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Author: Antonio Sgamellotti
Publisher: Royal Society of Chemistry
ISBN: 1788014693
Category : Antiques & Collectibles
Languages : en
Pages : 545
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Book Description
Author: Antonio Sgamellotti
Publisher: Royal Society of Chemistry
ISBN: 1788014693
Category : Antiques & Collectibles
Languages : en
Pages : 545
Get Book Here
Book Description
Author: Antonio Sgamellotti
Publisher: Royal Society of Chemistry
ISBN: 1788019768
Category : Antiques & Collectibles
Languages : en
Pages : 545
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Book Description
Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. Following on from the 2014 title Science and Art: The Painted Surface, this book consists of a series of chapters written together by scientists, art historians, conservators, curators and artists dedicated to conservation, execution techniques, languages and conceptual topics. Science and Art: The Contemporary Painted Surface largely covers execution techniques, material’s conservation and languages of artists, representative of twelve different countries, all protagonists of the development of innovative significant techniques and methodologies. The book opens with a focus on widely historicized artists, such as Jackson Pollock, Lucio Fontana, Enrico Baj, Piero Manzoni and Joseph Albers. Its core is dedicated to the work of major worldwide renowned living artists, in a perspective that, while considering the Sixties as the historical starting point of contemporaneity, does not neglect to offer a view on the work done in the immediately preceding years. Several interviews with artists are included. Final chapters are dedicated to contemporary design, net art, and painted surfaces in contemporary architecture. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art, and will be of interest to artists, art historians and curators, as well as those who appreciate art. Reviews of Science and Art: The Painted Surface 'Science and Art provides an excellent read for art historians, who will instantly recognise the famous pieces that have been studied, while giving them insight into how a painting was constructed, what it is made from, or how the colours would have looked when they were freshly painted.' Chemistry World, 6 November 2014 'Science and Art is recommended for students, teachers, and the general public who are interested in chemistry or other sciences and art, as well as applications of the former to the latter.' J. Chem. Educ., 2016, 93(5), 810–810
Author: Antonio Sgamellotti
Publisher: Royal Society of Chemistry
ISBN: 1782625321
Category : Antiques & Collectibles
Languages : en
Pages : 464
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Book Description
Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surface demonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation. The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.
Author: Antonio Sgamellotti
Publisher: Royal Society of Chemistry
ISBN: 1839161957
Category : Antiques & Collectibles
Languages : en
Pages : 644
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Book Description
Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surface demonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation. The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.
Author:
Publisher: Getty Publications
ISBN: 089236906X
Category : Museum conservation methods
Languages : en
Pages : 332
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Book Description
Paint formulations and historyAnalysis and characterizationTreatmentsCleaning issuesBehavior and propertiesPosters.
Author: Jorge Gómez Tejada
Publisher: USFQ Press
ISBN: 9978681922
Category : Art
Languages : en
Pages : 528
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Book Description
Conceptualizado como una contribución a la continua construcción de la identidad del Códice mendocino, el presente volumen está organizado en torno a tres ejes: el análisis material, la interpretación textual y estilística, y la recepción y transmisión del manuscrito. Los estudios de Barker Benfield y MOLAB abren una ventana hacia el entendimiento objetivo de la materialidad del manuscrito. El proceso de conservación y reencuadernamiento del Mendocino registrado por Barker Benfield ha disipado especulaciones en cuanto al método de construcción del manuscrito y sus posibles encuadernaciones previas, permitiendo que conexiones antes aceptadas, como la autoría de Francisco Gualpuyogualcal, sean reexaminadas. Asimismo, el análisis llevado a cabo por el equipo de MOLAB —liderado por Davide Domenici— ha sacado del ámbito de la especulación la naturaleza de los pigmentos del manuscrito, así como ha permitido que hipótesis interpretativas —previamente articuladas al respecto del significado de pigmentos específicos y lo estricto de su aplicación en el tlacuilolli— sean refinadas y contenidas. Si bien el color tiene significado para el tlacuilo, este no está directa y necesariamente ligado a su materialidad. A partir de estas observaciones se puede desarrollar una nueva generación de estudios interpretativos cuyas propuestas se basen en datos cada vez más certeros acerca de la naturaleza material del Mendocino. Los estudios interpretativos del manuscrito que ocupan el presente volumen representan una línea de investigación que, al considerar al manuscrito desde la perspectiva compleja de la obra de arte, bibliográfica y literaria, complementa las lecturas antropológicas e históricas que se han hecho del Mendocino en estudios anteriores. Así, los ensayos de Diana Magaloni, Daniela Bleichmar y Jorge Gómez Tejada, editor del libro, reconsideran el número y estilo de los artistas que crearon el manuscrito para entender tanto el proceso de creación del mismo como el lugar que este ocupa en el contexto artístico del virreinato temprano. Las decisiones que estos artistas e intelectuales toman en el Mendocino, lejos de insertarse en una relación binaria dominante-dominado, se presentan como una manifestación de los modos de pensar y ver el espacio y el tiempo en el mundo mesoamericano. Las pinturas del Mendocino —ejecutadas a manera de taller en donde uno, dos o más individuos intervienen en una misma página para crear de manera sincronizada una sola composición, tal como demuestra quien escribe— toman visos de ritualidad y funcionan como "instrumento para re-crear, reactualizar y hacer coherente el devenir histórico ligado al territorio y los patrones cósmicos" (ver Capítulo 4). Esta última observación complementa y refuerza la lectura de la tercera sección del manuscrito propuesta por Joanne Harwood, para quien, independientemente de lo original de las soluciones visuales utilizadas para componer esta sección del manuscrito, su modelo prehispánico se encuentra en un género de resonancia religiosa mesoamericana: el teoamoxtli.
