Mark Rothko’s Harvard Murals: A Fugitive History of Art and Science by Bryan Markovitz, Ph.D., Brown University
Figures: Chapter 4
Fig. 37, Detail of Panel One (Harvard Murals) shows pigment-laden paint in relief on the surface of the canvas and the diluted crimson paint soaked into the canvas, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 38, Calcium Lithol Red crystals grown in the Straus Center laboratory for analysis, 2010, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums. The image originally appeared in: Stenger et al., “Lithol Red Salts,” 151.
Fig. 39, Mock-up of the painting created by Jens Stenger on display in a classroom at the Harvard Art Museums, 2015, Photograph, Bryan Markovitz.
Fig. 40, Camera-projector system and workflow for the color restoration of a mock-up painting, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 41, In-situ view of the process to align the compensation image with the painting using a Harris Corner Detector in MATLAB on a laptop computer, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 42, Use of the Harris Corner Detector in MATLAB to create homography between Panel One (Harvard Murals) and its compensation image, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 43, Discolored 1964 Ektachrome of Panel One (Harvard Murals Triptych) in Holyoke Center penthouse dining room, 1964, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 44, Detail of the tacking margin on Panel Five (Harvard Murals) showing the red paint that was protected from fading in the small canvas areas covered by the original staples, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 45, Mark Rothko, Panel Six (Harvard Murals), 1962, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Kate Rothko Prizel & Christopher Rothko/ Artists Rights Society (ARS), New York. The darker pink areas were shielded from light damage.
Fig. 46, Compensation images for the digital restoration of Rothko’s Harvard Murals, showing the uneven but widespread patterns of fading across the panels, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 47, Detail of Panel Four tacking margin (Harvard Murals) showing the thin line of projected light that spills over the edge of the canvas, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 48, Jens Stenger works with Mary Schneider Enriquez and Narayan Khandekar to calibrate the projection system in the special exhibitions gallery where the Harvard Murals were exhibited, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 49, Jens Stenger holds a white poster board against the surface of Panel Four (Harvard Murals) to reveal the compensation image projected onto the painting, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 50, Image of Mark Rothko's Harvard Murals without light-compensation treatment, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 51, “Target image” of Mark Rothko's Harvard Murals for restoration with projected light, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 52, Installation view of the assembled paper and canvas studies created by Mark Rothko for the Harvard Murals, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 53, Installation view of the virtually restored Harvard Murals facing the entrance, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 54, Installation view of the virtually restored Harvard Murals facing the central triptych, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 55, Harvard Art Museums staff in discussion during the lighting of the Harvard Murals exhibition, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Fig. 56, View of the video projectors mounted overhead in the gallery during installation of the Harvard Murals exhibition, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.
Links to figures for all chapters:
Introduction
Chapter 1
Chapter 2
Chapter 3
Chapter 4