View allAll Photos Tagged polychrome
Uluru–Sky Australis-DownUnder D4SC1max standard Red+Blue
This proposition takes on findings or recent design tests based on a full polychrome palette (max 6); dividing 4 divisions of field with gold horizon diamond (fimbriation); Uluru arc for abstract Earth + Sky references to the 'Great Southern Land' of (terra australis) and previous designers (Hundertwasser 1986 and Mark Tucker 1993 for Ausflag); an original dynamic Southern Cross device integrating a Commonwealth Star "as an Epsilon" – intentionally bending Rules of Tincture (white on gold) to intensify the axial centre focus – with horizontal and vertical symmetry; innovative use of Green + Gold (National Colours) as lower feature, Blue (french-blue) + Red (standard), to hang in tandem beside ATSI flags, while symbolising inclusivity, cultural diversity and an neutrality, yet with aspiration of national wellbeing, imagination and maturity
NOTE: The "visual" merging of the 7 point Federation Star with the 4 point gold axis references acknowledgment of the Eureka Flag 8 point star motif as our earliest flag devised in 1854 by Australian gold miners).
©2015 mpathesii CC NC ND This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Australia License creativecommons.org/licenses/by-nc-nd/3.0/au/
Polychrome terracotta of Jesus from the Getty Museum collection. Use 3d
Anachrome glasses for best detail.
Polychrome terra cotta and glazed brick ornamentation on the Franklin Building on South Dearborn Street in the Printers' Row area of Chicago, Illinois.
Polychrome Elevations is an artwork by Peter Newman at the South Bank outside the BFI and Hayward Gallery. Basically he's painted all the staircases in primary colours. Reminds me very much of the computer game Mirror's Edge.
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Clay body Benson Creek with magnetite temper. Red slip from Andy Ward, white left over from Kelly's class, dark manganese from Mowry mixed with (too much) Santa Cruz brown clay
Polychrome mummy mask of a woman with voluminous hair made of flax fibers. She wears gilded snake bracelets (not seen in this pic), and a necklace made from real beads, and a golden necklace painted on to her neck. Note the green eyebrows, a color which is also used to outline the eyes.
Although still somewhat formulaic and impersonal, the hair reflects the new styles brought by the Romans, who ruled Egypt at this time.
Romano-Egyptian
ca. 1st century CE
From Meir, Egypt
Neues Museum, Berlin
Polychrome paintings of hunting scenes.
The paintings were discovered by Juan Jiménez Llamas in 1914, and caused great interest amongst specialists in prehistoric art on account of the huge number of figures and their thematic and stylistic variety. The Minateda paintings are located in five caves. Animal-based hunting themes predominate. They are dated between 6,000 and 1,000 BC. They have the World Heritage designation as part of Mediterranean Prehistoric Rock Art.
polychromed basrelief "St. Francis of Assisi with Birds" by Lee Oscar Lawrie, 1937
Rockefeller Center, Manhattan Midtown, New York City
please do not use without permission
Manually carved altarpiece of intricate design with Santa Monica-the Virgin Mary-Saint Joseph with the child plychrome images. Santa Monica Parish Church-Alburquerque town-Bohol island-Philippines.
Polychrome Elevations is an artwork by Peter Newman at the South Bank outside the BFI and Hayward Gallery. Basically he's painted all the staircases in primary colours. Reminds me very much of the computer game Mirror's Edge.
Like my photos? Buy me a coffee!
Polychrome Elevations is an artwork by Peter Newman at the South Bank outside the BFI and Hayward Gallery. Basically he's painted all the staircases in primary colours. Reminds me very much of the computer game Mirror's Edge.
Like my photos? Buy me a coffee!
Polychrome Ceramic Lidded Vessel with Turquoise by Mary Small
Acoma Pueblo, NM
ca. 1980
John & Marcia Behnken collection
At the Booth Western Art Museum in Cartersville, Georgia.
Out of focus (darn) but tried to do a nice job of isolating and getting the feel of the milky, matte glaze (?). Will have to get up and take another shot of it.
A pietà is a picture or sculpture of the Virgin Mary holding the dead body of Jesus Christ on her lap or in her arms.
The word comes through Italian, from Latin pietas ‘dutifulness.’
This is one of two pietàs in this delightful chapel dedicated to Saint Pierre de Theux in the Gers, Midi-Pyrérées.
In the cast gallery at the Ashmolean, a striking display recreating the original painted appearance of classical sculpture.
Polychrome painted decoration upon floorboards, in imitation of kelim rug patterns. Designed to be seen around the existing kelim on the floor, as a continuation of some of the designs.
Polychrome aluminum sculpture by Robert Indiana (USA) as part of the exhibition 'Master of the Distinction' along the Pedestrian Mall of Orchard Road organised by Opera Gallery Singapore.
Small polychrome altar in the crypt of the remarkable Catholic Basilica in Birmingham, designed by Augustus Pugin.
