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Adding to the debate about the duals in Empedocles frr. 23 and 137, this article examines two neglected duals in fr. 15. These duals are found in the manuscripts of Plutarch, but are not read in any of the current editions of Plutarch or Empedocles. Like all four duals in frr. 23 and 137, these two are third-declension participles in the nominative: παγέντϵ and λυθέντ’(ϵ). Again like those four, these two are not combined with any indication of interest in a pair, and so they would probably have to be false duals, or dual for plural. This article examines the transmitted text and relevant scholarship, and argues that these forms provide further evidence of the tradition tolerating false dual participles in -ϵ in particular, and that, if we should try to keep these duals, they would provide another obstacle to the allegoresis of the duals in the painters simile of fr. 23. [ABSTRACT FROM AUTHOR]

AbstractProfessional painters represent an occupational population group that deserves attention for study in the field of occupational toxicology due to the wide range of complex chemical mixtures they are exposed to. It is imperative to underscore that the International Agency for Research on Cancer has classified commercial painting as a high-risk occupation for the development of cancer. Given this context, the primary objective of the present study was to conduct a systematic review aimed at addressing the following question: are car painters at occupational risk regarding potential genotoxicity? To address this question, a selection process was undertaken, with three reviewers carefully selecting, reading, and analyzing full manuscripts from 26 studies included in this review. The technical rigor of these studies underwent meticulous scrutiny, culminating in the classification of six studies as Strong, eight as Moderate, and 12 as Weak, predicated on the extent of confounders considered. Taken together, the findings suggest that chemical substances from paints may indeed pose a risk of genotoxicity for professionals in this field, as all studies indicated genotoxicity among professional painters through various tests. [ABSTRACT FROM AUTHOR]

Throughout history, art has served as a means of graphically expressing abstract or concrete aspects of nature, life, and humanity. Encompassing numerous fields, art has emerged and evolved alongside humanity as a dynamic marker characterized by its various periods and movements. Painting, a form of artistic expression, originated in early communities and has persisted throughout history. The art of painting, which serves as a record of early cultures and provides illustrations of life and cultural practices, has undergone changes over time. Painting underwent a paradigm shift during the New Age, liberating itself from the constraints imposed by the palace and the church. This newfound freedom allowed for innovative approaches that embraced a scientific and optimistic worldview. The Baroque Period, a post-Renaissance era characterized by a new perspective, witnessed a prolific output of artistic masterpieces. Furthermore, the artists placed particular emphasis on intricate detailing, ornate embellishments, and deliberate exaggeration in the images employed, in addition to fundamental components such as light and shadow, composition, and balance. Rembrandt, a prominent figure in the art history, is recognized for his distinctive Baroque style as a Dutch portrait painter during the Baroque Period. He pioneered and inspired many painters as a portraitist, group portraitist, and engraver. The present study aims to learn more about the Baroque Period and Rembrandt, to analyze the characteristic features of the Baroque Period in the works of the artist, and to explore the works in terms of form and expression. [ABSTRACT FROM AUTHOR]

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Copyright of China Pulp & Paper is the property of China Pulp & Paper Magazines Publisher 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.)

Background: Isocyanates are used as starting materials of polyurethane (PU) products. They are relatively important occupational skin sensitizers. Objectives: To analyse results of a large isocyanate patch test series of 19 isocyanate test substances and 4,4′‐diaminodiphenylmethane (MDA), a marker of 4,4′‐diphenylmethane diisocyanate (MDI) hypersensitivity. Methods: Test files were screened for positive reactions in the isocyanate series. Patients with positive reactions were analysed for occupation, exposure and diagnosis. Results: In 2010–2019, 53 patients had positive reactions in the series (16% of 338 patients tested). MDA, the well‐established screening substance for MDI allergy, was positive in 30 patients, an in‐house monomeric MDI test substance in 23 patients and 3 different polymeric MDI test substances in 19–21 patients. We diagnosed 16 cases of occupational allergic contact dermatitis (OACD) from MDI including 3 pipe reliners. Hexamethylene‐1,6‐diisocyanate (HDI) oligomers in paint hardeners caused 5 cases of OACD, more cases than 2,4‐toluene diisocyanate (TDI; n = 3) and isophorone diisocyanate (IPDI; n = 1) put together. Conclusions: In contrast to previous studies, polymeric MDI test substances were not superior to a monomeric MDI. Pipe reliners may get sensitised not only by epoxy products and acrylates but also by MDI in hardeners of PU pipe coatings. HDI oligomers were the second most important causes of OACD after MDI. In contrast to previous studies, polymeric MDI patch test substances were not superior to a monomeric MDI. Pipe reliners may get sensitised by MDI in hardeners of polyurethane pipe coatings. HDI oligomers were the second most important causes of occupational allergic contact dermatitis after MDI. [ABSTRACT FROM AUTHOR]

