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[Display omitted] • Five Brazilian coats of arms paintings are characterized in a microanalytical approach • Artist's palette comprises traditional pigments such as ultramarine blue, indigo, Prussian blue, lead chromate and vermillion • Aluminium and brass are found in silvering and gilding instead of silver and gold, contradicting heraldic guidelines • Differences in the colorant palette and signature raise questions about the authorship of a painting • Crystalline efflorescences in one painting may indicate paint extender migration or past microbiological activity Heraldry in Latin American art of the twentieth century can be considered rare. In this context, the material composition of coat of arms paintings on paper attributed to the Brazilian painter José Wasth Rodrigues is investigated for the first time using a microanalytical approach. Microsamples from 5 municipal coats of arms dated 1932 were analysed using Raman microscopy, Attenuated Total Reflection Fourier Transform Infrared spectroscopy (ATR-FTIR), and Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS). SEM-EDS results revealed the artist's choice of using metallic aluminium and brass in the representation of silver and gold colours, respectively. Raman microscopy analyses showed the use of traditional inorganic pigments, such as ultramarine blue, indigo, Prussian blue, yellow chromates and vermillion. In contrast, the results showed that the painting with an unusual signature attributed to the artist (W. instead of J.W.R, commonly found) contains synthetic organic dyes Orange 5, Red 53, and Yellow 1 (introduced in the 1900s). This discovery raised hypothesis of questioning authorship for this particular painting. ATR-FTIR analysis of a paint fragment from one painting confirmed the use of gum arabic as a binder. ATR-FTIR analyses of efflorescences collected from a blue paint layer of a particular coat of arms suggest protein and lipid content, raising suspicion of either the use of the tempera technique in this particular paint or remains of a past microorganism activity. Robust information was obtained on the chemical characterization of the coat of arms, enhancing comprehension of the painting techniques employed by the artist and providing insight into the production of heraldic art in Brazil at the beginning of the 20th-century. [ABSTRACT FROM AUTHOR]

The Dick Polich Papers in the Archives of American Art Journal detail the career of metallurgist Dick Polich, who founded Tallix Foundry in 1970. The papers cover Polich's college years, Navy service, and work with notable contemporary artists like Jeff Koons and Roy Lichtenstein. Polich's retirement in 2019 marked the end of a long and impactful career that transformed the fabrication of art in the twentieth and twenty-first centuries. [Extracted from the article]

This study examines Max Dvořák's previously unknown papers prepared for his one-semester lecture series at the university of Vienna in 1913. Dvořák titled these lectures "explanations of Selected Works of Art" (Erklärung ausgewählter Kunstwerke) and in doing so developed a distinctive method within the art historical research of the so-called vienna School of Art History. The paper interprets the lectures through a close reading of the method as a parallel to the change in the concept of the work of art as it occurred in the philosophy and practice of art at the beginning of the twentieth century, demonstrated in the study by examples from the thinking of the German philosopher Oskar Becker and a transformation of the meaning of painting by the French artist Marcel Duchamp. As the study shows, such analogies allow us to understand the meaning of the work of art in Max Dvořák's art history in a new way. [ABSTRACT FROM AUTHOR]

The article informs that industrial revolution had also given rise to modern library materials that aged far more rapidly than their historic counterparts. It is noted that looting and destruction of European cultural heritage during World War II and the Florence Flood of 1966, which damaged so many of Italy's libraries and archives, focused the attention of the nascent preservation field on the need for standardized, well-researched treatment methods.

This article explores the themes of neoliberalism, DIY culture, and the use of urban space in contemporary music and art. It discusses the shift from government intervention to market focus in the late 1970s/early 1980s, leading to the financialization of art and a focus on commercial viability. DIY culture emerged as a response, allowing for avant-garde expression and a broad-based approach to aesthetics. After the 2008 financial crash, DIY approaches became more prevalent due to decreased state funding. The article suggests alternative systems, such as basic income provision and cooperative structures, to sustain creativity. It also discusses the challenges faced by experimental music in urban spaces, including gentrification and funding cuts, and the importance of sustainability and alternative funding methods. The collection of papers covers various topics related to DIY culture and the challenges of sustaining radical venues. The overall message is that the arts can provide creative solutions and valuable experiences, particularly in times of crisis. [Extracted from the article]

