Zobrazeno 1 - 5
of 5
pro vyhledávání: '"Tone Marie Olstad"'
Autor:
Zahra Haghighi, Meaghan Mackie, Anne Apalnes Ørnhøi, Abigail Ramsøe, Tone Marie Olstad, Simon James Armitage, Christopher Stuart Henshilwood, Enrico Cappellini
Publikováno v:
Scientific Reports, Vol 14, Iss 1, Pp 1-10 (2024)
Abstract Two distemper paint samples taken from decorative boards in Uvdal stave church, Norway, were analysed using palaeoproteomics, with an aim of identifying their binder and possible contaminants. The results point at the use of calfskin to prod
Externí odkaz:
https://doaj.org/article/fee35ed75bf34f8cbf19feae147de769
Autor:
Tone Marie Olstad
Publikováno v:
Collegium Medievale, Vol 33, Pp 39-39 (2020)
Less than 100 medieval triptychs, or fragments of such, are preserved in Norway. About 30 of these are in the churches. A common understanding used to be that the medieval - Catholic - ecclesiastical art was thrown out or altered as a result of the r
Externí odkaz:
https://doaj.org/article/be5d789c98384b72b9905c44f10f989a
Autor:
Tone Marie Olstad, Anne Apalnes Ørnhøi, Nina Kjølsen Jernæs, Lavinia de Ferri, Ashley Freeman, Chiara Bertolin
Publikováno v:
Climate, Vol 8, Iss 2, p 33 (2020)
During the Medieval period, over 1000 stave churches were thought to have been constructed in Norway. However, currently, only 28 of these churches remain and only 19 still have distemper wall paintings. The cultural significance of these structures,
Externí odkaz:
https://doaj.org/article/eefdbf3e0ae740938323851f352aed30
Autor:
Kristin Solberg, Tone Marie Olstad
Publikováno v:
Studies in Conservation. 43:175-179
A group of seventeenth-century distemper wall paintings, mainly in churches, has in the past been partly attributed to one artist. The project described aims, first, at a better understanding of these paintings in order to improve their conservation
Autor:
Tone Marie Olstad
Publikováno v:
Studies in Conservation. 39:99-103
A project with the aim of improving the conditions for painted wooden objects in wooden churches in Norway began in 1986. The project is based on the hypothesis that a natural climate is better for painted wooden objects and for the structure of the