Podcasts about factum arte

Experts discuss how the latest 3D recording technology has supported their research by revealing near-invisible markings from originals held at Oxford University Institutions The very latest in 3D recording technology has revealed near-invisible markings from originals held at Oxford University institutions. Imagery captured with this technology shows what has never before been possible to record. These recordings have assisted researchers in making exciting discoveries which will be shared at this event. In this presentation, a panel of experts will discuss how recordings have supported their research. Incised text from second century wax tablets, newly discovered designs found on the reverse of copper printing plates and examples of preparatory stylus markings from High Renaissance drawings will all be explored through these incredible new images. Recordings of specimens from the Oxford University Museum of Natural History will demonstrate how this new method for 3D acquisition could have the potential to assist in the classification of species. The technology used to create these recordings will be described and explained by their designer, and the Bodleian's imaging specialist. Members of Bodleian Digital Library Systems and Services will demonstrate online viewers to disseminate these 3D recordings, and newly developed tools which allow users to interact with them. ARCHiOx – Analysis and Recording of Cultural Heritage in Oxford – is a collaborative project bringing together the Bodleian Libraries and the Factum Foundation. Based in Madrid, the Factum Foundation specialises in high-resolution 3D imaging and has worked in cultural heritage institutions throughout the world, producing exceptional, three-dimensional facsimiles of artworks and artefacts. Speakers Adam Lowe is the director of Factum Arte and founder of Factum Foundation for Digital Technology in Preservation. Founded in 2001, Factum Arte is a multidisciplinary workshop dedicated to digital mediation for the production of works for contemporary artists. John Barrett is Senior Photographer for the Bodleian Libraries. Since 2005, John has provided photographs of Bodleian originals for numerous publications. His work involves the development of new methods of recording special collections material. John is technical lead at the Bodleian for ARCHiOx. Jorge Cano is Head of Technology at Factum Foundation. He has developed a multidisciplinary career working in the intersections of art and technology. Jorge is an expert in 3D recording, image filtering and Geographical Information Systems. Carlos Bayod is Project Director at the Factum Foundation. His work is dedicated to the development and application of digital technology to the recording, study and dissemination of cultural heritage. Richard Allen is a Software Engineer for Bodleian Digital Library Systems and Services where he works primarily supporting Digital Bodleian and the Imaging Studio DAMS. He is also CEO of an Oxford University spinout company called Palaeopi Limited that specialises in photogrammetry. Angelamaria Aceto is a Senior Research in Italian Drawings at Ashmolean Museum, University of Oxford. Dr. Mark Crosby, FSA is an associate Professor and Director of the K-State Digital Humanities Center at the Department of English, Kansas State University. With an introduction by Richard Ovenden OBE, Bodley's Librarian & Head of Gardens, Libraries and Museums (GLAM) The project has been generously funded by The Helen Hamlyn Trust.

Thank you for listening to this track produced by the Art Gallery of South Australia. Join Leigh Robb, Curator, Contemporary Art as she introduces new exhibition, Radical Textiles. For more information visit agsa.sa.gov.au Image: Grayson Perry, artist, born Essex, England 1960, Factum Arte, designer, operating 2001, Flanders Tapestries, manufacturer, operating c.1999, Morris, Gainsborough, Turner, Riley, 2021, London; Flanders, Belgium, acrylic, cotton, merino wool, viscose, polyester, 274.0 x 360.0 cm; James and Diana Ramsay Fund 2023 Art Gallery of South Australia, Adelaide, © Grayson Perry. DACS/Copyright Agency, 2024; photo: Jack Hems

In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall. Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art.  William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin's Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles. Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C. Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996. Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY. Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago. Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023. Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023.   Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York. Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin. Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C. Kouros, c. 530 B.C. Getty Museum, Los Angeles. Calouste Gulbenkian Foundation, Lisbon. Terra Cotta Warriors: Guardians of China's First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77  × 9.94 m (267  × 391 in.). Louvre Museum, Paris. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77  × 9.94 m (267  × 391 in.). San Giorgio Maggiore, Venice. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Anonymous Andean painting hanging in Susan's home. Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam. Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times. Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore. Edge of Visibility. IPCNY, New York. October 4–December 2018.   USEFUL LINKS Susan's website: https://www.susan-tallman.com/ Art in Print on Jstor: https://www.jstor.org/journal/artprint The Getty's Paper Project: https://www.getty.edu/projects/paper-project/ New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese  

A research collaboration between the Bodleian Libraries and the Factum Foundation The Factum Foundation for Digital Technology in Conservation is a not-for-profit organisation, founded by Adam Lowe in 2009 in Madrid. The Foundation was established to demonstrate the importance of documenting, monitoring, studying, recreating and disseminating the world's cultural heritage through the rigorous development of high-resolution recording and re-materialisation techniques. Using technology conceived and developed at Factum Arte, the ARCHiOx Project will use both a prototype photographic system (Selene Stereo Photometric Scanner, developed by Jorge Cano) and 3D scanning (Lucida 3D Scanner, developed by artist-engineer Manuel Franquelo and the team at Factum) to bring to life relief surfaces of some of the Bodleian's most celebrated artefacts. This relatively unexplored path to mapping and digitisation should in turn present fascinating new avenues of exploration and research, as it reveals aspects of the item hitherto unrealised or recorded. ARCHiOx will provide a free exchange of knowledge and approaches between the academic and technical team at the Bodleian and Factum Foundation's experts, as we explore and demonstrate the potential of applying non-contact digital technologies to the study of materials held by the Bodleian Libraries. This session demonstrates how the technology is used and the benefits it brings to researchers of manuscripts

Nativity with St. Francis and St. Lawrence considered a 17th century masterpiece, created by Italian painter Caravaggio in 1609. Nativity has been missing since it was nicked by thieves in Palermo in 1969. No one for sure knows who stole it, or why they stole it, but what might have become of it has sparked dozens of tales. One prominent theory is that it was stolen by the mafia – and, quite possibly, eaten by pigs.See omnystudio.com/listener for privacy information.

