Online Paintings

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Ukiyo- is a genus of Japanese woodblock prints and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters. It is the main artistic genre of woodblock printing in Japan.

Usually the word Ukiyo is literally translated as "floating world" in English, referring to a conception of an evanescent world, impermanent, fleeting beauty and a realm of entertainments, divorced from the responsibilities of the ordinary, everyday world; "pictures of the floating world", i.e. Ukiyo-e, are considered a genre unto themselves.

The art form rose to great popularity in the metropolitan culture of Edo during the second half of the 17th century, originating with the single-color works of Hishikawa Moronobu in the 1670s.

At first, only India ink was used, then some prints were manually painted with a brush, but in the 18th century Suzuki Harunobu developed the technique of polychrome printing to produce nishiki-e.

Ukiyo-e was affordable because they could be mass-produced. They were mainly meant for townsmen, who were generally not wealthy enough to afford an original painting.

The original subject of Ukiyo-e was city life, in particular activities and scenes from the entertainment district. Beautiful courtesans, bulky sumo wrestlers and popular actors would be portrayed while occupied in appealing activities.

Later on landscapes also became popular. Political subjects and individuals above the lowest strata of society were not sanctioned in these prints and very rarely appeared.

Sex was not a sanctioned subject either, but continually appeared in Ukiyo-e prints. Artists and publishers were sometimes punished for creating these sexually explicit shunga.

Ukiyo-e can be categorized into two periods: the Edo period, which comprises ukiyo-e from its origins in the 1620s until about 1867, when the Meiji period began, lasting until 1912.

The Edo period was largely a period of calm that provided an ideal environment for the development of the art in a commercial form; while the Meiji period is characterized by new influences as Japan opened up to the West.

Vietnamese art has a long and rich history, the earliest examples of which date back as far as the Stone Age around 8,000 BCE.

With the millennium of Chinese domination starting in the 2nd century BC, Vietnamese art certainly absorbed many Chinese influences, which would continue even following independence from China in the 10th century AD. However, Vietnamese art has always retained many peculiarly Vietnamese characteristics.

By the 19th century, the influence of French art took hold in Vietnam, having a large hand in the birth of modern Vietnamese art.
It is believed that in early times, Vietnamese people lived in stilt-houses, as depicted on the bronze Dong Son drums. Similar kinds of houses can still be found in Vietnam today.

When Chinese influence permeated Vietnam, Chinese architecture had a large influence on the basic structure of many types of Vietnamese buildings, mostly pagodas and temples, communal houses, houses of scholar-bureaucrats, upper classes, and imperial palaces and quarters. Nevertheless, these structures combined both Chinese influences and native style; Vietnamese architecture is generally much more ornamental and florid than Chinese architecture, using different colors and materials suited to the environment.

With French migration of Vietnam in the 19th century, many French-styled buildings were constructed, including villas, government buildings, opera houses, etc. Many of these buildings still stand in Vietnam and are one of the clearest remnants of the French colonial legacy.

Some of Vietnam's most notable architectural structures include:

• The Temple of Literature or (Van Mieu): Located in Hanoi, North Vietnam. It was constructed during the Lee Dynasty and dedicated to Confucius and his disciples. It is a fine example of the elegance of Lee Dynasty architecture, although much if it is in need of repair.

• The Temple of Literature is a series of courtyards, buildings and pavilions, the center of which houses the famed stone steels. These steels are placed on top of stone turtles, and are inscribed with the names of doctorate candidates successful at the Imperial examination. Also within the temple lies the "Quack To Guam" or National University, which functioned for approximately 700 years, from 1076 to 1779?

• Imperial City and surrounds, Hue: During the reign of the Nguyen Dynasty, a new imperial citadel in Hue was built, largely based on the Chinese Forbidden city in Beijing, and also called the Purple Forbidden City.

• The stronghold formerly sprawled a vast estate, but during subsequent wars and conflicts, much of it has been destroyed and later turned into rice paddies. The remaining areas are currently being restored by UNESCO.

• One Pillar Pagoda: The one pillar pagoda is one of the most ancient structures of Hanoi, its design credited to Emperor Lee Thai To. The story goes that the emperor had longed for a son, and one day dreamed that the Goddess of Mercy was sitting on a lotus flower offering him a son.

•In gratitude and reverence of his dream he ordered construction of a small pagoda in the form of a lotus, overlooking a pond. The pagoda has been rebuilt countless due to it being destroyed and burnt in wars by opponents.

•Perfume Pagoda and the surrounding area: The Perfume pagoda is an ancient structure in Ha Toy province, located specifically in Perfume Mountain, and is the site for a yearly festival attended by hundreds of thousands of Vietnamese.

• Most people reach the pagoda by taking an hour boat ride across the scenic river (passing the countryside scattered with smaller pagodas) before reaching the Perfume Pagoda itself. Inside are a series of temples and structures, and a grotto with stairs leading to two paths: "Heaven's gate" and "Hell's gate". Descending deep into the grotto one finds the Inner temple.

