Search Results (58)

Background/Objectives: Art-based interventions have been shown to enhance communication skills in children with autism spectrum disorder (ASD), yet their impact on prefrontal hemodynamics remains unclear. Methods: This study employed functional near-infrared spectroscopy (fNIRS) to examine hemoglobin oxygenation (HbO) changes in the prefrontal cortex of school-age children with ASD, providing empirical support for its therapeutic efficacy. Sixty age-matched children participated in a 9-week art therapy program, including twenty ASD children and forty typically developing peers. Assessments included self-portrait drawing (SPD), the Diagnostic Drawing Series (DDS), and the General Quality of Life Inventory (GQOL-74). In addition, we performed fNIRS measurements in the ASD participants and observed changes in prefrontal HbO at rest and while drawing. Results: The drawing intervention significantly enhanced drawing ability, emotional expression, and cognitive skills, with the intervention group outperforming the controls. ASD participants exhibited distinct prefrontal connectivity patterns with visual, motor, and language-related regions, including the dorsolateral prefrontal cortex, frontal eye field, and Broca’s area. Task-based painting interventions indirectly influenced the frontal lobe’s hemodynamic characteristics, indicating drawing intervention as an effective intervention for ASD. Full article

A radiocarbon study of a painting that might have been made by Titian or Tintoretto or by their workshops is presented. It could be the lost Titian self-portrait or, more convincingly, the sitter might be the Venetian Andrea Cappello, elected Procuratore de Supra in 1537 AD. Due to the variability in the concentration of atmospheric radiocarbon during the reference period, the calibrated ¹⁴C ages of the painted canvas are 1450–1530 and 1540–1635 AD (2 $\sigma$), while those of the wooden frame are 1504–1597 and 1616–1657 AD (2 $\sigma$). They are also consistent with previous analyses based on scanning macro X-ray fluorescence. These results, combined with stylistic, considerations suggest that the painting was made in the first half of the 16th century by Titian or his workshop. Circumstantial evidence that the painting was executed between 1523 and 1528 is also discussed. Full article

Mammalian blood cells originate from specialized ‘hemogenic’ endothelial (HE) cells in major arteries. During the endothelial-to-hematopoietic transition (EHT), nascent hematopoietic stem cells (HSCs) bud from the arterial endothelial wall and enter circulation, destined to colonize the fetal liver before ultimately migrating to the bone marrow. Mechanisms and processes that facilitate EHT and the release of nascent HSCs are incompletely understood, but may involve signaling from neighboring vascular endothelial cells, stromal support cells, circulating pre-formed hematopoietic cells, and/or systemic factors secreted by distal organs. We used single cell RNA sequencing analysis from human embryonic cells to identify relevant signaling pathways that support nascent HSC release. In addition to intercellular and secreted signaling modalities that have been previously functionally validated to support EHT and/or developmental hematopoiesis in model systems, we identify several novel modalities with plausible mechanisms to support EHT and HSC release. Our findings paint a portrait of the complex inter-regulated signals from the local niche, circulating hematopoietic/inflammatory cells, and distal fetal liver that support hematopoiesis. Full article

At the beginning of the 21st century, there were sensational discoveries in two palaces located in Ciechanowice and Struga in Silesia (Poland). During their renovations, Renaissance fresco cycles of portraits of emperors from the Roman, medieval, and early modern times appeared under the layer of plaster in the representative dining rooms (27 in the palace in Struga and about 50 in the palace in Ciechanowice). They were painted in the 1580s (in Ciechanowice, the date is 1588) by the same unknown artist. This article is the first to attempt to establish the most important facts related to the creation of both fresco cycles. The frescoes were founded by representatives of influential Silesian Protestant nobility: Heinrich von Reichenbach (Ciechanowice) and Abraham von Czettritz und Neuhaus (Struga). Both nobles attended the funeral of Emperor Maximilian II, which took place in Prague in 1577. This is where they purchased a work by the Dutch printmaker, painter, and numismatist, Hubert Goltzius, Lebendige Bilder Gar Nach Aller Keysern […] (published in Antwerp in 1557), whose specially prepared copy had been solemnly presented to Emperor Maximilian II in 1562. The book contains 133 monochrome woodcut illustrations with portraits of emperors in circular frames by the Dutch artist Joss van Gietleughen, which—together with accompanying inscriptions—were used as models for fresco paintings in both Silesian palaces. The foundation of the cycles of portraits of the emperors of the Roman Empire and the Holy Roman Empire of the German Nation in the representative halls of the palaces in Ciechanowice and Struda, which ended with a joint representation of Emperor Maximilian II and the King of Spain, Philip II Habsburg, was a way to show the gratitude of both prominent and wealthy Protestant nobles towards Emperor Maximilian II. During his reign, imperial power was the source and guarantee of religious freedoms for Protestants in Silesia. It is significant that both cycles left out the person of emperor regnant, Rudolf II, who soon after assuming the imperial throne abandoned his father’s tolerant policy towards Protestants. Although the author of both series of frescoes was probably a local painter, they are a unique artistic realization not only in Silesia but also in the whole of Central Europe, and they can only be compared to the popular Renaissance portrait galleries of “famous men” (uomini famosi). Full article

