Getty Challenge

Total Page:16

File Type:pdf, Size:1020Kb

Getty Challenge GETTY CHALLENGE This activity was done during the MCO when everyone was forced to be quarantined. The students from 6éme to 3éme were kept busy with this creative activity. They were taught about the different movements of art according to their level. The 3éme students learnt about the 20th century art meanwhile the 4éme students were enlightened about the Impressionism art movement. On the other hand, the 5éme and the 6éme students learnt about the great artists like Leonardo da Vinci and Raphael during the Renaissance era. The students obtained a great deal of knowledge and enjoyed creating replicas of paintings during those times. After finishing their getty challenge project, they were guided by their English Language teachers to create haiku, catch phrases and interesting posters. The English teachers who were involved are Madam Nithiaswari Arumugam (3éme), Madam Vidya Sreenivasan (4éme and 5éme) and Madam Lisa Pagnoux (6éme). Firstly let us take a look at the 3éme students’ work, whereby they had to work on the different art movements of the 20th century. FAUVISM (End of the 19th century) NAME : Chloe Fostier CLASS: 3 A ARTIST : Unknown PAINTING : Unknown NAME: Marion Ryard CLASS : 3A ARTIST : Henri Matisse PAINTING : The Green Stripe Name : Kamyl Class : 3B Artist : Kees Van Dongen 1919 NAME : Raoul Garland Painting : The Corn Poppy CLASS: 3B ARTIST : Henri Matisse PAINTING : The young sailor NAME: BOUCHET Salomé CLASS: 3B Expressionism – started in 1910 in Germany ARTIST: Chaim Soutine PAINTING: A Young English Girl NAME : Jeremy and Vicente CLASS: 3A ARTIST : Franz Marc PAINTING : The blue horse NAME : Ewan Peronnet NAME : Kai Xin Loo and Inés Jiménez CLASS: 3èmeB CLASS: 3a ARTIST : Edvard Munch ARTIST : August Macke PAINTING : The Scream 1893 PAINTING : Women in the park, 1913 Der Blaue Reiter – started in 1911 and ended in 1914 NAME : Mikhael OLMEDO PANAL NAME : Marin Letoille CLASS: 3B CLASS : 3A ARTIST : Jaime Hesper ARTIST : Franc Marc PAINTING : Der Blaue Reiter PAINTING : The Blue Horse NAME : Lucas Daugy CLASS: 3B ARTIST : Alexej Von Jawlensky PAINTING : Der Bucklige Cubism (1908 – 1920) NAME : Marius Launay CLASS:3B ARTIST : George Braque PAINTING :”Une vie une oeuvre : Carte mentale ” NAME : Oscar Furnon CLASS: 3A ARTIST : Tiffany Budd Name: Paolo Bouchard PAINTING : Glassofport Class: 3A Time period: Renaissance Artist: Michel angelo Painting: The touch of god NAME : Thibaut CLASS: 3B ARTIST : Pablo Picasso PAINTING : Le rêve Futurism (1904-1914) Name: Shona Kasparian Class: 3eme A Painting: The haunting dancer NAME : Lila BERBAR CLASS: 3ème B Artist: Gino Severini ARTIST : Gino Sevirini PAINTING : Signora Sevirini Name: Victoria Prost Class: 3A Painting: Giacomo Balla’s Artist: The hands of the Italian people Constructivism – Came in force after WW1 NAME : Victor Labrue roy CLASS: 3 A ARTIST : John Ernest PAINTING : Moebius Strip​ NAME : Mathis Millot CLASS: 3A ARTIST : unknown PAINTING : unknown NAME : Sophie Thelisson CLASS: 3e B ARTIST : Alexander Rodchenko PAINTING : Books (Please)! In All Branches of Knowledge (1924) NAME : Juliette Jouenne CLASS: 3°B ARTIST : Gustav Klutsis PAINTING : Oppressed People of the Whole World (1924) Dadaism – was the outbreak of WW1 NAME : Erwan Abiven and Oscar Contreras CLASS: 3ème A ARTIST : Francisco