Painting works by Anton Möller on the background of Gdańsk’s painting workshop of the last quarter of the 16th and the first half of the 17th century

This works presents the research on painting technology and techniques of selected panel paintings by Anton Möller (1563/5-1611) and the paintings attributed to his workshop and circle of his artistic influences such as Isaac van den Blocke (before 1589-after 1924) and Hermann Han (1580-1627/8). Gdańsk’s painting of the turn of the 16th and 17th centuries was a combination of technology and techniques derived from local traditions influenced by northern trends: German and Dutch, as well as their assimilated Italian art. The results of performed analysis revealed that the works by Anton Möller had a great influence on the development of the painting workshop in Pomerania. The white ground and grey imprimatura and colorful ground characteristic for the Gdańsk artist were identified, among others, in the Gronau epitaph and works by Hermann Han and Isaac van den Blocke. Artists working in this area could be influenced by the painting school of Anton Möller, and they could draw technical achievements directly from the Netherlands. The dominant pigments in Möller’s painting palette are lead white, lead-tin yellow, red and yellow iron pigments of natural origin, cinnabar, minium, organic red pigment, smalt, natural azurite, iron umber, charcoal. Anton Möller and Isaac van den Blocke as the only Gdańsk artists used natural ultramarine in their paintings. Anton Möller’s work distinguishes the use of bright colors similar to Italian and Flemish paintings. The artist in some way experimented with color. He used various colors of mortar, imprimatura, and underpainting to achieve the desired effect, including a white imprimatura for illuminating the surface of the painting or a pink gound layer for painting the sky. The composition of the painting was underpainted with brown paint that gave a warm tint. When painting garments, especially red, he used strong contrasts of shimmer, where the vivid red was assembled with a plane painted red with the addition of a large amount of lead white. These treatments were supposed to give the impression of luminosity, which brings even closer the way of color compositions with Italian painting. Anton Möller applied the principles of technology and painting techniques typical of the turn of the 16th and 17th centuries in European art and belongs to a group of outstanding artists active in Gdańsk

Prediction of fragment distribution and trajectories of expolding shells

A semi-empirical model allowing for prediction of natural fragmentation of exploding shells is described. The initial velocity, projection angle, size and location, obtained for each fragment, are used by a point mass trajectory routine to determine the overall fragment distribution on the ground and to model fragments hitting a threedimensional object. Examples of validation against experimental data for 105mm shell and a mortar bomb are shown. The proposed model is useful for munition assessments, including a prediction of safety hazard in a credible accident

Burning surfaces evolution in solid propellants: a numerical model

A methodology for the solution of the internal physics of solid propellant rocket motors is described. The problem involves the simulation of a burning surface - a dynamically changing interface between the solid propellant and combustion gas phases. Burning surfaces can have complex shapes that change in time according to the solid chemistry and deformation, and according to gas parameters. The key element of the proposed model is the development of a new technique to conform the computational mesh to the interface. The paper documents mesh handling and solution procedures suitable for axisymmetric applications. The approach is to treat the problem in a uniform manner for solid and gas phases as a flow with moving sources. Unstructured, dynamically adjusting meshes are employed in the same way for both phases. This paper presents two specific test cases, with non-deforming solids, for which a comparison with theoretical results is possible

A multidimensional positive definite remapping for Lagrangian solutions of the Noh problem

A remapping based on the multidimensional positive definite advection transport algorithm (MPDATA), implemented for ALE methods, is used to model the Noh problem. Typical solutions in the Lagrangian reference frame contain heating errors which arise during the simulation of a shock reflection originating at a wall. The paper shows that the inherent properties of MPDATA can be exploited in the remapping to reduce wall heating errors. The resulting increase in accuracy and symmetry of solutions is demonstrated

