Estimating the colors of paintings

Observers can adjust the spectrum of illumination on paintings for optimal viewing experience. But can they adjust the colors of paintings for the best visual impression? In an experiment carried out on a calibrated color moni- tor images of four abstract paintings obtained from hyperspectral data were shown to observers that were unfamiliar with the paintings. The color volume of the images could be manipulated by rotating the volume around the axis through the average (a*, b*) point for each painting in CIELAB color space. The task of the observers was to adjust the angle of rotation to produce the best subjective impression from the paintings. It was found that the distribution of angles selected for data pooled across paintings and observers could be de- scribed by a Gaussian function centered at 10o, i.e. very close to the original colors of the paintings. This result suggest that painters are able to predict well what compositions of colors observers prefer.

Survey and dynamic behaviour of the Our Lady of Conception Church, Portugal

The Our Lady of Conception church is located in village of Monforte (Portugal) and is not in use nowadays. The church presents structural damage and, consequently, a study was carried out. The study involved the survey of the damage, dynamic identification tests under ambient vibration and the numerical analysis. The church is constituted by the central nave, the chancel, the sacristy and the corridor to access the pulpit. The masonry walls present different thickness, namely 0.65 m in the chancel, 0.70 m in the sacristy, 0.92 in the central nave and 0.65 m in the corridor. The masonry walls present 8 buttresses with different dimensions. The total longitudinal and transversal dimensions of the church are equal to 21.10 m and 14.26 m, respectively. The survey of the damage showed that, in general, the masonry walls are in good conditions, with exception of the transversal walls of the nave, which present severe cracks. The arches of the vault presents also severe cracks along the central nave. As consequence, the infiltrations have increased the degradation of the vault and paintings. Furthermore, the foundations present settlements in the Southwest direction. The dynamic identification test were carried out under the action of ambient excitation of the wind and using 12 piezoelectric accelerometers of high sensitivity. The dynamic identification tests allowed to estimate the dynamic properties of the church, namely frequencies, mode shapes and damping ratios. A FEM numerical model was prepared and calibrated, based on the first four experimental modes estimated in the dynamic identification tests. The average error between the experimental and numerical frequencies of the first four modes is equal to 5%. After calibration of the numerical model, pushover analyses with a load pattern proportional to the mass, in the transversal and longitudinal direction of the church, were performed. The results of the analysis numerical allow to conclude that the most vulnerable direction of the church is in the transversal one and the maximum load factor is equal to 0.35.

A ternura do grotesco no encontro de Paula Rego com Adília Lopes

A ruptura em relação à conceptualização clássica de arte, problematizando o conceito de ‘sublime’ - em que se verificou um abaixamento de valores, da eternidade para a corporalidade - leva-nos ao grotesco e sobre o que se entende por arte, belo e, em consequência, pelo seu contrário. Com este artigo, pretende-se saber de que forma é que o grotesco se dissemina nas pinturas de Paula Rego e os escritos de Adília Lopes e se o que a primeira referiu em relação à obra de Adília e às suas próprias produções, usando o epíteto de “grotesco belo” e possuidor de “muita ternura”, é verificável. As postulações principais sobre o grotesco foram produzidas por Mikhail Bakhtin, Wolfgang Kayser e Victor Hugo. Para além das produções de cada uma das criadoras, foi também observado o cruzamento de ambas no livro “Obra”, uma antologia de Adília Lopes, com imagens da autoria de Rego