Goya PAINTING : Boys climbing a tree NAME : Mia Alyssa SCHAEFFER CLASS: 3B ARTIST : Marcel Duchamp PAINTING : L.H.O.O.Q. (1919) NAME: Nour EL KERABY CLASS: 3B ARTIST: René Magritte PAINTING: The Son of Man De Stijl/The Style (1917-1931) NAME : Alcide COLLIN NAME : Lucie Le Garrec CLASS: 3B CLASS: 3A ARTIST : Pieter Cornelis ARTIST : Mondrian PAINTING : Composition II with Red Blue and Yellow PAINTING : De Stijl Surrealism – 1924 Famous movement in the modern era. NAME : Anaelle Wicquart CLASS: 3eB ARTIST : Frida Kahlo PAINTING : Self Portrait with small monkey, 1945 NAME : Ambre Falcoz CLASS: 3eme A ARTIST : Frida Kahlo PAINTING : A women’s icon NAME : Leopoldine Verhaegen--Coutte CLASS: 3A ARTIST : Rene Magritte NAME: Mazet Victoria NAME : MYA IBOURK PAINTING : L’invention de la vie CLASS: 3emeA CLASS: 3EB ARTIST: Magritte ARTIST : RENE MAGRITTE PAINTING: Les Amants (lovers) PAINTING : THE SON OF MAN Pop Art NAME : KRIBI Abdulmalik and Pereira Siméon CLASS: 3A ARTIST : Andy Warhol PAINTING : The Lips The 4éme students on the other hand, had the chance to dabble their thinking and creative skills during the impressionism era, the so-called romantic period. NAME : Adrien Dechaumes The clouds passing by, CLASS: 4e A ARTIST : Claude Monet (1840-1926) Sea cliffs sculpted by the waves, PAINTING : The Cliff of Aval, Etrétat -1885 Soft breezeof summer… NAME : Aline Pebbles in my shoe, CLASS: 4eme A ARTIST : Claude Monet And not a sound of a car… PAINTING : Garden at Vetheuil 1880 It’s quiet up here. NAME : Elsa Waeldin Sun Lights up the path CLASS: 4eme A ARTIST : Vincent Van Gogh In front of the church Auvers PAINTING : Church at Auvers On a quiet hill NAME:Jaydon Alone in the hill, Class:4A Painting: In den Dünen Nothing to see, with fresh air Artist: Max Liebermann Passing like calm breeze NAME : Leah Kirtana Deepz The horse I ride on CLASS: 4A ARTIST : Frederic Remington The loneliness I feel now PAINTING : The Scout Friends or Foes For leaving my pack. We see a woman NAME : Riccaardo CLASS: 4A She looks sad and frustrated ARTIST : Max Liebermann PAINTING : Woman standing in the dunes Hope she gets better NAME : Ava Sutherland-Hay Blue clothes, a huge mass CLASS: 4eB ARTIST : Laura Knight A stands out, NAME : Alexandre Cane A dead bird alone PAINTING : The Dark Pool red dress CLASS: 4e B unique ARTIST : Claude Monet As the gun still points at him Alone in the world... PAINTING : Still life with pheasant The hereafter opens NAME: Tom Hoffmann CLASS: 4eme B ARTIST: Edgard Degas PAINTING: Edgard Degas NAME : Babacar Sene CLASS: 4eb ARTIST : Gustave Caillebotte Black in the background PAINTING : The floor scrapers A sad person in the front, The unsung hero No energy to say no With a red coat on. If he does, he dies NAME: Alexia Siri CLASS: 4e A ARTIST: Berthe Morisot PAINTING: Julie daydreaming NAME: Adrien Garraux CLASS: 4A ARTIST: Henri Matisse PAINTING: Blue nude II NAME : DANIEL DAUD ATTAR Name : Baptist Buriot CLASS: 4A Class : 4A ARTIST : Max Lieberman Artist : Charles Cottet Painting : Sea Landscape in Brittany PAINTING: An Old Woman with Cat NAME : Gabriel Vieuxmaire Name : Enzo DE CANDIDO CLASS: 4eA Class : 4eme A ARTIST : Max Liebermann Artist : Edouard Manet PAINTING : In den Dünen/in the dunes Painting : The Bohemian NAME : Eulalie Guiraud CLASS: 4A ARTIST : Berthe Morisot PAINTING : Vue du petit port de Lorient Name :Virgile