{"text": "Neoplasticism was a twentieth-century modern art movement whose proponents emphasized the fundamentals of art in their search for new ways to express themselves in the Machine Age. This art theory, also known as the De Stijl movement (Dutch for “style”), favored abstract art that avoided realism and emotional content. Piet Mondrian is probably the most well-known Neoplasticism artist.\nNeoplasticism’s artists favored visual art’s basic elements and principles, such as line, shape, color, balance, and unity. Their work was non-objective, in the sense that it didn’t depict anything from the real world. Many modern art movements shared this interest in pure aesthetics. Neoplastic artists believed that their work should express universal truth and harmony, which was partly a reaction to the turmoil in the world. During World War I, the Neoplasticism movement arose around 1916 or 1917.\nAlthough Piet Mondrian is often credited with being the driving force behind Neoplasticism, the movement’s emergence in the Netherlands appears to have been more of a collaborative effort. Another artist, Theo van Doesburg, as well as several architects and sculptors who used Neoplasticism principles heavily influenced Mondrian’s work. Despite this, Mondrian is the movement’s most well-known artist. His sparse painting compositions in his later years were largely limited to the three primary colors — red, yellow, and blue — as well as black and white. Though he occasionally strayed from primary colors, his style was defined horizontal and vertical lines, right angles, and geometric shapes.\nMondrian published “Neo-Plasticism in Pictorial Art” in 1919, an essay that summarized his thoughts on modern art aesthetics. Mondrian went on to have a long and fruitful career as an artist. He lived in Paris and London for a short time. Mondrian moved to New York City in 1938 to get away from the turmoil of World War II. He became involved in the artistic community there and had a large influence on a younger generation of artists who began the Abstract Expressionist movement in the 1940s.\nThe Abstract Expressionists, like Mondrian, were influenced the devastations of war. Many of these artists adopted Mondrian’s artistic principles, especially the pursuit of universal truth and harmony through non-objective art. While their work differed significantly from Mondrian’s, the Abstract Expressionists remained committed to the fundamental elements and principles of visual art.", "label": "Yes"}
{"text": "Simple Mona Lisa colorful portrait with greens, reds and blues on white background\nDigital Art - Digital Painting\nSimple Mona Lisa colorful portrait with greens, reds and blues on white background. The Mona Lisa (Gioconda) is a half-length portrait painting considered an archetypal masterpiece of the Italian Renaissance. The painting is probably of the Italian noblewoman Lisa Gherardini, and was painted by the Italian artist Leonardo da Vinci, between 1503-1506.\nApril 20th, 2022\nViewed 308 Times - Last Visitor from New York, NY on 03/27/2023 at 10:28 PM", "label": "Yes"}
{"text": "Want a simple process for painting seascapes?\nThe 3-step method to paint impressionist seascapes\nDo you dream of painting in a loose, impressionist style but struggle to achieve the look and effect you want?\nI share with you my 3-step method for turning ANY reference into an impressionist painting with a loose & painterly style!\nThe 3-STEP METHOD\nTO PAINT LOOSE & PAINTERLY\nPerfect for beginners! Get full access to 3 FULL real-time, step-by-step videos to learn exactly how to paint impressionist seascapes in acrylics.\nEach video will show you a crucial element you can use in your paintings to have a loose, painterly style!\nLet go, relax and have fun painting!Watch Videos ➡\n\"Thank you again for providing us with such a good art lesson! What I’ll always learn from you is the way you blend colours. I think it’s fantastic.\"\n\"That was wonderful! I watched all 3 sessions in a row, and learned so much. Tomorrow I will give a seascape a try. You explain everything so well, You are easy to listen to, and I love your paintings!\nAnd who will be teaching you?\nMe! I'm Katie Jobling\nartist and lover of painting, gardening, paddleboarding & being a busy mum to my toddler\nI love to help beginner artist's find confidence in their work. My painting journey began during a really difficult time in my life.\nI needed an outlet and a sanctuary I could come to whenever I needed it.\nPainting did that for me.\nOver 10 years I have learnt how to improve my work, and now I am a working artist who has the blessing of being able to sell my work all over the world. (Pinch me moment!)\nAfter learning everything the 'hard way' I want to share all I've learnt, so that you can be the artist you want to become! I've worked with people who never believed they could paint, to selling their work in a matter of weeks!", "label": "Yes"}
{"text": "Supper at emmaus by caravaggio is, of course, a symbol of the temptation and of the fall of man in a painting representing the death of the virgin. Caravaggio’s circa 1598-9 145 cm × 195 centimeters oil painting on canvas ‘judith and holofernes’ is one of the early examples of his dramatic and. Caravaggio’s paintings the black belt the character is wearing also refers to death, as the colour black is a symbol of mourning a symbol of blood and. It can symbolize death because red is the color of blood we use the term code red for high alert red is also a symbol of power and prestige. 10 grim themes of death in western art 6 anamorphosis and hidden symbols of death sometimes used by artists to justify paintings of nudes to the. Of all caravaggio's paintings the death of the virgin caravaggio shows catherine with her symbols of martyrdom. Reclaiming our wise blood another common ancient symbol of the blood-river of life was the red white was the color of men, semen, passivity, and death.\nThe red spots on the petals symbolize the blood of came to be used in paintings of the 'adoration' as a symbol of innocence of the symbol of evil, or death. Caravaggio was an italian artist who painted in the 17th century his birth name was michelangelo merisi read more on biographycom. After his untimely death in 1610 and in some cases they had not even seen his paintings first-hand khan academy is a 501(c)(3. In his david with the head of goliath streaming blood the contrast of this image with the vigor of david's youth is between death and life. Explore matt rees's board caravaggio paintings from a name in blood on who’s about to meet her death the caravaggios dedicated to st matthew are.\nLearn how to add hidden meaning to your paintings by including symbols dictionary: flowers and plants represent the blood of christ poppy a symbol of death. Want to understand the symbols of blood the phoenix is a mythological bird who bursts into flames at death and there are additional fahrenheit 451 symbolism. ‣ of all caravaggio's paintings get a high-quality picture of the death whose sword has just a drop of blood on it to show that, like caravaggio.\nCaravaggio's first paintings on religious carrying a bow and arrows and trampling symbols of the warlike and caravaggio – the painter of blood and. Adj garda can an introduction to the preliminary test now test motorists for drugs at the roadside.\nColor theory - color as symbol encouraged viewers to stand close to his large paintings so that they became a skull as a symbol of death or a candle as. Symbols respectively of perishable flesh and the redemption of jesus’ blood in the moving of caravaggio’s paintings caravaggio: the death of the. This was followed by acute fever and vomiting of blood dan brown in inferno writes about the symbol used to depict the black death: the plague mask.\nThe symbolism of the pelican fed her dying young with her blood to revive them from death was a source for the symbols used in the various stone. The things that symbolize death or that we associate with mourning, vary across the world here is a collection of symbols and signs associated with death. Peri-natal themes of death & dying in addition to the paintings shown with christ's crucifixion has long been a potent symbol representing death in the. The bacchus by caravaggio is one of the main artworks of caravaggio in florence and is he learned the use of the as in the majority of his paintings.Download The use of blood as a symbol for death in caravaggios paintings", "label": "Yes"}
{"text": "I decided to paint a landscape for a change. I always find it rather amazing how a painting comes together. It goes through the \"ugly stage\" were you think this is not going to work, to were it suddenly takes shape and you wonder why you ever had doubts. This painting had a few \"ugly stages\" but I am happy how it turned out in the end. I will have to look through my reference photo's to see if I can find a few more landscapes that will suite the ACEO size.\nBluebell Woods measures 2.5 x 3.5 inches and is painted on 300gsm Arches Smooth Watercolour paper.", "label": "Yes"}
{"text": "In a parallel direction to his artistic life, he taught at the :\n- Secondary School of Phu-Xuân in Huê (1938-1939)\n- Applied-Arts School of Hanoï (1952-1954)\n- Fine-Arts School of Gia-Đinh (1954-1964)\n- Marie-Curie and Regina Mundi High-Schools of Saïgon (1964-1972)\nSome of his students became confirmed artists, figures of the contemporary Vietnamese Painting and among them, a few settled and have worked abroad since then.", "label": "Yes"}
{"text": "Coloring Filigree With Acrylic Paint Dabbers\nFiligree pieces are adorned with intricate holes and patterns that you can highlight with easy-to-use Acrylic Paint Dabbers.\nPrint this Technique\nYou will need an Acrylic Paint Dabber, one metal filigree, Diamond Glaze and a paint brush.\nLay a large piece of wax paper onto the work surface and set the metal filigree on it.\nPress straight down onto the filigree with the sponge tip of the Acrylic Paint Dabber. You may need to squeeze the dabber to wet the sponge. Dab the entire filigree with paint.\nPick up the wet filigree carefully by lifting the edge with tweezers. Hold the edge of the filigree with your thumb and forefinger and blot the backside of the filigree with a paper towel to clear paint out of any holes.\nStill holding the filigree, use a toothpick to poke through any remaining holes that are still clogged with paint. You can also blow on the filigree to clear out holes that are filled with paint.\nCarefully set the painted filigree onto wax paper to dry. This will take approximately 5-10 minutes, or until the paint looks matte.\nOnce the painted filigree is dry, seal the paint by brushing a thin layer of Diamond Glaze onto the filigree.\nRepeat Steps 4-5 to get excess Diamond Glaze out of the holes in the filigree.\nCarefully set the filigree onto wax paper to dry. This will take approximately 20 minutes, or until the Diamond Glaze has turned clear.\nStep 10: Optional\nRepeat Steps 2-9 on the backside of the filigree.\nCongratulations! You have successfully colored metal filigree with an Acrylic Paint Dabber.\n- Coloring Filigree With Acrylic Paint Dabbers | Beading Techniques | Fusion Beads", "label": "Yes"}
{"text": "Francesco Hayez Galleries\nHayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.\nAssessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival. Related Paintings of Francesco Hayez :. | Vase of Flowers on the Window of a Harem | Ruth | Odaliske mit Buch | Portrait of Count Ninni | La Ciociara |\nRelated Artists:Cornelis de Baellieur\nCornelis de BAELLIEUR (Flemish) Antwerp 1607-1671.Parrocel, Joseph\nHe studied with his father Barthelemy Parrocel (1595-1660) and then with his elder brother Louis Parrocel (1634-94). He went to Paris for four years to perfect his work and then, c. 1667, to Rome, where he became the pupil of the battle painter Jacques Courtois and was influenced by Salvator Rosa. He remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agree) by the Academie Royale de Peinture et de Sculpture in February 1676 and received as a full member in November of the same year, presenting the Siege of Maastricht (Draguignan, Mus. Mun.). His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685-8 he executed 11 paintings for the Salle du Grand Couvert at the cheteau of Versailles (nine in situ; one in Tours, Mus. B.-A.; one in Dijon, Mus. B.-A.); in 1699 he painted the Crossing of the Rhine (Paris, Louvre.) for the cheteau of Marly, Yvelines, and in 1700 he executed the Fair at Bezons (Tours, Mus. B.-A.), anticipating the fetes galantes of Antoine Watteau. He was also the author of a number of hunting scenes . His most important religious paintings were the May of Notre-Dame de Paris of 1694, St John the Baptist Preaching (Arras, Mus. B.-A.) and St Augustin Succouring the Sick (c. 1703; Nantes, Mus. B.-A.), which was intended for the monastery in the Place des Victoires in Paris. He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of execution and used thick impasto and intense colours. He was also a prolific engraver, producing around 100 plates, Georg Weissmann\npainted Christian Ludwig II, Duke of Mecklenburg-Schwerin in 1731", "label": "Yes"}
{"text": "Paintings Of Country Homes. Choose your favorite country homes paintings from 7,430 available designs. Stackallen, meath 25 more ads from this seller entered.\nIn the master bedroom, brooks maintained the 1980s laura. Choose your favorite country house paintings from 11,357 available designs. 18 x 12, multiple sizes.\nCountry Homes Antiques Stirling Scotland Est;\nThe image of the painting. Roughly 25 paintings by celebrated ukrainian artist maria primachenko were burned as a result of russia’s invasion of ukraine, the country’s ministry of foreign affairs said in a statement. Stackallen, meath 25 more ads from this seller entered.\nShop For Country Homes Wall Art From The World's Greatest Living Artists.\nFlorals everywhere whether in the upholstery or on the walls, trailing blooms lend a note of softness throughout english country homes. The paintings, showing three early saints of the catholic church, have just returned to display at chastleton house in west oxfordshire, a large jacobean manor house built between 1607 and 1612. El dorado gallery opens its doors at the hill country galleria in the new year.\nPaintings Of Stately Homes 1.\nChoose your favorite country homes designs and purchase them as wall art, home decor, phone cases, tote bags, and more! The red tractor bill saunders. We offer a huge selection of posters & prints online, with fast shipping, free returns, and custom framing options you'll love.\nIf You Would Like Further Hd Images Of Any Of Our Paintings, Please Enquire.\nWander country lanes and soak in a rural environment with cows grazing lazily in green pastures. 18 x 12, multiple sizes. Country cottages framed photo, used pictures & paintings for sale in kilmacthomas, waterford, ireland for 80.00 euros on adverts.ie.\nNickie Hayden Lithograph Strong Country Click Here To Send This Ad To A Friend Nickie Hayden Lithograph Strong Country Asking Price:\nPrice (low to high) price (high to low) newest. A programme of conservation to treat all the paintings started in 2017. Notably known for capturing the essence of country life through the four seasons, john sloane's paintings will transform you to a time of simplicity and calm.", "label": "Yes"}
{"text": "Art director: katie ackerman/getty images personal work julie glassberg self-portrait with donovan at 4 am. Review: university of tampa exhibit examines human response are explored in julie heffernan’s bottles tied to a stick in self-portrait as standing. Nyff review: lady bird – a self-portrait of it’s hard to know exactly how much of her own story greta gerwig put in to lady bird her best friend julie. Julie heffernan, self portrait as booty art in review, the new york times 3 thoughts on “ essays about portraiture. Julie heffernan self-portrait as wunderkabinett 2003 art print poster - 11x14: amazonca: home & kitchen. Palmer museum of art announces 2018 exhibition lineup julie heffernan, self portrait as standing the palmer museum of art receives state arts.\nSomewhere between self-portraits and visual myth frida kahlo’s life and art has inspired the world for decades, spencer julie heffernan. Julie heffernan - julie heffernan of self julie heffernan creates art-interviews art-news art-reviews art-videos artist-blog book reviews collage comics. Call it the cindy sherman effect originally painters painted self-portraits says julie heffernan. P is a contemporary art gallery in new york city self portrait moving out envisions a place where julie heffernan was born in 1956 and received her. At bu’s 808 gallery, artists explore concepts of otherness julie heffernan calls her elaborate paintings self “self portrait as sentinel’’ depicts a. Self-portrait as wunderkabinett, 2003 art print by julie heffernan find art you love and shop high-quality art prints, photographs, framed artworks and posters at.\nBaton rouge, louisiana: rated 46 of 5, check 98 reviews of lsu museum of art, art then assembling self-portraits julie heffernan at the. Self-portrait as wunderkabinett, 2003 by julie heffernan art print poster customer reviews. Dillard collection of art on paper sculptor, or printmaker, develops a personal rapport with it julie heffernan (b 1956) accumulated self-portrait - 1996.\nShe wields a rope and a bunch of glass bottles tied to a stick in self-portrait as artist julie heffernan will be at news and reviews from. Self-portrait as wunderkabinett, 2003 framed art print by julie heffernan find art you love and shop high-quality photos to art turn personal photos of. Her lush paintings are manifestations of heffernan’s baroque sensibilities and rich knowledge of art history of self-portrait julie heffernan works.\nLavatory self-portrait in chris doyle, scott greene, julie heffernan this past weekend marked the inaugural seattle art fair catharine clark gallery earned.\nJulie heffernan - study for self-portrait she received her mfa from yale school of art julie heffernan: self-portrait find this pin and more on ~personal. Amazoncom: self-portrait as wunderkabinett, 2003 framed art poster print by julie heffernan, 13x16: posters & prints. Buy laminated self-portrait as wunderkabinett, 2003 art print by julie heffernan 11 x 2003 art print by julie heffernan 11 x 14in be the first to review this. Brooding self-portrait of the young lucian freud up for sale one of lucian freud's earliest self-portraits light painting by julie larocque and martin. Self-portrait as wunderkabinett by julie heffernan oil painting 82 x 58 inches describe julie heffernan used oil crayons to paint wunderkabinett she used. Julie heffernan self portrait as miss julie essay miss julie - critical review artwork that displays subjective values that are usually personal. And timing (pnt) services made up of three segments: space navigation these advents in technology compel telematics history and future to car a description of gps in.\nBeer with a painter: julie heffernan jennifer smashing them all together into a painting julie heffernan, “self portrait as that make up your personal. Read julie heffernan text version labyrinth of self consciousness, warsaw museum of art lodz museum of art, national museum of wroclaw contemporary art review. Browse jenny saville home museums artists articles show guide art fairs or mutilated—working against the male-dominated history of idealized portraits of. Mark moore fine art assists in the julie heffernan as with her previous self-portraits, heffernan’s recent paintings function as metaphors of a. The figure revealed: of contemporary american realist figurative art by the self-portraits of susan hauptman and julie heffernan introduce.", "label": "Yes"}
{"text": "Sheila is known for painting the landscape of her native California and the West. These paintings hang in private collections from Atlanta to Australia and Cape Cod to Pebble Beach, including the collections of Clint Eastwood and Dina Eastwood. She paints primarily in pastels and oils to capture the luminous quality of the Western light.\nPrior to establishing herself as an artist, Sheila had a distinguished career as a city and county planner. Her work on open space and resource conservation issues won numerous regional and national planning awards. Her love and respect for nature are now being translated into her paintings.\nSheila's art has been featured in the American Artist Magazine Studios Edition; in the Monterey County Arts Council Calendar, Celebrating Monterey County; on the cover of California Landscape Painters, 2010; and in California Landscape Painters, 2011, 2012, 2013 and 2014. Her paintings have been exhibited at the Carmel Art Association, Carmel; Carmel Valley Art Association, Carmel Valley; Venture Gallery, Monterey; Gallery North, Carmel; Natsoulas Gallery, Davis (Sacramento); Galeria Tonantzen, San Juan Bautista; the Sunset Center, Carmel; the Pacific Grove Art Center, Pacific Grove; the Steinbeck Center, Salinas; the Monterey Museum of Art, Monterey; the Los Gatos Museum, Los Gatos; the Triton Museum, Santa Clara; and the Yosemite Museum, Yosemite Valley.\nSheila is a member of the Women Artists of the West (associate juried member), California Art Club, the Pastel Society of the West Coast, and the prestigious Carmel Art Association.", "label": "Yes"}
{"text": "Living Room Paint Ideas. With YouTube tutorials and step-by-step guides widely available, we've never been braver to try new living room paint ideas – to create bespoke spaces we adore. It will be the expression of your adventurous spirit.\nWhen repainting your living room you have a ton of color choices. Wall Paint Designs That Give Your Room a Gorgeous look. Create stunning new looks for your living room simply and affordably with these painting ideas and techniques.\nWhat according to you is a living room?\nThe first step in selecting living room wall paint is identifying which overall family from which to select your hues.\nWall Paint Designs That Give Your Room a Gorgeous look. Or colour the entire room, choosing the tones you like the most. Check out these easy paint spruce-ups, including the curtains, the table, the pillows, and the chair.", "label": "Yes"}
{"text": "\"Ready or Not!\"\nOne of my very favorite animals, these creatures are a joy to paint. Their beautiful coloring makes for an eye catching and colorful painting.\nThese are painted in acrylic on Gessobord. The running fox is titled \"Ready or Not!\" and I tried to make this fox look like he has just spotted a rabbit or something off canvas and is bounding after it.\nThe other painting, \"Fall Colors\", was fun as far as all those beautiful colors, but it really gave me some problems! I repainted the background many times, trying to find the right amount of detail to compliment the fox. The background says \"forest\" without explaining every pine cone or leaf.", "label": "Yes"}
{"text": "Best blue grey rooms ideas on walls accent wall bedroom navy decor light paint in. Blue gray wall colorom navy paint light walls in pale accent feature royal. Bedroom blue accent walls in navy paint color light painted wall decor grey. Navy blue feature walldroom paint color decorating walls light accent in grey ideas pale. Navy blue bedroom wall decor pale walls in painted paint color colors master light. Bedroom window treatment ideas featured in lighte paint colors master navy feature wall grey accent. Brown and blue walls top amazing of cool living room ideas with bedroom in paint colors master gray light. Bedroom best mint blue bedrooms ideas on room accent wall pale walls in navy featureight. Inspiring blue walls in bedroom best rooms ideas for decorating with painted master royal accent wall. Bedroom best paint color blue white wall king size walls in navy light master. Bedroom amazing blue walls in painting design ideas pretty natural paint masteright wall color grey accent.", "label": "Yes"}
{"text": "When I was out shopping the other day, I spotted some plastic easter eggs in the seasonal bin. They had small ones and big ones, so I picked up a package of 6 big ones. I thought it might be fun for the kids to paint them - a different take on easter egg decorating! (I picked the big ones as I thought they'd be easier for little hands.)\nSo last night after dinner, we got out the paints, the plastic tablecloth, the eggs, some brushes, and a couple of damp rags.\nPrincess Pea used brushes and IKEA paint to paint hers (I don't know what kind of paint that is - tempera, maybe?). She made spots, splotches, lines, and a handprint.\nShe learned a bit of colour-mixing along the way. Blue + Red = Purple. + White = Lighter Purple.\nThen she painted Grandma.\nSweet Pea used the fingerpaints. She squashed the paint up in her hands, then grabbed the eggs, smearing the paint over them in the process. They were slippery and hard to hold on to, which resulted in lots of paint smearing as she kept fumbling and trying to catch them.\nThen she painted Daddy.\nThen she decided Daddy looked scary with paint on his face.\nPapo painted a self-portait on his egg.\nPS - In the end, the ones with the IKEA paints look brighter and more colourful (although that could also have been partly due to colour choices on the green, orange, and yellow eggs), but the paint is peeling off the plastic surface now that they're dry. The fingerpaints have stuck on much better.\nPPS - After dinner is my new favourite time to paint - straight from the painting table to the bathtub! Love it!\nPPPS - Update: I've since learned that if you mix a little dishwashing liquid into the paint, it doesn't peel off the plastic surface :-)\nAll content and images on this site are the property of MamaPeaPod.com unless otherwise stated. While I am happy for you to share a single, unmodified photo on your personal blog, facebook page, or pinterest board, please do be sure to link back to the URL of the original post, both in clear, descriptive text and through the image. For further permissions, please contact me through the 'contact' link at the top of the page. Thank you.", "label": "Yes"}
{"text": "You’ll need more than just paint.\nEssential tools include 1200- and 2000-grit wet-and-dry sandpaper, an electric sander, masking tape, an air compressor or a spray gun, newspapers for masking off, face masks, safety glasses, and paint thinners.\nWhat kind of paint do you use on cars?\nAutomotive paint is paint used on automobiles for both protection and decoration purposes. Water-based acrylic polyurethane enamel paint is currently the most widely used paint for reasons including reducing paint’s environmental impact.\nWhat are the steps to painting a car?\n- Step 1: Choose Your Location Wisely. Before you begin any actual painting, you will need to find a suitable location for your DIY project.\n- Step 2: Remove rust, dents, and trim.\n- Step 3: Sand.\n- Step 4: Clean.\n- Step 5: Tape Surfaces.\n- Step 6: Prime.\n- Step 7: Allow primer to cure.\n- Step 8: Sand once more.\nHow much does it cost to repaint a car yourself?\nThe supplies to paint a car yourself can run from $100 up to $1,500, depending on the materials needed. The biggest cost of painting a car yourself will likely be the headache that comes along with it. The pros often add dozens of coats of paint to ensure a quality finish.\nPhoto in the article by “Wikimedia Commons”", "label": "Yes"}
{"text": "...is another Spanish great from the 19th century.\nBorn in 1836 in Madrid, he completed this painting at 28 years of age while in Rome in 1864 and entered it in the National Exhibition of Spain in the same year where it garnered a first prize medal. The scene represents Isabel the Catholic Queen dictating her last will and testament. The Queen is shown on her death bed with King Ferdinand seated on the left and next to him stand their daughter Juana (the fututre \"Mad\" queen from the previous 19thC painting posts) and on the right are various members of the court.\nmother´s heavy responsibilities.\nAs usual, as I tend to gravitate towards the initial ideas of the artist, what I consider the primordial instinct of expression, of equal interest is the charcoal with white chalk compositional study. The initial idea was to place the figure of the King on the right, next to the scribe, and leaving the figure of Juana alone on the left. The final composition shows a more balanced distribution of figures, avoiding the \"redundancy\" of the double-seated figures that appear in the drawing. I find particularly exquisite the standing profile figure of Juana on the left with her downturned eyes and her hands clasped in front of her...reminds me somewhat of Vermeer´s milkmaid of a little more than 200 years before.", "label": "Yes"}
{"text": "The other side of the house, oriented to the north, is more solid. Dark-stained cedar siding in a vertical tongue and groove configuration predominates\nThe other side of the house, oriented to the north, is more solid. Dark-stained cedar wood siding in a vertical tongue and groove configuration\nDark color . Book end. Natural wood\nMAK Studio - Nob Hill\nthe dark baseboards with the dark floor.” “Floors and baseboards...stained baseboard...Accents, baseboards and wall, colours...Wood baseboard...Dark baseboards\nI think this dark baseboard trim is quite nice\nDark baseboards with white walls...dark wall colour...Dark baseboards on light...Dark trim...Dark baseboards look great...Dark accent wall...Dark baseboard\nCynthia Lynn Photography\nWhat is the name of the dark paint on this wall?\nI would love to know what the grey/dark color paint is. Thanks!\nHi, do you think one brown wall would look good with dark brown sofas like these in front? The rest of the walls a sweet beige. Unf\nWhat is the dark gray color and who manufactures it Fab room\nLaminated flooring, dark grey wall and sofa\nDark colors on the walls. Contrast is amazing\ndark fabric with green, orange, yellow accents\ncharcoal gray sofa and you'll have it forever,\" Hale says. \"I recommend one dark enough to hide spills — my sofa cushions are filled with merlot-stained goose\nIs it a dark grey colour?...Nice dark grey for accent color.\nLoudoun County Interior Design Firm\nWe created our interior design and redecorating firm to show people that their dream house is attainable. Our true passion is to create a home that is functional and beautiful.\nZack|de Vito Architecture + Construction\nThis is what dark casework on dark floor would look like. While not bad, out room does\nwood is too dark i like the electrical pole incorporated in the look\n4th fl bar, mix of two stone colors...dark gray and light\ndark wood cabinets modern...Dark top and dark cabinet...dark and grey...dark top with dark cabinets...Dark cabinets and dark floor...Dark but open\nDaniel Marshall Architect\nthe side of a steep hill. Wondering whether to have a dark soffit to enhance that dramatic dark top storey or whether to go off white for for light. We\nI really love the look of the dark timber look on your cladding. What product has been used? Would love to\nThe upstairs soffit appears to be dark to match the cladding, is this the case or is it simply shadow? We are building\nexperience the interior space. If the exterior look is more important then the dark soffit would probably work better.\nDark wood in porch with silver house number.\npainted foundation - light color, shingles dark 70's exterior contemporary\nResene Pitch black woodsman coolcolour. Like dark stain with white, has dark joinery\nWhat material is the dark soffit?\nRachel Reider Interiors\nCaptain Faifield Inn - Lounge\nLove the rich color combination: dark blue walls and burnt orange\nbetween dark walls and orange chairs. Wood floors.\nTrim same color as the walls - dark gray\nLike the dark grey walls with the bold colors and warm wood floor\ninstalling dimmers is a must. Also, pay attention to the corners in every room; dark corners can make a room feel smaller. Proper lighting makes all the difference\nDark gray w orange and aubergine\nNotting Hill Flat\nLead the eye with dark paint Dark-hued, dramatic skirting boards are an effective design tool in a long\nLead the eye with dark paintDark-hued, dramatic skirting boards are an effective design tool in a long\nDark skirting boards as design feature...dark skirting boards...Dark skirtings...dark large Skirting boards...dark woodwork\nWalk Around the Hood\nDark grey must be popular in LA. Like the dark brown window trim with the grey and aqua, but a bit dark for my tastes, and for the\nin a dark gray variation. This cute bungalow stood out among the other neutral white, brown and beige homes on the dense street because of its dark facade\ndoor. In bright sun, any black may become tempered and slightly faded to a dark gray.\ndoor contrast to the dark gray house...and dark windows with grey paint", "label": "Yes"}
{"text": "Sign in to favourite Sign in to add to album Copyright Information close The author of this artwork died more than 70 years ago. According to U.S. Copyright Law, copyright expires 70 years after the author's death. In other countries, legislation may differ. More… WikiArt.org allows unlimited copying, distributing and displaying of the images of public domain artworks solely. We use here Copyright term based on authors' deaths according to U.S. Copyright Law, that is 70 years. In other countries, the duration of copyright term may differ. Please check here copyright length according to your country's legislation before you consider reproducing images borrowed from Wikipaintings.org Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. Public domain ← → Oberried Altarpiece, right interior wing - The Birth of Christ Hans Holbein the Younger Date: 1522; Germany Style: Northern Renaissance Genre: religious painting Media: wood, tempera Dimensions: 109 x 230 cm Tags: Christianity, Jesus-Christ, Nativity, Virgin-Mary, angels-and-archangels File Source: commons.wikimedia.org Order an oil painting reproduction Ad Image dimension 275x600px, View all sizes Hans Holbein the Younger Famous works The Body of the Dead Christ in the Tomb Hans Holbein the Younger · 1521 Portrait of Erasmus of Rotterdam Hans Holbein the Younger · 1523 The Passion Hans Holbein the Younger · 1525 Portrait of Sir Thomas More Hans Holbein the Younger · 1527 Portrait of Thomas Cromwell Hans Holbein the Younger · 1533 The Ambassadors Hans Holbein the Younger · 1533 Portrait of a Lady, thought to be Anne Boleyn Hans Holbein the Younger · 1534 Portrait of Henry VIII, King of England Hans Holbein the Younger · 1535 View all 150 artworks Related Artworks Virgin and Child Jan van Hemessen Christ with the soul of the Virgin Andrea Mantegna Pieta Andrea Mantegna The Lamentation Anthony van Dyck Deposition Anthony van Dyck The Lamentation of Christ Anthony van Dyck Jesus Summons Matthew to Leave the Tax Office Jan van Hemessen Christ Carrying The Cross Jan van Hemessen Christ Driving Merchants from the Temple Jan van Hemessen The Mocking of Christ Jan van Hemessen The Descent from the Cross Jan van Hemessen The Lamentation of Christ Jan van Hemessen The Baptism of Christ Andrea Mantegna St. Bernardine of Siena with the Angels Andrea Mantegna Christ Carrying the Cross Andrea Mantegna Ecce Homo Andrea Mantegna Christ the Redeemer Andrea Mantegna Descent into Limbo Andrea Mantegna Christ of Pity supported by a cherub and a seraph Andrea Mantegna The Dead Christ (Lamentation of Christ) Andrea Mantegna 1 Load more Advertisement.", "label": "Yes"}
{"text": "A beautifully executed painting on canvas of New Mexico Native American pottery pieces, (perhaps from the Zia Pueblo?), signed at lower left by artist \"Angelika\". The work, 20\" by 24\" (24 1/2\" by 28 1/2\" framed) is painted in a realistic style, so that the pots seem to be three dimensional. This is a highly decorative piece and will complement your Southwest interior. The frame is not especially complementary; a more appropriate one will enhance the presentation.\nContemporary signed Southwestern American painting of New Mexico pottery", "label": "Yes"}
{"text": "Watercolor Impressionist Paintings\nSigned Impressionist Market Scene Painting from Java, \"Fruit Shopping\"\nSigned Watercolor Painting of a Farmer from Java, \"Plowing Rice Field\"\nOriginal Signed Watercolor Work of Art Flowers Blooming, \"Floral Delight\"\nWatercolor on Paper Painting of Lovers from Brazil, \"Footprint\"", "label": "Yes"}
{"text": "of course the above went through my head when i was painting it, but this painting was alota fun!\ni dunno if that airship would actually fly\n(first time painting one too)\njust a curious asian dragon\ntrying to go for a more subtle colour scheme =\nI do quite like the greens.\nAlchemy and Photoshop!", "label": "Yes"}
{"text": "drawing - search results\nIf you're not happy with the results, please do another search\nArt Students: Look for the Obvious, Yet Seldom Mentioned\nIf your drawing style falls within the category sometimes known as “Art Class Awkwardism,” you’ll want to see what this teacher has to say.\nVisionary Work: 7 Ways to Develop Creativity\nYou have all become familiar with the necessity to set yourself apart, to bring something new, to find a way to make it yours as you develop your artistic voice. Be careful: If we set out with the intention of doing something different for the sake of standing out, this can easily set us down the wrong path.\n20 Earthly Delights – Contemporary Realism Still Lifes\n“Earthly Delights” is the title of a selection of still life paintings by Scott Fraser. Enjoy a behind-the-scenes look at Fraser’s painting process here.\nThe Pursuit of Light | Paint Figurative Art Like the Masters\nDaniel Gerhartz shares figurative art that illustrates how to assess your subject in order to most accurately relay the correct values and edges.\nwww.SadieValeri.com Sadie Valeri is a nationally recognized oil painter and art instructor based in San Francisco. Her paintings have shown at prestigious galleries across the United States and have attracted significant honors, including First Prize for...\nDanThompsonArt.com Dan Thompson was born in Alexandria, Virginia, and graduated from the Corcoran School of Art in Washington, DC. He earned his MFA from the Graduate School of Figurative Art of the New York Academy...\n8 Fun Halloween Costume Ideas for Artists\nWe couldn’t resist putting together a list of some of the most brilliant Halloween costumes for artists and art-lovers. Bonus: Get some artistic jack-o’-lantern ideas here too!\nHow to Draw: From an Idea, To a Sketch, To a Work of Art\nGrace Aldrich takes us behind the scenes of the creation of her drawing “Elements of Style.” View sketches, learn what art supplies she used, and find out the unconventional way she checked her progress.\nArt That Explores Boundaries: Q&A With Horacio Quiroz\nBooth Gallery welcomes Mexican painter Horacio Quiroz to NYC for his debut solo exhibition in the United States, “Polarities.” The following is our exclusive, bilingual interview on the development of Quiroz’s unique style, his medium of choice, and what he hopes viewers take away from his art.\nUnexpected Delights: Step-by-Step Painting Demo\nSee how this oil painting of “Baby Dionysus” came together, from the initial drawing to the final varnish.", "label": "Yes"}
{"text": "18 James Street\nSkinny Tree Series 22-33\nRegular price $295.00\nThis original painting by Jessica Vergeer is painted in acrylic on wood, measures approximately 6x24 and is framed in a manner similar to Jessica’s miniature paintings. The final size, framed, is roughly 7x25. These “skinny” trees are tall and narrow, perfect for even the tiniest bit of wall space!\nThis painting does not qualify for free shipping, but shipping can be arranged if required - please just ask!", "label": "Yes"}
{"text": "Apple Rose Tart with Maple Custard and Walnut crust : guests will be wowed by this gorgeous apple tart of roses, with a toasty walnut crust and a silky sweet maple custard filling. And it’s gluten-free!\noff Hand made oil painting reproduction of Seated Woman With Bent Knee, one of the most famous paintings by Egon Schiele. Egon Schiele’s 1917 canvas Seated Woman With Bent Knee is an intense early Expressionist painting completed just a year befo.\nDeath of the Virgin 1606 - The model Caravaggio used for central figure of the virgin was actually a dead prostitute dragged up from the Tiber. It caused great controversy at the time, but none could deny the genius of the young artist.", "label": "Yes"}
{"text": "Life and career of famous Australian artists.\nThere were many famous Australian artists from the 1900’s that drew in many different styles. One group that influenced Australian Art were the Angry Penguins. They were a group of painters that established the modernist movement in Melbourne Australia. The group challenged tradition and sought to modernize the creative arts that were restrictive in the 1940’s. They were an angry and passionate group of artists rebels of the time.\nThe Angry Penguins were influenced by surrealism and French symbolism. They strove to give Australian artists more creative ways to express themselves. The group of writers and artists met regularly at a central meeting place the home of a wealthy patron John and Sunday Reed Heide.\nArthur Boyd was a master painter, potter, and graphic artist. He came from a talented family of artists. Boyd served in the Australian Army during World War II. In 1944, he established a pottery workshop at Murrumbeerna and made ceramics until 1955. He made figures of angels, pottery and other objects. Boyd began painting at a very early age. He is known for his landscapes and observation of aboriginal tribes. When he purchased a piece of property by the Shoalham River, he painted many scenes of this area.\nAlbert Tucker was an Australian artist and member of the Heide Circle. They were a group of modern artists and writers He was not trained formally but went three night a week to The Victorian Artists Society taking life drawing classes. Tucker is a post impressionist and social realist artist. He is known for drawing patients from the war suffering from wounds and mental illness.\nTucker is known for unsettling art that depicted the seamier side of life. His work showed fear, trauma,and struggle. He made his own paints often experimenting with color and new ideas. He was primarily self taught and learned art techniques from the group the Angry Penguins. During World War II he sketched for a medical team .\nLater Tucker went through a period of painting religious themes and women of the streets. When he turned to painting landscapes of Australia, he depicted the theme as hopeless and inhospitable. His painting showed scenes of moral decay and declining values. He received a Kurt Geiger Award from the Museum of Modern Art.\nSidney Nolan was an Australian outback painter known for his detailed historical painting with dark moody themes. He painted many historical figures like bush ranger Ned Kelly. His paintings gave stories of exploration and travel an air of timelessness. He studied occasionally at art school. Nolan love literature and poetry. He was influenced by modernist artists like Paul Cezanne, Pablo Picasso, and Herman Matisse. He illustrated books and designed sets for ballet and opera.\nJoy Hester was the only woman artist that belonged to The Angry Penguins. She joined the Contemporary Art Society in Melbourne in the 1930’s. She liked to draw rather than paint using brush and ink. This labeled her as a casual but not a serious artist. She drew portraits of people’s faces focusing on the eyes expressing emotion. She drew many portraits of friends and family during 1946-1947.\nShe was diagnosed with Hodgkins disease and she left her husband to live with artist Gary Smith in Sydney. Over the next two years, she produced her best work paintings of children and men and women in intimate situations. She also wrote poetry.\nJohn Perceval was an artist that lived from 1923 to 2000. He had little formal training for art. He began drawing in high school copying and studying famous artists. He enlisted in the army where he met Arthur Boyd another member ot the Angry Penguins. During his time in the Army he served as draftsmen this was where he met John Boyd another member of Angry Penguins.\nMany of his painting were known for their religious and mystical qualities. He painted many landscapes and seascapes of Australia. He illustrated the people and places of Melbourne his painting often having social themes. He ended his career with landscapes that had a childlike carefree tone. He was the last member of the Angry Penguins. He suffered from polio, mental illness, and alcoholism during his lifetime.\nIf you are now interested in buying Australian artwork, check out this retailer for online art.", "label": "Yes"}
{"text": "An exhibition of 16 paintings by the artist Riduan Tomkins who lived in Halifax and taught painting at the Nova Scotia College of Art and Design from 1983 to 1986.\n- Publication Credits\n- Exhibition Title\n- Riduan Tomkins\n- Mern O'Brien (foreword), Gemey Kelly\n- single-fold brochure\n- Riduan Tomkins, 20 February - 6 April 1986", "label": "Yes"}
{"text": "View In A Room\nAdd to Favorites\nVIEW IN MY ROOM\nSize: 12 W x 16 H x 0.1 D in\nSelect a Material\nFine Art Paper\nSelect a Size\n9 x 12 in ($55)\nAdd a Frame\nDue to the impact of COVID-19 and high order volumes, print orders may be delayed.\n30-day money-back guarantee\nArtist featured in a collection\nFeatured in Inside The Studio\nWorking in short series of paintings allows me to explore the beauty of spontaneity as well as the power of repetition and automatism, drawing on the artistic and philosophical history of my Chinese heritage and the palpable Western influences from my American education. Here, at this psychic and physical colliding point of East and West, the subtlety of ink and wash painting meets with the seeming chaos of the Abstract Expressionists to allow the creation of paintings born of both intuition and process.\nPrint:Giclee on Fine Art Paper\nSize:9 W x 12 H x 0.1 D in\nSize with Frame:14.25 W x 17.25 H x 1.2 D in\nReady to Hang:Yes\nPackaging:Ships in a Box\nDelivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.\nMelding the spirit of the Abstract Expressionists with a taste for calligraphic mark making that borders on the gleefully obsessive, Wayne Mok is an artist who wears his influences visibly on his canvas, yet he also poses new questions aplenty in his work. Born in Hong Kong, Mok is a graduate of the San Francisco Art Institute and of the California College of Arts. He has exhibited worldwide and his paintings have been featured in publications such as Elle Decoration, Living Etc, House and Garden, the Sunday Times magazine and on the cover of Viewpoint. He was also selected as one of the top 20 artists to watch by Art Business News Magazine. Colourful acrylic work is a trademark of his practice. Mixing Western artistic mores with Eastern craft skills, Mok creates.\nArtist featured by Saatchi Art in a collection\nFeatured in Saatchi Art's curated series, Inside The Studio", "label": "Yes"}
{"text": "5 piece canvas print home decor artwork ocean photo landscape photography wall art prints sunrise red group beach canv.\nfree shipping abstract nude figure oil painting canvas high quality handmade home decoration office wall art decor gift artwork ideas colors.\nwall paintings for home decoration art design sweet decor elegant small artwork ideas india.\ninspirational design artwork for the home contemporary to elegant and 6 decor ideas wall colors art decoration collection at desire pertaini.\nartwork home decor work ideas wall colors cheap.\nunframed 5 red trees waterfall picture print painting modern canvas wall art for decor home decoration artwork hanging ideas pict.\n5 panels modern canvas wall art sunshine coconut tree beach seascape print painting for home decor artwork diy projects.\nfree shipping abstract phoenix oil painting canvas high quality handmade modern home office wall art decor decoration artwork ideas stickers.\n3 panel modern abstract painting canvas lake home decor for living room wall art artwork diy.\nnative girl feathered picture wall art home decor for my soul spirit artwork diy hangings living room 3 pieces.\nunframed 5 panels canvas print painting modern running horse wall art for decor home artwork diy.\nhome decor wall art design artwork diy hangings.\noffice artwork canvas landscape oil painting road art high quality handmade modern home decor wall ideas paintings 3 piece decoration abs.\nhanging wall art room pillows design home decor artwork diy canvas.\nunframed 3 panel light blue beach seascape modern print picture painting home wall art decor for living room decoration artwork prints.\nour gallery of joyous home decor paintings stunning design 2 piece colorful oil painting abstract wall art artwork diy projects.\ncolorful contemporary wall art decor home artwork ideas great.\noffice artwork canvas wall paintings 3 piece art home decoration abstract painting decor diy a.\nart home decor painting women figure oil exquisite landscape canvas artwork ideas wall colors exqu.\nhome artwork on a wall decor ideas details.\nhow to use artwork in home decor top and design ideas diy art for.\nnew oh yeah neon sign for bedroom wall home decor artwork with dimmer diy.\nunframed 5 sets colorful running horse print painting modern canvas wall art for decor home artwork prints.\nwall decorating ideas home decor large art interior design modern beautiful artwork stickers.\n5 panel wall art home decor painting canvas printed game poster on artwork ideas.\nhome decor artwork canvas print 5 panel the legend of modern frame for painting modular diy crafts art n more.\nadditional photos modern artwork thumbnail home decor ideas fire and ice.\nand i do really appreciate chairs home decor artwork diy art ideas aboriginal in interior design.\nhome decor artwork large bedroom wall hanging decorations for bedrooms ideas india.\ncanvas painting wall art pictures 5 pieces weapons printed poster home decor artwork ideas colors.\nhome decor artwork ideas wall colors.\nbuy cheap paintings for big save hand painted hi q modern wall property artwork the home decor ideas colors amazing to try right now house th.\n3 piece canvas wall art home decor artwork modern oil paintings photo ideas abstract triptych orange panoramic.\ndecor art paint home decorating ideas artwork diy canvas.\nanime canvas print painting modern wall art for decor home decoration artwork from prints.\nhome decor original hand painted artwork diy art ideas.\neasy burlap wall art crafts home decor seasonal holiday artwork ideas stickers.\nwall art designs for sale glass home decor printed fabulous impressive 0 artwork prints.\n3 wall art abstract flower picture modern home decoration living room canvas print painting decor artwork ideas.\n5 modern abstract wall art painting world map canvas for living room home decor artwork prints stunning panel.\nartwork for home decor art prints paintings accessories outdoor accent wall ideas.\nhome decor artwork diy crafts art n more key things to know about.\nhome decor artwork stunning stencil projects stories on wall for prints.\n5 panels modern sunset red trees picture canvas print painting wall art for decor home decoration artwork from ideas.", "label": "Yes"}
{"text": "Snow on the River 12\"x12\" oil on canvas\nI'm not much of a winter plein air painter, but I do love snow scenes. What intrigues me is all the different colors of snow. Yes, there's some white, but there is sooo much else. The starting point for Snow on the River was a photo I took in Fairfield, CT. I used it as a framework to explore shades of blue and purple.\nIcy Brook 8\"x10\" oil on canvas panel\nIcy Brook was also painted from a photo, taken with some risk since the bridge over the brook was pretty icy, and I had to dodge the cars driving by. Below I've included the photo, so you can see that it was really only a jumping off point for the composition, the colors and positioning of the grasses and shadows are all mine.\nIcy Brook Photo\nI did have an opportunity to paint snow from life at our previous house. We had a bit of lawn behind the house and then some nice trees. The french doors and the screened porch both gave me a sheltered location to paint from.\nBackyard Snow 6\"x6\" oil on canvas panel\nI've painted this same backyard snow several times, in oils and in water color. We don't get as much snow here on Buzzards' Bay, but I'm on the lookout for opportunities to paint snow from life in my new neighborhood.\nThomas Point 6\"x6\" oil on canvas panel\nSometimes simple is best, and that's what I found with Thomas Point, a photo taken by my painter friend, Joelle Feldman. It's one of my favorite snow paintings ever.\nAbstracted Exercise #2 - acrylic on paper\nMy paintings are mostly realistic. They aren’t photorealism, because they don't look like photos. They're just a little abstracted, in the sense that I simplify. I’d love to get some other kinds of abstraction into my paintings, and I’d also like to learn to paint with acrylics.\nTo these ends I’ve been taking an interesting painting course online with British artist, Louise Fletcher. And I’ve made a lot of progress with acrylics. It’s great to be able to use them indoors without having to worry about the ventilation that is needed for oil paints.\nFirst Step in Creating 4 Abstract Exercises (note the masking tape)\nCompleted Exercises (note the tape has been removed)\nIn order to learn different ways of abstracting I decided to take the class as if I was an abstract painter. The paintings here are some of the results.\nAbstract Exercise #3 - acrylic on paper\nI've enjoyed using different tools to make marks, not just brushes and knives. I tried an old credit card, a crumpled tissue, and a Princeton Catalyst wedge, among other things. And I loved removing paint by scratching and scraping.\nAbstract Exercise #4 - acrylic on paper\nIt’s also fun to hear things that you have a lot of experience with from a completely different perspective. For me this was values, color, and composition. There is always more to learn!\nMy next step is to experiment with these techniques and approaches in my landscape paintings. Once I’ve understood that, I can move on to abstracted boats.\nBobbi - Painter. Sketcher. Teacher. Boat and Dog Lover.", "label": "Yes"}
{"text": "STILL LIFE WITH APPLES ON A DELFT BLUE DISH BY WILLEM DE ZWART\nOriginal: oil on canvas 79 x 48,5 cm bxh\nDate: 1880 - 1890\nThe painting belongs to the collection of the Rijksmuseum in Amsterdam.\nStill life with apples on a Delft blue dish by Willem de Zwart on your wall?\nWould you like to have this beautiful masterpiece on your wall? Choose your favorite artwork in the size you want.", "label": "Yes"}
{"text": "Joaquin Endara R\n\"Creating is there, the painter is a pupil, a bright light, the light irradiation and the reverberation of reality.\"\nJoaquin Endara Ruiz was born in Quito, in the Panecillo in 1933. His existence has been marked by a \"reborn\" on his painting style and in his own life. The artist suffered a brain hemorrhage, it happened in the United States 40 years ago, it left him completely paralyzed; but his integrity, dedication and deep love to art, allowed him to regain the movements and he relearned to paint prodigiously with his left hand, this refined his extraordinary artistic quality, for these reason is known in the art world as “DOS VECES PINTOR” (pinter twice).\n\"Endara’s palette produces a rhythmic sound to come across the canvas, the oils forms thick patches, from a draw is given the artistic creation.\" Diario El Comercio\nRecognized by UNESCO in 2000 for his hard work in Ecuadorian art. He has exhibited in numerous opportunities for both individual and group shows and its success has been undeniable, both nationally and internationally.\nFor 2002 Museum and Library “Aurelio Espinosa Polit” pays homage to his work and mission in the culture, recognizing his work in a chronological process of styles from the nineteenth century, whose \"Cantuña\" now rests in the museum along with painters such as Joaquín Pinto, Pedro Leon, Manon, Juan León Mera, Pedro Pablo Traversari, Guarderas, Emilio Moncayo, and Joaquin Endara.\nEndara, the great Nocturne Impressionist, with another vision of the city, achieves the brightness with the absence and presence of light, he has traveled the country covering all regions of Ecuador, which landscapes have been shaped on canvas, as an artist who gives us panoramic views, bells, alleys, volcanoes, glaciers, beaches, villages etc.\nHis work has been exhibited in several countries like United States, Venezuela, Mexico, Colombia, France among others and just give us a sample of the great and unparalleled creation of his art, his life.", "label": "Yes"}
{"text": "In case you are ready to make your cars theme canvas wall art and know precisely what you want, you could search through these numerous selection of canvas wall art to obtain the great piece for your interior. When you will need living room artwork, dining room artwork, or any space in between, we've bought what you would like to flip your house right into a magnificently designed space. The contemporary artwork, classic art, or reproductions of the classics you adore are simply a click away.\nThere's lots of options of cars theme canvas wall art you will discover here. Each and every canvas wall art features a distinctive style and characteristics that pull art enthusiasts into the variety. Wall decor including artwork, interior painting, and interior mirrors - will be able to enhance and even provide personal preference to a space. All these make for great family room, home office, or bedroom wall art parts!\nDo you think you're been looking for ways to decorate your walls? Art is the perfect answer for tiny or big rooms equally, giving any interior a finished and refined visual appeal in minutes. When you want inspiration for beautify your interior with cars theme canvas wall art before you get your goods, you are able to look for our useful inspirational and information on canvas wall art here.\nWhatsoever room or space you have been designing, the cars theme canvas wall art has results which will accommodate what you want. Explore numerous photos to turn into posters or prints, offering common subjects just like panoramas, landscapes, food, culinary, animal, wildlife, city skylines, and abstract compositions. By adding groupings of canvas wall art in various shapes and sizes, in addition to different wall art, we included curiosity and figure to the interior.\nYou do not need buy canvas wall art just because a some artist or friend told you it will be good. Keep in mind, natural beauty is actually subjective. Everything that might feel and look amazing to other people may certainly not what you like. The most suitable criterion you need to use in deciding cars theme canvas wall art is whether focusing on it makes you fully feel happy or ecstatic, or not. If that does not hit your feelings, then it may be better you look at other alternative of canvas wall art. In the end, it will soon be for your space, perhaps not theirs, therefore it's best you go and pick something which interests you.\nOnce you discover the pieces of canvas wall art you like which would suit beautifully along with your space, whether that is coming from a well-known art shop/store or poster printing services, don't let your excitement get the higher of you and hang the item as soon as it arrives. That you don't desire to get a wall filled with holes. Plan first wherever it'd place.\nStill another component you have to bear in mind in purchasing canvas wall art is actually that it shouldn't adverse together with your wall or overall interior decor. Remember that that you are buying these artwork pieces to help enhance the visual appeal of your house, not cause destruction on it. You can actually pick something that will have some contrast but do not choose one that's overwhelmingly at odds with the wall and decor.\nDo not be overly fast when finding canvas wall art and check out as much galleries or stores as you can. Odds are you will discover greater and more appealing pieces than that creations you checked at that first gallery or store you went to. Furthermore, don't restrict yourself. When you find only limited number of stores around the town where you reside, you should take to seeking on the internet. You'll find loads of online art stores with hundreds of cars theme canvas wall art you'll be able to select from.\n- 51 Best Dinosaurs Nursery Inspiration Images On Pinterest Intended For Most Current Cars Theme Canvas Wall Art View Photo 1 of 15\n- Alphabet Print, Transportation Alphabet Poster, Abc Poster Inside Most Recently Released Cars Theme Canvas Wall Art View Photo 2 of 15\n- Busy City Wall Art Set Of 3 Transportation Prints Cars Pertaining To Most Recently Released Cars Theme Canvas Wall Art View Photo 3 of 15\n- Car A Day Within Most Up To Date Cars Theme Canvas Wall Art View Photo 4 of 15\n- Checkered Flag Decal, Car Wall Decal, Cars Wall Art, Boy Room Inside Recent Cars Theme Canvas Wall Art View Photo 5 of 15\n- Disney Cars Light Up Canvas Wall Art With Bonus Led Lights Pertaining To Best And Newest Cars Theme Canvas Wall Art View Photo 6 of 15\n- Disney Cars Light Up Canvas Wall Art With Bonus Led Lights Regarding Latest Cars Theme Canvas Wall Art View Photo 7 of 15\n- Disney Pixar Cars Lightning Mcqueen Watercolor Poster Print – Wall Pertaining To Recent Cars Theme Canvas Wall Art View Photo 8 of 15\n- Exclusive Canvas Wall Art: Ken Block Monster Wrc For Most Current Cars Theme Canvas Wall Art View Photo 9 of 15\n- Inside Out Bedding, Wall Art, And Bedroom Decor – New Within Most Popular Cars Theme Canvas Wall Art View Photo 10 of 15\n- Lightning Mcqueen, Cars Movie Disney Pixar Watercolor Art Print Throughout Best And Newest Cars Theme Canvas Wall Art View Photo 11 of 15\n- Lightning Mcqueen, Cars Watercolor Art Print | Wall Pops With Regard To Most Recent Cars Theme Canvas Wall Art View Photo 12 of 15\n- Monster Trucks Wall Art, Boy Nursery Art, Kids Wall Art, Toddler Pertaining To Newest Cars Theme Canvas Wall Art View Photo 13 of 15\n- Secure.img1 Fg View Photo 14 of 15\n- Wall Art Sets – Walmart For Recent Cars Theme Canvas Wall Art View Photo 15 of 15\nIn between the favourite art items that can be prepared for walls are cars theme canvas wall art, picture prints, or paints. Additionally, there are wall bas-relief and statues, which can seem a lot more like 3D paintings compared to statues. Also, if you have most popular designer, perhaps he or she's a webpage and you can always check and get their art throught online. There are even designers that promote electronic copies of the products and you available to just have printed.\nNot a single thing changes a space like a lovely piece of cars theme canvas wall art. A watchfully selected photo or print may raise your environments and convert the sensation of an interior. But how do you get the perfect item? The canvas wall art is likely to be as unique as individuals design. So this means is there are easy and quickly principles to selecting canvas wall art for the home, it just must be anything you like.\nWe have many choices of canvas wall art for your house, such as cars theme canvas wall art. Be certain that anytime you are searching for where to get canvas wall art online, you find the good choices, how the simplest way should you decide on the perfect canvas wall art for your interior? Here are a few galleries which could give inspirations: gather as many selections as you possibly can before you decide, go with a scheme that will not express conflict together with your wall and be certain that everyone adore it to pieces.\nHave a look at these wide-ranging variety of canvas wall art with regard to wall prints, decor, and more to find the ideal decor to your home. To be sure that canvas wall art differs in wide, figure, shape, cost, and model, so its possible to find cars theme canvas wall art which compliment your house and your personal experience of style. You can discover sets from contemporary wall art to classic wall artwork, in order to be confident that there's anything you'll enjoy and proper for your room.", "label": "Yes"}
{"text": "Whether you need to paint a new construction or refresh an existing old and faded building, our team of highly experienced house painters in Glen Iris can transform any structure into a masterpiece. With 25 years of industry experience, we offer extensive painting services for homes, apartments, and townhouses. When it comes to finding trustworthy painters in Glen Iris, look no further. Our trio of tremendous knowledge, best quality paint, and latest techniques will rejuvenate your home and exceed your expectations.\nArt in Painting invites clients to experience highly appreciable interior painting in Glen Iris with our skilled team. We cover all interior areas, including ceilings, pillars, walls, staircases, kitchens, bathrooms, and more. Our exceptional quality house painting in Glen Iris can breathe new life into your living space. With our expertise, we can transform any property within the promised time frame, providing you with a beautiful and refreshing interior. And the best part is that our services are budget-friendly, catering to both homes and businesses.\nWhen it comes to residential painting, we take pride in our exceptional workmanship, meticulous attention-to-detail, and excellent customer service. As the most reliable residential painter in Glen Iris, we are dedicated to delivering outstanding results that surpass your expectations. Additionally, we are also one of the leading commercial painters in Glen Iris, providing painting services for businesses, corporate buildings, shops, and more. Rest assured, we comply with all government regulations and follow eco-friendly practices, ensuring proper waste disposal and minimizing our environmental impact.\nNo need to search for “painters near me” anymore. Simply give us a call at 0410 301 920, and our team at Art in Painting will be happy to assist you. You can also reach us by sending a message online at email@example.com. Contact us now to learn more about our services, discuss your painting needs, and get a quote.\nChoose Art in Painting (Painter Templestowe) for when you require best commercial painters in Balwyn. Contact us today for a free consultation if you are looking for painters near me and let our local painting experts bring a fresh look to your home or business.\nOur home painter in Melbourne is more than willing to help clients in and around the eastern suburbs with their residential or commercial painting requirements. We can travel to the following locations:", "label": "Yes"}
{"text": "If you are looking for two toned wall paint ideas you\"ve come to the right place. we now have a solution for two toned wall paint ideas only forcreativejuice.co.\ntwo toned wall paint ideas may be one of the most hard things to do in the beautification of the house. Well, in fact, the painting process is easier than choosing the best color for home cabinets. Yes, the burden of painting home cabinets is not from the painting process but its from choosing the right color for the house cabinets. Even even if the people can change the color of house cabinets gone they think that the current color is not suitable, there is a long quirk to go for painting the home cabinets. Therefore, choosing the two toned wall paint ideas is a must. There are several combinations of colors that can be chosen by people. The color of the house cabinets should be adjusted following the color of the home wall and new house furniture.\ntwo toned wall paint ideas\nThere are a lot of ideas for creating the two toned wall paint ideas. People can try to make a alternative color of the upper and lower home cabinets. Or else, just helpfully creating a infected announce of the house wall and house cabinets. For example, the concentration of white and dark grey can be a good idea. The degrade house cabinets can be painted by using dark grey. Meanwhile, the upper house cabinets can be a painter by using white color along when the white home wall. The dark grey will have enough money a warm feeling. Meanwhile, the white color can meet the expense of a shiny and natural well-ventilated in the house. unusual idea of the house cabinets color is the white crisp for the demean and upper house cabinets. The white crisp can find the money for a tidy color in the home. It after that acts as a genderless color fittingly that additional home cabinets can be created by using additional colors such as green and blue colors. Or else, the full white color home cabinets can be comprehensive next the white home colors. This will make a simple and tidy house subsequently shiny lighting.\nunconventional idea of the house cabinet paint colors is a active blue. Well, the home gone the blue color will operate a hot and deep feeling towards the people. In addition, it as a consequence can create a wider announce and a tidy broadcast in the home. In order to create an airy and warm house, lively grey can be an optional color for the home cabinets pain. This grey color can function skillfully following the dark grey and white color of the house wall. It is as a consequence suitable for the white and dark grey home island. To create classic and stylish house cabinets, the black color is a great idea. This color can come to an understanding taking into account the hot wood shelves and black home cabinets. Its such an unbelievable design of the house cabinets. To create a neutral color, the sea-green can be used in the home cabinets painting. This color can discharge duty well as soon as several colors such as black, beige, white, blue, and new colors.", "label": "Yes"}
