Study of mural paintings by Fulvio Pennacchi in São Paulo City by mineralogical techniques

The present research deals with two mural paintings made in 1947 with the fresco technique by Fulvio Pennacchi in the Catholic Chapel of the Hospital das Clínicas (São Paulo City, Brazil), namely the Virgin Annunciation and the Supper at Emmaus. This study regards the materials and painting techniques used by the artist, based on historical research,on in situ observations and laboratory analytical techniques (stereomicroscopy,scanning electron microscopy with an energy dispersive spectrometer, X-ray diffractometry, electron microprobe, images obtained with UV-light), aiming to improve the methods of characterization of objects of our cultural heritage, and to enhance its preservation accordingly. The results lead to the identification of the plaster components and of distinct layers in the frescoes, besides further information on grain size, impurities and textures, composition of pigments, and features of deterioration, such as efflorescences. The degree of degradation of the murals painting was assessed by this way. Our data suggest that a single layer of plaster was used by Pennacchi, as a common mortar with fine- and medium-grained aggregates. Differences in texture were obtained by adding gypsum to the plaster.

Spectroscopy studies on conservation issues in modern and contemporary paintings

Dissertation presented to the Faculty of Sciences and Technology of New University of Lisbon in fulfilment of the requirements for the Master’s degree in Conservation and Restoration Specialization in easel painting

Estimating the colors of paintings

Observers can adjust the spectrum of illumination on paintings for optimal viewing experience. But can they adjust the colors of paintings for the best visual impression? In an experiment carried out on a calibrated color moni- tor images of four abstract paintings obtained from hyperspectral data were shown to observers that were unfamiliar with the paintings. The color volume of the images could be manipulated by rotating the volume around the axis through the average (a*, b*) point for each painting in CIELAB color space. The task of the observers was to adjust the angle of rotation to produce the best subjective impression from the paintings. It was found that the distribution of angles selected for data pooled across paintings and observers could be de- scribed by a Gaussian function centered at 10o, i.e. very close to the original colors of the paintings. This result suggest that painters are able to predict well what compositions of colors observers prefer.

Album of Abyssinian birds and mammals / From paintings by Louis Agassiz Fuertes.

Fieldiana Zoology Special Handbooks

Sulfur isotope analysis of cinnabar from Roman wall paintings by elemental analysis/isotope ratio mass spectrometry - tracking the origin of archaeological red pigments and their authenticity

The most valuable pigment of the Roman wall paintings was the red color obtained from powdered cinnabar (Minium Cinnabaris pigment), the red mercury sulfide (HgS), which was brought from mercury (Hg) deposits in the Roman Empire. To address the question of whether sulfur isotope signatures can serve as a rapid method to establish the provenance of the red pigment in Roman frescoes, we have measured the sulfur isotope composition (delta(34) S value in parts per thousand VCDT) in samples of wall painting from the Roman city Aventicum (Avenches, Vaud, Switzerland) and compared them with values from cinnabar from European mercury deposits (Almaden in Spain, Idria in Slovenia, Monte Amiata in Italy, Moschellandsberg in Germany, and Genepy in France). Our study shows that the delta(34) S values of cinnabar from the studied Roman wall paintings fall within or near to the composition of Almaden cinnabar; thus, the provenance of the raw material may be deduced. This approach may provide information on provenance and authenticity in archaeological, restoration and forensic studies of Roman and Greek frescoes. Copyright (c) 2010 John Wiley & Sons, Ltd.

The Figure of Radha in Miniature Paintings: From the Pastoral to the Courtly, from Text to Visuality, from Polyphony to Normativity

This article analyses how Radha was depicted in miniature paintings between the 16th and 19th century in North India. Interrogating the link between text and image, contrasting poetry, style and historical settings with the visual representations of this central figure, my reflections focus on the changing nature of Radha. Through various examples from miniature paintings of different periods and schools, this article analyses the way the rich personality of Radha was transposed into images. In order to stress the changes brought to this female figure, I compare her to Krishna, the masculine figure who is always at her side. The main goal of the article is to show the normative power of images on the figure of Radha, with normativity being understood as the simplification, iconisation, aestheticisation and stereotypification of a figure with polysemous references.

Identification of Paintings from Camera-Phone Images

Peer-reviewed

Identification of paintings from camera-phone images

Peer-reviewed

A Catalogue of... paintings, drawings... sold... november the 3rd 1812

[Vente (Art). 1812-11-03. Oxford, Grande-Bretagne]

Sub-surface terahertz imaging through uneven surfaces: visualizing Neolithic wall paintings in Çatalhöyük

Pulsed terahertz imaging is being developed as a technique to image obscured mural paintings. Due to significant advances in terahertz technology, portable systems are now capable of operating in unregulated environments and this has prompted their use on archaeological excavations. August 2011 saw the first use of pulsed terahertz imaging at the archaeological site of Çatalhöyük, Turkey, where mural paintings dating from the Neolithic period are continuously being uncovered by archaeologists. In these particular paintings the paint is applied onto an uneven surface, and then covered by an equally uneven surface. Traditional terahertz data analysis has proven unsuccessful at sub-surface imaging of these paintings due to the effect of these uneven surfaces. For the first time, an image processing technique is presented, based around Gaussian beam-mode coupling, which enables the visualization of the obscured painting.

Study on the application of cool paintings for the passive cooling of existing buildings in Mediterranean climates

Building roofs play a very important role in the energy balance of buildings, especially in summer, when they are hit by a rather high solar irradiance. Depending on the type of finishing layer, roofs can absorb a great amount of heat and reach quite high temperatures on their outermost surface, which determines significant room overheating. However, the use of highly reflective cool materials can help to maintain low outer surface temperatures; this practice may improve indoor thermal comfort and reduce the cooling energy need during the hot season.This technology is currently well known and widely used in the USA, while receiving increasing attention in Europe. In order to investigate the effectiveness of cool roofs as a passive strategy for passive cooling in moderately hot climates, this paper presents the numerical results of a case study based on the dynamic thermal analysis of an existing office building in Catania (southern Italy, Mediterranean area). The results show how the application of a cool paint on the roof can enhance the thermal comfort of the occupants by reducing the operative temperatures of the rooms and to reduce the overall energy needs of the building for space heating and cooling.

Catalog of Paintings Exhibited in the Colby College Art Museum May 8 -22- 1974

This catalog describes paintings by the author, completed as his Senior Scholar Project in art and exhibited in the Colby College Art Museum. Images of the paintings are not available.