1,720,968 research outputs found
Infrared vision of artworks based on web cameras: a cross-disciplinary laboratory of optics
No full textApplied optics offers a way to teach fundamental concepts of light properties and radiation-matter interaction through interdisciplinary experimental activities. In this framework, we designed a cross-disciplinary laboratorial activity on optics applied to artworks based on DIY instrumentation for the secondary school level. The teaching sequence includes inquiry-based seminars and laboratorial activities on imaging, spectrometry, infrared applications to conservation science
Optical characterization of artist’s materials in ancient paintings by spectral imaging in the VIS-IR range
No full textThis work presents the formulation and application of an easy- to-use methodology to identify and map the original artist’s pigments in ancient paintings starting by a set of spectral data acquired with multispectral imaging technique in the VIS-NIR range
Nuove luci e considerazioni sulle due tavole Emo Capodilista di Tiziano a Padova
No full textNel presente articolo viene suggerita una nuova ipotesi per l'originario utilizzo dei pannelli d’esordio nella carriera di Tiziano raffiguranti "Il mito di Adone" e "Il mito di Erisittone", conservati presso i Musei Civici agli Eremitani di Padova, come fregio di una stanza (forse uno studiolo), e non frontali di cassoni, secondo la lettura corrente. Tale interpretazione è basata su chiavi interpretative argomentate in modo coerente e sui risultati delle recenti analisi diagnostiche eseguite dall'autrice. In conclusione è segnalata un’inedita terza tavola di dimensioni analoghe, assegnata alla cerchia tizianesca, anch'essa indagata con tecniche scientifiche
Lazzaro Bastiani: a catalogue raisonné in the light of infrared reflectography analysis
Full text linkThis thesis focuses on the painter Lazzaro Bastiani, who lived and worked in Venice in the second half of the 15th century. The research follows an interdisciplinary methodology, leveraging on the synergy between history of art and non-invasive scientific diagnostic i.e., infrared reflectography (IRR), with the aim of broadening the knowledge of the artist Lazzaro Bastiani by studying his underdrawing. In general, the thesis is presented as a monographic work, according to the traditional art-historical approach, to which the scientific methodology and results are integrated. The first chapter presents the critical reception of Bastiani throughout the centuries. First regarded as Carpaccio’s disciple according to Vasari’s and Ridolfi’s statements, this relation was reversed after the archival discoveries published in 1900 and 1906 by Ludwig, Paoletti and Molmenti. Soon discarded the hypothesis of Bastiani as Carpaccio’s master, in the 20th century the scholars mainly focused on defining Bastiani’s education and early production, and on constructing a chronologically coherent catalogue of his paintings. The second chapter consists of a chronological overview of Bastiani’s life and career based on published archival records. The third chapter concerns the interdisciplinary aspect of the research. After a short introduction on the underdrawing, the infrared reflectography technique is explained, with a digression on its evolution and further applications. A section on the interdisciplinary approach to investigate paintings stresses the necessity of a dialogue between scientific diagnostic and art historical interpretation of the results, in order to effectively broaden our understanding of the examined piece of artwork and of the artist himself. An excursion on drawing and underdrawing describes the difference between these practices in Italy and, uppermost, in Venice. The final sub-sections of the chapter focus on the diagnostic campaign and the collection of IR images to develop what it has been called “Bastiani’s IR imaging database”, here studied. Finally, it has been outlined Bastiani’s artistic technique based on scientific analyses performed on his paintings in the past. The core of the thesis is developed in chapter four, which is divided in four sub-chapters. The first three sub-sections discuss different aspects of Lazzaro Bastiani artistic career (context and relations; formation and influences; typological differences and commissions). In the fourth sub-chapter it is applied the interdisciplinary methodology to specifically examine Lazzaro Bastiani’s underdrawing and modus operandi, based on the results of the infrared reflectography analysis. Chapters five, six and seven consist of the catalogue of attributed, lost and rejected paintings, drawings, and other works (mosaics and tapestries). The catalogue entries follow a progressive numbering and are listed according to the geographical order
Il "San Sebastiano e donatore" svelato: indagine all’infrarosso e restauro dell’unico dipinto noto di Sebastiano Zuccato
No full textPresentazione dei risultati emersi dalla campagna diagnostica in riflettografia infrarossa e dal recente restauro del "San Sebastiano e donatore" di Sebastiano Zuccato
Motivational and didactic efficacy of an interdisciplinary learning path on IR Reflectography and False Colour imaging of artworks
No full textWe present an interdisciplinary didactic module at the high-school level about Infrared Reflectography and Infrared False Colour imaging of artworks jointly conducted by physicists with an art historian expert in heritage science. The teaching sequence includes use of do-ityourself materials as well as professional instrumentation. It is shown that this interdisciplinary and practical didactic path succeeds in fostering students’ (particularly female students') attitude towards learning physics and represents an effective way for introducing advanced topics in the field of radiation-matter interaction, while opening the way to untying some important conceptual knots related to colour image formation
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Lazzaro Bastiani : a catalogue raisonné in the light of infrared reflectography analysis
No full textThis thesis focuses on the painter Lazzaro Bastiani, who lived and worked in Venice in the second half of the 15th century. The research follows an interdisciplinary methodology, leveraging on the synergy between history of art and non-invasive scientific diagnostic i.e., infrared reflectography (IRR), with the aim of broadening the knowledge of the artist Lazzaro Bastiani by studying his underdrawing. In general, the thesis is presented as a monographic work, according to the traditional art-historical approach, to which the scientific methodology and results are integrated. The first chapter presents the critical reception of Bastiani throughout the centuries. First regarded as Carpaccio’s disciple according to Vasari’s and Ridolfi’s statements, this relation was reversed after the archival discoveries published in 1900 and 1906 by Ludwig, Paoletti and Molmenti. Soon discarded the hypothesis of Bastiani as Carpaccio’s master, in the 20th century the scholars mainly focused on defining Bastiani’s education and early production, and on constructing a chronologically coherent catalogue of his paintings. The second chapter consists of a chronological overview of Bastiani’s life and career based on published archival records. The third chapter concerns the interdisciplinary aspect of the research. After a short introduction on the underdrawing, the infrared reflectography technique is explained, with a digression on its evolution and further applications. A section on the interdisciplinary approach to investigate paintings stresses the necessity of a dialogue between scientific diagnostic and art historical interpretation of the results, in order to effectively broaden our understanding of the examined piece of artwork and of the artist himself. An excursion on drawing and underdrawing describes the difference between these practices in Italy and, uppermost, in Venice. The final sub-sections of the chapter focus on the diagnostic campaign and the collection of IR images to develop what it has been called “Bastiani’s IR imaging database”, here studied. Finally, it has been outlined Bastiani’s artistic technique based on scientific analyses performed on his paintings in the past. The core of the thesis is developed in chapter four, which is divided in four sub-chapters. The first three sub-sections discuss different aspects of Lazzaro Bastiani artistic career (context and relations; formation and influences; typological differences and commissions). In the fourth sub-chapter it is applied the interdisciplinary methodology to specifically examine Lazzaro Bastiani’s underdrawing and modus operandi, based on the results of the infrared reflectography analysis. Chapters five, six and seven consist of the catalogue of attributed, lost and rejected paintings, drawings, and other works (mosaics and tapestries). The catalogue entries follow a progressive numbering and are listed according to the geographical order
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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