Occupational exposure to paint solvents and particulate material in car repair shops

Aims: We evaluated solvents and total particulates exposures in auto body repair shops together with a search of painter's related complaints. Methods: 26 painters exposures were evaluated by pumped personal sampling; solvents were retained in charcoal sorbent tubes and the particulates in PVC filters. Painter's personal habits and their work characteristics were obtained through a questionnaire, applied in a private interview. For the symptoms the Q16 questionnaire was used, added of questions about complaints during the painting. Results: High exposures were detected during spray painting. For solvents, the TLV-STEL adjusted for the mixtures was surpassed in six evaluations. However, as repaint is a short-term operation, it makes the average concentrations weighed for the work shift lower than the TLV-TWA adjusted for the mixtures. Total particulate concentrations had surpassed the TLV-TWA in four of the evaluations. Symptoms frequency in the Q16 questionnaire was higher for painters than for the controls (Mann-Whitney test U=193; p=0.008), and they showed positive correlations with the age (Spearman r=0.354, t=1.85, p=0.076), the number of years in the profession (Spearman r=0.433, t=2.35, p=0.027) and the alcoholic beverage consumption (Spearman r=0.457, t=2.516, p=0.019). Conclusions: The painting work done at car repair shops can result in high solvent and particulate exposures, although they are short-term operations. Their acute and chronic effects for the painters do not have been clearly evidenced in the present study, continuing deserving multidisciplinary attention.

A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Desenhos setecentistas na Sé de Belém

Analisando um nicho e desenhos ao seu redor encontrados na restauração, concluída no ano de 2009, da Catedral de Belém (1748-1782), o artigo se ocupa das relações de trabalho artístico na região Norte durante o período colonial. O anonimato das profissões menos valorizadas, como entalhadores, pintores e escultores, exercidas por índios, negros e mestiços, contrasta com a documentação abundante reservada aos grandes nomes do período, a quem, de maneira genérica, é atribuída a autoria das obras. O artigo acompanha a trajetória do arquiteto régio Antonio Landi (1713-1791) e, através das obras dessa igreja, observa as mudanças técnicas e sociais do período de sua construção.

Verificação da relação entre proporção áurea e estética facial, antes e depois do tratamento ortodôntico, utilizando radiografias cefalométricas laterais e fotograficas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Retratos da Espanha em Os fantasmas de Goya

1792, Madri. After years of inactivity, the Spanish Inquisition is born again with the mission of containing the laic winds that blow from the revolutionary France. Inês Bilbatúa, a rich merchant’s daugther, is victim of the inquisitorial machinery which tortures and violates her, through one of their abetters, the Dominican monk Lorenzo. Before being arrested, the young lady had served as model for the painter Francisco of Goya, who had also portrayed the monk Lorenzo. The Aragonese painter’s figure serves as narrative conductor of a history that narrates the young Inês’ via crucis and, at the same time, it recreates the historical scenery of the Napoleonic invasion (1808), through a basic element, the painting. Our work intends to analyze the relationships among movie, painting and history present in “Goya’s ghosts” (2006), of the Czech director Milos Forman (1932) - whose script was adapted to a homonymous book in 2007 -, a movie that is based on the artistic production of Francisco of Goya y Lucientes (1746 -1828), official painter of Carlos’ IV (1788 -1808) court and the most lucid columnist of his time, that knew how to capture in his works the religious fanaticism, the populist fervour, the governor’s hypocrisy and the horror and the violence of the war.

Moda e literatura: a poética do vestuário em Macedo e Alencar

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Bauhaus: conjuntura política e trajetórias

The Bauhaus began its activities in 1919, in Weimar - Germany, under the direction of architect Walter Gropius, as an association of craftsmen without distinction. For his inclusive approach, its professors were many artists, architects and craftsmen from different ideals. Thus were brought together painters, sculptors, decorators, architects and other professionals from many different locations. With their existence tied to political events of the interwar period, this school has several limitations and had to move its headquarters several times. The aim of this paper is to report briefly the main events in the short existence of this school forerunner of contemporary design.

