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No idea what kind of roses these are, but I always like them because of the colouring and the variation from flower to flower.
Generally, I use dark bold acrylic paint colors but wanted to try a more watercolor look. I used Derwent inktense pencils for the background
Model : My Father ♥
© Farehan
Copyright for this gallery photo belongs solely to Farehan Images may not be copied, downloaded, or used in any way without the expressed, written permission of the photographer.
Partially exposed to sunlight after film ejection.
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High Park, Toronto
May 2011
Polaroid SX-70
Impossible Project's PX-70 Push
The first TEDxNileStree Event held on the 9th of November 2013 with the theme "A Different View". Organized by Mujtaba Musa, photos credits: Omer Awad photography
I love the treatment I used for this photograph flic.kr/p/bzXkUo and I was not satisfied with my picture of a phone box. I had a thought that it was a bit dark. Actually, I started to wonder how the picture would look if I used a infrared filter. I open LR and tried the effect. I didn't like the new look. I really loved the warm of sepia. Then, I had an idea. I decided to adjust just the three main slides that create an infrared effect, so here is a new look of the old picture. Old: flic.kr/p/bzSQ6h
the Carlsberg Brewery is framed by a road bridge and the towpath of the Grand Union Canal, Northampton Arm.
A different angle on a tree I've often photographed over the past couple dozen years. Michigan Audubon's Baker Sanctuary on Veterans Day in 2015.
ISTANBUL, TURKEY - MARCH 31: A view of a tulip garden in Istanbul, Turkey on March 31, 2016. Every April, different kinds of tulips are planted in Istanbul's parks, avenues, traffic roundabouts and open ground during the tulip season in Istanbul. Tulips bloom for several weeks and may delight the eye and the spirit for nearly a month. ( Şebnem Coşkun - Anadolu Agency )
Belfast seems to be following Dublin as a boom town propelled by the continuing economic growth spreading from the South. New buildings are under construction all over the city. The population of Northern Ireland is increasing and not just because of the many people arriving from elsewhere. For the first time in years more people are deciding to stay than leave. Inevitably this creates tensions, like growing pains, between old and new, between familiar and strange, and between traditional and modern. These are often good signs.
Robert Delaunay French, 1885 - 1941
Political Drama, 1914
East Building, Upper Level — Gallery 415-A
A man and a woman seem to float against a background of nested, concentric rings in this abstracted, vertical painting. The center of the rings is just above the center of the composition. The rings are further divided into quadrants, so each ring is a different color at the top left, top right, bottom left, and bottom right. The rings are in shades of lemon and golden yellow, sky, slate, and cobalt blue, lilac and violet purple, red, mint green, and white. Where the rings get close to the edges of the composition, they become more muted in tone. The woman is to our right of center. Created in areas of flat color, she has a royal blue, feathered hat and blond hair. Closer inspection reveals that her brown dress or jacket is made of a piece of paper collaged to the painting. A dash of vivid blue suggests a skirt, and a black smudge there is difficult to interpret. To our left of center, a man wearing a white shirt and black jacket seems to fall backward, toward the center of the circles. One arm, amethyst purple, is flung up and that hand is red. A curving line, like a wide, flattened U, encloses the circles along the bottom edge of the composition along its width, and the circles extend off the corners to the sides and at the top. The artist signed the work in black block letters across the bottom center: “ROBERT DELAUNAY.”
Robert Delaunay had little artistic training beyond an apprenticeship to a stage-set designer. He studied the color theories of the French chemist Michel-Eugène Chevreul and how the neo-impressionists applied them to painting. He is best known for his Eiffel Tower series of 1909–1913, his Windows of 1912–1914, and his Circular Forms of 1913, which paved the way for Political Drama. His wife, Sonia Delaunay, was a painter and fabric designer whose work informed his use of collage and abstraction from the start.
