El Sarcófago de las Musas data del S. II d. C, actualmente se conserva en el Museo del Louvre aunque fue encontrado junto a la Vía Ostiense (Roma)
This is my favorite from the 1810 Ackermann's Repository fashion plates This is my 2nd installment of fashion plates from Ackermann's Repository - Regency era magazine. Ackermann's Repository of Arts, Literature, Commerce, Manufacturers, Fashion and Politics. was a popular publications in England from 1809-1829. (The 1829 issues were printed as "Ackermann's Repository of Fashion".) I have found the articles and illustrations to be a fascinating glimpse into that time period. One of my favorite staples of the magazine are the fashion plates. Each monthly issue usually included 2 Fashion plates, giving on average a total of 24 Fashion plates for the year. Though the magazine was published monthly; specially bound volumes were available from Ackermann's. These "bound" book versions, consisted of a 2 volume set for each year it was in publication. Ackermann's Repository "Bound" Series 1 ran from 1809 - 1815 with a total of 14 Volumes for Series 1 Series 1 Vol 1 was Jan - June 1809 Series 1 Vol 2 was July - Dec 1809 Series 1 Vol 3 was Jan - June 1810 Series 1 Vol 4 was July - Dec 1810 Series 1 Vol 5 was Jan - June 1811 Series 1 Vol 6 was July - Dec 1811 Series 1 Vol 7 was Jan - June 1812 Series 1 Vol 8 was July - Dec 1812 Series 1 Vol 9 was Jan - June 1813 Series 1 Vol 10 was July - Dec 1813 Series 1 Vol 11 was Jan - June 1814 Series 1 Vol 12 was July - Dec 1814 Series 1 Vol 13 was Jan - June 1815 Series 1 Vol 14 was July - Dec 1815 Today I will be posting the fashion plates for the year 1810. Series 1 Vol 3 was Jan - June 1810 Series 1 Vol 4 was July - Dec 1810 I hope you enjoy! Ackermann's Repository 1810 Fashion Plates 1810 - Ackermann's Repository Series1 Vol 3 - January Issue 1810 - Ackermann's Repository Series1 Vol 3 - January Issue 1810 - Ackermann's Repository Series1 Vol 3 - February Issue 1810 - Ackermann's Repository Series1 Vol 3 - February Issue 1810 - Ackermann's Repository Series1 Vol 3 - March Issue 1810 - Ackermann's Repository Series1 Vol 3 -March Issue 1810 - Ackermann's Repository Series1 Vol 3 - April Issue 1810 - Ackermann's Repository Series1 Vol 3 - April Issue This is the only men's fashion plate I found out of the 20 years of Ackermann's Repository fashion plates 1810 - Ackermann's Repository Series1 Vol 3 -May Issue 1810 - Ackermann's Repository Series1 Vol 3 -May Issue 1810 - Ackermann's Repository Series1 Vol 3 - June Issue 1810 - Ackermann's Repository Series1 Vol 3 - June Issue 1810 - Ackermann's Repository Series1 Vol 4 - July Issue 1810 - Ackermann's Repository Series1 Vol 4 - July Issue 1810 - Ackermann's Repository Series1 Vol 4 - August Issue 1810 - Ackermann's Repository Series1 Vol 4 - August Issue 1810 - Ackermann's Repository Series1 Vol 4 - September Issue 1810 - Ackermann's Repository Series1 Vol 4 - September Issue 1810 - Ackermann's Repository Series1 Vol 4 - October Issue 1810 - Ackermann's Repository Series1 Vol 4 - October Issue 1810 - Ackermann's Repository Series1 Vol 4 - November Issue 1810 - Ackermann's Repository Series1 Vol 4 - November Issue 1810 - Ackermann's Repository Series1 Vol 4 - December Issue 1810 - Ackermann's Repository Series1 Vol 4 - December Issue I found the 1810 issues of Ackermann's Repository to be a bit different from all the other years due to the number of children seen in these fashion plates as well as the one and only plate I've discovered for Men's fashions in this publication. The Dec 1810 issue of Ackermann's shows items of clothing that can be worn by ladies who are in mourning. Here again not only was the wearing of mourning a tradition but England was at war against the French (Napoleonic War 1803 - 1815) and there was an large number of families in mourning due to the losses of war. The Fashion plates in Ackermann's Repository are a joy to see on their own; but the descriptions that accompanied each item are equally fascinating to me. There is just something so eloquent in the spoken and written word of the Regency Era. Description for Sept 1810 Fashion plates 17&18 I can see how these old records would be of great use to historical romance writers and Hollywood costume designers. Not only do you get a beautiful picture but you know the fabrics, laces, colors and hairstyles that were of the latest fashion...at least according to Ackermann's I hope you have enjoyed viewing Ackermann's Repository fashion plates for 1810. Check back soon for the third installment of Ackermann's Repository - 1811 Fashion plates. Thanks for visiting me here at EKDuncan.blogspot.com If you have enjoyed seeing these images from Ackermann's Repository and would like the opportunity to see and read an original for yourself they are are available on line at www.archive.org Click HERE then choose the volume you are interested in. You can then see and read them online or download them to your computer for future reference. Enjoy!