Author:
Publisher:
ISBN:
Category : Literary and political reviews
Languages : en
Pages : 858
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Book Description
Author: Eliane Strosberg
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 256
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Book Description
The intent of this volume is to provide an enticing review, for a general audience, of the very broad topic of connections between art and science; and the writing is deliberately casual and narrative rather than scholarly or encyclopedic. The scope is narrowed somewhat by emphasis on Western culture (with some examples from other civilizations) and by exclusion of literature. After overview chapters, the author delves into some specifics of architecture, decoration, painting and cognition, graphic design, and the performing arts, before concluding with a chapter on art and science symbiosis. The text is attractively produced and illustrated with some 200 (small) diagrams, photos, and reproductions. Strosberg is co-founder of Recontres Art et Science, an association in Paris that sponsors conferences and other events in collaboration with UNESCO. This work was originally published in French, in Paris, in 1999 by UNESCO (although its connection with that agency's mission is not entirely clear). c. Book News Inc.
Author: Kelly Chorpening
Publisher: John Wiley & Sons
ISBN: 1119194563
Category : Art
Languages : en
Pages : 579
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Book Description
The first university-level textbook on the power, condition, and expanse of contemporary fine art drawing A Companion to Contemporary Drawing explores how 20th and 21st century artists have used drawing to understand and comment on the world. Presenting contributions by both theorists and practitioners, this unique textbook considers the place, space, and history of drawing and explores shifts in attitudes towards its practice over the years. Twenty-seven essays discuss how drawing emerges from the mind of the artist to question and reflect upon what they see, feel, and experience. This book discusses key themes in contemporary drawing practice, addresses the working conditions and context of artists, and considers a wide range of personal, social, and political considerations that influence artistic choices. Topics include the politics of eroticism in South American drawing, anti-capitalist drawing from Eastern Europe, drawing and conceptual art, feminist drawing, and exhibitions that have put drawing practices at the centre of contemporary art. This textbook: Demonstrates ways contemporary issues and concerns are addressed through drawing Reveals how drawing is used to make powerful social and political statements Situates works by contemporary practitioners within the context of their historical moment Explores how contemporary art practices utilize drawing as both process and finished artifact Shows how concepts of observation, representation, and audience have changed dramatically in the digital era Establishes drawing as a mode of thought Part of the acclaimed Wiley Blackwell Companions to Art History series, A Companion to Contemporary Drawing is a valuable text for students of fine art, art history, and curating, and for practitioners working within contemporary fine art practice.
Author: Francesca Fiorani
Publisher: Macmillan + ORM
ISBN: 0374715297
Category : Art
Languages : en
Pages : 373
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Book Description
“Insightful and beautiful. . . . A wonderful study of how Leonardo’s art and science are interwoven.” —Walter Isaacson, author of Leonardo Da Vinci A New York Times Book Review Editors’ Choice Shortly after Leonardo da Vinci’s death, his peers and rivals created the myth of the two Leonardos: there was Leonardo the artist and then, later in life, Leonardo the scientist. In this pathbreaking biographical interpretation, the art historian Francesca Fiorani tells a very different and much more interesting story. Taking a fresh look at Leonardo’s celebrated but challenging notebooks and other sources, Fiorani shows that Leonardo became fluent in science when he was still young man. As an apprentice in a Florence studio, he was especially interested in the science of optics. He aspired to use this knowledge to capture—as no artist before him had ever done—the interior lives of his subjects, to paint the human soul in its smallest, tenderest motions and vicissitudes. And then he hoped to take one further step: to gather his scientific knowledge together in a book that would be even more important than his paintings. In The Shadow Drawing, Fiorani revises our understanding of Leonardo the artist’s most renowned paintings and reconstructs the wisdom Leonardo the author hoped to impart. The result is both a stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when the two were sundered. “Fiorani’s lively intellectual adventure gives us new understanding and appreciation of Leonardo’s cross-fertilization of art and science. It is a perceptive biography of Leonardo exploring the frontiers of science but also a brilliantly informative guide to his paintings.” —Ross King, author of Brunelleschi’s Dome, Leonardo and the Last Supper, and Mad Enchantment
