Pepin Press Pepin Press Kimono : ARTISTS’COLOURING BOOK (98062 )

Pepin Press Pepin Press Kimono : ARTISTS'COLOURING BOOK (98062 )

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Creative Art Materials Supplies, Manufactures And Distributes Quality Art Products To Art, Hobby And Craft Retail Outlets.Exciting and exceptional Kimono designs
Contains 16 pages of gorgeous designs
Made with high quality drawing paper
Create one of a kind artwork using almost any medium
Lines virtually disappear once colored



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Celtic Heart Meaning – What is the Meaning of a Celtic Heart Tattoo?


The image of the heart is probably the oldest symbol for Love. But is more than that. We talk as if our heart is the deepest part of us, our very essence – maybe our soul. We say things like “in my heart of hearts” meaning in the deepest part of our being, where our true feelings lie, where our truth is. That is why when we give our heart to another or to a belief we are really giving ourselves. A Celtic Heart tattoo expresses this in a unique way.

Celtic Knotwork

Celtic knotwork can mean a number of things but mostly it means a never-ending cycle of rebirth and renewal. It means eternity. The design has no beginning and no end. When this is entwined with a heart it can mean eternal love and a union of souls. When two hearts are interwoven, they are joined forever. That is why they are also called love knots.

The knotwork design makes the difference between the Celtic Heart tattoo images and other heart tattoo images. Within that intricate lacework can be an image of a heart saddened by loss or a heart suffering or a heart filled with faith. The endless lines connect to another person and another people – to an ancient culture that places as much importance on the spiritual as it does on the material.

Celtic Spiral Design

The spiral is an ancient symbol that was used by a number of cultures other than the Celts but it has become one of their hallmarks. In Celtic culture, the spiral can signify the sun or the heavens or the earth, depending on which way it turns. However, when a heart is drawn within a spiral it means eternal love. It is another expression of love in an artistic and unique way.

Heart of Claddagh

The image of the Claddagh is a heart with a crown on it while two hands hold the heart. It is famous as a wedding or friendship ring. It makes a beautiful tattoo with rich meaning: the heart stands for love; the hands stand for friendship; the crown stands for loyalty. This can be worn to signify any one of those things or to signify all of them.

The Celts have always been a spiritual people. Their knotwork reflects this in its symbolism. The knotwork in the Celtic Heart tattoo connects us spiritually to the universe, to eternity or to another – or to all three. At the center of this image is the heart, the deepest part of us, binding us to the people we love and, in the end, binding us to one another.

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Source by William Burnell

American Easel 6 Inch by 6 Inch by 1 5/8 Inch Deep Cradled Painting Panel

American Easel 6 Inch by 6 Inch by 1 5/8 Inch Deep Cradled Painting Panel

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American Easel’s wooden panels, our alternative to the standard canvas, gives you a firm painting surface and does not allow flexing or stretching as standard canvases do. The face of each panel is made from top quality birch and the frame is constructed of a smooth solid wood cradle (frame around the back) which provides a strong foundation, ensures against warping, and makes for easy hanging. Smooth sanded edges allow your creation to flow beyond the face of the panel. Wooden panels are quickly becoming the preferred surface for many artists.6 inches by 6 inches by 1 5/8 inch deep cradled painting panel
Manufactured from high quality poplar cradle and clear birch face
Smooth sanded solid wood cradle for strength; no frames needed to hang effortlessly
Natural finish ready to accept and primer needed but not necessary for some applications; made in USA
Actual weight .6 pounds



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Modern Art: Impressionism to Post-Modernism

Modern Art: Impressionism to Post-Modernism

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A superbly illustrated overview of the major movements in the visual arts from Impressionism to Post-Modernism.

Modern Art is an authoritative introduction to every important development in the visual arts from the late nineteenth century to the 1980s. Eight critical essays by noted art historians shed light on topics from Impressionism to Dada, Art Nouveau to Pop Art. The essays are ordered chronologically, and each thoroughly examines the historical context―political, social, and technological―that shaped the movement under discussion.

The text is accompanied by more than 400 color illustrations of the work of some of the most celebrated figures in art history, comprising an invigorating multiplicity of visual styles. Anyone seeking a gallery of the masterpieces of twentieth-century art, together with an informed survey of the period, will find no better single volume. 400+ color illustrationsThames Hudson



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The Late Colin David


Colin David’s mortal body left this world on 25 Feb., 2008, but his soul breathes in his art and people. Colin was one of those good adroit painters who fashion human anatomy with their skill and imagination. Just like Ustad Allah Baksh, Sadqain, Shakir Ali, Saeed Akhtar, Colin portrayed women figure as a special element in his painting. He was a superb draftsman with a technical perfection that is all too rare. According to an art critic Marjorie Husain, Colin used to paint non traditional style in the restricted ambiance of Ziaul Haq era which consolidated his position as most popular artists in time.

