Nara Bautista (logyu) on Myspace. Ugly Renaissance Babies. Little Baby Nothing. Lady Godiva. Godiva (/ɡəˈdaɪvə/; Old English: Godgifu[1]), known as Lady Godiva, was an 11th-century Anglo-Saxon noblewoman who, according to a legend dating back at least to the 13th century, rode naked through the streets of Coventry in order to gain a remission of the oppressive taxation imposed by her husband on his tenants.
The name "Peeping Tom" for a voyeur originates from later versions of this legend in which a man named Tom had watched her ride and was struck blind or dead. [citation needed] Historical figure[edit] Lady Godiva statue by Sir William Reid Dick unveiled at midday on 22 October 1949 in Broadgate, Coventry, a £20,000 gift from Mr W. H. Bassett-Green, a Coventrian[2] (photograph taken in October 2011) Godiva was the wife of Leofric, Earl of Mercia. Godiva's name occurs in charters and the Domesday survey, though the spelling varies.
After Leofric's death in 1057, his widow lived on until sometime between the Norman Conquest of 1066 and 1086. Legend[edit] Peeping Tom[edit] W. Notes. Henryk Siemiradzki. Henryk Hektor Siemiradzki (24 October 1843 – 23 August 1902) was a Polish 19th-century painter active in the period of foreign Partitions of Poland, and best remembered for his monumental Academic art. He was particularly known for his depictions of scenes from the ancient Graeco-Roman world and the New Testament, owned by national galleries of Poland, Russia and Ukraine.[1][2] Many of his paintings depict scenes from antiquity, often the sunlit pastoral scenes or compositions presenting the lives of early Christians. He also painted biblical and historical scenes, landscapes, and portraits. His best-known works include monumental curtains for the Lviv (Lwów) Theatre of Opera and for the Juliusz Słowacki Theatre in Kraków (below).
Biography[edit] Siemiradzki's artistic career[edit] After graduating from the University with the degree of Kandidat he abandoned his scientific career and moved to Saint Petersburg to study painting at the Imperial Academy of Arts in the years 1864–1870. Frankfurt. Exhibition dates: 26th September 2012 – 20th January, 2013 Many thankx to the Städel Museum for allowing me to publish the reproductions of the artwork in the posting.
Please click on the photographs for a larger version of the image. Installation photographs of Dark Romanticism. From Goya to Max Ernstat the Städel Museum, Frankfurt. Photos: Norbert Miguletz Arnold Böcklin (1827-1901)Villa by the Sea 1871-1874 Oil on canvas 108 x 154 cm Städel Museum, Frankfurt am Main Caspar David Friedrich (1774-1840)Kügelgen’s Tomb 1821/22 Oil on canvas 41.5 x 55.5 cm Die Lübecker Museen, Museum Behnhaus Drägerhaus, on loan from private collection Ernst Ferdinand Oehme (1797-1855)Procession in the Fog 1828 Oil on canvas 81.5 x 105.5 cm Galerie Neue Meister, Staatliche Kunstsammlungen Dresden Samuel Colman (1780-1845)The Edge of Doom 1836-1838 Oil on canvas 137.2 x 199.4 cm Brooklyn Museum, Bequest of Laura L.
“The Städel Museum’s major special exhibition Dark Romanticism. Illustrations of Bluebeard. Below is a list of the illustrations available for Bluebeard. Click on the image to see all of the illustrator's work for the tale as well as larger versions of the illustrations. Illustrations by John Batten Click here to see other tales illustrated by John Batten.
Illustration by Otto Brausewetter Illustrations by Harry Clarke Click here to see other tales illustrated by Harry Clarke. Illustrations by Herbert Cole Click here to see other tales illustrated by Herbert Cole. Illustrations by Walter Crane Click here to see other tales illustrated by Walter Crane. Illustrations by Gustave Doré Click here to see other tales illustrated by Gustave Doré. Illustrations by Edmund Dulac Click here to see other tales illustrated by Edmund Dulac. Two Illustrations to Tales Similar to Bluebeard by John B. Fitcher's Bird Robber Bridegroom Click here to see other tales illustrated by John B. Illustrations by Jennie Harbour Click here to see other tales illustrated by Jennie Harbour. Illustrations by G. Bluebeard. Snowce. Henri Dauman, Brigitte Bardot Sophie Ristelhueber, Aftermath: Kuwait, 1991 Cy Twombly, Petals Of Fire, 1989 Egon Schiele, Seated Nude Girl with Shirt over Her Head, 1910 Robert Frank, London, 1951 Captial STEEZ - King Steelo.
