Tuesday, April 27, 2010

African American Artists - William H. Johnson - Going to Church Poster Print by William H. Johnson, 25x19

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Decorate your home or office with high quality posters. African American Artists - William H. Johnson - Going to Church is that perfect piece that matches your style, interests, and budget.

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Sunday, April 25, 2010

Jacques - Louis David - Artists Neo - Classical Age of the French Revolution.


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Jacques-Louis David, the leading exponent of 'Neo-Classical Art' in the era of the French Revolution, was born on August 30, 1748, in a well-to-do family of Paris. David lost his father to a violent feud when he was only nine years of age. In 1757, his mother put him in the custody of his architect uncles. David's uncles wanted him to follow their suit and be an architect. They therefore, got him enrolled in the premium College des Quatre Nations, University of Paris. He was however, inclined more towards art than anything else, and was not a good performer at school.

Against the wishes of his family, Jacques decided to take art lessons. His training began with the ace 'Rococo' painter, François Boucher, and later on by Boucher's friend, Joseph-Marie Vien, who introduced David to 'Classicism' at the famous Académie Royale de Peinture et de Sculpture. The artist won the coveted Roman fellowship prize, the Prix de Rome, in 1774, after three failed attempts, and studied at the French Academy, Rome until 1779. During his stay in Italy, Jacques-Louis got to see the Ancient Italian and Neo-classical masterpieces, including the ruins of Pompeii that completely turned him to 'Classicism.' After his stint with the academy, he returned to Paris and joined the Royal Academy, where two of his paintings were included in the Salon of 1781. His fortunes brightened when he married Marguerite Charlotte, the daughter of a wealthy contractor of royal buildings.

'Neoclassicism' prospered in France in late eighteenth and early nineteenth century. David began considering the ornately moralistic style of 'Rococo Art,' as frivolous. His style started getting inclined more towards the past, giving way to what is known as the 'History Painting,' characterizing the mood of the Ancien Régime (the Old Rule). Some of his masterpieces, exhibited during this time, at the Paris Salon, include "St. Roch Interceding for the Plague-Stricken" (1780-1781), "Christ on the Cross," "Belisarius Receiving Alms" (1781), and "Andromache Mourning Hector" (1783).

The transition in Jacques-Louis' style of work, from 'Rococo' and 'Baroque' to 'Neo-classicism,' was most prominently reflected in his magnum opus, "the Oath of the Horatii" (1784-1785), which also evidenced the influence of artists like Hamilton, on his work. His other creations, such as "Death of Socrates" (1787), and "The Love of Paris and Helen" (1789), proved instrumental in the development of 'Romantic Hellenism' in 'French Art.' His classic work, "The Lictors Returning to Brutus the Bodies of his Sons," was felicitated at the Salon of 1789. This awe-inspiring and enigmatic piece challenged the critics for a long time with different interpretations of it emerging during different periods.

David played an active role in the French Revolution and staunchly supported Maximilien Robespierre, the lead member of the Committee of Public Safety, who backed the trial and the execution of the King Louis XVI. The artist also co-founded the 'Institut de France' to replace the bureaucratic, Royal Academy and propelled several propaganda exercises. Some of Jacques' prominent works of this time include "The Oath of the Tennis Court" (1791), "Lepelletier de St. Fargeau" (1793), and "The Death of Marat" (1793).

After the end of the Revolution, David was imprisoned, first in 1794, and again in 1795, for his political role during the Revolution. He was later saved by the intervention of his wife however, an act symbolized in his "Intervention of the Sabine Women," (1799). The same year, shortly after Napoleon came to power, David was named Painter to the Emperor. He painted "The Coronation of the Emperor Napoleon I" (1806-1807), in Napoleon's honor, and "The Distribution of the Eagles" (1810), representing his revolutionary patriotism.

With the fall of Napoleon and Louis XVIII becoming the king, in the year 1816, David was sent to exile in Brussels, as a punishment for voting for the execution of Louis XVI in 1792. In Brussels, David painted "Amor and Psyche" (1817), "The Farewell of Telemachus," "Eucharis" (1818), and "The Anger of Achilles" (1819). These compositions were completely diverse from David's earlier works and marked a new direction in his career. In 1822, he started working on "Mars Disarmed by Venus and the Three Graces," which he declared would be his last work. The following year, on December 29, In 1825 he was killed in a car accident when he struck David was buried at Cemetery Evere, Brussels, he was buried in France rejected the allegations of regicide.

