Royal and Langnickel Pink Art Acrylic Painting Artist Set for Beginners, Pink

Royal and Langnickel Pink Art Acrylic Painting Artist Set for Beginners, Pink

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The beginner art sets have everything you need to start creating what you have always dreamed. This set includes a how to guide with step-by-step instructions, teaching you how to apply your new found skills. Once you have established the basics, let your creativity flow. Set includes 10 acrylic paint tubes (12-ml), 6 natural hair brushes (round 1, 4, 7, flat 2, 5, 8), 1 graphite pencil, 1 eraser, 1 sharpener, 1 six-well palette, 1 palette knife, 1 acrylic pad (5-inch by 7-inch), 1 watercolor beginner guide and 1 pink storage box measuring 13-inch by 6-1/4-inch by 2-inch. Imported.Artist sets by royal and langnickel are great for any level artist, regardless of age or experience
Art set features all the essential tools to start experimenting and painting, all supplies are stored in a convenient wooden storage box with handle for ease of use, travel and storage
Includes 10 acrylic paint tubes, 1 eraser, 1 double pencil sharpener, 1 six-well plastic palette, 1 plastic palette knife, 1 drawing pencil, 6 brushes, 2 canvas boards and one beginners painter guide
Wood box measures 13-inch by 6-1/4-inch by 2-inch
Contents conform to ASTM D4236



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Oil Painting Art – The Advantages and Disadvantages


Oil painting has been around for hundreds of years. In fact, the thirteenth century has brought us some oil painting art from England. This is where they used oil paintings for decoration. However, during those early years, many of the artists liked using paints that are known as tempera, instead of using oil paints. This is because tempera would dry faster than the oil paint. During the fifteenth century, certain artists came up with the idea of taking tempera and mixing it in with the oil paint. It was not until the seventeenth century that the pure oil paint became more popular. Below, we are going to discuss this topic even more.

If you are in touch with your artistic side, then we are sure you are in this type of art. Oil painting has a tendency to slowly dry. In fact, it dries slower than any other paint out there. This is because it is made from small particles of pigments.

Some of the artists out there may find it troublesome to wait for the painting to dry, but when taking a class, you will find that the artists believe this type of art should be taught to every student. This has a lot to do with the fact that there are many oil paint reproductions developed using these type of paints.

When it comes to this type of painting, there are more advantages than there are disadvantages. You see, if you forget about your paints and you leave them open, then they are not going to dry out as fast as the other paints.

Since it takes longer for them to dry out, the paint in the tube is not going to dry out if you leave it open. In fact, it could take up to a couple of weeks for it to dry.

This also makes it easy for an artist to leave their picture and come back at different sessions without fearing the painting is going to dry up too early. Of course, for many, this may be viewed as a disadvantage because the slow drying could make it difficult for them to go to the next stage of their project.

These type of paints are great when it comes to blending with the paint that is surrounding it. When you blend it on canvas, you will be creating unique strokes that are not possible with any other type of paint. Of course, to some, this advantage could also be viewed as a disadvantage. It is possible to blend colors that one did not intend to blend.

Have you taken a look at all of the oil painting art that is out there today? We’re not just talking about the pictures that are hanging in the museum. We are talking about the type is for sale. There are many websites on the Internet that have a large variety of pictures for sale. Some of them are from private artists, while others are from famous artists. Oil paintings would look great hanging on your wall.

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Source by Al Smitty

The Art of Rivalry: Four Friendships, Betrayals, and Breakthroughs in Modern Art

The Art of Rivalry: Four Friendships, Betrayals, and Breakthroughs in Modern Art

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Pulitzer Prize–winning art critic Sebastian Smee tells the fascinating story of four pairs of artists—Manet and Degas, Picasso and Matisse, Pollock and de Kooning, Freud and Bacon—whose fraught, competitive friendships spurred them to new creative heights.

Rivalry is at the heart of some of the most famous and fruitful relationships in history. The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary—one who was equally ambitious but possessed sharply contrasting strengths and weaknesses.

Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock’s uninhibited style of “action painting” triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock’s sudden death in a car crash, de Kooning assumed Pollock’s mantle and became romantically involved with his late friend’s mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain’s most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen.

Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one’s own as an artist—finding one’s voice—almost always involves willfully breaking away from some intimate’s expectations of who you are or ought to be.

