Search Results (53)

In this article, for the first time on this topic, we analyze the historical color palettes of Renaissance oil paintings by using machine-learning methods and digital images. Our work has two main parts: we collect data on their historical color palettes and then use machine learning to predict the original colors of paintings. This model studies color ratios, enhancement levels, symbolic meanings, and historical records. It looks at key colors, measures their relationships, and learns how they have changed. The main contributions of this work are as follows: (i) we develop a model that predicts a painting’s original color palette based on multiple factors, such as the color ratios and symbolic meanings, and (ii) we propose a framework for using cognitive computing tools to recover the original colors of historical artworks. This helps us to rediscover lost emotional and cultural details. Full article

This article sheds light on the repercussions of the Proverbs sentence “Wisdom has built her house” on Christian doctrine and on the Marian iconography of the Annunciation. To achieve his objectives, the author uses a double comparative analysis as a methodology. To begin with, he analyzes a vast corpus of texts in which numerous Fathers, theologians, and liturgical hymnographers of Eastern and Western Churches interpret this biblical locution according to Mariological and Christological projections. Secondly, he analyzes eight pictorial Annunciations from the Italian Renaissance in which Mary’s house in Nazareth is depicted as a luxurious palace. As a result of these two sets of analyses, the author concludes that the interpretations of the Fathers, theologians, and hymnographers about the house built by Wisdom and the form of the house/palace in images of the Annunciation allude to the dogma of God the Son’s supernatural human conception/incarnation in Mary’s virginal womb. Full article

Roman Bordun’s twenty-first century photograph The Apartment After the Artillery Bombardment. Heat resistant Ceramic Vase. Irpin [Ukraine]. June 2022 uses light to express the Christian paradox of suffering that leads to redemption and eternal life for the just. In order to imbue spiritual meaning into a photographic work, Bordun draws from Renaissance artists in his use of technique (chiaroscuro), topic (warfare), and geography (the city) that all reference Christ’s Resurrection. Comparing and contrasting Bordun’s Apartment with Raffaello Sanzio da Urbino’s [Raphael] paint on wood Saint Michael Overwhelming the Demon (c. 1505) demonstrates how Bordun’s photograph can transcend its discrete historical context, merging the factual and the mythic as described by C. S. Lewis. Through his references to Raphael and the masters, Bordun lays claim to a Christian iconography and challenges the political use of religion in waging human warfare. His works all demonstrate contemporary or even quotidian plays on Renaissance works in order to address current political issues. The art of photography and stylistic references to churches’ involvement in politics, as opposed to Christian teachings, critiques Moscow’s “post-truth” justifications of the Ukrainian invasion and war. Full article

Medicine is struggling with the constantly rising incidence of breast cancer. The key to this fight is to be able to speed up diagnosis, as rapid diagnosis reduces the number of aggressive or advanced cases. For this process to be effective, it is necessary to have the right attitude toward diagnosis as a research practice. Our critical analysis of diagnosis, as a methodology of medical science, reflects on it as a research practice that is regulated in a socio-subjective way by a methodological culture. This position allows us to contrast critical methodological culture with the habitual–practical, or methodical, culture of practicing diagnosis. We point to the interpretative status of medical analyses performed by medical historians by referring to Italian Renaissance paintings and historical–artistic interpretations. In this field, analyzing disputes between researchers as a clash of methodologies in the ways interpretation transforms signs into meaning is a critical methodological reflection. Medicine is a diverse scientific discourse with a paradigmatic structure in which new ways of conducting diagnostic tests may appear. It is only possible to see this from the methodological level. In addition, passive respect for existing patterns of conduct hinders an exchange of views between researchers, which limits the possibility of correcting research procedures. The ultimate consequence of such passivity is an inability to improve diagnosis, which, in turn, harms the interests of patients. In this regard, it is worth remembering that the paramount objective of diagnosis is not the disease, but the patient. Full article

This paper presents a new object of study—the so-called camerini, private rooms for study and reflection in the great stately palaces of the fifteenth and sixteenth centuries, which contained riches and artistic heritage of inestimable value and were characterized by very dim lighting. Analysis of the camerini, true precursors of the modern museum, is not only study of a specific subject but also extremely relevant because it allows us to re-analyze the entire evolution of the museum type and its characteristics, discovering its origins, following its evolution, and critically reviewing its current features. Starting from the case study of the Quarto Camerino of the Villa d’Este in Tivoli, a superset of the specific features of this type of space and possible problems in its 3D reconstruction, this article presents a method and a workflow aimed at reconstruction and visualization, with high visual quality of these spaces and their features. Digital surveying technologies were integrated with advanced methods that allowed for the reproduction of the full optical properties of spatial surfaces and with tools for semantic modeling and visualization to generate a digital artifact that is consistent with the available information and its interpretations and that can be analyzed both perceptually and analytically. Full article

