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Taha Toros Arşivi, Dosya No: 98-Fausto Zonaro ; İstanbul Kalkınma Ajansı (TR10/14/YEN/0033) İstanbul Development Agency (TR10/14/YEN/0033)

In 1842, the court artist Pelagio Palagi (1775–1860) devised four temporary floating castles on the river Po for the remarkable urban celebrations for the nuptials of His Royal Highness Victor Emmanuel of Savoy-Carignan (1820–1878) to Her Imperial and Royal Highness Maria Adelaide of Habsburg (1822–1855) in Turin. The structures formed the central pieces of a broad medievalist programme that, during the reign of Charles Albert of Savoy-Carignan (1831–1849), brought the Middle Ages back to life in the Kingdom of Piedmont-Sardinia. Challenging the classicised image of the Sabaudian monarchy, this article insists that neo-medieval architecture and the architectural style that I call 'Risorgimental neo-medievalism' mirrored a calibrated medievalist and royalist strategy against the background of Italy's 'resurgence'. Countering recurrent biases that read Italian revivalist architecture as an exercise in taste, it discusses Palagi's designs as the tools of a political reworking of the Middle Ages, in open dialogue with the disciplines of architectural history and medievalism studies. By reading the urban festivities staged in the capital as a strategically orchestrated political act, this article assesses the medievalist initiatives, culminating in the spectacle on the river Po, as propagandistic vehicles to convey meaning to a vast public, which underscore the role of medievalist rhetoric in challenging the dominant classicist iconography and forging the 'identity' of the modern Sabaudian nation.

