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Number of results: 17
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Abstract

The fugue and sonata are artistic forms of music. Mikalojus Konstantinas Čiurlionis attempted to find out if they could be transformed into paintings.

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Authors and Affiliations

Paweł Siechowicz
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Abstract

In the paper the new constructions of robots, modern technologies of painting and newest methods of paint robots programming were presented. Fanuc P-250iA robot using to painting was characterized. The general characteristic of robot with controller R-30iA was demonstrated. The technology and the paint equipment applied to paint frames and load-carrying boxes was shown. The possibilities of simulation software Roboguide were presented exactly, which is a tool for robot environment simulation on a computer PC. Roboguide system application can reduce the programming time of robots and necessary programs optimization conducted before implementation to production.
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Authors and Affiliations

Ryszard Wolny
Tadeusz Zloto
Keywords painting art imagery
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Abstract

What creative process is involved in creating a painting? Where does artistic inspiration come from?
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Authors and Affiliations

Magdalena Zawisza
1

  1. Faculty of the Humanities, University of Social Sciences in Warsaw
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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

Learning to experience art involves training one’s sensitivity, empathy, tolerance and interpretation.
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Authors and Affiliations

Magdalena Sołtys
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Abstract

The policy of sustainable development seeks to improve energy efficiency of industrial equipment. Efforts to improve energy efficiency also apply to the paint shops, where the recovery of waste heat is sought. The main source of a large amount of low-temperature waste heat in the paint shop is the spray booth. The second place where a large amount of low temperature waste heat is released is the room where the compressed air is prepared. Low energy efficiency of air compressors requires a large electric power supply. As a result, the emitted large heat fluxes become waste energy of the technological process. Heat is equivalent to up to 93% of the electric power supplied in the air compression process. There are solutions for recovering heat from compressors coming from the oil cooling water, but then the waste heat from the cooling of the compressed air and from the electric motor is released into air in the room. A method for recovering low-temperature waste heat from the air preparation room by means of an air-source heat pump has been proposed. An energy balance of the air compression and dehumidification process for the paint shop was made. A Matlab’s built-in numerical model includes air compressor and dehumidifier, heat recovery and accumulation for the purposes of use in the spray booth. A simulation experiment was carried out on the effectiveness of heat recovery from the air preparation room. The use of combined energy management in paint shops was proposed.

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Authors and Affiliations

Andrzej Adamkiewicz
Piotr Nikończuk
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Abstract

The paper presents a Car Sequencing Problem, widely considered in the literature. The issue considered by the researchers is only a reduced problem in comparison with the problem in real automotive production. Consequently, a newconcept, called Paint Shop 4.0., is considered from the viewpoint of a sequencing problem. The paper is a part of the previously conducted research, identified as Car Sequencing Problem with Buffers (CSPwB), which extended the original problem to a problem in a production line equipped with buffers. The new innovative approach is based on the ideas of Industry 4.0 and the buffer management system. In the paper, sequencing algorithms that have been developed so far are discussed. The original Follow-up Sequencing Algorithm is presented, which is still developed by the authors. The main goal of the research is to find the most effective algorithm in terms of minimization of painting gun changeovers and synchronization necessary color changes with periodic gun cleanings. Carried out research shows that the most advanced algorithm proposed by the authors outperforms other tested methods, so it is promising to be used in the automotive industry.

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Authors and Affiliations

Sara Bysko
Jolanta Krystek
Szymon Bysko
Radim Lenort
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Abstract

Émile Verhaeren was one of the most important poets of the Leopoldine generation in Belgium, and a committed art critic. His career started in 1881 with his apprenticeship with Edmond Picard in Brussels, the leader of the group of artists, writers and activists who sought to liberate Belgian public life from the undue influence of Paris. His articles published in many Belgian journals were collected and published by Paul Aron in 1997 in the volume titled Écrits sur l’art (1881–1916). Their analysis carried out in comparison with his poetic texts allows us to see him as an artist open to new aesthetic ideas and an activist fighting for freedom of expression in art. The key aspect of Verhaeren’s approach towards painting and literature is the recognition and better appreciation of the Early Flemish painting tradition as the basis to create the identity of the Belgians. His views on art inseparable from the construction of a national identity can be interpreted as a part of the Norse mythology developed by another important Belgian writer, Maurice Maeterlinck in the manuscript from 1888 called Cahier Bleu.
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Bibliography

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Bizek-Tatara Renata, Quaghebeur Marc, Teklik Joanna, Zbierska-Mościcka Judyta, Belgiem być. Fikcja i tożsamość we francuskojęzycznej literaturze Belgii (od końca XIX do początku XXI wieku), Kraków 2017.

Gerard Harry, La vie et l’oeuvre de Maurice Maeterlinck, Paris 1932.

Ghil René, De la poésie-scientifique & autres écrits, Textes choisis, présentés et annotés par Jean-Pierre Bobillot, Grenoble 2008, https://books.google.pl/books?hl=pl&lr=&id=dkrU6Any1csC&oi=fnd&pg=PA5&dq=de+la+poesie+ scientifique+ghil&ots=lZximYmGhc&sig=JMt2uvcwmKErp48m4tYNI3aKPmA&redir_esc=y#v=onepage& q&f=false (dostęp: 15 V 2021).

