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I personalized my son's art display area by using vinyl as a stencil to paint his name on some ribbon. I also used white vinyl on the black wooden knobs to dress them up. Everything cut with my Silhouette SD.
Tutorial on my blog:
mmscrapshoppe.blogspot.com/2011/07/personalized-childs-ar...
Dale Chihuly has been influential within the Studio Glass movement. He continues to revolutionize the art of handblown glass. Working in a generally free-form and unorthodox manner, the results of his approach elicit widespread admiration from the full spectrum of viewers, with one art historian calling his work "liquid light."
Chihuly's work is included in more than 200 museum collections worldwide including the Metropolitan Museum of Art, and the Smithsonian American Art Museum. Among the many museums in which his work has been exhibited are the Louvre's Musée des Arts Décoratifs and the Victoria & Albert Museum, London. Some of the great botanical gardens have recently exhibited his work, such as the Royal Botanic Gardens at Kew, and the New York Botanical garden. His corporate installations include the famous ceiling sculpture at the Bellagio in Las Vegas.
Born in 1941 and raised in Tacoma, Washington, Chihuly studied interior design and architecture at the University of Washington in Seattle, earning his BA in 1965. In that same year, Chihuly blew his first glass bubble. He attended graduate school on scholarship at the University of Wisconsin, Madison where he studied glass under Harvey Littleton. That same year Chihuly received a Fulbright scholarship to study at the Venini glass factory in Venice. The following year Chihuly became part of the faculty of RISD and established a glass program there. In 1971, he cofounded the Pilchuck Glass School near Stanwood, Washington.
Through the 1970s Chihuly divided his time between RISD and Pilchuck and developed his team model of blowing glass that he had learned from Venini. During those years Chihuly also developed a core philosophy. "I am less concerned with being narrative or figurative. I am involved in the glass and the light that passes through it - the phenomenon of light being transmitted through colored glass."
Over the years Chihuly created a wide vocabulary of blown forms. Earlier series from the late 1970s through the 1990s, such as Baskets, Seaforms, Ikebana, Venetians, and Chandeliers have been augmented with the new Fiori-or flower- forms. "Over time I developed the most organic, natural way of working with glass, using the least amount of tools that I could. The glass looks as if it comes from nature." Some of these new flower forms are reminiscent of his early installations made at Pilchuck in the 1970s, so Chihuly has come full circle with his vocabulary of forms. In his garden installations, the artist juxtaposes his forms with those of nature establishing a direct and immediate dialog between nature, art, and light.
Source - www.dbg.org/index.php/chihuly/about/
Dale Chihuly has been influential within the Studio Glass movement. He continues to revolutionize the art of handblown glass. Working in a generally free-form and unorthodox manner, the results of his approach elicit widespread admiration from the full spectrum of viewers, with one art historian calling his work "liquid light."
Chihuly's work is included in more than 200 museum collections worldwide including the Metropolitan Museum of Art, and the Smithsonian American Art Museum. Among the many museums in which his work has been exhibited are the Louvre's Musée des Arts Décoratifs and the Victoria & Albert Museum, London. Some of the great botanical gardens have recently exhibited his work, such as the Royal Botanic Gardens at Kew, and the New York Botanical garden. His corporate installations include the famous ceiling sculpture at the Bellagio in Las Vegas.
Born in 1941 and raised in Tacoma, Washington, Chihuly studied interior design and architecture at the University of Washington in Seattle, earning his BA in 1965. In that same year, Chihuly blew his first glass bubble. He attended graduate school on scholarship at the University of Wisconsin, Madison where he studied glass under Harvey Littleton. That same year Chihuly received a Fulbright scholarship to study at the Venini glass factory in Venice. The following year Chihuly became part of the faculty of RISD and established a glass program there. In 1971, he cofounded the Pilchuck Glass School near Stanwood, Washington.
Through the 1970s Chihuly divided his time between RISD and Pilchuck and developed his team model of blowing glass that he had learned from Venini. During those years Chihuly also developed a core philosophy. "I am less concerned with being narrative or figurative. I am involved in the glass and the light that passes through it - the phenomenon of light being transmitted through colored glass."
