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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
In addition to 44 published novels, Philip K. Dick (1928-1982) wrote approximately 121 short stories, most of which appeared in science fiction magazines during his lifetime. Although Dick spent most of his career as a writer in near-poverty, eleven popular films based on his works have been produced, including Blade Runner, Total Recall, A Scanner Darkly, Minority Report, Paycheck, Next, Screamers, The Adjustment Bureau and Impostor. In 2005, Time magazine named Ubik one of the hundred greatest English-language novels published since 1923. In 2007, Dick became the first science fiction writer to be included in The Library of America series.
An addition to our #UnfoldTheUniverse social media campaign by Aleksandra Krzemień. These are Christmas ornaments with JWST imagery painted on them.
If you create art inspired by the James Webb Space Telescope, share it with us! For terms and more information, please visit: www.nasa.gov/jwstart
If you create art inspired by what you think Webb will discover, consider our new Unfold the Universe art campaign! go.nasa.gov/unfoldtheuniverse
Image Credit: Aleksandra Krzemień
CN C40-8 #2015, added overnight in front of the widecab Dash 8, sits in the siding in Virginia with a crew online to take it wherever.
The final part to this massive project! Hopefully it will be done by Brickfair. I'm shooting for July.
Any suggestions on a name? This little one was wild ( someone threw out a mama cat with kittens). We've tamed him slowly, now he can't be petted enough.lol
In addition to my Amsterdam project I also wanted to build a windmill. It is loosely based on the windmills at Kinderdijk in the Netherlands and the windmill at Rövershagen in Northern Germany.
The mill has an octagonal shaped base and a roof (also called cap) that rotates. It is built in a modular way. The first two levels are fully furnished. On the ground floor there is a pottery workshop with a kiln, a pottery wheel, shelves for clay, different types of glaze and finished items. On the second floor there is the apartement of the potter.
The shape of the mill was quite challenging and I wanted to quit the build more than once. But I like how it turned out.
Swords Express are busy adding to their fleet, Plaxton/Vovlo 11D56402 is seen on its 507 service to Swords Manor via Mountgorry.
In addition to being one of the most historic cemeteries in the country, Bellefontaine Cemetery in St. Louis, Missouri, is a Level II Accredited Arboretum, and is listed in the Morton Register of Arboreta. Dating back to the mid-1800's, the cemetery features some of the most spectacular mausoleums and memorials built by and for some of the wealthiest and most famous Americans of the time. Beer barons, politicians, business elite . . . anybody who was anybody was buried in this cemetery. The Cemetery is an outdoor museum containing some of the finest sculptures and memorial art in the country.
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer.
The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver
Pangasinan Solid North Transit Inc.- 1658
Bus No: 1658
Year released: 2017
Capacity: 45; 2x2 seating configuration
Route: Cubao/Kamias-San Carlos via Dau/SCTEX-Concepcion/Capas/Tarlac/Sta. Ignacia/Camiling/Bayambang/Malasiqui
Body: Zhengzhou Yutong Bus Co. Ltd.
Model: 2017 Yutong ZK6107HA Series
Chassis: Yutong ZK6107CRA
Engine: Yuchai YC6A240-20 (G52YA/G52MA)
Fare: Airconditioned
Transmission System: M/T
Suspension: Air Suspension
Taken on: July 28, 2017
Location: Mabalacat City Bus Terminal, Brgy Dau, Mabalacat City, Pampanga
My wife and I welcomed the addition of a new baby girl. We are thrilled! My landscape shots might be a little spread out for awhile :)
A recent addition to the fleet, Go-Coach S518 TCF is seen on Oakfield Lane, Leyton Cross whilst working route 429. Easter Monday 21st April 2014.
Dennis Dart SLF 10.7m - Plaxton Pointer 2 (Ex-Tellings-Golden Miller 518, Travel London DP718 & Abellio Surrey 8718)
IMG_14040
here's one from the archives.
I post it for illustrative purposes, in addition to it being a fairly cool shot, even though it's from a sequence that I've already posted a few shots from, and is therefore kind of redundant.
mainly, I like it because it shows, as the title suggests, what a difference a few seconds can make. This image was taken after a few seconds of composing and getting the shot right, versus the other shots in the sequence that were taken right away, to catch the moment, despite the fact that the camera wasn't really set optimally.
here, the photographic quality is substantially better, but the rainbow has faded, almost away. And the foreground has slipped by, producing a more boring foreground and overall picture (I think). and it is really a matter of seconds. I don't know if it's actually five seconds, but certainly no more than 30.
so: this reinforces my own belief that it's more important what you take a picture of than how you take it, or what you take it with. And so: the secret to good photography is not equipment, or technique, but rather what you see, what you find, what you record.
