Small Painting Research Articles

An Economical and Efficient Physico-Chemical Approach for the Reuse of Wastewater in Small and Medium Scale Paint Enterprises

An Economical and Efficient Physico-Chemical Approach for the Reuse of Wastewater in Small and Medium Scale Paint Enterprises

Genre and style models of contemporary Ukrainian vocal and choral music

The relevance of the study of the chosen topic is conditioned by the fact that a wide panorama of compositions in the field of vocal and choral music appears, reflecting the modern process of reviving the national culture of Ukraine. The variety of their content, concepts, and structures contributes to the popularization of the spiritual and creative heritage of the Ukrainian people, which requires special research in modern conditions. The purpose of the study is to identify genre features and stylistic patterns that characterize the works of the vocal and choral branch of musical art. In the course of the study, methods of analysis, comparison, and synthesis were used. As a result, genre models of vocal and choral compositions of small (painting; prayer; monologue; song; arrangement) and large forms (cantata, choral concert suite, vocal and instrumental cycle, choral cycle) were discovered. The leading stylistic components of modern vocal and choral compositions were established, their content was emphasized (synthesis of elements of archaic play (action); folk songs; spiritual chant and modal, classical tonal, chromatic sound systems in small forms; a unique author’s idea, processing of primary sources from folk song art and church services based on a wide range of different fret and technical systems in large forms). The study's conclusions confirm the utilization of folk, church, and academic traditions, both past and present, alongside structural, compositional, technical, intonational, and rhythmic elements from various musical genres and cultures in vocal and choral compositions of the first quarter of the 21st century

Possibilities of various arrangements of X-ray fluorescence analysis in the study of paintings

Energy dispersive X-ray fluorescence analysis (EDXRF) is a very useful method of elemental analysis in the study of works of art and archaeological finds, allowing the simultaneous non-destructive identification of a number of elements. A certain problem, if samples are not to be extracted from the investigated artifact, is its small depth range. However, this is not a serious drawback when it comes to the analysis of thin layers, such as plating or painting.In our laboratory, XRF was gradually developed and the equipment improved, with one of the main goals being the study of archaeological finds and works of art for the purposes of learning about the cultural heritage and restoration works.The presented paper aims to compare the possibilities of different macro- and micro-XRF instrumental arrangements in the study of paintings, from fast orientational measurement with a compact hand-held device through 2D scanning with a collimated beam to 3D analysis with collimated X-ray optics. Attention is paid to both the advantages and limitations of individual arrangements. A small painting by A. Piepenhagen, a typical representative of 19th century romantic landscape painting, was chosen as the object on which the possibilities of individual XRF variants are demonstrated.

IT’S THE SAME OLD STORY

These paintings are part of a series that are a pastiche of the Americas tradition of Retablos. The conventional Retablos featured narratives of Christian Gods and Saints in a miraculous realm. They were painted on inexpensive sheets of tin, which allowed for a higher rate of production and wider distribution of as a product. The small paintings were sacred objects whose uses ranged from converting indigenous people to Christianity to being treasured devotional objects for the faithful. In these small 8 inches square (20.32 x 20.32cm) paintings I have expanded the scope of the narrative to move beyond the confines of a deity/saint trope to embrace a wider cast of characters capable of speaking to the miraculous as well as the mundane. They reference ideas of creation myths, evolution, mortality, sex, birth, death, gender, fairy tales, and a variety of binary constructs, all existing in a phallic world. In this series, you can easily find a floating teddy bear as a stand-in for the Archangel Gabriel bringing the annunciation news to Mary who might be sitting next to the Frog Prince waiting to be redeemed by a princess. In fact, those two stories might share the same content about consent and surprise endings. I see these paintings as a collaboration between me and the viewer, where I provide narrative opportunities while the viewer can construct a story.