NAME : Louise Class :4A CLASS: 4ème A Artist : Pierre Auguste Renoir ARTIST : Berthe Morisot Painting : les deux sœurs PAINTING : Bouquet of violets Name : Yanni Reveilloux Class : 4A Artist : Claude Monet Painting : Sunrise NAME : Augustin Laute CLASS: 4B ARTIST : Claude Monet NAME : Bailey CLASS: 4A PAINTING : Wieco Art Dusk in Venice ARTIST : Claude Monet PAINTING : Camille Monet et un enfant au jardin NAME : KO Dongwoon NAME : Chandrika Lee CLASS: 4B CLASS: 4eB ARTIST : Henri Matisse ARTIST : Gustave Caillebotte PAINTING : La femme ay PAINTING : “The diver” chapeau Name : Houdayfa Class : 4B NAME : Klara Bazac Class : 4B ARTIST : Jose Van Gool PAINTING : La Robe Blanche Painting NAME :Khalis CLASS: 4eb ARTIST : Claude Monet PAINTING :Sunrise NAME : Ojean YOON CLASS: 4eB ARTIST : Claude Monet PAINTING : Sunrise NAME : Mathis CLASS: 4eb ARTIST : Gustave Caillebotte PAINTING : The nap Name : Noah Class 4B ELEVE: OSCAR BERGERARD CLASSE: 4B ARTIST: CHARLES CAMOIN PAINTING: BOWL OF PEACHES Name : Timothee Class : 4B Artist : Auguste Rodin Painting : The clenched left hand NAME : Taewoon KO CLASS : 4B ARTIST : Gustave Caillebotte PAINTING : Rue de Paris, temps de pluie Lastly but not least are the 6éme and the 5éme students, who worked laboriously on the Renaissance. NAME : Vernhes Alix A caring mother CLASS: 5A Bright colours, sad emotions ARTIST : Raphael PAINTING : Madonna della seggiola A poor pleading child NAME: Alessandro De Maio NAME : Sophie Sage CLASS: 5A CLASS: 5A ARTIST: Donatello ARTIST : Léonard de Vinci SCULPTURE: St. George PAINTING : Mona Lisa Mona Lisa’s eyes And her mysterious smile Leaves us wondering NAME : Arthur Marie Mysterious smile NAME : AUDREY PERNICE With her angelic face, ClASS : 5B CLASS: 5B ARTIST : Leonardo da Vinci Why are you there says a man ARTIST : LEONARDO DA VINCI With her devilish soul, Paitning : Mona Lisa Where are you looking PAINTING : Mona Lisa The painter’s heart melt. In vain they try touching NAME: Carlos De Lemos Mendes CLASS: 5B But something separates us ARTIST: Michelangelo PAINTING: The Creation of Adam From those in the sky NAME: Marie Wherever you are NAME : Lisa MANIGART A beautiful soul, CLASS: 5B She always looks towards you CLASS: 5B ARTIST: Leonardo Da Vinci ARTIST : Rafael Full of pride and honor, In a creeping glance. PAINTING: Mona Lisa PAINTING : La Velata Hiding deep emptiness… Her lovely hands Name: Zhang MeiTong Class: 5B Being elegant and quiet Artist: Leonardo da Vinci Just as her lovely smile Painting: Mona Lisa NAME : Noa Smulders CLASS: 5 eme B ARTIST : Leonardo da Vinci PAINTING : The lady with the ermine A sweet gentle soul Observing the deep darkness An ermine guides her NAME : Nael Bounin Haughty red turban CLASS: 5B Silk, cotton, far horizon NAME: BOURIAT Tevy ARTIST : Jan Van Eyck Uncommon person PAINTING : The man in the red CLASS: 5B turban ARTIST : Leonardo
Recommended publications
  • Observing Protest from a Place
    VISUAL AND MATERIAL CULTURE, 1300-1700 Knox Giles Knox Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt of Italian Renaissance Art Challenge the Knowledge Sense and FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt Giles Knox Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book was published with support from the Office of the Vice Provost for Research, Indiana University, and the Department of Art History, Indiana University.