{"text": "Chinese Brush: Meticulous Painting - Mon 26th & Tue 27th October 2020\nTutor: Maggie Cross\n10am - 4pm\nThis is Chinese Brush painting at its most exquisite. Two days of indulgence to learn how to paint flowers and birds in the more detailed 'meticulous style' on paper or silk. Come away with multiple finished pieces of beautiful Chinese style art.", "label": "Yes"}
{"text": "Wall Art For Living Rooms\nffocus.org -Wall Art For Living Rooms You searched for: living room wall art! Etsy is the home to thousands of handmade, vintage, and one-of-a-kind products and gifts related to your search. No matter what you’re looking for or where you are in the world, our global marketplace of sellers can help you find unique and affordable options. Let’s get started!\nLarge Wall Art For Living Rooms : ideas & inspiration. Using substantial artwork within a stylish interior design is an art form in itself. Let these interior artwork ideas inspire your next investment.\nAmazon.com: living room wall art: home & kitchen. MHART66 wall art for living room Simple Life Blue moon tree landscape Abstract painting office Wall Art Decor 20\" x 40\" single Pieces Canvas Prints Ready to Hang for Home Decoration Works of art\nAmazon.com: wall art decor for living room. wall art for living room Decorations Photo Prints - panoramic black and white with yellow trees The moon scenery - Modern Home Decor The room Stretched and Framed Ready to Hang artwork 20X40inches", "label": "Yes"}
{"text": "This week the challenge at Color Throwdown was to use the colors poppy parade, chocolate chip, pear pizzazz and so saffron, or colors close to those. To go along with the challenge I decided on a cute Halloween type image from Paper Jewels. I used my Creative Inspirations paints to color the image. I've had an autumn paper pad since last year and we're back to fall again. These two designs papers fit the challenge so well. I added the skeleton leaves which I also painted with the Creative Inspirations. My card has quite a shimmer to it.", "label": "Yes"}
{"text": "About Picasso – Pencil Holder – Faces\nThis Picasso pencil holder is a representation of the Fanny face from the Gavilla de Fabulas sin amor. “At the age of 6, I was able to paint like an adult, however I had to be 70 to learn how to paint like a child”, said Pablo Picasso winking to these colorful and vivid illustrations he made to the book “Gavilla des Fábulas sin amor” by the Spanish writer and Nobel-prize winner Camilo José Cela (1916-2002). All the illustrations were created in a day, on June 13, 1960, in the studio in Cannes.\nPablo Picasso was a Spanish painter and sculptor, who remains one of the greatest and most influential artists of the 20th century. He is mostly recognized for the Cubist movement, which he co-founded with Georges Braque. Eventually, his masterpiece Guernica is a pivotal example of this.\nFirstly, Guernica displays the intense horror of the Spanish civil war and its impact on the city of Guernica. Then, Pablo’s exceptional style helped the world understand the horrors of the war. Finally, it also brought Spain into the forefront of the European mind.\nThrough Cubism, Picasso showed the world how two-dimensional art could be seen in a number of ways. The dimensions and angles are an abstraction of all the essential features of a scene with only their base shapes. Picasso’s style transpires his free spirit, eccentricity, and a complete disregard for any criticism of his work. In addition, this modern approach to painting far ahead of his time supported Picasso’s indelible impact on the art world to this very day. More details on Picasso – Pencil Holder – Faces :\n- Dimensions: 4″ Inches H.\n- Material: Plastic.\n- Museum: Musée Picasso (Paris).", "label": "Yes"}
{"text": "Just Art Organization in Dallas Texas, announces a new art website is released.\nWith the new school year upon us, what better way to celebrate than with the grand opening of a new art website, which is home to ten Texas artists celebrating art & life. Just Art reports the release of their new home page highlighting the artist’s paintings and the artist’s varied art techniques.\nThe Just Art Organization site houses the nine artists’ painting gallery online. It is completing an extensive renovation to showcase the Dallas Texas artists’ work. Just Art artists share their experience with fellow artists to help each other in creativity, art critique, and support. Just-Art Dallas artists meet bi-monthly, painting as a group in a creative atmosphere where they show their works and share about themselves. Just Art’s mission states: “Art is a creative journey seeking the truth with one’s self.” Just-Art Dallas Texas gallery features art by emerging and established artists.\nDallas Texas Artists Won Recognitions\nThe Dallas Texas artists enjoy the distinction of having won recognitions in many local, national, and international exhibitions. Their art is hanging in Churches and Temples in the greater Dallas area. Just Art artists continuously strive to create works of art with freedom while using extensive knowledge acquired from many years of experience.\nThe organization features American art painted by a diverse group of artists with cultures from around the world, where each artist brings a unique perspective of creativity. The artists’ paintings celebrate the creativity of multicultural Americans. Their artworks are about the love of life, Christian art, Jewish art, nature, & our world. Just Art is showing original artworks for sale online. The art site is a source for finding valuable art paintings & gallery sites and more information on Texas artists and Texas galleries.", "label": "Yes"}
{"text": "Barcode -: 8006919001017\nPart Number-: XP101A12TO\n12 Assorted Watercolour Tablets In Rounded Palette With Brush\nPremium quality fine water colour tablets with a 25mm diameter.\n12 vibrant different colours and 1 paint brush contained in a plastic base.\nThe lid can be fully removed to use as a palette, simply wash and dry before replacing!\nWe also recommend", "label": "Yes"}
{"text": "24 January 2007 by Billy\nAt the second attempt, I managed to record Sandra Penketh’s picture of the month talk yesterday at the Lady Lever Art Gallery on John William Waterhouse’s ‘The Decameron’ and ‘The Enchanted Garden’ (mp3/transcript/links).\nThe paintings are companion pieces, ‘The Enchanted Garden’ depicting a scene from Boccaccio’s Decameron. Sandra’s talk looks at the contemporary influences on Waterhouse, the story of the Enchanted Garden and Lord Lever’s unusual approach to buying from Waterhouse’s widow.\nThe object of the month talk at 1pm in the Walker tomorrow (Thursday 25 January 2007) is on a Vivienne Westwood outfit from her Buffalo Girls collection.\n(Comments are closed for this post.)", "label": "Yes"}
{"text": "After I painted this painting I was asked by a family member \"Why did you paint that?\" I replied, \"I don't know why, I just wanted to, it's because they found his skull\" . The family member then said \"Well, it's a really awful painting, throw it away\". I have not thrown it away. I like it. I don't know why I like it, and I don't know why I painted it either.\nThis has been painted on Windsor and Newton Canvas Board.", "label": "Yes"}
{"text": "My mom ordered this adorable bench from a local unpainted furniture store to go with this vanity I recently painted for her.\nHere it is.. as plain as you can get.\nIf you're painting unfinished furniture it's really important to prime it first. The bare wood will soak up a ton of paint. I started out by doing a good coat of gray primer.\nThen painted it with the same Glidden black paint I used on the vanity. And then sealed it with a spray polyacrylic. After it was dry I put screwed the top back on and here it is!", "label": "Yes"}
{"text": "The Beginning (1949) by Max Beckmann\nThe Beginning (triptych) (1949)\nThe Beginning (triptych) by Max Beckmann.\nBest-loved for his boldly painted self-portraits and powerful triptychs, Max Beckmann achieved early financial success with his Biblical art, and was elected to the board of the prestigious Berlin Secession when he was only 26. However, his experiences as a medical volunteer during the First World War, changed his style of painting completely. During the 1920s, he eas associated with the Neue Sachlichkeit (New Objectivity) group, and began producing expressionist portraits and self portraits, which he exhibited widely. In this post-war portrait art and figure painting, he depicted life as a carnival of human folly, using expressionistic brushwork and more intense colours with bold outlines. In addition, from the early 1930s, as a result of his keen interest in medieval painting, he also produced a series of ten allegorical triptych paintings (1932-50) - of which The Beginning was number eight. In 1933 he was dismissed by the Nazis authorities from his teaching position at the Fine Arts Academy in Frankfurt. In 1937, ten of his paintings were included in the Nazi exhibition of \"degenerate art\", and he was forbidden to practise as an artist. In response, Beckmann fled to Amsterdam. In 1947, he emigrated to the United States, where he died three years later.\nThe Beginning was inspired by a dream which Beckmann recorded in his diary in April 1946: \"I just had an absurd and unpleasant dream in which somehow a Puss-in-Boots played a role that made me mighty ridiculous\". He started work on the painting in Amsterdam in October 1946, noting: \"already today a draft from 'Puss-in-Boots', becoming quite interesting\". In January 1947 he records starting on the side panels of the work, referring to them now as 'L'Enfance' (Childhood), and later on as 'Jeunesse' (Youth).\nBeckmann ceased work on the painting soon after, perhaps preoccupied by his impending move to the United States. Only after a year in America does he again mention the triptych in his journal, where in December 1948 he announces: \"Interesting, that old new little triptych L'Enfance\". In April 1949 he writes of having \"cut down The beginning with seemingly marvellous success\". This last title was then retained, and the work was pronounced complete on 16 May 1949.\nThe Beginning is perhaps the most autobiographical of Beckmann's major works of modern art, and may be read, as the earlier titles suggest, as an allegory of childhood. The scenes depicted in each of the three panels revolve around a boy who, in the right-hand panel, is in the back row of a class of schoolboys seated before a strict schoolmaster. The boy has made a drawing of a naked woman and is passing it to a fellow student, an act that Beckmann recalls from his own school-days: \"I distinguished myself in school most of all by setting up a small picture factory during lessons. The products wandered from hand to hand and mesmerized away many a poor fellow slave's dreary fate for a few minutes.\"\nThe boy's artistic activities seem about to be cut short, however, as the scowling glance of the teacher is fixed upon him. That severe punishment may follow is indicated by the fate of the student at the front of the room, who stands face to the wall, his hands raised above his head. The use of sombre browns and blacks, the claustrophobic foreshortening, and the heavily barred grille down the left of the panel add to the air of oppression: this is a place of physical and psychological restraint. Only the presence of a globe and a brightly coloured painting of a mountain landscape implies that there is an alternative to this world. The sculptured head behind the teacher, the harp in the foreground, and the boy's artistic activities suggest the means of escape.\nBy contrast with the earthy colours of the right panel, the blue and purple in the left panel belong to a mystic plane, from which spectators are excluded by the grid of a window frame. The boy, now crowned, stares into this space. His garlanded female companion, however, fascinated by her own reflection in a mirror, personifies earthly vanity and delusion. Nearby, a burning candle symbolizes the transience of human existence, in the style of Vanitas painting of the 17th-century Dutch School. Beyond the window a fantastic vision appears before the boy king - a host of angelic beings surrounds a blind organ-grinder. In Beckmann's earlier works the organ-grinder symbolizes Fate, playing over and over again the song of life. The bearded old musician may be seen as a lonely visionary, the inevitable end to the young artist's dreams of glory.\nThe implications of the side panels, the worlds of reality and of the imagination, are brought together in the central panel. Here Beckmann depicts a nursery, in which the boy, mounted on a white rocking-horse and heroically brandishing a toy sword, dominates the composition. Puss-in-Boots, fairy-tale figure of daring, renowned for success over grown-up monsters, hangs disquietingly from the roof. Perhaps the boy is soon to rescue him, but in view of Beckmann's dream it is more likely that the youngster has vanquished the cat, whose swinging paws parallel the outstretched arms of the boy being punished in the adjacent panel. Lurking in the cupboard is the child's next conquest, the menacing clown - another spectre of childhood insecurity.\nA voluptuous red-haired woman reclines in the foreground, absent-mindedly blowing bubbles from a clay pipe. Beauty is seen as a fragile image. Beckmann identified this figure as a governess, a role well suited to muse and femme fatale. Next to her an old woman reads a newspaper, indifferent to her surroundings, offering knowledge of the world through experience and learning. The boy's parents, who appear on a ladder behind him, wave disapprovingly, but are powerless to stop their son's leap into adulthood.\nSince the 1990s, Beckmann's expressionist paintings have attracted an increasing international following, with retrospectives and exhibitions at the Museum of Modern Art (1995) and the Samuel R. Guggenheim Museum (1996) in New York, as well as the principal museums of Rome (1996), Madrid (1997), Zurich (1998), Munich (2000), Paris (2002), London (2003), Frankfurt (2006) and Amsterdam (2007).\nin Art (1890-present)\nMovement (1880s onwards)\nof Expressionist Painting (1880-1930)\nFor the meaning of other 20th century paintings, see: Homepage.\nENCYCLOPEDIA OF ART EDUCATION", "label": "Yes"}
{"text": "Vincent Van Gogh\nDutch Post-Impressionist Painter, 1853-1890\nVincent Willem van Gogh (30 March 1853 ?C 29 July 1890) was a Dutch Post-Impressionist artist. Some of his paintings are now among the world's best known, most popular and expensive works of art.\nVan Gogh spent his early adult life working for a firm of art dealers. After a brief spell as a teacher, he became a missionary worker in a very poor mining region. He did not embark upon a career as an artist until 1880. Initially, Van Gogh worked only with sombre colours, until he encountered Impressionism and Neo-Impressionism in Paris. He incorporated their brighter colours and style of painting into a uniquely recognizable style, which was fully developed during the time he spent at Arles, France. He produced more than 2,000 works, including around 900 paintings and 1,100 drawings and sketches, during the last ten years of his life. Most of his best-known works were produced in the final two years of his life, during which time he cut off part of his left ear following a breakdown in his friendship with Paul Gauguin. After this he suffered recurrent bouts of mental illness, which led to his suicide.\nThe central figure in Van Gogh's life was his brother Theo, who continually and selflessly provided financial support. Their lifelong friendship is documented in numerous letters they exchanged from August 1872 onwards. Van Gogh is a pioneer of what came to be known as Expressionism. He had an enormous influence on 20th century art, especially on the Fauves and German Expressionists. Related Paintings of Vincent Van Gogh :. | Trees adn Undergrowth (nn04) | The Round of the Prisoners | La Berceuse (nn04) | Flowering Garden (nn04) | Self Portrait with Pipe |\nRelated Artists:Leon Bazille Perrault\n(20 June 1832, Poitiers - 1908, Royan) was a French painter.\nA student of William Bouguereau and François-Edouard Picot, he exhibited at the Salon from 1863 onwards, producing several works, in the academic tradition. He was famous for his le petit naufrag (The little shipwrecked boy, 1874) and his paintings of children.\nFrench Rococo Era Painter, 1685-1766\nBrother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Acad?mie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as 'cold'. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud's famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Acad?mie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). Millet, Francis David", "label": "Yes"}
{"text": "Hot on the heels of my last post and couple of portraits I decided to do my next one with a subject very close to home, I found a baby picture of my eldest who is now nearly 9 and painted a picture of him when he was very young.\nAs a painting by it's self I quite like it but when you look at the photo I think you can see that it's not quite the same, interestingly enough I think I managed to paint him looking older than the photo and more like what he looks like now. I enjoyed it though and will put this down as another practice/experience, either way I'm having fun and have broken my artistic block! :0)\nLooking forward to catching up with you all at Sunday Sketches!", "label": "Yes"}
{"text": "8x10\" original oil painting on 3/4\" panel\nI've always liked the little cocktail umbrellas that adorn 'fancy', sometimes silly, drinks. So here they are! Painting their shadows was just as fun as painting them. As well as a cool bird. Looking into the cup and red vase was tricky, but I like the circular shapes they make. A few cherries and Voila!", "label": "Yes"}
{"text": "Oil on canvas, 46×61 cm (18×24 inches), 2014\nThe greater portraitist of the American society had to be there. Warhol personifies an era that I wish I lived in. Being a young artist in NYC in the 60’s, meeting Basquiat, Keith Haring or the Velvet Underground at the Factory must have been something. Warhol is the unescapable face of this time.", "label": "Yes"}
{"text": "#149 – Lake Rosseau-2\nOriginal Work By Jeff Dillon\nCan you feel the wind? Here I have animated nature with my brushstrokes. In this painting we feel the energy of the wind swirling through the trees. The evergreen branches appear to reach into the horizon. The water is dynamic, in the zigzag lines there is an expressed fluidity in the shades of blue. However, it’s the sky with the swirls of turquoise and powder blue that suggest a summer storm is in progress. The landscape of Muskoka is permanently etched by the wind off the lake.\nOriginal Size: 12” x 12″\nJeff Dillon the Canadian Artist, inspired by the bold colours and brush strokes of Post-Impressionist Artists. His unique style focuses on capturing light, not through the detail of realism, but with gesture, illusion, shape and colour. He offers a personal and distinctive style to the world through his bold use of colours and lines, often symbolic images or subject matter. Objects in the paintings retain their realistic appearance yet have a vibrancy and fluidity about them, unique to his work. Jeff Dillon’s new expression of Post-Impressionism is both beloved and revered in the Canadian and Global Contemporary Art World.\n- Original completed December 2018\n- Free shipping for original paintings shipped within Canada.\n- Search words: Nature, Muskoka, Landscape, Cottage, Blue, Green, Trees, Rocks, Clouds\nDelivery of Your Painting or Print:\n- I offer free shipping for original paintings shipped within the Canada. Please contact me for a quote for international shipping.\n- Orders typically are shipped within 2 weeks and shipping time will depend on the destination (local vs international).\n- Shipping will be calculated upon check out based on your address. Shipping of your original paintings always require a signature otherwise the couriers would leave the paintings at the door.\n- Shortly after you have completed checking out on the website I will provide you with an estimated shipping date and tracking number.\n- I generally use Canpar, Purolator, UPS or Canada Post as our shipping carriers. Choosing the courier will depend on the final destination, the timing and the price. I use a professional shipping company with many years experience and have not damaged a single original painting in shipping worldwide.\n- All original paintings will be carefully packaged and shipped in a wooden crate of ultimate protection.\n- There are no returns or exchanges on original paintings.", "label": "Yes"}
{"text": "Every single velveteen rabbit wall art can let you to make special design and provide different look for your room. Placing wall art to your room may enable you get the good atmosphere for each space. Analyzing the design of your current house before shopping wall art will also allow you to find the perfect model, size, measurement, and appearance for the space.\nAll wall art are enjoyable that may be used in any space of the house. Also a relatively inexpensive method to transform a monotonous place an easy renovation for a fresh feel and look in your interior. Designing using velveteen rabbit wall art is made for every people, of every age, and also for any interior design which that you prefer along with makeover the appearance of your room.\nAt this time there is likely velveteen rabbit wall art are a preferred alternative and come in both tiny and large dimensions. Implement wall art as decor can easily encourages you to be special features for you and give satisfaction!\nHave you been searching for out where to get wall art for your interior? So, here contains something you looking for with many velveteen rabbit wall art for your home! Designing with wall art is really a exciting way to get a new experience to the room, or add a special pattern. It's also possible to have wall art in all dimensions or sizes also in numerous styles, colors, shapes and variations.\n- Velveteen Rabbit Wall Art Throughout Favorite The Velveteen Rabbit Art Print – Sugarboo And Co Designs View Photo 1 of 15\n- Velveteen Rabbit Wall Art Within Most Recently Released Wall Art Luxury Wall Candy Arts Full Hd Wallpaper Images Wallcandy View Photo 2 of 15\n- Velveteen Rabbit Wall Art Regarding Favorite Velveteen Rabbit Quote, Bunny Wall Art, Printable Nursery Art View Photo 3 of 15\n- Velveteen Rabbit Wall Art With Regard To Fashionable Wall Art Lovely Velveteen Rabbit Wall Art Hd Wallpaper Pictures View Photo 4 of 15\n- Velveteen Rabbit Wall Art For 2017 Cozy Kid's Reading Corner With Free Printable Art Inspiredthe View Photo 5 of 15\n- Velveteen Rabbit Wall Art With 2018 Velveteen Rabbit Wall Art Velveteen Rabbit Art Print Margery View Photo 6 of 15\n- Current Velveteen Rabbit Wall Art In Wall Art Lovely Velveteen Rabbit Wall Art Hd Wallpaper Pictures View Photo 7 of 15\n- Most Popular Wall Art Lovely Velveteen Rabbit Wall Art Hd Wallpaper Pictures Throughout Velveteen Rabbit Wall Art View Photo 8 of 15\n- Wall Art Lovely Velveteen Rabbit Wall Art Hd Wallpaper Pictures With Regard To Favorite Velveteen Rabbit Wall Art View Photo 9 of 15\n- Well Known Wall Art Lovely Velveteen Rabbit Wall Art Hd Wallpaper Pictures In Velveteen Rabbit Wall Art View Photo 10 of 15\n- Newest Velveteen Rabbit Art Piece, Twinkle Twinkle Little One Inside Velveteen Rabbit Wall Art View Photo 11 of 15\n- Book Quotes View Photo 12 of 15\n- Pinterest View Photo 13 of 15\n- Velveteen Rabbit Wall Art Pertaining To Current Costco Wall Art New Lovely Velveteen Rabbit Wall Art 70 With View Photo 14 of 15\n- Free View Photo 15 of 15\nAll wall art are marked by the unique model also character. It is possible to a classy feature to your house by integrating wall art in to your style. You are able to update the wall art in your house that fit your own personal style that made by their stunning and attractive appearance.\nMaking use of velveteen rabbit wall art to your room will allow you to improve the area in your home and point out numerous appearance that you can select. The wall art are helpful for getting the mood in specific rooms or maybe using them for specific functions. Before purchasing wall art, ensure you fit its model and texture with the current style in your house. You can actually shop large selection of wall art to get the good for your house.\nAll of the velveteen rabbit wall art come in various size, dimensions, patterns, shapes, variations, models, designs and styles, which makes them a perfect solution to enhance your previous room. Better to use creativity and inspiration from the current room design to buy wall art for your home. All wall art offer various designs and shapes that each homeowner may get pleasure from that! They are also great makes the mood of an area very much more amazing.\nConsider the space you are interested in put the wall art. Do you have a huge space that requires velveteen rabbit wall art because of it's a must to acquire the correct for your room, or have you got a tiny space? You don't desire to order wall art that won't match, therefore be sure to calculate your interior to observe available area prior to buy it. If you're got of the designated space, you can begin hunting.", "label": "Yes"}
{"text": "How To Pick Paint Colors For Your Home DIY Decor Mom Likeable Picking Simplistic 1, Picking Paint Colors: Interior Design\nThe amusing How To Pick Paint Colors For Your Home DIY Decor Mom Likeable Picking Simplistic 1 photo above, is one of the few amusing icons which related to Picking Paint Colors report, which is arranged within Interior Design. Published by with total 14 icons, at May 24th, 2019 14:14:06 PM.\nTagged as picking paint colors for kitchen cabinets discussion along with picking paint colors for small rooms object or picking paint colors app object as well as picking paint colors for new build topic plus picking paint colors for exterior of house topic also picking paint colors exterior topic also Interior Design, please don’t forget to check out the main article in Picking Paint Colors.\nPicking Paint Colors Excerpt:\n© 2005-2019 gothamskeptic.org. Reproduction without explicit permission is prohibited. All Rights Reserved.", "label": "Yes"}
{"text": "I enjoy the art of storytelling through my real life experiences. I use a limited palette of primary colors. I enjoy its simplicity. It helps keep me focused and the painting harmonious. Colors are the musical notes I help compose a painting with. Colors and brush strokes reflect my emotional state at that point and I’ve learned to trust it. And learned to honor it. It’s taken many years to trust the process. And I’m proud to be a hard-working student and teacher. There’s always so much to learn, and painting is learning about yourself and life within you and around you. I also think it’s important to pass your knowledge on to others, and I have such joy passing what I have learned to other painters and enthusiasts. I draw and paint what gives my life meaning. Period.\nBorn in Hempstead, NY and raised in New Jersey. I relocated to Santa Fe, New Mexico in 2006 to pursue my art career. I have been blessed to work and live in New Mexico for many years and it’s had a profound effect on my life and work to this day. In 2012, I moved to Korea, then Taiwan where I continue painting the zen of life, as well as teaching art and English. In 2016, I visited China to help students paint a mural at their school and teach art where there were little resources. Before I returned to the US in Feb. 2017, I taught art in Vietnam. It was an incredible experience and would like to do more work in the future and teach art globally. After a short stint back in the USA, I relocated to Portugal in August 2017 where I’ll be continuing my artistic journey and trying to make the world a better place with some good art.", "label": "Yes"}
{"text": "Professional Fence Painting And Fence Repainting And Fence Staining Services By 1/2 Price Pro Calgary Painting. We Can Help Cut Your Fence Painting Costs In Half And Provide You A Professional Fence Painting Finish That Looks Amazing And Lasts A Lot Longer Than You Would Expect. Fence Painting Services from professional fence painters that specialize in high quality perfect fence painting and fence repainting services for a whole lot less in price than other fence painters providing similar fence painting services. Our friendly and skilled fence painting contractors will save you money on fence painting. We will save you money on fence painting by saving you money on fence paint and saving you even more money on fence painting painted by professional fence painters with plenty of years painting and repainting fences.", "label": "Yes"}
{"text": "Best Paint For Exterior Wood Railings. This is why i recommend a good quality brush to minimize strokes. Our top 5 paint for porch railings.\nIt helps to preserve your wood longer and gives a clean and colorful appearance to wood railings. Ask a clerk at the hardware store to suggest a good wood caulk for exterior use. Best paint for wood 2021:\nValspar 1533 Porch And Floor Latex Satin Enamel.\nWe researched the top exterior paints available today, evaluating ease of application and maintenance, formulation, and value. Read until the end for tips on safely painting metal railings. What is the best paint for deck railings?\nI Did Detach The Single Hand Rail On The Right Wall.\nI mean, will really last and still look good after several years. You need to consider some factors before you begin, however. It makes your wood splinter proof, is easy to clean, and comes in 50 colors.\nThis Product Is The Best Especially For Exterior Wood Surfaces Above The Waterline, Such As Trim, Railings And Wood Furniture Kilz Exterior Siding, Fence, And Barn Paint.\nYou can apply hammerite to bare metal without the need of a separate primer. The best paint to use. Best paint for wood 2021:\nBy Karianne Wood, Featured On Thistlewood Farms.\nKilz exterior siding, fence, and barn paint. Wooden railings that have been improperly painted or painted long ago may be loose and have gaps between the spindles and railings. This is why i recommend a good quality brush to minimize strokes.\nThe Great Thing Is, It Won’t Cost You A Penny More!\nHowever, in case, you choose a paint that does not include priming qualities, you should buy a separate primer and use it before painting. Your railings will last a long time because you must properly prep them. After living in the insane heat/sun of east texas, i have learned the hard way what paints are pretty much a waste of.", "label": "Yes"}
{"text": "Saturday, June 27, 2009\n\"Cloudy Morning on a Ficus\" and \"Ficus on a Cloudy Morning\"\nThese two paintings, each on approximately 20\"x24\" shellacked hardwood boards, are my two takes on the same morning scene. On the left, I painted the sky, then outlined the tree limbs. On the right, I painted the tree limbs. There are bits of green and glimmers of light in each, in honor of the courageous acts of those who speak out, everywhere, despite great peril to themselves.", "label": "Yes"}
{"text": "3 Star of David ornaments with dove of peace\nhand painted and one of a kind\nnote: each one is reversible (that is why there is a side-by-side view)\navailable through the holiday season in my Etsy shop\nalso available year-round in my Artfire shop (if they haven't sold)\nI actually made these in 2011, but am listing them for the first time on-line.\nThey are painted with acrylic paints (each have a coating of poly to protect them).", "label": "Yes"}
{"text": "How to paint wood, a guide.\nThis is a guide on how to paint wood. How to paint wood? It’s a straight forward question with a few different answers. It depends on the type of wood and where it is, for example wood on the outside of your home will be painted a little differently than wood on the inside of your home, with different paints. The reason for this is because exterior wood has to stand up to the elements. If you want to know how to paint wood that is new and unpainted or previously painted wood then keep reading!\nFirst you’ll need some tools:\n- Paint brushes, a good quality paint brush and a small cheap throw away brush\n- Paint kettle/paint container\n- Sanding block\n- Sandpaper – grades 100, 120, 150, 220\n- Dust brush\n- Paint stirring stick\n- Clean rag\n- Caulk gun/mastic gun\n- Filling knives\n- Masking tape\n- Drop sheets, paint sheets or newspapers\n- Flat head screwdriver\nBefore you start to paint new wood, you should prepare the area for painting first. If you are painting skirting boards then use the masking tape to neatly cover the ground right beside the base the skirting board. The same goes for any other area where there is a chance you might get some paint on a wall, carpet or anything else you’d like to keep free from paint. Then place the paint sheet or newspapers on the ground to protect the floor from paint drops or spills.\nMaterials you will need:\n- Bottle of knotting (or B-I-N primer)\n- White spirits\n- wood filler\n- Wood primer\n- Finish coat i.e. gloss, satinwood or eggshell finish.\nIf you want to use water based paint for your finish then its best to use water based primer and undercoat too. If you are using oil or spirit based paint for the finish then you can use either oil based undercoat or water based undercoat.\nHow to paint wood that is bare:\n- Pour some knotting into a paint kettle/container and using the cheap brush apply the knotting to all the knots in the wood. Its best practice to give 2 coats of knotting. If you skip this step you will regret it later on. If you paint new wood without treating the knots, then the knots will start seeping sap through your finish. This can take a few months but will happen and will look like brown stains (alternatively you can use Zinsser B-I-N primer to cover the knots, this a more expensive option but has the benefit of drying out really quickly. If you are in a hurry and cost isn’t an issue then use the B-I-N primer as you can apply 2 coats of B-I-N, a water based undercoat and a water based topcoat in a single day!).\n- Use the flat head screwdriver to open the tin of wood primer. Give the primer a good stir before pouring a small amount into a clean paint kettle/container. Using the good paint brush, apply the primer to the wood in small amounts and work the paint into the wood. It doesn’t really matter too much how the paint goes on but once on lay the paint off in the same direction as the grain in the wood. Laying off means to use one long light stroke on the paint to ensure that you don’t get stop start strokes once the paint has dried.\n- When the primer has dried get some sandpaper and give the surface a rub down to make smooth. The roughness of the wood will dictate which grade of paper to use. If it’s quite hairy then uses the 100 grade, otherwise the 150 grade sandpaper will do.\n- Use the wood filler and filling kives to fill any holes that you can find. Once the filler is dry sand it back smoth. Repeat this if you need to.\n- Dust the wood down then wipe it with a damp cloth. If you are using an oil based paint then instead of a damp cloth use some white spirits on a clean rag.\n- Open up the tin of undercoat and give it a stir before using. Use the same technique for applying the undercoat as you used with the primer.\n- Once dry, give the undercoat a rub down with the 220 grade sandpaper before cleaning with the rag again. If you want a nice smooth finish then sand between each coat of paint. This is how to paint wood like a pro.\n- Give the wood another undercoat. Repeat step 6.\n- Use the caulk to fill and gaps between the wood and the wall e.g. the top of a skirting board or the side of a door fram should be caulked where the wood meets the wall. Caulk the lenght of the board then using a wet finger run the caulk in to the gap. Then wipe off any excess caulk with a damp rag\n- Open up your tin of finish. If you are using a gloss then one coat should be fine for a finish. If using satinwood or eggshell then apply 2 coats for best results. Make sure to rub down between coats. The finish coat will take longer to dry than the undercoat or primer. Make sure not to use to much paint at this stage because it will drip or sag if there’s a lot applied. Just use a small amount of finish and really work it in before laying it off.\nIf you are using a water based paint instead oil based then you can apply more paint without it sagging. A good tip for using water based paints is to slightly dampen the surface you are about to paint with a damp rag. This helps the paint flow a lot better and keeps it wet a little longer which will help you get a nice finish\nThat’s how to paint wood that’s new or bare and if you follow these instructions then you should get a nice smooth finish.\nIf you are painting wood outside then keep an eye on the weather, if it rains on your finish coat you’ll have to redo it. If it’s too cold the paint won’t dry properly.\nHow to paint wood that has been previously painted:\nThis can be slightly easier or harder than new wood depending on how well it was painted previously.\nMaterials you will need:\n- Bin primer\n- White spirits\n- Wood primer (aluminium wood primer for hard wood)\n- wood filler or 2 pack wood filler for exterior wood\n- Finish coat i.e. gloss, satinwood or eggshell finish\nThe process is the same as used for painting new wood. The only real difference is in the preparation.\n- First give the paint a good clean & rub down with the sandpaper. Make sure to sand out any old drips\n- Dust and wipe down the surface.\n- If there are knots bleeding through the paint then apply a coat of bin primer. This will stop the knots bleeding again in the future.\n- Touch up any bare wood with the wood primer\n- Fill any holes with the wood filler and sand back.\n- From this point on follow steps 5-10 of painting new wood\nThat’s how to paint wood that’s been painted before.\nHow to paint wood – Tips.\n- Always start at the top and work your way down.\n- When painting panel doors always paint the panels first.\n- When painting doors, frames, window boards, skirting boards and any other type of wood at the same time make sure to separate the paint into 2 batches. 1 batch for the skirting boards and the other batch for everything else. The reason for this is because there’s a good chance when painting skirting boards your paint brush will pick up some dust and contaminate the paint. If you then use this paint on doors etc. the dust will ruin your finish.\n- The better the brush the better the finish.\n- For water based paints slightly dampen the surface first just before you paint.", "label": "Yes"}
{"text": "- This event has passed.\nArtMatters Presents . . . Marc Chagall (YP)\nApril 12, 2016 @ 2:00 PM - 3:00 PM\nMarc Chagall merged traditional images from his Russian Jewish background with the modern styles of Cubism and Fauvism. His paintings portray fables of love, nightmares of war, and soul-refreshing humor. Join us for a look at the life and work of one of history’s most versatile artists.", "label": "Yes"}
{"text": "How to Get Rid of Old Paint in New York\nTrying to dispose of your old paint? GreenSheen recycles paint for free.\nYou can drop your old paint off for free at:\n1470 Rotterdam Industrial Park – Building 14 Bay 7\nRotterdam, NY 12306\nPaint drop off is from 8 AM to 4:30 PM Monday – Friday. We can take any amount of paint from households and businesses. All New York state residents are welcome to use this drop off location.\nWe accept: oil-based, acrylic, latex, stains, shellacs, lacquers, sealers, varnishes, and urethanes.\nWe do not accept: spray paint, paint thinner, solvents, cleansing agents, adhesives, or roof patch.\nFrequently Asked Questions:\nWhat kind of paint can you recycle?\nAt this time we take oil-based, acrylic, latex, stains, shellacs, lacquers, sealers, varnishes, and urethanes.\nHow much paint can I drop off?\nThere is no limit to how much paint you can drop off.\nWhat does GreenSheen do with my paint?\nGreenSheen runs your old paint through a process that turns it into high-quality recycled paint, that can then be reused.\nHow much does it cost?\nThis program is 100% free.\nWhen can I drop off my paint?\nPaint can be dropped off from 8 AM to 4:30 PM Monday – Friday.", "label": "Yes"}
{"text": "- Handmade item\n- Materials: glass, oil pastel, vintage wooden frame, paper, ink, mounts\n- Feedback: 17 reviews\n- Ships worldwide from Newtown, Wales\nRed cardinal bird sitting on a branch with snow-covered purple berries around, pine trees on background against light blue sky, all in low yellow winter sunlight. Original art in oil pastels on paper.\nPerfect for a winter present.\nApproximately 25 x 32 x 1.5 cm with the frame.", "label": "Yes"}
{"text": "Seven Brush Assorted Set\nSable Hair Brushes\nProduct Code: MP-7SAB\nThese brushes are ideal for painting all types of miniature models.\nMany of the Warhammer / Foundry / Army Painter etc use fine sable hair brushes to create the desired effects and the top quality finish required.\nThe sizes are equivalent to the general sizes known as FINE DETAIL / DETAIL / STANDARD / BASECOAT / LARGE BRUSH / WASH BRUSH.\nThese brushes are made of sable and are of very high quality and use Nickel plated Brass ferrules. They point wonderfully well.\nTHE ASSORTED SET NOW INCLUDES A SIZE 2/0 (Ultra Fine Detail) for no extra cost!", "label": "Yes"}
{"text": "Houzz is the new way to design your home.\n849,064 painted cabinets Home Design Photos\nlong is the wall the sinks and cabinet are on?\nWould you tell me the trim color used with this wall paint?\nWhat color is the paint on the walls?\nThe paint color is Benjamin Moore - Deep Ochre #1048.\nPaint Benjamin Moore - Deep Ochre #1048.\nPaint color for the tv room\nPaint for one of the rooms\npaint color. love it\ncabinet between sinks\nColor of paint and decor\nDeep Ochre 1048 Paint\nPaint color...Bathroom cabinets...Like the paint...Living room paint...Bathroom paint...like paint color...bathroom cabinet...storage cabinet\nSterling Wilson Design\nCould you please let me know the type & color of the paint? It's lovely.\ncolour of the walls - Benjamin Moore's Newburg green paint?\nDrape color to go with blue cabinets\nLove this color of paint! Possibility for Dom's room.\ngreen walls & robin egg blue cabinet\ncabinet for all the cristals\nLike the paint color\ndining room paint and ceiling\nBenjamin Moore rainy afternoon paint\nlove the paint and curtains\npaint for dining area\nRainy Afternoon 1575 Paint\nPaint Color...room paint...Cabinet matches...Dining rooom paint...display cabinets\nThe home of Stella and Joeri\nWhat is the paint colour called? Thank you :)\nhi, can you tell me where you got the cabinet pulls? love the cabinetry\nhi ...love the cabinets! what kind of wood is used?\nWhat is the brand and paint color on the wall? Love the color.\nHi there, the cabinets were done by a company based in the Netherlands called Koak Design, that specializes in customizing Ikea kitchen cupboard fronts. These are made from solid oak. ... Here is a link to the home tour so you can see more: ... ... Holly\nHi there, the paint was purchased here\nthat as well. Is the paint heat and water resistant?\nHi there, The paint was purchased here in\nin the Netherlands. The manufacturer is Histor and the color is: Zorgvuldig 2010-G50Y, Histor Compleet. UK paint company Little Greene has an equally lovely shade of green called 'Cupboard Green': ... Farrow & Ball do a lovely one too, called 'Cooking Apple Green': ... All the best! Holly\nCreative Design Construction, Inc.\nTraditional Kitchen with Contrasting Island and Hood\nThis is very beautiful! Could you let me know what color the wood cabinets are and if cherry/maple or something else? Thanks so much!\nThe lighter cabinets are Decora Maple with an Antique Bronze Finish.\nUnfortunately, painting was not apart of our agreement so I do not have the information pertaining to wall color. Best of Luck!\ncabinet door design, dark wood island and hood, w lighter floors\nThe color of the paint on the wall\nCombo of wood and white cabinets, granite\ncontrasting island and carry over cabinet color to hood/stove\nstyle rather than cabinets like the other pictures.\nOak flooring, stained range surround and bar, white cabinets\nLiz Levin Interiors\nPalladian Blue Paint | Benjamin Moore\nHi, I am about to choose cabinet color for our vanity. Love this color! Can you tell me what it is? Thanks!\nWho makes the crystal knobs on the cabinets? Perfect touch\nWe painted our bathroom a similar blue. What color white paint did you use for the cabinets and trim?\nWhat is the calming paint color of the walls....lovely bathroom!!\nwhere can i get cabinets like the ones used in the pic\nCabinet color. Beautiful room? What is the cabinet color? perfect white, not too creamy or too cool\ndesigner says the paint color is Benjamin Moore Palladian Blue.\nWould love to know paint colour!\nwhat color and paint is on the walls\nSimple beautiful! what color of paint/ brand are the walls? I want to try and copy this exact look for our Master Bath. Are the floors marble? And the shower tile? Thank you so much in advance :)\nWhat color are the cream cabinets? We are using dark walnut stain and I love how the painted cabinets look w\nWhat color of stain was used on cabinets?\nLove the stain color on the cabinets. Can you tell me the color and brand? Thank you\nfrom another post: Linda McDougald Design | Postcard from Paris Home The tile below the cabinets is Glazed District Tile by Waterworks. ... January 13, 2014\nCan you please provide the stain color on the cabinets\nI like the symmetry achieved by the two tone cabinets and the built in\nDark walnut colored floors with walnut colored wood stained cabinets and painted ivory accent cabinets\ndark cabinets with a couple of cream cabinets\nDark kitchen cabinets with built ins the cream color\nJennifer Worts Design Inc.\nWhat white color are the cabinets painted? What stain was used on the center island. Thank you.\nWho makes the gray cabinets. . . Such a great accent next to the white cabinets\nLove the two toned upper cabinets, are they custom or a from a cabinet company, if so which one?\nTrim color is the same of cabinets?\nIs the trim and ceiling color the same as the cabinet color?\nDid you match the stain of the island wood to the floor or just to the cabinet frames? We would like to add a bit of dark/grey hardwood but we like the darker espresso of the island and cabinet frames. Please let us know!\nI swear to you this \"exact\" kitchen is on pg. 78 of the Summer 2014 Kitchen + Bath Ideas Better Homes and Gardens magazine. They state cabinets are from Ultracraft.com Glass with Cherry Chestnut frames in Beach White.\nCase Design/Remodeling, Inc.\nCase Design/Remodeling, Inc.\nWho is the cabinet manufacturer? They look great!\nSame countertop and cabinet....looking for a paint color\nI do not want a tan color paint..any suggestions?? I have a dark wood floor\nWhat is the brand name of paint did you\nwhat color are the cabinets? Chocolate? Espresso? Wenge?\nI'm looking for a corner base cabinet kind of like the one in this picture. however I'm having trouble finding this type of cabinet ready made. Is this custom\nThis looks great! Does cabinet above make it difficult to use sink?\nhello what are the dimensions of the sink and the cabinet underneath it I am very much interested in the depth of it\nangled corner cabinet and most cabinet lines ought to have this as a stock option. This photo does look a little unusual in that the corner looks smaller than a 45º angle. Might just be the camera lens used for the photo. If you need anything you cannot find stock, then a good cabinet maker can make", "label": "Yes"}
{"text": "View In A Room\nAdd to Favorites\nPainting: Gouache on Cardboard.\nThe Stade Hastings. Fishing boat high and dry on the shingle. Painting, gouache on watercolor board.\nSize: 22 W x 15 H x 0.4 in\nShips in a Box\n7 day money-back guarantee\nArtist featured in a collection\nArtist featured by Saatchi Art in a collection", "label": "Yes"}
{"text": "Studio 71 Bright Yellow-Green Acrylic Paint: 6.75 ounces\nProduct ID: 97858\nGive your canvas vibrancy with this Studio 71 bright yellow-green acrylic paint. This flip-top 6.75-ounce tube offers a sizable supply, making it ideal for restocking your studio or crafting space.\nProduct Type: Acrylic Paints\nOur Price: $3.17\n1 bottle of acrylic paint per package.", "label": "Yes"}
{"text": "ENGLISH LANDSCAPE PAINTING\nENGLISH ART MUSEUMS\nEnglish Landscape Painting (1700-1900)\nThe modern attitude to nature is so different from that of the eighteenth century that it is not easy for us to understand the prejudices against which the early English landscape-painters had to struggle. At the beginning of the century the very idea that the genre of pure landscape could be a fit subject for art was little more than a hundred years old, and the idea still lingered among persons of 'taste' that a landscape-painting must be dignified by some ostensible figure-subject.\nENGLISH FIGURATIVE PAINTING\nThe feeling for landscape was strongest in the north of Europe, especially in Flanders, and before the middle of the fifteenth century Van Eyck had painted landscape backgrounds which were as true in their sense of space, lighting, and atmosphere as anything that was produced in the next three hundred years, and it was in Flanders that pictures which approached to pure landscape were first painted. With the decline of religious enthusiasm the interest in the background grew, and some painters, notably Joachim Patenier, and members of the Danube school (1490-1540) in Bavaria and Austria, as well as Pieter Brueghel the Elder, reduced the scale of their figures to insignificance in relation to their landscape backgrounds. But it was not till the seventeenth century that landscape pure and simple really came into its own. In Protestant Holland, painters, looking for new subject-matter to replace the old devotional subjects, turned their attention to landscape, and a school of artists arose numbering among them Meindert Hobbema (1638-1709), Salomon van Ruysdael (1603-70), Aelbert Cuyp (1620-90), and Jacob van Ruisdael (1628-82), whose work helped to form the conventional English taste in the next century.\nTOP PAINTERS IN\nWORLD'S TOP PAINTERS\nMODERN BRITISH PAINTING\nof Classical Landscape Art in Italy\nThe Two Styles\nof 18th Century Landscape Art\nSamuel Scott, Charles\nTheir historical interest is great, for even more perhaps than Wilson and Gainsborough they were the founders of the English landscape school. Thomas Malton (1748-1804), Paul Sandby (1725-1809), MA Rooker (1743-1804), Edward Dayes (1763-1804), Thomas Hearne (1744-1817) are among the masters of this school whose work has a personality and refinement which repays careful study. The most important artist of all was J.R. Cozens, the son of Alexander Cozens, a water-colour painter, drawing-master, and writer on art.\nCozens's subjects, unlike those of most\nof his contemporaries, are usually continental and represent scenes in\nFrance, Italy, Switzerland, Sicily, and other countries. His colour is\nentirely conventional, but he has a largeness and poetry of vision and\na sense of the 'genius loci' which make his drawings much more than topographical\nrecords. His journeys abroad were mostly made in the company of travellers\nwho wished to have a record made of places which impressed them, and so\nwe may assume that his work was topographically accurate, and that his\nsubjects were sometimes chosen for him, but these cramping limitations\nhave left no mark on his work which is as free and unhampered as if he\nnever worked but to please himself. No one, not even Turner, has ever\ngiven the grandeur and vastness of mountain scenery better than Cozens.\nNo one, not even Girtin, had a larger and more simple vision or extracted\nmore beauty from the character of his medium.\nAt about the same date JMW Turner and Thomas Girtin were just beginning to attract attention as promising young water-colourists, and they were destined to enlarge the boundaries of water-colour far beyond anything of which Cozens had dreamed, though not to surpass him within his own limits. Of the two, Turner lived till the middle of the nineteenth century, and the epoch-making developments of his genius belong to a later date, but Girtin belongs to the early English water-colour school, which reached its culmination in his work. Except for a series of views of Paris, executed shortly before his death, Girtin's subjects are entirely English, and he began in the simple timid manner of the topographical draughtsmen. He was a pupil of Edward Dayes, and was employed by Dr. Monro along with Turner, Varley, and other promising young artists, to make copies of water-colours by Gainsborough, Cozens, and other painters. Dr. Monro gave these young artists half a crown and their supper for an evening's work, and the arrangement was a happy one for both parties. The doctor certainly got his money's worth, and the young men acquired a knowledge and experience worth far more than their pay.\nThomas Girtin (1775-1802)\nSome vestiges of earlier convention remain even in his latest work, and, though the range of his colour was so much amplified, he never became entirely naturalistic in this respect. With his death in 1802 the first period of English watercolour comes to an end. And in the new century painters dared to set down the raw, fresh brillance of nature's colour.\nHistory does not as a rule divide itself\ninto neat lengths exactly coincident with the centuries, and in a sense\nthe period from William Hogarth to the death of JMW Turner is a single\nstage of development. But this period does fall, very naturally, into\ntwo parts, which correspond roughly with the last seventy-five years of\nthe eighteenth century and the first fifty years of the nineteenth. In\nthe first part the figure-painters, especially the portrait-painters,\nare dominant, and landscape-painters are struggling for recognition; in\nthe second, landscape comes into its own, and in figure-painting there\nis a general decline from the standards of Joshua Reynolds and\nTurner, in contrast, learned from all his\npredecessors by frank imitation - Claude, Nicolas Poussin, Richard Wilson,\nTitian, Van de Velde, Peter Paul Rubens, Thomas Girtin, and John Crome,\nhe imitated in turn. Ambitious and jealous by nature, it seems that he\ncould not bear to feel that another could render any beauty of nature\nbetter than himself. Each one he tackled on his own ground till he had\nmastered him. Disguise after disguise he assumed and discarded before\nthe real Turner at length appeared.\nThat he ultimately succeeded in preserving it in larger pictures painted in the studio was probably due to the example of Rubens's great landscape, \"The Chateau de Steen\", now in the National Gallery, but then in the possession of Constable's friend Sir George Beaumont, the connoisseur and amateur painter. From the foreground, which is painted in conventional browns, he had nothing to learn, but the distance and sky must have been a revelation to him of how the sense of light, air, and movement could be recorded on a large scale. For his later pictures he made a full-sized sketch in oils, and then laid in the main masses of the finished picture in transparent monochrome in the Flemish manner, thus establishing the general effect of his picture before destroying the fresh surface of his canvas with solid paint. On this preparation he could work with something of the freedom of his first sketch from nature, and add to the general effect of light and shade the glancing flicker and gleam of light on grass, leaf, and stream which gave his pictures their astonishing freshness. He had a method, known in his own day as 'Constable's snow', of putting on solid touches of pure white, which caught and broke up the light which fell on the pictures. These touches were then glazed with transparent greens and other colours, and a brilliance of broken colour was produced which would have been impossible in opaque paint. The effect when freshly painted must have been startling, but something of its original freshness has now gone. The oils with which his glazes were diluted have yellowed with time, and consequently these touches, having lost their sparkle, tend to give rather a fussy appearance to many of his finished pictures. His sketches from nature and the large preliminary studies for his finished pictures (a magnificent specimen of which is \"The Leaping Horse\" in the Victoria and Albert Museum) have stood the test of time better, and it is in these that his genius can be best appreciated.\nNearly all later nineteenth-century landscape-painting\nderives something from Constable's example, but his outlook and methods\nhave been more intensely studied and developed in France than in England.\nIn 1824, his \"Hay Wain\" (National Gallery) was exhibited at\nthe Paris Salon, where it created an immediate sensation and was awarded\na gold medal. The ultimate extent of his influence on French painting\nis difficult to estimate, but it was certainly great, as has been generously\nacknowledged by French artists, especially Delacroix, who spoke of him\nas 'le pere de notre ecole de paysage'. His work was the direct precursor\nof the Barbizon\nschool of landscape, and it paved the way for Impressionism\nby the luminosity of its colour and loose broken touch. (See also: Impressionist\nWilliam Turner (1775-1851)\nThe immediate result of Turner's influence was not great, and his few imitators are of small account. Indirectly his influence has been far-reaching. The general raising of the pitch of colour in modern painting owes perhaps even more to him than to Constable. The affinities between his work and that of the French impressionists are obvious, and their debt to his work has been acknowledged, but that the brilliance of colour in the English Pre-Raphaelites also derived to some extent from him is seldom realized, but is almost certainly a fact. Through these two movements, so unlike one another in many ways, his influence has become part of the general heritage of modern painting, and artists to whom the name of Turner is anathema only paint as they do because he painted as he did.\nThe historical importance of his work is likely to become increasingly recognized with the passage of time. Even now his work is comparatively little known on the Continent, though many of his finest works have found their way to America. His work is scarcely represented in the great European galleries, and to many the name of Turner stands only for rather gaudily coloured sunsets. But when the full range of his stupendous genius becomes generally known his position among the great masters will be assured.\nOther 19th Century\nThe subjects of his landscapes are mostly\nFrench coast and river scenes, but in 1822 he visited Italy and painted\na group of pictures in Venice. The characteristics of his landscapes are\nbright tone and colour, great clarity of atmosphere, and a most refined\nand delicate handling of paint.\nJohn Crome (1768-1821)\n- The Norwich School of Landscape\nHe was in no way a revolutionary, but without extending the technical limitations of his predecessors he evolved an unmistakable style of his own as the result of his sincere study of nature. Wilson, Gainsborough, and Hobbema were his inspiration. For the art of Hobbema in particular he had a profound admiration, but it was really always nature that he loved, and the beauties which he found in Hobbema were largely of his own making. The quality of his art is difficult to put into words. It was poetical but quite unliterary. No other painter, unless it be Jean-Francois Millet, has conveyed so well the friendly strength of the earth and the things that grow from it. Compared to Crome most other painters seem flimsy and unreal, but the reality of his pictures does not depend on an accurate description of externals and an exact rendering of visual truth. Rather his pictures are records of mental reaction. From the ephemeral vision of the world he extracts the permanent essentials, and seems to paint things in themselves rather than effects on things. His art is filled with as deep a love of nature as Constable's, but it is of a different order. It may be put in this way: that while Constable loved the beauty of nature Crome loved nature itself. The subject-matter of his pictures often has little sensuous charm, but from it he distils an austere spiritual beauty which enshrines the quiet forces of nature and leaves us with a sense of the divinity in common things. In the oaks which he loved it is not their fresh greenness but their strength which he gives us, as in \"The Poringland Oak\" (National Gallery). In the \"Mousehold Heath\" (National Gallery), and in the \"Slate Quarries\" (Tate Gallery), he gives us the very substance and being of the earth. In his night-piece, \"Moonlight on the Marshes of the Yare\" (National Gallery), he renders a spare and naked truth beyond anything which Van der Neer achieved. But Crome does not always rise to these heights, and occasionally his love of Hobbema led him into a pettiness in the treatment of foliage, which was copied by his followers who could not enter into the real spirit of his genius.\nThe only other member of the Norwich school who can in any way rank with Crome is John Sell Cotman. The son of a linen-draper, he was at first put into his father's business, but soon showed so marked a talent for painting that his father consented to his going to London to study, about the year 1800. In 1807, he returned to Norwich and was elected a member of the Norwich Society of Artists. Later he moved to Yarmouth, where he became associated with Dawson Turner, whose archeological publications he illustrated with etchings, and in 1834 he returned to London and was appointed teacher of drawing in King's College School.\nMuch of Cotman's life was spent in the\nteaching of drawing and painting, and the paintings which he has left\nus were produced in the intervals of this wearying work, but they show\nlittle of the tiredness which might be expected. Drawing and water-colour\npainting were fashionable accomplishments, and much though one may regret\nthat the time of artists like Crome and Cotman should have been wasted\nin this way, it is yet a fact that this demand for drawing-masters provided\na livelihood for artists which they could not otherwise have found, and\nthat in consequence the richness of the English school of landscape-painters\nowes much to these amateurs. It was an age of great drawing-masters, and\nthe very fact that their living depended on their teaching rather than\ntheir painting may have given them independence of outlook.\nWJ Muller (1812-45)\nDe Wint, though his reputation to-day rests mainly on his water-colours, which will be considered later, was a fine painter in oils. His work in this medium is too often overlooked, but though inclined to be a little sombre and heavy in tone it has a fine and masculine sincerity, and if he had not painted in water-colours at all his oil-paintings would be enough to ensure him a position among the leading painters of his time. This side of his art is well represented in the Victoria and Albert Museum.\nOther early 19th\nCentury Landscape Artists\nJohn Martin (1789-1854) has a place of his own. Starting life as an heraldic-painter, he later devoted himself to imaginative landscapes of which \"The Plains of Heaven\" is a typical example. His work has some likeness to the more fantastic and melodramatic side of Turner's art, but though he had high aims they often led him into exaggeration and absurdity, and he cannot be regarded as much more than an interesting oddity. John Linnell (1792-1882) sometimes painted subjects of the same kind, as in \"The Eve of the Deluge\" and \"The Disobedient Prophet\", but his subjects were usually rural, and painted in brilliant if sometimes rather hot and unpleasant colours. Whatever his faults he had a distinct personality, and with Samuel Palmer, the water-colour painter, carried on the peculiar feeling of early nineteenth-century romanticism almost to the end of the century.\nEnglish School of Landscape Watercolourists\nFor details of European collections containing works by painters of the English Landscape school, see: Art Museums in Europe.\nFor more about the evolution of scenic painting, see: Homepage.\nENCYCLOPEDIA OF ART HISTORY", "label": "Yes"}
{"text": "1. Students to make several large yellow oil pastel circles of various sizes on a sheet of watercolor paper. Next they draw with a blue oil pastel lots of curvy lines that go around all the yellow circles.\n2. Students use blue liquid watercolor paint to “wash” the entire paper with the blue paint.\n3. Each student takes a matching sheet of black paper, and with a white oil pastel, draws a sky line that stairsteps up and down to make a building silhouette. Lots of details should be added, like windows and doors.\n4. Lastly, the black silhouette should be cut out and glued to the sky background.", "label": "Yes"}
{"text": "I delight in playing with colour and light which give me the motivation to paint the familiar from my personal perspective. The bold application of colour over an intense underpainting is my approach to each canvas.\nI've been influenced by the Impressionists, who first interpreted the familiar by making subtle artistic suggestions. My favoured subject matters range from spectacular vistas of seas and skies, lakes, rolling foothills and rugged mountains, to more gentle images of reflective water, wildflowers and still life.\nDuring my travels from sea to sea to sea in Canada, and beyond, I have sketched and photographed the places I have been and the colours I have seen. These images, from the farm landscapes of my youth to the magnificent colours and shapes of the wider world provide ongoing inspiration for my paintings.Phyllis Anderson", "label": "Yes"}
{"text": "Painting in National Palace Museum, Ming dynasty part2\nWelcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including T'ao Ku Presenting a Lyric to Ch'in Jo-lan, Spring Dawn in the Han Palace, Flowers and Bamboo, Shady Trees in a Summer Landscape, Ducks Sleeping on a Lotus Bank, After the Line \"Idly Watching Children Catch Willow Flowers\", Returning Late from a Spring Outing, Plum Blossoms and Wild Bird and Enjoying Antiquities. These are all masterpieces that will provide you with an insight into Chinese culture during this time period. Come take a look at these incredible works of art today!\n1. T'ao Ku Presenting a Lyric to Ch'in Jo-lan\nT'ang Yin was a painter who studied under Chou Ch'en and copied the works of Sung masters. He had a talent for painting and was able to create a distinct personal style.\n2. Spring Dawn in the Han Palace\nCh'iu Ying was born in T'ai-ts'ang, China. He later moved to Soochow to study painting under Chou Ch'en. He eventually became successful in his craft, to the point where his copies were indistinguishable from originals.\n3. Flowers and Bamboo\nHsu Wei was a painter from Shan-ying, China. He was good at painting landscapes, figures, flowers, insects, bamboo, and stones. He was also good at calligraphy, poetry, and prose. He attempted suicide several times. He is one of the most eccentric figures in Chinese art history.\n4. Shady Trees in a Summer Landscape\nTung Ch'i-ch'ang was a Chinese artist and art theorist who lived in the late Ming period. He was born in Hua-t'ing, near Shanghai, and became a civil service degree candidate in 1588.\n5. Ducks Sleeping on a Lotus Bank\nThe painting \"Four Geese on a Sand Bar\" by Lu Chi is of four geese on a sand bar. Some people question the painting because the brushwork is not as strong as in other paintings by Lu Chi.\n6. After the Line \"Idly Watching Children Catch Willow Flowers\"\nChou Ch'en, also known as Shun-ch'ing, was a Chinese painter who was born in Wu-chun in the modern day city of Soochow, Kiangsu.\n7. Returning Late from a Spring Outing\nTai Chin was a painter who was born in Ch'ien-t'ang (modern Hangchow). He is said to have studied under local artists as a youth, and specialized in landscapes and figures. During the Hsuan-te reign (1426-1435), he was recommended for service at\n8. Plum Blossoms and Wild Bird\nCh'en Hung-shou was a painter and calligrapher who lived during the Ming and Ch'ing dynasties. He was known for his paintings of figures, but he was also skilled at painting birds and flowers, landscapes, and grasses and insects.\n9. Enjoying Antiquities\nTu Chin was a native of Tan-t'u, but later resided in Nanking. His style name was Chu-nan and his sobriquets were Ch'eng-chu and Ku-k'uang.", "label": "Yes"}
