Problemàtiques en l'estudi i investigació del "Dot Painting o Dot Art Movement" Aborigen austràlià

L'objecte d'estudi de la següent memòria són les obres de l'anomenat, en la literatura anglosaxona, "Dot Art Movement o Dot Painting"; un moviment artístic índigena contemporani engendrat entre la dècada dels 70 i els 80 del segle passat a les comunitats de Papunya i Yuendumu en el cor del Desert Australià. La memòria s'articula entorn les principals problemàtiques a les que s'enfronta la definició i descripció de l'anomenat "Dot Art Movement o Dot Painting" dins el context de consum i recepció de les obres a Europa. Aquestes problemàtiques, sobretot conceptuals però també metodològiques, són descrites entorn tres grans apartats: el fet "primitiu", el fet "aborigen" i el fet del "Dot Art Movement o Dot painting". A través d'aquests tres àmbits la memòria presenta diverses herències històriques de caràcter eurocèntric, amb base al període colonial, que dificulten la proliferació d'interpretacions i noves aproximacions vers la recepció europea de les obres d'aquest moviment artístic.

Evaluation of work-related volatile organic compounds (VOCs) exposition in automotive painting cabins industrial cleanings

Automotive painting cabins are cleaned with several solvents, being great part of them mixtures of volatile organic compounds (VOCs), where the three xylene isomers are the most important constituents. To evaluate the work-related exposition of the cleaners that use these mixtures of solvents, xylenes have been determined in the working ambient air as well as its metabolite, o-m-p-methyl hippuric acid, has been analysed in urine to establish the dermal and respiratory exposition. This evaluation has been done in order to assess the occupational exposure to VOCs and to know the working conditions of the cleaners, but also to evaluate the effectiveness of personal protective equipment (PPE), the engineering control and the work practices.The xylenes have been chosen as indicators of exposition because they are the main components in the cleaning solvents used, with a level of concentration between 50% and 85%.The Xylenes have an occupational exposure limit (8 h TWA) of 50 ppm (221 mg/m3) and a short-term exposure limit (STEL) of 100 ppm (442 mg/m3). On the other hand, the biological exposure index (BEI) for xylenes is the sum of the total methyl hippuric acids in urine at the end of the work-shift, being the value 1500 mg/g creatinine.

Coloritto ([Edition augmentée de l'appendice et des 4 pl. (2 versions supplémentaires du visage de femme, accompagnées des deux palettes de couleurs correspondantes) ]) / ; or the harmony of colouring in painting : reduced to mechanical practice, under easy precepts, and infallible rules ; together with some colour'd figures, in order to render the said precepts and rules intelligible, not only to painters, but even to all lovers of painting. By J. C. Le Blon.

Ancien possesseur : Ledoux-Lebard, Guy (1912-2003)

Searching patterns in painting images with computer vision techniques

This paper presents a pattern recognition method focused on paintings images. The purpose is construct a system able to recognize authors or art styles based on common elements of his work (here called patterns). The method is based on comparing images that contain the same or similar patterns. It uses different computer vision techniques, like SIFT and SURF, to describe the patterns in descriptors, K-Means to classify and simplify these descriptors, and RANSAC to determine and detect good results. The method are good to find patterns of known images but not so good if they are not.

Art painting Data Collection

The classification of Art painting images is a computer vision applications that isgrowing considerably. The goal of this technology, is to classify an art paintingimage automatically, in terms of artistic style, technique used, or its author. For thispurpose, the image is analyzed extracting some visual features. Many articlesrelated with these problems have been issued, but in general the proposed solutionsare focused in a very specific field. In particular, algorithms are tested using imagesat different resolutions, acquired under different illumination conditions. Thatmakes complicate the performance comparison of the different methods. In thiscontext, it will be very interesting to construct a public art image database, in orderto compare all the existing algorithms under the same conditions. This paperpresents a large art image database, with their corresponding labels according to thefollowing characteristics: title, author, style and technique. Furthermore, a tool thatmanages this database have been developed, and it can be used to extract differentvisual features for any selected image. This data can be exported to a file in CSVformat, allowing researchers to analyze the data with other tools. During the datacollection, the tool stores the elapsed time in the calculation. Thus, this tool alsoallows to compare the efficiency, in computation time, of different mathematicalprocedures for extracting image data.

Getting to know about health and safety related to products used in painting, drawing and printmakin

Practicing art is not a high risk activity. This statement, along with the creative, expressive and intangible aims of this activity, as well as the lack of information, promotion of safety awareness and training of thepeople in charge of art studios, may have pushed the implications of practicing art as regards health, safety and environment into the background. Faced with this prospect, a comprehensive study of the facilities and the activities carried out in art studios becomes necessary. The study concerns experimental activities involving Health and Safety risks for both the artists and the teachers and students, especially those carried out in the studios located in educational institutions.

