Clothes in the Elizabethan era (1558-1603 CE) became much more colourful, elaborate, and flamboyant than in previous periods. With Elizabeth I of England (r. 1558-1603 CE) herself being a dedicated...
Greek art and sculptures has had a profound effect for art throughout the ages. Here are six ancient greek sculptures everyone should know.
I'm delighted and honored that Susan Lichtman agreed to this telephone interview and thank her greatly for being so generous with her time and attention with sharing thoughts about her art and process. Susan Lichtman is a well-known and greatly respected figurative painter living in Southeastern, Mass. She is an Associate Professor of Painting at Brandeis University. Select recent shows include: List Gallery, Swarthmore College, Swarthmore, PA, Smith College, Northampton, MA, and has shown at the Gross McCleaf Gallery, Philadelphia, PA and the Lenore Gray Gallery, Providence, RI as well as many other venues. The JSS in Civita, (Civita Castellana, Italy) recently announced that Susan Lichtman will be the 2016 JSS in Civita Master Class Guest-of–Honor. Ms. Lichtman will be in residence July 11th to August 1st. Here is a link for more information on her workshop in Italy. excerpted from the interview: The perceptual experience of reading the painting considers that we are phototrophic, that we move toward light; ultimately, though, we are most interested in looking at people. If you play a little balancing act between elements of light and bright color and the pool of figuration you slow up the reading of a painting. A red herring is a distraction from the central, important elements of a picture. I often don’t want the figures to reveal themselves too quickly. Of course there are many ways to paint, but I love paintings where the figures are revealed slowly, for example, in Bonnard’s pictures figures emerge gradually, maybe not seen at first, as they are woven to the wallpaper or background. Rembrandt often put the eyes in the shadow and places the light somewhere else, like on a shoulder–that brilliant light redirects the eye, it is placed somewhere where it isn't actually important and then only after a while do you discover the eyes, the windows of the soul, and all the humanity they contain. You're playing with the weight of perception. Read the full interview here»
Clothes in the Elizabethan era (1558-1603 CE) became much more colourful, elaborate, and flamboyant than in previous periods. With Elizabeth I of England (r. 1558-1603 CE) herself being a dedicated...
Female Head by Leonardo da Vinci, FINE ART PRINT, high quality digitally restored reproduction of the metalpoint antique drawing. All fine art prints produced on large wide-format printer, using archival pigment inks, providing the vibrant colors and ultimate image quality. Materials: acid free heavyweight fine art paper, archival pigment inks. Please select the print size before adding item to cart: A4 / 21.0 x 29.7 cm / 8.3 x 11.7 inches, 10.99$ (Limited time offer) A3 / 29.7 x 42.0 cm / 11.7 x 16.5 inches, 20$ A2 / 42.0 x 59.4 cm / 16.5 x 23.4 inches, 26$ 12 x 16 inches, 20$ 13 x 18 inches, 22$ !!!!!! Shipping of any additional prints and originals in the same order at NO EXTRA CHARGE !!!!!! This art print is sold unframed.
All you need to know about making Roman mosaic copies: the how, why and who of this ancient art.
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Goliaths were a nomadic race of humanoids native to the mountainous regions of Toril.[3] Goliaths were massive. They averaged between 7 to 8 feet (2.1 to 2.4 meters) tall, making them even taller than dragonborn and half-orcs.[14] Goliaths had noticeably bony or prominent supraorbital ridges above their eyes.[14] Goliath eyes were often a bright blue or green and sometimes glowed a little.[13] Goliath skin was often gray or brown and was extremely tough (often compared to stone).[7] One of t
