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Physics in the Art Museum
1.Christopher Chiaverina, Cindee Scott, and Patricia Steele, “The Connections Project: Art, physics, and mathematics,” Phys. Teach. 35, 292–294 (May 1997).
2.Thomas Rossing and Christopher Chiaverina, Light Science: Physics and the Visual Arts (Springer-Verlag, New York, 1999), p. 120.
3.Signac actually considered himself a “divisionist” rather than a pointillist; he once remarked, “The Neo-Impressionist does not paint with dots, he divides.” Divisionism is roughly defined as the use of “separate, unmixed strokes of different pigments, whatever their size. Thus in principle, divisionism includes, but is not limited to, pointillism.” The difference between the two techniques is semantics from a scientific perspective, as the delineation is a function of stroke size and viewing distance. See Floyd Ratliff, Paul Signac and Color in Neo-Impressionism (Rockefeller University Press, New York 1992), p. 38.
4.William I. Homer, Seurat and the Science of Painting (MIT Press, Cambridge 1964), p. 10.
5.C.R. Kitchin, Astrophysical Techniques, 2nd ed. (Adam Hilger, Bristol, 1991), p. 6.
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