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Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: Rafael L. Rodríguez-Caballero was a Costa Rican botanist, artist, and humanist who painted more than 1 000 orchid watercolors. Of these paintings 143 were published in 1986 and now they belong to the University of Costa Rica (UCR). Objetive: The objective of this writing was to recover and edit the information noted on the back of the orchid watercolors by Rafael Lucas Rodríguez Caballero. Methods: The present work reproduces, orders, and comments Rodríguez's jottings on the back side of 147 watercolors held by the UCR, 12 of them are here illustrated. Results: More than 20 years (1958-1980) of diverse data written by Rodríguez Caballero are here compiled. Six of the watercolors at the UCR are still unpublished. In addition, at least 30 bibliographic references cited on the watercolors back-side were identified. Conclusions: Some species of orchids that Rodríguez Caballero painted are so rare in nature that hardly anyone has seen them again. The information in these illustrations is historically and biologically relevant to the conservation of these orchid species. [ABSTRACT FROM AUTHOR]

Copyright of Boletin del Museo del Prado is the property of Museo Nacional del Prado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to study the use of drawing by the two architects in some of their most significant publications, either separately or together, starting with the 1972 book España Dibujada (Spain Portrayed). I have reviewed in detail their close to thirty books, selecting some of the most representative drawings. The most outstanding conclusion is that one of the most basic characteristics of their graphic expression is linear drawings, sometimes very synthetically constructed, and sometimes with added watercolour, but always with a great architectural accuracy. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Atacameños is the property of Estudios Atacamenos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Almost three decades have passed since the death of the multifaceted architect and prominent contemporary design theorist Bernard Rudofsky, and this article pays homage to his life and career. It focuses on the drawings and travels that that had the greatest influence on his life and critical thinking, and in particular his stay on the Greek island of Santorini in 1929. [ABSTRACT FROM AUTHOR]

Copyright of SHILAP Revista de Lepidopterologia is the property of Sociedad Hispano-Luso-Americana de Lepidopterologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This brief reflection on the work of Mario Conde begins by focussing on the special relationship the artist has with the technique of watercolor, exhibiting through that relationship an ethic based on copying. Out of that materiality, Conde builds his response to this moment in postmodernism in which art in general, and particularly Bolivian art, is developing given current social conditions. The ethic of copying is especially explored in two of his works: Exterminator Angel where appropriation addresses colonial issues that reappear in order to question and challenge the very notion of patria (homeland), and Drunk with power (Géricault in Los Andes) where the copy, adapted to the Andean world, distills a desire to reestablish the sacred [ABSTRACT FROM AUTHOR]

Viaje Olvidado, a story book of Silvina Ocampo, is noted forenest for its lyrical rather than its anecdotal or argumentative content. It consists of a series of watercolour pictures which constitutes only a basis for poetic discourse. This entails the use of colloquial language and pictorial prose. The particular use of language and the leitmotifs to be recurrently found in the narration give rise to text-type that can be classed within aotobiographical or autofictional boundaries. Even though Viaje Olvidado is not expressly an autobiographical piece, we suggest that the liricism in the stories is a "vague" open window on the author's biography. [ABSTRACT FROM AUTHOR]