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The five hundred or more paintings of Caillebotte werenot given much attention during his lifetime. For years, he was considered primarily a generous patron ofimpressionists, but not as a painter in his own right. Later,his style was seen to be more realistic than those of his friends Degas, Monet and Renoir. In 1874, he helped to organise the First Impressionist Exhibition. However, hedid not include his own work – he would show in laterimpressionist exhibitions. In this typical work he capturesthe feeling of a new Parisian boulevard in an area of theBatignolles quarter on a rainy day. The realism with which Caillebotte depicts the scene is later praised by the writer Emile Zola: “Paris Street, Rainy Day displays strollers and, in particular, a man and a woman in the foreground, of a beautiful realism. When his talent will have softened a little, Caillebotte will certainly be the most audacious of the group.”

Five decades of lie detection research have shown that people's ability to detect deception by observing behavior and listening to speech is limited. The problem is that cues to deception are typically faint and unreliable. The aim for interviewers, therefore, is to ask questions that actively elicit and amplify verbal and nonverbal cues to deceit. We present an innovative lie detection perspective based on cognitive load, demonstrating that it is possible to ask questions that raise cognitive load more in liars than in truth tellers. This cognitive lie detection perspective consists of two approaches. The imposing-cognitive-load approach aims to make the interview setting more difficult for interviewees. We argue that this affects liars more than truth tellers, resulting in more, and more blatant, cues to deceit. The strategic-questioning approach examines different ways of questioning that elicit the most differential responses between truth tellers and liars.

An invaluable resource for fashion students, teachers and designers, this book looks at research sketchbooks and the role they play in the research and design process. Demonstrating how ideas are constructed, for single garments as well as entire collections, the book looks at how pages and whole sketchbooks are put together. New Fashion Designers' Sketchbooks includes work and sketchbook pages from over 30 fashion designers, and examines a range of work from foundation fashion students through to professional designers. Included in the book is information about each designer on what inspires them, how they express this in their work, and how they use research sketchbooks in the design process.

We hypothesised that the responses of pairs of liars would correspond less with each other than would responses of pairs of truth tellers, but only when the responses are given to unanticipated questions. Liars and truth tellers were interviewed individually about having had lunch together in a restaurant. The interviewer asked typical opening questions which we expected the liars to anticipate, followed by questions about spatial and/or temporal information which we expected suspects not to anticipate, and also a request to draw the layout of the restaurant. The results supported the hypothesis, and based on correspondence in responses to the unanticipated questions, up to 80% of liars and truth tellers could be correctly classified, particularly when assessing drawings.

In this contribution the author goes deeper into the life, the oeuvre and the network of the all but forgotten artist Bramine Hubrecht (1855-1913). At the centre is one of her paintings – four veiled young girls entirely dressed in white in a church interior. This work is now in Museum Catharijneconvent. The painting was previously attributed to Isaac Israels (1865-1934) on the basis of two false signatures. New information has meant that it can now be identified as a work by the painter Bramine Hubrecht. One of her sketchbooks in the Rijksmuseum and a water-colour in the Pulchri Cabinet, a unique artists’ initiative in The Hague, helped in unravelling the story. These two works, which show exactly the same girls, can be attributed to Hubrecht with absolute certainty. New biographical information has reinforced this new attribution and also sheds light on the meaning of the subject. These ‘brides’ prove to be part of the Processione dei Misteri del Venerdì Santo, which is still held every year on the evening of Good Friday in Taormina, the little village in Sicily where Hubrecht lived at the beginning of the twentieth century. The new attribution has also prompted research into Hubrecht’s life and works – research which has not been carried out until now.

In this paper, we use Bayesian model to calculate color probability, train Bayesian classifier using a skin color training set of different gestures, and realize full skin color foreground object segmentation. The rendering of depth texture is established throughout to realize the unified scene rendering of art sketching teaching space and combined with a deep convolutional neural network to realize the interactive operation of virtual reality sketching teaching. Sampled students of T1 and T2 groups of art majors in Q College were analyzed for the acceptance of the virtual teaching scene of art sketching and explored the usability of virtual teaching of art sketching. Analyze and test the application effect of virtual teaching of art sketching from the two aspects of student’s learning motivation and the results of sketching work innovation assessment. The virtual simulation course of art sketching is designed to meet demand innovation by combining the total score of SUS and the application results. Based on the total SUS score of 62.325 for virtual teaching of art sketching, we added expert scoring data in the course design and obtained the difference between student scoring and expert scoring in terms of ease of operation, R42, and smoothness of operation and interaction, R23, which are only 0.01 and 0.06 respectively, which indicates that the virtual simulation course of art sketching should pay more attention to ease of operation and smoothness of operation. It shows that the virtual simulation course for art sketching should pay more attention to the ease of teaching and smoothness of operation and interaction.

The Jiangsu Chinese Painting Academy's 1958 brush-and-ink painting The People Eat for Free was acclaimed as an exemplary work of collective production (jiti chuangzuo) in the early People's Republic of China. Within a history of theorizing communal creativity, collective production began as a practice of populist nationalism and became the medium of participatory socialism. An examination of the multiple versions and drafts surrounding the painting reveals the contested process of collective production and renders visible intersecting forms of state, official, artistic, and mass participation, while demonstrating the experimental nature of the socialist representational project.