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. 

Grand Secretary and the ministries of six

Government institutions in China were consistent with a similar pattern of about two thousand years, but each dynasty set up special offices and offices, reflecting their own interests. The Ming government had the Grand Secretaries to assist the emperor with the documentation to them and finally reign underYongle appointed officials of agencies and Grand Preceptor, a senior, non-functional as a public official under Emperor.

The Secretariat drew his Great Hanlin Academy members, and is considered part of the imperial authority, not ministerial. The Secretariat is a coordinating body, while the six ministries, which were personal income, Rites, War, Justice, and Public Works, were direct state administrative organs.

The Ministry of Personnel is responsible for appointments, merit ratings, promotions and demotions of officials, and the granting of honorary degrees. The Ministry of Finance was in charge of collecting census data, tax collection and management of state revenues, while there are two exchange bureaux that were subordinate to him.

The Ministry of Rites was in charge of state ceremonies, rituals and sacrifices, but also oversaw the records for the Buddhist and Taoist priests and to the reception of ambassadors from tributary states.

The War Office was in charge of appointments, promotions, demotions and military officers, the maintenance of military facilities, equipment and weapons as well as the courier system. The Ministry of Justice was in charge of the processes judicial and penal, but had no supervisory function over the Censorate or the Grand Court of Revision.

The Ministry of Development was in charge of government construction projects, hiring artisans and workers of temporary services, government equipment manufacture, maintenance of roads and canals, the standardization of weights and measures, and recruitment resource field. 

The Merchant Of Venice

In the 14th century, the city of Venice in Italy was one of the richest in all over the world. Among the wealthiest of its merchants was Antonio. He was a kind and generous person. Bassanio, a young Venetian, of noble rank but having squandered his estate, wishes to travel to Belmont to woo the beautiful and wealthy heiress Portia. He approaches his friend Antonio, who has previously and frequently bailed him out, for three thousand ducats needed to subsidies his travelling expenditures as a suitor for three months.

Antonio agrees, but he is cash-poor; his ships and merchandise are busy at sea. He promises to cover a bond if Bassanio can find a lender, so Bassanio turns to the Jewish moneylender Shylock and names Antonio as the loan’s guarantor.

Shylock hates Antonio because of his anti-Semitism, shown when he insulted and spat on Shylock for being a Jew. Additionally, Antonio undermines Shylock's money lending business by lending money at zero interest. Shylock proposes a condition for the loan: if Antonio is unable to repay it at the specified date, he may take a pound of Antonio's flesh. Bassanio does not want Antonio to accept such a risky condition; Antonio is surprised by what he sees as the moneylender's generosity, and he signs the contract. With money at hand, Bassanio leaves for Belmont with his friend Gratian, who has asked to accompany him. Gratiano is a likeable young man, but is often flippant, overly talkative, and tactless. Bassanio warns his companion to exercise self-control, and the two leave for Belmont and Portia.

Meanwhile in Belmont, Portia is awash with suitors. Her father has left a will stipulating each of her suitors must choose correctly from one of three caskets – one each of gold, silver, and lead. If he chooses the right casket, he gets Portia; if he loses, he must go away and never trouble her or any other woman again with a proposal of marriage.

About Jan Kobell

History:

Jan Kobell was a Dutch animal and landscape painter.

Biography:

He was a pupil of Willem Rutgaart van der Wall at Utrecht. He studied thoroughly from nature, and took Paul Potter for his model, acquiring his talent for animal as well as landscape work. In 1812 he went to Paris, where he won the gold medal and high praise from art critics. His popularity increased rapidly until his early death. Of his cattle pieces, noted for their technique and accuracy of drawing, there are excellent specimens in the museums of Amsterdam and Rotterdam.

Family:

Jan Kobell was the son of Hendrik Kobell. He is often called Jan Kobell II to distinguish him from his uncle, or Jan Kobell the elder to distinguish him from his cousin. The Uncle Jan Kobell engraved anatomical plates, and his only well-known work was a series of historical portraits (1787). The cousin Jan Kobell was a landscape and cattle painter. He was the son of Jan the engraver uncle. He attended Rotterdam Academy, and painted his principal work, a life-size cattle piece, in 1830. Anna (1795-1847), sister of Jan the younger, was also a noted artist.