Introduction The Guggenheim museum in New York was the first of the museums created by the Solomon R. Guggenheim Foundation, dedicated to modern art. It was founded in 1937 in the Upper East Side, NY. It is the best known of all the museums within the foundation and often referred to simply as “The Guggenheim”. […]
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Photographer waits for hours to capture museum visitors who match the artworks
While most of us visit art museums to see art (duh, right?), others, like France-based photographer Stefan Draschan, are there to create their own pieces. And Stefan does it by camping in galleries for days, waiting for visitors who perfectly match the artworks they observe.
Available online only. Ships directly from the manufacturer. French songstress Françoise Hardy by Getty Images snaps pictures while sightseeing. Float-mounted and framed within black-finished American maple for a museum-quality look.
Review of the exhibition last month at the Asia Culture Center in Gwangju, South Korea – a collection of 12 works questioning the essential meaning and significance of the data world.
Last December I’ve had the pleasure to teach a 6 hour-workshop at the Department of Education at the Museum of Modern Art, a class called “Draw your Visit with Data”, where we explored what using…
Structured details of the artpiece Piece of art title: "Polyhymnia, Muse of Eloquence" Classification: painting Generic term: modern art Time: 19th century Artpiece year: 1800 Artwork age: more than 220 years old Painted on: oil on canvas Dimensions of the original artwork: Overall: 275 x 177 cm (108 1/4 x 69 11/16 in) Exhibited in: The Cleveland Museum of Art Museum location: Cleveland, Ohio, United States of America Museum's webpage: www.clevelandart.org Artwork license: public domain Courtesy of: The Cleveland Museum of Art Artwork creditline: Severance and Greta Millikin Purchase Fund Artist summary table Name: Charles Meynier Also known as: Charles Meynier, Meynier, M. Meynier, Meynier Charles Artist gender: male Artist nationality: French Professions of the artist: draftsman, engraver, painter Country of origin: France Classification: modern artist Art styles: Neoclassicism Died at the age of: 64 years Year born: 1768 Town of birth: Paris, Ile-de-France, France Year of death: 1832 Died in (place): Paris, Ile-de-France, France Product background data Print product type: art copy Reproduction method: digital reproduction Production process: UV print / digital printing Origin of the product: German-made Stock type: on demand production Intended usage: wall decoration, home design Alignment of the artwork: portrait format Aspect ratio: length to width 2 : 3 Meaning of the side aspect ratio: the length is 33% shorter than the width Available material choices: metal print (aluminium dibond), canvas print, poster print (canvas paper), acrylic glass print (with real glass coating) Canvas print (canvas on stretcher frame) size variants: 20x30cm - 8x12", 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47", 100x150cm - 39x59" Acrylic glass print (with real glass coating) size variants: 20x30cm - 8x12", 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47", 100x150cm - 39x59" Poster print (canvas paper): 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47" Aluminium dibond print: 20x30cm - 8x12", 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47" Picture frame: not available Product materials you can pick from We offer a range of different sizes and materials for every product. In order match your personal requirements perfectly, you can choose among the following product customization options: Aluminium dibond print: This is a metal print made on aluminium dibond material with an impressive depth effect, which makes a contemporary look by having a surface , which is non-reflective. A direct Aluminium Dibond Print is your ideal introduction to the sophisticated world of fine reproductions on aluminum. The bright & white sections of the original artpiece shimmer with a silk gloss, however without the glow. Canvas print: The UV printed canvas material stretched on a wooden stretcher frame. Canvas prints are relatively low in weight, meaning that it is quite simple to hang the Canvas print without extra wall-mounts. Canvas prints are suited for any kind of wall. Printed poster (canvas material): Our poster is a UV printed canvas paper with a fine surface structure. A poster print is used for putting your fine art print with a custom-made frame. Please note, that depending on the absolute size of the poster we add a white margin 2-6cm around the painting to facilitate the framing with your custom frame. Glossy acrylic glass print (with real glass coating): A glossy acrylic glass print, which is often described as a print on plexiglass, will change the original into beautiful décor. Your own version of the artwork is custom-made with modern UV print technology. "Polyhymnia, Muse of Eloquence" painted by the modern artist Charles Meynier as your new art replica "Polyhymnia, Muse of Eloquence" was by the male artist Charles Meynier. The beyond 220 year old original version measures the size: Overall: 275 x 177 cm (108 1/4 x 69 11/16 in) and was produced with oil on canvas. What is more, the piece of art is included in the art collection of The Cleveland Museum of Art, which is located in Cleveland, Ohio, United States of America. With courtesy of - The Cleveland Museum of Art (public domain license). : Severance and Greta Millikin Purchase Fund. Besides this, the alignment is in portrait format with an image ratio of 2 : 3, meaning that the length is 33% shorter than the width. Charles Meynier was a painter, draftsman, engraver, whose artistic style was mainly Neoclassicism. The French painter lived for a total of 64 years and was born in the year 1768 in Paris, Ile-de-France, France and passed away in 1832. Legal disclaimer: We try whatever we can to depict the art products as clearly as possible and to exhibit them visually. Please bear in mind that the tone of the printing material and the imprint might vary marginally from the presentation on your screen. Depending on your settings of your screen and the quality of the surface, not all colors are printed 100% realistically. Since all the art reproductions are processed and printed manually, there might as well be minor differences in the size and exact position of the motif. © Copyright of, Artprinta (www.artprinta.com)
The Creating Museum Media for Everyone (CMME) team from the Museum of Science, Boston developed an exhibit that uses multisensory options to display data.
"The Last Judgement" Peter Paul Rubens - 1617
Looking for loyalty card design inspiration? Need some tips on membership card design? Check out 10 of our favourites to inspire your own artwork
The book presents three studies in which eye tracking data were collected at the Musée des Beaux-Arts in Rouen in June and July 2013. Overall, the results of those three studies highlight the knowledge gained from the analysis of the very first saccade in a museum context, when people look at paintings and statues. The first study analyzes how viewers orient their first saccade on paintings. This study shows that, in a museum, the first saccade is attracted toward the center of paintings. This attraction toward the paintings' center is found in all the subjects' groups that we have studied. Noteworthily, this effect is significantly less pronounced in individuals who never visit museums. It is among amateurs, who often visit museums, that the center attracts the most the first saccade. Among experts, painters or art history teachers, and to a lesser extent among amateurs, the pictorial composition largely determines the orientation of the first saccade. We indeed found that, as soon as the first saccade, experts orient their gaze toward the main subject. This phenomenon seems to be explained by the fact that experts immediately orient their gaze (here measured as the first saccade) toward the paintings' location conveying the most meaning. It can either be the center, or a peripheral area, depending on whether the paintings' most meaningful subject is located centrally or peripherally. The second study shows that the center does not attract the first saccade in 5-year-old children. This behavior appears later, in 8- to 10-year-old children. However, noticeably, the 8-10-year-old children orient significantly less frequently their first saccade toward the paintings' center as adults do, and this is also true when one considers non-expert adult viewers. The results of the third study focus on statues and reveal a very different oculomotor behavior: Indeed, rather than looking at the center, statues' viewers exhibit a clear tendency to saccade first at the statues' contours. This stands in contrast with the behavior that we observe with paintings. Our study concludes that statues trigger a specific oculomotor behavior. The latter appears to be mostly driven by the physical presence that stone bodies incarnate. The movement and the climax of this movement, that sculptors manage to convey, thus turn out to attract the gaze in a unique fashion. The book concludes that the first saccade is a powerful indicator of the oculomotor behavior that greatly improves our comprehension of the unique relationship between a viewer and artworks.
Image 19 of 20 from gallery of MUSE / Renzo Piano Building Workshop. Photograph by Renzo Piano Building Workshop
El Sarcófago de las Musas data del S. II d. C, actualmente se conserva en el Museo del Louvre aunque fue encontrado junto a la Vía Ostiense (Roma)
Contrarily to the majority of encyclopedic approaches initiated in the second half of the 19th century, constructed on the principle of the collection and classification of different preexisting data, images collected according to aesthetic or thematic criteria, the Archives of the Planet first came into existence as a production company, which operated from 1909 to 1931.
