Готові списки джерел за темами / X-ray painting

Добірка наукової літератури з теми "X-ray painting"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "X-ray painting"

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Mazzinghi, Anna, Chiara Ruberto, Lorenzo Giuntini, Pier Andrea Mandò, Francesco Taccetti, and Lisa Castelli. "Mapping with Macro X-ray Fluorescence Scanning of Raffaello’s Portrait of Leo X." Heritage 5, no. 4 (December 6, 2022): 3993–4005. http://dx.doi.org/10.3390/heritage5040205.

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Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.
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Jovanović, Vanja, Suzana Erić, Philippe Colomban, and Aleksandar Kremenović. "Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates." Heritage 2, no. 3 (September 4, 2019): 2612–24. http://dx.doi.org/10.3390/heritage2030160.

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Анотація:
Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.
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Simova, Veronika, P. Bezdicka, J. Hradilova, D. Hradil, and T. Grygar. "X-ray powder microdiffraction for routine analysis of paintings." Powder Diffraction 20, no. 3 (September 2005): 224–29. http://dx.doi.org/10.1154/1.1938983.

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Анотація:
Laboratory powder X-ray microdiffraction with a focusing monocapillary and linear multichannel detector was applied to phase identification in fragments of painting layers of art works, canvas and wall paintings, and polychromes on wood. This method is useful in materials research of painting layers with complex stratigraphy, and it is indispensable in distinguishing inorganic pigments of different natural provenance and revealing degradation products. The advantage of X-ray microdiffraction is its nondestructive nature and no need of sample pretreatment. Samples after microdiffraction can hence be used for other analyses or archived. Another advantage is the possibility to work with samples smaller than 1 mm, which is particularly important in the analysis of artworks where the sample amount or size is a serious limit of using the laboratory techniques of materials research. The X-ray equipment used is more economical and more easily accessible than other microdiffraction techniques and is, hence, suitable for routine analytical work.
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Martins, Ana, Ellen Davis, and Talia Kwartler. "Max Ernst’s Woman, Old Man, and Flower (1923–24): Four Paintings in One Revealed by Technical Imaging." Heritage 4, no. 3 (September 6, 2021): 2224–36. http://dx.doi.org/10.3390/heritage4030125.

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Анотація:
Examining the painting Woman, Old Man, and Flower (1923–24) by Max Ernst with macro-X-ray fluorescence scanning (MA-XRF), X-ray radiography (XRR) as well as photography under ultraviolet (UVF), infrared reflected (IRR) and transmitted (IRT) illumination revealed the existence and sequence of three distinct paintings concealed under the final composition. The study confirmed a known and previously documented intermediate composition and uncovered two additional states: a very first state exposed by XRR, and a third state revealed in the elemental distribution maps obtained by MA-XRF. The complimentary images document the insertion, mutation, and concealing of several human and anthropomorphic subjects across the four layers, expanding our understanding of the painting and of Ernst’s collage-like pictorial development. In addition, a list of pigments is proposed based on the elemental information provided by MA-XRF, contributing to the technical literature devoted to the materials of Ernst’s paintings during the transitional period between Dada and Surrealism.
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Dredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (March 14, 2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.

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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.
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Gil-Torrano, Andrea, Auxiliadora Gómez-Morón, José María Martín, Rocío Ortiz, Mª del Camino Fuertes Santos, and Pilar Ortiz. "Characterization of Roman and Arabic Mural Paintings of the Archaeological Site of Cercadilla (Cordoba, Spain)." Scanning 2019 (July 28, 2019): 1–14. http://dx.doi.org/10.1155/2019/3578083.

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Анотація:
The archaeological site of Cercadilla (Cordoba, Spain) includes a complete chronological sequence from the 3rd to 12th centuries. The most relevant monument is a Roman palace dated between the end of the 3rd century and the beginning of the 4th century AD. It is believed that it was the headquarters of the Emperor Maximiano Herculeo. A bathtub with mural paintings has been found in the thermal zone of the palace. Regarding the occupation of the archaeological site in the medieval period, it should be pointed out that two houses with mural paintings were found; these belong to the Caliphal era (10th-11th centuries). During the Caliphal era, the archaeological site was mostly occupied by one of the large suburbs surrounding the walled city. Cercadilla was gradually abandoned; this process starts at the beginning of the 11th century. This study is focused on the analysis of pigments and preparatory layers of red and white mural paintings of the Roman period in the bath zone and on the analysis of pigments in mural paintings in two houses of the Caliphal era. In the thermal zone, the walls have a white mural painting with vertical and horizontal red bands, while the walls in the two Caliphal houses present the red mural painting decorated with white stripes. Techniques such as Optical Microscopy (OM), Scanning Electron Microscopy in combination with Energy Dispersive X-ray Microanalysis (SEM-EDX), X-ray Diffraction (XRD), micro X-ray Diffraction (μ-XRD), Wavelength Dispersive X-ray Fluorescence (WD-XRF), and Fourier Transform-Infrared Spectroscopy (FT-IR) have been used to study the mural paintings of this archaeological site. The results allowed to determine the composition of the materials used and to understand the differences between the technologies employed in Roman and Caliphal remains studied.
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Han, Kyeongsoon, Sangjin Lee, and Hwasoo Lee. "Study of the Painting Methods of Mural Paintings in Ancient Tombs of Goguryeo Using Scanning Electron Microscope." Microscopy and Microanalysis 19, S5 (August 2013): 157–61. http://dx.doi.org/10.1017/s1431927613012555.

