Introduction to Two Paintings

What is/are Two Paintings?

Two Paintings - After tracing Nassy’s family history in Suriname and the conditions of his European incarceration, this essay discusses two paintings that demonstrate the significance of visual art in the context of black civilian internment—for both the artist-prisoner and the researcher. ^[1] In this work, we studied wall painting fragments from the exedra in Domus 1 and tablinum in the House of the Lararium in Bilbilis, an ancient Roman town in the Spanish province of Saragossa, in order to find whether the two paintings were produced by the same artisan workshop and to identify the painting technique used. ^[2] In order to make a structure or space living or more living, we introduce two design principles – differentiation and adaptation – using two paintings and two city plans. ^[3] Focusing on two paintings by Fyt featuring poultry birds, this essay uses period fable books, a key discussion of fable by Erasmus, and zoopoetic theory to explore how these works address both the allegorical realm of fable and a tangible living world that was increasingly coming under investigation from natural history and related modes of inquiry. ^[4] This work has as an main objective to make a (comparative) interpretation between two landscape constructions contained in the novel Verde vagomundo, by Benedicto Monteiro (1992), and two paintings by Claude Monet (Matin sur la Seine, le beau temps and Impresion, sunrise) and one by Van Gogh (Self-portrait, 1887). ^[5] Two paintings have an ash colour background and randomly distributed white colour circles, and one painting has a predefined pattern of circles. ^[6] Additionally, the effect of weathering on the CL spectra was evaluated, by comparison to naturally and artificially aged samples and to pigments identified on areas of two paintings, of the 19th and 20th c. ^[7] The two paintings Infant Bacchanals (Museo Nazionale d'Arte Antica, Palazzo Barberini, Rome, Italy) executed by Nicolas Poussin (Les Andelys, 1594-Rome, 1665) in around 1626 are thought to have been painted "a guazzo", which means either with a glue or with an egg binding medium. ^[8] Summary This essay proposes that Haarlem genre artist Jan Miense Molenaer created two paintings, only known today from photographs in the Rijksbureau voor Kunsthistorische Documentatie (RKD). ^[9] Our results showed that the intentional instruction group performed better than the other group: these subjects correctly paired each central statue and the two paintings in the adjacent arms, and they made less working and reference memory errors. ^[10] Rene Magritte has created two paintings with this same title‌,‌ the image of both of which are included in the article. ^[11] This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. ^[12] “Rembrandt’s An Old Man in Military Costume: Combining hyperspectral and MA-XRF imaging to understand how two paintings were painted on a single panel” expands beyond providing a clear image of the portrait beneath the Old Man in Military Costume to describe how Rembrandt painted over this earlier composition before beginning the painting we see today. ^[13] The features and colours on the two paintings, one of which was in worse condition than the other, were obscured by a whitish haze. ^[14] Finally, an immersive VR-art educational concept integrating two paintings of Caspar David Friedrich is described, offering sequential ways to inform about the painting's iconography. ^[15] This work presents a robotized line-scan thermography (LST) modality for the inspection of two paintings on canvas, which are the mock-ups of a famous oil painting, titled Portrait of the Painter’s Mother. ^[16] Before presenting his conference ‘Facingness Meets Mindedness: On Manet’s Luncheon in the Studio and The Balcony’ regarding two paintings by Edouard Manet, Fried was also present in a fruitful group discussion with PhD students from Art History and Theory of Literature. ^[17] The differences between the two paintings are especially obvious in the pigments applied. ^[18] But it also takes a closer look at two paintings in the series, uncovering the textual and pictorial sources they reference, parsing the layers of meaning which are thus built up. ^[19] Furthermore, we compare two paintings using hierarchical clustering and could see common clusters. ^[20] The material characterisation has allowed to date the two paintings within the lifetime of the supposed artists, due to the presence of synthetic organic compounds as PR3 and PG7. ^[21] A Little Medicine and Magic and Six Pack Colonialism, the first two paintings shown below, were made specifically for an exhibition at the Denver Art Museum. ^[22] The gallery’s website celebrated the proximity of the two paintings, telling how visitors could see ‘these two great nationalistic narrative paintings side-by-side’. ^[23] Two paintings were executed on so-called cathedral glass, revealing a “hammered surface”, whereas Kandinsky used a corrugated glass panel for Rudern. ^[24] In this study, MA-XRPD is used in both transmission and reflection mode for the analysis of three 17th century still life paintings, two paintings by Jan Davidsz. ^[25] The artist contributed two paintings, detailing the story of his life and TBI. ^[26] Contents: Preface Introduction: Some thoughts on musical inscriptions 'Some possible likenesses of Francesco Canova da Milano (1497-1543)' The prodigal son at the whores' music, art, and drama A motet for Machiavelli's mistress and a chanson for a courtesan Mary Magdalene, musician and dancer Mary Magdalene, mondaine musicale Paintings of lady concerts and the transmission of 'Jouissance vous donneray' Musical inscriptions in paintings by Caravaggio and his followers Music in and out of Egypt: a little-studied iconographical tradition Music in majolica Giovanni Girolamo Savoldo's Portrait of a man with a recorder Tintoretto's Music-making women at Dresden Arcadelt's Amor, tu sai in an anonymous allegory The lutenist's hand An iconographical echo of the unwritten tradition in a Verdelot madrigal Two paintings of 'concert scenes' from the Veneto and the Morgan Library's Unique Music Print of 1520 Lassio's La cortesia Voi, Donne, Predicate: a Villanesca printed, penned, plucked and depicted Valid and invalid options for performing frottole as implied in visual sources Addenda et corrigenda Index. ^[27] This article problematize two paintings of the artist Yishai Jusidman using the Georges Didi-Huberman`s concepts of symptom and loss. ^[28] The images obtained by scientific documentation demonstrated the repaintings of two paintings (P01 and P05), with areas of luminescence indicating that they have undergone posterior interventions. ^[29] The modelled X ray setup was then used to study the gilding thickness of three panel paintings belonging to the Museum of Christian Art in Old Goa (India): two paintings, from the 18th century, concerning to the same series but different themes: Our Lady of Sorrows (MoCA1) and Our Lady of Seven Sorrows (MoCA2), and a third painting entitled Monstrance (MoCA3), from the 17th century. ^[30] The article problematizes the representation of the house in two paintings inserted in public collections by the light of cultural hybridism concepts as means of evaluating the creative contribution in transit of symbolic heritage made possible by processes of population displacement. ^[31] This paper juxtaposes the two paintings and explores two aspects of the paintings that have rarely been discussed and compared before: modernity and Nature. ^[32] The vehicles are two paintings by Mark Rothko, namely, “Green and Tangerine on Red” and the “Number 14. ^[33] De igual modo, el estudio busca profundizar en el proposito y motivaciones con el que fueron pintadas EnglishThis paper approaches the reasoned study of two paintings preserved in Seville containing the portrait of Pablo de Cespedes, a Cordovan humanist and painter. ^[34]

Created Two Paintings

Summary This essay proposes that Haarlem genre artist Jan Miense Molenaer created two paintings, only known today from photographs in the Rijksbureau voor Kunsthistorische Documentatie (RKD). ^[1] Rene Magritte has created two paintings with this same title‌,‌ the image of both of which are included in the article. ^[2]