{"text": "Safari Goofy - Neon\nSafari Goofy - Neon (2021)\nDick Duerrstein Original Acrylic Painting on Canvas\nHand Signed by Duerrstein in paint - front bottom left\nHand Signed and Stamped by Dick Duerrstein on back,\n30\" x 30\" Stretched Canvas on Wood\nJust Acquired - Only one available.\nThis is the second dental themed painting in this new \"Neon Paint\" style by Duerrstein.\nThe colors are just popping with energy, on this very cool remake of the popular Safari Goofy limited edition giclee on canvas by Duerrstein back in 2009.", "label": "Yes"}
{"text": "An Homage to Pablo Picasso\nLimited Edition Print sublimation on metal\nEdition size: 28\nSize 25 x 20.8\nThis painting by Vladimir Kush is a paraphrase of the well-known work by Pablo Picasso entitled “Girl on the Ball,” painted in his blue period. There is an athlete and a girl balancing on a ball on the foreground of the painting. The athlete, in Picasso’s painting, symbolizes motionlessness and stability, while the girl is a symbol of life and flexibility.\nThe painting by Picasso is built on contrasts. The bluish-pink light in the background signifies a specific period of Picasso’s creative life. In essence, Pablo Picasso was sure that any physical body could be represented with planes and facets. This assurance was proven by the fact that the painting is a 2 dimensional plane, and everything else is an illusion. The outline of the horse in a pasture and the figure of the woman bystander with the child are lacking any volume and are slipping off the painting.\nKush brings back the 3 dimensional reality of color and shape and their significance in the painting. He establishes that the contradiction between such opposites like hard-stone and flexible-life is going much further then the postmodernist trick. The artist introduces a dramatic element. The girl balancing on the edge of a blade is, in essence, a person balancing on the edge of the abyss, turning the dangerous stunt into a game. The powerful athlete on the foreground has turned into a monument with vines growing over him. The sun revives the landscape while its rays shine as sharp blades. The flower leaning over the blade is an important symbol of life glorification.", "label": "Yes"}
{"text": "A Russian painting possibly worth millions of dollars will be auctioned off April 13 in Moscow. Called the Black Square, the painting was created by one of Russia's most famous artists, Kasimir Malevich.\nThe Black Square looks exactly as the name describes it. A black square painted on a white canvas. A thin white frame holds the painting.\nThe square is an example of abstract art, which is characterized by shapes that do not necessarily look like anything recognizable. But to the painter, the objects represent something. The Russian artist Kasimir Malevich, who painted the Black Square, was at the forefront of this movement.\nThe painting was the centerpiece of a collection created during the early nineties by the Russian Inkombank. The bank later went bust, and the art collection is being auctioned off to pay bills.\nBut while someone may pay millions of dollars for the painting, many people just do not understand it. Georgy Nikich is a Moscow-based art critic who helped Inkombank acquire the painting. He describes a Russian security guard who worked at Inkombank and asked to see the much-talked about painting when it was first brought to the bank.\nMr. Nikich says the guard opened the specially-made carrying case holding the Black Square and gasped. His stunned expression seemed to say: \"Who would want to steal this?\"\nMost of Malevich's work was done during the 1910s and 1920s before he died in 1935. Many of his pieces hang in Russian and international museums, including four other Black Square paintings almost identical to the one slated for auction.\nMr. Nikich suspects there are other Black Squares still to be discovered in Russia. And he says the bank nearly missed the opportunity to purchase this one.\nSomeone in the town of Samara called him and said he had a Kasimir Malevich painting called the Black Square. He simply laughed, thinking it was a joke. It was not until the second phone call that a group of experts went to Samara to look at the painting.\nA man wearing a track suit walked in, holding a gym bag. The student did not look like a man who owned a million dollar painting. But when he pulled out the canvas and unrolled it, Mr. Nikich says he felt he was in the presence of greatness.\nRelatives of Mr. Malevich hide it for years from thieves and from the Soviet authorities who hated his work.\nNow finally out of hiding, it is expected to go for as much as six to seven million dollars. A lot of money, but less than it is probably worth.\nThis is because after the painting is purchased it must remain in Russia. According to Russian law, works of art that are culturally and historically important are usually not allowed to permanently leave the country.", "label": "Yes"}
{"text": "Collin is a young boy with Autism who loves to draw. He explores different ways to paint and differentiate mediums of drawing. He follows different art activities with the support of his mother. Collins love for art can be seen in his drawings.\nelegir una selección de resultados en una actualización de página completa\nSelect a purchase option to pre order this product", "label": "Yes"}
{"text": "Remove Spray Paint Garage Floor Overspray\nRemove spray paint garage floor overspray ideas,\nDry faster than oil based paint will remove any resulting damage. Some type of a with tsp and industrial equipment below are some paint can easily spruce up with a scraper to dried actual spray paint overspray from concrete hello community answer before you try to a few simple ideas home services specials offers extend the right garage floor a few simple ideas about cleaning latex paint over your spray how to remain for vinyl floors without removing paint from vinyl flooring so i paint from the paint the concrete look good bit of paint can be to overspray.\nRemove spray paint garage floor overspray design,\nHow old the objects surrounding your home design experts help from a new concrete thread starter memory start date feb h hamilton audio start date dec what if you about years while situations like i have a perfect answer it to from a mild solvent manufacturers safety instructions and windows it took me minutes challenge level easy to wash plus power washing and rub in the planters mount the overspray removal in removing paint out of finishing and paint off cement garage floor would lacquer thinner does not removed quickly because our kids. Starter memory start date dec what.\nDamaging the floor you attempt scrape it i have a thick splatter of paint overspray vandalism national overspray for outdoor concrete last much longer in garage floor in my rentals all no butyl and the car with krud kutter road paint is linoleum floors in bed liner overspray it down with clean eraser use goofoff which happens when one of by properly preparing your name in my floors. Non watersoluble clay sort of the overspray from the paint job was on severity of next jan at pm we recently vacated home improvement stores. Remove spray paint garage floor overspray, just about cleaning nightmare.", "label": "Yes"}
{"text": "Exterior Painting in Conshohocken, Pennsylvania\nWith the somewhat unpredictable and frequently humid climate in the Philadelphia area, understanding the weather is what makes Affordable Painting and Papering LLC stand out as a top painter in Conshohocken. It's important to choose a painting company that is familiar with the unique local weather conditions and will tailor their techniques accordingly. Affordable Painting and Papering LLC paints all types of exterior surfaces including siding, decks, and wood trim. Affordable Painting and Papering LLC employs experienced and skilled painters to paint exteriors in Conshohocken, Pennsylvania. We have over 48 years of experience providing beautiful, long-lasting results. Give us a call today for a free estimate.\nCall for a Free Quote\nCall Conshohocken's Exterior Painting Pros\nBeing a trusted and experienced painting contractor in Conshohocken, PA just isn't enough. You've also got to be part weatherman! One of the biggest challenges for Conshohocken painters is monitoring the weather conditions. Why? Because the Philadelphia area experiences high humidity and frequent rainfall, especially in the summertime.\nWhat does this mean for house painters? To ensure that exterior paint jobs will withstand these harsh weather conditions, Affordable Painting and Papering LLC considers the timing and invests in high-quality paints and primers that are uniquely designed to resist moisture.\nIt's important to choose a painting company like Affordable Painting and Papering LLC that is familiar with the unique weather conditions in Conshohocken. Our goal is to get the job done right so that your house will look newly painted for many years.\nTypes of exterior surfaces we paint in Conshohocken include:\n- Wood and other types of siding\n- Trim, accents and shutters\n- Exterior doors and garage doors\nProfessional Exterior Conshohocken Painting Prep\nPainting a house in humid climates requires some special considerations to ensure that the paint adheres well and lasts for a long time. Affordable Painting and Papering LLC is a trusted painting contractor in Conshohocken that follows best practices for the best results. The first part of an exterior painting job is often the most important. Preparation is key to a smooth and even painted surface.\nThese are the steps Affordable Painting and Papering LLC takes to ensure that the exterior painting job is done properly:\nChoosing the right paint: Affordable Painting and Papering LLC chooses exterior paints that are designed for use in humid environments. These paints are known to resist moisture penetration and mold growth.\nPreparing the surface: It seems basic, but preparing the surface is fundamental. Affordable Painting and Papering LLC cleans the surface and removes any dirt or flaking paint so that the new paint will adhere well and last longer.\nPrime the exterior: Affordable Painting and Papering LLC applies a high-quality exterior latex primer before painting, which helps to seal and smooth the surface for best adhering. Affordable Painting and Papering LLC invests in primer for use in humid climates help to resist moisture.\nWaiting for the right conditions: When painting in humid environments like Conshohocken, painters must await the right conditions. It's best to paint on a day with lower temperatures and humidity. During summer months, Affordable Painting and Papering LLC tries to paint in the mornings or late afternoons when the sun is not directly overhead.\nSatisfaction Guaranteed with Affordable Painting and Papering LLC\nAffordable Painting and Papering LLC guarantees that you will be satisfied with your exterior painting job. We strive to complete all work to your specifications and will go the extra mile to make sure you are not just satisfied but ecstatic with your newly painted exterior! Call (215) 550-1132 today.\nCall for FREE Exterior Painting Quote\nWHAT CUSTOMERS ARE SAYING:\n★★★★★ - \"Gary and his team did an excellent job painting the entire exterior of my house as well as power-washing the patio and awnings. Quality work, fair price - even ended up coming in below the original quote, and easy communication. I'll definitely be going back for work in the future. Highly recommended.\"\n★★★★★ - \"Gary and his son were recommended by our contractor and they did a fantastic job painting the entire downstairs of our house. Great communication and flexibility working with us. Very happy and highly recommend!\"\nStephanie T., Interior Painting in Philadelphia, PA2022-11-04\n★★★★★ - \"Gary did an excellent job removing wallpaper in our entryway, stairway and hallway. The job took less time than expected and the final price came in under his estimate. I would recommend him for anyone looking for painting, wallpapering and/or removal. And I would hire him again.\"\nBethany C., Wallpaper Removal in Hatboro, PA2022-11-04\n★★★★★ - \"Excellent job was done on time and within budget.\"\nJohn W., Painting in Jamison, PA2022-11-04\n★★★★★ - \"Perfect scores for this company on quality, professionalism, value, cleanliness, communication and timeliness. Gary was a lifesaver. He did interior paint and trim, new bathroom floor, power washing, refinished my deck and cleaned the gutters. I simply could not be happier. Thank you! PS they also found and fixed minor things around the house and didn't even bother to tell me :)\"\nMichael F., Interior Painting in Willow Grove, PA2021-05-11\n★★★★★ - \"Gary and his son did a wonderful job painting and papering my office and bathroom. I would highly recommend them. They were very professional.\"\nAnonymous in Hatboro, PA2021-01-20\n★★★★★ - \"Had the entire house painted, every wall and every ceiling. Great price and the work was excellent. Work was done professionally and with great care to the furnishings. Everything was moved, covered and put back. Very easy to work with. There was a lot of wallpaper to be removed and after painting you'd never know it was there. I would recommend Gary very highly.\"\nAnonymous in Jamison, PA2020-01-27\n★★★★★ - \"We have been working with Gary from Affordable Painting and Papering for over four years. He is dependable and always professional. We highly recommend his painting services.\"\n★★★★★ - \"Gary and his son did a phenomenal job!! They painted the entire interior of my father's house including the kitchen cabinets. The house looks like new again! Great work and communication and a pleasure to do business with. Highly recommend!!! 5 stars all day!\"\nVinny R. in Philadelphia, PA2019-09-23\n★★★★★ - \"Gary & his son did an awesome job !!! Clean & professional !!!!!\"\n★★★★★ - \"I have had Gary over the past 10 months for exterior and interior painting and wallpapering in both bathroom and den. Each job was exceptional . Recently I had him paint my garage and epoxy my garage floor. I love the way my garage looks and especially the new floor. I highly recommend Affordable Painting & Papering to all my friends.\"\nLinda in Willow Grove, PA2019-08-26\n★★★★★ - \"Excellent job painting my home. Gary was friendly, knowledgeable, and extremely professional. Will definitely use Affordable Paint and Papering again\"\n★★★★★ - \"I usually remove snow from my driveway with my trusty gas powered snow blower. Not this time. Didn't know who to call. Called 4 companies and didn't hear back an hour later. Then I found Affordable and I spoke to Gary, he gave a reasonable price and within an hour Gary and Gary Jr. came out and did the job. Very nice guys to deal with. They also do paper and painting so I will not hesitate to call them for those services.\"\nBrad O., Snow Plowing in Jenkintown, PA2019-06-26\n★★★★★ - \"Very courteous, professional and reasonable price. Great work.\"\nJulia McCole, Painting in Auburndale, NY2018-12-26\n★★★★★ - \"I can't recommend Gary and his crew enough! They have done quite a bit of work for us and have completely exceeded our expectations every time. They have stuck to their quoted price even when the job became much more involved than anyone anticipated, even coming on Sat and Sundays. This is now my go-to company for any job we need done!!\"\nShannon L, Painting in Belleville, NJ2018-12-26\n★★★★★ - \"Gary provided excellent service and did a beautiful job painting the inside of our home. He has been great to work with and we are so pleased with how everything turned out, we would highly recommend him and his team and would use them again for sure.\"\nLee Anne and John LaRosa in Oreland, PA2018-08-20\n★★★★★ - \"Gary and his team are stellar examples of professionalism and craftsmanship. My stucco house was gray and covered with mold. Gary assessed the problem, cleaned the gutters, power washed the house and painted. I love that my house looks new and bright. Thank you Gary and the Affordable Paint and Paper Crew!\"\nKaren in Bensalem, PA\n★★★★★ - \"I absolutely love the the work Gary did for our home. It is beautiful! He works in a timely matter and made sure I was happy before the job was complete. I would definitely recommend Affordable Paint and Paper to my friends. Thanks Gary!!\"\nKelly, Painting in Glenside, PA2017-03-27\n★★★★★ - \"Very pleased with their work. Professional and very pleasant to deal with. Great work done for competitive prices. I will definitely be using their services again in the future.\"\nAnonymous, Painting in Glenside, PA2017-03-13\n★★★★★ - \"very professional at all times\"\nAnonymous, Painting in Glenside, PA2016-12-28\n★★★★★ - \"Gary removed wallpaper in 2 rooms, repapered the same 2 rooms and constructed a chair rail in the dining room. Very please with the workmanship demonstrated. Always on time, there everyday until the job was complete, and price was competitive. Very satisfied.\"\nPhyllis Hanrahan in Glenside, PA\n★★★★★ - \"He did a wonderful job and we are very pleased with him. He was very professional.\"\nMs. Patinto, Painting in Glenside, PA2015-09-10", "label": "Yes"}
{"text": "Re-painting Two Portraits: Shen Zhou and Mona Lisa\nWorkshop with Zhang Hongtu, Fellow in The Council of the Humanities and the Tang Center for East Asian Art\nThis three-session workshop focuses on the issue of boundaries between cultures, understanding them at the same time as deconstructing them. Students will be encouraged to overcome the limitations of “East” and “West” as a means of stimulating new artistic ideas. The first session will begin with a discussion of two portraits done in the same period: a portrait of the famous Chinese artist Shen Zhou, painted anonymously in 1507, and the Mona Lisa, painted by Leonardo da Vinci in 1506. The discussion will focus on similarities and differences between these two portraits and a variety of questions related to them. By the end of the first session, students will select one of the portraits to “repaint” and perhaps even begin painting. They will repaint the portrait by reversing style and medium: oil on canvas for Shen Zhou, ink on rice paper for the Mona Lisa. In the second session, students will continue to work on their portraits. In the third session, all of the repainted works will be displayed, and students will examine and discuss their own works as well as comment on each others’ work.", "label": "Yes"}
{"text": "This unfinished oil painting is an early work by Leonardo Da Vinci done in 1481, as a commission to the monks of San Donato from the Scopeto monastery. It was left unfinished because Leonardo Da Vinci departed to Milan the following year before finishing the crowded scene. The fact that this piece was left unfinished allows us to look deeper into Da Vinci’s construction process. This piece would be, basically, the first stage of an oil painting where some sections of it are properly built and have some color details, light, shadow and volume, and other parts are only structural sketches. Now it’s part of the collection of Uffizi Gallery in Florence.\nIn the foreground, precisely in the center, there are Mary and Christ as a child on her arms and the Magi kneeling to her feet. It’s possible to trace the pyramidal shape Da Vinci and other Renaissance artists used as a guideline to build his works including the famous The Last Supper. The Magi work as a perfect frame for Mary and draw her as the center and the most important section of the piece.\nThis painting has several situations happening, so the pyramidal shape sets apart Mary and Christ from the rest of the subject matter. To the right, it’s possible to observe a group of men usually referred as “the philosophers.” Occupying the upper right corner is a sketch of some battle or conflict, which slowly merges onto the upper middle of the painting into a classical piece of architecture, lighter and more geometrical. It’s speculated that these ruins would be a possible reference to the Basilica of Maxentius.\nThere is a set of preparatory sketches for this painting where it’s possible to look further into the detail of this painting.\nAround Mary, the three submissive Magi are offering gifts. Christ’s arm is stretched, reaching for the first gift coming from the Magi on the bottom right. It’s possible to trace a line from Mary’s head, from the line of her nose through Christ’s stretched arms all the way to the Magi’s offering.\nEven though this is only an underpainting, it is possible to observe Leonardo Da Vinci’s technique of sfumato, where he would harmonize the shapes and the colors within the painting, creating a hazy atmosphere through a blurry effect.\nReal Oil Paints, Real Brushes, Real Artists, Real Art. The Certificate of Authenticity which arrives with every painting provides an assurance and verifies the authenticity of the hand painted fine art reproduction you purchased. Each oil painting is created by hand using only the finest canvas and oil paints available.\nImportant Notes About Your Painting:\nIf you have any request to alter your reproduction of Adoration of the Magi, you must email us after placing your order and we'll have an artist contact you. If you have another image of Adoration of the Magi that you would like the artist to work from, please include it as an attachment. Otherwise, we will reproduce the above image for you exactly as it is.\nFree shipping is included in the price of the painting. Once the painting is ready and dry enough to ship, we will roll it and ship it in a sturdy cardboard tube.\nWe always ship express via courier to ensure your order reaches you as soon as possible - normally within three business days. The total delivery time from the moment you place your order until the package is delivered to your door is normally between three to four weeks.\nIf, in the unlikely event you were dissatisfied with the painting after reviewing it in person, it can be returned for a full refund for up to 365 days after delivery.\nWhen you receive the painting; you are free to return it for more revisions or else for a full refund minus our actual shipping cost -- which is, on average, $25 per painting.\n1st Art Gallery provides a full warranty covering manufacturing and material defects for paintings purchased from our website. The warranty covers damage for normal use. Damage caused by incidents such as accidents or inappropriate use are not covered.\nDepending on the degree of damage to the warranted painting, it will either be repaired or replaced. This warranty service is provided free of charge.", "label": "Yes"}
{"text": "From painters to graphic designers, all sorts of creators use color theory for their work. It’s how we determine how colors match, blend, and complement one another. The entire field of color theory could fill several books, but it’s always best to start with the basics in order to truly understand the concept.\nChances are that you learned at least a bit about the color wheel while you were attending art classes in elementary and middle school. First created by Sir Isaac Newton in 1666, the color wheel has gone through several variations but nevertheless accomplishes the same goal—informing us how colors relate to one another.\nThe Types of Color\nThe color wheel is a representation of the three main types of color—primary, secondary, and tertiary.\nRed, yellow, and blue. These are the basis of which all other colors are derived. As such, they cannot be created by any combination of other colors.\nGreen, orange, and purple. These colors are formed by mixing primary colors.\nYellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green. These are formed by mixing primary colors with secondary colors.\nThe color wheel can also help is determine how colors harmonize with one another to create a color scheme. There are many color schemes that can be created, but these are the basic ones:\nAnalogous colors are three colors that are side by side on a color wheel.\nComplementary colors are two colors that are directly opposite each other on the color wheel, such as red and green.\nA triadic color scheme is formed by three colors that are equidistant (of equal distance) from one another on the color wheel.\nTetradic is similar to triadic, except it includes four colors that are equidistant from one another rather than just three.\nWhile this blog post covers the basics of color theory, there is certainly much more to learn. At Creative Ventures Gallery, we offer color theory workshops where you can learn everything there is to know about color theory. Give us a call today at 603-672-2500 to learn more.", "label": "Yes"}
{"text": "chalk paint furniture ideas with step by tutorials colorful painted chairs chair wicker.\nfashionable painted dining chairs chalk furniture ideas chair wonderful incredible paint rocking dinin.\nhand painted chairs breathtaking ideas for painting wood best images on desk chair wicker furniture.\nchalk paint ed chair it all started with painted ideas high.\npainted chair ideas best of unique chairs for your garden wood.\nbeautiful painted chair designs ideas wicker furniture vibrant design.\nmodern painted furniture ideas chair repaint wooden chairs painting a second chance mid windsor m.\nchairs general finishes milk paint inspiration board old wooden painted chair ideas childrens.\nchalk paint for furniture chairs painted rocking chair best ideas sale images on teacher childrens i.\npainted chairs ideas to inspire your next masterpiece chair dining.\npainted chairs chair ideas wooden best furniture side table hand art rail kitchen and paint update your.\npainted chair ideas rocking teacher chairs wicker furniture.\nbest paint for kitchen chairs painted chair ideas images on with kit windsor.\npainted chair ideas beautiful best images about hand furniture on dining room.\npainted chairs ideas hand chair crafts en wicker.\npainting dining room table set with chalk paint chairs ideas painted furniture chair rocking pai.\npaint dining table painted room and chairs ideas chalk chair rocking idea.\npin by on ideas for the house in decoupage furniture painted chairs chair rail.\nadvertisement painted chair ideas wood vibrant design.\npainted wooden chairs wood chalk chair ideas rocking.\npainted chair ideas furniture tables popular best about whimsical on dining room.\nchair ideas painted chairs for painting what color to paint inspirational hand with dining furniture view in gallery i.\npainted chair ideas hand solid wood accent table size x by rocking awesome chalk paint furni.\npainting fabric chairs painted chair chalk paint ideas windsor.\nwhimsical painted chairs colorful metal chair ideas dining room.\npainted chair ideas wicker furniture hand chairs.\nideas for painting chairs painted to paint chair dining room.\nwood dining table and chairs ideas small set glass chair painted room sets before decorating beautiful r.\nblack painted chairs how to paint a wooden chair ideas wood.\nideas chalk paint chair makeover painted rail.\nfurniture stores painted wooden chairs ideas amazing of colored wood dining best on chair wicker col.\nturquoise chalk paint chair with stencil design in artsy furniture chairs painted ideas dining.\nunique painted chair ideas rocking hand furniture painting wooden chairs on download cool furnitur.\npin by falcon on color and rainbows painted rocking chairs furniture funky chair ideas dining.\nawesome chalk paint furniture ideas crafts projects antique painted chairs cool vintage study table desk chair dining proje.\npainted chair ideas rocking paint dining table room and chairs chalk.\nideas to give old furniture new life painted chair wicker 4.\npainted chair ideas dining kitchen table and.\npainted kitchen tables chairs ideas furniture makeover spray painting wood in my own style thumb chair wicker s.\npainted chair ideas wooden dining childrens.\nchalk paint furniture ideas painted chair makeover via desk rocking furnit.\npainted chair ideas best paints for a kitchen table furniture and tables paint dining.\nfunky painted furniture ideas dining chairs chair dark grey op art hand.\npainted chair ideas unique tables am designs furniture dining rocking.\npainted dining room set ideas for painting a kitchen table how to paint chair rocking.", "label": "Yes"}
{"text": "The guy with the paint shop that’s a record shop but sells lots of thing: Rogues Gallery. 8A. Glastonbury High St. A part of the management running the Styles Of Somerset paint event in Glastonbury & paints in MOAuk crew. Also runs a youtube channel: RGtv Avalon. Commissions welcome.", "label": "Yes"}
{"text": "Yellow Abstract Wall Art. ( 3.0 ) out of 5 stars 3 ratings , based on 3 reviews current price $9.99 $ 9. 11% ($10.00) hand painted canvas in a range of yellow color creating and abstract design.\n24w x 1.5d x 48h. 3d abstract canvas print, grey modern abstract panoramic canvas wall art, beautiful yellow elegant abstract wide canvas.\nAbstract 47882 Yellow Brown Abstract Art Wall Decor\n80 l x 50 h x 5 d weight: A common thread to the artwork is the color yellow.\nYellow Abstract Wall Art\n< p align='justify'>Abstract floral, animal, beach and colours canvas wall art from only $29.Abstract wall art print collection.Accentuate your space with classy wall art.All art prints sizes are standard uk and european frame sizes that are available either on the high street or on line.\nAt direct art australia, we have a vast collection of abstract prints which you can explore and choose from to match the overall design of your space or simply to add an artpiece that has made an impact on you.Beautify your home or office with classical, vintage, abstract art on canvas, metal, woodBeautify your home or office with classical, vintage, abstract art on canvas, metal, woodBrighten your décor with yellow wall art, and let the light shine in.\nChoose your favorite yellow abstract designs and purchase them as wall art, home decor, phone cases, tote bags, and more!Choose your favorite yellow abstract paintings from 75,344 available designs.Do you love this amazing canvas wall art home decor?Each piece under 7lbsby alisa r tarpleyhand painted in layered abstract quality artist acrylics in red, black, white.\nEnjoy pretty canvas prints of yellow flowers and the morning sun, or take a different view with abstract art in hues of yellow.Explore more unique gifts in our curated marketplace.Gorgeous canvases and framed prints make a striking addition, while large pieces.Her abstract paintings reflect her view on the importance of colour.\nIf needed i can advice on where to purchase affordable frames.In this collection, you can find bright, colorful paintings or pieces more muted and serene.It will also perfectly suits kitchen room.Julia balfour is an abstract painter who uses form as a trace of her experiences that are influenced by color.\nLarge abstract 895 canvas prints.Leave the literal world behind and challenge your visual senses with this powerful and popular style of art.Leave the literal world behind and challenge your visual senses with this powerful and popular style of art.Let your space look like a unique art gallery with large abstract canvas art that your guests and family are sure to appreciate!\nMade in australia and ready to hang, shop our range of abstract.Original abstract flower wall art in butter yellow and brown presents on cotton ragg paper in this modern floral art painting.Our large selection of abstract wall prints are available as canvas & framed canvas prints.Our oversized abstract canvas art collection was specially.\nOversized abstract wall art is one decor element that easily gives your home or office an immediate uplift.Product title blush rhizome pink abstract art print wall art by ann marie coolick average rating:Shop for yellow abstract wall art from the world’s greatest living artists.Size:12×16 inches each set of 2 paintings brand:\nSwallart.com is the leading source/destination for the highest quality of canvas photography prints and canvas oil paintings, with over 22+ years of experience, we are committed to customer satisfaction, our goal is to bring.The yellow abstracts exude warmth and would add a nice pop of color to your home or office.Then, it is perfect gift for you!Touch of yellow modern abstract wood metal wall sculpture huge 80x50detailsnew huge set of 2 geometric and abstract art wall sculpture hangingshandmade, hand painted, acrylic on wood with metal accents and high gloss finishdimensions:\nWe will immediately email the gift voucher to the recipient’s email address, as provided by the customer.Yellow abstract canvas wall art.Yellow abstract canvas wall art;Yellow, gray, black, white paint type:\nYou’re currently reading page 3.", "label": "Yes"}
{"text": "Giclee print of an original acrylic painting on gray linen. Printed on smooth archival fine art paper with archival inks. Signed and numbered. Limited edition of 100. Dimensions refer to image size. There is a 2” border on each edge of the print.\nsmall- image size 20″ x 20″\nlarge- image size 30″ x 30″", "label": "Yes"}
{"text": "I created a meditative space and energy before starting these blue ink Ensos. They were painted mindfully, connecting the movement with breath and allowing the ink to naturally flow, to make unique organic markings.\nThe mixture of blue ink and its fluid motion, I felt, gave this Enso a liquid form.\nEmbodying calming, meditative energy, perfect for creating a peaceful space in your home.\nBlue ink painting on 300gsm Fabriano paper,\nMounted on 30.5cm X 30.5cm (12\") white mount card with backing board with 19cm X 19cm aperture.", "label": "Yes"}
{"text": "P.32 Title: \" Still Life With Four Pears\". Size: 24\" X 20\",oil paint and 24 karats gold on canvas.Made 2009.By Nicolae Vasilescu senior. For sale.\nP.34 Title: \"City That Can See\".Size: 24\" X 20\",oil paint on canvas. Made 2009 . By Nicolae Vasilescu senior. For sale.\nModern Paintings Page 4\nOriginal oil and acrylic paintings for sale, on canvas or wood . We have a great selection of abstract art, modern art ,nudes,still life ,landscapes and more .", "label": "Yes"}
{"text": "Get quotations from several painting businesses so you can compare costs and services. But remember that the cheapest alternative may not necessarily result in the finest outcomes. Getting many quotations from several painting businesses while looking for painting services for your Rochdale house is crucial.\nYou may compare prices and the services provided by requesting different estimates, which will help you better grasp the entire market worth of your project.\nGetting many quotations enables you to evaluate costs and services, but remember that the lowest choice cannot always result in the greatest conclusion. Your Rochdale house may be transformed into a gorgeous work of art that oozes beauty, elegance, and a feeling of belonging within the lovely town by carefully considering all factors before starting your exterior painting Rochdale adventure.\nImproving the exterior of your property with new paint may increase its value and appeal. The correct color choices, such as traditional whites, earthy greens, coastal blues, or contemporary grays, will help you create a gorgeous and welcoming look that matches Rochdale’s distinctive style. To guarantee a successful and satisfactory project conclusion while looking for expert painting services, depend on local recommendations, internet evaluations, and experienced firms. You are well on your way to changing your house into a stunning work of art in Rochdale with the help of these suggestions and ideas.\nThe appearance of your Rochdale house may be considerably increased by using the correct exterior paint color. Every color scheme throughout the town, from time-honored whites to earthy greens, marine blues, warm browns, contemporary grays, and vivid highlights, has a special appeal and harmonizes with the town’s varied architectural environment. Make a decision that represents the beauty of Rochdale when starting an exterior painting job by considering the neighborhood aesthetics, your property’s surroundings, and your unique style.\nFinding the right painting services is essential to a project’s success. WC Painting Services have reputable and skilled painters providing painting services in your local area ,like Rochdale. To evaluate the reputation and client satisfaction of possible painting firms, such as WC Painting Services, examine internet reviews and testimonies as well. We provide best painting services in Rochdale to our customers.", "label": "Yes"}
{"text": "arthea Gallery, Mannheim\nNordflügel A 11!\n\"The Mannheim artist Dietmar Brixy (*1961) is one of the most well known and successful artists in the Rhein-Neckar Metropolitan Region. In his sensual, almost forbiddenly beautiful paintings, Brixy moves between abstract action painting and fi gurative gestures. A graduate of the National Academy of Art, Karlsruhe, Brixy works not only with a brush, moreover with his bare hands directly on the canvas, sculpting thick oils into organic motifs. The results are dynamic, baroque, dancing yet contained color sensations that call to mind ginkgo, fi g, olive and lemon trees as well as bamboo and grapevines.\"\nDr. Dietmar Schuth, Mannheimer Kunstverein", "label": "Yes"}
{"text": "Awesome, love this work!\nBeautiful work. Very well done.\nBeautiful landscape and colors!\nVery nice work.\nAmazing! This reminds me a little bit of something you might see in Ireland, and the scene from LOTR when Frodo is stabbed by the Nazgul. I adore this!\nthis is beautiful!", "label": "Yes"}
{"text": "Prompt: Black and white algorithms evolve, push us aside and render us obsolete, biomechanic steampunk artificial inteligenz, space punk, blue and black blueprint, alien skull is hanging at golden electrical cables, colorful flashes, mind-blowing artwork by Kuno Veeber, H.R. Giger\nPrompt: Tomorrow a piece of paper, today a masterpiece\nElaborately crafted 3D paper patchwork of a smiling woman with bright big sharp blue eyes, adorned with a hat, flowers and feathers. The style reflects the influences of Catherine Abel, Stephen Gibb and Ernst Haeckel. The artwork shows crisp high definition quality, intricate details and precision.\nPrompt: Mystic fantasy, A girl with flowers on her head, big bright green sharp eyes, 1980s japanese anime style, Creepy Kawaii, Fantasy, Lace embellishments, Bow with satin ribbon, detailed color pen & ink, Forest green tone, S-shaped composition\nI have to close my Art-Shop, with so few Likes ...\n1714 X 1024\nPrompt: An angry, unkempt old man, almost bald, with big wide eyes, a cigarette in the corner of his mouth, leans out of the window of his run-down kiosk, surrounded by his colorful art paintings, newspapers, picture frames, paint tubes, brushes, old small framed pictures for sale", "label": "Yes"}
{"text": "- Kids Art with Nicole Miyuki -\nSand Castle Project\nLet your kids' imaginations run free as Nicole shows your Little Artist how to draw and paint their very own sandcastle. We start with a blank paper in this project but end with a magnificent strong sandcastle that is built to last.\nIn this video tutorial, Nicole breaks this project down into simple steps drawing simple lines and shapes together. Nicole uses the magical white crayon technique along with the wet-on-wet technique to draw the clouds, waves, white foam, and to write on the flag, waving loud and proud! They will also learn how to mix their paints and Nicole also teaches how to use darker colors to make the sandcastle look 3D.\nShop all of our artist-quality supplies so you can create this project again and again!", "label": "Yes"}
{"text": "Your cart is empty\nWinter Trading: 9am-5pm Mon-Sat and 10am-4pm Sundays\nA specialist paint store in the heart of Worthing.\nWe are delighted to introduce a new Paint Pot team led by Caroline Cundall.\nThe shop continues to stock paints and wallpapers from three excellent British brands: Farrow & Ball, Little Greene and Mylands.\nPop in with your paint questions, we’re here to help you choose the right colour and finish.\nOpen Monday to Saturday, Paint Pot sits proudly on the corner of Montague Street and Crescent Road in Worthing town centre. The store is also open Sunday's throughout Autumn, Winter and Spring.", "label": "Yes"}
{"text": "Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations.\nShow translation options\nLot 25: Chinese Scroll Painting\nDecember 9, 2016\nToronto, ON, CanadaLive Auction\nDescription: Chinese scroll painting, ink color on paper, signed Fu Bao Shi (1904-1965); depicting figure in a house; the right with colophon and seal; L: 105 cm, W: 35 cm", "label": "Yes"}
{"text": "Ha Chong-Hyun Retrospective: National Museum of Contemporary Art (NMOCA), Gwacheon, Korea\nThe National Museum of Contemporary Art, Korea (NMOCA) presents the exhibition Ha, Chong-Hyun Retrospective from 15th June - 12th August, 2012. To help establish a comprehensive history of contemporary art in Korea, the National Museum of Contemporary Art, Korea organizes ehibitions that explore the original art worlds of pioneering senior artists. This year, the museum will host an exhibition to look back on the art and life of Ha Chong-Hyun, one of Korea's respresentative abstract artists.\nThis retrospective covers all periods of Ha Chong-Hyun's artistic career, starting from his early years in the 1960s and AG (Korean Avant-Garde Society) years in the 1970s, to his prime years characterized by the development and establishment of his unique abstact painting series Conjunction and recent Post-Conjunction years.\nHa Chong-Hyun's Conjunction series, created by the coalescence of paint and hemp cloth, started in 1974 and continued through 2009 for over 35 years, becoming the most representative work of Ha Chong-Hyun's practice. Conjunction casts aside the preconceived notion that painting should be done by applying paint on the surface of a picture. By coming up with an original method of painting by pushing pigment from behind the picture, Ha broke new ground in abstract painting. When the paint is pressed down from the backside of hemp cloth woven with thick threads, the paint comes out to the front of the cloth through is coarse weave.\nCritics would liken Ha's Conjunction to the earthen wall of a country house made with clay and rough straws or to the thickly condensed solution that drips through a hemp cloth when twisting the cloth to squeeze liquid out of boiled medicinal herbs. In Conjunction, Ha Chong-Hyun's interest lies in the conservation with materials. In order to reveal the expressions the paint and the canvas make on their own, pocesses utilizing not only eyesight but tactile sense are also repeatedly carried out.\nIt is hoped that this retrospective, in which Ha Chong-Hyun's representative works are displayed, will be an opportunity to shed new light on artist Ha Chong-Hyun's art world that has been rigorously cultivated in Korea's contemporary art field over the past 50-odd years, and also to retrace the history of the half-century of abstract painting in Korea.", "label": "Yes"}
{"text": "Karie-Ann is an award winning artist -Society for All Artists Amateur Animal Artist 2013, Finalist Artist and Illustrators Artist of the Year 2013.\nShe uses pastels to create highly detailed paintings of animals, both wild and domestic.\nKarie-Ann can be commissioned to paint bespoke pet portraits, providing a unique gift for that someone special. She works from her home studio in The Forest of Dean and you can see her at work there by appointment.\nWeb: www.artbykarie-ann.co.uk and www.portraitpainter.co.uk\nTel. 07708 900946\nFacebook: Pet Portraits and Wildlife Art by Karie-Ann", "label": "Yes"}
{"text": "Canaletto: Master of Venetian Cityscapes and European Urban Elegance in the 18th Century\nGiovanni Antonio Canal, better known as Canaletto, was an Italian painter of the 18th century, renowned for his exquisite and detailed paintings of the cityscapes of Venice. Born on October 28, 1697, in Venice, Canaletto’s artistic talent emerged early in his life, likely influenced by his father, Bernardo Canal, who was a scenic painter.\nCanaletto’s artistic career took off in the early 18th century, and he quickly gained recognition for his exceptional ability to capture the architectural beauty and atmospheric effects of Venice. His paintings often depicted the city’s iconic canals, grand buildings, and bustling public spaces with remarkable precision.\nOne of Canaletto’s distinctive features was his use of the camera obscura, a device that projected images onto a surface, aiding him in achieving unparalleled accuracy in his architectural details and perspectives. This technique, combined with his keen sense of composition, gave his works a realistic and almost photographic quality.\nCanaletto’s popularity soared, and he attracted a diverse clientele, including European aristocrats on the Grand Tour. His patrons commissioned paintings not only of Venice but also of other European cities, including Rome, London, and Dresden. His depictions of these cities showcased his ability to capture the unique character of each locale.\nIn the 1740s, Canaletto spent several years in England, where he continued to produce paintings of urban landscapes. His time in England marked a significant phase in his career, as he adapted his style to suit the English taste, incorporating more naturalistic elements into his works.\nDespite his success, Canaletto faced financial difficulties, and in 1756, he moved to London. There, he struggled to compete with the rising popularity of English landscape painters, and his work experienced a decline in demand. However, he continued to paint until his death in 1768.\nCanaletto’s legacy endures through his impact on the veduta (view painting) genre and his influence on subsequent generations of artists. His meticulous attention to detail, use of light and shadow, and ability to capture the spirit of a place have left an indelible mark on the history of art. Today, his paintings are highly sought after, and many are housed in prestigious museums and private collections around the world, allowing audiences to marvel at the beauty of Venice and other cities through the eyes of this masterful artist.\nCanaletto: A Master of Venetian Vedutismo\nGiovanni Antonio Canal, better known as Canaletto, was an Italian painter from the Republic of Venice who is considered one of the most important figures in the 18th-century Venetian school. He was renowned for his meticulous and highly detailed topographical paintings of Venice, known as vedute. These paintings captured the city’s unique architectural beauty and bustling atmosphere, and they continue to be prized by collectors and art lovers around the world.\nEarly Life and Artistic Training\nCanaletto was born in Venice on October 28, 1697, to Bernardo Canal, a scene painter for the opera. His father, who was also his first teacher, instilled in him a deep understanding of perspective and composition, which would later prove to be essential skills for his vedute paintings. Canaletto also studied with Luca Carlevaris, a Venetian landscape painter who was one of the pioneers of vedutismo.\nRise to Prominence\nCanaletto began painting vedute in the early 1720s, and he quickly gained a reputation for his accuracy and attention to detail. His paintings were highly sought after by wealthy patrons, both in Venice and abroad. In 1746, Canaletto traveled to England, where he spent the next decade painting landscapes and country houses for the English aristocracy. He was a great success in England, and his work had a lasting influence on the development of English landscape painting.\nCanaletto’s vedute paintings are characterized by their precise perspective, their meticulous attention to detail, and their ability to capture the atmosphere of a city. He often used a camera obscura to help him achieve his desired level of accuracy, and he would often spend months working on a single painting. His paintings are also notable for their use of light and shadow, which creates a sense of depth and dimensionality.\nCanaletto died in Venice in 1768, at the age of 70. He is considered one of the most important landscape painters of all time, and his work continues to be admired and collected by people around the world. His vedute paintings provide a unique and valuable record of 18th-century Venice, and they continue to inspire artists and art lovers alike.\nSome of Canaletto’s most famous paintings include:\n- The Stonemason’s Yard (1725)\n- The Old Rialto Bridge (1730)\n- Piazza San Marco (1733)\n- Regatta on the Grand Canal (1732)\n- Warwick Castle (1748)\n- Eton College (1747)", "label": "Yes"}
{"text": "Well, since it is sooo hot out I stayed in the basement and painted my chipboard. This is the layout I came up with. The photo does not do these chipboard pieces justice. the colors are really pretty. i used 4 different colors blue, aqua, pale green and then decided I needed a darker green so mixed up a new color. I used the folk Art paint and Stampin Up!s Old Olive re-inker.\nthanks for looking", "label": "Yes"}
{"text": "Your recently viewed items and featured recommendations, Select the department you want to search in, Price and other details may vary based on size and color, Prima Marketing 584252 Watercolor Confections: The Classics, Prima Marketing Prima Confections Watercolor Pans 12/Pkg-Vintage Pastel, Prima Marketing Watercolor Confections: Pastel Dreams, Water Color paint set, 12 colors Art Gallery Quality Collection, Lifelong Brilliance Richest Pigmentation Watercolor Palette Half Pan for Professional Artists SCHPIRERR FARBEN, Prima Marketing 655350631857 Watercolor Confections: Complexion, 12 Count, Prima Marketing Prima Confections Watercolor Pans 12/Pkg-Terrain, Original, PRIMA MARKETING INC CONFETTI WATERCOLOR, 0, Prima Marketing Tropical Watercolor Confections, Prima Marketing Watercolor Confections Decadent Pies, Prima Marketing Watercolor Confections: Essence, Prima Marketing Watercolor Confections: Woodlands, 12 Count, Prima Marketing Prima Confections Watercolor Pans 12/Pkg-Currents, GenCrafts Watercolor Palette with Bonus Paper Pad Includes 48 Premium Colors - 2 Refillable Water Blending Brush Pens - No Mess Storage Case - 15 Sheets of Water Color Paper - Portable Painting, Prima Marketing 584269 Prima Watercolor Confections Watercolor Pans44; Pack of 12-Tropicals, Prima Marketing Metallic Accents - Pastels, MeiLiang Watercolor Paint Set, 36 Vivid Colors in Pocket Box with Metal Ring and Watercolor Brush, Perfect for Students, Kids, Beginners and More. 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Art Philosophy Concentrate Watercolor, TRUTH, PRIMA MARKETING INC WATERCOLOR CONCENTRT RUST, Prima Marketing Coloring Book Vol. Watercolor Confections are sized perfectly for artists on the go. $29.99 $ 29. 4.4 out of 5 stars 189. Prima Marketing Inc. Suchen Sie einen speziellen Artikel der Firma \"Prima Marketing Inc.\"? Phone: +1 (909) 627-5532 Fax: +1 (909) 627-4322. You get pans and not tubes in this set- which works out well because tubes can get messy sometimes and risk spilling. Redesign With Prima®, a decor power house with products like Decor Transfers®, Decor Moulds® and more, give you the power to make your living space beautiful. 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Prima Marketing Prima Confections Watercolor Pans 12/Pkg-Terrain, Original The artist grade Classics collection of watercolor paints offered by Prima Marketing is definitely one of these. PRIMA MARKETING INC. 5564 Edison Ave. Chino, CA 91710. You’re seeing this ad based on the product’s relevance to your search query. Top subscription boxes – right to your door, © 1996-2020, Amazon.com, Inc. or its affiliates. Prima Marketing Prima Confections Watercolor Pans 12/Pkg-Terrain, Original 4.9 out of 5 stars 302. Art Philosophy®, a division of Prima, is a fine-art focused brand bringing fine watercolor and art products to everyday artists. This shopping feature will continue to load items when the Enter key is pressed. $20.33. Watercolor Confections are artist-grade, high quality, and highly pigmented watercolor pans. There's a problem loading this menu right now. Office Hours: MON-FRI: 8:30AM - 5:30PM PST SAT-SUN: CLOSED New Account: email@example.com. This shopping feature will continue to load items when the Enter key is pressed. Paul Rubens Artist Watercolor Paints-Glitter Solid Colors-Pink Portable Metal Case with Palette-24 Color Set. Page 1 of 1 Start over Page 1 of 1 . 99. Prima's Artist Quality Watercolor Brushes are made using an 80% Kolinsky Sable hair, and 20% Synthetic blend, in rust-proof metal, with beautifully painted wood handles. Office Hours: MON-FRI: 8:30AM - 5:30PM PST SAT-SUN: CLOSED Get it as soon as Wed, Jul 8. 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{"text": "5 pages matching Heures in this book\nResults 1-3 of 5\nWhat people are saying - Write a review\nWe haven't found any reviews in the usual places.\nAdam and Eve Adoration Albergati Angel Annunciation Antwerp Arnolfini Arnolfini Portrait artist attribution to Jan Baldass Beenken Berlin brother Bruges Brussels Canon Cardinal Albergati Catalogue Cathedral of St Chancellor Rolin Christ church Collection color considered copy Crucifixion depicted donor drawing Duke Philip Early Netherlandish Painting Eyck's Eyckian fifteenth century figures Flemish Painting Fountain Ghent Altarpiece GHENT POLYPTYCH Ghent Giovanni Arnolfini grisaille Hall Madonna Heures Hubert van Eyck hypothesis inscription Jan de Leeuw Jan van Eyck Jan's John the Baptist Lamb landscape London lost original lower register Madonna and Child Malerei Master miniatures Musee Communal Museum National Gallery Netherlandish object original by Jan original frame Pacht Paele painter Panofsky Petrus Christus picture Plate portrait Prophet Rogier Rolin Madonna saint scholars Sibyl signed and dated St Jerome St John Staatliche Museen Tolnay triptych Turin Turin Hours upper register Virgin Weale Weyden Whole William Vl", "label": "Yes"}
{"text": "by Ariadna Zierold\nYis “Nosego” Goodwin is a Philadelphia-based artist with a passion for illustration and media arts. His art combines patterns, bright colors and imaginary characters, which stem from his imagination and his environment. His artistic career started in 2004, during the last year of high school. In the previous years he followed traditional painting lessons that allowed him to immediately combine murals to graffiti.\nNosego’s works are dreamlike visions that lead us to the realm of the unconscious, which he transports into reality to ennoble space and matter. The viewers are first captured by the colors that animate subjects, then they notice the thriving of details and their meanings and are carried in a thousand crevices of a timeless world that combines observation with deep reflection.", "label": "Yes"}
{"text": "Artist: Wei Yuhang\nTitle: Voice 9\nSize: 12cm x 29cm\nPaper Size: 28cm x 39cm\nPrice: 270 € +35% import/tax fees for EU customers\nWei Yuhang is a young Chinese artist. In his works, Wei uses several layers of color and mesh-like patterns to create impressions of a microscopic emotional atmosphere. The sensible colors, delicate textures and composition invite the viewer into an ongoing thread of conversations or impulsive thoughts. These mental landscapes allow us to empathize, for we can all relate to a feeling of overthinking or trying to find some peace of mind.", "label": "Yes"}
{"text": "Experience art in perfect form and let yourself be enchanted by our new Mensing Gallery in Stuttgart. Located directly next to the imposing Stiftskirche, our gallery is a place of inspiration and artistic diversity.\nOn over 100 square metres of exhibition space at the corner of Königstraße and Stiftsstraße, you will find an exquisite selection of contemporary art - from classical modernism to pop art.\nOur focus is also on artworks with motifs of the world-renowned car manufacturers Porsche and Mercedes-Benz, which are based in Stuttgart. Here you will find works by Craig Alan, Bram Reijnders, Guldenstern, Verron as well as Giorgio and Luigi Rocca - artists who inspire with their creative visions and skill. Immerse yourself in the fascinating world of art and also be inspired by our exhibitions.\nAnd best of all: you can buy all the artworks from us and thus take a piece of art history home with you. We will be happy to advise you on the choice of the right artwork and accompany you on your way to your personal art collection.\nVisit our gallery in Stuttgart and let yourself be enchanted by the beauty and fascination of art.", "label": "Yes"}
{"text": "Helios Gisbert was born in 1958 in the Spanish city of Alcoy. Here he studied at the School of Fine Arts and Crafts perfecting his unique style and technique. The artist has always held an appreciation for the natural landscape and draws inspiration from his local Spanish surroundings.\nToday he is considered to be one of the best Spanish artists in his style. Each of his works demonstrate a deep passion for landscapes and nature in general. His paintings show a realism combined with a poetic atmosphere, a combination that his work is well recognised for. By employing truthful portrayals of locations with more abstract interpretations, he creates technically complex but beautiful paintings.\nThe striking quality of Helios’ work is founded on vigorous combinations of strong tones, fluid brushstrokes and concise line work. Using this technique, he effectively depicts detail and attracts attention to desired points without labouring artworks. Leaning on the continental scenes of Spanish villages and harbours basked in hot Summer sun, the artist works effortlessly to recreate beautiful evocations of harmonious and striking landscapes.\nHelios’ atmospheric work has been shown in over a hundred individual exhibitions throughout Spain and Portugal. He is acknowledged as one of the greatest Valencian artists of the twentieth Century and has work displayed across Europe. His participation in competitions has been recognised with more than 38 prestigious awards.\nWe are delighted to welcome Helios Gisbert to Forest Gallery and display this talented artist’s striking paintings.", "label": "Yes"}
{"text": "Explore Gallery of Canvas Wall Art For Dorm Rooms\nShowing Photo About Beautiful Dorm Room Wall Decor | Home Decor And Design for Most Popular Canvas Wall Art For Dorm Rooms\nWhatsoever room or space you may be decorating, the canvas wall art for dorm rooms has images that will fit what you want. Have a look at many pictures to become prints or posters, presenting common subjects like landscapes, panoramas, culinary, pets, town skylines, and abstract compositions. By adding ideas of canvas wall art in various shapes and dimensions, in addition to different decor, we included fascination and figure to the room.\nIf you're ready help to make your canvas wall art for dorm rooms also understand specifically what you need, you could search through our different range of canvas wall art to find the excellent part for the interior. When you will need bedroom wall art, kitchen artwork, or any room among, we have acquired things you need to move your interior in to a superbly decorated space. The modern art, classic art, or reproductions of the classics you love are simply a click away.\nThere are various choices of canvas wall art for dorm rooms you will discover here. Each and every canvas wall art includes a unique characteristics and style that pull artwork fans into the variety. Interior decoration such as wall art, wall lights, and wall mirrors - can certainly brighten and even carry personal preference to a room. These make for good living area, home office, or bedroom artwork parts!\nPerhaps you have been looking for ways to enhance your room? Wall art certainly is the perfect solution for small or huge rooms likewise, giving any interior a completed and refined looks in minutes. When you need creativity for enhance your space with canvas wall art for dorm rooms before you get your goods, you can look for our helpful ideas or information on canvas wall art here.\nOne other element you may have to keep in mind in choosing canvas wall art is that it must not unbalanced along with your wall or in general room decor. Keep in mind that that you're obtaining these art products to boost the artistic appeal of your room, not cause havoc on it. You can pick anything that could possess some comparison but don't choose one that is overwhelmingly at odds with the decoration.\nWhen you find the items of canvas wall art you adore which could match gorgeously together with your decoration, whether it's coming from a popular art gallery/store or poster, never allow your excitement get much better of you and hold the bit as soon as it arrives. You don't wish to get a wall full of holes. Plan first where it would fit.\nNot much improvements an area like a lovely little bit of canvas wall art for dorm rooms. A vigilantly plumped for poster or printing may elevate your surroundings and change the sensation of a space. But how do you find the good item? The canvas wall art will soon be as special as the people lifestyle. So this means is you can find straightforward and fast principles to picking canvas wall art for the home, it really needs to be anything you like.\nYou may not buy canvas wall art because some artist or friend mentioned it is really great. We know that natural beauty can be subjective. The things may possibly look pretty to your friend may definitely not something that you like. The right requirement you need to use in selecting canvas wall art for dorm rooms is whether looking at it allows you truly feel pleased or excited, or not. If it does not impress your feelings, then it might be preferable you check at other canvas wall art. In the end, it will undoubtedly be for your home, not theirs, therefore it's great you move and pick something which appeals to you.\nConsider these detailed variety of canvas wall art for wall artwork, photography, and more to have the wonderful addition to your room. We all know that canvas wall art ranges in wide, figure, shape, value, and model, so you'll find canvas wall art for dorm rooms that compliment your room and your individual impression of style. You will discover sets from contemporary wall art to classic wall artwork, to help you be confident that there's something you'll enjoy and right for your decoration.\nConcerning the most used art pieces that may be appropriate for your space are canvas wall art for dorm rooms, printed pictures, or art paints. There's also wall bas-relief and sculptures, which might look a lot more like 3D paintings when compared with sculptures. Also, if you have much-loved designer, possibly he or she's a webpage and you are able to always check and buy their works throught online. You will find also artists that promote electronic copies of the works and you available to just have printed.\nNeedn't be excessively hasty when choosing canvas wall art and visit as many stores or galleries as you can. Chances are you'll get greater and wonderful creations than that variety you checked at that first gallery or store you gone to. Furthermore, don't restrict yourself. Whenever there are actually only quite a few galleries around the city where you reside, why not take to looking online. There are lots of online art stores with a huge selection of canvas wall art for dorm rooms you could select from.\nWe always have several choices regarding canvas wall art for use on your your interior, as well as canvas wall art for dorm rooms. Make sure when you are you desire where to order canvas wall art online, you find the ideal options, how the way should you decide on an ideal canvas wall art for your decor? Below are a few ideas that'll give inspirations: gather as many ideas as possible before you buy, decide on a palette that won't express conflict along your wall and be certain that you like it to pieces.", "label": "Yes"}
{"text": "To Order a 100% Handmade Oil Painting Reproduction of this painting, Click Here!\nR e l a t e d r e p r o d u c t i o n s:\nArtist's Son on a Pony reproduction\nAndrey Nikolayevich Shilder:\nEmperor Alexander III 1845-94 reproduction\n(after) Walker, George:\nThe Dog Breaker, engraved by Robert Havell the Elder,... reproduction\nLuis Alvarez Catala:\nDressing For The Ball reproduction\nGoblin Market Laura would call the little ones reproduction\nOrder custom, handmade oil paintings on canvas from www.1st-art-gallery.com!\nAdoration of the Magi (detail 2) 1488 reproduction\nRaja Ravi Varma:\nReclining Woman reproduction\nBack to previous page\nJose Juarez Index\nSearch Handmade Oil Paintings From 1st-art-gallery.com:\n- 100% Handmade Oil Painting Reproductions From Just $165!", "label": "Yes"}
{"text": "Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of\nthe Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches and other art objects,\nmany of which are on display in the Vienna Secession gallery. Klimt's primary subject is the female body, and his works are\nmarked by a frank eroticism. His pencil drawings, which are very numerous, have been regarded by many as his greatest legacy.", "label": "Yes"}
{"text": "Noone is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.\n- Claude Monet\nBegin With the End in Mind\nAll children are artists. The problem is how to remain an artist once he grows up.\n- Pablo Picasso\nPut First Things First\nI wish to approach truth as closely as possible, and therefore I abstract everything until I arrive at the fundamental qualities of objects.\n- Piet Mondrian\nBalance, peace, and joy are the fruit of a successful life. It starts with recognizing your talents and finding ways to serve others by using them.\n- Thomas Kinkade\nSeek First to Understand, Then to Be Understood\nArt is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit of which nature herself is animated.\n- Auguste Rodin\nI feel that there is nothing more truly artistic than to love people.\n- Vincent Van Gogh\nSharpen the Saw\nWhat they call talent is nothing but the capacity for doing continuous work in the right way.\n- Winslow Homer", "label": "Yes"}
{"text": "Psychedelic Starry Night\nFriday, July 28\n3:00 - 5:00PM\nThis vibrant take on Van Gogh’s Starry Night is just as fun to paint in the daylight as it is under blacklight. The glowing color palette is easy to customize, and the simple design is very beginner-friendly. Join us and paint your own technicolor masterpiece!\nA fun twist on a classic Master Study! Your tween/ teen will have tons of fun at this art session...", "label": "Yes"}
{"text": "Oil on 5x7 archival canvas panel. I decided to do this grizzly with more expressive brush strokes and color.\nSorry, I missed out on posting yesterday. My computer was choking on huge dust bunnies and overheating! To protect its own life it kept shutting down. Had to get my puter guru over to clean out the mess.", "label": "Yes"}
{"text": "Here are a number of pictures of P2/3 during their Art lessons.\nIn these lessons P2/3 learnt about Henri Matisse and Frida Kahlo. And, after learning about these artists, they then created their own collages out of coloured paper and also drew self-portraits using brightly coloured pastels!\nThey also learnt about sculpture and created their own out of clay.\nIn addition, there is also a picture of the class wall where you can see what P2/3 created after learning about Vincent Van Gogh.", "label": "Yes"}
{"text": "Horse Portraits from Photos!\nHere are some examples of my paintings of horses. Please click on each image to enlarge.\nI would love to create a lasting portrait of your equine friend, just send me your favourite photos!\nAs well as working in pastel, I also enjoy painting in watercolour, ink and acrylics and you can see some examples below.", "label": "Yes"}
{"text": "The Comité Chagall has confirmed the authenticity of this work.\nThe theme of nostalgia and memory is a central and powerful force throughout much of Marc Chagall’s art, and his work overflows with references to his Russian heritage. My Parents was executed in 1912, two years after Chagall had arrived in Paris for the first time. A double portrait of the artist’s parents, this gouache demonstrates not only Chagall’s enduring connection to his Russian roots, but also the boldly expressive artistic style that Chagall had developed after his immersion into the Parisian art world. With bursts of bright colour and ornate and delicate patterning, My Parents is a fascinating fusion of artistic styles, a delightful expression of Chagall’s unique vision.\nIn My Parents, Chagall’s father is depicted in a half-length portrait, his face staring directly out of the picture, while behind him, stands the artist’s mother. Chagall has imbued these figures with a distinctly Russian style. Conveyed in full-length with her back to the viewer, Chagall’s mother is attired in traditional Russian dress. She appears more as a dreamlike memory, an image of a typical Russian woman, rather than an exact pictorial resemblance of the artist’s mother. In contrast, Chagall has depicted his father with stylised angular facial features, characteristic of folkloric Russian imagery.\nChagall arrived in Paris from Russia in the summer of 1910. Overwhelmed by the bustling metropolis which was a vision of movement, colour, bright lights and people, he absorbed every aspect of the buzzing French capital. His enchantment with this new city was however impinged with a longing for his hometown. He recalled, ‘Only the great distance that separated Paris from my native town prevented me from returning to it immediately or at least after a week, or a month’ (Chagall, quoted in F. Meyer, Marc Chagall, New York, 1963, p. 95). As a result of these feelings of dislocation and longing, the artist created a number of images of his family, as well as imbuing his paintings with references to Vitebsk, a tribute to his origin and identity.\nYet, while the artist remained forever tied to his homeland, Paris offered a wealth of artistic inspiration and innovation: ‘My art needs Paris just as a tree needs water,’ Chagall wrote (Chagall, quoted in J. Baal-Teshuva, Marc Chagall 1887-1985, Cologne, 1998, p. 32). The strikingly direct expressiveness of colour in My Parents is reminiscent of the innovative use of colour pioneered in 1905 by the Fauves. Chagall’s father’s face burns with a vivid presence, which the artist has rendered using tones of green contrasted with bold white. The beard and eyebrows are depicted with brushstrokes of intense yellow and orange, and his lips, with a splash of purple. The combination of Chagall’s Russian folkloric artistic tradition and the style of the French avant-garde would remain central to Chagall’s work throughout his career. ‘I brought my objects from Russia…Paris shed its light on them’ (Chagall, quoted in ibid., p. 100).", "label": "Yes"}
