Missale [avec notation en neumes].

Notes marginales : départ d'Antoine Limousin, enfant de chœur à Saint-Maur, en 1678 (26 mars 1678, f. 7v) ; serments du nouvel abbé de Saint-Maur (XVe-XVIe s., f. 8v et XVe s., f. 150) ; « Husson fil. Jeh. Hua » (XVe s., f. 299v).

Una pintura d'Antoni Viladomat i Manalt (1678-1755) a Manresa : l'Assumpta de Santa Maria de l'Alba

This painting with an exceptional iconography of the Assumption of the Virgin with All the Saints, was saved from a altarpiece in the church of Santa Maria de l'Alba in Manresa, which was burnt during the Spanish Civil War. The article attributes this painting to Antoni Viladomat i Manalt (1678-1755), one of the most relevant figures in the Catalan artistic scene in the 18th century, and it dates it to the latter years of his extensive artistic career. An analysis of the work shows that the Catalan painter incorporated some figurative elements that he borrowed from an engraving of the Swiss engraver, Jakob Frey (1681-1752), interpreted from a canvas of the Italian painter Sebastiano Conca (1680-1764). This helps to relate the canvas of the Barcelona painter-based on his previous figurative work with high Roman baroque- to the new proposals of the so-called Roman barrochetto. In addition the study hopes to offer the reader an artistically cultural view of Antoni Viladomat, openly concerned by the novelties that constantly reached Catalonia by means of the engravings

Art, història i ideologia. Programes de les cases i palaus barcelonins al segle XVIII

El fet que la pintura decorativa del darrer quart del Set-cents sigui una de les manifestacions plàstiques més interessants de la producción catalana del moment ha estat el motor impulsor de la nostra dedicació al tema dins el marc del projecte de recerca ACAF/ART. Així, centrarem la nostra ponéncia en els programes decoratius del palaus barcelonins d'aquest període.

Tractats, mètodes i influències externes de la restauració de pintures al segle XIX a Espanya. Un cas concret a la Barcelona de la segona meitat del segle XIX

Lligada a d’altres activitats, com la de l’artista pintor, la del fuster, l’artesà o l’arquitecte, larestauració no ha estat una disciplina ben delimitada que ens permeti seguir la seva progressióal llarg de la història. El posicionament de l’home davant del seu patrimoni cultural i artísticen cada moment històric, i el respecte per les mostres del passat, defi neix de quina formaes conservarà, o no, i també de quina forma s’hi intervindrà. Per fer un recorregut històriccal tenir en compte tots els aspectes que infl uencien en el fet de conservar i en la forma defer-ho: els gustos artístics del moment, l’evolució social i econòmica de la població i també lavessant funcional, ja sigui en el sentit estrictament pràctic on en el valor espiritual i religiós,que han tingut assignats molts objectes de patrimoni.

Tractats, mètodes i influències externes de la restauració de pintures al segle XIX a Espanya. Un cas concret a la Barcelona de la segona meitat del segle XIX

Lligada a d’altres activitats, com la de l’artista pintor, la del fuster, l’artesà o l’arquitecte, larestauració no ha estat una disciplina ben delimitada que ens permeti seguir la seva progressióal llarg de la història. El posicionament de l’home davant del seu patrimoni cultural i artísticen cada moment històric, i el respecte per les mostres del passat, defi neix de quina formaes conservarà, o no, i també de quina forma s’hi intervindrà. Per fer un recorregut històriccal tenir en compte tots els aspectes que infl uencien en el fet de conservar i en la forma defer-ho: els gustos artístics del moment, l’evolució social i econòmica de la població i també lavessant funcional, ja sigui en el sentit estrictament pràctic on en el valor espiritual i religiós,que han tingut assignats molts objectes de patrimoni.