Praise for The Art of Rivalry

“Gripping . . . Mr. Smee’s skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas.”The New York Times

“With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority.”The Boston Globe

“Bacon liked to say his portraiture aimed to capture ‘the pulsations of a person.’ Revealing these rare creators as the invaluable catalysts they also were, Smee conveys exactly that on page after page. . . . His brilliant group biography is one of a kind.”—The Atlantic

“Perceptive . . . Smee is onto something important. His book may bring us as close as we’ll ever get to understanding the connections between these bristly bonds and brilliance.”The Christian Science Monitor

“In this intriguing work of art history and psychology, The Boston Globe’s art critic looks at the competitive friendships of Matisse and Picasso, Manet and Degas, Pollock and de Kooning, and Freud and Bacon. All four relationships illuminate the creative process—both its imaginative breakthroughs and its frustrating blocks.”Newsday

From the Hardcover edition.



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His Most Famous Painting (The Sleeping Gypsy) – Henri Rousseau


French ‘Post-Impressionist’ ‘Naive’ or ‘Primitive’ artist Henri Julien Félix Rousseau or Henri Rousseau was born to a plumber in Laval, in 1844. He showed great interest in music and drawing as a child and won many prizes in school too. Initially, he worked as a lawyer, enrolling later into the army during 1863-1867. Henri Rousseau moved to Paris in the year 1868 to look after and support his mother, as his father died untimely. He worked as a Government employee and rose to the post of a tax collector in the year 1871. Though, Henri Rousseau had a passion for painting, he took it up seriously only in his early forties. At the age of 49, he took up art as a profession and retired from his job. He was a self-taught genius painter, whose skillful, imaginative, and talented work still shines through his paintings, including “The Sleeping Gypsy,” and is lauded by the world, until date.

Rousseau was a great painter and his most famous paintings, including “The Sleeping Gypsy,” depict jungle scenes. Interestingly enough, the artist had never encountered anything ‘wild’ in his life. During army service, he had met soldiers and had heard stories about the subtropical countries and the animals there. This gave him enough food for his thoughts. Henri Rousseau paintings seemed flat and childish to many people who could not understand his talent, creating many critics, who ridiculed his work endlessly. Several established artists too did not like Henri’s unique style of work and considered it ‘untutored.’ Undeterred, the artist stuck to his naive and childish painting style, full of flat figures, free imagination, and ‘Realism.’ He started exhibiting his work and the number of his ardent followers, especially ‘the would be’ ‘Cubists,’ increased.

Rousseau’s most famous painting, “The Sleeping Gypsy (La Bohemienne endormie),” an oil on canvass work, created in 1897, fetched him a lot of international fame. In this Landscape Painting with ‘Impressionist’ touch, the painter portrayed a wandering woman (a Negress) music artist in deep sleep, in a moonlit bare desert, with a composed lion musing over her. It seems that the lions gaze is transfixed over the sleeping woman, dressed in Oriental costume. A mandolin player and a water jug, the only obvious possessions of the woman, are shown kept next to her.

The subject and the objects in “The Sleeping Gypsy” are sharply contoured with balanced rhythmic lines and curves. The lion’s man and the pattern on the gypsy’s dress have been done with meticulous precision. Crystalline hues grace the painting, imparting a perfect lighting effect. Measuring 51″ x 6′ 7″, “The Sleeping Gypsy” is an icon in the ‘Modern Art’ forms. This painting has inspired the field of music and poetry as well. Many artists created a replica of the painting, as tribute to Henri Rousseau, replacing the lion with some other animal.

Henri Rousseau exhibited “The Sleeping Gypsy” at the thirteenth ‘Salon des Indépendants’ and tried selling it to the mayor of Laval, but in vain. It finally got entry into the private collection of a Parisian merchant and was there until 1924. Simon Guggenheim bought it and gave it to the Museum of Modern Art, New York, United States, where it is presently displayed, in the year 1939. Henri Rousseau moved to a studio in Montparnasse in the year 1893 and worked there until 1910, the year of his death.

