About Murals Paintings

Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardeche department of southern France (around 30.000 BC).

Many olden murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces.

In modern times the term became more well-known with the Mexican "muralist" art movement. There are many different styles and techniques. The best-known is almost certainly fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts.

The colors lighten as they dry. The camouflage method has also been used for millennia.

Murals today are painted in a mixture of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latkes in the 1980s, trompe-l'oeil painting has experienced a new beginning in private and public buildings in Europe.

Today, the beauty of a wall mural has become much more widely available with a method whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface to give the effect of either a hand-painted mural or realistic scene.

The development of digital wide set-up printers offered new time and cost effective production methods for printed murals and became an important alternative to actual, hand-painted murals in the last decade. Already existing murals can be photographed and then be reproduced in near-to-original quality.

The disadvantages of pre-fabricated murals are that they are often mass produced and lack the attraction and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes cannot be added to the mural as it progresses. The Frescography method, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalization and size restrictions.

Digital techniques are also used in advertisement. A "walls cape" is a large advertisement on or attached to the outside wall of a building. Walls capes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such.

Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.

About WaterColor Paintings

Watercolor (US) or watercolor (UK), also aquarelle from French, is a painting method. A watercolor is the medium or the resultant artwork, in which the paints are made of pigments suspended in a water soluble vehicle. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas.

Watercolor painting has the reputation of being quite demanding; it is more accurate to say that watercolor techniques are unique to watercolor. Unlike oil or acrylic painting, where the paints fundamentally stay where they are put and dry more or less in the form they are applied, water is an active and complex partner in the watercolor painting process, changing both the absorbency and shape of the paper when it is wet and the outlines and appearance of the paint as it dries.

Many difficulties occur because watercolor paints do not have high hiding power, so previous efforts cannot simply be painted over; and the paper support is both absorbent and delicate, so the paints cannot simply be scraped off, like oil paint from a canvas, but must be laboriously lifted by rewetting and blotting. This often induces in student painters a pronounced and inhibiting anxiety about making an irreversible mistake.

Watercolor has a longstanding association with drawing or impression, and the common procedure to curtail such mistakes is to make a precise, faint outline drawing in pencil of the subject to be painted, to use small brushes, and to paint limited areas of the painting only after all adjacent paint areas have completely dried.
Another characteristic of watercolor paints is that the carbohydrate binder is only a small proportion of the raw paint volume, and much of the binder is drawn between the hydrophilic cellulose fibers of wet paper as the paint dries.

As a result, watercolor paints do not form an enclosing layer of vehicle around the pigment particles and a continuous film of dried vehicle over the painting support, but leave pigment particles scattered and stranded like tiny grains of sand on the paper. This increases the scattering of light from the pigment and paper surfaces, causing characteristic whitening or lightening of the paint color as it dries. The exposed pigment particles are also naked to damaging ultraviolet light, which can compromise pigment permanency.

Watercolor paint is traditionally and still commonly applied with brushes, but modern painters have experimented with many other implements, particularly sprayers, scrapers, sponges or sticks, and have combined watercolors with pencil, charcoal, crayon, chalk, ink, engraving, monotype, lithography and collage, or with acrylic paint.

Many watercolor painters, perhaps uniquely among all modern visual artists, still adhere to prejudices dating from the 19th century rivalry between "transparent" and body color painters. Among these are injunctions never to use white paint, never to use black paint, only to use transparent color, or only to work with "primary" color mixtures. In fact, many superb paintings flout some or all of these guidelines, and they have little relevance to modern painting practice.

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The Roman Egyption oil paintings

Portraiture's roots are likely found in prehistoric times, although few of these works live on today. In the art of the ancient civilizations of the Fertile Crescent, especially in Egypt, depictions of rulers and gods abound. However, most of these were done in a highly stylized fashion, and most in profile, usually on stone, metal, clay, plaster, or crystal. Egyptian portraiture placed relatively little emphasis on likeness, at least until the period of Akhenaton in the 14th century BC. Portrait painting of notables in China probably goes back to over 1000 BC, though none survive from that age. Existing Chinese portraits go back to about 1000 AD.

