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Conservation of artworks is a fundamental aspect of the immensity of human culture and artistic expression. Two watercolor were examined: Paisaje con casa campesina and El puente, belonging to the collection of the Central Bank of Costa Rica attributed to the national artist Fausto Pacheco Hernández. Particularly, the exclusive approach to explore these artworks is characterized by being a multiple analysis, where non-invasive techniques such as multispectral photography were applied. Based on this technique along with the use of novel computational tools such as RegionsOfInterest and Golden Artists Colors, information about the artist's pictorial palette and creative process was determined. Multiple analysis also allowed identifying areas of interest such as dark spots and other patterns that could be associated with microbial growth. This pioneering study is the starting point to establish indicators that will allow, to evaluate the possible authenticity of these artworks based on the establishment of the artist's pictorial palette, materials used, creative processes and historical context. The application of science to know the characteristics of materials contributes significantly to determining the most efficient way to preserve cultural heritage. La conservación de las obras de arte es un aspecto fundamental de la inmensidad de la cultura humana y la expresión artística. Se analizaron dos obras en acuarela: Paisaje con casa campesina y El puente, pertenecientes a la colección del Banco Central de Costa Rica atribuidas al artista nacional Fausto Pacheco Hernández. Particularmente, el acercamiento exclusivo para estudiar dichas obras de arte está caracterizado por ser un análisis múltiple, donde se aplicaron técnicas no invasivas como la fotografía multiespectral. A partir de dicha técnica y el uso de herramientas computacionales novedosas como RegionsOfInterest y Golden Artists Colors se determinó información sobre la paleta pictórica y el proceso creativo del artista. El análisis múltiple permitió identificar diferentes patrones que podrían estar asociados con el crecimiento microbiano. Este estudio pionero corresponde al punto de partida para establecer indicadores que permitan, en el futuro, valorar la posible autenticidad de las pinturas con base en el establecimiento de la paleta pictórica del artista, los materiales utilizados, los procesos creativos y el contexto histórico. La aplicación de la ciencia para conocer las características de los materiales contribuye significativamente a determinar la manera más eficiente para conservar el patrimonio cultural.

“Muzeja sērijas” trešā grāmata “Ferdinands Erdmanis Štolls. Sēņu pasaule.” Tā ir neliels ieskats mikologa F. E. Štolla (Ferdinand. Erdman Stoll; 1874–1966) vairāk kā 1000 lapu lielajā sēņu attēlu kolekcijā, ko zinātnieks ir izveidojis pētot Latvijas sēnes un, kas pamatā sastāv no paša pētnieka zīmētajiem akvareļiem. Akvareļu kolekcija ir viens no Latvijas Universitātes Muzeja Botānikas un mikoloģijas kolekciju dārgumiem, kas joprojām ir ne tikai pētnieku interešu objekts, bet spēj iepriecināt jebkuru interesentu ar savām estētiskajām kvalitātēm. Publicētos akvareļus raksturo citāti no 1934. gadā izdotās F. E. Štolla grāmatas “Latvijas sēnes”, kas ir pirmā izdotā mikoloģijas grāmata latviešu valodā., The Museum Series third book “Ferdinands Erdmanis Štolls. Sēņu pasaule” is a small insight into the mycologists F.E. Stoll’s (Ferdinand. Erdman Stoll; 1874–1966) collection of more than 1000 pages of mushroom pictures, by the scientist had created while studying the mushrooms of Latvia and which mostly consists of watercolors drawn by the researcher himself. The collection of watercolors is one of the treasures of the Botany and Mycology collections of the Museum of the University of Latvia, which is still not only an object of interest for researchers, but is able to please any interested person with its aesthetic qualities. The published watercolors are characterized by quotes from F. E. Stoll’s book "Latvijas sēnes" published in 1934, which is the first mycology book in the Latvian language.