Roman gardens were greatly inspired by Greek gardens and were usually in the peristyles. Roman Gardens were indoor. Ornamental horticulture became highly developed during the development of Roman civilization.

The administrators of the Roman Empire (c.100 BC - AD 500) actively exchanged information on agriculture, horticulture, animal husbandry, hydraulics, and botany.

Seeds and plants were widely shared. The Gardens of Lucullus on the Pinion Hill at the edge of Rome introduced the Persian garden to Europe, around 60 BC. The garden was a place of peace and tranquility-- a refuge from urban life-- and a place filled with religious and symbolic meanings.

As Roman culture developed and became increasingly influenced by foreign civilizations through trade, the use of gardens expanded and gardens ultimately thrived in Ancient Rome.

Influences:
Roman gardens were influenced by Egyptian, Persian, and Greek gardening techniques. Formal gardens existed in Egypt as early as 2800 BC. During the 18th dynasty in Egypt, gardening techniques were fully developed and beautified the homes of the wealthy.

Porticos were developed to connect the home with the outdoors and created outdoor living spaces. Persian gardens developed according to the needs of the infertile land. The gardens were enclosed to protect from drought and were rich and fertile in contrast to the dry and arid Persian terrain.

Pleasure gardens originated from Greek farm gardens which served the functional purpose of growing fruit.

Uses of Gardens:
Gardens were not reserved for the extremely wealthy. Excavations in Pompeii show that gardens attaching to residences were scaled down to meet the space constraints of the home of the average Roman.

Modified versions of Roman garden designs were adopted in Roman settlements in Africa, Gaul, and Britannia. As town houses were replaced by tall apartment buildings, these urban gardens were replaced by window boxes or rooftop gardens.

Wood entered the painting in a competition at the Art Institute of Chicago. The judges deemed it a "comic valentine," but a museum patron convinced them to award the painting the bronze medal and $300 cash prize.

The patron also convinced the Art Institute to buy the painting, which remains there today.

The image soon began to be reproduced in newspapers, first by the Chicago Evening Post and then in New York, Boston, Kansas City, and Indianapolis.
However, Wood received a backlash when the image finally appeared in the Cedar Rapids Gazette. Iowans were furious at their portrayal as "pinched, grim-faced, puritanical Bible-thumpers".

One farm wife in danger to bite Wood's ear off. Wood protested that he had not painted a caricature of Iowans but a depiction of Americans.

Art critics who had favorable opinions about the painting, such as Gertrude Stein and Christopher Morley, also assumed the painting was meant to be a send-up of rural small-town life.

It was thus seen as part of the trend toward increasingly critical depictions of rural America, along the lines of Sherwood Andersen's 1919 Wines burg, Ohio, Sinclair Lewie's 1920 Main Street, and Carl Van Vechten's The Tattooed Countess in literature.

However, with the onset of the Great Depression, the painting came to be seen as a depiction of committed American pioneer spirit.

Wood assisted this transition by renounce his Bohemian youth in Paris and grouping himself with populist Midwestern painters, such as John Stuart Curry and Thomas Hart Benton, who revolted against the dominance of East Coast art circles.

Wood was quoted in this period as stating, "All the good ideas I've ever had came to me while I was milking a cow.

This Depression-era understanding of the painting as a depiction of an realistically. American scene prompted the first well-known parody, a 1942 photo by Gordon Parks of cleaning woman Ella Watson, shot in Washington, D.C.

A core group of young realists, Claude Monet, Pierre-Augusta Renoir, Alfred Sisley, and Frederic Bazille, who had studied under Charles Gleyre, became friends and often painted together.

They soon were joined by Camille Pissarro, Paul Cézanne, and Armand Guillaumin.
In an atmosphere of change as Emperor Napoleon III rebuilt Paris and waged war, the Academic des Beaux-Arts dominated the French art scene in the middle of the 19th century.

The Academic was the upholder of traditional standards for French painting, both in content and style.

Historical subjects, religious themes, and portraits were valued ,and the Academic preferred carefully finished images which mirrored reality when examined closely.
Color was sober and conservative, and the traces of brush strokes were suppressed, concealing the artist's personality, emotions, and working techniques.

The Academic held an annual, juried art show, the Salon de Paris, and artists whose work displayed in the show won prizes, garnered commissions, and enhanced their prestige.

The standards of the juries reflected the values of the Academic, represented by the highly polished works of such artists as Jean-Leon Gerome and Alexander Cabanel.
They were more interested in painting landscape and contemporary life than in recreating scenes from history.

Each year, they submitted their art to the Salon, only to see the juries reject their best efforts in favor of trivial works by artists working in the approved style.

In 1863, the jury rejected The Luncheon on the Grass by Eduard Mamet primarily because it depicted a nude woman with two clothed men at a picnic.
While nudes were routinely accepted by the Salon when featured in historical and allegorical paintings, the jury condemned Manet for placing a realistic nude in a contemporary setting.

