Francoisite-(Ce), a new mineral species from La Creusaz uranium deposit (Valais, Switzerland) and from Radium Ridge (Flinders Ranges, South Australia): Description and genesis

The new mineral francoisite-(Ce), (Ce,Nd,Ca)[(UO(2))(3)O(OH)(PO(4))(2)]center dot 6H(2)O is the Ce-analog of francoisite-(Nd). It has been discovered simultaneously at the La Creusaz uranium deposit near Les Marecottes in Valais, Switzerland, and at the Number 2 uranium Workings, Radium Ridge near Mt. Painter, Arkaroola area, Northern Flinders Ranges in South Australia. Francoisite-(Ce) is a uranyl-bearing supergene mineral that results from the alteration under oxidative conditions of REE- and U(4+)-bearing hypogene minerals: allanite-(Ce), monazite-(Ce), +/- uraninite at Les Marecottes; monazite-(Ce), ishikawaite-samarskite, and an unknown primary U-mineral at Radium Ridge. The REE composition of francoisite-(Ce) results from a short aqueous transport of REE leached out of primary minerals [most likely monazite-(Ce) at Radium Ridge and allanite-(Ce) at La Creusaz], with fractionation among REE resulting mainly from aqueous transport, with only limited Ce loss due to oxidation to Ce(4+) during transport.

El pintor Andreu Bosch Canals i la seva obra

Les crítiques d'art publicades en els principals diaris barcelonins entre el 1919 i el 1960 situen el pintor Bosch Canals com un dels millors paisatgistes de l'època.

Espais femenins en l'obra de Paul Gauguin

La societat actual figura arrelada a un discurs sobre el femení, que desenvolupat durant el segle XVIII s'ha anat obrint camí insistentment a través de les imatges. A través de l'obra del pintor Paul Gauguin aquest treball presten mostrar que el confinament de la dona a l'espai domèstic i la pretesa relació d'aquesta amb altres elements és fruit de la mateixa ideologia que confina a la dona a l'espai privat i a l'home a l'espai públic.

L'obra d'Antoni Viladomat a la Capella dels Dolors de Mataró

Amb aquest treball de final de carrera vull divulgar en format hipertextual el conjunt dels Dolors de Santa Maria de Mataró, que és segurament el conjunt de pintures més complet i més ben conservat del Barroc català. Totes són obra d'Antoni Viladomat i Manalt, el pintor barceloní més destacat de la seva època.

El pintor Andreu Bosch Canals i la seva obra

L'objectiu d'aquest treball no és altre que el de donar a conèixer l'obra del pintor Andreu Bosch Canals entre aquella gent que gaudeix amb la pintura en general i el paisatgisme en particular, i també, perquè no?, entre els experts i marxants en Art.

Bladder cancer documentation of causes: multilingual questionnaire, 'bladder cancer doc'

There is a considerable discrepancy between the number of identified occupational-related bladder cancer cases and the estimated numbers particularly in emerging nations or less developed countries where suitable approaches are less or even not known. Thus, within a project of the World Health Organisation Collaborating Centres in Occupational Health, a questionnaire of the Dortmund group, applied in different studies, was translated into more than 30 languages (Afrikaans, Arabic, Bengali, Chinese, Czech, Dutch, English, Finnish, French, Georgian, German, Greek, Hindi, Hungarian, Indonesian, Italian, Japanese, Kannada, Kazakh, Kirghiz, Korean, Latvian, Malay, Persian (Farsi), Polish, Portuguese, Portuguese/Brazilian, Romanian, Russian, Serbo-Croatian, Slovak, Spanish, Spanish/Mexican, Tamil, Telugu, Thai, Turkish, Urdu, Vietnamese). The bipartite questionnaire asks for relevant medical information in the physician's part and for the occupational history since leaving school in the patient's part. Furthermore, this questionnaire is asking for intensity and frequency of certain occupational and non-occupational risk factors. The literature regarding occupations like painter, hairdresser or miner and exposures like carcinogenic aromatic amines, azo dyes, or combustion products is highlighted. The questionnaire is available on www.ifado.de/BladderCancerDoc.

Revision of the New World bee fly genus Heterostylum Macquart (Diptera, Bombyliidae, Bombyliinae)

The genus Heterostylum Macquart and five Neotropical species (H. ferrugineum (Fabricius, 1805), H. hirsutum (Thunberg, 1827), H. rufum (Olivier, 1789), H. haemorrhoicum (Loew, 1863) and H. pallipes Bigot, 1892) are redescribed. The other species, recently redescribed or described are only diagnosed, except for H. deani Painter, 1930, whose spermathecae are described and illustrated for the first time. The main characters of the external morphology were photographed and the male genitalia and female spermathecae illustrated. An identification key to all included species is also presented.

The Sensation of colour

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.

The sandstone-hosted Beverley uranium Deposit, Lake Frome Basin, South Australia: Mineralogy, geochemistry, and a time-constrained model for its genesis