Die vorliegende Monographie über den Maler Joseph Ignaz Mildorfer (1719-1775) umfasst vierzehn Kapitel, die mit dem Lebenslauf beginnend die verschiedenen Etappen im Werk des Malers veranschaulichen. Dabei wurde grosser Wert auf die soziologischen, politischen und ästhetischen Kriterien gelegt, welche die Entwicklung dieses eigenwilligen Künstlers bestimmten. In eine angesehene Malerfamilie in Innsbruck geboren, erlebte Mildorfer neben seiner konventionellen Ausbildung in der väterlichen Werkstatt hier auch den Beginn einer internationalen Monumentalmalerei, die erst durch den Import süddeutscher Maler auf tiroler Boden um sich griff. Mit diesen frühen Anregungen versehen, gelang es dem jungen Maler bei seiner Ankunft in der Kaiserstadt denn auch mit erstaunlicher Sicherheit den, für eine erfolgreiche Karriere imperativen, grossen Preis der Wiener Akademie zu gewinnen. Im Fahrwasser Paul Trogers, als dessen begabtester Schüler er von den Zeitgenossen gerühmt wurde, stellten sich in rascher Folge prestigereiche Angebote ein. Dem erstaunlich grossen Erstlingswerk, der malerischen Gesamtausstattung der Wallfahrtskirche am Hafnerberg, schloss sich bald der erste kaiserliche Auftrag an. Doch Österreich befand sich im Erbfolgekrieg, der die künstlerische Auftragssituation ernstlich bedrohte und auch Mildorfer zwang, nach Alternativen zu suchen. Und solche fand er in der Schlachtenmalerei. In diesem Genre schuf der junge Künstler Werke von einer aufrührenden Intensität, die ihn weit über seine Kollegen an der Akademie herausragen liessen, und ihm eine eigene Nische boten. Sicherlich machten gerade diese Bilder die letzten grossen Mäzene der Monarchie auf Mildorfer aufmerksam, was zu seiner Berufung als Hofmaler der Herzogin Maria Theresia von Savoyen, geborener Prinzessin von Liechtenstein führte, und eine lang anhaltende Zusammenarbeit mit den verschiedenen Zweigen der Familie Esterházy nach sich zog. Als Krönung rief Nikolaus Fürst Esterházy Mildorfer schliesslich nach Esterháza, um jenes Schloss zu freskieren, dessen aufwendige Gestaltung seinem Besitzer den Beinamen "der Prachtliebende" bescherte. (Die gründliche Aufarbeitung des Fürstlich Liechtensteinischen Archivs in Vaduz beantwortet nun endlich die Frage nach Art und Ausmass des tradierten, aber nie geklärten Arbeitsverhältnisses unseres Malers mit dem Hause Liechtenstein). Mildorfers Wahl zum wiener Akademieprofessor markierte nicht nur den Höhepunkt dieses Künstlerlebens, sondern spielte auch ganz wesentlich in eines der spannendsten Kapitel der wiener Kunst des 18. Jahrhunderts hinein. Unter seiner Ägide nämlich entstand hier der vielzitierte "Einheitsstil der Wiener Akademie", der von der Fülle seiner Schüler, allen voran Franz Anton Maulbetsch getragen wurde und Mildorfer zum Urheber dieses faszinierenden Phänomens macht. Die Arbeiten in den ehemaligen Kronländern kompletieren sein Werk als das eines typischen Mitteleuropäers des 18. Jahrhunderts. Manche, der oft schwer nachvollziehbaren Eigenschaften dieses kontroversen Malers müssen allerdings aus dem Zeitgeist gedeutet, und unter dem Begriff "Maler der Empfindsamkeit" verständlich gemacht werden. Mildorfer umfassend zu bearbeiten ist ein Desideratum, denn ohne ihn als Verbindungsglied zwischen Paul Troger, seinem Lehrer und Franz Anton Maulbertsch, seinem Schüler voll zu erfassen, wird immer ein Baustein im Gefüge der österreichischen Barockmalerei fehlen. ; This monograph on Joseph Ignaz Mildorfer (1719-1775) consists of forteen chapters, that after having given an overall curriculum, depict the various stations in the painter's working process. Special emphasis has been given to such criteria as the socio-economic, political and esthetic impacts, that shaped the development of this intriguing artist. Mildorfer was born into a distinguished family of painters in Innsbruck, where he was taught the basics of his profession. However, he was also exposed to the newly imported paintings from southern Germany, which at this time sparked Tyrolian tradition with international flavor. Partly due to those early stimuli, the young painter managed to instantly gain the renowned "big prize" of the Academy, upon his arrival in Imperial Vienna. This distinction was a prerequisite to any further career. Praised by his contemporaries as the most prodigious pupil of Paul Troger, Mildorfer soon was offered remarkable employments. His first major task, the complete decoration of the pilgrimage church at Hafnerberg near Vienna, comprising works in fresco and oil was soon to be followed by a commission from the Imperial court. But Austria was plagued by a raging War of Succession, which cast its shadow upon the job market, forcing Mildorfer to venture out into alternative fields. This he found in the painting of battlescenes. In this genre the young artist produced works of such rebellious intenseness that surpassed all his colleagues' endeavors and saved him a special niche. It might well be that those particular paintings drew the attention of the last great sponsers of the monarchy to Mildorfer, resulting in his being appointed painter of the court to the Duchess of Savoy, neé Maria Theresia Princess of Liechtenstein. (By way of scholarly work in the Princely Archives of Liechtenstein we have now established answers to questions regarding character and extend of Mildorfers work for the Duchess, that up till now has been obscured). In addition this period marked the beginning of a long lasting relationship with various branches of the Esterházy family, culminating in Mildorfer's appointment to Esterháza. Here he was commissioned to paint al fresco in Duke Nikolaus Esterházy's castle, one of the last manifestations of feudal style, the elaborate adornment of which promted the Duke with the attribute "The Magnificent". When Mildorfer was elected Professor at the Academy (kaiserlich-königliche Hofakademie der Mahler, Bildhauer und Baukunst) this not only marked the zenith of his career but also had major impact on one of the most thrilling phenomena within eighteenth century Viennese art. It was under his leadership that a movement took center stage, that was aprostophized the "Einheitsstil der Wiener Akademie". Carried out by an array of his scholars, notably Franz Anton Maubertsch this faszinating manifestation had Mildorfer's ideas at its core. With his contributions in the Crown Lands of the Habsburg monarchy in mind, his work makes him a typical Central-European artist of the eighteenth century. However some of his lesser graspable traits can only be understood out of the "Zeitgeist" and must be explained under the term of "painter of the sensibility". Since Mildorfer is the link between Paul Troger, his teacher and Franz Anton Maulbertsch, his student, a comprehensive biography of this artist is an absolute must. Only that makes a profound understanding of the third generation of Austrian barock-painting possible.

Issued as part of Technologic Papers of the Bureau of Standards, Volume 19, 1925. Prior to Vol. 16 issued as separate papers only and not consecutively paginated. ; Running title: Paints and paint materials. ; Mode of access: Internet.