Fin de siècle et Symbolisme en Belgique. OEuvres poétiques: Théodore Hannon, Iwan Gilkin, Émile Verhaeren, Maurice Maeterlinck, Georges Rodenbach, Charles Van Lerberghe, Max Elskamp, Albert Mockel, red. Paul Gorceix, Bruxelles 1998.

Gorceix Paul, Les affinités allemandes dans l’oeuvre de Maurice Maeterlinck, Paris 1975.

Gorceix Paul, L’image de la germanité chez un belge, flamand de langue française. Maurice Maeterlinck (1862–1949), „Revue de littérature comparée”, 3, 2001, 299, s. 407, https://www.cairn.info/revue-de-litterature-comparee-2001-3-page–397.htm (dostęp: 26 V 2021).

Gullentops David, Émile Verhaeren inédit, Bruxelles 2015.

Gullentops David, La poésie d’Émile Verhaeren dans les périodiques belges, „Textyles”, 2017, 50–51, s. 11–12, https://doi.org/10.4000/textyles.2759 (dostęp: 15 VII 2020).

Huret Jules, Enquête sur l’évolution littéraire, Paris 1891, https://gallica.bnf.fr/ark:/12148/bpt6k49807k/f5.item.texteImage (dostęp: 25 V 2021).

Émile Verhaeren, red. Véronique Jago-Antoine, Marc Quaghebeur, Bruxelles 1994.

Émile Verhaeren, red. Peter-Eckhard Knabe, Raymond Trousson, Bruxelles 1984.

Lemonnier Camille, Nos Flamands, Bruxelles 1869, https://archive.org/details/nosflamands00lemo/page/n5/mode/2up?view=theater (dostęp: 25 V 2021).

Łaptos Józef, Historia Belgii, Wrocław 1995. Mockel Albert, Émile Verhaeren, poète de l’énergie, Paris 1933.

Nachtergaele Vic, La réception d’Émile Verhaeren en Flandre, „Revue belge de philologie et d’histoire”, 77, 1999, 3, s. 713–732.

Starkie Enid, Les sources du lyrisme dans la poésie d’Émile Verhaeren, Paris 1927.

Theis O.F., Émile Verhaeren, „The North American Review”, 198, 1913, 694, s. 354–364, https://www.jstor.org/stable/25120083?seq=1#metadata_info_tab_contents (dostęp: 25 V 2021).

Verhaeren Émile, Écrits sur l’art (1881–1892), wyd. Paul Aron, Bruxelles 1997.

Zbierska-Mościcka Judyta, L’esthetique symboliste selon Charles Van Lerberghe, „Écho des études romanes”, 2, 2006, 1, s. 67–78.

Zweig Stefan, Émile Verhaeren, London 1914, http://www.gutenberg.org/files/35387/35387-h/35387-h.htm#LES_FLAMANDES (dostęp: 15 VII 2020).
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Authors and Affiliations

Marta Ścisło
1
ORCID: ORCID

  1. Uniwersytet Warszawski
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Abstract

“The Unsleeping Eye” is one of the frequent themes of Ukrainian domestic icons in the 19th century. The little Jesus is resting on the cross lying on the ground, and next to him there are the instruments of the Passion. His closed eyes indicate sleep (death?) after the crucifixion, and the arma passionis emphasize the Passion contents. A late medieval Byzantine theme with deep and complex symbolism, called in Greek άναπεσών (Anapeson) constitutes the origin of this representation. The main idea of this picture grows from the parallel of the lion – Christ, described in the fourth‑century Greek Physiologist. The article shows how the theme, which arose within Byzantine intellectual circles, in gradually changing its form, content and purpose, settled down in the art of the common people.
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Bibliography

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Authors and Affiliations

Agnieszka Gronek
1

  1. Uniwersytet Jagielloński w Krakowie
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Abstract

In 2019, a 15th-century print entitled The Tower of Wisdom kept by the Kórnik Library in Poland was subjected to scientific examination. The main purpose of the examination of the hand-coloured image was the identification of the technique of the application of the text and the illustrations. The conducted examination proved a thesis that it is an example of xylographic print. Moreover, the elemental composition of the paint layer was analysed, revealing no colours which were not used in the period of the object’s origin.
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Authors and Affiliations

Tomasz Kozielec
1
ORCID: ORCID
Mirosław Wachowiak
2

  1. Wydział Sztuk Pięknych UMK
  2. Zakład Konserwacji i Restauracji Sztuki Nowoczesnej UMK
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Abstract

The Controlled Atmosphere Brazing (CAB) process together with NOCOLOKr flux is associated with the occurrence of potassium fluoroaluminate residue inside the cooler. Excess of this flux residue is known to cause gelation of the coolant, which deteriorates the efficiency of the cooler. The flux residue amount is most often measured via Atomic Absorption Spectroscopy (AAS), in accordance with DIN ISO 9964-3. This is a time-consuming measurement that requires the use of specialized equipment and costly solvents. The following article presents two innovative methods for flux residue measurement after CAB process. They include Scanning Electron Microscopy (SEM) with Energy-Dispersive X-ray Spectroscopy (EDS) and Reflected Light Microscopy (RLM) with Differential Interference Contrast (DIC) module. The accuracy of these methods has been compared to the reference AAS method to evaluate their potential as alternative, less expensive, and quicker measurement methods for determining the quantity of flux residue.
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Authors and Affiliations