Spray coating technique asa surface treatment for woodcontaining paper grades

The objective of this work was to introduce the emerging non-contacting spray coating process and compare it to the existing coating techniques. Particular emphasis was given to the details of the spraying process of paper coating colour and the base paper requirements set by the new coating method. Spraying technology itself is nothing new, but the atomisation process of paper coating colour is quite unknown to the paper industry. The differences between the rheology of painting and coating colours make it very difficult to utilise the existing information from spray painting research. Based on the trials, some basic conclusion can be made:The results of this study suggest that the Brookfield viscosity of spray coating colour should be as low as possible, presently a 50 mPas level is regarded as an optimum. For the paper quality and coater runnability, the solids level should be as high as possible. However, the graininess of coated paper surface and the nozzle wear limits the maximum solids level to 60 % at the moment. Most likelydue to the low solids and low viscosity of the coating colour the low shear Brookfield viscosity correlates very well with the paper and spray fan qualities. High shear viscosity is also important, but yet less significant than the low shear viscosity. Droplet size should be minimized and besides keeping the brrokfield viscosity low that can be helped by using a surfactant or dispersing agent in the coating colour formula. Increasing the spraying pressure in the nozzle can also reduce the droplet size. The small droplet size also improves the coating coverage, since there is hardly any levelling taking place after the impact with the base paper. Because of the lack of shear forces after the application, the pigment particles do not orientate along the paper surface. Therefore the study indicates that based on the present know-how, no quality improvements can be obtained by the use of platy type of pigments. The other disadvantage of them is the rapid deterioration of the nozzle lifetime. Further research in both coating colour rheology and nozzle design may change this in the future, but so far only round shape pigments, like typically calcium carbonate is, can be used with spray coating. The low water retention characteristics of spray coating, enhanced by the low solids and low viscosity, challenge the base paper absorption properties.Filler level has to be low not to increase the number of small pores, which have a great influence on the absorption properties of the base paper. Hydrophobic sizing reduces this absorption and prevents binder migration efficiently. High surface roughness and especially poor formation of the base paper deteriorate thespray coated paper properties. However, pre-calendering of the base paper does not contribute anything to the finished paper quality, at least at the coating colour solids level below 60 %. When targeting a standard offset LWC grade, spraycoating produces similar quality to film coating, but yet blade coating being on a slightly better level. However, because of the savings in both investment and production costs, spray coating may have an excellent future ahead. The porousnature of the spray coated surface offers an optimum substrate for the coldset printing industry to utilise the potential of high quality papers in their business.

El soporte de tela en la Pintura Europea de los siglos XVI, XVII y XVIII

El objetivo de este trabajo es analizar el origen y consolidación del soporte de lienzo en la pintura europea de los siglos XVI, XVII y XVIII. Identificar las principales fibras que lo componen y realizar una clasificación de los distintos ligamentos empleados por los pintores del momento, con la ayuda de imágenes y fotografías de obras de arte. Así mismo, trataremos de analizar, a través de la bibliografía consultada, cuáles eran los diferentes modelos de bastidores utilizados y definir sus posibles alteraciones. De este modo, podremos ver la gran relevancia que tuvieron los diferentes tipos de telas en el campo de las técnicas artísticas, especialmente desde que se generalizó su uso en los siglos XV y XVI.

Protease-activated receptor 2 signalling promotes dendritic cell antigen transport and T-cell activation in vivo.

