View allAll Photos Tagged canvas
Stencil & Spraypaint On Canvas.
Web catalog www.rtstudio.jp/roamcouch.php
twitter twitter.com/#!/Roamcouch
facebook www.facebook.com/profile.php?id=100002416653960
Street art news www.streetartnews.net/2011/09/roamcouch-to-lie-new-editio...
Supported by Online art gallery shop mudob www.mudob.com/
I created this canvas to honor my angel baby shortly after my first pregnancy and miscarriage. goo.gl/ipb1Hf
Review of the Messenger Bag in the Coated Canvas Cyan Series by Altego. Review at www.funchico.com/2012/10/review-of-altegos-messenger-bag-...
Canvas (16"x20") Disneyland
This is a classic memory canvas that is of a particular event. Is has several pictures in the background, with a matted and framed colour picture that can be updated whenever you want. It also has some white rub-ons on it, although it is hard to see in the picture. Mickey and Minnie are die cuts that are left very faint. This way the canvas is not overtly “Disneyland”. You can put any picture on it and it would still fit. Very little colour is added in the embellishments so a colour picture can be attached. It is antiqued in bone black.
More colourful graffiti under the overpass...
Windsor, Ontario
Nikon F5
Nikkor 50mm f1.8D
Fuji Superia X-tra 400 film
Erin's 'Turkey School' Canvas is an impressive size, when asked what it was about she responded: "It could be a comment on the education system, but that's too obvious, so I'm not sure."
Drawing on themes of innocence and experience, 'Canvas' looks atandroids as blank canvases and follows their exploration of human culture frombirth to a bitter end. Their experimentation with clothes and make up takesthem through different stages of our story culminating in the death of one at thethieving, jealous hand of the other.
This story is a celebration of colour and portrays fashion asArt; it shows the notion that our experiences are like coloured brushstrokes on a once blank Canvas.
Photographer Michael furlongerwww.michaelfurlonger.com
Make up & Hair Bunny Allen www.wayofthebunny.com
Make up Alexander Moses
Models Poppy @ Models1 & Colin Hewitt
Photographer Assistant Yiannis Mouzakitis
Stylist Assistant Christina Daly
Editorial published on Fashion e-zine online fashion magazine www.fashionezine.it/editorials/canvas/
finally got around to snapping a quick shot of our canvases hanging. They're 16"x24" - 2" gallery wrap canvases from www.pixel2canvas.com
oil, canvas
2011
for Lida K.
“Autumn. It always takes what it wants... Leafs are gradually changing..they are getting painted sunset's colours...and if formerly they were so similar to each other in their rich green, now they are getting unique, becoming apparent in their entity...and just a moment of decay lets them to disclose themselves.
Wind. And now they are plucking from weaken branches and appearing at the atrocious cold of air and space... The broken wind is tormenting their fabric..they are trying to fight to avoid the last fall – the most terrifying moment which burdened their awareness from the time of creation... It seems for a minute they have won, soaring up, quivering coloured wings... But it's just an illusion. And the next moment they are falling down, loosing hope, will and life...
The earth..the last orphanage of frightened creatures...
It's raining....” (c) 2008 Dust of Reason
"Осень. Она всегда берет свое... Листья постепенно меняются..они окрашиваются в цвета заката...и, если раньше они были так похожи друг на друга в сочной зелени, то теперь становятся уникальными, проявляясь в своем существе...и лишь момент увядания позволяет им открыть себя.
Ветер. И вот они срываются с ослабших ветвей и оказываются в жестоком холоде воздуха и пространства... Сломанный ветер терзает их материю..они пытаются бороться, чтобы избежать последнего падения — самого страшного момента, отягчающего их сознание с образования... На минуту им кажется, что они победили, взвившись выше, трепеща цветными крыльями... Но это лишь иллюзия. И в следующий миг они срываются, теряя надежду, волю и жизнь...
Земля..последний приют испуганных созданий...
Идет дождь...." (c) 2008 Dust of Reason
What are the Types of Heavy Duty Zippers for Canvas?
Canvas is a highly versatile and durable material. It is often used to make robust products including tents, high resistance sportswear, automobile covers, sails, marquee, heavy duty furniture and so on. The material is waterproof and UV resistant. It is thereby suitable for use in outdoor environments. However, in order to hold the fabric shut, velcro or heavy duty zippers are often used.
When it comes to heavy duty zippers for canvas, there are various types. These are usually just as strong as the material itself. The two main types of zippers are explored below.
