Tag: Stretched Canvas Prints
The accolade is a ceremony to confer knighthood that may take many forms including, for example, the tapping of the flat side of a sword on the shoulders of a candidate or an embrace about the neck.
In the first example, the “knight-elect” kneels in front of the monarch on a knighting-stool when the ceremony is performed. First, the monarch lays the flat side of the sword’s blade onto the accolade’s right shoulder. They then raise the sword gently just up over the apprentice’s head and places it then on his left shoulder. The new knight then stands up after being promoted, and the King or Queen presents him with the insignia of his new order.
There is some disagreement amongst historians on the actual ceremony and in what time period certain methods could have been used. It could have been an embrace or a slight blow on the neck or cheek. In knighting his son Henry, with the ceremony of the accolade, history records that William the Conqueror used the blow.
The blow, or colée, when first utilized was given with a naked fist. It was a forceful box on the ear or neck that one would remember. This was later substituted for by a gentle stroke with the flat part of the sword against the side of the neck. This then developed into the custom of tapping on either the right or left shoulder or both, which is still the tradition in Great Britain today.
An early Germanic coming-of-age ceremony, of presenting a youth with a weapon that was buckled on him, was elaborated in the 10th and 11th centuries as a sign that the minor had come of age. Initially this was a simple rite often performed on the battlefield, where writers of Romance enjoyed placing it. A panel in the Bayeux Tapestry shows the knighting of Harold by William of Normandy, but the specific gesture is not clearly represented. Another military knight (commander of an army), sufficiently impressed by a warrior’s loyalty, would strike a fighting soldier on the head or his back and shoulder with his hand and announce that he was now an official knight. Some words that might be spoken at that moment were Advances Chevalier au nom de Dieu.
The increasingly impressive ceremonies surrounding adoubement figured largely in the Romance literature, both in French and in Middle English, particularly those set in the Trojan War or around the legendary personage of Alexander the Great.
In the Netherlands the knights in the exclusive Military Order of William (the Dutch “Victoria Cross”) are striken on both shoulders with the palm of the hand, first by the Dutch monarch (if present) then by the other knights. The new knight does not kneel.
As soon as they appeared, the Water Lilies of Claude Monet old age, those hymns to light, plant life and water, incurred the displeasure of both the well-wishers and the detractors of Impressionism. The first were baffled by Monet’s new manner; the second were blind to the new depth of vision these works revealed. Misunderstood and neglected for over thirty years, the Water Lilies are at last receiving the recognition they deserve.
Having had the privilege, from childhood up, of seeing and familiarizing myself with them in the setting at Giverny in which they were created (the only setting, let me add, that can do justice to them), it reflects no particular credit on me to say that personally I have never shared that incomprehension. To see the Water Lilies in the garden studio especially built to house them was to see them in natural, harmonious conjunction with radiant summer days spent in the garden at Giverny beside the pond which inspired them. It was a delight which those who experienced it will never forget.
I cannot deny that, for me at least, the spell is irremediably broken in the Musée de l’Orangerie, in that bleak back room which, designed especially for the Water Lilies in 1925, nevertheless baldly reduces them to a mural decoration — and they are ever so much more than that. The way in which they are encased there, in a long horizontal belt around the concave wall, restricts them to the narrow, perfectly extraneous function of emphasizing the ellipsoidal line of the architecture.
Monet himself contributed to this over-modest setting by approving the whole project at the time and by doing his utmost to adapt his panels to it. To break and diversify the even horizontal flow of the paintings around the room, he sprinkled the foreground with willow fronds suggestive of the decorative style of art nouveau, fashionable around 1900. At the same time they introduce a third dimension which strikes an uncalled-for contrast with the sheer vertical plane of the water surface; the latter, with its rich play of light effects, was theme enough in itself.
The setting, then, in which the Water Lilies have been exhibited to the public in part explains both the eclipse they underwent for over a quarter of a century and the keen revival of interest in them caused by the recent revelation of further Water Lilies hitherto hidden from view in the studio at Giverny. The evolution of taste and ideas in the course of the past halfcentury explains the rest.
