First Steps on health for young people

This project will promote health awareness and encourage a more pro-active approach to looking after your health for12-16 year olds. Although focusing on young people, the approach being used hopes to cascade the information- the young people will take what their understanding into the home and the wider community. In order to reach their objectives they will carry out workshops with the youth in ways that will grab their attention and encourage a ‘change of lifestyles’ for example; painting murals relating to health issues etc. An information day was held as was an art project and several workshops, 1 of which allowed students to make a video on the role of the pharmacist. Results showed teenagers found it beneficial to get information on areas of health that they wanted to increase their awareness in. The project also identified a determination amongst staff to become more aware of the dangers of smoking and the project gave them a means of empowerment to help students who smoke to stop. All those involved in the project either through the information day, workshops or the art project felt it was tangible and was a sensitive wasy to deal with teenge health problems. The project created an understanding of why there is a need to take a communtiy response to such problems.

Sulfur isotope analysis of cinnabar from Roman wall paintings by elemental analysis/isotope ratio mass spectrometry - tracking the origin of archaeological red pigments and their authenticity

The most valuable pigment of the Roman wall paintings was the red color obtained from powdered cinnabar (Minium Cinnabaris pigment), the red mercury sulfide (HgS), which was brought from mercury (Hg) deposits in the Roman Empire. To address the question of whether sulfur isotope signatures can serve as a rapid method to establish the provenance of the red pigment in Roman frescoes, we have measured the sulfur isotope composition (delta(34) S value in parts per thousand VCDT) in samples of wall painting from the Roman city Aventicum (Avenches, Vaud, Switzerland) and compared them with values from cinnabar from European mercury deposits (Almaden in Spain, Idria in Slovenia, Monte Amiata in Italy, Moschellandsberg in Germany, and Genepy in France). Our study shows that the delta(34) S values of cinnabar from the studied Roman wall paintings fall within or near to the composition of Almaden cinnabar; thus, the provenance of the raw material may be deduced. This approach may provide information on provenance and authenticity in archaeological, restoration and forensic studies of Roman and Greek frescoes. Copyright (c) 2010 John Wiley & Sons, Ltd.

Benet Sanxes Galindo, pintor i poeta del segle XVI a Catalunya

Estudi de l’obra de Benet Sanxes Galindo, conegut en castellà com Benito Sánchez Galindo. Poeta i pintor del s. XVI, ha estat poc conegut i estudiat. L’autor aprofita per fer un repàs de les obres que l’han tractat. L’article s’emmarca en un número monogràfic amb el títol “Miscel•lània d’homenatge a Modest Prats”

Algunes observacions sobre pintures gironines d’època barroca de temàtica santnarcisiana

Descripció de les pintures que hi ha a la capella de Sant Narcís de l’església de Sant Feliu de Girona, què són d’època barroca. L’article s’escriu després d’una restauració de la capella, què dóna més lluminositat a les pintures. En el context de monogràfic dedicat a Sant Narcís

Cuestiones de pintura y miniatura en Cerdeña: modelos, intercambios y relaciones internacionales en la segunda mitad del siglo XV

Durante el siglo XV Cerdeña desempeña, gracias a su posicionamiento geográfico en el centro del Mediterráneo, un papel muy importante en la red de comercio internacional. Este movimiento económico-cultural fomenta una extensa producción artística que está caracterizada por depender fuertemente de la presencia en la isla de talleres y artistas catalanes. Al día de hoy se conoce muy poco la presencia y las características de la pintura del gótico tardío en la Cerdeña. Las dificultades encontradas por los investigadores en la reconstrucción de la historia del arte sarda de esta época son numerosas y difíciles de solucionar. El problema depende de la falta de fuentes documentales (directas e indirectas), de la gran dispersión de muchísimas obras, de la inaccesibilidad de unas de las obras más interesantes; del desplazamiento casi total de las obras de su sitio original, y del total anonimato de la mayoría de los artistas. En estas condiciones la única solución para alcanzar nuevos elementos científicos es: integrar los conocimientos procedente de las fuentes documentales; ampliar la practica metodológica (multidisciplinariedad), conectar el tejido sardo (pintura, miniatura, grabados) con el ámbito internacional. El objetivo final es introducir la pintura sarda en un contexto más amplio, para poder descubrir el sistema de modelos y de relaciones artísticas, que la conectan con el mundo artístico mediterráneo. El trabajo de este primer año ha sido particularmente intenso y complicado por las dificultades encontradas en ponerse en un tema tan vasto como lo de la pintura y los modelos figurativos de la segunda mitad del siglo XV. Principales objetivos: averiguar toda la bibliografía conocida sobre el tema e intentar ampliar los estudios cada vez que se encontraban indicios sobre posibles autores y obras sardas; empezar el trabajo de catalogación de las obras pictóricas (conocidas o recien descubiertas.)