Coil Zipper
Coil zippers usually consist of really small gaps between the zipper teeth. Attached to nylon, metal wires or polyesters, these are highly flexible. These can be used to close things down thoroughly. Moreover, such heavy duty zippers for canvas are referred to as coil zippers because they can be winded up into a coil. Often used at curvatures, they can be used in tents doors, suitcases and so on. While they are extremely utilitarian, they can often twist or curl down on their own, resulting in significant damage. These may therefore get stuck and may be difficult to restore in original form.
Chunky Zipper
A chinky zipper is also called a tooth zip or vislon. It is often made from corrosion proof plastic. Additionally, it has wide gaps between each tooth that are molded directly over the zip tape. Often running in a straight line, these are used on caravan annexes. Nonetheless, the teeth can break off or get dislodged when the structure is too tough. This makes the zipper non-operational.
If you are looking for heavy duty zippers for canvas, Paskal is the ultimate choice. We offer both chunky and coil zippers in premium quality for the rough Australian climate.
The White Horse, 1818-1819
John Constable
West Building, Main Floor — Gallery 57
This six-foot-wide canvas was something new for a 19th-century artist: it’s a sketch the same size as the final painting (now in the Frick Collection in New York). Constable’s earlier works were smaller, and other artists’ large landscapes often overshadowed them in exhibitions.
In response, he made The White Horse bigger than any of his previous paintings. In it, a barge carries a white horse across the Stour River (in Suffolk, England) to its tow path on the other bank.
To achieve this new and unfamiliar scale, Constable first painted a “full-sized sketch.” He formed the overall composition using broad brushstrokes without including details. Constable found this process so helpful that he continued it for the rest of his career.
The White Horse by John Constable (1776–1837) is a full-size oil sketch of one of the artist's first large-scale landscape paintings. The final version, now part of the Frick Collection in New York, was first exhibited in 1819 at the Royal Academy and was the beginning of a series of works that became famously known as the "six-footers" for their grand size. The scene is a view from the south bank of the River Stour in the countryside around Suffolk, England, where the artist was born. The barge in the lower left corner is carrying a horse from the towpath on the near side of the river to the opposite bank.
Hidden beneath this painting is a version of another Constable painting, Dedham Vale from the Coombs. The artist reused the canvas and painted over the scene to create the The White Horse sketch. The painting that is visible today was once obscured by paint added by someone other than Constable over a century ago, perhaps in an effort to make it look more finished. Through microscopic examinations, x-radiography, and painstaking analysis, expert conservators and scholars were able to decipher the multiple layers of paint on the canvas. The work was cleaned over a period of several years, from 1992 to 1997, and the lively and well-preserved Constable sketch was revealed.
More information on this painting can be found in the Gallery publication British Paintings of the Sixteenth through Nineteenth Centuries, which is available as a free PDF.
Constable grew up in East Bergholt, a village nestled in the Stour River valley of Suffolk County in the southeast of England. The rustic countryside was dominated by the meandering waterway, which had been made navigable for barge traffic in the eighteenth century. Though its gentle terrain lacked the sort of grand vistas and dramatic mountain scenery traditionally favored by landscape artists, Constable believed the Stour valley had set him on the path to his life's work, and he chose it as his primary subject for much of his career. The area became so associated with his painting that even during his lifetime it was called "Constable Country."
Constable's father was a prosperous merchant who expected him to take over the family milling business. Eventually he allowed his son, at the relatively late age of twenty-two, to enroll in the school of the Royal Academy in London, the leading British art society. Its annual exhibitions were crucial for establishing reputations, and Constable made his debut there in 1802. At first the young artist studied the landscapes of the old masters, but he soon decided that his painting would improve only by working directly from nature. During the summers, he returned home to Suffolk to create outdoor drawings and sketches that became the foundation for later studio paintings. As he explained to a friend, "Nature is the fountain's head, the source from whence all originality must spring."
Constable developed his craft slowly, continually reexamining his technique in the wake of criticism that his "finish" (the level of detail and overall surface effect) suffered from coarseness of handling. He voiced his own desire to overcome a certain bleakness in his finished studio work. Attempting to capture the brilliant light of the outdoors, in 1814 he began painting canvases in the open air, with striking results. One example is Wivenhoe Park, Essex, 1816, an extraordinarily fresh view of a friend's estate. Using finely executed brushwork, Constable carefully arranged a wealth of details across the wide vista, punctuating it with areas of light and shade to convey the radiance of a summer day. Synthesizing so many elements into a harmonious composition proved a useful exercise for his later large canvases.
www.nga.gov/collection/art-object-page.1146.html
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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project three of merrily we sew along with improv sewing! sew along with us... add your pics to the merrily we sew along group through feb 28 (2013) to be entered. more info and about my project on the blog: imaginegnats.blogspot.com/2013/01/merrily-we-sew-along-ca...