Documenting and Analyzing Rock,Paintings from Torres Strait,NE Australia,with Digital Photography and Computer Image Enhancement

Abstract

The deterioration of rock-art over time is an important concern for indigenous communities, archaeologists, rock-art researchers, and cultural heritage managers. Computer enhancement has emerged as an important tool in viewing poorly visible rock paintings. While most studies regarding this technique explore the methods associated with computer enhancement there is little discussion of the results that can be generated beyond the recovery of images. This article presents results from the application of computer enhancement methods to rock paintings from the Torres Strait region in NE Queensland. The results obtained through the computer enhancement of deteriorated rock paintings are used to reveal degrees of preservation, interregional interaction, and previously undocumented spatial patterning across the strait.     

The protection and management of the megalithic art of Galicia,Spain

Abstract

Megalithic art is an important cultural resource in many regions of Western Europe. In this contribution we look at examples from Galicia, in the north-west corner of the Iberian Peninsula. A vast project has been underway since 1998, surveying and characterizing megalithic paintings, a field of research previously unexplored in any systematic way. Through defining the extent and state of conservation of megalithic paintings, the aim of the project is to be able to recommend adequate measures for their protection and preservation. It is hoped that this interdisciplinary effort will be combined with a consistent policy of display and promotion that will ensure a growing public awareness of the value of these fragile artistic works, while avoiding unnecessary losses in this part of our cultural heritage.     

Underneath Ranefer's floors – urban environments on the desert edge

The city of Akhetaten, modern day Amarna, was founded by the monotheist pharoah Akhenaten as his new capital ca. 1353 BC, and abandoned within about 25 years. Much of the site has been excavated over the past century and few deposits remain undisturbed. In one house, however, that of the king's chief charioteer, Ranefer, rebuilding had sealed occupation debris beneath the final mud brick house floors and in the desiccating conditions of the desert, these preserved extensive insect faunas, which for the first time provide detailed data on living conditions and pest infestation in a major pharaonic urban centre. Pests of stored products include the grain weevil, Sitophilus granarius, the lesser grain borer, Rhizopertha dominica, and flour beetles, Tribolium castaneum, as well as more general pests, such as the lesser mealworm, Alphitobius diaperinus, and the biscuit beetle, Stegobium paniceum. Flies include the house fly, Musca domestica, and the puparia of a flesh fly, Sarcophagidae, burrowed vertically into the mud-brick floor in a room corner, perhaps beneath abandoned offal or meat. The taphonomy of the insect assemblages would suggest that much consisted of material dumped into the house plot, either during a phase of abandonment or to level up the area before the later house, that of Ranefer, was constructed. Trampled surfaces within the midden, often consolidated with desert sand, indicate foul damp conditions and also imply that the process was intermittent. Living conditions in the city of Akhenaten are likely not to have been as salubrious as contemporary tomb paintings might suggest.     

The Romance of Grime’s Graves

Abstract

The sculptures of the chapter house at York Minster are important examples of medieval art which hitherto have received little attention from scholars. Two problems posed by the sculptures are examined: the extent of restoration, and the iconography.

Some of the chapter house sculptures were mutilated and later restored; medieval and modern work contrast in stone preservation and in methods of attachment to the canopy. Fortunately the figures, which are full-length sculptures rather than heads, for the most part escaped destruction or later attempts at improvement.

The sculptures probably symbolise moral virtues and vices. Individual sculptors differed in their portrayal of allegorical subjects to illustrate this theme. A progressive group chose ordinary animals and attempted a realistic depiction. A conventional group opted for the more stylised, fantastical monsters of an archaic tradition.

Finally, Dr Eric Gee's identification of ‘toothache’ figures is reconsidered.     

The Armada Paintings in the New Palace of Westminster

In June 2008 a team of artists began the gargantuan task of creating the series of Armada mural paintings for the house of lords. They were embarking on a two-year project, which would bring to completion the original decorative scheme planned for the prince's chamber by the Royal Commission on Fine Arts ¹ during the 1840s. This, in turn, would reconnect the original historical association, which the Armada tapestries had held with the house of lords since the mid 17th century until their destruction by fire in 1834. This article places these Armada mural paintings within the historical context of this project at the Palace of Westminster and documents some of the methodology behind the programme of work to re-create this celebrated series for the walls of the house of lords.     

Mathematics and painting

Abstract

Mathematics and painting are interrelated in many ways. At a technical level mathematics can be used to enhance our appreciation of paintings. This was recently demonstrated beautifully by Taylor, Micolich, and Jones in their analysis of Jackson Pollock's drip paintings, which led them to the conclusion that Pollock's paintings are in a way figurative pictures. Relations also exist at a more basic level. Painting and mathematics can share subject matter, as is illustrated here by a discussion of the mathematical concepts 'open' and 'closed', which are related to paintings by Pollock, Kandinsky, Turner, and van Gogh. It is suggested in conclusion that mathematics and painting are so closely related and have so many similarities that it is reasonable to consider them simply as two different but complementary ways of visualising aspects of the concrete or abstract reality in which we are embedded.     

