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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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Jennie Walters was born in 1853, the daughter of William T. and Ellen Walters (née Harper), and the sister of Henry Walters. She was educated in Paris, and at St. Mary's Convent, Georgetown, and later at Harvard University. In Cambridge she met Warren Delano, a close friend of her brother. She became engaged, and they married in 1876. After her marriage she lived in Orange, New Jersey, and, from 1900, in New York City. She had seven children, five of whom lived into adulthood. She died in 1922.
Baker's contemporaries credited his success to his early work as a miniature painter, a craft he learned from his father. Such training helped the younger Baker hone his skills at modeling the human figure, creating delicate color effects, and fostering a sense of intimacy in full-scale oil portraits.
H: 14 5/8 x W: 12 3/8 in. (37.2 x 31.5 cm)
Framed: 22 x 20 x 3 3/4 in. (55.9 x 50.8 x 9.5 cm)
medium: oil on canvas
style: Victorian
Walters Art Museum, by bequest, 1931.
While the attribution remains hotly debated, this work exemplifies how Italian portraiture of the 1500s could articulate family alliances through marriage. The inscription gives the sitters’ ages as 35 and 28, and their elaborate jewelry, weapons, and garments, made of expensive materials, convey their elite status. The marten skin attached to the woman’s waist-its head decorated with gems-symbolized propriety. These expressions of wealth convey achievements and position rather than accurate personalities, and the figures, though lifelike, stand in awkward relationship to each other, their interaction one of alliance not love.
Northern Italy, late 16th century
oil on canvas
Framed: 132 x 173 x 10.5 cm (51 15/16 x 68 1/8 x 4 1/8 in.); Unframed: 99.8 x 140.5 cm (39 5/16 x 55 5/16 in.)
Did you know...
The bejeweled martin (weasel) was a coveted fashion accessory in Renaissance Europe.
Holden Collection
Football Super Bowl XI: Oakland Raiders coach John Madden Gene Upshaw after def. Minnesota Vikings. .Credit: Neil Leifer.SetNumber: X21106
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.
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. (24.5 × 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, gouache details, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately thick, cream wove paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163).
A panel from the "predella," or illustrated base, of an altarpiece dedicated to Saint Francis, this image combines the funeral of the saint (died 1226) with his canonization, or declaration of sainthood, by Pope Gregory IX in 1228. The saint's body lies on a bier surrounded by a mourning crowd. The crowd includes fashionably dressed young men along with the lame and blind, who seek a miraculous cure by touching the saint's dead body. To the right, the seated pope writes the decree of canonization. The careful attention to fashion, vivid colors, and animated expressions are characteristic of the international, courtly trends encountered mostly in Northern Italy.
Painted surface H: 9 3/8 x W: 19 7/16 in. (23.8 x 49.3 cm)
Panel H including strips on both sides 9 15/16 x WL 20 x D: 1 9/16 in. (25.2 x 50.8 x 3.97 cm)
Framed H: 13 3/4 x W: 23 3/4 x D: 2 3/4 in. (34.9 x 60.4 x 6.95 cm)
medium: tempera on wood
style: Gothic
Walters Art Museum, 1931, by bequest.
We all learned that the heart is a pump that sends blood through vessels to nourish the body. That pump needs direction as to when and how fast to work.12.