From literary proof we know that ancient Greek painting included portraiture, often highly accurate if the praises of writers are to be believed, but no painted examples remain. Sculpted heads of rulers and famous personalities like Socrates survive in some quantity, and like the individualized busts of Hellenistic rulers on coins, show that Greek portraiture could achieve a good likeness, and subjects were depicted with relatively little flattery - Socrates' portraits show why he had a reputation for being ugly. The successors of Alexander the Great began the practice of adding his head to their coins, and were soon using their own.

Roman portraiture adopted traditions of portraiture from both the Etruscans and Greeks, and developed a very strong tradition, linked to their religious use of ancestor portraits, as well as Roman politics. Again, the few painted survivals, in the Fayum portraits, Tomb of Aline and the Severan Tondo, all from Egypt under Roman rule, are clearly regional productions that reflect Greek rather than Roman styles, but we have a wealth of sculpted heads, including many individualized portraits from middle-class tombs, and thousands of types of coin portraits.

Much the largest group of painted portraits is the funeral paintings that survived in the dry climate of Egypt's Fayum district, dating from the 2nd to 4th century AD. These are almost the only paintings of the Roman period that have survived, aside from frescos, though it is known from the writings of Pliny the Elder that portrait painting was well recognized in Greek times, and practiced by both men and women artists. In his times, Pliny complained of the declining state of Roman portrait art, The painting of portraits which used to transmit through the ages the accurate likeness of people has entirely gone out laziness has destroyed the arts. These full-face portraits from Roman Egypt are fortunate exceptions.

They present a somewhat reasonable sense of proportion and individual detail. The Fayum portraits were painted on wood or ivory in wax and resin colors or with tempera, and inserted into the mummy wrapping, to remain with the body through time without end.

While free-standing portrait painting diminished in Rome, the art of the portrait flourished in Roman sculptures, where sitters demanded realism, even if unflattering. During the 4th century, the sculpted portrait dominated, with a retreat in favor of an idealized symbol of what that person looked like.

Campanile di Giotto Paintings

Giotto di Bond one (c.1267–January 8 1337), usually known as Giotto, was an Italian painter and architect from Florence. He is generally thought of as the first in a line of great artists of the Italian Renaissance.

Giovanni Villani, who lived at the same time as Giotto, wrote that he was the king of painters, who drew all his figures as if they were alive. Villani says that, because he was so clever, the city of Florence gave him a salary.

In the 16th century, the dramatist Giorgio Vasari says that Giotto changed painting from the Byzantine style of other artists of his day, and brought to life the great art of painting as it was made by the later Renaissance painters like Leonardo da Vinci. This was because Giotto drew his figures from life, rather than copying the style them from old well-known pictures in the way that the Byzantine artists like Cimabue and Duccio did.

Giotto's greatest work is the decoration of the Scrovegni Chapel in Padua, finished around 1305. The building is sometimes called the "Arena Chapel" because it is on the site of an Ancient Roman arena. This fresco series shows the life of the Virgin and the life of Christ. It is thought of as one of the greatest masterpieces of the Early Renaissance.

In 1320 Giotto finished the Stefaneschi Triptych, now in the Vatican Museum, for Cardinal Jacopo, who also commissioned him the decoration of St. Peter's apse, with a cycle of frescoes destroyed during the 16th century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy and in the Papal seat at Avignon, though some of these works are now recognized to be by other artists.

In 1328, after completing the Baroncelli Polyptych, he was called by King Robert of Anjou to Naples, where he remained with a group of pupils until 1333. In Naples few of his works have survived: a fragment of a fresco portraying the Lamentation of Christ in the church of Santa Chiara, and the Illustrious Men painted on the windows of the Santa Barbara Chapel of Castel Nuovo . In 1332 King Robert named him "first court painter" with a yearly pension.

