Wednesday, March 30, 2011
Since the Renaissance the Pantheon has been used as a tomb. Among those buried there are the painters Raphael and Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi. In the 15th century, the Pantheon was adorned with paintings: The best-known is the Annunciation by Melozzo da Forlì. Architects, like Brunelleschi, who used the Pantheon as help when designing the Cathedral of Florence's dome, looked to the Pantheon as inspiration for their works.
Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Camera for various other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St.
Peter's Basilica, but, according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. This led the Roman satirical figure Pasquino to issue the famous proverb: Quod non fecerunt barbari fecerunt Barberini.
In 1747, the broad frieze below the dome with its false windows was “restored,” but bore little resemblance to the original. In the early decades of the twentieth century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.
Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Camera for various other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St.
Peter's Basilica, but, according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. This led the Roman satirical figure Pasquino to issue the famous proverb: Quod non fecerunt barbari fecerunt Barberini.
In 1747, the broad frieze below the dome with its false windows was “restored,” but bore little resemblance to the original. In the early decades of the twentieth century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.
Wednesday, March 23, 2011
Born to a Jewish family of Murdoch (Max) Halsman, a dentist, and Ita Grintuch, a grammar school principal, in Riga, Halsman studied electrical engineering in Dresden.
In September 1928, Halsman went on a mountaineering tour in the Austrian Alps with his father, Murdoch. During this tour, Murdoch died from severe head injuries. The circumstances were never completely clarified and Halsman was sentenced to four years' custody for patricide. The case provoked anti-Jewish propaganda and thus gained international publicity, and Albert Einstein and Thomas Mann wrote in support of Halsman. Halsman was released in 1931, under the condition that he leaves Austria for good, never to return.
Halsman consequently left Austria for France. He began contributing to fashion magazines such as fashion and soon gained a reputation as one of the best portrait photographers in France, renowned for his sharp and closely cropped images that shunned the old soft focus look. When France was invaded, Halsman fled to Marseille and he eventually managed to obtain a U.S. visa, aided by family friend Albert Einstein.
Halsman had his first success in America when the cosmetics firm Elizabeth Arden used his image of model Constance Ford against the American flag in an advertising campaign for "Victory Red" lipstick. A year later in 1942 he found work with Life, photographing hat designs, one of which, a portrait of a model in a Lilly Daché hat, was his first of the many covers he would do for Life.
In 1941 Halsman met the surrealist artist Salvador Dali and they began to collaborate in the late 1940s. The 1948 work Dali Atomicus explores the idea of suspension, depicting three cats flying, a bucket of thrown water, and Salvador Dali in mid air. The title of the photograph is a reference to Dali’s work Leda Atomica which can be seen in the right of the photograph behind the two cats. Halsman reported that it took 28 attempts to be fulfilled with the result. Halsman and Dali eventually released a compendium of their collaborations in the 1954 book Dali's Mustache, which features 36 different views of the artist's distinctive mustache.
Another famous collaboration between the two was In Voluptas Mors, a surrealistic portrait of Dali beside a large skull, in fact a tableau vivant composed of seven nudes. Halsman took three hours to arrange the models according to a sketch by Dali. A version of In Voluptas Mors was used subtly in the poster for the film The Silence of The Lambs, and recreated in a poster for the film The Descent.
Monday, March 14, 2011
In 1822 the Co burg Theatre, now the Old Vic in London, offered Roberts a job as a pretty designer and stage painter. He sailed from Leigh with his wife and the six-month-old Christine and settled in London. After working for a while at the Co burg Theatre, Roberts moved to the Theatre Royal, Drury Lane to create dioramas and panoramas with Stanfield.
A miniature by Roberts from this time shows Margaret as a delicate woman with blonde ringlets, holding the smiling three-year-old Christine. But Roberts' family life was not as idyllic as this picture suggests: Margaret had become an alcoholic, and eventually, in 1831, Roberts sent her back to Scotland to be cared for by friends. Roberts may have burned some letters from this period in shame at his wife's drinking problem, but he was unusually frank in a letter to a friend, David Ramsay Hay. Roberts and Hay had been apprentices together, and Hay had been seeing a mistress since his own wife had started drinking.
If you do not know our cases are approximately parallel. Yours is not as bad as mine, having some consolation. The state of my nerves is such I can scarcely write.
