Environmental Art Museum Joconde, portail des collections des musées de France BOUDIN Eugène, Venise, La douane et Notre-Dame-de-la-Salute, huile sur bois, 1895, Reims, musée des beaux-arts © Christian Devleeschauwer1/28 Costume de China Poblana, Mexique, coton, laine, sequin, perle de verre, 4e quart 19e siècle, 1er quart 20e siècle, Barcelonnette, musée de la Vallée, © BERNARD Jean2/28 MAISON J ROTHSCHILD & Fils et RHEIMS & AUSCHER, Modèle de landau à huit ressorts, crayon graphite sur papier bristol, 4e quart 19e siècle - 20e siècle, Compiègne, musée national de la voiture et du tourisme © Arkhênum ; Compiègne, musée national de la voiture et du tourisme - utilisation soumise à autorisation3/28 Portrait de Tiberius Gemellus ? DE DIETRICH, Saint Georges terrassant le dragon, bas-relief, fonte moulée, entre 1950 et 1960, Reichshoffen, musée historique et industriel, musée du fer © Pommois Etienne28/28
Acrylics Articles - The Winsor & Newton guide to acrylics mediums We can all appreciate that when asked, most painters would say colour is the most important element of their materials and of course it is. However, colour is not enough; many painters want to be able to push it further, develop it, manipulate it and make it their own. That’s where mediums come in… It is not often that we have the opportunity of re-thinking mediums from scratch but that’s exactly the chance we had following the introduction of Artists’ Acrylic Colour – a range of the strongest and brightest colours which no longer suffer from colour shift from wet to dry. Using our new colourless binder we have breathed new life into acrylic mediums and have produced a concise range of 14 acrylic mediums which do not overlap, making it easier to choose and use them from the start of your painting until it is completed. In this article we are going to look at each medium and investigate both the common and more unusual uses of the mediums and take some notes on the things to avoid too.
Amazon.it: elettronica, libri, musica, DVD e tanto altro Chronologies Performances/Performing Arts - 1973 : chronologie… - 1972 : chronologie… - 1971 : chronologie… - 1970 : chronologie… - 2006 : chronologie… - 2007 : chronologie… - 1979 : chronologie… - 1978 : chronologie… - 2009 : chronologie… - 1999 : chrono - ABRAMOVIC Abramovic & ULAY, Relation works 1976-1980 Les relation works d’Abramovic & Ulay ont pour triple principe: « ni répétition, ni fin prédéterminée, ni reproduction ». Abramovic & Ulay prennent en compte l’espace, le temps et le corps dans ces performannces, ce qui les inscrivent dans les performances conceptuelles. Les performances impliquent le spectateur à participer à une situation vécu par les artistes en même temps. Au commencement, par un commun accord, les artistes sont « unis » physiquement et mentalement. Dans la performance Breathing in-Breathing out (« inhalant -expirant », 1977) Abramavic et Ulay se sont embrassés jusqu’à ce que leurs réserves réciproques en oxygène se soient épuisés, à la dix-neuvième minute. Un bon nombre des performances d’Abramovic et Ulay marchent sur ce principe de synchronisation, où les artistes tentent de dissoudre le « moi » dans l’altérité. cheveux se dénouent petit à petit. - ABRAMOVIC Marina & ULAY, Relation in Space, 1976. - ADLER Billy
Les 5 meilleurs sites où trouver des images libres de droits Le pouvoir des images n’est plus à démontrer dans un blog ou un site. Elles attirent, illustrent, animent vos publications. Elles sont surtout souvent un moyen efficace d’inciter vos lecteurs à lire les articles. Trouver des images publiables en respectant les droits des auteurs n’est pas simple habituellement. 1 – Morguefile. 2 – PhotoPin. 3 – EveryStockPhotos. 4 – Wikimedia Commons. 5 – Foter. Et vous comment vous y prenez vous pour trouver des images libres de droits ? Sur le même thème How To Paint a Cactus with Acrylics I found a really interesting video tutorial today from a very talented artist by the name of Rudy Kistler. This is a still life painting lesson on how to paint a cactus, a subject that you really don’t see that often. This tutorial is broken down into 10 different steps for your convenience making it easy to follow. Follow this link to visit Rudy’s YouTube Page to watch more of his videos. Step 1 Priming the Canvas Rudy begins his painting by priming his canvas with an orange color. Step 2 Mixing Your Palette For this painting, Rudy will be using an analogous color scheme which is based on colors that are next to one another on the color wheel. Step 3 Blocking in the Composition Rudy then begins to block in his composition. Step 4 Toning the Background Roughly block in the background at this stage. Step 5 Adding Color Here you begin adding color starting with a dark blue for the pot. Step 6 Filling in the Background Now the background receives some more attention. Step 7 Adding the Details
Vinit Enogastronomia e Turismo Art et environnement : un développement durable ? - revue art contemporain - revue art contemporain Les rapports entre l’acte artistique et l’environnement naturel sont aux fondements de la représentation et remontent à la nuit des temps. Une nuit sombre où, pour la première fois, les contours d’une mains apparaissent sur une paroi rocheuse, suivie de la représentation de la bête chassée la journée, de sa force, de son immensité et de la peur qu’elle pouvait provoquer. L’art enregistre, le profil d’un amant, la beauté d’un paysage, la nuit avant la forêt dans les tableaux de Nicolas Poussin, le sublime d’un arbre au tronc noueux dans la peinture romantique ou alors la mouche sur le fruit, l’oeil encore vif du poisson, dans une nature, morte, extirpée du sol ou de la mer nourricière. L’homme comme l’artiste est en permanence dans son environnement, ce n’est pas ici une question de choix, ce qu’il peut faire c’est le représenter ou pas, réfléchir ou non ce lien. De notre côté de l’Atlantique. Et, comme souvent, le discours est mis à mal par le système lui-même.
Bibliothèque publique de NY : télécharger gratuitement plus de 180.000 images libres de droit- en anglais That means everyone has the freedom to enjoy and reuse these materials in almost limitless ways. The Library now makes it possible to download such items in the highest resolution available directly from the Digital Collections website. Search Digital Collections No permission required. No restrictions on use. Below you'll find tools, projects, and explorations designed to inspire your own creations—go forth and reuse! Visualize the Public Domain An experiment by NYPL Labs to help patrons understand and explore what is contained in this release. Discover the Collections Learn more about our public domain release. Use Our Data and Utilities Our digitized collections are available as machine-readable data: over one million records for you to search, crawl and compute. As a way to introduce you to our public domain collections and inspire new works, NYPL Labs has developed a suite of projects that show some of the possibilities contained in this rich material. Navigating the Green Books
A beginners guide to colour strings (and how to paint quicker) When you first start painting, the vision is of squeezing out bright vivid paint colours, a handful of paintbrushes, maybe a beret? But often this approach is an illusion, an artist myth. To get professional results you need a professional approach. If you want freedom and expression on the canvas, a bit of premixing can help you achieve more pleasing results, especially if you are trying to achieve a more realistic effect. If you spend a little extra time in preparation, your actual time at the easel will be more efficient, quicker and rewarding. Let’s enter the world of colour strings… What are colour strings? When painting, you can either mix your colours as you need them using the raw pigment colour straight from the tube or premix your most useful tones. Some artists prepare batches of colours in advance, others only prepare a few, others don’t premix at all preferring to mix on the fly – and this is the approach that beginners usually favour. 1. 2. How to mix a colour string?
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