In the mid-seventeenth century, Chinese Chan master Yinyuan Longqi 隱元隆琦 (Jp. Ingen Ryūki, 1592–1673), accompanied by several disciples, traveled to Japan and established Ōbaku Zen, a new sect of Zen Buddhism in Tokugawa Japan. Ōbaku art, particularly portrait paintings of Ōbaku abbots and their spiritual predecessors, became critical representations of the sect and greatly influenced later Japanese Buddhist art. While much of the existing scholarship focuses on the artistic and stylistic aspects of Ōbaku portraiture, this paper emphasizes its religious context and doctrinal dimensions. Building on Elizabeth Horton Sharf’s inquiry into the “meaning and function” of Ōbaku portrait painting, the paper investigates how Ōbaku doctrine is expressed through these images. Using the Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan as a case study, this paper explores the role of portraiture in visually conveying Ōbaku teachings and the religious aspirations of those Chinese immigrant monks. By examining the integration of image, inscription, and seal as a unified “pictorial trinity”, the paper argues that Ōbaku portraiture embodies the sect’s distinct doctrine, rooted in Ming-era Chan practices such as beating, shouting, and strict dharma transmission. Moreover, the prominence of Bodhidharma in Ōbaku portraits, as illustrated in the triptych, reflects these Chinese immigrant monks’ desire to emulate Bodhidharma in spreading the dharma and expanding their sect’s influence in a new land. Full article

In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli’s Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not commonly accepted that an artist would lay claim to it, especially when the work’s scale imposed diversification of tasks to be performed or teamwork organized on a workshop basis. This article will present evidence discovered in the Chapel of Hatshepsut in her temple at Deir el-Bahari that can be interpreted as a self-portrait in assistenza and indicates that Djehuty, Overseer of the Treasury under Hatshepsut, took the lead role there. If this identification is valid, the room’s decoration gains an additional layer of meaning and may be “read” in terms of Djehuty’s message, comparable to Botticelli gazing out from his Adoration of the Magi. This ancient Egyptian case will illustrate how that artist-designer, in interweaving subtle indicators of his involvement in the work, expresses awareness both of his intellectual skills and of his pride in creation. Full article

Nowadays, portrait drawing has gained significance in cultivating painting skills and human sentiments. In practice, novices often struggle with this art form without proper guidance from professionals, since they lack understanding of the proportions and structures of facial features. To solve this limitation, we have developed a Portrait Drawing Learning Assistant System (PDLAS) to assist novices in learning portrait drawing. The PDLAS provides auxiliary lines as references for facial features that are extracted by applying OpenPose and OpenCV libraries to a face photo image of the target. A learner can draw a portrait on an iPad using drawing software where the auxiliary lines appear on a different layer to the portrait. However, in the current implementation, the PDLAS does not offer a function to assess the exactness of the drawing result for feedback to the learner. In this paper, we present a drawing exactness assessment method using a Localized Normalized Cross-Correlation (NCC) algorithm in the PDLAS. NCC gives a similarity score between the original face photo and drawing result images by calculating the correlation of the brightness distributions. For precise feedback, the method calculates the NCC for each face component by extracting the bounding box. In addition, in this paper, we improve the auxiliary lines for the nose. For evaluations, we asked students at Okayama University, Japan, to draw portraits using the PDLAS, and applied the proposed method to their drawing results, where the application results validated the effectiveness by suggesting improvements in drawing components. The system usability was also confirmed through a questionnaire with a SUS score. The main finding of this research is that the implementation of the NCC algorithm within the PDLAS significantly enhances the accuracy of novice portrait drawings by providing detailed feedback on specific facial features, proving the system’s efficacy in art education and training. Full article

