List some expressions of paint below

Allegory:
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.

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.

About Portrait Paintings

Portrait painting is a variety of painting, where the intent is to depict the visual appearance of the subject. Beside human beings, animals, pets and even inanimate objects can be chosen as the subject for a portrait. In addition to portrait painting, portraits can also be made in other media such as marble, bronze, ivory, wood, ceramic, etching, lithography, and photography, even video and digital media.

The term 'portrait painting' can also explain the actual painted portrait. Portraitists create their work by commission, for public and private persons, or are inspired by admiration or affection for the subject. Portraits are often important state and family records, as well as remembrances. If an artist portrays him- or herself, the result is called a self-portrait.
Portrait painting can depict the subject 'full length', 'half length', 'head and shoulders', or ‘head’, as well as in profile, "three-quarter view", or "full face", with varying directions of light and shadow.

Occasionally, artists have created portraits with multiple views, as with Sir Anthony van Dyck's  Triple Portrait of Charles I. There are even a few portraits where the front of the subject is not visible at all. Andrew Wyeth's Christina's World (1948) is a famous example, where the pose of the crippled girl with her back turned to the viewer integrates with the setting in which she is placed to convey the artist's interpretation.

Among the other possible variables, the subject can be clothed or nude; indoors or out; standing, seated, reclining; even horse-mounted. Portrait paintings can be of individuals, couples, parents and children, families, or collegial groups.

They can be created in various media including oils, watercolor, pen and ink, pencil, charcoal, pastel, and mixed media. Artists may employ a wide-ranging palette of colors, as with Pierre-Auguste Renoir's On the Terrace (1881) or restrict themselves to mostly white or black, as with Gilbert Stuart's Portrait of George Washington (1796).

Brief About Angels

Angels are messengers of God in the Hebrew Bible, the new testimony and the Quran. The term "angel" has also been extended to various notions of spiritual beings found in many other religious traditions.

Other roles of angels include shielding and guiding human beings, and carrying out God's tasks.

The theological reading of angels is known as angelology. In art, angels are frequently depicted with wings, ultimately reflecting with the descriptions in the Hebrew Bible, such as the chayot in Ezekiel's Merkabah vision or the Seraphim of Isaiah.

In the postexilic period, with the development of unambiguous monotheism, these divine beings- the "sons of God" who were members of the heavenly council- were in effect demoted to what are now known as "angels," understood as beings created by God, but everlasting and thus superior to humans.

One of these "sons of God" is "the Satan", an outline depicted in, among other places, the story of Job. The concept of angels is best understand in contrast to demons and is often thought to be influenced by the ancient Persian religious tradition of Zoroastrianism, which viewed the world as a battleground between forces of good and forces of evil, between light and darkness

Greek Panel Paintings

Panel painting is very old; it was a very high-status medium in Greece and Rome, but only very few examples of ancient panel paintings have survived. A series of 6th century BC painted tablets from Pitsa (Greece) represent the oldest surviving Greek panel paintings.

Wood panels, especially if kept with too little humidity, often damage and crack with age, and from the 19th century, when reliable techniques were developed, many have been transferred to canvas or modern board supports.

Wood panel is now rather more useful to art historians than canvas, and in recent decades there has been great progress in extracting this information - and many fakes discovered and mistaken datings corrected. Specialists can identify the tree species used, which varied according to the area where the painting was made. Carbon-dating techniques can give an approximate date-range, and dendrochronology sequences have been developed for the main source areas of wood for panels.

In theory, dendro-chronology gives an exact felling date, but in practice allowances have to be made for a interest period of several years, and a little panel may be from the centre of the tree, with no way of knowing how many rings outside the panel there were. So dendro-chronological conclusions tend to be expressed as a "terminus post quem" or an earliest possible date, with a tentative estimation of an actual date, that may be twenty or more years later.

The supposed called Panel Paintings Initiative is a multi-year project in collaboration between the Getty Conservation Institute, the Getty Foundation, and the J. Paul Getty Museum. The Panel Paintings Initiative is a response to the growing recognition that significant collections of paintings on wood panels may be at risk in coming decades due to the declining numbers of conservators and craftspeople with the highly specialized skills necessary for the conservation of these complex works of art.

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.