Search Results (131)

In George Eliot’s The Mill on the Floss (1860), we are cautioned not to judge a book by its cover. Yet, the marketing team at every publisher knows that we, the audience, inevitably do just that. In the case of Arthur Schnitzler’s The Road Into the Open (1908), various editions have featured paintings or drawings by contemporary Austrian artists, including Max Kurzweil, Gustav Klimt, and Egon Schiele, as the cover art. Schnitzler’s novel initially emerges in Pre-World-War-I Austria, a society grappling with political instability, fears about moral decline, and a preoccupation with neuroses. The anxious society that produced Schnitzler, Kurzweil, Klimt, and Schiele has been considered a representation par excellence of fin-de-siècle decadence. Following Gerard Genette’s Paratexts, I inquire as to the effect(s) of cover art and the competing visions of the novel they represent. This study responds to the following questions. How have publishers used or misused decadent imagery in (re)productions of Schnitzler’s novel? What meaning can be made from the use of the works by Kurzweil, Klimt, and Schiele as cover art? What contribution does each work make to our understanding of the Austria in Schnitzler’s novel? How does the reception of the author complement or compete with the reception of each painter? Full article

This article explores how the photographic practice of Polish contemporary artist Krzysztof Marchlak draws on the visual language of early modern Italian painting. The main goal of the article is to highlight how historical iconography connected to the representations of St Sebastian is reimagined today in a contemporary photographic context. Krzysztof Marchlak’s exploration of the male nude explicitly bridges contemporary queer art with the visual traditions of the Renaissance and antiquity. His photographs reinterpret canonical forms such as contrapposto poses, the central placement of the male figure, and decorative motifs echoing mythological and sacred iconography, offering a critical re-reading. Full article

This paper places La Casa de las Golondrinas, a Pre-Columbian rock image site, in its Kaqchikel Maya cultural context. This is an exploration of both the cultural situation of the paintings and the meaning of a selection of the images. A comparison of sacred locations in contemporary use in the Kaqchikel highlands to the prehistoric locations of La Casa de las Golondrinas reveals that the same features are present in both the contemporary and Pre-Columbian milieu. Further comparisons show that there is a concordance of themes in the Pre-Columbian rock art with those found in the Kaqchikel ethnographic studies. Some of the matters covered are portals to the spiritual world, mythological deities and other spiritual beings, sacrifice and ritual celebrations, and the quincunx, which defines the sacred world’s four corners and center. This paper discusses a variety of single images and image clusters pertaining to seasonal rituals and creation using ethnographic information by Kaqchikel Maya archaeological and cultural scholars, the Popul Vuh, and sources on Maya cosmology and art. Full article

This paper presents an overview of a research line developed at the Istituto Centrale per il Restauro within the CHANGES (Cultural Heritage Active Innovation for Next-Gen Sustainable Society) project, funded under the Italian National Recovery and Resilience Plan. The research was developed in different phases: a first one dedicated to the study of the deep background and the state of the art in the ICR background: history, methodologies and research in the field; a second phase was dedicated to the selection of a specific urban art mural, as a key study with conservation problems connected to some of the principal preservation treatments related to the outdoor context; the mural was also identified as a beloved icon in the public space with a profound socio-cultural meaning for the community. Nido di Vespe, created in 2014 by the artist Lucamaleonte is part of a broader artistic project called M.U.Ro-Museum of Urban Art of Rome, an open-air public art museum located in the Quadraro district in Rome, designed by the artist Diavù. A third phase focused on the research in ICR laboratories, specifically addressing: cleaning, reintegration, and protection strategies adapted to dynamic outdoor environments. A multi-step cleaning system based on polyvinyl alcohol-borax semi-interpenetrated hydrogels loaded with nanostructured fluids was developed to selectively remove spray-paint vandalism while preserving the chemically similar original pictorial layers. The reintegration phase investigated acrylic and urea-aldehyde resins as binders to produce compatible, reversible, and UV-traceable retouching and infilling materials. For surface protection, multilayer coating systems incorporating nanoparticles with antimicrobial, photocatalytic, and UV-stabilizing properties were formulated to enhance durability and chromatic stability. Laboratory tests on mock-ups simulating typical street and urban art materials and morphologies showed satisfactory results, while diagnostic investigations on Nido di Vespe provided the reference data to calibrate the experiments with real mural conditions. Cleaning tests demonstrated promising removal efficiency, influenced by the chemical composition, thickness of the overpainted layers, and surface roughness. The reintegration system met the expected performance requirements, as the tested binders provided good results and allowed the development of compatible, reversible, and distinguishable solutions. Protective coatings showed good results in terms of chromatic stability and surface integrity; however, the long-term behavior of both reintegration, cleaning, and protection systems requires further evaluation. The results achieved so far support the development of sustainable and flexible conservation strategies for the conservation of contemporary street and urban murals and will guide the future application of the selected materials and methodologies in pilot conservation interventions on the mural chosen as a meaningful case study within the broader research. Full article