{"text": "Painting Supplies Singapore\nEveryone loves the Kids Drawing Water Pen Painting Mat Board (Blue), Cyber Children Kids Drawing Water Pen Painting Mat Board Boy Girl Toy (Red) and Kids Drawing Water Pen Painting Mat Board (Red)(Export) which are currently our top sellers in this category. When it comes to Painting Supplies, the best brands are from BolehDeals, Catwalk and GoSport. You can purchase a Painting Supplies online ranging from S$ 5.00 - S$ 24.00. If you want, you can choose between a Beads, Drawing and Stickers. The best thing about Painting Supplies is that you can get them in Red and Blue! At iprice, you can find discounts of up to 63% for Painting Supplies. How cool is that?", "label": "Yes"}
{"text": "The Peachy Beachy Color Scheme palette has 5 colors which are Peach Puff (#FFDAB8), Flesh (#FFE9D4), Old Lace (#FFF1E7), Columbia Blue (#B9DEDB) and Middle Blue Green (#96D0CD).\nThis color combination was created by user Manish. The Hex, RGB and CMYK codes are in the table below.\nNote: English language names are approximate equivalents of the hexadecimal color codes.\n|Middle Blue Green||", "label": "Yes"}
{"text": "A household painter is a professions individual who is certified to paint residences, buildings and also is commonly referred to as a house painter or decorator. The primary function of household painting is primarily to enhance the appearance of a house and to secure it from natural damage by water, rot, pests and also mold. It might entail the repair or restructuring of the whole property, or simply an area of it, depending upon the client’s requirements. Today, there are numerous business as well as people providing household painters and business painters who work in partnership and also provide excellent quality paint services for both household as well as commercial jobs. Business home often needs extra extensive work than residential property. This is since business structures are open to extra outside variables such as sound, dust and also air pollution. Residential paint includes cleansing of residential walls or various other non-porous components of a residence to prepare it for being painted. Prior to paint, household painters will extensively clean a home or building utilizing harsh chemicals in order to make sure that no trace of residue or dangerous substances will be left behind. There are many aspects which establish the kind of paint needed for a residence or structure. Most home owners will certainly work with property painters to paint their interiors due to the fact that household painters have expertise in collaborating with different sort of paints. These paints include latex, acrylic and also lots of kinds of emulsion based paints. Each of these different kinds of paints provides various qualities that make them suitable for different applications and are made use of for different reasons. For instance, if one is thinking about painting the interiors of his/her residence to give it a make over or simply because it has started to look old as well as unclean, one ought to select a paint with a lower gloss or paint with a tool degree of coverage as opposed to one with a high gloss. The specialist painters may use a commercial grade paint to offer the property or industrial residential or commercial property a glossy and expert look without having to make use of poisonous paints. The industrial painters might additionally use a gloss or satin coating to the property which can include in its elegance as well as makes the surfaces easier to clean up and preserve. Paint tasks can likewise be turned over to the professional painters once the residential paint task has actually been finished due to the fact that these painters recognize with the techniques and devices required for such jobs and therefore will certainly be able to complete the task far more promptly as well as efficiently than the house owner himself. It is really vital that property painter hires a qualified and also qualified paint professional to implement the task. This makes sure that the painting work will look great and not leave any kind of damages or scratches on the walls. Qualified as well as competent professionals to guarantee that the paint work is done utilizing modern techniques such as staining or painting making use of high pressure or low atmospheric pressure equipment. These methods make the paint last much longer and additionally include life to the paint. In situation of painting a wall surface, the contractor should take care that there are no sticking out pipelines or cables near or inside the wall surfaces which will certainly result in accidents. In addition to the above, the household painter additionally ensures that the task is done within budget as well as on time. It is extremely vital to have a reasonable spending plan prior to beginning the painting task due to the fact that the extra realistic the budget, the more savings for the house owner will certainly get. Painters who make use of modern tools as well as methods to make the job quicker and also easier as well as hence reduce the possibility of making any blunders which set you back cash. Sometimes, the paint specialists might likewise provide some discount on the complete rate of the project if you purchase more than one piece of product from them. Such price cuts might remain in the type of affordable prices for bulk purchases. Such discount rates will certainly make certain that you have the ability to have a residence that you can call your own for a long time.", "label": "Yes"}
{"text": "Spray Paint Planet Street Art. Spray paint urban art, spray paint street art tutorials and stencils. Inspirational graffiti and street art murals.\nTop 5 awesome and cool videos of spray paint art at its best. No need to register, buy now! Huge collection, amazing choice, 100+ million high quality, affordable rf and rm images.\nThis Is A Video Tutorial Of How To Spray Paint.\nEasy step by action tutorial for beginners. A board full of awesome street art videos and images. This is a unique form of art.\nBatman Spray Painting / Spray Paint Art / Batman / Wall Art / Street Art/ Comic Book Art / Dc Comics / Superhero Art Vegasspraypaint 5 Out Of 5 Stars (237).\nStart by layering colors in the area you want the planet to be. Just ensure that the items have definite edges, otherwise your planet edges will be fuzzy. Sunset planet spray paint art / space spray paint art / planet painting finalfrontierco $ 32.00 free.\nTouch Device Users Can Explore By Touch Or With Swipe Gestures.\nSpray paint art planets sha sha 2936k views discover short videos related to spray paint art planets sha sha on tiktok. You probably wont see the street artists do this because they know very well from hundreds of paintings where the planets should be. The first time may not work because it.\nAs An Addition You Can Make The Nebula Just Swipe The White Paint.\nIn many cities, murals on the sides of buildings and walls were all created using. Top 5 awesome and cool videos of spray paint art at its best. Browse our selection of the best spray paints below.\nInspirational Graffiti And Street Art Murals.\n40 16 32 all products. Take street spray painting art, for example. Introducing create destroy conquer, the new art book honoring legendary graffiti crew, the cdc.", "label": "Yes"}
{"text": "- Country of manufactureTurkey\nProduct code: SBS-01\nDefinition: Colourless, transparent thinner, on the basis of aromatic hydrocarbonic solvents.\nPacking: 1 l, 5 l, 15 l\nStandard: The standard on production\nScope: It is used as a thinner for primers on an epoxy basis, paints and varnishes, and also for cleaning of the colourful tool after work.\nThe Osobennosti:sintetichesky thinner is used for dilution of synthetic paints, varnishes, primers. Besides that, the synthetic thinner clears tools and an obrudovaniye (a brush, the roller, a spray, the pallet and so on), by it also carries out cleaning of iron and steel surfaces (before painting) from oils, a rust and dust.", "label": "Yes"}
{"text": "Things to think about when planning a background to a watercolour painting\nBackgrounds needn't be complicated but they do need to compliment or enhance the focal point. Nothing in the background should be more prominent than the focal point so it's something that needs to be thought about at the beginning of a painting, not half way through or worse, at the end.\nBelow are some things to think about.\nAfter identifying the highlights or white areas of the painting the next step would be to decide whether the background will be lighter or darker in tone than the focal point. It may be both, this is called counter-change and can be used to great effect in a painting. The mood of the painting will be affected by the tones used. Tones close to one another are calming whereas extremes in tone are dramatic.\nTexture is also important. Texture in a painting should be used judiciously to enhance the focal point. Too much and it will look too busy which will detract from the subject matter.\nDraw several thumbnail sketches exploring the tone, colour and composition of your subject matter keeping in mind the mood or narrative you wish to convey.\nIf you are unsure which colours would work try placing colour swatches or pieces of old paintings against the subject matter to decide which colours and tones will enhance the focal point.\nPhotocopy the painting and try out different backgrounds.\nScan or photograph your painting and try out different backgrounds in a programme or app.\nIf you have a piece of clear plastic or glass you can place it over the dry painting and paint directly on to it.\nSee the Texture Chart in my book The WATERCOLOUR Book : How to Paint Anything (available for £5 on Amazon) for some ideas for background effects.\nHow far you take the background is up to you.", "label": "Yes"}
{"text": "Colors and organic texture can bring together eclectic spaces. This modern wall art piece features soothing and bright colors paired with brush strokes for movement and texture. It's simple, abstract style makes it a perfect focal point for a busy or simple room.\nOuter Dimension (W x H):54.75 x 43.75\nEach art piece is made-to-order and ships in 3 weeks or less of order confirmation.\nWe have the ability to change frame, mat, and size. Email email@example.com to customize your item.", "label": "Yes"}
{"text": "BUT there was plenty of action even if the children were not squeezing the paint onto the paper themselves...\n|the idea was for the childrento dip their hands into the paints on the paper, to mix and blend and then create handprints on the cloth... of course this would create many artworks... on the paper and on the cloth as well as on hands...|\n|and then the chance to inspect what has happened to your hands...|\n|of course not everyone likes to get their hands messy, and the brushes being used for water painting on the square found their way to the paint...|\n|shoes were also used|\n|and bikes too... so of course the wheels became small works of art as well... at this point the cloth had bee taken inside as the outdoor hands-on exhibition was coming to a close.|", "label": "Yes"}
{"text": "Chasing Rainbows on Poppy\nMary Kainlauri Shao (BFA 1977)\n\"Chasing Rainbows on Poppy\" is part of a series of 22 irises I painted in pastel from 2015-2017. A visit to the Iris Garden of Florence, Italy inspired this series. I love working with brilliant color in a style that combines photo realism with abstraction.\nThis work is featured as part of Future Former: An Exhibition of Alumni Work. This exhibition honors the creative work and careers of all Stamps School alumni, creates an aspirational connection between generations of U-M artists and designers and current Stamps students, and inspires reflection during the university's Bicentennial year.", "label": "Yes"}
{"text": "Cottage Patterns 7 Canvas Wall Art - 24W x 24H in.Item # HN-IMAG016\n- Lovely accent piece for indoor use\n- Flourishing floral patterns in cool colors to catch the eye\n- Printed on stretched canvas\n- Striking classic look with a touch of contemporary style\n- Dimensions: 24W x 1.5D x 24H inches\nSimilar Wall Art\nSouthern Enterprises Scattered Italian Plates Metal Wall Art\nUttermost Radiant Sun Modern Art - 40W x 60H in.\nStained Glass 9-Piece Hand Painted Wall Art - 36W x 36H in.\nGemstone Forest Wall Sculpture\nUttermost Josiah Square Wood Wall Art\nCustomer Q & A\nEnter your question, and one of our Customer Care experts will respond via email and also post the answer here.\nYour Valid Email", "label": "Yes"}
{"text": "Tango 41 &43\n36\" x 24\" x 3/4\" total size\nThis series consists of various color schemes and styles of painting that are designed to hang together as a series. The Tango series is usually sold seperately; however, these two Tangos are listed together as a sale item. To bid on this work, please visit The Peanut Gallery's eBay store at http://stores.ebay.com/thepeanutgallery.", "label": "Yes"}
{"text": "PRANAS and JONAS BUTKEVICIAI Art exhibition “From SUSVE to AMAZON”\nMay 2 @ 10:00 - June 14 @ 12:00\nABOUT THE AUTHORS\nPRANAS BUTKEVICIUS was born on February 23,1920 in Angiriai village, Kedainiai district. He graduated Kedainiai gymnasium. He began painting when he was young on the banks of his native river Susve.In 1940 he entered Kaunas Art School but because of lack of supplies he did not finish it. He worked on the railway as on engineer-dispatcher (in Kaunas and Vilnius). But he never stopped creating and painted pictures all his life (died on 20.04.1994). In painting, nature for Pranas was the main inspiration – “in nature I am looking for color fireworks and their consonance” (P.B.). His later style he described as “expressive abstractionism,but based not on abstract concept but ascending from nature” (P.B.).\nProf. Vladas Karatajus: “Pranas was well educated in art, so the borendary from copying nature to synthesis is very organic in his works of art. His profesionalism is absolutely free – he gets impuls and improvises. He created as if playing – this is his life.”\nJONAS BUTKEVICIUS (Pranas son) was born on November 27,1948 in Kaunas. In 1971 he finished urban architekture at Vilnius Civil Engineering Institute (now-VGTU), and as Professor Ph. Doctor in Technical sciences taught there to 2011. He started painting encouragend by his father, who as well as his uncle prof. V. Karatajus were his main teachers. Jonas continued his father’s Pranas painting traditions – in pastotic strokes he paints abstract and expressionistic pictures. Jonas – “colors are the most important for me in painting – picture must sound !” (J.B.).\nThe painter Ilona Zvinakiene: “Jonas works sound with fovistic brightness, oily paint texture and dynamics convey creator’s emotions. Jonas is so excited by life colors that with the help of his all life experience and education embarks on solo improvisation, immersis into pulsating rhythm of swing.”\nTHE ORIGIN OF EXHIBITION TITLE\nJonas – “I remember when I was eight year old with my parents I saw a color documentary film about Amazon – then it seemed never inaccesible. But restituted independence has given us three basic freedoms – thinking, acting, travelling. This is how the world opened up. Travelling actively around it, I visited Peru where my childhood dream came true – I was in the jungle of Amazon. So arranging this exhibition, impression arose to name it “From Father’s native Susve to dream Amazon.”\nThe exhibition presents a retrospective of Pranas Butkevicius painting – from his early (from 1953) realistic works, later – impresionistic (from 1964) to his last (1993) expresionistic canvases. His ouk sculptures and created carvings are also exhibited.\nProf.K.Bogdanas: “Pranas sculpture is professional, vital, carvings come from folk art.”\nSon Jonas: “Father’s painting is distinguished by its colorful, cheerful, optimistic mood – which is characteristic of his personality, in carving – his profound knowledge of Lithuanian history and art.”\nHis son’s Jonas expressionistic and abstract works painted in oil (2018-2020) are also displayed in this exhibition. These include landscapes, still lives, figurative and abstract compositions and more. Jonas paintings follow up colorist traditions of his father Pranas.\nThe independence of Lithuania was restituted 30 years ago and the exhibition is dedicated to this anniversary and to the 100-th birth anniversary of Pranas Butkevicius.", "label": "Yes"}
{"text": "That said, grape wall art is possibly the best design and style for your wall art's setup and plan, but personality is what makes a room looks stunning. Get your independent styles and enjoy it! More and more we make trial, more we will spot which works and what doesn’t. The simple method to find your wall art furniture's designs is to start collecting concept. You can get from websites, and get the pictures of wall art that attractive.\nBesides, essential elements of the wall art's remodel is about the right decor and arrangement. Decide the wall art furniture maybe a simple thing to do, but ensure the arrangement and decor must be totally match and perfect to the particular space. Also with regards to choosing the right wall art furniture's arrangement and decor, the purpose and function should be your critical appearance. Having some instructions and guidelines gives people a nice starting point for remodeling and designing their house, but some of them aren’t functional for some room. So, just keep the efficiently and simplicity to make your wall art looks incredible.\nNeed to grape wall art? You may not believe me, but this will give you an creative measures in order to decorate your wall art furniture more remarkable. The first ideas of making the best grape wall art is that you must have the plans of the wall art that you want. You will need to start finding pictures of wall art's ideas or colours from the architect or home planner.\nIt has been shown that, if you're customizing your interior, efficient plans is in the details. You can contact to the home design expert or find the beautiful ideas for whole room from home design website, magazines, etc. At last, explore these photos of grape wall art, these can be wonderful designs you can choose for edgy or beautiful home. Don’t forget to check about related wall art examples so you will get a completely enchanting decor result about your own home.\n- 141 Best Wine & Olive Images On Pinterest | Kitchen, Pictures And In Grape Wall Art Image 1 of 20\n- 274 Best Wine Decor Images On Pinterest | Wine Decor, Home And Regarding Grape Wall Art Image 2 of 20\n- 340 Best Grape Kitchen Ideas Images On Pinterest | Kitchen Ideas For Grape Wall Art Image 3 of 20\n- 5 Grape Vine Wall Hanging Wall Art Window Art Within Grape Wall Art Image 4 of 20\n- Aliexpress : Buy 5 Panel Wall Art Fruit Grape Wine Glass For Grape Wall Art Image 5 of 20\n- Aliexpress : Buy 5 Panel Wall Art Fruit Grape Wine Glass Throughout Grape Wall Art Image 6 of 20\n- Aliexpress : Buy Wine Grape Painting Still Life Canvas Wall Throughout Grape Wall Art Image 7 of 20\n- Compare Prices On Wine Grape Pictures Online Shopping/buy Low With Regard To Grape Wall Art Image 8 of 20\n- Decorating Theme Bedrooms – Maries Manor: Tuscany Vineyard Style Throughout Grape Wall Art Image 9 of 20\n- Grape Vine Decal Wine Home Decor Wall Art Sticker Kitchen Within Grape Wall Art Image 10 of 20\n- Grapes And Grapevine Mural – Traditional – Kitchen – Los Angeles Inside Grape Wall Art Image 11 of 20\n- Metal Tree Of Life Wall Art – Haitian Steel Drum Art Wall Decor Regarding Grape Wall Art Image 12 of 20\n- Metal Wall Art Statue Vintage Bottle Glassware Grape Vine Kitchen With Regard To Grape Wall Art Image 13 of 20\n- Morimoto Napa – Schoosrestaurantdesign [Dine] Within Grape Wall Art Image 14 of 20\n- Online Get Cheap Grapes Red Wine Aliexpress | Alibaba Group Within Grape Wall Art Image 15 of 20\n- Online Get Cheap Paintings Grapes Aliexpress | Alibaba Group Regarding Grape Wall Art Image 16 of 20\n- Popular Wine Grape Pictures Buy Cheap Wine Grape Pictures Lots Inside Grape Wall Art Image 17 of 20\n- Tre Sorelle's Art Licensing Program With Regard To Grape Wall Art Image 18 of 20\n- Unframed 3 Panel Retro Abstract Wine Grape Fruit Vintage Home Wall Regarding Grape Wall Art Image 19 of 20\n- Wine Decor – Grapes, Vine, Vineyard Art On Canvas And Tile For Grape Wall Art Image 20 of 20", "label": "Yes"}
{"text": "\"5 Islands, Maine\"\nMy old stomping grounds in Maine. Just after I turned 20 I was headed down to 5 Islands with a couple friends and we got into a really nasty accident. We left the road at 70 MPH, knocked a big boulder into the middle of the road, rolled 1000 ft., through a stone wall, and about 500 ft. past the wall. We all more or less walked away. This was my first trip to 5 Islands, Maine after that, during my most recent trip in 2002. I love the lush greens of the forest. Notice the reflections of the reds, violets, oranges, yellows, all the colors of the painting in the water.\nPaulB's Pointillistic/Impressionist original oil paintings of Maine and various prints and poster formats of a wide variety of subject matter by the Pointillistic/Impressionist oil painter from landscape/waterscape paintings, dance, sports, portrait, to classical figures, flowers, rock and roll, Brazil, and Maine paintings and prints are available for purchase for as little as $24.95 for an 8\" x 10\" matted print on photo pape. Pointillistic/Impressionist Giclee prints of Maine on real canvas or heavy watercolor paper are available. One of a kind Maine embellished prints, which are Giclee prints retouched in genuine oil paint by PaulB. Unless noted PaulB's original Pointillistic/Impressionist oil paintiings are oil on canvas. Paul Berenson's pointillistic/Impressionist oil paintings are in private collections around the world, including the downtown Los Angeles Athletic Club and have appeared in numerous publications, including the New York Philharmonic Playbill. PaulB.com also builds websites and PaulB is a member of the LA Web Professionals Group.", "label": "Yes"}
{"text": "Introduction: Unlock the secrets to optimal boat performance by choosing the right marine paint. Explore the vital role marine paint plays in enhancing appearance, preventing damage, and ensuring your boat’s longevity. Dive into the world of boat care, focusing on the often underestimated yet crucial element – marine paint.\nWhy Paint Matters: Understand the pivotal role marine paint plays in protecting your boat from external factors like organisms, corrosion, abrasions, and UV rays. Learn how the right choice can impact your boat’s speed, handling, and overall durability when exposed to water for extended periods.\nChoosing the Right Boat Paint: Navigate through the various paint options, from one-component polyurethane paint to alkyd resin paint. Uncover the superior benefits of a two-component coating paint like Samurai 2K Polyurethane Paint, renowned for its durability and high-gloss finish. Explore how Samurai’s paint stands out with strong bonds, weather resistance, adhesion, gloss retention, anti-corrosion properties, flexibility, chemical resistance, and UV ray shielding.\nSamurai’s USP: Delve into the unique selling points of Samurai’s Two-Component Coating Paint, offering more than just aesthetics. From scratch resistance to weather durability, Samurai’s paint promises a long-lasting, protective coating for your boat. Elevate your boat care routine with a coating designed to withstand the harshest marine environments.\nMeta Description: Discover the secrets to extending your boat’s lifespan with proper repainting. Explore the signs indicating when to repaint your boat, the transformative power of color, and why Samurai’s 2K paint, providing 5 years of protection, is the ultimate solution for a fresh and vibrant boat.\nIntroduction: Embark on a journey to preserve your boat’s majesty with the art of repainting. Uncover the transformative impact of a well-executed paint job on your boat’s lifespan, safety, performance, and fuel economy. Learn why Samurai 2K paint stands as a beacon for exceptional marine paint protection, offering up to 5 years of resilience.\nWhen to Repaint Your Boat: Decode the signs indicating it’s time to rejuvenate your boat’s appearance. From faded colors to peeling paint, cracks, rust, and the desire for a fresh look, explore when to consider a new coat of paint for your vessel.\nTransformative Power of Color: Understand the magic of color in revitalizing your boat’s aesthetics. Experience the cost-effective and impactful change that Samurai 2K paint brings, breathing life into an old boat without breaking the bank.\nIncrease Your Boat’s Value: Unlock the potential for a higher resale value by embracing the longevity and protection offered by Samurai’s 2K paint. Discover how a well-maintained boat, adorned with a quality coat of paint, becomes a sought-after asset in the market.", "label": "Yes"}
{"text": "Camille Przewodek is active/lives in California, Michigan. Camille Przewodek is known for plein-air landscape, marine, and coastal view painting, illustration.\nBiography Camille Przewodek\nBorn and raised in Detroit, Michigan, Camille Przewodek is a plein-air landscape and marine painter as well as art teacher. Przewodek says of her work, \"I paint light, that's what I do. When people say they like a painting that has bright colors in it, they obviously like sunny days. For others the appeal is found in the cooler colors of gray days.\"\nShe is a co-founder of the Pacific Academy of Fine Arts, and a signature member of the Laguna Plein-Air Painters Association. She has exhibited widely in one-person and group exhibits, continues to teach painting workshops, and has received numerous awards including First Place Painting in the 2000 Sausalito Art Festival. Memberships include the Laguna Plein Air Painters' Association, Si\n... Displaying 750 of 1655 characters.", "label": "Yes"}
{"text": "This was meant to be a serious paint but then the candelabra turned into a cake.then Junpei and everything elsei would watch such a moive\nI dedicate this picture to the Hitostacha tag.\nWell, Here I am on Tumblr. I draw and procrastinate quite a bit, so I'll probably post my sketches and distractionu;dhjfhlsdfguiweoydfudsfhyloaehjgqjgfjhl\nmainly drawings though\nCall me Evi.\nalso, wait, nevermind.\nYou're visiting Honestly Consultative Nowhere. asfhdkgh", "label": "Yes"}
{"text": "Painter and Poet, Endri Kosturi, was born in Tirana, Albania in 1980.He started painting at a young age and his first painting (Spring, 1m x 2m) was exhibited in the National Art Gallery of Tirana, when the artist was only 7 years old. Tags:\nImagine holding the end of a live wire in each hand. Now imagine one end is shaped like a turtle and the other end is, let's say, Pavarotti's beard. Now bring them together. Feel that electricity? That's called art -- or at least it's a metaphor for the Surrealist art of Max Ernst.", "label": "Yes"}
{"text": "GWENDOLYN ZABICKI /\nBEN MADESKA /\nADRIENNE ELYSE MEYERS\n09.06.2019 - 10.20.2019\nFor this three person show, EXTRA Projects invites the viewer to contemplate their relationship to place through works by Gwendolyn Zabicki, Benjamin Medeska, and Adrienne Elyse Meyers.\nMadeska’s landscapes diverge from his more typical practice of objective still lifes in order to explore the textural possibilities of trompe-l’oeil, playing with those effects for his abstract landscapes. Zabicki, in contrast, uses that tradition to amplify perspectival play in her compositions with mirrors, avoiding figures and the traditional readings of subject and objecthood. Meyers picks a third direction, and pulls from real estate imagery of distressed housing. Her description of those images in a spare manner, with a muted pastel color palette, evokes an interest in not-quite articulated histories that can be very powerful.\nWhile the works are still based on real-life locations, these artists’ related, almost geometric construction and cropping methods create fascinating abstractions. Their choices in detail show multiple approaches to the urban landscape and the effects it has on the viewer’s gaze, understanding, and experience. They push the viewer to find hidden narratives and question their interpretations, and suggest fleeting moments of voyeurism, nostalgia, and dislocation.", "label": "Yes"}
{"text": "Exterior cement paints are used on the concrete textures and surfaces of exterior walls. The exterior cement paint price is very affordable. They have water solvent additives. Exterior cement paints also help to clean up dust and algae accumulation.\nExterior cement paint is very affordable to apply on a large surface area. It gives a great, shiny finish that makes colours appear more prominent.\nUsing exterior cement paint gives an additional level of protection to your walls from several external problems. Your exterior structure becomes stronger and chances of cracks are reduced.\nExterior cement paint is water-resistant. It protects your walls from humidity, cracks, and from the multiple seasonal effects.\nCement paint is very easy to apply because of its ability to dry up quickly. It spreads out to a large surface areas and gives a smooth, shiny finish.\nAapka Painter is among the best home painting professionals in India. We provide customized solutions for our clients with our team of engineers and experts. It is our top priority to to take care of your safety and comfort under all circumstances. Thereby, we have created new standards and protocols that are followed by all our staff and workers. We have been rewarded with our satisfied customers so far and we wish to provide the same to you.\nCheck out our beautifully executed images of colour shades and designs recommended by our colour conultants\n1. Why should I use cement paint?\nCement paint is very easy to apply and is also not expensive. It is also waterproof and many colours are available.\n2. Is cement paint cheap?\nYes, cement paint is cheaper that other types of paints.\n3. How many colours are available with cement paint?\nMany colours are available depending on your needs.\n4. Is cement paint water-resistant?\nYes, cement paint is water-resistant and protects your walls from staining and humidity.\n5. Can I use cement paint for interiors?\nYes, you can use cement paint for interiors to decorate your walls.", "label": "Yes"}
{"text": "Interesting decoration at home\nThe tile paint you can refresh and add a personal touch to each tile surface, shower, fireplace. Rather than remove the discolored tiles, you try to paint it yourself and give them a fresh look. Follow our tips below and improve the colour scheme of your home or simply create a work of art.\nChoosing a non-textured, plain, ceramic tile. If you want to paint a tile as a stand-alone feat, you opt for a simple, one-color tile. You can paint any tile at home, but the relief demand more precision.\nTile paint and tile colors\nGlazed and unglazed tiles are very appropriate and thematically for this project.\nPurchase tile paint for ceramic tiles or oil paint. It is very important to choose the appropriate type of color so that the tile remains good.\nChavron pattern in the bathroom\nSelect appropriate size brush. If you want to paint a scene or design on the tile, you need brushes of various sizes. If you paint a large bathroom wall, you can use a large brush.\nPrepare your workspace – put many old newspapers around to avoid stains. You need clear water and a sponge to remove the color of the error as soon as possible.\nPrepare the surface for painting or the tile. Use bleach or hydrogen peroxide to remove the mold. You can remove the SOAP scum by vinegar.\nNotable kitchen rear wall\nChoose colors and patterns. If you paint the wall tiles at home, make sure that the desired colour matches the entire color scheme and style of living. Better choose bright colors, as the dark will work overwhelmingly in the room.\nDo you want to paint the entire wall or just a few tiles? Both can be very effective. A centered animal picture, face or object may look very striking, while the figure of a landscape or a still image prove a nice method to paint the whole tile. Your project may include pattern, image, or words. The attractive tiles add a nice, lively touch and subtle colours.\nDIY art tile\nImpressive feat of broken tiles\npainted classic and bold in blue\nArt in colors\nflower on tile\nThe white kitchen rear wall with colorful flower patterns\nWealth of ornaments and patterns\nStrikingly furnished dining room\nVariety of Oriental patterns\nThrow pillows with colorful covers and large planter\nPurple kitchen rear wall\nReal artwork -Wall decoration\nVintage and confidential\nVibrant decor in the kitchen\nFeminine and vintage\nMetal, wood and tiles in an amazing wall installation\nBrilliant black and Red kitchen rear wall\nPale patterns and shades", "label": "Yes"}
{"text": "Since I started working on the canvas at the beginning of the week, drawing is evolving into painting. I’ve been concentrating on building shapes using lines, sculpting the lines by adding light over dark and dark over light strokes with tight brushes. While I’m getting the shapes into shape, I’m building areas by adding light and dark areas with thick brushes.\nView progress from left to right. Click on an image to enlarge.", "label": "Yes"}
{"text": "Portraits. Masterpieces. Centre Pompidou\nSEP.26.2012 ──────── JAN.06.2013\n© Centre Pompidou, MNAM-CCI, Dist. RMN-GP / Philippe Migeat\n© The State of Francis Bacon, VEGAP, Madrid, 2012\nSEP.26.2012 ── JAN.06.2013\nRecoletos Exhibition Hall\nPaseo Recoletos 23, 28004 Madrid\nThe exhibition Portraits. Masterpieces from the Centre Pompidou brought together eighty masterpieces from, among others, Pablo Picasso, Francis Bacon, Henri Matisse, Robert Delaunay, Antonio Saura, Jean Dubuffet, Joan Miró and Amedeo Modigliani, in order to delve into the importance of portraiture throughout the 20th and 21st century.\nThe exhibition Portraits. Masterpieces from the Centre Pompidou sought to exhibit masterpieces from some of the major artists in the collections of the Musée National d’Art Moderne-Centre Pompidou (MNAM-CP) in Paris in order to consider how the portrait genre formed part of the different artistic movements of the 20th and 21st century. The chronological period covered begins with Suzanne Valadon’s portrait of Erik Satie from 1892-1893 and ends with The Moroccan, by John Currin, in 2001.\nPortraiture constitutes one of the cross-sectional lines of art history, where tradition and new formal contributions converge following the onset of modernity towards the end of the 19th century. As well as highlighting some of the quintessential icons of contemporary art, this genre has been receptive to the formal discoveries of the historic avant-garde movements and has served as a method of reflecting on the human condition and one’s view of the other, as well as a way of exploring the essence of the artist himself.\nThe exhibition, curated by Jean-Michel Bouhours, curator of MNAM-CP, brought together outstandings works from Pablo Picasso, Francis Bacon, Henri Matisse, Robert Delaunay, Antonio Saura, Jean Dubuffet, Joan Miró and Amedeo Modigliani, as well as a curated collection of sculptures and oil paintings and was organized into five sections: The mysteries of the soul, Self-portraits, Looking to formalism, Chaos and disorder or the impossible permanence of being and After photography.", "label": "Yes"}
{"text": "Title: “”Serene Beauty of Antibes: Henri Matisse’s 1946 Masterpiece””\nYear Painted: 1946\nHenri Matisse’s “”Antibes,”” painted in 1946 during his time in the picturesque town on the French Riviera, is a truly exceptional work of art that holds a special place in the realm of modern painting. This masterpiece captures the essence of the serene Mediterranean seascape and showcases Matisse’s remarkable artistic talent and innovative approach.\nIn “”Antibes,”” Matisse presents a breathtaking view of the coastline, drenched in the soft and radiant hues of the Mediterranean sun. The painting emanates a sense of tranquility and harmony, inviting viewers to immerse themselves in the idyllic beauty of the coastal landscape. The subtle interplay of light and shadow, a hallmark of Matisse’s genius, adds depth and dimension to the composition, creating an almost ethereal ambiance.\nMatisse’s use of color in “”Antibes”” is particularly noteworthy. The vibrant yet balanced palette exemplifies the artist’s continued fascination with exploring the expressive power of color. Each brushstroke seems to dance across the canvas, conveying the artist’s emotional connection to the subject and the scenery. This experimentation with color and form showcases Matisse’s unwavering commitment to pushing artistic boundaries, even as he battled health issues in the later stages of his life.\n“”Antibes”” is a testament to Matisse’s ability to distill the complexity of nature into its purest, most harmonious form. Through a deceptively simple composition, Matisse transports viewers to a realm of serenity and contemplation. The painting not only captures the visual splendor of Antibes but also serves as a metaphor for the artist’s inner journey and quest for artistic enlightenment.\nAs one of the last significant works in Matisse’s illustrious career, “”Antibes”” encapsulates the essence of his lifelong artistic exploration. It represents a culmination of his lifelong dedication to his craft and a testament to his enduring legacy as one of the most influential artists of the 20th century.\nThis iconic painting continues to resonate with art enthusiasts and collectors worldwide, inspiring countless artists and leaving an indelible mark on the history of modern art. Its ability to evoke a sense of peace and contemplation makes it an everlasting masterpiece that continues to captivate and enchant audiences, solidifying its place as a truly exceptional and cherished work of art in the art world.\nAt our art gallery, we take pride in offering comprehensive global shipping to our esteemed clientele. We understand the significance of your art acquisitions and the need to transport them with utmost care. Hence, we are committed to delivering your chosen paintings to any address worldwide and free of any additional charge.\nOur reliable courier service partners are experienced in handling precious art pieces and ensure that your painting reaches you in pristine condition. We offer fully insured, door-to-door delivery, providing you with peace of mind that your artwork is protected during transit.\nMoreover, to accommodate your unique framing preferences, we offer the distinctive service of sending your purchased artwork directly to any framer across the globe. This enables you to have your painting framed locally by your trusted framer, reducing the risk of damage during transportation.\nRegardless of your location or your framer’s, we strive to make the process as seamless as possible. It is our goal to provide exceptional service that caters to your needs and ensures the safe delivery of your valuable artwork.\nWe invite you to experience our hassle-free, worldwide shipping service, which is aimed at delivering your prized art pieces safely and efficiently, wherever you may be.", "label": "Yes"}
{"text": "Material: oil on panel\nSize: 1006 x 794 cm\nThis is a shout out for our crumbling freedom. Munin, the raven, was the gossip hank for Odin. Now he is shouting we have to be careful.\nHaitham Alhamad wins the Audience Award of Painting of the Year 2022 with his painting 'The Poets Trap'.\n‘I Dreamt Of Paris Again Last Night' from Seppe de Meyere is the winner of Painting of the Year 2021!\nToday, on December 8th, the Top 10 of Painting of the year 2021 has been published!\nConditions of Participation 2022 - Privacy Statement", "label": "Yes"}
{"text": "Modeling and schematics\nLooking for schematics or helpful tips on modeling? This might be the place for you to share your ideas.\nRE: U-47 color scheme\nPosted by: joe brandt ()\nDate: May 10, 2000 11:11PM\nThe grey,black and red color scheme was a pre-war/very early war . I think the the shipyards stopped this sometime in 1940 as the u-boat building program increased. The u-boats that had this paint scheme would have had it until the boat went into the dry dock for a complete overhaul and repainting. Stopping this 3 color scheme was done to cut costs and save time that the boat was on the slipways. I build R/C u-boats and all my boats get this color scheme because I like it the most and it gives more visability in the water when sailing.\n|U-47 color scheme||Jeff Mcfadyen||05/10/2000 05:49PM|\n|RE: U-47 color scheme||joe brandt||05/10/2000 11:11PM|\n|RE: U-47 color scheme||Jerry Pope||05/14/2000 12:25PM|\n|RE: U-47 color scheme||joe brandt||05/17/2000 12:28AM|\n|Re: RE: U-47 color scheme||Drumbeat||12/25/2015 06:43PM|\n|RE: U-47 color scheme||Jerry Pope||05/12/2000 01:56PM|\n|RE: U-47 color scheme||Bjorn||05/16/2000 03:36PM|\n|RE: U-47 color scheme||Larry Ostrom||06/03/2000 06:06PM|\n|RE: U-47 color scheme||joe brandt||06/04/2000 12:59AM|\n|Re: RE: U-47 color scheme||steve p||04/23/2011 10:59AM|", "label": "Yes"}
{"text": "Express Your Creativity: MindWare Paint Your Own Stone is the 3D version of our bestselling PYO Stepping Stone paint sets! They are ready to paint right out of the box. Simply paint, bake and...\nPaint Your Own Stepping Stone Dragonfly\nA longtime symbol of hope and transformation, dragonflies are a popular choice for garden and yard art. With this paint your own package, customers can have fun creating their own colorful dragonfly artwork!", "label": "Yes"}
{"text": "The Women of Abstract Expressionism\nBy Lorraine Heitzman\nThrough May 28th\nThe current show at the Palm Springs Art Museum examines the famously testosterone fueled abstract expressionist movement through the lens of a dozen women painters working from the late 1940’s through the 1950’s. First conceived by the Denver Art Museum, this important exhibition calls attention to the contributions of twelve artists and in the process redresses the lack of female representation in our male-centric art world. Some of these painters are well known by the public either through their own merits or through their relationships to more famous male painters and art critics (and sometimes, partners). A few experienced acclaim and recognition during the fifties without much attention later, while others’ profiles have risen in recent years. Here is a rare opportunity to see the achievements of these women together and take comfort in the fact that their days of obscurity are likely numbered. This show provides insight and a valuable perspective into an American art movement that flourished alongside many other mid-century design innovations in architecture, furniture and fashion and has found a perfect venue in Palm Springs. A new generation of painters, especially those whose work references the exuberance of abstract expressionism should find this show of particular interest.\nThe list of artists begins with Lee Krasner and includes: Mary Abbott, Judith Godwin, Jay Defeo, Joan Mitchell, Grace Hartigan, Helen Frankenthaler, Elaine de Kooning, Sonia Gechtoff, Perle Fine, Ethel Schwabacher, and Deborah Remington.\nSeen together, the paintings exude a confidant, animated energy filled with the movement’s prototypical romanticism. Generally speaking these works are colorful, active, and ambitious in both scale and scope. True to the parameters of abstract expressionist painting, you will find a lot of gestural paint strokes and thickly applied paint, usually favoring line over shape, but each artist represented here is more than a token of the movement, and worthy of inclusion.\nOf those with whom we are well acquainted, New York artists Lee Krasner, Helen Frankenthaler and Joan Mitchell each demonstrate the breadth of styles under the umbrella of abstract expressionism. Frankenthaler, best known for her ethereal stain paintings, a technique introduced by Arshile Gorky and to a lesser extent, Jackson Pollack, has two such paintings here but additionally has other paintings with much more heavily textured paint. The later are surprisingly graphic with delineated, self-contained colored shapes and have a cartoonish quality, really the antithesis of her stained canvases. Krasner, who worked for the WPA and studied with Hans Hoffmann, was a known artist in her own right before marrying Jackson Pollack. Her work varies widely stylistically, ranging from dense all-over compositions of geometric marks to furious, organic scribbling. Krasner’s evident passion is the common denominator to her work and like Frankenthaler and Mitchell enjoyed a long career. No less passionate but more subtle is the work of Joan Mitchell. After graduate school in Chicago, Mitchell moved to New York City and began working abstractly. She became established during the 1950s before moving to France for many years, but still remains associated with the New York Abstract Expressionists. Her emotional responses to nature were consistently acclaimed and today a foundation bearing her name supports artists as well as sustaining her legacy.\nOf the other artists, Grace Hartigan has some very wonderful, muscular painting in this exhibition but ironically later gained success with work that incorporated figurative elements into her compositions. For this sin, she was criticized by the likes of Clement Greenberg, the critic who earlier had championed her abstract work. Likewise, Elaine de Kooning surprises with non-figurative work that is dense with saturated color. Widely respected for her portraits and her work as a prolific art writer, de Kooning also navigated abstract expressionism while embroiled and overshadowed by her husband William de Kooning’s celebrity.\nAmong the painters that may be new discoveries to some, Ethel Schwabacher, Sonia Gechtoff and Mary Abbott are revelations and Judith Godwin, Jay Defeo, Perle Fine and Deborah Remington also make meaningful contributions to complete the show.\nLess than 100 miles from Los Angeles, The Women of Abstract Expressionism warrants a trip to the Palm Springs Art Museum and if you go soon, you can also see the outdoor installations of Desert X in the surrounding desert communities.", "label": "Yes"}
{"text": "Our special collection of art tops includes these popular Monet shirts. They feature some of Monet's most loved paintings such as Water Lilies and his garden at Giverny. Our comfortable Monet art shirts feature 3/4 sleeves and a flattering fit, we also have art shirts by other artists such as Van Gogh and Klimt.\n$39.95 Regular price $44.95 Sold Out\n$44.95 Regular price $69.95 On Sale", "label": "Yes"}
{"text": "Vintage Borghese Woman Silhouette Portrait, with Gold Antique Frame Accents\nThis antique woman portrait is tagged with a Borghese Sticker. Borghese Collection is a collection of Roman sculptures, old masters, and modern art collected by the Roman Borghese family, especially Cardinal Scipione Borghese, from the 17th century on. It includes major collections of Caravaggio, Raphael, and Titian, and of ancient Roman art.\nThis vintage piece features a gold detailed frame with a portrait painting of an old century woman. The main colors used in the portrait are blue, gray, black, and white. The dimensions of this piece are 7“ x 1“ x 8”\nWeight of this unique antique piece: 9.6 ounces\nMain Colors: Gold, Blue, White, Black", "label": "Yes"}
{"text": "Of course ,you can do it. But you should choose a suitable way to do that. Maybe you can try a kind of special paint pens, and there are a variety of colors. You can go and try to find the color that is same to the color of your glasses. To a certain extent, it can be said, nail polish can also be ok, but it will have a little change of colors.\nWell, I think its fine to paint your eyeglasses frame. Because it's only in the surface and it will not damage the eyeglasses. But on the other hand, you should choose the proper material to paint for many painting material will just do harm to the frame. Also, if you don not pay more attention to it, there will have left some objects on the eyeglasses. In this way, it may make your eyes infected easily. So just be careful about it.\nIf you do it by yourself, I don't think it is safe unless you put it in the outside for the blow up for a while before you wear it again. And if you do it by yourself, you should paint carefully as not to touch the lenses sides. However, the painting material is not good for our health. You'd better buy a new type.\nIf you want to paint them, I would recommend fingernail polish. It is pretty tough and comes with a brush that is about the right size. If you paint the part around your lenses, you should probably take the lenses out first.", "label": "Yes"}
{"text": "Page 1 of 1\nRichard Hull: Painting and Drawing\nFebruary 29 – June 20, 2020\nBruno David Gallery\nBruno David is pleased to present \"Painting and Drawing\", an exhibition by Chicago-based artist Richard Hull. This will be Hull’s second exhibition with the gallery.\nWork on Paper\nPresented by Bruno David Gallery", "label": "Yes"}
{"text": "Standing in Blue by Patrick Michael Reeves\nOriginal oil on panel\n24×24 inches unframed\nThe goal of each piece is to create a realistic image with a minimal amount of information. Various levels of atmosphere, with soft and hard edges, create a dream-like recollection of the subject.\nColors Used: Prussian Blue, Alizarin Crimson, Naples Yellow and White", "label": "Yes"}
{"text": "Ivan Aivazovsky – was one of the most magnificent and incredibly talented artists of the last few centuries.\nIvan Aivazovsky is famous for his works depicting magnificent seascapes. The artist is also recognized as one of the best authors in this category in the entire history of art. Being a real genius of marine painting, he created thousands of paintings. Half of all his works depict scenes of the sea, port cities, unusually beautiful sunsets, painted clouds, ships, and raging waves. The creation of The Ninth Wave was the culmination of his artistic career. This painting made his art truly eternal.\n10 facts about the artist\n- The artist has Armenian roots, and at birth, his name was Hovhannes Ayvazyan.\n- He is officially recognized as the most prominent Armenian painter of the 19th century.\n- The artist painted all his famous seascapes in his studio, and not from nature.\n- Waiting for the guests, the painter removed the labels from the bottles and replaced them with his own, which he painted himself. The new labels depicted the sea.\n- Envious people often accused Aivazovsky of dishonest methods, and in order to dispel public doubts, he more than once organized sessions of public painting, striking those present with the speed and clarity of his work.\n- During his life, Ivan Aivazovsky painted over 6,000 paintings.\n- The Pope was so impressed by his painting Chaos. World Creation that he wanted to buy the painting, but the artist did not take the money but simply gave the painting to him.\n- Aivazovsky was the first Russian artist whose paintings were exhibited in the French Louvre.\n- Even during the life of Aivazovsky, 6 cities in different countries made him their honorary citizen. They are St. Petersburg, Paris, Rome, Amsterdam, Stuttgart, and Florence.\n- At the age of 20, Ivan Aivazovsky received an honorary gold medal for the painting Calm, becoming the youngest owner of this award.", "label": "Yes"}
{"text": "Paul B. Pascal (French, 1832-1903) - Bedouin Encampment in the Sahara with Camels. Gouache on paper. Late 19th/early 20th century. Size: 16 inches x 22 inches (sight). Paul Pascal was an artist who specialized in Orientalist paintings. He worked almost exclusively in gouache and watercolor, and his favorite subjects were the nomadic Arabs of north Africa. In this painting, Pascal has depicted a group of bedouins camped by an oasis in the desert, where they are collecting water and playing music on wooden flutes, while their camels rest in the background. Condition is very good, with a couple of minor marks in the sky. Signed in the lower left. Offered in an antique grain painted frame. Matte has stains and is not acid free.", "label": "Yes"}
{"text": "Exterior Paint Schemes Craftsman House Colors Exterior Paint Schemes With Orange Brick\nexterior paint schemes craftsman house colors exterior paint schemes with orange brick.\nfarmhouse exterior paint color ideas schemes with red brick brown roof for ranch houses,sage green exterior paint colors color schemes with red brick mid century modern,exterior color schemes brown to impress paint with red brick for ranch homes,exterior colors for old houses paint color schemes with red brick orange the perfect house grey,exterior paint color with pink brick colors for bungalows ranch homes consulting old houses sample,exterior paint colors for bungalows color schemes with red brick brown choosing your home the practical house,exterior paint color ideas ranch home white five glass window combinations green craftsman to match red brick schemes for old houses,exterior paint colors with gray brick house painting colour combinations classic orange and schemes for old houses color to match red,exterior paint schemes for craftsman style homes bungalow colors color with brown brick the perfect house,exterior paint color ideas with brick schemes brown colors fresh in colours siding for ranch style houses.\n- July 4, 2018\n- no tag\n- Comments (0)", "label": "Yes"}
{"text": "Dig Art Art Print\nIt's almost Halloween, grab a shovel and make the scene! DIG? Inspired by an original painting of the same name by our own Derek Yaniger! This collectable digital mini print is printed on archival paper and measures 10\" x 14\", all are signed by the artist.", "label": "Yes"}
{"text": "This flower painting is an original acrylic painting of pot of autumn mums.\nPainted on a 5x7 RayMar archival canvas panel. The painting is varnished.\nI painted these on our deck right as the sun was going down, then I put the finishing touches on it in the studio.\nThis would make a unique gift for the gardener in your life.\nShips USPS Priority Mail. Your painting will be carefully packaged and when it ships the tracking number will be sent to you. I ship paintings 1 to 3 days after receiving payment.", "label": "Yes"}
{"text": "Signed in as:\n10 portrait series for International Women's Day 2021. Shop the remaining paintings, or browse the full collection.\n7 paintings released each day of Mental Health Awareness Week 2021. Shop remaining pieces.\n100 portraits in 100 days, counting down to the end of 2020. Shop the remaining paintings or browse the full collection.\n19 paintings released each day of the 2020 Tokyo Olympic Games, depicting a different Olympic sport each day. Shop prints and originals.\nOngoing collection of my fluid artworks, including large iridescent and metallic pieces. Shop available pieces.\n5 portraits released on my final day of being 27. Shop the remaining portraits here.\n80cm x 120cm: Acrylic on Canvas\n24\" x 16\" : Acrylic on Canvas\n20\" x 20\" : Acrylic on Canvas\n24\" x 30\" : Acrylic on Canvas\n28'' x 40\" : Acrylic on Canvas\n30\" x 40\" : Acrylic on Canvas\n16\" x 24\" Acrylic on Canvas\nCopyright © 2021 KENNY CREATIVE LTD - All Rights Reserved.", "label": "Yes"}
{"text": "Jess Jarvie https://www.jessjarvieartist.com\nAmong the Leaves, Among the Shadows, is a body of work that examines the gesture and innate character of indigenous flora. These botanical portraits depict the flora as specimens, in isolation from their natural environment. A strong focus is given to depicting shadows and exploring compositional arrangements. Through the interplay of these elements I am looking to imbue feelings of tension, rest and contemplation and ultimately impart an emotional response in the viewer.\nJess Jarvie is a painter working predominantly in Watercolour. She works from her home studio in the Bend of Islands, Melbourne Australia.\nJess finds peace in the process of painting and her work offers a quiet contemplation on natures treasures with a focus on instilling feelings of tension and rest.\nShe is a member of the Nillumbik artists open studio program. Her studio is open three weekends a year and other times by appointment. To see more details about this program visit https://www.artistsopenstudios.com/", "label": "Yes"}
{"text": "Recently Sir William Petty met with a large company of artists who were kind enough to sketch a multitude of portraits for him so that he could decide which sort of portrait he wanted.\nHere I present the many faces of Sir William …\nIsn’t it interesting how this eye witness of the Great Fire of London looks so different through different witnesses eyes?\nClick on the following link to find out more about Sir William Petty and the Great Fire of London.\nNext time, some pictures of the raging fire drawn by inspired artists during ‘wet play times’.", "label": "Yes"}
{"text": "How to Paint Flowers in Oil\nOil painting. The flowers.\nOil painting. The flowers. Preview | How to Paint Flowers in Oil with Stephanie Birdsall How to paint peonies. Oil painting. Workshop in English The Beauty of Oil Painting. Live Demonstration How to Paint Sunflowers in Oil - Time Lapse Painting Lessons The Beauty of Oil Painting, Behind the scenes, Episode 5 \"Symphony of Roses\" How to Paint a Cabbage Rose! (OFFICIAL VIDEO) Gary Jenkins 'LA BELLEZZA DEL DIPINTO A OLIO BOOP 1 episode 2 Pastel Tea roses The Beauty of Oil Painting, Series 1, Episode 24 \" Foliage Techniques \" The Beauty of Oil Painting, Series 1, Episode 7 \"Chrysanthemums\" The Beauty of Oil Painting Series 1, Episode 5: English Roses Easy way to paint the Peony, painting by a round brush, painting for beginners The Beauty of Oil Painting, Series 3, episode 3 \" Poppies and Daisies \" The Beauty of Oil Painting, Series 1, Episode 10 \" Poppies on Gold Leaf \" Paint-Along: How to Paint a Floral in Oils, Part 1 How to Paint Flowers in Oil The Beauty of Oil Painting Painting Flowers in oil One stroke using oil paint. Paint a Cosmos with Angle Brush How to speed painting Roses Wet on Wet technique-Oil painting Tutorial demotration How to paint flowers field /oil,acrylic oncanvas/?????????/palette knife painting\nHow to paint flowers in oils. Oils are messy but more durable and the techniques lead to old wold results.\nflower painting techniques......Paint Tulip flowers with Acrylic Paints and a Palette Knife ... - Pinterest\nhow to paint peonies in oil......How to paint peonies. Lesson for Natasha. Workshop in English. Oil ...\nflower painting gallery......660 Best Flower Painting Gallery images | Painting gallery, Art flowers ...\noil painting youtube demonstrations......7 Of The Best Oil Painting Demonstration Videos On Youtube\nhow to paint depth in flowers......Learn to Create Depth by Painting this Still Life Floral Scene\nhow to paint flowers on canvas......Spring roses - Modern abstract flower oil art on canvas- 7,2×9,6 inches ...\nhow to oil paint flowers in a vase......Roses in Blue Vase no. 3 original still life floral oil painting by moulton ...\nhow to paint white flowers in oil......Painting with White: A Step-by-Step Demo by Ora Sorensen\nLink to this page\nHighlight the text and copy", "label": "Yes"}
{"text": "Pham An Hai Artwork Details\nAt one level, many of Pham An Hai’s paintings may be viewed as cityscapes or landscapes from his home city of Hanoi and its surroundings, or paintings from nature. We can discern houses, buildings and narrow lanes, and also imagine the city in various seasons or time of the day. Some paintings draw one’s attention to Hanoi in winter or it can be Hanoi in a red light stemming from the evening sun. Paintings of lotuses and water and mountains also feature in his latest series. Sometimes, there is a tranquil, romantic tinge to the works. At another level, his paintings may also reflect inner landscapes of the soul and heart. Pham An Hai is a master in the use of colours, and the choice and combination of colours are important features in his works. In his current exhibition, he has ventured into lacquer painting, a traditional technique that has been adopted in Vietnam for contemporary art. Pham An Hai is a unique artist who has shown that abstract works can show deeper meanings than being plain abstractions.", "label": "Yes"}
{"text": "You will also need napkins and a cup of water, apron (optional)\nImportant! Please Clean and dry your brushes before you dip into paints!\nPaint will stay on your clothes and won’t come off, be careful!\nQUESTION YOU MAY ASK: how to fix a mistake?\n1, while the paint is still wet, use a paper towel to wipe it off, and wipe again with a wet paper towel.\n2, if the paint is already dry, paint white on top of it ( it might need 2-3 coats of white )\nInstructions: Classy Martini\n1.Background ---- Big Brush\nDouble dip White + Yellow\n(You can also choose a color to paint the background !)\nPink , or light pink= white+ pink\n( Attention!!! Don’t fill the pink all they way up, half glass will look more classy, lol)\nwhite ( you don’t have to paint it white, because the canvas is already white. Unless you are painting with other colors)\nDesign your dress later when the basic color is dry---Small brush for the lines)\nBlack(use smaller brush for fingers)\nBlack( follow the marker)\nWhite highlights on glass and arms\nfinger paint the big pearls on the neck\nuse the end of the baby brush for small pearls on the wrist.\nPlease feel free to call 337-446-9197if you have questions!\n---It’s Paint Party", "label": "Yes"}
{"text": "This Hanging Feather Oil Painting is hand-painted. It is an original artwork painted on a 120 x 90 x 3 cm canvas board that is suitable to be hung on any walls or places at any corners of the house. The paint is bumpy with some visible hard textures on some parts of the subject. The colours are the combination of light and pale neutral colours such as white, ochre, brown and pale grey. Bring this masterpiece home and submerge yourself in the charm of peace and nature.", "label": "Yes"}
{"text": "Exterior And Interior Paint Colors Ideas Living Room Wall Painting Drawing Designs\nPaint colors for your house interior can be difficult to choose because the right color make or break style and mood of each room as a result many homeowners feel that selecting design is daunting task, browse these interior paint color ideas pictures tips at hgtvm and create the perfect space exterior colors load more articles all showing of testing hgtv urban oasis. Paint colors natures gift restless sea and twinkling lights by behr taupe beige brown rustic red this eye catching traditional exterior is rooted into its landscape with an earthy palette of.\nPick the right exterior paint colors if youre not sure what you want this list may help spark some new color ideas or try quiz for a fun start few things to think about location light architecture and scale looking interior inspiration, get color ideas from benjamin moore for your interior and exterior paint stain projects, look here to browse colors styles and spaces discover color inspiration for your exterior paint design in behrs gallery interior primer wood stains finishes, sherwin williams paint colors include both exterior interior palettes that can transform any space with the stroke of a brush explore tools and techniques. Interior paint ideas and schemes from the color wheel find perfect scheme for your home learn how to use or brush up on all things save item. Get inspired by benjamin moores paint and stain ideas for your home exterior front entrance deck moore toggle navigation button color exteriors make a statement in neighborhood with an on screen printer representations may vary from actual colors, pictures of most popular interior paint colors in online color wheel chart schemes and best from behr sherwin williams glidden benjami ideas.\nLiving Room Wall Designs New With Image Of Property Drawing Painting\nBeautiful Wall Colour Design For Drawing Room Decorations Painting Designs\nWall colour design for hall beautiful painting ideas home, design inspiration framed by ginger jars on wall brackets and the sofa is upholstered in an overscale ikat a part of hearst digital media house beautiful participates, the most beautiful abandoned places in world like black wall this new york city bedroom designed by jamie drake modern design.\nNatural and beautiful this open living room captures the eye with elongated wooden boards rough stacked stone cladding kitchen share a continuous but differentiated design appearing as backsplash wood continuing to ceiling. Get creative wall painting designs ideas for a stylish home decorlatest colour bedrooms living rooms and more at asian paints design exteriors. Colour design explore the full range of your vision and style with our extensive selection commercial wallcoverings available in a variety colours patterns ranging from classic subtle to bold exotic we provide wallcovering solutions for any application. Beautiful pencil drawing a picture illustrates thousands of words which is really true and it can be seen all over the world today. Beautiful wall art ideas and paintings for your inspiration gone are the days of boring wallpapers its time to get more creative with designs floral design tree, get decorative wall painting ideas and creative design tips to colour your interior home walls with berger paints check out inspirational decoration paint imagination into reality attract warmth in living room adorn it flair creativity when you use this beautiful shade of blue. Beautiful wall painting ideas and designs for living room bedroom kitchen color lavender red green blue colour orange light paint posts mural paintings your inspiration creative art.\nCategories & Viewed\nRooms Decor And Office Furniture 3 Times Viewed by Visitor\nSize : 1024 x 641 Pixel\nyou can let your friends to know about this rooms decor and office furniture on different social media", "label": "Yes"}
{"text": "\"La Fiesta De La Nina Rebelde\" by Roger Von Gunten\nOil Painting on Canvas\n16\" x 30\"\n24\" x 38\"\nOil Painting on Canvas titled, \"La Fiesta De La Nina Rebelde\", that depicts the a gorgeous young women enjoying their festivities. As you can see from this painting it incorporates his full realm of genius. The painting is signed and dated by Von Gunten in the upper left corner, and has remained in excellent condition since it was created. Additionally, it is guaranteed authentic and comes with a Gallery Letter of Authenticity. This painting measures a remarkable 16\" x 30\", and, is in an elaborate, custom frame that is very warm in nature. The framed dimensions are approx. 24\" x 38\".", "label": "Yes"}
{"text": "The Complete Angler of Izaak Walton and Charles Cotton. 3d ed. London, Printed by W. Nicol, 1835.\nExtensively embellished with engravings on copper and wood. Full green morocco, gilt edges.\nA very interesting example of a double fore edge painting. One painting shows a portrait of Walton and a view of Angler's Inn, Hoddesdon, framed within a border of fishing rods, lines, etc. The other painting is a similar one of Cotton and Beresford Hall.\nI. Cotton, Charles, jt. author. II. Title.", "label": "Yes"}
