Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: Czech digital library/Česká digitální knihovna - Institution: Academy of Sciences Library/Knihovna Akademie věd ČR - Data provided by Europeana Collections- autor recenze Ondřej Faktor.- ...All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
This paper deciphers the badly damaged and barely discernible wall paintings of Saydet el Rih in Enfeh (Lebanon) using graphic surveys. This procedure consists of copying all traces of the paintings ...and recording their chromatic values and stratigraphy, in order to understand and visualise the creative process behind them, both stylistically and iconographically.
The unprecedented success of image reconstruction approaches based on deep neural networks has revolutionised both the processing and the analysis paradigms in several applied disciplines. In the ...field of digital humanities, the task of digital reconstruction of ancient frescoes is particularly challenging due to the scarce amount of available training data caused by ageing, wear, tear and retouching over time. To overcome these difficulties, we consider the Deep Image Prior (DIP) inpainting approach which computes appropriate reconstructions by relying on the progressive updating of an untrained convolutional neural network so as to match the reliable piece of information in the image at hand while promoting regularisation elsewhere. In comparison with state-of-the-art approaches (based on variational/PDEs and patch-based methods), DIP-based inpainting reduces artefacts and better adapts to contextual/non-local information, thus providing a valuable and effective tool for art historians. As a case study, we apply such approach to reconstruct missing image contents in a dataset of highly damaged digital images of medieval paintings located into several chapels in the Mediterranean Alpine Arc and provide a detailed description on how visible and invisible (e.g., infrared) information can be integrated for identifying and reconstructing damaged image regions.
The lack of comprehensive studies on silver paints in manuscripts is a handicap to new stabilization strategies and treatments. This work develops and tests a methodological approach for the study of ...the degradation of silver paints, at the molecular level, using as a case study a French Book of Hours dated from the 15th century from Mafra National Palace collection. In this paper, we show that the global equation commonly used by the cultural heritage community to describe the tarnishing of silver proves to be insufficient to understand the main factor causing its severe and extensive darkening in medieval illuminated manuscripts. This equation depicts the degradation of silver instantly with a sulphide containing species as H
2
S. Recent research has solidly proved that the first intermediate of silver oxidation is Ag
2
O. This theme will be presented in a forthcoming review. Within this framework, we selected four typologies of silver paints, all analysed by in situ techniques and four as microsamples; due to the very small size and fragility of the microsamples, new methods of sample preparation were developed and tested. The main research questions include: (1) understanding how silver-based colour are formed, disclosing its full stratigraphy; (2) define if the other compounds present, such as colour paints and the ground, may affect silver oxidation by stabilizing or accelerating it; (3) comprehend if it is possible to characterize the degradation products of silver paints with the methodology developed in this work, both in the bulk and at the interfaces between layers. Overall our results show that silver-based colours exhibit a complex stratigraphy that impacts its conservation condition. Further research at the molecular level is required on the correlation of the main components of the ground (binder and filler such as gypsum and calcium carbonate) and the paints that are applied as layers over or under the silver leaf. Our case studies have shown that both in situ analytical techniques and scanning electron microscopy with energy dispersive spectroscopy analysis in the microsamples, provide relevant information on the silver colour stratigraphy. However, the information obtained studying cross-sections is more accurate. We consider that the study of the degradation mechanism of silver in medieval illuminated manuscripts will require the combination of both approaches; in situ methodologies support the relevance of the data acquired on the microsamples. Microsamples studies will make possible the acquisition of data that is fundamental to understand the darkening of silver paints and this, in turn, is essential to develop informed and sustainable conservation policies.
Provider: - Institution: - Data provided by Europeana Collections- Sollentuna kyrka. Livets hjul, målat av Albertus Pictor.- All metadata published by Europeana are available free of restriction ...under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Comment créer une œuvre picturale qui pourrait s'animer? A partir du jeu de cache-cache de la vidéo "Augenblick", l'analyse poïétique de la sculpture OUI-NON de Markus Raetz confrontée aux peintures ...du Retable de Genève de Konrad Witz révèle une surprenante logique d'animation, Les procès de création de ce retable du 15e siècle déterminent l'actualisation de visions dynamiques dans ce type de construction picturale, également rencontré chez Lorenzo Veneziano, Henri Bellechose, Filippo Lippi ou Sandro Botticelli et dans différents édifices médiévaux. Ainsi, des éléments picturaux souvent considérés comme archaïques participent d'un système poïétique dynamique raisonné proposant des animations significatives au cours d'une vision active autrement dit, d'un déplacement du regard. Le concept plus global de vision à point de vue dynamique étend la réflexion à différents modes de déplacements du point de vue. La vidéo permet une forme d’objectivation des enchainements d'images de ce type de construction picturale vis-à-vis de dispositifs déterminés par ces peintures. Ces tentatives d'objectivation fonctionnent sur un plan didactique mais n'engagent pas un partage sensible en interaction avec l'image. Cette perte de l'interaction dans les films engage une réflexion sur l’indissociabilité du couple faille-fragile qui retrouve une possibilité oubliée d'interaction active avec une image fixe. En dehors de toute dissociation artificielle d'une perception et de son mouvement pour regarder une œuvre, cette interaction engage le questionnement poïétique de l'ouvert par différentes installations et performances.
How to create a painting which could animate itself ? Starting from the game of hide and seek in the Augenblick video, a poietic analysis of the OUI-NON sculpture by Markus Raetz, confronted with Konrad Witz's paintings of the Geneva altarpiece, reveals an animation logic. The creation process of 15th century reredos determines the actualization of dynamic visions in this type of pictural construction that is also found in works of Lorenzo Veneziano, Henri Bellechose, Filippo Lippi and Sandro Botticelli as well as in medieval edifices. Thus, some pictorial elements often considered (until the end of the 20th century) as archaic, integrate a reasoned dynamic poietic system offering effective animation during an active vision, that is, the displacement of the viewer during the observation. The broader concept of vision with a dynamic point of view widens the analysis to different modes of displacement of the point of view. Video allows for a form of objectification of the sequences perceived in such pictorial constructions through devices determined by these paintings. These objectification attempts succeed on a didactic level, but fail to engage a sensitive perception though interaction with the image. This loss of interaction in the filmed sequences forces thinking about the inseparability of the "faille - fragile" couple which recovers a long lost possibility tor an active interaction with a still image. Without any artificial dissociation of the perception and the associated movement tor looking at a work, this interaction engages poietic questioning of the open through various installations and performances.
Provider: - Institution: - Data provided by Europeana Collections- Sollentuna kyrka. Målning av Döden, av Albertus Pictor.- All metadata published by Europeana are available free of restriction under ...the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
PDF