These three techniques are: multi-scale optical coherence tomography, 3D scanning based on fringe-encoded stereo imaging (at two resolutions), and 3D digital microscopy. 1665): a painting in the collection of the Mauritshuis, the Hague. In this manuscript we compare three 3D scanning techniques, which have been used to capture the surface topology of Girl with a Pearl Earring by Johannes Vermeer (c. New technological advancements in non-invasive imaging allow for the documentation and visualisation of a painting’s 3D shape across larger segments or even the complete surface. Furthermore, the impact of mechanical abrasion, (photo)chemical processes and treatments can affect the topography of the surface and thereby its appearance. ![]() Crack formation in the multi-layered stratigraphy of the painting is visible in the surface topology. A viewer’s perception of a work of art can be affected by changes in and damages to these layers. I hope to keep alive the desire and the energy to develop and go deeper, keeping a strong tension towards what still has to reveal itself, in whatever artistic field this may be.A seventeenth-century canvas painting is usually comprised of varnish and (translucent) paint layers on a substrate. Do you have a vision of what your artistic future might look like? But painting is only a part of a larger game in which composers, musicians, directors, writers, photographers are involved and whose artistic ideas I deeply admire, having, each with its own language, a profound influence on me. They seem to share a strong desire for beauty, in an intense, lyric and fulfilled way. Their works (although different from each other) attract me in a profound and magnetic fashion. Speaking of painting my thoughts go immediately to Afro Basaldella, Alberto Burri, Mario Sironi, William de Kooning, Umberto Boccioni and few others. Synesthesia, 2015, Acrylic on paper, 40×50 cm Which artists do you admire? I am working on a similar but wider project to be held in Bologna later this year, an exhibition that will combine visual, musical and literary aspects. On a more concrete level, last year I held a solo exhibition named “Chimere” where I could to take care of every aspect and I am very satisfied with it. ![]() ![]() What have been the highlights of your artistic career so far?Īll the moments in which I still feel a sense of mystery and completeness when looking at a painting of mine are definitely highlights for me. A canvas is silent and it must speak only as painting. The challenge is related to the very physical nature of a painting: its drama must happen and be fulfilled in that space, without any external references or explanatory descriptions. I use all techniques and materials that I consider suitable to my research. They’re suggestions and observations (yet more agreeable than one might believe) which help me a lot to give direction and coherence to my work. I work trying to translate their formal values from one medium to the other, making the sign becoming sound and vice versa, transposing musical rhythm into the physical space of painting, trying to move a certain tone layering into musical harmony and so on. In my point of view they’re like two twin sisters dressed up in a different way. I have been working for years on relationships between music and painting, trying to combine and create a dialogue between those languages. The Second Chimera, 2017, acrylic, oil, collage, gouache on canvas, 70×100 cm You are deeply fascinated by music and art – how do you transfer music through painting? Which techniques do you use? What are the biggest challenges here? ![]() Yet I know where I’m searching it: in a line between what I know and love and what still eludes me. How did you find your voice as an artist? I dedicated myself full time to painting and music and I live in the area of Bologna, Italy. My name is Francesco D’Adamo and I’m close to be 39.
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