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Friday, April 23, 2010

Washington DC visit on the cheap!


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Getting Around

SUBWAY: Washington's subway system, popularly known as the Metro, is clean and easy to use. Fares vary depending on your travel time and distance. You can buy a one-day Metrorail pass for $6.50. If you're staying for several days, consider purchasing a rechargeable SmarTrip card.

While Metro stations are equipped with escalators and elevators, it's best to travel light. During peak travel times, Metro trains are extremely crowded. You may arrive at a station only to find both the elevator and escalator out of service.

BUS: Washington's Metrobus system covers the entire city. Regular bus fare is $1.25 and express fare is $3.00. You must pay for your trip with exact change, a SmarTrip card or a bus pass. One day passes are $3.00 and are valid on all regular buses. You'll pay a $1.75 surcharge if you take an express bus.

The DC Circulator bus will take you to many popular sights for just $1.00. One route circles the Mall, passing the Washington Monument and Smithsonian museums (weekends only). Another takes you from Union Station to the ever-trendy Georgetown area. The third navigates between the Convention Center and the Southwest Waterfront. You can pay for your trip aboard the Circulator bus (exact change only), get tickets at multi-space meters along the Circulator route or use a SmarTrip card. A one day pass is only $3.00.

Free Washington DC

The National Mall

Spend an afternoon wandering among the presidential and war memorials. Climb the Washington Monument (tickets are free, but there is a small charge to reserve tickets in advance) and look down on the Mall's winding pathways, rippling flags and colorful flowers. Walk the length of the Vietnam Veterans Memorial and see the loving tributes visitors have left at the Wall. (Metro stops: Capitol South, L'Enfant Plaza, Smithsonian, Foggy Bottom/GWU)

The Smithsonian Institution Museums

The Smithsonian's sixteen museums showCase every aspect of American life from prehistory to the Space Age and they're all free. The National Air and Space Museum contains the Wright Flyer, the Spirit of St. Louis and many other famous airplanes and spacecraft. The National Museum of Natural History will delight lovers of dinosaurs, gemstones and animals. If you're an art aficionado, check out the American Art Museum, the newly-renovated National Portrait Gallery or the Hirshhorn Museum and Sculpture Garden, which features modern art. The National Museum of American History is closed until September 2008.(Metro: Smithsonian or L'Enfant Plaza)

The National Zoo

This famous zoo is best known for its giant pandas. The Zoo's Asia Trail brings together seven Asian animal species in newly-constructed habitats. The giant pandas and their cub, Tai Shan, are the stars of the Trail. The Zoo is also a great picnic location. (Metro: Woodley Park-Zoo)

These are just a few of the free And what must be done in Washington DC For more ideas include cheaper accommodation and restaurants, visit our Web site at [Http://www.onthecheaptravel.com].

Travel Happy!

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Tuesday, April 20, 2010

German Shorthaired pointer.


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The German Shorthaired Pointer has a short thick coat that is predominately liver in colour, either solid liver, liver and white, liver patches/liver roan. In some countries their tails are docked, but this practice is now illegal in most countries. They have slightly long ears that lie flat and close to the head. They can stand up to 23 to 25 inches tall and weigh between 55 and 70 lbs. they are well proportioned dog with a broad and rounded skull, they have a slight stop and brown open nose. They have almond shaped eyes and compact feet that are webbed, their fur is rough to the touch but softer on their ears and head. They are streamlined dogs, powerful and are able to move and turn rapidly.

History: The German Shorthaired Pointer was bred to be an excellent Hunter as well as a good family companion. It is thought to descend from many German dogs including hunting dog, scent hounds and tracking dogs. They're an all-purpose dog with an excellent nose and can be used as either a retriever or a gundog both in the field, and in water. They were officially recognized by the AKC in 1930. As well as hunting, this dog has been known to be used in Scandinavia as a sled dog for dogsled racing. Although not much is known about its history, it is thought to have been descended from the old Spanish Pointer and to have come to Germany in the 1600s, however no records were kept until the first studbook in 1870.