A recent addition to the typographic library is a slight volume of engraved reproductions of alphabets and pages of calligraphy by Hermann Zapf. I once owned a copy of this book, but in a moment of weakness traded it for one of Victor Hammer's books. I'm glad to have another copy; it's such a beautiful book.
New addition to the family.
She's a CG adopted from Liz(_elspeth). Thank you so much Liz for letting me have her. I love her dearly.
Dress is by friend Laura(plastic_fashion). I think she's perfect in it.
I've been saving the name 'Prudence' for a long time. But she looks too sweet to be called Prude(the name sounds very free-spirit to me).
I'm thinking of Billie?!
2009 Chevrolet Tahoe. The newest addition to the Fleet in Lower Mainland Region. We've gone back to the traditional, signature British Columbia Ambulance Service look, and this will be the standard for all Command/staff units from now on.
The only thing that will change will be the lettering on the back quarter...depending on the ultimate destination and function, 'Supervisor' could be replaced with 'District Commander' or 'Regional Duty Officer'.
As it sits now, given the costs and utility, Tahoes (or similar vehicles) will be the standard...no more Uplanders!
Another recent addition to the Trustybus fleet of late, former Stagecoach London 18225 and Tower Transit TAL33202 numbered Transbus Trident/Alexander ALX400 LX04FXP lays over on Hammarskjold Road in Harlow between duties 22/12/15
Haven't been to East Midlands for a while, not for a special trip at least but to test out my new camera (well, camera body) as my old Canon EOS 1100D had accumulated so much dirt and dust on its view-finder that it became pretty much impossible to clean and also time consuming to edit photos. 3 years of the old camera and it's done well but now a new Canon body has emerged plus with a new lens (75mm-300mm EF lens) and let's hope it lasts just as long.
Meanwhile, Thomas Cook in the UK have been acquiring a number of airframes, most notably the Airbus A321 where the airline has now racked up 17 of the type, however the increase of Airbus A321's has saw a large decline in the number of Boeing 757's with just 6 in service. With 5 more Airbus A321's on-order, the demise of the Boeing 757 with Thomas Cook will continue.
Delta Whiskey was acquired by Thomas Cook in December 2014, this being one of 4 Airbus A321's to have been transferred from Thomas Cook Scandinavia from its base in Copenhagen. Delta Whiskey was delivered new to MyTravel in February 2003 as OY-VKB before becoming part of Thomas Cook Scandinavia in May 2008 following MyTravel being acquired by Thomas Cook. She became part of Thomas Cook in the UK in December 2014 helping to oust the Boeing 757-200's. She is powered by 2 CFM International CFM56-5B3/P engines and leased from AVAP.
Airbus A321-211 G-TCDW on final approach into Runway 27 at East Midlands (EMA) on MT5033 from Corfu-Ioannis Kapodistrias (CFU).
Scan of Slide S4807 The White Glove by George Lambert:
LAMBERT, George
Russia 1873 – Australia 1930
Australia 1887-1900; England 1900-01; France 1901-02; England 1902-21; Australia from 1921
The white glove 1921
oil on canvas
106.0 (h) x 78.0 (w) cm
signed and dated 'G.W.LAMBERT/ 1921' lower right
Art Gallery of New South Wales, Sydney, purchased in 1922 Sydney photograph: Jenni Carter for AGNSW
VIEW: Article |
This is a lively bravura portrait of a modern Melbourne woman of fashion, style and elegance. It has an arresting vitality. Her belongings, a luscious blue stole, elegant feathered hat and jewelled ring, are as much the subject of this work as is Miss Collins herself, and contribute to it a sense of opulence. Her flamboyant pose, with her head slightly tilted back and poised to one side, and her arms caught in mid-action, matches her vivacious personality. Her eyes appear to be laughing in accord with her smile and she seems to be deliberately posing or hamming it up for the artist.
The subject, Miss Gladys Neville Collins, was the daughter of J.T. Collins, lawyer, Victorian State Parliamentary draughtsman, and trustee of the Public Library, Museums and National Gallery of Victoria. Lambert appears to have enjoyed painting her portrait and described her to Amy on 10 December 1921 as ‘a dear girl [who] sits for the fun of it and because her Dad thinks I am it’ (ML MSS 97/10, p.393).
Lambert portrayed the individual features of Miss Collins but, with her collaboration, he arranged them to denote a characteristic type. Miss Collins’s tilted head, her half-open mouth, half-closed eyes, and almost-bare right arm suggest an individual sensuality, but they also indicate a form of codified (sexual) behaviour. Lambert's portrait presents a witty version of the pose of Bernini’s Ecstasy of St Teresa 1645–52 (Cornaro Chapel, Santa Maria della Vittoria, Rome), an established expression of the ecstatic experience, and one which was subsequently taken up by photographers, film-makers and advertisers.
