Tuesday, August 30, 2011

Welsh art - Oil Painting

Welsh art refers to the traditions in the visual arts associated with Wales and its people. Wales cannot claim to have been a major artistic centre at any point, and Welsh art is essentially a regional variant of the forms and styles of the rest of the British Isles; a very different situation from that found in Welsh literature. The term Art in Wales is often used in the absence of a clear sense of what "Welsh art" is, and to include the very large body of work, especially in landscape art, produced by non-Welsh artists set in Wales.

The best of the few Welsh artists of the 16-18th centuries tended to move elsewhere to work, but in the 18th century the dominance of landscape art in English art bought them motives to stay at home, and bought an influx of artists from outside to paint Welsh scenery, which was "discovered" by artists rather earlier than later landscape hotspots like the English Lake District and the Scottish Highlands. The Welsh painter Richard Wilson (1714–1782) is arguably the first major British landscapist, but somewhat more notable for Italian scenes than Welsh ones, although he did paint several on visits from London.

 His pupil Thomas Jones (1742–1803), has a rather higher status today than in his own time, but mainly for his city scenes painted in Italy, though his The Bard (1774, Cardiff) is a classic work showing the emerging combination of the Celtic Revival and Romanticism.

He returned to live in Wales on inheriting the family estate, but largely stopped painting. For most visiting artists the main attraction was dramatic mountain scenery, in the new taste for the sublime partly stimulated by Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757), though some earlier works were painted in Wales in this strain. Early works tended to see the Welsh mountains through the prism of the 17th century Italianate "wild" landscapes of Salvator Rosa and Gaspard Dughet.

Tuesday, August 23, 2011

Fire of Moscow

The 1812 Blaze of Moscow bankrupt out on September 14, 1812 in Moscow on the day if Russian troops and a lot of association alone the city-limits and Napoleon's beat troops entered the city-limits afterward the Battle of Borodino. The blaze raged until September 18, antibacterial estimated three-quarters of Moscow.

Before leaving Moscow, Count Rostopchin gave orders to have the Kremlin and major public buildings either blown up or set on fire. But this was not the foremost cause of the conflagration that destroyed the city. As the bulk of the French army moved into the city, there were some fires, which historians sympathetic to Napoleon's cause by tradition blame on Russian damage. It is believed that Count Rostopchin had made arrangements for anything that might have been of any use to the French army—food stores, granaries, warehouses, and cloth stores—to be torched once the city was evacuated by the Russians.

This version of events is established by General Armand de Caulaincourt.He states that they had been in Moscow for three days. That evening a small fire had broken out but was extinguished and 'attributed to the carelessness of the troops'. Later that evening Coulaincourt was woken by his valet with the news that 'for three quarters of an hour the city has been in flames'. Fires continued to break out in multiple separate points.

Incendiarists were arrested and interrogated and declared that their commanding officer had ordered them to burn everything. 'Houses had been designated to this end.' Later on in the same chapter he asserts 'The existence of inflammable fuses, all made in the same fashion and placed in different public and private buildings, is a fact of which I, as many others, had personal evidence. I saw the fuses on the spot and many were taken to the Emperor.' He goes on to write 'The examination of the police rank-and-file all proved that the fire had been prepared and executed by order of Count Rostopchin'.

Saturday, August 20, 2011

Jacob Isaakszoon van Ruisdael

Cornelis de Graeff, also Cornelis de Graeff van was the most memorable member of the De Graeff family. He was a mayor of Amsterdam from the Dutch Golden Age and a powerful Amsterdam regent after the sudden death of stadholder William II of Orange. Like his father Jacob Dircksz de Graeff, he opposed the house of Orange, and was the reasonable successor to the republican Andries Bicker. In the mid 17th century he controlled the city's finances and politics and, in close cooperation with his brother Andries de Graeff and their nephew Johan de Witt, the Netherlands political system.

Characteristic of his early period, from about 1646 to 1655, is the choice of very effortless motifs and the careful and laborious study of the details of nature. The time between his disappearance from Haarlem and his settling in Amsterdam may have been spent in travelling and helped him to gain a broader view of nature and to widen the horizon of his art.

A magnificent view of the Castle of Bentheim, dated 1654, suggests that his wanderings extended to Germany. In his last period, from about 1675 onwards, he shows a tendency towards overcrowded compositions, and affects a darker tonality, which may partly be due to the use of thin paint on a dark ground. Towards the end, in his leaning towards the romantic mood, he preferred to draw his inspiration from other masters, instead of going to nature direct, his favorite subjects being rushing torrents and waterfalls, and ruined castles on mountain crests, which are frequently borrowed from the Swiss views by Roghmau.