While he built his reputation as a fine artist, Roberts's stage work had also been commercially successful. Commissions from Covent Garden included the sets for the London premiere of Mozart’s Die Entführung aus dem Serail in 1827, scenery for a pantomime depicting the naval victory of Navarino, and two panoramas that he executed jointly with Stanfield.
By 1829 he was working full-time as a fine artist. That year, he exhibited the Departure of the Israelites from Egypt, in which his style first became apparent. In 1831, the Society of British Artists elected him as their president, the next year he traveled in Spain and Tangiers. He returned at the end of 1833 with a supply of sketches that he elaborated into attractive and popular paintings. The British Institution exhibited his Interior of Seville Cathedral in 1834, and he sold it for £300. He executed a fine series of Spanish illustrations for the Landscape Annual of 1836. Then in 1837 a selection of his Picturesque Sketches in Spain was reproduced by lithography.
Friday, March 11, 2011
A nuclear powered icebreaker is a purpose-built ship for use in waters constantly covered with ice. Icebreakers are ships capable of cruising on ice-covered water by breaking through the ice with their strong, heavy, steel bows.
Nuclear powered icebreakers are faraway more powerful than their diesel powered counterparts, and have been constructed by Russia primarily to aid shipping in the frozen Arctic waterways in the north of Siberia.
During the winter, the ice along the northern seaways varies in thickness from (1.2 to 2.0 meters). The ice in central parts of the Arctic Ocean is on average 2.5 meters (8.2 ft) thick. Nuclear-powered icebreakers can power through this ice at speeds up to 10 knots (19 km/h, 12 mph).
In ice-free waters the maximum speed of the nuclear-powered icebreakers is as much as 21 knots (35 km/h, 24 mph).
Monday, March 7, 2011
From the 3rd century BC, a specific genre known as Triumphal Paintings appeared, as indicated by Pliny (XXXV, 22). These were paintings which showed triumphal entries after military victories, represented episodes from the war, and occupied regions and cities. Summary maps were drawn to highlight key points of the movement. Josephus describes the painting executed on the occasion of Vespasian and Titus's sack of Jerusalem:
There was also shaped gold and ivory fastened about them all; and many resemblances of the war, and those in several ways, and variety of contrivances, affording a most lively portraiture of it. For there was to be seen a joyful country laid waste, and entire squadrons of enemies slain; while some of them ran away, and some were carried into captivity; with walls of great altitude and magnitude overthrown and ruined by machines; with the strongest defenses taken, and the walls of most populous cities upon the tops of hills seized on, and an army pouring itself within the walls; as also every place full of slaughter, and supplications of the enemies, when they were no longer able to lift up their hands in way of opposition..
Fire also sent upon temples was here represented, and houses overthrown, and falling upon their owners: rivers also, after they came out of a large and melancholy desert, ran down, not into a land cultivated, nor as drink for men, or for cattle, but through a land still on fire upon every side; for the Jews related that such a thing they had undergone during this war.
Now the workmanship of these representations was so magnificent and lively in the construction of the things, which it exhibited what had been done to such ads did not see it, as if they had been there really present. On the top of every one of these pageants was placed the commander of the city that was taken, and the manner wherein he was taken.
Friday, March 4, 2011
The Colosseum, or the Coliseum, initially the Flavian Amphitheatre, is an egg-shaped amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started in 72 AD under the emperor Vespasian and was completed in 80 AD under Titus, with further modifications being made during Domitian's reign (81–96). The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name.
Capable of seating 50,000 spectators, the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, and quarters for a religious order, a fortress, a extract, and a Christian shrine.
Although in the 21st century it stays moderately ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlight "Way of the Cross" procession that starts in the area around the Colosseum.
Occupying a site just east of the Roman Forum, its construction started in 72 AD under the emperor Vespasian and was completed in 80 AD under Titus, with further modifications being made during Domitian's reign (81–96). The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name.
Capable of seating 50,000 spectators, the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, and quarters for a religious order, a fortress, a extract, and a Christian shrine.
Although in the 21st century it stays moderately ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlight "Way of the Cross" procession that starts in the area around the Colosseum.
Thursday, February 24, 2011
Ginkaku-ji, the Temple of the Silver Pavilion, is a Zen temple in the Sakyo ward of Kyoto, Japan. It is one of the constructions that represent the Higashiyama Culture of Murom chi period.