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Source by Annette Labedzki

Wieco Art African Dancers Abstract Oil Paintings on Canvas Modern Canvas Wall Art Contemporary Artwork for Wall Decorations Home Decor

Wieco Art African Dancers Abstract Oil Paintings on Canvas Modern Canvas Wall Art Contemporary Artwork for Wall Decorations Home Decor

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High quality 100% hand-painted oil art painting on canvas provided by Wieco Art. Our painter of world-class artisans painstakingly reproduces all of our paintings by hand, using only the quality oil paints on canvas. We stand by our top quality and strive to provide your favorite paintings as original paintings nature of the artwork. The edges of every canvas paintings are painted and the surface is covered with clear plastic film layer to protect the wall paintings. Canvas painting are wrapped and hand stretched on durable wooden frame with hooks mounted on each panel for easy hanging out of box. Redefine your living style now with this unique and elegant piece of art paintings created by professional artist from Wieco Art.High quality 100% Hand-painted oil paintings on canvas painted by our professional artists with years of oil painting experience. A great gift idea for your relatives and friends.
Stretched and Framed canvas paintings set for home decoration, each panel has a black hook already mounted on the wooden bar for easy hanging out of box.
Painting size:8x20inchx1pc,8x24inchx3pc(20x50cmx1pcs,20x60cmx3pc)
As each painting is 100% hand-painted, actual paintings may be slightly different from the product image. Due to different brand of monitors, actual wall art colors may be slightly different from the product image.
Authentic Wieco Art canvas wall art are packed in carton box with Wieco Art logo printed on each box.Hot Selling oil or Acrylic paintings on canvas, A perfect wall decoration oil paintings for living room, bedroom, kitchen, office, Hotel, dinning room, bathroom, bar etc..



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Japanese Prints: The Art Institute of Chicago (Tiny Folio)

Japanese Prints: The Art Institute of Chicago (Tiny Folio)

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Another in the Abbeville’s Tiny Folios series, this little book is a real gem. The Art Institute of Chicago houses one of the world’s most beautiful and comprehensive collections of Japanese woodblock prints in the world. Clarence Buckingham, of the famed Chicago family, donated 12,000 prints alone. The book covers this exquisite collection of work from the 17th to 19th centuries in four sections: Primitives, Courtesans, Actors, and Landscapes. It includes work by well-known masters such as Hiroshige, Hokusia, and Utamaro, as well as lesser-known talents such as Shun’ei, Shunko, and Kiyonaga. While the trim size is small, none of the subtle colors, delicate paper texture, or intricate fabric design is lost.



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A Letter to Science About the Antidote for Cancer


The 1937 Nobel Laureate in Medicine, Szent-Gyorgyi was the co-founder of the American National Foundation for Cancer Research. His ‘Letter to Science’ in 1974 stated that the accepted criteria for applying for crucial government cancer research funding was counterproductive. From his political-medical science perspective, the funding for a cure for cancer was prevented because the accepted criteria for substantial research was itself carcinogenic in nature.

As a Hungarian citizen during World war II he avoided capture by the Gestapo for holding political science theories offensive to the Fascist government. After the war he declined the political theories of Russian communism to pursue his cancer research in America. His letter to science made use of political ideas belonging to the ancient pagan Greek atomic Science for Ethical Ends. The pagan concept of the 28 day moon movement resonating emotion-forming mathematical information to the atomic metabolism associated with the female cycle, had been taught at the Epicurean University in ancient Athens.

These ideas however, go beyond the limitations belonging to modern day science residing within the legal systems of Christianity, Islam and Judaism. We hope that science can resolve the problem and that this might be of practical future value to all three by providing a cure for cancer and bestowing upon them a more benevolent global scientific culture.

Szent-Gyorgyi saw the ancient Greek ideal to develop a political science to guide ennobling government for the health of the universe, in order to avoid the extinction of civilization, as a medical issue. It is the very opposite of the prevailing global scientific thermodynamic culture, which in fact demands the extinction of all life in the universe. This death cult concept of reality clearly belongs to a carcinogenic scientific mindset.

The idea of American Democracy contains aspects of the ancient Greek ethical political science. In 2017 this concept of democracy was clearly revealed to be a plutocracy: government by the wealthy. We can argue that within a culture driven by thermodynamic chaos this current plutocracy might well be a common sense prerequisite for immediate economic tribal survival, inspired by moral democratic values. However, its intrinsic scientific, carcinogenic nature must sooner or later bring about a repeat of its well recorded cyclic destruction of tribal societies. Carcinogenic science is now helping to accelerate this process toward a terminal state, in obedience to the prevailing thermodynamic extinction law.