Taken with Panasonic 20mm f1.7 lens on Panasonic GX7.
Polychrome painted decoration upon floorboards, in imitation of kelim rug patterns. Designed to be seen around the existing kelim on the floor, as a continuation of some of the designs.
www.originalartbroker.com/blog/__Erte/Limited_Edition_Pri...
Artist-: ErteCategory-:Limited Edition PrintsPrice:$3,495.00 size: 36x26 frame: 44x34 asking 3495 Erte Original EMBOSSED Serigraph, "Byzantine"!!! Accepting Offers Now: Up for sale here we have an Extremely Rare, Original Polychrome Serigraph with Embossed Foil Stamping on Arches Paper by Erte, aka Romain de Tirtoff, titled, "Byzantine" from his work with The Follies Bergere. The piece has been elaborately custom framed, as shown, in an expensive, ART DECO moulding to further enhance the spectacular nature of this artwork. "Byzantine" by ERTE, is nearly impossible to find, as this piece was SOLD OUT almost immediately after it was created. Our offering might be the last opportunity to purchase this incredibly detailed and EMBOSSED serigraph, especially for far less than retail of $12,750. This is a beautiful piece that will add to the ambiance of any home, dressing room or office. The stunning and elegant detail with silver and gold color contrast provides even more enjoyment in person. Do not miss this opportunity to own an authentic work by the Art Deco Master, ERTE. All OFFERS CONSIDERED: The artwork listed here is a spectacular and very rare, Embossed Serigraph on Arches paper titled, "Byzantine" by famous Art Deco artist ERTE. This piece is an actual, HAND SIGNED and EMBOSSED serigraph that comes with a gallery certificate guaranteeing its authenticity. "Byzantine" is part of Erte's best, rarest, and most desirable series he has ever created as he used daring vision and his genius combined to develop elegant costume designs. The piece is signed in the lower right and is from the very scarce edition of only 300, this is #165. We are offering you the opportunity to own a stunning display that will bring a lifetime of amazement and light to your home, powder room or study. One does not want to miss this wonderful and rare chance to purchase an authentic piece from one of the most famous artists of our time. The artwork measures 36x26" and has been elegantly custom framed to compliment the piece. The frame dimensions are approximately 44 x 34". This piece looks very nice once viewed in person where the vivid color and imagery, that is suitable for any decor, comes to life! Erte's art has been exhibited in major museums around the world, and his works are to be found in some of the most prestigious public and private collections worldwide. Here is your chance to own an Authentic artwork too!!! Please email if you have further questions and SUBMIT YOUR OFFER NOW!!! The artwork will be custom packaged to ship domestically or internationally.
Magenta ware
Late Hellenistic period, Roman Mid-Late Republican period, ca. 2nd-1st BCE
Found at Taranto (ancient Taras; see on Pleiades), tomb in via G. Oberdan, 1924
In the collection of, and photographed on display at, the Museo Archeologico Nazionale di Taranto (MArTa)
Inv. 211924
Polychrome painted decoration upon floorboards, in imitation of kelim rug patterns. Designed to be seen around the existing kelim on the floor, as a continuation of some of the designs.
Armorial jar, similar to an apothecary jar, but without any indication of the contents.
29 cm with lid, 20 cm without
16 cm diameter at widest
On front is the coat of arms of Anne of Brittany (queen to Charles VIII and then Louis XII): Field of ermine (white) surrounded by a gold oval and rocaille, surmounted by a cherub in green, gold and plum, and the legend POTIVS MORI CVAM FOEDARI ("Rather to die than be dishonored/defiled").
Overall background is deep blue with gold Fleur-de-lys on the back. The foot has gold bands bordering beads on a yellow field.
The lid is blue with a similar motif to the foot, and with Fleur-de-lys on the front, back and sides.
The front of the jar's rim was broken and repaired. The lid was shattered and reassembled, not very skilfullly, and without the finial.
Pair of Vases
French (Sevres manufactory), 1760
Painting attributed to Charles-Nicolas Dodin (1734-1803)
Soft-paste porcelain, pink ground color, dark blue and green ground colors, polychrome enamel decoration, and gilding.
These vases are designed in three sections - a base with holes for flowering bulbs, a tall section with pierced shoulders for potpourri, and a lid. The name of the form, pots pourris fontaine, is based on the overall effect of the design, which resembles a fountain.
The vases once belonged to a garniture (set of decorative objects) sold to Madame de Pompadour in 1760 that consisted of seven pieces of similarly decorated Sevres porcelain. The wall lights and potpourri vase from this garniture are now in the Louvre Museum, Paris.
Lidded Potpourri Vase
French (Sevres manufactory), about 1760 Painting attributed to Charles-Nicolas Dodin (1734-1803)
Soft-paste porcelan, pink and green ground colors, polychrome enamel decoration, and gilding.
