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Analysis of the Mona Lisa Painting

Leonardo Da Vinci was born and raised in Italy where the Mona Lisa was ultimately painted started in 1503. The style of the painting has long been cited as the forerunner of numerous styles of art, one of the true masterpieces in the history of world art.

A Description of Mona Lisa

Painting the Mona Lisa, Leonardo elevated himself into another station of artist, those that create new forms and perspectives. The relatively small painting of Mona Lisa manages to craft one of the most intense and effective art experience into a compact 30″ by 20 ½” frame. As for what kind of paint Mona Lisa was originally envisioned with, oils were used on poplar wood panel and have been restored numerous times. In recent years, curators at the Louvre have begun to worry that the painting appears to be breaking down more rapidly than in the past.

Leonardo places his model in the midst of the painting, using a pyramid design to center her. The fold of her hands forms the front of the pyramid and he uses the same glowing light for her breast, neck and face. His lighting is important as he uses it to create many of the geometric shapes – circles and spheres – that compose the painting. The form of the painting itself is very simple, a modification of the Seated Madonna, a form very popular during the 15th and 16th centuries for portraits.

What Does the Mona Lisa Mean?

He modifies the formula however, creating a sense of distance between the sitter and observer, mostly utilizing the arm chair on which she rests. Everything about her posture speaks reservation and silence. However, her eyes silently meet the gaze of the observer, drawing the viewer into her eye line. Everything surrounding her face is dark, bringing that much more focus to the light of her face and the attraction it provides. The overall effect is a kind of natural attraction to her, drawn in by her appearance, but it immediately contrasts with the distance Leonardo creates between subject and observer.

The landscape of the painting has long been pointed out as the first instance of portrait on landscape. Seated in the midst of an open loggia with what appears to be pillars on either side of her, a vast landscape stretches out towards an icy mountain range. The curves of her hair and clothing are emulated in the waves of the landscape and steady curves in the river and hills behind her. The question has thus arisen as to whether the Mona Lisa is as much a portrait as it is the depiction of an ideal. The harmony between the model and the landscape behind her creates a sort of natural order, all punctuated by the detail of her mouth and that world famous smile.

The Smile

For centuries, historians, psychologists, writers, and politicians have been trying to offer their own theories as to what the smile of Mona Lisa might signify. Freud characterized it as an allusion to an Oedipus complex (he was in love with his mother) in Da Vinci while others have stated that it is a sign of innocence and calm. The question of why the smile is seen in so many different ways has become almost as big of a research subject as the smile itself. There have been scientists who point out the special relations of the smile and how human sight picks up on them. Margaret Livingstone, a professor at Harvard claims that the painting is most effective when viewed peripherally. The smile is more effective when looking at her eyes for example.

In 2005 a computer program was used that analyzes facial expressions for emotional recognition to assign “emotional” values to the smile. That program found her to be 83% happy. Regardless of Da Vinci’s intentions, the smile of the Mona Lisa is one of the most enduring questions in all of art.

Mona Lisa Analysis Today

Because of the research and attention the Mona Lisa has drawn, more than a few dozen people have tried their hand at recreating it. Hundreds of copies reside in different art galleries around the world, some of which their owners believe to be the original. Recently, an internet phenomenon has arise in which a clever MS Paint user was able to make a video showing how to make the Mona Lisa on paint, the free graphics program bundled with Windows. Copying the Mona Lisa has long been a standard test of an artist’s tenacity and skill.

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Paul Gauguin – Painting Nude Females

 Were we to make a list of the main post-Impressionist painters, the name of Paul Gauguin would be on top of the list. He is known for his innovative and bold experimental use of colours.

But the prime thing that made Paul Gauguin such a renowned artist was his capability to understand the inherent meaning of the subjects he painted. He caught the very meaning of the subjects he painted; and then he uploaded that onto the canvas, expressing the same with his impressionist style of painting.

The subject of painting human body has remained the most beautiful and perfect subject for depiction of their artistic prowess. The artists since the ages have exploited this subject and the human form through its depiction in their paintings. The human body, especially nude female body is a subject of first choice among the artists for the element of mysterious allure. But very few of these artists have done perfect justice to the natural beauty of women’s body as the master painter Paul Gauguin has done through his artistic nude paintings.