Landscap's English Art

In the popular imagination English landscape painting from the 18th century onwards typifies English art, inspired largely from the love of the pastoral and mirroring as it does the development of larger country houses set in a pastoral rural landscape. It was developed initially by Dutch and Flemish artists, from the late 17th century onwards.

As the population of England grew during the industrial revolution, a concern for privacy and smaller gardens becomes more notable in English art. There was also a new found appreciation of the open landscapes of romantic wilderness, and a concern for the ancient folk arts. 

William Morris is particularly associated with this latter trend, as were the Pre-Raphaelite Brotherhood. Another important influence, from about 1890 until 1926, was the growing knowledge about the visual art of Japan.

Being a coastal and sea-faring island nation, English art has often portrayed the coast and the sea. Being a nation of four distinct seasons, and changeable weather, weather effects have often been portrayed in English art. Weather and light effects on the English landscape have been a pre-eminent aspect of modern British landscape photography.

The Turtle Dove Small

Sophie Gengembre Anderson (1823 – 10 March 1903) was a French-born British artist who specialized in genre painting of children and women, typically in rural settings. Her work is loosely associated with the Pre-Raphaelite movement.

Sophie was born in Paris, the daughter of Charles Gengembre, an architect, and his English wife. She had two brothers, Philip and Henry P. She was largely self-taught in art, but briefly studied portraiture with Charles de Steuben in Paris in 1843. The family left France for the United States to escape the 1848 revolution, first settling in Cincinnati, Ohio, then Manchester, Pennsylvania, where she met and married British genre artist Walter Anderson.

In the USA, Anderson initially worked in portraiture, including work for the chromolithographers Louis Prang & Co. In 1854 the Andersons moved to London, where Sophie exhibited her works at the Royal Academy. They returned to New York in 1858, and then settled in London again around 1863. In 1871, they moved to the island of Capri for health reasons, but Sophie continued to send her work back to London for exhibitions. They returned permanently to England in 1894, settling in Falmouth, Cornwall.

Anderson's work was widely exhibited at venues including the Royal Academy, the Royal Society of British Artists (RBA), the British Institution, Grosvenor Gallery (1878-87) and many regional galleries in England. She also exhibited in the USA at the Pittsburgh Artists Association and the National Academy of Design, New York. Her early works showed strong attention to botanical and other detail, in common with the Pre-Raphaelites.

She died at home in Falmouth, Cornwall in 1903. Her husband Walter died in the same year. Her brother Henry P. Gengembre (b. 1825) was also an artist, active in Cincinnati in the early 1850s.

Mr and Mrs Andrews

Mr and Mrs Andrews (1750) is an oil painting by British artist Thomas Gainsborough. The artist was in his early twenties when he painted this canvas, which combines the two genres in which he specialized – portraiture and landscape. By his own account, he preferred the latter. The twenty-two-year-old Robert Andrews married sixteen-year-old Frances Carter in November 1748 and Gainsborough made this portrait of them shortly after the wedding. The couple is shown in front of a stout oak tree – the husband standing and the wife sitting. A real, sprawling landscape stretches out behind them: everything here is unmistakably English.
It was purchased in 1960 by the National Gallery, London, with contributions from the Pilgrim Trust, The Art Fund, Associated Television Ltd, and Mr. and Mrs. W. W. Spooner. It is an oil painting, on canvas, and measures 69.8 by 119.4 cm

Scene:

Robert Andrews cradles his shotgun under his arm as his dog looks up at him. He stands proudly in the middle of his huge estate, which had just become even more extensive thanks to his marriage. His outlook is aloof yet businesslike. Frances Carter is sitting on a wooden Rococo bench. Her satin dress shows Gainsborough at his best, while it also reveals strong Rococo elements. The extent of Van Duck’s continued influence on English portraiture can be seen through the capturing of fabrics in paint. The play of light, movement and the choice of the other colors make the light blue of the informal hunting dress spring to life. Her pose might have been lifted straight from a book of etiquette. Both sitters gaze coolly at the spectator. The oak tree in front of which they stand has several connotations beyond the choice of location: stability and continuity, and a sense of successive generations taking over the family business. The landed gentry had even been contemporaneously compared to the oak, holding Britain together.