There is a connection between human beings and their physical environment. Any disruption to this connection as a result of changes in the environment affects the individual. Kazuo Ishiguro's An Artist of the Floating World focuses on the underlying melancholic feeling of an individual in relation to the changes in the external environment or, in other words, solastalgia. Through the characterization of an old painter named Masuji Ono, the novel makes the readers contemplate on the significance of the connection between human beings and the external physical world. This paper, using the idea of solastalgia by Glenn Albrecht, scrutinizes the different kinds of spatialities in Ishiguro's work. Simultaneously, it also delineates the inherent pain in the mind of the central character, Ono, by mapping the connections between him and the external landscape, uncovering in the process, the numerous spaces seen in the narrative. [ABSTRACT FROM AUTHOR]

In the 18th century, Europe was swept by a trend for art that revealed the sentimental inner lives of its subjects. The painter Angelica Kauffman encapsulated the ideas of the [...]

This article examines two paintings of sick girls by the Danish painters Michael Ancher and Ejnar Nielsen and asks whether it makes sense at all to discuss certain diseases when none of the artists diagnosed their paintings of sick or convalescent girls with a particular disease. Though these paintings of sick girls differ in the way they are composed, the titles of the works vary very little, the greatest difference often being whether the painting is titled "The Sick Girl" or "The Convalescent." But does the title of the work affect the viewers' perception of it, and does the title always make sense when one looks at the painting? [ABSTRACT FROM AUTHOR]

Juan Martínez Montañés was one of the most important sculptors and altarpiece architects of the Spanish Golden Age. The restoration of the Santa Clara church in Seville has presented a unique opportunity to study the main altarpiece, crafted by Montañés between 1621 and 1623. He was also in charge of the polychromy and gilding, believing that delegating these procedures to others would diminish the quality of his work. This conviction led to a well-known lawsuit with the renowned contemporary Spanish painter Francisco Pacheco. Ultimately, the painter and sculptor Baltasar Quintero performed the polychromy of this altarpiece, but under the strict conditions of Montañés. Various non-invasive analytical techniques, such as CT, UVF, XRF, and digital microscopy, were employed to study wood treatment and polychromy. Additionally, three samples were prepared as cross-sections and analysed by SEM-EDX. The results revealed Montañés' meticulous woodwork, anticipating its long-term preservation. Consistent with Montañés' commitment to maintaining the superior quality of his work, the analysis showed an absence of a ground layer in the flesh areas, while the gilding was executed with high-quality gold. The pigment palette corresponds to the treaties and documents of his time, and the extensive areas of later retouches were accurately located. These new data provide a deeper understanding of both the technique and the high standards of one of the most important and globally recognised sculptors. [ABSTRACT FROM AUTHOR]

Painting manuals with technical and iconographical prescriptions served the needs of Greek icon painters during the post-Byzantine period. The circa 1730 CE Hermeneia of the art of painting was compiled by the hieromonk and icon painter Dionysius and is regarded as the most comprehensive pertinent Greek text. Dionysius' Hermeneia was widely circulating among icon painters in the form of hand-written copies, many of which survive today. Most of these Hermeneia manuscripts are near-facsimiles of the Dionysius prototype text. Yet, two copies made by Father Ioannis Balpis, a Cretan icon painter, in 1782–83 CE offer an important expansion of the technical part. Here, the authors present the first ever translation of the hitherto unpublished Balpis' Hermeneia technical additions that offer unique new insights into the materials and techniques of post-Byzantine painting. Moreover, through the critical evaluation of the Balpis additions, it is shown that the Dionysius technical part is by no means an exhaustive account of its contemporary technical knowledge. [ABSTRACT FROM AUTHOR]