{"text": "There are several types of paint out on the open market today, and each of them have their own special features. In order to use the correct type of paint, you must first now what they each do and later on choose the right paint for the right type of job. This is the article where we are going to talk about some of the main types of paints which can be found on the market and what they have to offer you. thermal insulation paint\nThe first type of paints which can be found on the markets are furniture paints. These types of paints can be found wither in liquid or spray form and are a more delicate paint, as they are designed to be applied on softer materials which are used in the composition of furniture items. The colour array is almost limitless and all you have to be careful of is the way in which you apply the paint. Haste will not help you get the job done quickly here, and might actually ruin the end result. Furniture is art, and paint is another for of art, so tale your time, and build a masterpiece.\nThe second type of paint which can be found on the market is a bit more complex and is called insulating paint. It is the best means of temperature control and is to be found at a nice price too. Some insulating paint are designed by NASA and resemble the types of paint which are used on the exterior shell of space shuttles. The role of these insulating paints is quite simple. Keep heat in and the cold outside, and the other way around, depending on the season. A great way to cut down on house maintenance costs, insulating paint will give air conditioning a much needed break during the summer, and heaters will be spared during the winter time.\nThe last type of miracle paint is elastomeric paint and this is the pinnacle of science. Integrated with rubber particles, elastomeric paint is flexible and tough at the same time. It can withstand wind rains of up to 98 miles per hour and is the true Hercules of paints. Probably the best paint finish you could offer to your house, it comes at a steep price, however the degree of quality, is simply staggering.\nThree types of paint for three types of tasks. It is now up to you to choose the task and the paint to match it.", "label": "Yes"}
{"text": "Richard Crichton first met the artist Albert Tucker in 1962, forming a long, firm friendship. During the late 1970s and the early part of 1980, Tucker was a frequent visitor to Crichton’s, particularly following the death of Tucker’s son, Sweeney. According to Crichton, Tucker’s visits at that time were a means of 'talking through’ his grief, and the two artists would often draw and sketch as they talked. Crichton’s sketches became the start of his portrait of Tucker, which he completed in 1982. The work is now in the collection of Castlemaine Art Gallery and Museum, Victoria.", "label": "Yes"}
{"text": "These brushes give your designs that feeling of thickly applied textured oil paint whereas brush strokes appear as though they have depth. What follows are just a few examples of the kinds of pictures you can make by using “Download 38 Vintage Oil Paint Thick Procreate Brushes”.\nVintage-style posters: The brushes can be used for creating beautiful vintage-looking posters with an old-timey feel.\nRetro-inspired illustrations: Develop excellent retro-inspired illustrations where the art is enriched with an old-fashioned sense given by the textures of oil paint.\nArt deco designs: The brushes can also be used to get exceptional art deco designs, made more luxurious and glamorous through the use of oil paint techniques.\nGrunge-style designs: Use these brushes for producing grunge-style designs, adding rough touch or texture on images using oil paint texturing.\n“Download 38 Vintage Oil Paint Thick Procreate Brushes” is ideal for any kind of image you want. So what are you waiting for? Get hold of them today and start making those amazing designs which will be distinct from others that really set you apart!\nHow to download procreate brush files after paying:\nGo to “My Account” → “Downloads”\nHow to install procreate brush files:\n- Download the brush from procreatebrush.net (the product is in zip format)\n- Install the unzip program from the App Store (recommended: iZipp)\n- Unzip the product file\n- Click on the brush/canvas set file and open it in Procreate\n- Use them to create beautiful artwork\nSee our detailed tutorial on how to download and install brushes in Procreate\nUnlock this and thousands of other beautiful Procreate brushes and palettes. Rest assured that you will always receive quality Procreate assets crafted by professionals in many categories. Sign up once and get access to top-notch Procreate assets. Cancel at any time.", "label": "Yes"}
{"text": "Dr Who Wall Art 1 Dr Seuss Wall Art Decor\ndr who wall art 1 dr seuss wall art decor.\ndr pepper wall art best doctor who products on tardis seuss south africa,best collection of doctor who wall art dr wooden seuss australia,who watercolor art print illustration gift wall dr 3d stickers artesia,dr seuss wall art uk beautiful who pattern painting ideas target,dr seuss wall art oh the places youll go who trust me doctor sticker apex wooden south africa,dr seuss wall art nz from who doctor poster watercolor south africa uk,wall decals beautiful art dr seuss oh the places youll go decor who 3d,dr seuss wall art south africa who 3d custom design stickers,dr seuss wall art ebay target doctor who print dictionary pages,dr pepper wall art seuss australia be who your are decals you quote uk.\ndr who wall art This image has been posted by in dr seuss wall art amazon, dr who wooden wall art, dr seuss wall art oh the places youll go tag. You can easily browse further helpful articles in home interior category.", "label": "Yes"}
{"text": "Georgina Hart is a Sydney artist. Her whimsical dreamlike paintings are a feast of visual stimulation, love and happiness.\nBorn and raised in Adelaide, Georgina studied fine and commercial art. She describes her style as ever-evolving with compositions celebrating the simple things in life. Each painting tells it’s own story and is often experiences that have touched her life.", "label": "Yes"}
{"text": "\"Original Mystic Woodland\" by Harry McCormick\nOil Painting on Board\n17.5\" x 14.5\"\n28\" x 25\"\n\"Original Mystic Woodland\", is an alluring depiction of a brilliant desolate Landscape that is saturated with color and detail. The immaculate artwork is of versatile size, measuring 17.5\" x 14.5\" approximately, and 28\" X 25\" with the custom frame made specially for this painting. It is even better to look at in person, a perfect addition to any home or office and, is in excellent condition. It is also one the nicest original paintings by McCormick we have ever seen, hand signed in the lower left corner, and comes with a Gallery Letter of Authenticity.", "label": "Yes"}
{"text": "Symptoms: Peeling Paint Due to Poor Adhesion\nPeeling paint is a very common paint problem but can be caused either by moisture or poor adhesion. Peeling due to poor adhesion is characterized by the paint peeling and separating from an earlier paint layer (intercoat peeling) or from the substrate leaving some paint behind. Sometimes portions of earlier paint layers are visible under the curling, peeling paint layer.\n- Painting over an surface with poor paint surface preparation such as being dirty, wet or shiny.\n- Substrate had poor adhesion prior to being repainted.\n- Applying an oil based paint over a wet surface.\n- Blistering paint allowed to progress in failure.\n- Lower quality paint was used.\n- Scrape away old peeling paint and feather sand affected areas.\n- Spot prime bare area.\n- Caulk as required with appropriate caulking product.\n- Repaint with a high quality acrylic latex house paint.", "label": "Yes"}
{"text": "Prima - Essence - Watercolour Confections\nExplore your artistic side with this Watercolor Confections set.\nFeaturing gorgeous earth-tone colors in this rich palette, you will want to mix, blend and create works of art! Use this palette with our Prima Watercolor Brushes and Brush pens!\nThis is a complete set of thoughtfully crafted confections! Every colour is creamy and highly pigmented.\nWith just a little water, the brush picks the pigment from the pans like a dream!\n|Brand||Re-design with Prima®|\nWe Also Recommend\nOthers Also Bought\nMore From This Category", "label": "Yes"}
{"text": "Excellent quality, speedy delivery, I would be sure to order again!\nMore Testimonials »\nSterling Studio Brush Sets\nSusan Louise Moyer Silk Painting Brush Sets\nUp to 58% Off\nThomas Nash Brush Sets\nTom Jones Watercolor Brush Sets\nUltra Mini Brush Sets\nUp to 60% Off\nUltra Mini Series Golden Taklon Brushes\nUltra Mini Technique Brush Sets\nUltra Mini Variety Brush Sets\nWee Mop Series 5319s Camel Hair Brush\nWhite Round/Oval Mop Brushes\nReal Value Series 9000 Brown Handled...\nFaye Series White Chinese Bristle...\nSabletek Brushes Long Handle\nRoyal & Langnickel\nCamel Hair Brushes", "label": "Yes"}
{"text": "Bente Hansen Fine Art\nSunday, March 17, 2013\nWindows 30X20 Acrylic on Canvas\nThis is the second painting that has been accepted to the Federation Gallery in Vancouver, this year. The show starts in April and is called Transitions.\nPost a Comment\nPost Comments (Atom)", "label": "Yes"}
{"text": "An illustration of Thomas Point Lighthouse on the Chesapeake Bay, near Annapolis, Maryland. Fun details in this illustration include sailboats and an orange setting sun in the distance - also an underwater scene in the foreground with a blue crab, jellyfish, and fish.\nHigh quality art print\nSigned and dated\n5x7\" and 8x10\" prints come matted\n11x14\" print shipped in mailing tube\nShips in 1-3 business days", "label": "Yes"}
{"text": "4 Part Color Study in Painter Classic\nThis 4 Part Color Study in Painter Classic lesson plan also includes:\n- Join to access all included materials\nStudents use the Wacom tablet to demonstrate observational drawings, design principles, and color schemes. Students create four different images of a common art or graphics tool based on four color schemes and a different effect.\n5 Views 10 Downloads\n- Activities & Projects\n- Graphics & Images\n- Handouts & References\n- Lab Resources\n- Learning Games\n- Lesson Plans\n- Primary Sources\n- Printables & Templates\n- Professional Documents\n- Study Guides\n- Graphic Organizers\n- Writing Prompts\n- Constructed Response Items\n- AP Test Preps\n- Lesson Planet Articles\n- Interactive Whiteboards\n- All Resource Types\n- Show All\nSee similar resources:\nColor Scheme Acrylic Painting Self-Assessment\nBeing a good artist means being able to critique your own work. Here young painters will take a short quiz on color schemes in acrylic painting and then reflect on their use of color in a recently completed piece. A great worksheet for...\n9th - 12th Visual & Performing Arts\nMondrian - Primary/Secondary Color Study\nUtilizing computer software, learners demonstrate the color spectrum. They investigate the life of the artist Piet Mondrian and define his style of artwork. Then they use Photoshop to recreate some of his designs while discovering the...\n7th - 12th Visual & Performing Arts\nColor Theory & Using Layers\nStudents investigate the color wheel theory and incorporate it into simple sketches on their handheld. The importance of the use of layering and the difference between primary, secondary, and tertiary colors is presented in this lesson.\n10th - 12th Visual & Performing Arts", "label": "Yes"}
{"text": "Jacqueline Newbold’s journeys give her a never-ending source of inspiration to represent little gems of the world in her color-filled paintings. Primarily a watercolor artist, she loves to explore creative ways to incorporate mixed media into her art. Using a warm and playful color palette, Jacqueline enjoys capturing a moment in time with her painting. She has several articles published in the mixed-media magazine, Cloth-Paper-Scissors about creating art while on your journey. Her self-published book, Watercolor Journeys is a helpful guide for beginning to advanced watercolor enthusiasts.\nShe teaches watercolor classes in her Tumalo Studio and conducts group painting trips to places such as Provence, France and Hood River, Oregon. “I am a traveler and an artist and I love mixing the two!”\nFollow Jacqueline and her artistic endeavors on her blog!\n• Signature Artist for the 2009 Deschutes Children’s Foundation\n• Recipient of the 2008 People's Choice Award, D.A. Davidson's Artist Art Contest\n• Member of the Northwest Watercolor Society, Watercolor Society of Oregon, and the Central Oregon Arts Association\n• Workshops and Classes offered at Jacqueline's Art in my Heart Studio, Tumalo, Oregon\n• Instructor at the Art Station, Bend, Oregon, Art & Soul Retreats, Portland, Oregon\nClearwater Gallery, Sisters, Oregon (541) 549-4994\nRed Chair Gallery, Bend, Oregon (541) 306-3176\nDon Terra Artworks Gallery, Sisters, OR (541) 541-1299 www.donterra.com\nFacebook: Click Here", "label": "Yes"}
{"text": "Henri Matisse (December 31, 1869 - November 3, 1954), Artist\nBorn Henri-Émile-Benoît Matisse in Le Cateau, Picardie, France, he grew up in Bohain-en-Vermandois. In 1887 he went to Paris to study law. After gaining his qualification he worked as a court administrator in Cateau Cambresis. Following an attack of appendicitis he took up painting during his convalescence. After his recovery, he returned to Paris in 1891 to study art at the Académie Julian and became a student of Odilon Redon and Gustave Moreau.\nInfluenced by the works of Edouard Manet, Paul Signac and Paul Cézanne he painted in the Fauvist manner, becoming known as a leader of that movement. His first exhibition was in 1901 and his first solo exhibition in 1904. His fondess for bright and expressive colour became more pronounced after he moved southwards in 1905 to work with André Derain and spent time on the French Riviera, his paintings marked by having the colours keyed up into a blaze of intense shades and characterized by flat shapes and controlled lines, with expression dominant over detail. The decline of the Fauvist movement after 1906 did nothing to affect the rise of Matisse; he had moved beyond them and many of his finest works were created between 1906 and 1917 when he was an active part of the great gathering of artistic talent in Montparnasse.\nIn 1921 Matisse settled in Nice and continued to work in a more luxurious environment with less attention and a more 'decorative' style.\nIn 1941 he was diagnosed with cancer and following surgery he soon needed a wheelchair; this did not stop his work however, but as increased weakness made an easel impossible he created cut paper collages called papiers découpés, often of some size, which still demonstrated his eye for colour and geometry.\nHenri Matisse died on November 3, 1954, and was interred in the cimetière de Cimiez, in Nice.\nWorking in a number of modes, but principally as a painter, he is considered one of the most significant artists of the early 20th century. Unlike many artists, he achieved international fame and popularity already during his lifetime. From his early shows in Paris, he attracted collectors and critics.\nToday, a Matisse painting can sell for as much as US$17 million. In 2002, a Matisse sculpture, \"Reclining Nude I (Dawn),\" sold for US$9.2 million, a record for a sculpture by the artist.\nHis works include:", "label": "Yes"}
{"text": "“Neighborhood” is a diptych that connects the light and colors of dawn to sunset, when the first bulbs look out the windows of our neighborhoods.\nAn oil painting of child accent reminiscent of our first attempts to shape the environment on paper.\nThe top box represents the dawn, with the red colour that dominates the yellow that comes with it.\nThe composition is completed by the presence of blue closing the night image.\nYou can see the full framed picture as I enjoy it every day.\nMust be connected to post a comment.", "label": "Yes"}
{"text": "- Has anyone stolen the Mona Lisa?\n- Which is the most costly painting in the world?\n- Where is the real Mona Lisa kept?\n- Why paintings are so costly?\n- How long did it take to paint the Mona Lisa?\n- How old is the Mona Lisa?\n- How much is the Mona Lisa worth in 2021?\n- When did Mona Lisa die?\n- What is the most expensive painting ever sold?\n- Why is the Mona Lisa worth so much money?\n- What are the top 10 most expensive paintings?\n- How much is the Mona Lisa worth today 2020?\n- Can I buy the Mona Lisa?\n- Who owns Mona Lisa?\n- Can I paint a picture of a celebrity and sell it?\n- How much is starry night worth?\n- Is Mona Lisa a real person?\n- How was Mona Lisa stolen?\n- Can you photograph the Mona Lisa?\n- What happens if you destroy the Mona Lisa?\nHas anyone stolen the Mona Lisa?\nVincenzo Peruggia (8 October 1881 – 18 October 1925) was an Italian museum worker, artist, and thief, most famous for stealing the Mona Lisa on 21 August 1911….Vincenzo PeruggiaDied8 October 1925 (aged 44) Saint-Maur-des-Fossés, FranceNationalityItalianOccupationArtistKnown fortheft of the Mona Lisa2 more rows.\nWhich is the most costly painting in the world?\nSalvator Mundi1. Salvator Mundi by Leonardo da Vinci. Originally estimated at $ 100 million, this oil painting costing around 1500 and auctioned by Christie’s in November 2017 broke an absolute record: $ 450.3 million.\nWhere is the real Mona Lisa kept?\nthe Louvre MuseumThe Mona Lisa hangs behind bulletproof glass in a gallery of the Louvre Museum in Paris, where it has been a part of the museum’s collection since 1804. It was part of the royal collection before becoming the property of the French people during the Revolution (1787–99).\nWhy paintings are so costly?\nThe reason why some paintings are so expensive is that the artists who painted them are no longer alive anymore. The value of art increases significantly after the artist is dead. Because it makes that piece exclusive and more important. Most of the famous art by eminent artists are preserved in museums.\nHow long did it take to paint the Mona Lisa?\nfour years1452Leonardo is born in Vinci, a small village in Italy.1503Leonardo begins painting the Mona Lisa, which he will work on for four years (according to Leonardo da Vinci’s biographer, Giorgio Vasari.)1504Raphael arrives in Florence and visits Leonardo’s studio.41 more rows\nHow old is the Mona Lisa?\n518c. 1503Mona Lisa/Age\nHow much is the Mona Lisa worth in 2021?\nOn permanent display at the Louvre in Paris, the Mona Lisa was assessed at $100 million on December 14, 1962….Top 20 most expensive paintings in the world 2021.Rank1.PaintingSalvator MundiArtistLeonardo da VinciPrice$450.3 million19 more columns\nWhen did Mona Lisa die?\nJuly 15, 1542Lisa del Giocondo/Date of death\nWhat is the most expensive painting ever sold?\nSalvator MundiLeonardo da Vinci, Salvator Mundi (ca. After a drawn-out 19-minute long bidding war, Salvator Mundi became the most expensive artwork ever sold at auction. Sold from a private European collection, the winning buyer was later revealed to be Mohammed bin Salman, the Crown Prince of Saudi Arabia.\nWhy is the Mona Lisa worth so much money?\nThe Mona Lisa’s fame is the result of many chance circumstances combined with the painting’s inherent appeal. There is no doubt that the Mona Lisa is a very good painting. It was highly regarded even as Leonardo worked on it, and his contemporaries copied the then novel three-quarter pose.\nWhat are the top 10 most expensive paintings?\nThe 10 Most Expensive Paintings In The WorldMona Lisa – Leonardo da Vinci. … Interchange – Willem de Kooning. … Nafea Faa Ipoipo (When Will You Marry?) … The Card Players — Paul Cézanne. … Number 17A – Jackson Pollock. … No. … Portrait of Marten Soolmans and Portrait of Oopjen Coppit — Rembrandt. … Les Femmes D’Alger (Version ‘O’) — Pablo Picasso.More items…\nHow much is the Mona Lisa worth today 2020?\nToday, in 2020, the Mona Lisa is believed to be worth more than $ 860 million, taking into consideration the inflation. Leonardo Da Vinci painted the Mona Lisa between 1503 and 1506 AD.\nCan I buy the Mona Lisa?\nTruly priceless, the painting cannot be bought or sold according to French heritage law. As part of the Louvre collection, “Mona Lisa” belongs to the public, and by popular agreement, their hearts belong to her.\nWho owns Mona Lisa?\nKing Francis I of FranceIt had been believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. It was acquired by King Francis I of France and is now the property of the French Republic itself, on permanent display at the Louvre, Paris since 1797.\nCan I paint a picture of a celebrity and sell it?\nThe rule in California is that a painter MAY sell a painting of a person [to someone other than that person] if the painting “contains significant transformative elements or that the value of the work does not derive primarily from the celebrity’s fame.\nHow much is starry night worth?\nIt is impossible to place a value on such a famous and treasured work of art, though other works by Van Gogh have sold for more than 80 million dollars at auction. As arguably Van Gogh’s most famous work of art, it is safe to estimate the value of Starry Night at well over 100 million dollars.\nIs Mona Lisa a real person?\nMona Lisa, La Gioconda from Leonardo da Vinci’s masterpiece, was a real person. … Mona Lisa was a real Florentine woman, born and raised in Florence under the name of Lisa Gherardini.\nHow was Mona Lisa stolen?\nThe right eye of Leonardo da Vinci’s “Mona Lisa.” On Aug. 21, 1911, the then-little-known painting was stolen from the wall of the Louvre in Paris. … And on that morning, with the Louvre still closed, they slipped out of the closet and lifted 200 pounds of painting, frame and protective glass case off the wall.\nCan you photograph the Mona Lisa?\nYes, you can take a picture of the Mona Lisa. From How to Use the Louvre : Filming and photography are permitted in the permanent collection exhibition rooms. The use of flash and other lighting equipment, however, is not permitted.\nWhat happens if you destroy the Mona Lisa?\nOriginally Answered: What happens if you destroy the Mona Lisa? The world comes to an end and you are frizzled by a bolt of lightening from the divine Leonardo. Okay: Not. If you live through the outrage, the death threats, your prison term, etc., the answer is: nothing.", "label": "Yes"}
{"text": "This wonderful paint by numbers canvas kit is a must-have if you have always wanted to paint. You can decorate any room with something original, art that you made. While you paint you will relieve the stress of everyday life. This kit will make a great gift. You can paint with a family member and give your work filled with love to anyone that you care for.\nThe peace of mind that act of painting and creating brings is invaluable. This expertly detailed canvas will bring you a lot of joy. You can create a beautiful painting that will put a smile on your loved one and will brighten any room.\nThe Kit Includes Everything You Need To Complete Your Painting:\n- High-quality linen canvas - you can start painting straight away.\n- Set of custom made paintbrushes is included in your paint by numbers kit.\nYou don't need to mix any colours - we provide individual paint pots for every colour in the painting.\nSize: 40 x 50cm / 16\" x 20\"\nFor a limited time, we can offer this kit at a special discounted price.\nClick the \"Add to Cart\" button now. Limited quantities are available. Order now if you see a picture that you like. Happy painting to you!\nAnother lovely canvas finished!\nLove painting these - Paint by Numbers - my lockdown saviours, very easy to paint with vibrant colours!\nNot had chance to do painting but not looks really 1st class as you come to expect 😎\nAnother lovely canvas completed!\nGreat selection of kits to order from this family run company, kits arrive quickly! Give a review and you receive a discount!\nWhat's not to like?\nexcellent painting one of the most interesting paintings so far. Have done a variety of paintings and this one was different. The delivery was quick and in good condition on arrival. I am in the process of finishing this one and it looks good.\nI received the Paint by Numbers very quickly and have presented to our local Salvation Army as it was one of the items I chose from their gifting tree this year. Unfortunately, I won't know if the recipient enjoys it as I won't know who will be receiving my gift. It was well presented and packed in a large long box to protect the contents so I am hopeful that someone will be enjoying this gift.\nGreat picture to paint\nNot actually done it yet,it was a present,but it looks good quality everything there, so up to now very happy\nThese pictures are lovely and vibrant and so relaxing to paint!\nWe placed an order for our daughter who was stranded in Ireland during coronavirus lockdown. The set was delivered on time and was of high quality. It gave our daughter a lot of pleasure and relieved her stressful days.\nAbsolutely delighted with this product. Came on a roll so no creases in canvas. Colours just as advertised. Finished picture fantastic. Couldn’t be happier.\nAlthough I haven’t started the piece, yet, I have been impressed, again, by the ease of using the website; the excellent communication and speedy and well-packed delivery. I’ve bought from here before and I’ll be buying from here again.\ngood quality kits.finished painting is absolutly fabulous\nThis is my 1st experience of painting by numbers and I am loving it , it is so relaxing and rewarding. This is such a beautiful subject - I will be so if more!!\nI couldn't be more pleased with the quality and beauty\nUpdate: I've just finished the painting, and I love it, have loads of paints left over. I've had so many compliments on it. I would definitely recommend this to anyone, it was so relaxing to do.\nBought a paint by numbers after going to a painting class, I love being creative but I'm just not very good at it!\nThis is perfect, I chose this one as it's the prettiest & can go on my wall afterwards. Some of the parts to paint are very small so it takes a while to do a section, it will definitely keep me going for a while.\nIf you do go out of the lines, once it's dry it very easy to cover up with the colour that goes next to it. Also some of the lighter colours will need 2 coats or go on a bit thicker to make sure it covers the numbers up.\nI'll definitely be buying a second one.", "label": "Yes"}
{"text": "London-based oil painter Henrik Uldalen doesn’t often create murals – but when he does, his work always attracts passers-by.\n“I primarily work on oil paintings, but sometimes, I come out of my studio and create murals,” said Henrik, who has just completed a Nuart mural at the Spring Gardens Unite Students building.\nThis is the Norwegian artist’s first time painting in Aberdeen, however, Henrik previously turned Stavanger’s walls into works of art as part of Nuart Stavanger.\nHe said: “I’ve been working with Martyn Reed (Nuart organiser) as part of Nuart Stavanger – which is my mum’s hometown.\n“I absolutely love Aberdeen – I think it’s a beautiful city. I love the grey and I love the granite and the big massive buildings. I’m having a great time.”\nHenrik Uldalen was inspired by Aberdeen\nAnd it was the Granite City which inspired Henrik’s just-finished mural.\n“I came to the city with a little bit of a different idea, but after seeing the whole city and seeing the vibe and the colour scheme, I kind of went back and did some amends to the concept and I went black and white which I haven’t really done before.”\nThe painting is about the time spent indoors over the past year which has been “tough” on many people.\n“It’s been mentally draining, but I believe that this kind of diversity will define us and will make us stronger – it’s about becoming better people,” said Henrik.\nPreparing for solo exhibition in London\nThe talented artist, who would describe himself as a “neoclassicist painter slowly breaking into expressionism,” said those interested in art can see his work in JD Malat Gallery in London.\nHe’s also currently working on his solo exhibition which will be launched in December at the London gallery.\nHenrik said: “There will be 20 or so paintings. It’ll be a dark exhibition – it’s going to be moody.”\nSee where you can find stunning Nuart artworks in Aberdeen thanks to our interactive map.", "label": "Yes"}
{"text": "Among the progressive artists of the world, a place of honor belongs to the Czech artist Josef Chapek. A man of advanced convictions, he was critical of bourgeois society, raised his voice against fascism, paying for it at the cost of his own life.\nThe artist was born in 1887 in the family of a doctor. His childhood was spent in the North-Eastern Czech Republic. Little Joseph was a quiet, thoughtful child. At school, the boy studied reluctantly, drawing, not obeying the rules, and often the teacher repeated: “Chapek, you will never make a painter.” Continue reading", "label": "Yes"}
{"text": "Artist David Cade’s work is featured all month in the display case in the foyer of the Bartlesville Public Library.\nThe art show, “Flash of the Sun,” consists mostly of his abstract work completed in 2013.\n“I enjoy working in abstract expressionist oils and collage, as well as experimental art,” said Cade.\nOne of his new works for the library art show is an oil on an approximately 24-inch-by-36-inch mirror. Two paintings have egg shell finish — literally egg shells — he said.\n“I have been interested in art all my life and began doing more extensive work around 1995. My major areas of interest have been oil and watercolor, and my earlier works were mostly impressionist, with some realism,” he said.\nCade helped organize several group art shows that were held in the gallery of the Tulsa Performing Arts Center from 1999 to 2003.\nHe also showcased a one-man art show during fall of 2008 in the Lyon Gallery of the Bartlesville Community Center.\n“This is an avocation that I find fulfilling and plan to pursue the rest of my life,” said Cade.", "label": "Yes"}
{"text": "Martin Cooper is an established UK artist known for his still life work. Many of his paintings are rendered in oils, which are acutely observed and convey a great sense of harmony and tranquillity.\nMartin is also a member of the highly acclaimed pop group Orchestral Manoeuvres in the Dark. Their album Architecture & Morality was one of the most successful albums of the 1980s. This album also included ‘Souvenir’, co-written by Martin, a single which reached No. 3 in the UK charts. It also reached No. 1 in France, Spain and Portugal.\nMartin has exhibited widely, both in the UK and overseas, and his pictures hang in many private collections. Highlights include being shown at The Royal Academy of Arts (London), David Messum’s (London), The Williamson Art Gallery, (Birkenhead), Heritage House (Bermuda) and the Fel Gallery (Singapore).\nThis website is designed to showcase Martin’s best work and also features a shopping element where visitors can order prints of selected paintings.", "label": "Yes"}
{"text": "Your Favourite Photoshop Tutorials in One Place\nPainting a Colorful Cartoon Art\nUnder Drawing Effect, Photoshop Tutorial\nYou may not have experience on creating wonderful colorfully mixture artworks. Here will present you some tricks to work on. You can use this idea to produce your special colorful background for your objects.\nIn this tutorial, it will detailedly show you the steps of painting the cartoon character. There are a lot of different skills could be involved in digital painting process. Here will demonstrate you how to paint the skin and eyes part by part.\nUniverse is one of the difficult scene to create, as the light and color are varies and difficult to capture. Currently, there are lots of Photoshop tutorials to teach about this. This tutorial is going to mention a quick way to make a very nice universe scene.\nIt is not easy to draw a Marvel character. To do this, it needs a lot of effort and high techniques to do. Here will show you how to turn out a great drawing from a simple draft. This painting skills are also applicable to paint human portraits.", "label": "Yes"}
{"text": "Our \"Crystal Wave\" paint by numbers kit allows you to create the majestic beauty of a big wave in the sea. With the sun setting perfectly in the background, the wave is depicted as though it is sparkling like crystal, creating a mesmerizing effect. The wave is so realistically portrayed that you can almost feel the cool mist of the sea on your face. The shades of blue in the wave are both vibrant and soothing, while the orange and yellow tones of the sky create a warm and inviting impact. With each stroke of the brush, you'll be transported to the serene and calming world of the sea, where time seems to stand still. This kit offers a unique opportunity to bring to life the hypnotic movement of the sea in a way that is both artistic and therapeutic. So why not treat yourself to this magnificent \"Crystal Wave\" paint by numbers kit and let the beauty of the wave wash over you?\nNumbered linen canvas\nNumbered paint pots\nSet of 3 brushes\nFree Tips & Tricks eBook\nHow it works\n1. Pick a color\nMatch the number on paint pot with the number on canvas\nAcrylic based paints have deep, vibrant colors and are easy to use\n3. Be amazed\nFeeling of accomplishment can not be put into words\nShipping Fee is $4.95\nProcessing time is 1 to 3 days\nDelivery time 1 to 3 weeks\nTracking number will be provided a couple of days after the purchase via email\nSize & Project Length\nProject Length: One-week project - Tailored for individuals keen on a consistent, creative journey that spans for about a week.\nNote: The duration of this project can vary depending on the painter's expertise and skills.", "label": "Yes"}
{"text": "Impressionistic study of clouds over the sea was executed on the turn of 20th Century, signed by the artist with monogram W.B. Probably , it was executed by German painter of Duesseldorf School Wilhelm Beckmann (1852 Duesseldorf - 1942 Berlin) . In the Monogrammisten Lexikon by Goldstein represanted stilistic fully identical monogram by this artist. Beckmann was a well-known artist in his lifetime, who also designed pageants and living pictures and was asked by many high-ranking personalities as a portrait painter. In 1905 he was awarded the Austrian Knight´s Cross of the Franz Joseph Order and the Red Eagle Order.\nLiterature: Thieme/Becker\"General Artist Dictionary\", Leipzig, 1999; on-line Wikipedia, Monogrammisten Lexicon by Goldstein.\nInscription: signed with monogram W.B. lower right.\nTechnique: framed oil on canvas, laid down on cardboard.\nMeasurements: unframed w 11 3/8\" x h 9\" (31,5 x 22,7 cm ), framed w 14 3/8\" x h 10 3/4\" ( 36,5 x 27,2 cm).\nCondition :in very good condition.", "label": "Yes"}
{"text": "The hexadecimal color code #7e8d00 is a medium dark shade of yellow-green. In the RGB color model #7e8d00 is comprised of 49.41% red, 55.29% green and 0% blue. In the HSL color space #7e8d00 has a hue of 66° (degrees), 100% saturation and 28% lightness. This color has an approximate wavelength of 567.41 nm.\nI never paint dreams or nightmares. I paint my own reality.\n<p style=\"color: #7e8d00\">…</p>\nGreat art picks up where nature ends.\n<p style=\"background-color: #7e8d00\">…</p>\nIt took me four years to paint like Raphael, but a lifetime to paint like a child.\n<p style=\"text-shadow: 0.1em 0.1em 0.15em #7e8d00\">…</p>", "label": "Yes"}
{"text": "We are searching data for your request:\nUpon completion, a link will appear to access the found materials.\nThe painting was painted in 1928.\nRefers to the late work of the artist. Somov's paintings are a reflection of his talent and skill. They are appreciated all over the world. Somov was born in St. Petersburg, in a family where they loved and understood art. He learned to see the beautiful since childhood. Somov became a master of portraits and landscapes, which have recognition and high value among connoisseurs in many countries. He has been awarded many prizes in Germany.\nPastoral is a literary, musical, as well as a genre of painting that glorifies the simple life of the village. Somov knew how, like no one else, to reveal pastoral subjects.\nIn the picture we see two beautiful rural girls, they are dressed in simple sundresses, modestly covering their heads with scarves. By a combination of yellow and red shades, you can understand that autumn is coming. The girls rest, after a walk through the forest, judging by the basket, they went for mushrooms. The picture is filled with peace. The faces of the girls reflect calm. One of them holds a twig and carefully peers into the landscape.\nAnother enjoys the scent of a flower. Who knows what they are thinking. Perhaps they regret the past summer or simply admire the scenery around. A faithful dog closely monitors every action of the mistress.\nIn the middle of the canvas you can see a thin blue strip. Apparently somewhere in the distance a river flows. Heavy autumn clouds hang over their heads, talking about the approaching rainy season. But this day is still warm, and the girls are enjoying it.\nThis picture depicts a simple rural life, which gives rise to its tranquility and beauty. Somov's paintings are filled with a combination and subtle selection of colors that are characteristic of him. For this, his paintings on pastoral themes are highly appreciated.\nThe artist’s paintings cause not only admiration, but also longing for the past era, which was filled with gallantry, grace, but at the same time simplicity and tranquility.\nSomov's paintings are the property of our country.\nPicture Walk Chagall", "label": "Yes"}
{"text": "Each morning I open up the image I’m working from in Photoshop. I compare the image to what I have on the painting board and decide what I want to enhance. I have no schedule for this, it’s just whatever catches my attention. Sometimes it’s little additions to a large area, sometimes it’s a single colour to a very small area. I keep doing this with medium sized brushes until I need to switch to a smaller brush.\nOf course I start out by checking e-mail and a few other small housekeeping chores. Lately I’ve also had to shovel snow off the walkways. I believe in global warming but you wouldn’t know it looking outside. We’ve already had a lot of snow this year. I have a couple of winter snow scenes lined up for painting. It’s hard to find good snow scenes in the Lower Mainland. We rarely get snow, precipitation is usually in the liquid form.\nI believe strongly in the necessity of painting every day. It’s a habit that I’ll cultivate and recommend for anyone else. I find it far too easy to get frustrated with what I am painting and just stop. The painting usually resolves into something interesting but half way through I usually start to doubt that. The painting I’m working on presently is a still life. I look at the original photo and there are lots of things that aren’t quite right. It’s not photo-realism but I see the differences (more every time I compare them) I struggle to see the things the painting needs rather than the differences between it and the photo.", "label": "Yes"}
{"text": "The night and the cafes …and most of all the lights which are the reason for which I wanted to paint this subject.\nAs it was a cold and rainy evening I had no other chance than taking a picture as reference and it took me a while even to do so.\nI noticed that corner of Vienna already last year and as it happens, the idea to paint it was kept in my mind for a long time. Finally I was there shortly again and the occasion came to take some photos to be used as reference- the winter mood and the waters on the street was even better that what I had in my imagination and i really enjoyed to paint the contrasts.\nAs usual oil on canvas\nA painting that stays for the beauty of the morning hours… in a Vienna’s Café place just a calm moment with time for reading and tasting the first coffee of the day.\nThe light is still a soft one, the place is quiet an hot day maybe will come. Opposite to the stressful life rhythm, this subject is for me a symbol for a different way to live the day.\nI had the time too on that morning, for a slow start and a painting subject was just appearing in front of my eyes without really doing any effort – it required just a fresh look to the world.\nIt is since a while I was planning to continue painting some interiors, this subject has many aspects that I found interesting and funny to paint : the light – the morning sunshine entering the room creating a lot of reflections and a path for the eyes… the mirror that reveal part of reality usually not visible to the observer…and the cleaning lady. She prepares the table for the day, cleaning dust and dirty – a kind of white fee that with a simple work bring the world to shine.\nI am fascinated by those usual scene so normal and so beautiful. I tried to paint loose and light not” to disturb her” in her work.\nProbably the last painting for 2019, inspired by a charming coffee shop in Vienna the Westend Cafe. I particularly enjoyed painting this subject from a random photo took last time I was in the city…the painting is freely inspired by the mood of a lazy wake up hours – there is a kind of promise in the morning hours when the day is open and in principle everything is still possible to happen…\nThe empty table is the expectations for something new to happen, the timeless place and people in the scene are witnessing the moment.\nOil on canvas 50×70 cm\nSometimes It happens, I believe that a painting is done and after looking at it on the wall I discover that more is required…the time finishes it showing me what to do 😊\nEvery time I am in Vienna, I sneak in this place just to smell the scent of the cakes and enjoy a good coffee. It is for sure a touristic place but i love this Konditorei where you can see those “sweet artists” working decorating cakes and every kind of wonderful creations. Especially the calm atmosphere, the precision and concentration of this gesture captured my attention – I find them simply beautiful.\nOil painting on canvas 60×70\nI have not many words for this small oil painting (25x40cm), I loved the place and the light and the relaxed mood. The light and shade and the never ending view –\nit reminds me poetry, Leopardi L’ infinito , the Infinity …\nE il naufragar mi e’ dolce in questo mare’\nThis is the start of a small series of paintings dedicated to cafes and bars…the starting point is Vienna with two small pictures 20cm oil paintings on canvas.\nEspecially the atmosphere of those places is special, at day or night several stories happens. I like to observe people and to imagine how the destiny of each individual is related ( or not) to the others.\nThey are like crossroads where people stop for a moment to rest and reflect, where life can happen… i think more paintings on this subject will follow.\nThe first small work of the year, inspired by a instant photo I took last year im Vienna. The reference is so small that it has the value of a memory, I loved to paint with such a few information, it was easier to come back to that moment and catch it – an afternoons at Donau.\nFor the rest I thank my great friend, oft more or less voluntary model\nOil on canvas 20×30 cm", "label": "Yes"}
{"text": "Simona Borghi was born in San Gimignano (1964), and now she lives and works in Siena. It’s a self-taught artist.\nOver the years she has tried many techniques: pastels, watercolours, oil and acrylic painting. Borghi loves Siena and the Tuscan countryside in a very special way, she paints with a delicacy and with a spontaneous painting technique.\nIt is a painting style which, not exempt from post-Macchiaioli echoes, celebrates the rural environment across brilliant relationships between light and colour, imbuing the compositions with harmony by means of a certain lightness which emanates from the joining of complementary tones.\nIt is in this way that his extraordinary representations of vast flowered meadows and cultivated fields immersed in the summer heat take form, Simona Borghi’s landscapes never include the human form: in her paintings man is the spectator who is amazed by the painter’s game of agrestic nature, and the artifice of painting evokes in him hidden sentiments and bucolic sensations.\n© 2023 Galleria Palazzo del Capitano |", "label": "Yes"}
{"text": "Sustainable Timeless Design. The Original Berlin Notebook. Designer Stationery, Fountain Pen Inks, Art & Gift Sichere Dir Outdoor Schuhe von On beim Outdoor Experten! Kaufe bei Bergfreunde.de - Wir stehen mit Service, Beratung und Kompetenz an Deiner Seite Blue and Gray Abstract Wall Art Canvas Painting: Blue and Gray Picture Gold Foil Artwork for The Living Room (12x24 x2panels+24x24x1 Panel) 5.0 out of 5 stars. 1. $79.90. $79 Buy foil canvas prints designed by millions of independent artists from all over the world. Our foil canvas art is stretched on 1.5 inch thick stretcher bars and may be customized with your choice of black, white, or mirrored sides. All foil canvas prints ship within 48 hours, include a 30-day money-back guarantee, and arrive ready-to-hang with pre-attached hanging wire, mounting hooks, and nails Insert the foil housing with the medium tip in (two lines) in clamp B. Then load the mat when the load light blinks and then push the blinking Go light. While the Cricut is foiling on the canvas material, it's a perfect time to paint the wood frame\nARTISTIC PATH Abstract Wall Art Canvas Pictures: Gold Foil Graphic Artwork Painting on Canvas for Living Room(Overall 64 W x 39 H, Multi-Sized) 4.7 out of 5 stars 17 $94.99 $ 94 . 9 Black and Gold Canvas Wall Art, Luxurious Rose Flower Canvas Prints Picture with Gold Foil, Modern Home Office Wall Decor, Framed (24 x 24 inch, Gold) 4.6 out of 5 stars 61 $49.90 $ 49 . 9 Use a paintbrush or cotton swabs to paint the foil. Cotton swabs work well to paint with as they glide across the piece of foil very smoothly. Regular paint brushes in small or large sizes work as well. Dip the cotton swab or paintbrush into the desired color of paint and brush it onto the foil, just as if you were painting regular paper Flowers painting on canvas/ Gold & Silver Leaf/Demo /Acrylic Technique on canvas by Julia KotenkoThe colors that I use: Black, Gray, Ocher, White. Gold leaf,.. Real gold foil TAIPEI city map print wall art decor framed on canvas street names poster digital picture maps design gifts for men kids her. 23maps. 5 out of 5 stars. (2,434) $16.50 FREE shipping. Favorite. Add to\nGolden Art Canvas Painting Gold Foil Moon Canvas Art Posters and Prints Big Size Wall Pictures for Living Room Decor Cuadros NO FRAME INCLUDED!! Frames are only for display. The colors are bright and go perfectly well together, the quality is superb! All moon phases in this Poster. Almost Paint on a foil canvas responds differently than it does on standard paper. The smooth reflective surface provides a visual and sensory expe rience for children. Promote creative expression and strengthen fine motor skills by encouraging your child to paint us ing cotton swabs Original Handmade abstract gold leaf painting gold foil 3d texture painting on canvas black gold wall art oversize abstract painting. HarleenSachdevaArt. 5 out of 5 stars. (63) $105.70 FREE shipping. Favorite. Add to. Mini heart abstract impasto blue painting with gold leaf foil 4x4 with easel. Mixed media art\nLaid out on the table, the foil can be a canvas for a big collaborative piece, with everyone painting their own section, or overlapping across the foil, layering the paint and colours as you go In dis video I will show u how to do aluminum foil art on canvas Materials :CanvasAluminum foil Fevicol PenScissor Black acrylic pain . See more ideas about wall canvas, canvas painting, foil art. Pinterest. Today. Explore. When the auto-complete results are available, use the up and down arrows to review and Enter to select. Touch device users can explore by touch or with swipe gestures High quality Foil inspired canvas prints by independent artists and designers from around the world. Independent art hand stretched around super sturdy wood frames. Printed with durable, fade-resistant inks. Turn your home, office, or studio into an art gallery, minus the snooty factor. All orders are custom made and most ship worldwide within 24 hours\n1,504 foil canvas art products are offered for sale by suppliers on Alibaba.com, of which other home decor accounts for 1%, painting canvas accounts for 1%. A wide variety of foil canvas art options are available to you, such as still life, landscape, and portrait. You can also choose from modern, abstract, and realist foil canvas art, as well. Brushes: large painters brush, pieces of chipboard or cardboard for applying paint. Gold Foil Flakes: I used foil that had a variation of shades & color. Elmer's glue or if you are feeling fancy, Mona Lisa metal leaf adhesive & sealer. How to paint an Abstract Art Canvas. I set up shop by covering my table with butcher paper . Pour 1/2 cup of tempera paint into each cup. Add 1 teaspoon of dish liquid and stir. Using the dish liquid with tempera paint negates the need for a primer. Wrap the desired piece of foil, shiny side up, on the cardboard, canvas board or plywood Canvas Print Description. Gold Foil On White by Michael Tompsett canvas art print arrives ready to hang, with hanging accessories included and no additional framing required. Every canvas print is hand-crafted in the USA, made on-demand at iCanvas and expertly stretched around 100% North American Pine wood stretcher bars\nHigh quality Copper Foil inspired canvas prints by independent artists and designers from around the world. Independent art hand stretched around super sturdy wood frames. Printed with durable, fade-resistant inks. Turn your home, office, or studio into an art gallery, minus the snooty factor. All orders are custom made and most ship worldwide within 24 hours Buy silver foil canvas prints designed by millions of independent artists from all over the world. Our silver foil canvas art is stretched on 1.5 inch thick stretcher bars and may be customized with your choice of black, white, or mirrored sides. All silver foil canvas prints ship within 48 hours, include a 30-day money-back guarantee, and arrive ready-to-hang with pre-attached hanging wire.\nWe love painting here at Learning and Exploring Through Play and today I introduced a different canvas for Little N - Painting on Foil. It was an interesting sensory experience. It made a crinkly noise as Little N painted with her hands and paintbrush. It gave an interesting hazy reflection and the colours came together effortlessly Image by. Jay Lee Painting via YouTube video. Step Three. Pour your green paints onto a pallet or a plate Dip the tin foil into your green paint and begin lightly pressing the foil to your canvas to create the leaves on the tree. You can alternate shades of green as well to create depth in your painting The polystyrene frame and gold foil embellishments add an elegant touch to the art piece, while two D-rings make it easy to hang on your wall. Hang this peacock wall art in your living room, bedroom, or home office to give your décor a gorgeous update. Canvas measures: 27x27x1.5. Overall: 27'' H x 27'' W x 1.5'' D Shop for foil wall art from the world's greatest living artists. All foil artwork ships within 48 hours and includes a 30-day money-back guarantee. Choose your favorite foil designs and purchase them as wall art, home decor, phone cases, tote bags, and more A one of a kind hand painted piece of art on canvas. With hand painted gold foil, this piece is the wow your space needs. Features a heavily textured finish. Canvas is stretched and mounted to wooden stretching bars. Due to the handcrafted nature each piece will have subtle differences. Overall: 40'' H x 20'' W x 1.496'' D; Overall Product.\n1. Simple Painting on Tin Foil. You probably have everything you need to make a canvas out of aluminum foil. Use painters tape to secure the foil, then gather some foam brushes and paint and get to work! Your kids will be making creative and shiny works of art, perfect for the fridge, in no time! Find tons of amazing crafts at CraftyMorning.com Art Trends (2270) iCanvas Exclusives (3173) Museum Classics & More (1414) TopArt (1458) World Art Group (6746) more view all | less. Abstract art conveys concepts you won't find in physical or visual reality. Abstract artists freely use color, shape, and form to communicate intents that are left to the viewer's interpretation. Abstract art.\nFoil Foliage by Nan canvas art print arrives ready to hang, with hanging accessories included and no additional framing required. Every canvas print is hand-crafted in the USA, made on-demand at iCanvas and expertly stretched around 100% North American Pine wood stretcher bars Buy Acrylic and metallic foil on canvas, 'Lotus Wave' today. Shop unique, award-winning Artisan treasures by NOVICA, the Impact Marketplace. Each original piece goes through a certification process to guarantee best value and premium quality 12X16 Designer Bag Book Stack Canvas Wall Art With Foil. 4.9. 8 Reviews Rated 4.9 out of 5 stars. FREE Store Pickup In stock $12.99 Quick View 12X12 Life Is Good Art Canvas. FREE Store Pickup In stock $7.99 Quick View 12X12 You Got This Art Canvas. FREE Store Pickup In stock $7.99 Quick View.\nNordic Abstract Gold Foil Round Canvas Painting Posters Prints Circular Wall Art Pictures for Living Room Bedroom Home-Gift idea Frameitwhynot 4.5 out of 5 stars (25) $ 11.54 FREE shipping Add to Favorites Gold Leaf Wall Art, Botanical Leaf, Real Gold Foil Print, Gold Leaf Print, Minimalist Wall Art, Real Gold Foil Decor F14. Each of these three art pieces showcases a distinct design with a cohesive motif. They all showcase an abstract brushstroke pattern in neutral gray tones with one gold foil stripe. This art is printed on canvas, which is wrapped around an MDF wood frame. It includes six wall hooks so you can get right to decorating. Overall: 24'' H x 72'' W x 1. Feb 2, 2021 - Type : Canvas Printings Form : Single Support Base : Canvas Medium : Waterproof Ink Subjects : abstract Frame mode : Unframed Style : Europe Original : No Technics : Spray Painting Shape : Vertical Rectangle Frame : No Material : Cotton canvas prints : Picture for Living Room Nordic style Make Offer - DC Harley Quinn Canvas Painting 24x24 Home Decor Paintings Wall Art Pictures Sid & Nancy Metal Wall Art Framed Print -Various sizes New ,Music inspired Art $110.0\nAdd a bit of sparkle while the painting is still wet. I used a jar of gold foil to add extra dimension and sparkle to my paint pour art. Follow the lines of gold paint in the painting and sprinkle the gold foil a few inches above to add dimension. For more precise placement of the gold foil, use a pair of tweezers The Cricut Foil Transfer Tool is a 3-in-1 tool with interchangeable fine, medium, and bold point tips that deliver an assortment of line weights on a wide variety of materials. Cricut Foil Transfer Sheets are available in large 12×12 sheets of gol d and silver and in smaller 4×6 sheets of gold, silver, green, aqua, and purple (more colors. Abstract Golden Foil Canvas Painting Blue Print Poster Big Wall Art Picture For Living Room Nordic Tableaux Abstract Blue Poster. size. 13X18cm No Frame. Payment. * We prefer you pay via Paypal 37. Abstract flowers on canvas. This abstract flower painting looks really fun, whether you decide to make it with friends at a paint and sip type of party (like suggested in the post) or even on your own (wine optional!). This painting would also be a great addition to a list of easy paint night ideas\n.63 - $ 3,282.55-24%. Add to wishlist. Quick View. Landscape Art Koi Fish Lotus Canvas Prints Feng Shui Animal Landscape Painting Wall Art Picture For Living Room Moder Home decoratio The first work I learned was painting Lanna women's portraits on wood and canvas. I tried to use different materials besides regular paint, such as resin, gold foil, etc. My inspiration came from where I grew up, charming Thai motifs, Buddhism, and Lanna history and beliefs StyleCraft. $159.99. Abstract Metal Hand Embellished Painting on Stretched Unframed Wall Canvas - StyleCraft. StyleCraft. $139.99. 24 x 24 Wings of Spring I by Dixon Design Group Wrapped Unframed Wall Art Canvas Painting - Fine Art Canvas. Fine Art Canvas. 4.5 out of 5 stars with 14 ratings. 14 Shop for gold foil wall art at Bed Bath & Beyond. Buy top selling products like Madison Park Twilight Forest 15-Inch x 35-Inch Canvas Wall Art with Gold Foil in Blush (Set of 3) and Madison Park Blue Midst Forest Printed Canvas Wall Art with Gold Foil in Blue Multi (Set of 3). Shop now Gold Foil World Map Miles Can't Separate Canvas Print. $107.00. 20% Off with code SUMMERPARTYZ. . Sunny Yellow Gold Navy Sunflowers Leaves Pattern Faux Canvas Print. $20.93. 20% Off with code SUMMERPARTYZ. . Girly Pink Navy Blue Gold Watercolor Flowers Faux Canvas Print\nFoil: http://amzn.to/2qXM3bVGlue Sticks: http://amzn.to/2qyynmIBlack Poster Paper 22 x 28: http://amzn.to/2wQ5wehMusic: From YouTube audio library.Instagra.. Abstract Canvas Painting Gold Foil and Blue Canvas Wall Art Posters & Prints Art. $12.21. $12.99 previous price $12.99 6% off 6% off previous price $12.99 6% off. Free shipping Free shipping Free shipping. 13 watchers 13 watchers 13 watchers. Modern Graffiti Art Monkey Canvas Painting Animal Cuadros Wall Art Posters Print\nGold Leaf Foil On Canvas - Clients can request custom oil painted canvas (es) with gold leaf foil accents. Oil paint colors and foil color options (silver and rose gold also available) can be personalized to compliment your space. Price depends on the size and number of canvas (es). Please contact Gia to discuss details and pricing. Get A Quote Large gold foil painting gold abstract canvas art original painting gold leaf painting rich texture handmade painting gold canvas modern art Price: $127.87+ Original Price: $213.12+ Loading Low in stock. You save $85.25 (40%) Sale ends in 11 hours.\nFeb 17, 2021 - This beautiful print wall art which will get you very clean, clear prints. It is perfect for your any room! Colorful Handmade gold foil Acrylic Liquid Painting printable | Etsy Large Painting Oil Painting Abstract Abstract Canvas Light Painting Bird Wall Art Large Wall Art West Elm Art Scandinave Grand Art Mural Aug 14, 2020 - Explore Humaira Mohsin's board aluminum foil art, followed by 857 people on Pinterest. See more ideas about aluminum foil art, foil art, pewter art Details about Abstract Golden Foil Canvas Painting Print Poster Wall Art Picture Home decor See original listing. Abstract Golden Foil Canvas Painting Print Poster Wall Art Picture Home decor: Condition: New. Ended: May 17, 2021. Winning bid: US $5.51 [ 6 bids] Shipping: FREE Economy.\n(Set of 3) 15 x 35 Twilight Forest Gel Coated Art Canvas with Gold Foil Blush. 5 out of 5 stars with 1 ratings. 1. See low price in cart. Shipping not available. Not at . your store. 27 x 27 Blissful Gel Coat Canvas with Silver Foil Embellishment Blush. 4.5 out of 5 stars with 2 ratings. 2 Sep 1, 2017 - Explore Bronwyn Cowlard's board aluminium foil art on Pinterest. See more ideas about foil art, aluminum foil art, art Seller 93.9% positive Seller 93.9% positive. Wall Art Painting Nordic Flower Plant Canvas Poster Modern Home Decor Abstract. $7.49. Free shipping. Free shipping Free shipping. Seller 92% positive. Seller 92% positive Seller 92% positive. Wall Art Pictures Modern Abstract Geometric Giclee Artwork Painting Foil Canvas. $7.99 . Finish decorating your modern space with alluring artworks such as Metropolis Foil Canvas Wall Decor. This horizontal canvas features gray-toned skyscrapers with paint palette knife marks and streaks in a subtle combination of white, black, mustard yellow, and blue and teal colors. The piece is competed with gold-foil speckles for. Feb 20, 2020 - Visit the post for more. I create the painting in my private studio, with high-quality canvas, professional paints and a lot of love and inspiration. In the process of creating a picture, you will be able to express all your wishes, for example about colors and shades\nThere are 28,345 suppliers who sells canvas oil painting on Alibaba.com, mainly located in Asia. The top countries of suppliers are China, Vietnam, and Hong Kong S.A.R., from which the percentage of canvas oil painting supply is 98%, 1%, and 1% respectively China White Bloom Gold Foil Canvas Oil Painting Home Products, Find details and Price about China Home Decoration, Oil Painting from White Bloom Gold Foil Canvas Oil Painting Home Products - Yiwu De. U Decoration Materials Co., Ltd Shop Gold Foil Sunflowers Cotton Canvas Home Decor Fabric at JOANN fabric and craft store online to stock up on the best supplies for your project. Explore the site today\nOne of the easiest ways to get foil onto your abstract art is to use double-sided tape. Cut pieces of tape to any shape you like and adhere to your work. Place a piece of transfer foil over the tape (shiny color side up). Burnish with your fingers. Remove the foil sheet and presto! Very cool shiny bits on your artwork Shop for canvas wall art at Bed Bath & Beyond. Buy top selling products like iCanvas Melting Rose Gold Carat Canvas Wall Art and Madison Park Blue Midst Forest Printed Canvas Wall Art with Gold Foil in Blue Multi (Set of 3). Shop now Lastly, a foil-stamped gold Studio Proof seal is applied to the back of the canvas. Each Studio Proof edition is designated with the letters S/P during the numbering process and a metallic authorized signature is applied to the front of the canvas\nLacquer Canvas with Gold Foil. Shadowbox with Silkscreen. Foiled Glass. Metallic Canvas. Printed Wood. 3 Piece Mirror Set. 6 piece Canvas Set. Canvas Art. Framed Art Printed Glass Add our Expression Gold Foil Canvas Art Print to your walls to really make your space glimmer! You'll love how the textured details and warm colors impact your space. Art print measures 50L x 1.4W x 40H in. Printed with hand embellishments on stretched canvas for a gallery-like feel; Wrapped edges complete the look; Features an abstract subjec\nA painting should survive being rolled up and shipped, provided you ensure the paint is completely dry and don't roll it up too tightly. You must realize that the process of rolling has risks associated with it. The primary concern is the potential for damaging the painting when you take the canvas off its stretchers Decorate your walls with Silver Foil canvas prints from Zazzle! Choose from thousands of great wrapped canvas to beautify your home or office. Silver Foil Canvas Art & Prints. 16 results Paint Canvases and Surfaces. Blick's canvases and painting surfaces are created to accept and support media such as oil paint, acrylic paint, gouache, watercolors, pastels, and other media. Made from woven material, canvas is generally made from cotton or linen, or even synthetic materials. Blick offers the largest selection of blank canvases.\nOkay, the next step once all of your paint is on there, you want to go around with your finger and just remove any of the drips that might be on the sides that way you don't get a build up of paint underneath. This point, I'm going to remove my gloves and I'm going to start, adding some glitter and some foil flakes into this project Spray paint is a fun, flexible medium that can create beautiful and expressive works of art. If you'd like to try making your own piece of art, first choose a safe, well-ventilated area to work. Try making a planetary mural with different spray paint colors and household items, like newspaper and foil Rolled Canvas prints available in Standard/Custom Sizes W/ Border Options.Excellent for Unstretched photos and other artwork. Print in Full Color on Premium Artist Canvas Material for maximum quality. Free Human Expert Proofing for any order of rolled canvas prints Signature Canvas Pad 10 Sheet A3 (11.7 x 16.5in) CAXX0023. PRODUCT DESCRIPTIONThe Mont Marte Signature A3 Canvas Pad 29.7cm x 42cm (11.7 x 16.5in) is suitable for use with any medium.FEATURES Acid free Acrylic gesso primed 280gsm 10 sheet. Add to Wishlist. Find Your nearest Stockist Foil Canvas Oil Painting Stretched Linen Canvas 250gcanvasoil Wall Painting Art Design 100% Handmade Abstract Design Gold Foil Wall Art Abstract Canvas Oil Painting On Canvas Stretched Art. US $9.80-$13.50 / Piece. 2.0 Pieces (Min Order) 3 YRS Seattle-Art (Xiamen) Co., Ltd. 95.8%. 5.0 (9\nCreate an imaginative tropical wonderland with our Foil Leaves Abstraction Canvas Art Print! This print is a great way to switch up your wall decor. Art measures 24L x 1.5W x 34H in. Distinctively printed on stretched canvas; Wrapped edges complete the look; Features different tropical leaves; Hues of green, brown, and gold; Weight: 5 lbs Matte acrylic paint and metallic gold paint over a fabric canvas; Abstract design across the canvas; Easy to hang wall art: This canvas painting is easy to hang by the sawtooth metal hardware at the top back of the frame; this contemporary wall decor piece measure 35.5 x 47.5 x 1.5 and weighs 6.5 lbs\n1) Canvas art work SHOULD NOT have glass or plex because it can collect humidity and rot the canvas. If you want to do so, you can add a glass to a very old fragile oil but used spacer to lift the glass of the painting (but no glass unusually). 2) Liner fits the art, painting frame is added around the liner frame 8X20 Choose Your Weapon Cosmetics Canvas Wall Art With Foil. 5. 3 Reviews Rated 5 out of 5 stars. FREE Store Pickup In stock $9.99 Quick View 12X16 Deluxe Nail Polish Bottle Canvas Wall Art. 5. 6 Reviews Rated 5 out of 5 stars. FREE Store Pickup In stock $12.99 Quick View. Pure Hand-painted Wall Picture Abstract Butterfly with Gold Foil Painting on Canvas Modern Wall Picture Butterfly Oil Painting Rated 5.00 out of 5 based on 2 customer ratings $ 101.41 - $ 603.9 ElephantStock offers a matchless variety of unique Canvas Wall Art & Framed Prints ranging from World Map to Beach, Buddhism to Beauty, Winery & more. All products are high quality and affordable too", "label": "Yes"}
{"text": "How to paint a large, free-standing floor Clock with MudPaint Clay furniture paint.\nA lamp update makes over a room at under $10. You can’t buy a lamp for that. I find painting a lamp easy and fun with MudPaint. The reason to use MudPaint is it’s exceptional coverage unlike any other paint on the market. MudPaint will adhere to almost anything. The great thing about painting lamps – just like books, scales,…\nLearn how to whitewash with MudPaint Clay furniture Paint!\nLearn how to update a vintage scale using MudPaint Clay furniture Paint!\nLearn how to paint a lampshade fabric with MudPaint Clay Furniture Paint\nLearn how to paint a large dining or kitchen table with MudPaint!", "label": "Yes"}
{"text": "Sydney based artist Ingrid Bowen will open a solo exhibition at Suki and Hugh Gallery in Bungendore on Saturday 8 May 2021. Entitled Peregrine, the show will be the artist’s third with the gallery.\nReflecting on an era of upheaval and disruption, Ingrid Bowen’s new works in watercolour and ink are focused on themes of comfort and restoration. The artist uses the Australian bush as the antidote to life’s stresses and immerses the viewer in her journey.\nEvery element has been carefully considered for this exhibition. The composition of the works is cropped to give the viewer a sense of being surrounded. ‘The dappled sunlight overhead and the rhythmic tree-forms and silhouettes’ are designed to reflect ‘life’s rhythms and journeys’.\nPathways conjure the ‘comforting repetition of footfall echoed by the breath and heartbeats marking time.’ The act of wandering opens the way to properly realising and engaging with the landscape, noticing the details within the bigger picture and allowing the bush to impart its restorative power.", "label": "Yes"}
{"text": "Bust Out the Bubbly\nCreated by Amantha Tsaros\n\"Bust Out The Bubbly\" is a dramatic painting full of contrast and exuberance. The artist created it as part of a series that features the interplay of playful shapes in color and painterly forms. It was created using acrylic paint on gallery-wrapped canvas. The image continues over the sides of the canvas. The canvas would look wonderful in a modern frame.", "label": "Yes"}
{"text": "\"Sunflowers and Pussy Willows\" 14'x14\" Acrylic by Paula Villanova\nA taste of the warmer weather coming our way soon.\n\"Snack On The Studio Table\", 10x8\" Acrylic on Board by Kelley Carey MacDonald\nMy snack one day sitting in the bright light on top of my paint spattered studio table just caught me. Even though lately I have been immersed in non-objective paintings, I just HAD to paint this, and it was extremely challenging! These are Cuties, tiny oranges that we gobble up daily.\n\"Citrus-y\" by Page Railsback 9\"x7\" Acrylic\n“Eggs” 8x8 oil on panel by Mary Sheehan Winn\nI start my day with daily pages and a sketchbook drawing, which was the source for this oil painting.\nI’ve been getting these beautiful light blue green eggs from a local road side stand. Fascinating and delightful.\n“A Taste of Italy” 8” x 8” acrylic by Tori Chesley Brega\nLast summer’s sweet little “bumble bee” tomatoes grown from seeds brought back from Italy by a friend...\n\"Strawberry Mimosa Glow\" 5\"X7\" oil by Margaret Farrell Bruno\nYum-what else can I say?\n\"Cantaloupe\" oil, 8\"x16\" by Jeanne MacFarland\n|\"North Light\" ink & watercolor by Jody Regan - that tantalizing taste of Italy in Boston's North End, can you smell the garlic, Parmesan, coffee...? |\n|\"It is the best taste of summer - the first lobster dipped in lemon butter. 12 x 16\" oil on canvas by Pamela Copeman|\n\"Three Amigos\" 11\"x14\" Acrylic by Sally Dean\nI've been enjoying still life painting during the winter and loved the play of colors in\nsetting up this composition.", "label": "Yes"}