Over the years Chihuly created a wide vocabulary of blown forms. Earlier series from the late 1970s through the 1990s, such as Baskets, Seaforms, Ikebana, Venetians, and Chandeliers have been augmented with the new Fiori-or flower- forms. "Over time I developed the most organic, natural way of working with glass, using the least amount of tools that I could. The glass looks as if it comes from nature." Some of these new flower forms are reminiscent of his early installations made at Pilchuck in the 1970s, so Chihuly has come full circle with his vocabulary of forms. In his garden installations, the artist juxtaposes his forms with those of nature establishing a direct and immediate dialog between nature, art, and light.
Source - www.dbg.org/index.php/chihuly/about/
July 22 2017 - A section of the Gay Village devoted to public art.. this year a series of photos displayed for public viewing.. they ranged from artistic to abstract
These slides have been donated to the Society by the Formby Photographic Group. They were taken in about 1983 and used in their video "Formby Portrait Of A Community"
Online browsing great art has a lot of value and uses, but one of the pleasures of in-person viewing the original work is the ability to get close enough for the subject to "invade one's personal space"; that is, for one's central vision and even much of one's peripheral vision to be filled with the piece of art or the scene that is presented.
In the Golden Age of Dutch painting, according to the label text, the estimate of 300,000 pieces were produced, on commission or else of the artist's own doing with no buyer committed to purchase. This video clip is a transect of the large canvas, "Fair at Oegstgeest," by Jan Steen (1655-60). The town is adjacent to Leiden still today and has not been swallowed up with rising population and spreading urban limits
It is unlikely that this scene is like a photographic moment frozen in time, but instead offers a collage of the many social statuses, activities, livelihoods, and incidents that might reasonably be observed at a fair of that day and age.
Visitors to the art institute today can marvel at the rich colors, the mix of recognizable emotions on the faces and unrecognizable features of the culture, society, and language of the subjects. In other words, the painter himself, or someone else from that place and era would interpret so much more that we are blind and deaf to. So we can find excellence in the abstract surfaces: things like handling of light, arrangement of colors and subjects within the canvas, the masterful command of shadows and textures, and the ability to make the overall effect so life-like; almost photographic in the technical perfection.
The scene can also have value to social science as a commentary about the changes going on in those years at a fair not too far from an urban center. It is a kind of social reportage or window on foodways, clothing, architecture, and so on. In others, it is possible to ignore the (above) abstract and artistic merits and instead focus on the intentions, relationships, and behavior patterns being documented.
Most interesting of all, one can hold both approaches in tandem, simultaneously admiring the light and color while also studying the personalities and playfulness captured in the moment. It is both visual art and visual journalism like a street photographer might make.
Artist | Hotaru Visual Guerrilla, Artwork | Biotechture
This is the 11th image in a series of 11 in this album. You may click the image once or twice to zoom in and see more detail.
If you found this photo “In the wild” and would like to see the remainder of the images in the album that this photo came from, you can view that album here: www.flickr.com/gp/jeffatchison/9t472duX6J
A close-up, low-angle shot of a large, intricately carved wooden crucifix depicting Jesus Christ. The sculpture shows detailed musculature and drapery, with a crown of thorns on Christ's head. It is mounted on a light beige wall, casting a shadow to its right. In the background, parts of the church's interior architecture are visible, including arched ceilings with subtle decorative patterns in shades of cream and light brown, suggesting a historical or sacred building. The lighting highlights the texture and form of the wooden sculpture, emphasizing its artistic and religious significance.
In Berzelli park in Stockholm, Sweden. This gallery has something new every month or two (at least in the good weather months). I think they are usually photos....
After work I headed down to Denver for a fun night out. Some wine at Infinite Monkey Theorem before roller skating at Exdo.
CARVED is on full display at Descanso Gardens, October 12, 2021. (Mayra Beltran Vasquez/ Los Angeles County)
Vavavoom. This beach scene is a photoed slice of an original, larger painting by artist Mag Klakoviak. As for my eyes, it is part Picasso, part united colors of Benetton but all Klakoviak.