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Анотація:
AbstractDisputes on the painting methods of Goguryeo murals can mainly be categorized into whether the murals adapted eastern secco or western fresco; however, the murals have their own unique methods as well. There are different viewpoints among experts on interpreting the painting methods. This study involved the creation of research samples to discover the painting methods under dispute and may help discover the methods based on scanning electron microscopy energy-dispersive X-ray spectroscopy (SEM-EDX) studies. Goguryeo murals introduced pseudo-fresco rather than buon fresco methods. Unlike fresco techniques in the West, Goguryeo painters mixed traditional soft binders and adapted typical secco painting techniques for paintings, borders, and corrections after drying. The disputed issues may be resolved by these techniques, and samples may be produced based on the analyzed data. Therefore, many questions can finally be answered through SEM-EDX elemental mapping.
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Kader, RabeaRadi Abdel, ShaimaaSayed Mohamed El –Sayed, and Ahmed Abo-El Yamin. "Study The Severe Effects of Iron Compounds Presenting in Sandstone on the Deterioration of Wall Paintings of Archaeological Tombs in Bahariya Oasis - Egypt." Budapest International Research in Exact Sciences (BirEx) Journal 1, no. 3 (July 25, 2019): 5–13. http://dx.doi.org/10.33258/birex.v1i3.337.

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Анотація:
The Wall paintings in Bahariya oasis expose to various deterioration factors, especially the resulted deterioration from the geological nature of sandstones' supports; sandstone of Bahariya formation is considered the weakest sandstone type in Egypt because of its geological formation which contains a very big percentage of iron oxides. Sandstone samples were taken, analyzed and examined by x-ray diffraction and scanning electron microscope, the iron oxides are thecement material in sandstone which affect negatively on the wall paintings in the selected tombs (Badi –Ishtarand Bannantiu tombs),they caused a lot of deterioration phenomena to the wall painting layers like: layers loss,black spots, cracking through all the layers and sandstone support weakness that threatens the remaining wall paintings and the safety of the tombs. Iron oxides percentage in Badi – Ishtartomb is more than Bannantiu tomb and this is reflected on the wall paintings case in Badi – Eshtar. This research sheds the light on this phenomenon and its effect on the wall painting's deterioration.
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Lizun, Damian, and Jarosław Rogóż. "Observations on Selected Aspects of Liu Kang’s Painting Practice." Journal of Conservation Science 38, no. 5 (October 31, 2022): 460–81. http://dx.doi.org/10.12654/jcs.2022.38.5.09.

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Анотація:
This article gathers, for the first time, some intriguing technical features of Liu Kang’s painting practice, which spans seven decades. These features encompass retouching, alteration as well as the painting over of rejected compositions and painting on the reverse sides of earlier artworks. As Liu Kang (1 91 1–2004) did not discuss the technical details of his artistic process, an exploration of these aspects of the artist’s expression helps us understand the motivation behind his unconventional decisions. The paint layers were characterised through imaging methods like visible light (VIS), ultraviolet fluorescence (UVF), near-infrared (NIR), reflectance transformation imaging (RTI), digital optical microscopy (DOM) and X-ray radiography (XRR). The technical analyses were additionally supplemented with archival sources. The results showed that some aspects of the artist’s painting practice may distort the provenance of the paintings, impact dating, visual interpretation of his painting technique and style, as well as future conservation and display decisions. The presented case studies discuss the influence of Liu Kang’s unconventional painting approaches on the perception and interpretation of his artworks. Additionally, some hidden alterations and entirely new compositions were revealed for the first time and presented here, adding to growing knowledge about the artist’s painting technique. Moreover, universal aesthetical and ethical considerations were discussed in the context of the conservation and display approach to the artist’s retouching work and double-sided paintings. Besides, this research promotes a need for obtaining a comprehensive understanding of Liu Kang’s painting practice and coherent guidelines to ensure proper presentation of his artworks and to prevent misinterpretation of his technique and artistic outcomes.
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Lau, Deborah, David Hay, and Natasha Wright. "Micro X-ray diffraction for painting and pigment analysis." AICCM Bulletin 30, no. 1 (December 2006): 38–43. http://dx.doi.org/10.1179/bac.2006.30.1.005.

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Більше джерел

Дисертації з теми "X-ray painting"

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Steyn, Ruan. "Portable X-ray fluorescence and nuclear microscopy techniques applied to the characterisation of southern African rock art paintings." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86541.