For suitable illumination and observation conditions, sparkles may be observed in metallic coatings. The visibility of these sparkles depends critically on their intensity, and on the paint medium surrounding the metallic flakes. Based on previous perception studies from other disciplines, we derive equations for the threshold for sparkles to be visible. The resulting equations show how the visibility of sparkles varies with the luminosity and distance of the light source, the diameter of the metallic flakes, and the reflection properties of the paint medium. The predictions are confirmed by common observations on metallic sparkle. For example, under appropriate conditions even metallic flakes as small as 1 μm diameter may be visible as sparkle, whereas under intense spot light the finer grades of metallic coatings do not show sparkle. We show that in direct sunlight, dark coarse metallic coatings show sparkles that are brighter than the brightest stars and planets in the night sky. Finally, we give equations to predict the number of visually distinguishable flake intensities, depending on local conditions. These equations are confirmed by previous results. Several practical examples for applying the equations derived in this article are provided. ; European Metrology Research Programme (EMRP) Spanish Ministry of Economy and Competitiveness(DPI2011-30090-C02) Comunidad de Madrid (CM: S2013/MIT-2790). The EMRP is jointly funded by the EMRP participating countries within the European Association of National Meteorlogy (EURAMET) and the European Union.

Over forty years ago, the United States federal government banned the use of lead-based paint in residences. Yet, tens of millions of American homes still contain lead paint today—exposing huge numbers of children to a grave risk of irreversible brain damage. While most Americans are familiar with the devastating 2014 crisis caused by lead-contaminated water in Flint, Michigan, few realize that Flint is only a small piece of a much larger lead poisoning problem. In thousands of towns across the United States today, children suffer elevated blood lead levels at even greater rates than those observed in Flint. In many cases, the cause of lead exposure for these children is not water, but paint. A child living in a home with deteriorating lead paint can easily suffer life-long harm—just by breathing in invisible lead dust or touching lead-contaminated surfaces and later putting their hands in their mouth. Despite clear evidence of the serious consequences of lead since the early 1900s, however, the lead paint problem has festered in America's shadows for over a century. Most recently, in the decades since the residential ban, landlords and sellers have refused to adequately test for and remove lead paint from their properties—and governments and regulatory agencies have failed to enact effective laws and enforce regulations. Why has this crisis been allowed to continue for so long? History, empirical data, and anecdotal evidence all strongly suggest that America has ignored the issue largely because lead poisoning mainly affects low-income communities and people of color. This Note argues that the current legal remedies used to address the lead paint epidemic are inadequate and have failed to fix a completely preventable public health crisis. In addition, it demonstrates that all of the existing approaches to lead poisoning—legislative reform, regulatory action, lawsuits sounding in common law negligence, and the use of market share liability and public nuisance doctrine—do not address the underlying issues of racial and economic discrimination that have perpetuated this problem for decades. In order to ensure enforcement of federal and state laws, to legitimize the experiences of children who have suffered at the hands of discriminatory policies, and to garner national attention to the issue, this Note argues that advocates should expand their response to lead paint by pursuing claims under constitutional and civil rights theories. In particular, this Note analyzes how litigators can bring successful lead poisoning claims under the Fourteenth Amendment to the U.S. Constitution, the Fair Housing Act, and Title VI of the Civil Rights Act of 1964.

More than a guide for painters, Vicente de Carducho's Diálogos de la pintura has long been recognized to promote painting as a liberal art and to advocate for the creation of an academy of painting in seventeenth-century Madrid. But questions of patriotic belonging and prestige are also at stake in this erudite treatise. In his prologue, Carducho prioritizes his allegiance to his adopted city even while acknowledging his debts to his native Florence. The first part of this article argues that the treatise serves to showcase that allegiance as it participates in a project to make the young political capital a great cultural centre. The second part makes the case for Carducho as a practitioner who understood the debt he owed to the visual culture of his adopted homeland while remaining true to the aesthetic principles of his Florentine training. His late depictions of saints in adoration of the crucifix provide a focus for examining a religious sensibility subtly informed by Spanish devotional literature.