This study investigates the evolution of women’s representation in Vietnamese silk paintings across three historical phases: traditional (1925–1954), modern (1955–1986), and contemporary (1986–present). The aim is to elucidate how artistic transformations reflect broader social and cultural change. Employing a qualitative approach that integrates visual analysis and in—depth interviews with artists and scholars, the research examines fifteen representative artworks to reveal shifts in composition, color palette, technique, and iconography. In the traditional period, female figures symbolized rural virtue, maternal devotion, and harmony with nature, reflecting the agrarian foundation of Vietnamese society. The modern period introduced greater diversity and individual expression as women were depicted in urban and industrial settings, embodying social progress and national reconstruction. The contemporary period, emerging after the Đổi Mới reforms, marked a profound redefinition of femininity through abstraction, surrealism, and mixed media, portraying women as autonomous, multifaceted, and globally engaged figures. The analysis highlights how silk painting evolved from a medium of cultural preservation into a dynamic form of artistic dialogue between tradition and modernity. The findings underscore that meaning in these artworks resides not only in gendered representation but also in the cultural landscapes and societal contexts that frame them. By situating artistic evolution within Vietnam’s socio historical trajectory, the study contributes to understanding the interrelation between art, gender, and cultural identity, while identifying the transitional period of 1975–1986 as a crucial yet underexplored phase in the development of Vietnamese silk painting. Full article

CIE recommendations for architectural exterior illumination provide general guidelines for highlighting building forms, with emphasis on edges, curvature, and spatial layering. However, they do not explicitly address luminance contrast disposition—specifically, whether elements further from the viewer should appear brighter or if those closer should be more intensely lit. Inspiration for addressing this problem can be drawn from the principles of Renaissance and Baroque paintings, where techniques of working with light evolved from dramatic contrasts to more rational and balanced approaches, offering valuable models for contemporary illumination design. This study compares the principles of painting from that period with eye-tracking and survey-based methods to investigate whether the arrangement of luminance contrasts of illuminated building facades significantly influences viewers’ visual attention, aesthetic judgment, and perception of depth. The verification was conducted in two stages using three lighting variants of a selected architectural object. These variants differed in the luminance contrast distribution between surfaces closer to and farther from the observer, while maintaining a constant average luminance level across the entire façade of 10 cd/m². The first stage analysed visual reactions of 116 (out of 178) participants to luminance changes across the multi-segmented façade, presented in a darkened room on a luminance-calibrated display. The second stage involved a survey in which 358 participants were asked about their lighting preferences. Participants—including both design professionals and laypeople—exhibited consistent perceptions regarding how different lighting configurations affected their impression of the building. The results revealed that luminance disposition significantly influenced the perceived volume of the structure, particularly the sense of depth. Eye-tracking data also indicated a strong positive correlation between subjective aesthetic assessments and patterns of visual attention. Full article

Contemporary murals are highly susceptible to rapid color fading due to outdoor urban exposure. This study investigates the photodegradation mechanisms affecting synthetic organic pigments (SOPs) and commercial acrylic–vinyl paints under simulated visible light exposure. Artificial aging experiments were conducted on two types of systems: (a) pigment pellets, composed of pre-fixed pigments on mineral bases, as supplied by the manufacturer, and (b) commercial paints applied on glass substrates. Both systems were aged under controlled and uncontrolled relative humidity (RH) conditions. Colorimetric analyses revealed significant color fading, particularly in pigments PR112, PO5, and PV23. Vibrational spectroscopies highlighted the reduction in pigment-related bands after aging, indicating SOPs’ vulnerability to photodegradation. In paint mock-ups, FTIR-ATR measurements indicated binder degradation and an increase in signals from inorganic fillers. A superficial layer enriched in inorganic components was investigated non-invasively by Micro Spatially Offset Raman spectroscopy (Micro-SORS) in the beamsteer modality. It highlighted a gradient of calcite to pigment with depth. These findings indicate that color fading in mural paints results from the combined degradation of both pigments and binders. Full article