Digital painting is an emerging art form in which traditional painting techniques such as watercolor, oils, impasto, etc. are applied using digital tools by means of a computer, a digitizing tablet and stylus, and software.

Traditional painting is painting with a physical medium as contrasting to a more modern style like digital.

Digital painting differs from other forms of digital art, particularly computer-generated art, in that it does not involve the computer rendering from a model.

The artist uses painting techniques to create the digital painting directly on the computer. All digital painting programs try to imitate the use of physical media through various brushes and paint effects.

In most digital painting programs, the user can create their own brush style using a combination of texture and shape. This ability is very important in bridging the gap between traditional and digital painting.

Digital painting thrives mostly in production art. It is most widely used in conceptual design for film, television and video games.

Digital painting software such as Coral Painter, Adobe Photo shop, Art Rage, GIMP, and open Canvas give artists a similar environment to a physical painter: a canvas, painting tools, mixing palettes, and a multitude of color options.

There are various types of digital painting, including impressionism, realism, and watercolor.

There are both benefits and drawbacks of digital painting.

While digital painting allows the artist the ease of working in an organized, mess-free environment, some argue there will always be more control for an artist holding a physical brush in their hand.

Some artists believe there is something missing from digital painting, such as the character that is unique to every physically made object.

Many artist post blogs and comment on the various differences between digitally created work and traditionally created artwork.

The third important work of this period is the Virgin of the Rocks which was commissioned in Milan for the Confraternity of the Immaculate

The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece, already constructed Leonardo chose to paint an apocryphal moment of the childhood of Christ when the Infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt.

The angel helping to the poor family.This picture revels the innocence of the poor family.

In this scene, as painted by Leonardo, John recognizes and worships Jesus as the Christ.

The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water.

While the painting is quite large, it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details.

The painting was eventually finished; in fact, two versions of the painting were finished, one which remained at the chapel of the Confraternity and the other which Leonardo carried away to France.

But the Brothers did not get their painting, or the de Predis their payment, until the next century.

Painting is a practice undertaken by a person to express his/her feelings, emotions etc on a surface.

The various surfaces that can be used are paper, canvas, glass and so on and so forth. A painting is very different from a 3D version.

It can be rightly said that color to a painting is what sound is to music. An collection of paintings consists of landscapes, portraits, theoretical figures and many more.

Museums are the ideal place for a person to view the works of great painters ranging from the Early Renaissance Period to today’s skilled artists.

People undertake painting as a hobby or even as a form of income.

For some people, painting is a form of tension release.

The feeling of applying color to a surface gives a person a kind of high that cannot be experienced from any other form of art.

Some of the paintings are closely touch to the heart. The author expose the feelings in his paintings very genuinely.

Landscape art is a term that covers the depiction of natural scenery such as mountains, valleys, trees, rivers, and forests, and especially art where the main subject is a wide view, with its elements arranged into a coherent composition.

In other works landscape backgrounds for figures can still form an important part of the work.

Sky is almost always included in the view, and weather is often an element of the composition.

Detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects

Landscape backgrounds for various types of painting became increasingly prominent and skilful during the century.

The period around the end of the 15th century saw pure landscape drawings and watercolours from Leonardo da Vinci, Albrecht Dürer, Fra Bartolomeo and others.

But pure landscape subjects in painting and printmaking, still small, were first produced by Albrecht Altdorfer and others of the German Danube School in the early 16th century.

At the same time Joachim Patinir in the Netherlands developed a style of panoramic landscapes with a high aerial viewpoint that remained influential for a century, being used, for example, by Pieter Brueghel the Elder.

The Italian development of a thorough system of graphical perspective was now known all over Europe, which allowed large and complex views to be painted very effectively

Victorian artists initially took their cute paintings from Shakespeare but soon devised their own scenarios.

By the mid 1800's a tradition developed among British and Scottish Painters that continues today the world over in every known media.

This exhibition of contemporary fairy Paintings, drawings and pictures embraces this tradition.

Faeries: also Fairy or Fairy, have long been the common terms for a legendary race of clever super- natural beings who meddle in human affairs, but they are known by many names.

Commonly associated with the Celts, Fairies are not the product of one culture or time; they have a pedigree.

Ancient Greek Heroes had fairy lemans, called nymphs, and the faraway Asians, Eskimos and American Indians had similar fairy legends as well.

The mythic Gandharvas of Sanskrit poetry were also fairies.

Many fairy tales popular today had their origins in the folk tales of prehistoric times...

Painting on glass is a remarkable art form and requires you to learn some really meticulous glass painting techniques. The beauty of these paintings leaves one amazed as both the medium and the painting combine to give an ethereal effect.

• Sketch the designs at the back of the sheet of the glass.
• After outlining the design apply colors using a brush or directly with hand, making sure that they do not spill over.
• Use only gum-based colors, they are more durable.
• Make sure the part you have just painted is dry before moving on to the next section.
• Fire the paints onto the glass using a kiln if you want the paint to be permanent.
• Voila you have a wonderful glass painting ready to be displayed.