This boat-shaped vase is one of the most celebrated models introduced at Sevres. Among the largest vessels made in the 1760s, it shows consummate skill in the firing of the clay. The shape derives fromt eh nef, a table decoration, usually of precious metals, in the form of a ship that was used since medieval times. the vases have varying decoration and were made to be sold with other vessels of different shapes forming garnitures (sets of decorative objects). Only twelve of these vases were produced at Sevres, ten of which have survived.
Tray for a Tabletop
French (Sevres manufactory), 1761
Painting by Charles-Nicolas Dodin (1734--1803)
Soft-paste porcelain, pink ground color overlaid with a diagonally set trellis pattern in blue and maroon, polychrome enamel decoration, and gilding
This shape, introduced at Sevres in 1758, was designed to be mounted onto the top of a small, movable table. The scene painted in the center is from an engraving after a painting by Francois Boucher (1703-1770) entitled "Le pasteur galant" (The amorous shepherd). The original painting is an overdoor decoration installed in the Hotel de Soubise, Paris, in 1738; it is one of Boucher's most widely reproduced images.
Polychrome mosaic emblema showing a pygmy or a dwarf offering the palm to a victorious cockerel while another defeated cockerel lies on the ground; on the left there is a tree trunk.
Roman, Vesuvian area, 1st century CE.
Museo Archeologico Nazionale di Napoli, Borgia collection (MANN inv. 10003)
Heading up Via dello Studio in Florence towards the Duomo (Cathedral). One more stop before that on the guided walking tour, was this studio that makes or restores statues and sculptures!
Then on to see the most famous building in Florence - The Duomo!
The first close up view of the dome of the Duomo. The whole area around the Cathedral was packed full of tourists.
Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore (Italian pronunciation: [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]; in English "Cathedral of Saint Mary of the Flower") is the cathedral of Florence, Italy, or Il Duomo di Firenze, in Italian. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome designed by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink, bordered by white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of Italy's largest churches, and until the development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.
The dome that covers the Florence cathedral (the church of Santa Maria del Fiore) is known as Filippo Brunelleschi’s dome. When it was designed, it was the largest dome in the world. This immediately created problems as its size prevented the traditional method of construction. Its structure is a double shell supported by sturdy pillars.
Ecce Homo, 1675
Andrea de Mena
Polychrome wood
From the exhibition
Spain and the Hispanic World: Treasures from the Hispanic Society Museum & Library
(January - April 2023)
From masterpieces by Goya and Velázquez to dazzling objects from Latin America, explore the art and culture of the Hispanic world in this landmark exhibition.
Discover the rich story of Spanish and Hispanic art and culture from the ancient world to the early 20th century through over 150 fascinating works: from masterpieces by El Greco, Zurbarán, Velázquez and Goya to sculptures, paintings, silk textiles, ceramics, lustreware, silverwork, precious jewellery, maps, drawings, illuminated manuscripts and stunning decorative lacquerware from Latin America.
The exhibition features the famous World Map of 1526 by Giovanni Vespucci, and culminates with Sorolla’s colourful, large-scale study for his monumental series of 14 paintings, Vision of Spain.
Founded in New York in 1904, the Hispanic Society Museum & Library is home to the most extensive collection of Spanish art outside of Spain. Presented for the first time in the UK, it will offer visitors a chance to trace the great diversity of cultures and religions – from Celtic to Islamic, Jewish and Christian – that have shaped and enriched what we today understand as Spanish culture.
[*Royal Academy]
Taken in the Royal Academy
polychromed relief by Lee Lawrie
bronze relief by Alfred Janniot
please do not use without permission
A polychrome-brick 3-storeyed block of industrial housing completed in 1860 to the design of William Lambie Moffat, built around a quadrangle with corner towers. Here one can see the polychrome technique close up with different colours used around the doorway and windows.
Anatomical Crucifixion (James Legg), 1801, cast by Thomas Banks.
Standing polychrome écorché, 1771, attributed to William Hunter.
Smugglerius, 1834, cast by William Pink from an original by Agostino Carlini.
Until the passing of the Anatomy Act of 1832, the only bodies legally available for dissection in England were those of executed criminals. Casts of flayed cadavers, known as écorchés, were therefore important as models for teaching anatomy both in medical schools and in art academies. Conventional écorchés made for artists consisted of a standing male figure set in a classicising pose and flayed to expose the first layer of muscles. However, in the late eighteenth century, artists and anatomists began to experiment with more elaborate poses and deeper levels of dissection.
[Royal Academy]
The crucifixion was cast from the corpse of James Legg "a murderer taken straight from the gallows to be nailed to a cross and flayed in order to settle an artistic debate. This was done at the request of three Royal Academicians - sculptor Thomas Banks and painters Benjamin West and Richard Cosway - to prove their belief that most depictions of the Crucifixion were anatomically incorrect."
[Royal Academy]
The standing figure came from the corpse of Solomon Porter, a burglar turned murderer, executed 1771.
Smugglerius was the nickname given to the figure under the belief that the executed criminal was a smuggler. The pose is based on the Roman sculpture, the Dying Gaul.