Background: Due to an increasing occupational usage of isothiazolinone (IT)‐containing preservatives, and their potential to cause skin sensitization and allergic contact dermatitis, that is, chronic disease, there is a need for more knowledge on how highly exposed workers are affected. Objectives: The overall objective was to explore dermatological symptoms of potentially long‐lasting or chronic character in Swedish painters. Methods: Building painters from western and southern Sweden were initially invited to perform a questionnaire on occurrence of skin symptoms. Participants with affirmative responses, and the right inclusion criteria, were further invited to patch testing with four different ITs: benzisothiazolinone (BIT), methylisothiazolinone, methylchloroisothiazolinone and octylisothiazolinone. Results: There was a tendency towards higher occurrence of positive patch test reactions among the painters compared with occupationally unexposed registry patients; however, not statistically significant differences. BIT was the substance most frequently causing positive test results in both groups. The occurrence of adult‐onset eczema was higher in painters than in the control group of electricians, and just shy of statistical significance concerning any of several skin locations (face/legs/arms/hands). Conclusion: Building painters present with positive patch test reactions to common paint preservatives (ITs), and they report adult‐onset eczema more often than do less occupationally exposed groups. [ABSTRACT FROM AUTHOR]

The article aims “Aegean Sea” by Frederic Edwin Church, one of the leading painters of 19th century America. Why an American painter painted such a painting in the 19th century and the reason or reasons behind it were tried to be discussed in the article. During his lifetime, Church was popular and successful painter in the United States. As a young artist, Church's initial training in painting came through an apprenticeship with American painter Thomas Cole, who is considered the father of the Hudson River School. Church traveled to far-flung places to sketch grandiose scenes unfamiliar to American audiences, transforming them into dramatic, large-scale paintings. These travels enabled Church to produce important and numerous paintings for a number of wealthy patrons, including prominent American industrialists and financiers of the period, such as Hartford native Timothy Mather Allyn, J. Pierpont Morgan, and arms manufacturer Elizabeth Hart Jarvis Colt. [ABSTRACT FROM AUTHOR]

This article considers selected book illustrations that were published in the 1530s by Augsburg printer Heinrich Steiner. It compares Steiner's choice of images for Schimpff und Ernst (1534), a popular anthology of entertaining and serious anecdotes compiled by the Franciscan preacher Johannes Pauli, with woodcuts that Steiner had previously employed in newly translated, moral–philosophical texts by Cicero and Petrarch. Although all three texts problematize the art of painting according to classical and medieval narratives, which urge caution in viewing lifelike images, each proposes diverse solutions for regarding illusionistic works of art. Whereas prior studies focus on the intentions of individual authors, this article highlights the printer–publisher's agency. One image recycled in disparate works speaks to art's multifaceted functions for upper-class, lay readers. This article argues that Steiner's selection of images inserts Pauli's chapter on artists and illusionistic painting into ongoing debates in Reformation-era Germany about the proper role of images in religious ritual. This cross-reading of image–text pairings in the early 1530s offers insights into the complexity of period attitudes towards visual art, the painter's profession, and the beholder's responsibilities. [ABSTRACT FROM AUTHOR]

This article proposes a multidisciplinary study on a typology of altarpiece that predominated in the Canary Islands during the 18th century: the laminated altarpiece. Three examples preserved in churches in Icod de los Vinos, in Tenerife, are analyzed, and this typology is linked to the local painter Cristóbal Afonso. In addition to the structural characteristics, the deterioration that these works usually show today is analyzed. The study seeks to better understand this typology and its development in other locations in Tenerife, La Palma, La Gomera, and Fuerteventura. [Extracted from the article]

