Search

Visual analysis and authentication of artworks are challenging tasks central to art history and criticism. This preliminary study presents a computational tool for scholars examining and authenticating a restricted class of paintings, with a specific focus on the paintings of Raffaello Sanzio da Urbino, more popularly known as Raphael. We applied transfer learning to the ResNet50 deep neural network for feature extraction and used a support vector machine (SVM) binary classifier in support of authentication. Edge detection and analysis algorithms, considered to be crucial for capturing the essence of Raphael's artistic style, including the brushwork signatures, were also integrated and are used as an authentication tool. The machine learning approach we have developed demonstrates an accuracy of 98% in image-based classification tasks during validation using a test set of well known and authentic paintings by Raphael. Of course, a full authentication protocol relies on provenance, history, material studies, iconography, studies of a work's condition, and more. Our work, then, contributes to just a portion of a full authentication protocol. Our findings suggest that machine learning methods, properly employed by experts aware of context, may enhance and expand traditional visual analysis for problems in art authentication. [ABSTRACT FROM AUTHOR]

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The piano works of the Ukrainian composer Ivan Karabyts (1945-2002) developed in the wake of the influential avant-garde trends of the second half of the twentieth century. In the style of his piano opuses of the 1960s and 1970s, we can trace the influence of various stylistic discourses of the twentieth century. This stylistic versatility is, on the one hand, a general reflection of the cultural and artistic innovations of the postwar period and, on the other, a manifestation of the trends of the Sixtiers movement, in particular, the Kyiv Avant-Garde, whose activities were shaped by the innovative compositional techniques of the time as a reflection of the avant-garde intentions. The paper aims to study the genre and style attributions of piano works by Ivan Karabyts. The tasks include an analysis of the composer's style focusing on his piano works of the 1960s and 1970s: Sonata for piano (1964), diptych Prelude and Toccata (1965-1966) and 24 Preludes for piano (1976), intonation, thematic, genre and style of these opuses. The article raises the question of the influence of Borys Liatoshynsky on the piano concepts of Ivan Karabyts, both at the level of symphonism of the piano idea, which was initially tested in the field of instrumental compositions, and at the level of allusions to the works of Liatoshynsky himself in the 1920s in the genre of sonata and prelude. On the other hand, the example of the analyzed piano pieces shows the avant-garde principles of building a sonorous musical composition (atonality, diminished and enlarged intervals, septacords, claves, etc.). We should also mention the baroque principle, realized in the early diptych Toccata and Prelude, and the overall baroque direction of the composer's work in large forms in his mature period. The pinnacle of the composer's piano explorations is the 24 Preludes. Their musical language is original, complete with innovative stylistic trends. Important in understanding the composer's intention are the polyphonic method of deployment, the use of the principle of cyclicity, expressive aspects of toccata, stylistic allusions to iconic styles and composers' names, and special attention to the Baroque type of prelude. A separate issue is the symbolic and semantic context of the idea, which is formed in combination with improvisation, theatricalization of images, and symphonic generalization, forming lyrical, sound, tragic, and unifying imagery, their interaction aimed at creating the integrity of the idea. [ABSTRACT FROM AUTHOR]

Following the discovery of don Paolo's Albera oil portrait, I review the narratives of the historiography about the relationship between the painter Enrico Reffo and the Salesian Congregation's art patronage, aiming to rebuild the material history of the portrait and to consider a possible attribution to this painter and his school. [ABSTRACT FROM AUTHOR]

The article explores how connoisseurship intersect with computer vision and machine learning in digital art history. Topics discussed include comparison between human connoisseurs and computer-based connoisseurship in terms of art attribution, the vulnerabilities of human connoisseurs which tend to range from subjectivity to ignorance, and the possible creation of an artificial observer in order to delegate art attribution to a computer.