Conservation of the Rendezvous Creek and Nursery Swamp 2 Aboriginal painting sites,Namadgi National Park,ACT

Abstract

The unique range of Late Holocene Aboriginal paintings in the granodiorite rock shelter at Rendezvous Creek is threatened by dust stirred up by people visiting. Weddellite and whewellite are preferentially developed in specific dripline and rock face zones at Rendezvous Creek in response to distinct environmental factors. Exfoliation and water wash remove pigments at Nursery Swamp 2. Conservation measures are proposed to reduce the accumulation of dust at Rendezvous Creek and to slow the deterioration of the paintings at both sites.     

Frontier Landscape – Lapland in the Tradition of Finnish Landscape Painting

Abstract

Finnish artists depicted Lapland as a frontier. The position of the Lappish landscape as a part of the Finnish landscape painting tradition is explored through a framework based on art and cultural history as well as humanistic and cultural geography. Paintings from three historical periods are analyzed: the early and later period of Finland as an autonomous Russian Grand Duchy (1809–1917), the first decades after the independence of Finland (1917–1939) and the Second World War (1939–1945). Lapland is today the borderline of leisure and work and the frontier of Finnish and Sámi cultures. Earlier Lappish landscapes were places of Sámi nomadism and Finnish farming, which can be seen in the Lappish landscape paintings from the 1890s to 1920s. Finnish art tradition, however, was not ready to accept Lapland, the northern frontier, as a part of Finland. During the 1920s, 1930s and 1940s the meaning of the northern borderline grew and Lapponism, the golden years of Lappish landscape and tourism, began. During the Lapponism period there were few paintings depicting Sámi culture, because the Sámi were thought to be primitive or Mongolian, and were not accepted as part of Finnish culture.     

Ben Quilty: the fog of war

ABSTRACT

This essay looks at the war paintings of Ben Quilty, who in October 2011 was stationed with Australian troops fighting against the Taliban in Afghanistan as part of Australia’s Official War Art Scheme. Quilty’s portraits, in fact made back at home in his studio after he returned, show soldiers naked, in pain, reliving traumatic episodes from their war experiences. They have been almost universally praised as providing a new and compelling image of war for those who have not experienced it themselves. We examine these portraits closely, arguing that they express a new post-modern ideology of “interpassivity”, allowing the spectator to exhibit signs of concern for soldiers, without actually doing anything to change their situation. In this we suggest that Quilty’s paintings contain a meaning that goes against the intentions of the artist and the understanding of their audience. Contrary to their dominant reading, they express something about our culture that our culture is unable to admit about itself.     

Aberglasney: the theory,history and archaeology of a post-medieval landscape

Abstract

Printed and documentary sources, archaeological excavation, dendrochronology and geophysical survey are employed to investigate the history of Aberglasney, a small country house near Llandeilo, Carmarthenshire (SN 5815 2213). Traditions about its garden layout, parapet walkway, a gatehouse and a yew ‘tunnel’ are examined. Circa 1600, Bishop Anthony Rudd (1549–1614) probably built a ‘cwrt’ enclosure aligned north-south. The gatehouse belonged to this or a later house. In 1770 or later, the Dyer family rebuilt the house, probably redesigned and rewalled the entire estate layout, when an earlier farm building was converted into the parapet walkway and stock pens, in an area later known as the ‘cloistered court’. In Victorian times this feature, originally a farmyard, became a pleasure garden, part of a typical Georgian-Victorian complex including a kitchen garden, glasshouses, orchards and fishpond. A yew grove was established, most likely c. 1805, when the Philipps family began planting in a Picturesque style. Abandoned c. 1950, house and garden became dilapidated. The site is now the object of a radical development programme, involving inter alia the stabilization of all buildings fabric, and imposing 16th-/17th-century style formal gardens over the 18th-/19th-century kitchen garden and orchard.     

THE BYZANTINE CHURCH OF THE NUTRITION IN NAZARETH REDISCOVERED

Abstract

Although Nazareth has usually been seen by scholars as a relatively minor Byzantine pilgrimage centre, it contained perhaps the most important ‘lost’ Byzantine church in the Holy Land, the Church of the Nutrition – according to De Locis Sanctis built over the house where it was believed that Jesus Christ had been a child. This article, part of a series of final interim reports of the PEF-funded ‘Nazareth Archaeological Project’, presents evidence that this church has been discovered at the present Sisters of Nazareth convent in central Nazareth. The scale of the church and its surrounding structures suggests that Nazareth was a much larger, and more important, centre for Byzantine-period pilgrimage than previously supposed. The church was used in the Crusader period, after a phase of desertion, prior to destruction by fire, probably in the 13th century.     