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Анотація:
Thesis (MSc)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: Non-destructive portable X-ray Fluorescence (pXRF) and Particle Induced X-ray Emission (PIXE) were used to measure the elemental concentration of rock art fragment paintings. For pXRF the Amptek Silicon Drift Detector (SDD) and Niton XL3t spectrometers were used to perform the measurements. These two spectrometers use different spectrum analysis methods. The Peak Deconvolution (PD) analysis method is used for the Amptek SDD and an Inverse Overlap Matrix (IOM) method is used for the Niton XL3t spectrometer. The pXRF methods were validated by using alloys, coins and rock standards. The validation is important to establish if the pXRF technique is properly understood and used and to advance the investigation to more complex rock art paintings, with heterogeneous and layered properties. The elemental concentrations obtained for the Standard Reference Materials (SRMs), which were used for the validation, were in good agreement with that of the known concentration of the SRMs. The two rock art fragments which were analysed from the Mount Ayliff and Ha Khotso caves were part of larger rock art painting prior to it being naturally exfoliated from the rock. For the Mount Ayliff rock art, seven paint points, two unpainted rock (varnish) point adjacent to the paint and the back of the rock were analysed. The colour of the paint ranged from black, shades of brown and shades of red. The black paint is due to manganese or charcoal. The red colour is due to iron oxide and the red-brown colour is due to Hematite (a type of ferrous oxide) [1]. For the Ha Khotso fragment the paint on the front of the rock and the rock substrate (back of the rock) were analysed. For the Mount Ayliff rock art fragment the results for both pXRF spectrometers indicated that the elemental concentration was uniform across the fragment. This is due to the formation of a uniform layer of minerals such as silica and calcium introduced by the seepage of water through the cracks of the cave. Therefore no correlation could be established between the colour of the rock art paint and the elements detected, as was found with the work done by Peisach, Pineda and Jacobson [1]. For the Ha Khosto rock fragment a relation between the Ca composition and the cream colour of the rock art paint was established. Both the PIXE and pXRF techniques were used to identify the compound concentrations of the Ha Khotso rock art fragment. The comparison between the two techniques highlights the complexity of rock art paint analysis. The results from the PIXE elemental mapping indicated the non-uniform distribution of the elements in the analysed region. From the rock art fragment measuring the analysed points 5 times and obtaining the same results, indicated that the particle size and inhomogeneities did not have much effect on the compound compositions. In order to obtain high accuracy results with pXRF, sound scientific methodology with specific knowledge and expertise, not only about the XRF technique, but also about the sample under investigation is required. For alloy analysis pXRF is well suited, the analysis of geological material however more complex, since they are composed predominately of low atomic elements e.g. silicon, aluminium, magnesium, sodium, oxygen and carbon – all of which are excited with very low efficiencies.
AFRIKAANSE OPSOMMING: Nie-beskadigended X-straal Fluoresensie (pXRF) en Deeltjie Geinduseerde X-straal emmissie (PIXE) was gebruik om die elementêre konsentrasie van die rotstekeninge in hierdie studie te bepaal. Vir die pXRF-tegniek is die “Amptek Silicon Drift Detector (SDD)” en die “Thermo Scientific Niton XL3t” spektrometers gebruik gemaak om die metings uit te voer. Die twee spektrometers maak gebruik van verskillende spektrum analiseringsmetodes.Die “Peak Deconvolution (PD)” analiseringsmetode is gebruik vir die “Amptek SDD” en die “Inverse Overlap Matrix (IOM)” analiseringsmetode is gebruik vir die “Thermo Scientific Niton XL3t” spektrometer. Vir die validasie van die pXRF-metode is van allooie, muntstukke en rots standaarded gebruik gemaak. Die validasie is belangrik om vas te stel of die pXRF tegniek behoorlik verstaan en gebruik word en om die ondersoek te bevorder na meer komplekse rotstekeninge, met heterogene en lae eienskappe. Die element konsentrasies wat vir die “Standard Reference Material (SRM)” wat gebruik is vir die validasie, was in 'n goeie ooreenkoms met die van die konsentrasie van die SRM, wat bekend is. Die twee rotstekeninge wat ontleed is van die Mount Ayliff en Ha Khotso grotte en was deel van 'n groter rots kuns skildery voordat hul natuurlik afgebreek het. Vir die Mount Ayliff rotskuns, is sewe verf punte, twee ongeverfde rots (vernis) punte aangrensend aan die verf en die agterkant van die rots ontleed. Die kleur van die verf het gewissel van swart, skakerings van bruin en skakerings van rooi. Die swart verf kan toegeskryf word aan mangaan of houtskool. Die rooi kleur is as gevolg van ysteroksied en die rooi-bruin kleur is as gevolg van Hematiet ('n tipe van yster oksied) [1]. Vir die Ha Khotso rotskuns is die verf aan die voorkant van die rots en die rots substraat (agterkant van die rots) ontleed. Vir die Mount Ayliff rotstekening het die resultate vir beide pXRF spektrometers aangedui dat die elementele konsentrasie uniform oor die rotstekening is. Dit is as gevolg van die vorming van 'n uniforme lagie van silica en kalsium, wat deur die sypeling van water deur die krake van die grot na die oppervlak van die rotstekening beweeg het. Daarom kon geen korrelasie tussen die kleur van die rotstekening en die elemente wat gemeet is bepaal word nie, soos gevind deur die werk van Peisach, Pineda en Jacobson [1]. Vir die Ha Khotso rotstekening is ‘n verband tussen die room kleur van die rotstekening verf en Ca konsentrasie gevind. Beide die PIXE en pXRF tegnieke is gebruik om die konsentrasies van die Ha Khotso rotstekening te identifiseer. Die vergelyking tussen die twee tegnieke beklemtoon die kompleksiteit van rotstekening verf analise. Die resultate van die PIXE elementele karakterisering het aangedui die nie-eenvormige verspreiding van die elemente in die ontlede area. Deur die meting van die ontlede punte 5 keer te herhaal, en dieselfde resultate verkry, is ‘n aanduiding dat die deeltjie grootte en inhomogeniteite nie veel invloed op die elementele konsentrasies het nie. Ten einde 'n hoë akkuraatheid resultate te kry met pXRF, moet goeie wetenskaplike metode toegepas word met spesifieke kennis en kundigheid, nie net oor die XRF tegniek, maar ook oor die rotstekening wat ondersoek word vereis. pXRF is wel geskik vir die ontleding van allooie, die ontleding van geologiese materiaal is egter meer kompleks, aangesien die materiaal hoofsaaklik bestaan uit lae atoomgetal elemente bv silikon, aluminium, magnesium, natrium, suurstof en koolstof - wat almal met lae doeltreffentheid opgewek en baie afgerem word in die materiaal.
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2

Salyer, Alice. "M0MENTARY LAPSES." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3539.

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Анотація:
The artist discusses her Master of Fine Arts exhibition Momentary Lapses, held at Tipton Gallery, February 25-March 8, 2019. The mixed media works and video examine the intersections between digital, somatic and societal decay through the mediation of the digital image by physical anthropogenic efforts. Themes in the work include glitch art and theory, entropy, memory, decay, and loss. Contemporary American society’s desensitization associated with the oversaturation of digital imagery is discussed, as well as Guy Debord’s theory of the Spectacle, and the artistic practices of Kurt Schwitters and Robert Rauschenberg.
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3

Mori, Eva Kaiser. "Caracterização de pinturas do artista Alfredo Volpi por meio de métodos não destrutivos: espectrofotômetro, EDXRF, MEV e imageamento multiespectral." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/44/44144/tde-17112015-151200/.

