There is a growing interest in cultural heritage preservation. The notion of HyperHeritage highlights the creation of new means of communication for the perception and data processing in cultural heritage. This article presents the Digital Surface HyperHeritage approach, an academic project to identify the topography of art painting surfaces at the scale at which the elementary information of sensorial rendering is contained. High-resolution roughness and imaging measurement tools are then required. The high-resolution digital model of painted surfaces provides a solid foundation for artwork-related information and is a source of many potential opportunities in the fields of identification, conservation, and restoration. It can facilitate the determination of the operations used by the artist in the creative process and allow art historians to define, for instance, the meaning, provenance, or authorship of a masterpiece. The Digital Surface HyperHeritage approach also includes the development of a database for archiving and sharing the topographic signature of a painting.
Identification of an individual artist’s touch on paintings is studied using surface metrology. Paintings’ topographies were measured using focus variation and stitching, creating 13 x 13 mm maps with 1 µm sampling intervals, and 169 megapixels, with a 10X objective lens. Topographic characterization parameters were analyzed for their ability to differentiate different painters’ renderings. Statistical treatments from data mining were used to discriminate, by optimization, multiscale topographic signatures characterized by a multitude of areal texture parameters. It appears that a fractal dimension can define 3 characteristic scale ranges. One from 3 to 70 µm corresponds to brushstroke details. Another, from 70 to 700 µm, corresponds to the topography of the material of the canvas fabric. Finally, scales greater than 700 µm correspond to undulations of the canvas. For scales less than 50 µm, the fractal structure of the topography left by brushstrokes follows a power law characterized by the slopes of the topography. The topography of the clouds painted on the canvas has an Sdq (topographic slopes) increasing with the clarity of the clouds at scales of 3-500 µm. According to the Torrance-Sparrow theory, the higher the Sdq, the more diffuse the light on the surface. The painter therefore wanted to show, by his brushstroke, that the light clouds diffuse more light giving an impression of local brightness. This study is confirmed by the analysis of the painting of Max Savy, a French painter from Carcassonne (1918-2009), which was measured with a white light interferometer Zygo NewView 7300, a X100 objective lens giving a 517 µm x 517 µm stitched surface, with a sampling interval of 0.109 µm. The box-counting method for estimating the fractal dimension of the topography of an oil painting appears optimal by the fact that it morphologically integrates scale variations of the local slopes of the surface morphology. This method thus characterizes the multiscale aspects, as well as the scale changes, of the topography.
The halophytic vegetation of the Lopatinsky District in the Penza Region was studied on the example of five solonets (Litvinovsky, Lipovsky, Staro-Vershautsky, Olginsky and Belogorsky). Halophytic meadows (44,0%) slightly prevail over halophytic steppes (36,0%) on all of these salt lakes. 550 species of vascular plants have been identified in the Lopatinsky District of the Penza Region, 29 rare species have been identified, 2 species ( Iris aphylla , Stipa pennata ) are protected at the federal level and 29 species ( Adenophora liliifolia , Adonanthe vernalis , Allium lineare , Allium podolicum , Allium praescissum , Amygdalus nana , Artemisia santonica , Astragalus varius , Bupleurum falcatum , Dianthus volgicus , Galatella linosyris , Galatella rossica , Galatella villosa , Gelasia ensifolia , Hippochaete ramosissima , Iris aphylla , Jacobaea erucifolia , Plantago maxima , Plantago salsa , Potentilla alba , Pulsatilla patens , Rosa corymbifera , Salvia nutans , Silaum silaus , Spiraea crenata , Stipa borysthenica , Stipa pennata , Stipa tirsa , Syrenia montana ) are protected regionally. In all of these five solonets, perennial grasslands predominate among halophytic meadows (36,0%), and semi-shrubby grasslands predominate among halophytic steppes (23,0%). The main stages of halophyte vegetation demutation in various ecological conditions have been established. Halophytic meadows are formed in saline and moist soils: annuals, perennials, turf and slag. On the contrary, in the conditions of saline and dry soils, halophytic steppes are formed: annual grasslands, perennial grasslands, semi-shrubby. Of the studied salt shakers of the Penza Region the salt shakers of the Lopatinsky District are the closest to the salt shakers of the Maloserdobinsky District in their structure and dynamics.
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