The development of artistic education was carried out on the basis of Ukrainian culture and art, the personal significance of the traditions of art for students' art and the artistic and pedagogical approaches of teachers. The training was based on the national and cultural consciousness of the students, the complex system of artistic training of the specialist was applied, the main principles of which were systematicity, consistency, structure, clear definition of the artistic purpose, connection with social life, development of creative individuality. Following the study of the art education historic experience, the paper confirms the significance and specifics of pedagogical approaches of the 20th century art teachers (?. Boichuk, V. Krychevsky, F. Krychevsky, H. Narbut), whose figures made up a bright and unique page in the modern Ukrainian art. The essential problems covered in the paper also include the analysis of historical and philosophical issues related to the development of higher art education. [ABSTRACT FROM AUTHOR]

This paper analyses the works of Alfonso Daniel Manuel Rodríguez Castelao (d. 1950) from the lens of art historiography, to show how Galician art historical contributions from the beginning of the twentieth century connected art and artistic styles from the past with identity significations. My discussion is mainly based on the discourse analysis of Sempre en Galiza (1944) and As cruces de pedra na Galiza (1950), along with mentions to other texts such as Alba de Groria (1948) or several essays from Revista Nós. The examination of these texts is complemented with the study of Castelao's visual production. Two main arguments are extracted from Castelao's approach to the history of Galician art: the Celtic ethnic foundation of Galicia and the establishment of two national styles, Romanesque and Baroque, which are seen as intrinsic to this territory. [ABSTRACT FROM AUTHOR]

In 1905, Gustav Klimt, one of the best-known Austrian Art Nouveau artists was commissioned to decorate the walls of the dining room of the Stoclet House in Brussels, which was being designed by Josef Hoffmann. Nine full-scale cartoons on paper – designed in 1910 / 1911 – are the result of Klimt’s years of work on this project. He provided instructions for their transposition as a mosaic directly onto the paper. For the production of the frieze at the Wiener Werkstätte and at Leopold Forstner’s Wiener Mosaikwerkstätte, Klimt gave numerous instructions regarding the materials to be used and the shades of color in the mosaic. He wrote these by hand directly onto the cartoons. The cartoons for the Stoclet Frieze, 1:1 in scale, have been the subject of extensive scholarly research. Conservation and restoration have been carried out during the last eight years. This and the intensive engagement with the work involved in these procedures have offered the opportunity of documenting Klimt’s work stages and of retracing the technical process of their creation. The first part in this issue presents the results of the research on the technical process of creating the cartoons; the second part in the next issue is going to deal with the conservation and consolidation. [ABSTRACT FROM AUTHOR]

This article examines the art technique used by artist Dorothea Rockburne in her art work "Intersection." Rockburne describes the art work as a combination of her previous works "Group" and "Disjunction." It is a sheet of plastic attached to the wall of the art gallery and rolled down onto the floor where a piece of paper and a rectangle cardboard were placed on top of it. According to Mel Bochner who evaluates the art work, Rockburne uses Set Theory in creating it. The author explains that Rockburne tends to base her works on two art-historical narratives that include assemblage and performance and conceptual art based on systems.

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The present study deals with the novel dramatization in the context of the synthesis of the art in the literature of the 20th century. The changes in the literary text caused by introducing a new pictorial and expressive technique are given. The use of pictorial and theatrical ekphrasis in Maugham's novels was analysed. W. S. Maugham's novels are considered through the prism of his theatrical experience. The paper attempts to interpret his poetics of dramatization as a way out of the epic and the creation of a qualitatively new multi-plate and multifaceted phenomenon. At the narrative level, there is an interruption in the integrity of the story. Vertical layers add a horizontal plan for the development of the plot, and the subjective structure has changed at the level of inclusion of several storytellers. The study revealed that the connotations to paintings and plays increase the effect of descriptiveness and enrich expressive, emotional, and sensual perception. The method of "points of view" is used to overcome the plane of description and move to the sphere of the display. The clash of diverse "points of view" and their filtering by the dominant "point of view" of the narrator increases the dramatization influence. [ABSTRACT FROM AUTHOR]

This paper compares and examines in mathematical terms the work of Zdenĕk Sýkora and François Morellet devoted to structures and lines. Using concrete examples, the paper demonstrates that, despite many apparent similarities, the artists' approaches are considerably different. A farewell letter by François Morellet to Zdeněk Sýkora, who died on 12 July 2011, is included. [ABSTRACT FROM AUTHOR]

This article discusses the work and legacy of Frederick M. Asher, a scholar of South Asian art and architecture. Asher's final book focused on the site of Sarnath, where the Buddha gave his first sermon, and he emphasized the importance of understanding the people who built and inhabited the site throughout history. The article also highlights a symposium held to celebrate the 60th anniversary of the American Institute of Indian Studies (AIIS), an institution that Asher supported and reshaped during his career. The symposium explored themes of institution building, infrastructure, and interconnections in South Asian art history. The article concludes by acknowledging the contributions of other scholars and honoring the late Kavita Singh, who gave a keynote speech at the symposium. [Extracted from the article]

