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Artistic style transfer aims to transfer the style of an artwork to a photograph while maintaining its original overall content. Although current style-transfer methods have achieved promising results when processing photorealistic images, they often struggle with brushstroke preservation in artworks, especially in styles such as oil painting and pointillism. In such cases, the extracted style and content features tend to include redundant information, leading to issues such as blurred edges and a loss of fine details in the transferred images. To address this problem, this paper proposes a multi-scale general style-transfer network based on diffusion models. The proposed network consists of a coarse style-transfer module and a refined style-transfer module. First, the coarse style-transfer module is designed to perform mainstream style-transfer tasks more efficiently by operating on downsampled images, enabling faster processing with satisfactory results. Next, to further enhance edge fidelity, a refined style-transfer module is introduced. This module utilizes a segmentation component to generate a mask of the main subject in the image and performs edge-aware refinement. This enhances the fusion between the subject’s edges and the target style while preserving more detailed features. To improve overall image quality and better integrate the style along the content boundaries, the output from the coarse module is upsampled by a factor of two and combined with the subject mask. With the assistance of ControlNet and Stable Diffusion, the model performs content-aware edge redrawing to enhance the overall visual quality of the stylized image. Compared with state-of-the-art style-transfer methods, the proposed model preserves more edge details and achieves more natural fusion between style and content. Full article

The purpose of this study is to analyze how future landscape paintings using paints and binders made from the waste materials of a particular region and the background information of these artworks affect viewers’ behavioral intentions regarding social and environmental issues. First, 30 beauty evaluation items were extracted by a repertory grid analysis. Then, we asked participants to view the artworks at an exhibition in order to determine the impact of the background information behind the painting and the painting itself on participants’ imagination of the future, reconsidering themselves, social and environmental issues, and their behavioral intentions. The results showed that viewing paintings with their background information and using paints made of waste materials from a particular region improved participants’ behavioral intentions to imagine the future, to reconsider themselves, and to reconsider social and environmental issues. The elements of beauty of the paintings were found to have the potential to trigger the first step toward lifestyle change for sustainability. Full article

Assessing the condition of artworks is a critical step in cultural heritage conservation that traditionally involves manual damage mapping, which is time-consuming and reliant on expert input. This study, conducted within the ChemiNova project, explores the automation of edge detection using both classical image processing techniques (Canny, Sobel, and Laplacian) and a deep learning model (DexiNed). The methodology integrates interdisciplinary collaboration between conservation professionals and computer scientists, applying these algorithms to artworks affected by environmental damage, including flooding. Preprocessing and post-processing techniques were used to enhance detection accuracy and reduce noise. The results show that while traditional methods often yield higher precision and recall scores, they are also sensitive to texture and contrast variations. These findings suggest that automated edge detection can support conservation efforts by streamlining condition assessments and improving documentation. Full article

Ultraviolet-induced fluorescence (UVF) imaging represents a simple but powerful technique in cultural heritage studies. It is a nondestructive and non-invasive imaging technique which can supply useful and relevant information to define the state of conservation of an artifact. UVF imaging also helps to establish the value of an artwork by indicating inpainting, repaired areas, grouting, etc. In general, ultraviolet fluorescence imaging output takes the form of 2D photographs in the case of both paintings and sculptures. For this reason, a few years ago the idea of applying the photogrammetric method to create 3D digital twins under ultraviolet fluorescence was developed to address the requirements of restorers who need daily documentation tools for their work that are simple to use and can display the entire 3D object in a single file. This review explores recent applications of this innovative method of ultraviolet fluorescence imaging with reference to the wider literature on the UVF technique to make evident the practical importance of its application in cultural heritage. Full article

