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In the center of the pre-k classroom at the urban day elementary School an easel stood. On the easel a translation poster rested. Above blue lines, the uppercase letters, in manuscript and in cursive, and then the lowercase ones—all through the alphabet.

Empress Elisabeth of Austria (1837-1898), wife of Habsburg Emperor Francis Joseph I, was celebrated as the most beautiful woman in Europe. Glamorous painted portraits by Franz Xaver Winterhalter and widely collected photographs spread news of her beauty, and the twentieth-century German-language film trilogy Sissi (1955-57) cemented this legacy. Despite the enduring fascination with the empress, art historians have never considered Elisabeth’s role in producing her public portraiture or the influence of her creation.  The Celebrity Monarch reveals how portraits of Elisabeth transformed monarchs from divinely appointed sovereigns to public personalities whose daily lives were consumed by spectators. With resources ranging from the paintings of Gustav Klimt and Elisabeth’s private collection of celebrity photography to twenty-first century collages and films by T. J. Wilcox, this book positions Elisabeth herself as the primary engineer of her public image and argues for the widespread influence of her construction on both modern art and the emerging phenomenon of celebrity.  

Pointing was shown to focus attention in dialogue. Pairs of people talked and gestured to identify targets from arrays visible to both of them. Arrays were located at five distances: arm length (0cm), 25 cm, 50 cm, 75 cm, and 100 cm. Some pairs could point; others could not. People relied more on pointing and less on language as distance decreased. Pointing especially suppressed descriptions of target location, suggesting that it was used to focus attention on a spatial region.

The vast majority of cultural heritage objects consist of materials that can be subjected to biodeterioration. Currently, there is significant number of publications showing which materials are capable of destroying certain organisms, and what conservation and restoration procedures are required. However, there is neither a clear classification of these diverse events nor their visual representation. In our review, for the first time, an attempt is made to compare the type of biodeterioration, based on the destruction of a particular material, with a specific color of the rainbow. In this regard, a cultural heritage objects made of a single material are designated as one color icon; and those made of composite materials are designated as pictogram consisting of several icons of corresponding colors. For example, a stone sculpture, in accordance with the rainbow code, is assigned a gray color, which was introduced to visualize stone materials. The drum corresponds to a pictogram consisting of violet (corresponds to leather) and brown (corresponds to wood). A work of easel painting on canvas corresponds to a pictogram consisting of a red color icon (corresponds to canvas) and a gold color icon (corresponds to painting materials). We used cold color shades to denote basic inorganic materials, and cold color shades to denote organic materials. The proposed rainbow code for biodetermination is an open platform that can be expanded by adding new colors for new materials introduced, and allows to translate potentially any cultural heritage object into a pictogram with colors that correspond to the materials used in its manufacture. Such a graphical interpretation can help both systematize the storage conditions of museum exhibits and facilitate understanding of the processes of biodeterioration of composite materials.

The article analyses the process of restoration of a painting from the Vilnius Academy of Arts museum collection and presents biographical facts of the artist. The basis for the analysis was the name of the artist, previously unknown to Lithuanian researchers, discovered by the author of this article during restoration. Several years of intense investigation led to the discovery of a world-renowned artist with a remarkable fate, with roots in Lithuania.

This paper reports an unusual green pigment, brochantite (Cu4(SO4)(OH)6), on 16th-century Portuguese-Flemish paintings, attributed to the Master Frei Carlos workshop. This green mineral is usually identified as an impurity or alteration product in the green pigments verdigris (Cu(CH3COO)2 nCu(OH)2) or malachite (CuCO3 Cu(OH)2). However, after thorough investigation with a broad range of analytical techniques, it became clear that, in this case, brochantite was applied as a pigment. The abundance, pigment granulometry, and pigment morphology suggest intentional use by this Portuguese-Flemish Master as a natural pigment rather than its accidental use as an alteration product. This seems to be a distinguishable feature to other painters (Flemish and Portuguese) working in Portugal at the beginning of the 16th century. The multi-analytical study of these easel paintings was first performed by physical imaging techniques and material characterization was carried out by optical microscopy, micro-Fourier-transform infrared-spectroscopy, micro-Raman spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, and micro-X-ray diffraction analysis (XRD).

