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[url=http://the-lilypad.com/store/Happiest-Place-Dressed-Up-Digital-Scrapbook-Template.html] Happiest Place {Dressed Up} from Fiddle Dee-Dee-Designs [/url]
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[url=http://the-lilypad.com/store/Digital-Scrapbook-Kit-October-31st.html] October 31st from Kristin Aagard Designs [/url]
the-lilypad.com/store/Digital-Scrapbook-Kit-October-31st....
[url=http://the-lilypad.com/store/Digital-Scrapbook-Elements-October-31st-Silhouettes.html] October 31st Silhouettes from Kristin Aagard Designs [/url]
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Retired Kit - Frightfully Delightful kit from Bella Gypsy Designs
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Thomas Eakins
American, Philadelphia, Pennsylvania 1844–1916 Philadelphia, Pennsylvania
24 x 19 in. (61 x 48.3 cm)
medium: Graphite and ink on cardboard
Metropolitan Museum of Art, New York, NY 42.35 1942
Fletcher Fund, 1942
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s. At the time Bonvin was working several of Chardin's paintings could be found among the new acquisitions at the Louvre Museum. Bonvin might have seen his work there or in reproduction.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 9 5/8 × W: 7 5/16 in. (24.4 × 18.6 cm)
Framed H: 21 1/4 × W: 16 1/4 × D: 1 5/16 in. (53.98 × 41.28 × 3.33 cm)
medium: watercolor with gum heightening, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately-thick, beige wove paper
Walters Art Museum, 1931, by bequest.
[1] possibly one of seven purchased by Lucas in 1864 (see Randall, Diaries of George A. Lucas, vol. 2, p. 172 and p. 174).
christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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Pendant crosses show the inventiveness of Ethiopian metalworkers in embellishing the simple form of the cross with a rich variety of designs. Worn around the neck by the faithful to ward off evil, these small crosses could be made of braided leather, carved wood, or cast metal.
Christian Highland Ethiopian
H: 1 15/16 x W: 1 13/16 x D: 5/16 in. (5 x 4.6 x 0.9 cm)
medium: cast, stamped, and engraved silver alloy
culture: Christian Highland Ethiopian
Walters Art Museum, 1997, by gift.
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Pierre Sala, who likely commissioned the set, is portrayed as the richly attired central figure offering a bouquet, a symbol of knowledge, to Éléonore, his daughter. Éléonore is pregnant, revealed by her upturned skirt and the persimmon in her husband Hector’s hand. Hector’s mother, Marguerite, in dark attire, will wed the widowed Sala in 1519. They appear in front of the royal chateau of Blois. The figures at the right convey Sala’s advice to his children. Time (the old man with the staff) with Clio, the Muse of History, standing on his shoulders, is being attacked by a Herculean youth wielding a stick. With this allegory, Sala is explaining that youth is ignorant of the complexities of life and time. The small unicorn at the far right represents the soul. The verse in Old French at the top refers to changing time: <em>One sees Time adorned with green foliage, Sometimes as pleasant as an angel, Then suddenly change and become quite strange. Never does Time persist in one state.</em>
France, Lyon(?), early 16th century
silk and wool; tapestry weave
Overall: 326.6 x 434.1 cm (128 9/16 x 170 7/8 in.)
Leonard C. Hanna, Jr. Fund
This scene of outdoor, rustic frivolity was probably painted by the Master of the Béguins, a Flemish imitator of the Le Nain brothers who capitalized on their success around the 1650s in Paris. Distinct features of this artist's style are the wide eyes, pudgy cheeks, and white peasant caps—béguins—that give the artist his name. The sturdy and comical peasants, clothed in coarse fabrics with heavy folds, and the use of earthen tones emphasize the provincial mood. During the mid-17th century, the treatment of the poor and lower classes was a subject of great debate in the Catholic Church in Paris, especially at Saint Sulpice, where the Le Nain brothers were buried. Scenes of everyday workers or peasants were incredibly popular, drawing on both comic, Flemish genre scenes of drinking and the French interest in carefully observed, realistic details. Although the picture's meaning remains ambiguous, the gaiety of this world comes from the wonderfully naturalistic details, such as the worn hole on the piper's elbow, the villagers' cheerful expressions, and still-life details such as the ripe apples and reflective drinking vessel.
France, 17th century
oil on canvas
Framed: 111 x 142 x 8 cm (43 11/16 x 55 7/8 x 3 1/8 in.); Unframed: 91.8 x 120.3 cm (36 1/8 x 47 3/8 in.)
Gift of Mrs. Salmon P. Halle in memory of Salmon Portland Halle
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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Ancient Egyptians believed the goddess Taweret, whose name translates as "the Great One," offered protection to women during pregnancy and childbirth. She is represented as a hippopotamus with a swollen belly, pendulous human breasts, the limbs of a lion, and the back and tail of a crocodile. Taweret was a benevolent deity and was commonly depicted on amulets. Underscoring her function as a protector, she holds the hieroglyph "sa," meaning protection, in each hand, (the cartouches on her shoulders were added at a later date, and have so far escaped a definitive reading). Although her cult gained great importance, she had no temples of her own.
Egyptian
H: 20 7/8 x W: 8 7/16 x D: 9 3/4 in. (53 x 21.5 x 24.7 cm)
medium: red granite
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
網誌一覽Background背景stage-design婚嫁場所WEDDING-decoration@christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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Signs that feature unnecessary quotation marks can give the wrong message. Sarcasm asside, have a safe and fun-filled Fourth of July!
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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youtu.be/VNilzfUuWwQ?t=1m49s
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