canvas photos on Flickr

showcasing some of my favorite paintings ever, why on faces instead of regular canvas? I think it is a way of representing the meaning of the word aprehension, when you go beyond watching, and feel, understand with what you witness and get marked by it.

Scott's CANVAS by Tomii Cycles

Canvas Miami by Phillip Pessar

2

Canvas Cowork by Alex Giron

1 1

canvas.co/work

Ashleys verse canvas by Lauren Manning

1

This is the most fun thing I've ever made. I made this as a birthday present for my friend Ashley. The verse it "He brought streams out of a rocky crag and made water flow down like rivers" Psalm 78:16. I used 32 different types of paper and tore them out in 3"x3" squares and distressed each one. I then glued them all down overlapping each other. The letters are each distressed in some way and all a little different. They range from metal to paper to chipboard to plastic to rubber to cork to glass. The bottom right hand side has the reference that has been fixed to glass instead of the actual canvas and edged with distressed dowels and the left side has the metal and distressed ribbons.

You can read the words if you view it big!!!

toko canvas by toko tenda

Toko canvas kami menyediakan berbagai jenis canvas lokal dan import dengan berbagai warna .

Canvas adalah bahan kain tebal dan kaku , banyak di pakai oleh bangsa Amerika dan Australia untuk berbagai keperluan seperti tenda , tempat tas , kantong surat dll.

CV TCMA Pusat canvas dan terpal Indonesia 1975 - 2009

Alamat :

Jl Raya Pluit Selatan no 5

Jakarta 14450

Ph : 021 669 4524

Fax : 021 6694834

Info : 0811 887 012

E : info@terpal.com

W : www.terpal.com

Canvas Cowork by Alex Giron

canvas.co/work

CANVAS ART by robo

5 8

A painting I recieved from a trade, From Sarah J.... I really like her work, I wish everyone else could see some other stuff from her.

*TOMII CYCLES* canvas complete bike by BLUE LUG

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*TOMII CYCLES* canvas complete bike

Blue Lug Custom

Spec

Frame:*TOMII CYCLES* canvas (Size50/Green)

Rear Rack:*TOMII CYCLES* canvas rack

Bag:*TOMII CYCLES X FAIRWEATHER* shell bag

Headset:*CHRIS KING* nothreadset

Wheels:*H PLUS SON* archtype rim X *SHIMANO* 105

Tire:*CONTINENTAL* grand prix classic

Stem:*THOMSON* elite x2

Handle:*NITTO* m106 ssb

Seatpost:*THOMSON* elite

Saddle:*SELLE SAN MARCO* aspide

Brake&Shifter:*SHIMANO* ultegra

Brake:*SHIMANO* ultegra

FD&RD:*SHIMANO* ultegra

Crankset:*SHIMANO* ultegra

BB:*PHILWOOD* outboard bb

QR:*PHILWOOD* qr skewers

Abstract-Canvas-17 by Steev Beech

3

Abstract acrylic painting on a 40cm x 30cm x 1.8cm deep stretched canvas frame.

canvas print by Anatoliy akue

2

Canvas & Burlap by THE FORMULA

3

Canvas's by Sterbyrock, Burlap by Swerveone

orange globe by Steve Johnson

1

Acrylic on canvas painting by NW Indiana artist and painter Steve Johnson.

More at::

artbystevejohnson.com

Videos of the making of many of these at:

www.youtube.com/user/artbystevejohnson

Please feel free to use this image but don't claim credit for creating it (o:

canvas by Faunagraphic

spray paint and acrylic on canvas (sazzelli)

The Canvas on Broadway by Notley Hawkins

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The Canvas on Broadway in Columbia Missouri by Notley Hawkins Photography.

www.notleyhawkins.com/

©Notley Hawkins

Canvas Doll - Evangeline by Elizabeth Armstrong

1 2

New canvas Dollies - I am having the best fun drawing again.

Available now: www.frostfair.etsy.com

canvas by zeso 516

1

Portrait of Eleazer Tyng by Alec Frazier

Eleazer Tyng

West Building, Main Floor—Gallery 60B

•Date: 1772

•Medium: Oil on Canvas

•Dimensions:

oOverall: 126.5 × 100.2 cm (49 13/16 × 39 7/16 in.)

oFramed: 149.5 × 125.1 cm (58⅞ × 49¼ in.)