I loved its vivacity.
Dale Chihuly has been influential within the Studio Glass movement. He continues to revolutionize the art of handblown glass. Working in a generally free-form and unorthodox manner, the results of his approach elicit widespread admiration from the full spectrum of viewers, with one art historian calling his work "liquid light."
Chihuly's work is included in more than 200 museum collections worldwide including the Metropolitan Museum of Art, and the Smithsonian American Art Museum. Among the many museums in which his work has been exhibited are the Louvre's Musée des Arts Décoratifs and the Victoria & Albert Museum, London. Some of the great botanical gardens have recently exhibited his work, such as the Royal Botanic Gardens at Kew, and the New York Botanical garden. His corporate installations include the famous ceiling sculpture at the Bellagio in Las Vegas.
Born in 1941 and raised in Tacoma, Washington, Chihuly studied interior design and architecture at the University of Washington in Seattle, earning his BA in 1965. In that same year, Chihuly blew his first glass bubble. He attended graduate school on scholarship at the University of Wisconsin, Madison where he studied glass under Harvey Littleton. That same year Chihuly received a Fulbright scholarship to study at the Venini glass factory in Venice. The following year Chihuly became part of the faculty of RISD and established a glass program there. In 1971, he cofounded the Pilchuck Glass School near Stanwood, Washington.
Through the 1970s Chihuly divided his time between RISD and Pilchuck and developed his team model of blowing glass that he had learned from Venini. During those years Chihuly also developed a core philosophy. "I am less concerned with being narrative or figurative. I am involved in the glass and the light that passes through it - the phenomenon of light being transmitted through colored glass."
Over the years Chihuly created a wide vocabulary of blown forms. Earlier series from the late 1970s through the 1990s, such as Baskets, Seaforms, Ikebana, Venetians, and Chandeliers have been augmented with the new Fiori-or flower- forms. "Over time I developed the most organic, natural way of working with glass, using the least amount of tools that I could. The glass looks as if it comes from nature." Some of these new flower forms are reminiscent of his early installations made at Pilchuck in the 1970s, so Chihuly has come full circle with his vocabulary of forms. In his garden installations, the artist juxtaposes his forms with those of nature establishing a direct and immediate dialog between nature, art, and light.
Source - www.dbg.org/index.php/chihuly/about/
You can find a large number of full-resolution photos under a Creative Commons license on my official website: nenadstojkovicart.com/albums
Artists include Murial Angelil, Donna Callahan, Cynthia Cooper, Susan Dosick, Assunta Dunn, Linda Germain, Susan Hammer, Mary Herlihy, Margaret Hill, Margery Jennings, Barbara Kedesdy, Pat Lutz, Chelsea Mansur, E.V. Miller, Barbara Wood, Kate Zehnter. Exhibit arranged by Donna Callahan.
Dale Chihuly has been influential within the Studio Glass movement. He continues to revolutionize the art of handblown glass. Working in a generally free-form and unorthodox manner, the results of his approach elicit widespread admiration from the full spectrum of viewers, with one art historian calling his work "liquid light."
Chihuly's work is included in more than 200 museum collections worldwide including the Metropolitan Museum of Art, and the Smithsonian American Art Museum. Among the many museums in which his work has been exhibited are the Louvre's Musée des Arts Décoratifs and the Victoria & Albert Museum, London. Some of the great botanical gardens have recently exhibited his work, such as the Royal Botanic Gardens at Kew, and the New York Botanical garden. His corporate installations include the famous ceiling sculpture at the Bellagio in Las Vegas.
Born in 1941 and raised in Tacoma, Washington, Chihuly studied interior design and architecture at the University of Washington in Seattle, earning his BA in 1965. In that same year, Chihuly blew his first glass bubble. He attended graduate school on scholarship at the University of Wisconsin, Madison where he studied glass under Harvey Littleton. That same year Chihuly received a Fulbright scholarship to study at the Venini glass factory in Venice. The following year Chihuly became part of the faculty of RISD and established a glass program there. In 1971, he cofounded the Pilchuck Glass School near Stanwood, Washington.