美術教育において、水彩絵の具を使用する機会はしばしばある。未就学児であっても、保育園や幼稚園での造形活動に登場することは一般的であるし、小学校での図画工作でも、水彩絵の具を活用した絵画制作のカリキュラムは存在すると認識している。 本稿は、高等学校の美術Ⅰを履修する生徒を対象とし、水彩絵の具を活用したポスター制作の課題を考察したものである。生徒の実態を理解すべくアンケートを行ったところ、その１割は水彩絵の具の使用が未経験であった。この事実を目の当たりにし、筆者は生徒の多様性に即した指導を行う必要性を感じた。取り組みの一環として、筆者考案の「目標リサーチ」を実施することとし、その過程と成果、今後の課題についての考察を行う。

У тек основаном Етнографском институту САН (1947) своје место проналази и Олга Бенсон која је пре тога радила у Музеју Јужне Србије, а потом и у Етнографском музеју у Београду. По основном образовању је била сликарка па је и разумљиво њено ангажовање на теренским обиласцима различитих предела Србије заједно са сарадницима Етнографског института САН(У). Задужење Олге Бенсон било је израда скица и акварела који су се односили на свакодневни живот у местима/областима истраживања. У овом раду ће бити речи о цртежима и акварелима Олге Бенсон који се данас чувају у Етнографском институту САНУ, а односе се на источну Србију. Циљ рада је и да се укаже на значај њене заоставштине за садашња проучавања у етнологији/антропологији. In the newly founded in the Institute of Ethnography SAS (1947), Olga Benson found her place, who previously worked at the Museum of Southern Serbia, and then at the Ethnographic Museum in Belgrade. She was a painter by primary education, so it is understandable that she was involved in field trips to different parts of Serbia together with the colleagues of the Institute of Ethnography SASA. Olga Benson’s task was to make sketches and watercolors that related to everyday life in the research sites/areas. This paper will talk about the drawings and watercolors of Olga Benson, which are stored today in the Institute of Ethnography SASA, and refer to Eastern Serbia. The aim of the work is to indicate the importance of her legacy for current studies in ethnology/anthropology. Тема броја - Загонетке српског истока: нове истраживачке могућности и рекапитулације (ур.Војислав Филиповић и Ивица Тодоровић) / Topic of the Issue - Enigma of the Serbian East: New Research opportunities and Recapitulation (Eds Vojislav Fillipović and Ivica Todorović)

Since its discovery, a series of papers have recognized the importance of the painted watercolors ordered by Bishop Baltasar Jaime Martínez Compañón y Bujanda to show his diocese areas and general characteristics. Completing this task was entrusted to a group of anonymous and self-taught artists who used the available resources at their disposal. The resulting works aren’t usually considered study objects by art history. This article reviews the botanical illustrations in the codex, focuses on medicinal use plants and their recognition not only as a visual resource at the service of science but also as artistic works., Desde su descubrimiento, una serie de escritos reconoce la importancia de las acuarelas que el obispo Baltasar Jaime Martínez Compañón y Bujanda ordenó para demostrar la extensión y características generales de su diócesis. Estas obras —que fueron encargadas a un grupo de artistas anónimos y autodidactas que hizo uso de los recursos a su alcance para llevar a cabo dicha empresa— han sido escasamente consideradas como objeto de estudio de la historia del arte. El artículo se propone una revisión de la ilustración botánica en el códice, en especial de aquellas plantas de uso medicinal, y su reconocimiento no solo como recurso visual al servicio de la ciencia sino también como obras artísticas.