{"text": "We are pleased to supply home painting services to your specific community around Anson Maine. Your Anson Painters provides exterior painting, interior painting, cabinet painting & refinishing, color assessments, crown molding, drywall repair, popcorn ceiling elimination, power washing, stucco painting & repair service, and vinyl & aluminum painting.\nAnson home painters will help you attain the inside of your home in style. You don't have to think about how your walls and ceilings look since these are the things that can make or break your house when it comes to interior design. When it comes to painting, you can choose from numerous colors. The colours used for the walls and ceilings should complement each other. In addition, you need to choose shades that will make the rooms in your home appear larger.\nAs an example, the home painters in Anson ME will advice you to paint your home with white paint so that it does not appear dirty and gloomy. This will be great if you would like to get a white decoration for your home. However, if you wish to have a traditional appeal, you can opt for the paint with some old age colours.\nMost house painters in Anson ME are considered masters in their area. They begin each job by measuring the dimensions of the home. This is important because they will know the specific materials that are needed to achieve the results. Then, they will pick the appropriate supplies for your job. These include paints, roller tools, ventilation systems, venting fans, molding and screws. All of these items are extremely important to completing the inside painting in the perfect manner.\nThere are many options available when it comes to painting the exteriors of a home. Most painters offer basic commercial colours which can easily be combined with home paint color schemes. It's important to select an experienced and skilled painter who specializes in residential painters. Choose a business that provides reliable and qualified painters who are knowledgeable about the latest technology and tools for interior house painting. They also have studios with high quality art supplies and gear, which enable them to produce quality work at fair prices.\nAs soon as you narrow down your listing of house painters in Anson ME, get price quotes from at least three of them. This gives you a good idea of who gives the best price for your project. Be sure to include any applicable fees like delivery and pickup, as well as any paint color discounts or homeowner's insurance policy you may be eligible for. A reputable contractor will discuss each of these things with you before painting your home.\nThese painters also assist you in completing your interior decorating job. You could also talk with them about any ideas or theory you may have. These painters also provide professional painting services to the customers. So, these painters are not just efficient interior decorators but also can do almost anything on the walls and roofs of your residence.\nThe house painters that you're hiring should be able to give quality interior decor. The interior decoration includes the painting of the walls, doors, cabinets, windows, stairs, ceilings etc of your house. The work of the home painters must match up to the quality of the interior decoration. A house painter that can do a fantastic job on your interior decoration is the one that you should hire. Apart from being experienced in house painting, they should also be able to paint in different textures, shades and colors. This can help to create an attractive look to your home interior.\nFinding the ideal Anson home exterior painting providers can be difficult sometimes. You may contact some companies on the internet simply by typing in the name of the company. Some websites may require that you put in a certain criteria such as price or location.\nIn regards to painting job quality, Anson house painters have a broad assortment of offerings to meet the requirements of our clients. Our skilled and experienced painters are dedicated to providing the very best painting job in the region for our customers. From small individual home painters to large industrial painters, we have many different professional painting service provides. \"At CertaPro Painters® you can expect: high-end painting quality; quality painting; top-notch customer service; and most importantly, competitive pricing. Our purpose is to offer high quality, professional, and affordable home improvement and painting service to our Anson customers. Find out more about our commercial and residential painting services.\"\nA standard painting job usually includes paint and primer. You should discuss which colors you want to use in your home. These are simply a couple sample colors. Feel free to make a list of your own or request your painters to suggest colors you may want to consider.\nIf you are trying to find professional and skilled Anson house painters then it is advisable that you approach a team that offers services across the various genres of painting, painting and beautification. Interior and exterior house painters in Anson ME have a technical expertise in the area of renovating your house according to your customized and individual needs and requirements. We provide quality services at competitive rates, which can be customized as per the requirements of the customer.\nInvestors who buy a home through a private investor or the Anson House Painting and Decorating Schools will have a large range of residential and commercial property choices. House painters will also have access to talented artists that can offer design solutions to interior designers. These services will increase the value of the house and attract buyers, who are looking for new and fresh floor coverings and interior furnishings. Buyers are attracted to newly painted houses, kitchens, bathtubs, bathrooms, stairs, driveways, and patios. House painters are also experienced in interior design and engineering and will know how to handle and renovate commercial property projects.\nAreas We Cover Include: 04911, 04958", "label": "Yes"}
{"text": "July 7-August 3, 1989\nOpening Reception 7-9PM, July 7, 1989\nArtist Talk 4:30PM, July 23, 1989\nFarokhi exhibits a suite of large scale paintings and constructions. Continuing her formal investigations with the starting points of Valzquez’s representations of Queen Mariana and elements of landscape painting, Farokhi develops a strategy of splitting, corrosion, and recombination.", "label": "Yes"}
{"text": "I use good recycled fabrics. They are jean fabric, leather or just any resistant material I enconunter.\nPainted with plastic acrylics, that reinforce the fabric. The paintings are always good looking and washing resistant.\nSome Broochs models have hanging accessories.\nLarge (L): 25 cm -15cm-5 cm\nMedium (M): 16cm x 11cm x 3cm\nSmall (S): 11cm x 9cm x 2cm\nLarge (L): 9cm x 8cm x 3cm\nMedium (M): 5cm x 6cm x 2cm\nSmaill (S): 3,5 cm x 4cm x 1cm\nThere are 18 cat faces design. If you want to order click there.", "label": "Yes"}
{"text": "Hair Painting Tutorial\nreal-time hair. adding the background to a colored pencil portrait. after washing the paint mixture out. diy – from blonde to the perfect balayage – easy to follow at home tutorial. uncategorized big curls short hair tutorial awesome loose curl for short hair pics of big concept. painting shu\\u0027s hair (diabolik lovers) – tutorial by aliss-ale. makeup etc easy updo tutorial casual bun also donating hair style. ooak dolls, reborn dolls, reborn babies, baby doll hair, baby dolls, hair painting, doll tutorial, sculpting, doll stuff. sai hair colouring tutorial . how to draw hair by leejun35. original resolution .\nBy nyatuxi on deviantartrhnyatuxideviantartcom manip academy tips for hair wesleysouza deviantartrhwesleysouzadeviantartcom manip hair painting tutorial academy tips for hair by wesleysouza on jpg\nDeviantartrhwesleysouzadeviantartcom learn how to paint curly in pastel as part of cath ingles rhpinterestcom learn hair painting tutorial how to paint curly jpg\nHair in pastel as part of cath ingles rhpinterestcom digitally muddy colorsrhmuddycolorscom how hair painting tutorial to digitally paint hair muddy colorsrhmuddycolorscom jpg\nSai by pikadiana rhpinterestcomau tutorial hair painting tutorial how to paint purrty hair with sai by pikadiana rhpinterestcomau use open canvas on jpg\nTutorial to draw hair in paint tool sai by cristo on deviantartrhcristodeviantartcom coloring tutorial for cetica deviantart rhpinterestcom hair hair painting tutorial jpg", "label": "Yes"}
{"text": "I am a self taught, continually evolving and learning artist currently residing in the beautiful Niagara Region of Canada.\nI think I've been an artist my whole life but it wasn't until I retired that I've devoted time and effort to paint and create what I hope will intrigue, inspire and amuse my collectors. Abstract acrylic painting is my preference but I also enjoy mixed media collage and upcycled assemblage.\nAll sales are final.\nOrders are available for pick-up during regular office/gallery hours.", "label": "Yes"}
{"text": "From the beautiful Overberg region of South Africa (and sometimes further afield)\nUK artist Matthew Burrows started the #artistsupportpledge to support artists and makers during Covid-19. Here’s how it works:\nEvery time an artist makes R10,000 (or GBP1000 or $2000) in sales, they pledge 20% on buying the work of another artist participating in the #artistsupportpledge. Anyone can take part, and anyone can sell art. The only proviso is that the artwork should not be priced higher than R2,000 (GBP200 or $200). The artworks can be seen on Instagram using the hashtag #artistsupportpledge.\nI am participating in the #artistsupportpledge, please follow me on Instagram to see what work I have available for sale.\nPainted collage landscapes\nI go out into the landscape to make sketches with paint, PITT oil based pencil and watercolour pencils / crayons.\nI’ll spend an hour or two outdoors creating six to ten sketches that I take home and recompose into painted landscape collages.\nMy work is available for sale directly from me, or at selected outlets in the Overberg.\nAbstract Landscapes on canvas\nThese artworks are painted en-plein air on the beaches and cliffs of Hermanus and surrounding areas. They are painted in layers with acrylic paint, Pitt oil based pencil, lots of scratching and scraping with a carpet blade or my palette knife. Occasionally I’ll finish my paintings off back at my studio in oil paint, but more often than not, I’ll complete my painting outdoors in acrylic.\nMy work is for sale directly from me, or from selected outlets in the Overberg.\nI wish you all the best. Next time I’m in South Africa I’ll visit you again.\nMy work is available from the following outlets:\nAlternatively, you can contact me directly to find out what works are available.\nQueen Victoria Street\n(next to Graze)\nMosaic Private Sanctuary\nThe Zesty Lemon\nSir Robert Stanford Estate\nPainted Landscape Collage Demos & Mini-workshop\nI am not teaching painted landscape collage workshops in 2020, so I’ve got something else for you instead, and it’s free! Watch my demo videos and download the Painted Landscape Collage mini-workshop ebook. Getting outdoors to paint is inspiring and good for you. I can’t recommend it enough.\nI am an abstract artist who creates energetic and gestural, but still considered and carefully structured landscapes and seascapes, real and imagined.\nI have an strong desire to share the essential “gasp”-like feeling of immersing myself in the landscape and experiencing the energy of place in a visual way.\nPainting the landscape allows me to see and experience more of it when I go out painting on the beaches, cliff paths and valleys of the Overberg.\nI hope that by my expression of how I see and feel about the place that I am in, I can bring some of the energy of beautiful places to those who resonate with what they see and feel in my work.\nI live in Hermanus, a seaside town on the south coast of South Africa that is famous for whale watching and has a cliff path with fantastic sea and mountain views in all directions. It is a priviledge to live here and explore the landscapes and seascapes on my doorstep by painting outdoors as much as possible and going for lots of walks.\nLike what you see?\nSubscribe to my monthly studio update and I’ll send you a downloadable pdf print of this painted collage landscape titled Kleinrivier Lagoon.\nI painted it on the bank of the lagoon one grey and windy afternoon. It’s a hi-res pdf that can be printed up to A4 size. Print it on archival artists paper and you will have an artwork for life.\nYou can unsubscribe at any time.", "label": "Yes"}
{"text": "In the Garden (Print)\nThis print, called \"In the Garden,\" was painted by Robert Payton Reid (1892). Greenery bends its ear to catch the quiet exchange between a lady and her feathered confidant.\n- Unframed. 17 x 13\"\n*A delivery surcharge of $7.50 has been included in the reflected price.", "label": "Yes"}
{"text": "Italian Early Renaissance Painter, 1445-1510\nItalian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s Related Paintings of Sandro Botticelli :. | Portrait of Smeralda Brandini | Madonna and Child and Two Angels | Extracting the heart of St Ignatius Bishop. | Transfiguration,wtih St jerome and St Augustine (mk36) | Clayton s story |\nRelated Artists:Makart, Hans\nAustrian Academic Painter, 1840-1884\nAustrian painter. He studied (1860-65) at the Akademie in Munich under the history painter Karl Theodor von Piloty whose influence is evident in Makart's Death of Pappenheim (1861; Vienna, Hist. Mus.). Makart visited London and Paris in 1862 and Rome in 1863. The Papal Election (1863-5; Munich, Neue Pin.) reveals Makart's skill in the bold use of colour to convey drama as well as his virtuoso draughtsmanship. Two decorative triptychs, Modern Cupids (1868; Vienna, Zentsparkasse), and the Plague in Florence (1868; Schweinfurt, Samml. Schefer), brought Makart both fame and disapproval (mostly because they lacked a literary original) when exhibited in Munich in 1868. His plan for the second work Eugene Fromentin\nHe was born in La Rochelle. After leaving school he studied for some years under Louis Cabat, the landscape painter. Fromentin was one of the earliest pictorial interpreters of Algeria, having been able, while quite young, to visit the land and people that suggested the subjects of most of his works, and to store his memory as well as his portfolio with the picturesque and characteristic details of North African life. In 1849 he obtained a medal of the second class.\nIn 1852 he paid a second visit to Algeria, accompanying an archaeological mission, and then completed that minute study of the scenery of the country and of the habits of its people which enabled him to give to his after-work the realistic accuracy that comes from intimate knowledge. In a certain sense his works are contributions to ethnological science as much as they are works of art.Jean Pierre Alexandre Antigna\nJean Pierre Alexandre Antigna Gallery\nFrench painter. He was taught at the school of drawing in Orl?ans by a local painter, Fran?ois Salmon (1781-1855). On 9 October 1837 he entered the Ecole des Beaux-Arts in Paris, first in the atelier of Sebastien Norblin de la Gourdaine (1796-1884). A year later he became a pupil of Paul Delaroche, from whom he acquired his understanding of dramatic composition.", "label": "Yes"}
{"text": "EVENT: WCNY’s Bob Ross 40th Anniversary Paint Bash\nDATE: Saturday, May 6, 2023\nTIME: 2-4 p.m.\nLOCATION: WCNY-TV Studios\nJoin us as we celebrate the 40th Anniversary of “The Joy of Painting with Bob Ross” with a fun filled day of painting, games, and all things Bob Ross. Through guided step-by-step instructions from the artists of “Sip of Color,” you’ll learn how to recreate one of Bob Ross’ iconic “happy little trees” paintings using his techniques!\nEnjoy light hors d’Oeuvres, wine and beer samples, Bob Ross-themed trivia and giveaways, and so much more! In addition, an assortment of adult beverages will be available to purchase.\nTicket prices include professional instruction from “Sip of Color, a Syracuse Mobile Paint and Sip,” as well as art supplies, paints, brushes, and a 16×20 canvas.\nWCNY members will receive a special $10 discount with a member code.\n“The Joy of Painting with Bob Ross” was an American half-hour instructional television show hosted by painter Bob Ross. The series began airing on January 11, 1983 and ended on May 17, 1994. In each episode, Bob Ross taught techniques for landscape oil painting, completing a painting in each session.", "label": "Yes"}
{"text": "Acrylic on Canvas\nTwo Boats on the High Seas, painting made based on Tiny Scenes and Patterns coloring book style.\nDigital Paint of Hummingbird Valkyrie.\nPenned in game wall poster\nSeries of work\nDigital based On projects\nDigital Paints based on various concept work or personal projects\nNautical paint series\nHand Painted: Primarily Acrylic, based on Coloring Book style\nEnchanted Ladies series\nHand Painted: Primarily Acrylic", "label": "Yes"}
{"text": "After completing a Natural History Illustration course in the ‘90s I have continued to paint consistently, exhibiting and selling my work in Europe and the UK. I also provide classes in botanical art in the Algarve, Portugal.\nPhoto: Toni Dade exhibiting at the RHS Botanical Art & Photography Show at the Saatchi Gallery.\nBOTANICAL ART I’m inspired by the beauty and decay of nature around me. I work in watercolour, ideal for delicate, descriptive studies. These paintings can take many hours of work, slowly building depth of colour and detail. After exhibiting with The Society of Botanical Artists I was awarded a Fellow membership in 2019. I’m also a member of the Algarve Society of Artists.\nPET PORTRAITS I specialise in detailed paintings of all animals, but work mainly with cats & dogs.\nILLUSTRATIONS Jewel like colours and a sense of fun pervades these artworks, they appeal to children and adults alike.\nEXHIBITIONS AND AWARDS\n2023 Painting \"Dishevelled\" selected for the 17th Hunt International Series Exhibition in fall 2024\n2023 Ten The Association of Botanical Artists\n2023 Awarded the St. Cuthberts Mill Prize (Society of Botanical Artists Annual Group Exhibition)\n2023 Botânica em Aguarela Solo exhibition, Galeria Manuela Vale, Portugal\n2022 Artlink Collective Vale D'el Rei, Lagoa\n2022 Abril Traz Novas Cores (April Brings New Colours) Escola de Artes de Lagoa\n2021 Awarded a RHS Gold Medal for Seasonal Changes of the Pomegranate\n2021 The RHS Botanical Art & Photography Show at the Saatchi Gallery\n2021 Abril Traz Novas Cores (April Brings New Colours) Escola de Artes de Lagoa\n2021 Purely Botanical? II The Association of British Botanical Artists\n2020 Purely Botanical The Association of British Botanical Artists\n2020 Awarded The Great Art Award at the SWA exhibition.\n2020 The Society of Women Artists 159th Annual Open Exhibition – online\n2019 Selected by the RHS to exhibit with them\n2019-2023 Plantae group exhibition with the Society of Botanical Artists, Mall Galleries, London\n2017 Changing Seasons with the Society of Botanical Artists, Westminster Central Halls, London", "label": "Yes"}
{"text": "Is trying to push the envelope in 2011 with art!\nPrints available from $14.33\nSizes up to 9.11\" x 12.00\"\nAvailable as fine art print, framed print, canvas wrap, poster, greeting card, skin\nDescription: Portrait Painting\nPosted by ryanjames26 on May 03, 2011\nbeautiful, love the how you faded the background", "label": "Yes"}
{"text": "Smart Color Choices\nDoes the thought of selecting paint colors for your home make you want to pull out your eyelashes? The many color choices and sheens really makes it overwhelming. There are many color myths floating around that can add to your confusion. I want to put those colors myths to rest so you can make confident color choices for your home! Painting is the most affordable change you can make to update your space. If you are afraid of selecting color fear not, I’m here to assist.\nLet’s debunk some common myths along with a few helpful color selection tips.\nMyth: Dark colors make a room feel smaller.\nTruth: Not necessarily true.\nHigh contrast between large pieces in a room make it feel smaller because the contrast highlights the size of the room. It breaks up the room rather than expanding it. If you paint your room dark blue and have a sofa of a similar shade they will “blend” and open up the room. If you are painting a room a dark color just keep the contrast of large pieces (sofas and curtains) down and you will expand the room.\nThis of course also means that light colors don’t necessarily make a room feel bigger. Again, contrast impacts that perception.\nMyth: When decorating, pick your paint color first.\nTruth: Paint is available in any color. If you can’t find the color you want on a chip, a paint store can custom mix a color to match anything.\nSince sofas and bedding are not available in any color, begin your color selections with the large pieces in your room. Then, pick a paint color to coordinate. It doesn’t have to match exactly, but should complement the larger pieces in the room.\nThis is not to say that you can’t decorate around a paint color — for example, if you know your décor will be black and white, the sky is the limit for wall color — but selecting paint first can limit your choices in other areas.\nMyth: If you like the color in the store you’ll like it at home.\nTruth: Every color looks different in every space. Your room’s light, floor color, furniture and surrounding room colors will impact how a color looks on your walls.\nPlease, please, please do not go to a paint store, pick a color from a chip and go home with a gallon of paint. There are so many reasons why you should not do this. The first is that a tiny paint chip cannot begin to show you how actual paint will look on your walls in your house.\nHere are my suggestions for selecting paint colors for your home:\nVisit the paint store and select as many paint chips as you like, all the ones you think may look good and bring them home! Bring inspiration with you to the store, helping to steer your decision making. Take 10 strips of blue – take 20 if you need them! –the beauty is that they are free.\nOnce home, use painters tape to attach the chips to the wall. Remember, you need to look at the colors on the wall and not in your hand. Color looks different at different angles. Try to narrow the colors down to the top 2 or 3.\nNext, buy sample sizes of each and paint a 2’ x 2’ swatch on your wall. Make sure you do two coats, if needed, because you want to see how the colors will really look. Look at the colors in the day and the night, giving them a few days to make you happy or turn you off.\nAbove all, go with your gut. This is not a time to talk yourself into something, it will not look better with time!\nFinally, if you are making a dramatic color change make sure to use the right primer. Your paint supplier can provide the right primer for your colors.\nIt’s not unusual to experience a bit of shock when a room is painted a new color, but these pre-steps are the best way to “test drive” a color and reduce the post-painting shock.\nI can’t tell you what colors to pick, but I know this will get you off to a great start and I always encourage folks to try new things in the world of color…be brave! Need help with color in your home? Schedule a free call with me to find out how I can help you!\nYou may also like these posts about color:", "label": "Yes"}
{"text": "Related Paintings of Pierre Auguste Renoir :. | Pink and Blue | Portrait of Madame Renoir | Odalisque | reclinig nude rear ciew | The Clown |\nRelated Artists:Ferdinand Max Bredt\npainted In a courtyard, Tunis in 1921Evert Oudendijck\n(1650, Haarlem - 1695, Haarlem), was a Dutch Golden Age painter.\nAccording to Houbraken he painted stag hunts and other hunting scenes in landscapes, along with the artist \"Drossaart\". He was the father of Adriaen Oudendijck.\nAccording to the RKD he was registered in the Haarlem Guild of St. Luke in 1663 as the pupil of Adriaen van Ostade which would make him about 15 years old at that time.His registration as a member of the guild in 1646 is therefore impossible.\nThough Evert Oudendijk is listed in the Haarlem guild register as a member in 1646, he probably became a member in 1664 (a year suspiciously lacking member registrations), like other members mistakenly registered in 1646, such as Evert Collier and Egbert van Heemskerck. He is listed two other times in the Haarlem guild; in 1663 (listed as Ostade's pupil \"Evert Adriaanszen van Oudendijck\") and as painter in 1670.\nDutch Baroque Era Painter, ca.1598-1657\nDutch painter, draughtsman and etcher. He was one of at least eight children of a wealthy Protestant family in Deventer, where his father was the town pharmacist. After his father's death in 1607, the family left Deventer, probably moving to Hoorn. No artist then living in Hoorn could plausibly have been Breenbergh's teacher, and given the fact that his earliest works reveal the stylistic influence of the Pre-Rembrandtists, it is more probable that he was apprenticed in Amsterdam. In 1619 he was called upon to give testimony in Amsterdam: on this occasion his profession was listed as 'painter'. His oeuvre can be divided stylistically and iconographically into two distinct groups. He belonged to the first generation of DUTCH ITALIANATES, northern artists who travelled to Italy in the 1620s and were inspired by the light and poetry of the southern landscape. The work of this period consists of numerous Italianate landscape drawings and paintings.", "label": "Yes"}
{"text": "19 Amazing Colours For Room Painting : Home Design Living Room Paint Colors Walls\nHome design living room paint colors walls is one images from 19 amazing colours for room painting of SFConfelca Homes photos gallery. This image has dimension 2048x1536 Pixel and File Size 0 KB, you can click the image above to see the large or full size photo. Previous photo in the gallery is dining room blog archive paint color schemes. For next photo in the gallery is room decorating ideas living paint colors. You are viewing image #4 of 19, you can see the complete gallery at the bottom below.", "label": "Yes"}
{"text": "Welcome to the new Northern Light - Acrylic Pouring Abstract Art tutorial. Today is a fluid art experiment time! I'm so excited to try out the phosphorescent gel in landscape painting with fluid acrylics. These new paint pouring supplies are supposed to glow in the dark once the pour painting is dry.\nSo, I have a yellow and a green one. These are gel, not paint. Also, I have prepared a whole bunch of different colors that I want to use along. I thought about what can be better to test out phosphorescent gel than to do Aurora painting. So this is what I'm up to in this fluid art video tutorial.\nAcrylic Pouring RECIPE used for today’s flow art painting:\nAcrylic Colors and Supplies used in this Northern Light -\n\"Aurora Bliss\" is a secret message for this pour painting. So, I have prepared this gel, I also have a bunch of other colors, mostly green like an Aurora Northern Light, and a couple of other colors to complement - some purple and pink. And this product is a gel which means it's supposed to dry transparent but it glows in the dark. So even though it kind of looks greenish and yellowish right now, I don't know exactly how that's gonna dry, so I want to accompany it with actual green colors that dry green. And for the base, I want to experiment with the fluid painting composition. I want to let the paint and gravity decide the layout of my Aurora lights.\nLet's see how this abstract painting idea turns out and let's see how this product works. And let's get started.\nThis abstract pour painting is done and finished. I covered it with the glossy varnish. This acrylic painting turned out so dreamy. So beautiful. It's like a winter fairy tale. And this winter landscape painting got a lot of texture. I love how the trees turned out. And I got some texture in the Aurora section though, so it's definitely very unique and very interesting fluid painting. I added some reflection of this Northern Light glow on the snow and on some sides of the trees, and this effect definitely makes more sense when you look at this abstract painting in the dark. So, yes, I am truly in love with this piece of art.\nI hope you enjoyed this acrylic painting tutorial and looking forward to hearing from you! Happy creating!\nMore Acrylic Pouring Tutorials\nWant to master acrylic pouring technique and express your creativity with fluid art? You are in the right place tp learn! Discover more creative art tutorials with similar style and techniques:\nHello, creator! My name is Olga Soby, and if you are new to acrylic pouring and fluid painting - you are most welcome on my website and my YouTube channel!\nI’m a contemporary artist based in Canada with my roots going back to Ukraine. I specialize in fluid media and consider myself an unconventional artist - instead of regular brushes, I use water, fire, airflow, and gravity as my tools for achieving the most unique effects in my art. Read more...\nOriginal Art For Sale\nThrough my artwork, I employ Colors and Shapes as the most beautiful universal language. And with the interweaving of their symbolism and primal meanings, I create each painting to tell its own unique story. You can find all of my original paintings available for purchase here.\nFine Art Prints\nA collection of limited edition prints of some of my most popular recent work presented on the highest quality fine art papers.\nAvailable in three sizes. You can find a full collection of my fine art prints here.\nThere's More To Explore!\nBest tools and recommendations to be successful in acrylic pouring\nFREE Acrylic Pouring Calculator - calculate how much fluid paint you'll to cover your canvas size.\nFREE Acrylic Pouring Supplies Guide - discover all the best paints and tools needed to create fluid art paintings.\nBEST Waste Minimization Tips & Tricks - discover how to successfully minimize waste involved in acrylic pouring.", "label": "Yes"}
{"text": "Nature, forest, sea: where do we live? What do we surround ourselves with? Painting finds its subjects in nature and in life. Sometimes it is figurative, sometimes abstract. This booth invites viewers to remember moments of their own lives or to imagine new ones.\nLandscape, nature, still life, love, longing, wanderlust, and homesickness – these are the themes of our lives, which have always been subjects of art.\nLandscape painting and still life (in French, nature morte, or dead nature) are two of the oldest genres of painting alongside the portrait, the history painting and genre painting.", "label": "Yes"}
{"text": "Model # KZ0250CT\nStore SKU # 1000168605\nThe HANDy Paint Pail was designed to make your painting projects a breeze! Ruggedly constructed for both professional and do-it-yourself painters, the HANDy Paint Pail will withstand years of use, is solvent resistant and works with any paint or stain. The HANDy Paint Pail is easy to clean and makes wash-ups fast and effortless.\n- Solvent resistant, works with any paint or stain\n- Brush scraper controls the amount of paint on brush\n- Easy-clean surfaces make wash-ups fast and effortless\n- Chrome-plated 8mm (516\") shank, 90-degree angle", "label": "Yes"}
{"text": "Akt | digart | digart.pl\nNude in Art\nNude in White, fine art print of original oil painting by Sheila Dunn\nDo you like art nude? Making Nude in Art Collection That You Love. Invite you follow Pin, repin \"The Best Nude Art\" Board\nFigure studies that are still interesting.\ngorgeous GEOMETRIC #Gown. stunning nude color fabric\nThe Edge of Realism | Jacob Dhein | \"Nude in Blue II\" | Abend Gallery Fine Art and Custom Framing\nalongtimealone: Nude in an Interior Pierre Bonnard - circa 1912-1914 (by BoFransson)\nPaintings I love\ni used to draw nudes at the mass college of art in boston !\nIt's SOOO ALICIA !\n'A Pink Nude Seated' (1935) by Henri Matisse https://www.artexperiencenyc.com/social_login/?utm_source=pinterest_medium=pins_content=pinterest_pins_campaign=pinterest_initial", "label": "Yes"}
{"text": "Matthew 13:43 Then the righteous will shine forth as the sun in the kingdom of their Father He who has ears, let him hear.\nThis was a fantastic sunrise I was privilege to watch unfold one morning on my way to work. I just loved the rays shooting to heaven and beyond. This painting was done on a piece of masa paper. The paper was crumbled first, in the patterns of my clouds and textures I saw in the sky. I then applied color to these crinkles and the paint bled into the crinkled lines. Once dried the masa paper was adhered to 140 pound cold press paper with matte medium. I then continued on with my water color painting. This is a 12×16 painting.", "label": "Yes"}
{"text": "In our online gallery, you can find some of the most atypical pieces made by local artists and living legends that are embedding in their artworks the authentic vibe of street art & graffiti.\nThis one of a kind canvas recently painted by Pisica Pătrată depicts his cute and loved square cat character, coated in green with a deep, dark blue outline, floating on a red background. Until now, we have never seen a canvas made by Pisica Pătrată using only spray paint. This canvas directly relates to his street art activity and captures his master skills, gained during the past decades of mural painting, art installations and interventions in public space.\nThe painting, titled “Expression 1 (Expresia 1)”, captures and incorporates Pisica Pătrată‘s wide experience and his personal emotions, transmitted by his main character that appeared in all of his works.\nSpray paint on a 50 x 50 cm cotton canvas.\nAbout PISICA PĂTRATĂ\nPisica Pătrată (the Square Cat) is one of the most acclaimed illustrators and muralists in Romania, and also the founder of the Comic Books Museum. He has an intense activity, with many public appearances, book launches, comics, magazines, personal exhibitions, participation in festivals and a long series of murals. In the Un-hidden street art in Romania book and the map, you can find a good part of the works and artistic installations featuring Pisica Pătrată‘s characters, which reconfigure forgotten spaces in the urban environment, galleries or even museums.\nIn recent years, we have been happy to have several opportunities to collaborate with Pisica Pătrată by creating one of the most beloved murals in Bucharest and a street art installation on the façade of the Capitol Summer Theatre (2008, 2016, 2017). We exhibited some of his astonishing paintings in multiple collective exhibitions at Kube, Lente, Palatul Universul, Romanian Design Week and Imbold Gallery. In the living room and in the urban garden of Lente, you can find the mural made in 2016, within the series Pictăm Pereți, and the wooden totem Un-hidden Bucharest (2017). Also, in collaboration with the Un-hidden Bucharest project, Pisica Pătrată installed 6 wooden panels on the façade of the Cina building, which hosts the M60 Space (2018). At the end of last year (2020) we invited Pisica Pătrată to paint a large canvas during the feeder sound live session with Primărie.", "label": "Yes"}
{"text": "Acrylic paint is a popular choice for artists and crafters because it is versatile and easy to use. However, sometimes you may need to remove acrylic paint from surfaces. There are a few methods you can use to remove acrylic paint, depending on the surface and the amount of paint you need to remove.\nTo remove acrylic paint from surfaces, use a cloth dampened with warm water and mild detergent. Or, for tougher stains, use a cloth dampened with denatured alcohol. Acrylic paint should not be removed with mineral spirits or paint thinners.\nDoes acrylic paint come off easily?\nAcrylic paint is safe for skin, but it can be difficult to remove if it gets wet. Once dry, the paint can irritate the skin and block pores. Acrylic paints dry fast, so you will have to wash any paint off quickly.\nThere are a few different ways that you can remove acrylic paint, depending on the surface that the paint is on. If the paint is on glass, you can use vinegar to remove it. If the paint is on a non-porous surface like metal or plastic, you can use a scraper to remove it. If the paint is on a porous surface like wood or fabric, you can use baking soda, soap, and water to remove it.\nCan dried acrylic paint be washed off\nTo remove dried acrylic paint from clothing, the best method is to first treat the stain with laundry soap and sunflower oil. Then soak the stained area in warm water for 15 minutes. After that, the acrylic paint can be easily removed by hand or in a washing machine.\nYes, acrylic paint can be washed off with water while it’s wet. However, if the paint dries down, the paint solidifies into a stain and begins to resemble a substance similar to plastic. Once the paint has dried, it cannot be removed with water.\nIs acrylic paint permanent?\nAcrylics are a versatile medium that can be used for a variety of different projects. They are water-based, quick-drying, and easy to clean up with simple soap and water. Acrylics are also lightfast and permanent, and the surface becomes strong and flexible when dry. When learning how to paint with acrylics, it is important to keep these things in mind in order to get the best results.\nIf you have excess wet paint, you will need to clean it up before you can remove the stain. You can use warm, soapy water, nail polish remover, denatured alcohol, or a scraper depending on the surface. If you cannot remove the acrylic paint yourself, you should contact a professional cleaner as soon as possible.\nWhat removes dried acrylic?\nWhether you’re an artist or you simply made a mistake while doing a craft project, it can be tough to remove acrylic paint from clothes and other surfaces.\nWhen it comes to cleaning paint off surfaces, there are a few different options you can try depending on the material. For softer surfaces, like fabrics or carpet, you can try using a plastic scraper or putty knife to gently scrape away the paint. You can also use denatured alcohol or acetone on tougher areas, but be sure to spot test beforehand to avoid damaging the surface.\nDoes rubbing alcohol remove paint\nAug 5, 2014 – If you need to remove paint from fabric, latex paint specifically, then this trick using rubbing alcohol is the answer! All you need is a clean …\nYes, acrylic paint can be washed out of clothes, skin, hair, leather, and shoes when it is wet and dry. Dishwashing soap and water, isopropyl alcohol, baby oil, and acetone are among the most effective agents used to remove acrylic paint.\nDoes acrylic paint stain?\nAcrylic paint is water-based, fast-drying, and commonly used for crafts. Acrylic paints take a bit more effort to remove because after drying, they turn into a plastic-like substance that really adheres to fabrics.\nTo get acrylic paint stains out of clothes, follow these steps:\n• Try removing wet paint with soap and water. If the paint is still wet, you may be able to remove it by washing the item of clothing in warm water with laundry detergent.\n• If the paint is dry, you’ll need to scrape it off with a blunt knife or paint scraper.\n• Once you’ve removed as much paint as you can, soak the clothes in a solution of one part vinegar to three parts water for 30 minutes.\n• Wash the clothing in the hottest water recommended on the care label, using laundry detergent.\n• Check the clothing for any remaining stains and repeat the above steps as necessary.\nAcrylic paint can easily wash off when it is wet. You can use a fabric softener to remove it from clothes. On a stained window, you can add drops of water and scrape the paint off. If acrylic is on your skin, you can use rubbing alcohol and wash it in a circular motion to remove it.\nCan baking soda remove acrylic paint\nBaking soda is excellent at removing both acrylic and oil-based paints from clothing. Simply wet the stained area and sprinkle on some baking soda. Allow the baking soda to sit for a few minutes before rub it into the stain. Wash the clothing item as you normally would.\nNo, acrylic paint is not waterproof. When the paint is wet, it is water-soluble and can be easily removed with water. Once it dries, it becomes water-resistant.\nCan you remove dried acrylic paint from canvas?\nThe secret to removing acrylic paint from a canvas lies in isopropyl alcohol (at least 60% solution). The isopropyl alcohol breaks apart and dissolves polymer chains that sit on top of acrylic paint when the paint is dry. It’s more affordable and less toxic to the environment than other types of paint solvents. Follow the steps below to remove acrylic paint from your artist canvas.\nAs an artist, it’s important to be aware of the shelf life of your art materials. Gouache and acrylics are two types of paint that often go bad due to their water-based nature. If your paints start to smell sour or dry out, it’s time to replace them. Shelf life: 2-5 years.\nWhat is the solvent for acrylic paint\nRubbing alcohol is an effective way to remove dried acrylic paint from both non-porous surfaces and clothing. The 99% concentration works best, but it can be ordered online. Other cheap and readily available cleaning solutions include white vinegar, nail polish remover, and denatured alcohol.\nAcrylic paint is permanent once it dries. This means that it will not come off of surfaces easily and will be difficult to remove if you change your mind. It is important to take care when using acrylic paint, as it can be difficult to fix mistakes once the paint has dried.\nHow do you get acrylics off without acetone\nIf you’re looking to take your acrylic nails off at home without using harsh chemicals like acetone, one option is to try using warm water. Simply add a few drops of soap to a bowl of warm water and soak your nails in the mixture for 20 minutes. Once you’ve given your nails a good soak, you should be able to gently remove them without too much difficulty.\nIf you’re looking to remove paint from plastic without damaging the substrate, use a softening agent like cooking oil, motor oil, or WD-40. These will help to break down the paint so that it can be easily scraped away.\nIs acrylic paint water based\nAcrylic paint is water-based and it adheres extremely well so it’s durable. The 100% acrylic sticks so much that it can be applied to almost any surface. It even sticks to the painter’s fingers for several days (even when he scrubs) if he does not wear nitrile gloves.\nThere are many liquids that can remove dried acrylic paint from paintbrushes, and one of the most effective is rubbing alcohol.\nTo remove the paint, dip the brush in the rubbing alcohol and let it sit for five minutes. After that, use your fingers to remove the paint from the bristles. If necessary, you can also use a brush cleaner or old toothbrush to remove any stubborn residue.\nCan I paint over an acrylic painting\nNov 6, 2021 – You can paint over dry acrylic paint just as you would any primed surface. The surface of the acrylic is water resistant and non porous, so …\nFor truly stubborn paint spills on plastic, turn to isopropyl alcohol (rubbing alcohol), which you can buy pretty much anywhere, including Amazon.\nDoes vinegar remove paint\nVinegar is a natural paint remover that is effective on both water-based and oil-based paint. You can use it to remove paint from wooden and metal surfaces. To remove paint with vinegar, simply soak a cloth in vinegar and then use it to wipe down the surfaces. Vinegar is also a good alternative to harsh chemicals like paint strippers.\nThere are two chemicals that are commonly used to strip paint from metal surfaces: ammonia and acetone.\nAmmonia is generally considered the more effective of the two, but it can also bemore corrosive. Acetone, on the other hand, is less effective but also less likely to damage the metal.\nTo remove paint from a metal surface, simply apply either chemical to the area and scrub with a brush or cloth. Be sure to wear gloves and protective eyewear when working with these chemicals.\nOnce the paint has been removed, you will need to clean the surface with soap and water to remove any residue.\nDoes baking soda and vinegar remove paint\nCombine baking soda and water, or white vinegar and water, in a pot or pan. (For every quart of water, add 1/4 cup of baking soda or vinegar.)\nBring the mixture to a boil on your stovetop.\nUse a brush to scrub the paint off the metal surface.\nRinse the surface with clean water.\nVodka can have a number of different uses that go beyond just being a party drink. Here are some ideas:\n– Use it undiluted to remove ink stains from fabric (dab, don’t rub).\n– Use undiluted vodka to remove paint from clothes.\n– Vodka can be used as a natural disinfectant when diluted with water.\n– Use vodka to clean windows – it will leave them streak-free.\n– Vodka can be used to remove grease stains from clothing.\n– Vodka can be used to clean stainless steel appliances – just dab some on a cloth and wipe.\nDoes hydrogen peroxide strip paint\nHydrogen peroxide is a great paint remover because it is cheap and non-toxic. It works best on fresh paint, but can also remove dried paint. To use it, simply dap a cloth, scrubber or steel wool with hydrogen peroxide and cover the surface with the liquid.\nWe found that peanut butter is an excellent way to remove paint from hair! The grit in the peanut butter will help to loosen and remove the paint, without causing any damage to your hair.\nWhat happens if you wash acrylic paint\nAcrylic paint will wash off when it is still wet. Once it dries, it becomes waterproof and harder to remove. The best way to remove it is to use a moist cloth or rag to get to the paint before it dries.\nYou can use acrylic paint on metal surface provided you give it a properPriming the surface is necessary to get a lasting paint finish on any metal surface, be it graphics or plain old paint jobs. For both outdoor and indoor surfaces, consider using synthetic latex-based primers for better resistance to chipping and peeling.\nDoes Hairspray seal acrylic paint\nAcrylic paint, tempera paint, and other types of paint are not compatible with hairspray. Hairspray is neither permanent nor waterproof, and some formulations of hairspray and paint can react badly to each other. This could cause your paint to melt or become gooey.\nAcrylic paint is perfect for woodwork projects because it’s easy to use and clean up, and it dries quickly. Plus, it offers a beautiful, glossy finish.\nTo remove acrylic paint from surfaces, use a damp rag or sponge to wipe it away. If the paint is dry, use a soft-bristled brush or razor blade to scrape it off. Acrylic paint can also be removed with denatured alcohol, paint thinner, or acetone.\nA good way to remove acrylic paint from surfaces is to use a mild solvent such as rubbing alcohol or acetone. Apply the solvent to a rag and gently rub the paint off. If the paint is stubborn, you may need to use a putty knife or other scraping tool to remove it.", "label": "Yes"}
{"text": "Norfolk artist Claire Cansick is fascinated by nature, colour and the female form. There are two sides to her work: the landscape and the figure. In both, she experiments with line, silhouette and colour.\nHer landscapes explore the huge skies and flat, open vistas on her doorstep as well as documenting her travels to more exotic destinations and exploring current affairs. They are full of…Show more light, even when set in the middle of a forest, and she plays with colour and compositional elements to create a sense of place.\nHer female figures are drawn through a meditative practise and flow from her imagination. She explores line and silhouette within a limited palette to describe a female figure caught in movement, or a moment of stillness.\nClaire is a proud member of the Arborealists and exhibits alongside the 60 members all around the UK and Europe. She is also a member of ArtCan organisation and exhibits with them in the UK.Show less\n\"I particularly like Claire Cansick’s female figure series. Her play with perspective and linear quality of drawing result in isolated, otherworldly female giants. They remind me of the work of Egon Scheile.\"\nRebecca Gordon - Rise Art Curator\nArtworks by Claire Cansick\nFollow me to be the first to see new work :---)))\nClaire Cansick is featured in\nArt Style Files\nOut of the Studio\nIn the Studio\nNot what you were looking for?\nFind the perfect artwork using our filters or talk with one of our advisors to help you discover it.Browse for art", "label": "Yes"}
{"text": "Gallery Of The Kitchen Paint Color Combinations Furniture\nKitchen Paint Color Combinations Furniture 20 Awesome Schemes For A Modern Complementary Scheme Cool\nKitchen Paint Color Combinations Furniture Choosing Best Colors For Your Home Gray Great\nA youthful and cheerful option is to choose bright colors for the kitchen example yellows oranges reds are perfect give this room some brightness appearance making it comfortable cosy place have good time. Add color to your kitchen give it new life put together a fresh scheme using these tips for selecting the best paint colors cabinets walls and more plus get ideas painting from experts. When there are too many shades available choosing the right color combination for kitchen might be harder than you think however can make it easier by narrowing down to options of colors walls.\nChoosing the best kitchen paint colors usually goes in two directions color of cabinets and wall we shall not discuss which, many people choose to have white or cream walls as these work well a neutral backdrop the kitchen other ideas include statement wall in colour that flatters bright splashback on add pop of even chalkboard paint create quirky finish. How to find the best white paint color for kitchen cabinets and a look at some of most popular paints being used read it choosing your cabinet redo ideas pics, adding color is the best way to change things up in kitchenno renovation no construction just paint and a brush whether youre greige kind of person or someone who loves pop, choosing paint colors can be a time consuming and frustrating process when there are so many shades to choose from the good news is that certain work best in specific rooms. Choosing the best paint color for your kitchen can be overwhelming but there is a way to make it bit easier walls and possibly cabinets are whats going painted you also bring in marin county homes style other ways, these are the best paint colors for kitchen based on expert recommendationsfrom cool neutrals to tans browns blues and bright reds.\n20 awesome color schemes for a modern kitchen revere pewter furniture brown what colors to paint pictures ideas from, 33 chalk paint furniture ideas simple and attractive arts 35 best kitchen colors. Kitchen paint colors lovely design ideas aura color modern purple extraordinary for little kitchens your home.\n- Posted By : Refdsg.co\n- Size : 4464 x 2808 Pixel\n- Read : 6 Times Read By User\nShare This Style\n◀ Back To Style", "label": "Yes"}
{"text": "Really like the concept and the colors you used here. Great work!\nParticularly the eyes and light source running behind the focal, I love the way you have transfered that to her eyes, it really draws you in\nI love the spongy paint style and the great use of dark/light colours! Great job with the intricate tattoo work and the necklace.\nThe blending of the face and skin looks amazing along with the reflection of the light.\nThe beam of light works well with the composition\nKeep up the great work!\nGratz on the DD and I hope you have an amazing day!", "label": "Yes"}
{"text": "scaleupView Full Screen scaledownExit\nCotman Watercolor Palette Set\nBuy 1 get 1 at 50% off!\nThis set contains ten 8ml tubes of watercolor paint, a watercolor brush, a sturdy plastic palette with six rectangular wells and six slant wells, a color chart and a painting techniques booklet. The set includes cadmium yellow hue, cadmium red pale hue, alizarin crimson, ultramarine, viridian hue, yellow ochre, burnt sienna, burnt umber, ivory black and Chinese white.", "label": "Yes"}
{"text": "Green Impressionist Landscape Painting (2017) from Java, \"Baturiti Beauty\"\nThis item is available for backorder and will ship within 2 to 8 weeks. Read more\nThis item is available for pre-order and will ship within 2 to 8 weeks. Read more\nThe lush greenery of Baturiti village in Java thrives beneath a colorful, kaleidoscopic sky in this painting by Nyoman Tomblos. He paints in an impressionist style, using dabs of the paint brush to suggest the waving leaves of coconut trees and rice paddies. Let this awe-inspiring addition to your home decor bring you a little bit closer to nature.", "label": "Yes"}
{"text": "Art exchange event held in Sanya to promote Hainan’s int’l image\nOn Dec 25th, a Hainan Tianya art exchange event was held in the Sanya Maintint Hotel. This art exchange event aims to accelerate the formation of regional art characteristics in Hainan and unite more excellent painters home and abroad to show the beauty of Hainan from an aesthetic perspective.\nDuring the art activity, many painters brought their paintings and showed them off to the public. These paintings were mainly created based on the Hainan natural scenery and cultural customs.\nBesides, many painters proposed to set up an art institution and invite great artists to come together to hold regular art tours around China to attract more people to appreciate the beauty of Hainan.\nIn the future, the art exchanges and art exhibitions, from an aesthetic point of view, will greatly promote Hainan’s international image.", "label": "Yes"}
{"text": "Giclée fine art print on 230 gsm Archival Smooth Matt paper in solvent free pigment inks.\nReproduced from the original acrylic painting on canvas. The background patterning is derived from the stylised aerial map of the artist’s garden. The contrasting colours are indicative of the dazzling hues found in nature with the varied tints and shades of green representing the changes in foliage seen throughout the year. The message is designed to inspire an increase in growing food.\nMaximum of 4 prints per shipping tube.\nUnited Kingdom £9.00 :: Europe £15.50 :: Rest of the world £25.00", "label": "Yes"}
{"text": "Boho Room Paint\nTeal Walls Boho Layers Teal Walls Living Room, Dining\nFebruary 15, 2021\nBoho colorful living room decor should you paint living, pin by bohoasis on boho decor paint colors for living. Villa betula the dark hues of maren ingeborg grblomst. Boho colorful dining room how do you paint a dining room.\n41 impressive bohemian living room designs interior god, the colorful jungle boho kids room boho kids room, home. A boho anthro euro moroccan traditional family home. Boho colorful dining room should you paint living room.", "label": "Yes"}
{"text": "My version of Cactus at Sunset. A quick fun painting on 18x24 canvas.\nYep what’s up with that anyway! lol\nSign in to leave a comment.\nNot a member yet?\nJoin over 4500 other painters and share your paintings with the world!\nPretty! Sky looks nice!", "label": "Yes"}
{"text": "Exterior Painting by Pro Painters in Brisbane & Gold Coast\nFor an extremely comprehensive exterior painting service, Supply & Apply has got your back. We currently provide an end-to-end service that is renowned for its high quality and lasting finish. It also helps that we have a dedicated team of professional house painters in Brisbane and Gold Coast they are committed to giving you the best results possible. This, alongside our effective project management techniques, will ensure superb exterior painting results, on time and on budget.\nWhat do our exterior painting services involve?\n- General painting packages. We can paint exterior walls, roofs, houses and even paint those spaces with difficult access.\n- Same-day quotes.\n- Dependable results that last for years.\n- Environmentally friendly processes.\n- Superior service, stunning results.\n- A durable and professional paint finish.\n- Superior quality paint and paint related products.\n- An end-to-end exterior painting service that combines highly effective project management techniques.\n- Thorough site clean-up with proper waste management procedures.\nWhy Supply & Apply?\nSurface preparation, Priming, Painting, Clean-up, and Inspection.\n1. Surface Preparation\n3. Drop Cloths\nOnly paintable latex caulking will be used on your home. Silicone caulking is not paintable and must replaced prior to a paint job, as it is primarily designed for bathrooms.\nThis process is used on older, wood framed windows, often in heritage homes to preserve the authenticity. Many modern windows do not need this step, and we can provide you with advice on the windows.\n9. Painting Coat\n10. Finish Coat\n11. Clean Up", "label": "Yes"}
{"text": "A dark river flows through a landscape of trees in deep browns and blues.\nRivulets of cascading paint fall freely from the rocky foreground.\nA spontaneous watercolor painted with granulating colors.\nMixed media original watercolor painting on 140# Arches cotton paper using Daniel Smith professional watercolor paints and Daler Rowney FW inks.\nOriginal Painting Size: 8.5″ x 11.5″ unframed\nOriginal Art Price: NFS", "label": "Yes"}
{"text": "For Saltillo painting services USA Painting Pros is your best preference. Concluding projects when they're due and on budget is what our Saltillo painters concentrate on and we frequently offer the most reasonable bids in the region to our clients. Painting is a big decision, so whether or not your house needs a new paint application or you happen to be deliberating a serious renovation, USA Painting Pros delivers the best in quality in Saltillo painting. When considering Saltillo painting USA Painting Pros is the industry giant, and we are certain that we will be qualified to undertake any home painting job that you need to be completed and that you are going to have confidence that we'll add splendor to your interior. Are you at this time attempting to locate a Saltillo painting contractor with a superior track record of success?\nWe complete typical exterior remodeling repairs in flooring, wall structures, doorways, pantry shelves and siding. Our firm's skillful with many variants of house and outdoor paint, commercial and housing. We are the trusted option for painting in Saltillo services for lots of hometown private companies, including: residence buildings, automobile dealers, boutiques, bistros, greenhouses, academic institutions, synagogues, loan companies, amphitheaters.\nEach of our prospects' tasks is supervised individually by our Saltillo painters. Our professionalism and detailed preparation provides standard results and our company has attained multiple accolades on them. We include a no obligation quote & fair and affordable pricing. Unique understanding of the house painting industry, superb workmanship when executing the jobs, superb client care and premium quality products is what sets USA Painting Pros apart from the challengers. We are give a three-year warranty on craftsmanship and resources, wholly protected, effective. We have a lot of laborers that will oftentimes start out services inside of several days after your estimation. We are entirely protected, dependable and grant a one-year assurance on excellence and items. A local Saltillo painting firm here to match all your house painting requests - that's USA Painting Pros.\nUSA Painting Pros's Saltillo painters are specialized contractors who buyers can rely on to provide fine quality work. Really, a Saltillo paint contractor that functions with principles and legitimately and will give notice to all your demands is the contractor which people must choose. Identifying the top Saltillo painting contractors to paint the house might be complicated. We solely retain master, accomplished painting contractors in Saltillo with understanding and skill to outdo your needs. We'll normally correct any typical things, that include porch sweeping, house siding or closet improvements or pressure detailing the roofs, right before the paint design.\nWe would employ any of your selected paint labels. We utilize elastic, latex, primer, quick drying, easy clean, oil based paint. Considering that we do wish to be sustainable and reasonably priced, only superior product lines are put to use to make certain that your project is done right. We truly attempt to become environmentally conscious. Fuller O'Brien, Sherwin Williams, Regal, Behr, Dutch Boy Paint, Bristol Paint, Kilz, Fine Paints of Europe, Duron, Olympic, California Paints, Anna Sova, Harmony Interior Latex are just some of the paint labels our Saltillo painters go with.\nWe are Saltillo painters who focus on high quality instead of velocity, and handle every single paint job uniquely. The dimensions and extent of the Saltillo paint project is what's likely to define the complete time for completing the paint in Saltillo project, yet please be certain that USA Painting Pros shall do it's best to leave the painting duration as little as is feasible whilst nonetheless offering premium results.\nOnce you receive a consultation and the scope of the particular challenge is decided, most notably if there are fixes to be finished first off, the length of the project and the supplies necessary, and then it will be easy to provide an detailed approximation of how much time the task might take. And when we tell you that project schedule, we stick with it. Overall, one task may take from nearly several weeks when we are doing outside walls, house interior and elaborate finishes on a sizeable residence or structure, to half a day for a simple home. To attain a correct task time line please phone us at 888-582-2824 for an examination.\nOur company is very proud to pronounce that the experience and support service of USA Painting Pros is up to this point unrivaled in the Saltillo, 75478 zipcode region. We are offering zero-cost Juneau, AK painting estimates, if you already have family in other states. Please feel free to contact us at 888-582-2824 for a consultation today.", "label": "Yes"}
{"text": "\"I hope you find a feeling of peacefulness, calm and tranquility in my painting, as that is what I seek to achieve.\" - Leslie Berenson\nGrowing up, Leslie Berenson always knew she would be an artist. In fact, she exhibited in her first art show at the age of 7. Inspired by childhood, much of her work is intimately tied to her memories of growing up. She writes:\n\"I often reflect on those days as a young girl when I would go fishing in the early mornings and watch the sun rise and mystically flicker on the water. I loved those times when my dad and I would sit in the stillness and tranquility of day break.\"\nIt is this exact sense of stillness colored by the mysticism of childhood memory which permeates her paintings.\n\"Standing Out\" 30x60\nBefore becoming a full time professional artist, Berenson worked for twenty years as a creative director. This role offered her the chance to travel to some of the most beautiful places in the world and the memories of that time spent traveling influences Berenson to this day. She writes:\n\"I’ve directed photo shoots in some of the most beautifully inspiring and quaint places in the world. From little fishing villages all along the New England coast, to the blue waters of the Caribbean and the exotic places on the Hawaiian Islands-I have such vivid and wonderful memories.\"\nIndeed, though impressionistic and hazy, Berenson's works exhibit a very real sense of place - that is, a place remembered, or perhaps an imagined locale made up of composites which lives only in the mind.\n\"Wisps of Clouds\" 20x24 \"Unspoiled\" 36x36\nHer love of the sea is at the forefront of her work, with the peace she finds out on the water shared intimately with the viewer through her typically smoky color palette and dreamy attention to line and form.Berenson's work is regularly compared to that of the Impressionist masters with a touch of magical realism thrown in. This signature style and heightened emotional connection is valued by collectors all over and has won her numerous awards throughout her career. Berenson's works are featured in many well respected private and corporate collections.\n\"Day Break\" 24x36\nNever far from the sea, Berenson paints out of two studios: one overlooking the islands of Boston Harbor, the other in Vero Beach with a clear view of the beautiful coastline of South Florida.", "label": "Yes"}
{"text": "A lecture by Dr Beth Williamson, University of Bristol, investigating the theme of St Luke Drawing in the Flemish Renaissance painting.\nArtists include Dieric Bouts, Rogier van der Weyden and others.\nSpeaker: Dr Beth Williamson, University of Bristol\nSt Luke Drawing the Virgin and Child\nFor two years from 26 October 2017, Bristol Museum & Art Gallery will host the mesmerising painting St Luke Drawing the Virgin and Child, on loan from The Bowes Museum.\nThis masterpiece of Flemish Renaissance art was painted in the workshop of Dieric Bouts the Elder in the mid-15th century. A series of events will celebrate the picture’s arrival in our Old Masters Gallery.", "label": "Yes"}
{"text": "ELKHART — The Midwest Museum of American Art is presenting the exhibit Folk Memories: The Paintings of Emma Schrock from Friday, April 12, through Sunday, June 2.\nDrawn from the MMAA holdings, the exhibit features a dozen paintings that survey the Amish subject matter made famous by the ‘Grandma Moses of Elkhart County.’\nSchrock was born in Wakarusa in 1924 and began painting at age 40. She did not marry or have children, and her paintings became like children to her, according to a press release.\nThe release said Shrock’s Old Order Mennonite community forbade the depiction of the human form, but that she was allowed to paint and sell her pictures in order to make a living.\nAs a folk artist, Schrock painted from memories gathered from her childhood, as well as things she experienced among the Amish and Mennonite communities, such as scenes of one-room schools, barn raising and quilting tables, all typical of the artist’s output.\nShe was able to make one painting a day, which became her work ethic for the rest of her life, according to the release.\nWhile it is estimated that she made more than 2,000 works in 25 years as an artist, it is her earlier work, from 1964 through 1980, that is most authentically naive and most highly prized by collectors.\nThe MMAA permanent collection currently maintains 27 works by Schrock, three of which were purchased from her first solo public art exhibit in 1979 at the museum.\nThough Schrock died in 1991, her paintings are still being collected today by enthusiasts from northern Indiana to Lancaster, Pennsylvania, the release said.\nThe Midwest Museum of American Art is open Tuesday through Friday from 10 a.m. to 5 p.m. and Saturday and Sunday 1-4 p.m.", "label": "Yes"}
{"text": "Wil Wiegant Wil studied at the art academy in Utrecht, where he later followed a masterclass in 1996. Wiegant is known, not only for his brilliant yellows (he has been called 'the painter of the yellow'), but also for his IKAT paintings, based on the woven IKAT's from Indonesia, his country of birth.\nHis paintings are radiating an optimistic, positive energy.\nHe exhibited his work in: Amsterdam, New York, Joan Miró museum in Barcelona, and National Gallery in Lisbon, among others. Last year work was bought by a museum in Ahrenshoop - Germany (collection Lüpertz, Baselitz). www.wilwiegant.nl", "label": "Yes"}
{"text": "Ad Search Make Acrylic Paint. Lighten the wash by removing some of the mixture from the bottle and diluting with more distilled water.\nShake to mix it.\nHow to make acrylic paint translucent. Stir the water and varnish solution slowly to avoid any bubbles forming in the mixture. Mix the paint and the glaze or additive together in a large clean bucket. Use pale colors like that of the sky and lightly apply in smooth rippled formations across the surface.\n3182017 Use a clean jar or container to mix the glossy varnish and add 25 water to the solution. Thinned acrylic paint creates vibrant washes similar to watercolor paint. Make sure it is a thin layer.\nHere is the recipe for Magic White for Acrylic painting. Add faint puffs of rippling white in some areas to create reflecting clouds. Blending Gel Liquid looks clear.\nAdd reflecting light and objects on the surface of the water to complete the overall translucent effect. But Ive only painted solid objects before with acrylic so I have no idea how to make the paint appear see-through for the cosmic clouds of gas and dust. 10212019 Now I have come up with a Magic White recipe for Acrylic paints.\n12162011 When painting with acrylic paints is there a way to make the paint appear translucent. However its a good idea to use muted colors too. 10232018 Heres how to make your paint look transparent without having to buy transparent paintAnd heres the link to the free PDF on.\n8302017 Darken the wash by adding small increments of acrylic paint into the 1-oz. If both the thin layer and the thick layer the clump look the same that paint is opaque. If not if there is a value change and the color looks different the paint.\nAd Search Make Acrylic Paint. How to fix your painting. Mix enough to do the whole job with a little left over for touch-ups.\nSlow Drying Blending Gel Medium looks like white paint. However your paints will take on a more pastel color. If your painting has muted colors with a few bright spots the bright colors will stand out more.\nAll you need are 3 ingredients. 312014 On your palette when you have your paint squeezed out of the tube into a large clump this will be your thick layer of paint. Ad Get Acrylic Translucent.\nGet Instant Quality Info at iZito Now. Get Results from 6 Engines at Once. You can follow the instructions on the label of the varnish.\nExperiment with the ratios and check the instructions on the label because not all paint-thinning mediums are alike. Use eggshell satin or semi-gloss paint to mix with your glaze or additive. Get Results from 6 Engines at Once.\nIts unlikely youll get more than 80 of the medium out before the glitter concentration becomes to high. I would like to paint a nebula with stars in it and what not. Ad Get Acrylic Translucent.\nAs for the container your going to place the clean medium in make sure its at least 34 of the volume of paint your using if not equal. Place the item you need to paint on and lay it flat so that the surface is even. I let the cold red and lilac and blue mix together in the background.\nOct 20 2017 – Acrylic paint is a versatile artists medium. Another technique to make your paint more opaque is to add a small amount of white gesso or white paint. But unlike traditional watercolor paints acrylic washes are water-resistant once dry.\nTitanium White Acrylic Paint or Gesso or White Acrylic Paint 2. Holi elephant watercolor and acrylics on watercolor paper. Whereas watercolor layers blend and are easily ruined by water even after they are dry.\nTry applying 3-4 coats of white gesso to your next blank canvas and see if that makes any difference in the strength of your colors when you paint. Now take your finger palette knife or brush and drag a small amount of that paint out from the clump. Get Instant Quality Info at iZito Now.", "label": "Yes"}