In a time when the majority of the United States' citizens viewed the Native American tribes as savages and a nuisance, George Catlin managed to capture a realistic view of these peoples. Catlin's art is probably the most receptive of the early Native American painters. His paintings demonstrated an understanding and even an appreciation of the native people. In 1837, few people in or outside of the United States had a clear picture of what the tribes of the Plains and the Rocky Mountains looked like. The copious amount of paintings, sketches and materials that Catlin brought back with him give some of the best, and in many cases, the only information about the tribes before the serious interference of Euro-American settlers and the government. For the majority of his adult life, Catlin traveled in the Louisiana Purchase Territory documenting the people through his paintings and his writing. Still, there is no doubt that Catlin believed that the Native Americans were doomed. One of the main motives behind Catlin's work was to document these people before they disappeared or the United Stated government changed their way of life forever. In many ways, Catlin was the first ethnographer of the native peoples and one of the most successful in capturing the tribes before outside interference.1 He was willing to paint and describe the Indians accurately. He did not give in to the stereotype of portraying the tribes as bloodthirsty savages. Through his art he attempted to show the American people the reality of the tribes, both good and bad, and doing this became his life's work.

Die Untersuchung bietet eine erste intensive Aufarbeitung der Geschichte der Juden im westalpinen Transitland Savoyen-Piemont im Spätmittelalter. Das Territorium reichte über die im heutigen Sprachgebrauch bekannten Regionen Savoie und Haute-Savoie in Frankreich sowie Piemont in Italien hinaus. Die Grafschaft, die ab 1416 zum Herzogtum aufstieg, stellte damit nicht nur aus wirtschaftlicher Sicht eine Transitlandschaft dar, sondern bildete auch sozial, kulturell und sprachlich eine Brücke zwischen dem französischen, italienischen und schweizerischen Gebiet. - Zuwanderungen von Juden nach Savoyen sind aus dem gesamten französischen Raum nachzuweisen; Weiterwanderungen jenseits der Alpen nach Piemont sind jedoch erst nach der Vereinigung der beiden Länder 1418 und nur sehr zögerlich erfolgt. Von landesherrlicher Seite wurde erst mit den Statuten Amadeus' VIII. in der ersten Hälfte des 15. Jahrhunderts versucht, Einfluss auf das jüdische Leben im Herzogtum zu nehmen. Weitaus folgenträchtiger war die fiskalische Ausnutzung des landesherrlichen Judenregals. - In Chambéry und weiteren Städten entwickelten sich auch eigene innerjüdische Einrichtungen (Synagogen, Friedhöfe, Gerichte). Weiter reichende Organisationsformen gestalteten sich dagegen - abgesehen von informellen Kontakten - erst unter Einwirkung von Amadeus VIII., der sie jedoch auch zu seinen Gunsten auszunutzen versuchte. So erhielten einzelne Rabbiner die Funktion eines allgemeinen Vertreters der Judenschaft von Savoyen-Piemont. Diese Politik wie auch die Heterogenität der jüdischen Gemeinden bot Konfliktstoff, der sich in zahlreichen, ineinander verwickelten Auseinandersetzungen zwischen jüdischen Notabeln entlud. Verfolgungen von christlicher Seite blieben dagegen selten. Nur die Anklage der Brunnenvergiftung zur Zeit des Schwarzen Todes 1348 wurde von den Obrigkeiten gegenüber den Juden in Savoyen instrumentalisiert. Sie bildete damit ein Scharnier zwischen den Verfolgungen der Juden im Rhônetal und im schweizerisch-elsässischen Raum. ; This study offers the first detailed account of the history of Jews in Savoy-Piedmont, a transit land of the western Alps region, during the later middle ages. The territory stretched far beyond today's French regions of Savoie, Haute-Savoie, and Piedmont in Italy. The county, which rose to the rank of a duchy from 1416, was not only a transit region in the economic sense but also a cultural bridge between the French, Italian, and Swiss border regions. - Jews from all over France immigrated to Savoy. However, migrations across the Alps to Piedmont only began slowly and after the two countries were united in 1418. The rulers did not intervene in the affairs of the Jewish communities until the time of Amadé VIII, who decreed a number of statutes during the first half of the fifteenth century. Amadé's policy of fiscal exploitation, however, had a more lastin impact. - Chambéry and other major towns saw the emergence of internal Jewish institutions (synagoguges, cemeteries, courts). A more far-reaching organisation was, however, only achieved under the influence of Amadé VIII, who also tried to exploit it. Individual rabbis were appointed as general spokesmen of the Jewry in Savoy-Piedmont. These policies, as well as the heterogeneous nature of the Jewish communities, led to conflicts that eruped in numerous, inter-related quarrels among the Jewish notables. Persecutions by Christians were not frequent. Only the charge of well-poisoning at the time of the Black Death 1348 was used by the local authorities. The persecutions in the region provided a crucial link between those of the Rhône valley and those in Switzerland and Alsace.