Through the 1970s Chihuly divided his time between RISD and Pilchuck and developed his team model of blowing glass that he had learned from Venini. During those years Chihuly also developed a core philosophy. "I am less concerned with being narrative or figurative. I am involved in the glass and the light that passes through it - the phenomenon of light being transmitted through colored glass."
Over the years Chihuly created a wide vocabulary of blown forms. Earlier series from the late 1970s through the 1990s, such as Baskets, Seaforms, Ikebana, Venetians, and Chandeliers have been augmented with the new Fiori-or flower- forms. "Over time I developed the most organic, natural way of working with glass, using the least amount of tools that I could. The glass looks as if it comes from nature." Some of these new flower forms are reminiscent of his early installations made at Pilchuck in the 1970s, so Chihuly has come full circle with his vocabulary of forms. In his garden installations, the artist juxtaposes his forms with those of nature establishing a direct and immediate dialog between nature, art, and light.
Source - www.dbg.org/index.php/chihuly/about/
Private commission (Chicago, IL)
Client request: a custom version of Fall Foliage with a cream-colored background and chocolate brown trees.
acrylic, silkscreen, and found paper collage on wood
40" x 60" x 2"
The fabric for this wall hanging (The Red Canyons" is a vintage red cotton/linen blend, which I've painted and distressed.
CARVED is on full display at Descanso Gardens, October 12, 2021. (Mayra Beltran Vasquez/ Los Angeles County)
Dale Chihuly has been influential within the Studio Glass movement. He continues to revolutionize the art of handblown glass. Working in a generally free-form and unorthodox manner, the results of his approach elicit widespread admiration from the full spectrum of viewers, with one art historian calling his work "liquid light."
Chihuly's work is included in more than 200 museum collections worldwide including the Metropolitan Museum of Art, and the Smithsonian American Art Museum. Among the many museums in which his work has been exhibited are the Louvre's Musée des Arts Décoratifs and the Victoria & Albert Museum, London. Some of the great botanical gardens have recently exhibited his work, such as the Royal Botanic Gardens at Kew, and the New York Botanical garden. His corporate installations include the famous ceiling sculpture at the Bellagio in Las Vegas.
Born in 1941 and raised in Tacoma, Washington, Chihuly studied interior design and architecture at the University of Washington in Seattle, earning his BA in 1965. In that same year, Chihuly blew his first glass bubble. He attended graduate school on scholarship at the University of Wisconsin, Madison where he studied glass under Harvey Littleton. That same year Chihuly received a Fulbright scholarship to study at the Venini glass factory in Venice. The following year Chihuly became part of the faculty of RISD and established a glass program there. In 1971, he cofounded the Pilchuck Glass School near Stanwood, Washington.
Through the 1970s Chihuly divided his time between RISD and Pilchuck and developed his team model of blowing glass that he had learned from Venini. During those years Chihuly also developed a core philosophy. "I am less concerned with being narrative or figurative. I am involved in the glass and the light that passes through it - the phenomenon of light being transmitted through colored glass."
Over the years Chihuly created a wide vocabulary of blown forms. Earlier series from the late 1970s through the 1990s, such as Baskets, Seaforms, Ikebana, Venetians, and Chandeliers have been augmented with the new Fiori-or flower- forms. "Over time I developed the most organic, natural way of working with glass, using the least amount of tools that I could. The glass looks as if it comes from nature." Some of these new flower forms are reminiscent of his early installations made at Pilchuck in the 1970s, so Chihuly has come full circle with his vocabulary of forms. In his garden installations, the artist juxtaposes his forms with those of nature establishing a direct and immediate dialog between nature, art, and light.
Source - www.dbg.org/index.php/chihuly/about/
This is a fine example of a beautiful one of a kind decorative art piece that characterizes the Green Street Company American folk art style. This pot is made out of caste iron and is hand-painted on all sides.
Size: 16 x 7 ½ in.
The Green Street Company’s decorative folk painting is done on three-dimensional objects rather than on flat surfaces or traditional canvass. We paint on whatever surfaces that you may find around the house, in a factory, in an antique emporium, or even on a farm that looks like it may be given a new lease on life through painting. For example, the paintings that are included in this gallery were created on a number of different materials, including various metals, wood, and paper mache.