An area in the woman’s lap has been left unfinished for an unknown reason. Maybe it was reserved for a child’s portrait, or for a book, or even a dead game-bird. Our eyes are drawn from a fertile field with recently harvested golden sheaves of corn to meadows of grazing sheep, a stand of trees and the hills in the distance. These suggest that the work for the painting was done in late summer, 1749. The fertility on view within the field, and the young tree growing between two others can both be considered a reflection on the newly-married couple in the foreground.

The clouds touch the land at the horizon. The enclosure of the sheep was a recent development – livestock had previously wandered about freely and the neat parallel rows of corn produced by Jethro Tull's revolutionary and controversial seed drill show that this is a thoroughly modern and efficient farm. Andrew’s estate, Auberies, is sited in Bulmer Tye, North Essex, and just a few miles across the county border from Gainsborough’s native county of Suffolk. The small tower in the left background of the piece is St. Peters Church in Sudbury. The church in the middle of the piece is that of All Saints, Little Cornard, very close to Gainsborough's hometown of Sudbury. The oak tree is still extant, though considerably larger.

Sunflowers Oil Painting

Sunflowers are the subject of two series of still life paintings by the Dutch painter Vincent van Gogh. The earlier series executed in Paris in 1887 gives the flowers lying on the ground, while the second set executed a year later in Arles shows bouquets of sunflowers in a vase. In the artist's mind both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions.

About eight months later Van Gogh hoped to welcome and to impress Gauguin again with Sunflowers, now part of the painted decoration he prepared for the guestroom of his Yellow House where Gauguin was supposed to stay in Arles.

After Gauguin's departure, Van Gogh imagined the two major versions as wings of the Berceuse Triptych, and finally he included them in his exhibit at Les XX in Bruxelles.

As Van Gogh anticipated in 1889,the Sunflowers finally became his, and served — combined with self-portraits — as his artistically arms and alter ego up to the present day: no retrospective Van Gogh exhibition since 1901 voluntarily missed including them, and a wealth of forgeries as well as record-setting price paid at auction acknowledges their public success: Perhaps, because Van Gogh's Sunflowers are more than his or him — they may be considered, as Gauguin put it, the flower.

Bodegon Oil Painting

The term bodega in Spanish can mean "pantry", "tavern", or "wine cellar". The derived term bodegon is an augmentative that refers to a large bodega, usually in a derogatory fashion. In Spanish art, a bodegon is a still life painting depicting pantry items, such as victuals, game, and drink, often arranged on a simple stone slab, and also a painting with one or more figures, but significant still life elements, typically set in a kitchen or tavern.

Starting in the Baroque period, such paintings became popular in Spain in the second quarter of the 17th century. The tradition of still life painting appears to have started and was far more popular in the contemporary Low Countries, today Belgium and Netherlands (then Flemish and Dutch artists), than it ever was in southern Europe. Northern still life’s had many sub-genre's; the breakfast piece was augmented by the trompe-l'œil, the flower bouquet, and the vanities.

In Spain there were much fewer patrons for this sort of thing, but a type of breakfast piece did become popular, featuring a few objects of food and tableware lay on a table. Though now considered a Spanish invention, the classic trompe-l'œil presentation of fruit on a stone slab was common in ancient Rome.

Still life painting in Baroque Spain was often austere; it differed from the Flemish Baroque still life’s, which often contain both rich banquets surrounded by ornate and luxurious items with fabric or glass. In bodegon, the game is often plain dead animals still waiting to be skinned.

The fruits and vegetables are uncooked. The backgrounds are bleak or plain wood geometric blocks, often creating a surrealist air. Both Netherlands and Spanish still lives often had a moral vanities element. Their austerity, akin to the bleakness of some of the Spanish plateaus, never copies the sensual pleasures, plenitude, and luxury of many Northern European still life paintings.

The Velazquez paintings The Water seller of Seville, Old woman frying eggs, and The lunch are often described as bodegon due to the artist's depiction of jars and foodstuff. Some people reject this use of the term, calling them instead a mixture of genre painting in Bamboccianti style and still life.

