PSI - Issue 33

Jesús Toribio et al. / Procedia Structural Integrity 33 (2021) 1187–1192 Jesús Toribio / Procedia Structural Integrity 00 (2021) 000–000

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1. Introduction

During recent years, the author of the present paper has been developing some ideas with the aim of establishing an innovative connection between art and science. This paper focuses on one on the key topics developed in such a framework: the relationship between painting and fracture mechanics.

2. Painting and Fracture Mechanics

As described by Toribio (2017a, 2017b), cementite lamellae curling associated with heavily cold-drawn pearlitic steels resembles the textures in the paintings of Vincent van Gogh, so that it could be called van Gogh texture (VGT), and it is represented by the two van Gogh paintings of Fig. 1. In the case of slightly cold-drawn pearlitic steels , their microstructure is quasi-planar and the metallographic sections are constituted by straight lines associated with Renaissance Perspective of Raffaello, i.e., Raphael Painting Perspective or Renaissance Painting Perspective (RPP), but this structure (with vanishing point) appears in a classical painter such as the master Velazquez, cf. Fig. 2.

Fig. 1. Paintings by Vincent van Gogh: Starry Night and Noon Rest.

Fig. 2. Paintings by Rafaello Sanzio ( Scuola di Atene ) and Velázquez ( Las Meninas ). Toribio (2017c) analized the stress corrosion cracking (SCC) behaviour of progressively cold drawn pearlitic steels wires in both anodic and cathodic regimes. The anodic regime is linked to localized anodic dissolution (LAD) whereas the cathodic regime is associated with hydrogen assisted cracking (HAC): The SCC behaviour (both HAC and LAD) of hot-rolled and slightly cold-drawn pearlitic steels develops in mode I following a straight crack path, so that it can be associated with the linear perspective and vanishing point of the classical painting by Tintoretto (Fig. 3; left). On the other hand, the SCC behaviour (both HAC and LAD) of heavily cold-drawn pearlitic steels develops in mixed mode following a deflected or kinked crack path, so that it can be associated with the change of viewpoint of the cubist painting by Picasso (Fig. 3; right).