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Simon Berger's glass portraits visualize a tension between strength and fragility through its motif, as well as his handling of the glass. The anonymous female portraits commonly share a powerful expression, their fierce gazes either piercing through the viewer, or fixating on an object beyond the frame.
The pictures served their purpose, but the resulting painting- a traditional, formal, bust-length portrait in an oval format—is not particularly distinguished and hardly remembered today. Gardner's surprisingly candid photographs have proven more enduring, even though they were not originally intended to stand alone as works of art.
Breaking glass is the action of damaging or destroying a glass object. It may also refer to: Arts and media ... Glassing, use of broken glass as a weapon
Flying glass resulting from an explosion poses a significant risk in the event; up to 85% of injuries from an explosion are due to flying glass. [1] Severity of injury from flying glass depends on the peak overpressure of the blast. [2] Potential for injury has been derived from both experiments and theoretical modeling of blast effects.
Camouflage works due to its ability to hide the contour, or outline, of the body, because the human eye has a limited capacity to distinguish color patterns from far away.
Glass disease, also referred to as sick glass or glass illness, is a degradation process of glass that can result in weeping, crizzling, spalling, cracking and fragmentation. [ 1 ] [ 2 ] Glass disease is caused by an inherent instability in the chemical composition of the original glass formula. [ 3 ]
Murrine – Italian term for patterns or images made in a glass cane (long rods of glass) that are revealed when cut or chopped in cross-sections. Pate de verre [3] – a paste of ground or crushed glass, and the technique of casting this material into a mold; also applied to a more general range of cast-glass objects.
Due to the impracticalities of shipping paintings with glass, he abandoned the media in the early 1960s. [63] [17] For the most part of his career, Byrne painted on masonite with a mixture of oils and synthetic gloss enamels. He would often outline in the thicker oil paint and then fill using enamels. [70]