Deficiency of protease-activated receptor-2 (PAR2) modulates inflammation in several models of inflammatory and autoimmune disease, although the underlying mechanism(s) are not understood. PAR2 is expressed on endothelial and immune cells, and is implicated in dendritic cell (DC) differentiation. We investigated in vivo the impact of PAR2 activation on DCs and T cells in PAR2 wild-type (WT) and knockout (KO) mice using a specific PAR2 agonist peptide (AP2). PAR2 activation significantly increased the frequency of mature CD11c(high) DCs in draining lymph nodes 24 hr after AP2 administration. Furthermore, these DCs exhibited increased expression of major histocompatibility complex (MHC) class II and CD86. A significant increase in activated (CD44(+) CD62(-)) CD4(+) and CD8(+) T-cell frequencies was also observed in draining lymph nodes 48 hr after AP2 injection. No detectable change in DC or T-cell activation profiles was observed in the spleen. The influence of PAR2 signalling on antigen transport to draining lymph nodes was assessed in the context of delayed-type hypersensitivity. PAR2 WT mice that were sensitized by skin-painting with fluorescein isothiocyanate (FITC) to induce delayed-type hypersensitivity possessed elevated proportion of FITC(+) DCs in draining lymph nodes 24 hr after FITC painting when compared with PAR2 KO mice (0.95% versus 0.47% of total lymph node cells). Collectively, these results demonstrate that PAR2 signalling promotes DC trafficking to the lymph nodes and subsequent T-cell activation, and thus provides an explanation for the pro-inflammatory effect of PAR2 in animal models of inflammation.

Una nueva obra atribuida a Urbano Fos (Arnes, Tarragona, c. 1615-Valencia, 1658)

Urbano Fos fue uno de los mejores representantes del Barroco valenciano. En este estudio atribuimos a su pincel un lienzo inédito de gran calidad. Se trata de una magnífica representación de San Pascual Bailón. Con nuestra investigación hemos demostrado sus filiaciones técnico-artísticas y resaltado aquellos aspectos por los que se popularizó su pintura.

Una Flagelación de Joan Reixach de colección particular. Nuevos documentos y consideraciones sobre el binomio Jacomart-Reixach

La atribución a Joan Reixach de una tabla con la Flagelación, nos ha permitido aportar noticias inéditas en torno a su autor y a los lazos profesionales que pudieron unirle en ocasiones con Jacomart. Una asociación tácita demostrada documentalmente con una nueva noticia fechada en 1449 que explicaría la proximidad estilística y contractual de algunas de sus obras.

Un sant Josep Oriol de l'església parroquial de la Pobla de Segur (Lleida) atribuït a Bonaventura Planella (1772-1844)

Aquest text fa referència a una pintura a l’oli dedicada a sant Josep Oriol, conservada a l’església parroquial de la Pobla de Segur. Arran d’una anàlisi iconogràfica atenta de l’obra, dedicada a un sant beatificat a Barcelona el juny del 1807, un fet que comportà nombroses representacions de la mà dels artistes més notables, apunta la possibilitat, que pogués ser obra de Bonaventura Planella (1772-1844).

'La Manteria'. Pinturas murales de la iglesia de Santo Tomás de Villanueva

La iglesia de Santo Tomás de Villanueva de Zaragoza es lo único que se conserva de lo que fuera el convento de agustinos observantes, llamado popularmente convento de la Mantería por ubicarse en la plaza del mismo nombre. Fué edificada entre 1663 y 1683 bajo el patronazgo del arzobispo de Zaragoza don Francisco Gamboa. Es un edificio barroco construido en ladrillo, con planta de cruz latina, de una sola nave, cubierta en sus tramos y brazos por cúpulas elípticas, siendo semiesférica la del crucero. Lo más destacable del edificio es su decoración mural. En un principio las pinturas cubrían la totalidad de las paredes y bóvedas. Los avatares históricos, desamortización y posterior empleo como almacén, así como el deterioro por efecto de la humedad, han hecho que sólo hayan llegado hasta nosotros las pinturas de las cúpulas. La ejecución de la pintura se debe al pintor de cámara de Carlos II, Claudio Coello, ayudado por su discípulo Sebastián Muñoz y por una serie de pintores locales. Claudio Coello trabajó entre 1683 y 1684, prolongándose las tareas hasta 1686.