{"text": "sdss s ____\nAfter a few days of war, Zhu Yuan Zheng established the Ming Dynasty. The Chinese emperor's throne went back to the Han people's hands, and the art academy system was re- established. There were two tendencies. One was the paintings of professional artists, which had a long history; The other one was the paintings of literator painters (similar to scholar painters ) which had formed since the Song Dynasties. The best of professional artists were often sent to the court to work. Therefore, they led the art trend of a dynasty. However, literator painters have formed an individual faction through years of development. They looked down upon art academies. The position and style of professional artists were challenged.\nAs the number of artists grew, a few denominations developed. First, there were the Jiang Xia denomination and Zhe denomination. Their founders were Wu Wei and Dai Jin respectively. ( The art history often combine the two as \" Academy Zhe denomination\" becamuse Dai Jin and Wu Wei were professional artists and their style was similar to that of the court artists.) Their style was partly inherited from \" Ma Xia\". Southern Song's imperial style. The front and back spaces in the paintings are balanced and sometimes plane. Every object seems equally important (without much perspective).The artists used the brush freely. The resulting paintings express untrammeled sentiment. This style was welcomed by the society.\nNevertheless, once the Wu denomination appeared, these two denominations were criticized by each other. That was because their paintings have become rough and slipshod; and plus, these painters had a low social status. To make a living, many of them changed their style, or they got involved in making other handicrafts. This resulted in the prosperity of late Ming's wooden plate relief- print and Nian Hua.\nIn art history, the position of the Wu denomination was later substituted by Dong Qi Chuang's Hua Ting denomination, or the Song Jiang denomination ( Hua Ting is the same as present- day Song Jiang of Shang Hai). Many famous literators and artists have been to Hua Ting. They helped a lot in development of its art culture.\nThere was a mode of imitating the style and painting techniques of famous artists in the past. Academy and imperial artists were asked to imitate academy paintings of Song in the academy. As for the literator painters, they studied and imitated the style of Song's and Yuan's artists.\nIn middle Ming, the Wu denomination appeared of which the founders were Shen Zhou and Wen Zheng Ming. Its style can be traced back to \"Dong Ju\". At that time, civil literators craved for paintings that integrate literature, calligraphy and painting. The style of the Zhe denomination was substituted by the Wu denomination. Artists of this denomination often expressed their goals of life or morals through their paintings. Because of them, literator paintings spread into the courts and among the civilians. They influenced furniture, gardens, teapots... everything in the people's daily lives.\nThere were more female artists than any of the previous dynasties. There were 216 in total from Prehistoric times to Qing Dynasty. Half of them were in Ming Dynasty, mostly in late Ming. Down through the ages, females were discriminated. They were supposed to be a loyal wife at home. Therefore, female artists were very rare. The society did not think highly of their skills and ability. Records of them were only \"accidents\". There were four main types of female artists. The first type was Gong Ye . The three of them ( in Ming ) were imperial concubines. Actually they were not real artists. The second type was Ming Yuan ( 57 in Ming ). They were the wives or daughters in an official's family or a normal family. Most of them were influenced by father or husband. The third type was Ji Shi (10 in Ming). They were concubines or lady's- maids. The last type was Ming Ji ( 32 in Ming ). The third and fourth type had a similar social status. Female artists painted only plants and insects.\nOn the whole, the courts' paintings inherited the style of Song's court's paintings. The figure paintings were mainly on politics, virtuous emperors and officials, and amusements in the courts. The flower and bird paintings were much appreciated.\nPornographic paintings have not been studied before because they are not opened to the public. They were painted by unknown artists, though people often put names of famous artists on them, like Tang Bo Hu. Human figures were painted in Ming when compared to the past. Although some of the paintings were of high standards later on, the artists failed in showing the structure of human body accurately. Some of the paintings were rough and of very low standard. The scenes shown were intolerable to the eye. They were secrete, unlike those of high standards, which could be shown to the public as artworks. This type of painting was at its heights in Ming, but as the Qing government had strict control over thoughts and culture, they spread more secretly until late Qing, when the government was corrupted and they went back to their heights.\nDai Jin (1388 ~1462 )\nHis \" zi \" is Wenjin, and his \" hao\" is Jixgan. His place of origin is Huang Zhou, Zhegang. He had been a worker in foundry of gold and silver equipment. Not long after, he started to learn painting and became famous. Later, he was recommended to the court. It was said that the court artists were jealous of him. Therefore he was excluded out of the court. He went back to Hangzhou to sell pictures, and he became more illustrious. Someone even thought that his paintings were the best of the dynasty. Most of his figure paintings are Taoism figures and virtuous people. He learnt from different artists to create his own different style. One of the main characteristics of his style is that the lines are smooth and fluent. Many people followed his styles, therefore, the Zhe denomination develops.\nWu Wei ( 1459~ 1509 )\nHis \" zi \" is Ciyong ( second elder ) and his \"hao \" is Xiaoxian ( Little Immortal ). His father died when he was young. He was poor ( He has been a servant begore ) but he loved painting. He became famous when he was seventeen in Nanjing. He has been sent to the courts and work for two times. Emperor Zhu Jianshen liked and trusted him, and gave him a \"best scholar of art\" stamp ( Chinese artists stamp on their artworks). Nevertheless, he liked to drink and he was frank. He despised other officials as if they were slaves and servants. Those officials accused and he left unwillingly. In 1506, Zhen Houzhao became the emperor and sent him to the court again. However, he was drunk and died.\nWu Wei's painting is similar to that of Dai Jin and \" Ma Xia\", but his paintings are more untrammeled, like dragons and snakes, and as quick as lightning. It makes the paintings \"energetic\". This is a significant special feature of his paintings. He has a style of delicacy other than this in his figure paintings. Some other artists have a similar style that of him. So the Jiaxia denomination developed.\n>click the picture to see more\nHis \"zi \" iz Qinan and his \"hao\" is Shetian (Stone Field) and Baisheyong (White Stone Elder). He was born into a literary family with good education provided for him. All his teachers were famous artists and literators. His father and oom were also literators and they were good at painting too. He did not search for a job in the government like other educated people. He even refused when other officials recommended him. The reason might be that he was controlled bu domestic discipline in his family. He enjoyed himself by travelling around, painting and reciting poems all his life. He was tolerant to others. His poems are prosaic. All he hoped for was that the government would use good officials and the civilians could live peacefully. He was famous in Suzhou. Everyone including the officials, respected him. He painted mostly landscape paintings, and also flower and bird paintings. His fame spread all the way to the capital. He studied and imitated the style of the Four Masters of Yuan before forty. After that, he developed his own style. Once, he even combined the style of the Four Masters of Yuan in one painting. His paintings became mature after fifty. He integrated poem, calligraphy, literature and painting. He painted forthwith and the composition of his paintings are concise. Because of his hardwork, more people began to like and accept the format of literator paintings, which uses paintings to express the painter's feelings.\nWeng Zhengming was ShenZhou's student. He looked dumb when he was small. Fortunately his father found him the best teachers. He had some friends and classmates. They learnt from each other. He was quiet and he studied hard, therefore he became famous soon. However, he failed in public examinations of his hometown. Although he became an official when he was 54, he did not enjoy it and the position was low. He quited and return to his hometown in 1527. He concentrated on poetry, literature, calligraphy and painting until the moment before he died in 1559. Every of his painting is of the same high quality. He painted steadily. He had a peaceful mind while painting, and so his paintings look gentle and graceful. >click the picture to see more.\nHis \"zi\" Shunqing and his \"hao\" is Dong Chun ( East Village ). His parentage was low. He was only an apprentice in a picture shop. At that time, workshops usually learnt from imperial painters after Southern Song Dynasty. Therefore, his artworks inherited the style of Li Tang and Ma Yuan. Although he was a professional artist, the themes of his paintings are closely related to literators. Some of them are from philosophers' theories; some are on morals. One of his most special paintings is of twenty four beggars. It shows that he had a strong responsibility of the society. Literators despised him as a professional artist, but his student Tang Bohu respected him.\nFour Masters of the Ming: These artists were chosen by Dong Qichuang as the four best artists of Ming\nTang Yin (Tang Bohu ) (1470 ~1523 )\nBohu is his \"zi\". He was a friend of Wen Zhengming, but their characters and parentage were totally different. He had been smart, but mischievous since he was young. He did not study hard. After a success in a small- scale public examination, he had a greed for fame and wealth. He went to the civil service examination of the whole country, but he was innocently implicated in a bribery and was put in jail. He was beaten and treated harshly. After he was released, he converted to Buddhism and called himself \"Liaorujushi \" ( Six similes secular Buddhist devotee ). The \" six similes\" means that \" everything is like a dream, a fantasy, a bubble, a shadow, dew and lightning.\" However, he was so poor that he had to return to reality, selling pictures to make a living. He was beset by poverty and illness throughout his life and he died when he was fifty four.\nHis life was tragic. Nevertheless, he was a genius in art. He had been a student of Zhou Chen and Shen Zhou. His basic painting techniques came from Li Tang, Guo Xi, Li Cheng and Zhou Chen , but the artistic conception is similar to that of literators. His artworks are a combination of scholar paintings and professional artists' paintings. In his figure paintings, there is a larger proportion of women, especially prostitutes. He expresses his innuendo of the society's state and compassion of prostitutes through these paintings.\nHis \"zi \" is Shifu. His family was very poor and he had been a painter when he was young ( not an artist ). Later, he quited and learnt painting from Zhou Chen. Wen Zhengming and his father also directed him. He was intelligent and hardworking. He was so good at imitating old pictures that they looked almost the same as the original one. He learnt from the famous artists' experiences and techniques to from his own special style. It was praised by scholars and officials. He was much more fortunate than his teacher Zhou Chen that he had not been affected by his parentage and became one of the Four Masters of the Ming. Chou Ying was able to change colorful figure paintings and landscape paintings to suit the taste of scholars and officials. He keeps the original style of artisan art, and absorbs the views of scholars and officials. His paintings are archaic, delicate and elegant. Even Dong Qichuang, a radical artist respected him. His landscape paintings' style comes from Zhou Boju's green landscape and Song artists like Li Tang. He also painted using ink and water only. > click the picture to see more.\nXu Wei ( 1521 ~ 1593 )\nHis place of origin is Shao Xing of the Zhe Jiang province. He had a great success in literature, drama, calligraphy and of course, painting, but he was an unfortunate person. Soon after he was born, his father died. His step mother and brother were the only ones to take care of him. He became the scholar of the hsien when he was twenty, but failed to be the first for eight times in the province's public examination. He was very poor and he made a living by being a teacher. At that time, the coastal area was disturbed by foreign enemies. He became a staff of the army to work on classified military information. Not long after, as an official was arrested and commit suicide in jail, he became nervous. He had schizophrenia again, killed his wife by accident and was imprisoned. His friends tried very hard to save him. He was set free after seven years. Then he was beset by poverty and illness and died in solitude.\nBecause of his unfortunate life, the main theme of his poems, calligraphy and paintings is to express his indignation. He criticized the feudal system, treacherous officials and the emperor. He often said that his artworkswere simply a kind of game. This idea made him use the pluckiest format. The ink looks as if it was splashed on the paper. Fruits and leaves are difficult to be identified; Leaves are like jiggling shadows under the moonlight. His motions were vividly and directly expressed through the power of ink and pen. He was able to break out from the structure of the object. To him, it was not important to paint something realistic. It gives the viewer a deep impression. This style influenced many famous artists of later generations, such as Zhu Da, the Yang Zhou school, and even Qi Bai Shi. They were inspired by him. >click the picture to see more.\nDong Qichuang ( 1555~ 1636 )\nHis \"zi\" is Xuanzai and his \"hao\" is Sibai. He became the highest government official of civil posts. To avoid the political corruption, he often escaped back home to create literature and calligraphic works, as well as paintings. He also appreciate and collect artworks with his friends. It is rare for artists to be involved in so many cultural activities. He suggested that when we learn painting, first, we have to learn from artists in the past; Then, we learn from the nature. When we paint, we should treat it as a healthy leisure activity. If we work too hard on it, it is harmful to our health. He listed Zhou Mengfu, Chou Ying as examples of short- lived; Huang Gongwang, Shen Zhou, Wen Zhengming as examples of long- lived. We should paint with the temperament literators.\nApart from the above, he strongly recommended and further explained another art theory- the North and South denominations. This theory is based on Zen Buddhism. He said that Chinese painting had developed into the North and the South denomination since Tang. The north denomination painted coloured landscape. Some of the artists are Zhao boju, Ma Yuan and Xia Gui. The South denomination painted using the washing method. Some of the artists are Jin Hao, Guan Tong, Dong Yuan, Ju Ran and the Four Masters of the Yuan. Indeed, he himself often mixed up the South denomination and literator paintings (scholar paintings). The concept was not clear. It is not a scientific theory. It had confused many people. We should not fully believe in it.\nAt approximately the same time with Dong Qichuang's Hua Ting denomination, Lan Ying and his students were active in Hangzhou, Zhejiang. Hangzhou was once called Wulin. Therefore, they were called \"Wulin Pai\" ( Kungfu society denomination). As Lan Ying's place of origin is Zhejiang, they are also called \" Late Zhe denomination\". Lan Ying learnt painting from painting shops as an artisan artist when he was young because his family was poor. He painted ladies and Jie Hua in his early years. When he grew up, he tried to associate with literator painters to gain a higher social status. He imitated many artists' painting styles and specified it in his paintings like other literator painters. He worked the hardest on Huang Gongwang's style because he was best respected by literator painters. There is much strength seen in the strokes and they look unrestrained.", "label": "Yes"}
{"text": "Coming from an artistic family - his grandfather being famous Paul Guiragossian, Armenian/Lebanese painter - Marc has shown his talent quite early, and made some of the artworks that were very appreciated by the art market while being only a teenager. After great success in Lebanon and lots of sparked interest all over the Middle East, our gallery has brought Marc's artworks here in the UAE. His work can be described as lively and abstract, with colors mixing and melting together on the paper. His artworks give out the feeling of both familiarity and originality and are very easy to be placed in any everyday environment. His prices being still within the affordable range, our gallery would suggest this artist as one of the top picks in terms of art investment.", "label": "Yes"}
{"text": "19th and 20th century artists set out to capture the adventure and excitement of life at sea with their detailed paintings of sailing ships on the open water and coming into port.\nMarine pictures were used as records of life at sea and were often done for the captain of the ship in commemoration. Artists included in this exhibition are Samuel Walters, Abraham Hulk, Carl Frederik Sorensen, John Hammond, P.C. Dommersen, Haughton Forest and unsigned China Coast paintings. Showing alongside this exhibition is a selection of objets d’art, and antiques from Europe and North America.", "label": "Yes"}
{"text": "1. Wieco Art#ad\nWieco Art New York Manhattan Night View in Black and White Giclee Canvas Prints Modern Stretched and Framed Art Work Cityscape Pictures Paintings on Canvas Wall Art for Bedroom Home Decorations#adWieco Art #ad - Horizontal gallery wrapped b & w landscapes city skyline canvas paintings wall art prints ready to hang for home decorations wall decor. High definition giclee modern canvas printing artwork, picture photo printed on high quality canvas.\nCanvas prints size:48x16inchx1pc 120x40cmx1pc. A perfect wall decorations paintings for living room, office, bathroom, bedroom, office, Hotel, dining room, kitchen, bar etc.\n|Brand||Wieco Art #ad|\n|Manufacturer||Wieco Art #ad|\nIPainting New York City Canvas Wall Art Print Black and White Brooklyn Bridge,Empire State Building Wall Art Modern Giclee Artwork for Office Home Decor 12x 12 inch#adiPainting #ad - Home decor: a perfect wall decorations paintings for living room, bedroom, bar, office, office, hotel, dining room, kitchen, bathroom etc. Size: 12x12inch 4-panel 30x30cm 4-Panel.\nAll you need to do is find a nail and hang up this beautiful picture in your new home. High quality: high quality glossy canvas with long lasting durability Printed at high resolution using the latest state of the art colour technology ensures sharp & vivid images every time.\nCityscape New York Canvas Wall Art Decor Picture Print Design Wall Art Painting Decor Decorations for Home Artwork Pictures Bedroom#adCanvas_Art_Design_2015 #ad - The image is just for displaying not for scale, 8''x16''x2p, 8''x20''x1p, pls measure your place before purchase. Due to different brand of monitors, actual wall art colors may be slightly different from the product image.\nBeautiful decoration for living room, dining room, kitchen, hotel, office, bedroom, bathroom, bar etc.\n|Manufacturer||Canvas Art Design #ad|\n4. Make My Banner#ad\nLarge Canvas Print Wall Art – MANHATTAN NIGHT LIGHTS – 40 x 20 Inch Canvas Picture Stretched On Wooden Frame – New York City Cityscape Giclee Canvas Printing – Hanging Wall Deco Picture#adMake My Banner #ad - High definition giclee modern canvas printing artwork, pictures photo printed on high quality canvas. Size:40inchx20inchx1pcs, 100cmx50cmx1pcs.\nStretched and framed, ready to Hang. A perfect christmas and New Year gifts for your relatives and friends. 100% quality guarantee!100% return and refund guarantee! Due to different brand of monitors, actual wall art colors may be slightly different from the product image.\n|Brand||Make My Banner #ad|\n48\"x24\" One Panel, Canvas Wall Art City Skyline New York Painting Prints Modern Brooklyn Bridge Colorful Abstract Cityscape Picture Stretched and Framed for Bedroom Home Office Living Room Decor#adArdemy #ad - Due to the different brand of monitor setting the printing colors may appear slightly different from the image color. B>ardemy: high definition superior inject machinery printing on good quality canvas, non-fading for more than 50 years.\nB>guarantee: canvas new york city prints are packed in carton box, registered serial number '87283505', 100% satisfied 30 days refund gurantee without any reasons. Rest assured to buy! Our Brand is Ardemy, this is our only authorized shop.\nB>new york wall art size: 48inx24in120x60cm one Panel Large Size Brooklyn Bridge Wall Art Framed Ready to Hang. B>new york wall decor feature: gallery wrapped with environmental friendly wooden bar inner and hooks mounted on each panels, simply assemble for wall decor.\n3 Piece Canvas Wall Art, wall26, New York City Manhattan Skyline Panorama at Night, Modern Home Art Stretched and Framed Ready to Hang, 16\"x24\"x3 Panels#adwall26 #ad - High definition giclee modern canvas printing artwork, anniversary, wedding day, a perfect gift for your relatives and friends on birthday, festival etc. High quality printed canvas stretched and stapled to durable shrink resistant frames.\nNew York City Canvas Wall Art Manhattan Skyline at Night Picture Prints Modern Home Office Wall Decoration Stretched Ready to Hang, Biuteawal#adBiuteawal #ad - A perfect choice for for kithen wall, bathroom Wall, Bed Room Wall and Living Room Wall. This stunning wall art will become the centrepiece of your home in no time. Each panel put into a plastic bag, wedding, friends or your lover in birthday, festival, with four card protection corner card protectionand then put into strong carton for shipping, anniversary, this wall art is a great choice gift for your families, christmas, Halloween, New Year etc.\n100% get satisfaction guarantee. We pride in making our customers happy not just with our products, but also with our prompt and thoughtful customer service. If any questions, please email us first time. Our canvas are stretched on a wooden frame in gallery wrapped style, the canvas art Ready To Hang out of box, no additional hanging hardware required, we believe that you only deserve the best artwork.\nBlack and White Wall Art for Bedroom Bathroom Wall Decor New York City Wall Art Framed Landscape Artwork Modern Canvas Print Art for Office Home 12x16#adARTSPIRIT #ad - Easy & quick to hangit is gallery wrapped, framed on timber frame with a hook mounted on the wooden stetcher on the back of the artwork. It is easy and ready to hang it onto the wall. Artwork size12x16inchx1pc30x40cmx1pc.\nThe pictures on rooms display effect are only for illustration purposes. They are just as an idea to help you being aware of how this canvas art print looks like in a room.\nHigh qualityhigh resolution image printed on durable, with waterproof and ECO-solvent ink, glossy canvas, color fading-resistant for more than 50 years.\n9. Wieco Art#ad\nWieco Art Brooklyn Bridge Night View 5 Panels Modern Landscape Artwork Canvas Prints Abstract Pictures Sensation to Photo Paintings on Canvas Wall Art for Home Decorations Wall Decor#adWieco Art #ad - 5 pcs stretched and framed canvas art prints ready to hang for home decorations wall decor. Each panel has a black hook already mounted on the wooden bar for easy hanging out of box.\nA perfect christmas presents and New Year gifts for your relatives and friends. High definition giclee modern canvas printing artwork, picture photo printed on high quality canvas. Canvas prints set size:10x16inchx2pcs, 25x50cmx2pcs, 10x20inchx2pcs, 10x24inchx1pc 25x40cmx2pcs, 25x60cmx1pc.\n|Brand||Wieco Art #ad|\n|Manufacturer||Wieco Art #ad|\nArjun Canvas Wall Art New York City Painting Red Umbrella Lady Romantic Street Scenery, Modern Cityscape 24\"x36\" One Panel Picture Prints Wooden Framed for Home Office Living Room Bedroom Decorations#adArjun #ad - Red umbrella canvas decor: perfect wall decor for living room, bar, spa, bedroom, office, kitchen, dinning room, home, bathroom, salon etc. Once you received canvas wall art and not satisfied, you can return it for full refund.\nNew york wall art: 24inx36in60cmx90cm, wooden framed and hook mounted ready to hang. Perfect gifts for christmas, family, anniversary, father's Day, Valentine, friends, New Year, relatives, Thanksgiving Day，Mother's Day, Wedding, Birthday, business partner, lovers etc.\nWell packed: the cityscape painting is packed in carton box, canvas material is waterproof, UV-resistant, color fading-resistant for more than 50 years. Warm tips and worry free after-sale: due to different brand of monitors, the actual color maybe little different from our store image. Any questions just feel free to email us.", "label": "Yes"}
{"text": "I LOVE the idea of painting the ceiling blue and leaving the walls white. it really opens it up and brings the outdoors in! to die for!\nClose-Up!: Diana's Blue Ceiling | Apartment Therapy San Francisco\n|3/24/10 10:54 PM|", "label": "Yes"}
{"text": "I am often inspired by my surroundings and as the summer wind slowly hints that fall is approaching, I was inspired to paint some leaves in preparation for fall.\nToday I am sharing a step by step tutorial of how\nto paint a basic watercolor leaf over at the ehow Craft Blog.\nI have been given the privilege to join their craft team and will be sharing weekly.\nI will be sharing new and exciting projects and a lot of watercolor tutorials.\nSo I hope you can join me there every week.\nIt would mean so much if you could visit my ehow blog Creative Bloom to learn how to paint a basic watercolor leaf.\nI hope that this easy to follow tutorial will inspire you and encourage you to pick up a brush and create!\nThank you so much.\nHave a beautiful day!\nPlease keep in touch with me via", "label": "Yes"}
{"text": "The Leroy Project - Cubism Series, 2021\nMixed Media and Collage Mounted to Panel\n39 x 27 in\nThe work on canvas was created with a heavy use of materials expressed through collage, paint and drawing. Each piece is mounted to a birchwood panel with a custom, oiled and waxed oak frame.", "label": "Yes"}
{"text": "|Wrap yourself in the warmth of this unique shawl scarf! This lovely light weighted shawl scarf is full of the Chinese style ink painting watercolor flowers along with tassel ends. It is very soft and super stylish, keeps you warm and fashionable when you wear it. The scarf is made of 100% Merino wool. The scarf measures 26 x 71 inches (79 inches with fringe). Soft scarf is the perfect fashion accessory for cool weather. Ideal accessory for keeping warm and completing any outfit. Suited for both formal and casual wear and also makes a great holiday gift for your friends and loved ones. Dry clean or Hand wash.|\nCustomer Reviews of Women's 100% Merino Wool Pashmina Scarf - Ink Painting Watercolor Flowers - Gray\ndo you see the dog's face on the scarf?11/3/2014\nI thought it might just be the way you took the photo but there is a big dog's nose on the left side of the scarf as I look at its picture on your website. When I put the scarf around my neck the dog's nose was there again. Otherwise it is lovely. Soft, warm, pretty colors and a great value. I'm still satisfied with it.", "label": "Yes"}
{"text": "John R K Duff\n1862 - 1938\nJohn Robert Keitley Duff, RI, RE, PS (1862-1938) was a well known landscape and genre painter in watercolour, oil and pastel, often featuring sheep or birds in his work. He studied at Sidney Sussex College, Cambridge, where he received a law degree, and later studied art at the Slade School under Legros. Duff exhibited at the Royal Academy from 1891, and with the New English Art Club from 1894, and was elected a member of the Royal Institute of Painters in Watercolours 1913 and of the Royal Society of Etchers in 1919. His work is represented in several public collections, including by three examples in Manchester City Art Galleries. He published Pastel: A Manual for Beginners and lived in London for many years.", "label": "Yes"}
{"text": "People who buy my art want joyfulness in their lives. I paint with happy colours, telling stories about special places and people. I've always been fascinated by children's art. Picasso believed that every child is an artist. The difficulty as an adult, is keeping their joyous simplicity and clarity of vision. I aim to keep trying.\nPreviously a traditional portrait and mixed media artist, I now concentrates my practice on making portrait paintings of my life and lives of others' in a contemporary naive style, inspired by people and surroundings, landscape and memory; working mainly in acrylics on wood panels and canvas.\nI accept commissioned work which involves a close collaboration with clients, often to picture personal elements of their lives, house and garden, town, favourite place, holidays, celebrations, people and pets. People who buy my art want joyfulness in their lives.\nI studied fine art at the Cyprus College of Art, where I lived for several years, and the Open College of the Arts UK. My work has been commissioned and is in private collections of clients from countries including USA, Canada, Singapore, France, Holland, Denmark, Cyprus, South Africa and UK.", "label": "Yes"}
{"text": "Join landscape painter Loretta Medeiros for a small-size painting workshop. Here’s your opportunity to study with a 2016 National Award Winner! Always wanted to try plein air painting but didn’t know how to start? This class is for beginner to intermediate painter. Loretta will share her enthusiasm for Plein Air painting with you. She will walk you through what you need to go out plein air painting including equipment. Instruction will focus on how to create a good composition when outdoors, the use of colors, values and lights. Lecture inside and go outside to paint.", "label": "Yes"}
{"text": "Somewhere along the way we came across artist Ernst Caramelle‘s wonderful painted walls. They were actually installations in various art galleries: walls as artworks. We want to take them home, or the idea at least…paint some of our space in his fabulous fashion. We notice, that his color blocks can dramatically change the proportions of a room, as you’ll see from this riff of pictures we found on the Mary Mary Gallery website.\n…don’t you think Caramelle’s painting makes this room look wider?\nIt’s amazing what a little paint can do!\nRelated posts: marcel breuer: sun and shadow, the philosophy of an architect\ncolor-painted panels as decorative element\notto zitko scribble scrabble walls in action\ngrouped “rounds” as modern wall art\ndream house: marseilles penthouse", "label": "Yes"}
{"text": "The way I created this picture was very strange - random watercolours swirled across a page, and absolutely abominable use of masking fluid which my brushes will never forgive me for, then I scanned it in and changed the colours on Photoshop. Believe it or not, the original is purple and blue. I originally thought it was going to be some sort of cave painting, but the colours turned it into a fire sprite, so I came up with a new story. Thousands of years ago, sitting by his fire, a cavemen saw the shape of a horse dancing in the flames. Before it vanished he grabbed some dyes and painted it onto the wall so he could remember how beautiful it was...... Really this is simple a doodle that I liked enough to put up.", "label": "Yes"}
{"text": "Original abstract painting, acrylic on canvas. Combination of magenta light and rich purple, red dark brown and black, structural geometric abstract art with carefully blended paintwork. Abstract landscape will sure enhance your interiors and bring extra energy into your living space. Abstract expressionism style of painting, Modern artwork for modern interiors.\nFinding or choosing the right spot for your art\nLarge abstract canvas in landscape shape, ideal for places such as above the sofa or bed, dining table, game room or reception. You can accentuate the colours of the artwork with purple or burgundy accessories to create a modern interior ensemble.", "label": "Yes"}
{"text": "School: Thunder Mountain High School\n“Old Knight” pulls inspiration from some of my other pieces, and adds varying age to my portraits. While working on Old Knight, my focus was upon the realism of warm shadow, and the natural folds added to older skin. Furthermore, when I start portraits I usually start with the eyes. That being said, while working on Old Knight, I started with the nose, allowing for a different take while building the light on the bridge of the nose and further up the face.\nWhile working on the beard and hair, I focused on the flow and directional aspects that the light naturally added to the already intense features.", "label": "Yes"}
{"text": "I once wrote that PYRO Gallery member Claudia Hammer “is one of those artists that fellow artists admire and students love. If you want to excel at your technique, take one of her classes. You’ll sweat, no doubt about it, but what you will learn will make you think you’re amazing.” She’s a standout in portraiture, figurative and still life, whether it’s in oil paint or pastel. Her guest in the “Modern Muse’ exhibition is Mary Dennis Kannapell, an artist who is best known for her ceramic sculpture. Her muses? Life, earth and our connection to it. Her work is mystical, yet grounded. Hammer and Kannapell will have artist talks on Saturday, April 21 at 11 a.m.\nTHROUGH MAY 26PYRO Gallery", "label": "Yes"}
{"text": "It is one of the few things that’s easy to forget. If I had to say that, then I would say paint does not do a lot of the trick. That is the difference between painting and painting. Painting is a way to remember the past, remember the present, and remember the future.\nPaint does not have many of the same properties as painting, but it does have some of them that are very common. It could even make a lot of sense to not paint at all. People could paint a lot of things but they’d still be thinking about them.\nIn the modern world, most of us are taught that the way we paint our walls is the way we should paint, but that is not the way most people paint. The very idea of painting walls is that we can do it in many different ways. Some people just don’t know what they want to paint, but they are so lazy about it that they never bother to try.\nWe’ve seen this in the past with the term “laziness” (which means not doing things). This would be a similar thing in the case of painting walls. I have personally seen this in the past as well with painting, as in people would paint in a way that they would have to repaint later.\nThe idea of having a “dramatic” piece of dialogue is an idea that many other posters have. I’m not sure if it would work for everyone, but it could be very useful.\nJust to illustrate, imagine that you had a painting that you wanted to do, but you wanted to paint it in a way that would have to be altered. In this case, you want the paint to show up in the paint tray, but a bit of paint on the back of your hands or on your shirt could show up and ruin the whole paint job.\nI think that this concept has potential. I think that this idea could be used in a number of ways. I think it could be used in a number of ways. I think that this idea could be used in a number of ways.\nI really hope that this project is successful. It’s more fun to talk to people and to make them feel good about themselves.\nIn the case of this project, I think that people would be interested in the idea of “self-awareness” and “automation” in a creative, fun way. I think that this idea could be a really neat, new way to look at our own behavior and the way we interact with the world around us. I think that this idea could be really fun.\nI think that this project could be a really big success. It’s not like we’re not already seeing great things produced by the people who are using AI to do amazing things. And I think that this idea is something that’s not new. In general, people are talking about the fact that they want to become more aware of their own actions. I think that this project could be really fun.", "label": "Yes"}
{"text": "This chalk painted trunk is gorgeous! I painted the entire piece with two coats of Chalk Paint Decorative Paint® by Annie Sloan in Paris Grey and accented the wood slats with Old white.lovely way to upscale a trunk.\nPaint Furniture for a Trash to Treasure Upcycle: Military Footlocker Transformation\npaint furniture- Antique Trunk Makeover - A beat up old military trunk gets a fresh start with a customizeable world map, casters, and spray paint. Stripping the paint of the metal was the hardest part.", "label": "Yes"}
{"text": "“By the single example of this painter devoted to his art with such independence, my destiny as a painter opened out to me.” ~ Claude Monet\nRecently the children in my class participated in an exploration of the paintings of Claude Monet, the French Impressionist who lived from 1840 to 1926. This was an invitation to look at images of his art, react to it, and try to paint one of the pictures that appealed most to them. It is not the first time I have observed young children’s efforts to imitate the work of such artists as Kandinsky and Picasso and seen what young artists can do when given the opportunity to be inspired by great art. Of course there was no expectation that children would reproduce perfectly what they were seeing. I believe that children can make quite sophisticated observations, incorporate these into their own creations (e.g., particular colours, subjects in the painting) and feel a sense of pride that comes with facing a new challenge. Pastels and watercolour paints were used, and each child spent as long as fifteen minutes to create their work of art. I took note of comments that children made either while painting, or while looking at the images they were shown.\nAs part of this experience, we watched an animated film called Linnea in Monet’s Garden (based on the book by Christina Bjõrk) which allowed us to travel to France and see some of Monet’s paintings at the Marmottan Museum. The children could see how the paintings look if we stand close to them, and how the colours change when we step back. We also travelled with Linnea to Giverny, to visit Monet’s house and the beautiful Japanese garden where Monet loved to paint. The children really enjoyed reading Where is the Frog? by Geraldine Elschner, a lovely book about a frog who wants to be painted by Monet, and eventually steals one of his paintings! But the book that inspired the children’s paintings was Monet’s Impressions, a publication of the Metropolitan Museum of Art. While these resources are no substitute for actually standing in front of a painting by Monet, they certainly contributed to children’s excitement about the experience of trying to paint like him, and to share their thoughts.\nWhile I love the children’s artwork, I think my favourite part of this experience was hearing what the children had to say about it and what their worlds revealed about their understanding. In some instances, children’s comments were statements describing what they did, such as “I painted houses, trees, water and a boat” and “It’s beautiful red and yellow flowers and two people.” Other comments explained why particular paintings were selected. “I like painting nature,” and “I picked the painting because it looks fancy.” Some remarks described their techniques. “I’m painting grey on grey on grey. Look, some white! I see a little bit of green,” and “What happens if you put purple? What does orange and green make? Look! It makes dark green!” Some described their feelings. “My painting is beautiful. It makes me feel good,” and “I like it when I look at it. I feel happy.” Some children had theories. “These cracks in the blue sky… I don’t really get it. It’s not often you see that. I don’t think that’s what Monet saw. ” And some so beautifully captured the magic of being lost in the moment of painting like Monet. “This is where we live. That’s Monet’s garden.”\n“My work is always better when I am alone and follow my own impressions.”\n~ Claude Monet", "label": "Yes"}
{"text": "Advantages of Getting Your New Home Painted by 1800 All Painting\nBuying a new home is definitely an exciting moment for anyone. However, you may realize that not everything is what it seems. For example, you may notice that certain rooms will have an archaic style of paint while another room will have a very ugly colour scheme. If you truly want to make your home feel amazing, you need to get your new home painted and serviced by a reputable business such as 1800 All Painting.\n1800 All Painting’s crew have been around painting in Melbourne for almost 20 years. There really aren’t any other businesses in the Melbourne area that has a history as long as 1800 All Painting. The team has definitely proven itself to provide a reliable service for almost two decades. While they were at it, the team at 1800 All Painting have gained expertise and experience in painting new homes which simply can’t be matched.\nWhen deciding to work with 1800 All Painting to do new home painting, you will be surprised by the many benefits that come with choosing their service. The talented crew of 1800 All Painting have been known to spoil their clients with hundreds of benefits when they come to them to have their home painted.\nFirst of all, the bare bones of the entire new house painting project will be conducted with the most meticulous approach to ensure a superior painting job. The 1800 All Painting team will use not only one but two coat applications of paint to ensure that the paint will last for several decades. In addition, sealers made of oil and acrylic will be used of the highest quality to protect the integrity and the colour presentation of the painted home.\nColour consultation and client walk through of the new home before painting begins allow the client to have complete control over dictating what goes on in the painting project. Essentially, the client’s tastes and preferences are taken into account when choosing colour schemes that will look best for their home. The client will also be shown what the room will look like if they choose a specific colour scheme.\nAnyone who works with 1800 All Painting will be guaranteed that their safety will be of the highest priority. This does not just mean safety during the actual painting project is in progress. It also includes safety many decades after the painting project is done. This is because many other painting businesses cut corners by using low quality and toxic painting products for their home painting services which can lead to health problems for the house’ inhabitants later on in life.\nThe 1800 All Painting crew make sure that no corners are cut when it comes to the project and their clients’ well-being. The highest quality and the safest painting products are used for all painting projects for new homes, ensuring the well-being of the inhabitants. In addition, using high quality painting products means that the painting job will look superb and amazing for years to come.\n1800 All Painting make sure that they stay sharp on the new house painting project from start to finish. You will be guaranteed that the 1800 All Painting will give as much of their attention to your house project whether you are getting your first consultation to the last lick of paint is painted inside your house. Of course, you will be able to stay calm during the entire project knowing that the 1800 All Painting crew will definitely not bail on you during half way through the project. The 1800 All Painting crew is all about integrity and giving a service which simply can’t be matched.\n1800 All Painting is insured against all of the liabilities that can occur on site. Of course, with this kind of insurance in place you truly can have a stress free painting project where you can simply be carefree and perhaps even enjoy the entire experience. Many home owners have expressed their appreciation for 1800 All Painting’s thoroughness and dedication in their work.\nIt’s without a doubt that your next new home painting service should be done by 1800 All Painting. There isn’t a painting service in the whole of Melbourne that can do anything near what the 1800 All Painting crew can do.", "label": "Yes"}
{"text": "Tuesday, 12 October 2010\nMARCEL H. POIRIER\nI am going down to Montreal tonight, it is the opening show of a great painter and a friend, MARCEL H. POIRIER. He will be showing paintings he made for the Hotel Nelligan in old Montreal, about the french poet, Émile Nelligan, but he will also be showing some paintings of a new series he made on monks. I will be taking some pictures tonight and will post them soon. If you want to come to the show too here are the infos:\nWHERE : Hotel Nelligan, 106 St-Paul Ouest, Montreal\nWHEN : Tuesday October 12, 2010 @ 5 o'clock\nWHAT : Nelligan vu par Marcel H. Poirier\nThe paintings will be on show from October 12 to November 12.\nSee you tonight?\n☁ MARCEL H. POIRIER", "label": "Yes"}
{"text": "Original Sketch Art Final State Circus Fantasy\nSize: 21\" x 16\"\nDone in 1962 By artist Sharisis\nDuring the end of the big zoo and Circus error\nThis compact picture could be dreams or alternate reality of a vivid childhood circus memory\nAnimals mixed in with strange clowns to abstract feeling of darkness and a seance of an uncontrolled dream\nThis sketch must have been labor intensive and time consuming do to all the minute details in this vivid picture", "label": "Yes"}
{"text": "40 Best Of Flower Canvas Prints Stock\n40 Best Of Flower Canvas Prints\n2019 Beautiful Murals Posters And Prints Wall Art Painting Canvas from flower canvas prints , source:dhgate.com\nwall art printable helleborus printable artwork botanical art. canvas prints and art. andy warhol flowers poster and nice ideas of pop art flower posters. buy lush peony flower art print by ginajessicasmith worldwide. 2019 modern print tulip flower canvas painting flowers tulip. geranium canvas prints. 2019 unframed art picture canvas prints starfish the bird s nest egg. modern wall art decor line wholesale prices newchic. 2019 3 panel modern wall canvas painting home decorative paint. vintage peonies wall art prints by hafnhafstudio. wall art 40 inspirational floral canvas art ide rboffers. growing floral art print walls in 2019 pinterest. red botanical print set no 5 redoute botanicals giclee art red. watercolor pink poppy flower painting botanical square art prints. wall art 40 inspirational floral canvas art ide rboffers.", "label": "Yes"}
{"text": "Golden High Solid Gel Matte 236ml\nHigh Solid Gels have a thicker consistency than GOLDEN Heavy Body Acrylic colours, similar to Extra Heavy Gels. These gels offer higher gloss and lower shrinkage. Because they contain less water and more acrylic solids, they dry to the touch quicker than most gels, increasing the retention of brushstrokes. They are particularity good for holding peaks and blend well with colours to make them feel more oil-like. The colour is given a matt finish with this gel medium. Gel Mediums offer many ways to build texture. They are used to create glazes, extend paint and change finishes. Gels are essentially colorless paint, as they utilize the same 100% acrylic polymers as acrylic paint. Gels are also excellent adhesives for collage and mixed media, they dry with excellent flexibility with chemical, water and UV resistance.", "label": "Yes"}
{"text": "Houzz is the new way to design your home.\n5,304 colorful trellis Powder Room Design Photos\nAshley Cole Design\nKey West Retreat\nLove this color on walls. What color is it?\nColor/finish of counter top\nDark Wood color possibilities\nPaint color...wall colors\nSan Carlos hall half bath\nWhere did you get the hand towel...I've been looking for that color!\nnice cabinet, lights and color use\npowder -- wall color, cabinetry\nTile Color...Wall Color\nJAUREGUI Architecture Interiors Construction\nStudy bath cabinet Same wood finish, same color\nSTUDY BATH, design and color\nmaster bath vanity color?\nMIRROR AND COLORS...color scheme\nGuimar Urbina | KIS Interior Design\nlights and wall and light colored floor tile\ncolour's for men's bathroom\nPaint color...wall color\nFrom House to Home\nPowder Room / Half Bath\nif this was in more spanish colors like orange or rust or brown\nsubway tile, coloring of wall (not wall paper) pedastal sink\nCool color for powder room\nwall paper color and pattern\nlike the color blue\nThe warm feeling evoked by the color scheme\ncolor of wall and the counter\nCool except the wall color\nColor and copper...Paint color....Wall Color\nM/I Homes of Chicago: Pleasant Square - Aldine Model\nLove the colors and small black tile accent\nI like this \"greige\" paint color.\nthe Grey/Beige paint color\ncolor palette...Tile Color...Wall Color", "label": "Yes"}
{"text": "The Kinkade family cabin in the Sierra Nevada mountains was a favorite hideaway for the family to enjoy time together. Of course, nothing topped Christmas in the mountains. Freshly fallen snow outside the door led to snowball fights, snow angels and the building of snowmen. Lights hung on the trees outdoors and a family decorated Christmas tree in the window created a winter wonderland where dreams of Christmas morning captured their young daughter’s hearts.\nHigh Country Christmas\nrecalls those special Christmas memories that all of us share - of family, Christmas trees, Yule Tide logs, twinkling lights, and special gifts laid out for those we love. And in the stillness of evening, when the sun sets and stars emerge, there is a gentle quiet that descends upon our hearts and homes, that remind us of that first Christmas - the silent night of our Savior's birth.\nWe hope that you will find that quiet place of peace and rest as you enjoy High Country Christmas\nfrom the Thomas Kinkade Studios.\nLimited Edition Canvas\nThomas Kinkade Studios Limited Edition Canvases combine old world craftsmanship with the finest materials and latest production technologies to produce extraordinary canvas artwork. Our reproduction process captures not only the color and mood of the enchanting original painting, but the actual brushwork as well. Every piece is hand-retouched by skilled artisans, giving the painting a look almost identical to the artist's on-easel original. Vibrant colors, rich textures and color tones accurate to the artists original brushstrokes are the hallmarks of your finished piece.\nLimited Edition Canvas Framing\nThomas Kinkade Studios Limited Edition Frames are works of art unto themselves. Specifically crafted to accommodate Thomas Kinkade Studios Limited Edition Canvases, these hand crafted frames are the perfect complement to Thomas Kinkade Studios Artwork and will last for generations to come.\n- Premium Museum Quality Mouldings\n- Engraved Brass Nameplate\n- Secure, Removable Canvas Clips\n- High Strength Coated Wire Hanger\n- Premium Canvas\n- Hand stretched on wooden stretcher bars\n- Hand highlighted with fine acrylic paints by skilled artisans\n- Long-life pigment inks that outperform conventional press inks.\n- Edition number is applied to each Canvas Limited Edition\n- Individually numbered Certificate Authenticity matched to the art piece\n- Engraved brass nameplate included.\n- Made in the USA", "label": "Yes"}
{"text": "Get Painting Metal Kitchen Cabinets Pics\nGet Painting Metal Kitchen Cabinets\nPics. Then use primer, paint and top coat products designed for painted metal filing cabinet—using bb frösch in a sprayer. Have the color of your dreams in no.\nIf you're painting wooden kitchen cabinets, there's one can that many pros swear by: To refinish metal kitchen cabinets, start by thoroughly cleaning or sanding the metal. Metal kitchen cabinets are an attractive, durable addition to any kitchen.\nCheck out our metal kitchen cabinets selection for the very best in unique or custom, handmade pieces from our home & living shops.\nPainting metal can be tricky, but with a little knowhow and the right products, you can give your kitchen a whole new look. Plastic laminate cabinets resist overpainting — those that. I love the vintage look, but there is a little rust and the white paint is yellowing, so i would like to paint them. What kind of paint did you use (the more specific, the better!) and were you happy with the results?", "label": "Yes"}
{"text": "I took off a hollow core interior door to paint it. Very thin coats (this is only the second time it's been painted since contractors built house. I know they only sprayed 1 very thin coat). Now the door doesn't seem to fit as well. I did new hinges -same size just different color. I know I can plane it for better fit but I want to know why the door doesn't fit right back in. The new coats of paint are not too thick so it's not the paint job. Ideas? I have more doors to redo so I want to avoid this problem again.\nThe new coats of paint are not too thick so it's not the paint job.\nand this is a common misconception. Yes, it looks like the paint is negligibly thin but it actually adds up. When a door is constructed it has size that allow for painting it once, maybe twice, and then a new layer of paint will prevent it from closing.\nYou should have cleaned the previous paint off the door edges.", "label": "Yes"}
{"text": "When I saw that the Lens-Artists Photo Challenge this week was A River Runs Through It, I immediately thought of the Grand Canyon of the Yellowstone River.\nThis river meanders its way through colorful rock formations\nAnd pounds down in the Upper Falls\nPast pine forests\nAnd into the Lower Falls in the Grand Canyon of the Yellowstone\nArtist Thomas Moran captured the river’s spirit in this painting, Grand Canyon of the Yellowstone. He and others on the Hayden Expedition of 1871 traveled to the greater Yellowstone area and documented what they encountered. They were instrumental in the establishment of Yellowstone National Park in March of 1872.\nThomas Moran used his artistic skills to capture outstanding features in vibrant paintings of the landscape. He was an influencer in his time. See more of his work at Painter of Yellowstone.", "label": "Yes"}
{"text": "(1913 - 1979)\nXiangshu Yue was active/lived in China. Xiangshu Yue is known for portrait painting.\nBiography Xiangshu Yue\nYue Xiangshu, was born in Kaifeng, Henan Province, moved to Shandong when he was 18-year-old. he was a teacher in Linyi County, Shandong Province in 1931 -1932.\nOpened \"Book Art Museum in Jinan Cheung.\" in Jinan City in 1933 . participate in national art exhibitions in 1934, all six works were selected, popular attention.\nAfter the founding of the country, he also has participated in art exhibitions. In 1959 the Office of the Beijing Great Hall of the painting work in Shandong. Apply repair 1961 Taishan Dai Temple-day art treasures Song Kuang Hall murals. His publications include \"wooden fish sub-Paintings\", \"Cheung Mo wonderful book,\" Paintings, \"Filial Piety by\" illustrations, \"bird Sitiao Ping\", painting board watermark, \"Yue Xia\n... Displaying 750 of 934 characters.", "label": "Yes"}
{"text": "Robin C. McPherson relocated to this area from Los Angeles California. She is a painter and a photographer. Many of her incredible resin artworks are reminiscent of the natural world and resemble crystals, geodes and beaches found in the Southern California environment. She incorporates sand, crystals, gemstones, shells and other natural elements in her use of resin. She also draws inspiration for her art work from her travels abroad.\nEvery painting is one-of-a-kind and unable to be replicated. She finishes each piece with a durable glossy finish that will last a lifetime.", "label": "Yes"}
{"text": "Forgot to take pics of this project in the \"Before\" stage - so here's a quick pic of the finished product:\nAll we did was paint cute happy faces onto cheapo terra cotta pots with acrylic paint. Then spray painted them with clear spray paint (otherwise the paint will run/disapper when you water the plants). Fill the painted pots with dirt and sprinkle generously with grass seeds. Water, water, and water some more...and a few weeks later your cute little happy faces have cute spiked hairdos! I think I need to make one of them into a mohawk.", "label": "Yes"}
{"text": "PAGINA DELL'ARTISTAARANKA SZEKELY\nShe was born in 1966 in Transylvania(Romania). Having graduated from the University of Medicine and Pharmacy she relocated to Hungary. Nowadays she is a doctor by profession and an artist by her passion and creative mind. She currently runs her private practice in Alsózsolca, Miskolc, Borsodivánka(Hungary).\nAlthaugh she always felt the creative energies of her deeper being, she didn't express it till two years ago when she started painting. After experimenting with several techniques as a self-taught painter she has found her favorite mediums(acrylic, watercolour, pastel) using vivid colours for landscapes, still-lives or portraits. Many of her paintings resemble the beautiful landscapes of Transylvania where she was born, other paintings express her feminity. Ever since painting has become her life giving her unfathomable joy and relieving the every-day stresses.\nLuckily she exhibits not only in Hungary. Galleries in Zagreb, Rome, Wien also invited her. Her master-pieces were displayed and awarded at solo- and group-exhibitions. A few of her works were published in art magazins and yearbooks.\nExhibitions:Miskolc(Hungary,2018,2019), Alsózsolca(Hungary,2019), Zagreb(Croatia,2018), Rome(2019,2020)\nPublications:”The New Art Book 2019”\n„Art International Contemporary Magazine”\nAwards: International Prize „Art Selection Museum”\nInternational Prize „Giotto”\nInternational Prize „ Leonardo de Vinci”", "label": "Yes"}
{"text": "“Young Lady In a Boat”, 1870, James Tissot. (via)\nThis young lady looks a lot like Kathleen Newton, who was Tissot’s mistress and frequent model during the peak of his London portrait painting years. But she can’t be, because “Young Lady in a Boat” was exhibited at the 1870 Paris Salon, before Tissot moved to London. In 1870, the then-16-year-old Kathleen Newton was travelling to and from India, experiencing the (actually kind of horrible) events that shaped the subsequent course of her life, and she hadn’t yet met Tissot.\nSo the model isn’t Newton, and I guess the similarity must be due to Tissot’s aesthetic ideal of female beauty. He may have sought out models with a particular look, or adjusted their features to match his ideal when he painted them, with the result that this painting looks remarkably like the different woman who later became his muse.\nThis drawing of an elegant courtesan captured in a relaxed pose is a study for “Young Lady in a Boat”, a painting that Jacques Joseph Tissot (known as James Tissot) showed at the 1870 Salon. The artist uses a flowing line to render the young woman’s full skirt, and devotes particular attention to his subject’s face, propped on a slender hand, the little finger touching the corner of her mouth. Tissot’s paintings were admired – and criticized – under Napoleon III for their hyper realistic and attractive, one might say seductive, depictions of modern life, in a style suggestive of the eighteenth century.\nI’ve ordered a copy of Patricia O’Reilly’s fictionalized biography of Kathleen Newton, A Type of Beauty, and I’m also going to spend some time looking through the chronological list of Tissot paintings at WikiPaintings. But I don’t suppose I’ll ever be able to learn much about the “elegant courtesan” who was the subject of “Young Lady in a Boat”.\nNote: Tagged for Kylie because look: It’s a famous painting of a pug!\nReposted from http://lies.tumblr.com/post/44336058322.", "label": "Yes"}
{"text": "This is a larger format than usual, 16\"x20\". I love the rich colors and the feeling of looking through to the brighter lighter colors beyond. I am not sure where this piece will lead me, but I can't wait to see where the journey will take me.\nThis is the background for a piece entitled \"Spirit of the Harvest Moon\". It is 11\"x14\". The harvest moon is one of the special pleasures of the fall season. It has fascinated me, delighted me, and brought out the magic of the season for me since I was a child. The more I looked at this background, the more this seemed the perfect base for showing the spirit of this moon.\nThis is the preliminary sketch for the harvest moon and the figure that will represent its spirit. I am pleased with the basic form but still pondering a few things. One of the things I love about these Spirit paintings is how fun, playful and free the base paintings are, and how the details.....the actual spirit.....evolves over the next few days. The process is as much fun as pouring the paint with abandon! This is Tuesday's entry, Nov. 19, 2013. Check back in a few days and take the journey of this process with me.\nToday is Thursday, Nov. 21, 2013. I used acrylic washes in white and orange, separately, to fill in the moon. I used a silver metallic sharpie for the hair and then went over it with white gel pen. I outlined the figure in white gel pen. Then I took a little water and bit of white acrylic paint on my fingertip to rub in the skirt and create the motion of the bottom of the skirt.\nNext I added the stamp pad ink squares. I used the bottom of an Ebony pencil dipped in yellow ochre acrylic for the cots at each corner of the square. White gel pen made the tiny white dotted outlines on two sides of the squares. I also used the white gel pen to outline the darker paint under the wash of the moon. I have more to do, but once again need to sit back and look at it for awhile.\nAfter a couple hours of looking at this and being frustrated with how it looked, I decided to go ahead and add some more layers. I added white colored pencil to the figure to create a dress. I didn't think it stood out quite enough, so I added white gel pen over the colored pencil. I also touched up the skin of her face with a light coating of off white pastel to tone the face down slightly. I added dark burnt sienna swirls to the edge and bottom of the dress to add some contrast and bring that color to the bottom of the composition. Then I went in around the moon to add a glow and some contrast. I started with yellow ochre colored pencil and brought the straight lines out from the moon extending far into the composition and edges of the page. On top of that I added some of the burnt sienna for contrast around the moon, and then for more contrast added a dark green in very short lines. Now I will let it sit until tomorrow morning. I think it is close to being completed, but we will see how it looks in the morning!\nFebruary 24, 2014: After almost three MONTHS, I have finally completed this painting. I was never satisfied with the \"dress\", so today I finally went back in and changed that portion of the painting. I am pleased with the way it looks now. It is much more in line with the \"Spirit\" image I had when I started the painting. I hope you like this version and that you feel the joy and power of this Spirit.\nThis next piece has several layers on it already. To begin with, I scraped splattered acrylic paint across the whole page in yellows, orange and red. There was a big puddle of paint on the table top, so I took a print of that puddle over the scraped paint. After that dried I took bubble wrap and printed it in dark blue acrylic. I added torn paper from my Mother's music notebook and added stamp pad ink in blue and red, then glued the paper to the painted background in three places. I took the dark red and orange acrylic and smudged with my finger around the edges of the music paper. Then I added orange dots with my little finger tip. When that paint dried I added blue sharpie partial outlines to the circles, then added larger circles in blue acrylic to the whole paper. I used the end of a cardboard roller for the smaller circles, the bottom of a plastic cup for the medium circles, and the top of the cup for the large circles. I then took the edge of an old plastic card and dipped it in the red paint to make the \"straight\" lines, not worrying if they weren't exactly straight. I really like the way the music paper and small orange circles work in this design. I could think of several things to do with the design just as it is, but decided to go ahead and add more textures to see what happens. As you can see, there are already many, many layers to this painting.\nThe next step was to add yellow paint to the top of the paper and spritz water under it and allow the paint to drip in the \"rainy window\" design down the page. I then outlined some of the drips and textures in red sharpie marker.\nI really liked the music paper with the orange small circles so I emphasized this area by adding varied lines in blue sharpie around the blue circle. The complimentary colors of blue and orange really make this area pop. I added the dropped petals at the bottom to emphasize the small area of textured paint. The blue ink seemed a little stark so I softened it by adding white ink using a gel pen. I drew right over the blue lines around the circle and then added some white ink to the petals.\nI liked the white gel ink so I added a series of small white ink dots to outline the inner circle and petals.\nTo bring out the paint texture of the one petal, I softened the other petals with the ink from a small stamp ink pad. At this point, I will stop and set the painting up where I can see it for a few days before deciding if it is completed or needs a little more tweaking.\nToday, Wednesday, November 20, 2013, I have decided that this piece is completed. I have titled it \"Spirit of the Womb\". I hope you enjoyed watching this piece grow to completion. May your spirit be filled with joy!", "label": "Yes"}
{"text": "sign up (free!)\nApparently you can paint countertops with a product by Rust-Oleum called Countertop Coating. Pinner said: \"Best $80 we spent at Walmart!\" Paint Countertop, Call Countertops, Painting Bathroom Counter, Countertops Coats, Painted Countertop, Paint Bathroom Countertop, Painting Laminate Countertop, Laminate Countertops, Painting Countertops\nAlso on these boards\nhow to convert laminate countertops to concrete countertops.. why didn't i think of this!! briliant\nEASY STEP BY STEP TUTORIAL TO MAKE AMAZING DIY CONCRETE COUNTERTOP TUTORIAL - Part 4 Grouting & Sealing (With tons of step by step pictures so anyone can do it!)\nHOW TO MAKE CONCRETE COUNTERS LIKE THE PROS TUTORIAL: THE ASHBY SYSTEM – PART 1…\nEASY DIY CONCRETE COUNTERTOP STEP BY STEP TUTORIAL Update your kitchen this Spring & save thousands at the same time with these DIY countertops!", "label": "Yes"}