Colin was born in Karachi in 1937; he began his art education at the University of Punjab when the fine arts departments opened its door to male students in 1956. According to Niilofer Farrukh he once ran away from home because his father, a journalist, did not allow him to take up Art as a profession. Colin David was among the first group of three young men who were taught by Khalid Iqbal, and by Anna Molka Ahmed who was hugely pleased by the talented trio. She included them in many of the Department projects and in later years, spoke of their success with pride. After doing masters Colin got opportunity to study in UCL where he was guided by sir William Cold Stream, an artist who painted in “Euston Road” group style. There Colin got opportunity to paint from life and found his artistic meter. It was a time when Naz Ikramullah was taking a course of Lithography at the Slade, and Colin mentioned meeting her in letters home.

Returning to Pakistan in 1962 Colin rejoined the faculty of Fine arts department of Punjab University, and remained there until 1964, but differences with Anna Molka Ahmed caused him to leave the department and join the National College of Arts, where Shakir Ali was the Principal. Colin remained there, an integral part of the college for 25 years.

In those times of experimentation Colin developed a unique, distinctive style which showed his own inclination. His first solo exhibition, a collection of figure studies in oils painted with great luminosity was held in Karachi in 1970 at “The Gallery” where Colin hailed great appreciation. His work in the genre of the nude inspired new art collectors. The element of design in a form of “figure” always creates balance and harmony in his compositions. Sense of space was an important subject in his paintings. Colin explored the female figure as a symbol of beauty and presented “women as a women”

Colin successfully portrayed the sensitive studies of children at play. In one of his painting he portrayed a child while eating toffee while un wrapping it, chubby fingers persevering, and an expression of total single mindedness on the child’s face. It increased the UNICEF interest in his art. Many of his art pieces went to foreign art collectors.

It was ironical that in his life many times he was obliged to hold exhibition in his home and unnamed spots for selected audience since he was unable to show his work publicly. Once he said “In the earlier stages of my career when figure painting was artistically acceptable, my exhibitions were always highly successful. The public understood and appreciated my work. They still do of course, but it means my exhibitions become elitist.”

In last days of Coulin, despite of bad health he continued to work and exhibited his art work in Karachi and remained popular.

Time goes, you say? Ah, no! Alas, time stays, we go.

– Henry Austin Dobson

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Source by Sehrish Ch

Selling Contemporary Art: How to Navigate the Evolving Market

Selling Contemporary Art: How to Navigate the Evolving Market

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A sophisticated examination of today’s contemporary art market from an art dealer’s point of view, this new book focuses on recent changes in the quickly evolving market. With an emphasis on how the market responded to the global recession that began in 2008, gallery owner Edward Winkleman moves from an examination of the factors beyond the individual dealer’s command to those that the dealer can control. Sections cover:

  • The rise of the art fair
  • The rise of the mega gallery
  • New online competition
  • Models of post–brick-and-mortar art dealing
  • Art dealers as art fair organizers
  • Collaboration in a new era
    Coverage is also given to the specifics of contracts contemporary art dealers may need, including an examination of a variety of contracts for representation, consignment, and new forms of contemporary art. Exhibiting a wide range of interviews with international experts including dealers, collectors, art fair directors, journalists, and online art entrepreneurs, Selling Contemporary Art is a must-read for gallery owners, dealers, and artists affected by the rapid innovations in the art-dealing industry.



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  • Western Art – Neo-Primitivism – A Contemporary Edge to Primitvism


    Neo-Primitivism – The History

    After Russian painter and art theorist Aleksandr Shevchenko published his book ‘Neo-Primitivism’ in 1913, a completely new genre in art was formed with the same name. However, other accounts suggest vice-versa. According to them, Neo-Primitivism began much earlier, with its official launching in 1909, at the third ‘Golden Fleece Exhibition.’ The art form is said to span over 1907 through 1912. Although, it was primarily a Russian art movement, it became equally popular in the Western nations. Neo-Primitivism was fundamentally a radical modern sect with primitive style executions and therefore, named so.

    The Details

    The characteristics of Folk Art, like lubok, embroideries, distaffs, icon painting, and spoons, formed the basis of Neo-Primitive works. The frames were usually one-dimensional, flat imageries with bold color schemes, and visible brushstrokes. The paintings lacked, not only in visual depth, but also in their intricate or visionary representations. The Neo-Primitive works often look like child-art, with the distortions of forms and space.

    The Artists

    Russian artists Aleksandr Shevchenko’s (1883-1948) publication describes a harmonization of Russian Folk Art with some different art forms, like Futurism and Cubism. French Post-Impressionist and Cubist Paul Cézanne’s (1839-1906) body of work was also a great influence on the underlying philosophy of Neo-Primitivism. The original protagonists of this style were Mikhail Larionov (1881-1964) and Natalia Goncharova (1881-1962), though they were not the only ones. Other famous artists associated with the movement were Kazimir Malevich (1879-1935), Vladmir Tatlin (1885-1943), and Marc Chagall (Russian-French, 1887-1985).