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Alfredo Volpi (1896 - 1988) é um dos mais importantes pintores brasileiros contemporâneos. Sua extensa obra foi marcada, principalmente, por composições cromáticas e abstrações geométricas. Foi um artista que dava importância muito grande à técnica e aos materiais, tendo desenvolvido uma maneira própria e sistemática de trabalhar: confeccionava suas próprias telas, tintas e até pigmentos, com terras naturais. Analisou-se ao todo 11 pinturas a têmpera em diversos suportes (tela, aglomerado de madeira e mural), 10 delas realizadas na década de 1950, período em que a obra do artista passou por uma grande transformação, do figurativismo ao abstracionismo e do uso de tintas industriais à base de óleo para a técnica medieval da têmpera. As características de opacidade, saturação cromática e presença material do pigmento sobre a superfície da tela, inerentes a esta técnica pictórica, tornam-se elementos tão importantes em sua obra, quanto o uso da cor na formação do espaço. Foram realizados estudos de cor e composição química dos materiais e levantamentos de informações sobre seus procedimentos técnico-artísticos a partir de métodos analíticos complementares não destrutivos e pesquisa em diversas fontes, pois entende-se que estes elementos são chaves importantes para o entendimento mais profundo de sua obra. O espectrofotômetro foi utilizado para medição da cor com base em curvas espectrais e coordenadas numéricas de referência dentro de um espaço de cor uniforme. Técnicas de imageamento por luz visível, fluorescência visível por radiação ultravioleta e reflectografia de infravermelho próximo foram utilizadas para levantar informações sobre o processo criativo do artista, detectar locais de intervenções de restauro e observar o grau de fluorescência de cada área cromática das pinturas como auxiliar na identificação de pigmentos. A técnica de EDXRF (Espectroscopia de Fluorescência de Raios X por Energia Dispersiva) foi importante para caracterização química dos materiais. O MEV-EDS (Microscópio Eletrônico de Varredura com Espectroscopia por Dispersão de Energia de Raios X) forneceu informações sobre composição química e imagens da superfície dos materiais presentes nas pinturas murais. A partir da integração destas informações pôde-se identificar uma parte da rica paleta deste pintor, documentar as cores das pinturas no presente, identificar ou dar indicações da composição dos pigmentos e da base de preparação das pinturas e iluminar partes da história de cada uma das obras, como presença de esboços feitos à grafite, pinturas anteriores encobertas, pinceladas e maneiras de misturar a tinta e documentar seu estado atual de conservação. As ferramentas utilizadas se mostraram úteis na caracterização das pinturas, revelaram informações inéditas sobre a obra deste artista e levantaram novas indagações. As informações obtidas podem ser o início de um banco de dados sobre sua obra.
Painter Alfredo Volpi (1896 - 1988) is one of the most important contemporary Brazilian artists. His extensive work, mostly characterised by chromatic compositions and geometric abstractions, is technically unique. The artist attributed great importance to craft and materials, developing his own systematic way of working. Among the paintings analysed were 11 temperasin various supports (canvas, hardboard panel and mortar). Of the selection, 10 paintings were made around 1950, when the artist\'s work underwent a major transformation, from figuration to abstraction, from the use of industrial oil-based paints to the medieval technique of tempera. This technique, known for its opacity, colour saturation and material presence of pigments on the canvas,became as important as the colour itself in the shaping of the artist\'s new spatial relation. It is understood that these elements are important keys to a deeper understanding of his work, both technically and artistically. The present investigation was carried out making use of non-destructive complementary analytical techniques. The aim was to study the chromatic and chemical composition characteristics of his paintings and gather information on the technical procedures the artist may have used. The spectrophotometer was used to measure the colour based on the spectral curves and numerical reference coordinates within a uniform colour space. Techniques of visual examination with visible light, visible fluorescence by ultraviolet radiation and near-infrared reflectography were used to gather information about the artist\'s creative process. These techniques also helped detect restoration patches and identify pigments. The EDXRF (Energy Dispersive X-Ray Fluorescence) technique was important for chemical characterization of materials, while the SEM-EDS (Scanning Electron Microscope with Energy Dispersive X-Ray Spectroscopy) provided surface images and information on the chemical composition of the material present in the murals. From the integration of these techniques it was possible to identify a part of the rich palette of Volpi´s paintings; to document the present aspects of the colours; to recognize or give indications of pigment and ground compositions and to shed light on parts of each of the works background, such as the presence of graphite sketches, covered earlier paintings and brushstrokes as well as to document the current condition of the works under study. The tools used have proven useful in characterizing the paintings, revealing new information about the work of the artist and raising new questions. The information obtained may be the beginning of a database on his oeuvre.
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Goodall, Rosemary A. "Non-destructive techniques for the analysis of pigments from an archaeological site." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/36948/1/36948_Goodall_1997.pdf.

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The detennination of trade routes and social interactions has previously been undertaken using cultural records and archaeological trends. In many regions this infonnation is sparse or inconclusive. By provenancing materials such as the pigments used by Aboriginal artists the movement of materials in the past can be directly investigated. This study is an attempt to characterise and provenance the excavated pigments from Fem Cave, Chillagoe, Southeast Cape York Peninsula. Two techniques, Fourier transform infrared -photoacoustic spectroscopy and proton induced X-ray and gamma-ray emission spectroscopy, have been used to examine the mineralogy and elemental composition of earth pigments. Both these techniques are suited to the examination of solid samples, requiring only very small samples (
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Barbay, Vanessa Maree. "Becoming animal: exploring iconic and indexical representation." Phd thesis, 2013. http://hdl.handle.net/1885/10692.