Cilj ovog istraživanja jest prikazati mogućnosti rada u tehnici akvarela u razrednoj nastavi koje na kreativan i stručan način ostvaruju likovne pojmove propisane Nacionalnim kurikulumom. Istraživanje je provedeno u drugom razredu jedne osnovne škole u Osijeku s 21 učenikom. Uzorak čini osamnaest likovnih radova učenika. U četiri su tjedna provedena četiri nastavna sata iz predmeta Likovne kulture. Na sva četiri sata učenici su slikali koristeći se akvarelom. Na prvome satu, učenici su izrazili svoje osjećaje uz pomoć osnovnih i izvedenih boja slikajući mokro na mokro. Na drugom satu učenici su na postojeću sliku s prvog nastavnog sata geometrijskim oblicima prikazali izgled tepiha. Učenici su na trećem satu puhanjem kroz slamke nanosili boju po papiru. Četvrti je sat podsjetio učenike na skalu boje koju susreću u prirodi, dugu. Učenici su na svakom satu ponovili prethodno usvojene likovne pojmove i kako se radi u slikarskoj tehnici akvarel. Nakon provedenog istraživanja prikazane su mogućnosti slikarske tehnike akvarela praćene pripravama koje sadrže likovne pojmove predložene Kurikulumom. The aim of this research is to present the possibilities of working in the technique of watercolors in the classroom, which in a creative and professional way realize the artistic concepts prescribed by the National curriculum. The research was conducted in the second grade of an elementary school in Osijek with 21 students. The sample consists of 18 art works of students. In four weeks, four teaching hours in the subject of Art Education were conducted. For all four hours, the students painted using watercolors. In the first lesson, students expressed their feelings with the help of primary and secondary colors by painting wet-on-wet. In the second lesson, the students showed the appearance of the carpet in geometric shapes on the existing picture from the first lesson. In the third hour, the students applied paint to the paper by blowing through straws. The fourth lesson reminded the students of the color scale they meet in nature, the rainbow. In each class, the students repeated the previously adopted artistic concepts and how to work in the watercolor painting technique. After the research, the possibilities of watercolor painting technique were presented, followed by preparations that contain artistic concepts proposed by the Curriculum.

[Abstruct]We hope that all people, from assistants to children, enjoy expressive activities using watercolors that are appropriate and easy to use in daily play, and thereby increase understanding of color science in art education. This paper discusses the color education in arts and crafts programs (instruction method) in the infant education and the importance of playing with colors for children to naturally understand and master, through exercises, the relationship of the color of the world in front of one’s eyes and expression through watercolors.[要約]美術教育で取り組む色彩学理解の難解度を軽減し、日常あそびから正しく親しみやすいえの具による表現活動を、援助者から子どもまで楽しみたいものである。本論では、幼児教育における造形表現（指導法）で展開する色教育を、目前にある色彩生活と絵の具表現の関係を、演習課題から、自然に理解、習得する色あそびの大切さを論じる。, 著者主要担当科目(塙)：図画工作, 造形表現（指導法）著者主要担当科目(竹永)：図画工作, 造形表現（指導法）, 美術概論

[ES] Este trabajo consiste en la realización de un libro ilustrado a partir de un análisis de la representación lésbica en series de TV. Para ello se hará una investigación de cómo han evolucionado en los últimos años los personajes y tramas, en la necesidad de la existencia de referentes e historias positivas con los que la audiencia LGTB pueda identificarse y la importancia de dar visibilidad al colectivo. Otro objetivo principal, además del análisis ya mencionado, es realizar una serie de ilustraciones en las que se mostrarán diferentes ejemplos de algunas de las parejas lésbicas más importantes e icónicas de la televisión, concretamente de besos, mostrando y dejando claro el sentimiento romántico entre los personajes. Esta serie de ilustraciones estarán recopiladas en un libro ilustrado, que servirá de guía para el público ya que cada una de ellas estará acompañada de algunos datos de cada pareja y de las series a las que pertenecen., [EN] This project consists in the creation of an illustrated book starting from an analysis about lesbian representation on tv. For this an investigation will be made on how the characters and plots have evolved in the past few years and also about how necessary it is for these characters and stories to exist so that the LGBT audience can identify and see themselves and the importance of providing visibility to the comunity. The main goal, besides from what¿s just been mentioned, is to carry out a series of illustrations in which different examples of some of those TV shows¿ characters will be drawn, concretely kisses, showing and making sure that the romantic feelings between the characters are clear. This series will be put together in an illustrated book accompanied by the most important facts about the couples and the shows they star in, that will work as a guide for the audience.