Temperament: The German Shorthaired Pointer is extremely energetic breed, they are eager to please and will love their family. They are a faithful dog who tend to have a happy air around them. They do need lots of exercise, and if they do not receive the amount they need they can become highly strung and very frustrated. They enjoy constructive activities, and they need an order and structure to their life. They need a calm yet firm owner, who the dog must know is in charge, without leadership these dogs can become nervous and destructive. They do not cope well with being kept in a kennel, but love nothing more than doing what they were bred to do, which is to hunt.

Health Issues: Overall a very healthy breed, but like many dogs they are prone to hip dysplasia and they can also suffer from epilepsy and genetic eye diseases. They can also get cancerous lesions in their mouth or on the skin in other areas of their body, and similar to other breeds the German Shorthaired Pointer females are prone to breast cancer if they are un-spayed. As with all hunting dogs, they are prone to the spread of fungi and bacteria through contact with the game, this can easily cause infections in their mouth or any open wounds or small cuts. Their life expectancy is 12 to 14 years, though it is not unheard of individual dogs to live up to 18 years.

Grooming: The German Shorthaired Pointers are generally very clean breed so only occasional brushing is required. They are minimal shedders, and normally only shed once a year. They should only be bathed when needed, for example if they are covered in mud.

Living Conditions: The German Shorthaired Pointer is not recommended for apartment life, they are a very active dog and would do best with a large garden. They are also best suited to an active family who can give them the amount of exercise they require. If under exercised they have been known become escape artists, being able to jump fences up to 6 foot high. They are tireless animals and on occasion can be more Than meet even the most active. But if you want to exercise their will not find them to be restless and destructive.

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Saturday, April 17, 2010

Great American Artworks Chlorophyll Tint 1

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Great American Artworks Click on the photo of each color below to view a larger picture and pricing. These excellent pastels are handmade in the United States. Their creator proudly calls them "The Best Pastels on the Planet." They have a wonderfully smooth texture that falls between Unison and Diane Townsend soft pastels. Like Diane's pastels colors may vary slightly due to the fact that they are mixed by hand. Colors are available in 6 or 7 dilution strengths from a pure masstone to a very light tint. There is a unique selection of middle tones that are perfect for both portrait and landscape work. Each color family has been given a distinctive name such as Chlorophyl (bright green) Dragonsblood (burgundy) and Neptune (deep blue). Great American Pastels are extremely brittle and delicate. It is rare to find even one stick that is perfect. Most sticks arrive to us with cracks and chips but most pastelists are willing to overlook these imperfections to get their unique colors and their incredibly soft sticks. Just donât expect a perfect stick because they truly are rare.

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Wednesday, April 14, 2010

European Barn Owl and an American Barn Owl, Lincoln, Nebraska Artists Photographic Poster Print by Joel Sartore, 30x40

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European Barn Owl and an American Barn Owl, Lincoln, Nebraska is digitally printed on archival photographic paper resulting in vivid, pure color and exceptional detail that is suitable for any museum or gallery display. Finding that perfect piece to match your interest and style is easy and within your budget!

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Saturday, April 10, 2010

Red Jacket (Seneca War Chief) 12x18 Giclee on canvas - Prints - 05159-0CG12

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\"Series: Native American
Artist: Mckenney & Hall
Period:
Source country: USA
Source Year: 1842

At a meeting of the Indian Chiefs in Washington DC, where the tribal chiefs received medals of Peace from President Andrew Jackson, paintings were commsioned and a book was created of these paintings. All the paitings were destroyed by fire, as were many of the tribes, but the book remained.



12 inch by 18 inch Giclee print on Canvas.

All files are stored digitally and are ready for reproduction. The quality is closely monitored to ensure professional results.\"

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Tuesday, April 6, 2010

American Impressionists in Old Lyme, Connecticut.


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What art lover can get enough of the impressionists? Not Emsworth, certainly, despite his vow to partake of more solid fare, and so last weekend found us in Old Lyme, Connecticut treating ourselves to a second generous helping of American impressionists this summer.

