Relevant bibliographies by topics / Pentimenti

Academic literature on the topic 'Pentimenti'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Pentimenti"

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Van Hulle, Dirk. "The Pentimenti Principle." Samuel Beckett Today / Aujourd’hui 31, no. 1 (April 11, 2019): 37–52. http://dx.doi.org/10.1163/18757405-03101004.

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Abstract Considering deleted passages in a manuscript as a draft’s “draff,” this article investigates the status of such cancelled passages. Since they did not make it into the published text, are they still part of that work, or where do they belong? The proposed pentimenti model suggests a possible answer to this question by comparing cancelled passages to what in the visual arts are the visible traces of earlier painting beneath the top layer. The manuscripts of Beckett’s Fin de partie / Endgame in the recent digital genetic edition of the Beckett Digital Manuscript Project serve as a case study to illustrate this pentimenti model.
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Striova, Jana, Luca Pezzati, Enrico Pampaloni, and Raffaella Fontana. "Synchronized Hardware-Registered VIS-NIR Imaging Spectroscopy and 3D Sensing on a Fresco by Botticelli." Sensors 21, no. 4 (February 11, 2021): 1287. http://dx.doi.org/10.3390/s21041287.

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We discuss a synchronised sensing technique for the analysis of painted surfaces of frescos. Specifically, the performance of Visible-Near Infrared (VIS-NIR) Reflectance Imaging Spectroscopy (RIS) synchronized with three-dimensional (3D) acquisition is demonstrated in the study of a detached mural painting by Alessandro Botticelli. Synchronized sensing generates georeferenced data for simplified data treatment and interpretation. We show how such output data can provide key information to interpret important fresco surface and subsurface features (e.g., painting technique, material composition, pentimenti).
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Misses-Liwerant, Judit Bokser. "Las ciencias sociales de nuestro tiempo: entre sinopias y pentimenti." Revista Mexicana de Ciencias Políticas y Sociales 60, no. 225 (September 2015): 9–20. http://dx.doi.org/10.1016/s0185-1918(15)30017-9.

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Little, James. "Beckett's ‘Mongrel Mime’: Politics and Poetics." Journal of Beckett Studies 27, no. 2 (September 2018): 193–210. http://dx.doi.org/10.3366/jobs.2018.0236.

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This article analyses Beckett's unpublished and unperformed prison play ‘Mongrel Mime’, written for ex-San Quentin inmate Rick Cluchey in 1982–83. Drawing on Shane Weller's concept of Beckett's ‘anethics’, Dirk Van Hulle's model of authorial pentimenti and Anne Ubersfeld's semiotics of theatre space, it argues that close analyses of Beckett's manuscripts can give us a clearer picture of the politics of his work. While dominant models of Beckett's poetics focus on his ‘vaguening’ and ‘undoing’ of spatial detail, this article contends that Beckett's creative engagement with spaces of coercive confinement demonstrates a variety of working methods. The key role of carceral space in ‘Mongrel Mime’, an important though underexamined example of Beckett's use of confinement, presents a politics which is far from vague.
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Pronti, Lucilla, Martina Romani, Gianluca Verona-Rinati, Ombretta Tarquini, Francesco Colao, Marcello Colapietro, Augusto Pifferi, Mariangela Cestelli-Guidi, and Marco Marinelli. "Post-Processing of VIS, NIR, and SWIR Multispectral Images of Paintings. New Discovery on the The Drunkenness of Noah, Painted by Andrea Sacchi, Stored at Palazzo Chigi (Ariccia, Rome)." Heritage 2, no. 3 (August 2, 2019): 2275–86. http://dx.doi.org/10.3390/heritage2030139.