O uso místico da jóia: amuletos de proteção infantil no século XVII

Since the beginning of time man has used body ornaments, often-simple element of decoration, passing by the object ritualistic and religious icon, also as a symbol to the demonstration of status and power. Many of these objects have survived to today, but the vast majority is lost in time or was dismantled to reuse the material in new jewelry. The history of jewelry uses the pieces that have survived intact, documents and images of those jewels. This work uses of Visual Arts, more specifically the portrait art of, to analyze the mystical amulets of child`s protection jewel in works of painters Juan Pantoja dela Cruz and Diego Velásquez.

Pierre-Auguste Renoir (1841-1919) and rheumatoid arthritis

Pierre-Auguste Renoir (1841-1919), one of the world's most celebrated impressionist painters, suffered from rheumatoid arthritis for most of his life. His symptoms developed when he was in his 50s and they became aggressive at about the age of 60 years that led to almost complete disability when he was 70 years old. Although the deformities he suffered because of the rheumatoid arthritis were disabling, Renoir never stopped painting nor decreased the quality of his work. The transition between styles adopted by the painter (Impressionist, Dry and Pearly periods) bear no relationship to the stages of flare-ups or the establishment of joint deformities due to rheumatoid arthritis. His work shows aspects of the body's ability to overcome pain and physical limitation.

Simultaneous Quantification of Lycopene, beta-Carotene, Retinol and alpha-Tocopherol in Plasma after a Simple Extraction Procedure: Stability Study and Application to Human Volunteers

A method for the simultaneous quantification of lycopene, beta-carotene, retinol and alpha-tocopherol by high-performance liquid chromatography (HPLC) with Vis/fluorescence detection with isocratic elution was optimized and validated. The method consists of a rapid and simple liquid-liquid extraction procedure and a posterior quantification of extracted supernatants by HPLC. Aliquots of plasma were stored at -20 degrees C for three months for stability study. The methodology was applied to samples from painters and individuals not exposed to paints (n = 75). The assay was linear for all vitamins (r > 0.99). Intra-and inter-run precisions were obtained with coefficient of variation smaller than 5%. The accuracies ranged from 0.29 to -5.80% and recoveries between 92.73 and 101.97%. Plasma samples and extracted supernatants were stable for 60 days at -20 degrees C. A significant decrease of lycopene, beta-carotene and retinol concentrations in plasma from exposed individuals compared to non-exposed individuals (p < 0.05) was observed. The method is simple, reproducible, precise, accurate and sensitive, and can be routinely utilized in clinical laboratories.

Simultaneous quantification of lycopene, β-carotene, retinol and α -tocopherol in plasma after a simple extraction procedure: stability study and application to human volunteers

A method for the simultaneous quantification of lycopene, β-carotene, retinol and α-tocopherol by high-performance liquid chromatography (HPLC) with Vis/fluorescence detection with isocratic elution was optimized and validated. The method consists of a rapid and simple liquid-liquid extraction procedure and a posterior quantification of extracted supernatants by HPLC. Aliquots of plasma were stored at -20°C for three months for stability study. The methodology was applied to samples from painters and individuals not exposed to paints (n = 75). The assay was linear for all vitamins (r > 0.99). Intra- and inter-run precisions were obtained with coefficient of variation smaller than 5%. The accuracies ranged from 0.29 to -5.80% and recoveries between 92.73 and 101.97%. Plasma samples and extracted supernatants were stable for 60 days at -20°C. A significant decrease of lycopene, β-carotene and retinol concentrations in plasma from exposed individuals compared to non-exposed individuals (p < 0.05) was observed. The method is simple, reproducible, precise, accurate and sensitive, and can be routinely utilized in clinical laboratories.

