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Digital collage inspired by Christine Peloquin for Digitalmania.
background: Studio Manu; some elements: Land of Nods; bella: Vera Farmiga; texture: Kim Klassen.
5x7 watercolor on Fabriano paper
More practice in trying to scrape out rocks. It's hard to catch that just right wetness.....
Here Press — Hugh Coltman, folk concert at “Maison Folie Beaulieu” (Lomme)
Attempt to use the Flickr mosaic interface.
(after live; multiple paper sketches linked in one digital picture)
**Edit: As per comments, Rise of the Red Star, by Brian Despain**
www.lunarboygallery.com/Artists/Despain/Despain.html
Check it out. His stuff if *amazing*
two years after posting this, I'm still getting a couple messages or favorites a week on this. I think this and the bobtail squid get the most hits out of my entire flickr set.
Found this here, which was in turn found on a random LJ image site, on a russian LJ.
[edit] apparently this image in my flickr stream comes up as the top google search for "Random LJ image," which explains it's continual popularity with random people visiting my account :)
Small statue displayed as part of a temporary Art Deco collection at the Hotel Le Negresso, Nice, France
For more on this one, you could have a look at my blog: davewhatt.wordpress.com/2015/03/30/mail-art-postcard-no-4...
Can anyone spot me, I was 19.
1969 Technical/Pictorial Illustation course at the Hull Art College. This superb building is worth checking out, with its great frescoe under the eaves.
This started out as a fractal, but it's been painted on so much that now I'd have to call it the digital version of mixed media.
A previous period in my work was about interactions and collisions. I'm revisiting that as part of a big push to get art made this year.
Stained glass windows: Árkay Aladár (design) and Róth Miksa
Calvinist Church of Fasor
Budapest, VII. District, Városligeti fasor 7.
Built in 1911-1913.
Architect (interior design too): Árkay Aladár
Stained glass window: Róth Miksa
Ironwork and metallic work: Miakits Károly
Woodwork: Kovács Zsigmond
At the end of the 19th century the new Calvinist communities of the rapidly growing Budapest initiated the building of a new church as the centrally situated Kalvin Square assembly became gradually too far to attend for those living outside the Boulevard.
A collection was started in 1903 by the assemblies of Elizabeth Boulevard and Rózsa Street, supported to the highest degree by the generous donation of Adolf Laky and the capital itself.
The Church purchased the plot of land in the Fasor (Avenue) and invited a competition which was won by the plans of Aladár Árkay, the architect of several churches in Budapest and the country.
The church was built between 1911 and 1913 and consecrated by bishop Sándor Baksay.
The building, hidden behind the tall trees of the avenue leading to City Park is a valuable memorial of 20th century Hungarian architecture. It represents requirements of a Hungarian national style merged with English and Finnish architectural effects. The frontispiece of the main façade is joined together by the high riding bell-tower and the smaller stair turret. The front wall-face is covered by ceramic slabs decorated with motives of folk-art made in Zsolnay factory. This is repeated internally, under the organ, on the solid parapet which includes the pulpit. The four vaulted archways framing the interior carry a reinforced concrete structured dome. The visual effect of the space expanded by four choirs exceeds the actual dimensions. The composition of the dark mass of the ground floor pews, the black marble Lord's table and the pulpit is surrounded by tall, light wall surfaces decorated by painted ornaments emphasizing only the architectural elements.
The unique architectural effect of the interior is enhanced by the light streaming through the large stained glass windows, work by the renowned artist Miksa Róth, and the contrast between the silvery organ-pipes and the dark background. The pews and the outer railings are in the Art Nouveau style, the painted decorations, the ceramics and stained glass windows show the marks of folk-art. The central space covered by the dome, the huge bronze chandelier (made by Károly Miakits), the concentrated gilding lends a characteristically eastern atmosphere to the architecture of Aladár Árkay.
The values of joined architectural and attendant arts raise this church to an outstanding monument of Budapest from the early part of the 20th century.
Fasori református templom (1911-13).
Építész - belsőépítész: Árkay Aladár
Üvegablakok: Róth Miksa
Kerámia kivitelezése: Zsolnay-gyár, pirogránit
Lakatos- és fémmunkák: Miákits Károly (bronz csillár, lámpatestek, kapu, kerítés)
Asztalosmunkák: Kovács Zsigmond
A szecesszió épségben megőrzött és legmagasabb szintet képviselő művészeti alkotása a fasori református templom és parókia.
(VII. Városligeti fasor 7.)
Árkay Aladár mindent maga tervezett, a világítótesteket, a padokat, a falburkolat mintáit, a színes üvegablakokat. Így, bár nagyon sok hatás találkozott össze ebben az épületben, azokat egyetlen mestere csodálatosan egyedi egységgé gyúrta össze.
Az utcasarkon álló épület messziről felhívja magára a figyelmet monumentális megjelenésű tornyával. Homlokzata egyetlen falfelület lőrésszerű ablakokkal, a torony bástyaszerű, zömök, mégis magas. A nagy falfelületen a bejárat uralkodik, fölötte sajátos szecessziós-magyaros kerámiadíszes falmező, afölött hatalmas üvegezett félköríves ablak. A délnyugati oldalon egy egyszerűbb, kisebb, hengeres torony áll. Az épületet magas nyeregtető fedi, meredek oromfalakkal lezárva.
A templom alaprajza egyenlő szárú kereszt, közepén magas kupolával. A kereszt száraiban emeletes karzatokat találunk. A szószék középponti helyzetét a tér egész formálása és díszítése hangsúlyozza. A monumentális belső térben hangsúlyos helyeken újra megjelennek a szecesszió növényi díszítőelemei és a kerámialapok az egyébként fehér falfelületek között. Az erősen stilizált, geometrikus elemekre bontott minták őrzik népművészeti gyökereiket. Ugyanez vonatkozik a faragott bútorokra is. Erőteljes tömegük az ácsolt népi bútorok világát idézi, a felszín, a fekete-arany különös pompája a bécsi szecesszió nyomát hordozza.