La céramique du « Lucanien récent » - désignant la céramique à figures rouges produite en Lucanie à partir des années 360-340 av. J.-C jusqu'à ce qu' A.D. Trendall appelle la «barbarisation» du style, vraisemblablement dans les dernières décennies du IVe siècle av. J .-C. -, n'a fait l'objet d'aucune étude approfondie depuis la classification stylistique proposée par le savant néo-zélandais en 1967. Les zones d'ombres persistantes quant à la localisation et l'articulation de ces ateliers de production, que la seule orientation stylistique ne permet pas d'éclairer, et le grand nombre de vases exhumés récemment en Basilicate et dans la région des Pouilles, nécessitaient la mise en œuvre d'une nouvelle étude. Ce travail de recherche, mené à partir du corpus stylistique initial attribué au Peintre du Primato, dresse un état des lieux et en propose une nouvelle lecture basée sur la pluridisciplinarité des approches, de l'archéologie contextuelle à l'archéologie de la production. Le matériel est envisagé dans ses aspects formel, iconographique, stylistique et technologique, et interprété à la lumière de nouveaux contextes comme réponse à la demande d'une clientèle indigène : de Basilicate. La prise en considération de réalités productives contemporaines, celle du Peintre de Naples 1959 et de ses collaborateurs autour desquels semble s'articuler la fin de la production lucanienne, et celle du Peintre de Lycurgue, peintre apulien avec lequel il a entretenu des liens privilégiés, contribuent à mettre en évidence la spécificité de son langage autant que les réseaux de contacts et d'influences accompagnant la création d'une culture d'atelier. / Since 1967 and New Zealander's A.D. Trendall 's stylistic classification of Late Lucanian vases -designating South-italian red-figure vases produced in Lucania around the second half of the 4th century B.C. until its so-called «barbarization» presumably occuring in the last decades of that same century -this field of research has not expanded. To overcome persistent shadows regarding the location and articulation of these workshops' production and in the face of numerous recent archeological finds in Basilicata and Puglia, this research offers a new awaited methodological study. Multidisciplinary, it encompasses the initial stylistic corpus, an updated inventory, and new approaches informed by contextual archeology and archeology of production. Focusing on late Lucanian vases attributed to the Primato Painter and his colleagues, considered in their formal, iconographic, stylistic, and technological aspects, the scope interprets the established new contexts while responding to a local demand, from italic people of ancient Lucania. The analysis of contemporary productions both Lucanian, with the Painter of Naples 1959 and his followers in an era of decline of Lucanian wares, and Apulian, with the Lycurgus painter from whom the Primato sourced his main inspiration, contributes to highlight the specificities of his “language”, as well as his networks of contacts and influences that accompanied the emerging of a workshop culture.