•Credit Line: Gift of the Avalon Foundation

•Accession Number: 1965.6.1

•Artists/Makers:

oPainter: John Singleton Copley, American, 1738-1815

Inscription

•Lower Left: John Singleton Copley / pinx.1772.Boston.

Provenance

For sale by unidentified owner, Boston, 1841.[1] Copley Amory [1841-1879];[2] his son, Copley Amory [1866-1960], Washington, D.C.;[3] his wife, Mary Forbes Russell Amory [1870-1961], Washington, D.C., in 1929; their son, Copley Amory, Jr. [1890-1964], Cambridge, Massachusetts, in 1944;[4] bequeathed to his nephew, Walter Amory [b. 1924], Wellesley Hills, Massachusetts;[5] purchased 1965 by NGA with funds from the Avalon Foundation.

[1]When the painting was exhibited at the Boston Athenaeum, it was catalogued as “Mr. E. Tyng. For sale” (Robert F. Perkins and William J. Gavin III, The Boston Athenaeum Art Exhibition Index, 1827-1784 (Boston, 1980), 40, no. 59). The seller could have been a distant relative for whom the portrait had no personal value. Of Tyng’s five children, only his daughter Sarah Tyng Winslow outlived him. After she died in 1791 without children, the sitter had no direct descendants; see Brother Anthony of Padua, The Tyng Family in America (Poughkeepsie, New York, 1956), 24-28, 51.

[2]Copley Amory, the artist’s great-grandson, probably purchased or was given the portrait, since there was no family connection between the Amorys and the Tyngs; see John William Linzee, The Linzee Family of Great Britain and the United States of America [Boston, 1917], 2: 766, 781-782. Amory’s ownership was first recorded in 1873.

[3]On Amory see Linzee 1917, 795 and his obituary, The New York Times, 18 April 1960, 29.

[4]The birthdates of Mary Forbes Russell Amory and Copley Amory, Jr., are found in Linzee 1917, 795-796. Their death dates were provided to Ellen Miles by Walter Amory, 19 November 1990. Ethel C. Amory (Mrs. Copley Amory Jr.) documented the gift of the portrait by Copley Amory to Mary Amory and then to Copley Amory, Jr. (letter 1 May 1965, NGA curatorial file).

[5]Walter Amory, letter, 19 November 1990, in NGA curatorial file.

Associated Names

•Amory, Copley

•Amory, Jr., Copley

•Amory, Mary Forbes Russell

•Amory, Walter

•Sale, Boston

Exhibition History

•1841—Boston Athenaeum, 1841, no. 59.

•1896—Loan Exhibition of Portraits for the benefit of the Associated Charities and the North End Union, Copley Society, Boston, 1896, no. 59.

•1910—Musuem of Fine Arts, Boston, 1910-1924.

•1925—Exhibition of Early American Paintings, Miniatures and Silver Assembled by the Washington Loan Exhibition Committee, National Gallery of Art (now Smithsonian American Art Museum), Washington, D.C., 1925-1926, no. 11.

•1938—John Singleton Copley, 1738-1815, Loan Exhibition of Paintings, Pastels, Miniatures and Drawings, Museum of Fine Arts, Boston, 1938, no. 74.

•1965—John Singleton Copley, 1738-1815, National Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, New York; Musuem of Fine Arts, Boston, 1965-1966, no. 53.

•1969—In Memoriam, Ailsa Mellon Bruce, National Gallery of Art, Washington, D.C., 1969, unnumbered checklist.

•1995—John Singleton Copley in America, Museum of Fine Arts, Boston; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; Milwaukee Art Museum, 1995-1996, no. 74, repro.

Bibliography

•1873—Perkins, Augustus Thorndike. A Sketch of the Life and a List of Some of the Works of John Singleton Copley. Boston, 1873: 19, 111.

•1896—Loan Exhibition of Portraits for the benefit of the Associated Charities and the North End Union, Exh. cat. Copley Society, Boston, 1896: no. 59.

