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Foxing is an age-related process of deterioration that causes spots and browning on old paper documents such as books, postage stamps, old paper money and certificates. The name may be a variant form of the English West country dialect term foust and Scots foze , to become moldy. [ 1 ]
Some commentators, such as Donn Zaretsky of The Art Law Blog critique the notion of "the public trust" and argue that deaccessioning rules should probably be thrown out altogether. [15] Others, such as Susan Taylor, director of the New Orleans Museum of Art and the AAMD's current president, believes that proceeds from the sale or funds from the ...
An important and often confused distinction is that between editions of original prints, produced in the same medium as the artist worked (e.g., etching, or lithography), and reproduction prints (or paintings), which are photographic reproductions of the original work, essentially in the same category as a picture in a book or magazine, though better printed and on better paper.
With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones. Unlike monoprinting, monotyping produces a unique print, or monotype, because most of the ink is removed during the initial pressing. Although subsequent reprintings are ...
The original art was not changed or reproduced, only bonded to ceramic and sold. The court held that this act was not original and creative enough to rise to the level of creating a derivative work, but effectively similar to any other form of display or art frame. [21] Distribution rights differ from reproduction rights.
Art was considered to be highly important in this cause and political artists were using journals and newspapers to communicate their ideas through illustration. [18] El Machete (1924–29) was a popular communist journal that used woodcut prints. [18] The woodcut art served well because it was a popular style that many could understand.
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Using a removal tool, a sort of awl, the painting and the intonachino attached to the cloth and glue covering are then detached, from the bottom up. The back of the fresco is thinned to remove excess lime and reconstructed with a permanent backing made from two thin cotton cloths, called velatini, and a heavier cloth with a layer of glue.