Many manuscripts and editions of Mush-o Gorbeh [Mouse and Cat] have been listed or published as the most famous work of Obaid Zakani; however, its comparison and examination clarifies that these various editions of Mouse and Cat are significantly different in terms of language, style, and even story. These narrations are largely considered as belated and folkloric compared to Obaid Zakani's era and language. Therefore, many people have hesitated to attribute Mouse and Cat to Obaid. In order to investigate this attribution, these works should be compared, so that their shared roots can be identified. This paper merely follows this in three phases. In the first section, different editions of Mouse and Cat are compared and grouped based on the ending verses of the story. In the second section, the ending of the story is examined in all narrations. In the final section, some hypotheses are given regarding the relationship of these narrations, their origins, and other possible narrations based on the verses recorded in these editions of Mouse and Cat. They are, then, compared with the incomplete but older manuscripts. These editions of Mouse and Cat can be grouped in nine categories in terms of narration, and in two general classes in terms of story, based on the style and language. These very differences and a few ancient recordings that can only be seen in some of the belated and folkloric manuscripts indicate that none of these editions of Mouse and Cat can be attributed to Obaid. [ABSTRACT FROM AUTHOR]

One of the many works attributed mistakenly to Attar ē Neyshaburi is Pandnameh; a poem that its attribution to Attar is still doubtful among some literary critics. This article studies the stylistic features of Pandnameh in terms of aspects of structure, language, and content and compares it with the definitive poems of Attar. The results showed that the attribution of Pandnameh to Attar is wrong; because, this work has a significant difference with the speech and thoughts of Attar in his poems from all three of these stylistic aspects. That is, itʼs form and structure, with the form of Attar’s poems, is neither proportional in terms of volume of verses, nor in terms of the way of expressing the contents. From the point of view of poetic language, which has received a considerable degree of differences between Pandnameh and the works of Attar, there are significant discrepancies in terms of the use of vocabulary and linguistic elements along with the syntax and compilation of the word between these two categories. The ideas in this work are also distinguished from the thoughts of the Attar’s poems, both in the teachings of religion and Sufism and in general ethical advices. [ABSTRACT FROM AUTHOR]

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses issues in the attribution of artworks in studying medieval monuments, particularly the practice of speculative naming in Europe, and its impacts on art history. Also cited are the construction of a personal network of fictitious employees via the creation of speculative names, the art research by Wilhelm Voge and Adolph Goldschmidt in early 20th century, and the works of Johnny Roosval on Gotland's medieval art.

Cyber warfare is a critical component of nation-states' military arsenals, and a cyber arms race has emerged in the absence of international agreements (norms and confidence-building measures) to limit the use of cyber warfare. One key impediment to building consensus on cyber norms and confidence-building measures is a lack of transparency in cyber weapons development and poor attribution of attack perpetrators. Recently, there has been an improvement in attribution capabilities based on better data collection and the profiling of known hackers and nation states by intelligence agencies, and this should give impetus to efforts to establish confidence-building measures and cyber norms. This article discusses the need for and challenges associated with attribution, recent advances that will lead to better attribution, and the collective responsibility of nation states in addressing these challenges. It suggests several initiatives to reduce chances of cyber conflict, as well as to prevent cyber conflicts from escalating, such as defining clear processes for attribution, creating neutral bodies for incident analysis, and limiting the scope of retaliation based on the confidence in attribution. [ABSTRACT FROM AUTHOR]

The essay signals considerable gaps in the current state of research on Lairesse's drawings, concerning attribution, supposed function, relation to the artist's painted and printed oeuvre, and (the lack of a) general overview. Taking the pioneering catalogue of Alain Roy of 1992 as its basic starting point, the essay chronologically follows publications on the subject over the last decades. By addressing conflicting interpretations, asking critical questions, and adding new or scarcely considered material to the works discussed in these publications, the essay hopes to reveal the problems surrounding this complicated topic and generate scholarly discussion. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author discusses the attribution of 18th century French paintings that appeared in salons of the era. He mentions that not all paintings were signed by the artist, that determining a painting's creator often relies on the use of the exhibition livret (catalog), and that the desire to know the artist led to the concept of the artist as an individual.

The author discusses the work of Giorgio Vasari in attributing the work of Italian engravers. He mentions the use of engravers' marks in the process of attributions and notes that Vasari focused more on the engraver's work than the person who created the art from which the engraving was made.

An introduction is presented in the which the editor discusses articles on the topic of art expertising and attribution.

The author discusses the form of rhetoric used in writing about art expertising and attribution. He compares the authorship of art historians Bernard Berenson and Max J. Friedländer, and reviews the writing on the attribution of the Flemish "Ghent Altarpiece," particularly the inscription on the painting.

