes of representing objects in space. The main principles of the creation of both hand-painted and automated maps vector and raster graphics software (Corel Draw and Adobe Photoshop) are considered in the paper. The use of modern information technologies has several advantages over traditional mapping.

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Sparkes, Brian A. "VI Images." New Surveys in the Classics 40 (2010): 124–49. http://dx.doi.org/10.1017/s0017383510000756.

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As we have seen in previous chapters, throughout the Greek world, in cities, cemeteries, and sanctuaries, images, usually of figures in human form, were omnipresent, shaped at full and small size in wood, stone, and bronze, painted on panels and walls, and chosen as decoration for metal and clay vessels, for textiles, for jewellery and gems, for bone and ivory objects, and so on. Such images were constantly before the eyes of the men and women as they went about their daily lives. They acted as a visual language that was parallel to the oral versions in talk, recitation, songs, and plays. It is unlikely that the general public gave much thought to the men who made the images and gradually changed the look of the statues seen in the street, the reliefs that adorned the temples in the sanctuaries, the funerary monuments in the cemeteries, or the painted objects handled at home and elsewhere. They would have scanned the images for their content – figures created in their imagination or stories conjured up from the past that they had heard in public performance or private conversation, as well as scenes that related to the social life of their own day.

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Hosseini, Anita. "Haptik und Optik Jean-Siméon Chardins Malerei als ›Schule des Sehens‹." Zeitschrift für Kunstgeschichte 79, no. 4 (December 30, 2016): 542–63. http://dx.doi.org/10.1515/zkg-2016-0038.

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Abstract In the seventeenth and eighteenth centuries, philosophers explored the idea of sight through mind games and practical experiments. Investigating initial vision and tackling the problem of (actual and hypothetical) blindness, they eventually realized that sight itself only transmits the idea of forms and colors. In conclusion, the visual understanding of plasticity and distance postulates an exchange between optical and tactile experiences. Beholding paintings requires the same correlation, as the painted canvas also evokes the illusion of space and body. In his still lifes, Jean-Siméon Chardin uses colors in an activating manner and creates paintings that oscillate between real and represented matter. But they also show the presence of light and air and visually dematerialize the painted objects. Hence, these seem to disperse in light and color and to float in a sphere between painting and beholder. The outcome of this is an experience of a mere vision.

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Gilchrist, Alan, and Michael S. Langer. "Perception of a Black Room Seen Through a Veiling Luminance." i-Perception 11, no. 6 (November 2020): 204166952097369. http://dx.doi.org/10.1177/2041669520973698.

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When a black room (a room painted black and filled with objects painted black) is viewed through a veiling luminance, how does it appear? Prior work on black rooms and white rooms suggests the room will appear white because mutual illumination in the high-reflectance white room lowers image contrast, and the veil also lowers image contrast. Other work reporting high lightness constancy for three-dimensional scenes viewed through a veil suggests the veil will not make the room appear lighter. Because mutual illumination also modifies the pattern of luminance gradients across the room while the veil does not, we were able to tease apart local luminance gradients from overall luminance contrast by presenting observers with a black room viewed through a veiling luminance. The room appeared white, and no veil was perceived. This suggests that lightness judgments in a room of one reflectance depend on overall luminance contrast only.

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Devos, W., L. Moens, A. von Bohlen, R. Klockenkämper, and R. Klockenkamper. "Ultra-Microanalysis of Inorganic Pigments on Painted Objects by Total Reflection X-Ray Fluorescence Analysis." Studies in Conservation 40, no. 3 (August 1995): 153. http://dx.doi.org/10.2307/1506473.

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Devos, W., L. Moens, A. von Bohlen, and R. Klockenkämper. "Ultra-microanalysis of inorganic pigments on painted objects by total reflection X-ray fluorescence analysis." Studies in Conservation 40, no. 3 (August 1995): 153–62. http://dx.doi.org/10.1179/sic.1995.40.3.153.

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Demeshchenko, Svetlana. "Mineral pigment specimens and painted objects from Kostenki in the collection of the State Hermitage." Transactions of the Institute for the History of Material Culture Russian Academy of Science, no. 17 (2018): 181–87. http://dx.doi.org/10.31600/2310-6557-2018-17-181-187.

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Yu, Guang, Jun Wu, Liping Wang, and Ying Gao. "Optimal Design of the Three-Degree-of-Freedom Parallel Manipulator in a Spray-Painting Equipment." Robotica 38, no. 6 (August 15, 2019): 1064–81. http://dx.doi.org/10.1017/s0263574719001255.