Paul Flandrin (1811-1902), un nuovo sguardo sul paesaggio dell'Ottocento

Questa ricerca ha l’obiettivo di dare nuovi contributi alla conoscenza della pittura di paesaggio francese nell’Ottocento attraverso lo studio dell’opera di Paul Flandrin (1811-1902). Flandrin si colloca al crocevia di esperienze fondamentali nella ricerca artistica di metà Ottocento: l’eredità di Camille Corot, l’insegnamento di Jean-Auguste Dominique Ingres, la pratica del lavoro en plein air, la tradizione del paesaggio neoclassico. Il corpus di opere del pittore lionese Paul Flandrin (1811-1902) ricostruito in questa tesi è frutto di una sistematica operazione di ricerca sul campo e viene in seguito analizzato alla luce dei recenti studi sulla pittura di paesaggio neoclassico in Francia nel XIX secolo. La ricerca si fonda su una grande quantità di materiale inedito: dipinti, disegni, taccuini di studio en plein air, corrispondenza con colleghi e amici. Da questa ricerca la fisionomia artistica di Paul Flandrin emerge ben individuata singolarmente e al tempo stesso ancorata al contesto storico-artistico attraverso le relazioni con i colleghi, l’utilizzo di determinate tecniche, la frequentazione di mete comuni ai paesaggisti suoi contemporanei, la decisa presa di posizione a favore del paesaggio neoclassico.

Le désert et la littérature de voyage européenne du XIXe siècle

L'Europe commence à découvrir le désert à la fin du XVIIIe siècle. Ce milieu présente des aspects multiples aux premiers explorateurs, qui le décrivent comme un lieu vivant et varié. La géopolitique constitue le premier approche d'analyse : le désert peut être rendu plus viable si mieux administré, donc libre de la domination ottomane. Au cours du siècle, le tourisme se développe, aussi en raison de la colonisation ; l'expérience du désert devient commune, et les voyageurs partent en quête d'une expérience spirituelle aussi bien que d'une aventure. Le désert devient un écran de projection pour la rêverie et les souvenirs des Européens (la Bible et les topos traditionnels demeurent actifs dans l'imaginaire occidental) ; seules certaines caractéristiques de ce milieu sont dès lors appréciées par les voyageurs. Ensuite, avec l'âge du Réalisme, devient objet d'appréciation de la part des peintres. Grâce à la médiation de l'art, la littérature commence à regarder au désert d'un point de vue esthétique, et elle lui reconnaît un charme de la nudité et du dépouillement. La mort et le minéral caractérisent ce milieu vers la fin du siècle ; le désert se vide, et devient le "désert de sable" que nous tous connaissons aujourd'hui.

The Work and Workshop of the Master of the Rajhrad Altarpiece

The main aim of this project was to verify the possibility raised in the publication of new archival data in 1980 that the group of panel paintings attributed to the Master of the Rajhrad Altarpiece and his workshop were not created before 1420, as earlier academic opinion held, but in fact only around 1450. It included a detailed analysis of the 21 panels forming the group, including infrared reflectography research. This helped identify the highly personal underdrawing style of the "Rajhrad Master" as common to all the panels in the group, proving that they really form a coherent whole. Questions of the painter's education and the nature of Bohemian society around 1450 were also considered, as. Bartlova felt these had been neglected in earlier studies. She concludes that the Master studied in Prague in the late 1430s and then continued studying in Vienna and Munich from 1440. The new dating of the group of panels connected with this anonymous master and his workshop throws new light on Bohemian artistic production during the late Hussite period (c.1430-c.1470). It was generally thought that artistic activity moved out of Prague after the outbreak of the Hussite wars in the 1420s, but this research revealed considerable activity there throughout the period. Numerous painters listed in the Book of the Prague Painters' Guild for this period can now be linked with extant panels, although most of these have survived outside Prague, principally in South Bohemia. These findings have broad implications for studies of Bohemian art in this period.

El exilio chileno : Río profundo de la cultura iberoamericana

El exilio chileno dio lugar a un fenómeno cultural de grandes proporciones y el confinamiento, con todas sus secuelas, inspiró un florecimiento extraordinario de las letras y las artes de vastas proyecciones, tanto así que despertó y sigue motivando el interés de estudiosos de diversas disciplinas. Entre los miles de chilenos que se repartieron por el mundo, un grupo, cualitativamente relevante, estuvo constituido por escritores, artistas plásticos, artesanos, músicos, gente de teatro y de cine, hombres de ciencia y académicos de las más variadas disciplinas. Grupos teatrales funcionaron en muchos países; y los conjuntos musicales chilenos recorrieron el mundo. Las exposiciones de pintores, fotógrafos, y escultores chilenos eran frecuentes en las más importantes ciudades americanas y europeas, a la vez que en el marco de casi todas las manifestaciones de solidaridad las artesanías, obras de artistas profesionales y ocasionales, eran puestas a la venta; muchos refugiados lograron sobrevivir del producto de este tipo de trabajo.