What is more, Lambert presented Miss Collins in a variation of the pose used by Joshua Reynolds in his portrait Sarah Siddons as the Tragic Muse 1784, which in 1921 (the year Lambert painted this portrait) the Duke of Westminster had controversially sold to The Huntington Library and Art Collection in California. By associating Miss Collins with this classic image of a leading actress, he hinted that she was playing a role in this portrait. It is also possible that Lambert knew Sargent’s Portrait of Ena Wertheimer: a vele gonfie of 1905 (Tate, London), a lively portrait of Ena wearing as a joke a black feathered hat and billowing cloak, painted essentially in black and white. It is similar to Lambert’s painting in its sense of extravagant posture and light-heartedness. If nothing else, both paintings are a reflection of the spirit of the times.
In this portrait Lambert used a limited range of colours to great effect: a dark Manet black and a Gainsborough blue, with the addition of purple in the jewel on a chain around her neck. Lambert paid close attention to the clothing, capturing an array of textures – the lustrous steel-blue silk of her stole, the fluffy white fur collar, the white leather gloves, the transparent black lace sleeve and the black velvet of the hat wreathed with white ostrich plumes.
Lambert painted the portrait with broad brushstrokes, and spontaneously, as a kind of ‘performance in paint’. When exhibited, it stood out from the prevalent brown tonalist portraiture painted at this time by other Australian artists, such as John Longstaff and W.B. McInnes. (W.B. McInnes’s much more restrained Portrait of Miss Collins was awarded the Archibald Prize for 1924 at the Art Gallery of New South Wales).
Lambert’s tour de force was purchased for 600 guineas by the Art Gallery of New South Wales when it was shown at the New South Wales Society of Artists exhibition in 1922; at that time the highest price paid by a public gallery for a portrait by an Australian artist.
Romance of Alexander (later addition).
Various authors including Lambert le Tort, Alexandre de Bernai (de Paris), and others.
Oxford Bodleian MS Bodl 264 fol-001r detail upper half
The palace of Nectanebus (Nectanebus, the last king of Egypt, according to legend, had fathered Alexander during the absence of Philip of Macedonia.)
Palace [‘the castle of Cairo’] with turrets and a bridge by a river. Top left corner, men tending a walled garden [‘the garden of balm’]; out of its gate come two other men carrying a pole between them on which hangs a basket; they walk towards the drawbridge of the palace; a collared monkey sits in the doorway. Three bearded men look out from the parapet above the gate with Nectanebus in the middle(?).
Source:
www.europeana.eu/portal/ca/record/92093/BibliographicReso...
New addition!! I’ve been having fun with the Canon 20D but when I found a 50D body that was cheap but wouldn’t turn on, figured it was worth a shot.
Hooked up the grip from the 20D that was charged up, still nothing.
Tested another CF card and it came alive!!
Reformatted the one it had, works like new!
Now to eventually find a canon lens 😂
I only have the two lensbaby lenses and the Olympus adapter (only good within so many feet).
Debating on letting the Lensbaby composer go so I can find a prime lens.
#newtome #leapoffaith #itsalive #canon #dslr #canon50d
This is Portland's newest bridge, the Tilikum Crossing, during a recent test for the bridges aesthetic lighting system. 178 LED lights are programmed to change color with the Willamette River's currents, height, and seasonal changes with data received from the USGS. This is a beautiful structure that is sure to become a Portland icon...
In addition to its inherent appeal, this paper decoration on the inside of a lid of a Victorian trunk is interesting for two reasons.
First, the subject's face embodies what I think was the feminine ideal of its era. What would she look like with Ivanka hair?
Secondly, the side-by-side color and black-and-white images emphasize the trade-offs that came with the advent of photography. Yes, we can look back in time and see the people of the last quarter of the 19th century almost as if were in the room with them. It's the next best thing to time travel. Still, the experience comes at a price, namely the loss of all color. That's a pity, because it turns out the past was a very colorful place.
Palmer, Alfred T.,, photographer.
Generator works at the winding of a generator stator in a new addition to TVA's hydroelectric plant at Wilson Dam, Sheffield vicinity, Ala. Located 260 miles above the mouth of the Tennessee River, the dam has an authorized power installation of 288,000 kw., which can be increased to a possible ultimate of 444,000 kw. The reservoir at the dam adds 377,000 acre-feet of water to controlled storage on the Tennessee River system
1942 June
1 transparency : color.
Notes:
Title from FSA or OWI agency caption.
Transfer from U.S. Office of War Information, 1944.
Subjects:
Tennessee Valley Authority
World War, 1939-1945
Dams
Hydroelectric power
Power plants
United States--Alabama--Sheffield
Format: Transparencies--Color
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Collection 12002-36 (DLC) 93845501
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsac.1a35255
Call Number: LC-USW36-350