In the legal system, image carrier is a technical data carrier for the storage and transmission of images , photographs , films or video signals . In the fine arts , this designates the bearer of a painting.
The Youth Protection Act (JuSchG) used for his purposes in para. 1 JuSchG a legal definition of what it is for image-makers to "pre-recorded video cassettes suitable and others to transfer to, for play or the game screen devices with films or games programmed Disk" acts.
This restricted definition can be legally extended to all types of images. In the case of sound films , image and sound carriers come together on the film strip ; the accompanying sound on television is produced using a frequency multiplex process with its own sound carrier. According to the legal situation with sound carriers, the Copyright Act (UrhG) provides that the author also has the right to make lectures or performances of his work publicly perceptible using image carriers. According to (1) UrhG, the film manufacturer has the exclusive right to reproduce and distribute the image carrier or image and sound carrier on which the film is recorded and to use it for public screening, broadcasting or making available to the public.
In panel painting, picture carriers are natural or synthetic, inflexible or flexible materials on which European artists painted their pictures.
From the Middle Ages to the early 16th century, artists mainly used wood as a picture carrier. In Italy the wooden picture carrier was used until around 1500, in Germany until about 1550 and in the Netherlands until around 1570, before the textile picture carrier slowly gained acceptance. Metal plates made of copper, tin or silver and stone plates made of slate or marble as well as artificially manufactured marble plates and leather were the exception. Cardboard has been known since the 16th century, but was not used on a larger scale until 19th century artists. Image carriers differ in terms of origin, processing and composition and how their characteristic features have changed over the centuries. The artists and workshops of different cultural landscapes and epochs preferred different materials as image carriers and worked on them using characteristic techniques.
From the combination of these factors, careful conclusions can be drawn about the place and time of a painting. The intensive research carried out in this area over the past decades enables a comprehensive insight into the creation of paintings and thus also allows a more reliable attribution of panel paintings with regard to age and authenticity.
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