All that is needed to evolve beyond that situation is just to place the plutocratic know-how alongside relevant survival antidote logic within a computer set up to generate human survival blueprint simulations. Such simulations will outline new technological guidelines to accrue unimaginable wealth, together with the administration guidelines to benefit the people. This model is in contrast to the illusory anticipations existing within a society based upon the present global inflow of dysfunctional information.

This crucial research methodology had already been enacted this century, but the apparent cancer cure knowledge was, as Szent-Gyorgyi predicted, completely ignored. In 1979 China’s most highly awarded physicist, Kun Huang, provided Australian Science-Art researchers with the methodology to measure the existence of the life force. He suggested that by using Szent-Gyorgyi’s understanding of ancient Greek mathematical geometry, it should be possible to develop a scientific program to generate simulations demonstrating the evolution of seashell growth and development through space-time.

If the simulations matched perfectly with seashells recorded within the fossil record then the physics laws governing the evolution of life would have been discovered. During the 1980s, this experiment was successfully carried out in Australia. In 1990 the world’s largest technological research institute, IEEE in Washington, reprinted the discovery from published papers by Italy’s leading scientific journal, Il Nuovo Cimento. IEEE acclaimed it to be one of the 20th Century’s great optical mathematical discoveries, placing it alongside such names as Louis Pasteur and Francis Crick.

In 1995 this mathematical discovery was transposed into a physics format by the President of the Institute of Basic Research in America, to discover new physics laws governing the evolution of life forms. The prevailing thermodynamic mathematical logic was shown to generate futuristic distorted carcinogenic life-form simulations. Szent-Gyorgyi’s cancer research observation about dysfunctional thermodynamic information was activated to completely negate the Australian project to obtain a human survival blueprint. Scientists around the world had no choice but to agree that seashells did indeed carry crucial evolutionary survival information because it was clearly written down on mechanistic seashell fossil objects. None of them realized the simple truth, that living life-forms within the seashells had transmitted that information to the growing shell formation. Szent-Gyorgyi, who had predicted such a nonsensical situation had written a book about it, entitled ‘The Crazy Ape’. The scientists refused to allow the living process to use infinite mathematical logic because their obsolete non-sensible thermodynamic culture had already sentenced all life in the universe to extinction.

The Nobel Laureate’s description of a crazy ape mindset, however, had defined a entirely natural state of mathematical schizophrenia existing at the dawn of civilization. This reality only highlights the incredible technological potential of humanity if a great political leader bothers to encourage the generation of the human survival blueprints mentioned above. From such designs completely new technologies can be quickly developed to benefit the human condition.

Ancient Sumerian astrological mathematical intuitions evolved from celestial movement wonderment, a fact compatible with the scientific research process acclaimed by Szent-Gyorgyi. From these ancient research intuitions we inherited a 7 day week of 24 hours a day, with each hour of 60 minutes. Their sense of direction gave us a circle of 360 degrees. Both their time and directional guidance systems are now used to explore the nature of outer space universal reality. However, during the time of the Sumerian civilization, their intuitions about the nature of infinite reality was neither mathematical nor scientific. It was based upon religious concepts belonging to argumentative gods and goddesses, one in particular was Inanna the goddess of sex and war.

The religious non-mathematical persuasions of the Sumerians to wage war was a natural expression of a survival of the fittest instinct to guard against their falling prey to some other tribe intent of committing violence against them. The Sumerian astrological mathematical knowledge and the worship of warlike deities was later absorbed by the Babylonian Kingdom. Ancient clay tablets record the Sumerian gods from a dark abyss declaring ‘Let there be light’ prior to the creation of hybrid humans from clay. Their gods argued about the bestowing of eternal life to keepers of the Ark during the Great Flood. Mathematics then became an unethical Babylonian instrument to terrorize the populace to wage war. The Babylonian priests developed the mathematics to be able to predict eclipses, Inanna the goddess of sex and war became Ishtar the Babylonian goddess of prostitution and war and the bestowing of immortality to the keepers of the Ark escalated into violent chaos.

This unethical use of mathematics is made clear by the discovery of a baked clay tablet written by a Babylonian priest to his king. The message reads to the effect that the gods demanded that the 673 BC lunar eclipse be used by the king to terrorize the population to ensure that they became sexually anxious to advance the art of waging war to increase the power of the Babylonian Kingdom.