Between 1941 and 1968, Marcel Duchamp produced a series of roughly 300 boxes, or Boîtes, containing, in his words, 'everything important that I have done' (Sargeant,W. 1952. Dada's Daddy: A New Tribute is Paid to Duchamp, Pioneer of Nonsense and Nihilism. Life, 32(17): 102). Over the course of 30 years and seven editions, Duchamp and his assistants filled these 'portable museums' with miniature reproductions of his most significant works. The materials used included leather, paper, cloth, metal, glass, ceramic, cellulose acetate, gouache, varnish, and wood. The variety of the constituent materials, and the complex physical and conceptual ways in which they interact, make conservation treatment of the Boîtes unusually challenging. The conservator must consider both the condition of the specific Boîte being treated and its relationship to the dozens of other Boîtes still in existence. After an overview of the history and manufacture of Duchamp's miniature museum, the results of a pilot survey of the condition of 19 Boîtes will be presented, and treatment solutions to the most common condition problems proposed. [ABSTRACT FROM AUTHOR]

It was, as described by the artist himself, both "art and an exhibition pavilion (for itself), following Mies van der Rohe's Barcelona Pavilion or El Lissitzky's two exhibition rooms."[2] A site-specific work developed to fit within an existing pavilion space, from the outside (and as Graham noted), "Public Space/Two Audiences" appeared to be a fairly traditional exhibition space. We were particularly interested in bringing together papers that reflect on the conceptualization and curation of architecture exhibitions, alongside other kinds of exhibitions in which architecture or architectural (or environmental) thinking may be at stake, from the middle of the twentieth century onwards. [Extracted from the article]

This paper is a dialogue between the artist and the analyst in the examination of a digital video art work as a piece of practice as research. The paper identifies and addresses the significant research questions that have arisen out of precisely such a dialogue about work in progress. Rather than focusing on the completed installation as a piece of research, this paper emphasises the artistic practice as experience and offers a concurrent academic debate, which complements the art work rather than substitute it as a research outcome. By embracing such plurality inherent in artistic practice as research, this article examines questions of authenticity of voice, narrative abstraction and interpretation and the effect low budget constraints have on film practice. Rather than offering certain conclusions, this paper is to be one in a series, discussing the research practice at various points in the artistic process. [ABSTRACT FROM AUTHOR]

The instrumental concerto remains one of the most appreciated genres - by the general audience as well as by virtuoso interpreters - throughout its existence, including the 20th century. However, the century of acute modernity afforded a reevaluation of all the musical forms and genres so that new unsuspected challenges emerged, which were solved in the most unexpected ways by the great composers of the time. This paper aims to offer a brief perspective on the evolution of the concerto genre in the music of the 20th century, highlighting several elements of originality, with a succinct analysis of more compositions in the general framework of articulating the formal discourse. The concerto has survived in the art of the 20th century, even in the creation of the most avant-garde composers, perhaps especially because of aspects concerning virtuosity and the competition between a soloist and an orchestra. [ABSTRACT FROM AUTHOR]

This article delves into the relationship between technology and still life in art history. It examines the concepts of megalography and rhopography, using a faulty espresso machine as an example. The article explores still life paintings by Bailly, Bonvin, and Chardin, discussing themes of representational spatiality, the relationship between the body and tools, and the role of technology in extending human capabilities. It also analyzes the work of Cézanne, focusing on his experimentation with form and self-reflexivity. The text raises questions about the character of technology, agency, and the integration of machine and organism. It emphasizes the need for diverse perspectives in understanding the impact of technology. [Extracted from the article]

The instrumental concerto remains one of the most appreciated genres - by the general audience as well as by virtuoso interpreters - throughout its existence, including the 20th century. However, the century of acute modernity afforded a reevaluation of all the musical forms and genres so that new unsuspected challenges emerged, which were solved in the most unexpected ways by the great composers of the time. This paper aims to offer a brief perspective on the evolution of the concerto genre in the music of the 20th century, highlighting several elements of originality, with a succinct analysis of more compositions in the general framework of articulating the formal discourse. The concerto has survived in the art of the 20th century, even in the creation of the most avant-garde composers, perhaps especially because of aspects concerning virtuosity and the competition between a soloist and an orchestra. [ABSTRACT FROM AUTHOR]