Entre 1528, date à laquelle François Ier promit à la municipalité parisienne le retour de la cour après plus d'un siècle d'exil dans le Val de Loire, et 1589, année de la mort de Henri III et du début du siège, l'industrie de la broderie connut un grand essor à Paris. Le luxe entretenu au sein de l'entourage royal permet d'expliquer la prospérité des ateliers des brodeurs de la capitale durant cette période. À partir de l'analyse de documents notariaux, judiciaires et comptables, et de l'examen approfondi des textiles conservés, cette thèse propose d'examiner le rôle joué par Paris dans la production et le commerce de broderies au XVIe siècle. Elle s'articule autour de trois axes. Le premier est consacré à l'étude du groupe des brodeurs royaux dont on a cherché à définir la nature des privilèges et des devoirs, le mode de recrutement et la place au sein de la cour. Le second vise à préciser les cadres d'exercice du métier à Paris et la manière dont s'organisaient les collaborations entre les brodeurs de cour et ceux de la ville à l'occasion des grands chantiers royaux. Enfin, un troisième axe est dédié à l'étude de la production parisienne dans toute sa diversité (ornements liturgiques, vêtements civils et militaires, broderies d'ameublement et de petits objets). Les indications fournies par les sources écrites sont confrontées aux pièces conservées pour tenter de reconstituer les processus de création, une attention particulière étant portée au rôle des peintres et, plus généralement, à la question des modèles dessinés et gravés. Ce travail a conduit à identifier un premier corpus d'œuvres qu'il est possible d'attribuer avec vraisemblance aux ateliers de la capitale. / Between 1528, when King Francis I of France announced that, after having been set in the Loire Valley for more than 100 years, the Court would be returning to Paris, and 1589, when King Henry III died and the « siège de Paris » begun, the embroidery industry expanded greatly. The luxury in which the Royal Family lived contributed to the prosperity of Parisian workshops. Nevertheless, Art History hasn’t yet explored the subject of 16th Century French embroidery in depth. Through an analysis of archival documents (notarial archives, court and accounting records), this research examines the role of Paris in the embroidery production and trade at that time. This study is developed around three axes. The first one explores the status of court embroiderers. The archival documents enable us to estimate their number and to determine which privileges, duties and benefits were associated with their work. The second axis focuses on the organization of the embroiderer's Guild in Paris and on the way collaborations were established between court embroiderers and the guild in order to support Royal commissions. Finally, the third axis deals with the Parisian production in all its diversity (ecclesiastical textiles, court and military costumes, furnishing, etc.). Information gathered in archival documents help us define the characteristics of Parisian embroideries, the process of creation of these objects, the role of painters and workshop practices. They are put in parallel with surviving textiles in order to elaborate a more complete picture of the art of Parisian embroiderers of the Sixteenth Century and to determine the techniques and materials used at the time in workshops.

No description available.

<p></p><p>Idén till denna studie kom till mig för ett antal år sedan då jag fick se ett digital skapat verk och därmed bestämde jag mig för att digitalt bildskapande skulle bli ämnet för mitt examensarbete i min utbildning på lärarutbildningen. Därmed valde jag att göra en undersökning om digitalt bildskapande och hur detta skulle kunna användas som undervisningsverktyg i skolans bildämne.</p><p>Mina tankegångar inför detta arbete var om digitalt bildskapande är möjligt att använda i bildundervisning och ifall detta kan utveckla bildämnets undervisning. Men även undersöka om digital bildskapande är av vikt att lära eleverna och om det kan ses som en tillgång för eleverna och lärarna.</p><p>I min undersökning använde jag litteratur för att försöka förklara och skapa en bild av ämnet digital bildbehandling. Jag gjorde även en undersökning till mitt arbete med ett digitalt bildbehandlingsprogram för att visa hur digitala metoder och tekniker skulle kunna användas i undervisningen i bildämnet.</p><p>Resultatet av mina undersökningar med bildbehandlingsprogrammet visade på att digitalt bildskapande är möjligt att använda som undervisningsverktyg och kan även medföra fördelar för bildämnets verksamhet.</p><p> </p>

Idén till denna studie kom till mig för ett antal år sedan då jag fick se ett digital skapat verk och därmed bestämde jag mig för att digitalt bildskapande skulle bli ämnet för mitt examensarbete i min utbildning på lärarutbildningen. Därmed valde jag att göra en undersökning om digitalt bildskapande och hur detta skulle kunna användas som undervisningsverktyg i skolans bildämne. Mina tankegångar inför detta arbete var om digitalt bildskapande är möjligt att använda i bildundervisning och ifall detta kan utveckla bildämnets undervisning. Men även undersöka om digital bildskapande är av vikt att lära eleverna och om det kan ses som en tillgång för eleverna och lärarna. I min undersökning använde jag litteratur för att försöka förklara och skapa en bild av ämnet digital bildbehandling. Jag gjorde även en undersökning till mitt arbete med ett digitalt bildbehandlingsprogram för att visa hur digitala metoder och tekniker skulle kunna användas i undervisningen i bildämnet. Resultatet av mina undersökningar med bildbehandlingsprogrammet visade på att digitalt bildskapande är möjligt att använda som undervisningsverktyg och kan även medföra fördelar för bildämnets verksamhet.