The notion of value is considered in this paper through various forms, methods, and modes of historical evaluation in the field of visual arts, with the presumption that all types of preference with regard to a particular artwork or artworks, as compared to others in a similar group, are specific procedures of evaluation. The most frequent among these are value assessment, attribution, institutionalization, and setting of priorities in terms of exhibition, conservation, acquisition, or restoration. As such, they are a practical consequence of the system of defining and establishing hierarchies, as well as of normatively defined dispositions or value-relativized concepts. Using a historical overview of cultural paradigms, especially those that are clearly discernible against the art-historical matrix of major stylistic periods, the author has identified their characteristic value-related characteristics. The formal features of artworks appear to indicate best the sources of preferences or the institutionalized criteria of the commissioner, and subsequently the opposed evaluation criteria of an artist or a critic - an intermediary since the late 18th century. The period of early Romanticism marks the borderline between the traditional and modern patterns of evaluation, or rather articulates the idea of evaluative pluralism, closely related to a change in the understanding of the nature of the visual medium. The conclusion shows that the modern evaluation conflicts are largely a consequence of an irreversible and entropic state of culture in the 21st century. We should therefore aim at a revision, not so much of the hithertho accepted and standardized values, but rather of the present systems of evaluation and the ensuing evaluative descriptions of art. [ABSTRACT FROM AUTHOR]

Keywords: Pietro Novelli, replica, attribution, diagnostic evaluation, execution techniques [ABSTRACT FROM AUTHOR]

The article discusses the identity of a 19th century New Harmony, Indiana, artist and musician known as "Clorion." The author discusses the possibility that "Clorion" was artist Martha F. Chase Owen. It describes her divorce from her first husband, Dr. Thomas G. Chase, and her marriage to artist Richard Owen. The article discusses Martha Chase Owen's anatomical drawings, the author's historical research concerning the drawings, and why Martha Chase Owen may have attributed the drawings to "Clorion." The article also describes the history and social conditions of the New Harmony settlement during the early-to-mid-19th century.

The article discusses the "New York Goose Vase," a southern Italian or Apulian red figure calyx-krater dated to around 400 BCE housed at the Metropolitan Museum of Art in New York City. The authors discuss the vase's iconography, which features a depiction of a comic theatrical performance, and argue that the piece should be attributed to the Dolon Painter, not the Tarporley Painter.

The article presents the author's insights regarding her portable art, considering her ex-centric approach. The author states that her portables evolved from a proportion sense when it comes to the use and deployment of materials in a world occupied with finite resources. She adds that through her portables, a practice arose in which it becomes art's whole institution.

The article looks at authorship and attribution practices in art and the sciences. Particular focus is given to collaboration, coauthorship, and acknowledgement. It is suggested that the sciences have developed norms and criteria for coauthorship, whereas more ambiguity exists in art. Details on collaboration in academic science and in the artwork of Damien Hirst and Takashi Murakami are presented. Topics discussed include identity, authenticity, and plagiarism.

The article focuses on the French artist Claude Simpol, who, in 1996, was identified as the rightful artist of four artworks at the Metropolitan Museum of Art in New York City that were previously thought to be the work of artist Bernard Picart. The article discusses the biography of Simpol, including his participation in the competition for the grand prix of the Académie Royale de Peinture et Sculpture and his mentor, Louis de Boullogne the Younger, as well as commissions by publisher Jean Mariette and the goldsmiths' guild of the cathedral of Notre Dame in Paris, France. The article also discusses Simpol's wife, Hélène Denis, and the subject of the harpsichord in his paintings.

An essay on the painting "Polish Rider" by seventeenth century Dutch artist Rembrandt Harmenszoon van Rijn, housed at the Frick Collection in New York City, is presented. It examines debates surrounding the attribution of the painting and the identity of the subject on horseback, thought to be a "Lisowczyk," or a member of the Lisowski company of the Polish army, and also to be nobleman and statesman Marcjan Aleksander Ogiński. The author also explores the history of scholarship on the work.

The article focuses on the attribution of an alleged portrait of American poet and painter Washington Allston, which was given to the Princeton University Art Museum by the wife of Charles Scribner Jr., a descendant of Allston, and has been previously attributed to both Allston and painter Edward Greene Malbone. The article discusses an analysis of the portrait, relevant biographic information used to identify both the sitter and the painter and their relationship to each other.

