Les pintures murals negres del monestir de Pedralbes: problemes de conservació-restauració causats per l’envelliment de l’acetat de polivinil

Aquesta tesi s’inicia com un treball de recerca i posteriorment passa a formar part delprojecte de recerca BHA2002-02411 fi nançat pel Ministerio de Ciencia y Tecnología, dins elPlan Nacional de I+D+I (2000-2003).La idea principal, però, s’origina a partir d’un encàrrec professional del Museu-Monestir dePedralbes i del Museu d’Història de la Ciutat l’any 2000.Les pintures murals negres (Figura 1) són una de les obres menys vistoses, de les que tenenmenys protagonisme, d’entre les que integren la col·lecció del Museu-Monestir de Pedralbes.No semblen, a priori, l’obra més interessant des del punt de vista d’un encàrrec professionalper a un conservador-restaurador. Però el poc que es coneix de les pintures negres i la sevararesa (es desconeixen altres pintures similars que s’hagin pogut conservar), així com lespatologies derivades del seu arrencament i traspàs l’any 1974, aconsellaven aprofundir en el seu estudi, que, mica en mica, va acabar resultant absorbent.

Le Linceul: une exploration par la bande dessinée des potentialités narratives de la (re)production de l'image christique

L'article aborde la façon dont la série BD Le Linceul (2003-2006) s'approprie, dans le cadre de la fiction et du récit d'action grand public, le contexte de la réception de l'image acheiropoïète du Saint Suaire, intégrant la référence à des enjeux théologiques et scientifiques au sein d'une histoire à suspense située à différentes époques et dont les nombreux rebondissements s'articulent autour d'une croyance progressive dans le statut sacré de la vera icon. L'examen détaillé de certains choix narratifs et graphiques de l'auteur Laurent Bidot permet de dégager les modalités d'une exploitation contemporaine et (a priori) laïcisée de la figure de Jésus qui, à l'ère des technologies numériques, conserve sa part de mystère. Dans une perspective narratologique, l'interprétation procède principalement de constats liés à l'organisation énonciative de cette production bédéique.

Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

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).

Managing FOSS during development: preventive and curative approaches

Today, most software development teams use free and open source software (FOSS) components, because it increases the speed and the quality of the development. Many open source components are the de facto standard of their category. However, FOSS has licensing restrictions, and corporate organizations usually maintain a list of allowed and forbidden licenses. But how do you enforce this policy? How can you make sure that ALL files in your source depot, either belong to you, or fit your licensing policy? A first, preventive approach is to train and increase the awareness of the development team to these licensing issues. Depending on the size of the team, it may be costly but necessary. However, this does not ensure that a single individual will not commit a forbidden icon or library, and jeopardize the legal status of the whole release... if not the company, since software is becoming more and more a critical asset. Another approach is to verify what is included in the source repository, and check whether it belongs to the open-source world. This can be done on-the-fly, whenever a new file is added into the source depot. It can also be part of the release process, as a verification step before publishing the release. In both cases, there are some tools and databases to automate the detection process. We will present the various options regarding FOSS detection, how this process can be integrated in the "software factory", and how the results can be displayed in a usable and efficient way.

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).