•1910—Addison, Julia de Wolf. The Boston Museum of Fine Arts. Boston, 1910: 5; 2nd ed. Boston, 1924: 5.

•1910—Bayley, Frank W. A Sketch of the Life and a List of Some of the Works of John Singleton Copley. Boston, 1910: 99-100, 244.

•1915—Bayley, Frank W. The Life and Works of John Singleton Copley. Boston, 1915: 244.

•1924—Addison, Julia de Wolf. The Boston Museum of Fine Arts. 2nd ed. Boston, 1924: 5.

•1925—Exhibition of Early American Paintings, Miniatures and Silver Assembled by the Washington Loan Exhibition Committee, Exh. cat. National Gallery of Art, Washington, 1925-1926: no. 11.

•1930—Bolton, Theodore and Harry Lorin Binsse. “John Singleton Copley.” The Antiquarian 15 (December 1930): 118.

•1937—Shipton, Clifford K. Sibley’s Harvard Graduates, Vol. 5 Biographical Sketches of Those who attended Harvard College in the Classes 1701-1712 with Biographical and other Notes. Boston, 1937: 651-653.

•1938—John Singleton Copley, 1738-1815, Loan Exhibition of Paintings, Pastels, Miniatures and Drawings, Exh. cat. Museum of Fine Arts, Boston, 1938: no. 74.

•1938—Parker, Barbara Neville and Anne Bolling Wheeler. John Singleton Copley: American Portraits in Oil, Pastel, and Miniature with Biographical Sketches. Boston, 1938: 190, pl. 111.

•1965—John Singleton Copley, 1738-1815, Exh. cat. National Gallery of Art, Washington; Metropolitan Museum of Art, New York; Musuem of Fine Arts, Boston, 1965-1966: no. 53.

•1966—Prown, Jules David. John Singleton Copley, vol. 1. Cambridge, MA: Harvard University Press, 1966, pp. 85, 88, 92, 115, 194, 231, fig. 317, no. 52.

•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 46, repro.

•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 390, color repro. fig. 563.

•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 138, repro.

•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 13

•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 22, repro. 23.

•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 387, no. 548, color repro.

•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 149, repro.

•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 36-38, color repro. 37.

From American Paintings of the Eighteenth Century:

1965.6.1 (1944)

Eleazer Tyng

•1772

•Oil on Canvas, 126.5 × 100.2 (49¾ × 40⅛)

•Gift of the Avalon Foundation

•Inscriptions:

oSigned and Dated Lower Left: John Singleton Copley/pinx. 1772. Boston.—

Technical Notes

The painting is on a fine, plain-weave fabric. The reverse of the lining is coated with aluminum paint. The ground is off-white. The paint is applied in a medium paste, but with thin glazes in the dark areas and low impasto in the white highlights. For the most part the paint was worked wet-in-wet. X-radiography shows dense modeling in the face.

A band of retouched losses across the horizontal center of the painting suggests that it was once folded. There is no retouching in the face, but there is scattered retouching in the background. The outlines of the figure and the chair have been strengthened. The varnish is even and has not yellowed markedly.

Provenance

For sale by unidentified owner, Boston, 1841.1 Copley Amory [1841-1879];2 his son Copley Amory [1866-1960], Washington;3 his wife Mary Forbes Russell Amory [1870-1961], Washington, in 1929; their son Copley Amory, Jr. [1890-1964], Cambridge, Massachusetts, in 1944;4 bequeathed to his nephew Walter Amory [b. 1924], Wellesley Hills, Massachusetts;5 from whom it was purchased by the Avalon Foundation.

Exhibited

Boston Athenaeum, 1841, no. 59.6 Loan Collection of Por traits for the Benefit of the Associated Charities and the North End Union, Copley Society, Boston, 1896, no. 59. MFA, on long-term loan, 1910-1924.7 American Wing, MM A, 1924. Exhibition of Early American Paintings, Miniatures and Silver Assembled by the Washington Loan Exhibition Committee, NGA, SI, 1925-1926, no. 11. John Singleton Copley, 1738-1815, Loan Exhibition of Paintings, Pastels, Miniatures and Drawings, MFA, 1938, no. 74. Fogg Art Museum, Harvard University, Cambridge, Massachusetts, 1944.9 Copley, 1965-1966, no. 53.