In 1334 Giotto was appointed chief architect to Florence Cathedral, of which the Campanile (founded by him on July 18 1334) bears his name, but was not completed to his design.
Before 1337 he was in Milan with Azzone Visconti, though no trace of works by him remain in the city. His last known work is the decoration of Pedestal Chapel in the Barceló, Florence.

In his final years Giotto had become friends with Boccaccio and Sacchetti, who featured him in their stories. In The Divine Comedy, Dante acknowledged the greatness of his living contemporary through the words of a painter in Purgatorio (XI, 94–96): Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure.

The Fresco painting

Fresco is a way of painting pictures. A fresco is a painting that is ended on a wall. All wall paintings are sometimes called frescoes by mistake. A true fresco is painted onto plaster that is fresh.

The plaster has been laid on the wall that day and is still damp. The word fresco comes from the Italian for "fresh “Advantages and disadvantages of fresco painting.

The good things about fresco painting:

Fresco is a very good way of painting pictures on walls. It is much easier than painting on dry plaster because when paint is put onto dry plaster, it sinks straight in. Painting on fresh plaster means that the artist can spread the paint much easier.

Another reason why it is a good way to paint pictures on plastered walls is that the paint joins with the plaster so that the colors will not rub off. Frescoes last for hundreds of years. If they are reserved clean and dry, the colors will stay bright for a very long time.

Fresco is the "green" method of painting because it doesn't use dangerous chemicals. The water, the calcite and the colors do not cause pollution.

The bad things about fresco painting:

The problems with painting frescos come from the plaster. It must be mixed up and put on the wall freshly every day and left to partly dry before it can be used.

As the plaster begins to dry or "set", the artist can start the picture. The plaster becomes very hot while it is drying, giving off steam, and a psaltery smell.

The artist must work very quickly and carefully. If he/she makes a mistake, the plaster must be scraped off. Unlike most other types of painting, frescos can't be moved from place to place, or rearranged.

Paolo Veronese Paintings

Oil painting is a way of painting pictures with pigments (colors) that are held together by the medium of oil. The most usual type of oil that is used in paint is linseed oil. A picture that is painted using oil paint is called an "oil painting". Oil paint takes a long time to dry.

Artists find this useful because they can keep working on the painting for a long time. People say that Leonardo da Vinci worked on his painting of the Mona Lisa for four years, even although it is not a very big picture. Oils paints and oil paintings are often just called "oils" for short. If someone talks about "painting in oils" they mean that the painting is done in oil paints.

No-one knows when oil paint was first used. Caves in Afghanistan are decorated with ancient paintings in paint mixed with oils. It is believed that this type of paint was used in other countries of Asia as well.

It is believed that oil paint was used in Europe in the middle Ages at first for decorating shields, because oil paint lasted better than the traditional paint of tempera when it was in the weather, or if it was roughly treated. In 1125 a writer called Theophilus gives information for how to make oil paint in his book called On Diverse Arts.

The Renaissance art historian, Giorgio Vasari, said that the art of oil painting came from Northern Europe and the person who invented it was the famous Flemish painter Jan van Eyck.

Artists from the areas of modern Belgium and the Netherlands were the first artists to make oil painting their usual method of painting. This trend spread to other parts of Northern Europe.

A famous painting called the Portinari Altarpiece by Hugo van der goes arrived in Florence in the 1470s at a time when Leonardo da Vinci was young. Oil paintings at this date were usually done on wooden panels, in the way that tempera pictures were.

Leonid aftermov oil paintings

Leonid Afremov is a Belarus born, Israeli modern painter who creates unique landscapes, cityscape and figures using a palette knife rather than a brush to paint. Here is what he himself says about his work and the technique he uses:

I tried different techniques during my career, but I especially fell in love with painting with oil and palette-knife.

Every artwork is the result of long painting process; every canvas is born during the creative search; every painting is full of my inner world.

Each of my paintings brings different mood, colors and emotions. I love to express the beauty, harmony and spirit of this world in my paintings.

My heart is completely open to art. Thus, I enjoy creating inspired and beautiful paintings from the bottom of my soul.