Die Untersuchung bietet eine erste intensive Aufarbeitung der Geschichte der Juden im westalpinen Transitland Savoyen-Piemont im Spätmittelalter. Das Territorium reichte über die im heutigen Sprachgebrauch bekannten Regionen Savoie und Haute-Savoie in Frankreich sowie Piemont in Italien hinaus. Die Grafschaft, die ab 1416 zum Herzogtum aufstieg, stellte damit nicht nur aus wirtschaftlicher Sicht eine Transitlandschaft dar, sondern bildete auch sozial, kulturell und sprachlich eine Brücke zwischen dem französischen, italienischen und schweizerischen Gebiet. - Zuwanderungen von Juden nach Savoyen sind aus dem gesamten französischen Raum nachzuweisen; Weiterwanderungen jenseits der Alpen nach Piemont sind jedoch erst nach der Vereinigung der beiden Länder 1418 und nur sehr zögerlich erfolgt. Von landesherrlicher Seite wurde erst mit den Statuten Amadeus' VIII. in der ersten Hälfte des 15. Jahrhunderts versucht, Einfluss auf das jüdische Leben im Herzogtum zu nehmen. Weitaus folgenträchtiger war die fiskalische Ausnutzung des landesherrlichen Judenregals. - In Chambéry und weiteren Städten entwickelten sich auch eigene innerjüdische Einrichtungen (Synagogen, Friedhöfe, Gerichte). Weiter reichende Organisationsformen gestalteten sich dagegen - abgesehen von informellen Kontakten - erst unter Einwirkung von Amadeus VIII., der sie jedoch auch zu seinen Gunsten auszunutzen versuchte. So erhielten einzelne Rabbiner die Funktion eines allgemeinen Vertreters der Judenschaft von Savoyen-Piemont. Diese Politik wie auch die Heterogenität der jüdischen Gemeinden bot Konfliktstoff, der sich in zahlreichen, ineinander verwickelten Auseinandersetzungen zwischen jüdischen Notabeln entlud. Verfolgungen von christlicher Seite blieben dagegen selten. Nur die Anklage der Brunnenvergiftung zur Zeit des Schwarzen Todes 1348 wurde von den Obrigkeiten gegenüber den Juden in Savoyen instrumentalisiert. Sie bildete damit ein Scharnier zwischen den Verfolgungen der Juden im Rhônetal und im schweizerisch-elsässischen Raum. ; This study offers the first detailed account of the history of Jews in Savoy-Piedmont, a transit land of the western Alps region, during the later middle ages. The territory stretched far beyond today's French regions of Savoie, Haute-Savoie, and Piedmont in Italy. The county, which rose to the rank of a duchy from 1416, was not only a transit region in the economic sense but also a cultural bridge between the French, Italian, and Swiss border regions. - Jews from all over France immigrated to Savoy. However, migrations across the Alps to Piedmont only began slowly and after the two countries were united in 1418. The rulers did not intervene in the affairs of the Jewish communities until the time of Amadé VIII, who decreed a number of statutes during the first half of the fifteenth century. Amadé's policy of fiscal exploitation, however, had a more lastin impact. - Chambéry and other major towns saw the emergence of internal Jewish institutions (synagoguges, cemeteries, courts). A more far-reaching organisation was, however, only achieved under the influence of Amadé VIII, who also tried to exploit it. Individual rabbis were appointed as general spokesmen of the Jewry in Savoy-Piedmont. These policies, as well as the heterogeneous nature of the Jewish communities, led to conflicts that eruped in numerous, inter-related quarrels among the Jewish notables. Persecutions by Christians were not frequent. Only the charge of well-poisoning at the time of the Black Death 1348 was used by the local authorities. The persecutions in the region provided a crucial link between those of the Rhône valley and those in Switzerland and Alsace.