Ashley Bickerton’s Sad Anthropologists « Boldizar.com. Reprinted from C-Arts Magazine, July 2010. “The purpose of poetry is to remind us how difficult it is to remain just one person.” —Czeslaw Milosz Ashley Bickerton’s paintings are a form of combat between attachment and its opposite, a fusion of subject matter with distance between the parts. His mastery of tone—tone as defined by writers, not painters; that elusive internal, fluid, ambient quality in art that is shaped by the attitude of the artist towards his subject, or towards his audience, or towards himself and his way of painting, that nearly impossible-to-define tug of war—through a dialectic, sometimes dialogic, angular use of tone he holds things together but also always apart, and that is refreshing. Total integration is a terrible thing. Chekov once said that if a playwright hangs a gun on the wall in the first act, there had better be a murder by the third.
And the critic answers, “I can’t stop looking at that butt.” “Why do you keep talking about the butt?” Chaim Soutine. Chaïm Soutine (January 13, 1893 – August 9, 1943) was a French painter of Belarusian Jewish origin. Soutine made a major contribution to the expressionist movement while living in Paris. Inspired by classic painting in the European tradition, exemplified by the works of Rembrandt, Chardin[1] and Courbet, Soutine developed an individual style more concerned with shape, color, and texture over representation, which served as a bridge between more traditional approaches and the developing form of Abstract Expressionism.
Biography[edit] Soutine was born Chaim Sutin, in Smilavichy near Minsk, (modern day) Belarus (then part of the Russian Empire). He was the tenth of eleven children. For a time, he and his friends lived at La Ruche, a residence for struggling artists in Montparnasse where he became friends with Amedeo Modigliani (1884–1920). After the war Paul Guillaume, a highly influential art dealer, began to champion Soutine's work. Legacy[edit] Paintings of Soutine by Modigliani[edit] Life Magnified: A Gallery of Macro Photos. The National Institute of Health (NIH) has launched a Web companion to the 2014 exhibit at Washington Dulles International Airport entitled Life: Magnified. The exhibit displays scientific images showing cells and other scenes of life magnified by as much as 50,000 times. Most of the colors in these images do not occur in nature.
Rather, they are the result of chemical dyes or graphic design programs that allow scientists to study selected structures within a cell. Developing nerve cells. HIV (yellow) infecting a human cell. Gecko lizard toe hairs. Larvae from the parasitic worm that causes schistosomiasis. Layers of nerve cells in the eye. Anthrax bacteria being swallowed by an immune system cell. Fat cells (red) and blood vessels (green). Q fever bacteria (yellow) in an infected cell. Ebola virus peeling off an infected cell. Pollen grains. Mouth parts of a lonestar tick. 3-D map of a rotavirus. Bubonic plague bacteria (yellow) on part of the digestive system in a rat flea (purple).
Alyssa Monks | Paintings. 20 Hyper-Realistic Oil Paintings by Alyssa Monks - Glass, Steam, Water and Flesh. DZO Olivier on Behance. Studio Rayyan | the Art of Omar Rayyan.
Comics. Sculpture. Drawings. Design. 10 Tips to Find Your Own Artistic Voice. In the article below, my friends at ArtBistro share some great tips to help you discover who you are as an artist and what it is you want to say… ~Lori Guest Author: ArtBistro. Originally posted on ArtBistro.Monster.com Artists may work for a very long time, even a lifetime, and never quite find their artistic voice. They may know that their work isn’t really that fresh or interesting but not seem to possess the wherewithal to break through into deeply felt, personalized work. Here are ten tips for doing just that: for finding your voice as an artist. 1. Detaching from your visual library A very common problem, and almost always an unconscious one, is the need an artist feels to make his work look like something he holds as “good art” or “real art””—very often Old Master art. 2.
Maybe you excel at producing dynamic-looking cats or turning a patch of yellow into a convincing sun. 3. Very often the personal work you want to do feels risky to undertake. 4. 5. 6. 8. 9. 10.
Webcomics.