Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

The Role of Contour Line in Painting — an Analysis of Morandi's Still Life Painting

In painting, line is one of the basic compositional elements and an important "tool" for artists to express their ideas. The combination of line and color, composition, and shape allows the viewer to feel the author's thoughts, emotions, or distinctive thinking through the picture. Foreign cave paintings, European pre-Renaissance oil paintings and modern paintings, and domestic Dunhuang murals, silk paintings of the Warring States period and cave paintings all show that the contour line has never disappeared despite its different roles in the changing times. Therefore, the artist's generalized expression of contour lines can become a characteristic of the picture that makes the artist stand out.

EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE WITH LOW REFLECTANCE IN THE MUSEUM LIGHTING ENVIRONMENT

The purpose of this paper is to clarify the evaluation structure of the preference for the visibility of paintings, taking into account the characteristics of paintings with low reflectance. Although illuminance is used in the standards for museum lighting (CIE 157:2004), it is desirable to design lighting that also considers luminance from the viewpoint of perceived brightness. Therefore, we conducted the subjective experiment of oil paintings in which luminance ratio was set as an experimental variable and examined the evaluation structure of paintings with low reflectance. As a result, it was found that the evaluation of black details affects the preference for the visibility of paintings with low reflectance. However, the path diagram of the evaluation structure applied to each painting was different, indicating that it is difficult to represent the characteristics of a painting only by the mean reflectance.

The Interpretation Of Chinese Empress Dowager Cixi's Image In The Portraits Of American Artists

The Chinese themes in Early American art have long been obscured under the veil of Japonisme, Aesthetic movement, boundary-pushing modernism and more significantly because of the political circumstances - decline of China as an empire and complicated Chinese-American interconnections. One of the favoured theme of American academism at the period of the late 19th- early 20th centuries were genre scenes, street scenes, portrait d’intérieur , portraits, still life works related to China and Chinatowns. Nonetheless, the American press through the imagery created by illustrators and caricaturists was largely involved in interpretations of Western encounters with Chinese culture from the highlighted negative light, either being deeply affected by anti-Chinese flows or fuelling those xenophobic moods. Consequently, a few American artists featured Chinese people and Chinese settings from the perspective of admiration of their “otherness”. Only two American artists- Katherine A. Carl and Hubert Vos, succeeded to pave their career path to the Chinese court, enriching American arts of the early 1900s with the unprecedented depictions of high rank Chinese and the scandalously renowned empress Dowager Cixi (1835-1908) in the positive light of fascination. A number of publications have viewed and examined those portraits from the angle of "political self-fashioning”, but our research is another academic attempt to place those oil paintings in the context of China-related subject matter and its extension in the rising American art of the previous century, stressing their artistic value, function and their relations to the intended audiences.

Ikonografia Jana Amosa Komeńskiego w zbiorach Muzeum Okręgowego w Lesznie

The article presents a collection of iconographic objects showing the images of John Amos Comenius: oil paintings, graphics, medals and plaques, postcards, and numismatic items. They are discussed taking into account the historical context of their creation and the methods of obtaining them for the collection. The article, despite its review character, aims to draw attention to similar collections in other Polish institutions.

Understanding and optimizing Evolon® CR for varnish removal from oil paintings

Evolon$$^\circledR$$ ® CR is increasingly used in paintings conservation for varnish removal from oil paintings. Its key benefits over traditional cotton swabs are limiting solvent exposure and reducing mechanical action on the paint surface. However, this non-woven microfilament textile was not originally engineered for conservation use and little is known about its chemical stability towards organic solvents. Moreover, the physical processes of solvent loading and release by Evolon$$^\circledR$$ ® CR, as well as solvent retention inside paint after cleaning, have not been studied. These three topics were investigated using a multi-analytical approach, aiming for an improved understanding and optimized use of Evolon$$^\circledR$$ ® CR for varnish removal. Our results show that the tissue is generally chemically and physically stable to organic solvents when exposed on timescales that are typical in conservation practice. However, a pre-treatment step of Evolon$$^\circledR$$ ® CR is necessary to avoid the release of unwanted saturated fatty acids into the paint during varnish removal. We show that the primary mechanism of solvent uptake by the fibers is adsorption rather than absorption and that the dominant factor dictating the maximum solvent load is the volume of the voids between the fibers. Finally, solvent induced dynamics after application of solvent-loaded Evolon$$^\circledR$$ ® CR within the paint film was monitored using portable laser speckle imaging on model paints. A method to quantify solvent-retention in real-time was developed and revealed that the presence of varnish on paintings results in lower dynamics of solvents within the paint in comparison to unvarnished paint. Comparing various solvents, it was found that cleaning with acetone resulted in a roughly six-fold increase in dynamics compared to ethanol and isopropanol.