Den här uppsatsen handlar om hur normer, förväntningar och traditioner inom måleribranschen styr hur målare handskas med säkerhetsfrågor i sitt arbete. Syftet är att studera kvinnliga målares upplevelse av säkerhet och risker i måleribranschen. Valet av ämne grundar sig i hur jag på nära håll fått följa en familjemedlems arbete inom måleribranschen och oron jag känt över att risker och säkerhetsfrågor inte verkade tas på allvar av fackförbund, företagsledning eller kollegor. Detta upplevde jag som anmärkningsvärt då en målares arbete tar plats i en ofta smutsig och farlig miljö som följaktligen kan vara skadlig för hälsan. Jag har intervjuat tre målare och deras svar tyder bland annat på att de är bekanta med risker inom måleribranschen och att säkerhetsfrågor från företagsledning, kollegor tas på varierande allvar. Respondenterna ger uttryck för att bli motarbetade av kollegor och arbetsledare när de vill måna om den egna säkerheten. Jag har studerat mina resultat i ljuset av genusteorier, maskulinitetsteorier och minoritetsteorier. De slutsatser jag dragit från min studie är att målarens kropp står i centrum i arbetet då den används som ett verktyg i likhet med en målarpensel. Respondenterna måste dessutom handskas med kvinnofientliga yttringar från de aktörer som de interagerar med i arbetet. Denna kvinnofientliga attityd, visar tidigare forskning, får många kvinnor att lämna branschen. Mina resultat ger mig en bild av en bransch med lågt i tak när det gäller samtal om risker och säkerhet och en trång norm om hur en målare ska vara. Min studie ger en bild av att maskulinitetsnormen begränsar det fria samtalet när det gäller risker och säkerhet i arbetet för målare. / This essay is about how, norms, expectations and traditions within the painting industry has an influence on the way painters deal with security issues in their labor. The purpose with this essay is to study female painter’s experiences of security matters and risks within the painting industry. The choice of theme of essay is based on the working life experiences in the painting industry of one of my family member´s. I felt worried about the painting union, managers of the painting enterprise and colleagues of my family member’s lack of interest regarding security matters. I found this attitude regarding security matters remarkable when knowing how dangerous and dirty the working environment is for painters and how high the risks of getting injured are. I have studied my results from my interviews in the light of gender, masculinity and minority theories. The conclusions I have made from my study are that a painter’s body is seen as a tool just like, for example, a brush. Security – and risk issues are not seen as priorities in my respondents working environments, these issues rather tend to get counteracted by colleagues and managers. My respondents also have to deal with the misogyny their working surroundings express. This misogynist attitude, show early studies, forces a great amount of female painters to leave the painting industry. My study gives me the notion of an industry with a narrow discussion climate when it comes to security and safety issues and a narrow norm about how the ideal painter is.

