Pigments, dyes, and black enamel—the colorants of reverse paintings on glass

Nondestructive analyses of medieval reverse paintings on glass revealed the same dyes and pigments customarily used in panel paintings. However, there is one exception: the black colorant is not a carbon-based pigment, but black enamel. In this respect, the stylistic as well as the technical influence of stained glass artwork can clearly be seen on reverse paintings on glass. However, there is a crucial difference: in reverse paintings, the black enamel is not fired onto the glass but painted (cold painting). Additional analyses confirmed these findings. Based on these results, the art form “reverse painting on glass” has technically to be characterized as a mixture of “stained glass” and “panel painting” that nonetheless develops into a genre of its own.     

Nonlinear Multivariate Spatial Modeling Using NLPCA and Pair‐Copulas

A novel geostatistical modeling approach is developed to model nonlinear multivariate spatial dependence using nonlinear principal component analysis (NLPCA) and pair‐copulas. In spatial studies, multivariate measurements are frequently collected at each location. The dependence between such measurements can be complex. In this article, a multivariate geostatistical model is developed that can capture both nonlinear spatial dependence across locations and nonlinear dependence between measurements at a particular location. Nonlinear multivariate dependence between spatial variables is removed using NLPCA. Subsequently, a pair‐copula based model is fitted to each transformed variable to model the univariate nonlinear spatial dependencies. NLPCA and pair‐copulas, within the proposed model, are compared with stepwise conditional transformation (SCT) and conventional kriging. The results show that, for the two case studies presented, the proposed model that utilizes NLPCA and pair‐copulas reproduces nonlinear multivariate structures and univariate distributions better than existing methods based on SCT and kriging.     

Madonna and Child of Soweto: Black Life Beyond Apartheid and Democracy

ABSTRACT

South African artist Laurence Vincent Scully’s 1973 painting, Madonna and Child of Soweto, offers an analytical tool for understanding the capacity of public religion to advance black life. The author argues that this image censures apartheid violence against black persons and reimagines a just sociality by displaying sacred, black motherhood and infancy in the figures Mary and Jesus. Their temporality and corporeality, when analyzed with a queer womanist method, gestate sacred public religion that exceeds both the apartheid governance of the past and also the secular, post-apartheid democracy of today.