In the context of Spain's economical crisis, waves of protests have transformed the streets of Spanish cities into sites of place-specific spatial activism. City space has been shaped through protest, marches, squatting and street art. During Spain's austerity years, street art has become an important part of political participation. Based on artists' interviews and on my visual ethnographic research in the Spanish cities of Madrid (2013–2016) and Valencia (2016), this paper seeks to illuminate how political street art forms a part of social expression toward the authorities. Street art is a media through which artists can question decision-makers and challenge policies made by statesmen. The examples of political street art highlight how creative contestations become barometers of dissatisfaction and how street art confronts institutional power. Ultimately, political street art is argued in Spicca's and Perdue's (2014) term as 'spatial citizenship' producing more polyphonic space. Keywords: political street art, protest, political participation, visual ethnography, Spain

Although the dangers of ingesting lead dust have been known and documented for over two hundred fifty years, lead, a neurotoxin, was not banned in the United States until 1978. There is still a lack of awareness of the dangers associated with disturbing surfaces which contain lead-based paint. This lack of awareness is a major factor contributing to lead poisoning regardless of socioeconomic class. As preservationists, this problem is of particular importance, as we work primarily with structures likely to contain lead-based paint. Because any project which involves disturbing surfaces which contain lead-based paint will generate dust that contains lead and expose anyone who enters the work area to potential lead contamination and poisoning, it is essential that proper precautions are taken. In addition to discussing the history of lead in paint, the health dangers of lead, and the history of legislation enacted to protect the public from lead poisoning, the author proposes a solution for addressing the dangers of lead-based paint in a safe, cost effective manner. The author refers to his approach as the Three E 's: (a) education-- increasing awareness of the dangers of disturbing lead-based paint, (b) enactment-- the need for legislation so that contractors and property owners follow safety protocols, and (c) enforcement-- a method to ensure compliance with the safety protocols. Finally, the author offers recommendations so preservationists are prepared to effectively address the issue of lead-based paint in projects with which they may be involved. The author surveyed documentation on the history of the use of lead in paint, historic paint manufacturing techniques, and the history of the knowledge of problems associated with lead in paint. Case studies and interviews with homeowners and contractors who live in or who have worked on houses likely to have contained lead-based paint are also included.

This interdisciplinary paper tries to identify specific small state characteristics with respect to the emergence, function and application of legal norms. Three respective assumptions are derived from theoretical considerations. An exploratory single-case study shows that all assumptions apply to Liechtenstein. The principality can be described as a hybrid legal system that is significantly shaped by foreign legal norms. Liechtenstein's dualistic constitution particularly combines a powerful monarch with extensive direct democratic elements. The microstate's legal system depends on supports from sources beyond its territory and citizenry, such as law schools, legal experts and academic sources. Several brief comparisons and examples regarding Andorra, Monaco and San Marino supplement the sociolegal study. Finally, the authors suggest to apply the assumptions to a wide range of jurisdictions in order to learn more about their explanatory power. ; peer-reviewed

In this study we estimated the number of housing units in the United States with lead-based paint and lead-based paint hazards. We included measurements of lead in intact and deteriorated paint, interior dust, and bare soil. A nationally representative, random sample of 831 housing units was evaluated in a survey between 1998 and 2000; the units and their occupants did not differ significantly from nationwide characteristics. Results indicate that 38 million housing units had lead-based paint, down from the 1990 estimate of 64 million. Twenty-four million had significant lead-based paint hazards. Of those with hazards, 1.2 million units housed low-income families (< 30,000 US dollars/year) with children under 6 years of age. Although 17% of government-supported, low-income housing had hazards, 35% of all low-income housing had hazards. For households with incomes greater than or equal to 30,000 US dollars/year, 19% had hazards. Fourteen percent of all houses had significantly deteriorated lead-based paint, and 16% and 7%, respectively, had dust lead and soil lead levels above current standards of the U.S. Department of Housing and Urban Development and the U.S. Environmental Protection Agency. The prevalence of lead-based paint and hazards increases with age of housing, but most painted surfaces, even in older housing, do not have lead-based paint. Between 2% and 25% of painted building components were coated with lead-based paint. Housing in the Northeast and Midwest had about twice the prevalence of hazards compared with housing in the South and West. The greatest risk occurs in older units with lead-based paint hazards that either will be or are currently occupied by families with children under 6 years of age and are low-income and/or are undergoing renovation or maintenance that disturbs lead-based paint. This study also confirms projections made in 2000 by the President's Task Force on Environmental Health Risks and Safety Risks to Children of the number of houses with lead-based paint hazards. Public- ...

International audience ; The use of bio-based products (i.e. non-food products derived from biomass) in numerous industrial applications is currently arousing increasing interest. The industry is faced with two main challenges with regard to the use of these raw materials in paints. First, only a limited range of bio-based products is acceptable in terms of quality, cost and availability for this application. Second, there is a general lack of information about these products.