Although artists' books have been consolidated as an art form in the twentieth century, and their place in library collections has come under the spotlight since the mid-1970s through a rich debate on the development and management of this typology of collections – showing the effort made by these institutions to keep up with the ever-increasing production of artists' books since the mid-1960s – the discussion of the physical, symbolic an epistemological place of artists' books in museum collections is still at an early stage. This paper, which falls within the intersection between artistic studies and museum studies, aims to enhance this discussion by identifying the contexts considered as essential to exploring and critically analysing the artist's book in the museum, presenting the Coleção de Livros e Edições de Artistas da Fundação de Serralves – Museu de Arte Contemporânea [Collection of Artists' Books and Editions of the Serralves Foundation – Contemporary Art Museum], situated in Porto|Portugal as its case study. [ABSTRACT FROM AUTHOR]

Postgraduate education has grown enormously worldwide, which has led to supervisors being expected to take on a supervisor's role immediately upon graduation. But crossing the border from being a doctoral candidate to becoming a doctoral supervisor entails significant shifts in identity and an understanding of postgraduate pedagogy and institutional expectations. This paper argues that supervision development opportunities are crucial, but they need to be contextualised and include critical key agents with some institutional authority if they are to be deemed worthwhile and effect change. An online survey completed by 186 participants from across institutional types and disciplines in South Africa is analysed using Archer's social realism to provide insights into how emerging supervisors are currently supported. The resultant recommendations on supervision development could contribute to more confident border crossing by emerging supervisors. [ABSTRACT FROM AUTHOR]

The American minimalist artist Donald Judd is closely linked to his concept of the 'specific object,' a new form of three-dimensional work defined by its embrace of 'real space' and its complete opposition to the humanistic illusionism of what Judd called the 'European tradition.' Yet at the crux of his canonical essay 'Specific Objects,' Judd compares this new type of work to 'one of Brunelleschi's windows at the Badia di Fiesole,' thus aligning it with the inventor of linear perspective and, so it would seem, originator of the very tradition he wished to supersede. This problematic comparison, which has never received sustained analysis, puts pressure on the dominant view of Judd's work as an outgrowth of modernist painting, instead pointing to the abiding presence of architectural prototypes, especially Renaissance ones, in the artist's work and thought. This paper identifies Judd's Renaissance framework as a veiled form of architectural modernism inherited from his professor of Renaissance architecture, Rudolf Wittkower, and explores its operation in Judd's conceptualization of both 'specificity' and 'space' itself, as manifested in his writing and in key works from his formative period, 1960-1965. By historically situating Judd's Renaissance imaginary with respect to contemporaneous discourses on art and architecture, the paper seeks to open a new perspective onto the development of minimalism more generally. [ABSTRACT FROM AUTHOR]

Prototypes in modern photography were established throughout the visual arts worldwide in the first decades of the twentieth century. Growing experimentation and innovation beyond traditional art practices reflected a historic shift in new directions. Questioning the function and use of the camera, photographs, and a wide range of photographic processes, redefined the key role that photography played in modern art. Artists set precedents with a wide range of forms of proto modern photography. [ABSTRACT FROM AUTHOR]

In 1975 Aldo Giorgini developed a software program in FORTRAN called FIELDs, a numerical visual laboratory devoted entirely to art production. Working extensively as both artist and scientist, Giorgini was one of the first computer artists to combine software writing with early printing technologies, leaving an aesthetic legacy in the field of the digital arts. His individual process was innovative in that it consisted of producing pen-plotted drawings embellished by the artist's hand with painting, drawing, and screen-printing. This paper is the product of a multi-year study of Giorgini's primary source materials provided by his estate. The authors examine the methods used by Giorgini during the 1970s that allowed him to create computer-aided art, in the hope that publishing this work will ensure that future generations of digital artists, technologists and scientists can be educated in Giorgini's contribution to the history of the digital arts. [ABSTRACT FROM AUTHOR]

This paper describes a faculty-led summer program in Madrid, Spain. We argue that it represents a case study in the implementation of best practices in study abroad, particularly as it relates to experiential programs that include an internship component. Adding to a growing consensus on best practices for these types of educational opportunities, we claim that study abroad experiential learning should include purposeful interdisciplinarity, in particular as it relates to the interconnection between a liberal arts education and useful business acumen. We believe that this integrative approach can serve as model for the liberal arts in the twenty-first century. In the article, we present detailed data on 15 years of the program, allowing the reader to contemplate and analyze the intricacies of implementation. We conclude that the benefits to students participating in experiential study abroad programs will be maximized in the post-pandemic world of this century. [ABSTRACT FROM AUTHOR]

