Listen to Coronavirus Patient Zero
This is a practical hands-on guide to painting any area in the home, with over 200 step-by-step pictures. It is an instant guide to basic techniques, including preparing surfaces, filling cracks, and the best way to apply paints and varnishes. It is a useful advice about the various types of paint such as matt, eggshell or gloss, as well as binders, diluents, varnishes, and wood stains, and their specific uses. It helps how to use painting tools and equipment for applying the paint, including brushes, rollers, pads, sponges and aerosols. It helps you to estimate the quantities of paint you will need, using diagrams and charts. It includes special paint effects, such as sponging, dragging, dry brushing, stippling and ragging. Home decorating using paint can be a satisfying experience. With appropriate preparation and the correct application of paint, even an amateur will find it easy to end up with a professional result. This book will guide you every step of the way, from using the right tools and preparing the surfaces, to applying the final coat of paint or varnish.
In Volume IV the focus lies on Rembrandt's self-portraits. During this research it became obvious that matters of authenticity cannot be viewed separately from questions relating to the original function and meaning of these works. Rembrandt's intriguing life-long practice of portraying himself in front of a mirror is examined in depth in this volume. As a result, not only has the group of approximately forty painted self-portraits gained transparency, but also new insights have been developed regarding Rembrandt's drawn and etched self-portraits. The problems of authenticity relating to a substantial number of self-portraits which in the past were attributed to Rembrandt, in this volume receive an unexpected nuance: through a combination of technical and stylistic research it is demonstrated that some of Rembrandt's self-portraits were in fact painted by others in his workshop.In clear and accessible explanatory texts the different paintings are discussed. Among the many illustrations are life-size colour reproductions of the faces of the self-portraits under discussion. Details are shown where possible, as well as the results of modern day technical imaging like X-radiography. The volume contains an -- in several respects eye-opening -- essay by the head of the Rembrandt Research Project, Ernst van de Wetering, on the problems of authenticity and function of Rembrandt's self-portraits. In addition, the book includes groundbreaking contributions by Marieke den Winkel on the meaning of dress and costume in Rembrandt's self-portraits, by Karin Groen on the use of grounds in Rembrandt's workshop and in paintings by his contemporaries, and a study by Jaap van der Veen concerning 17th-century ideas about authenticity in art.This reference work should be part of every serious art historical institute, university or museum. The enigma of Rembrandt's self-portraits, one of the most compelling phenomena in art history has been unravelled by Ernst van de Wetering with unprecedented thoroughness.
The subject of this book is the so-called London Qazv?n?, an early 14th-century illustrated Arabic copy of al-Qazv?n?'s The Wonders of Creation and the Oddities of Existing Things, which was acquired by the British Library in 1983 (Or. 14140). As is commonly the case for copies of this text, the London Qazv?n? is lavishly illustrated, with 368 extant paintings out of the estimated original ca. 520.
Its large format, ambitious illustrative cycle and the fine quality of many of the illustrations suggest that the atelier where it was produced must have been well-established and able to attract craftsmen from different parts of the Ilkhanid area. It also suggests that its patron was wealthy and curious about scientific, encyclopedic and caj?'ib literature, and keen to experiment with the illustration of new texts like this work, which had been composed by the author only two or three decades earlier. The only centre that was capable of gathering such artistic influences ranging from Anatolia to Mesopotamia appears to have been Mosul.
The London Qazv?n? is an important newly surfaced document for the study of early illustrated Arabic copies of this text, representing the second earliest known surviving manuscript, as well as for the study of Ilkhanid painting. In a single and unique manuscript are gathered earlier Mesopotamian painting traditions, North Jaziran-Seljuq elements, Anatolian inspirations, the latest changes brought about after the advent of the Mongols, and a number of illustrations of extraordinary subjects which escape a proper classification.
An impression prevails in this country that for many years past the Red men of the American Continent have represented a subdued and generally deteriorated race. No idea can be more erroneous. Debased, to a certain extent, they may have become, thanks to drink and other "blessings" of civilisation; but that the warrior-spirit, imbuing at any rate the more powerful tribes, is crushed, or that a semi-civilising process has availed to render them other than formidable and dangerous foes, let the stirring annals of Western frontier colonisation for the last half-century in general, and the Sioux rising of barely a year ago in particular, speak for themselves.
Jim Benton brings on the humor in a brand-new line of board books! In Piggy Paints, one adorable pig spends his day painting pictures big and little! Piggy paints big. Piggy paints little. Piggy paints pigs with a kitty in the middle. Piggy paints little. Piggy paints big.Piggy paints a pretty little polka-dot pig.
Gloss Accessories Articles
Gloss Accessories Books