#greenandblue #fluidart #dutchpourpainting #canvasart #amsterdamacrylics #artezaacrylicpaint #pebeo. AWOLNATION · Sail
Capturing the serenity of Charlestown Harbour as the day comes to a close, this exquisite abstract print invites viewers to lose themselves in the interplay of light and shapes. At the heart of the composition are sailing vessels, their elegant masts and billowing sails reflecting in the tranquil waters with timeless grace. The geometric abstraction transforms the harbour into a mosaic of soft hues, where the boundaries between sea, sky, and architecture blur in a harmonious dance of pastel shades. The sky, an assembly of peach, cream, and muted blues, casts a warmth over the scene, segmented like a carefully constructed colour field painting. This chromatic spectacle is mirrored below, where the water shimmers with ephemeral reflections, fragments of a world at rest. Buildings, outlined with an architect's precision, stand sentinel around the harbour, their façades simplified into understated blocks of gentle greys, ochres, and ivories. In the subtle shifts of tone and light, emerges the essence of a Scottish Harbour at the moment of twilight's soft embrace. This print is more than mere wall art; it is an invitation to contemplation, a portal to a place where time slows and the viewer is encouraged to ponder the quiet beauty of nature's farewell to the day. Every glance reveals new layers of depth in the print, ensuring a timeless allure that will captivate and inspire across the changing seasons of home or office decor.
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Modernist design purists during the first half of the twentieth century made avoiding decoration a central part of their design religion: Thou Shalt Not Decorate! Easier said than done, once one moves away from architecture and perhaps furniture and dining-wear design. That's because it's possible to take functional elements of the object and arrange them in a pleasing and, yes, decorative manner ("function" was another religious tenet, especially for architects and industrial designers). Actually, one can do that for architectural objects as well. During the mid-1920s, once automobiles became reliable to operate, it began to dawn on manufacturers that a car's appearance could become a selling point if customers no longer felt it necessary to shop with reliability in mind. So styling operations began to emerge in the larger companies as well as in firms specializing in providing car bodies. Speaking of "function," an important function for any consumer-goods product is saleability, and a good designer needs to keep this in mind. Even if car stylists were of the modernist-purist school of thought, design proposals for production cars had to face approval by corporate officers whose fields included engineering and sales as well as general management. Which is why automobiles have almost always included styling elements that might be considered decorative. The 1930s were years when automobile styling was becoming established along with the new field of industrial design. Those years also marked the transition in decorative fashion from what we now call Art Deco to "Moderne," a simpler style incorporating elements related to streamlining. Below are some examples of front-end or "face" styling elements from that period. I took those photos during visits to various automobile museums over the past few years. Gallery Pierce-Arrow Silver Arrow - 1933 Phil Wright's sensational (for its time) Silver Arrow is noted for his predictive design for the main body of the car: it includes a number of features that did not appear on mass-production cars until around the 1948 model year. The front end is not heavily decorated, this in keeping with early 1930s practices on the luxury end of the automobile spectrum. Studebaker - 1933 Studebaker (which at the time owned Pierce-Arrow) presented a transitional front end, also typical of 1933. Decorative elements include the radiator cap "mascot," the crest on the grille V-divider and those curious, sad-looking oval headlamps. Chrysler Airflow - 1934 Chrysler's radical, but ill-fated (sales-wise) Airflow used several Deco/Moderne elements. The front seats featured chromed tubing as frames. Above the radiator intake opening are extensions of the vertical grille-bars over the hood's sheet metal as a decorative element that are shown here. Also note the winged mascot coupled with the Chrysler blue ribbon symbol. Hudson - 1936 Hudson came out with a completely new body for 1936 and for a reason I cannot fathom, Frank Spring's styling crew planted a bizarre grille design on it. "Fencer's mask" (noticeably convex) grilles were the rage across the industry that year, but they took the form of uniform bar or mesh patterns. Instead, Hudson opted for a central section featuring vertical bars that was flanked by areas of thick mesh created by perforating some sheet metal. Note the baroque curve along the top end of the grillework that transitions to the centerline of the hood. The oddest detail is that winged, aerodynamically-shaped amber-like plastic mascot. It resembles a winged cigar. Hudson used a different mascot for its 1937 cars for some strange reason. Hispano-Suiza - 1937 Shown is one of the last of the famed Hispano-Suiza line of luxury cars built in France. Very conservative in terms of decoration, though the shapes of the hood, grille and headlamp-fender ensemble has a decorative cast. Pseudo-streamlining was the rage by the mid-30s, so we see teardrop-shaped front fenders and blended headlamp housings offsetting a hood-grille combination more appropriate for 1931. Lagonda - 1939 lagonda was a British luxury automobile, and British styling at all price levels was conservative well beyond World War 2. The Lagonda grille-hood grouping is rounded as a bow to aerodynamics, as are the fenders. But the headlamps, fog lights and exterior-mounted horns make for an interesting older-fashion decorative counterpoint. Plymouth - 1939 The 1939 Plymouth's front end is in line with American Streamlined Moderne styling of that year. Note that the headlamps are buried in the front fenders and the grille in in the process of transitioning from a vertical to a horizontal shape. The mascot is a streamlined version of the good ship Mayflower that deposited the Pilgrim Fathers and their families at Plymouth Rock in Massachusetts in 1620; Plymouth used similar mascot designs for many years. The most decorative bits are the thin chromed strips that define the grille openings -- flutings, speed lines and similar touches being the height of fashion in those days.
