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This proud male Canvas Back in the Kellogg bird Sanctuary near Augusta, Michigan, is a sure sign of spring, 03/18/2010.
is a sunovabitch!
I hate the anxiety that a blank canvas gives me. I’ve found it’s even worse when you’re getting paid to do the painting that is going onto that blank canvas! Some of you know I’ve been commissioned to paint an image inspired by the Lord Of the Rings. My client is anxiously awaiting a pic of the progress and some of you have been asking what I’ve been up to in that realm of my life. So far I have the view of the shire nearly complete.. the values need a bit of refining but by the weekend.. I’m hoping to finish landscape in the center. Being back to school, I haven’t had as much time to work on painting but I do it when ever I get a chance. I wish I had more time to dedicate to this passion and, believe me, summer can’t come soon enough! Stay tuned as I will be posting a pic of the current state of this piece.
Body Painting Series
Copyright © 2008 - 2011 Tomitheos Photography - All Rights Reserved
flickr today
Oil on canvas; 97.5 x 146.5 cm.
Massimo Campigli, born Max Ihlenfeld, was an Italian painter and journalist. He was born in Berlin, but spent most of his childhood in Florence. His family moved to Milan in 1909, and here he worked on the Letteratura magazine, frequenting avant-garde circles and making the acquaintance of Boccioni and Carrà. During World War I Campigli was captured and deported to Hungary where he remained a prisoner of war from 1916–18. At the end of the war he moved to Paris where he worked as foreign correspondent for the Milanese daily newspaper. Although he had already produced some drawings, it was only after he arrived in Paris that he started to paint. At the Café du Dôme he consorted with artists including Giorgio de Chirico, Alberto Savinio, Gino Severini and Filippo De Pisis. Extended visits to the Louvre deepened Campigli's interest in ancient Egyptian art.
His first figurative works applied geometrical designs to the human figure, reflecting the influence of Pablo Picasso and Fernand Léger as well as the Purism of "L’Esprit Nouveau". In 1923, he organized his first personal exhibition at the Bragaglia Gallery in Rome. During the next five years his figures developed a monumental quality, often with stylized poses and the limbs interwoven into a sculptural solidity. The importance given to order and tradition, the atmosphere of serenity and eternity were in line with the post-war reconstruction and the program of the “Twentieth Century” artists with whom Campigli frequently exhibited both in Milan from 1926–29 and abroad from 1927–31. In 1926 he joined the "Paris Italians" together with Giorgio de Chirico, Filippo de Pisis, Renato Paresce, Savinio, Severini and Mario Tozzi. In 1928, year of his debut at the Venice Biennial, he was very much taken by the Etruscan collection when visiting the National Etruscan Museum in Rome. He then broke away from the compact severity of his previous works in favor of a plane with subdued tones and schematic forms rich in archaisms.
During a journey in Romania he started a new cycle of works portraying women employed in domestic tasks and agricultural labor. These figures were arranged in asymmetrical and hieratic compositions, hovering on a rough textured plane, inspired by ancient fresco. These works were enthusiastically received by the critics at the exhibition held in the Jeanne Bucher gallery, Paris, in 1929 and at the Milione Gallery, Milan, in 1931. During the ‘thirties he held a series of solo exhibitions in New York, Paris and Milan which brought him international acclaim. In 1933 Campigli returned to Milan where he worked on projects of vast dimensions. In the same year he signed Mario Sironi’s Mural Art Manifesto and painted a fresco of mothers, country-women, working women, for the V Milan Triennial which unfortunately was later destroyed. In the following ten years other works were commissioned: I costruttori ("The builders") for the Geneva League of Nations in 1937; Non uccidere ("Do not kill") for the Milan Courts of Justice in 1938, an enormous 300 square metre fresco for the entrance hall, designed by Gio Ponti, of the Liviano, Padua which he painted during 1939–40. He spent the war years in Milan and in Venice, then after the war they divided his time between Rome, Paris and Saint-Tropez. In a personal exhibition at the Venice Biennial in 1948 he displayed his new compositions: female figures inserted in complicated architectonic structures. During the 60s his figures were reduced to colored markings in a group of almost abstract canvasses. In 1967 a retrospective exhibition was dedicated to Campigli at the Palazzo Reale in Milan.
Een informatieve blog gelezen, waarin veel vierdelings uitingen (in architectuur) worden behandeld:
wordpress.com/read/blogs/174231542/posts/15809
The Old City: Mirror of the Cosmos
yahya7337 Path to the Maypole of Wisdom
Met dingen als 'the maypole of wisdom' heb ik niet zoveel.
Dan kom je al gauw terecht bij sites zoals:
Een berg (politieke) informatie met een dubieuze ondertoon.
I painted this canvas a year ago this was decorating my room
but I decided to reuse this and change their appearance i started to erase but i decided take a picture... soon the new look!
someone interested in trades for supplies
Inspired by Christy's summer "Creatively Inspired challenge" #1. The nest is 3-D, raised by using tissue paper.
It's easy., at this remove from eighty years later, to believe that the end of the second world war meant that the world enjoyed immediate and stable peace.
Nothing could be further from the truth: there were fears of the war continuing as a struggle between the democracies of the West and the Communist bloc, with nuclear weapons able to annihilate entire cities. Britain prepared by building its own nuclear deterrent, whilst to protect the civilian population it rebuilt the ARP function - now known as Civil Defence, or CD. It also needed people to join the Auxiliary Fire Service and as Police Specials - fully qualified, but on-call, firefighters and Police.
The Civil Defence Corps, the auxiliary Fire Service and the Police needed recruits - thousands of them. Local authorities up and down the country were responsible for full and part-time posts to observe incoming aircraft, or look after areas of each town to rescue survivors and help the Police keep order in a post-apocalypse Britain.
Bolton Corporation used a fairly imaginative way to raise awareness and gain recruits for its CD unit, Fire Service and Police. Withdrawn Leyland bus number 186 was taken into the paint shop where the Corporation Transport's craftsmen gave full head to their creative talents, with this amazing advertising livery. 186 was driven around Bolton to drum up recruits - we don't know how successful it was in Bolton, but we do know that it was always a struggle to get CD recruits as the pay was very low and as time went on, its relevance faded as the Cold War settled into a semi-stable, sullen sense of mutual destruction.
By then 186 had also lost its relevance - after a time promoting Civil Defence, 186 was sent to the scrapyard. You can still see preserved Bolton buses, not least number 77 of 1956 which is now in the Museum of Transport Greater Manchester.
If you'd like to know more about the Museum of Transport Greater Manchester and its collection of vintage buses, go to motgm.uk.
© Greater Manchester Transport Society. All rights reserved. Unauthorised reproduction is strictly prohibited and may result in action being taken to protect the intellectual property interests of the Society.
11x14 in canvas. Used the sketch of a piece I did for a wood install awhile back. Wanted to preserve it on canvas. Acrylic, latex and spray paint, oil based paint marker and old news paper
"One Night Only" June 17th, 2014 @ Global Jaya Intl School Theatre. Tickets on sale for 50k! :-) #ONO2014
Un gustazo emprender y compartir este ritual junto a Jalón de Aquiles a partir de un cubo en blanco (cuatro lienzos) y dejarnos llevar por los colores, las formas, sonidos y sensaciones... Las cuatro caras juntas forman una maqueta a pequeña escala de un futuro cubo gigante construido con maderas o espacio cúbico para pintarlo todo por dentro con el fín de entrar en la pintura y interactuar y expresarse desde dentro.