This evolution, as far as painting is concerned, began with the dissensions that led to the break-up of the impressionist movement in the eighties. While Monet went on, singlemindedly pursuing the subtlest, most elusive effects and variations of light and atmosphere, Pissarro, Renoir, Cézanne, Van Gogh and Gauguin each branched out in different directions. The Neo-Impressionism of Seurat, with which Pissarro threw in his lot in 1886, was both a logical development of Impressionism and a reaction against it. The systematic, scientific application of the principles which Monet discovered and applied by trial and error signified in effect a tacit condemnation of the intuitive, empirical nature of his art.
As for Renoir, after an uneasy interlude in which he toyed with a harshly linear, Ingresque style, he finally reconciled his concern for form with his love of light, fusing both in an inimitable glorification of volume saturated with color. Cézanne, however, always deferring to his “sensations,” gradually exacted from them not an atmospheric so much as a geological revelation of the visible world. After a fling at Neo-Impressionism, whose narrow harness failed to hold him long in check, Van Gogh hit his stride at Arles, throwing off every constraint in a jubilant, preexpressionist exaltation of color and line. But it was the symbolism of Gauguin which worked the most radical transformation of Impressionism. Gauguin sacrificed the visual aspect of things to the expression, in terms of line and color, of the “idea” they engendered in the mind. He rejected outright the whole battery of naturalistic effects calculated to suggest space and light, and adopted flat colors and heavy contour lines.
The upshot of these powerfully diverging currents was Fauvism, which abandoned every semblance of fidelity to outward appearances in favor of a rapturous glorification of color — but color handled more plastically than it was by the slightly later followers of Van Gogh, with their bias toward expressionist distortion. In spite of this reaction, however, Fauvism and Expressionism remained, like Impressionism, essentially dependent on the sensation induced by the object.
This was no longer true of Cubism, which rejected the outer world as it appears to our senses and built up another one out of a select assortment of elements artificially reassembled in the mind. This essentially cerebral art stood at the opposite pole from the essentially sensuous art of Impressionism. No wonder then that the meat of the one was the poison of the other. The rise of Cubism and the era that followed, during which its influence spread and was assimilated, set up a reaction against Impressionism, whose achievement was belittled and whose most characteristic representative, Claude Monet, was disregarded by a whole generation of artists.
Other Names: Heru, Hor, Harendotes/Har-nedj-itef (Horus the Avenger), Har-Pa-Neb-Taui (Horus Lord of the Two Lands)
Appearance: His most common form is that of falcon-headed man, but he is also shown as a falcon, a lion with the head of a falcon, or a sphinx. He is also shown as a falcon resting on the neck of the pharaoh, spreading his wings to either side of the pharaoh’s head and whispering guidance in his ear.
Description: It is nearly impossible to distinguish a “true” Horus from all his many forms. In fact, Horus is mostly a general term for a great number of falcon gods, some of which were worshipped all over Egypt, others simply had local cults. Yet in all of his forms he is regarded as the prince of the gods and the specific patron of the living ruler.
The worship of Horus was brought from the outside by neighboring tribes who invaded and then settled into Egypt. He was their god of war, but was quickly absorbed into the state religion, first as a son of Ra, then changing to become the son of Osiris. He was the protector and guide to the pharaoh and later pharaohs were believed to be his avatar on earth. Horus was also the patron of young men and the ideal of the dutiful son who grows up to become a just man.
The most popular story of Horus is the one in which he grows to manhood to avenge the death of his father Osiris by battling against his cruel uncle Set. In many writings, he is said to continue to battle Set daily to ensure the safety of the world.
Worship: Worshipped widely throughout all of Egypt, even his variant forms were widespread.
Impressionism was a 19th-century art movement that originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The name of the style is derived from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satiric review published in the Parisian newspaper Le Charivari.
Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles. The development of Impressionism in the visual arts was soon followed by analogous styles in other media which became known as Impressionist music and Impressionist literature.
The term “Impressionism” can also be used to describe art created in this style, but not during the late 19th century.
Sunflowers (original title, in French: Tournesols) are the subject of two series of still life paintings by the Dutch painter Vincent van Gogh.
The earlier series executed in Paris in 1887, depicts the flowers lying on the ground, while the second set executed a year later in Arles shows bouquets of sunflowers in a vase. In the artist’s mind both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions.
