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Ziem, the most peripatetic of 19th-century artists, is remembered for his prolific Venetian views produced during a long career spanning almost seven decades. He was born in Beaune, Burgundy, his unusual Polish surname being that adopted by his paternal grandfather, an Armenian. Ziem's family settled in Dijon in 1831 and six years later the future artist entered the town's Ecole des Beaux-Arts, where he distinguished himself in architectural and landscape drawing. In 1842, Ziem embarked on his first extensive tour, traveling to Italy, where he visited Venice before continuing to Austria and Germany. His travels continued at an unabated pace for the remainder of his career. Stopping points included Moscow, Kiev, St. Petersburg, Holland, Turkey, Egypt, and Algeria. He preceded the Impressionists with his work in situ, contriving a floating studio in Venice and employing a caravan in the Fontainebleau Forest.
This painting, characteristic of many of Ziem's Venetian views looks toward the Grand Canal from the Canale di San Marco. In the foreground are two boats, one small rowboat and a larger sailboat, while the city is visible in the background. The scene is suffused with a warm, golden sunlight.
H: 10 5/8 x W: 15 1/2 in. (27 x 39.4 cm)
medium: oil on panel
Walters Art Museum, 1972, by bequest.
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Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
Saint Catherine was among the most popular virgin martyrs during this period and was particularly venerated in Dürer’s hometown of Nuremberg for her intermediary role between the faithful and God. A princess from Alexandria, Catherine was condemned to die on spiked wheels by the Roman emperor Maxentius because of her Christian faith. In answer to her prayers, God destroyed the wheels with such force that 4,000 pagans were killed. Afterward, Catherine was willingly decapitated. Dürer’s focus on Catherine’s peaceful acceptance in the midst of destruction conveys the power she derived from her chastity and unwavering faith, providing an excellent example for ordinary women to follow.
Germany, late 15th-early 16th Century
woodcut
Gift of The Print Club of Cleveland
The electrical signal produced by the sinus node makes your heart’s top chambers or atria contract and push blood through to the lower chambers or ventricles.
The composition of this icon is known as Anastasis, or the Harrowing of Hell, and it is the traditional iconographic representation of the Resurrection. Christ, standing on Hell's broken gates, pulls Adam and Eve out from their tombs, with crowds of Old Testament kings and other biblical figures behind them. The crowned figure on Christ's left is Zachariah, holding a scroll that reads, "Blessed is..." Christ appears again at the bottom of the frame, leading a group of souls out of Hell as angels beat down hapless demons. The icon is painted in the style of the 16th or 17th century, and a spurious "Andrei Rublev" signature (likely added later) tries to pass it off as even older.
The gilt metal frame is studded with painted enamels whose European style clashes somewhat with the dimensionless, traditional style of the icon. At the corners are the four evangelists, each with the apocalyptical beast with which he is associated. The other enamels show the Carrying of the Cross, the Annunciation, the severed head of John the Baptist, and the Holy Family with a toddler John the Baptist. Strings of river pearls and large mother-of-pearl "stones" also decorate the frame or "oklad." Such a real pearl border was recalled in later enamel "oklads" by means of white enamel dots.
Orthodox
H: 15 5/8 x W: 12 7/8 in. (39.7 x 32.7 cm)
medium: tempera on wood, metal gilt, painted enamel on copper, river pearls, mother-of-pearl
culture: Orthodox
dynasty: House of Romanov
Walters Art Museum, 1931, by bequest.
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