The article explores the work of Peirce on synechism which gives emphasis on the enjoyment of art and addresses the paintings of Balthus. According to the author, Balthus' work reflects a sexual imagery in which questions of interpretation, aesthetic, and artistic technique plays a historical context. Moreover, it examines the epistemological benefits of the works of art in line with ethical responsibility.

The article discusses the subject-matter, historiography, and critical reception of the fresco "Fire in the Borgo" by Raphael. The author examines scholarly praise and criticism of the work, which was painted for Pope Leo X, and addresses the historical content of the work, which depicts Pope Leo IV and the 847 CE fire in Rome. Explaining the symbolic content of the fresco, such as the allusion to Virgil's Aeneid and Rome as the successor to Troy, the author compares the piece to other works by Raphael and other Renaissance masters such as Michelangelo and Marcantonio Raimondi. A biography of Raphael and photographs of several of Raphael's paintings discussed in the text, including "Madonna and Child with Saint John the Baptist," "Apollo and Marsyas," and 'Adam and Eve," are also presented.

The article discusses early Renaissance Sienese painter Taddeo di Bartolo, focusing particularly on his altarpieces created for two Franciscan communities at Pisa, Italy. The author identifies the missing central panels for the two extant pairs of altar piece wings missing from the polyptyps. Other subjects considered include historic attributions of paintings to di Bartolo, issues arising from paintings created in the shop of di Bartolo as opposed to those deemed as being solely his work, and biographical details of di Bartolo which place him in Pisa in the 1390s.

The article discusses the aesthetic and artistic evaluation of nature in Central Europe. It stresses the relation between nature evaluation and the works of art. It explores the phenomenon of evaluating artistic qualities as well as the significance of a new subject for art. It outlines the spiritual and physical aspects of art creation. It says that a man who judges works of art appears to be strong ethical individual. Moreover, it emphasizes the potential ability of the ethical individual to perform individual actions in the face of all possible influences.

The article analyzes the painting "Portrait of Luca Pacioli and Disciple," an Italian Renaissance painting from 1495 in the collection of the Museo e Gallerie Nazionale di Capodimonte in Naples, Italy. The painting features extensive mathematical imagery. Luca Pacioli was a friar and mathematician, and his mathematical treatise titled "Summa de arithmetica geometria proportioni et proportionalita" is represented along with an edition of Euclid's "Elements" and two images of Platonic solids. The painting is signed "Iaco. Bar." which is thought to be an abbreviation for Jacopo de' Barbari. An argument is presented that it is based on a lost work by Piero della Francesca, and that Pacioli's disciple in the painting was Guidobaldo I, duke of Urbino.

The article discusses the drawing "Man Pulling a Curtain Aside," part of the collection of the Metropolitan Museum of Art in New York City, and suggests that it is a study by 18th-century artist Étienne Parrocel for his painting "Abimelech Discovering Isaac and Rebecca," sold at auction at Sotheby's in London, England in 1992. Other topics include Parrocel's career painting religious subject in Rome, Italy, differences between the drawing and painting, and a drawing by Parrocel showing a griffon similar to the one decorating the bench in the painting.

The article focuses on the painting called "Portrait of a Woman as a Vestal Virgin" at the Detroit Institute of Arts (DIA) in Michigan. According to the article, a technical examination of the painting which was carried out in 2006-7 by Alfred Ackerman, DIA head conservator of paintings, provides evidence supporting the attribution of the painting to French artist Jean-Marc Nattier and also provides information on the date of the painting. The article details the attempts to identify the woman in the painting, who has variously been indentified as Madame Henriette, Madame Sophie, and Madame Dupin, among other women. Further information regarding the painting and its examination is given.

The article focuses on the effort of author Ruth Artmonsky in acknowledging the contribution of author Antony Griffiths, who published an account of Contemporary Lithographs Ltd. which is an enterprise that pioneered the sale of high quality artists' lithographs. Artmonsky follows Griffiths in discussing the status of the autolithographs. Moreover, she recommends the publication of "Tea and a Slice of Art: The Lyons Lithographs 1946-1955," which was supplied by Charlie Batchelor in relevance to the exhibition "Tea and a Slice of Art - Commercial Lithographs Published by J. Lyons & Co. 1947-1955."