Purple Dreamscape and Soft Green Haze

>“Soft Green Haze” and “Purple Dreamscape” are two oil paintings on wood panels by Olivia Ross, a Studio Art student at Montana State University. In creating these two works, Olivia looks to examine how narrative and aesthetic choices draw a viewer into a piece. Olivia removed any indication of a clear narrative or recognizable spaces and instead relies on abstraction to prompt an audience to engage. Olivia found even with the absence of these the viewer is enticed to explore further, not only in physical proximity to the work, but in projecting their own ideas onto it. Olivia thinks that this inclination to create one’s own relationship with a piece when there is no clear narrative to grasp makes a nontangible, abstracted space that’s much more reactively powerful.

Purple Dreamscape and Soft Green Haze

“Soft Green Haze” and “Purple Dreamscape” are two oil paintings on wood panels by Olivia Ross, a Studio Art student at Montana State University. In creating these two works, Olivia looks to examine how narrative and aesthetic choices draw a viewer into a piece. Olivia removed any indication of a clear narrative or recognizable spaces and instead relies on abstraction to prompt an audience to engage. Olivia found even with the absence of these the viewer is enticed to explore further, not only in physical proximity to the work, but in projecting their own ideas onto it. Olivia thinks that this inclination to create one’s own relationship with a piece when there is no clear narrative to grasp makes a nontangible, abstracted space that’s much more reactively powerful.

Evaluation of novel cleaning systems on mock-ups of unvarnished oil paint and chalk-glue ground within the Munch Aula Paintings Project

Low-risk removal of embedded surface soiling on delicate heritage objects can require novel alternatives to traditional cleaning systems. Edvard Munch’s monumental Aula paintings (1911–16) have a long history of exposure to atmospheric pollution and cleaning campaigns that have compromised the appearance and the condition of these important artworks. Soiling removal from porous and water-sensitive, unvarnished oil paintings continues to be a major conservation challenge. This paper presents the approach and results of research into the effect and efficiency of three novel systems used for soiling removal: soft particle blasting, CO2-snow blasting, and Nanorestore Gel® Dry and Peggy series hydrogels. Cleaning tests were performed on accelerated-aged and artificially soiled mock-ups consisting of unvarnished oil paint and chalk-glue grounds. Visual and analytical assessment (magnification using a light microscope and scanning electron microscope, as well as colour- and gloss measurement) was carried out before and after mock-up cleaning tests and the results were compared to those obtained using the dry polyurethane sponges employed in the most recent Aula surface cleaning campaign (2009–11). Although the results varied, the Nanorestore Gel® series proved promising with respect to improved soiling removal efficiency, and reduced pigment loss for the water-sensitive surfaces evaluated, compared to dry sponges.

Adaptive Extraction of Oil Painting Texture Features Based on Reaction Diffusion Equation

The oil painting retrieval technology based on the reaction diffusion equation has attracted widespread attention in the fields of oil painting processing and pattern recognition. The description and extraction of oil painting information and the classification method of oil paintings are two important processes in content-based oil painting retrieval. Inspired by the restoration and decomposition functional model of equal oil painting, we propose a reaction diffusion equation model. The new model contains two reaction diffusion equations with different principal parts. One principal part is total variation diffusion, which is used to remove noise. The other main part is thermal diffusion, which is used to modify the source term of the denoising reaction-diffusion equation to achieve the effect of protecting the texture of the oil painting. The interaction of the two reaction-diffusion equations finally achieves denoising while maintaining the boundaries and textures. Under the framework of the above reaction diffusion equation model, we introduce Laplace flow to replace the original total variation flow, so that the new denoising reaction diffusion equation combines the isotropic diffusion and total variation flow of the thermal reaction diffusion equation to achieve the effect of adaptive theoretical research. Using regularization methods and methods, we, respectively, get the well-posedness of the two model solutions, which provides the necessary preparation for numerical calculations. Based on the statistical theory and classification principles of support vector machines, combined with the characteristics of oil painting classification, the research and analysis are carried out from the three important aspects of kernel function, training algorithm, and multiclass classifier algorithm that affect the classification effect and speed. Numerical experiments show that the given filter model has a better processing effect on images with different types and different degrees of noise pollution. On this basis, an oil painting classification system based on texture features is designed, combined with an improved gray-level cooccurrence matrix algorithm and a multiclass support vector machine classification model, to extract, train, and classify oil paintings. Experiments with three types of oil paintings prove that the system can achieve a good oil painting classification effect. Different from the original model, the new model is based on the framework of reaction-diffusion equations. In addition, the new model has good effects in removing step effects, maintaining boundaries and denoising, especially in maintaining texture.