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Home decor gets a dash of drama with movie posters. The trick is in picking the right one for the right space and customizing it for the interiors.
The fancy for movie posters as a statement of style in home decor is a relatively recent trend. In the home interiors segment, in which art continues to top customer wish-lists, movie posters are still considered niche territory. But there’s probably nothing more gratifying for the incorrigible movie fan — there’s a bit of him in all of us, anyway — than having the walls around mounted with posters of favourite films.
Wall Decoration and Movie Themes
Arriving at a theme for the rooms — from romance, mystery and such — can be a start to wall decoration. Posters of films that coincide with real-life phases can add that personal bit to the decor. You can also mix the movie posters up as a sequence — James Bond from different ages, for instance — or fix them together in a collage. All, needless to say, in tune with the basics of wall decoration and colour schemes of the room.
Classic Movie Posters
Posters of classic movies are eternal favourites, a testimony reflected in the rise in the number of online groups selling them. Casablanca, Gone With The Wind and Alfred Hitchcock thrillers continue to be good draws in the classic movie posters segment but you are doing up your place and it’s your pick that counts.
So the gangster genre fan in you can go for the classic split-on Scarface poster and the rom-com lovers have the now-legendary Pretty Woman poster. Again, the range is all out there and it’s for you to make the choice. Though the idea works on personalization, classic movie posters look better in the living room and it helps to innovate while picking and arranging the line-up of posters.
Presenting Movie Posters For Interiors
Vintage posters come with the advantage of never having to look “old” but it doesn’t work with all movie posters. That’s reason enough to focus more on ways to present them to accentuate the home’s interiors. The old, trusted wooden frames bring a certain elegance to the posters as you mount them on the walls. But it’s again important to customize; The Matrix wouldn’t look good in one, would it?
Wall decoration of the personal home theatre with movie posters can, in an understated way, enrich your movie-watching experience. The fancied back-lit poster box is still the best option in mounting movie posters, especially in home theatres. For the regular mounts, there are many available sizes — 24×36 and 20×20 among popular dimensions — to be picked according to the clarity of the image and the available wall space.
Identifying the right poster for the right space is critical. Quirks apart, it always makes sense to avoid The Fist Of Fury in the study and, the horror of horrors, Psycho in the bath.
Some 900 years ago an extraordinary occurrence took place on Market Day in the English midlands town of Coventry. Two monks at St. Albans Abbey in Hertfordshire first recorded this amazing story in Latin. Roger of Wendover wrote of it in the twelfth century and Mathew Paris in the early thirteenth century. As the Abbey stood at an important road junction, it would seem that the monks may have heard the story from travellers who were on their way from the Midlands to London.
The astonishing tale that has come down to us through the centuries, is that sometime in the eleventh-century a proud, pious lady rode through Coventry on Market Day completely naked, covered by nothing but her long hair!
Was this true? Apparently so! Who was this pious medieval streaker?
Lady Godiva was the lady, wife of Leofric, the Earl of Mercia. Earl Leofric was one of the all-powerful lords who ruled England under the Danish King Canute.
Joan Miró i Ferrà (April 20,1893 – December 25,1983) was a world renowned Spanish Catalan painter, sculptor, and ceramist who was born in the sea port city of Barcelona.
Miro was the son of a watchmaking father and a goldsmith mother, he was exposed to the arts from a very young age. There have been some drwaings recovered by Miro dating to 1901, when he was only 8 years old. Miro enrolled at the School of Industrial and Fine Arts in Barcelona until 1910; during his attendance he was taught by Modest Urgell and Josep Pascó.
After overcoming a serious bout of typhoid fever in 1911, Miro decided to devote his life entirely to painting by attending the school of art taught by Francesc Galí. He studied at La Lonja School of Fine Arts in Barcelona, and in 1918 set up his first individual exhibition in the Dalmau Galleries, in the same city. His works before 1920 (the date of his first trip to Paris) reflect the influence of different trends, like the pure and brilliant colors used in Fauvism, shapes taken from cubism, influences from folkloric Catalan art and Roman frescos from the churches.
His trip to Paris introduced him to and developed his trend of surrealist painting. In 1921, he showed his first individual exhibition in Paris, at La Licorne Gallery. In 1928, he exhibited with a group of surrealists in the Pierre Gallery, also in Paris, although Miró was always to maintain his independent qualities with respect to groups and ideologies.
From 1929-1930, Miró began to take interest in the object as such, in the form of collages. This was a practice which was to lead to his making of surrealist sculptures. His tormented monsters appeared during this decade, which gave way to the consolidation of his plastic vocabulary. He also experimented with many other artistic forms, such as engraving, lithography, water colors, pastels, and painting over copper. What is particularly highlighted from this period, are the two ceramic murals which he made for the UNESCO building in Paris (The Wall of the Moon and the Wall of the Sun, 1957-59).
It was at the end of the 60´s when his final period was marked and which lasted until his death. During this time, he concentrated more and more on monumental and public works. He was characterized by the body language and freshness with which he carried out his canvasses, as well as the special attention he paid to material and the stamp he received from informalism. He concentrated his interest on the symbol, not giving too much importance to the representing theme, but to the way the symbol emerged as the piece of work.
In 1976 the Joan Miró Foundation Centre of Contemporary Art Study was officially opened in the city of Barcelona and in 1979, four years before his death, he was named Doctor Honoris Causa by the University of Barcelona.