Tuesday, August 16, 2011

Charles IV of Spain and His Family

Carlos IV of Spain and His Family is oil on canvas painting by the Spanish artist Francisco Goya completed in the summer of 1800. It features life sized depictions of Charles IV of Spain and his family, pretentiously dressed in fine costume and jewellery. The painting was modeled after Velazquez's Las Meninas when setting the royal subjects in a naturalistic and reasonable setting.

As in Las Meninas, the royal family is actually paying a visit to the artist's studio, while Goya can be seen to the left looking outwards towards the viewer. In both, the artist is shown working on a canvas, of which only the rear is visible.

 However, the atmospheric and warm perspective of the palace interior of Velazquez's work is replaced in the Goya by a sense of, in the words of Gassier, "imminent suffocation" as the royal family are presented by Goya on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: ‘Look at them and judge for yourself!’

Wednesday, August 3, 2011

List some expressions of paint below

The allegory is a figurative mode of representation, which means transportation other than the literal. Allegory communicates its message through symbolic figures, actions or symbolic representation. Allegory is generally treated as a figure of speech but an allegory does not have to be expressed in language can go to view, and is often found in realistic painting. An example of a simple visual allegory is the image of the Grim Reaper. Viewers to understand that the image of the Grim Reaper is a symbolic representation of death.

Body painting:
Body painting is a form of body art. Unlike forms of tattooing and other forms of body art, body painting is temporary, painted on the human skin, and lasts only a few hours or at most a couple of weeks. Body painting is limited to the face is known as face painting. Body Painting is also known as temporary tattoos, large scale or full-body paint is most commonly known as body paint, while the smaller work or more detailed, usually referred to as temporary tattoos.

Figure painting:
Figure painting is a form of visual art in which the artist uses a live model as the subject of a piece of two-dimensional work of art with painting as a medium. The live model may be nude or fully or partially clothed, and painting is a representation of the whole body of the model.

Illustration painting:
Illustration paintings are used as illustrations in books, magazines and posters from a movie theater and comics. Today, there is growing interest in the collection and admire the original artwork. Several museum exhibitions, magazines and art galleries have devoted space to the illustrators past. In the world of visual art, illustrators have sometimes been considered less important compared to artists and graphic designers.

Landscape painting:
Landscape painting is a term that covers the depiction of natural scenery such as mountains, valleys, trees, rivers, and forests, and especially art where the main subject is a wide view, with its elements arranged into a coherent composition. In other works landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition.

Portrait painting:
Paintings portrait is a representation of a person in the face and its expression is predominant. The intention is to show the image, personality, and even the mood of the person. The art of portraiture flourished in the Greek and Roman sculpture, particularly, where sitters demanded realistic portraits and individual, even unflattering.

Still life:
A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be natural or artificial. With origins in medieval art and Greek / Roman, still life’s give artists more freedom in the arrangement of design elements within a composition that pictures of other subjects such as landscape or portrait.

Monday, August 1, 2011

Geertgen tot Sint Jans

George tot Sint Jans (ca. 1465 - ca. 1495), ook bekend als George van Haarlem, Gerrit van Haarlem, Gerrit Gerritsz, Gheertgen, Geerrit, Gheerrit, of enige andere vorm verkleinvorm van Gerald, was een Nederlandse schilder uit het noorden begin van de Nederland in het Heilige Roomse Rijk. Geen documentation op het moment van je leven is weekend; en de merest gepubliceerde verslag van zijn leven en zijn werk is van 1604, in Karel van Mander Schilder-Boeck.

According To van Mander, was George Probably a pupil of Albert Bowater, who was one of the first oil painters in the Northern Low Countries. Both painters lived in the city of Haarlem, where it was attached to the house George of the Knights of Saint John, Perhaps as a lay brother, he painted For Whom an altarpiece. In van Mender’s book he states George That Took The name or St. John without joining the order, Galan thus His last name "to St. John" was derived from the order's name and means "unto Saint John"

Hopewell Van Mander net hem George tot Sent Jans, schilder uit Haarlem, watt aangeeft dat hij was uit Haarlem, is het mogelijk dat hij mischief were georef in Leiden, daarna in de Bourgondische Nederland in het Heilige Roomse Rijk, rond het jar 1465.

De opdracht van Leiden ALS zijn geboorteplaats is herleidbaar naar een 17e eeuwse prent van Jacob Matham, waar hij wordt aangeduid als Gerardus van Leydanus. Er is geen bekende archief bewijs voor deze bewering door Matham. Deze prent van De bewening van Christus uit 1620, toont in de linkerbenedenhoek "Cum privil Sa Cae M.