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The presentation of my thesis comprises the Studio Practice component (66%) which takes the form of an exhibition of paintings on canvas to be held at the ANU School of Art Gallery in March 2013, together with a film recording of my practice, a research blog (http://laomedia.com/blog), this Exegesis which documents the nature and development of the practice-led research undertaken during the course of the study, plus the Dissertation component (33%). The Studio Practice component has been based on image-creation experiments at a local farm that bring recently deceased animal bodies into contact with canvas to decompose. I further interrogate the nature of representation at the level of subject within the painting studio when I negotiate with the image produced by the dead animal subject through painting process. My Exegesis combines descriptions of and reflections on my practical processes, with an exploration of the contextual concerns of the research project in respect to contemporary art and, more broadly, human-animal studies. The Dissertation undertakes an analysis of the representation of animals in Western Arnhem Land painting in rock shelters and on paper and bark for sale at Injalak Arts and Crafts, Kunbarlanja. European Natural History painting and anatomical illustration inform my consideration of the X-ray style of representation. In the introductory part of the Dissertation I provide an impression of socio-cultural life in Kunbarlanja through a self-reflexive cross-cultural and cross-species story based on a 10-day archaeological field trip in 2009 and a three- month field stay in the Kunbarlanja community in 2010. While informed by anthropological texts specialising in the culture particular to Kunwinjku speaking Aboriginal Australians, this part of my Dissertation engages with revelatory mythopoeic experiences crucial to an understanding of painting process among Western Arnhem Land artists past and present.
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Tacon, Paul. "From rainbow snakes to 'X-Ray' fish : the nature of the recent rock painting tradition of Western Arnhem Land, Australia." Phd thesis, 1989. http://hdl.handle.net/1885/10074.

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Painting on rock shelter walls has occurred in Western Arnhem Land for thousands of years and continued frequently until just over twenty years ago when the last major rock artist of the region passed away. Many of the most recent paintings were produced within the lifetime of Aboriginal elders living in the area today. Not only are the circumstances under Which some paintings we produced remembered but also myths and stories associated with these and older paintings are recalled. Much can be learned about the meaning, importance and production of rock art from these Aboriginal people and this is one of the few areas in the world where such information is still available. In this study the most recent forms of rock painting are examined from both an archaeological and ethnographic perspective. In particular, paintings with internal or 'x-ray' features are scrutinized as it is these that are most visually striking for Europeans and hold the most meaning for contemporary Aborigines. It is argued that they are part of a much larger artistic tradition and that they developed in situ. Most, however, were produced in recent, freshwater times and changes through time are documented. Regional variants are also isolated and changes in the art are compared and contrasted with changes in the archaeological and environmental records of the region. Paintings of fish were found to be most frequent and important and their relationship to metaphysical beliefs is discussed. Various species are identified and the artistic conventions used to distinguish them are explained. The importance of the Rainbow Snake and depictions of this Being is reviewed and it is argued that paintings in rock shelters played a fundamental role in the expression and affirmation of the traditional belief system. Some forms of painting had other functions as well, such as providing a 'historic' record of past events, and these are outlined. It is concluded that many paintings could be used for more than one purpose and that many levels of meaning could be encoded into some forms, especially those with internal detail. It is also concluded that it was important to distinguish species in the art as this allowed people to use the paintings to illustrate ideas, experiences or myths more effectively when story telling For the more traditional Aboriginal people of Western Arnhem Land art is not only an expression of their belief but also is an expression of life. Art is a part of life and need not be distinguished from it. The paintings reveal complex notions about the nature of Aboriginal existence, experience and metaphysics as well as the economic and religious importance of various animals within it. By studying the art and examining how it is interrelated with myth, ritual and belief a more thorough understanding of abstract concepts such as the 'Dreaming' and 'Rainbowness' is attained. Furthermore, the importance of expressing Ancestral, 'Rainbow' power visually becomes apparent as it is this that adds life to creatures and potency to paintings .
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Čermáková, Zdeňka. "Mineralogická analýza historických maleb." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-333576.

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Historical painted works of art have a very complex inner structure. The period painting technique led to the execution of a ground layer followed by several layers of underpainting and a top paint layer, over which a layer of glaze has been applied to increase the resistance to external wear. Each of these colour layers is composed of a dye or a pigment (or their mixture) bound by organic binder. Throughout the history, pigments were commonly prepared from minerals, either extracted from natural deposits or created artificially. In these heterogeneous layers containing both inorganic and organic components, undesirable degradation changes either driven by processes taking place directly in the colour layer or influenced by external agents may occur. Mineralogical approach, which focuses primarily on the structure of studied pigments, helps in the clarification of the occurring processes, in the determination of conditions leading to degradation as well as in the identification of original/degradation phases. Furthermore, it can be profitably applied in the micro- analysis of mineral pigments present in tiny micro-samples obtained from works of art, contributes to the artwork's provenance/authorship studies and the determination of regional provenance of the employed mineral pigments. This Ph.D....
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Книги з теми "X-ray painting"

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de, Voorde G. van, ed. The masters' and the forgers' secrets: X-ray authentication of paintings ; from early Netherlandish till modern. Brussel: Mercatorfonds, 2009.

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2

Gilardoni, Arturo. X-rays in art =: I Raggi X nell'arte. 2nd ed. Mandello Lario, Italy: Gilardoni, 1994.

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3

Van Hulle, Dirk. Genetic Criticism. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192846792.001.0001.