Three-dimensional (3D) reproduction of artworks has advanced significantly, offering valuable insights for conservation by documenting the objects’ conservative state at both macroscopic and microscopic scales. This paper presents the 3D survey of an earthquake-damaged panel painting, whose wooden support suffered severe deformation during a seismic event, posing unique restoration challenges. Our work focuses on quantifying how shape variations in the support—induced during restoration—affect the surface morphology of the pictorial layers. To this end, we conducted measurements before and after support consolidation using two complementary 3D techniques: structured-light projection to generate 3D models of the painting, tracking global shape changes in the panel, and laser-scanning microprofilometry to produce high-resolution models of localized areas, capturing surface morphology, superficial cracks, and pictorial detachments. By processing and cross-comparing 3D point cloud data from both techniques, we quantified shape variations and evaluated their impact on the pictorial layers. This approach demonstrates the utility of multi-scale 3D documentation in guiding complex restoration interventions. Full article

The study at the Peggy Guggenheim Collection in Venice highlights critical interactions between indoor air quality, visitor dynamics, and microclimatic conditions, offering insights into preventive conservation of modern artworks. By analyzing pollutants such as ammonia, formaldehyde, and organic acids, alongside visitor density and environmental data, the research identified key patterns and risks. Through three seasonal monitoring campaigns, the concentrations of SO₂ (sulphur dioxide), NO (nitric oxide), NO₂ (nitrogen dioxide), NO_x (nitrogen oxides), HONO (nitrous acid), HNO₃ (nitric acid), O₃ (ozone), NH₃ (ammonia), CH₃COOH (acetic acid), HCOOH (formic acid), and HCHO (formaldehyde) were determined using passive samplers, as well as temperature and relative humidity data loggers. In addition, two specific short-term monitoring campaigns focused on NH₃ were performed to evaluate the influence of visitor presence on indoor concentrations of the above compounds and environmental parameters. NH₃ and HCHO concentrations spiked during high visitor occupancy, with NH₃ levels doubling in crowded periods. Short-term NH₃ campaigns confirmed a direct correlation between visitor numbers and the above indoor concentrations, likely due to human emissions (e.g., sweat, breath) and off-gassing from materials. The indoor/outdoor ratios indicated that several pollutants originated from indoor sources, with ammonia and acetic acid showing the highest indoor concentrations. By measuring the number of visitors and microclimate parameters (temperature and humidity) every 3 s, we were able to precisely estimate the causality and the temporal shift between these quantities, both at small time scale (a few minute delay between peaks) and at medium time scale (daily average conditions due to the continuous inflow and outflow of visitors). Full article

In this article, a multidisciplinary methodological approach for studying a wooden panel painting is applied. The theoretical framework, within which this research has arisen, is the application of state-of-the-art non-destructive techniques for addressing issues concerning the constituting parts and composing materials of the artwork. Hereby, a post-Byzantine icon was studied, which was dated back to 1836. It is a painting executed on a wooden panel, with a decorated wooden frame attached. The artifact was thoroughly investigated through the application of infrared thermography (IRT), multispectral imaging (MSI), and macroscopic X-ray fluorescence spectrometry (MA-XRF). These analyses provided crucial information about the verso of the painting (i.e., the wooden panel and the frame) and allowed for the revelation of important details of the recto of the painting, which were not visible due to the presence of an old, decayed varnish. Additionally, through the detailed mapping of the distribution of various chemical elements on the recto of the painting and the frame, it was possible to identify the materials used and techniques employed. It is therefore shown that, when combined, the non-destructive methodologies in consideration can provide adequate information referring to the materiality and state of preservation of panel paintings, permitting the conservator to proceed to a tailored conservation treatment. Full article

Background: Art therapy was recently administered to stroke patients using immersive virtual reality technology, chosen to provide the illusion of being able to replicate an artistic masterpiece. This approach was effective in improving rehabilitative outcomes due to the so-called Michelangelo effect: patients’ interaction with artistic stimuli reduced perceived fatigue and improved performance. The aim of the present study was to investigate which factors may influence those outcomes (e.g., type of artwork, esthetic valence, perceived fatigue, clinical conditions). Methods: An observational study was conducted on 25 patients with stroke who performed the protocol of virtual art therapy (VAT). In each trial, patients were asked to rate the esthetic valence of the artworks and their perceived fatigue, whereas therapists assessed patients’ participation in the therapy (Pittsburgh Rehabilitation Participation Scale, PRPS). Moreover, before and after treatment, patients’ independence in daily living activities (Barthel Index, BI), and their upper limb functioning (Manual Muscle Test, MMT) and spasticity (Ashworth Scale, AS) were measured. Results: The after-treatment BI scores depended on the before-treatment BI score (p < 0.001) and on the PRPS score (p = 0.006), which, in turn, was increased by the subjective esthetic valence (p = 0.044). Perceived fatigue is a complex factor that may have influenced the outcomes (p = 0.049). Conclusions: There was a general effect of art in reducing fatigue and improving participation of patients during therapy. The variability observed among patients mainly depended on their clinical conditions, but also on the esthetic valence given to each artwork, that could also be intertwined with the difficulty of the task. Art therapy has a high potential to improve rehabilitation outcomes, especially if combined with new technologies, but psychometric investigation of the effects of each factor is needed to design the most effective protocols. Full article