The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling

The triptych The Last Judgement from the National Museum in Gdańsk is one of the most mysterious of the Flemish Renaissance works of the 15th century. Since the late 1960s, based on conservation research, art historians have known that another painting lays underneath the work. Until 2012-2014, however, identification and seeing all hidden image in detail has been impossible. There are no known historical sources making specific reference to the origin of this work. Its authorship has often been questioned. Since Hotho’s hypothesis of 1843, the painting is regularly attributed to Hans Memling. The earliest and only certain date in the history of the triptych is the 27 April 1473, the date when it was seized by pirates at sea during its transportation from the port of Bruges to Badia Fiesolana near Florence. As a Hanseatic spoil of war, the triptych passed to St. Mary’s Basilica in Gdańsk. The artwork was analysed from a number of perspectives, ranging from a humanistic enquiry to its physico-chemical properties. It was found that the triptych was painted with a multilayer tempera-oil technique on oak support. Dendrochronological work by Tomasz Ważny showed that the oak support was prepared for painting at the end of 1460. The results of these tests facilitate a fresh approach to the dating of the work and a new interpretation of its origins. A number of scientific examinations were undertaken owing to a grant from the 7th Framework Programme in 2012-2014 in collaboration with an international group of scientists in the project CHARISMA-MOLAB and ARCHLAB. The project offered an access to most advanced EU scientific instrumentations and knowledge to enhance our research, the goal of studies at ARCHLAB in the C2RMF was to confront documents and draw a comparison of the results of The Last Judgement investigations with data of other works of Rogier van der Weyden and Hans Memling.This provided a number of new results based on MNIR results concerning the several stages of the artistic process. New information confirmed the thesis of the dates 1460 – instead of 1466-1467, as expressed previously – as well as three stages in the composition and underdrawing of the work; with the priming layers probably made by Rogier van der Weyden with his collaborators. It was the norm in 15th century painting workshops, while the completion of the painting and final layers were probably the work of Hans Memling (his earliest and most important achievements in his oeuvre). The results shed light on the original proto-Renaissance pedigree of 15th century Flemish painting with its identity born in the north of Europe.Le triptyque du Jugement dernier conservé au Musée national de Gdansk est l’une des œuvres les plus mystérieuses de la première Renaissance flamande. Vers la fin des années 1960, des examens de laboratoire ont révélé la présence d’une autre peinture sous la surface. Mais il a fallu attendre 2012-2014 pour pouvoir identifier l’image cachée et en distinguer les détails. Aucun document historique connu à ce jour ne fournit d’indication sur l’origine de cette œuvre, dont l’attribution a suscité bien des controverses. L’hypothèse Hans Memling avancée en 1843 par H. G. Hotho resurgit régulièrement. La première et unique date attestée dans l’historique du triptyque est celle du 27 avril 1473, date à laquelle des pirates s’en sont emparés sur le navire qui le transportait de Bruges à Fiesole. Ce butin de guerre hanséatique a été transmis ensuite à la basilique Sainte-Marie de Gdansk. L’œuvre a fait l’objet de toutes sortes d’analyses, depuis l’enquête humaniste jusqu’à la détermination des propriétés physico-chimiques. On a découvert que la surface se composait de plusieurs couches de tempera et peinture à l’huile appliquées sur du chêne. Une étude dendrochronologique conduite par Tomasz Wazny a démontré que la préparation du support en bois remontait à la fin de l’année 1460. Ces données permettent d’envisager la date et l’origine de l’œuvre sur de nouvelles bases. Le septième programme-cadre (7e PC) de l’Union européenne a financé en 2012-2014 une série d’examens scientifiques effectués en collaboration avec un groupe international de chercheurs travaillant dans le cadre du programme européen CHARISMA MOLAB et ARCHLAB. Grâce à cet accès aux instruments scientifiques et aux savoirs les plus en pointe au niveau européen, les recherches menées au sein d’ARCHLAB au C2RMF visaient à confronter les résultats des différents examens du Jugement dernier avec les documents existants et avec nos informations sur d’autres œuvres de Rogier van der Weyden et de Hans Memling.Les résultats obtenus dans le proche et moyen infrarouge (PIR et MIR) concernant les diverses strates du triptyque ont confirmé la thèse des dates 1460-1467 au lieu de 1466-1467, et l’exécution en trois étapes, Rogier van der Weyden ayant sans doute appliqué les couches d’impression avec ses collaborateurs. C’était la norme dans les ateliers du xve siècle. Hans Memling a probablement achevé la composition et appliqué les couches finales (son apport le plus ancien et le plus important à l’histoire de la peinture). Ces résultats éclairent les origines proto-renaissantes de la peinture flamande du xve siècle, née dans le nord de l’Europe

A nonhydrostatic unstructured-mesh soundproof model for simulation of internal gravity waves

A semi-implicit edge-based unstructured-mesh model is developed that integrates nonhydrostatic soundproof equations, inclusive of anelastic and pseudo-incompressible systems of partial differential equations. The model builds on nonoscillatory forward-in-time MPDATA approach using finite-volume discretization and unstructured meshes with arbitrarily shaped cells. Implicit treatment of gravity waves benefits both accuracy and stability of the model. The unstructured-mesh solutions are compared to equivalent structured-grid results for intricate, multiscale internal-wave phenomenon of a non-Boussinesq amplification and breaking of deep stratospheric gravity waves. The departures of the anelastic and pseudo-incompressible results are quantified in reference to a recent asymptotic theory [Achatz et al. 2010, J. Fluid Mech., 663, 120-147)]

Alert w XXI wieku. Zmiany teorii ochrony dzieł dziedzictwa w znaczeniu materialnym, niematerialnym i cyfrowym

