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Commission on Crystallography in Art and Cultural Heritage

2014-2017

2011-2014

Membership

  • Eric Dooryhée (Chair, USA)
  • Celerino Abad-Zapatero (USA)
  • Petr Bezdicka (Czech Republic)
  • Emil Makovicky (Denmark)
  • Simona Quartieri (Italy)
  • Alicja Rafalska-Lasocha (Poland)
  • Abdelmalek Thalal (Morocco)
  • Anke Zürn (Switzerland)

Consultants

  • Gilberto Artioli (Italy)
  • Jean-Marc Castera (France)
  • Istvan Hargittaï (Hungary)
  • Steven Hyde (Australia)
  • Edgar Meyer (USA)
  • F. Otalora (Spain)
  • J. Voss-Andreae (USA)

2008-2011

Membership

  • Eric Dooryhée (Chair, USA)
  • Celerino Abad-Zapatero (USA)
  • Gautam Desiraju (IN)
  • Emil Makovicky (Denmark)
  • Simona Quartieri (Italy)
  • Alicja Rafalska-Lasocha (Poland)
  • Abdelmalek Thalal (Morocco)
  • Anke Zürn (Switzerland)

Consultants

  • Gilberto Artioli (Italy)
  • Jean-Marc Castera (France)
  • Wulf Depmeier (DE)
  • Istvan Hargittaï (Hungary)
  • Martin Kemp (UK)
  • Edgar Meyer (USA)
  • Massimo Nespolo (France)

Membership

  • G. Artioli (Chair, Italy)
  • A. Rafalska-Lasocha (Secretary, Poland)
  • C. Abad-Zapatero (USA)
  • P. Bezdicka (Czech Republic)
  • E. Makovicky (Denmark)
  • I. Nakai (Japan)
  • F. Otalora Munoz (Spain)
  • A. Thalal (Morocco)

Consultants

  • J.-M. Castera (France)
  • E. Dooryhée (USA)
  • I. Hargittai (Hungary)
  • S. Hyde (Australia)
  • S. Quartieri (Italy)
  • J. Voss-Andreae (USA)

Graphical timeline of Members

Members of Commission on Crystallography in Art and Cultural Heritage

Terms of Reference

The Commission on Crystallography in Art and Cultural Heritage was formed at the Osaka Congress in 2008 and is concerned with two main issues:

  • Crystallography and symmetry in art;
  • Crystallographic analysis (e.g. diffraction-based) of artworks and ancient materials.

The terms of reference are:

  • To apply advanced crystallographic methods (theory, experiment) in the fields of art and cultural heritage;
  • To offer the crystallographic approach as a powerful analytical tool to all who are involved in materials research and microanalysis of artworks;
  • To strengthen links and interactions among crystallographers, mathematicians, materials scientists, artists, designers, architects, museum curators/conservators and archaeologists;
  • To favour scientific collaborations and thematic mobility/opening of (young) scientists with various backgrounds: crystal physics, crystal chemistry, forensic science, archaeological science, history of art and science, techniques of art,...;
  • To promote a common language in these fields;
  • To contribute to the recognition of crystallography as an interdisciplinary science (and not just as a technique or as a tool), particularly in those areas that are not necessarily perceived as being related to crystallographic concepts;
  • To encourage the development and dissemination of crystallographic concepts and techniques, in the studies of artefacts and archaeo-materials;
  • To use the disciplines of art and cultural heritage as an innovative support for educational purposes, focusing on the promotion and teaching of crystallography;
  • To promote the publication of relevant subjects in the journals of the IUCr;
  • To enhance the numerous analogies between art and crystallography;
  • To encourage the presence of scientists working in the fields of art and cultural heritage at IUCr meetings;
  • To support and organize art- and cultural-heritage-oriented symposia, which can be of interest to crystallographers during IUCr Congresses and meetings of Regional Associates;
  • To focus on cooperation and joint actions (including meetings, workshops and schools), in collaboration with other Commissions of the Union, particularly targeting post-graduate students and young scientists needing and willing to complete their education in crystallography;
  • To set up cooperation with the other Commissions of the Union, aiming at elaborating teaching materials for students with emphasis on the newest techniques used by crystallographers as a source of information for conservators and museum curators;
  • To ensure care and maintenance of the ‘crystallographic cultural heritage’, i.e. crystal models and historical documents; these are 2D or 3D representations and visual manifestations used as support for research/education in crystallography.