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IR Reflectography applied to the identification of hidden details of paintings is extremely useful for authentication purposes and for revealing technical hidden features. Recently, multispectral imaging has replaced traditional imaging techniques thanks to the possibility to select specific spectral ranges bringing out interesting details of the paintings. VIS–NIR–SWIR images of one of the The Drunkenness of Noah versions painted by Andrea Sacchi, acquired with a modified reflex and InGaAs cameras, are presented in this research. Starting from multispectral images we performed post-processing analysis, using visible and infrared false-color images and principal component analysis (PCA) in order to highlight pentimenti and underdrawings. Radiography was performed in some areas to better investigate the inner pictorial layers. This study represents the first published scientific investigation of The Drunkenness of Noah’s artistic production, painted by Andrea Sacchi.
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Page, Philippa. "Pentimenti. Cartografías peripatéticas que invitan a “recordar lo nuevo”: Una aproximación a la obra poética de Luisa Futoransky." Iberoromania 2021, no. 94 (November 11, 2021): 213–34. http://dx.doi.org/10.1515/iber-2021-0021.

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Resumen Este artículo propone una aproximación a la obra de la renombrada poeta argentina Luisa Futoransky (Buenos Aires, 1939) a través de las cartografías afectivas dibujadas por sus versos. Su objetivo es esbozar algunos ejes y algunas capas de este gran mapa textual compuesto a lo largo de su obra, y a la vez proponer, dentro de esa noción de una cartografía afectiva, una estrategia de lectura que se inspira en dos ideas principales. Primero, en leer las derivas en la obra de Futoransky no solo como la representación de múltiples instantes de destierro sino también como un gesto de apertura hacia nuevos caminos. Más específicamente, como la afirmación de un devenir-nómade en el sentido que le otorga la filósofa Rosi Braidotti (2011). Segundo, el artículo propone una estrategia de lectura que se basa en un fenómeno propio de la pintura que se llama il pentimento. Juntas, estas dos ideas permiten descifrar la ciudad escrita sobre la marcha: la horizontalidad dibujada por los flujos de la deriva y su devenir se cruza con la verticalidad que implica leer la ciudad, no hacia arriba, sino como palimpsesto hacia sus profundidades escondidas e invisibles, desde la óptica del pentimento.
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Deegan, James G., and Noel P. O’Connell. "The Starling’s Tale: A Performative Ethnography Showing Deaf Children’s Schooling in the Republic of Ireland." Qualitative Inquiry 25, no. 1 (July 20, 2018): 69–79. http://dx.doi.org/10.1177/1077800418787458.

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The ways in which we approach children and childhood as variables of social analysis has undergone profound change in the last quarter century in the Republic of Ireland. This performative ethnography inquires into the secret lore and language of deaf children’s lives in one residential school. Out of sight of the community of the other, children willfully embodied a transgressive, liberatory, and decolonizing sign language of their own. Medium and message come together in this performative ethnography through a clutch of theatrical devices associated with the “epic theater” of the German playwright and theater director, Bertolt Brecht, including loosely connected scenes, storyline turns, political placards, and addresses to audience. Techniques associated with “found poetry,” or the literary equivalent of collage, are combined with pentimenti or a painting within a painting to fuse image and word and bring forward a critical and political aesthetics of deaf children and deaf schooling and new media for encouraging alternative social imaginaries and possible actions.
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Laureti, Stefano, Hamed Malekmohammadi, Muhammad Khalid Rizwan, Pietro Burrascano, Stefano Sfarra, Miranda Mostacci, and Marco Ricci. "Looking Through Paintings by Combining Hyper-Spectral Imaging and Pulse-Compression Thermography." Sensors 19, no. 19 (October 8, 2019): 4335. http://dx.doi.org/10.3390/s19194335.