THE “ALLEGORY OF MUSIC” BY FILIPPINO LIPPI. GENEALOGY OF IMAGE

The female image presented in the small painting “Allegory of Music” by Filippino Lippi (Gemaeldegalerie, Berlin) is most likely associated with the plot of a theatrical performance played out in 1475 in Pesaro on the occasion of the wedding of Costanzo Sforza and Camilla of Aragon. Th e similarity of the attributes of the heroine with the attributes of the muse Erato, who greeted the newlyweds, was pointed out by A. Warburg, who placed two images, the Filippino board and an illustration from the Vatican manuscript containing the text of the wedding performance, next to each other in his “Mnemosine Atlas”. It is impossible to substantiate this version with documents, but the Florentine artist, who nominally interprets the plot differently from the anonymous northern Italian miniatur-ist, could be familiar with the description of the celebration, known not only from illustrated lists, but also from printed brochures. Th e origins of the “Allegory of Music” are traditionally traced to a wedding commission — on the occasion of the marriage of Giovanni Vespucci and Namicina Nerli in 1500 — which also included paired spalliers depicting “History of Lucretia” and “History of Virginia” by San-dro Botticelli and a panel by Piero di Cosimo displaying bacchanalia. Th e present article advances arguments in favor of this version, building on other episodes of cooperation between Botticelli and Filippino Lippi, both between the two of them and with the two intermarried Florentine families. Th e painting in question contains elements that may indicate its connection with the wedding ritual. It is impossible to establish how all the listed panels were arranged in the interior. How-ever, on the whole, this alleged ensemble, designed in the all’antica style, could be thought of as a glorification of sublime and chaste love. Th e theme, traditional for the decoration of the matrimonial bedroom, is eleborated simultaneously in brutal scenes from Roman history, which in Florentine artistic culture were laden with explicit republican connotations, as well as in small-scale mythological “poetry”, that soft ens political accents and, moreover, can be associated with a magnificent princely wedding, glorifying the nobility of the newlyweds.

Leaning out the Small Component Paint Process: Using Lean Six Sigma for Process Improvement at Tobyhanna Army Depot

TYAD repairs and refurbishes a variety of Department of Defense systems that are essential for our military effectiveness and daily operations. Employees at TYAD have noticed a tall number of overrun hours for projects in their small component paint branch. These high number of overrun hours have led to TYAD steadily losing revenue and profitability on their projects. This capstone group utilized Lean Six Sigma’s (LSS) DMAIC (Define, Measure, Analyze, Improve, and Control) process to decrease the number of overrun hours experienced and hopefully allow a way for greater throughput to go through the system. The efforts of this group led to discoveries of issues with the implementation of quality control tools. Our discoveries led to a revamped quality control protocol that will decrease the number of overrun hours experienced by TYAD and ultimately save them an estimated $478,000.00 over the course of the next three years.

Dry air compressor for car painting quality improvement

The humidity used in the painting process greatly determines the result of painting the car body. This study aims to develop a dry air compressor that can be used to overcome car paint defects. This system consists of a 2 HP compressor engine for sucking air from the atmosphere, two air collection tubes where the first tube contains air obtained from the atmosphere and the second tube contains dry air obtained from the first tube. The inside of the first tube is given a copper coil measuring 5 mm in diameter which is connected to a 120-watt cooler while the second tube is not given a copper coil. Each tube has a diameter of 50 cm and a height of 100 cm. The addition of copper coil aims to separate air from water by means of the condensation process which is the development of this study. Testing of compressor performance is done by turning on the compressor with the exhaust valve closed. After 60 minutes, the air pressure in each tube increased from 0 Psi to 89 Psi, the humidity decreased from 52 % to 38 %, and the temperature decreased from 31.6 °C to 18.2 °C. To see the effect of cooling on the air, the exhaust valves on both tubes were opened. In the first tube there is water coming out, as much as approximately 100 ml while in the second tube there is no water coming out. The water that comes out of the first tube is caused by the condensation process that separates the air from the water and due to the influence of gravity the water falls to the bottom of the tube. The dry air contained at the top of the first tube is flowed into the second tube and is ready to be used for painting the car body. The painting results show that there are no more small holes or paint defects on the paint surface

A Blast Furnace Painting by Jan Brueghel the Elder (1568-1625): a New Interpretation

A small painting by Jan Brueghel the Elder, portraying a blast furnace, is to be found at Galleria Doria - Pamphilj in Rome. The authors discuss this painting while considering the contemporary Flemish paintings of ironworks. From the peculiarity of this painting, from the scene it portrayed and from news about Jan Brueghel´s stay in Italy, the authors conclude that this painting may represent a Bergamasque blast furnace built in Latium.

Non-Invasive Study of the Pigments of a Painting on Copper with the Inscription “Boceto di Pablo Veronese” on the Back

The palette used on a small painting on copper support, with the inscription “Boceto di Pablo Veronese” on the back, was characterized. Non-invasive techniques such as X-ray diffraction (XRD) and hand-held X-ray fluorescence (XRF) were proven to be highly effective for this. The objectives of the proposed work were twofold. On the one hand, the objective was the study, in situ, of the pigments of a painting on a copper support. On the other hand, it was to enrich the literature related to the study of paintings on metal supports, since few related studies are available despite the relatively large number of such 16th and 17th century paintings from Italy and Northern Europe. The results of the analysis showed a copper support with a base layer of gypsum mixed with ochre earths. Atop this layer is a sketch with lead white in the lighter areas and bone black in the darker shadow areas, suggesting that the artist performed a preliminary study of the luminosity of the scene. Finally, the upper or pictorial layer consists of a mix of pigments with some lead white to lower saturation and increase lightness, particularly evident in the flesh tones. The resulting palette thus includes lead white, vermilion, bone black, Naples yellow, and lazurite pigments. These results are compared to Veronese’s other paintings, as well as to those of certain contemporary artists, and the use of the resulting pigments in 16th and 17th century Italian painting techniques is discussed.

