The English school a series of the most approved productions in painting and sculpture, executed by British artists from the days of Hogarth to the present time

Text in French and English.

Proportion and harmony of line and color in painting, sculpture, and architecture; an essay in comparative aesthetics.

Mode of access: Internet.

A practical treatise on painting : in three parts : consisting of hints on composition, chiaroscuro, and colouring : the whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools /

Pagination, part 1: 31 pages, 9 leaves of plates; part 2: vi, 45 pages, 8 leaves of plates; part 3: ix, 64 pages, 8 leaves of plates.

A practical treatise on painting : in three parts : consisting of hints on composition, chiaroscuro, and colouring : the whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools.

Each part has also been published separately, and has special t. p. and pagination.

Mansfield and Lewis: impressionism and vorticism in the short story

The affinities of the short story with the style of painting dominating the period in which it is produced have often been debated by critics. The effects of the application of impressionist and vorticist principles in painting turns out differently in Katherine Mansfield and Wyndham Lewis’ short stories structure and strategies, according to their conceptions of Art and Life and to his career as a painter.

Tomb Chapel of Nebamun, interior, The pool in Nebamun's estate garden: date-palms, sycomores and mandrakes hedge the pool which teems with fish and fowl; the goddess of the sycomore, surrounded by her produce, is shown in the top right-hand corner

Thebes (deserted settlement), Egypt; H: 2 ft. 1 13/64 in.; W: 2 ft. 4 47/64 in. (painting); painted plaster

Realism and national identity in 'Y Tu Mamá También': an audience perspective

When referring to cinema and its emancipatory potential, realism, like Plato’s pharmakon, has signified both illness and cure, poison and medicine. On the one hand, realism is regarded as the main feature of so-called classical cinema, inherently conservative and thoroughly ideological, its main raison d’être being to reify and make a particular version of the status quo believable and to pass it out as ‘reality’ (Burch, 1990; MacCabe, 1974). On the other, realism has also been interpreted as a quest for truth and social justice, as in the positivist ethos that informs documentary (Zavattini, 1953). Even in the latter sense, however, the extent to which realism has served colonizing ends when used to investigate the ‘truth’ of the Other has also been noted, rendering the form profoundly suspicious (Chow, 2007, p. 150). For realism has been a Western form of representation, one that can be traced back to the invention of perspective in painting and that peaked with the secular worldview brought about by the Enlightenment. And like realism, the nation state too is a product of the Enlightenment, nationalism being, as it were, a secular replacement for the religious - that is enchanted or fantastic - worldview. In this way, realism, cinema and nation are inextricably linked, and equally strained under the current decline of the Enlightenment paradigm. This chapter looks at Y tu Mamá También by Alfonso Cuarón (2001), a highly successful road movie with documentary features, to explore the ways in which realism, cinema and nation interact with each other in the present conditions of ‘globalization’ as experienced in Mexico. The chapter compares and contrasts various interpretations of the role of realism in this film put forward by critics and scholars and other discourses about it circulating in the media with actual ways of audience engagement with it.

Aplicação da metodologia SMED numa linha de envernizamento/pintura de revestimentos de cortiça