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As a method to study literary writing processes, genetic criticism is also a reading strategy. The idea behind this book is to introduce this strategy to a broader audience, from undergraduate students and interested readers to early career researchers and literary critics. A work of literature sometimes seems to hit a nerve, but it is more challenging to pinpoint exactly why it ‘works’. This book therefore starts from a basic principle: knowing how something was made can help us understand how and why it works. This strategy is at the basis of many disciplines, including art history. By means of X-ray technology or hyperspectral imaging, it is possible to look at a painting as a multilayered object with not only spatial dimensions but also a temporal one. This temporal dimension is the core of the reading strategy explored in this book.
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Henderson, Linda Dalrymple. Umberto Boccioni’s Elasticity, Italian Futurism and the Ether of Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797258.003.0011.

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This chapter focuses on Umberto Boccioni’s 1913 painting Elasticity and his response to the ether in both its scientific and its occult contexts. The absence of translations of Boccioni’s 1914 book Pittura scultura futuriste, combined with the general lack of knowledge of early twentieth-century ether physics, has obscured this central theme of Boccioni’s art and theory. Boccioni’s treatise is, in fact, filled with references to contemporary science, including X-rays, Hertzian waves, electrons and ‘the electric theory of matter’. The latter reference suggests his specific awareness of Oliver Lodge, whose ideas and writings were well known in Italy—in both popular scientific and occult sources. Indeed, for futurists such as Boccioni, as for so many others in the early twentieth century, occultism (including spiritualism) and science seemed to be equally valid routes for exploring the unknown. Lodge’s writings about an elastic, energy-filled, matter-producing ether surely provided the stimulus for Boccioni’s Elasticity.
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Blackwood, Sarah. The Portrait's Subject. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652597.001.0001.

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Between the invention of photography in 1839 and the end of the nineteenth century, portraiture became one of the most popular and common art forms in the United States. In The Portrait's Subject, Sarah Blackwood tells a wide-ranging story about how images of human surfaces came to signal expressions of human depth during this era in paintings, photographs, and illustrations, as well as in literary and cultural representations of portrait making and viewing. Combining visual theory, literary close reading, and archival research, Blackwood examines portraiture's changing symbolic and aesthetic practices, from daguerreotype to X-ray. Portraiture, the book argues, was a provocative art form used by writers, artists, and early psychologists to imagine selfhood as hidden, deep, and in need of revelation, ideas that were then taken up by the developing discipline of psychology. The Portrait’s Subject reveals the underappreciated connections between portraiture's representations of the material human body and developing modern ideas about the human mind. It encouraged figures like Frederick Douglass, Nathaniel Hawthorne, Thomas Eakins, Harriet Jacobs, and Henry James to reimagine how we might see inner life, offering a rich array of metaphors and aesthetic approaches that helped reconfigure the relationship between body and mind, exterior and interior. In the end, Blackwood shows how nineteenth-century psychological discourse developed as much through aesthetic fabulation as through scientific experimentation.
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Press, Sketchakos. Sketchbook Rat: Best Large Blank White Pages for Painting, Drawing, Writing, Sketching and Doodling, 110 Pages, 8. 5 X 11 . Practice How to Draw Workbook, Rat Gifts for Rat Lovers. Independently Published, 2022.

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Частини книг з теми "X-ray painting"

1

Glanville, H., H. Rousselière, L. de Viguerie, and Ph Walter. "CHAPTER 15. Mens Agitat Molem: New Insights into Nicolas Poussin's Painting Technique by X-ray Diffraction and Fluorescence Analyses." In Science and Art, 314–35. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00314.

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Murillo-Fuentes, Juan José, and Laura Alba. "Thread Counting in X-Rays of Plain-Weave Painting Canvas." In Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science, 91–105. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75316-4_7.

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Voss, Richard F. "Local Connected Fractal Dimension Analysis of Early Chinese Landscape Paintings and X-Ray Mammograms." In Fractal Image Encoding and Analysis, 279–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/978-3-662-03512-2_16.

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4

Zhang, Hai, Stefano Sfarra, Ahmad Osman, Clemente Ibarra-Castanedo, Panagiotis Theodorakeas, Nicolas P. Avdelidis, Maria Koui, Domenica Paoletti, and Xavier P. V. Maldague. "Nondestructive Investigation of Paintings on Canvas by Infrared Thermography, Air-Coupled Ultrasound, and X-Ray Radiography." In 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, 367–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78093-1_39.

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Vanmeert, Frederik, Steven De Meyer, Arthur Gestels, Ermanno Avranovich Clerici, Nina Deleu, Stijn Legrand, Piet Van Espen, et al. "Non-invasive and Non-destructive Examination of Artists’ Pigments, Paints and Paintings by Means of X-Ray Imaging Methods." In Analytical Chemistry for the Study of Paintings and the Detection of Forgeries, 317–57. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-86865-9_11.

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Janssens, Koen, Geert Van der Snickt, Frederik Vanmeert, Stijn Legrand, Gert Nuyts, Matthias Alfeld, Letizia Monico, et al. "Non-Invasive and Non-Destructive Examination of Artistic Pigments, Paints, and Paintings by Means of X-Ray Methods." In Topics in Current Chemistry Collections, 77–128. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-52804-5_3.

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Stout, Samantha, Antonino Cosentino, and Carmelo Scandurra. "Non-invasive Materials Analysis Using Portable X-ray Fluorescence (XRF) in the Examination of Two Mural Paintings in the Catacombs of San Giovanni, Syracuse." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 697–705. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13695-0_71.

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Marey Mahmoud, Hussein. "Painting on Fibers." In Preservation and Restoration Techniques for Ancient Egyptian Textiles, 60–92. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-4811-0.ch004.