    [Show full text]
  • Chapter 12. the Avant-Garde in the Late 20Th Century 1
    Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college.
    [Show full text]
  • Sigmund Freud, Sublimation, and the Russian Silver Age Ana Siljak
    Sigmund Freud, Sublimation, and the Russian Silver Age Ana Siljak Freud’s lengthiest and most exhaustive exposition of sublimation and its particular relationship to knowledge and creativity is acknowledged to be his Leonardo da Vinci and a Memory of his Childhood, published in 1910. It has been called “fundamental to psychoanalytical thought,” and the “foundational” text on sublimation.1 Freud had already discussed the idea of sublimation – the redirection of sexual impulses away from their original objects and toward “higher” pursuits – in numerous theoretical texts prior to his work on Leonardo. Curiously, however, Freud chose to develop his theory most fully through an idiosyncratic psychological biography of Leonardo Da Vinci. A few explanations have been advanced for Freud’s interest in Leonardo. Leonardo had already been canonized by the nineteenth century as a particular kind of modern genius: a man with a rare combination of dispassionate analysis, an urge to experiment, a daring imagination, and an incredible artistic talent. He inspired Goethe, Kant, and Stendahl to see him as a misunderstood prophet of the Enlightenment. His art was similarly perceived as enigmatic: the Mona Lisa, most probably painted between 1503 and 1506 was, in the nineteenth century, already the iconic painting it is to this day. Writers as diverse as Theophile Gautier, Jules Michelet, and George Sand mused upon its beauty, and, in particular, the “mystery” of the Mona 1 Rossella Valdre, On Sublimation: A Path to the Destiny of Desire, Theory, and Treatment (London: Karnac Books, 2014), 20-22. Bradley Collins notes that dozens of books and articles have been written on this single work.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Touching the Void: The museological implications of theft on public art collections Jillian Seaton Ph.D. University of Edinburgh 2014 Abstract Of central importance to this thesis is the way security measures contradict the process through which museums have been seeking to divest themselves of theoretical hierarchies and value judgments in recent years. A context for investigation is established that considers how a perceptible increase in art theft, complicated by the escalating value of individual objects and the proliferation of museums as represented by a rise in attendance figures has produced a climate of vulnerability for arts collections around the world. In response, museums are installing unprecedented levels of security that are having a significant impact on established viewing conditions and redefining museum space. Further hindering this situation is the disparity between the fields of museology and museum security.
    [Show full text]
  • RAFFAELLO SANZIO Una Mostra Impossibile
    RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica.
    [Show full text]
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
    [Show full text]
  • LOUIS BETTS, PORTRAIT PAINTER of HIGH SOCIETY: the Meadow Brook Hall Portraits of Alfred G
    d LOUIS BETTS, PORTRAIT PAINTER OF HIGH SOCIETY: The Meadow Brook Hall Portraits of Alfred G. Wilson, Matilda R. Wilson, Danny and Frances Dodge, and John F. Dodge Karen A. Morgante Portraiture has a long established tradition in American art. Datable to the colonial limners, portraits were considered a practical mode which enabled an individual to establish his “sense of being” along with ties to his family and position. Throughout the seventeenth and eighteenth-century, it was the dominant art form of the middle class Protestant society. As the country grew and prospered, the wealthy merchants and plantation families had their portraits painted in the style of their mother country. Sir Godfrey Kneller, the official por- traitist of the English aristocracy, established the model for the high court style. The Grand Manner was brought to America with the influx of immigrant painters, and gradually, by Amer- ican-born artists who studied abroad. Patrons expected the painter to capture their likeness, as well as suggest their social position. A new realm of portraiture was opened with the advent of the daguerreotype in the nineteenth-century. As the process evolved, photography provided an affordable means for the masses to have their images recorded for posterity. For some artists, the new visual realism of photography was an aid 24 to capturing an individual in action, a thought, a moment in time; other artists embraced new approaches to portraying their sitter in a more creative way. The early twentieth-century found the national and in- ternational scene in a whirlwind; economic, political, social, and technological changes affected society’s way of life and thinking.