This article documents the discovery of ‘bismuth white’ on three late eighteenth-century portrait miniatures in the Victoria and Albert Museum collections, painted by renowned English artist George Engleheart. Metallic bismuth and bismuth-containing minerals have been known for centuries and were used on various types of artistic production, from German Wismutmalerei to medieval manuscripts and Renaissance paintings. However, until now they had never been documented on portrait miniatures, despite documentary evidence that suggests their use. The Raman analysis of the three miniatures shows that bismuth oxychloride (BiOCl, corresponding to the mineral bismoclite) is present, and XRF data prove that this material was used as a white pigment in its own right. This work is a pilot study: it represents the first step in the rediscovery of bismuth white as an artist’s pigment, and hopes to provide encouragement to other institutions to look deeper in their collections and map out the use of a relatively rare white material which until now had not been detected or documented in fine art objects. Full article

Amid the global challenges posed by the COVID-19 pandemic, unraveling the genomic intricacies of SARS-CoV-2 became crucial. This study explores viral evolution using an innovative high-throughput next-generation sequencing (NGS) approach. By taking advantage of nasal swab and mouthwash samples from patients who tested positive for COVID-19 across different geographical regions during sequential infection waves, our study applied a targeted enrichment protocol and pooling strategy to increase detection sensitivity. The approach was extremely efficient, yielding a large number of reads and mutations distributed across 10 distinct viral gene regions. Notably, the genes Envelope, Nucleocapsid, and Open Reading Frame 8 had the highest number of unique mutations per 1000 nucleotides, with both spike and Nucleocapsid genes showing evidence for positive selection. Focusing on the spike protein gene, crucial in virus replication and immunogenicity, our findings show a dynamic SARS-CoV-2 evolution, emphasizing the virus–host interplay. Moreover, the pooling strategy facilitated subtle sequence variability detection. Our findings painted a dynamic portrait of SARS-CoV-2 evolution, emphasizing the intricate interplay between the virus and its host populations and accentuating the importance of continuous genomic surveillance to understand viral dynamics. As SARS-CoV-2 continues to evolve, this approach proves to be a powerful, versatile, fast, and cost-efficient screening tool for unraveling emerging variants, fostering understanding of the virus’s genetic landscape. Full article

The aim of this paper is to analyse facial similarity and apply it to identify the individuals depicted in the mural paintings of the apse of St. Leocadia Church, located in Chaves Municipality (North of Portugal), which were painted during the first quarter of the 16th century. This study also compares the portraits of this mural paintings with the oil paintings by the Proto-Renaissance Portuguese painter Nuno Gonçalves. Through this research, the feasibility of face recognition technology is explored to answer many ambiguities about Manueline stylistic identity and iconography. Additionally, it aims to associate historical events, artistic discoveries, and the expansion of portraiture as propaganda of power during the Portuguese Proto-Renaissance and Early Renaissance. On the other hand, it focuses on the prevalence of the religious and devotional over the sacred in Manueline painting. A proposal was made to identify the characters that are fundamental to the meaning of the mural paintings. An experiment was conducted on seven characters from the paintings at St. Leocadia Church, which were then compared to Nuno Gonçalves’ portraits. Facial similarity analysis was conducted on the faces portrayed in the Panels of St. Vincent, a remarkable portrait gallery from 15th-century Portugal, which has been the subject of national and international research for 130 years. Other paintings that were analysed were the oil paintings of St. Peter and St. Paul and of Infanta St. Joana, which were created by the same Quattrocento master. The purpose of the mural paintings of St. Leocadia Church could be catechetical in nature or related to the ritual practices of royal ancestor worship in royal portrait apses of the churches. It could also be associated with the Portuguese maritime expansion and the macro-imperial ideology of D. Manuel I. Full article