Bestel Zeil naaien, Joaquín Sorolla y Bastida als print. Kies zelf de maat en het materiaal. Snel geleverd, hoge kwaliteit.
Kush Fine Art Galleries and the creator of “Metaphorical Realism,” Vladimir Kush, are pleased to present his latest artwork release: “In Full Sail” Giclee on
An iconic scene in Homer's The Odyssey, this painting depicts Odysseus at the mast of his ship as it sails by the isle of the Sirens. The curious hero ordered his crew to bind him to the ship's mast so that he could witness the deadly song of the creatures. As the men rowed past, with protective wax stopping up their ears, Odysseus was subject to the Sirens' full powers. Homer doesn't tell us what their song was like, what they said, or what the hero heard, but we learn that Odysseus struggled mightily against his bonds, with a maddeningly, torturous desire to join the Sirens. This painting captures that aching struggle of the hero as he wrestles with his bonds and the insurmountable allure of the mythic villains. -- INCLUDES -- * One original painting, unframed * Signed and dated on the back -- MATERIALS -- * Latex paint on canvas * All materials are archival * Measures 36"W x 72"H x 2"D (91.44 x 182.88 x 5.08 cm) - SHIPPING -- * Ships rolled, unstretched (can be restretched by frame shop or diy) * Can ship stretched in wooden crate for extra shipping cost (domestic only), email me for details - cost depends on location * Expected delivery is 5-7 business days (domestic) and 3-6 weeks (international) * If you need your piece faster, please email me before purchase, and we can work something out * Please see my Purchasing FAQs for detailed shipping information -- DETAILS -- * Make sure you use the zoom feature for a look up close * Sample display image is not exactly to scale
San Francisco September 3, 2012 282 days until the Arctic Circle expedition Yesterday I got to thinking about the barkentine (alternately: barquentine) I will be sailing on during the arctic trip, …
René Quillivic, Le voilier, 1920
Kimberley Rock Art is a fascinating sequence of artistic expressions left by Australian Aboriginal people over the last 40,000 years.
French School circa 1850 Fontainebleau landscape with walkers Oil on canvas 21.5 x 31 cm Framed : 32 x 41.5 cm In good condition, some minor lacks due to a former frame abrasion on the right border (see photographs please) This landscape is probably a view of the Fontainebleau Forest. These kind of scenes have been painted by Barbizon painters and by Camille Corot. The village of Barbizon is very close to the forest of Fontainebleau and the painters who lived there took the most pittoresque views of spectacular stone-pits as subjects of their painting as for exampleCamille Corot did. There were also many walkers and hikers in these places as the artists had made them famous and fashionable. The author of this charming little painting had precisely wanted to depict the savagery of the place and by contrast the walkers who made of it a pittoresque curiosity. Even if in absence of signature or other indication, it's difficult to make any identification or attribution, hthe artist had a very good hand.