Claude Monet Port Goulphar

Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting Impression, Sunrise.

At the beginning of May 1883, Monet and his large family rented a house and 2 acres (8,100 m2) from a local landowner. The house was situated near the main road between the towns of Vernon and Gasny at Giverny. There was a barn that doubled as a painting studio, orchards and a small garden. The house was close enough to the local schools for the children to attend and the surrounding landscape offered many suitable motifs for Monet's work. 

The family worked and built up the gardens and Monet's fortunes began to change for the better as his dealer Paul Durand-Ruel had increasing success in selling his paintings.

By November 1890, Monet was prosperous enough to buy the house, the surrounding buildings and the land for his gardens. During the 1890s, Monet built a greenhouse and a second studio, a spacious building well lit with skylights. Beginning in the 1880s and 1890s through the end of his life in 1926, Monet worked on "series" paintings, in which a subject was depicted in varying light and weather conditions. 

His first series exhibited as such was of Haystacks, painted from different points of view and at different times of the day. Fifteen of the paintings were exhibited at the Galerie Durand-Ruel in 1891. He later produced several series of paintings including: Rouen Cathedral, Poplars, the Parliament, Mornings on the Seine, and the Water Lilies that were painted on his property at Giverny.

Prominent Persian miniaturists

The workshop tradition and division of labor within both an individual miniature and a book, as described above, complicates the attribution of paintings. Some are inscribed with the name of the artist, sometimes as part of the picture itself, for example as if painted on tiles in a building, but more often as a note added on the page or elsewhere; where and when being often uncertain.

Because of the nature of the works, literary and historical references to artists, even if they are relied upon, usually do not enable specific paintings to be identified, though there are exceptions.

The reputation of Kamal ud-Din Behzad Herawi, or Behzad, the leading miniaturist of the late Timurid era, and founder of the Safavid school, remained supreme in the Persianate world, and at least some of his work, and style, can be identified with a degree of confidence, despite a good deal of continuing educated debate.

Sultan Mohammed, Mir Sayyid Ali, and Aqa Mirak, were leading painters of the next generation, the Safavid culmination of the classic style, whose attributed works are found together in several manuscripts. Abd al-Samad was one of the most successful Persian painters recruited by the Mughal Emperors to work in India.

In the next generation, Reza Abbasi worked in the Late Safavid period producing mostly album miniatures, and his style was continued by many later painters.

Tomb of Itimad ud Daula

The emperor Akbar (1556–1605) built largely, and the style developed robustly during his reign. As in the Gujarat and other styles, there is a combination of Muslim and Hindu features in his works. Akbar constructed the royal city of Fatehpur Sikri, located 26 miles (42 km) west of Agra, in the late 16th century.

The various structures at Fatehpur Sikri best illustrate the style of his works, and the great mosque there is scarcely matched in elegance and architectural effect; the south gateway which is known as Boland Darwaza, from its size and structure excels any similar entrance in India.

The Mughals built impressive tombs, which include the fine tomb of Akbar's father Humayun, and Akbar's tomb at Sikandra, near Agra, which is a unique structure of the kind and of great merit.

Under Jahangir (1605–1627) the Hindu features vanished from the style; his great mosque at Lahore is in the Persian style, covered with enamelled tiles. 

At Agra, the tomb of Itmad-ud-Daula completed in 1628, built entirely of white marble and covered wholly by pietra dura mosaic, is one of the most splendid examples of that class of ornamentation anywhere to be found. Jahangir also built the Shalimar Gardens and its accompanying pavilions on the shore of Dal Lake in Kashmir. He also built a monument to his pet deer, Hiran Minar in Sheikhupura, Pakistan and due to his great love for his wife, after his death she went on to build his mausoleum in Lahore.

Mughal Emperor Aurangzeb

In the time of Shah Jahan, the Deccan had been controlled by three Muslim kingdoms: Ahmednagar (Nizams), Bijapur (Adilshahi) and Golconda (Qutbshahi). Following a series of battles, Ahmednagar was effectively separated, with large portions of the kingdom ceded to the Mughal and the balance to Bijapur. One of Ahmednagar's generals, a Hindu Maratha named Shahaji, joined the Bijapur court. Shahaji sent his wife Jijabai and young son Shivaji in Pune to look after his Jaggier.