Caracterizacion quimica de la vidriera del roseton del Duomo de Siena (Italia, 1288-1289)

Se han caracterizado químicamente una colección de vidrios arquitectónicos coloreados originales del rosetón del Duomo (catedral) de Siena, Italia, realizados bajo diseño del artista Duccio di Buoninsegna en 1288-89. Esta comunicación expone los resultados obtenidos mediante el empleo de microsonda electrónica de Castaing (mayoritarios) y espectrometría de masas con fuente de plasma acoplado inductivamente (ICP-MS, elementos en traza) en vidrios de varios colores (incoloro, verde oscuro, verde oliva, amarillo, violeta, rosa, azul oscuro, azul celeste, rojo plaqué). Se trata de vidrios sódico-cálcicos (valores en peso alrededor del 13-14 % de Na2O, 56-64 % SiO2, 4% MgO, 9-10 % CaO, 2,5-4 K2O) de tradición por tanto mediterránea. Un resultado semejante se encontró precedentemente para vidrios realizados a lo largo del siglo XIV, cuanto menos unos 40 años después (vidriera de la iglesia del Monestir de Pedralbes, Barcelona). En general, el estado de conservación de estos vidrios es bueno, excepto por lo que se refiere a la adherencia de las grisallas al vidrio base.

Frente al reto de la investigación artística. Algunas consideraciones entorno a la creación y su contexto.

Este artículo propone una reflexión en torno a la investigación artística centrándose en los trabajos que se desarrollan en los talleres de creación. Pretende mostrar cómo la continuidad de estos trabajos puede vertebrar y configurar los estudios de máster, doctorado y, por consiguiente, la investigación en Bellas Artes. Se toma en consideración la figura del profesor-artista para analizar sus problemáticas y para valorar su tarea en los talleres y en la solución de las necesidades del estudiante. Para terminar, se plantean distintas vías en las que la elaboración de la obra de arte es reconocida como un modo de investigación de pleno derecho.