Nearly ten years before the United States Supreme Court ruling that made American author Henry Miller a household name, the Japanese courts had ruled that Miller’s literature was art, and not pornographic. Consequently, beginning in the 1950s, Miller started shifting his attention more intently to the island nation of Japan. With his rising fame across Japan, various Japanese individuals sought to learn more about this controversial figure. By incorporating archival materials, field research, and interviews, this article focuses on four of these Japanese men who have had a calculable impact on Miller’s reputation in Japan. Three them were in correspondence with Miller, another has become one of the foremost specialists in Henry Miller studies in the world. What is revealed herein is the decades-long personal relationship between Miller and Japan that has hitherto been unexplored by Miller scholars and biographers.

This note aims to visualize the health problems in the Peruvian viceroyalty based on the graphic information provided by the repertoire of watercolors commissioned by Bishop Martínez Compañón during his visit to his jurisdiction in northern Peru, between 1782 and 1785. The intention is also to analyze the referred representations in the watercolors to understand in a general way the ravages caused by diseases and epidemics in the population, in addition to the official and popular medical solutions that were used at that time; and also, to understand the effort of these anonymous popular artists for the graphic representation of these evils., En esta nota se pretende visualizar la problemática de la salud en el virreinato peruano en función de la información gráfica que brinda el repertorio de acuarelas encargadas por el obispo Martínez Compañón durante la visita a su jurisdicción en el norte del Perú, entre 1782 a 1785. La intención es también analizar las referidas representaciones en las acuarelas para entender de modo general los estragos que causaban las enfermedades y las epidemias en la población, además de las soluciones médicas oficiales y populares que se empleaban en ese tiempo; y asimismo, comprender el esfuerzo de los artistas populares anónimos para la representación gráfica de estos males.

Являясь до установления советской власти уездным городом, а в 1934–1954 годах – районным центром в составе Курской области, Белгород становился объектом изображения в единичных случаях. Лишь с конца 1950-х годов, уже в статусе областного центра, он стал привлекать художников-профессионалов, которые в 1968 году основали здесь региональную организацию Союза художников РСФСР. В Белгородском государственном художественном музее, открывшемся в 1983 году, собрана наиболее представительная коллекция произведений художников Белгородчины, которая может изучаться как в контексте общего развития отечественного искусства второй половины ХХ – начала XXI века, так и с точки зрения региональных особенностей. Значительный массив произведений из фондов музея посвящен образу Белгорода. Здесь представлены как панорамные и ретроспективные его виды, так и «городские интерьеры», которые предполагают способы художественного восприятия, связанные с изображениями отдельных зданий, фрагментов среды, конкретных человеческих типов. В статье представлена систематизация и анализ изображений Белгорода в живописи и графике на примере произведений из фондов Белгородского государственного художественного музея и других музейных и частных собраний., Being a small provincial town within the Kursk region till 1954, Belgorod was not very often depicted by artists. Only since the late 1950s, while already becoming itself a regional center, it began to attract professional artists. In 1968 they had found here the regional organization of the Union of artists. The Belgorod State Art Museum was founded in 1983. Nowadays it has the most representative collection of works by artists of the Belgorod region, which can be studied in the context of the development of Russian art in the 2nd half of the 20th – 21st centuries. A significant array of works from the Museum's collections is dedicated to the image of Belgorod. These works represent both panoramic and retrospective views of it, as well as “urban interiors”, which suggest ways of artistic perception associated with images of single buildings, fragments of the environment, and specific human types. The article presents the systematization and analysis of images of Belgorod in painting and graphics with the examples of works from the funds of the Belgorod State Art Museum and other museums and private collections., Искусство Евразии, Выпуск 2 (17) 2020