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SUMMARYSpray-painting equipments are important for the automatic spraying of long conical objects such as rocket fairing. This paper proposes a spray-painting equipment that consists of a feed worktable, a gantry frame and two serial–parallel mechanisms and investigates the optimal design of PRR–PRR parallel manipulator in serial–parallel mechanisms. Based on the kinematic model of the parallel manipulator, the conditioning performance, workspace and accuracy performance indices are defined. The dynamic model is derived using virtual work principle and dynamic evaluation index is defined. The conditioning performance, workspace, accuracy performance and dynamic performance are involved in multi-objective optimization design to determine the optimal geometrical parameters of the parallel manipulator. Furthermore, the geometrical parameters of the gantry frame are optimized. An example is given to show how to determine these parameters by taking a long object with conical surface as painted object.

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Gradvohl, S. M. O., and E. R. Turato. "From the lack to the sublimation: Psychodynamic considerations about the inability to become pregnant by the way of biographical data about Frida Kahlo." European Psychiatry 26, S2 (March 2011): 1691. http://dx.doi.org/10.1016/s0924-9338(11)73395-8.

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IntroductionThe inability to gestate is considered a difficult experience for women. It is impossible to distinguish whether the cause of greatest suffering is the absence of the desired child or the feeling of failure. According to Freudian theory, this inability could reopen the narcissistic wound, arisen in the castration complex, once the woman is inserted as an incomplete being again. Sublimation is a mechanism for dealing with the deprivation, used by Frida Kahlo, a famous Mexican artist. The aim of this study was to understand the sublimation in the life of Frida by her inability to gestate.MethodBiographical research about Frida Kahlo articulated with the Freudian theory.ResultsFrida sublimated her deprivation through the painting: “Painting completed my life. I lost three children…painting substituted for all this. I believe that works is the best thing. Through the emptiness, Frida reinvented herself, recognized her absence and enabled the emergence of other objects “I paint self-portraits because I am so often alone, because I am the person I know best”.ConclusionAlthough she managed to sublimate her pain through painting, Frida did not have a happy life: “I hope the exit is joyful - and I hope never to return”. Sublimation helped her to overcome the lack of children, but not healed her narcissistic wound. Her paintings were a manifestation of her symptoms, the revelation of the discovered behind the repression necessary to sublimation: “I never painted dreams, I painted my own reality”.

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Conti, Claudia, Marco Realini, Chiara Colombo, Alessandra Botteon, Moira Bertasa, Jana Striova, Marco Barucci, and Pavel Matousek. "Determination of thickness of thin turbid painted over-layers using micro-scale spatially offset Raman spectroscopy." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (December 13, 2016): 20160049. http://dx.doi.org/10.1098/rsta.2016.0049.

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We present a method for estimating the thickness of thin turbid layers using defocusing micro-spatially offset Raman spectroscopy (micro-SORS). The approach, applicable to highly turbid systems, enables one to predict depths in excess of those accessible with conventional Raman microscopy. The technique can be used, for example, to establish the paint layer thickness on cultural heritage objects, such as panel canvases, mural paintings, painted statues and decorated objects. Other applications include analysis in polymer, biological and biomedical disciplines, catalytic and forensics sciences where highly turbid overlayers are often present and where invasive probing may not be possible or is undesirable. The method comprises two stages: (i) a calibration step for training the method on a well characterized sample set with a known thickness, and (ii) a prediction step where the prediction of layer thickness is carried out non-invasively on samples of unknown thickness of the same chemical and physical make up as the calibration set. An illustrative example of a practical deployment of this method is the analysis of larger areas of paintings. In this case, first, a calibration would be performed on a fragment of painting of a known thickness (e.g. derived from cross-sectional analysis) and subsequently the analysis of thickness across larger areas of painting could then be carried out non-invasively. The performance of the method is compared with that of the more established optical coherence tomography (OCT) technique on identical sample set. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.

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Keuren, Scott Van, and Grace E. Cameron. "The Lives of Painted Bowls at Ancestral Pueblos in East-Central Arizona." American Antiquity 80, no. 1 (January 2015): 25–45. http://dx.doi.org/10.7183/0002-7316.79.4.25.

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AbstractThe appearance of iconographic-style pottery at fourteenth-century Pueblo villages in east-central Arizona marked an important shift in the decoration of pottery. These polychrome containers were painted with elaborate imagery that contrasts with earlier geometric-style traditions. Remarkably, though the type was circulated and copied throughout the region, we still know very little about how it was used. This paper addresses that issue by analyzing surface abrasions on a large corpus of White Mountain Red Ware whole vessels. Our research not only examines changes in the uses of Ancestral Pueblo ceramics during the late prehispanic period, but underscores the importance of use-alteration studies to interpreting the biographies of ancient objects.