[Palette des couleurs]. VIIII : [version "terre rouge"] : [estampe] / [gravé sous la direction de Jacob Christoph Le Blon]

Référence bibliographique : Singer, 46

[Palette des couleurs]. VII : [version "vermillion"] : [estampe] / [gravé sous la direction de Jacob Christoph Le Blon]

Référence bibliographique : Singer, 46

[Tête de jeune fille]. VIII : [estampe] ([6eme état en plusieurs plaques, imprimé en jaune, bleu et rouge]) / [gravé sous la direction de Jacob Christoph Le Blon] ; [d'après Carlo Maratti ?]

Référence bibliographique : Singer, 45

[Tête de jeune fille]. VI : [estampe] ([5eme état en plusieurs plaques, imprimé en jaune, bleu et rouge]) / [gravé sous la direction de Jacob Christoph Le Blon] ; [d'après Carlo Maratti ?]

Référence bibliographique : Singer, 45

[Palette des couleurs]. V : [version "vermillion avec de la lacque"] : [estampe] / [gravé sous la direction de Jacob Christoph Le Blon]

Référence bibliographique : Singer, 46

[Tête de jeune fille]. IV : [estampe] ([4eme état en plusieurs plaques, imprimé en jaune, bleu et rouge]) / [gravé sous la direction de Jacob Christoph Le Blon] ; [d'après Carlo Maratti ?]

Référence bibliographique : Singer, 45

Hermen Anglada-Camarasa: De Barcelona a París, 1871-1904

Estudi d’un període concret de l’artista català Hermenegild Anglada-Camarasa, els anys1871-1904. Són els anys de formació de l’artista a Catalunya, passant per Barcelona, Arbúcies i Vilanova i la Geltrú. També viatja a París i continua la formació allà, on contacta amb moviments artístics europeus i internacionals, es consolida la seva figura i comença a tenir força reconeixement a nivell internacional

Lot embriagat per les seves filles, d'Andrea Vaccaro

Article sobre l'estudi de l'obra titulada 'Lot embriagat per les seves filles' de l'artista Andrea Vaccaro dipositada al Museo d' Art de Girona. Va ser també el motiu d'una conferència el 10 de desembre de 1994 al Museu Art de Girona

Evaluation of four whole-plant inoculation methods to analyze the pathogenicity of Erwinia amylovora under quarantine conditions

Four methods were tested to assess the fire-blight disease response on grafted pear plants. The leaves of the plants were inoculated with Erwinia amylovora suspensions by pricking with clamps, cutting with scissors, local infiltration, and painting a bacterial suspension onto the leaves with a paintbrush. The effects of the inoculation methods were studied in dose-time-response experiments carried out in climate chambers under quarantine conditions. A modified Gompertz model was used to analyze the disease-time relatiobbnships and provided information on the rate of infection progression (rg) and time delay to the start of symptoms (t0). The disease-pathogen-dose relationships were analyzed according to a hyperbolic saturation model in which the median effective dose (ED50) of the pathogen and maximum disease level (ymax) were determined. Localized infiltration into the leaf mesophile resulted in the early (short t0) but slow (low rg) development of infection whereas in leaves pricked with clamps disease symptoms developed late (long t0) but rapidly (high rg). Paintbrush inoculation of the plants resulted in an incubation period of medium length, a moderate rate of infection progression, and low ymax values. In leaves inoculated with scissors, fire-blight symptoms developed early (short t0) and rapidly (high rg), and with the lowest ED50 and the highest ymax

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.