In 1657, while Aurangzeb attacked Golconda and Bijapur, Shivaji, using guerrilla tactics, took control of three Adilshahi forts formerly controlled by his father. With these victories, Shivaji assumed de facto leadership of many independent Maratha clans. The Marathas harried the flanks of the warring Adilshahi and Mughals, gaining weapons, forts, and territories. Shivaji small and ill-equipped army survived an all out Adilshahi attack, and Shivaji personally killed the Adilshahi general, Afzal Khan. With this event, the Marathas transformed into a powerful military force, capturing more and more Adilshahi and Mughal territories.

Just before Shivaji Raje's his coronation in 1659, Aurangzeb sent his trusted general and maternal uncle Shaista Khan the Mughal Viceroy to the Deccan to recover lost forts occupied by the Maratha rebels. Shaista Khan drove into Maratha territory and took up residence in Pune. In a daring raid, Shivaji attacked the governor's residence in Pune during a midnight wedding celebration. The Marathas killed Shaista Khan's son, even hacking off most of Shaista Khan's hand. Shaista Khan however barely survived and was re-appointed as the administrator of Bengal and was a key commander in the war against the Ahoms.

Aurangzeb ignored the rise of the Marathas for the next few years as he was occupied with other religious and political matters including the rise of Sikhism. Shivaji captured forts belonging to both Mughals and Bijapur. 

At last Aurangzeb sent his powerful general Raja Jai Singh of Amber, a Hindu Rajput, to attack the Marathas. Jai Singh won fort of Purandar after fierce battle in which the Maratha commander Murarbaji fell. Foreseeing defeat, Shivaji agreed for a truce and meeting Aurangjeb at Delhi. Jai Singh also promised the Maratha hero his safety, placing him under the care of his own son, the future Raja Ram Singh I. 

However, circumstances at the Mughal court were beyond the control of the Raja, and when Shivaji and his son Sambhaji went to Agra to meet Aurangzeb, they were placed under house arrest, from which they managed to effect a daring escape.

Akbar Religious Policy

Jalaluddin Muhammad Akbar, also known as Shahanshah Akbar-e-Azam or Akbar the Great (15 October 1542 – 27 October 1605, was the third Mughal Emperor. He was of Timurid descent; the son of Humayun, and the grandson of Babur, the ruler who founded the Mughal dynasty in India. At the end of his control in 1605 the Mughal Empire enclosed most of the northern and central India and was one of the most powerful empires of its age.

Akbar, as well as his mother and other members of his family, are believed to have been Sunni Hanafi Muslims. His early days were spent in the backdrop of an atmosphere in which liberal sentiments were encouraged and spiritual narrow-mindednness was frowned upon. From the 15th century, a number of rulers in various parts of the country adopted a more liberal policy of religious tolerance, attempting to further communal harmony between Hindus and Muslims.

 These sentiments were further encouraged by the teachings of popular saints like Guru Nanak, Kabir and Chaitanya, the verses of the Persian poet Hafez which advocated human sympathy and a liberal outlook, as well as the Timurid ethos of religious broadmindedness that persisted in the polity right from the times of Timur to Humayun, and influenced Akbar's policy of tolerance in matters of religion.

One of Akbar's first actions after gaining actual control of the administration was the elimination of jizya, a tax which all non-Muslims were required to pay, in 1562. The tax was reinstated in 1575, a move which has been viewed as being representative of vigorous Islamic policy, but was again repealed in 1580.

Akbar adopted the Sulh-e-Kul concept of Sufism as official policy, integrated many Hindus into high positions in the administration, and unconcerned restrictions on non-Muslims, thereby bringing about a composite and diverse character to the nobility. As a mark of his respect for all religions, he ordered the observance of all religious festivals of different communities in the imperial court.

The Iranian Paintings

There are nearly numerous numbers of traditional teahouses throughout Iran, and each region features its own unique cultural presentation of this ancient tradition. However, there are certain character which is common to all teahouses, especially the most visible aspects, strong chai (tea) and the ever-present ghalyan hookah.