Ashikaga Yoshimasa initiated tactics for creating a retirement villa and gardens as early as 1460; and after his death, Yoshimasa would assemble for this property to become a Zen temple. The official name is Jishō-ji or the "Temple of Shining Mercy." The temple is today linked with the Shokoku-ji branch of Rinzai Zen.
The two-storied Kannon-den is the major temple structure. Its construction began February 21, 1482.The structure's design sought to emulate the golden Kinkaku-ji which had been commissioned by his grandfather Ashikaga Yoshimasa. It is popularly known as Ginkaku, the "Silver Pavilion" because of the primary plans to cover its exterior in silver foil; but this familiar nickname dates back only as far as the Edo period (1600–1868).
During the Onin War, construction was halted. Despite Yoshimasa intention to cover the structure with a distinctive silver-foil overlay, this work was delayed for so long that the plans were never realized before Yoshimasa death. The present appearance of the structure is understood to be the same as when Yoshimasa himself last saw it. This "incomplete" appearance illustrates one of the aspects of "wabi-sabi" quality.
Like Kinkaku-ji, Ginkaku-ji was originally built to serve as a place of rest and solitude for the Shogun. During his reign as Shogun, Ashikaga Yoshimasa inspired a new expression of traditional culture, which came to be known as Higashiyama Bunka. Having retired to the villa, it is said Yoshimasa sat in the pavilion, contemplating the calm and beauty of the grounds as the Onin War worsened and Kyoto was burned to the ground.
In 1485, Yoshimasa became a Zen Buddhist monk. After his death on January 27, 1490 the villa and gardens became a Buddhist temple complex, renamed Jisho-ji after Yoshimasa Buddhist name.
In addition to the temple's famous building, the property features wooded grounds covered with a variety of mosses. The Japanese garden, supposedly designed by the great landscape artist Soami. The sand garden of Ginkaku-ji has become particularly well known; and the carefully formed pile of sand which said to symbolize Mount Fuji is an essential element in the garden.
Wednesday, February 16, 2011
Diamond Head is the name of a volcanic tuff cone on the Hawaiian island of Oahu and known to Hawaiians as Le ahi, most likely from lae 'browridge, promontory' plus ahi 'tuna' because the shape of the ridgeline resembles the shape of a tuna's dorsal fin.Its English name was given by British sailors in the 19th century, who mistook calcite crystals embedded in the rock for diamonds.
Diamond Head is part of the complex of cones, vents, and their associated eruption flows that are collectively known to geologists as the Honolulu Volcanic Series, eruptions from the KO olau Volcano that took place long after the volcano formed and had gone dormant.
The Honolulu Volcanic Series is a series of volcanic eruption events that created many of Oahu's well-known landmarks, including Punchbowl Crater, Hanauma Bay, Koko Head, and Manana Island in addition to Diamond Head.
Diamond Head, like the rest of the Honolulu Volcanics, is much younger than the main mass of the Koolau Mountain Range. While the Koolau Range is about 2.6 million years old, Diamond Head is estimated to be about 150,000 years old and extinct for 150,000 years.
Diamond Head is part of the complex of cones, vents, and their associated eruption flows that are collectively known to geologists as the Honolulu Volcanic Series, eruptions from the KO olau Volcano that took place long after the volcano formed and had gone dormant.
The Honolulu Volcanic Series is a series of volcanic eruption events that created many of Oahu's well-known landmarks, including Punchbowl Crater, Hanauma Bay, Koko Head, and Manana Island in addition to Diamond Head.
Diamond Head, like the rest of the Honolulu Volcanics, is much younger than the main mass of the Koolau Mountain Range. While the Koolau Range is about 2.6 million years old, Diamond Head is estimated to be about 150,000 years old and extinct for 150,000 years.
Friday, February 11, 2011
During the golden age of the Swedish Empire, the architecture of Nordic countries was dominated by the Swedish court designer Nicodemus Tessin the Elder and his son Nicodemus Tessin the Younger. Their aesthetic was readily adopted across the Baltic, in Copenhagen and Saint Petersburg.
Born in Germany, Tessin the Elder endowed Sweden with a truly national style, a well-balanced mixture of contemporary French and medieval hanseatic elements. His designs for the royal manor of Drottningholm seasoned French prototypes with Italian elements, while retaining some peculiarly Nordic features, such as the hipped roof.