A large panel of the "Last Supper" (fig. 1) can now be attributed to Karel van Mander the Younger (Haarlem c. 1583 – Delft 1623), after cleaning by the present owner, Douwes Fine Art in Amsterdam. The monogram at lower right (fig. 3), on the base of the pillar, has been identified as being that of the young artist and not of his father, the famous painter and writer of the Schilderboeck, Karel van Mander the Elder. This painting is the first one by Karel van Mander the Younger to have been discovered. Although it is known that the young Karel van Mander had been trained as a painter in his father's workshop and registered at the latest in 1613 as a painter in the Delft guild of St Luke, the artist has until now only been known as a designer for tapestries. This he did from about 1604 at the workshop of François Spiering, which he left in 1615 to start his own tapestry workshop. The numerous sources on this period speak mostly of the difficult, trouble-making character of Van Mander, whose family fled to Denmark after his untimely death in 1623. The "Last Supper" is intriguing for its many borrowings from prints by and after artists from Karel van Mander the Elder's circle. The pose of several figures as well as some details of the tableware appear to have been derived from a large print by Jan Harmensz. Muller after a painting by Gillis Coignet (fig. 5). Three oddly large hands of figures at left, centre and right, are repetitions of hands from the Apostles series by Hendrick Goltzius of 1589, as is the up-turned head of the apostle at upper left (figs. 6-8). Some of the figures have been identified by Elisabeth Valentiner, in her study on Karel van Mander the Elder of 1930, as portraits. Whereas one of them, at left of Christ, might indeed have been modelled after the print by Goltzius of Dirck Volckertsz. Coornhert (fig. 9), the identification of the person at lower right, left of the pillar, as Goltzius, is not convincing. The only actual portrait seems to be the more contemporary looking figure at upper right, whose reaching hand has been derived from yet another print by Jan Muller after Goltzius. Although not convincingly applicable for this painting, the use of portraits in a "Last Supper" was not uncommon. In the Schilderboeck Van Mander described a, now lost, series of Christ and the Apostles with portraits of artists on which his friend Cornelis Ketel was working. Another interesting aspect of the painting is its date of 1602. This was the year that Van Mander's friend Bartholomeus Spranger, the court painter of Rudolf II, visited Amsterdam and Haarlem, where he was received by artists and rhetoricians. It is tempting to see the painting, possibly a joint project of both father and son Van Mander, as having been made in honour of this visit, as a tribute to Spranger with borrowings from prints by the two artists who engraved his designs, Hendrick Goltzius and Jan Muller. As such a large panel must have been made on commission, the Amsterdam notary and art patron Jacques Razet, a close friend of Karel van Mander the Elder, to whom the above mentioned print by Jan Harmensz. Muller was dedicated, comes to mind, also for the fact that he was known to support young artists. [ABSTRACT FROM AUTHOR]

Today's global art market is a billion-dollar business, attracting not only investors but also forgers. The high number of forged works requires reliable authentication procedures to mitigate the risk of investments. However, with the developments in the methodology, continuous time pressure and the threat of litigation, authenticating artwork is becoming increasingly complex. In this paper, we examined whether the decision process involved in the authenticity examination may be supported by machine learning algorithms. The idea is motivated by existing clinical decision support systems. We used a set of 55 artworks (including 12 forged ones) with determined attribution markers to train a decision tree model. From our preliminary results, it follows that it is a very promising technique able to support art experts. Decision trees are able to summarize the existing knowledge about all investigations and may also be used as a classifier for new paintings with known markers. However, larger datasets with artworks of known provenance are needed to build robust classification models. The method can also utilize the most important markers and, consequently, reduce the costs of investigations. [ABSTRACT FROM AUTHOR]

The article provides information on prints published by French artist Claudine Bouzonnet Stella in 1667. A set of sixteen prints called "Les Pastorales" that have been called the chefs d'oeuvre of the pastoral genre in seventeenth-century France, and have been compared to the prints of Stella's uncle Jacques Stella who had been also involved with the print is discussed. It focuses on the quality of the drawing and the excellence of the prints of the scenes and figures of pastoral imagery in the eighteenth century.

The article provides information on the ivory casket, a part of the Gort Collection at the Winnipeg art Gallery in Canada. According to the author, the ivory casket has was seldom exhibited due to its fragile state, and was not included in the catalogue of medieval ivories in North America. It offers a brief historical overview of the ivory casket that was donated to the Winnipeg Art Gallery in 1973. The author suggests that the features of the ivory casket does not resemble Paris ivories, in contradiction to David Ross' statement that the ivory is from Paris dated fourteenth century.