The 19th Century champion of American Democracy, Ralph Waldo Emerson wrote about the enslavement of the American people by a plutocracy that had inherited aspects of the unethical Babylonian legal system. He did not realize that such a state of government at that time was a biological necessity for American survival amid a global society of warring tribes seeking to dominate each other. Nonetheless, his mathematical solution involved new technologies alluded to within ancient Sanskrit mathematics, which were based on a similar scientific logic that Szent-Gyiogyi used later to derive his cancer-free science belonging to ancient Greek political mathematics.

The carcinogenic cycle of the destruction of future civilizations fighting to the death over which deity, or set of mathematical laws, provided personal access to infinity followed from the Babylonian social system. Szent-Gyorgyi’s description of the scientific crazy ape with a carcinogenic mindset can now be seen as belonging to a form of mathematical schizophrenia being an integral aspect of a primitive tribal evolutionary process. The process of dysfunctional emotional information governing modern plutocracy has now been classified by government appointed epidemiologists as a global 3D epidemic. The mass manufacture of dysfunctional information and communication devices is now understood to be causing severe damage to global society.

To better understand the nature of this global dysfunctional information epidemic it can be seen to be similar to the use of mathematics programmed within a poker machine, employing sound and colour vibrations to bring about a heroin-like addiction. This compulsion is designed to bring about a state of moral and financial bankruptcy. The unethical use of mathematical manipulation involving illusory emotional anticipation, echoes the global stock-market excitement. That game is destined eventually to cause economic collapses for the benefit of the players running global plutocratic battles of wits. Nonstop artistic colour advertising instills a trivial sense of excitement to the masses referred to in terms of market confidence.

This global economic existence is eventually paid for by massive casualties on battlefields, with people fighting for the right of some deity or honour philosophy to grant both victims and survivors some beneficial access to infinite realty. The mathematician, Plato, classified the associated artistic rhetoric, pomp and ceremony involved in such a form of government, as unethical art, lacking a substantial spiritual purpose.

The philosopher, Immanuel Kant, researched the difference between Plato’s definition of unethical art and and human survival artistic wisdom to establish the ethical basis of the electromagnetic Golden Age of Danish Science. The philosopher of science, Emmanuel Levinas, agreed with Kant’s conclusion that the missing artistic spiritual component within Plato’s condemnation of art, was an asymmetrical electromagnetic inner-vision existing within the creative artistic mind. The relevant asymmetrical electromagnetic potential technology belonging to that concept was predicted by the inventor of the alternating electric industrial motor, Charles Proteus Steinmetz. He actually wrote, specifically stating, that such a spiritual electromagnetic motor technology would be far greater that the technology associated with the present physical electromagnetic one.

In 2010 the Australian seashell life force discovery theories were fused with quantum biology by the Department of Medicinal Chemistry at the Italian University of Pavia. In association with Quantum Art International based in Italy they jointly worked together to research for an antidote to the global dysfunctional epidemic. They were aware that Isaac Newton within his long forgotten, but nonetheless published, 28th Query Discussions, insisted that ancient Greek science considered that gravity was not caused by the functioning of a mechanistic universe. Newton wrote that the mass of objects in space was not the first cause of gravitational force as modern quantum mechanics had falsely pretended otherwise.

Although the previously mentioned living evolutionary seashell mathematics had been recorded on mechanical seashell objects, modern quantum mechanical science was unable to reason about the crucial living information being transmitted to the shell by the living creature within it. The Italian-Australian team, free to reason otherwise, began to research how quantum mechanics needed to be completed by linking it with living information. In 2016 they achieved their objective. Their Science-Art antidote discovery was awarded an international First Prize at the XX International Exhibition & Competition of Contemporary Art, Central House of Artists, Moscow. The World Fund for Arts, Government of Moscow, Artist Union of Russia and the European Art Union sponsored this competition.

Recent DNA discoveries have allowed us to consider that humans now belong to one species. In that case, the prevailing carcinogenic thermodynamic scientific culture, which demands human extinction, depicts the human species as suffering from some sort of scientific carcinogenic neurological disorder. That echoes the conclusion that the greatest mathematician in history, Georg Cantor, whose work upholds most of modern science made. He wrote that the modern scientific mind was suffering from a myopic fear of infinity, as alluded to by Waldo Emerson and Szent Gyorgyi.