Color sensation in figurative painting

The figurative painter accesses very complex levels of knowledge. To produce a painting requires, first, a deep analysis of the image of the reality and, afterwards, the study of the reconstruction of this reality. This is not about a process of copying, but a process of the comprehension of the concepts that appear in the representation. The drawing guides us in the process of the production of the surface and in the distribution of the colours that, after all, are the data with which the vision mechanism builds the visual reality. Knowing the colour and its behaviour have always been a requirement for the figurative painter. From that knowledge we can draw wider conclusions.

Imagining a New Society: Public Painting as Politics in Postwar Finland

The thesis is the first comprehensive study on Finnish public painting, public artworks generally referred to as murals or monumental paintings. It focuses on the processes of production of public paintings during the post-WWII decades in Finland and the complex relationships between the political sphere and the production of art. The research studies the networks of agents involved in the production of public paintings. Besides the human agents—artists, assistants, commissioners and viewers—also public paintings were and are agents in the processes of production and in their environments. The research questions can be grouped into three overlapping series of questions: First, the research investigates the production public paintings: What kinds of public paintings were realised in postwar Finland—how, where, by whom and for what purposes? Second, it discusses the publicness of these paintings: How were public paintings defined, and what aspects characterised them as “public”? What was their relation to public space, public authorities, and audience? And third, it explores the politics of public paintings: the relationship between Finnish public painting, nationalism, and the memory of war. To answer these questions, extensive archival work has been performed, and over 200 public paintings have been documented around Finland. The research material has been studied in a sociological framework and in the context of the political and economic history of Finland, employing critical theories on public space and public art as well as theories on the building of nationalism, commemoration, memory, and forgetting. An important aim of this research was to open up a new field of study and position public painting within Finnish art history, from which it has been conspicuous by its absence. The research indicates that public painting was a significant genre of art in postwar Finland. The process of creating a national genre of public painting participated in the defining of municipal and state art politics in the country, and paintings functioned as vehicles of carrying out the agenda of the commissioning bodies. In the formation of municipal art policies in Finland in the 1950s, public painting connected to the same tendency of democratising art as the founding of public art museums. Public painting commissions also functioned as an arena of competition and a means of support for the artists. Public paintings were judged and commissioned within the realm of political decision-making, and they suggested the values of the decision-making groups, generally conveyed as the values of the society. The participation of official agents in the production allocated a position of official art to the genre. Through the material of this research, postwar public painting is seen as an agent in a society searching for a new identity. The postwar public painting production participated in the creation of the Finnish welfare society as indications of a humane society. It continued a tradition of public art production that had been built on nationalist and art educational ideologies in the late 19th and early 20th century. Postwar public paintings promoted the new national narrative of unification by creating an image of a homogeneous society with a harmonious communal life. The paintings laid out an image of Finnishness that was modern but rooted in the agrarian past, of a society that was based on hard work and provided for its members a good life. Postwar public painting was art with a mission, and it created an image of a society with a mission.

Patterns in space : a regional study of motif in Minoan wall painting

This thesis consists of a quantitative analysis of the regional prevalence of certain artistic motifs as they appear in Minoan wall painting of the Neopalatial period. This will help to establish the relative degree of artistic autonomy exercised by each of the sites included in this study. The results show that the argument for itinerant artists during this time period is a strong one, but the assumption that these travelling artists were being controlled by any one palace-centre is erroneous. Rather, the similarities and differences seen suggest that the choices were predicated either by the specific patrons, or by the function of the associated building or room. Thus, the motifs found within this study should be understood as constituting a cultural identity, with greater or lesser degrees of regional homogeneity, which act as one facet of a number of cultural indicators that can be used to better understand the role of artists and regional dynamics on the island during the Bronze Age.

Painting signage on old Student Union, Chapman College, Orange, California

Painting signage on old Student Union, Chapman College, Orange, California, as part of a campus renewal project in 1973. Originally the manual arts building and bus repair garage for Orange Union High School. Building annex additions through 1975 increased the size to 19,680 sq. ft. Used as a student union by Chapman College. In 1996 the building became the Cecil B. DeMille Hall, housing the Film and TV department.

Genetic Programming for Non-Photorealistic Rendering

This thesis focuses on developing an evolutionary art system using genetic programming. The main goal is to produce new forms of evolutionary art that filter existing images into new non-photorealistic (NPR) styles, by obtaining images that look like traditional media such as watercolor or pencil, as well as brand new effects. The approach permits GP to generate creative forms of NPR results. The GP language is extended with different techniques and methods inspired from NPR research such as colour mixing expressions, image processing filters and painting algorithm. Colour mixing is a major new contribution, as it enables many familiar and innovative NPR effects to arise. Another major innovation is that many GP functions process the canvas (rendered image), while is dynamically changing. Automatic fitness scoring uses aesthetic evaluation models and statistical analysis, and multi-objective fitness evaluation is used. Results showed a variety of NPR effects, as well as new, creative possibilities.