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An essay is presented on the painting "Truth," by the Swiss artist Ferdinand Hodler. It offers a detailed study of the artist's technique and working method, combined with art-historical evidence in order to place Truth within his artistic chronology. It also examines the ways in which the artist approached and revised the paintings's allegorical subject, reflecting the complex exploration of connected symbolic themes that is the hallmark of Hodler's work.

An essay is presented on the magnificent painting "Saint John in the Wilderness," by Diego VelÁzquez. It analyzes on his painting techniques like using patterned canvas and employing an organic brown and a variety of carbon blocks. It examines the authorship of the painting on which the presence of brush wipings in various locations are a technical evidence in support of his authorship. It also outlines on the style, structures, as well as the paint materials used in the painting.

The article presents a technical assessment of Georges Seurat's painting entitled Sunday Afternoon on the Island of the Grande Jatte. The author provides an evaluation of the painting from different aspects, including the pigments present, color composition and application, layering, the type of canvas used and Seurat's technique. According to the author, the Art Institute of Chicago's Conservation Department examined the painting with the use of infrared reflectography, ultraviolet fluorescence, and x-radiography. Analysis of pigment samples in order to specify the palette and materials used by Seurat in the painting are also mentioned.