O presente trabalho visa a redução do tempo de mudança de produção e consequente aumento de produtividade de uma linha de envernizamento/pintura integrada na empresa Amorim Revestimentos SA, unidade S. Paio de Oleiros, que se dedica à produção de pisos flutuantes. Esta necessidade surgiu pelo facto desta linha de produção ser um ponto de estrangulamento do processo produtivo no departamento em que está inserida, devido principalmente à diminuição do tamanho de lotes e aumento da variedade de artigos a produzir. O trabalho envolveu as várias etapas da ferramenta SMED às quais está inerente a aplicação da técnica 5S às máquinas e ferramentas garantindo, assim, o posto de trabalho arrumado, limpo, seguro e com tudo pronto a ser utilizado. Aplicou-se a ferramenta SMED a dois tipos de mudança de acabamento e à mudança de rolo de pintura. Após a implementação desta ferramenta verificou-se uma redução de tempos de 37% (48 para 30 minutos) na mudança de pintura e acabamento de verniz, reduziu-se 25% (32 para 24 minutos) na mudança só de pintura e 13% (46 para 40 minutos) na mudança de rolo de pintura. Estes resultados foram alcançados através da redução do tempo das tarefas externas e internas e transformação das tarefas internas em externas consequentes da aplicação de um conjunto de ações de melhorias. Também foi fundamental a alteração do método de trabalho e a organização geral do posto de trabalho, no que diz respeito à repartição equilibrada das tarefas pelos dois operadores, alteração do sequenciamento das tarefas e aplicação da técnica 5S. As soluções encontradas estão sendo monitorizadas através do registo efectuado pelos operadores e realização de auditorias internas para garantir a perpetuação dos resultados.

Geometry-based demosaicking

Demosaicking is a particular case of interpolation problems where, from a scalar image in which each pixel has either the red, the green or the blue component, we want to interpolate the full-color image. State-of-the-art demosaicking algorithms perform interpolation along edges, but these edges are estimated locally. We propose a level-set-based geometric method to estimate image edges, inspired by the image in-painting literature. This method has a time complexity of O(S) , where S is the number of pixels in the image, and compares favorably with the state-of-the-art algorithms both visually and in most relevant image quality measures.

Salvador Dalí: a spiritual gaze

There is a tendency to overlook the many fields that attracted Salvador Dalí, one of the most controversial figures of the 20th century. The Catalan artist was interested in painting, sculpture, engraving, opera, literature, advertising, dance, and even the theatre of life. Dalí was also a theoretician, constantly examining the processes of creation and knowledge: over the years he developed an imagery which, though changing, remained coherent, giving his body of work an unexpected unity.

Humphry Davy e as cores dos antigos

This article examines ideas held by Humphry Davy (1778-1829) about permanence, progress, experiments and practical application regarding chemistry. Furthermore, it relates ideas held in his "Some experiments and observations on the colours used in painting by the Ancients" (1815), with those maintained in Elements of Chemical Philosophy (1812), as well as to cogitations from his last years, disclosed in Consolations in travel (1830). Lastly, it brings up evidence that H. Davy's study about the colors of the ancients influenced his proposals for Chemical Philosophy and the science of his age.

Histoire, Révolution et esthétique : le temps et ses représentations dans le Tableau de Paris et le Nouveau Paris de Louis Sébastien Mercier

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne (Paris IV), sous la direction de M. Michel Delon.

Le façonnement identitaire des Européens d'Algérie avant la Guerre (1890-1914) : le rôle des cartes postales de scènes de rue

Ce mémoire analyse deux cartes postales de la ville d’Alger qui représentent des espaces publics. Ces espaces publics montrent des gens de communautés mixtes. Les cartes ont été produites à Alger entre 1890 et 1914 environ, une période qui fait coïncider l’essor de ce médium avec celui de la colonisation européenne en Algérie. Le corpus a été choisi parce qu’il diffère de la production générale de cartes postales algériennes ainsi que de l’ensemble des images représentant l’Algérie, en peinture, en lithographie et en photographie. Cette spécificité de notre corpus nous permet de soutenir l’existence d’une consommation locale de cartes postales à Alger, de la part de la communauté européenne. Pour appuyer notre argument, nous faisons une étude comparative avec Cagayous, un feuilleton très populaire parmi les Européens à Alger. Les chercheurs considèrent ce feuilleton représentatif de cette population et du contexte local. Nous montrons que, même si ces cartes postales semblent plus réalistes que les images orientalistes typiques, elles ne sont pas dépourvues de stratégies visuelles et idéologiques rattachées au système colonial. Ces stratégies sont détaillées et analysées au cours de cette étude.

The red badge of courage: uma análise descritiva de suas traduções no Brasil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Discurso e imagem: transformações do cânone visual nas mídias digitais

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)