View allAll Photos Tagged canvas
just messin around, 4x12 gallery stretched canvas, mixed media
(acrylic paint, oil based paint marker outline)
this canvas and other will soon be available on www.illadelstylez.com/
Brand: Canvas
Makeover: Persona
Styling: Disha apu
Art direction: Didarul Dipu
Artist: Arpita
Production: ZiaPhotography
Line producer: Atandrila Huda
Strobe info:
Applied clamshell lighting.
Godox 300Pro as a key light with a beauty dish.
Godox 300pro as a backlight with a small dish.
The extremely talented artist Ray Lonsdale created Blank Canvas in 2012, which was commissioned as part of the three and a half million pound eco village by Gentoo at South Bank. The sculpture has been made from cor-ten steel which has already weathered to a lovely "rusty" finish.
This portrait by Himitsuhana depicts a young lady in traditional dress holding a mask, yet the mask is a perfect and magical replica of her face. Referencing the masked balls which were so popular in the 18th century, Himitsuhana has created curious tableaux, the lady looks pensive and is dressed in black, the mask is a metaphor for her life.
Definitely worth forcing bulbs in November (or buying them mid-December and passing it off as all your own work)
It says here: Pole A goes to Spoke b - or is that a six? ...and connects to Loop 12 on the windscreen.
And which of these is Pole A?
Not the faintest idea, the instructions are soaked by now...
-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-
We had a wee bit of rain yesterday - as with my snow pictures, this is more wishful thinking than actual weather.
This is supposed to be a Charlie Brown and the Deckchair kind of scene :o)
Toy Project Day 2477
the ups and downs of life
8x10 mixed media
I wasn't gonna show this canvas, I'm in the works of developing a bunch of pieces for a solo show in DEC. or JAN. - whenever I get my shit together underwaterpirates.bigcartel.com/
archaeological site of praça nova do castelo de são jorge, lisbon.
architect: joão luís carrilho da graça
Upcoming Exhibition...Opening Reception: 'Man In Between' by Tony Belobrajdic, Thursday 27 April,6-8pm, thiennyleegallery.com/upcoming-exhibitions/
Hi there!
My beloved Fuuko got a make-over! Well.. its just a new wig but seriously, she changed a lot!
While it is already for some time that she is wearing this new gorgeous wig, I believe this is the first time I am sharing her new look with you all. I need to appreciate her beauty first, you see :)
Anyway, believe it or not, I was inspired by Monalisa painting. I was shooting for my usual doll photo then I thought it would be cool if I can show off those braids. I cant do that if Fuuko is facing to the camera like my usual doll photos. Then I did some research and tadaaa, it came to my mind to use Monalisa angle. It fits Fuuko perfectly <3
And since it is kinda like a new angle to work with, man, I really spent a lot of time deciding on the composition. Luckily this is good enough for me. Because
Simplicity is not a simple thing - Charlie Chaplin.
Anyway, enjoy her new look and have a good day everyone!
Facebook / Instagram / Twitter : @wndrenvy
Justus Suttermans (Antwerp 1597 - Florence 1681) - Portrait of Galileo Galilei (1635) Oil on canvas size 56 x 48 cm - Pitti Palace, Florence
Il ritratto di Galileo Galilei (1564-1642) è uno dei più celebri di Suttermans. Lo aveva commissionato Elia Diodati (1576- 1661), un giurista di origini lucchesi vissuto tra Ginevra e Parigi, caro amico dello scienziato, impegnato fin dagli anni ’20 a diffondere i suoi scritti in Europa e a progettare dopo la sua morte la pubblicazione della sua opera omnia.
Il taglio della figura a mezzo busto concentra l’attenzione sul volto pallido del protagonista e sullo sguardo diretto fuori campo, ispirato e visionario al tempo stesso. All’altezza cronologica del dipinto, Galileo aveva circa 70 anni e viveva costretto all’esilio nella campagna appena fuori Firenze, sulla collina di Arcetri. L’indagine acuta dei dettagli, dalle trasparenze dell’incarnato alla consistenza lanosa della barba e agli effetti serici del colletto, candido sulla toga dottorale, vengono resi in una materia pittorica densa e ricca, che riflette l’impressione della pittura veneta cinquecentesca.
La storia dell’acquisizione del dipinto nelle raccolte medicee viene tramandata da Filippo Baldinucci in una intensa pagina della biografia dedicata a Suttermans, dove si narra come dopo la morte di Galileo, avvenuta nel 1642, il suo discepolo Vincenzo Villani avesse domandato al Diodati notizie del ritratto del maestro e questi avesse risposto di averlo tra le sue cose più care, ma di essere disposto a farne dono a Ferdinando II qualora non avesse esemplari della sua effigie. “Tutto questo il Viviani palesò al Granduca che benignamente gradì l’offerta; onde non andò molto, che il quadro fu mandato a Firenze al Viviani, il quale prontamente al Serenissimo lo presentò: ed è quel maraviglioso ritratto, che oggi si vede nella Real Galleria”. Cosimo III ne ordinò poi l’esposizione nella Tribuna, dove rimase per tutto il XVIII secolo.
The cropping of the half-length figure focuses attention on the protagonist's pale face and direct off-screen gaze, at once inspired and visionary. At the chronological height of the painting, Galileo was about 70 years old and living forced into exile in the countryside just outside Florence, on the hill of Arcetri. The acute investigation of details, from the transparencies of the complexion to the woolly texture of the beard and the silky effects of the collar, candid on the doctoral robe, are rendered in a dense and rich pictorial material that reflects the impression of 16th-century Venetian painting.
The story of the acquisition of the painting in the Medici collections is handed down by Filippo Baldinucci in an intense page of the biography devoted to Suttermans, where he relates how after Galileo's death in 1642, his disciple Vincenzo Villani had asked Diodati for news of the master's portrait, and the latter replied that he had it among his most cherished possessions, but that he was willing to make a gift of it to Ferdinand II if he had no specimens of his effigy. "All this Viviani manifested to the Grand Duke, who graciously appreciated the offer; whereupon it was not long before the picture was sent to Florence to Viviani, who promptly presented it to the Most Serene Serene: and it is that marvelous portrait, which can be seen today in the Royal Gallery." Cosimo III then ordered its exhibition in the Tribuna, where it remained throughout the 18th century.