The author of ‘The Crazy Ape’ held that there is a link between molecular electromagnetic processes and fundamental aspects of cancer growth and development. The scientist, David Hilbert, working with Albert Einstein on mathematical research embracing that field of knowledge, fully supported Cantor’s observation that an ignorance of infinite mathematical reality governed the modern scientific mind. With the aid of several other great philosophers of science, it was not difficult to discover the antidote to bring scientific research into a far greater perspective than one obsessed with human extinction. Very eminent scientists around the world hailed the antidote discovery as being a major historical achievement of the 21st Century.

During 2016 the Australian Prime Minister, the Governor General, the Minister for Art and Communications, the Leader of the Opposition and several senators received copies of the prize-winning antidote documentation. On November 15, 2016, the Department of the Minister for the Arts and Communication advised that the Australian Government’s principle arts funding body makes decisions on grant applications at arm’s length from Government, through a process of peer assessment.

It is not rational to use peer assessment about a internationally accepted unique important discovery of crucial government importance. The cancer antidote document was dismissed in a way that Szent-Gyorgyi had very clearly described as belonging to a counterproductive cancer research methodology. Not one senior Australian politician saw fit to allow any opportunity for critical evaluation of this research for the betterment of the global human condition.

To compound this illogical way of thinking the Macquarie University in Sydney, acting on behalf of the Commonwealth Visual Arts Board, arranged for a phone interview which would have been about the antidote situation. The University mailed copious protocol directions to guide the discussion, which were ultimately counterproductive to the antidote thesis. Therefore, the non-sensible proposal associated with the Australian Visual Arts Board was dismissed out of hand.

The greedy unethical plutocratic nature of Australian politics became evident during the writing of this letter to science. The resignation of the Minister for Health concerning the misuse of pubic monies for personal gratification made front page newspaper headlines. This was followed by more front page headlines, in which similar ‘misuses of funds’ scandals were associated with other senior Australian politicians. The plutocracy; government by the wealthy, can be considered scientifically unfit to care about the health and wellbeing of democratic government and explains why its appointed epidemiologists are unable to find an antidote to the prevailing 3D dysfunctional information epidemic.

In conclusion, the pharmaceutical empire in the hands of powerful multinationals, continues to conduct brilliant research resulting in incredible discoveries, alleviating the spread of cancer. However, it is surely warranted that the antidote discovery be critically examined as soon as is possible.

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Source by Robert Pope

Progress Live [Blu-ray]

Progress Live [Blu-ray]

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Il documento della grande reunion! Il tour che ha superato ogni record in Inghilterra con oltre 1,8 milioni di spettatori!!! Uno show monumentale, come quello visto in Italia allo stadio di San Siro. Per la prima volta insieme dopo 15 anni, Robbie Williams, Gary Barlow, Howard Donald, Jason Orange e Mark Owen si esibiscono spettacolarmente nelle hit della loro carriera, e nei nuovi brani dell’album Progress. Un allestimento senza precedenti, con un sensazionale corpo di ballo, cambi di costume, laser, video proiezioni e un robot di 22 metri!



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History of Kokeshi Wooden Dolls from Japan


Little is known of the early history of Kokeshi Japanese Wooden Dolls. One school of thought believes that Kokeshi dolls have their origins in the practice of spiritualist religion. Wooden dolls were thought to contain the spiritual essence of the dead and were often made for honorary remembrance.

The modern history of Japanese Kokeshi dolls began in the latter part of the Edo Era (1603-1867). Originating in the Tohiku region of northern Japan, famous for it’s hot springs and rejuvenating spa waters, Kokeshi Dolls acted as an important source of extra income for local artisans known as Kijiya (which means woodworker in Japanese), who specialised in wood work and the production of household utensils such as trays and wooden bowls. In severe winters these Kijiya craftsmen began making “Kokeshi Dolls” to sell as souvenirs to visitors who frequented the local hot springs. The dolls acted not only as souvenirs but also as massage tools used by the bathers to tap their shoulders whilst enjoying the warming benefits of the hot springs.

The Kokeshi dolls were very simple in design, originally made on hand-powered lathes. Traditional Kokeshi dolls had common characteristics that consisted of a basic cylindrical limbless body and a round head. Though the first dolls might have been unpainted, today most Kokeshi are painted in bright floral designs, kimonos, and other traditional patterns. Colors used were red, yellow and purple. As all the dolls are hand painted, no two faces are alike. This is perhaps the greatest charm of the Kokeshi. Some dolls are whimsical, happy and smiling, while others are serious.

