A study of the microstructure and condition of thin sheets of painting support ivory using SEM and ESEM

This paper outlines a study of the microstructure of thin sheets of ivory used as a painting support for portrait miniatures. Warping of the ivory support is one of the main problems commonly found in portrait miniatures from the late eighteenth century and early nineteenth century. Portrait miniatures from this period are painted on very thin sheets of ivory that are often only 0.2 mm in thickness. Warping can lead to cracking of the ivory and can also accentuate flaking of the paint layer. The problem of warping in ivory has thus been of long-term interest to conservators who deal with portrait miniatures, including those at the Victoria and Albert (V&A) Museum. The causes of warping are complex. However, it should be noted that artists normally stuck the thin ivory sheets onto paper or card before commencing the painting. The possible causes of warping therefore are thought to relate to the differential reactions of the ivory/adhesive/paper or card layers to changes in relative humidity (RH). It is well known that ivory is hygroscopic and anisotropic.1 However, only a few scientific studies have been carried out related to this subject and systematic analyses of the morphological and microstructural changes due to changes in RH or moisture in such thin sheets of ivory have yet to be investigated.

The perfect death - Horizons ( title of painting Horizon )

The exhibition investigates the unrepresentable and considers the distinct ways invisible forces can be given visual manifestation through painted images.

Chromosome homologies of the highly rearranged karyotypes of four Akodon species (Rodentia, Cricetidae) resolved by reciprocal chromosome painting: the evolution of the lowest diploid number in rodents

Traditionally comparative cytogenetic studies are based mainly on banding patterns. Nevertheless, when dealing with species with highly rearranged genomes, as in Akodon species, or with other highly divergent species, cytogenetic comparisons of banding patterns prove inadequate. Hence, comparative chromosome painting has become the method of choice for genome comparisons at the cytogenetic level since it allows complete chromosome probes of a species to be hybridized in situ onto chromosomes of other species, detecting homologous genomic regions between them. In the present study, we have explored the highly rearranged complements of the Akodon species using reciprocal chromosome painting through species-specific chromosome probes obtained by chromosome sorting. The results revealed complete homology among the complements of Akodon sp. n. (ASP), 2n = 10; Akodon cursor (ACU), 2n = 15; Akodon montensis (AMO), 2n = 24; and Akodon paranaensis (APA), 2n = 44, and extensive chromosome rearrangements have been detected within the species with high precision. Robertsonian and tandem rearrangements, pericentric inversions and/or centromere repositioning, paracentric inversion, translocations, insertions, and breakpoints, where chromosomal rearrangements, seen to be favorable, were observed. Chromosome painting using the APA set of 21 autosomes plus X and Y revealed eight syntenic segments that are shared with A. montensis, A. cursor, and ASP, and one syntenic segment shared by A. montensis and A. cursor plus five exclusive chromosome associations for A. cursor and six for ASP chromosome X, except for the heterochromatin region of ASP X, and even chromosome Y shared complete homology among the species. These data indicate that all those closely related species have experienced a recent extensive process of autosomal rearrangement in which, except for ASP, there is still complete conservation of sex chromosomes homologies.

Painting Students at Work

Two students learning painting at the New York Trade School are shown here working on decorative designs. Black and white photograph.

Sign Painting Department

In this section of the Sign Painting Department several students are shown working on projects. Decorating the walls are numerous signs, likely painted by students in the department. Black and white photograph.

Sign Painting Students at Work

A classroom of students in the Sign Painting Department at the New York Students is shown working on a variety of signs. Black and white photograph.

Sign Painting Student Working Outside

A Sign Painting student from the New York Trade School is pictured working outside on scaffolding on an AMOCO sign. Black and white photograph.

Section of Sign Painting Department

A section of the Sign Painting Department is shown with students working at tables. A variety of signs can be seen hanging around the room including one for a Holiday Inn, an American Meat Market, and one for a Laundrette. Black and white photograph with slight damage from a tear.

Painting equality : female artists as cultural entrepreneurial marketers

Purpose – There is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the traditional view of entrepreneurship to incorporate a feminist theory of cultural entrepreneurship by considering the role of two female artists.
Design/methodology/approach – Using calls for historical research and new methods of enquiry in marketing, this paper traces early female artists and applies modern entrepreneurial theory to their marketing methods to identify their innovation, adaptability to change and planned marketing approach.
Findings – The paper suggests that entrepreneurial marketing is fused with the artists’ persona resulting in their celebrated status being widely recognised. It contributes an important fresh body of knowledge to the wider entrepreneurship debate by offering a new model of cultural entrepreneurial marketing. The three concepts of innovation, adaptability and marketing approach have not previously been applied to link women artists as entrepreneurs, however, this article argues that there is plenty of evidence to do so.
Research limitations/implications – While these artists are Australian (which could be seen to be a limitation), the art market is indeed international. In this respect, these artists join a longer international history as producers and consumers involved in entrepreneurial organisations from early days.
Originality/value – The artists’ significance falls within the context of emerging modernism, feminism and cultural identity during the 1920s and 1930s in Sydney, Australia. It is combined with and explains the actions and the success of two female artists’ unusual marketing approach. It is of value to readers interested in historical context regarding equality in the visual arts.

Mural Painting

For my freshman Jan Plan at Colby I painted a mural in Runnals Union illustrating a William Blake poem. This effort began a four year painting project which I pursued my sophomore and junior years by finishing the Hall of the Machines in Runnals and by commencing the Paper Wall in Roberts. As a Senior Scholar, I've continued my undertaking by painting eleven more panels. Eight of these are in the Paper Wall and the other three are in the Spa in Miller Library. In my wallpainting up until this year my major interest has been in a strong two-dimentional design created by color juxtaposition. Over these two semesters I've developed a greater concern with the role of color value contrasts in achieving a sense of three-dimensional space. As one views my paintings in chronological order, he can see that gradually colors become less intense, value contrasts more effective, and subject matter becomes based on observation rather than imagination. Please judge my achievement solely on observation of the walls in these three rooms as this paper is only a very brief catalogue of works and the slides are not the best reproductions.

Deborah Walker : recent painting

Artworks exhibited : Life 2008 - BKK 2008 - The Oracle 2008 - The Revolution 2008 - The Little Dog 2008 - Modern 2008 - The Unifier 2008 - Love 2008 - Mother 2008 - Shiva 2008 - Homage 2008 - The Beauty 2008 - Apollo 2008 - Troy 2008 - Suvarnabhumi (the plane) 2008 - Uncle Basil 2008 - The Daughter 2008 - Gods of War 2008 - The Trojans 2008 - Le Grand pere 2008 - Albert -  I Remember The Beach 2007 - I Remember The Beach II - My Cosmic Lady 2008 - On The Avenue - Space Pervades a Jar Drawings : Cyberman - Minatour - Fishlady - Italy - Kaspar - Madonna - Red Vessel - Ganesa - Cowboys - Sun - Fire Engine - Kneeling Woman - Blowing Bubbles - Bridge and Horse and Cloud - Kasper Hauser - Eyeball and Watering Can - Red Head - Bombay - Blue Eyes and monkey God - Blue Girl With Buddha

Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.