Anne-François-Louis Janmot was a 19th century French painter who devoted his career to depictions of his deeply held Christian faith.

Janmot was also a poet. His most ambitious undertaking was a cycle of 18 paintings and 16 drawings, accompanied by verse, titled Poem of the Soul. You can see the 18 paintings arranged in order on Painterlog.

He studied at the Ecole des Beaus-Arts in Lyon, where he was born, and then at the Ecole des Beaux-Arts in Paris and in Ingres’ studio. You can see Ingres’ emphasis on precision and form defined by linear edges in Janmot’s figurative work.

His compositions took some of their formality from late Medieval works that he admired, and his sensibilities ranged from symbolism to the fluid poses and details of nature common to the Pre-Raphaelite painters.

You’ve probably seen by now some of the examples of very high resolution art images, on the Google Cultural Institute: Art Project if not elsewhere, and you may have heard of the process of 3D printing, in which ink-jet like printers can print three dimensional physical objects by the computer-controlled application of layers of sprayed material.

Tim Zaman, a dutch researcher, has built a system using high resolution photographic imaging, along with structured light 3D scanning and fringe projection, to image the topographic surface of well known paintings, along with their image and color, and pass that information to special 3D printers from Canon’s Océ group, resulting in three dimensional replicas of the paintings.

These show the three dimensional characteristics of the brushstrokes and other details of paint application. In the experiments shown in this article on designboom, paintings by two painters with very distinct three dimensional character to their work were scanned and reproduced: Rembrandt and Van Gogh.

There is more information on Zaman’s website, as well as a group of (oddly poor) photos in a DropBox set.

The designboom article suggests that the technology presents potential issues of forgery, but I don’t think that’s likely. I don’t know what kind of material they’re using to print the replicas, but I can’t imagine that it’s oil paint in its normal form; it would simply be unsuitable to being sprayed through printer nozzles without being chemically altered in a way that would be easily detectable (it’s hard enough to put oil paint in tubes by machine without adding chemical agents).

No, I think beyond the idea of rich folks, (at least at first) having three dimensional replicas of famous paintings in their houses, which seems the likely application for this technology, the more interesting question is how this might affect the practice of museums loaning valuable and easily damaged works to one another for exhibitions. It even raises questions about museums putting 3D replicas of works in their collections on their walls, and hiding the irreplaceable originals in storage.

Food for thought.

Arthur Streeton was an Australian landscape artist active in the late 19th and early 20 centuries. Like the American Impressionists working at the same time, Streeton and other painters in Australia were influenced by the new approach to painting pioneered by the French Impressionists, but took the influence and went their own way, creating unique and individualistic interpretations of the Australian landscape.

Streeton was the core member of a group or artists that gathered to paint a Eaglemont camp in Heidleberg, Victoria, near Melbourne. Streeton also traveled in England and Europe, painting scenes in London and Venice and was an official war artist during WW I.

His paintings are among the most highly regarded in Australian art, and his work, though not well known in general outside Australia, has been influential on a number of artists.

I particularly enjoy his use of uncommon canvas proportions, some of which are dramatically horizontal or vertical.