Many painters have spent their entire life painting nude bodies of the female models. They respected and adored the women sitting for them; and they tried hard to beautify their looks. These painters tried laboriously for injecting liveliness into the portraits of the nude females they painted. The great painters from the time of renaissance have done much artistic endeavours to immortalise a simple smile on the face of the beautiful women or the alluring curves of the bodies of those fatal fames. Numbers of painters have used this subject of painting natural beauties of women, but very few have succeeded in the job as Paul Gauguin.

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Speed Painting Photorealism… Again.

Another digital painting done from scratch in photoshop using Wacom Intuos 3 tablet. Artwork is completely freehand drawn, with reference photo set off to the side for glancing at. No tracing… Actual time to do pic was about 3 and a half hours. UPDATE: For the people that think this is fake– simply do a little research. It’s as easy as clicking on my username to see the list of all of my other videos. There you will find an array of different subjects and different mediums… Including photo real techniques with real paint. It it’s a pretty reasonable conclusion that if I can do the things I do with real paint– why would I feel the need or insecurity to fake it with the “less impressive” digital mediums? Why waste my time? You could also consider the efforts it would take to fake such a thing- consider the layering of the shadows and gradients… Look at how carefully it is done in these vids. There is a visible build-up of LAYERS of tones shadows and colors. To fake something like that would take so much effort, why would a guy who can do all of the other OBVIOUS traditional medium paintings on the same channel waste his time? TO MANY PEOPLE ASK: Why “photorealism”? Why not just use a camera? The answer is simple. I’ve made the point many times in my replies, comments and descriptions. But I’ll make it clearer here for those who do not understand: It’s for practice. It is the same as a musician practicing scales, so that he can write better songs…Or even a …

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Western Painting – Neo-Classicism and Its Mystic Magic

Neo-Classicism – The Concept

Neo-Classicism is the tag given to a distinct Western Classical Artistic talents and cultural movements, evident in different art genres, such as decorative, literary, musical, visual art, theatre, etc. Neo-Classicism, a European style beginning in 1765 AD, was very prominent in the eighteenth & nineteenth centuries, and had Ancient Roman, Greek, & Renaissance Classist influences. In essence, Neo-Classicism was a creative counter to Baroque and Rococo. A painting that has gained the ‘Canonic’ status represents Neo-Classicism. The standard of the artwork is very high and a typical Neo-Classical painter tries to give a new feel to the art forms, while exhibiting the complete control of an expression. Today, architecture is the frontrunner of Neo-Classicism, with the US and Britain being the key builders.

Neo-Classicist Examples

o The French painter Jacques Louis David (1748-1825) was the first successful Neo-Classical artist, who derived his themes from the Medieval History and the great French Revolution. His “The Death of Socrates” (1787), one of the iconic Neo-Classicist works is presently housed in the Metropolitan Museum of Art, New York.

o Jean August Dominique Ingres (1780-1867) succeeded him. Artists worldwide loved Ingres’ famous artworks, including “La Comtesse d’Haussonville portrait.” The touch of romance and subtle Eroticism are also demonstrated in his paintings, the “The Turkish Bath” and “The Virgin of the Host.”

o Sir Edwin Henry Landseer (1802-1873), a highly acclaimed English Victorian Neo-Classicist painter’s art works are housed in many prestigious museums and galleries in the US and the UK. His Neo-Classical masterpiece, the “Duchess of Abercorn and her Daughter” (1834), is housed in the Shugborough Hall, Staffordshire, UK. “There’s No Place Like Home” is a lovely painting of a dog reclining near the heart, which presently graces the Victoria and Albert Museum of London.

o August Anton Tischbein (1801- 1877), a German Neo-Classicist’s Trieste (1858), is currently housed in the Thyssen Bornemisza Museum in Madrid, Spain.

Neo-Classicism – The Details

Most of such Neo-Classical Western Paintings were oil on canvas works and subtle colors were used to portray strong emotions. Initially, Neo-Classical Paintings were all about fixed, ideal, and solemn tones. Later, with the arrival of the Romantic Movement in France, Neo-Classist paintings gave vent to personal expressions and inert sensuality. The Neo-Classical style can also be seen in the seventeenth century furniture and decorative artworks. Neo-Classicism was the pulse of the art forms during the seventeenth and eighteenth century, but it called for great discipline and intellectual approach towards depicting intense human emotions, activities, or historic scenes.