Almanac 1941-1944: A chronicle and art collection of Osnabrück Oflag captives

After the April war defeat, almost 200.000 Serbian officers and soldiers were taken as POWs, and deported to numerous camps in Germany, including the Oflag VI C officer camp in Osnabr?ck. Soon after the large-scale uprising broke out in Nazi-occupied Serbia tensions and political divisions emerged among the captives. Antifascist and leftist captives were sub?jected to discrimination and repression. They responded by organizing an extensive and fruitful cultural activity, seeking to resolve inner dilemmas and reach catharses by writing, drawing, painting or educating other inmates. Over the course of time two art groups were formed to institutionalize captives? artistic aspirations: Association of Fine Artists and Literature group. On the eve of camp?s liberation, in early 1945, these two groups created a unique manuscript: Almanac 1941-1944, an impressive chronicle of camp?s history and a collection of the best literary and art works created by captured officers. Almanac has a great value as a historical source, as it contains detailed information on captives? cultural activity, but also on challenges of everyday life within barbwire and con?flicts with German administration and nationalist captives. Although some of the Almanac?s narrative is ideologically biased, it was confirmed that Almanac is a reliable historical source, by comparing the data with archival sources of different origin. Beautifully decorated by drawings and caricatures, written in calligraphy, the Almanac is a piece of art itself, but also a collection of published poems, essays, drawings and small paintings. Although most contributing officers didn?t have any art education at all, some of their works and contributions have high artistic value. Osnabr?ck Oflag poetry and prose evolves around the motives of captivity, hunger, nostalgia, uncertainty and antifascist struggle. Contributing authors were both the already established writers, such as Stanislav Vinaver, Svetozar Musulin, Oto Bihalji Merin, and the new ones, who never published before WW2, such as Petar Ivkovic or Solomon Conforti. Illustrations were mostly done by Vladeta Gajic, whose caricatures richly decorated numerous Almanac pages. Inmate?s portraits were usually made as graphite drawings and aquarelles, so were the drawings showing the captured officers eating, drinking, hanging together, resting or reading. Camp fences and objects were mostly painted as blurry contours, usually in dark shades. It is worth noticing that many contributors were Jews, who were not betrayed or discriminated by their Serbian colleagues, but treated as completely equal.

Creating and unmaking the political body

The shared embodiment of humans and animals, and the notion of the ‘creaturely’ human influentially discussed by Anat Pick, have recently emerged as vital concerns within Animal Studies. Aligning its critical stance with these perspectives, this article analyses the small painting in the Rijksmuseum, traditionally attributed to Jan de Baen, which depicts the 1672 murder of the Dutch politicians Johan and Cornelis de Witt. Pamphlets, broadsheets and other contemporary responses to the murder frequently compare the bodies of the De Witts – which were eviscerated, hung upside-down, shorn of body parts and allegedly partially eaten – to animal carcasses. Drawing on these contextual sources, the essay explores how the painting works with and against period constructions of the killing in terms of inter-species violence. It uncovers tentative admissions of human creatureliness in the painting’s representation of the murdered body as a temporal, material and fragile entity.

Experimentation and Innovation in Vermeer’s Girl with the Red Hat: New Findings from the National Gallery of Art

Considered within the context of his biography, his overall artistic production, and the seventeenth-century Dutch market for tronies, a recent multidisciplinary investigation of Johannes Vermeer’s Girl with the Red Hat (National Gallery of Art, Washington) suggests that this small painting represents a pivotal moment in the artist’s career. Vermeer experimented here with bolder, more abstract brushwork and more highly contrasting pigments—an approach that grew out of his handling of the preparatory stages of the painting process and that he ultimately adopted in his high-life genre works as well. Positing the painting as an experimental foray that presaged Vermeer’s subsequent development also indicates a likely date of about 1669.

Experimentation and Innovation in Vermeer’s Girl with the Red Hat: New Findings from the National Gallery of Art

Considered within the context of his biography, his overall artistic production, and the seventeenth-century Dutch market for tronies, a recent multidisciplinary investigation of Johannes Vermeer’s Girl with the Red Hat (National Gallery of Art, Washington) suggests that this small painting represents a pivotal moment in the artist’s career. Vermeer experimented here with bolder, more abstract brushwork and more highly contrasting pigments—an approach that grew out of his handling of the preparatory stages of the painting process and that he ultimately adopted in his high-life genre works as well. Positing the painting as an experimental foray that presaged Vermeer’s subsequent development also indicates a likely date of about 1669.

Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot.

Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.