Canvases and preparation layers consist of diverse materials that respond differently to mechanical stress. In a canvas painting, elongations and shrinkages can cause deformations—either recoverable or permanent—as well as shear stresses and potential cracks, which may weaken the overall structure. This study aims to better understand the interaction between the canvas and preparatory strata in terms of mechanical behavior. To achieve this, a set of canvases and the same types of canvases with preparation layers were selected. Two types of linen and two types of polycotton were chosen to represent contemporary materials currently available in fine-art stores. Additionally, an accelerated aging process was applied to the samples to compare their mechanical response before and after aging. By examining the mechanical behavior of both primed and unprimed canvases through dynamometric tests, a method to evaluate the mechanical degradation attributable to the ground layer has been developed and explained in detail. This method is applicable to cases with similar characteristics. Analysis of the force/elongation graphs for the ground layer allows for the calculation of how this layer evolves with increasing elongation and how the mechanical degradation worsens. The results highlight the differing mechanical behaviors among the analyzed canvas types in both the warp and weft directions, as well as the degradation values resulting from both the aging process and the dynamometric testing of the canvases and ground layers. Full article

Contemporary muralism has gained increasing cultural and social relevance in recent years, becoming a prominent form of urban artistic expression. However, its outdoor exposure makes it highly vulnerable to environmental degradation, raising significant challenges for long-term preservation. While solar radiation is widely recognized as a main agent of deterioration, the impact of rainfall has received comparatively little attention. This study addresses this gap by evaluating the durability of commercial protective coatings applied to modern paints (alkyd, acrylic, and styrene-acrylic) under simulated rain exposure. The ageing protocol replicates approximately 10 years of cumulative rainfall in Central-Southern Europe. A key innovation of this research is the use of a custom-built rain chamber, uniquely designed to expose a large number of samples simultaneously under highly uniform and controlled rain conditions. The system ensures reproducible exposure through a precision-controlled moving platform and programmable rain delivery. A comprehensive set of analytical techniques was employed to assess morphological, chemical, and functional changes in the coatings and paints before and after ageing. Results highlight the limited performance of current protective materials and the need for more effective solutions for the conservation of contemporary outdoor artworks. Full article

This article traces the historical evolution of mural painting as a medium of cultural expression from prehistoric cave art to contemporary street interventions. Adopting a diachronic and interdisciplinary approach, it investigates how muralism has developed across civilizations in relation to techniques, symbolic systems, social function, and its embeddedness in architectural and urban contexts. The analysis is structured around key historical periods using emblematic case studies to examine the interplay between materiality, iconography, and socio-political meaning. From sacred enclosures and civic monuments to post-industrial walls and digital projections, murals reflect shifting cultural paradigms and spatial dynamics. This study emphasizes how mural painting, once integrated into sacred and imperial architecture, has become a tool for public participation, protests, and urban storytelling. Particular attention is paid to the evolving relationship between wall painting and the spaces it inhabits, highlighting the transition from permanence to ephemerality and from monumentality to immediacy. This article contributes to mural studies by offering a comprehensive framework for understanding the technical and symbolic transformations of the medium while proposing new directions for research in the context of digital urbanism and cultural memory. Full article

The liturgical reforms of the mid-twentieth century had major impacts on not only the forms of liturgies in the Western church but also on liturgical theology. The 1979 Book of Common Prayer of the Episcopal Church, the Anglican province in the United States, along with several dioceses across the world, represents the culmination of these developments in that jurisdiction. Among its revolutionary suggestions is the reservation of Holy Baptism for certain occasions: the Easter Vigil, Pentecost, All Saints’ Day or the Sunday following, the Feast of the Baptism of Our Lord, and the visitation of a bishop. Many liturgical guides emphasize the advantages of observing these so-called “baptismal feasts,” but none treat them in any lengthy manner. Do the different occasions for baptism have something specific to say about what baptism is? How do the appointed lectionary readings shed light on baptism, and vice versa? In this article, I will explore these feasts and especially their assigned lessons in the Revised Common Lectionary. I will show that when read with a liturgical hermeneutics, the appointed scriptures and, therefore, the baptismal feasts themselves paint a comprehensive picture of a contemporary baptismal theology. Full article

Ancient paintings are an intangible window to the economy, politics, and customs of the past. Their characteristics have evolved or were made obsolete, with only limited contemporary connections remaining. This research aims to preserve and to interact with characters in 2D paintings to evolve their cultural identity through combining AI and AR. The scope of this research covers traditional Chinese paintings archived by the National Palace Museum in digital collections, mainly “New Year’s Market in a Time of Peace”. About 25 characters were used for training and 3D reconstruction in RODIN^®. The models were converted into Augment^® and Sketchfab^® platforms as reactivated AR characters to interact with new urban fabrics and landscapes. Stable Diffusion^® and RODIN^® were successfully integrated to perform image training and reconstruct 3D AR models of various styles. As a result, interactions were conducted in two ways: in a mixed context with mixed characters in a painting and in a familiar context in the real world with mixed characters. It was found that AR facilitated the interpretation of how the old urban fabric was arranged. Using AI and AR is a current issue. Combining AI and AR can activate ubiquitous preservation to perform recursive processing from diffused images in order to reconstruct 3D models. This activated heritage preservation method is a reasonable alternative to redefining intangible subjects with a new and evolved contemporary cultural identity. Full article