The sandstone-hosted Beverley uranium deposit is located in terrestrial sediments in the Lake Frome basin in the North Flinders Ranges, South Australia. The deposit is 13 km from the U-rich Mesoproterozoic basement of the Mount Painter inlier, which is being uplifted 100 to 200 m above the basin by neotectonic activity that probably initiated in the early Pliocene. The mineralization was deposited mainly in organic matter-poor Miocene lacustrine sands and partly in the underlying reductive strata comprising organic matter-rich clays and silts. The bulk of the mineralization consists of coffinite and/or uraninite nodules, growing around Co-rich pyrite with an S isotope composition (delta S-34 = 1.0 +/- 0.3 parts per thousand), suggestive of an early diagenetic lacustrine origin. In contrast, authigenic sulfides in the bulk of the sediments have a negative S isotope signature (delta S-34 ranges from -26.2 to -35.5 parts per thousand), indicative of an origin via bacterially mediated sulfate reduction. Minor amounts of Zn-bearing native copper and native lead also support the presence of specific, reducing microenvironments in the ore zone. Small amounts of carnotite are associated with the coffinite ore and also occur beneath a paleosoil horizon overlying the uranium deposit. Provenance studies suggest that the host Miocene sediments were derived from the reworking of Early Cretaceous glacial or glaciolacustrine sediments ultimately derived from Paleozoic terranes in eastern Australia. In contrast, the overlying Pliocene strata were in part derived from the Mesoproterozoic basement inlier. Mass-balance and geochemical data confirm that granites of the Mount Painter domain were the ultimate source of U and BEE at Beverley. U-Pb dating of coffinite and carnotite suggest that the U mineralization is Pliocene (6.7-3.4 Ma). The suitability of the Beverley deposit for efficient mining via in situ leaching, and hence its economic value, are determined by the nature of the hosting sand unit, which provides the permeability and low reactivity required for high fluid flow and low chemical consumption. These favorable sedimentologic and geometrical features result from a complex conjunction of factors, including deposition in lacustrine shore environment, reworking of angular sands of glacial origin, deep Pliocene weathering, and proximity to an active fault exposing extremely U rich rocks.

Pieces of Iowa’s Past, April 11, 2012

Pieces of Iowa’s Past, published by the Iowa State Capitol Tour Guides weekly during the legislative session, features historical facts about Iowa, the Capitol, and the early workings of state government. All historical publications are reproduced here with the actual spelling, punctuation, and grammar retained. April 11, 2012 THIS WEEK: Iowa State Capitol Mosaics BACKGROUND: Frederick Dielman Born in Germany in 1847, Frederick Dielman was an illustrator and figure painter. Dielman designed the six mosaic panels in the Iowa State Capitol along the east wall on the third floor. The mosaics were actually made in Venice, Italy, and shipped to the Capitol. The mosaics in the Capitol represent the three branches of government, education, defense, and charities.

Les natures mortes de Paul Gauguin: une production picturale méconnue

Gauguin's first attempts at still-life painting, around 1875, followed the Dutch tradition, influenced mainly by Manet's palette. But he did take occasional liberties in depicting flowers with more fluid colour and dynamic backgrounds. From 1879 his style shows the influence of the Impressionists: Pissarro in the landscapes and Degas in the composition of his still-lifes. He was also open to the new trends which were developing among artists in Paris and applied them in his paintings, using still-lifes as his main means for testing them. He did not escape the contemporary fascination with Japonism, and even experimented briefly with Pointillism in Still Life with Horse's Head. His stays in Britain between 1886 and 1890 correspond to an extremely rich and innovative period for him, in which still-lifes served for increasing experimentation. "Fête Gloanec" and Three Puppies reflect his preoccupations: rejection of perspective, use of areas of flat colour, and mixed styles. These pictures amount to an aesthetic manifesto; many of them are also imbued with strong symbolism, as in the Portrait of Meyer de Haan, which is a melancholic reflection on the fall of man. In Still-Life with Japanese Print, frail blue flowers seem to come out of the head of the artist-martyr, a pure product of the painter's "restless imagination". Thus Gauguin showed that art is an "abstraction" through a genre which was reputed to lend itself with difficulty to anything other than mimesis. Although he moved away from still-life after 1890, Gauguin is one of the first artists to radically renew its role and the status of still-life at the end of the 19th century, well before the Fauvists and Cubists.

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.

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

Un nou fragment del sepulcre de Ramon Folc VI de Cardona del monestir de Poblet

En el present article donem a conèixer un fragment del sepulcre de Ramon Folc VI de Cardona (†1320), conegut com el Prohom Vinculador, que es troba al braç meridional del transsepte de l’església del monestir de Poblet. El fragment fou subhastat a Barcelona el març del 2008 i fou adquirit per la Generalitat de Catalunya, que el diposità al Museu de Lleida: diocesà i comarcal. La peça sortia a la venda amb un possible origen pobletana procedent de la tradició antiquària, ja que havia estat propietat del pintor i il·lustrador modernista Alexandre de Riquer (1856-1920), de qui sabem que va extreure materials del monestir, a la vegada que és coneguda la seva faceta de col·leccionista i marxant d’art i antiguitats. Finalment, aquesta procedència s’ha pogut corroborar en descobrir-se que el fragment subhastat era un dels membra disjecta de l’esmentat sepulcre. Avui el fragment es troba pendent de ser restituït al Monestir de Poblet.

Addenda a la biografia i l'obra del pintor Joan Arnau Moret (1603-1693)

The present article treats of the painter Joan Arnau Moret, catalan painter of the 17th century. Aspects treat each other as the order of the great picture preserved in the cathedral of Barcelona with the iconography The de live ry o f the ke ys of the city of Barcelona to the Immaculate, the biographical news it extracted of the process of canonization of santa Maria of Cervelló or the professional relation that Joan Arnau joined with the prince Joan Josep d’Àustria newly finished the Segadors war (The Reapers’ War). Of them the study also announces a work – the Saint Cathe rine o f Ale xandria of the chapel of Saint Catherine of the cathedral of Girona – proposes to attribute four paintings more – the paintings of the altarpiece of The Saints fo ur Martyrs of the cathedral of Girona – and thinks about the controversial paintings of the altarpiece of the Castle of Vilassar and of the monastery of Sant Joan of the Abadesses. Finally, by means of the stylistic reading of the new works, which the author considers of the best of his catalogue, one tries to demonstrate that thesources of your figurative culture and stylistic are in the painting of Madrid of the first decades of the 17th century