Almost all teahouses serve baqleh, steam boiled fava beans (in the pod), served with salt and vinegar, as well as a variety of desserts and pastries. Many teahouses also serve full meals, typically a variety of kebabs as well as regional specialties.

Throughout the history of Persia, both men and women used make-up, wore jewellery and colored their body parts. Moreover, their garments were both detailed and colorful. Rather than being marked by gender, clothing styles were distinguished by class and status.

Women in modern Iran (post 1935 "Persia") are of various mixes and appearances, both in fashion and social norm. Traditionally however, the "Persian woman" had a pre-defined appearance set by social norms that were the standard for all women in society.

The Persian ladies' hair is very luxuriant and never cut. It is nearly always dyed red, or with indigo to a blue-black tinge. It is naturally a glossy black. Fair hair is not esteemed. Blue eyes are not uncommon, but brown ones are the rule.

A full moon face is much admired, and a dark complexion is the native idea of the highest beauty. The eyebrows are widened and painted until they appear to meet, and color is used freely in painting the faces.

The Scrovegni Chapel

Giotto's most famous works are the mural paintings in the Scrovegni Chapel in Padua. These were painted sometime between 1303 and 1310. The Scrovegni Chapel is frequently called the Arena Chapel because it is on the site of a Roman arena.

Giotto was "commissioned “by a rich Padua man called Enrico degli Scrovegni. Enrico built the chapel and had it painted as a place to pray for the soul of his dead father. It was next to a very old palace that Enrico ws restoring to live in. The palace has gone now, but the chapel is still standing. The outside of the building is very plain, pinkish-red bricks.

The inside of the chapel is also very simple. It is long, with a chancel at one end where a priest can say the mass, an arched roof and windows down one side. The walls have been painted with three tiers of pictures. The "theme" in the pictures is God's Salvation of people through Jesus Christ.

In the usual way for churches of that date, the wall above the main door has a huge painting of the Last Judgement. At the other end of the building, on either side of the chancel archway is paintings of the Annunciation. One side shows the Virgin Mary and the other side show the Angel Gabriel who is bringing her the message that she will have a son, Jesus.

Around the walls, early at the top layer, are scenes which tell the life of the Virgin Mary. Under them, in two layers, are the stories of the life of Jesus. There are 37 scenes altogether.

A Children’s Puppet Show

Puppetry is an extremely ancient art form, thought to have originated about 30,000 years ago. Puppets have been used since the earliest times to animate and communicate the ideas and needs of human societies. Some historians maintain that they pre-date actors in theatre. There is evidence that they were used in Egypt as early as 2000 BC when string-operated figures of wood were manipulated to perform the action of kneading bread. Wire controlled, articulated puppets made of clay and ivory have also been found in Egyptian tombs.

Hieroglyphs also describe "walking statues" being used in Ancient Egyptian spiritual dramas.
The oldest written record of puppetry can be found in the written records of Xenophon dating from around 422 BC.

Evidence of earliest puppetry comes from the excavations at the Indus Valley Civilization. Archaeologists have unearthed terracotta dolls with removable heads capable of manipulation by a string dating to 2500 BC. Other excavations include terracotta animals which could be manipulated up and down a stick, achieving minimum animation in both cases.

The epic Mahabharata, Tamil literature from the Sangam Era, and various literary works dating from the late centuries BC to the early centuries of the Common Era, including Ashokan edicts, describe puppets. Works like the Natya Shastra and the Kamasutra elaborate on puppetry in some detail.

 The Javanese Wayang Theater was prejudiced by Indian traditions. Europeans developed puppetry as a result of extensive contact with the Eastern World. Some scholars trace the origin of puppets to India 4000 years ago, where the main character in Sanskrit plays was known as "Sutradhara", "the holder of strings". China has a history of puppetry dating back 2000 years, originally in "pi-ying xi", the "theatre of the lantern shadows", or, as it is more commonly known today, Chinese shadow theatre. By the Song Dynasty (960-1279 AD), puppets played to all social classes including the courts, yet puppeteers, as in Europe, were considered to be from a lower social stratum.

In Taiwan, budaixi puppet shows, somewhat similar to the Japanese Bunraku, occur with puppeteers working in the background or underground. Some very knowledgeable puppeteers can manipulate their puppets to perform various stunts, for example, somersaults in the air.
   