Modern and contemporary artworks, due to technological developments in the synthesis of new pigments, are characterized by a pictorial palette composed of a wide variety of pigments. This diversity makes it increasingly important to carry out thorough characterization studies in order to gain a complete and comprehensive understanding of the properties of the numerous pigments in use today. In this work, 18 modern acrylic paints were characterized using micro-Raman spectroscopy with two laser excitation lines (532 nm and 633 nm). The analysed pigments can be classified as organic, inorganic, or mixtures, depending on their chemical composition. Specifically, the following pigments were investigated: Cobalt Blue, Permanent Blue Light, Ultramarine, Primary—Cyan Blue, Cerulean Blue, Cobalt Blue (Hue), Indanthrene Blue, Phthalo Blue, Van Dyke Brown, Permanent Green Light, Phthalo Green, Primary Red—Magenta, Cadmium Red Medium, Lemon Yellow, Cadmium Yellow Medium, Zinc White, Titanium White and Iridescent Silver. The pigments were applied to wooden and glass substrates to simulate the creative processes of actual modern and contemporary artworks. The aim was to define their composition, as this knowledge is essential for the protection, conservation and enhancement of cultural heritage. Full article

Money Art is a growing contemporary practice where artists transform banknotes into unique visual works. While conceptually powerful, these artworks present significant conservation challenges due to their fragile substrates and complex material compositions. This study investigates the degradation behaviour of UniPosca acrylic markers applied on zero-euro banknotes, drawing on the techniques of artist RichardHTT, and explores bio-based protective strategies suitable for their preservation. Laboratory samples were prepared to replicate the original artwork and subjected to accelerated ageing. A multi-analytical approach was employed, including multispectral imaging, Fourier trasform infrared (FTIR) and Raman spectroscopy, and scanning electron microscopy (SEM-EDS) colorimetric analysis. Thickness and adhesion properties were assessed with contact micrometry and peel tests, while wettability was evaluated through static contact angle measurements. Four biopolymer coatings, chitosan and chitosan–nanocellulose films with varying CNC concentrations, were evaluated for their transparency, mechanical stability, and compatibility with the substrate. Results showed that painted areas, especially those with blue and black pigments, experienced marked degradation, while, after coating application, samples demonstrated improved chromatic stability, hydrophobicity, and adhesion. Importantly, all coatings were fully removable via enzymatic cleaning with α-amylase, confirming their reversibility. This research highlights the potential of chitosan-based biocomposites as conservation materials for non-traditional artworks and contributes to developing tailored, reversible strategies for contemporary art preservation. Full article

This study focuses on the nameplate of Vila D. Bosco, a modern building in Macau from the time of Portuguese rule, and looks at the types of metal materials and surface coatings used, as well as how they corrode due to the tropical marine climate affecting the building’s metal parts. The study uses different techniques, such as X-ray fluorescence spectroscopy (XRF), scanning electron microscopy/energy dispersive spectroscopy (SEM-EDS), X-ray diffraction (XRD), attenuated total internal reflectance Fourier transform infrared spectroscopy (ATR-FTIR), and cross-sectional microscopic analysis, to carefully look at the metal, corrosion products, and coating of the nameplate. The results show that (1) the nameplate matrix is a resulfurized steel with a high sulfur content (Fe up to 97.3% and S up to 1.98%), and the sulfur element is evenly distributed inside, which is one of the internal factors that induce corrosion. (2) Rust is composed of polycrystalline iron oxides such as goethite (α-FeOOH), hematite (α-Fe₂O₃), and magnetite (Fe₃O₄) and has typical characteristics of atmospheric oxidation. (3) The white and yellow-green coatings on the nameplate are oil-modified alkyd resin paints, and the color pigments are TiO₂, PbCrO₄, etc. The surface layer of the letters is protected by a polyvinyl alcohol layer. The paint application process leads to differences in the thickness of the paint in different regions, which directly affects the anti-rust performance. The study reveals the deterioration mechanism of resulfurized steel components in a subtropical polluted environment and puts forward repair suggestions that consider both material compatibility and reversibility, providing a reference for the protection practice of modern and contemporary architectural metal heritage in Macau and even in similar geographical environments. Full article