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Abstract

The question about a painting artwork assumes that its ontological, cognitive as well as aesthetic status is not clear and only a profound analysis can specify what lies hidden behind this concept. Ingarden underlines its ambiguousness and discerns that its elimination constitutes one of the major tasks of aesthetics. The ambiguity just mentioned can be discerned in the gap between a painting artwork and a canvas, Ingarden emphasizes. This distinction is already curious in itself, as the two terms may be considered synonyms, yet this affinity which presupposes a distinction seems to indicate that a canvas is not a painting and is not even a part of it but constitutes a separate physical item. In the first part of the article, I offer reasons, which prompted Ingarden to introduce and emphasize this distinction which underlies the answer to the question, what constitutes the painting artwork and what constitutes the canvas that bears it. The second part of my paper focuses on the essential relationship between the painting with its physical foundation. In the third section I discuss the consequences resulting from the maintenance of the distinction in question. This reconstruction of Ingarden’s views is accompanied by comments which are polemical in character but also constitute an expansion of the underpinnings involved in the distinction that has been analyzed.
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Authors and Affiliations

Artur Mordka
1
ORCID: ORCID

  1. Uniwersytet Rzeszowski, Instytut Filozofii, Al. T. Rejtana 16c, 35-310 Rzeszów
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Abstract

Paintings inevitably bear severe mechanical loads during transportation.Understanding the dynamic characteristics of paintings helps to avoid damage during transportation and to effectively slow down their aging.In this contribution, the vibration characteristics of canvas and primed canvas of paintings and their influencing factors are studied experimentally.For this reason, two dummy paintings with canvas in a common orientation and a tilted orientation are investigated, and an experimental setup using an excitation mechanism and a laser Doppler vibrometer is developed.In order to avoid changes of the modal parameters related to humidity or temperature, all experiments were conducted in a climate box.The modal parameters of dummy paintings are identified by means of experimental modal analysis.Also, the difference in modal properties of the two dummy paintings before and after applying the primer are compared.The identified modal parameters are used to reconstruct their eigenmodes.From the identified modal parameters a numerical model is derived, which is then compared to measurements.The comparison shows a good agreement, hence is a hint for the correctness of assuming a modal structure and the quality of the modal parameter identification.Lastly, with the help of the climate box, the influences of humidity and temperature on the eigenfrequencies of dummy paintings are studied.
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Bibliography

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[4] C. Krekel and N. Hein. Kunsttransport: Gibt es eine Grenze zwischen Schaden und beschleunigter Alterung? In Proceedings of ICOM International Council of Museums, Köln, volume 4, pages 12–17, 2014.
[5] C. Krekel and Heinemann C. Wenn Kunstwerke auf Reisen gehen: Mikroschäden mithilfe hochauflösender 3D-Modelle finden und dokumentieren. Das Magazin der Deutschen Forschungsgemeinschaft, 4:12–17, 2020. (in German).
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Authors and Affiliations

Yulong Gao
ORCID: ORCID
Pascal Ziegler
ORCID: ORCID
Carolin Heinemann
ORCID: ORCID
Eva Hartlieb
ORCID: ORCID
Peter Eberhard
ORCID: ORCID

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