The article focuses on the attribution of De Witt Clinton Vases in New York City. It revealed that he was a tireless advocate for the Erie Canal, first as a mayor of New York City and later as governor of the state. Because of his efforts in advancing the canal project, the Pearl Street merchants voted to present awards of silver to the governor and conduct a contest for the best design of the two vases. Several silversmiths joined the competition and luckily Messrs Fletcher & Gardiner of Philadephia got the prize. It was a design made by Thomas Fletcher and Sidney Gardiner. Discussed are the details of the designs of the vases.

The article describes the style and function of draftmanship of Dutch artist Abraham van den Tempel. Van den Tempel has been recognized for his restrained and elegant portraits of prominent Dutch citizens from the third quarter of the seventeenth century. His drawings include "A Study of a Female Figure," "Portrait of Princess Albertine Agnes," "A Study of a Man's Arm," and "Portrait of the Regents of the Heilige Geestweeshuis in Leiden." Van den Tempel adhered to the technique of light and dark chalk on blue-colored paper. It is noted that his technique reflects his training under Jacob Adriaensz.

The article discusses the 1637 painting, "Portrait of a Lady," which attributed to Jan Pietersz van Rijn. The painting was purchased in 1872 by the Koninklijke Musea voor Schone Kunsten van België as a work by the Dunkirk painter Jean de Reyn. The authorship of the painting was once doubted due to a misleading biographical reference in 1868. The painting reflects the Brussels portrait of a lady which is the first work of Jan Pietersz. It is noted that the painting is stylistically consistent with the oeuvre of a number of other Hague painters in Netherlands who worked for the local citizenry and whose pictures display the same sober and conservative character.

The article focuses on the erotic Modi or sexual positions engraved by the artist Marcantonio Raimondi. It is stated that the known fragmentary copies of Marcantonio's erotic Modi have been recognized as a monumental project which is unprecedented in Italian engraving of secular subjects. It is emphasized that the cursory of the copies and fragments of the erotic Modi sets on the works of Marcantonio. It is emphasized that the copies and fragments of the sexual positions have survived in complete sets through the effort of several engravers.

The article focuses on the attribution of a window design and a corresponding glass cartoon from the Pieterskerk in Leiden, Netherlands to artist Pieter Kouwenhorn. The said painting concentrates on the architectural and heraldic design. The author observes that the drawing provided with scale indications and an unfinished alternative design on the reverse. She also explains that the window in the Aldermen's Chamber of the City Hall by Kouwenhorn was similar to the said window design at the church.

The article profiles miniaturist Antonis Rogiersz. uten Broec who was active in southern Netherlands in the mid-fifteenth century. The artist can be identified because he signed his work twice. He contributed two manuscripts where he included his name and worked on three other Southern-Netherlandish manuscripts. His style in the five manuscripts reemerged in a group of illuminated manuscripts produced in the 1460s in Utrecht. The author points out that despite the attribution of the manuscripts to Master of the Boston, he still believed that they were done by Antonis.

The article provides analysis on the Entombment of Abraham Janssens. It presents an affordable, deeper knowledge data and meaning of the painting. The artistic composition uses a satisfactory plain tabby weave linen canvas without the presence of tacking margins. The observance of thread around the edges of the canvas shows an unpresent recurrent distortion of the weave pattern. Furthermore, interpretations on the various painting samples from different composition was considered as essential for the artist.

An essay on the dating and attributions of the renowned collection of King Willem II of The Netherlands, including four panels with scenes from the legend of Saint Michael, is presented. It offers a detailed description on the panels and presents comparisons between the four panels, which are now separated by their locations, two, are in the collection of Musées Royaaux des Beaux-Art in Brussels, Belgium, while the other two are owned by private collector Hester Diamond in New York.

The article explores the production of portfolio within the context of the print "The Disasters of War," by Jake Chapman and Dinos Chapman. It is stated that the Chapman brothers took Francisco Goya as their inspiration in producing a suite of 83 prints in no fewer than 28 days. It is emphasized that Goya's set of prints, "Los Desastres de la Guerra," has always held a special place in the Chapman's body of work. The Chapman brothers relied heavily on Goya, but infused their work with layers of pornographic surrealism, contemporary world conflicts, imagery of the Nazi holocaust and general apocalyptic scientific-fiction.