    [Show full text]
  • Sir Anthony Van Dyck
    CO N T E N T S k B H u h k e s Sir Anthony Van Dyc . y g St o ‘ List of su c h of the principal w ork s of Van Dyck as are in public Galleries L I ST O F I L L U ST R A T I O N S Portrait of T homas of Savoy Fron t zspzece T he R Coronation of St . osalie by the Child Jesus Minerva at the Forge of Vulcan T h e Virgin and Child with St . Joseph Saint Francis listening to Celestial M usi c Portrait of Prince Rupert of the Palatinate Portrait of Maria Louisa De T a s sis Christ on the Cross T h e Lamentation over Christ J esus bearing the Cross S h his n aint Sebastian , wit angels removing the arrows from wou ds T he Virgin and Child with two Donors Rinaldo and Armida P I ortrait of Charles . Portraits of Prince Charles Louis and Prince Rupert of B avaria Portrait of T h e Duk e of Richmond T h e Virgin and Child with the M agdalen Christ crowned with T horns P S his W Son ortraits of ebastian Leerse , ife and Saint Jerome T h e Drunk en Silenus H M l I enrietta aria , Queen to Char es . Portrait of the Painter P M R t W the ortrait of ary u hven , ife of Artist Portrait of an Artist T h e E mperor T heodosius refused admission 1rto the Church a n Portrait of Cornelius .
    [Show full text]
  • Versatility of Botulinum Toxin at the Yonsei Point for the Treatment of Gummy Smile
    CLINICAL RESEARCH Versatility of botulinum toxin at the Yonsei point for the treatment of gummy smile Hessa Al Wayli, BDS, MSc Consultant, Department of Oral Medicine, Ministry of Health, Dental Directorate, Al-Roda, Riyadh, Saudi Arabia Correspondence to: Dr Hessa Al Wayli Consultant, Department of Oral Medicine, Dental Administration Riyadh Health, Ministry of Health, Dental Directorate, Al-Roda, Riyadh, Saudi Arabia 13215; Tel: +966 505445212; Email: [email protected], [email protected] 86 | The International Journal of Esthetic Dentistry | Volume 14 | Number 1 | Spring 2019 AL WAYLI Abstract assessed at 2, 12, 24, and 36 weeks postinjection. The data were evaluated using mean standard de- The purpose of the present study was to evaluate viation, analysis of variance (ANOVA), and Tukey’s the efficacy of a single dose of botulinum toxin post hoc test. The results of the study revealed that (BTX) at the Yonsei point for the treatment of gum- a single dose of BTX-A injected at the Yonsei point my smile (GS). A total number of 45 female patients was effective in the treatment of GS P( < 0.05) and were enrolled in the study at a private clinic over a achieved better results than multiple injections at period of 24 months. Three units of onabotulinum- various sites. toxinA (BTX-A) per site (90 hemifacies) were initially injected at the Yonsei point. The patients were then (Int J Esthet Dent 2019;14:86–95) The International Journal of Esthetic Dentistry | Volume 14 | Number 1 | Spring 2019 | 87 CLINICAL RESEARCH Introduction frequently recommended. In contrast, the use of BTX represents a simple, fast, and ef- Gummy smile (GS) is a well-known condition.
    [Show full text]
  • A Scientific Method for the Attribution of Paintings with Application To
    A Scientific Method for the Attribution of Paintings identified for the analysis of the individual painting technique of the particular master. The brushstrokes of each artist, as a rule, have a certain length and direction, as well as a viscosity of the paint particular to this master. They with application to Leonardo’s Mona Lisa twins result from the texture of the brushes, the speed of the hand movements, the particular features of the color palette, as well as from the pigment mixing techniques and the use of glazing. J. F. Asmus 1 and V. A. Parfenov 2 In light of this, one of the possible ways of studying the properties of an artist’s painting technique is to 1 Department of Physics & Center for Advanced Nanotechnology, University of California, CA, U.S.A. analyze the histograms from digital images of the paintings. Any amplitude histogram (another name for the 2 Department of Quantum Electronics and Opto-Electronic Devices, intensity histogram) of a digital optical image is a function (graph) of the statistical distribution of the image St. Petersburg Electrotechnical University, St. Petersburg, Russia elements of various intensities, in which the horizontal axis indicates the brightness level and where the relative number of pixels with a specified brightness value are plotted on the vertical axis (a typical histogram is shown in Introduction Figure 1). The attribution of great paintings is one of the most important activities in modern museum work. The attribution of an artwork is the result of authentication – a procedure for the confirmation of its authenticity. The main task in authentication is to find material evidence by which it is possible to indisputably acknowledge the experts’ conclusions about the authorship and the painting’s time of creation.