Old Lyme is home to the Florence Griswold Museum, the only museum I know of devoted solely to American impressionism. For a decade or two, beginning around 1900, a number of painters, including Childe Hassam and Willard Metcalf, came each summer to stay at Florence Griswold's boarding house and to paint in the congenial and picturesque surroundings of Old Lyme. Metcalf depicted its classy facade in one of his best-known paintings, May Night.

The boarding house is no longer the home of an art colony, but instead a small, unpretentious museum. The gardens have been nicely restored, a new gallery building (sadly devoid of architectural interest) was erected several years ago, and a good (though narrowly focused) art collection has been assembled.

The show that now fills the new gallery spaces (through July 27, 2008) consists of American impressionist paintings from the Terra Foundation. These were painted by Americans working from about 1885 and into the 1920s in Giverny, of all places, the French town where Claude Monet lived and tended his celebrated garden with its Japanese footbridge and lily pond.

These young Americans must have been quite a nuisance to Monet and his family. One of them, Theodore Butler, succeeded in marrying Monet's step-daughter, Suzanne Hoschede, an event memorialized in Theodore Robinson's painting The Wedding March, which is part of this show. Several of Butler's own paintings, which did not especially appeal to us, were also on display. Willard Metcalf, who collected birds' eggs (on display in this exhibit!), managed to be hired to teach botany to Monet's son and stepson.

Still another American, John Leslie Breck, apparently tried and failed to marry another stepdaughter, Blanche Hoschede. Breck surely did his best to curry favor with the girl's stepfather; he joined Monet in painting those tiresome haystacks. One wall of the galleries was wasted on a dozen small haystack studies by Breck.

But we did enjoy a large and impressive pastoral landscape by Breck entitled Autumn, Giverny (The New Moon), which shows the influence of Barbizon painters Jean-Francois Millet and Jules Breton. Everyone in our party agreed, however, that Breck had devoted too much of the canvas to the foreground.

The show in Old Lyme has a satisfying set of works by Theodore Robinson, some of which brought to mind paintings by Ernest Lawson we had recently seen in the exhibit from the Phillips Collection in Rochester. For example, Lawson had a habit of putting bare tree limbs in the foreground of a landscape as a sort of screen for the rest of the painting. Robinson's earlier painting, Winter Landscape, done in 1889, used the same device.

Lawson's work is characterized overall by the use of thickly applied, jewel-tone paints. But Theodore Robinson apparently used this technique first, as evidenced by my favorite of the Robinson pictures in this show, Pere Trognon and His Daughter at the Bridge.

The highlight of the show for me was a wall of several paintings by my favorite American impressionist, the bold colorist Carl Frieseke, who produced his best work in the second and third decades of the twentieth century while Matisse and Picasso were taking modern art in quite different directions. In Frieseke's Lady in a Garden, the stripes on the lady's dress become indistinguishable from the reeds through in which she is standing; she becomes one with cultivated nature.

For an art museum junkie who cares about American art, and Emsworth stands at the front of that line, the Florence Griswold Museum is worthy of regular visits for its excellent permanent collection. Most of that collection is, unfortunately, in storage when the museum has a traveling exhibition like the present one from the Terra Foundation occupying its new exhibition space. However, highlights of the collection, including this quintessentially impressionistic work by Childe Hassam, can be seen in the first- and second-floor rooms of the old boarding house. A particularly pleasing painting by William Chadwick shows the veranda of the boarding house as it was when Chadwick, Hassam, and others have worked with hundreds of years ago Khan, kitchen with painted panels of the denizens of the art colony back in the day.

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Saturday, April 3, 2010

Tips for storing art Net Pleasure (A Six - Part Series): Part 6 - Leaving Legacy of Art.


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PART 6 - LEAVING A LEGACY OF ART

What a waste when wonderful collections of art are decimated upon the collector's
demise! This happens all too often because of the lack of records and instructions
left behind concerning the art pieces.

Ignorance results in the art being relegated to a dusty and moldy storeroom or,
worse, being consigned to the trash. More conscientious 'beneficiaries' may give
away the pieces to thrift stores and charities. Commonly, haulers are summoned to
dispose of the pieces. Some shrewd haulers have learned to consult art dealers on
their 'finds', as they have discovered that there can be gold in dirt.

Imagine paying someone to take away priceless art! Sadly, this scenario is played
out year after year around the world, because too many art collectors fail to plan for
future owners of their art. Have you planned for posterity?

