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Missing topographical elements of Paleolithic rock art revealed by stereoscopic imaging

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<div data-thumb=”https://scx1.b-cdn.net/csz/news/tmb/2023/missing-topographical.jpg” data-src=”https://scx2.b-cdn.net/gfx/news/2023/missing-topographical.jpg” data-sub-html=”Credit: amiteshikha, CC BY 3.0 , via Wikimedia Commons”>

Missing topographical elements of Paleolithic rock art revealed by stereoscopic imaging
Credit: amiteshikha, CC BY 3.0 , via Wikimedia Commons

Research led by Complutense University, Madrid, has discovered an array of ancient cave paintings hidden among previously described cave art. In a paper, “Animals hidden in plain sight: stereoscopic recording of Paleolithic rock art at La Pasiega cave, Cantabria,” published in Antiquity, the team fills in details missing from previous photographic images.

The researchers revisited La Pasiega cave’s rock art using new digital stereoscopic recording methods and identified previously unnoticed animal figures within the . Specifically, they discovered new depictions of horses, deer, and a large bovid (possibly an aurochs) that had not been recognized before.

Some figures were previously considered incomplete as if the artist simply gave up on the rendering midway through. Through stereoscopic photography and a better understanding of how natural rock formations were incorporated into the artwork, these incomplete figures were reinterpreted as complete animal depictions.

Stereoscopic photographs allowed the researchers to establish correlations between the images and the irregularities of the cave’s rock walls. These correlations were not easily perceptible in traditional two-dimensional photographs.

By incorporating natural rock features into the depictions, the ancient artist used the existing environment to enhance or become part of the artwork, creating a harmonious interaction between human-made and . The technique can give depth and three-dimensionality to the depicted figures and scenes.

The topographical features of the cave walls could also have inspired the artists’ imagination. Cave dwellers may have experienced pareidolia, the psychological phenomenon of seeing unintentional forms in nature, like seeing shapes in clouds. If a bulge of rock looks a little like a horse’s head, the artist might imagine the complete form, filling in the rest of the details.

For example, one newly discovered horse image measures around 460 x 300mm and is painted in red using variably spaced dots. It depicts the head with the corner of the mouth, an eye, an ear, and the beginning of the cervico-dorsal line. The figure makes use of natural features of the cave wall, with cracks in the rock incorporated into the outlines of the head and chest. The cervical-dorsal line adapts to a concave area of the wall.

Another horse is painted in yellow ochre, with a length from head to hindquarters of 600mm. The painted anatomical parts previously identified are the head, mane, back and hindquarters. Considering the shape of the rock surface, the authors suggest that a rock edge defines the belly of the horse, with natural cracks of the rock also defining the foreleg. Even without the application of paint, the natural rock surface evokes several anatomical elements.

Stereoscopic photographs allowed the team to identify dozens of correlations between images and irregularities of the rock walls of the cave, which are not visible in regular photographs. La Pasiega provides an excellent example of a site where previous research relied on the description of the art based on color, form and painting or engraving technique, with the natural rock surfaces only occasionally acknowledged.

The authors conclude that paleolithic rock art should be defined by more than just drawn, painted or engraved marks but also by the topographical features of the rock on which they are inscribed, as the two elements cannot be separated.

More information:
Raquel Asiain et al, Animals hidden in plain sight: stereoscopic recording of Palaeolithic rock art at La Pasiega cave, Cantabria, Antiquity (2023). DOI: 10.15184/aqy.2023.122

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Missing topographical elements of Paleolithic rock art revealed by stereoscopic imaging (2023, August 24)
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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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