Olga Suvorova/ Ольга Суворова is acclaimed Russian Master. Was born in 1966 in St. Petersburg. Olga Suvorova has created her own style of painting – lifestyle portraits of costumed characters in the interiors of different epochs. Her work is a nostalgia for the St. Petersburg “World of Art” movement with its retrospective and love of the 18th century. Olga is the daughter of the Honored Artist of the RSFSR Igor Suvorov. She graduated from the Academy of Arts of Ilya Repin in 1988. . Her paintings of the players in "Comedia de arte" have a haunting quality that sets her apart from the many young talented artists emerging from the Institute. Recently she has produced a series of magnificently detailed screens which have been widely praised and collected. She also paints portraits and landscapes. Olga has exhibited in Italy, Germany, Sweden, Finland, France, Britain, Ireland, China, and the USA where her work is in many collections.
Right now, it’s all about the thigh-high boot. Celebs are embracing everything from simple, chic Stuart Weitzman pairs to bold pairs by Givenchy.
Dekorasyon, ev ve keyifli yaşam blogu
A fashion look from June 2015 by rorobiebs featuring Enza Costa, ASOS, Lulu Frost and rag & bone
Guernica è un’opera straordinaria dipinta da Pablo Picasso nel 1937. Occupa da sola una stanza del Reina Sofia di Madrid e misura 3,5 per ben otto metri di larghezza. È realizzata ad olio su tela. …
We're just a little obsessed with some of the gallery walls we've come across in the last while, so we just had to showcase some of them here. Weekend
© Clara Ungaretti Outfit: Coat By Malene Birger
Sarı koltuk ile salon dekorasyonu nasıl yapılır? diye merak edenler için farklı dekorasyon tarzlarına uygun sarı koltuk modellerini sizin için derledim. Üstelik sarı koltuk dekorasyonu için birbirinden güzel örnek oturma odası fikirleri de buldum. Hadi tıklayın!
海外のおしゃれ事情をストリートで発見。パリの街角でキャッチしたパリジェンヌの最新スタイルは？
きのう、お休みしてしまいスイマセン(^^;)書きながら寝てしまいました（泣）マリソルの連載の締め切り日だったのですが、見直していたら「書き直し」が多々みつかり、ギリギリまで修正したら疲れてしまいまして・・・இoஇ 集中力を使い果たし、あえな
İçindekiler (Başlıklara tıklayarak okumak istediğiniz bölüme kolayca ulaşabilirsiniz.)2018 Yılının Trend Rengi Ultra Viyole Ne Anlam Taşıyor?Ultra Violet Rengi Daha Çok Nerelerde Kullanılır?Dekorasyonda Ultra Viyole Rengi Nasıl Kullanılır? Pantone Renk Enstitüsü her sene sonunda bir sonraki yılın favori rengini açıklıyor ve bu rengi yılın rengi olarak lanse ediyor. Pantone kısa bir süre önce de 2018 yılının […]
This is the first part of a two-part post on the works of André Derain (1880 – 1954), who was a French painter and co-founder of Fauvism with Henri Matisse. He was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. My personal belief is that Derain did his best work, the colourful Fauvist works, in a very narrow period of his career, namely the first decade of the C20th. I particularly like the work he did over a period of only two years, 1906 and 1907 – the paintings from Collioure and London. In 1898, while studying to be an engineer at the Académie Camillo, he attended painting classes under Eugène Carrière, where he met Matisse. In 1900, he met and shared a studio with Maurice de Vlaminck and began to paint his first landscapes. His studies were interrupted from 1901 to 1904 when he was conscripted into the French army. Following his release from service, Matisse persuaded Derain's parents to allow him to abandon his engineering career and devote himself solely to painting; subsequently Derain attended the Académie Julian. Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure, attracted by the light over the Mediterranean Sea. Later that year they displayed their innovative paintings at the Salon d'Automne. The vivid, unnatural colours led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts". The term was seized upon and provided a name for the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to compose a series of paintings with the city as subject. These London paintings remain among his most popular work. Derain experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso and other noted artists. At Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of Cubism and Paul Cézanne. At about this time Derain's work began overtly reflecting his study of the old masters. The role of colour was reduced and forms became austere; the years 1911-1914 are sometimes referred to as his gothic period. In 1914 he was mobilized for military service in World War I and until his release in 1919 had little time for painting. After the war, Derain won new acclaim as a leader of the renewed classicism then ascendant. With the wildness of his Fauve years far behind, he was admired as an upholder of tradition. In 1919 he designed the ballet La Boutique fantasque for Diaghilev, leader of the Ballets Russes. A major success, it would lead to his creating many ballet designs. Nazi propaganda made much of Derain's presence in Germany during the second World War, and after the Liberation he was branded a collaborator and ostracized by many former supporters. A year before his death, he contracted an eye infection from which he never fully recovered. He died in Garches, Hauts-de-Seine, Île-de-France, France in 1954 when he was struck by a vehicle. 1903 Self-Portrait 1904 Les Vignes au Printemps 1905 Collioure 1905 Fishing Boats at Collioure 1905 Fishing Boats, Collioure 1905 Henri Matisse 1905 Mountains at Collioure 1905 Port 1905 Port de Peche, Collioure 1905 Trees in Colliure c1905 Barque au port de Collioure 1906 Blackfriars Bridge 1906 Bridge over the Riou 1906 Charing Cross Bridge 1906 Houses of Parliament at Night 1906 London Bridge 1906 Charing Cross Bridge 1906 Pool of London 1906 The Red Sails 1906 The Turning Road, L'Estaque (this is the same view as Bridge over the Riou 1906, above) 1906 View of the Thames
Yumurta sevenlerin üzüldüğü gerçeklerden biridir hafta içi kahvaltıda yumurta yiyememek. Sanki kendilerini eksik hissederler, bu eksikliği doldurabilmek adın...
