The Altar of Hymen by Edward Burne-Jones, circa 1874
“거대 인외 이메레스.. 자유롭게 사용해주세요 #트레틀 #이메레스”
Georges Rochegrosse (1859-1938), Gismonda, 1919, color lithograph.
June 30, 2024Singer Alicia Keys and producer-rapper Swizz Beatz (real name Kasseem Dean) are giants in the music industry. The Deans also have a giant art collection that includes works by giants of the art world. Several of those pieces are so gigantic they can’t fit on the walls of their three residences in New […]
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One of the great Japanese woodblock artists, Hiroshi Yoshida (1876-1950) was especially noted for his exquisitely detailed, evocative prints of landscapes around the world. His work is beautiful, subtle and often atmospheric, displaying a real mastery of his technique, which allowed him to capture the subtleties of light and form. Yoshida often reused the same woodblocks, varying the colours and saturation to suggest alternate moods of the same scene – a different time of day, or even different weather conditions. Initially trained as a painter (of some renown), Yoshida began working with woodblocks in the early 1920s, and after a meeting with the owner of the Watanabe Print Store in Tokyo he had his first series of prints published. The woodblock technique is notoriously time-consuming and difficult, but Yoshida seemed able to capture the most delicate graduations of colour and the tiniest details in a temple façade or mountain face. Yoshida was a keen traveller and visited numerous countries from the early 1900s onwards - his cosmopolitan attitude is reflected in the landscapes and studies he created in countries like India and America. The traditional Japanese techniques in his work applied to a changing foreign world at the beginning of the 20th Century make for some fascinating, unexpected images, which sit comfortably alongside his more elegiac landscapes. Whilst the world has changed almost immeasurably in the 50 or so years since Yoshida died, when viewed today, well-kept examples of his woodblocks still have a real vibrancy and warmth to them. Yoshida died in 1950 but his two sons Toshi and Hodaka both became respected woodblock artists in their own right, carrying on the family tradtion. In fact, since the mid-1800s the same Yoshida family - Hiroshi's forebears - has produced eight artists of serious renown – a veritable woodblock dynasty. Boat in dry dock, Kinoe Grand Canyon (Bright Variant), 1925 The Cherry Tree In Kawagoe, 1935 Obatan Parrot II, 1926 Yarigate, date unknown Yomei Gate, 1937 Taj Mahal, 1931 Taj Mahal, Night, 1931 Snake Charmers, 1932 Sketch of a Tiger, 1926 Kinkaku, 1933 Kameido Bridge, 1927 Iris Garden In Horikiri, 1928 Obatan Parrot, 1926 Icho In Autumn, 1926 Udaipur 1931 Early Morning, Fujiyama, 1928 Elephant, 1931 Eboshidake, 1926 Cryptomeria Avenue, 1937 Climbing Snow Valley, 1926 Cave Temple In Ellora, 1932 Breithorn, date unknown Avenue Of Cherry Trees, 1935 Konoshima, 1935 All images © Estate of Hiroshi Yoshida
художник иллюстратор график Willy Pogany, William Andrew Pogány, Вильмош Андраш (Уильям Эндрю) Погани, занимался иллюстрированием книг, рисованием портретов, дизайном театральных декораций и костюмов, мастер черно-белой графики пера и чернил, графические рисунки драконов, троллей, фей, мифических животных.
Edmund Dulac (1882 – 1953) was a French magazine illustrator, book illustrator and stamp designer. For full biographical notes on Dulac, and for earlier works, see part 1 also. This is part 2 of a 7-part post on the works of Edmund Dulac: 1908 Lyrics Pathetic and Humorous from A to Z An Alphabet Book of 24 colourful plates (X, Y and Z are combined), each with a limerick. The book was published in London and New York in 1908 by Frederick Warne & Co. A year later in 1909 a deluxe limited edition of about 160 copies was issued in portfolio form much taller than the standard edition — large quarto, title-page and twenty-four color plates, each mounted on dark green art paper with original parchment endpapers from the book edition also mounted on folded sheets of dark green art paper. Front Cover End-paper Title Page End-paper End-paper Back Cover 1908 Shakespeare's Comedy of The Tempest: Front Cover Frontispiece Title Page Prospero: "I have done nothing but in care of thee" Prospero: "What seest thou else in the dark backward and abysm of time?" Prospero: "And by my prescience I find my zenith doth depend upon a most auspicious star Caliban: "Wouldst give me water with berries in't' Antonio: "Here lies your brother, no better than the earth he lies upon" Stephano: "Come, swear to that: kiss the book" Ariel: "You are three men of sin" Iris: "I met her deity cutting the clouds towards Paphos" Iris: "You Nymphs, call'd Naiads, of the windring brooks, leave your crisp channels" Prospero: "We are such stuff as dreams are made on" Ariel: " All prisoners sir, in the lime-grove which weather-fends your cell" Prospero: "You demi-puppets that by moonshine do the green sour ringlets make" Prospero: "Graves at my command have waked their sleepers" Boatswain: "And were brought moping hither" Prospero: "Calm seas, auspicious gales, and sail so expeditious" 1909 The Rubáiyát of Omar Khayyám: Front Cover Front Cover Title Page ( Frontispiece ) Thinking of Lady Yang at Midnight …Awake! For Morning in the Bowl of Night has flung the Stone that puts the Stars to Flight Peace to Mahmud on his Golden Throne! A Loaf of Bread Blowing Rose Lone Dove …and hidden by the sleeve of Night and Morn The Potter Hour of Grace Angel of the Drink of Darkness Human or Divine A New Marriage Came shining through the Dusk an Angel Shape All are but Stories The Face of Wretched Man That Spring Should Vanish with the Rose Where I Made One
Taking images of Hollywood stars, breaking them with scribbles. Seoul it's one of the largest cities in the world by population density. Here lives a Korean painter who loves to paint famous actresses
“本来の姿も並べて配置すればでかいショタレベルが上がるのでは と思って並べたらショタになんて酷い事をッ...！！許せねえッ！！！ という気持ちが強くなってモンペと化した”
Art influenced by the art and themes of the Pre Raphaelites with biographies, auctions and information on these artists.