The geological province of the Mount Painter in the North Flinders Ranges (South Australia) is well-known for its uranium mineralisation, and uraniferous granites. The presence in the nearby Cenozoic sediments of the Lake Frome basin of uranium mineralisations (Beverley deposit) and the recent discovery of the Four Mile deposit has triggered the interest of explorers. Based on extensive laser-ablation inductively-coupled-plasma-mass-spectrometry (LA-ICPMS) U-Pb geochronological data and mineralogy of U-Th-bearing minerals, rock geochemistry and petrography, we present a global study on the mobility of U, Th and REE in the Mount Painter Domain, including a detailed reconstitution of the Beverley deposit genesis. Seven significant stages of U-Th-REE mobility are recognised: 1. The possible presence U-enriched ~1600 Ma lower crust under the MPD 2. Intrusion of two A-type Mesoproterozoic granites suites (~1575, and ~1560 Ma respectively) with high HFSE contents and crustal origin; the porphyritic biotite K-rich highly-enriched Yerila granite belongs to the youngest suite and hosts magmatic allanite-(Ce), potassic-hastingsite, ilmenite, fergusonite-(Y), chevkinite, molybdenite, zircon, uranothorite, uraninite and titanite and fluorite 3. Late-magmatic or post-magmatic metasomatism in the same granites; evidenced by F-rich annite, zircon, Y-bearing Al-F-titanite (< 6 kbar, >400°C), Y-rich fluorapatite, synchysite-(Ce) and fluorite. Early ilmenite, molybdenite, allanite-(Ce) and oligoclase reacted with an alkaline oxidising F-rich melt or fluid. The latemagmatic to post-magmatic metasomatism is also recorded at the intrusion contact in regional rocks, forming allanite-, magnetite-, uranothorite-, zircon- (1501 ± 6 Ma), and uraninite-bearing calcsilicate skarns. The spreading of zircon ages in the Yerila granite (~1565 to ~1521) relates to the mixing of magmatic and metasomatic crystals. 4. the MPD was subject to the Delamerian orogeny and related metamorphism (amphibolite facies); most Mesoproterozoic granitic assemblages present signs of recrystallisation or stress; recrystallisation of monazite-(Ce) and xenotime-(Y) during Paleozoic (Cambrian) (490-495 Ma). U-Th-rich minerals also bear Delamerian ages (polycrase-(Y), euxenite-(Y), davidite-(La) and uraninite). 5. Anatexis of local basement during Ordovician and generation of peraluminous granite (British Empire granite) with low Th/U. The granite is enriched in U and Y. We provide the first robust ages on it: 456 ± 9 and 459 ± 9 Ma on zircon, 453.3 ± 4.6 on xenotime-(Y). 6. Very active hydrothermal/pegmatitic uranium remobilisation along active faults; brannerite-quartz veins formation (367 ± 13 Ma), further signs of remobilisation or hydrothermal event during Permian (284 ± 25 Ma in thorite) and around the Mt Gee (~290 Ma radiogenic gain in davidite) which agrees with the previous data (paleomagnetic ages of 250-300 Ma). 7. Cenozoic supergene uranium remobilisation in MPD and migration of U-rich oxidised groundwaters into the Lake Frome. The uranium is precipitated in the sandy formation of the lake and in the top layer of the underlying organic-matter-rich clays and silts. The micro-environment of reduction efficiently trap U but also REE, fingerprinting the REE-rich MPD granite source. Coffinite and carnotite give concordant Pliocene ages (6.7 to 3.4 Ma). Provenance studies on the sands hosting the Beverley mineralisations suggest a reworking of Early Cretaceous glacial or glacio-lacustrine sediments originally sourced in Eastern Australia (Lachlan Fold Belt). The youngest recorded zircon (130 Ma) doesn’t constrain the sediment age but refines the provenance region (New England Orogen). / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1370301 / Thesis (Ph.D.) -- University of Adelaide, School of Earth and Environmental Sciences, 2009