Who would you like your art collection to go to some day? A loved one? A charity? A
foundation? Or perhaps a museum? Who will be the beneficiary of your much-loved
and treasured art? If you don't want your art pieces to fall into undesirable hands or
be destroyed, you'll need to start keeping detailed records and make clear
provisions NOW.

The Importance Of Documentation

Some years ago, while clearing out my parents' rambling old house which had just
been sold, I came across 10 glass beer mugs, stored away in a small musty
storeroom under the staircase. The mugs were plain and ordinary-looking, except
for a circular, thumbnail-sized design an inch below the rim. No documents
accompanied them.

For a moment, I contemplated keeping the mugs, as I thought they could serve
some practical use around my own home, although they were rather unattractive.
That moment passed very quickly, as I still had much clearing and packing to do.
After all, the mugs appeared very pedestrian. I knew that I could always get more
appealing-looking mugs whenever I wanted. So I left the mugs behind in the old
house. I don't know if anyone ever took them before the demolition crew started
their work.

Less than a month later, there was a newspaper advertisement looking for beer
mugs just like the ones I had seen in my parents' old house. The company which
had placed the ad was willing to pay $500 for each mug in good condition turned
in. Those 10 mugs I had left behind were practically in mint condition. I could have
cried.

From Treasure To Junk

Have you ever seen the sign "We buy junk and sell antiques"? While this may sound
humorous, there's also a lot of poignancy and irony intermingled. Don't let your art
treasures become junk. Do your utmost to ensure that they are treated with respect
and go where you wish them to go.

List Options And Directions

Whatever the size of your art collection, do provide a list of options and directions
to go with it. Besides the usual documentation which should accompany every item,
this should include the contact particulars of parties who can assist in the valuation,
sale or dispensation of the art pieces.

Choose Beneficiaries

Do also mention any parties you may like to give your art to. Remember, you may
know the subject and its market like the back of your hand, but others probably
won't. Don't leave your beneficiaries at the mercy of opportunists or others who
may not be able to appreciate the value of your art collection.

Provide Values

It's a very good idea to include the insurance or replacement values of your art
pieces. You might even wish to provide suggested wholesale values, so your
beneficiaries will be more prepared should they decide to sell your art pieces.

Ideally, if you haven't already begun, let the people closest to you understand the
importance of your art collection now. Once they develop a healthy respect for it,
the chances improve that your art collection will be in good hands and go where you
want it to go.

Be an artful collector - plan like a pro all the way.

Copyright © 2006 Carol Chua

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Thursday, April 1, 2010

Understanding Modern Art - American Painting, Color Field.


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The extraordinary artistic movement known as American Color Field Painting both continued and challenged prior esthetic traditions. Beginning in the late 1950s and continuing through the 1960s, this movement influenced the entire world of art.

American Color Field Painting was a combination of shared revolutionary techniques and unique individual solutions to the traditional problems and considerations of artistic expression. This new type of art reevaluated traditional pictorial elements including naturalistic perspective, color use, the function of line and shape, and the role of formatting.

Although individual Color Field painters developed distinct modes of expression, they shared a common emphasis on color as a central aspect of painting. They also shared a rejection of the contemporary focus on the conscious social and political responsibilities of art. Their love of materials and their joyous and strenuous endeavors to redefine the boundaries of art are among their exceptional contributions to the ongoing evolution of modern aesthetic values.

Four of the major legacies of the Color Field Painters were an emphasis on the infinite potential for variations in light and color; the practice of creating multiple interpretations, known as a series, on a single theme; the relentless pursuit of the dual identity of art as both illusion and reality; and the use of landscape elements. These legacies were an extension of the practices begun by the Impressionists almost a century before.

The Impressionistic emphasis on distinct patches of solid color was carried to an extreme by Color Field painters like Kenneth Noland who created concentric rings of color in his "target" series. The scientific approach to color that was prominent in the 19th century asserted that a pure color placed next to another color will result in a more dramatic optical effect than colors that have been muted through traditional shading And impressions of favorite American Impressionists innovation Field. Color for painters to study the phenomenon of different colors in deep and easy to use. Part of them could pave the way for free - flowing to the beautiful paintings that focus on one element rather than trying to re-image the world around us.

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