A study of 430 experienced and 356 inexperienced potential users of an IT system is reported on - specifically a student computing information resource center. Using an augmentation of the technology acceptance model (TAM) that incorporates social influences and behavioral control, the experienced and inexperienced user groups are compared. Two issues are addressed: 1. whether models such as TAM are predictive of behavior for inexperienced users, and 2. whether the determinants of IT usage are the same for experienced and inexperienced users of a system. The model was tested to show where it provides an equivalent understanding of usage for both groups. Specific paths in the model were compared between the 2 groups. The overall goal is to assess the efficacy of the augmented TAM in helping, a priori, to understand the behavior of inexperienced users.

This paper presents a summary of the results obtained in the first approach ever made to the characterization of the materials and techniques used in the oil painting production by António Carneiro (1872–1930), one of the best portuguese painters in the transition from the 19th to the 20th centuries. A selection of ten oils on canvas belonging to the Municipality of Oporto were analysed using a set of non-invasive techniques: Infrared Reflectography, Ultraviolet Fluorescence Photography, X-ray Fluorescence Spectrometry, Fiber Optics Reflectance Spectroscopy and Fourier Transform Infrared Spectroscopy. The results obtained suggest the use of materials and techniques established in Europe at the turn of the century. The palette is composed of Pb, Zn, Hg, Cr, Cd, Cu, and Co-based pigments, associated with both traditional and recently introduced materials. The great missing element is Ti, associated with Titanium White, available on the market since 1918.

Eliminating and controlling fungal biodeterioration is one of the most important challenges of easel painting conservation. Historically, the pathologies produced by biodeterioration agents had been treated with non-specific products or with biocides specially designed for conservation but risky for human health or the environment due to their toxicity. In recent years, the number of research that studied more respectful solutions for the disinfection of paintings has increased, contributing to society’s efforts to achieve the Sustainable Development Goals (SDGs). Here, an overview of the biodeterioration issues of the easel paintings is presented, critically analyzing chemical and eco-sustainable approaches to prevent or eradicate biodeterioration. Concretely, Essential Oils and light radiations are studied in comparison with the most used chemical biocides in the field, including acids, alcohols, and quaternary ammonium salts. This review describes those strategies’ biocidal mechanisms, efficiency, and reported applications in vitro assays on plates, mockups, and real scale. Benefits and drawbacks are evaluated, including workability, easel painting material alterations, health risks, and environmental sustainability. This review shows innovative and eco-friendly methods from an easel painting conservation perspective, detecting its challenges and opportunities to develop biocontrol strategies to substitute traditional chemical products.

Nowadays the use of laser technology as a highly precise tool for the cleaning of paintings is gaining ground. The development of a non-invasive analytical protocol aimed at thorough assessment of the treated surfaces and real time monitoring of the laser cleaning action is thus becoming imperative. This ensures that no side effects (e.g. discoloration, darkening, blackening) will occur on the painting surfaces due to laser ablation. In the present study the potential of the combined use of optical coherence tomography (OCT) and reflection FT-IR spectroscopy for in situ non-invasive assessment of laser cleaning procedures has been investigated on a historical easel painting donated to science. Specifically, OCT and FT-IR analyses were carried out before and after each cleaning test in order to carefully assess the condition of the painting surfaces upon their irradiation with a KrF excimer laser and evaluate the removal of weathered and/or non-original materials (i.e. waxes, aged natural varnishes, oxalates, deposition/migration compounds). This specific laser radiation, operating in the ultraviolet region (λ = 248 nm), is highly absorbed by coating materials (i.e. oxidized natural varnishes) and thus high selectivity and control of the cleaning process can be pursued. A systematic integration of the information on the chemical changes of the molecular composition of the painting surface provided by reflection FT-IR spectroscopy with the visualization of the stratigraphical changes by OCT allowed the evaluation of the sensitivity of the painting materials to different operative parameters of the laser treatment, such as laser fluence and number of pulses. In parallel, laser induced fluorescence (LIF) spectroscopic measurements, recorded with the same laser beam at significantly attenuated energy density values, were exploited to provide information on the fluorescence properties of the irradiated varnish surfaces. The combination of the results obtained by OCT and FT-IR complemented with those from LIF measurements are discussed with the aim of developing an efficient methodology for assessing in situ the irradiated painting surfaces after the laser cleaning treatments and, thus, setting the basis for a future monitoring scheme that would ensure optimum cleaning interventions.