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The use of different spectral bands in the inspection of artworks is highly recommended to identify the maximum number of defects/anomalies (i.e., the targets), whose presence ought to be known before any possible restoration action. Although an artwork cannot be considered as a composite material in which the zero-defect theory is usually followed by scientists, it is possible to state that the preservation of a multi-layered structure fabricated by the artist’s hands is based on a methodological analysis, where the use of non-destructive testing methods is highly desirable. In this paper, the infrared thermography and hyperspectral imaging methods were applied to identify both fabricated and non-fabricated targets in a canvas painting mocking up the famous character “Venus” by Botticelli. The pulse-compression thermography technique was used to retrieve info about the inner structure of the sample and low power light-emitting diode (LED) chips, whose emission was modulated via a pseudo-noise sequence, were exploited as the heat source for minimizing the heat radiated on the sample surface. Hyper-spectral imaging was employed to detect surface and subsurface features such as pentimenti and facial contours. The results demonstrate how the application of statistical algorithms (i.e., principal component and independent component analyses) maximized the number of targets retrieved during the post-acquisition steps for both the employed techniques. Finally, the best results obtained by both techniques and post-processing methods were fused together, resulting in a clear targets map, in which both the surface, subsurface and deeper information are all shown at a glance.
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Townley, Wyatt. "PENTIMENTO." Yale Review 104, no. 1 (2016): 130–31. http://dx.doi.org/10.1353/tyr.2016.0040.

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Townley, Wyatt. "PENTIMENTO." Yale Review 104, no. 1 (December 15, 2015): 130–31. http://dx.doi.org/10.1111/yrev.13052.

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Dissertations / Theses on the topic "Pentimenti"

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Omstead, Laurie Elizabeth. "Pentimento and underlying structure." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0014/MQ31319.pdf.

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Lam, Kenny H. "Pentimento : retroactive editing for lectures." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/91836.

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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2014.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 50-51).
The boom in online education has provided for the potential of a personalized lecture experience for every single student. These recorded lectures provide a major benefit to both students and authors, but currently present several drawbacks as well. The limitations that exist stem from the method in which lectures are created: using video recorders. Video recordings inherently limit the editing capabilities of an author and constrain the interaction from students, providing for a poor choice of media. An alternative encoding of a lecture could provide for a much fuller feature set to users on both sides of a lecture. The Pentimento system was designed to promote the expedited creation of hand-drawn lecture notes for online education platforms such as edX or Coursera. By decoupling the visual and audio domains of a lecture, content creators are able to more freely fix mistakes or change small portions without the need to re-record the correct portions. Small recordings are pieced together to give the final lecture, where the correct synchronization of edits among the lecture is handled by the system, and the lecture appears to have been seamlessly recorded in one session. Full control of the data also allows for the potential of increased interactivity from students.
by Kenny H. Lam.
M. Eng.
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Wang, Jonathan M. Eng Massachusetts Institute of Technology. "Pentimento : non-sequential authoring of handwritten lectures." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100619.

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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2015.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Pentimento is software developed under the supervision of Fredo Durand in the Computer Graphics Group at CSAIL that focuses on dramatically simplifying the creation of online educational video lectures such as those of Khan Academy. In these videos, the lecture style is that the educator draws on a virtual whiteboard as he/she speaks. Currently, the type of software that the educator uses is very rudimentary in its functionality and only allows for basic functionality such as screen and voice recording. A downside of this approach is that the educator must get it right on the first approach, as there is no ability to simply edit the content taken during a screen capture after the initial recording without using unnecessarily complex video editing software. Even with video editing software, the user is not able to access the original drawing content used to create video. The overall goal of this project is to develop lecture recording software that uses a vector based representation to keep track of the user's sketching, which will allow the user to easily editing the original drawing content retroactively. The goal for my contribution to this project is to implement components for a web-based version of Pentimento. This will allow the application to reach a broader range of users. The goal is to have an HTML5 and Javascript based application that can run on many of popular the web browsers in use today. One of my main focuses in this project is to work on the audio recording and editing component. This includes the working on the user interface component and integrating it with the rest of the parts in the software.
by Jonathan Wang.
M. Eng.
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Dias, Ellen Mariany da Silva [UNESP]. "Pentimento: um álbum de retratos das personae de escritor de Caio Fernando Abreu." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/106323.