Excavations on the Site of the Tudor Manor House at Micheldever,Hampshire

Abstract

Trial excavations prior to building development on the site of Thomas Wriothesley’s important manor house built about 1537 suggest a continuous succession of large houses on the site from the 14th century to the 18th. The earliest structures may represent a country retreat for the Abbots of Hyde.     

DOMUS AUREA,THE ‘SALA DELLE MASCHERE’: CHEMICAL AND SPECTROSCOPIC INVESTIGATIONS ON THE FRESCO PAINTINGS

In this paper, data collected from the wall fresco paintings of room 114, called the ‘Sala delle maschere’, of the Domus Aurea in Rome is analysed. The chemical composition of the efflorescence is investigated by infrared spectroscopy. The colour palette is determined by means of EDXRF, Raman spectroscopy and visible reflectance spectroscopy. EDXRF has allowed an extensive mapping of the elements present in the pigments and plaster; whilst in‐situ Raman spectroscopy has been determinant for attributing the molecular composition of the pigments in a number of doubtful cases. Most pigments identified are typical of Imperial Roman fresco paintings (first to fourth centuries AD) ( Ward‐Perkins 1981 ); more interestingly, we found evidence of fragments painted with Egyptian blue, which was normally used mostly in official rooms.     

The strange case of the Turkish and Venetian judges in eighteenth-century Mani wall paintings

Abstract

Investigating church wall paintings in Mani, Greece, the author identified a common theme of the Ainoi, the graphic interpretation of Psalms 148–150. Within this scheme there is often a specific depiction of the 'Judges of the Earth' as an Ottoman judge and a Venetian nobleman. This depiction is unique to Mani and is restricted to the mid-eighteenth century and those areas of Mani dominated by the rule of the kapetanoi. The paintings allude to the lack of established legal systems in that period of Mani's history and refer back to times of stable law under Ottoman and Venetian rule.     

Quantification and the Scientific Study of History

Abstract

A survey of the illustrations in art history textbooks reveals that the most important Modern American painters, including Pollock, Johns, and Warhol, failed to produce individual paintings as famous as the masterpieces of a number of major French artists, such as Picasso, Manet, and Seurat. Analysis of the textbooks reveals that art historians do not consider the American artists to be less important than their French predecessors or judge the Americans' innovations to be less important. The absence of American masterpieces instead appears to be a consequence of market conditions. as changes over time in the primary methods of showing and selling fine art reduced the incentive for artists to produce important individual works. This study demonstrates that the study of markets is essential to a full understanding of the development of Modern art.     

Roger,Bishop of salisbury,Chancellor and Justiciar of England,1102-113

Abstract

The discovery of several sections of a trefoiled arcade of 14th-century date at Coverham abbey is a major addition to sculpture from the English Premonstratensian houses. Discovered in a robber trench whilst resurfacing a courtyard, they can be linked to a panel reused in the gable of the Georgian house. When reconstructed, they show a trefoiled arcade with sculpted spandrels in the form of human figures. Positive identification of the figures is difficult, and they could be of Christ or apostles. While the arcade looks to have been part of a cloister arcade, there is the possibility that it formed part of the abbey laver, flanking the refectory doorway.     

The lesser gods of the Sahara

Abstract

Following a highly publicised expedition in the 1950s, the Tassili-n-Ajjer mountains of the Central Sahara (Algeria) were presented to the world as ‘the greatest museum of prehistoric art in the whole world’. Many of the claims of the expedition's leader, Henri Lhote, were misleading. A number of the paintings were faked, and the copying process was fraught with errors. The ‘discovery’ can only be understood within the political and cultural context of the time, namely the Algerian Revolution, France's attempt to partition Algeria, and the prevailing views of the Abbé Breuil, the archadvocate of foreign influence in African rock art. The expedition's methods caused extensive damage to the rock art while the accompanying looting of cultural objects effectively sterilized the archaeological landscape. Any restitution process must necessarily include a full recognition of what was done and the inappropriateness of those values.     

Earthen Architecture at the Bluff Great House Site in SE Utah

Abstract

An earthen terrace has been identified at Bluff Great House, a Chacoan site located in SE Utah. The Bluff site was part of the Chacoan regional system that operated in the northern part of the American Southwest between about A.D. 900 and 1150 and was focused on Chaco Canyon in NW New Mexico. Several types of earthen structures have been identified at great houses in Chaco Canyon and throughout its region, usually associated with the construction of ritual landscapes. The Bluff terrace is part of this tradition of earthen construction, but is unlike most other reported examples. It seems to express the same concern with creating an appropriate setting, however, and may be interpreted as part of the ritual landscape that surrounded and defined the Bluff great house, although other interpretations are considered. It dates not only to the Chaco era, but also to the first part of the post-Chaco era (A.D. 1150–1225).