Evaluation of the Effectiveness of Technology Transfer in the Process of Wood Crafts for Workers with Disabilities

Technological changes are important to increase productivity, quality of products produced, and provide safety and health for workers. The purpose of this paper is to evaluate the application of wood craft machinery technology by persons with disabilities. The first step is an initial survey of the existing wood craft production process, which related to the equipment used, work methods, and work results (productivity quality) as well as the level of accidents/health problems at work. Small enterprises for disabled workers were used as research objects to check the impact of technological changes on the production process. Changes in technology used in the form of cutting machine, carving chisel, small CNC machine, smoothing machine, and paint machine (finishing process). The Unified Theory of Acceptance and Use of Technology (UTAUT) was adopted to approach the assessment of the impact of the technology implementation of the wood carving process. Data was collected through several activities such as interviews and direct observation. The success measurement parameters were divided into several main points, including performance, effort, user behavior, experience, facility design, environmental impact, and the level of worker safety/health. In short, it can be said that technology can improve the quality and productivity of work for disabled workers while still paying attention to the ergonomic value of the human-machine relationship at the right workstation.

Portable Raman and XRF analyses of pigments in a 15th-century Mallorcan altarpiece from the Oratorio de Santa Ana in Alcúdia, Spain

To identify pigments used in a Mallorcan Gothic painting and to investigate their provenance, portable Raman and X-ray fluorescence spectrometers were used to examine in situ the 15th-century Retablo de la Virgen, san Sebastián y san Bernardino, formerly an altarpiece in the Oratorio de Santa Ana in Alcúdia, Spain. The historical pigments vermilion, ultramarine, lead white, orpiment, and hematite were found in pigmented surface layers of the altarpiece, and the elements gold and iron were detected in the expansive gold-colored background areas of the triptych. Two relatively modern pigments, phthalocyanine green and lithopone, were found in a portion of the first small painting in the predella underneath the triptych suggesting a restoration sometime after the late 1930s. Calcium sulfate, as gypsum or anhydrite, was found in the preparation ground layer, as expected for late medieval Mallorcan panel paintings. Known degradation products, weddellite and possibly whewellite, were found. Anglesite was found in an area with lead white and is likely another degradation product. Although spectral markers indicative of the provenance of the historical pigments were not detected, this work contributes to a greater understanding of the composition of late Gothic Mallorcan altarpieces.

Goya et son entourage : les tableaux de petit et de moyen format

Cet article présente les résultats des études consacrées à neuf tableaux, ou groupes de tableaux de petit et moyen format, de Goya, de son entourage ou de sa suite. Certains sont considérés unanimement comme des œuvres du maître, tels les Cannibales et la Nature morte à la tête de mouton, d’autres font l’objet de débats, comme l’Étude pour le portrait équestre de Ferdinand VII, qui pourrait être un tableau peint par Goya en deux temps. Plusieurs tableaux s’éloignent de la technique du maître et aident à cerner la production des artistes gravitant autour de lui, comme Le Ballon, le Caprice avec bêtes volantes, le Couple élégant, La Messe de relevailles et les peintures sur métal représentant Le Mariage inégal et l’Histoire de Joseph.

Complex Relationships: A Materials Study of Édouard Vuillard’s Interior, Mother and Sister of the Artist

Édouard Vuillard (1868–1949) is well known for his small atmospheric paintings, often portraying his own home and family as the subject matter. Interior, Mother and Sister of the Artist (1893) underwent at least one restoration treatment before being acquired by the Museum of Modern Art (MoMA) in 1934. The painting was treated again in 1954, but no analysis was carried out to understand the artist’s methods and materials at that time. To better understand the choices of Vuillard in Interior, Mother and Sister of the Artist, a comprehensive suite of imaging and spectroscopic analyses was undertaken, including: XRR, UVF and IRR Photography, XRF, Raman spectroscopy and SERS, and µ-FTIR. Statistical analysis on the XRF data using MCR-ALS further revealed some of the intricacies of Vuillard’s technique and color choices, where a large number of pigments were used in designing this intimate composition, including lead white, zinc white, bone black, ochre, umber, vermilion, Geranium lake, red lead, ultramarine, Prussian blue, chrome yellow, chrome orange, zinc yellow, strontium yellow, cadmium yellow, and a chromium oxide green.

Compounding Greekness: St. Katherine “the Egyptian” and the Sta. Croce Micromosaic

AbstractThis article is the first critical study of a small panel painting of St. Katherine of Alexandria, discovered sixty years ago on the reverse of the well-known micromosaic icon of the Man of...

A Study on Small Group Painting Art Therapy in Improving Self-esteem and Social Skills of Children with Depressive Tendency

A Study on Small Group Painting Art Therapy in Improving Self-esteem and Social Skills of Children with Depressive Tendency