About eight months later Van Gogh hoped to welcome and to impress Gauguin again with Sunflowers, now part of the painted Décoration for the Yellow House that he prepared for the guestroom of his home in Arles, where Gauguin was supposed to stay. After Gauguin’s departure, Van Gogh imagined the two major versions as wings of the Berceuse Triptych, and finally he included them in his Les XX in Bruxelles exhibit
Franz Marc – Fighting forms Poster by Framed_Paintings
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Modern Abstract Art Poster – Rothko Style by made_in_atlantis
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Kandinsky Squares Concentric Circles Poster by made_in_atlantis
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Modern Red Abstract Painting Art Poster Print by made_in_atlantis
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Vintage Egypt Travel Postcard by made_in_atlantis
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Central Park in Autumn, New York City – poster by DestinationNYC
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Central Park in New York
Central Park in New York is home to a wide array of attractions spread out on more than eight hundred acres of land. There are sprawling spring waters and green meadows, in addition to educational facilities, stunning bridges, amazing performance centres and beautiful architecture. There are numerous iconic figures of Balto, Alice and Wonderland, and also of William Shakespeare.
The oldest public monument the Obelisk is also in Central Park. The Belvedere Castle is a weather station which is also installed in the Central Park. In addition there is the Great Lawn located in the north of the Central Park is well known for hosting the Papal Mass in the late nineties. The Blockhouse which is an old fort from the war in the early nineteenth century in also situated in the Central Park. The Mc Gown’s Pass which is also is central Park is linked to the American Revolution when the Continental Army walked pass through it.
The park is just about historical monuments and landmark situations located in the Central Park. There is certainly much more to the mighty Central Park. The world famous Central Park Zoo and Wildlife Centre and also the Children’s Zoo is also very much in Central Park. The animal lovers will be excited to see more that fourteen hundred animals in the zoo with over one hundred and thirty species of animals. These varied types of animals are kept in three different temperate zones where they actually belong to, that are tropic, garden and polar.
The purpose of a park is incomplete without ground for physical sports and other activities. The great Central Park can not go without these inevitable and hence there are skating rinks, carousels, public swimming pool, baseball field, tennis courts and other attractions spread throughout the park to provide the visitors with the best fun time activities.
Amid the busy frantic world of the New York City, Central Park provides a safe haven to the tourist to bask in the glory of nature. The picturesque beauty of the Central Park is much more than the other miscellaneous attractions in there.
Meditating Buddha figure sits in the middle of an enlightening rays of light in this vintage style Buddha art perfect for any wall! Fantastic Buddha art gift!
Agra, the city of the Taj Mahal, lies 125 miles south of Delhi, connected to the capital by the special ‘Tourist Express’ which leaves Delhi at 7am and can bring you back by 10pm – regular express trains from Delhi, Madras and Bombay also stop at Agra. These are flights from Delhi, Calcutta, Benares and other cities; air-conditioned buses for day tours are also availableç If you coming from Delhi by road, the first monument of Agra is the tomb of Akbar the Great at Sikandra; the central mausoleum is four-storied affair, of which the top story is in marble and the bottom three in red stone.
The extraordiranily beautiful Taj Mahal, one of the wonders of the world and a masterpiece in marble, was built in 12 years by an army of 20,000. Dominating the city of Agra is the massive Red Fort, the creation of successive emperors. Twent-six miles southwest of Agra is the deserted city of Fatehpur Sikri, once the imperial capital and now a collection of abandoned, but well-preserved mosques, mansions and palaces. In Agra hotels are Clark’s Shiraz and the Grand.
On the banks of the sacred river Ganges, halfway between Delhi and Calcutta, stands Varanasi (Benares), Hinduism’s greatest city where for thousands of years pilgrims have cleansed themselves of their signs on the ghats, the steps leading down to the river. Local craftsmen are world-famous for their silks and brocades. Clark’s Hotel, Mah Road, has single rooms.
The walled ‘pink city’ of Jaipur, the capital of the State of Rajasthan, is encircled by rugged hills, crowned with medieval fortresses. Among the famous buildings are the Hawa Mahal (Palace of the Winds); the City Palace, housing a collection of weapons, rugs, manuscripts and paintings and the Amber Palace, dominating the city. Hotels in Jaipur are the Jai Mahal Palace, Rambagh and State Hotel.
Sexy Women Stylish Fashion Passion Canvas Print
Modern Art Figure
A great design illustration with woman with a leopard print background. Text reads ” Fashion Passion”. Perfect for the fashion & clothing professional, the domestic diva goddess and for those who work and love fashion. Great decor item for the sewing, styling boutique. Artistic modern décor for modern office and women.