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Eshaghi, Peyman. "To Capture a Cherished Past." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 282–306. http://dx.doi.org/10.1163/18739865-00802007.

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This essay focuses on the genre of pilgrimage photography as it developed over the course of the twentieth century in the holy city of Mashhad, Iran. Photographs made during pilgrimages to the shrine of Imam Riza count among the most popular vernacular genres of Iranian photography. Pilgrimage photographs should be understood as sacred photo-objects, at once signifiers and carriers of piety. Once framed and taken home by pilgrims, they not only capture and memorialize the sacred encounter, but also carry the aura of the divine into the mundane space and time of the everyday. I focus on the particular visual language of these sacred photographic objects; a visual language achieved through costumes, gestures and body language, through painted backgrounds with symbolic themes. Second, I consider the kind of cultural work and pious affect they elicit as image-objects when placed in pilgrim’s homes. I end by briefly considering the recent changes and continuities brought about by digital imaging technologies.

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Maloney, L. T., P. Mamassian, and M. S. Landy. "Changes in Perceived Object Shape with Changes in Lighting Model and Surface Properties." Perception 25, no. 1_suppl (August 1996): 103. http://dx.doi.org/10.1068/v96l1102.

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We examined the influence of lighting and bidirectional surface reflectance distribution function (BRDF) on the perceived shape of real objects viewed monocularly and binocularly. We asked observers to adjust a ‘circle-stick’ gradient probe optically superimposed on a smooth, asymmetric, pear-shaped wooden object placed directly in front of the observer at a distance of 60 cm. By using real objects, we avoid problems with unrealistic rendering algorithms and CRT presentation of stimuli. The lighting models used were simple (a single near-punctate source and a flat black background), the viewing conditions (in the binocular case) realistic, and the BDRFs selected not implausible. We did not assume that the viewer's perception of shape is veridical under any of the conditions considered, nor did we assume that surface shape estimated from gradient probe settings is an unbiased estimate of perceived shape. We sought to establish whether changes in lighting model and BRDF affect observer performance and, by implication, perceived shape. Observers viewed the object under all eight of the possible combinations of the binary factors: (a) monocular and binocular viewing of the object, (b) near-punctate illumination from above-left or above-right, and (c) matte wooden BRDF (the natural surface of the object) and gloss white BRDF (the same object painted). For each condition there was a total of ten gradient settings at each of over one hundred surface locations. The same locations were used for each of the eight conditions. We report results of analyses and discuss their implications.

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Pakhomov, M. V. "Research on the ability of grey seals to differentiate light sources with different wavelengths." Transaction Kola Science Centre 11, no. 5-2020 (March 25, 2020): 125–32. http://dx.doi.org/10.37614/2307-5252.2020.11.5.014.

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The article investigated the ability of gray seals to develop a differentiating conditioned reflex to light sources with different wavelengths corresponding to red, yellow, green, cyan and blue colors. According to the obtained data, light sources with different wavelengths can serve as an irritant for the gray seal, which produces a conditional differentiation reflex. The development of a differentiating conditioned reflex to the light source occurs in the studied gray seals much faster than on color painted objects. The results of the experiment showed the presence of protanopia in the studied gray seals.

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Maxwell, Susan. "The Pursuit of Art and Pleasure in the Secret Grotto of Wilhelm V of Bavaria." Renaissance Quarterly 61, no. 2 (2008): 414–62. http://dx.doi.org/10.1353/ren.0.0004.

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AbstractThe Grottenhof is a small garden surrounded by painted loggias in the Munich Residence, a palace that served as the seat of the Wittelsbach Dukes of Bavaria beginning in the sixteenth century. Completed between 1582 and 1589, the garden contains an elaborate grottoed fountain, sculpture, and paintings based on Ovid’s Metamorphoses. The pictorial program of the painted loggias combines images of mythological ardor with illusionistic interlopers from everyday court life who make punning references to the pursuit of love. The sources for the garden can be found in Italian and French prototypes, yet the program of decorations creates a variety of associations that were unique to the patron, Duke Wilhelm V of Bavaria. The material and subject matter also reflect contemporary theories about art, nature, and the ordering of knowledge that informed the earliest cabinets of curiosities, where collections of art and natural objects were brought together in the so-called Kunstkammer. The garden was meant to engage all of the senses in a sanctuary that stimulated sensual thoughts while provoking broader contemplation about creativity and art.