This portrait of octogenarian Eleazer Tyng (1690-1782) is one of a number of sympathetic, masterful images of older men that Copley painted in the early 17705. Tyng, a graduate of Harvard College, was a landowner in what is now Tyngsborough, New Hampshire, and served as a magistrate, a colonel in the militia, and a justice of the peace.10 His expression suggests that he managed these positions with shrewd judgment. Tyng, in a dark gray suit and black stockings, is seated in a green Windsor armchair that faces to the left. Turning his body, he looks directly at the viewer, his shoulders hunched forward, his hands resting on one arm of the chair. Copley used a similar pose for his portraits of John Erving (c. 1774, Smith College Museum of Art, Northampton, Massachusetts) and Congregational minister Thomas Gary (1773, MFA).11 Here, the structural and decorative divisions of the wall behind Tyng create lines and shadows that focus attention on his face, which is set against the upper, dark green section of the wall. The placement makes the sitter appear small in stature, his head somewhat large for his body.

The portrait is particularly memorable for its representation of Tyng’s face and hands. A comparison with Copley’s earlier portrait of seventy-year-old Epes Sargent [1959.4.1] reveals notable changes in the artist’s technique. In Sargent’s portrait Copley used thick layers of pigment in the face and hands. Here, a more liquid paint enabled the artist to delineate the details more precisely. Tyng’s watery blue eyes and moist lower lip are minutely described, as are the prickly white hairs of his eyebrows and chin, and the knuckles and nails of his fingers. While both portraits stand out as very successful images, the contrast between the details indicates the refinements that Copley made in his work in the intervening decade.

EGM

Notes

1.When the painting was exhibited at the Boston Athenaeum, it was catalogued as “Mr. E. Tyng. For sale”; Perkins and Gavin 1980, 40, no. 59. The seller could have been a distant relative for whom the portrait had no personal value. Of Tyng’s five children only his daughter Sarah Tyng Winslow outlived him. After she died in 1791 without children, the sitter had no direct descendants; see Anthony 1956, 24-28,51.

2.Copley Amory, the artist’s great-grandson, probably purchased or was given the portrait, since there was no family connection between the Amorys and the Tyngs; see Linzee 1917, 2:766, 781-782. Amory’s ownership was first recorded in 1873.

3.On Amory see Linzee 1917, 795, and his obituary, New York Times, 18 April 1960, 29.

4.The birth dates of Mary Forbes Russell Amory and Copley Amory, Jr., are found in Linzee 1917, 795-796. Their death dates were provided to the author by Walter Amory, 19 November 1990. Ethel C. Amory (Mrs. Copley Amory, Jr.) documented Copley Amory’s gift of the portrait to Mary Amory and her gift to Copley Amory, Jr. (letter 1 May 1965, NGA).

5.Walter Amory to author, 19 November 1990 (NGA).

6.Perkins and Gavin 1980, 40.

7.Bayley 1910, 244, who notes that the portrait “hangs in the Museum of Fine Arts, Boston”; Addison 1910, 5; Addison 1924,5.

8.According to information provided to the Frick Art Reference Library by the Metropolitan Museum of Art, Copley Amory lent the portrait for the opening of the American wing on 11 November 1924.

9.Fogg Art Museum, “Portraits in Current Exhibition,” typescript, 19 December 1944, Frick Art Reference Library.

10.Shipton 1937, 651-653, which mentions that the portrait was then unlocated; Tyng’s niece Ann Tyng was one of Copley’s earliest sitters (1756, MFA); Prown 1966, 1:22.

11.Prown 1966,1:212-213 and figs. 319, 324.

References

•1873—Perkins: 19, 111.

•1910—Bayley: 99-100.

•1910—Addison: 5.

•1915—Bayley: 244.

•1924—Addison: 5.

•1930—Bolton and Binsse, “Copley”: 118.

•1937—Shipton: 651-653.

•1938—Parker and Wheeler: 190, pl. 111.

•1966—Prown: 1:85, 88, 92, 115, 194, 231, and fig. 317.

•1981—Williams: 22, repro. 23, 28.