Tessin the Younger shared his father's enthusiasm for discrete palace facades. His design for the Stockholm Palace draws so heavily on Bernini's unexecuted plans for the Louvre that one could well imagine it standing in Naples, Vienna, or Saint Petersburg. Another example of the so-called International Baroque, based on Roman models with little concern for national specifics, is the Royal Palace of Madrid. The same approach is manifested is Tessin's polychrome dome less Kalmar Cathedral, a skillful pastiche of early Italian Baroque, clothed in a giant order of paired Ionic pilasters.
It was not until the mid-18th century that Danish and Russian architecture were liberated from Swedish influence. A milestone of this late period is Nicolai Eigtved's design for a new district of Copenhagen centered on the Amalienborg Palace. The palace is composed of four rectangular mansions for the four greatest nobles of the kingdom, arranged across the angles of an octagonal square. The restrained facades of the mansions hark back to French antecedents, while their interiors contain some of the finest Rococo decoration in Northern Europe.
Friday, February 4, 2011
Bernardo Be lotto was a Venetians urban landscape painter or vedutista, and printmaker in etching famous for his verdures of European cities .He was the pupil and nephew of Canaletto and sometimes used the latter's memorable name, signing himself as Bernardo Canaletto. Especially in Germany, paintings attributed to Canaletto may actually be by Be lotto rather than by his uncle; in Poland, they are by Be lotto, who is known there as "Canaletto".
Bellbottom’s style was characterized by detailed representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is believable that be lotto, and other Venetian masters of verdure, may have used the camera obscure in order to achieve superior precision of urban views.
When King August III of Poland, also an Elector of Saxony, who usually lived in Dresden, died in 1763, be lotto’s work became less important in Dresden. As a consequence, he left Dresden to seek employment in St Petersburg at the court of Catherine II of Russia. On his way to St. Petersburg, however, be lotto accepted an invitation in 1764 from Poland's newly nominated King Stanislaw August Poniatowski to become his court painter in Warsaw.
Here he remained some 16 years, for the rest of his life, as court painter to the King, for whom he painted several views of the Polish capital and its environs for the Royal Castle in Warsaw, complement of the great historical paintings commissioned by Poniatowski from Marcello Bacciarelli. His paintings of Warsaw, later relocated to Moscow and Leningrad, were restored to the Polish Communist Government and were used in rebuilding the city after its near-complete destruction by German troops during World War II.
There are paintings by Be lotto also at the Czartoryski Museum, in Krakow, Poland (a museum founded by Isabella Czartoryski, (1743 - 1835), with paintings and works of art from her estate, Pulawy), and in Wilanów Palace, in the outskirts of Warsaw, founded around 1805 by Stanislaw Kostka Potocki, where a portrait of the above mentioned Isabella Czartoryska can be seen.
Bellbottom’s style was characterized by detailed representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is believable that be lotto, and other Venetian masters of verdure, may have used the camera obscure in order to achieve superior precision of urban views.
When King August III of Poland, also an Elector of Saxony, who usually lived in Dresden, died in 1763, be lotto’s work became less important in Dresden. As a consequence, he left Dresden to seek employment in St Petersburg at the court of Catherine II of Russia. On his way to St. Petersburg, however, be lotto accepted an invitation in 1764 from Poland's newly nominated King Stanislaw August Poniatowski to become his court painter in Warsaw.
Here he remained some 16 years, for the rest of his life, as court painter to the King, for whom he painted several views of the Polish capital and its environs for the Royal Castle in Warsaw, complement of the great historical paintings commissioned by Poniatowski from Marcello Bacciarelli. His paintings of Warsaw, later relocated to Moscow and Leningrad, were restored to the Polish Communist Government and were used in rebuilding the city after its near-complete destruction by German troops during World War II.
There are paintings by Be lotto also at the Czartoryski Museum, in Krakow, Poland (a museum founded by Isabella Czartoryski, (1743 - 1835), with paintings and works of art from her estate, Pulawy), and in Wilanów Palace, in the outskirts of Warsaw, founded around 1805 by Stanislaw Kostka Potocki, where a portrait of the above mentioned Isabella Czartoryska can be seen.
Friday, January 21, 2011
The most important Barbizon School painter Camille Corot tinted in both a romantic and a realistic vein; his work prefigures Impressionism, as does the paintings of Eugene Boudin who was one of the earliest French landscape painters to paint outdoors. Boudin was also an important authority on the young Claude Monet, whom in 1857 he introduced to Plein air painting.
