Miniature spray-painting booth

Transparent spray booth provides method for quality painting and repair of surfaces in clean room or other specialized environments. Overspray and virtually all contaminating vapor and odor can be eliminated. Touch-up painting is achieved with spray gun

Charles Willson Peale’s The Exhumation of the Mastodon and the Great Chain of Being: The Interaction of Religion, Science, and Art in Early-Federal America

In this paper, I explore Peale’s monumental painting, a work that is many things, a self-portrait and history painting among others. Indeed, in this painting, Peale was responding to science, religion, and their shifting positions within early-nineteenth-century America. When viewed together, Peale’s The Exhumation of the Mastodon is not merely a record of an event that occurred in New York during the early nineteenth century, and instead is a document of Peale and the interaction of science and religion in early-Federal America

Snapshot in a Squiggle: How Painting Terminology Illuminates Short Fiction

This paper will demonstrate that painting terms can offer a helpful avenue to understand short fiction, particularly abstract short fiction. After defining abstraction, realism, and the short story, it will trace relevant stages in the evolution of both painting and short fiction to show how and why the media share similar elements. In this examination, the paper will discuss which features of painting correspond with certain features of short fiction. Based on the essential elements of short fiction, as well as the features mentioned above, the paper will analyze examples of short stories that exemplify how painting parallels short fiction and how terminology drawn from that field can help illuminate abstract short stories

Parker B. Wagnild Portrait in Schmucker Hall

A painting of Parker B. Wagnild hangs outside of the College Choir rehearsal room in Schmucker hall. Only a plaque bearing his name is underneath the painting, even the artist remains unknown. The painting is quite small in comparison to what the man in the painting has done for Gettysburg College. Though perhaps the placement of the painting means more than its size, for it located at a central spot in the music department building, and it is right outside of the College Choir rehearsal room. This places Wagnild at the heart of both the department and the choir, both of which he founded and devoted his career to throughout his years at Gettysburg College. Thus the placement of the painting is quite fitting. It’s a shame that many might pass by this painting and not know the story of the person depicted, for his influence is still a part of the choir and music department today. Wagnild built the foundation of Gettysburg College’s musical reputation. [excerpt] Course Information: Course Title: HIST 300: Historical Method Academic Term: Spring 2006 Course Instructor: Dr. Michael J. Birkner \u2772 Hidden in Plain Sight is a collection of student papers on objects that are hidden in plain sight around the Gettysburg College campus. Topics range from the Glatfelter Hall gargoyles to the statue of Eisenhower and from historical markers to athletic accomplishments. You can download the paper in pdf format and click View Photo to see the image in greater detail.https://cupola.gettysburg.edu/hiddenpapers/1004/thumbnail.jp

Where Have All the Symbols Gone?: A Study of Sufis and Sufi Symbolism in Ottoman Miniature Paintings

Ottoman miniature paintings represent some of the best preserved and documented works of Islamic art still extant. They differ critically from other forms of miniature painting, such as Persian miniature painting, by not representing Sufi symbolism. In the two potential sources of such symbolism, Ottoman Sufism and Persian miniature painters in the Ottoman Empire, appear to have not critically influenced Ottoman miniature painting to produce Sufi symbols, do to political, religious, and cultural factors. Instead, political factors of the Ottoman imperial state and the economics and standards of production in the empire produced an art medium where Ottoman Sufi symbols were not introduced