Sławomir NADOLNY
Adam Hamrol
ORCID: ORCID
Michał Rogalewicz
ORCID: ORCID
Adam Piasecki
ORCID: ORCID
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Abstract

Infrared (IR) reflectography has been used for many years for the detection of underdrawings on panel paintings. Advances in the fields of IR sensors and optics have impelled the wide spread use of IR reflectography by several recognized Art Museums and specialized laboratories around the World. The transparency or opacity of a painting is the result of a complex combination of the optical properties of the painting pigments and the underdrawing material, as well as the type of illumination source and the sensor characteristics. For this reason, recent researches have been directed towards the study of multispectral approaches that could provide simultaneous and complementary information of an artwork. The present work relies on non−simultaneous multispectral inspection using a set of detectors covering from the ultraviolet to the terahertz spectra. It is observed that underdrawings contrast increases with wavelength up to 1700 nm and, then, gradually decreases. In addition, it is shown that IR thermography, i.e., temperature maps or thermograms, could be used simultaneously as an alternative technique for the detection of underdrawings besides the detection of subsurface defects.

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Authors and Affiliations

A. Bendada
S. Sfarra
C. Ibarra-Castanedo
M. Akhloufi
J.P. Caumes
C. Pradere
J.C. Batsale
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Abstract

The aim of comparing Ecce Homo by Adam Chmielowski (late nineteenth century) with The Surrealist Shooting (1949) by Andrzej Wróblewski is to show how the ability to depict God was gradually breaking down in the modern period. While Chmielowski tried to overcome that deadlock, Wróblewski after having decided to join the Communist revolution, focused on depicting the retreating God.
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Bibliography

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Authors and Affiliations

Anna Markowska
1
ORCID: ORCID

  1. Uniwersytet Wrocławski
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Abstract

The purpose of the present article is to provide an analysis of the iconographic sources used in the depiction of Adam and Eve in the 3rd–4th century wall paintings. The scene of the Original Sin initially appeared in wall painting, with the oldest examples dating back to the 3rd century AD. In the following century, images of Adam and Eve were used in both sarcophagus sculpture and crafts. The author of the article compares two different iconographic sources, which together shape the final appearance of Original Sin in the art of the period. A crucial literary source beside the text of Genesis is the apocryphal Lives of Adam and Eve, tracing a different sequence of events related to the story of the Original Sin. On the other hand, the analysis of ancient depictions of Hercules and the goddess Venus reveals an intriguing connection between the representations of the Original Sin and pagan iconography.
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Authors and Affiliations

Bartłomiej Żurawski
1
ORCID: ORCID

  1. Muzeum Narodowe w Warszawie
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Abstract

The aim of the article is to reflect on the phenomenon of great art exhibitions, gathering exhibits, mainly paintings, exceptional from the perspective of national cultural heritage, which collectively represent a defined generational message. The reflection included the best‑known exhibitions of recent decades, being an expression of the historical culture of a time of great changes in the life of Polish society at the turn of the 21st century. These are two exhibitions at the National Museum in Kraków, the first exhibition ever by Marek Rostworowski, “Polish self‑portrait” (1979); the second is an exhibition of Marek Szczerski’s work entitled #dziedzictwo/heritage (2017); a jubilee exhibition organised by the National Museum in Warsaw in collaboration with the Louvre‑Lens Museum, the National Museum in Poznan and the Adam Mickiewicz Institute on the centennial of regaining independence, entitled “Poland. The power of the image” (2019‑2021). This reflection also includes the monumental exhibition organised collectively by the Royal Castle in Warsaw and the Martin Gropius Bau in Berlin, with the participation of the curator Anda Rottenberg, entitled “Side by side. Germany‑Poland 1000 years of history in art.” (2012).
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Authors and Affiliations

Violetta Julkowska
1
ORCID: ORCID

  1. Uniwersytet im. Adama Mickiewicza w Poznaniu
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Abstract

Ekphrases are fairly common in the literature of the Young Poland movement, with descriptions of paintings of women making up a notable portion of such visual representations. This article examines the functioning of the motif of a woman’s portrait in the work of writers of the late 19th and early 20th century, including Stanisław Przybyszewski, Kazimierz Przerwa-Tetmajer, Jan August Kisielewski, Karol Irzykowski, Wacław Berent and Stanisław Grudziński. The analyses, guided by feminist literary theory, focus on the implied artist's control over the painted figure (man over woman, but also the woman artist over the male recipient), the ways in which the work of art can becomes a vehicle of subconscious truths, the correspondences between emotions and colours.
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Authors and Affiliations

Lidia Kamińska
1
ORCID: ORCID

  1. Wydział Polonistyki, Uniwersytet Jagielloński, Kraków

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