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In ancient Egypt, color expressed both symbolic and aesthetic value. For decorating purposes, the ancient Egyptians used an intensive chromatic palette based on a broad source of natural and artificial origins. Beside dyeing, decorating textiles in ancient Egypt had different forms, such as embroidery or the painting of a smooth coating applied on the textile matrix. Physical analytical approaches are an essential request prior any restoration project. In this chapter, the benefits of a wide range of non- or micro-destructive methods to study the physiochemical behavior of pigments used in ancient Egyptian painted textiles are presented. To garner data concerning the ancient materials, special techniques are used, such as the environmental scanning electron microscopy with energy dispersive X-ray spectroscopy (ESEM-EDX), X-ray fluorescence (XRF), laser-induced breakdown spectroscopy (LIBS), micro-Raman spectroscopy (µ-Raman), Fourier transform infrared spectroscopy-attenuated total reflection (FTIR-ATR), colorimetry, and visible reflectance spectroscopy (vis-RS).
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Mould, Richard F. "Paintings and Museum Artefacts." In A Century of X-rays and Radioactivity in Medicine, 96–102. CRC Press, 2018. http://dx.doi.org/10.1201/9781315136271-16.

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Tite, Michael, and Gareth Hatton. "The Production Technology of, and Trade in, Egyptian Blue Pigment in the Roman World." In Communities and Connections. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199230341.003.0013.

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Egyptian blue was first used as a pigment on tomb paintings in Egypt from around 2300 BC, and during the subsequent 3,000 years, its use both as a pigment and in the production of small objects spread throughout the Near East and Eastern Mediterranean and to the limits of the Roman Empire. During the Roman period, Egyptian blue was distributed in the form of balls of pigment up to about 15mm across, and appears to have been the most common blue pigment to be used on wall paintings throughout the Empire. Egyptian blue was both the first synthetic pigment, and one of the first materials from antiquity to be examined by modern scientific methods. A small pot containing the pigment that was found during the excavations at Pompeii in 1814 was examined by Sir Humphrey Davy. Subsequently, x-ray diffraction analysis was used to identify the compound as the calcium-copper tetrasilicate C<sub>a</sub>C<sub>u</sub>Si<sub>4</sub>O<sub>10</sub>, and to establish that Egyptian blue and the rare natural mineral cuprorivaite are the same material. Examination of Egyptian blue samples in cross-section in a scanning electron microscope (SEM) revealed that they consist of an intimate mixture of Egyptian blue crystals (i.e. C<sub>a</sub>C<sub>u</sub>Si<sub>4</sub>O<sub>10</sub>) and partially reacted quartz particles together with varying amounts of glass phase (Tite, Bimson, and Cowell 1984). At this stage it should be emphasized that, in the literature, the term Egyptian blue tends to be used to describe both crystals of calcium-copper tetrasilicate and the bulk polycrystalline material that is used as the pigment and is sometimes referred to as frit. In this chapter, the suffix ‘crystal’ or ‘mineral’ will be added when the former meaning applies, and the suffix ‘pigment’, ‘sample’, or ‘frit’ will be added when the latter meaning applies. For the current study, a small group of Roman Egyptian blue samples were examined using scanning electron microscopy (SEM) with attached analytical facilities. Using the chemical compositions of the samples, together with the description of the manufacture of Egyptian blue given by Vitruvius (Morgan 1960) at the beginning of the first century BC in his Ten Books on Architecture, an attempt is made to identify the raw materials used in the production of Roman Egyptian blue.
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Тези доповідей конференцій з теми "X-ray painting"

1

Chuan-xun, Hou, Li Hong-cai, Ma Shi-xin, and Zhao Xiao-feng. "A comprehensive effect evaluation method of pattern painting camouflage based on entropy weighted similarity." In Second Symposium on Novel Technology of X-Ray Imaging, edited by Peng Liu, Yangchao Tian, and Tiqiao Xiao. SPIE, 2019. http://dx.doi.org/10.1117/12.2524556.

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2

Li, Danyu, Timothy B. Morgan, Luke D. Pulfer, and Theodore J. Heindel. "Visualizing Near-Field Spray Characteristics With Broadband X-Rays." In ASME 2017 Fluids Engineering Division Summer Meeting. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/fedsm2017-69088.

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Liquid sprays play a key role in many engineering processes (e.g., food processing, coating and painting, 3D printing, fire suppression, agricultural production, combustion systems, etc.). Spray characteristics can easily be assessed in the mid- and far-field regions, well after liquid sheet breakup and droplet formation, using various optical/laser diagnostic techniques. The conditions in the near-field region, near the spray nozzle exit, can influence mid- and far-field characteristics; however, near-field measurements are extremely challenging because the spray in this region is typically optically dense and optical/laser diagnostics are ineffective in this region. This study presents the advantages and challenges of using broadband X-rays to characterize the near-field region of a spray. A generic spiral jet hollow cone spray nozzle is used to demonstrate near-field spray imaging for three different flow conditions. Radiographic movies of the spray show a very dynamic near-field region. X-ray computed tomography (CT) reconstructions of the spray display a 3D map of the time-average spray distribution. The two X-ray imaging modes provide qualitative information of the near-field spray region. A discussion of the quantitative measures that can be acquired from X-ray radiographs and CT images is provided.
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3

Shen, Haoting, M. Tanjidur Rahman, Navid Asadizanjani, Mark Tehranipoor, and Swarup Bhunia. "Coating-Based PCB Protection against Tampering, Snooping, EM Attack, and X-ray Reverse Engineering." In ISTFA 2018. ASM International, 2018. http://dx.doi.org/10.31399/asm.cp.istfa2018p0290.

