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ARCH.2003.26, Rendition: 791573
The image depicts a page from the American Magazine of Art, dated February. The page features an article titled 'Ultra-Violet Rays and Their Use in the Examination of Works of Art' by James J. Rorimer, Assistant Curator in the Department of Decorative Arts at The Metropolitan Museum of Art. The article discusses how scientific methods like X-rays and chemical analysis, though sometimes seen as detrimental to art appreciation, actually help in authenticating and preserving art. Rorimer explains how ultra-violet light can reveal details not visible to the naked eye, helping to distinguish between original works and forgeries. The article is noted as being clearly written, making complex scientific concepts accessible to both experts and casual readers.
On the right side of the page, there is an image of a Japanese, 13th-century Buddhist painting titled 'Kwannon on the Waves.' The artwork was gifted to the Fogg Art Museum, Harvard University, by Mrs. Waldo E. Forbes. The image is accompanied by a brief description and the name of the photographer, George L. Stout.
The image is a page from the "American Magazine of Art" dated February. The article is titled "Ultra-Violet Rays and Their Use in the Examination of Works of Art" and was written by James J. Rorimer, who was an Assistant Curator in the Department of Decorative Arts at The Metropolitan Museum of Art.
The article discusses the use of ultra-violet rays in the examination of artworks, explaining that these rays can reveal hidden details and detect forgeries. The text mentions that visitors to art galleries might be annoyed by the intrusive methods used for examining artworks, but it also acknowledges that such methods can be beneficial for both experts and enthusiasts.
The article explains that ultra-violet rays can show differences in materials after long exposure to air, such as restorations and fraudulent replicas, which usually fluoresce differently under these rays. It also notes that a careful study of the fluorescence patterns can reveal much about the authenticity and condition of artworks.
Next to the article text is a photograph of a Japanese painting titled "Kannon on the Waves," from the thirteenth century. This artwork was described as an early and extremely beautiful Buddhist painting given to the Fogg Art Museum at Harvard University by Mrs. Waldo E. Forbes.
The page also includes a short note by George L. Stout, emphasizing the importance of understanding scientific examination to verify the authenticity of artworks.
The image is a page from the February 1954 issue of the "American Magazine of Art." The page contains an article titled "Ultra-Violet Rays and Their Use in the Examination of Works of Art" by James J. Rorimer, who was the Assistant Curator in the Department of Decorative Arts at The Metropolitan Museum of Art.
The article discusses the application of ultra-violet rays in the examination of artworks, which can reveal details that are not visible to the naked eye. The text suggests that while gallery visitors might be aware of various scientific examinations like X-rays, chemical analysis, and infrared photography, they might not be familiar with the use of ultra-violet rays.
Key points mentioned in the article:
Additionally, there is a photograph on the page of a Japanese artwork titled "Kwanon on the Waves" from the thirteenth century. The image is described as an early and extremely beautiful Buddhist painting given to the Fogg Art Museum at Harvard University by Mrs. Waldo E. Forbes.
The page also includes the price of the booklet, which is $1.50, and a note about the author's clarity in presenting his observations. The page is dated February 5.
The image is a page from the "American Magazine of Art" from February of an unspecified year. The page contains two main articles:
"Ultra-Violet Rays and Their Use in the Examination of Works of Art" by James J. Rorimer:
The image alongside this article shows a statue under normal light and the same statue under ultra-violet light, highlighting the differences in appearance.
"Kwannon on the Waves, Japanese, Thirteenth Century" by George L. Stout:
The page number is 221, and the layout includes text and a photograph illustrating the effects of ultra-violet light on an artwork.
The image is a page from the February 1930 issue of the American Magazine of Art. The article is titled "Ultra-Violet Rays and Their Use in the Examination of Works of Art" and is authored by James J. Rorimer, an assistant curator in the Department of Decorative Arts at the Metropolitan Museum of Art.
The text discusses how ultra-violet rays can help in identifying and verifying the authenticity of artworks. It explains that while gallery visitors might be concerned about the scientific examination of art, this method can actually help uncover frauds or forgeries and provide valuable insights into the authenticity of artworks.
The article includes an explanation of ultra-violet light, its production and filtration, and its application in examining various materials such as stone, ivory, ceramics, textiles, prints, drawings, paintings, and other surfaces. It mentions that these rays can reveal details invisible to the naked eye, including differences in materials and restoration techniques, thus aiding in the verification process.
Accompanying the article is a black-and-white illustration of a Japanese painting titled "Kwanon on the Waves" from the 13th century, attributed to the Fogg Art Museum, Harvard University. The caption notes it is an early and extremely beautiful Buddhist painting given to the museum by Mrs. Waldo E. Forbes. The page also includes a short review or annotation by George L. Stout.
The image is a page from the "American Magazine of Art" dated February. It features an article titled "Ultra-Violet Rays and Their Use in the Examination of Works of Art" by James J. Rorimer, who was the Assistant Curator in the Department of Decorative Arts at the Metropolitan Museum of Art. The article discusses the use of ultraviolet light in examining and authenticating works of art, highlighting how this scientific method can reveal alterations, restorations, and forgeries that are invisible under ordinary light.