Inborn errors of metabolism (IMDs) are a group of inherited diseases that manifest themselves through a myriad of signs and symptoms, including structural or functional cardiovascular damage. The therapy of these diseases is currently based on enzyme-replacement therapy, chaperone therapy or the administration of supplements and the establishment of personalized dietary plans. Starting from the major signs identified by the pediatric cardiologist that can indicate the presence of such a metabolic disease—cardiomyopathies, conduction disorders or valvular dysplasias—we tried to paint the portrait of dietary interventions that can improve the course of patients with mitochondrial diseases or lysosomal abnormalities. The choice of the two categories of inborn errors of metabolism is not accidental and reflects the experience and concern of the authors regarding the management of patients with such diagnoses. A ketogenic diet offers promising results in selected cases, although, to date, studies have failed to bring enough evidence to support generalized recommendations. Other diets have been successfully utilized in patients with IMDs, but their specific effect on the cardiac phenotype and function is not yet fully understood. Significant prospective studies are necessary in order to understand and establish which diet best suits every patient depending on the inherited metabolic disorder. The most suitable imagistic monitoring method for the impact of different diets on the cardiovascular system is still under debate, with no protocols yet available. Echocardiography is readily available in most hospital settings and brings important information regarding the impact of diets on the left ventricular parameters. Cardiac MRI (magnetic resonance imaging) could better characterize the cardiac tissue and bring forth both functional and structural information. Full article

While Rosemary Radford Ruether is widely, and rightly, acknowledged as a prophetic Catholic scholar–activist, her interest in and experience of mysticism is rarely emphasized. However, Ruether had an impactful mystical experience as a young woman, and the themes of this experience echo throughout her body of work. This paper paints a portrait of Ruether as both a profoundly prophetic scholar–activist and a spiritually attuned seeker of the very divinity that she encountered in her twenties. In the process, this paper first offers a democratized and demystified vision of mysticism by drawing on the work of Bernard McGinn, Dorothee Söelle, and Jess Byron Hollenback. Next, it offers a biographical sketch of Ruether, contextualizing her early mystical experience within the broader pattern of her spiritual and intellectual path. It interprets Ruether’s mystical experience, through which she encountered the divine as a feminine presence suffusing creation, as a meaningful source of inspiration for her decades-long commitment to an anti-patriarchal, ecofeminist theology. Full article

This article aims to present the results of the investigations performed on a 19th-century oil painting on canvas belonging to the Conservation and Restoration Department of the University of Art and Design in Cluj-Napoca, Romania. The artwork depicting the portrait of a lady originating from an important Irish noble family (Judith Bunbury, 1785–1861) has been investigated using only non-invasive methods. The investigation protocol included digital photography in different light sources at different wavelengths, which was used to document the current condition of the painting, UV fluorescence, which highlighted the previous improper retouches and the presence of a varnish coat, Infrared reflectography, which brought to light the underdrawing made by the artist and X-ray Fluorescence (XRF) spectroscopy, an elemental analysis technique which indicated the chemical composition of the pigments, suggesting the use of lead white, a barium white pigment, yellow and red ochre, vermilion, cobalt blue, and a manganese-based brown pigment. The results of this entirely non-invasive investigation approach helped in choosing the most appropriate conservation and restoration methodology for the artwork. Full article

This essay performs a close reading of Morimura’s Portrait (Futago) to establish how the artist’s multi-media approach echoes 1980s declarations about the end of painting while also proposing alternatives for its historical and material afterlife. In many ways, the artist’s performances make the crises brought on by the emerging global economy visual, and as such pointed to a number of slow deaths: of painting, of capitalism, of Japanese tradition. But the images do not merely document the demise. Instead, they present a scenario in which multiplicities define contemporary being. By considering how the work engages with photography, performance, and painting, I argue that Morimura’s approach to modality pointed out inherently Western assumptions about painting as well as its incompatibility with a holistic global identity in the 1980s and 90s. Exploiting the stereotypes of his media, Morimura makes tangible painting’s complicity with Western hegemony and destabilizes it in ways that propose a new global subject. Full article

A number of foreign artists received the earliest commissions to represent Napoleon’s Russian Campaign of 1812 for Russian emperors. My paper is a case study of a German artist who served the Russian Imperial court. Peter von Hess trained at the Academy in Munich and served both King Ludwig I of Bavaria and Otto I of Greece. In 1839, Emperor Nicholas I commissioned the artist to complete 12 monumental canvases for the Winter Palace representing key battles that followed Napoleon’s invasion of Russia in 1812. While earlier battle paintings and portraits commissioned by Alexander I dealt only with elite officers and the emperor, Hess’s paintings elevated the common Russian as the bearers of a great sacrifice and as the true defenders of Russia. This representational shift is the product of changing ideas concerning Russia’s involvement in several alliances from 1803 to 1815 that included Austria, England, Sweden, and Prussia. In addition, over the course of Nicholas I’s reign, the concepts of “autocracy, orthodoxy, nationality” crept into representations of the Russian experience of the Napoleonic wars. Full article