In 1912, the poet-critic Guillaume Apollinaire praised Delaunay for his painting The Three Graces, in which curving lines and patches of color create a luminous, harmonious pattern. Apollinaire invented the term “Orphic cubism,” a reference to the mythical Greek musician and poet Orpheus, to emphasize the lyricism and musicality of this and other works. Delaunay at first embraced the term but later coined “simultaneism,” which placed more emphasis on color theory, the impact of succession, repetition, and contrast on color perception, and on Henri Bergson’s ideas about the intuitive perception of time and space.
What Delaunay had to say of his tondo First Disk of 1913, a remarkably early example of a fully abstract work without figure or ground, is also relevant to Political Drama: “Colors opposing each other had no reference to anything visible. In fact, the colors, though contrasts, were placed circularly....Reds and blues were opposed in the center...determining the extraordinarily fast vibrations physically perceptible to the naked eye. One day I called this experiment a ‘first punch.’”1 Delaunay carried this idea of visual violence into Political Drama and animated it with a story of actual violence.
The source is a newspaper illustration depicting a murder. The caption to the illustration reads: “Tragic epilogue....The Wife of the French Finance Minister Joseph Cailloux Shoots Dead Gaston Calmette the Editor of Le Figaro.” The illustration, which appeared on the cover of Le Petit Journal, shows the moment after Mme Cailloux fired at Calmette. Although Delaunay stripped most of the details, key elements are still visible: Mme Cailloux, who steps into the room; Calmette, who falls backward; and the sulfurous central circle of the explosion. Interestingly, these are the very elements for which Delaunay used collage.2 A vertical axis dividing the two figures and a horizontal axis connecting them capture the tension of their relationship. Concentricity becomes the sign of violence: a target or the scope of a marksman. At the same time, especially given the swirling patterns behind them, the figures might seem to be engaged in a dance. Delaunay frequented the Bal Bullier dance hall in Paris with his wife from 1912 to 1914.
Delaunay clearly recognized the power of concentrically arranged colored forms, something that would be fully exploited again only some 50 years later in the “target” paintings of Jasper Johns and Kenneth Noland and the concentric stripe paintings of Frank Stella. However, unlike Delaunay in Political Drama, these painters seemed intent on excluding political content. An early photograph reveals that Delaunay’s work originally bore its title as an inscription at the top of the sheet, balancing the artist's name at the bottom. The fact that it was cut off at some point may well testify to an attempt to tilt the work's delicate balance of figuration and abstraction toward the latter.
1. Robert Delaunay’s summaries from discussion groups he held in 1938 and 1939, cited in Arthur A. Cohen, ed., The New Art of Color: The Writings of Robert and Sonia Delaunay, trans. David Shapiro and Arthur A. Cohen (New York, 1978), 142.
2. The man’s jacket and head, the woman’s jacket and muff, and the four quadrants of the central circle, now faded, are all cut-and-pasted paper elements.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
This is my first embroidery project trying to use different stitches. It's a little rough in places, but I love the pattern. From "One day embroidery with five stitches" a Japanese embroidery book.
These two beautiful ladies are friends of mine who are fed with consequently being mistaken for one person. With this picture we tried to express that they are to different persons who have their similarities, yes, but are in no case one person. While one is open and loves to make experiences, the other enjoys good talks and is very warm with people caring for her. Both of them are extremely lovely, of course. And they love each other the way they are. As two different individuums descending from same roots.
Today I helped my friends to held a special event for the kids who reside in The Pakubuwono Residence.
This event is to trigger their creativity, and make them enjoy the creative process of painting the easter eggs. They had a chance to paint the eggs anyway they like, and they get to enjoy the color combining process. This way they get to know how to create colors by combining some different colors.
At the end of the session, we gave them certificates for their attendance. They also may bring their eggs home to show it to their family what they make in the class today
Thank you Jakflo for the opportunity, and Pakubuwono Residence. And for the kids, we hope you did receive the best experience!