The Morning walk

During Sergeant’s long career, he painted more than 2,000 watercolors, wandering from the English countryside to Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.

Each destination obtainable pictorial stimulation and treasure. Even at his leisure time, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night.

His hundreds of watercolors of Venice are especially remarkable, many done from the perspective of a gondola. His colors were sometimes extremely stunning and as one reviewer noted, everything is given with the intensity of a dream.

In the Middle East and North Africa Sergeant painted Bedouins, goatherds, and fisherman. In the last decade of his life, he produced many watercolors in Maine, Florida, and in the American West, of fauna, flora, and native peoples.

With his watercolors, Sergeant was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes.

And it is in some of his late works where one senses Sergeant painting most only for himself. His watercolors were executed with a joyful fluidness. He also painted extensively family, friends, gardens, and fountains.

In watercolors, he playfully portrayed his friends and family dressed in Orient list costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions.

His first major solo exhibit of watercolor works was at the Car fax Gallery in London in 1905.[68] In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the Brooklyn Museum. Evan Charters wrote in 1927.

Almina Wertheimer's exotic beauty

John Singer Sargent was an American painter, and a leading portrait painter of his era. During his career, he created nearly 900 oil paintings and more than 2,000 watercolors, as well as numerous sketches and charcoal drawings. His work documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.

Sargent painted a sequence of three portraits of Robert Louis Stevenson. The second, Portrait of Robert Louis Stevenson and his Wife (1885), was one of his best known.

Asher Wertheimer, a prosperous Jewish art dealer living in London, commissioned from Sargent a series of a dozen portraits of his family, the artist's biggest commission from a single patron. The paintings reveal a pleasant familiarity between the artist and his subjects. In 1888, Sargent released his portrait of Alice Vanderbilt Sheppard, great-granddaughter of Cornelius Vanderbilt.

By 1900, Sargent was at the height of his fame. Cartoonist Max Beerbohm completed one of his seventeen caricatures of Sargent, making well-known to the public the artist's paunchy physical type. Though only in his forties, Sargent began to travel more and to devote relatively less time to portrait painting.

His An Interior in Venice (1900), a portrait of four members of the Curtis family in their elegant palatial home, Palazzo Barbara, was a resonant success. But, Whistler did not approve of the looseness of Sergeant’s brushwork, which he summed up as "smudge everywhere."

One of Sergeant’s last major portraits in his bravura style was that of Lord Ribblesdale, in 1902, finely attired in an elegant hunting uniform. Between 1900 and 1907, Sargent continued his high productivity, which integrated, in addition to dozens of oil portraits, hundreds of portrait drawings at about $400 each.

Homer Harper's Weekly Paintings

Winslow Homer (February 24, 1836 – September 29, 1910) was an American landscape painter and print maker, best known for his oceanic subjects. He is considered one of the foremost painters in 19th century America and a most excellent figure in American art.

Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long appearance of New England. His mother was a gifted unpaid watercolorists and Homer’s first teacher, and she and her son had a close relationship throughout their lives. Homer took on many of her character, including her quiet, strong-willed, terse, sociable nature; her dry sense of humor; and her artistic talent. Homer had a happy childhood, growing up mostly in the rural Cambridge, Massachusetts. He was an average student, but his art talent was on display early.

 

After Homer’s high school graduation, his father saw an ad in the newspaper and arranged for an apprenticeship. Homer’s apprenticeship to a Boston commercial lithographer at the age of 19 was a formative but “treadmill experience”. He worked repeatedly on sheet music covers and other commercial work for two years. By 1857, his self-employed career was underway after he turned down an offer to join the staff of Harper's Weekly. “From the time I took my nose off that lithographic stone”, Homer later stated, “I have had no master, and never shall have any.”

Homer’s career as an illustrator lasted nearly twenty years. He contributed to magazines such as Ballou's Pictorial and Harper's Weekly, at a time when the market for illustrations was growing rapidly, and when fads and fashions were changing quickly. His early works, mostly commercial engravings of urban and country social scenes, are characterized by clean outlines, simplified forms, and dramatic contrast of light and dark, and lively shape groupings— qualities that remained important throughout his career.

His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving.