Découvrez 7 secrets aquarelle pour débutant, que j'aurai adoré connaître et qui vont vous faire gagner du temps.

ATIVIDADE A PARTIR DA MÚSICA: BOLINHA DE SABÃO (Palavra Cantada) OLHA LÁ A BOLINHA DE SABÃO; E VEM OUTRA BOLINHA DE SABÃ...

. A North Park University community art project. Participants made images of fellow North Park students (or in a couple cases, faculty). 67 blocks total, mounted on a gold-leafed circle. More photographs documenting this project here: the eye project Also check out a previous NPU community art project: the riverside mural

Sofonisba Anguissola (1531 – 1625) holds a no little record: she is the only woman represented at the Prado Museum. Despite she were a celebrated artist at her days, her name has been forgotten for centuries ….

George Tooker, Bathers (Bathhouses) , 1950. The Huntington Library, Art Collections, and Botanical Gardens The Huntington's Art Coll...

The Key Lime Lamborghini is a vibrant and exhilarating art piece that captures the essence of the iconic Lamborghini supercar in an eye-catching key lime hue. This mixed media creation fuses acrylic painting, digital design, and textured elements to celebrate the legendary Italian automobile's aggressive design, unparalleled performance, and bold, tropical-inspired color palette.

If you’re familiar with the paintings of Frederick Hammersley, you’ll be thrilled by this show. And if you're new to the artist, it's an even bigger treat.

A long vertical painting of sailboats with patches of multiple colors in muted tones.

Painting fat women is one of my favorite thème. My way to pay tribute to all women . I painted this one on a good canvas with acrylic brushes and more…. The...

This is my biggest PDF lesson plan booklet to date and is the result of over 5 years of portrait making. I’ve broken down the secrets of teaching a portrait lesson into THREE TECHNIQUES.

Inside you'll find an easy step-by-step Leaf Line Art Project Tutorial. Stop by and download yours for free.

Die erste Anfrage für eine Verheiratung für den gerade erst 12 Jahre alten Kronprinzen kam aus Neapel. Das süditalienische Königreich Neapel-Sizilien wurde damals von einer Nebenlinie der Bourbonen beherrscht. Der Plan einer Verbindung der Dynastien der Habsburger und der Bourbonen schien verlockend. Es wäre hier zu einem regelrechten Austausch der Kinder gekommen, denn nicht

George Grosz, Emil Nol­de, Otto Dix, Max Beck­mann, Käthe Kollwitz, Egon Schiele, Erich Heckel, Ernst Ludwig Kirchner, Franz Marc, Max Ernst etc were German ex­press­ionists, and these avant-garde artists were indeed branded as a threat to the German nation. Edvard Munch, Oskar Kokoschka, Wassily Kandinsky and Paul Klee were not German, but were equally reviled by the Nazi decision-makers. Sanct­ions against Degenerate Artists included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, or being forbidden to produce art entirely. George Grosz's German citizenship was taken away while he was abroad; the Bauh­aus school was closed down; Käthe Kollwitz was expelled from the Prussian Academy of Arts. Nolde, The Goldsmiths, 1919 Most at-risk artists worth their moral salt left Germany as soon as they could, at least for the duration of the war. Those who remained in Germany were forbidden to work at universities and were subject to Gestapo raids, to ensure that they were not producing artwork. Yet Emil Nolde (1867-1956) was one of the only artists who remained in Germany during the war volunt­ar­ily. There are two ironies here. Firstly, as Samuel Gruber’s Jewish Art & Monuments blog wrote in Restitution: Settlement on Emil Nolde Work in Swedish Museum, Nolde in his lifetime was known for his anti-Semitic views. He disliked leading Jewish luminaries in Berlin and European art world, especially Max Lieberman, President of the Berlin Academy of Art, and Paul Cassirer, leading modern art dealer. A 7-year legal battle has finally been settled in Sweden where the Moderna Museet has agreed to return to a Nolde painting to the family of Otto Nathan Deutsch, a Jew who fled Germany just before World War Two broke out in 1939. Or to compensate the family for the loss. Nolde, Masks II, 1920 But more than that. Nolde was a supporter of the Nazi party from well before the 1930s, having been a member of its Danish section. He was born and raised in Schleswig-Holstein that was then on the Danish border. Nolde saw no conflict between his art and Nazism, since he believed Expres­s­­ion­ism was an intrinsicly German style of art. When Nolde's work was officially condemned by the Nazi regime as deg­en­er­ate, his paintings were of course removed from public museums. Some were even included in the Degenerate Art Exhibition in Munich in 1937, presumably because of his strong colours, primitivism and grotesque visions. Or because he helped found the New Secession in Berlin. Nolde was beside himself and wrote protest letter after protest letter, appealing the injustice of his fate. He did not want to be hung alongside the artists whose work repelled him. However nothing saved him – his endless protests fell on deaf Nazi ears. After the war, bellebyrd blog noted, The Brücke group was quickly rehabilitated, and there was an attempt to stylise Emil Nolde as a resistance figure. Noted West German art historian Werner Haftmann (not Austrian art historian Werner Hofmann) celebrated Nolde, the artist of inner emigration, as an existential antifascist. Even more than those who were racially persecuted, Haftmann said, Nolde refused political strictures and intensified his own work. It must have worked because after the war, in 1952, Nolde was awarded the German Order of Merit. Nolde, Lost Paradis, 1921 Yet another art historical problem remains. I agree with the blog author who wrote that Emil NOLDE added a special, mystical dimension to German Expressionism. His career illustrated a number of the moral dilemmas which faced German modernists of the new century, since his instincts were nat­ionalist and conservative. In Germany, these were usually anti-Semitic values. So examine the blog HEIRS which makes a provocative ob­servation in NOLDE IN THE NEWS: Emil Nolde’s avant-garde modern work was coveted by many Jewish art coll­ectors during the 1920s and 30s in Europe, including the connoisseur collector Dr Fred Julius of Hamburg. With hindsight, one wonders why that was so. Visit New York’s Neue Galerie, 86th Street and Fifth Avenue, which opened for business in 2001. One storey concentrates on early C20th Vienna: painters (Gustav Klimt, Egon Schiele, Oskar Kokoschka etc), architects (Adolf Loos, Otto Wagner) and the decorative artists (Josef Hoffmann, Koloman Moser, Dagobert Peche etc). And one storey for German art of the same time (August Macke, Franz Marc, Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, Emil Nolde); the Bauhaus (Lyonel Feininger, Paul Klee, László Moholy-Nagy, Oskar Schlemmer, Vasily Kandinsky); the expressionists (Otto Dix, George Grosz); as well as applied artists (Peter Behrens, Marianne Brandt, Marcel Breuer, Ludwig Mies van der Rohe, Wilhelm Wagenfeld etc). Art Blog by Bob discussed the Neue Galerie in relation to Otto Dix, but it is equally applicable to Emil Nolde. And to Ernst Kirchner, as displayed by Intelliblog. Some good reading can be found at Lang, G and Lang, K "Banishing the past: The German avant-garde and Nazi Art" in Qualitative Sociology, 19, 3, 1996. A new book called Emil Nolde: Artist of the Elements has been written by Averil King and published by Philip Wilson Publishers in 2013. It is much more sympathetic to Nolde than I was, suggesting he was superb colourist who created beautiful paintings and was far more interesting than his contemporary Edvard Munch. King said that Nolde had been on good terms with the (Jewish) president of the Berlin Secession Max Liebermann and with the (Jewish) gallery owner/art publisher Paul Cassirer who warmly promoted Nolde's art. But when these two Jews refused to show Nolde's Pentacost in 1910, Nolde write a bitter letter to the Kunst and Kunstler journal, criticising the Secession for attacking modern German artists. Furthermore, when Nolde joined the Nazi Party in 1934, he had no inkling of how Hitler's policies would unfold.

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How much do you know about this famous painting?

Hi, kidz! Welcome to the second installment of postings from my school-wide collaborative series (btw, I've decided "school-wide collaborative" is just too much work for my mouth. Hence forth, it will go by it's abbreviated and funner name: scollab. Pronounced skoal-lab, not school-lab. Cuz art class in a school lab is just bound to end in 'splosions and flames. Which actually sounds super funner-er.) In this here post, Ima share with you one of the happiest scollabs we did this year: Our School has Heart Mural! If this looks vaguely familiar to you, that's because I blerged about the first phase of this project here. This lovely scollab masterpiece hangs happily in the front office of my school. Previously, the front office was referred to as the DMV for it's warm and welcoming wall color (what is that, Sherwin William's "Institution White"? "Padded Room Gray"? "The Last Color I See Before My Date with the Principal Blue"?). It was mentioned that some art might cheer the place up and that's all it took for my ears to prick up. ART?! Did somebody say...art?! We started this project way back at the start of February so love was in the air. Which explains the smell. I decided that each kiddo was gonna contribute and each grade level would do a little something different. I'll give you the quickie version here but you can visit this post for the full story. The kindergarteners were given a paper heart template to trace in black oil pastel. Then they doodled in warm or cool colors and then proceeded to water color the daylights outta that thing in either warm or cool. The first graders were given 3" square pieces of felt in whatever color they liked. Then they traced that same hear template in chalk and painted with tempera. Painting on felt is really rad cuz it gives the piece this almost oil painted appearance. If the kids painted the hear with warm colors, they were to reverse that color scheme for the background. Puffy paint was added because why not?! Puffy paint is the jam. Second grade town created these pipe cleaner hearts that they yarn bombed and bead attacked. I had the pleasure of hot gluing them to the felt of their choosing. Third grade thought that Christmas came early when I showed them how to embroider. Every last one of them enjoyed this so much and was able to complete their stitching (and button sewing!) in one hour long class. Needle felting was introduced to my fourth grade students. We really enjoyed this and only had one bleeder (those needle felting tools are both sharp and serrated, y'all. They ain't for sissies). As the students completed their work, I started to lay them out on two pieces of foam core. I happened to have two 3' X 6' pieces of foam core to my name because, well, why not? I originally thought of doing a value gradation but rainbow order ended up looking the best. Hot gluing over 400 hearts wasn't exactly my idea of a good time. The upside is I no longer have finger prints and the cops will never find me! Take that, coppers! Once all the gluing was complete, I took the two boards to the office and my super awesome bookkeeper buddy and my radical rockstar custodian friend hung them up for all to see. Don't miss! I'll be presenting on school-wide collaboratives at the AOE conference this summer! And now, let's talk GIVEAWAY! Last week's winner is Lil! When asked what her fave collaborative project was, she wrote: This year my third grader class created large, beautiful, textured and patterned frogs. Then each table created their own scene on huge mural paper. There was an outdoor birthday party, with an airplane toting a birthday wish sign. One group made a water theme park setting with a lazy river - one frog was definitely relaxin' on his tube!! Another group made a nail salon - now who doesn't like a good froggie pedi??! Oh my gosh, the kids absolutely loved working together on such a huge creation. Do you think it was because they got to spread out on the floor to paint and cut and create??!!!! Congrats, Lil! I hope you enjoy the artsy t-shirts! Now, I know most of y'all are enjoying your summer days. How 'bout you spend some time creating with a good book? To enter this giveaway, just do the following: * Tell me what dream scollab you would create with your students. A permanent mural? A tile project? I'd love to hear! Maybe if we start dreaming big now, we'll have the energy to make it happen come this fall! * Leave your email address in your comments so I can contact you.

Encaustic Basics-Part II-How to do encaustic painting. Learn what substrates to use and how to prepare them with gesso or collage paper; learn how to fuse, and how to add color to your paintings with encaustic pigment cakes. How to set up your own encaustic painting studio, Tools and products you will need, add collage and assemblage and transfer techniques. Learn this information about encaustic painting and more in this three part series.

About The Artwork An abstract seascape painted with acrylic on canvas, using a palette knife for texture. Original Created:2022 Subjects:Landscape Materials:Canvas Styles:AbstractAbstract ExpressionismContemporaryExpressionismImpressionism Mediums:Acrylic Details & Dimensions Painting:Acrylic on Canvas Original:One-of-a-kind Artwork Size:23.6 W x 23.6 H x 1.6 D in Frame:Not Framed Ready to Hang:No Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:South Africa. Have additional questions? Please visit our help section or contact us.

I created this original Just Jammin' I painting using acrylics on wood panel. Just Jammin' I is available as an unframed art print. Picture frame is not included. Available in 8x10", 12x16" and 16x20" sizes (See dropdown menu) Pair Just Jammin' I, Jazz Hands, and Just Jammin' II prints together to create a perfect set! (as shown in photos) PLEASE NOTE - All prints have an additional white border around the printed area for matting and framing. PRINTING: This art print is a museum-quality Giclée reproduction of my original work and printed on thick 10.3 mil durable matte paper. FREE SHIPPING on all art prints which are wrapped and shipped in a mailing tube to protect the quality of the work. It takes 3-7 days to fulfill an order, after which it’s shipped out. The shipping time depends on your location, but can be estimated as follows: USA: 5- 8 business days International: 10-20 business days PLEASE NOTE: An additional customs and tax fee can occur on international orders. This fee is not in our control and is assessed by your local customs office. Customs policies vary widely for every country so please check with your local customs office directly to see if they apply duties and taxes to your purchases. RETURNS AND EXCHANGES I don’t offer returns and exchanges, but if there’s something wrong with your order, please let us know by contacting me at ken [!at] kendaleyart.com REFUNDS Refunds are only offered if you received the wrong or damaged pieces. If any of these apply, please contact me at ken [!at] kendaleyart.com with within a weeks' time with photos of the damaged product, your order number, and any other details you may have about your order. I'll get back to you with a resolution as soon as possible!

From the 'In Full Bloom' spring 2024 series. Printing Process & Material:All artworks are printed on acid-free, archival textured cotton German Etching Giclée paper, from Hahnemühle the world’s oldest mill who have been producing fine art papers for more than 500 years. The materials and process ensure long-term, archival stability for both paper and canvas prints. Supplied with a signed Certificate of Authenticity for provenance. Sizing: This print is available in three sizes: 24"x36" / (60x90cm) 20"x30" / (50x75cm) 16"x24" / (40x60cm) Including a small white border for easy framing.

100% cotton fabric Measurements available: Fat Quarter = 18” x 22” ½ Yard = 18” x 42” Yard = 36” x 42” Binding Option = 10) 2.5” x wof strips Our fabrics are torn to ensure cut on the grain of fabric. Multiple orders are cut as one piece. We love fabric as much as you do! Thank you for supporting our small business.

Were planning an art lesson, wanting to introduce kids to Color Wheels and how they work together. Problem is, finding a simple color wheel they can keep and use isnt easy.