FREE PRINT of your choice for all orders of 2+ prints or digital images. Simply add a note at checkout or message me after purchase with which print/image you would like.Receive 15% OFF all art print and digital art/download orders of 2 or more items :) At checkout, use code: MAVENART John R. Neill - "Treasure Island" Image Download is 900 × 1259 px Digital Download made available immediately after purchase. Maven Hill Market provides mid to high-end vintage clothing, accessories, and decor all with sustainability in mind. All items are shipped in either re-used/recycled packaging or in biodegradable packing. If your item is breakable and wrapped in bubble wrap, rest assured the bubble wrap is from a previous parcel. All other fragile wrapping consists of biodegradable packing peanuts or tissue paper/newspaper. All orders come wrapped 💖 🎁💖 Please don’t hesitate to ask any questions or if you would like a bundled discount on any of my items. Sending you all lots of love and light :) xoxoxox
Capturing the serene majesty of Loch Lomond at the waning hours of daylight, this exquisite print features a fleet of sailing boats gracefully navigating the tranquil waters. The artwork masterfully employs abstract styling to evoke the natural splendour of the loch and its surroundings. Bold geometric shapes suggest the gentle roll of hills, while the fluid lines of the sails and hulls convey a sense of motion and elegance. The colours are both vibrant and warm, reflecting the intensity of the setting sun as it casts a myriad of hues across the sky and water. A radiant orb at the centre of the composition bathes the scene in a soft, golden light, with shades of crimson, orange, and yellow swirling into the rosy twilight. The expansive sky, infused with rippling bands of colour, transitions from fiery tones near the horizon to cooler purples and blues of the approaching night above. Below, the mirrored surface of the loch provides a symmetrical dance of reflection, where the abstract shapes of the boats and their sails are echoed with a subdued palette, hinting at the stillness of the water. This interplay between the vivid sky and the placid loch creates a harmonious balance, inviting viewers to contemplate the peacefulness of the moment captured in this scene. Ideal for collectors who seek to bring a touch of abstract beauty inspired by the Scottish landscape into their home or office, this piece will stand out as a focal point, evoking a sense of calm and wonder with its dynamic composition and arresting use of colour.
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Marco Cazzato To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it. Vladimir Zimakov, thanks to Caustic Cover Critic Barry Moser, thanks to the art of memory (visit the link for more Moby Dick-related artworks) Aside from those more obvious considerations touching Moby Dick, which could not but occasionally awaken in any man's soul some alarm, there was another thought, or rather vague, nameless horror concerning him, which at times by its intensity completely overpowered all the rest; and yet so mystical and well nigh ineffable was it, that I almost despair of putting it in a comprehensible form. It was the whiteness of the whale that above all things appalled me. Tristan Lowe, Mocha Dick Robert McCauley, Moby Dick Chapter 42, The Whiteness of the Whale But not yet have we solved the incantation of this whiteness, and learned why it appeals with such power to the soul; and more strange and far more portentous- why, as we have seen, it is at once the most meaning symbol of spiritual things, nay, the very veil of the Christian's Deity; and yet should be as it is, the intensifying agent in things the most appalling to mankind. Kathleen Piercefield John Jay Cabuay All that most maddens and torments; all that stirs up the lees of things; all truth with malice in it; all that cracks the sinews and cakes the brain; all the subtle demonisms of life and thought; all evil, to crazy Ahab, were visibly personified, and made practically assailable in Moby-Dick. Lisel Jane Ashlock Mark Weaver Julian de Narvaez There she blows!—there she blows! A hump like a snow-hill! It is Moby Dick! Mark Summers, thanks to Stevereads Rockwell Kent, thanks again to the art of memory Lou Beach An old, old sight, and yet somehow so young; aye, and not changed a wink since I first saw it, a boy, from the sand-hills of Nantucket! The same — the same! — the same to Noah as to me. George Klauba Towards thee I roll, thou all-destroying but unconquering whale; to the last I grapple with thee; from hell’s heart I stab at thee; for hate’s sake I spit my last breath at thee. Sink all coffins and all hearses to one common pool! and since neither can be mine, let me then tow to pieces, while still chasing thee, though tied to thee, thou damned whale! Thus, I give up the spear! Tom Neely, And I only am escaped alone to tell thee, thanks to But Does it Float Bill Sienkiewicz Now small fowls flew screaming over the yet yawning gulf; a sullen white surf beat against its steep sides; then all collapsed, and the great shroud of the sea rolled on as it rolled five thousand years ago. All quotes by Herman Melville