The geological province of the Mount Painter in the North Flinders Ranges (South Australia) is well-known for its uranium mineralisation, and uraniferous granites. The presence in the nearby Cenozoic sediments of the Lake Frome basin of uranium mineralisations (Beverley deposit) and the recent discovery of the Four Mile deposit has triggered the interest of explorers. Based on extensive laser-ablation inductively-coupled-plasma-mass-spectrometry (LA-ICPMS) U-Pb geochronological data and mineralogy of U-Th-bearing minerals, rock geochemistry and petrography, we present a global study on the mobility of U, Th and REE in the Mount Painter Domain, including a detailed reconstitution of the Beverley deposit genesis. Seven significant stages of U-Th-REE mobility are recognised: 1. The possible presence U-enriched ~1600 Ma lower crust under the MPD 2. Intrusion of two A-type Mesoproterozoic granites suites (~1575, and ~1560 Ma respectively) with high HFSE contents and crustal origin; the porphyritic biotite K-rich highly-enriched Yerila granite belongs to the youngest suite and hosts magmatic allanite-(Ce), potassic-hastingsite, ilmenite, fergusonite-(Y), chevkinite, molybdenite, zircon, uranothorite, uraninite and titanite and fluorite 3. Late-magmatic or post-magmatic metasomatism in the same granites; evidenced by F-rich annite, zircon, Y-bearing Al-F-titanite (< 6 kbar, >400°C), Y-rich fluorapatite, synchysite-(Ce) and fluorite. Early ilmenite, molybdenite, allanite-(Ce) and oligoclase reacted with an alkaline oxidising F-rich melt or fluid. The latemagmatic to post-magmatic metasomatism is also recorded at the intrusion contact in regional rocks, forming allanite-, magnetite-, uranothorite-, zircon- (1501 ± 6 Ma), and uraninite-bearing calcsilicate skarns. The spreading of zircon ages in the Yerila granite (~1565 to ~1521) relates to the mixing of magmatic and metasomatic crystals. 4. the MPD was subject to the Delamerian orogeny and related metamorphism (amphibolite facies); most Mesoproterozoic granitic assemblages present signs of recrystallisation or stress; recrystallisation of monazite-(Ce) and xenotime-(Y) during Paleozoic (Cambrian) (490-495 Ma). U-Th-rich minerals also bear Delamerian ages (polycrase-(Y), euxenite-(Y), davidite-(La) and uraninite). 5. Anatexis of local basement during Ordovician and generation of peraluminous granite (British Empire granite) with low Th/U. The granite is enriched in U and Y. We provide the first robust ages on it: 456 ± 9 and 459 ± 9 Ma on zircon, 453.3 ± 4.6 on xenotime-(Y). 6. Very active hydrothermal/pegmatitic uranium remobilisation along active faults; brannerite-quartz veins formation (367 ± 13 Ma), further signs of remobilisation or hydrothermal event during Permian (284 ± 25 Ma in thorite) and around the Mt Gee (~290 Ma radiogenic gain in davidite) which agrees with the previous data (paleomagnetic ages of 250-300 Ma). 7. Cenozoic supergene uranium remobilisation in MPD and migration of U-rich oxidised groundwaters into the Lake Frome. The uranium is precipitated in the sandy formation of the lake and in the top layer of the underlying organic-matter-rich clays and silts. The micro-environment of reduction efficiently trap U but also REE, fingerprinting the REE-rich MPD granite source. Coffinite and carnotite give concordant Pliocene ages (6.7 to 3.4 Ma). Provenance studies on the sands hosting the Beverley mineralisations suggest a reworking of Early Cretaceous glacial or glacio-lacustrine sediments originally sourced in Eastern Australia (Lachlan Fold Belt). The youngest recorded zircon (130 Ma) doesn’t constrain the sediment age but refines the provenance region (New England Orogen). / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1370301 / Thesis (Ph.D.) -- University of Adelaide, School of Earth and Environmental Sciences, 2009

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2012 / Inclui bibliografias / Objetivos: Testar a capacidade da ferramenta digital, análise da dimensão fractal (DF), em identificar sutis diferenças no padrão ósseo trabecular e cortical de pacientes com osteodistrofia renal (OR), correlacionando com o tempo de hemodiálise, em difere / Aims: To test the capacity of the digital tool, fractal dimension analysis (FD) in identifying subtle differences in the trabecular and cortical bone pattern in patients with Renal Osteodystrophy (RO), correlated with the time of hemodialysis, in differen

This diploma thesis explores the life and the work of the painter and illustrator Virgil Solis Junior (1551 - 1617?). Virgil Solis Junior was the son of the renowned German graphic artist Virgil Solis Senior. In 1567 Solis Junior came to Prague. Firstly, the thesis provides information about Solis's life and position among visual artists in Prague of the time. Further, it describes his potential professional involvement at the court of the Emperor Rudolf II. Virgil Solis was also an illustrator. Drawing from literature published so far, it seems that his only illustrated book was Diadochos, printed in 1602. This thesis, however, supposes that Solis worked on other illustrations during his stay in Prague. It explores and compares various woodcuts from the 16th and 17th centuries and thus compiles a list of printed volumes where Virgil Solis was the author of drawings or woodcuts. This thesis brings an interesting insight into the life of an artist living and working in the Prague of Rudolf II.