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Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-05Bitstream added on 2014-06-13T19:05:46Z : No. of bitstreams: 1 dias_ems_dr_sjrp.pdf: 871539 bytes, checksum: 8d0e693c525e2cd1d8f7e15900e12324 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Tendo em vista o conjunto dos textos/discursos produzidos pelo escritor Caio Fernando Abreu (CFA, daqui em diante), a saber, seus contos, cartas, entrevistas, crônicas, romances, peças de teatro, prefácios às edições revistas de seus livros etc., selecionamos os textos que, de acordo com os critérios estabelecidos para o desenvolvimento deste trabalho, consideramos como os mais representativos. A nosso ver, é no diálogo que contempla a produção literária do escritor em seus diferentes gêneros de discurso (BAKHTIN, 2003) que podemos entrever as personae de escritor de CFA, ou seja, as representações de escritor que ele construiu para si, para os familiares e amigos, para o público em geral e para a crítica. Nossa hipótese é a de que a principal característica que particulariza a obra deste escritor no contexto literário da segunda metade do século XX no Brasil faz-se por meio de uma associação entre a apropriação e a reelaboração da voz alheia e da própria voz, procedimentos que fundamentam a construção de outros textos/discursos, a mise-en-abyme das suas personae de escritor, instâncias que se relacionam umas com as outras de maneira auto-elucidativa e ininterrupta e o pentimento, um efeito produzido a partir dos processos auto e antropofágico de CFA, que faz com que o conjunto do seu acontecimento estético seja, numa visada que o contempla como uma constelação, um mesmo e um outro. A rigor, a potência dialógica existente nos textos/discursos proferidos pelas várias personae de escritor de CFA contribuiria para a problematização dos mitos de autor, autoria, genialidade e inspiração vigentes, especialmente, no Romantismo e nas Artes de Vanguarda.
Considering the series of texts/discourse produced by the writer Caio Fernando Abreu (CFA, from here on) namely his short stories, letters, interviews, chronicles, novels, plays, forewords of his revised books and so on, we selected the texts that according to the established criteria to the progress of this thesis were considered as the most representative ones. To our point of view it is in the dialog which contemplates the literary production of the writer in its different genders of discourse (BAKHTIN, 2003) that is possible to glimpse the personae of the writer CFA, in other words, the representations of writer that he made for himself, his family, friends, the general public and the critics. Our hypothesis is that the main characteristic particularizes the work of this writer in the literary context of the second half of the twenty century in Brazil is done by an association between the appropriation and the re-elaboration of his own voice and someone else’s voice, procedures that instantiate the making of other texts/discourses, the mise-en-abyme of his personae as writer, instance that get a long with one another in a self-elucidative and uninterrupted way and the pentimento, an effect produced by the CFA’s self and anthropophagic process, which make this work be, in a sight that contemplates as a constellation, a same and a another. Strictly speaking, the dialogic potency in the texts/discourses pronounced by several personae of writer CFA would contribute to the myths problematization of author, authorship, geniality and inspiration valid especially in Romanticism and in Vanguard Arts.
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Dias, Ellen Mariany da Silva. "Pentimento : um álbum de retratos das personae de escritor de Caio Fernando Abreu /." São José do Rio Preto : [s.n.], 2010. http://hdl.handle.net/11449/106323.