Presented by Masterpiece London in partnership with Apollo, this three-part series of podcasts provides an insight into the works on show at this year's Masterpiece fair. In this final episode, Sophie Barling speaks to Charis Tyndall of Charles Ede about a striking image of female companionship on an Ancient Greek funeral stele. Nick Stagliano of Michele Beiny gallery tells the story behind a porcelain breast bowl made for Marie Antoinette, while Adam Lowe talks about the display he has curated with architect Charlotte Skene Catling for the fair's new Masterpiece [Re]Discovery section, 'Avoiding Oblivion: The Preservation of Pharaonic Knowledge', which builds on the work of Lowe's workshop Factum Arte in the Valley of the Kings over the last two decades. Masterpiece London is at the Royal Hospital Chelsea from 30 June–6 July.

An end to food allergies?; Almanac: Tail fins; Waffle House, the home of Southern comfort; Factum Arte, where high-tech meets timeless craft; Sunny days on "Sesame Street"; Mister Mayor; It's Sam Elliott season;

In an age of rapidly evolving tech facilitating a number of things from daily tasks, to communication and research, some subjects trail behind, notably, art history. Replica aims to facilitate art historical research by using machine learning and modern image searching algorithms to help art historians navigate large iconographic collections. In short, Replica aims to go beyond the limitations of search terms and keywords and use images to enable researchers to identify visual information which may not been indexed--textual queries cannot, for example, show results for similar shapes, forms, or motifs. Replica could assist researchers in identifying visual links, pin-pointing when a specific type of iconography emerged and how it has evolved over time.In this episode, we speak with Benoit Seguin, a computer scientist helping build the Replica search engine. Seguin explains how Replica works, what the mission is, who's involved, and how it can be immensely useful to those interested in art, art history, and visual culture.-About Replica-The Replica project led by the DHLAB aims to build the first search engine designed specifically for the search and exploration of artistic collections (including paintings, drawings, engravings, sculpture and photography). This employs the latest state-of-the art artificial intelligence techniques, such as Deep Learning and Convolutional Neural Networks, for the search and display of information. In partnership with the Giorgio Cini Foundation in Venice and Factum Arte in Madrid, the Replica project aims to digitize roughly one million artistic reproductions using these images to populate the new search engine and as the basis for new art historical inquiries. -About Benoit Seguin- Benoit Seguin is a PhD student at the Digital Humanities Laboratory (DHLAB) at EPFL. His main interests lie in Computer Vision, Machine Learning and Image Processing. Benoit's thesis is based on the Replica Project where he implements machine learning and modern image searching algorithms to help art historians navigate large, iconographic collections. Benoit received a Master of Science from EPFL and a Diplôme d’Ingénieur from École Polytechnique.

Speaker: Adam Lowe, Factum Arte, Madrid

We hear from Adam Lowe of Factum Arte about a new TV series in which seven lost paintings are recreated using digital means, and speak to Norman Rosenthal and Thaddaeus Ropac about the enigmatic German artist Joseph Beuys See acast.com/privacy for privacy and opt-out information.

El Cronovisor cuenta con nuevo crononauta, Jesús Callejo, escritor, investigador y hombre de radio. Con él descubriremos la cara oculta de Agatha Christie, la Reina del Crimen, y su pasión por la arqueología. La cronoficción nos trae 'Tres ratones ciegos' en adaptación de Mona León. En la segunda hora continuamos con arqueología. Nos visita José Ramón Pérez Accino, profesor de egiptología de la Universidad Complutense de Madrid y director del Proyecto C2 en la orilla oeste de Luxor (Egipto). Nos hablará de esta nueva misión arqueológica y del escondite de momias reales DB320 alrededor del cual van a trabajar. Luego Pedro Miró, responsable de 3D de la empresa Factum Arte, nos cuenta cómo ha sido el trabajo de escaneo de la tumba de Seti I en el Valle de los Reyes de Luxor. Acabamos con Luis Sala, autor de una biografía dedicada a "Indalecio Prieto", el líder socialista.

La figura de Alejandro Magno siempre nos ha cautivado. Mario Agudo, especialista en la antigua Grecia, nos acerca sus inicios como rey de Macedonia. Iñigo Echenique, ingeniero naval, nos habla de dos grandes científicos y aventureros del siglo XIX: Charles Darwin y Herman Melville. Pedro Miró, encargado del 3D en la empresa Factum Arte, nos cuenta cómo es el trabajo para hacer facsímiles de obras de arte. Recuperamos de nuestras dramatizaciones la que dedicamos a las tumbas reales de Ur

16 September 2015 In which we attend a test excavation at the Cochno Stone, the largest example of prehistoric rock art in Scotland, which has lain buried beneath the earth for over 50 years (40 mins, 28MB). Visit May's website: The Devil's Plantation Visit Kenny's website: The Urban Prehistorian Visit Ferdinand's website: Factum Arte