Background: Serious videogames have already demonstrated their positive impact on rehabilitation and of particular interest is the virtual reality (VR) technology. This immersive technology has been used in this study to create a neuroaesthetic experience based on the Michelangelo effect for the rehabilitation of patients with spinal cord injury. The aim of this study was to test the usability of a system for virtual art therapy and its capacity to assess patients’ deficits performances. Methods: A VR headset was worn by the participants who experienced a painting simulation of famous artworks (artistic stimuli) against a coloring canvas (non-artistic stimuli). The trajectories of the hand were studied to obtain different kinematic and spectral parameters to evaluate the user performances. A total of 13 healthy subjects and 13 patients with spinal cord injury participated in this study. Results: Significative differences were obtained for most of the parameters between the two groups, except for the normalized jerk and energy of the spectrum. Analysis in the frequency domain showed that both groups preferred horizontal movements for painting the canvas. The NASA and USEQ scores reported a comfortable and user-friendly system according to the patients’ point of view. Conclusions: The system can be a usable tool, the rehabilitative efficacy of which should be tested in patients with spinal cord injury. The kinematic and spectral parameters would allow for the evaluation of the performances alongside the clinical scales, distinguish pathological and physiological performances. Full article

The research on teaching scaffolding for preschool children’s oral language development (OLD) has become an important topic in the academic world. However, there remains a lack of evidence-based research on the integration of scaffolding strategies integrated into creative art contexts to support children’s creative expression and language production. In this study, a qualitative case study was conducted to analyze the non-participatory observation and artwork analysis of five-year-old children’s drawing activities in a kindergarten in China based on socio-cultural and scaffolding theories. Three types of core scaffolding strategies were summarized. The findings reveal that the three strategies work together dynamically within the children’s Zone of Proximal Development (ZPD): (1) the visual prompt strategy enriches the vocabulary diversity of metaphors, adjectives, and ordinal words; (2) dialogic narrative co-construction effectively improves narrative coherence across exposition, rising action, climax, and resolution; and (3) emotional engagement strategies foster a safe expressive environment, promoting the integration of affective vocabulary with intrinsic motivation. Accordingly, a three-dimensional integrated “visual-linguistic-emotional” scaffolding model was constructed, emphasizing the practical guidelines of simultaneous scaffolding and gradual scaffolding withdrawal during the warm-up, creation, and sharing sessions of the drawing activity. This study expands the application of scaffolding theory in unstructured art contexts, and provides a systematic practical framework for the design of cross-contextual language support strategies and teacher training in preschool education. Full article

Inks from the 12th to the 17th century were aged, and a multi-analytical approach was used for their identification based on HPLC–DAD–MS, microFTIR, and microRaman. Colorimetry analysis was also performed. After 6 years of application on filter paper, three inks were selected to be cleaned using a novel green approach based on a chemically crosslinked gel to remove unwanted materials from the ink surface. A Braga ink produced in 2018 was also tested. Two degradation products were identified; iron sulfate was the main degradation product in the Braga ink. For Montpellier, Guadalupe, and QI.8 inks, the main degradation product was a complex of iron with ellagic acid. These compounds were accurately confirmed using microFTIR. Several tests were performed to clean these degradation products with the gels. The Braga ink was cleaned with 10% ethanol in water, which was included in the gel, and the iron sulfate was removed within 15 s of application. On the other hand, the complex of iron with ellagic acid demanded longer application times; we used 2 min and repeated the application until the compound was removed. The novelty of this research has practical implications for the conservation of historical documents and artworks. Full article