Exploring transparent approaches to the authentication of signatures on artwork

This thesis is composed of three main parts. The first consists of a state of the art of the different notions that are significant to understand the elements surrounding art authentication in general, and of signatures in particular, and that the author deemed them necessary to fully grasp the microcosm that makes up this particular market. Individuals with a solid knowledge of the art and expertise area, and that are particularly interested in the present study are advised to advance directly to the fourth Chapter. The expertise of the signature, it's reliability, and the factors impacting the expert's conclusions are brought forward. The final aim of the state of the art is to offer a general list of recommendations based on an exhaustive review of the current literature and given in light of all of the exposed issues. These guidelines are specifically formulated for the expertise of signatures on paintings, but can also be applied to wider themes in the area of signature examination. The second part of this thesis covers the experimental stages of the research. It consists of the method developed to authenticate painted signatures on works of art. This method is articulated around several main objectives: defining measurable features on painted signatures and defining their relevance in order to establish the separation capacities between groups of authentic and simulated signatures. For the first time, numerical analyses of painted signatures have been obtained and are used to attribute their authorship to given artists. An in-depth discussion of the developed method constitutes the third and final part of this study. It evaluates the opportunities and constraints when applied by signature and handwriting experts in forensic science. A brief summary covering each chapter allows a rapid overview of the study and summarizes the aims and main themes of each chapter. These outlines presented below summarize the aims and main themes addressed in each chapter. Part I - Theory Chapter 1 exposes legal aspects surrounding the authentication of works of art by art experts. The definition of what is legally authentic, the quality and types of the experts that can express an opinion concerning the authorship of a specific painting, and standard deontological rules are addressed. The practices applied in Switzerland will be specifically dealt with. Chapter 2 presents an overview of the different scientific analyses that can be carried out on paintings (from the canvas to the top coat). Scientific examinations of works of art have become more common, as more and more museums equip themselves with laboratories, thus an understanding of their role in the art authentication process is vital. The added value that a signature expertise can have in comparison to other scientific techniques is also addressed. Chapter 3 provides a historical overview of the signature on paintings throughout the ages, in order to offer the reader an understanding of the origin of the signature on works of art and its evolution through time. An explanation is given on the transitions that the signature went through from the 15th century on and how it progressively took on its widely known modern form. Both this chapter and chapter 2 are presented to show the reader the rich sources of information that can be provided to describe a painting, and how the signature is one of these sources. Chapter 4 focuses on the different hypotheses the FHE must keep in mind when examining a painted signature, since a number of scenarios can be encountered when dealing with signatures on works of art. The different forms of signatures, as well as the variables that may have an influence on the painted signatures, are also presented. Finally, the current state of knowledge of the examination procedure of signatures in forensic science in general, and in particular for painted signatures, is exposed. The state of the art of the assessment of the authorship of signatures on paintings is established and discussed in light of the theoretical facets mentioned previously. Chapter 5 considers key elements that can have an impact on the FHE during his or her2 examinations. This includes a discussion on elements such as the skill, confidence and competence of an expert, as well as the potential bias effects he might encounter. A better understanding of elements surrounding handwriting examinations, to, in turn, better communicate results and conclusions to an audience, is also undertaken. Chapter 6 reviews the judicial acceptance of signature analysis in Courts and closes the state of the art section of this thesis. This chapter brings forward the current issues pertaining to the appreciation of this expertise by the non- forensic community, and will discuss the increasing number of claims of the unscientific nature of signature authentication. The necessity to aim for more scientific, comprehensive and transparent authentication methods will be discussed. The theoretical part of this thesis is concluded by a series of general recommendations for forensic handwriting examiners in forensic science, specifically for the expertise of signatures on paintings. These recommendations stem from the exhaustive review of the literature and the issues exposed from this review and can also be applied to the traditional examination of signatures (on paper). Part II - Experimental part Chapter 7 describes and defines the sampling, extraction and analysis phases of the research. The sampling stage of artists' signatures and their respective simulations are presented, followed by the steps that were undertaken to extract and determine sets of characteristics, specific to each artist, that describe their signatures. The method is based on a study of five artists and a group of individuals acting as forgers for the sake of this study. Finally, the analysis procedure of these characteristics to assess of the strength of evidence, and based on a Bayesian reasoning process, is presented. Chapter 8 outlines the results concerning both the artist and simulation corpuses after their optical observation, followed by the results of the analysis phase of the research. The feature selection process and the likelihood ratio evaluation are the main themes that are addressed. The discrimination power between both corpuses is illustrated through multivariate analysis. Part III - Discussion Chapter 9 discusses the materials, the methods, and the obtained results of the research. The opportunities, but also constraints and limits, of the developed method are exposed. Future works that can be carried out subsequent to the results of the study are also presented. Chapter 10, the last chapter of this thesis, proposes a strategy to incorporate the model developed in the last chapters into the traditional signature expertise procedures. Thus, the strength of this expertise is discussed in conjunction with the traditional conclusions reached by forensic handwriting examiners in forensic science. Finally, this chapter summarizes and advocates a list of formal recommendations for good practices for handwriting examiners. In conclusion, the research highlights the interdisciplinary aspect of signature examination of signatures on paintings. The current state of knowledge of the judicial quality of art experts, along with the scientific and historical analysis of paintings and signatures, are overviewed to give the reader a feel of the different factors that have an impact on this particular subject. The temperamental acceptance of forensic signature analysis in court, also presented in the state of the art, explicitly demonstrates the necessity of a better recognition of signature expertise by courts of law. This general acceptance, however, can only be achieved by producing high quality results through a well-defined examination process. This research offers an original approach to attribute a painted signature to a certain artist: for the first time, a probabilistic model used to measure the discriminative potential between authentic and simulated painted signatures is studied. The opportunities and limits that lie within this method of scientifically establishing the authorship of signatures on works of art are thus presented. In addition, the second key contribution of this work proposes a procedure to combine the developed method into that used traditionally signature experts in forensic science. Such an implementation into the holistic traditional signature examination casework is a large step providing the forensic, judicial and art communities with a solid-based reasoning framework for the examination of signatures on paintings. The framework and preliminary results associated with this research have been published (Montani, 2009a) and presented at international forensic science conferences (Montani, 2009b; Montani, 2012).