Each of my artworks reflects my feelings, sensitivity, passion, and the music from my soul. True art is alive and inspired by humanity. I believe that art helps us to be free from violence and depression.

The Office at Night

In Office at Night (1940), another “couple” painting, Hopper creates a psychological puzzle. The painting shows a man focusing on his work papers, while nearby his attractive female secretary pulls a file.

Several studies for the painting show how Hopper experimented with the positioning of the two facts, perhaps to amplify the eroticism and the tension. Hopper presents the viewer with the possibilities that the man is either truly unconcerned in the woman's appeal or that he is working hard to ignore her.

Another interesting aspect of the painting is how Hopper employs three light sources, from a desk lamp, through a window and indirect light from above. Hopper went on to make several “office” pictures, but none with a physical undercurrent.

The style is suggestive of many of Hopper's works in that it depicts loneliness in a stark and distinctive fashion.It depicts a man sitting at a desk reading a document in a corner office at night. He is joined by a woman in a blue dress, possibly a secretary, standing at an open file cabinet.

A sheet of paper has fallen on the floor between the two individuals. There is a sexual interpretation of the relationship between the two individuals.

Josephine Hopper served as the model for the woman. Several titles were proposed for the painting, such as Room 1005 and Confidentially Yours, before Edward Hopper chose "Office at Night."

In a letter to the Walker Art Center, Hopper said the work was "probably first suggested by many rides on the 'L' train in New York City after dark glimpses of office interiors that were so fleeting as to leave fresh and vivid impressions on my mind."

About Western_oilpaintings

The history of Western painting represents a continuous, though disrupted, tradition from antiquity. Until the mid-19th century it was primarily concerned with representational and Classical modes of production, after which time more modern, abstract and conceptual forms gained favor.

Developments in Western painting historically parallel those in Eastern painting, in general a few centuries later. African art, Islamic art, Indian art, Chinese art, and Japanese art each had significant influence on Western art, and, eventually, vice-versa.

Initially serving imperial, private, civic, and religious support, Western painting later found audiences in the aristocracy and the middle class.

From the Middle Ages through the rebirth painters worked for the church and a wealthy aristocracy. Beginning with the Baroque era artists received private commissions from a more educated and prosperous middle class.

The idea of "art for art's sake" began to find expression in the work of the Romantic painters like Francisco de Goya, John Constable, and J.M.W. Turner. During the 19th century the rise of the commercial art gallery provided support in the 20th Century.

Western painting reached its zenith in Europe during the Renaissance, in conjunction with the refinement of drawing, use of perspective, ambitious architecture, tapestry, stained glass, sculpture, and the period before and after the advent of the printing press.

Following the depth of discovery and the complexity of innovations of the Renaissance the rich heritage of Western painting continues into the 21st century.

The Cowboy Oil Paintings

Etymologists seem to agree that the word "cowboy oil painting western art," has its origins in the English language. The English language was impacted by Rome and France at some time in their history, but etymologists trace the word Cow to its English/ Germanic rootstock, Middle English coo, Old English cu; Old High German kuo.

The same source that I am using for this phase of the discussion claims that the word "Boy" originated in the 1200's, also English, and meant a male servant, not a male child. The word "Cowboy that one theme of original oil paintings" on oilpaintingfactory.com exists in medieval Ireland according to a PBS article, which also mentions the tracking of the word to the American Revolution and referred to a Tory, or American colonist who supported the British Crown by stealing cattle from the colonial rebels.

Oil painting:

This is where we began with the evolution of the word into American English. As for the evolution of the word "cowboy oil paintings western art, into the titles of U.S. slaves, there is every reason to believe that the word became the widespread address for cattle industry laborers who were conquered or deemed servants of English cattle owners.

Writers mention Slave Cowboy that one theme of original oil paintings" in their studies of South Carolina and Appalachian cattle industries. They also mention slave cattle rustlers working under the direction of their masters.

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The cowboy is really our only folk identity, in terms of mythology. Throughout the world, there's only one way you identify yourself as an American, and that's if you put on a cowboy hat. When people start to say, 'What does it mean to be an American?' you're eventually goanna confront the cowboy symbol.