'Alert' presents the need to extend the theory of preservation of cultural heritage in terms of not only material (tangible), but also immamaterial (intangible) and digital. In the face of changes in the contemporary world, we are faced with overwhelming changes in the heritage area that modify the mission of "preservin and share". The present situation shows the inadequacy of old conservation theories and the fragmentation of doctrines. The author presents in a clear structure possible scenarios for solving the crisis in the theory and system of protection. The new topics range from the theory of conservation of traditional disciplines through its extended recognition and documentation - to the innovative preservation of an extended area of ​​heritage, along with the paradigms of contemporary theory. Other issues relate to the need to reform existing procedures in cultural institutions. When participating in the cultural breakthrough, we should not be passive or revolutionary, but adapt the theory, projects and legislation accordingly. Being proactive requires answering basic questions: what do we protect in the face of expanding the field of cultural heritage? How to jointly (holistically) preserve the hitherto primacy of material culture and at the same time sanction the preservation of the intangible heritage? Do we recognize and respond in time to the growing importance of digitization of the symptoms of art and its emerging heritage? How to provoke optimal participation of recipients in the preservation of heritage? The answers to these questions turn out to be very important as they can be a helpful signpost of change with value analysis in two complementary categories: cultural-historical and socio-economic, which actually interpenetrate each other.‘Alert’ przedstawia potrzebę rozszerzenia teorii ochrony dziedzictwa kultury w  znaczeniu nie tylko materialnym, ale i niematerialnym oraz cyfrowym. Wobec przemian we współczesnym świecie stoimy w obliczu wszechogarniających zmian obszaru dziedzictwa, które modyfikują misję „chronić i przekazywać”. Zastana sytuacja ukazuje nieadekwatność dawnych teorii konserwatorskich i fragmentację doktryn. Autorka przedstawia w czytelnej strukturze możliwe scenariusze rozwiązania kryzysu w teorii i systemie ochrony. Nowe zagadnienia obejmują zarówno teorię konserwacji tradycyjnych dyscyplin przez jej rozszerzone rozpoznanie i  dokumentację, jak i innowacyjną ochronę rozszerzonego obszaru dziedzictwa, wraz z paradygmatami współczesnej teorii. Kolejne zagadnienia dotyczą potrzeby reformy istniejących procedur w instytucjach kulturalnych. Uczestnicząc w przełomie kulturalnym nie powinniśmy być ani bierni, ani rewolucyjni, lecz adekwatnie dostosowywać teorię, projekty i prawodawstwo. Aktywna postawa wymaga odpowiedzi na podstawowe pytania: co chronimy w obliczu rozszerzenia obrazu dziedzictwa kultur? Jak dokonać łącznego (holistycznego) zachowania dotychczasowego prymatu kultury materialnej i jednocześnie potrzebnego usankcjonowania ochrony dziedzictwa niematerialnego? Czy w porę dostrzegamy i reagujemy na rosnące znaczenie cyfryzacji objawów sztuki i powstającego jej dziedzictwa? Jak sprowokować optymalne uczestnictwo odbiorców w ochronie dziedzictwa? Odpowiedzi na te pytania okazują się bardzo ważne, bowiem mogą być pomocnym drogowskazem zmian i analizy wartościującej w dwóch uzupełniających si kategoriach: kulturalno-historycznych i społeczno-ekonomicznych, które w rzeczywistości wzajem się przenikają

LOGISTICS SUPPORT OF CSR ACTIVITIES IN THE GLOBAL SUPPLY CHAINS OF THE PHARMACEUTICAL SECTOR

Purpose: Research paper identifies the current trends in the logistics support of the global pharmaceutical industry, including CSR activities. Research results can be a good reference point for decision-makers in the fields of logistics management. The subject matter of the paper is based mainly on the comparison of logistics practices in the area of CSR in the pharmaceutical industry supply chains.Methodology: To achieve the research goal stated for this study, two research procedures were chosen and implemented:1) documents review (triangulation of sources); 2) literature review with the use of Boolean logic and the chosen procedure, valid for socio-economic research.Findings: This paper points out that the set of methods and tools used in logistics support of the CSR activities overlap in some part the set of methods and tools for core business activity (commercial sales of medicines).Implications for practice: Research results can be a good reference point for decision-makers in the fields of logistics management and CSR of the pharmaceutical industry.Originality/value: This paper is the first about logistics support of CSR activities in the pharmaceutical industry. It shows the similarities and differences between the support of the basic, primary activities and CSR ones. It can be the basis for further theoretical and empirical research

Iterated upwind schemes for gas dynamics

A class of high-resolution schemes established in integration of anelastic equations is extended to fully compressible flows, and documented for unsteady (and steady) problems through a span of Mach numbers from zero to supersonic. The schemes stem from iterated upwind technology of the multidimensional positive definite advection transport algorithm (MPDATA). The derived algorithms employ standard and modified forms of the equations of gas dynamics for conservation of mass, momentum and either total or internal energy as well as potential temperature. Numerical examples from elementary wave-propagation, through computational aerodynamics benchmarks, to atmospheric small- and large-amplitude acoustics with intricate wave-flow interactions verify the approach for both structured and unstructured meshes, and demonstrate its flexibility and robustness

An edge-based unstructured mesh framework for atmospheric flows

This paper describes an unstructured/hybrid mesh framework providing a robust environment for multiscale atmospheric modeling. The framework builds on nonoscillatory forward-in-time MPDATA solvers using finite volume edge-based discretization, and admits meshes with arbitrarily shaped cells. The numerical formulation is equally applicable to global and limited area models. Theoretical considerations are supported with canonical examples of slab-symmetric, nonhydrostatic orographic problems in weakly and strongly stratified flow regimes and three-dimensional hydrostatic analogues of the strongly stratified case on a slowly and rapidly rotating sphere