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Orientador: Arnaldo Franco Junior
Banca: Alvaro Luiz Hattnher
Banca: Orlando Nunes de Amorim
Banca: Fábio Akcelrud Durão
Banca: Lúcia Ozana Zolin
Resumo: Tendo em vista o conjunto dos textos/discursos produzidos pelo escritor Caio Fernando Abreu (CFA, daqui em diante), a saber, seus contos, cartas, entrevistas, crônicas, romances, peças de teatro, prefácios às edições revistas de seus livros etc., selecionamos os textos que, de acordo com os critérios estabelecidos para o desenvolvimento deste trabalho, consideramos como os mais representativos. A nosso ver, é no diálogo que contempla a produção literária do escritor em seus diferentes gêneros de discurso (BAKHTIN, 2003) que podemos entrever as personae de escritor de CFA, ou seja, as representações de escritor que ele construiu para si, para os familiares e amigos, para o público em geral e para a crítica. Nossa hipótese é a de que a principal característica que particulariza a obra deste escritor no contexto literário da segunda metade do século XX no Brasil faz-se por meio de uma associação entre a apropriação e a reelaboração da voz alheia e da própria voz, procedimentos que fundamentam a construção de outros textos/discursos, a mise-en-abyme das suas personae de escritor, instâncias que se relacionam umas com as outras de maneira auto-elucidativa e ininterrupta e o pentimento, um efeito produzido a partir dos processos auto e antropofágico de CFA, que faz com que o conjunto do seu acontecimento estético seja, numa visada que o contempla como uma constelação, um mesmo e um outro. A rigor, a potência dialógica existente nos textos/discursos proferidos pelas várias personae de escritor de CFA contribuiria para a problematização dos mitos de autor, autoria, genialidade e inspiração vigentes, especialmente, no Romantismo e nas Artes de Vanguarda.
Abstract: Considering the series of texts/discourse produced by the writer Caio Fernando Abreu (CFA, from here on) namely his short stories, letters, interviews, chronicles, novels, plays, forewords of his revised books and so on, we selected the texts that according to the established criteria to the progress of this thesis were considered as the most representative ones. To our point of view it is in the dialog which contemplates the literary production of the writer in its different genders of discourse (BAKHTIN, 2003) that is possible to glimpse the personae of the writer CFA, in other words, the representations of writer that he made for himself, his family, friends, the general public and the critics. Our hypothesis is that the main characteristic particularizes the work of this writer in the literary context of the second half of the twenty century in Brazil is done by an association between the appropriation and the re-elaboration of his own voice and someone else's voice, procedures that instantiate the making of other texts/discourses, the mise-en-abyme of his personae as writer, instance that get a long with one another in a self-elucidative and uninterrupted way and the pentimento, an effect produced by the CFA's self and anthropophagic process, which make this work be, in a sight that contemplates as a constellation, a same and a another. Strictly speaking, the dialogic potency in the texts/discourses pronounced by several personae of writer CFA would contribute to the myths problematization of author, authorship, geniality and inspiration valid especially in Romanticism and in Vanguard Arts.
Doutor
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Hsu, Alexandra (Alexandra E. ). "Creating and editing "Digital Blackboard" videos using Pentimento : with a focus on syncing audio and visual components." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100602.

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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2015.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis. Page 85 blank.
Includes bibliographical references (page 84).
Online education is a rapidly growing field and with the desire to create more online educational content comes the necessity to be able to easily generate and maintain that content. This project aims to allow for recording, editing, and maintaining "digital blackboard" style lectures, in which a handwritten lecture with voiceover narration is created. Current recording software requires that a lecture audio and visuals be recorded correctly in one take or they must be re-recorded. By utilizing vector graphics, a separation of audio and visual components, and a way for the user to be in control of the synchronization of audio and visuals, Pentimento is a unique piece of software that is specifically designed to record and edit online handwritten lectures.
by Alexandra Hsu.
M. Eng.
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Shelton, Matthew Pendleton. "Dismemory: On history, the Southern imaginary, and abusing the visual record." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2768.

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Using the literary device of a fictional interview between the artist and a sympathetic intellectual, I explore concepts relating to subjectivity, pedagogy, memory, “Southernness,” whiteness, the deceptive nature of images, social justice, and 20th century art as they relate to a contemporary artistic practice.
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Books on the topic "Pentimenti"

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Clarke, John Clem. John Clem Clarke: Comforts, near disasters, and pentimenti. Allentown, Pa: Allentown Art Museum, 1998.

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Trinidad, Enrique Gracia. Pentimento. Madrid: SIAL Ediciones, 2009.

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Díaz, Adolfo Camilo. Pentimento I. Aviles, Asturies: Azucel, 1992.

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Altri esercizi di pentimento. Reggio Emilia: Aliberti, 2008.

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Petrarch's genius: Pentimento and prophecy. Berkeley: University of California Press, 1991.

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Lillian, Hellman. Pentimento: A book of portraits. Boston: Back Bay Books, 2000.