People attach all kinds of meaning to it too, from self-reliance to riding off into the sunset to being close to nature to looking at a cigarette ad, so some way or another, if you're an American you're going to have to get that cowboy image a little bit, to understand it.

Different Types Of Related Scapes

The word landscape is from the Dutch, landscape originally meaning a patch of cultivated ground, and then an image. The word entered the English language at the start of the 17th century, purely as a term for works of art; it was not used to describe real vistas before.

Traditionally, landscape art depicts the surface of the earth, but there are other sorts of landscapes, such as moonscapes.

• Vedute is the Italian term for view, and generally used for the painted landscape, often cityscape
• which were a common 18th century painting thematic.
• Sky capes or Cloudscapes are depictions of clouds, weather forms, and atmospheric conditions.
• Moonscapes show the landscape of a moon.
• Seascapes depict oceans or beaches.
• Rivers capes depict rivers or creeks.
• Cityscape or towns capes depict cities.
• Hard capes are covered over areas like streets and sidewalks, large business complexes and housing developments, and industrial areas.
• Aerial landscapes depict a surface or ground from above, especially as seen from an airplane or spacecraft. This genre can be combined with others, as in the aerial cloudscapes of Georgia O'Keeffe, the aerial moonscapes of Nancy Graves, or the aerial cityscapes of Yvonne Jacquette.
• Ins capes are landscape-like artworks which seek to convey the psychoanalytic view of the mind as a three-dimensional space.

The Art Of Hudson River School

In olden period art, around the world depict little that could really be called landscape, although ground-lines and sometimes indications of mountains, trees or other natural features are included. The earliest "pure landscapes" with no human figures are frescos from Minoan Greece of around 1500 BCE.

In early Western medieval art interest in landscape disappears almost entirely, kept alive only in copies of Late Antique works such as the Utrecht Psalter; the last reworking of this source, in an early Gothic version, reduces the previously extensive landscapes to a few trees filling gaps in the composition, with no sense of overall space.

A revival of the interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Concuss or those in miller Fleur tapestries. The frescos of figures at work or play in front of a background of dense trees in the Palace of the Popes, Avignon are probably a unique survival of what was a common subject.

In the United States, the Hudson River School, prominent in the middle to late 19th century, is probably the best-known native development in landscape art. These painters created works of mammoth scale that attempted to capture the epic scope of the landscapes that inspired them.

The work of Thomas Cole, the school's generally acknowledged founder, has much in common with the philosophical ideals of European landscape paintings — a kind of secular faith in the religious benefits to be gained from the consideration of natural beauty.

Some of the later Hudson River School artists, such as Albert Bierstadt, created less encouraging works that placed a greater emphasis on the raw, even terrifying power of nature. The best examples of Canadian landscape art can be found in the works of the Group of Seven, prominent in the 1920s.

Although certainly less dominant in the period after World War I, many significant artists still painted landscapes in the wide variety of styles exemplified by Neil We liver, Alex Kate, Milton Avery, Peter Doig, Andrew Wyeth, David Hackney and Sidney Nolan.

Spring Morning in the Han Palace

China, Japan and Korea have a strong tradition in painting which is also highly attached to the art of script and printmaking.

Far east traditional painting is characterized by water based techniques, less realism, "elegant" and stylized subjects, graphical approach to depiction, the importance of white space (or negative space) and a preference for landscape as a subject. Beyond ink and color on silk or paper scrolls, gold on gloss was also a common medium in painted East Asian artwork.

Although silk is somewhat so expensive medium to paint upon in the past, the invention of paper during the 1st century AD by the Han court eunuch Cain Lun provided not only a cheap and widespread medium for writing, but also a cheap and widespread medium for painting.

The earliest examples of Chinese painted artwork date to the Warring States Period (481 - 221 BC), with paintings on silk or tomb murals on rock, brick, or stone.
They were often in simplistic stylized format and in more-or-less elementary geometric patterns. They often depicted mythological creatures, domestic scenes, labor scenes, or palatial scenes filled with officials at court.