    [Show full text]
  • Mystery Portrait May Be a Lost Raphael Benjamin Sutton, Friday, June 13, 2014
    AiA Art News-service Mystery Portrait May Be a Lost Raphael Benjamin Sutton, Friday, June 13, 2014 A portrait painting currently attributed to a follower of Giuliano Bugiardini . Courtesy Dorotheum. According to Italian art critic and former undersecretary of cultural heritage Vittorio Sgarbi, writing in Corriere della Sera‘s magazine Sette, a painting currently attributed to the followers of 16th-century Florentine painter Giuliano Bugiardini may actually be by Raphael. The portrait of an unknown woman was snapped up by collector Peter Silverman at Dorotheum in Vienna on April 9 for €36,900 ($50,000), well over its €15,000–20,000 estimate ($20,000–27,000), and now he is trying to have its attribution changed to the master from Urbino, Le Figaroreports. “Vittorio Sgarbi is the first to suggest an attribution to the master, Silverman says. Now I’m going to let the experts have their say and see if a consensus emerges. For my part, all that I can say with certainty is that my wife and I are very happy to own this magnificent portrait.” The opinions of numerous experts on Renaissance painting are being brought to bear on the painting. Silverman’s hunch is that its similarity to Raphael’s Maddalena Doni, La Velata, and La Donna Gravida portraits is more than a formal coincidence. Elisabetta Gnignera, an expert of clothing analysis, dated the painting to between 1506–08, But high- resolution photography at Paris’s Lumiere Technology lab peg its execution to circa 1515, the same year that Raphael painted his La Velata. Closer analysis of Silverman’s acquisition has also revealed a similar portrait of the same sitter, but looking much older and with a different, more in vogue hairstyle.
    [Show full text]
  • Raffaelloraffaello
    RAFFAELLORAFFAELLO Autoritratto, 1506 ca Vol II, pp. 446-459 1483-1520 LA VITA 1483 nasce a Urbino figlio di un pittore Va a bottega dal padre e si educa alla corte dei Montefeltro Allievo del Perugino 1504-1508 soggiorno fiorentino 1508 va a Roma invitato da Giulio II e con l’aiuto di Bramante Lavora per Giulio II e Leone X 1520 muore a Roma Raffaello 2 1483-1520 LE OPERE 1500-1502 Studio di nudo maschile (disegno) Urbino 1502 Cristo benedicente 1505 San Giorgio e il drago (disegno) Firenze 1504 Lo sposalizio della Vergine (olio su tavola) 1505 Ritratto di Agnolo Doni 1506 Ritratto di Maddalena Doni 1506 Madonna del cardellino 1506 Madonna del prato (o del Belvedere) 1507 Sacra famiglia Canigiani (olio su tavola) 1507-1509 Trasporto di Cristo al sepolcro (pala Baglioni) 1509-1510 Scuola d’Atene (affresco) Roma 1512 Ritratto di Giulio II 1513 Madonna della seggiola 1513 La velata 1513-1514 altri affreschi nelle Stanze vaticane 1518 Leone X 1518-1519 Due uomini nudi in piedi (disegno) 1518-1520 Trasfigurazione (olio su tavola) Raffaello 3 1500-1502 STUDIO DI NUDO MASCHILE All’inizio della sua carriera si dedica al disegno, soprattutto agli studi sulla figura umana Non disegna un contorno netto ma una serie di linee affiancate I corpi vengono presentati scarni, con muscoli e tendini in evidenza Michelangelo, Studio di figura nuda, 1504-06 Raffaello 4 1502 CRISTO BENEDICENTE Opera giovanile È ancora a Urbino Raffaello 5 1505 SAN GIORGIO E IL DRAGO Influssi leonardeschi – Il cavallo impennato – Lo slancio del cavaliere – La lunga testa del
    [Show full text]