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Abstract In the last decades, the supply chain of printed circuit boards (PCBs) becomes distributed with growing complexity of PCB designs and the economic trend of outsourcing the PCB manufacturing. This makes the PCBs more vulnerable to security attacks, such as tampering, snooping, and electromagnetic (EM) attacks. Because of the large feature size of PCBs (compared to integrated circuits), it is challenging to protect the PCBs from those attacks or proof the suspected attacks. For the same reason, PCBs are vulnerable to non-invasive reverse engineering by X-ray tomography as well. In this paper, we propose a novel silicon carbide (SiC) coating technique to provide passive protection for PCBs from in-field tampering, snooping and EM attacks. In addition, capacitive sensors are designed based on the SiC coating, offering active defense against those attacks. The coating and sensors can be implemented on PCBs in cost-efficient ways and the area overheads are minimized. The insulating coating also allows an extra tungsten-based painting to be applied to prevent the X-ray reverse engineering.
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4

Е.Я., Зубавичус,, Вдовиченко, М.В., Седов, Вл.В., Трунькин, И.Н., Светогоров, Р.Д., Пожидаев, В.М., and Терещенко, Е.Ю. "WALL PAINTING FRAGMENTS FROM YURYEV-POLSKOY ARCHAEOLOGICAL EXPEDITION: FIRST FINDINGS OF NATURAL SCIENCE STUDIES." In Археология Владимиро-Суздальской земли. Crossref, 2021. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-365-7.98-111.

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В 2019 г. при раскопках в Георгиевском соборе в г. Юрьеве-Польском обнаружены фрагменты штукатурки, которые предположительно можно было отнести к фрагментам стенного письма. Собор XIII в. не расписывался, и найденные фрагменты, вероятно, являются остатками более раннего собора XII в. Фрагменты были изучены с использованием методов: растровой электронной микроскопии с энергодисперсионным рентгеновским микроанализом, газовой хроматографии с масс-спектрометрией, рентгенофазового анализа на источнике синхротронного излучения КИСИ-«Курчатов». Результаты исследований показали присутствие в верхнем слое образцов таких пигментов, как красная охра, желтая охра, киноварь, зеленая земля. Также было выявлено наличие органических связующих на основе молока крупного рогатого скота. Особенности штукатурки позволили предположить, что первый собор был построен из каменных квадров. During excavations in 2019 at the St. George Cathedral located in the Yuryev-Polsky town, fragments of colored wall plaster were discovered. These fragments were suggestively attributed to wall painting. The cathedral dated to the XIII century has not ever been painted and thus the fragments found had to belong to an earlier cathedral of the 12th century. The fragments were analyzed using the natural science techniques including scanning electron microscopy with energy dispersive X-ray microanalysis, gas chromatography with mass spectrometry and X-ray phase analysis implemented at the KISI-”Kurchatov” synchrotron radiation source. Our research revealed a number of mineral pigments in the samples upper layer such as: red ocher, yellow ocher, cinnabar, and green earth. More over the presence of organic binders based on cattle milk was discovered. The features of the wall plaster made it possible to assume that the first cathedral was built from stone squares.
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Goradzhanov, V., I. Chilingarian, I. Katkov, K. Grishin, V. Toptun, I. Kuzmin та M. Demianenko. "Optical spectroscopic observations of intermediate-mass black holes and their host galaxies: the M BH − σ ∗ relation". У ASTRONOMY AT THE EPOCH OF MULTIMESSENGER STUDIES. Proceedings of the VAK-2021 conference, Aug 23–28, 2021. Crossref, 2022. http://dx.doi.org/10.51194/vak2021.2022.1.1.147.

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Intermediate-mass black holes (IMBHs; M BH < 2∗10 5 M ⊙ ) in galaxy centers are cruciel for painting a coherent picture of theformation and growth of supermassive black holes (SMBHs). Using Big Data analysis, we identified 305 IMBH candidatesfor IMBH and 1623 candidates of ‘light-weight’ SMBHs (2 ∗ 10 5 M odot < M BH < 10 6 M ⊙ ). For 35 host galaxies from thiscombined sample with the X-ray-confirmed active galactic nuclei (AGN) we collected and analyzed optical spectroscopicobservations. These data show that bulge stellar velocity dispersions (σ ∗ ) lie in the range of 24. . . 118 km/s and do notfollow the correlation with M BH established by larger SMBHs indicating that in the 10 5 − 10 6 M ⊙ range the accretion is theprevailing BH growth channel.
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Yin, Rujie, David Dunson, Bruno Cornelis, Bill Brown, Noelle Ocon, and Ingrid Daubechies. "Digital cradle removal in X-ray images of art paintings." In 2014 IEEE International Conference on Image Processing (ICIP). IEEE, 2014. http://dx.doi.org/10.1109/icip.2014.7025873.

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Johnson, Don H., Lucia Sun, C. Richard Johnson, and Ella Hendriks. "Matching canvas weave patterns from processing x-ray images of master paintings." In 2010 IEEE International Conference on Acoustics, Speech and Signal Processing, ICASSP 2010. IEEE, 2010. http://dx.doi.org/10.1109/icassp.2010.5495297.

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Klein, A. G., D. H. Johnson, W. A. Sethares, H. Lee, C. R. Johnson, and E. Hendriks. "Algorithms for Old Master painting canvas thread counting from x-rays." In 2008 42nd Asilomar Conference on Signals, Systems and Computers. IEEE, 2008. http://dx.doi.org/10.1109/acssc.2008.5074612.

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Waaler, Dag. "Contributions to spectral imaging of oil paintings using standard medical X-ray equipment." In 2015 Colour and Visual Computing Symposium (CVCS). IEEE, 2015. http://dx.doi.org/10.1109/cvcs.2015.7274901.

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Appoloni, C. R., M. S. Blonski, P. S. Parreira, and L. A. C. Souza. "Pigments Elementary Chemical Composition Study of a Gainsborough Attributed Painting Employing a Portable X-Rays Fluorescence System." In VI LATIN AMERICAN SYMPOSIUM ON NUCLEAR PHYSICS AND APPLICATIONS. AIP, 2007. http://dx.doi.org/10.1063/1.2710629.

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