Soon their popularity spread throughout Japan and they became favoured as wooden toys for those unable to afford porcelain dolls. In addition the simple rounded shapes of the dolls lent themselves as early teething rings for young babies.

Kokeshi dolls traditionally represented young girls and they quickly became popular for their depiction of feminine beauty. In addition their simple charm and association with childhood meant that they were often given as gifts when a child was born, as birthday presents or as symbols of remembrance when a child died. In addition Kokeshi Japanese Wooden Dolls were popular with the children of farmers as it was widely thought that they would promise a good harvest, as it was believed that it would create a positive impression on the gods if children played with the dolls.

The woods used for Kokeshi vary. Cherry is distinguished by its darkness. Mizuko or dogwood is softer and used extensively. Itaya-kaede, a Japanese maple is also used. The wood is left outdoors to season for one to five years before it can be used to make a doll. Today, Kokeshi is recognized as one of the traditional folk arts of Japan.

Despite their common features two schools of design exist, Traditional Kokeshi and Creative Kokeshi.

Traditional Kokeshi are for the main part still only produced in the six prefectures of the Tohoku region. The twelve schools of design here all exhibit distinctive features that allow experts to tell exactly where they have been produced and often by whom.

Creative Kokeshi do not follow the traditional designs originating from the Tohoku region and instead have an unstructured inspiration which is completely free in terms of shape and painting, the only traditional constraint being their manufacture by means of the lathe. Unlike traditional kokeshi, they do not display any of their distinctive local colour nor the techniques that had been passed down through the generations. They simply represent the creative thought and ability of the craftsman.

Traditional and Creative crafted dolls have become a cause for celebration in Tohoku and across Japan. Every year, in early September, people gather in Naruko Onsen where craftsmen from across the nation gather to honor Kokeshi in a competition where the number one prize is an award from the Prime Minister.

There are many different styles of Kokeshi, but there is one philosophy that all Kokeshi dolls share, and that is the pursuit of beauty and artistry through simplicity. This philosophy is extolled at the website: http://www.dollsofjapan.co.uk

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Makler Heidelberg


Immobilienmakler Heidelberg

Makler Heidelberg


Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
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Source by Ivor Conway

Treasury of Japanese Designs and Motifs for Artists and Craftsmen (Dover Pictorial Archive)

Treasury of Japanese Designs and Motifs for Artists and Craftsmen (Dover Pictorial Archive)

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A profound sense of the aesthetic beauty in all things pervades the whole of Japanese culture, finding perhaps its clearest expression in the decorative, applied, and pictorial arts. Characterized by a mastery of line and composition, and noted for lyrical scenes of exquisite beauty, the genius of Japanese art has bequeathed to the world a remarkable and distinctive design legacy.
This exceptionally versatile collection of traditional Japanese designs and motifs presents the working artist with a treasury of 360 copyright-free designs. All have been especially adapted by noted artist Carol Belanger Grafton for ready use by illustrators, designers, and craftspeople. Painstaking effort has been made to preserve the original spirit and subtlety of detail while simultaneously sharpening the lines and enhancing the reproducibility of the designs and motifs.
There are several lovely ceramic and textile patterns. However, most of the design motifs in this compendium were taken from woodblock prints. This particular medium was invented in China and introduced to Japan before 1000 A.D., flourishing thereafter and reaching its zenith in the Ukiyo-e (“floating world”) school of the 17th, 18th, and 19th centuries. Accompanying these depictions of people in traditional garb, and accessories such as fans, keys, kites, and umbrellas, are many charmingly decorative family crests arranged in mostly circular configurations. Also included are full-page compositions of bold geometric design, vignettes of ethereal delicacy, as well as a generous sampling of nature’s bounty: cherries, radishes, plum blossoms, lions, elephants, dogs, cranes, parrots, turtles, butterflies, even demons and dragons, and much more―often in several arrangements, many with reversed images.
Artists, designers, illustrators, students, and teachers will find this indispensable collection of 360 traditional Japanese designs and motifs rendered in clean, crisp, black-and-white, copyright-free illustrations to be a remarkably fertile source of illustrative inspiration and design solutions.

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Immobilienmakler Heidelberg

Makler Heidelberg


Immobilienmakler Heidelberg

Makler Heidelberg


Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
Wir verkaufen für Verkäufer zu 100% kostenfrei
Schnell, zuverlässig und zum Höchstpreis