By M. Faries, R. Spronk
Contents Re-reading the proof: views on Technical stories of Early Netherlandish portray; status at the Shoulders of Giants: The Early Years of Conservation and Technical Examinations of Netherlandish work on the Fogg paintings Museum; Slowly in the direction of better Infrared Reflectography apparatus; Dendrochronological Analyses of Netherlandish work; concerns surrounding the portray medium: A case learn of a pre-Eyckian altar piece; The Fogg's replica After a misplaced Van Eyck: Conservation background, Resent remedy and Technical exam of the girl at Her bathroom; The Fogg's Virgin and baby from the Workshop of Dirck Bouts: Findings from Technical Examinations and up to date Conservation therapy; electronic Imaging for the examine of work: reports on the Straus middle for Conservation; what is in a reputation? The query of Attribution in Early Netherlandish portray
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Extra resources for Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations and Perspectives
E. Hulme, one of the few writers in English to have seriously concerned himself with the problem of form in literature, turned to this group for guidance; and we can do no better than to follow his example.
In the first four chapters we are introduced to each of the important persons-Felix Volkbein, Nora Flood, Robin Vote, Jenny Petherbridge, and Dr. O'Connor. The next three chapters are, for the most part, long monologues by the doctor, through which the developments of the earlier chapters begin to take on meaning. The last chapter, only a few pages long, has the effect of a coda, giving us what we have already come to feel is the only possible termination. And these chapters are knit together, not by the progress of any action-either narrative action or, as in a stream-of-consciousness novel, the flow of experience-but by the continual reference and cross reference of images and symbols that must be referred to each other spatially throughout the time-act of reading.
And the narrator decides to dedicate the remainder of his life to recreating these experiences in a work of art. This work will differ essentially from all others because, at its root, will be a vision of reality refracted through an extratemporal perspective. This decision, however, should not be confused with the Renaissance view of art as the guarantor of immortality, nor with the late nineteenth-century cult of art for art's sake (though Proust has obvious affinities with both traditions, and particularly with the latter).