Artwork during this period and the subsequent Qin Dynasty (221 - 207 BC) and Han Dynasty (202 BC - 220 AD) was made not as a means in and of itself or for higher personal expression.

Rather artwork was created to symbolize and honor funerary rights, representations of mythological deities or spirits of ancestors, etc. Paintings on silk of court officials and domestic scenes could be found during the Han Dynasty, along with scenes of men hunting on horseback or partaking in military parade.

There was also painting on three dimensional works of art on figurines and statues, such as the original-painted colors covering the soldier and horse statues of the Terracotta Army.

During the social and cultural climate of the ancient Eastern Jin Dynasty (316 - 420 AD) based at Nanjing in the south, painting became one of the official pastimes of Confucian-taught bureaucratic officials and aristocrats.

Painting became a common form of artistic self-expression, and during this period painters at court or amongst elite social circuits were judged and ranked by their peers.

The Art of Chic ester canal’s

Turner's talent was recognized early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterized by a chromatic palette and broadly applied atmospheric washes of paint.
For example, Chic ester canal’s is one the best art making paintings in the world.

Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840).

Turner's major venture into printmaking was the Libber Studio rum (Book of Studies), a set of seventy prints that the artist worked on from 1806 to 1819. The Libber Studio rum was an expression of his intentions for landscape art.

Loosely based on Claude Lorrain's Libber Veritatis (Book of Truth), the plates were meant to be widely disseminated, and categorized the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral.

His printmaking was a major part of his output, and a whole museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglass Montrose-Graeme to house his collection of Turner prints.

Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand, but its susceptibility and vulgarity amid the 'sublime' nature of the world on the other hand.

'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God–a theme that artists and poets were exploring in this period.

The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires.

Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena.

The Techniqes of Impressionist

Prior to the Impressionists, other painters, notably such 17th-century Dutch painters as Jan Steen, had focused on common subjects, but their approaches to composition were traditional.

They arranged their compositions in such a way that the main subject commanded the viewer's attention.

The Impressionists relaxed the boundary between subject and background so that the effect of an Impressionist painting often resembles a snapshot, a part of a larger reality captured as if by chance.

Photography was gaining popularity, and as cameras became more portable, photographs became more candid.

Photography stimulated Impressionists to capture the moment, not only in the fleeting lights of a landscape, but in the day-to-day lives of people.

The rise of the impressionist movement can be seen in part as a reaction by artists to the newly established medium of photography.

In spite of this, photography actually inspired artists to pursue other means of artistic expression, and rather than competing with photography to emulate reality, artists focused on the one thing they could inevitably do better than the photograph – by further developing into an art form its very subjectivity in the conception of the image, the very subjectivity that photography eliminated".

This allowed artists to subjectively describe what they saw with their "tacit imperatives of taste and conscience".

Photography encouraged painters to exploit aspects of the painting medium, like color, which photography then lacked; "the Impressionists were the first to knowingly offer a subjective alternative to the photograph.

Another major influence was Japanese art prints which had originally come into France as wrapping paper for imported goods.

The art of these prints contributed significantly to the "snapshot" angles and unconventional compositions which would become characteristic of the movement.

The White House at Night

The White House at Night shows a house at twilight with a prominent star surrounded by a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which was bright in the evening sky in June 1890 when Van Goth is believed to have painted the picture.

More or less acquainted with Impressionist and Neo-Impressionist techniques and theories, Van Goth went to Aries to develop these new possibilities.
But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect on the purposes of art.

As his work progressed, he painted a great many Self-portraits. Already in 1884 in Niemen he had worked on a series that was to decorate the dining room of a friend in Eindhoven.

Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of information that found its end in The Rollin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the .

Most of his later work is involved with elaborate on or revising its fundamental settings. In the spring of 1889, he painted another, smaller group of orchards.
In an April letter to Theo, he said, "I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.