Azurite, a natural mineral pigment consisting of basic copper carbonate (2CuCO₃·Cu(OH)₂), is one of the Middle Ages’ most common blue pigments. Why paintings originally coated with azurite appear blackened today remains debated. Using a non-invasive multi-analytical approach, the study analysed several unexpectedly black-appearing details (objects such as books or clothing such as veils, robes, or mantles) in Antoine de Lonhy’s works. The aim was to investigate if the black colour was due to intentional iconographic reasons, incautious restoration work, or painting deterioration. The analytical results displayed the presence of the blue pigment azurite, therefore, the expected original colour of various areas should be blue. To shed light on the discussion regarding the blackening, several other Renaissance paintings with similar black details were analysed, all from the same period and geographic area as de Lonhy’s works and conserved under identical conditions. The reasons why the blackening takes place are still unclear. However, the combined use of X-ray fluorescence spectrometry (XRF), UV-visible diffuse reflectance spectrophotometry with optical fibres (FORS), portable X-ray diffraction (XRD), and the elemental mapping based on the XRF data revealed that these blackened areas were originally painted with azurite, suggesting they were once blue. This finding significantly changes the overall appreciation of these artworks. 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

This paper presents the archaeometric and chemometric authentication of a Renaissance-style oil painting on linen canvas, with plaster and barium sulphate-based primer preparation and bone glue as binder. By optical microscopy (OM), stereomicroscopy (SOM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), a series of archaeometric characteristics were identified: the grain size of the chemical components of the paint layers, the 3D porosity distribution of the pigments, the degree of penetration between the paint layers and the varnish and between the varnish and the oxidatively anchored dirt, and the typology of the craquelure (craquelure network arrangement and morphology). By correlating the results obtained, it was possible to estimate the period of the painting as 1660 ± 3 years. 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

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

In this compilation, the focus is on the Cochineal insect (Dactylopius coccus Costa, 1835 (Hemiptera: Dactylopiidae)), a creature native to South America that produces a potent natural red pigment known as “carmine”. This pigment, utilized for obtaining the color red, has been an integral part of the art world for thousands of years. Indigenous cultures, in particular, have employed the dye extracted from this insect in the creation of textile dyes and paintings. Moreover, the Cochineal insect and its unique pigments have not only supported artistic expression but also captivated and inspired artists. During the Renaissance period, artists preferred the carmine pigment produced by the females of the Cochineal insect for obtaining bright and vivid red tones. This study delves into the history of the Cochineal insect, its role in art, and its perception in the modern world. Famous paintings created with dyes obtained from the Cochineal insect are discussed, exploring how pigments have found a place in the art world and how artists have utilized this extraordinary source to create distinctive works. Full article

Medieval colors used in illuminated manuscripts from the 12th to 15th centuries can be at risk. Knowing the binding media used, the medieval tempera, is fundamental to developing new and greener methodologies to increase sustainability in Cultural Heritage. A closer look at the tempera used in medieval illuminated manuscripts kept in Portuguese collections, namely, the Ajuda Songbook (13th c.), the winter breviary (14th to 15th c.), the books of hours (15th c.), and a Renaissance Charter (1512), shows that most of the paints analyzed used a tempera similar to gum mesquite. Infrared spectra were the basis for the differentiation between the gums used in medieval times originating from Prosopis spp. and Senegalia spp., gum mesquite and gum arabic, respectively. The ethnobotanical uses of gum mesquite further engage the reader. This micro review represents a significant step forward in Heritage Conservation, offering new perspectives for innovative and greener treatments. Our research, focusing on the differentiation of gums used in medieval times and the identification of the binding media, has the potential to revolutionize our understanding and the preservation of illuminated manuscripts in Cultural Heritage. 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

The ancient Duchy of Urbino (Marche and Emilia-Romagna Regions, Italy) is known for its spectacular landscapes linked to a unique geological history. This area owns an unexpected cultural resource, which concerns using its landscapes in art. Some great Renaissance artists, including Piero della Francesca, Raphael, and Leonardo, were so impressed by the landscapes that they reproduced them in their most famous paintings. This paper summarizes research concerned with their identification, employing a multidisciplinary method that has enabled the recognition of many morphologies. This contribution provides the scientific community with information on the methodology and regional and national projects developed in this area to enhance its cultural landscapes. Starting from the geological description of the territory, the research focuses on famous works by three great Renaissance artists, providing evidence and morphological details related to the recognition of places: “Nativity” by Piero della Francesca, “Madonna Litta” by Leonardo da Vinci, and “Knight’s Dream” by Raphael. Finally, it is proposed to make these landscapes a timeless resource through their inclusion in UNESCO’s cultural heritage. This contribution is addressed to representatives of the administration, conservation, and enhancement of artistic and landscape heritage to stimulate new perspectives for research, education, and tourism within the cultural heritage of this area. Full article

The golden ratio, also known as Phi (ϕ ≈ 1.618034), attracted the interest of mathematicians, artists, and intellectuals for many centuries, probably from when it was discovered in human anthropometry. Even in recent times, researchers found the presence of the golden ratio in Renaissance paintings and aesthetic preferences. The reasons behind the fascination with the golden ratio remain unclear, but it has been suggested that stimuli containing this proportion are often perceived as beautiful. However, evidence is conflicting, and the literature struggles to establish the existence of individual preferences for the golden ratio. To gain new insights into the nature of these preferences, one hundred participants completed an implicit association task, with either golden ratio or random stimuli presented with positive or negative words. Participants initially categorized the stimuli based on their assigned categories. Then, we assessed their explicit preferences by asking them to rate the stimuli in terms of pleasantness and by completing a line bisection task and the Ultimatum Game. The results revealed the typical effects observed in implicit association tasks, with improved response times and accuracy when golden ratio stimuli were associated with positive word categories. In contrast, explicit ratings yielded mixed results. We discuss our findings in relation to previous studies that have explored this issue, highlighting the ongoing debate surrounding preferences for the golden ratio. Full article