    The Artworks

    Mikhail Larionov’s, ‘Soldier in the Woods’ (1908-09) is a perfect example of Neo-Primitive elements, where a brightly painted canvas in primary colors, depicts a horse smaller than the soldier is. Similarly, Natalia Goncharova’s ‘The Evangelists,’ (1910), is a set of four, oil on canvas works, 204 cm X 58 cm in dimensions each. This religious work is a leading example of icon painting, which depicts the four authors of the Gospels. The set is remarkable for its straight-forwardness, simplicity, linearity, and colors, in each piece.

    Conclusion

    An exhibition in Paris, featuring the native art forms of Australia, Oceania, and Africa, popularized Neo-Primitivism in the Western world. The directness of themes, bold expressiveness, striking color combinations, vigor, spontaneity, and innovation, caught the fancy of the Western artists in no time. Neo-Primitivism, in the Western world, has come as a blanket term for various types of art, including ‘Body Art.’ In broader terms, any art, which subscribes to the philosophy of Primitivism, represented with a modern outlook is Neo-Primitivism. Primitivism suggests that the life was more simple and honest for the ‘unschooled’ primitive civilizations!

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    Source by Annette Labedzki

    Oriental Furniture 36″ Gold Leaf Sakura Blossom

    Oriental Furniture 36

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    An exceptional Japanese style Sumi-e brush art painting; a hand painted reproduction of an elegant, traditional oriental design. Lovely gold leaf appliqué, on an authentically crafted four panel decorative wall screen, with Rosewood stained wood frames and a fine silk fabric brocade border. Cherry and Plum blossoms are popular art motifs in Asia, symbolizing the vitality of new life.36″h by 72″w, traditional hand crafted oriental style folding wall screen
    Lacquered wood frames w/mulberry paper folding screen and brocade matte
    Hand painted ink and watercolor sumi-e style, authentic gold leaf background
    One of over 20 designs of hand crafted gold leaf foldable wall screen paintings



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    Rajasthani Painting – A Glorius Tradition of Indian Arts in Medival Period


    Rajasthani paintings were favorably nurtured in medieval India, with the encouragement and financial help from the kings of several independent states of Rajasthan. They were also termed as Rajputana paintings, as the land of Rajasthan was popularly known as Rajputana too in medieval India, between 16th to 19th century.

    It was one of the most popular forms of medieval Indian art, parallel to the Mughal form of arts which received the maximum patronage during that specific period. But it differs from Mughal paintings in its choice of subjects, use of colors and the depiction of the human figures in those paintings. Rajasthani paintings were drawn mostly on religious topics, like stories of Radha Krishna or chapters from Ramayana and Mahabharata. The human figures all were shown to be wearing Hindu attires,more modest and pious in nature than the subjects of Mughal paintings which were much more boldly drawn and had no religious touch in them. The landscape paintings of Rajasthani form showed the rough and sandy features of the desert land of Rajasthan, while Mughal paintings emphasized on the background of colorful gardens and pleasant landscape as liked by the Mughal rulers.

    Like quite a few other contemporary Indian art forms, Rajputana art also used several natural colors, derived from plant body parts, rocky minerals, even powdered precious stones and fine particles of gold and silver. These great artists never used any chemical colors to create their paintings. They crafted fine brushes from plant twigs and hairs from tails of squirrels to paint their pictures. The pictures were drawn not only on papers or canvas, but superb paintings had been made on the walls and ceilings of many famous Rajput palaces and forts built during that era, like City Palace in Udaipur. But the most impressive form of Rajasthani painting was miniature paintings; made mostly on silk, wood and paper; but some miniature paintings were also created on ivory and marbles.

    Many schools of paintings flourished during that period, depending on their specific characteristics and the particular regions where they were developed. Some of these popular schools of Rajasthani paintings are Mewar School of painting, Marwar School of painting, Bundi paintings and Kishangarh paintings. Even Kangra and Kulu schools of paintings were included in the Rajasthani form of arts, due to their distinctive nature of paintings.

    These paintings not only describe the religious beliefs of the Rajasthani people of that period, but they also give a proper insight into the social life of the people living during the medieval age. Thus they help everyone to get a clear picture of the royals as well as the general mass of Rajasthan, living at that era.

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    Source by Lopamudra Sinha

    Kess InHouse Sylvia Cook “Take a Rest” Fleece Dog Bed, 30 by 40-Inch

    Kess InHouse Sylvia Cook

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    Pets deserve to be as comfortable as their humans. These dog beds not only give your pet the utmost comfort with their fleece cozy top but they match your house and decor. Kess Inhouse gives your pet some style by adding vivaciously artistic work onto their favorite place to lay, their bed. What’s the best part? These are totally machine washable, just unzip the cover and throw it in the washing machine.Zipper closure and machine washable
    Fleece top and durable bottom
    Pets deserve to be as comfortable as their humans



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