The art historian Albert was the first to show that Van Gogh—even in seemingly fantastical compositions like Starry Night—based his work in reality.
The paintings from the Saint-Remy period are often characterized by swirls and spirals.

The patterns of luminosity in these images have been shown to conform to Kolmogorov's statistical model of turbulence.

A Claude glass paintings

A Claude glass (or Black Mirror) is a small mirror, slightly convex in shape, with its surface painted in a dark color.

Bound up like a pocket-book or in a transport case, black mirrors were used by artists, travellers and connoisseurs of landscape painting.

Black Mirrors have the effect of abstracting the subject reflected in it from its surroundings, reducing and simplifying the color and tonal range of scenes and scenery to give them a painterly quality.

They were famously used by artists in England in the late 18th and early 19th centuries as a frame for drawing sketches of picturesque landscapes.
The user would turn his back on the scene to observe the framed view through the painted mirror—in a sort of pre-photographic lens—which added the aesthetic of a subtle gradation of tones.
A Thomas west in his A Guide to the Lakes (1778) explained "The person using it ought always to turn his back to the object that he views. It should be suspended by the upper part of the case…holding it a little to the right or the left and the face screened from the sun."

The Claude glass is named for, a 17th-century landscape painter, whose name in the late 18th century became identical with the picturesque visual.

The Claude glass was supposed to help artists produce works of art similar to those of Claude. Reverend, the inventor of the picturesque ideal, advocated the use of a Claude glass saying, "they give the object of nature a soft, mellow shade like the coloring of that Master".

Black Mirrors were widely used by tourists and amateur artists, who quickly became the targets of satire.

The Davis observed their facing away from the object they wished to paint, commenting: "It is very typical of their attitude to Nature that such a position should be desirable".

About Antonello da Messina

In 1442 Alfonso V of Argon became ruler of Naples, bringing with him a collection of Flemish paintings and setting up a Humanist Academy.

The painter Antonella DA Messina seems to have had access to the King's collection, which may have included the works of Jan van Yuck.

He seems to have been exposed to Flemish painting at a date earlier than the Florentine, to have quickly seen the potential of oils as a medium and then painted in nothing else.

He carried the technique north to Venice with him, where it was soon adopted by Giovanni Bellini’s and became the favored medium of the maritime republic where the art of fresco had never been a great success.

Antonella DA Messina painted mostly small meticulous portraits in glowing colors. But one of his most famous works also demonstrates his superior ability at handling linear perspective and light.

This is the small painting of St. Jerome in His Study, in which the composition is framed by a late Gothic arch, through which is viewed an internal, domestic on one side and minister on the other, in the centre of which the saint sits in a wooden corral surrounded by his possessions while his lion prowls in the shadows on the covered floor.

The way that the light streams in through every door and window casting both natural light and reflected light across the architecture and all the objects would have excited Piero Della Francesca.

His work influenced both Gentile Bellini’s, who did a series of paintings of Miracles of Venice for the Scuola di Santa Croce, and his more famous brother, Giovanni, one of the most significant painters of the High Renaissance in Northern

In Style Of Gothic

During the later 14th century, International Gothic was the style that dominated Tuscan painting.

It can be seen to an extent in the work of Puerto and Ambrogio Lorenzetti which is marked by a formalized cuteness and grace in the figures, and Late Gothic flexibility in the draperies.

The style is fully developed in the works of Simone Martini and Gentile da Fabriano which have elegance and a richness of detail, and an idealized quality not compatible with the starker realities of Giotto's paintings.

In the early 15th century, bridging the gap between International Gothic and the Renaissance are the paintings of Fra Angelica, many of which, being altarpieces in tempera, show the Gothic love of amplification, gold leaf and brilliant color.

It is in his frescoes at his convent of Santa Marco that Fra Angelica shows himself the artistic disciple of Giotto.

These devotional paintings, which adorn the cells and corridors inhabited by the friars, represent episodes from the life of Jesus, many of them being scenes of the Crucifixion.

They are starkly simple, restrained in color and intense in mood as the artist sought to make spiritual revelations a visual reality.