A most important force in the turn towards Realism at mid-century was Gustavo Courbet. In the latter third of the century Impressionists like Eduard Manet, Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, Bethe Morisot, Mary Cassatt, and Edgar Degas worked in a more direct approach than had previously been exhibited publicly.
They eschewed allegory and narrative in favorof individualized responses to the modern world, sometimes painted with little or no preliminary study, relying on deftness of drawing and a highly chromatic palette. Manet, Degas, Renoir, Morisot, and Cassatt concentrated primarily on the human subject.
Both Manet and Degas reinterpreted classical abstract canons within contemporary situations; in Monet's case the re-imaginings met with aggressive public reception.
Renoir, Morisot, and Cassatt turned to domestic life for inspiration, with Renoir focusing on the female nude. Monet, Pissarro, and Sisley used the landscape as their primary motif, the transience of light and weather playing a major role in their work.
While Sisley most closely adhered to the original principals of the Impressionist perception of the landscape, Monet sought challenges in increasingly chromatic and changeable conditions, culminating in his series of monumental works of Water Lilies painted in Giverny.
Thursday, December 30, 2010
Little or no historical proof has been unearthed from the Middle Ages to support the idea that it ever in fact existed. It is also sometimes spelled droit du seigneur, "right of the lord", but native French prefer the terms droit de jamb age ("right of the doorpost") or droit de cuissage ("right of cuissage"), where cuissage (from cuisse, "thigh") refers to the exercise of this right.
The linked term jus primae noctis is Latin for "law of the first night". Droit de seigneur is often interpreted today as a synonym for its primae noctis, although it originally referred to a number of other rights as well, including hunting, taxation, and undeveloped.
The survival of a "right of the first night" in the Middle Ages was first uncertain in the 19th century. Although most historians today would be of the same opinion that there was no authentic custom in the Middle Ages, disagreement continues about the origin, the meaning, and the development of the widespread popular belief in this alleged right and the actual prevalence of figurative gestures referring to this right.
The origin of this popular belief is not easy to trace, though readers of Herodotus were made to understand that such a tradition had obtained among the tribe of the "Adyrmachidae" in distant ancient Libya, where Herodotus thought it unique: "They are also the only tribe with whom the custom obtains of bringing all women about to become brides before the king, that he may decide such as are pleasurable to him."
Thursday, December 23, 2010
Indian painting is a form of Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petro glyphs as found in places like Bhimbetka, and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ellora, Maharashtra state present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals.
Thereafter, frescoes of Ajanta and Ellora Caves appeared. India's Buddhist literature is replete with examples of texts which describe that palaces of kings and aristocratic class were overstated with paintings, but they have largely not survived. But, it is believed that some form of art painting was practiced during that time.
Indian paintings provide an aesthetic range that extends from the early civilization to the present day.
From being in actual fact religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions. The Indian painting was exposed to Greco-Roman as well as Iranian and Chinese influences. Cave paintings in different parts of India bear testimony to these influences and a continuous evolution of new idioms is evident.
Raj put painting, also known as Rajasthan Painting, is a style of Indian painting, evolved and flourished during the 18th century in the royal courts of Rasputin, India, flowing from the style of Mughal painting, itself derived from the Persian miniature. Each Raj put kingdom evolved a distinct style, but with certain common features. Raj put paintings depict a number of themes, events of epics like the Ramayana and the Mahabharata, Krishna’s life, beautiful landscapes, and humans. Miniatures in manuscripts or single sheets to be kept in albums were the preferred medium of Raj put painting, but many paintings were done on the walls of palaces, inner chambers of the forts, havelis, particularly, the havelis of Shekhawati, the forts and palaces built by Shekhawat Raj puts.
The colors extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking weeks. Brushes used be very fine.
Thursday, December 16, 2010
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Monday, December 13, 2010
Even though high level of stylization, mystical appeal, and surreal elegance were often preferred over realism, beginning with the medieval Song Dynasty there were many Chinese painters then and afterwards who depicted scenes of nature that were brightly real.
Later Ming Dynasty artists would take after this Song Dynasty emphasis for complicated detail and realism on objects in nature, especially in depictions of animals (such as ducks, swans, sparrows, tigers, etc.) amongst patches of brightly-colored flowers and thickets of brush and wood.