Acrylic is the paint medium that we use on all of decorative arts. Each piece undergoes a series of steps, e.g. preparing the surface for painting, sealing and sanding, staining, and base coating, to achieve a superior product. We pride ourselves on transforming mundane objects into beautiful works of art. Whether you are searching for a one-of-a-kind gift idea, adding to an existing art collection, or purchasing something special for yourself, you are sure to find what you are looking for here!
Frequently Asked Questions:
Q: Is it safe to cook in or to eat and drink out of your decorative folk arts.
A: No. All of our decorative folk arts under-go a process of anti-rusting, antiquing, and glazing that helps to protect the integrity of the artwork. As a result, our decorative folk arts are not meant to be used as cooking, drinking, or eating utensils. However, we do encourage customers to use our decorative folk art as containers. They can be used to store items, such as, magazines and newspapers, packaged foodstuffs, office supplies, or silk flower arrangements.
Available for purchase at: www.greenstreetfolkart.etsy.com
CARVED is on full display at Descanso Gardens, October 12, 2021. (Mayra Beltran Vasquez/ Los Angeles County)
Jeanette, a self-taught artist, is passionate about her art. A lover of flowers and bright colors, she has her own flower garden. She combines her love of flowers with her love of the camera – painting fresh flowers in the spring and summer, and painting from photos in the winter.
She has fun! The learning process is a continuous one, each painting a learning experience. She believes in herself and paints to her own satisfaction. What Jeannette knows about painting, she learned from books, a few workshops and classes and by doing.
She is an award winner in regional art shows, and has shown in Hattiesburg at City Hall, and at Java Werks. She is a member of South Mississippi Art Association in Hattiesburg and an art club in Jackson. She has attended workshops given by Judi Betts of Baton Rouge, LA, Ann Warner from Covington, LA, and Paula Payne also from Louisiana.
Her favorite medium is watercolor, but she also uses oils, acrylic, pastel, pen & ink drawing, and prize sculpture.
She is married to Darrell Graham of Sumrall, MS, has three children – Michael, Craig, and Monica – and has three grandchildren.
This vibrant metal pitcher is hand-painted with a charming folk art design. It features the Green Street Company's signature folk art girls. This pitcher makes a great addition for any folk art home décor. It also looks great with silk flower arrangments and other great accent pieces. A great gift for folk art lovers!
Size: 12 ½ in
The Green Street Company’s decorative folk painting is done on three-dimensional objects rather than on flat surfaces or traditional canvass. We paint on whatever surfaces that you may find around the house, in a factory, in an antique emporium, or even on a farm that looks like it may be given a new lease on life through painting. For example, the paintings that are included in this gallery were created on a number of different materials, including various metals, wood, and paper mache.
Acrylic is the paint medium that we use on all of decorative arts. Each piece undergoes a series of steps, e.g. preparing the surface for painting, sealing and sanding, staining, and base coating, to achieve a superior product. We pride ourselves on transforming mundane objects into beautiful works of art. Whether you are searching for a one-of-a-kind gift idea, adding to an existing art collection, or purchasing something special for yourself, you are sure to find what you are looking for here!
Available for purchase at: www.greenstreetfolkart.etsy.com
CD Artdisplay by Barberio
Rainmeter WindowsFloClock by Binary Ink
Windows 7 token icons
Wallpaper and date tweeked by me
Spring break see's us taking public transportation in the form of light rail to DTLA's Little Tokyo. What an interesting place to visit. Had some good food, walked around a bunch, people watched, took photos, geeked out at a video game shop with tons of classic games. Even came across the Printed Matter's LA Art Book Fair at Geffen at MOCA. There were tons of interesting things and people at this event.
Cheers.
© Cesar Ayala, All Rights Reserved
Nikon D300
Nikkor 50mm f1.4
Architectural design by Richard Perry Architect
Door Detailing & Fabrication by Caliper Studio for Riverside Builders
Caliper Studio 2009