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A Course Of Water Colour Painting

A Course Of Water Colour Painting Review

This is a reproduction of a book published before 1923. This book may have occasional imperfections
such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact,
or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections,
have elected to bring it back into print as part of our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.



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The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification:

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<title> A Course Of Water Colour Painting

<author> Richard Pettigrew Leitch

<subjects> Art; Techniques; Watercolor Painting; Art / Techniques / Watercolor Painting

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Picturing the City in Medieval Italian Painting

Picturing the City in Medieval Italian Painting Review

Buildings and their surrounding spaces influence the collective identity of an urban population. In turn, images of buildings in paintings and other artwork can reveal much about the character of a city.

This richly illustrated text focuses primarily on Rome, Assisi, Siena and Florence from circa 1250 to circa 1390. It addresses four key issues in the study of change in architectural imagery and urban identity: 13th century Roman painting and its importance for 14th century painting in Tuscany; the Tuscan-Byzantine relationship from the mid- to late 13th century; “naturalistic” representation of medieval painting; and the meaning behind some of the stylistic changes that coincided with the bubonic plague in the 14th century.

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How abstruse painting derives from modernism

Modern art relates to arrangement of different pictures and symbols that relate to each other and together form a piece of art. Art has come a very long way from the ancient times. Earlier our ancestors used to draw with pieces of stones on mountains, trees and any kind of surfaces. They used it for various uses like storing of information or aiding others to find the desired information. The real convenience of a modern art gallery is the ease with which you can set it up. If you are an artist and would like to set up a display to showcase your art, you can just photograph your work and create a virtual gallery within a couple of minutes. What would probably cost you thousands of dollars to set up using traditional methods would hardly cost you a few dollars, using the virtual approach. You do not have to pay for expensive floor space, maintenance costs, electricity and other expenses normally associated with maintaining a real art museum.

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Brief History of Tibetan Thangka Painting

Thangka painting is an ancient Tibetan Buddhist art form, which has been practised in Tibet for much more than one thousand years.  Thangka, simply is the Tibetan word for painting.  In the paintings of this Tibetan Buddhist art form the many and various deities and venerable teachers such as the historical Lord Buddha Shakyamuni are shown.  These images inspire through their beauty, but also, a painted deity is a visual support for those practising meditation.

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The Painting of Modern Life: Paris in the Art of Manet and his Followers

The Painting of Modern Life: Paris in the Art of Manet and his Followers Review

The Paris of the 1860s and 1870s was supposedly a brand-new city, equipped with boulevards, cafés, parks, and suburban pleasure grounds–the birthplace of those habits of commerce and leisure that constitute “modern life.” Questioning those who view Impressionism solely in terms of artistic technique, T. J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives–be they bar-maids, boaters, prostitutes, sightseers, or petits bourgeois lunching on the grass. The central question of The Painting of Modern Life is this: did modern painting as it came into being celebrate the consumer-oriented culture of the Paris of Napoleon III, or open it to critical scrutiny? The revised edition of this classic book includes a new preface by the author.

• Impressionism: Art, Leisure, and Parisian Society
• Farewell to an Idea: Episodes from a History of Modernism
• Illuminations: Essays and Reflections
• Techniques of the Observer: On Vision and Modernity in the 19th Century (October Books)
• Perspective as Symbolic Form

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The World of Matte Painting

The World of Matte Painting Matte Painting From Wikipedia, the free encyclopedia A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that would otherwise be too expensive to build or visit. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage. At its best, depending on the skill levels of the artists and technicians, the effect is “seamless” and creates environments that would otherwise be impossible to film. interested? Read more here: en.wikipedia.org All Movies Taking Lives The Scorpion King Jesse James Shooter The Rundown Skeleton Key Underdog The Chronicles of Narnia River Queen Torque – Wanted Constantine What Dreams May Come Killzone Hellboy Mystery Men Freek The Chronicles of Riddick The Cat in the Hat Songs Lostprophets – Shinobi Vs. Dragon Ninja Linkin Park – New Divide

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