There were many well-known Ming Dynasty artists; Qiu Ying is an excellent example of a paramount Ming era painter (famous even in his own day), utilizing in his artwork domestic scenes, bustling palatial scenes, and nature scenes of river valleys and steeped mountains shrouded in mist and swirling clouds. During the Ming Dynasty there were also different and rivaling schools of art associated with painting, such as the Wu School and the Zhen School.
Classical Chinese painting continued on into the early modern Qing Dynasty, with highly realistic portrait paintings like seen in the late Ming Dynasty of the early 17th century. The portraits of Kangxi Emperor, Yongzheng Emperor, and Qianlong Emperor are excellent examples of realistic Chinese portrait painting. During the Qianlong reign period and the continuing 19th century;
European Baroque styles of painting had noticeable influence on Chinese portrait paintings, especially with painted visual effects of lighting and shading. Likewise, East Asian paintings and other works of art were highly prized in Europe since initial contact in the 16th century.
Wednesday, November 24, 2010
After the decline of the Carolingian Empire, the Holy Roman Empire was re-established under the Saxon Ottonian dynasty. From this emerged a rehabilitated faith in the idea of Empire and a reformed Church, creating a period of heightened cultural and artistic passion. It was in this atmosphere that masterpieces were created that fused the traditions from which Ottonian artists derived their inspiration: models of Late Antique, Carolingian, and Byzantine origin.
Ottonian monasteries produced some of the most magnificent medieval illuminated manuscripts. They were a major art form of the time, and monasteries received direct sponsorship from emperors and bishops, having the best in equipment and talent available.
Among the greatest talents was the so-called Master of the Regis rum Gregory, or Gregory Master, who worked chiefly in Trier in the 970s and 980s. He was responsible for several miniatures in the influential Codex Egbert, a gospel dictionary made for Archbishop Egbert of Trier, probably in the 980s.
However, the majority of the 51 images in this book, which represent the first extensive cycle of images depicting the events of Christ's life in a western European manuscript, were made by two monks from the island monastery of Reichenau in Lake Constance. Subsequently, the Reichenau scriptorium specialized in Gospel illustration in liturgical books, many of them, such as the Munich Gospels of Otto III and the Periscope Book of Henry II imperial commissions.
Other important monastic scriptoria that flourished during the Ottonian age include those at Convey, Hildesheim, Regensburg, Echternach, and Cologne. In addition, much very fine small-scale sculpture in metals--usually embroidered with gems, enamels, crystals, and cameos--and ivory were made during the Ottonian period.
Tuesday, November 16, 2010
The earliest artists considered to have contributed to the variety predate a great deal of Romanticism and the Victorian era. Henry Fuseli and William Blake produced works that would be indicative of the later variety even before 1800.
Despite his status and condition, his fantastic subjects and extraordinarily detailed style were generally well-received, with one period reviewer describing his work as exquisitely ideal. He accompanied his masterpiece, The Fairy Feller's Master-Stroke, with an elaborate poem providing historical, literary, or mythological context to each of the characters depicted.
Fairy painting was not exclusively the domain of outside art, however. The work of John Anster Fitzgerald debuted at London's Royal Academy. His work, in the form a series of Christmas-themed fairy illustrations, received wider public visibility in the Illustrated London News.
The Scottish artist Joseph Noel Paton exhibited two immensely detailed paintings based on the popular fairy scenes of A Midsummer Night's Dream. Even Edwin Landseer, sometimes named Victoria's favorite artist, produced a painting of Titanic and Bottom in the genre's style.
The genre also influenced the Pre-Rafaelita Brotherhood and the movement it began. Co-founder John Everett Millais produced a series of fairy paintings based on The Tempest, ending with his 1849 work Ferdinand Lured by Ariel.
Dante Gabriel Rossetti, another of the Brotherhood's initial members, took a more sensual approach to the subject, in both painting and poetry. Others involved with the movement, such as Arthur Hughes and William Bell Scott, also contributed to the genre.
Although the Cuttingly Fairies briefly revived interest in foe subjects, the waning of Romanticism and the advent of World War I reduced interest in the styles and topics popular during the Victorian era.
Despite his status and condition, his fantastic subjects and extraordinarily detailed style were generally well-received, with one period reviewer describing his work as exquisitely ideal. He accompanied his masterpiece, The Fairy Feller's Master-Stroke, with an elaborate poem providing historical, literary, or mythological context to each of the characters depicted.
