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Search Results (3)

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Keywords = Sistine Chapel

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35 pages, 33866 KiB  
Article
The Unseen Truth of God in Early Modern Masterpieces
by Simon Abrahams
Arts 2024, 13(5), 158; https://doi.org/10.3390/arts13050158 - 17 Oct 2024
Cited by 1 | Viewed by 89772 | Correction
Abstract
God the Father was considered so completely inexpressible and unembodied that his visual appearance in early modern masterpieces has long challenged the theological accuracy of such works. A recent discovery complicates that issue. Albrecht Dürer’s 1500 Self-portrait as Christ is incorrectly considered an [...] Read more.
God the Father was considered so completely inexpressible and unembodied that his visual appearance in early modern masterpieces has long challenged the theological accuracy of such works. A recent discovery complicates that issue. Albrecht Dürer’s 1500 Self-portrait as Christ is incorrectly considered an isolated example of divine self-representation. It was, in fact, as shown here, part of a long tradition throughout Europe between at least the fifteenth and seventeenth centuries. The praxis, potentially sacrilegious, raises questions about the truth of art at its highest level. To address this conundrum, this article analyzes works by three eminent, but very different, artists: Michelangelo, Raphael, and Dürer. Two current methodologies—visual exegesis and the poetics of making—support the argument. The analysis reveals that there is a fundamental unity to their work, which has not been recognized on account of three popular misconceptions about the nature of art, divinity, and the mind. This article concludes that depictions of God the Father and Christ by these artists are neither heretical nor false because, as the evidence shows, all three were part of a continuous spiritual tradition embedded within their craft. Full article
(This article belongs to the Section Visual Arts)
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20 pages, 848 KiB  
Article
A New Dusts Sensor for Cultural Heritage Applications Based on Image Processing
by Andrea Proietti, Fabio Leccese, Maurizio Caciotta, Fabio Morresi, Ulderico Santamaria and Carmela Malomo
Sensors 2014, 14(6), 9813-9832; https://doi.org/10.3390/s140609813 - 4 Jun 2014
Cited by 34 | Viewed by 8182
Abstract
In this paper, we propose a new sensor for the detection and analysis of dusts (seen as powders and fibers) in indoor environments, especially designed for applications in the field of Cultural Heritage or in other contexts where the presence of dust requires [...] Read more.
In this paper, we propose a new sensor for the detection and analysis of dusts (seen as powders and fibers) in indoor environments, especially designed for applications in the field of Cultural Heritage or in other contexts where the presence of dust requires special care (surgery, clean rooms, etc.). The presented system relies on image processing techniques (enhancement, noise reduction, segmentation, metrics analysis) and it allows obtaining both qualitative and quantitative information on the accumulation of dust. This information aims to identify the geometric and topological features of the elements of the deposit. The curators can use this information in order to design suitable prevention and maintenance actions for objects and environments. The sensor consists of simple and relatively cheap tools, based on a high-resolution image acquisition system, a preprocessing software to improve the captured image and an analysis algorithm for the feature extraction and the classification of the elements of the dust deposit. We carried out some tests in order to validate the system operation. These tests were performed within the Sistine Chapel in the Vatican Museums, showing the good performance of the proposed sensor in terms of execution time and classification accuracy. Full article
(This article belongs to the Special Issue Sensors for Cultural Heritage Diagnostics)
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13 pages, 264 KiB  
Article
Art, Trent, and Michelangelo’s “Last Judgment”
by John O'Malley
Religions 2012, 3(2), 344-356; https://doi.org/10.3390/rel3020344 - 25 Apr 2012
Cited by 8 | Viewed by 8872
Abstract
Michelangelo’s “Last Judgment” in the Sistine Chapel is one of the world’s most famous paintings, completed in 1542. Greatly admired, it was also criticized for the frontal nudity of some of the figures. Twenty-two years later, 1564, the nudity was painted over, an [...] Read more.
Michelangelo’s “Last Judgment” in the Sistine Chapel is one of the world’s most famous paintings, completed in 1542. Greatly admired, it was also criticized for the frontal nudity of some of the figures. Twenty-two years later, 1564, the nudity was painted over, an action attributed to the Council of Trent, 1545–1563. To what extent is that attribution correct? Full article
(This article belongs to the Special Issue From the Renaissance to the Modern World)
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