Botticelli La Naissance de Vénus ......Cronos/Saturne mutila de nouveau avec l'acier le membre qu'il avait coupé déjà et le lança du rivage dans les vagues agitées de Pontus : la mer le soutint longtemps, et de ce débris d'un corps immortel jaillit une blanche écume d'où naquit une jeune fille qui fut d'abord portée vers la divine Cythère et de là parvint jusqu'à Chypre entourée de flots. Bientôt, déesse ravissante de beauté, elle s'élança sur la rive, et le gazon fleurit sous ses pieds délicats. Les dieux et les hommes appellent cette divinité à la belle couronne Aphrodite, parce qu'elle fut nourrie de l'écume des mers ; Cythérée, parce qu'elle aborda Cythère, Cyprigénie, parce qu'elle naquit dans Chypre entourée de flots et Philomédée, parce que c'est d'un organe générateur qu'elle reçut la vie. Accompagnée de l'Amour et du beau Désir, le même jour de sa naissance, elle se rendit à la céleste assemblée. Dès l'origine, jouissant des honneurs divins, elle obtint du sort l'emploi de présider, parmi les hommes et les dieux immortels, aux entretiens des jeunes vierges, aux tendres sourires, aux innocents artifices, aux doux plaisirs, aux caresses de l'amour et de la volupté....... Toujours fidèle au site de Philippe Remacle : extrait de la théogonie d'Hésiode. Et pour le plaisir d'encore un regard :
About The Artwork Essays on love, a set of watercolours through which surface a handful of fragmented instants stroking sensuality and tenderness, looking for those moments lost in banality during day-to-day in order to raise them into superior condition, almost touching Divinity. Essays on love sails among kisses that get lost in crowded/lonely streets, in characterless offices; stolen kisses that get confused and are scattered in every comer like a plot against Death. These are kisses that do not arrive to anywhere, glances that are going through borderlines and still having Hope, that are hard to find and that caress the sky, that are scant ones in a kind of society runnig fastly for come until Nowhere. To stop Time. Is it not a desire of everyone? To stop Time and suffocate in that sort of instant that recalls us a battle, that leads us to regions beyond earthly places, that brings us to touch Heaven. Original Created: 1970 Subjects: Erotic Materials: Paper Styles: Expressionism Mediums: Watercolor Details & Dimensions Painting: Watercolor on Paper Original: One-of-a-kind Artwork Size: 10.2 W x 10.6 H x 1 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships in a Crate
Illuminated manuscript, handwritten book decorated with gold or silver, brilliant colors, or elaborate designs or miniature pictures. The term ‘illumination’ originally denoted the embellishment of the text with gold or silver, giving the impression that the page had been literally illuminated.
CURLEW began as I was making the transition from teaching school to becoming a musician and caretaker for the family land here just north of Vicksburg, Mississippi. The large tract of land has been in the family since my great-great-grandfather, Benson Blake, settled here in the 1830s. Once a grand sweep of woods and farmland, it is much reduced, but six generations later, we Blakes are still here.
Sarah Stilwell Weber (1878-1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine. Sarah S. Stilwell was born in Concordville, Pennsylvania. She was described affectionately by her nephews and nieces for her love of children and her positive, "self-effacing" and imaginative personality.
The Ninth Wave is an 1850 painting by Russian-Armenian marine painter Ivan Aivazovsky. It is his best known work. The title refers to an old sailing expression referring to a wave of incredible size that comes after a succession of incrementally larger waves. Print: A premium quality heavyweight (200gsm) fine art print material with a smooth, clean finish. This museum quality paper is extremely consistent and works perfectly with large, full colour graphics or illustrations. The matte finish emphasizes different highlights and tones in the source artworks; helping to create stunning works of art. - All prints include a small 0.25 inch white border to ensure space for framing. Our Eco Credentials Include: FSC approved or sustainably sourced paper Printed using water based inks Local fulfilment reduces carbon emissions Contains no plastic
Oskar Kokoschka Famous Paintings. learn more about him and his works. Such as how he created fans and postcards while still a student for the Wiener Werkstätte.