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Jackson, Sarah E. "IMAGINING COURTLY COMMUNITIES: AN EXPLORATION OF CLASSIC MAYA EXPERIENCES OF STATUS AND IDENTITY THROUGH PAINTED CERAMIC VESSELS." Ancient Mesoamerica 20, no. 1 (2009): 71–85. http://dx.doi.org/10.1017/s0956536109000066.

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AbstractPainted ceramic vessels of the Late Classic Maya, depicting scenes of the royal court, provide an entry into understanding the courtly community as an institution built on relationships and embodied through lived practice. By examining these ceramics both as circulating objects, representing the materialized form of courtly values, and as vehicles for imagery that conveys idealized representations of the court hierarchy and how it was enacted, archaeologists may more profoundly integrate material and iconographic investigations. Assertions of identity and status are examined through the ways in which they are “contained” by these decorated vessels and emerge as characterized by a series of simultaneous unifications and oppositions. A focus on bodily behaviors and interactions, and the ways in which objects played courtly roles in their own right, yields an animated understanding of a dynamic court and a larger perspective on the enactment of identity and difference in Classic Maya contexts.

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Crispí, Marta. "The Use of Devotional Objects in Catalan Homes during the Late Middle Ages." Religions 11, no. 1 (December 25, 2019): 12. http://dx.doi.org/10.3390/rel11010012.

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The purpose of this article is to study domestic devotion in Catalonia in the thirteenth, fourteenth and fifteenth centuries, based on the information provided by numerous post-mortem inventories and texts written by coetaneous spiritual authors such as Ramon Llull, Francesc Eiximenis and Saint Vincent Ferrer. Among the objects recorded in the inventories, pieces of furniture and devotional objects laypeople and clergymen used in their pious practices as “material” aid for personal prayer stood out. They were in keeping with the strong visual culture that pervaded the Late Middle Ages. There were retables, oratories and images of religious themes. However, the inventories also listed lesser known but equally recurring objects such as paternosters and Agni Dei. Painted cloths depicting religious scenes that decorated the homes of numerous wealthy Catalan-Aragonese families at that time were also present. Spiritual books such as books of hours and psalters, biblical texts, Legenda Aurea, etc., were mentioned as well. They were part of the incipient libraries of the laity in the Late Middle Ages.

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Dal Fovo, Alice, Mikel Sanz, Mohamed Oujja, Raffaella Fontana, Sara Mattana, Riccardo Cicchi, Piotr Targowski, et al. "In-Depth Analysis of Egg-Tempera Paint Layers by Multiphoton Excitation Fluorescence Microscopy." Sustainability 12, no. 9 (May 8, 2020): 3831. http://dx.doi.org/10.3390/su12093831.

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The non-invasive depth-resolved imaging of pictorial layers in paintings by means of linear optical techniques represents a challenge in the field of Cultural Heritage (CH). The presence of opaque and/or highly-scattering materials may obstruct the penetration of the radiation probe, thus impeding the visualization of the stratigraphy of paintings. Nonlinear Optical Microscopy (NLOM), which makes use of tightly-focused femtosecond pulsed lasers as illumination sources, is an emerging technique for the analysis of painted objects enabling micrometric three-dimensional (3D) resolution with good penetration capability in semi-transparent materials. In this work, we evaluated the potential of NLOM, specifically in the modality of Multi-Photon Excitation Fluorescence (MPEF), to probe the stratigraphy of egg-tempera mock-up paintings. A multi-analytical non-invasive approach, involving ultraviolet-visible-near infrared (UV-Vis-NIR) Fiber Optics Reflectance Spectroscopy, Vis-NIR photoluminescence, and Laser Induced Fluorescence, yielded key-information for the characterization of the constituting materials and for the interpretation of the nonlinear results. Furthermore, the use of three nonlinear optical systems allowed evaluation of the response of the analyzed paints to different excitation wavelengths and photon doses, which proved useful for the definition of the most suitable measurement conditions. The micrometric thickness of the paint layers, which was not measurable by means of Optical Coherence Tomography (OCT), was instead assessed by MPEF, thus demonstrating the effectiveness of this nonlinear modality in probing highly-scattering media, while ensuring the minimal photochemical disturbance to the examined materials.

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Kedzierski, M., D. Wierzbickia, A. Fryskowska, and B. Chlebowska. "ANALYSIS OF THE POSSIBILITIES OF USING LOW-COST SCANNING SYSTEM IN 3D MODELING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B3 (June 9, 2016): 261–67. http://dx.doi.org/10.5194/isprsarchives-xli-b3-261-2016.