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The past eras of history were not, most of the times, permissive with the activity and manifestation of women within the society. For various reasons, women were neither helped nor encouraged to participate in large-scale social actions, they did not have access to ancient sports competitions, they were denied education to become painters, writers, philosophers or leaders. Despite all these impediments that intervened in history, women manifested themselves in society with a lot of power, either in literature (Sapho), philosophy (Hypathia) but also in state leadership (as pharaohs, in ancient Egypt). The present work brings to attention the names of great female personalities from ancient but also from recent history, women endowed with exceptional intelligence and character, who contributed to social progress and, above all, demonstrated that women can play an important role, which cannot be ignored in the history of humanity. [ABSTRACT FROM AUTHOR]

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This essay posits that Weimar-era film sets—in their evocation of Richard Wagner's concept of the Gesamtkunstwerk—served as a previously unseen visual source for painters that in some cases pushed back against interwar aesthetics of power. Focusing on the Dutch figurative painter Dick Ket, it investigates the ways in which this artist's self-portraits from 1930–1940 acted as a memory index of his experience of the mises-en-scènes in Fritz Lang's 1924 epic two-part film Die Nibelungs through Langian devices such as heavy geometric patterning, leitmotifs and subjugation of the human figure to the set. Ket's work evinces the artist's own sensation of confinement in his parents' home as a result of a terminal heart condition while also reckoning with Adolf Hitler's extremist rhetoric and expansionist policies in the years that preceded the German Occupation of the Netherlands. [ABSTRACT FROM AUTHOR]

The Market Scene is one of the popular themes among Nigerian artists. Market in several communities serves as centers for meetings, commerce, and relaxation. In some instances, calendars are tagged based on the days between market days. Market is a subject that cannot be exhausted, because every painter brings in his experience to bear and gives it a refreshing view. This article seeks to look into artists and their paintings whose inspirations came from market activities and especially Abiodium Olaku, Kolade Oshinowo, John Oyedemi and Sam Ovriti. The artists were purposively selected to fit the desired theme which looks at the artistic practices of representing market arena, idea, and colour schemes. A conclusion is drawn for a comparison and point influences. It is expected that these four artists' works would give insight into market representation in Nigeria. [ABSTRACT FROM AUTHOR]

The article explores the life and work of Juan de Pareja, an Afro-Hispanic painter who was once enslaved by Diego Velázquez, a prominent artist in seventeenth-century Spain. It discusses the challenges in identifying and attributing Pareja's paintings, as well as a recent exhibition at the Metropolitan Museum of Art that aimed to showcase his work. The article also delves into the historical context surrounding Pareja's career and the complexities of his legacy. It emphasizes the need to recognize Pareja as an independent artist with his own unique style, rather than solely in relation to Velázquez. The exhibition and accompanying catalogue provide valuable insights into Pareja's career, with essays that offer historical context and discuss his support from Sevillian Confraternities and the possibility of courtly patronage in Madrid. However, the exhibition has limitations due to the limited number of works on display and the inability to secure loans from certain locations. The article concludes by highlighting the importance of closely examining Pareja's paintings to gain a deeper understanding of his place in seventeenth-century Spanish society and art history. [Extracted from the article]

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina 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 Palíndromo is the property of Universidade do Estado de Santa Catarina 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 Palíndromo is the property of Universidade do Estado de Santa Catarina 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 presents the ways Polish press of the 1920s and 1930s used to write about suicides of artists. The author analyses the stories of suicidal deaths of five people: theatre actress Alojza Żółkowska, actor and director Józef Poremba-Jaracz, an aspiring painter Helena Niemczewska (the daughter of the watercolourist Julian Fałat), film heartihrob Zbigniew Staniewicz, and theatre actor Sergiusz Niłus (Jerzy Alan). These instances demonstrate that pre-war journalists took a keen interest in the issue, especially the reasons behind the tragedies. Detailed descriptions of the course of events otien revealed many details of the stars' private lives, especially their health-related conditions. [ABSTRACT FROM AUTHOR]

Howard Hodgkin was an unhappy schoolboy at Eton in the 1940s when he was introduced to Indian court painting by his art teacher, Wilfrid Blunt. Better known as an authority [...]