Fairy painting was not exclusively the domain of outside art, however. The work of John Anster Fitzgerald debuted at London's Royal Academy. His work, in the form a series of Christmas-themed fairy illustrations, received wider public visibility in the Illustrated London News.
The Scottish artist Joseph Noel Paton exhibited two immensely detailed paintings based on the popular fairy scenes of A Midsummer Night's Dream. Even Edwin Landseer, sometimes named Victoria's favorite artist, produced a painting of Titanic and Bottom in the genre's style.
The genre also influenced the Pre-Rafaelita Brotherhood and the movement it began. Co-founder John Everett Millais produced a series of fairy paintings based on The Tempest, ending with his 1849 work Ferdinand Lured by Ariel.
Dante Gabriel Rossetti, another of the Brotherhood's initial members, took a more sensual approach to the subject, in both painting and poetry. Others involved with the movement, such as Arthur Hughes and William Bell Scott, also contributed to the genre.
Although the Cuttingly Fairies briefly revived interest in foe subjects, the waning of Romanticism and the advent of World War I reduced interest in the styles and topics popular during the Victorian era.
Wednesday, November 10, 2010
Two difficult parts along the Nakasendō, Nagakubo flourished as a post down during the Edo period. As the town developed, its row houses eventually spread to side streets, giving it the rare shape of a key.
At its most flourishing time, there were over 45 inns in which travelers could rest, making it a rather large post town.Hiroshige largely confined himself in his early work to common Ukiyo-e themes such as women and actors.
Then, after the death of Toyohiro, Hiroshige made a impressive turnabout, with the 1831 landscape series Famous Views of the Eastern Capital which was critically highly praised for its composition and colors.
He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu.
The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons.
In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique flickering effect, embossing, fabric printing, blind printing, and the use of glue printing .
One Hundred Famous Views of Edo was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death.
At its most flourishing time, there were over 45 inns in which travelers could rest, making it a rather large post town.Hiroshige largely confined himself in his early work to common Ukiyo-e themes such as women and actors.
Then, after the death of Toyohiro, Hiroshige made a impressive turnabout, with the 1831 landscape series Famous Views of the Eastern Capital which was critically highly praised for its composition and colors.
He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu.
The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons.
In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique flickering effect, embossing, fabric printing, blind printing, and the use of glue printing .
One Hundred Famous Views of Edo was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death.
Thursday, November 4, 2010
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.
Tuesday, October 26, 2010
The Republic of Singapore is a city-state in Southeast Asia, situated on the southern tip of the Malay Peninsula, south of the Malaysian state of Johor and north of the Indonesian Riau Islands.
The name Singapore was derivative from Malay word singa (lion). Singapore was originally a small Malay settlement until 1819, when the British started a trading post that developed into an important commercial and military royally base.
Except for the interruption for the three years that the Japanese occupied Singapore during World War II, it was a Crown Colony from 1867 until 1963, when it declared independence from Britain.
Singapore joined the Federation of Malaysia shortly afterwords. On expulsion from Malaysia in 1965, Singapore was separated from its traditional markets and faced economic degeneration.
In resolution, government-led rapid industrialization and business-friendly policies stimulated some of the fastest economic growth in the modern world.
Singapore now has one of the highest gross domestic product (GDP) per capita rates in the world; it is a major financial, transport and medical hub.
Crime is low, and Transparency International consistently rates it as one of the least corrupt countries in the world.
Singapore online paintings are very popular in all over the world. Most of the paintings reveals the nature & history of the Singapore.
The name Singapore was derivative from Malay word singa (lion). Singapore was originally a small Malay settlement until 1819, when the British started a trading post that developed into an important commercial and military royally base.
Except for the interruption for the three years that the Japanese occupied Singapore during World War II, it was a Crown Colony from 1867 until 1963, when it declared independence from Britain.
Singapore joined the Federation of Malaysia shortly afterwords. On expulsion from Malaysia in 1965, Singapore was separated from its traditional markets and faced economic degeneration.
In resolution, government-led rapid industrialization and business-friendly policies stimulated some of the fastest economic growth in the modern world.
Singapore now has one of the highest gross domestic product (GDP) per capita rates in the world; it is a major financial, transport and medical hub.
Crime is low, and Transparency International consistently rates it as one of the least corrupt countries in the world.
Singapore online paintings are very popular in all over the world. Most of the paintings reveals the nature & history of the Singapore.
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