Painting and the experience of place in the Southern landscape

Through painting, I investigate the experience of place in the landscape. I define place as a location made significant by human interaction and appreciation. Oil painting on site is the means to discovering the signifiers of place. I work from life in landscapes that, through specific qualities, communicate the essential characteristics of the region. In this body of work, I paint on vertical canvases tinted with a colored ground. Using mark and color to capture the scene, I explore the space between illusion and the surface of the painting. The resulting pieces are abstract, suggestive of the landscape but also engaged with formal issues and the history of painting. Additionally, they are in dialog with the literature of the South, which uses the specificity of place to communicate universal truths

Spatial Transfiguration: Anamorphic Mixed-Reality in the Virtual Reality Panorama

Spatial illusion and immersion was achieved in Renaissance painting through the manipulation of linear perspective’s pictorial conventions and painterly technique. The perceptual success of a painted trompe l’œil, its ability to fool the observer into believing they were viewing a real three-dimensional scene, was constrained by the limited immersive capacity of the two-dimensional painted canvas. During the baroque period however, artists began to experiment with the amalgamation of the ‘real’ space occupied by the observer together with the pictorial space enveloped by the painting’s picture plane: real and pictorial space combined into one pictorial composition resulting in a hybridised ‘mixed-reality’. Today, the way architects, and designers generally, use the QuickTime Virtual Reality panorama to represent spaces of increasing visual density have much to learn from the way in which Renaissance and baroque artists manipulated the three-dimensional characteristics of the picture plane in order to offer more convincing spatial illusions. This paper outlines the conceptual development of the QuickTime VR panorama by Ken Turkowski and the Apple Advanced Technology Group during the late 1980s. Further, it charts the technical methods of the Virtual Reality panorama’s creation in order to reflect upon the VR panorama’s geometric construction and range and effectiveness of spatial illusion. Finally, through a brief analysis of Hans Holbein’s Ambassadors [1533] and Andrea Pozzo’s nave painting in Sant ‘Ignazio [1691-94] this paper proposes an alternative conceptual model for the pictorial construction of the VR panorama that is innovatively based upon an anamorphic ‘mixed-reality’

Spatiogram features to characterize pearls in paintings

Objective characterization of jewels in paintings, especially pearls, has been a long lasting challenge for art historians. The way an artist painted pearls reflects his ability to observing nature and his knowledge of contemporary optical theory. Moreover, the painterly execution may also be considered as an individual characteristic useful in distinguishing hands. In this work, we propose a set of image analysis techniques to analyze and measure spatial characteristics of the digital images of pearls, all relying on the so called spatiogram image representation. Our experimental results demonstrate good correlation between the new metrics and the visually observed image features, and also capture the degree of realism of the visual appearance in the painting. In that sense, these results set the basis in creating a practical tool for art historical attribution and give strong motivation for further investigations in this direction

A curriculum guide for art in the elementary grades

Thesis (Ed.M.)--Boston Universit

A holistic multimodal approach to the non-invasive analysis of watercolour paintings

A holistic approach using non-invasive multimodal imaging and spectroscopic techniques to study the materials (pigments, drawing materials and paper) and painting techniques of watercolour paintings is presented. The non-invasive imaging and spectroscopic techniques include VIS-NIR reflectance spectroscopy and multispectral imaging, micro-Raman spectroscopy, X-ray fluorescence spectroscopy (XRF) and optical coherence tomography (OCT). The three spectroscopic techniques complement each other in pigment identification. Multispectral imaging (near infrared bands), OCT and micro-Raman complement each other in the visualisation and identification of the drawing material. OCT probes the microstructure and light scattering properties of the substrate while XRF detects the elemental composition that indicates the sizing methods and the filler content . The multiple techniques were applied in a study of forty six 19th century Chinese export watercolours from the Victoria & Albert Museum (V&A) and the Royal Horticultural Society (RHS) to examine to what extent the non-invasive analysis techniques employed complement each other and how much useful information about the paintings can be extracted to address art conservation and history questions

Cracks in the Glass: The Emergence of a New Image Typology from the Spatio-temporal Schisms of the 'Filmic' Virtual Reality Panorama

Virtual Reality Panoramas have fascinated me for some time; their interactive nature affording a spectatorial engagement not evident within other forms of painting or digital imagery. This interactivity is not generally linear as is evident in animation or film, nor is the engagement with the image reduced to the physical or visual border of the image, as its limit is never visible to the viewer in its entirety. Further, the time taken to interact and navigate across the Virtual Reality panorama’s surface is not reflected or recorded within the observed image. The procedural construction of the Virtual Reality panorama creates an a-temporal image event that denies the durée of its own index and creation. This is particularly evident in the cinematic experiments conducted by Jeffrey Shaw in the 1990s that ‘spatialised’ time and image through the fusion of the formal typology of the Panorama together with the cinematic moving-image, creating a new kind of image technology. The incorporation of the space enclosed by the panorama’s drum, into the conception and execution of the cinematic event, reveals an interesting conceptual paradox. Space and time infinitely and autonomously repeat upon each other as the linear trajectory of the singular cinematic shot is interrupted by a ‘time schism’ on the surface of the panorama. This paper explores what this conceptual paradox means to the evolution of emerging image-technologies and how Shaw’s ‘mixed-reality’ installation reveals a wholly new image typology that presents techniques and concepts though which to record, interrogate, and represent time and space in Architecture

A new multi-spectral imaging system for examining paintings

A new multispectral system developed at the National Gallery is presented. The system is capable of measuring the spectral reflectance per pixel of a painting. These spectra are found to be almost as accurate as those recorded with a spectrophotometer; there is no need for any spectral reconstruction apart from a simple cubic interpolation between measured points. The procedure for recording spectra is described and the accuracy of the system is quantified. An example is presented of the use of the system to scan a painting of St. Mary Magdalene by Crivelli. The multispectral data are used in an attempt to identify some of the pigments found in the painting by comparison with a library of spectra obtained from reference pigments using the same system. In addition, it is shown that the multispectral data can be used to render a color image of the original under a chosen illuminant and that interband comparison can help to elucidate features of the painting, such as retouchings and underdrawing, that are not visible in trichromatic images

Enseñanza de Anatomía de Superficie Mediante la Pintura Corporal

The present project on learning surface anatomy through the body painting method was undertaken because anatomical knowledge supports medical practice. The appropriate anatomical training of the doctor depends on surface anatomy. We considered the renovation of teaching strategies and didactic resources to optimize the overall teaching- learning process. 189 first-year medical students, enrolled in the Trunk and Splanchnology course at the University of Cádiz (Spain) participated in this study. Students were divided into 5 groups each of 38-41 students. The students were asked to complete a satisfaction questionnaire supplied to each participant through an on-line platform. On the basis of the results, we recommend the body painting method as an alternative tool for learning surface and clinical anatomy