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The laser scanning technique is still a very popular and fast growing method of obtaining information on modeling 3D objects. The use of low-cost miniature scanners creates new opportunities for small objects of 3D modeling based on point clouds acquired from the scan. The same, the development of accuracy and methods of automatic processing of this data type is noticeable. The article presents methods of collecting raw datasets in the form of a point-cloud using a low-cost ground-based laser scanner FabScan. As part of the research work 3D scanner from an open source FabLab project was constructed. In addition, the results for the analysis of the geometry of the point clouds obtained by using a low-cost laser scanner were presented. Also, some analysis of collecting data of different structures (made of various materials such as: glass, wood, paper, gum, plastic, plaster, ceramics, stoneware clay etc. and of different shapes: oval and similar to oval and prism shaped) have been done. The article presents two methods used for analysis: the first one - visual (general comparison between the 3D model and the real object) and the second one - comparative method (comparison between measurements on models and scanned objects using the mean error of a single sample of observations). The analysis showed, that the low-budget ground-based laser scanner FabScan has difficulties with collecting data of non-oval objects. Items built of glass painted black also caused problems for the scanner. In addition, the more details scanned object contains, the lower the accuracy of the collected point-cloud is. Nevertheless, the accuracy of collected data (using oval-straight shaped objects) is satisfactory. The accuracy, in this case, fluctuates between ± 0,4 mm and ± 1,0 mm whereas when using more detailed objects or a rectangular shaped prism the accuracy is much more lower, between 2,9 mm and ± 9,0 mm. Finally, the publication presents the possibility (for the future expansion of research) of modernization FabScan by the implementation of a larger amount of camera-laser units. This will enable spots the registration , that are less visible.

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Kedzierski, M., D. Wierzbickia, A. Fryskowska, and B. Chlebowska. "ANALYSIS OF THE POSSIBILITIES OF USING LOW-COST SCANNING SYSTEM IN 3D MODELING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B3 (June 9, 2016): 261–67. http://dx.doi.org/10.5194/isprs-archives-xli-b3-261-2016.

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The laser scanning technique is still a very popular and fast growing method of obtaining information on modeling 3D objects. The use of low-cost miniature scanners creates new opportunities for small objects of 3D modeling based on point clouds acquired from the scan. The same, the development of accuracy and methods of automatic processing of this data type is noticeable. The article presents methods of collecting raw datasets in the form of a point-cloud using a low-cost ground-based laser scanner FabScan. As part of the research work 3D scanner from an open source FabLab project was constructed. In addition, the results for the analysis of the geometry of the point clouds obtained by using a low-cost laser scanner were presented. Also, some analysis of collecting data of different structures (made of various materials such as: glass, wood, paper, gum, plastic, plaster, ceramics, stoneware clay etc. and of different shapes: oval and similar to oval and prism shaped) have been done. The article presents two methods used for analysis: the first one - visual (general comparison between the 3D model and the real object) and the second one - comparative method (comparison between measurements on models and scanned objects using the mean error of a single sample of observations). The analysis showed, that the low-budget ground-based laser scanner FabScan has difficulties with collecting data of non-oval objects. Items built of glass painted black also caused problems for the scanner. In addition, the more details scanned object contains, the lower the accuracy of the collected point-cloud is. Nevertheless, the accuracy of collected data (using oval-straight shaped objects) is satisfactory. The accuracy, in this case, fluctuates between ± 0,4 mm and ± 1,0 mm whereas when using more detailed objects or a rectangular shaped prism the accuracy is much more lower, between 2,9 mm and ± 9,0 mm. Finally, the publication presents the possibility (for the future expansion of research) of modernization FabScan by the implementation of a larger amount of camera-laser units. This will enable spots the registration , that are less visible.

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Ploeger, Rebecca, E. René de la Rie, Christopher W. McGlinchey, Michael Palmer, Christopher A. Maines, and Oscar Chiantore. "The long-term stability of a popular heat-seal adhesive for the conservation of painted cultural objects." Polymer Degradation and Stability 107 (September 2014): 307–13. http://dx.doi.org/10.1016/j.polymdegradstab.2014.01.031.

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Baumer, Ursula, Irene Fiedler, Simone Bretz, Hans-Jörg Ranz, and Patrick Dietemann. "Decorative reverse-painted glass objects from the fourteenth to twentieth centuries: An overview of the binding media." Studies in Conservation 57, sup1 (August 2012): S18—S9. http://dx.doi.org/10.1179/2047058412y.0000000034.

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Journal articles on the topic 'Painted objects'

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