Dalí, May 11, 1904, in Spain’s Catalonia region located in the town of Figueres, Salvador Dalí and Felipa Domenech Ferres i Cusí couple’s second child came into the world. The couple’s first child was born in 1901, Dalí’s birth, nine months and ten days ago (August 1, 1903), died of inflammation of the digestive tract, it is a name that Salvador had been the second child.
The first children at a young age to die a kind of acceptance can not Dalí couple of small Dali by frequent dead brother talking about the first Salvador’s a picture of the bedroom walls of the sheds, and Dalí’yle together regularly for the first Salvador’s tomb visits were. This, in Dalí’s early years led to confusion about their identity. Later, I did not know about his brother “were alike as two drops of water, but reflected was different. It was probably my first version was designed to be more positive.” I would write.
Dali’s father, a notary public was tough and authoritarian character. Unlike the full understanding and compassionate mother and son had given support to the efforts of the painting. Dali’s sister Ana María was born three years old. House as the only male child, mother, sister, aunt, grandmother, friends and carers of interest from the permanent Dalí, spoiled and capricious since a young age began to display a character.
1914 with the support of his mother to a special school post pictures of the Dali opened his first exhibition at the Municipal Theater in Figueres in 1919. In February 1921 of his beloved mother died of breast cancer. About his mother’s death “was the biggest blow I received in my life. I used to adore him. There may make my soul will not appear inevitable flaws always accept the loss of a being I could not trust.” I would write. Dali’s father, shortly after the death of his wife’s sister married.
Richie Fahey and His Photography
New York City photographer Richie Fahey paints his pictures in a cold water flat, surrounded by his inspiration: a huge collection of paperbacks in 1930-1960s, mold and pulp detective. With the help of a manual fan of post-war oil Coloring Pictures for fun and profit, he learned to transform photos into black and white to glorious color by bubbling with pigments on snapshots of the 40s .
Technicolor-style lobby cards as Fahey mentioned in the houses of old movies, novels and covers portraits dimestore star fan magazines such as screen and Photoplay. In defining his style, Fahey was inspired by pictures in magazine posed detective, director of photography for the 1940’s-50 as John Alton, portrait photographers like George Hurrell, and as painters and illustrators and James Leeteg Avanti.
In creating his images, Fahey plays with the stereotype of black beautiful women that has gone wrong and the men who love them. He is meticulous stylistic detail. Convincing the artistic direction, combined with lighting techniques and hand coloring vintage combine to create attractive, ambiguous works. The inability of the viewer to identify the exact time when a photograph has been taken Fahey, lends a certain timelessness to work from the artist.
Fahey has created book covers for Penguin, Scribner, Warner Books, Vintage, ST. Martin’s Press, Knopf and Simon & Schuster. Other commercial clients include Sony Records, Adobe Theatre Co. and Design Spot. His clients have included Sports Illustrated editorial, GOTHAM, bust, atomic physics and magazines Flatiron. Fahey produced and co-designed the cover for James Bond novels reissued.
Fahey was presented in juxtaposing art review, camera art, Yellow Rat Bastard and GARAGE. His work has been presented to the Robin Rice Gallery in New York’s Greenwich Village and posters of his work are available for purchase online at VintageArte.com. His 2004 calendar pinup, women in crime watch, beautiful women caught secretly commit various crimes fun.
Fahey studied painting at the University of South Caroline and photography at the Rochester Institute Technology.
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Art Deco, a term that designates a style of design popular during the 1920s and ’30s. Invented in the 1960s, the name derives from the 1925 Exposition des Arts Decoratifs in Paris, where the style reached its apogee. Art Deco is characterized by long thin shapes, curved surfaces and geometric patterns. Practitioners of the style attempted to describe the sleekness expressive they thought the age of the machine.
The style influenced all aspects of art and architecture, and decorative arts, graphic arts and industrial. Work performed in the range of Art Deco skyscrapers and ocean liners to toasters and jewelry. Since the 1970s the style has been a resurgence in popularity. Noted U.S. monuments to the style of New York are the Rockefeller Center and Chrysler Building, parts of Miami Beach, Fla., and Fair Park in Dallas, Texas.
Carmen is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. The opera was first performed at the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalized its first audiences.
Bizet died suddenly after the 33rd performance, unaware that the work would achieve international acclaim within the following ten years. Carmen has since become one of the most popular and frequently performed operas in the classical canon; the “Habanera” from act 1 and the “Toreador Song” from act 2 are among the best known of all operatic arias.
The opera is written in the genre of opéra comique with musical numbers separated by dialogue. It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery gypsy Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen’s love to the glamorous toreador Escamillo, after which José kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage, broke new ground in French opera and were highly controversial.
After the premiere, most reviews were critical, and the French public was generally indifferent. Carmen initially gained its reputation through a series of productions outside France, and was not revived in Paris until 1883; thereafter it rapidly acquired popularity at home and abroad. Later commentators have asserted that Carmen forms the bridge between the tradition of opéra comique and the realism or verismo that characterised late 19th-century Italian opera.
The music of Carmen has since been widely acclaimed for brilliance of melody, harmony, atmosphere, and orchestration, and for the skill with which Bizet musically represented the emotions and suffering of his characters. After the composer’s death, the score was subject to significant amendment, including the introduction of recitative in place of the original dialogue; there is no standard edition of the opera, and different views exist as to what versions best express Bizet’s intentions. The opera has been recorded many times since the first acoustical recording in 1908, and the story has been the subject of many screen and stage adaptations.
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