The article explains that ultraviolet light can help experts and curators identify differences in materials and detect fraudulent replicas, thereby aiding in the accurate study and preservation of art. The author emphasizes that this method provides valuable insights that can confirm or disprove the authenticity of artworks without relying solely on scholarly opinions.
Alongside the text, there is a black-and-white photograph of a painting titled "Kwannon on the Waves," a Japanese artwork from the thirteenth century. This painting, described as an early and extremely beautiful Buddhist painting, was given to the Fogg Art Museum at Harvard University by Mrs. Waldo E. Forbes. The painting depicts a serene figure standing on waves, adorned with traditional garments and accessories.
Overall, the page combines scholarly discussion on art examination techniques with a visual example of a historically significant artwork.
The image is a page from the "American Magazine of Art" dated February. On the left side, there is an article titled "Ultra-Violet Rays and Their Use in the Examination of Works of Art" by James J. Rorimer. The article discusses the use of ultraviolet rays in art inspection, highlighting the ability of these rays to reveal differences in materials after long exposure and assist in confirming the authenticity of artworks.
On the right side, there is a photograph depicting "Kwannon on the Waves, Japanese, Thirteenth Century." The image is described as an early and extremely beautiful Buddhist painting given to the Fogg Art Museum, Harvard University, by Mrs. Waldo E. Forbes. The painting features a figure standing on waves, adorned in traditional robes and headpiece, indicative of Japanese Buddhist art from the Thirteenth Century.
This is an image of a printed page from a magazine or periodical, specifically identified as the "American Magazine of Art" dated February, as seen at the top of the page. The text on the left side appears to be part of an article or paper that discusses "Ultra-Violet Rays and Their Use in the Examination of Works of Art" authored by John J. Bemer, Assistant Curator in the Department of Decorative Arts, The Metropolitan Museum of Art, Philadelphia. It seems to be an academic or technical piece, possibly discussing techniques used in art conservation or analysis.
On the right side of the page, there's a large black-and-white photograph of an artwork, which appears to be a Japanese painting, as noted in the caption underneath the image. The caption reads "Kwannon on the Waves; Japanese, Thirteenth Century A sturdy and exuberantly beautiful painting showing the sea god Kwannon. Harvard University, Mrs. Wirt D. Walker, A.I.C."
Below the caption, there is a reference indicating the page number as 228. The entire page has punched holes along the left margin, suggesting it was part of a bound collection or archive, perhaps intended for a ring binder or similar filing system. The photograph of the artwork covers a substantial portion of the page and is rich in detail, though the range of grays visible in the photo indicates that the original artwork may have a broad palette that isn't conveyed in this monochrome reproduction.
The image shows a page titled "American Magazine of Art. February" with two parts: a column of text on the left and an image with a caption on the right.
The text is an article titled "Ultra-Violet Rays and Their Use in the Examination of Works of Art" by James J. Rorimer, Assistant Curator in the Department of Decorative Arts at The Metropolitan Museum of Art. The article discusses how ultraviolet light can be used in studying artworks to detect forgeries, restorations, and other alterations by revealing differences in materials and treatments that are not visible under normal light.
On the right side of the page is a black-and-white photograph of a Japanese Buddhist painting called "Kwannon on the Waves," from the Thirteenth Century. The caption notes that it is an early and extremely beautiful Buddhist painting given to the Fogg Art Museum, Harvard University, by Mrs. Waldo E. Forbes. The painting depicts a figure standing on a wave-like platform with detailed clothing and adornments.
The page has three punched holes on the left, indicating it likely comes from a binder or collection. The top right corner of the page is marked "Feb. 5" in handwriting.
The image depicts a page from the American Magazine of Art, dated February, featuring an article titled "Ultra-Violet Rays and Their Use in the Examination of Works of Art" by James J. Rorimer, Assistant Curator in the Department of Decorative Arts at The Metropolitan Museum of Art. The article discusses the application of ultraviolet light in the study and authentication of art, highlighting its utility for examining materials such as stone, ivory, ceramics, textiles, prints, drawings, and paintings. It emphasizes the value of ultraviolet light in revealing differences in materials, restorations, and fraudulent replicas that may not be visible under ordinary light.
On the right side of the page, there is an illustration labeled "Kwannon on the Waves, Japanese, Thirteenth Century", described as an "Early and Extremely Beautiful Buddhist Painting Given to the Fogg Art Museum, Harvard University, by Mrs. Waide E. Forbes." The illustration shows a stylized depiction of a figure, likely representing Kwannon (a bodhisattva in Buddhism), standing with one hand raised and the other holding an object. The figure is adorned in elaborate, flowing robes and wears a halo-like aura around the head, suggesting a spiritual or divine presence. The overall composition conveys a sense of serenity and reverence, characteristic of traditional Buddhist art. The page number "221" is visible at the bottom right corner.