Anatomy played a significant role in the establishment of academies in art, initially in Italy and France, and then more widely in Europe and the Americas. This paper considers the role of anatomy in two such academies, the Royal Academy of Arts in London, and the Royal Hibernian Academy of Arts in Dublin. In both cases, anatomy teaching for art students was formalised by the appointment of a Professor of Anatomy, positions that continue to this day. The first Professor of Anatomy in the RA, William Hunter, set the standard by delivering lectures, carrying out dissections and producing écorchés. Some of his successors have published anatomy books specifically for artists, but their enthusiasm has varied. Unlike the continuity of the RA, the RHA has only had bespoke premises from 1826 to 1916, and from 1985 onwards, and its Schools or School have operated from 1826 to 1942, and from 2008 onwards. Anatomy teaching was a casualty of the decline of the formal art academy in the 20th century, but the fortunes of both are reviving in the early 21st century. [ABSTRACT FROM AUTHOR]

Wigmore's `The Problem of Proof', published in 1913, was a path-breaking attempt to systematize the process of drawing inferences from trial evidence. In this paper, written for a conference on visual approaches to evidence, I look at the Wigmore article in relation to cubist art, which coincidentally made its American debut in New York and Chicago the same spring that the article appeared. The point of the paper is to encourage greater attention to the complex meanings embedded in visual diagrams, meanings overlooked by the prevailing cognitive scientific approaches to the Wigmore method. [ABSTRACT FROM AUTHOR]

Long regarded as paradigmatic in histories of modern art in Asia, abstraction assumed new urgency in the hands of ink painters like Jung Tak-young (1937–2012). During the politically and socially turbulent early decades of postwar Korea, Jung played an exemplary role in the Korean emergence of a self-consciously abstract ink painting through sustained experimentation that included rejecting the use of ink, the very material that crucially defined ink painting. For Jung, abstraction was a necessary platform for rethinking entrenched concepts of medium, presence, and form in hopes of arriving at a more expanded view of contemporary art. [ABSTRACT FROM AUTHOR]

Taking a short extract from Marguerite Duras' novel 'Summer Rain' (1990) as a starting point, this paper focuses its analysis on three contemporary art installations: Dorothy Cross' 'Bible' (1995); Robert Gober's 'Untitled' (1995/7) and Melanie Manchot's 'Travers' (1997/8). As well as imparting a discursive status to the unrepresentable facets of womanhood, these installations invoke a challenge to the old idea that analytical thinking and creative making are polarised activities. [1] With reference to the theoretical models of subjectivity and change constructed by Donald Winnicott and Julia Kristeva, this paper investigates the ways in which artistic experiment and risk-taking interface with our ability to restructure our sense of self and sociality. The underlying premise informing this analysis is based on the Kristevan suggestion that what we create as artists and writers is never 'new', but always involves revisiting an old site, that is the site of the repressed—be it from a social, cultural or individual vantage point (Kristeva, 1984, pp. 103-104). From this perspective, creative making (the making of objects and/or the making of meanings) is always interlinked with changes in our own self-perception. [2] This overlap between making meanings and reconstituting our sense of self can be understood, to borrow Marguerite Duras' graphic description, as an unfolding within the body. (Duras, 1990, p. 14). [ABSTRACT FROM AUTHOR]

The author has raised the questions and elaborated her opinions on a basis of the literatures and documentations screened and collated by the author in respect of piano education and performance in China in the 20th century. This paper is written as a literature review. The development and achievements in piano education and performance in China has been discussed stage by stage in the 20th century. This will provide theoretical basis for the application of such achievements in one's own piano performance and teaching practices. It is known from the literatures being researched that various piano schools in the world in the 20th century have affected the development of piano performing art in China in respect of piano playing. The remarkable outcomes of these schools have been widely referred to in China. As a result, a piano school with the characteristics of Chinese nation and art of music has gradually come into being. A large number of Chinese native remarkable pianists have been cultivated. So far more of the literatures available in China are on piano education and less on piano performance theories. The researches on piano performance mainly focus on a specific work of art. It is even rare to find any literature on a combination of piano education and piano performance. [ABSTRACT FROM AUTHOR]

This paper examines how Soviet and post-Soviet history is presented and reflected upon in select works of contemporary artists from Estonia, Latvia and Lithuania. As the contemporary art scenes of these newly independent states developed and joined the global contemporary art circuit, a number of Baltic artists have participated in the recent "historiographic turn" in art. Through the analysis of examples, we look at four approaches employed by these artists when tackling the subject of history seen through personal narratives; history told from the point of view of ethnic/linguistic minorities; a focus on women's experiences; and a debate on the preservation, removal, and building of commemorative monuments. This paper aims to show how these artists integrate reflections of the Soviet and post-Soviet experience into the building of complex, inclusive, positive post-Soviet identities. [ABSTRACT FROM AUTHOR]