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Lommasson, Jim. Oaks Park Pentimento: Portland's lost and found carousel art. Corvallis [Or.]: Oregon State University Press, 2009.

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Oaks Park Pentimento: Portland's lost and found carousel art. Corvallis [Or.]: Oregon State University Press, 2009.

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Satin, Claire Jeanine. Pentimento XCI: Open wide your hands or, the twelve tribes. [Dania Beach, Fla: The author], 2005.

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Pentimento: "old father, old artificer, stand me now and ever in good stead". Cağaloğlu, İstanbul: Everest Yayınları, 2011.

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Book chapters on the topic "Pentimenti"

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Peterson, Rico. "Profession in pentimento." In Advances in Interpreting Research, 199–224. Amsterdam: John Benjamins Publishing Company, 2011. http://dx.doi.org/10.1075/btl.99.12pet.

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Benoy, Timothy J., William A. Edwards, and Howell G. M. Edwards. "CHAPTER 3. Evidence of Pentimenti for the Authentication of Paintings: A Challenge for Analytical Science at the Interface with Art History." In Raman Spectroscopy in Archaeology and Art History, 31–45. Cambridge: Royal Society of Chemistry, 2018. http://dx.doi.org/10.1039/9781788013475-00031.

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Lasczik Cutcher, Alexandra. "Pentimento: An Ethnic Identity Revealed, Concealed, Revealed." In Studies in Arts-Based Educational Research, 87–100. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61560-8_5.

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"Political Pentimenti." In Samuel Beckett in Confinement. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350112353.ch-005.

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MENON, RITU. "PENTIMENTO." In Speaking of the Self, 56–71. Duke University Press, 2015. http://dx.doi.org/10.2307/j.ctv1131565.6.

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Gilhooley, Dan, and Frank Toich. "Pentimento." In Psychoanalysis, Intersubjective Writing, and a Postmaterialist Model of Mind, 299–314. Routledge, 2019. http://dx.doi.org/10.4324/9780429320446-30.

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Berman, Jacob Rama. "Pentimento Geographies." In American Arabesque, 70–108. NYU Press, 2012. http://dx.doi.org/10.18574/nyu/9780814789506.003.0002.

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Dalivalle, Margaret, Martin Kemp, and Robert B. Simon. "Visual Magic." In Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts, 91–120. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0006.

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Chapter 5 reviews the visual evidence on the basis of the stripped picture before the infilling of lost areas of paint. Pentimenti are apparent, most conspicuously in the repositioning of the thumb of the blessing hand. Infrared reflectography reveals detailed changes in the drapery and a few spolveri which indicate the use of a cartoon and shows the use of Leonardo’s hand-print method to soften the modelling of flesh. The vortex curls and the understated anatomy of the hands are typical of Leonardo’s post-1500 style, as is the insistent blurring of the contours of the face. The interlace pattern of the textile bands is founded on an angular geometry of the Islamic kind and reflects Leonardo’s visit to Venice in 1500. The transparent orb is of rock crystal and is marked by gaps or ‘inclusions’, exhibiting optical effects of the kinds that fascinated him, not least the translucency of semi-precious minerals. The crystal orb refers in an innovative way to the crystalline sphere of the fixed stars, thus transforming Christ from the saviour of the world to the saviour of the cosmos. The other optical effect in the painting involves his notions of the working of the eye, with the hands shown more definitely than Christ’s face, akin to a ‘depth of field’ effect in photography. The optical softening of features also acts to render his emotional impact as suggestive and ineffable rather than overtly defined.
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"170. Il pentimento di Davidde." In The Baroque Libretto. Toronto: University of Toronto Press, 2011. http://dx.doi.org/10.3138/9781442687219-177.

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"2. Pentimento: The Self beneath the Surface." In Speaking of the Self, 56–71. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822374978-004.

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Conference papers on the topic "Pentimenti"

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Gooch, Amy A. "Revealing pentimenti: the hidden history in a painting." In Electronic Imaging 2007, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, and Scott J. Daly. SPIE, 2007. http://dx.doi.org/10.1117/12.720861.

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