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The ways in which two masterpieces of modern architecture, the Villa Savoye at Poissy and the German Pavilion at the International Exhibition of Barcelona, both designed in the very late 1920’s, were restored, in a broad sense and respectively through rehabilitation and reconstruction, after the turn of 1966 are problematic. From the 1930s onwards, the plans and images of these two works played an essential role in disseminating the canon of modern architecture. Later, Burri's photographs or Tschumi’s advertisements served as documents that demonstrate the high degree of ruin that the villa finished by Le Corbusier in 1931 had reached, given the refusal of its owners to renovate the building after the damage suffered during the Second World War. Even in its significant material degradation, the villa continued to reflect its essential formal components, but in its deterioration illustrated metaphorically the crisis that the orthodoxy of the modern movement was undergoing. In contrast, the pavilion designed by Mies Van der Rohe, which was conceived as a temporary construction, endured as a vanished reference that was never altered in its pure image and whose material reproduction had been demanded since the 1950s by Barcelona's leading architects. When these two repristination operations were completed in the 1980s, the strategies that were employed, in both cases generally in line with the restauro scientifico, were widely accepted by critics. However, some others underlined several contradictions in this respect. For example, one of them, concerning the German Pavilion, is of an ontological nature, questioning the pertinence of reconstructing a transitory building by raising its material qualities, using later construction techniques and completing, after interpretative work, its external definition. This paper analyses the approaches to restauro critico applied in these two interventions, highlighting the nonstraightforward architecture nature of the results achieved through them.

There are many reasons why works of art become famous; few have anything to do with quality. Art museums are filled with masterworks that are unknown to the general public. This book raises questions about how fame is achieved, and ultimately how a work either retains that fame, or passes from the public consciousness.

The primary purpose of the study, as part of the planned conservation work, was to uncover all aspects of autochthonous biofilm pertaining to the formation of numerous deterioration symptoms occurring on the limestone Rožanec Mithraeum monument in Slovenia. Using state-of-the-art sequencing technologies combining mycobiome data with observations made via numerous light and spectroscopic (FTIR and Raman) microscopy analyses pointed out to epilithic lichen Gyalecta jenensis and its photobiont, carotenoid-rich Trentepohlia aurea , as the origin of salmon-hued pigmented alterations of limestone surface. Furthermore, the development of the main deterioration symptom on the monument, i.e., biopitting, was instigated by the formation of typical endolithic thalli and ascomata of representative Verrucariaceae family ( Verrucaria sp.) in conjunction with the oxalic acid-mediated dissolution of limestone. The domination of lichenized fungi, as the main deterioration agents, both on the relief and surrounding limestone, was additionally supported by the high relative abundance of lichenized and symbiotroph groups in FUNGuild analysis. Obtained results not only upgraded knowledge of this frequently occurring but often overlooked group of extremophilic stone heritage deteriogens but also provided a necessary groundwork for the development of efficient biocontrol formulation applicable in situ for the preservation of similarly affected limestone monuments.

1000 Millénaires Peinture réunit les œuvres incontournables de l'art occidental, à voir au moins une fois dans sa vie. A travers ces trésors culturels, c'est toute l'histoire de l'art qui se dessine au fil des pages. Unanimement reconnues, ces peintures sont accompagnées de légendes détaillées et replacées dans leur contexte historique. De nombreux commentaires et biographies complètent ce passionnant ouvrage, guide absolu de l'amateur d'art. Référence artistique, culturelle et éducative, ce livre vous invite à la visite des grands musées qui abritent ces chefs-d'œuvre.

A key question in scholarship on evaluation is the extent to which the role of social construction is constrained by objective reality. This question is addressed in an analysis of the evaluation of artistic excellence. In an online experiment, we manipulate the subjective social status (both artwork and artist) and the degree of aesthetic complexity of the artwork. The results confirm the independent role of the objective aesthetic factor in art evaluation. Most importantly, we document an interaction between subjective and objective factors whereby aesthetic complexity serves as a credibility lever, amplifying or attenuating the credibility of the status labels. Excessive praise (i.e., a masterpiece by a world-famous artist) tends to reduce the appreciation of aesthetically simple artworks when status labels are questioned. However, the association of aesthetic complexity with the capacity to provoke thought may encourage respondents to take the paintings more seriously. Complexity is typically discouraged for standard products, but it can be instrumental in the process of singularization by stimulating visual exploration and sustaining interest over time.

Background Clinical observation is a key component of medical ability, enabling immediate evaluation of the patient’s emotional state and contributing to a clinical clue that leads to final decision making. In medical schools, the art of learning to look can be taught using medical humanities and especially visual arts. By presenting a Ramsay sedation score (RSS) integrated with Caravaggio’s paintings during a procedural sedation conference for pediatric residents, we want to test the effectiveness of this approach to improve the quality of learning. Methods In this preliminary study, we presented videos showing sedated pediatric patients in the setting of a procedural sedation lesson to two randomized groups of residents, one attending a lesson on RSS explained through the masterpieces of Caravaggio, the other without artistic support. A week later we tested their learning with ten multi-choice questions focused on theoretical questions about sedation monitoring and ten more questions focused on recognizing the appropriate RSS viewing the videos. The primary outcome was the comparison of the total number of RSS layers properly recognized in both groups. We also evaluated the appreciation of the residents of the use of works of art integrated with the lesson. Results Eleven students were randomized to each group. Two residents in the standard lesson did not attend the test. The percentage of correct answers on the theoretical part was similar, 82% in the art group and 89% in the other ( p  > 0.05). No difference was found in the video recognition part of the RSS recognition test. Residents exposed to paintings shown great appreciation for the integration of the lesson with the Caravaggio’s masterpieces. Conclusions Adding artwork to a standard medical conference does not improve the performance of student tests, although this approach has been greatly appreciated by residents.

Our objective, as part of the planned conservation work, was to identify culturable fungi related to the formation of various deterioration symptoms occurring on the Spectatius family marble tomb, the largest monument of the Roman Necropolis in Šempeter, Slovenia. By using fluorescent microscopy, microbial cultivation methods and standard DNA sequencing we were able to identify 21 fungal isolates, 16 being filamentous moulds, primarily dominated by xerophilic Cladosporium spp. (mainly Cladosporium langeronii RN 28) and some Alternaria species; and 5 yeast or yeast like species namely Torula fici, Filobasidium wieringae, Rhodotorula babjevae and Blastobotrys peoriensis. Locations on the tomb, which are well sheltered against rainfall, contained higher concentrations of xerophilic fungi to those, which are completely or partially exposed to rain. The black fungal species of Cladosporium spp. and Alternaria spp. formed the bulk of melanized-greyish patina present on the bottom reliefs and within the cracks of the inner dome of the Spectacius tomb. Moreover, the red coloured yeast R. babjevae caused a thick red pigmentation right under the top roof of the monument’s left side. The obtained results indicated that not only moulds but also yeasts can cause significant biodeterioration. Lastly we isolated indigenous mycoparasitic strains of F. wieringae (RN 37 and RN 38) that could potentially be used in biocontrol formulations applicable in situ for the sustainable preservation of the Spectatius family tomb monument.

Requirements for the undergraduate major in Hispanic literature and offerings of Spanish peninsular and Latin American literature courses surveying the canon, masterpieces, major works, major authors, major trends, or representative works at fifty-six selected US colleges and universities were examined for academic years 1990–91, 2002–03, 2013–14, and 2017–18. The number of literature survey courses at these institutions decreased during this 27-year period, as did the number of schools requiring such courses. The composition of the literature survey courses also changed, most notably to incorporate other cultural products and approaches.