In recent decades, there has been an increase in the development of non-invasive and non-destructive analytical techniques in the field of cultural heritage. The present study aims to characterize the frescoes in the hypogeum environment of the San Pietro a Corte complex in Salerno (Campania, Italy) through a multi-analytical approach that couples Infrared Reflectography with X-Ray Fluorescence Spectrometry. Thermographic and hygrometric measurements were also performed to evaluate their state of conservation in relation to environmental parameters such as relative humidity and temperature at the frescoed walls. Spectroscopic investigations revealed a predominant use of natural pigments—chiefly iron-rich earths—and uncovered details invisible to the naked eye that aid art historians in refining stylistic attributions. Hygrometric data showed that the central zones of the frescoes retain the highest moisture levels, underscoring the need for a carefully tailored conservation plan. Overall, this multi-analytical methodology provides important information that enables conservators and restorers to understand both the materials and the preservation requirements of these artworks from a scientific and conservation perspective. Full article

The Ukrainian–Crimean artist Maria Kulikovska’s artistic practice has addressed war in Ukraine since the Annexation of Crimea and outbreak of war in the Donbas regions of Ukraine in 2014. In 2019 she created the video-performance Let Me Say: It Will Not Be Forgotten that responds to the ways artworks and women’s bodies are targeted by derisive retaliation and physical attacks during periods of political instability. Informed by explorations of feminism in post-Soviet countries, theories of prosthetic memory, and destruction art of the 1960s, I argue that Kulikovska does not let the destruction of her artwork silence her, but, rather, she uses destruction as a strategy to take control of oppressive forces. In their place, I argue that Let Me Say: It’s Not Forgotten demonstrates subjective and complex ways of building resilient feminist presents and futures that overcome oppressive violence and testify to continual perseverance. Full article

This article focuses on graffiti and street art analysis in green areas from Romanian cities. Whether it is about the invasion or anticipated integration of urban artworks in green areas, in recent years, the phenomenon of urban art has become undoubtedly visible and finds its place among other components of artistic interventions. This study aims to diagnose various forms and expressions of urban art in the parks of several case study cities from Romania and to evaluate the urban art rapport with the parks’ organization. The methods used combine field research to identify spots with urban art, typologies based on different criteria, documentation for primary or supplementary explanations about the reality identified in the field, and results mapping using GIS tools. This study’s main findings are in relation to the location and preferred surfaces in the investigated parks for graffiti and street art works; hence, the main types of urban art and the messages transmitted. The results obtained highlight the idea that there are differences and gaps in terms of urban art phenomenon evolution reflected in diverse approaches of urban art and different balances that impact the parks’ image. Full article

This study investigates Hispano-Muslim plasterworks, exemplified by the Cuarto Real de Santo Domingo, the Madraza, and the Alhambra in Granada, focusing on cleaning methods to remove oil-based repaintings without damaging the original polychromies. To this end, samples replicating traditional materials (gypsum coating, pigments, and binders) and techniques (tempera painting) were prepared and subjected to an artificial ageing protocol (AAP). Subsequently, cleaning tests aimed at removing the oil repaintings were performed to recover the original polychromies. Analytical techniques, including Fourier Transform Infrared Spectroscopy (FTIR), Gas Chromatography–Mass Spectrometry (GC–MS), and colorimetry, were employed to evaluate ageing effects and cleaning efficacy. Results revealed significant chromatic alterations in vermilion and azurite bound with animal glue, while ochre remained comparatively stable. Chemical analyses indicated marked binder deterioration, including protein denaturation in animal glue and oxidation/polymerization in linseed oil. Cleaning tests demonstrated that both a heptane–acetone gel and a novel polyamidoamine–glycine (PAAGLY) treatment effectively removed oil-based repaintings while preserving the original layers. These findings highlight the critical role of pigment–binder interactions in conservation strategies and advocate for selective, minimally invasive restoration methods. Full article