V magistrskem delu smo oblikovali in izdelali knjigo brez besed z naslovom Palčica vrtnari. To je knjiga, pri kateri se ne uporablja napisane zgodbe za pripovedovanje, ampak samo slike. Bralec si mora preko ilustraciji pojasniti potek zgodbe. Poskušali smo izdelati knjigo, ki je namenjena vsem starostnim skupinam in bi spodbujala razvoj domišljije. Tovrstnih knjig je v Sloveniji in tudi v tujini bistveno manj kot tradicionalnih slikanic. Zato smo se ta ne tako poznan izdelek odločili najprej analizirati. Izbrali smo dve knjigi brez besed iz slovenskega trga in eno iz mednarodnega trga ter jih analizirali. Da bi pravilno načrtovali našo knjigo brez besed, smo se najprej lotili teoretičnega dela. Raziskali smo štiri temeljna področja za izdelavo knjige brez besed. Ta so bila vrste slikanic, zgodba, ilustracija in proces izdelave knjige. Nato smo se lotili izdelave knjige brez besed. Začeli smo z izbiro formata in s skiciranjem poteka zgodbe po posameznih straneh nadaljevali smo z risanjem z akvareli in modrim tušem. Sledilo je skeniranje ilustracij, postavitev po straneh in izbor dveh različnih pisav. Na eni izmed ilustracij smo opravili tri različne poskusne odtise. Na podlagi tega smo se odločili za barvne korekcije vseh ostalih ilustracij. Sledila sta tisk in grafična dodelava. Na koncu smo izvedli še intervju z 10 ljudmi iz različnih starostnih skupin, ki so nam zgodbo pripovedovali. In the master's thesis, we designed and produced a wordless book titled 'Palčica vrtnari'. It is a book which does not use written words to tell a story. Instead, the story is told using only drawings. The book is supposed to be suitable for all age groups and it encourages the use of imagination. Books of this kind are harder to come by in Slovenia and everywhere else as well. Therefore, we analyzed two Slovenian and a foreign wordless book before starting to work on mine. In order to properly plan our wordless book, we first undertook the theoretical part. We explored four fundamental areas for making a wordless picture book. These were the types of picture books, the story, the illustration, and the process of making the book. The production of the wordless book was then processed. We began by choosing the format and sketching the course of the story page by page. We continued to draw with watercolors and calligraphic ink. This process was followed by scanning the originals and choosing the layout and two different fonts. On one of the illustrations, we experimented with three different prints. It was because of these results that I decided to change the color scheme for the whole book. The last step was press and post-press. In the third part, we interviewed 10 people from different age groups, asking specifically for their interpretation of the story.

Изучены и проанализированы принципы, тенденции и правила создания дизайн - графического сопровождения для «Санкт - Петербургского общества акварелистов». Проведен обзор и анализ аналогов. Совершен ре-дизайн логотипа. Разработана основная и дополнительная графика. Разработаны рекламные плакаты и сувенирная продукция., The principles, trends and rules of creating design graphic support for the "St. Petersburg society of watercolorists"are studied and analyzed. The review and analysis of analogues. The redesign of the logo has been made. The main and additional graphics are developed. Advertising posters and Souvenirs have been developed.

The article is dedicated to complex research of artistic heritage of Stephaniya Shabatura. The works of different genres and periods of execution have been analyzed. There has been suggested a division of her masterprieces into five cycles: the first – graphics, the second – tapestries, тhe third – watercolors, the fourth – embroidered bookmarks and the fifth – small woolen blankets. Every cycle consists of series of works which are united the common theme. In the artist's early works, which were had done in weaving technique, we can find a traditional in folk art compositional patterns. Imagery scenes of graphics depict emotional and psychological mood of the author. The latest works are deeply optimistic. They included unbreakable spirit and desire of will. Stefania Shabatura is an autor of many arts and crafts works, small, big and monymental items.