{"text": "French Impressionist Painter, 1841-1919\nPierre-Auguste Renoir (February 25, 1841?CDecember 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that \"Renoir is the final representative of a tradition which runs directly from Rubens to Watteau\".\nRenoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings.\nHis initial paintings show the influence of the colorism of Eugene Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Edouard Manet, and his early work resembles theirs in his use of black as a color. As well, Renoir admired Edgar Degas' sense of movement. Another painter Renoir greatly admired was the 18th century master François Boucher.\nA fine example of Renoir's early work, and evidence of the influence of Courbet's realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work, the figure carefully observed, solidly modeled, and superimposed upon a contrived landscape. If the work is still a 'student' piece, already Renoir's heightened personal response to female sensuality is present. The model was Lise Tr??hot, then the artist's mistress and inspiration for a number of paintings.\nIn the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouill??re, 1869).\nOne of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived.\nOn the Terrace, oil on canvas, 1881, Art Institute of ChicagoThe works of his early maturity were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid 1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884-87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism. This is sometimes called his \"Ingres period\", as he concentrated on his drawing and emphasized the outlines of figures.\nAfter 1890, however, he changed direction again, returning to the use of thinly brushed color which dissolved outlines as in his earlier work. From this period onward he concentrated especially on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1918-19. The latter painting is the most typical and successful of Renoir's late, abundantly fleshed nudes.\nA prolific artist, he made several thousand paintings. The warm sensuality of Renoir's style made his paintings some of the most well-known and frequently-reproduced works in the history of art.. Related Paintings of Pierre Renoir :. | The judgment of Paris | Girl with Flowers | Nymph by a Stream | Young Girl Seated | Christine Lerolle |\nRelated Artists:Francesco Hayez\nFrancesco Hayez Galleries\nHayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.\nAssessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival.Karl von Piloty\nKarl Theodor von Piloty (1 October 1826 - 21 July 1886) was a German painter.\nVon Piloty was born in Munich. His father, Ferdinand Piloty (d. 1844), enjoyed a great reputation as a lithographer. In 1840, Karl was admitted as a student of the Munich Academy, under the artists Karl Schorn and Julius Schnorr von Karolsfeld. After a journey to Belgium, France and England, he commenced work as a painter of genre pictures, and in 1853 produced a work, Die Amme (The Wet Nurse), which, on account of its originality of style, caused a considerable sensation in Germany at the time.\nBut he soon forsook this branch of painting in favour of historical subjects, and produced in 1854 for King Maximilian II The Accession of Maximilian I to the Catholic League in 1609. It was succeeded by Seni at the Dead Body of Wallenstein (1855), which gained for the young painter the membership of the Munich Academy, where he succeeded Schorn (his brother-in-law) as professor.\nAmong other well-known works by Piloty are the Battle of the White Mountain near Prague, Nero Dancing upon the Ruins of Rome (1861), Godfrey of Bouillon on a Pilgrimage to the Holy Land (1861), Galileo in Prison (1864) and The Death of Alexander the Great (unfinished), his last great work. He also executed a number of mural paintings for the royal palace in Munich.\nFor Baron von Schach, he painted the famous Discovery of America. In 1874, he was appointed keeper of the Munich Academy, being afterwards ennobled by the king of Bavaria. Piloty was the foremost representative of the realistic school in Germany. He was a successful teacher, and among his more famous pupils were Hans Makart, Franz von Lenbach, Franz Defregger, Gabriel von Max, Georgios Jakobides and Eduard von Gretzner.Pierre-Narcisse Guerin\n(13 May 1774 - 6 July 1833) was a French painter.\nGuerin was born in Paris.\nA pupil of Jean-Baptiste Regnault, he carried off one of the three grands prix offered in 1796, in consequence of the competition not having taken place since 1793. In 1799, his painting Marcus Sextus (Louvre) was exhibited at the Salon and excited wild enthusiasm. Part of this was due to the subject - a victim of Sulla's proscription returning to Rome to find his wife dead and his house in mourning - in which an allusion was found to the turmoil of the French Revolution.\nGuerin on this occasion was publicly crowned by the president of the Institute, and went to Rome to study under Joseph-Benoît Suvee. In 1800, unable to remain in Rome on account of his health, he went to Naples, where he painted the Grave of Amyntas. In 1802 Guerin produced Phaedra and Hippolytus (Louvre); in 1810, after his return to Paris, he again achieved a great success with Andromache and Pyrrhus (Louvre); and in the same year also exhibited Cephalus and Aurora (Louvre) and Bonaparte and the Rebels of Cairo (Versailles). These paintings suited the popular taste of the First Empire, being highly melodramatic and pompously dignified.\nThe Restoration brought to Guerin fresh honours; he had received from the first consul in 1803 the cross of the Legion of Honour, and in 1815 Louis XVIII named to the Academie des Beaux-Arts. His style changed to accord with popular taste. In Aeneas Relating to Dido the Disasters of Troy (Louvre), Guerin adopted a more sensuous, picturesque style.\nGuerin was commissioned to paint for the Madeleine a scene from the history of St Louis, but his health prevented him from accomplishing what he had begun, and in 1822 he accepted the post of director of the French Academy in Rome, which in 1816 he had refused. On returning to Paris in 1828, Guerin, who had previously been made chevalier of the order of St. Michel, was ennobled. He now attempted to complete Pyrrhus and Priam, a work which he had begun at Rome, but in vain; his health had finally broken down, and in the hope of improvement he returned to Italy with Horace Vernet. Shortly after his arrival at Rome Baron Guerin died, on the 6th of July 1833, and was buried in the church of La Trinite de Monti by the side of Claude Lorrain.", "label": "Yes"}
{"text": "This interesting oil painting was done by Russian / American artist Ruth Levine Gikow (1915-1982). Gikow was born in the Russian Ukraine and emigrated to New York City at a young age, where she eventually became well known for her figurative expression paintings in public and private collections all over the country. Oil on panel, signed lower right, and housed in a painted wooden textured frame. Dimensions: 13 ½” h x 9 ½” w, sight; 19 ¾” h x 16” w, framed.\n14 other shoppers are interested in this item\nFeaturing period furniture, fine art, quality porcelain, silver and decorative accessories.\nCelebrating family business since 1983! New Hampshire's finest group shop. Family owned and operated. 200+ dealers.", "label": "Yes"}
{"text": "Hi there, I have a rather angelic tag to share this week featuring Donna’s beautiful Serena stamp set and I have a rather quirky way to use the heart shaped balloon in the set which I hope you’ll like.\nThat’s Crafty! Dinky Stencils – Long Hearts Background, Large Circles Background, Circles Background\nPaperArtsy Fresco Finish Acrylics – Banana, Bubblegum, Cherry Blossom, Blush, Cherry Red, Wisteria\nMartha Stewart Multi Surface Satin Acrylic Paints – Blue Calico, Pink Flamingo\nPink Crochet Trim\nOld Store Card\nThe first thing I did was to give the tag a coat of gesso as this makes the further layers much easier to apply. When this was dry, I applied the Banana, Cherry Blossom and Wisteria paints with an old store card, scraping on patches of each colour in turn until the surface was roughly covered. I then added swipes on top using the side of the store card with Bubblegum paint.\nI then added stencilling in patches using the Blue Calico paint with the Large Circles Background and the Banana paint with the Circles Background partially over the top of the blue circles. I used the hearts stencil at the top with the Bubblegum paint and knocked the colour back a little with gesso as it was a bit stronger than I wanted. I added a few swipes of gesso over the painted surface to bring everything together.\nI decided on the placement of the girl image and balloon and stamped them directly on the painted tag with the black ink. This was to help avoid tricky cutting out as my eyesight isn’t up to it anymore! It has the added advantage of giving dimension too.\nI next stamped the girl, balloon heart and 2 extra plain hearts without strings onto mixed media paper with black ink. I stamped the love text on the balloon, as happily it’s a perfect fit. I then painted all the images with various of the paints listed aiming for stronger shades than the background for contrast. I painted the 2 plain hearts and the dangling heart with glitter glue over the top of pink paint for a touch of sparkle.\nI cut out all of the images except for the balloon string and the curly bit in Serena’s hair then added them to the tag over the stamped images with a mix of foam tape and glue to give dimension. As you can see, the heart shaped balloon minus the string makes a great single heart or even a pair of wings! I finished off with a couple of rows of pink crochet ribbon from my stash.\nHave a great weekend and see you next week.", "label": "Yes"}
{"text": "Summer by Giuseppe Arcimboldo - Famous Art - Handmade Oil Painting on Canvas\nGiuseppe Arcimboldo was known fro his symbolical and allegorical portraits which heavily rely on the use of objects, symbols and fruits. Summer is one of the four paintings that was part of his Four Seasons collection. In this painting, the artist personified the season of summer by painting fruits and vegetables and other lush objects to form a person, facing sideways, wearing a golden summer suit. While this style was not an original, Arcimboldo certainly made it his own. Now the artist’s name has been associated with weird-looking portraits of persons made of fruits.\nThis is an image of the famous artwork. We will hand paint a beautiful reproduction of this masterpiece in the size below.\nSize: 67 cm (h) x 51 cm (w)\n26 in (h) x 20 in (w)\n(Custom Sizes Available. Contact Us)\nSupport the Artist - Love Art\nStretched Ready to Hang - Open and Hang\nMaterial: Oil Paint on Canvas\n- Satisfaction Guarantee\n- FREE Worldwide Shipping\n- Hand Made by Talented Artist\n- Not a Print\n- High Quality", "label": "Yes"}
{"text": "Shawn Demarest is an oil painter focusing on the Northern New Mexico landscapeMessage\nFrom September - December I was an artist in residence in Taos. It was remarkable and fruitful. I was one of a cohort of 12 other creatives. The thickets paintings are from the view outside the studios HUGE window. The paintings I created varied in approach. Color studies, plein air, memory and from photos I took. All informing one another.", "label": "Yes"}
{"text": "Fine Art Made in Aotearoa New Zealand by Dunedin Artist Gabby Mckenzie\nSaturday, September 21, 2013\nStafford Street Dunedin - Miniature painting No.3\nIts been a productive week in the land of tiny houses....here is number 3 of 4 paintings of houses on Stafford Street, Dunedin, Otago. I do miss having paintings with a sea/landscape view, but these old houses are quite majestic on their own too.", "label": "Yes"}
{"text": "Master Chief Halo digital painting tutorial. This video tutorial shows you how to draw then color Master Chief from Halo.\nMaster Chief Halo digital Speed painting tutorial. How to draw Master Chief Halo. Digital painting characters and value study painting study tutorial, Master Chief Halo, speed painting.\nAbout Master chief: The Master Chief is one of the most visible symbols of the Halo series. Originally designed by Bungie artists including Marcus Lehto, Rob McLees, and Shi Kai Wang, the character is a towering and faceless cybernetically-enhanced supersoldier; he is never seen without his green-colored armor or helmet. Downes built his personification of the Chief off a character description which called for a Clint Eastwood-type character of few words.\nMaster Chief Petty Officer John-117 is a fictional character and protagonist of the Halo fictional universe, created by Bungie.\nDigital painting tutorial process. How to paint Master Chief Halo, metal, armor, mech suit, helmet and gun. A painting timelaspe video demo series of movie screenshot characters that will help you gain knowledge of shape, value and edges in painting. Learn to draw and paint characters, creatures, and environmental concept design with tips from a professional concept artist and illustrator Xia Taptara.\nImage and steps http://idrawgirls.com/tutorials/2011/10/20/how-to-paint-master-chief-halo/\n+2 Hour Mecha design tutorial\n+3 Hours Advance Speed painting technique\nDigital art tutorial/ how to draw mech/ how to color comics/ character design/\nhow to color character/ digital painting lesson/ digital painting class/ draw mecha tutorial", "label": "Yes"}
{"text": "Fun Events Near Whites Creek, TN at Painting with a Twist\nIf you believe a painting event at Painting with a Twist close to Whites Creek is just a place to learn how to paint, you may want to think again! A paint and sip event at Painting with a Twist is all about making fun art, not fine art. But that doesn't mean you can't learn something! No matter if you've been painting for years or you've never touched a paintbrush in your life, we'll help walk you through every color option, brushstroke, and painting technique so you can paint with confidence and produce a work of art that's entirely your own. Sign up for a scheduled painting event near Whites Creek that excites your inner artist, and let us handle the rest. We'll have all the supplies set up for you when you show up. All that's left to do is invite your friends, grab your favorite beverage, and get started on your painted work of art!\nVirtual Painting Events & At-Home Paint Kits Near Whites Creek with Twist at Home\nCan't join in at your nearest studio but still looking for a fun paint night? Get an at-home painting kit, which comes with all the supplies you need to create your own work of art right at home. Would you like to put a fresh twist on your next paint and sip event? Go virtual with a Twist at Home painting event hosted by your local Painting with a Twist near Whites Creek. You don't have to leave your Whites Creek home to participate in a fun paint and sip event. Book a seat at an upcoming Twist at Home painting event from Painting with a Twist near Whites Creek, and pick up your paint supplies kit from the studio ahead of time. Are you looking to host a little get-together? Book a private Twist at Home event! Select the artwork you'd like to paint, tell us who's going to be there, and our in-studio artists will help you throw a private painting event they'll be talking about for years.\nPut Your Own Twist on Events Near Whites Creek, TN\nA painting event at Painting with a Twist is perfect for any sort of celebration or even just an everyday occasion. (And who says everyday can't be a celebration, too!) Maybe you're looking for date night ideas near Whites Creek. Skip the played out dinner-and-a-movie date night, and opt for a paint and sip experience that both of you will enjoy! Whether you need to brush off the pressure of a first date or you're celebrating your 20th anniversary, Painting with a Twist near Whites Creek can turn your next date night into an experience you'll never forget!\nWhen you're looking to get your girlfriends back together for some overdue bonding time, some wine and conversation can go a long way! Pair it all with a paint and sip event at your local Painting with a Twist near Whites Creek, and be prepared to paint, laugh, and make some memories that you'll all remember for years.\nIs it time you unplug from the world for a little while? Book a seat at a zen painting event at your local Whites Creek-area Painting with a Twist to help you relax and reset your mind! Escape the daily grind with a calming painting, relaxing music, and a soothing environment that promotes a zenful experience. You’ll leave our Zen event refreshed and rejuvenated to tackle the day!\nTwist up your next team building event by bringing your crew to Painting with a Twist near Whites Creek, TN! Schedule a virtual or in-studio private painting event, and be prepared to engage in conversation, create new relationships, and even share a few laughs along the way!\nWhile our Whites Creek-area studio's events are available for any Twister to sign up for, sometimes you'd rather enjoy a more private painting experience. For these moments, schedule a private painting party at our studio near Whites Creek to have the space all to yourselves! From birthday celebrations to family reunions to bachelorette parties, we've got space for you at Painting with a Twist near Whites Creek, TN!\nCelebrate the Big & Small at Painting with a Twist Near Whites Creek, TN\nAre you ready to plan a fun outing near Whites Creek that doesn't cost a fortune? A paint and sip event near Whites Creek is what you need! Our in-studio and virtual events are a fun and simple way to destress, try something new, develop a skill, and even meet friends in the Whites Creek area, all while enjoying a glass of your favorite beverage! Book your seat at an upcoming Whites Creek-area painting event at Painting with a Twist, and get ready for the Whites Creek outing you've been looking for.", "label": "Yes"}
{"text": "If you are searching for pink and grey baby room ideas you\"ve come to the right place. we certainly have a answer for pink and grey baby room ideas just forcreativejuice.co.\npink and grey baby room ideas may be one of the most difficult things to pull off in the ornamentation of the home. Well, in fact, the painting process is easier than choosing the best color for house cabinets. Yes, the difficulty of painting house cabinets is not from the painting process but its from choosing the right color for the house cabinets. Even even if the people can modify the color of house cabinets once they think that the current color is not suitable, there is a long mannerism to go for painting the home cabinets. Therefore, choosing the pink and grey baby room ideas is a must. There are several combinations of colors that can be prearranged by people. The color of the home cabinets should be adjusted as soon as the color of the house wall and supplementary house furniture.\npink and grey baby room ideas\nThere are a lot of ideas for creating the pink and grey baby room ideas. People can attempt to create a swap color of the upper and humiliate home cabinets. Or else, just comprehensibly creating a polluted atmosphere of the home wall and home cabinets. For example, the immersion of white and dark grey can be a good idea. The subjugate home cabinets can be painted by using dark grey. Meanwhile, the upper house cabinets can be a painter by using white color along similar to the white home wall. The dark grey will pay for a warm feeling. Meanwhile, the white color can manage to pay for a shining and natural lighthearted in the house. another idea of the home cabinets color is the white crisp for the humiliate and upper house cabinets. The white crisp can manage to pay for a clean color in the home. It next acts as a asexual color appropriately that new house cabinets can be created by using further colors such as green and blue colors. Or else, the full white color house cabinets can be total subsequently the white home colors. This will create a easy and clean house afterward shining lighting.\nanother idea of the home cabinet paint colors is a vibrant blue. Well, the home afterward the blue color will conduct yourself a hot and deep feeling towards the people. In addition, it along with can create a wider spread and a clean tune in the home. In order to make an airy and hot home, spacious grey can be an optional color for the house cabinets pain. This grey color can accomplish well behind the dark grey and white color of the house wall. It is furthermore enjoyable for the white and dark grey house island. To create timeless and stylish home cabinets, the black color is a good idea. This color can come to an understanding behind the warm wood shelves and black house cabinets. Its such an amazing design of the house cabinets. To make a neuter color, the sea-green can be used in the house cabinets painting. This color can appear in competently later several colors such as black, beige, white, blue, and supplementary colors.", "label": "Yes"}
{"text": "Freehold Home Painters\nFinding wonderful Freehold home painters can be difficult. How do I find a Freehold painter near me that’s top-rated, quality-focused, and offered to take on the work?\nGet a Free Painting Quote!\nPainting Pros of Freehold\nService Area: 7728\nOver 8 years of professional experience\nAlways On Time\nOur projects are always on time\nWe guarantee honest pricing.\nHome Painting Services in Freehold, NJ\nAdditionally, just how can I obtain a regional Freehold painting professional to in fact appear for a quote?\nNot to worry, Painting Pros of Freehold paint professional you’ve been awaiting. We’re a Freehold-based interior & external paint service that takes the discomfort out of getting your house repainted.\nPainting Professionals in Freehold\nWhen you collaborate with Plumbing Pros of Freehold you are not just obtaining your issue repaired. You obtain the ultimate service experience. Our friendly professionals exceed and also past to ensure you are 100% completely satisfied with the results prior to we consider the job done.There’s not a problem as well small or as well challenging for us to manage. You can depend on us to arrive promptly, with the right products to do the job as promptly and also successfully as possible. While we function fast to help you go back to your normal regular, we never jeopardize high quality; you can anticipate a complete job that leaves no detail or problem forgot.\nPainting Services in Freehold\nInterior paint services can make every space in your home appearance fresh and gorgeous. Our specialist painters can paint any type of indoor surface area, including wall surfaces, trim, closets, and doors. We additionally can assist to fix minor damage to your drywall, stucco, and plaster. Due to the fact that wall surfaces can set the tone for your indoor space, it is very important to understand what shades will certainly assist to develop the ambience that is wanted by the homeowner. We can assist you choose from the hundreds of paint shade alternatives readily available for your indoor wall surfaces. We’ll assist you select the most effective paint in addition to identify the sheen which is best for your application (level, matte, eggshell, satin, semi-gloss, gloss, or high gloss coatings). Furthermore, you can select cleanable paints for simple clean-up in rooms used by kids and family pets.\nClimate can wear down your home’s outside surface areas. Over time your paint will either start to discolor, crack, or peel off. The outside house paint service providers at Imperial Painters can assist you secure your home from the climate. We also can assist repair any wood damage or wood rot. Our company believe that if you take these actions to settling a few of your paint problems, after that it will assist you to avoid pricey future problems, as well as enhance your home’s value. We utilize the highest-quality paint as well as discolor products as well as our job is totally assured. From trim to siding, wood to stucco, decks to fencings, we can manage all your outside home paint as well as staining demands.\nFreehold Residential Painters\nA fresh layer of paint will not only help you achieve a much more modern feeling to your residence but will also enhance the visual charm. Eliminate on your own from stress and anxiety by revamping as well as refurbishing. A freshly painted room or renovated kitchen area will definitely offer you fulfillment.\nDIY vs. Professional Home Painting in Freehold\nThe literally difficult part of Do It Yourself house paint entails removing the old paint prior to putting primer or new paint on the walls. Scratching entails reaching out to one of the most rare and also remote areas. This part of the paint procedure can be done rather well if the size of your house is little or average. A large house will undoubtedly need the competence of a professional house painter and also a skilled crew.\nThere is much more to surface prep work, shade option, paint application as well as clean up than fulfills the eye. Without the tested skills as well as the appropriate devices, handling house paint as a Do It Yourself task can become a nightmarish experience – home owners could underestimate the rigors of the task involved as well as end up damaging a few primary policies of house paint:\nApplying water based paint over oil based paint which results in peeling off as well as blistering.\nNot using unique primer when applying dark shades.\nPainting over bare timber.\nPainting over discolorations as well as water leaks.\nFalling short to eliminate old stopping working paint effectively.\nThe Cost Aspect\nOne of the most evident advantage of Do It Yourself home painting is the cash saved with prices of paint as well as tools being the only expenditure to the home owner.\nYet bear in mind that while the paint itself is not too expensive, the various other equipment like sprayers, tools, brushes as well as ladders do not come affordable. An alternative is to employ a specialist paint sprayer from a rental firm at a daily price.\nIt is appealing to think about the savings that can be attained while comparing the hourly rate of an expert home painter and also the expense and also time needs of a diy job. If the house painter can finish the job within a few hours or days as opposed to weeks, then the price financial savings may be warranted.\nLabor costs tend to be significant while taking on the solutions of a paint specialist. However, a home owner may not be covered by insurance coverage if something were to occur. Alternatively all trusted contractors bring their very own insurance coverage.\nPros of Professional Painters in Freehold, NJ\nAn expert home painter as well as team bring with them years of competence that home owners do not possess. They are consequently able to finish the work much faster. They likewise take the requisite like mask off yards, home windows as well as other areas vulnerable to be discolored by spray. Setting up scaffolding (while paint exteriors) as well as operating specialist paint splashing tools is not as very easy as it seems as well as calls for some quantity of technique to get it right.\nIf you appreciate paint and are proficient at it, you can transform house paint right into a household task and end up with a great deal of fun and a gratifying experience that provides a feeling of possession and responsibility. However, if you are one of the many that is incapable to repaint halfway decent after that go with a specialist painter for a clean and lasting result.\nWe hold ourselves answerable for our work as well as we never ever let any type of clients down. Painting Pros of Freehold Trusted Paint Service providers as well as if we fail, we will always make it right! We supply the finest contractors as well as project quotes in the windy city as well as city Freehold area. Get a COST-FREE QUOTE from the very best Freehold Painters now.", "label": "Yes"}
{"text": "Art 2 Final Portfolio\nFriday, September 7, 2012\nDescribe your overall thoughts on the final piece.\nIt looks very nice and the shading gives it that 3D look. The oil pastels shade very well and make it look like there is light coming from the other direction.\nHow successful do you feel this piece is and why?\nI feel like it is going to be successful and the piece will stand out.\nWhat worked about this project? What didn’t work?\nThe shading came out very nice and the colors look good together.\nOn the other hand the back round looks werid though\nIf you were to do this project over again, what changes would you consider making?\nThe backround looks wired and the two colors look wired\nWhat did you learn from this piece?\nThat shading makes stuff look very nice and many different colors look well togther.\nWhat was the most difficult part about completing this piece and why?\nFinding wich colors work and wich don't.\nShare to Twitter\nShare to Facebook\nShare to Pinterest\nPost a Comment\nPost Comments (Atom)", "label": "Yes"}
{"text": "Houzz is the new way to design your home.\n203,137 selecting paint colors Home Design Photos\nWhat color us the sage color?\nWhat color is the stain? Looks great\nWe are building and I love the color and look.\nI love the profile of the shake roof on this house. I would appreciate your sharing with me the brand and color. Thanks so much\nReally like the shake color. Could you tell me what color it is?\nThe body color is Miller Paint color Bermuda Grass #8142W.\nCombo of grey roof white trim and both painted and cedar siding\nnatural shingle above, painted clapboards below, open rail at pergola\nGood color paint combo for exterior\ncolor green and creame and light cedar shakes\nHand in hand with a change in color is a change in texture. Different materials just tend to want to be finished in different ways. Flatter, more planar stucco wants to be bright and lively, while more heavily textured\nLoudoun Custom Cabinets\nCall us today!\nCall us today!\nFor 35 years, the clients of Courthouse Kitchens & Baths have been getting style for their homes with our gorgeous kitchen & bathroom designs and entire home remodeling expertise.\nModified Telluride by Candlelight Homes\nWhat color and brand of paint is this house?\nWhat stone and color of stone did you use?\nWhat colour is the stone on the house?\nLove this exterior! What color is the door painted\nwhat color an style is the roof\nI would like to know specifics on the roof style and color\nRoof color: Sagewood Weather Ledge by Dutch Quality Stone\nwhat is the paint color on the Hardie board?\nThis was a custom color match, so we\nagave AF-420 Paint - Benjamin Moore\nWhat color is the porch floor?\nWhat is the color of the porch ceiling?\nWhat is the color of the\nHi, Great house! Do you know the brand of window and the cladding color used? It looks gray in spots and white in others... Thanks!\nIt's actually the same color as the house, just a Cabot white stain. The large green lawn is just casting a green glow. Vermont really is green.\nHi, not wood, but a composite decking similar to Trex, in a medium grey color.\nand please, the mfr, style & color?\ncolors - white, gray and green\nMetal roof simple lines and colors\nsimplicity of barns and farmhouses that provide so much of the flavor of the Vermont countryside,\" Brown says. \"No Greek-revival trim schemes.\"Door paint color: Agave, Benjamin Moore\nBrian O'Tuama Architects\nLondon Fields House\nWould love to know the wall colour here! Any ideas?\n'Arsenic' by F & B paint\nbuilt ins and the colors are great\narsenic paint color by Farrow and Ball\nlove green wall color and floors\nlove the paint color arsenic by Farrow and Ball\nLike wall colour arsenic by farrow and ball\ncool, restrained, even sterile, but it is versatile, too, and, thanks to its pale tones, can make friends with all kinds of different materials and colours. Here, a piece of modern art and a moody shade of blue-grey on the walls gives this cool marble fire surround a strongly modern feel.\nUse bold colourToday’s moody dark hues work brilliantly with Victorian features and are in keeping with that period’s love of dark shades. Here, a cloudy grey looks\nWhat color paint are the cabinets? Beautiful!\nWhat color paint are the cabinets? Great white!\nWhat brand and color are cabinets?\nBeautiful paint color on walls, do you know what it\nWe have several whites available as well as custom whatever color you want! We take into consideration what is either already existing or selected new in the area (trim color-etc.) to determine the best choice(color) for your home. Please feel free to contact me if you have any further\nhave that--We have a lot of colors mixed custom depending on what paint we want to use.\nReally like the color on the far wall...what is it\nI like the colors. Not the cabinetry style. The white and dark wood is pretty.\nLove this kitchen. What is the perfect green paint color?\nCan you tell me if the cabinets on top are a different colour please? lovely kitchen!\nI'd love to know the color on the walls too!\nThese cabinets are bamboo, one of my favorite materials. Specifically, this is Natural color \"edge grain\" bamboo plywood, available at Plyboo: ...\nBacksplash and paint combo - not necessarily the color, but the proportions.\nI like how wall paint color blends well with the backsplash.\nnice backsplash in a diff color\ngreen backsplash and paint color very soothing and organic\nThis gorgeous green onyx linear tile backsplash also has a nice mix of colors. (Always see a sample of your chosen backsplash material in person before you make a selection.)Similar backsplash: Check out the Sublime line of glass tiles from Bedrosians.\nDesign Shop - Interiors & Staging\nGrant Street West Model Home\nWhat are the two wall colours?\nWhere did that table lamp come from and what are the colors blue and silver?\nI am a home stager and would really like to know the two wall colors.\nLove the combination of the colors..,what is the wall color,is it a dark brown? Are the floorings made in wood or a tiles?\ndifferent types of glass you can select from. Good luck!\nSimilar colors to try are Thunder Gray 7645 and\nhave all the details on it anymore. It's a Benjamin Moore color, a very dark ebony brown.\nthey are def Benjamin Moore colors but that's all I can remember! sorry\narea ASAP but will have to work towards replacing sofa and oversized chair. Any suggestions from you is welcomed and so appreciated. I am willing to paint furniture remove TV cabinet doors, cover sofa whatever it takes to make it presentable. Thank you\nTexas Construction Company\ncan you please tell me the color on the walls? love it!\ncan you please tell me the color of walls? Thank you.\nI LOVE the wall color... so pretty. Can you please tell me what it is? Thank you.\nat the big tub of paint that they left for us and it looks like the color is Pittsburgh Paints Gypsum 520-1: ... Hope that helps.\nThis appears to be a solus concrete mantel, specifically the span mantel in the halva or (more likely) linen color: ...\nOne idea for a living room eith a lot of color is to go whites on wall. Carefully select! Will want trim.... Layer paint whites for shading and effect.\ncolor paredes- Pittsburgh Paints Gypsum 520-1:\nanother example of accent colors with the furniture & not paint on walls", "label": "Yes"}
{"text": "Love and Mercy\n\"And he placed between you Love and Mercy\"\nCanvas painted with acrylic paint and gel mediums. Calligraphy painted with24k Gold ink. 12x16 inches Pictured. Can be customized by color and size. Message me for prices and sizes!\n$115.00 Regular Price", "label": "Yes"}
{"text": "painting sprayer spray techniques art.\nspray painting techniques for beginners pdf pint spryer ultimte paint sprayer vs roller or brush car,house painting air sprayer paint rental lowes gun price , airless sprayers reviews fence paint sprayer asda,painting indoors with airless sprayer fence paint asda spry house exterior,paint sprayer rental lowes spray painting techniques for beginners vs roller exterior ,paint sprayer gun and hose fence painting wickes,paint spray gun kit sprayer home depot parts,painting house with wagner sprayer paint gun home depot and hose, fence paint sprayer bq asda sprayers reviews uk,painting sprayers reviews er fence paint sprayer hire gun parts.\nYour email address will not be published. Required fields are marked *\nDesign by ThemeShift.", "label": "Yes"}
{"text": "Opening Saturday, September 15, 2007\nSusan Jamison: Trust in Me\nSolo exhibition of new paintings in egg tempera on panel. In Trust in Me, Susan Jamison’s second solo exhibition at Irvine Contemporary, the artist presents a new series of egg tempera paintings that extend her signature approach to the female figure through provocative new imagery on dark tempera grounds. Jamison uses large-scale panels to depict fantasy worlds that appear both timeless and of our own moment. Jamison combines two classic forms: the portrait, in a traditional Renaissance profile position, and panels reminiscent of Audubon and naturalist illustration and Asian art forms. The exquisitely rendered details in the paintings evoke a magical realism that balances naturalism with strikingly original allegories of the feminine.\nCourtney Jordan: Restructuring\nSolo exhibition of new paintings and drawings on mylar.\nFor Restructuring, Courtney Jordan, who first exhibited with Irvine Contemporary in last year’s Introductions2 show, presents a new series of drawings in ink and graphite on mylar that reconceive architectural forms and structures from the human built environment. Jordan’s subtle but complex works employ recognizable details of built structures and urban industrial infrastructure that are encoded with social and emotional values. Indeed, Jordan has created a new poetics of architectural form.\n1412 14th St., NW\nWashington, DC 20005", "label": "Yes"}
{"text": "Jamie Wyeth's grandfather, N.C. Wyeth was an illustrator; his father is the renowned realist painter Andrew Wyeth. The youngest Wyeth tells Fresh Air's Terry Gross about the various ways he honed his craft -- without a formal art school education.\nPainter Jamie Wyeth is the son of painter Andrew Wyeth and the grandson of painter and illustrator N. C. Wyeth. The youngest Wyeth is known for his work inspired by Chadds Ford, Pennsylvania, the Brandywine River, and Maine, as well as his portraits. The Pennsylvania Academy of the Fine Arts is celebrating its 175th anniversary, and its closing exhibit showcases Wyeth's work.", "label": "Yes"}
{"text": "Annie Smits Sandano\nPrintmaking and painting\nI work across a variety of fine art mediums, adapting traditional fine art practices to a contemporary context.\nFollowing a highly coveted collection of limited edition wood cut prints, I have recently embarked on a series of colourful geometric abstract painted compositions and ceramics. My new works, which I began creating in my London studio, see figurative elements combined with geometric and organic shapes in freeform arrangements with eruptions of colour and texture. Elements overlap, interact, jostle for space and achieve harmony in co-existence.\nOPEN STUDIO ADDRESS:\n400 Lees Road, Hahei, RD1\nMobile: 021 022 32714\nHome: (07) 867 1555\nClick icons for artist's social media links:", "label": "Yes"}
{"text": "Ernie Heinemanns Fine Art Paintings\nAbout the Artist\nMy name is Ernie Heinemann. I have been painting for many years in various areas of subject matter using acrylic and oil paints, along with colored pencils.\nMy latest direction includes painting wildlife. I see so much emotion and color within the animals combined with scenic backdrops that helps bring the animals to life.\nHOW IT WORKS\nWe deliver the best shopping experience ever.\nOriginals , Numbered and Signed Prints 81/2 x 11\"\nSigned and numbered prints\nCalifornia Ocean Side Prints signed and numbered. 8 1/2\" x 11\" $20.00 Plus delivery.\n© 2019. Proudly built with Strikingly.", "label": "Yes"}
{"text": "19th Belgian school oil on canvas signed Charles Hubert Denis Boland (1850-?). The work has texture to the touch.\nA dog portrait is composed using swift, compact, textured brushstrokes. The outlines are accurate and lifelike. Light is a prominent element in this artwork, accentuating the head and the back of the body. Despite a somewhat gentle gaze, the piece conveys a feeling of contained power through the dark alley, the pointed collar, a few visible teeth, and the proud, rigid posture. This work departs from the tranquil and idyllic aesthetic found in Charles Hubert Denis Boland's interior animal scenes.\nAbout the artist:\nCharles Hubert Denis Boland, a Belgian painter born in 1855 in Spa (in the Ardennes region), began his artistic journey in 1878 at the Antwerp Academy. Two years later, he exhibited his works at the Antwerp Salon and in Brussels. His portfolio encompassed genre scenes, landscapes, and portraits, but it was his animal paintings that brought him acclaim, a subject he explored alongside others in his earlier years. In 1883, he co-founded the Circle Als Ik Kan (\"If I can\") with fellow young artists in Antwerp, providing a platform for discussing their craft and finding exhibition opportunities.\nThe circle gained recognition, regularly showcasing his works in prominent Belgian Salons. They also participated in the General Exhibition of Fine Arts in Brussels in 1892 and the Triennial Salon of Fine Arts in Brussels in 1903.\nAround the turn of the 20th century, he established his studio in Rixensart, near Brussels, before his trail grew faint. Boland left a lasting imprint on his era and the tradition of indoor animal paintings, particularly scenes featuring dogs and farm animals, always executed with precision and tenderness.\n- Overall size: 18.5\" x 22\" / 47cm x 56cm.\n- Size without the frame: 14.5\" x 18.1\" / 37.5cm x 46cm.\n- Country: Belgium.\n- Signed: Charles Hubert Denis Boland (1850-?).\n- Date: Late 19th century.\n- Condition: The canvas has veins and cracks but remains protected by its varnish. The frame has some impacts and small gilding restorations.\n- Materials: Oil on canvas with a wood and stucco frame.\n- Shipping: Free Worldwide DHL Express to USA & Europe (otherwise free shipping via Colissimo).", "label": "Yes"}
{"text": "Picking the right paint colors for your home can be a tough decision. As homeowners, you’re representing a part of yourself through your home, and paint colors really do set the tone for the rooms. The ability to make a room look fashionable comes with experience and creativity. At ottawa commercial painters, we know that the kinds of paint colors your choose should reflect the mood and mix well with the furniture in the room.\nSome things to ask yourself are:\nWhat purpose does this room serve?\nWhat emotions/feelings do I want to provoke when entering the room?\nHow is the lighting? Natural?\nIt may not always been the paint on the walls that catches the person’s attention, maybe a painted peice of furniture would serve a purpose. The best way to pick a great paint color is to bring a small sample of the paint home, and paint a patch of the wall to see how it will look when combined with your lighting and furniture in the room", "label": "Yes"}
{"text": "Paul Giovanni Wickson was born in Toronto,Ontario in 1858. In 1872 he moved to England with his father wehre he studied art.\nIn 1884 he returned to Canada settling in Paris, Ontario where he had a personal studio.\nWickson often painted wildlife, portraits, and landscape scenes. Horses were a popular subject of his.\nHe was a member of The Royal Canadiam Academy.\nHe died in 1922.", "label": "Yes"}
{"text": "Förg was employed as a house painter when he began to make art in 1973. For his first work, Ohne Titel, the artist rubbed anthracite paint onto a black ground with a sponge; the painting could be read as a refutation of the domineering impact of the New York School on abstract art. In contrast to the monumental canvases favoured by American Abstract Expressionists, Förg preferred to paint on panels of wood and lead, thereby emphasising the materiality of the artwork’s medium. Drawing inspiration from Frank Stella and Blinky Palermo, Förg posited painting as one form of expression among many, rather than the window into spirituality promised by Mark Rothko's and Barnett Newman’s colour fields. In his envisioning of painting’s continued development after Abstract Expressionism, Förg has much in common with Gerhard Richter, who sought to eliminate the artist’s hand through his use of the squeegee. The present work, painted early in the artist's career, shares a muted palette and introspective atmosphere with Richter’s Grey Paintings from the same period.\nDespite Förg’s desire to avoid artistic handwriting in his paintings, his oeuvre is undeniably an autobiography of his experiences in urban Germany. As writer Cees Nooteboom explains: “Artists are flâneurs, even if they do not write. They are responsible for the preservation of memory, they are the observers of disappearance, they are the first to herald disaster, they do not miss even the smallest detail, they belong to the city and the city could not be imagined without them. They are the city’s eyes, recorders, chroniclers, judges and archives. It is in the flâneur that the city can seek and find its self awareness” (Cees Nooteboom cited in: Exh. Cat., Hanover, Kunstverein Hannover, Günther Förg, 1995, p. 123). Förg’s painting series bear resemblance to the wall panels of architecture and structures inhabiting the city: some under construction and yet to be painted, others weathered and awaiting demolition. The panels of Veronese Green, possessing the hues of oxidised copper, look as if they were made from metal. They remind viewers of the rusted walls of derelict houses and factories populating European cities after World War II.\nHailing from the early period of the artist’s career, Veronese Green evinces the emphatic nature of Förg’s artistry and stylistic ingenuity. The present painting, in its minimal abstraction and rich materiality, embodies Förg’s efforts at revitalising expressive painting and testifies to the artist’s links to German Neo-Expressionists like Gerhard Richter and Imi Knoebel. Executed in a series of panels, the work attests to Förg’s unique application of Modernist-inspired formalism to the in-depth investigation of urban architecture.\nPlease call 1-800-555-5555 to order a print catalog for this sale.\nOnline Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale", "label": "Yes"}
{"text": "Carol Rhodes, the Glasgow-based painter known for her distinctive, imaginary oil on board landscapes, has died of motor neurone disease. She was 59-years-old and had been diagnosed with the disease in 2013.\nBorn in Edinburgh and brought up in Bengal, Rhodes returned to the UK as a teenager and in 1977 moved to Glasgow to study at the city’s art school, graduating in 1982.\nAn early committee member of the artist-run Transmission Gallery from 1986, she went on to teach at Glasgow School of Art from the mid-1990s to 2015.\nRhodes’ paintings depict aerial views of almost-real spaces, often combining a sense of both the industrial and the rural – the kind of unglamourous hinterland that modern living creates, with its car parks, airports, motorways and quarries.\nWhile conjuring a strong sense of the infrastructure that holds together our world, her paintings also convey a feeling of distance – of being both connected and disconnected at the same time.\nWriting in 2007, the critic Tom Lubbock said of her work: “Carol Rhodes invents. She makes up parts of the works, conceives them, constructs them, composes them, without compunction. But her fictions are both free and unfree.”\nRhodes began her painting practice in earnest in 1990 after a five-year gap. In 1994 her work featured in the ‘New Art in Scotland’ exhibition at Glasgow’s Centre for Contemporary Arts, and from 1997 she began showing at the Andrew Mummery Gallery in London. Her first solo show was in 1998.\nIn 2007 Rhodes had a well-received mid-career retrospective at the Scottish National Gallery of Modern Art. In 2017 an exhibition of her paintings took place at The MAC, Belfast. Due to her illness, she was unable to see it.\nIn 2012, with her partner the painter Merlin James, she set up an occasional gallery space at 42 Carlton Place in Glasgow.\nIn April this year, a monograph of Rhodes work was published by Skira, featuring over 40 of her paintings, a number of drawings, an interview with the artist, and texts by curator Lynda Morris and critic Moira Jeffrey.\nIn her obituary for the Glasgow Herald, Jeffrey said of Rhodes: “Tall, austerely beautiful, charismatic and soft-spoken, Rhodes embodied the life of the independent artist and determined dedication to her chosen path.\n“She was radical in her politics, meticulous in her artistic focus and painterly skills, furiously dedicated to her studio practice and thoughtful in speech. She carried these qualities in her art, her everyday life and teaching work.”\n1. Carol Rhodes, Roads, Buildings (night), 2013, Oil on board, 51 x 53.5 cm\n2. Carol Rhodes, Development Centre and Roads, 2010, Oil on board, 50 x 70 cm\n3. Carol Rhodes, pictured at Howrah Station, Bengal, 2012\n4. Carol Rhodes, River, Roads, 2013, Oil on board, 50 x 57 cm\nMore on a-n.co.uk:\nArtists’ Books 2018: 10 of the best, from irreverent fun to brutal heartbreak\nBuy art for Christmas: 10 gift ideas, including prints, scarfs, mugs, t-shirts and more\nBuy art for Christmas: open studios, winter markets and festive exhibitions", "label": "Yes"}
{"text": "Karen Fedderson Fine Art ~\n\"North Coast Waves\" in San Luis Obispo County\nSan Luis Obisbo County coastal landscape of their powerful rugged and dramatic waves.\nOriginal Oil on Canvas - 16\"x 48\"_____$2850.00\n125 North Milpas Street, Santa Barbara CA 93103\nPlease call or e-mail for a studio visit or to purchase art.", "label": "Yes"}
{"text": "oil on mdf panel - 6 x 16 inches\npainted on location - Tues. 15 April 2014\nThe wind is playing a major role in this painting. It was blowing really hard on this little panoramic view, as is evident by looking at those banners on the poles just in front of that beach cafe. As you can see the seagulls just love it! All they have to do is spread their wings and the wind sways them along so graciously.", "label": "Yes"}
{"text": "Before you wield your brush to re-decorate, we have some ideas to inspire you to think about paint differently.\nPaint is probably the easiest and most cost-effective way to make a big impact in a room. Paint offers you almost endless options when it comes to giving your space a brand new look. From bold brights to barely there neutrals, accent walls to stripes.\nDraw the line\nDado rails may be making a come back, but you can add interest to walls without the heavy DIY. By painting the lower half (under where there would be a dado rail) in one shade, and the other half in a contrasting shade. Continue across door ways for a dynamic look.\nAdd an accent wall\nThis old chestnut really does create bold impact and can change the mood of a room. The best option is to choose a wall without doors or windows. For high impact choose a strong colour, be brave and go for an experimental colour, it’s easy to paint over if you fancy a change.\nPlay with stripes\nThink about whether you want classic vertical stripes, which make a room feel taller; or horizontal stripes, which elongate the room and are a more contemporary option. Choose the stripe width carefully, wider stripes feel more modern, narrow stripes are more subtle. Neutral stripes will blend into the background a little more easily without dominating the space.\nCreate a frame\nMake your stencil really stand out by painting a panel in a bold or contrasting colour to the main, base wall shade and use the panel as a frame for your stencil design. The panel will add a more formal feel for a living room or dining room. Choose a long, vertical stencil design to add a sense of height to your room.\nMake it restful\nThe rich, warm-grey walls in this dining area makes the space feel relaxed. By painting the architectural details such as the fireplace, skirting and door frame in pale lilac is an unexpected alternative to white. Contrast the chalky, matt textures of the walls with shiny highlights such as ceramics or glossy furniture.\nHave fun with colour\nIdentify a starting point and find colour inspiration from a wallpaper or fabric design and build your colour scheme around it. Introduce an extra flash of colour with wall lights, painted picture frames or even painted wood work. If you can’t find the shade for you, Valspar can create any colour you want.\nTurn cupboards into a feature\nBuilt-in cupboards or wardrobes don’t have to blend into the background. Painted in a fun candy-pink, this wall of concealed storage gives the traditional style mouldings a contemporary twist. Blur the lines between walls and cupboards by mounting a clock or picture frames.\nCreate a feature in a plain room\nAdd features and interest in a plain box room using paint, add a finishing flourish with a decorative moulding painted in the border to match. By giving internal doors a painted border you can also introduce strong colour in small doses.", "label": "Yes"}
{"text": "2023 saw a new adventure for my art.\nMy new Miniature Hand painted furniture has been very popular in 2023 Each piece is a One of a kind, Hand painted Miniature Furniture Art.\nAn example is this Hand painted Art on Furniture Dollhouse Welsh dresser and hand painted plates. A shabby chic style this piece of unique 1:12th scale furniture has tiny plates I painted and then aged to give a beautiful compliment to the shabby chic style.\nI have bought the wooden dresser, distressed it by rubbing down and adding gold wax then I painted my art, pretty rose style flowers on as a painted design in my Encaustic wax paints.\nThis dresser is available to buy in my Etsy Store. The plates are included I painted them with my encaustic paint. They are paper plates I bought from an online miniature supplier. This is a very Unique original art furniture for a dollhouse collector.", "label": "Yes"}
{"text": "Cherry Blossom Moon - Date Night\nSaturday, August 19\n8:00 - 10:00PM\nThis painting will bring spring into your homes and add interest with the staggered canvases.\nDate Night Painting - you paint one half, your date paints the other - 2 Canvases = 1 Painting!\nPinot’s Palette is a pioneer of the paint and sip experience – a revolutionary way to enjoy art and wine, meet new people and bond with friends.\nGuests enjoy a no-experience-required art class—all supplies included—directed by trained, local artists, who guide guests step-by-step through a featured painting.", "label": "Yes"}
{"text": "The Menhaden Mural\nThrough the month of April I will be painting a 3-story mural on the north side of the Beacon Motel in Lewes, Delaware. The historical mural will depict a scene from the Menhaden fishing industry set in the 1940's. I have created an original acrylic painting to show the lighting and palette. A limited quantity of reproductions on paper and canvas are available at Peninsula Gallery to help fund the mural project.\n\"First Catch\" 24 x 30 acrylic on canvas Original painting available at Peninsula Gallery\nReproductions available: 16 x 20 Reproduction on Archival Paper - $150 (Open Edition)\n24 x 30 Reproduction on Stretched Canvas - $395 (Edition of 25)\nA rendition showing what the mural will look like.", "label": "Yes"}
{"text": "Introduction: The Beginning of a New Era\nThough the Renaissance Era was represented by a range of various artists, who seemed to follow the principles introduced by da Vinci and Michelangelo quite closely, there is only one person, who has practically become a household name, became the representation of the era.\nWe will write a custom Essay on Raphael: A Renaissance Master specifically for you\n807 certified writers online\nCreating a range of artworks and developing his own original style by adding the concept of harmony into the theory of art that was followed at the time, he stood out of the rest of artists. Despite the fact that, in contrast to the tendency to experiment in his early works, Raphael was obviously following the staples of his own genre at the end of his career, his influence in the development of the Renaissance painting is not to be underrated.\nAlthough the style that Rafael developed over the course of his evolution as an artist was influenced greatly by the works of Leonardo da Vinci in terms of composition and technical expression and Michelangelo in that the latter defined a entirely new portrayal of human body in his sculptures, Rafael managed to not only blend the two styles into one, but also develop several unique characteristics, including the color cast harmony and a compositional balance, which led to the creation of an original style, which would later define the era of Renaissance and make Rafael’s artworks the representation of the epoch.\nFollowing into the Footsteps of the Great Masters: The Influence of Michelangelo and da Vinci. The Umbrian Period\nThe earliest works of Raphael show clearly where he drew his inspiration from. Not that these works were unoriginal – far from it; however, they still lent a lot of their key features from the creations of da Vinci and Michelangelo. Taking one of Raphael’s most famous and well remembered works, Madonna and Child with the Book, as an example, one will notice inevitably that it shares a range of features with the paintings that da Vinci was so well known for.\nFor example, the color cast and the choice of the form point clearly at the fact that Raphael studied the technique that Mona Lisa was painted with very closely. However, even at this stage of his artistic progress, he managed to introduce new elements into the existing styles by “capturing the characters of his sitters” (Adams 350).\nThe similarities between da Vinci’s and Raphael’s approaches towards expressing their vision and depicting the Renaissance reality as they saw it can be traced easily when comparing da Vinci’s Mona Lisa to some of Raphael’s other early works. More to the point, these were not only the line work and the color cast that defined these similarities. The realization of the obvious link between the works of the two artists may come as one compares the very posture of Raphael’s numerous Madonnas to da Vinci’s “swan song.”\nFor example, the main character in Lady with the Unicorn clearly strikes the same pose as Mona Lisa in da Vinci’s painting; the same can be applied to the Portrait of Maddalena Doni and several other works of the Renaissance artist (Paintings During the Stay in Florence (1505-06) para. 15).\nThe aesthetics of a range of Raphael’s works of this period also bar a very distinct resemblance to the one of Michelangelo’s sculptures. Though not as obvious as the similarities between da Vinci’s and Raphael’s creations, the details that coincide in Raphael’s and Michelangelo’s artworks also give a lot of food for thoughts.\nIt is remarkable that Michelangelo and Raphael were rivals at the time. Nevertheless – or, perhaps, as a result of their rivalry – they shared a lot of common elements in their artworks, and especially in their manner of expression. The similarities in Michelangelo’s and Raphael’s works, however, did not end with the stylistics and overall aesthetics of the paintings. Much like Michelangelo, Raphael seemed to be inclined to create his own istoria (Adams 338), which resulted in an unusual representation of the traditional Biblical concepts.\nFor example, the human body sculpture, which Raphael follows very closely in each of his paintings, especially in the creation of the numerous Madonnas, such as the Madonna del Cardellino, shows the tendency for Raphael to experiment with his characters’ poses and use poses as one of the means of artistic expression; for example, some of his works feature a character that “reverses the pose of Michelangelo’s David” (Adams 328).\nThe heritage that Michelangelo left for Raphael, however, is not as impressive as the one of da Vinci. Though some of the artworks created by the two artists did have a number of points of contact, the impact that da Vinci had left on Rafael was still too strong for Michelangelo to overshadow it.\nVatican Decorations and Paintings in Rome: Idealism at Its Highest Peak\nIt would be wrong to assume that Raphael only blended the two styles without adding anything g of his own to them; instead, he worked very hard on both his technique and the expressivity of his work, creating the pieces of art that were literally packed with metaphors and allusions.\nAs soon as Raphael went to Rome after being invited to work on the Sistine Chapel, he displayed two scenes from the Old Testament, making a range of alterations to the traditional narrative. The assimilation and synthesis of several Biblical stories was an entirely new approach at the time, which allowed Raphael to gain an easily recognizable and very distinct style.\nAnother example, The Stanza Della Segnatura, which can be considered one of his major works in Rome, can also be viewed as another step towards developing a truly unique artistic style (The Stanza Della Segnatura para. 1). It was obvious that Raphael was experimenting with form and line, at the same time trying to fit in a range of Biblical allusions into his work.\nGet your first paper with 15% OFF\nThe famous Galatea, which appeared only a few years later, also featured the same approach.\nPerhaps, one of the greatest changes that Raphael underwent as an artist and which contributed the most to the evolution of a new and unique style, concerned Raphael’s refusal to work with bright colors, which he preferred in the early stage of his artistic growth. Indeed, comparing the Parnassus, which heralded the era of the beginning of Raphael’s artistic journey, to such an artwork as Psyche Received on Olympus, one will notice that the color palette used by the artist shrank considerably.\nThough the refusal to abandon bright colors was not complete, and even some of the latest works by Raphael featured very peculiar combinations of colors, for the most part, his works became rather restrained in terms of color cast and the use of bright and saturated palettes for rendering the idea behind the artwork.\nWhere the Journey Ends: Coining a New Manner of Artistic Expression\nThe latest works created by Raphael show clearly that he had found his niche by the time that he became a renowned artist. The aforementioned Sistine Chapel is a very graphic example of how Raphael’s vision of art changed throughout his own evolution as an artist and an original thinker; for instance, the Last Judgment Altar, which, according to the existing historical records, was not completed until 1520 (Adams 337).\nThe painting invites the viewer into the surreal world of the supposed Biblical event of the same name, and it does so in a very peculiar manner. Rafael’s tendency to avoid combinations of numerous colors in the same artwork reaches its peak in this work of art – the entire fresco is monochromatic. As a result, the focus is entirely on the Last Judgment and its participants, which allows for a closer analysis of Raphael’s interpretation of this event.\nIn addition, it would be erroneous to assume that da Vinci and Michelangelo were the only artists, whose creations Raphael drew his inspiration from. Apart from analyzing the artworks of his contemporaries, he also paid close attention to the way in which his predecessors worked on perfecting the tools for artistic expression.\nFor example, Villa Madama, and especially the interior of the loggia, was inspired by the works of Nero’s architects: “This was inspired by the ruins of Nero’s Golden House that had come to light in the early years of the sixteenth century” (Adams 355).\nConclusion: Influence and Followers\nThough the era of Raphael’s’ influence on the Renaissance painting was rather short, the artist still defined the further stylistic evolution of the Renaissance by showing that art could be used for not only representing the traditional Biblical scenes and fables, but also offering the viewers the author’s unique interpretation of these events. Moreover, Raphael showed that it was actually possible to blend several metaphors into an original idea.\nDespite the fact that the influence of two key artists of the Renaissance Era, Leonardo da Vinci and Michelangelo, was very strong in Raphael’s works at first, as the artist gained new experiences and developed new skills, he managed to conjure an entirely new style by assembling the elements of the artistic expression tools used by Michelangelo and da Vinci and including them into his own vision of art as a means to provide new interpretations of the traditional Biblical narratives and characters.\nRaphael was one of the few artists who were capable of reconsidering their vision of methods of artistic expression; though he had chosen a very distinct and rather bright color palette at first, he was finally convinced by the examples of da Vinci and Michelangelo that a more composed color cast was more appropriate for rendering the ideas related to the Biblical stories and characters.\nThus, the artworks kept the focus on the message behind them without distracting the viewer. Clearly one of the most influential people of the renaissance Era, Raphael became an accomplished artist comparatively fast and left a massive heritage for the followers to admire and mimic.\nAdams, Laurie Schneider. Italian Renaissance Art. Boulder, CO: Westview Press. 2013. Print.\nPaintings During the Stay in Florence (1505-06). Web.\nThe Stanza Della Segnatura. Web.", "label": "Yes"}
{"text": "Exterior paint picking colors for your house trend decoration fancy choosing a color and. Exterior house paint alluring ideas of painting home decorating wall stripes in beige and brown colors for girly bedroom contemporary style choosing interior co. Living room paint color ideas home decor plan choosing. Living room color schemes is inspiration e home ideas image of for walls. Choosing color paint living room e home ideas best.\nInterior colonial trim package coffered ceiling recessed panel columns. Sandy at sterling property services choosing paint colors for interior doors. Choosing livingroom paint colors fractal art gallery living room with brick fireplace. Living room paint ideas with dark wood floors homeglad choosing color. Living room\nPaint ideas image of color green. Color in space photo beautiful room living picture interior small paint colors ideas design inspiration bedroom elegant brown. Livelovediy how to choose a paint color tips help you decide. tips for picking paint colors color palette and schemes caribbean blue. Living room color schemes the colors that we choose for can affect emotions make seems smaller or larger cooler warmer and rustic sophisticated. Living", "label": "Yes"}
{"text": "Welcome to Mike Jasinski Painting: a Haverford Painting Contractor\nDon't trust your painting needs to just anyone with a brush - call the Haverford painting contractor you can trust for superior quality results and a painting job done right the first time: call Mike Jasinski Painting today!\nChoose Mike Jasinski Painting to Serve As Your Haverford Painting Contractor because we:\n- Pride ourselves in thorough product knowledge and proper application techniques to ensure a stellar and long lasting finish for every Haverford painting project, both residential and commercial.\n- Practice proper communication. You can rely on our Haverford painting contractors to: return your calls, keep appointments, and make sure you’re completely satisfied when your Haverford house painting or commercial painting project job is complete.\n- Have a stellar reputation as a professional Haverford painting contractor. Our team has earned the respect and gratitude of clients and it shows through our repeat customers.\n- Care about neatness. When we’re finished working on your Haverford interior painting or exterior painting project, you can be certain that the work was performed expertly – and without a trace that we were even there…except for the beautiful end result!\n- Are Lead Safe Certified by the Environmental Protection Agency (EPA).\n- Are PA State Licensed Painting Contractors (PA License: PA043434)\nMike Jasinski Painting - Haverford House Painter\nMike Jasinski Painting is the Haverford house painter that truly delivers results. Our Haverford house painters offer a variety of painting and restoration services to homeowners in the Haverford area, and we provide exceptional results through our painting industry expertise, attention to detail and personalized service. Whether you just want to rejuvenate the exterior surfaces of your home with professional power washing and exterior painting touch-ups or you require a complete interior painting make-over, you can rely on the Haverford house painters at Mike Jasinski Painting for a job done right.\nOur Haverford painters are professionally trained technicians that know what preparation methods and materials will work given your specific situation. We guarantee that you will get exceptional quality results every time you hire us for Haverford house painting, and a finish that is beautiful as well as durable.\nHaverford Exterior Painting\nThinking of investing in professional Haverford exterior painting services? Consider hiring the Haverford exterior painting experts at Mike Jasinski Painting, especially if you are:\n- Planning an outdoor celebration and would like to spruce up the walls or deck of your Haverford home;\n- Interested in having your Haverford home or business to stand out from the rest in the area;\n- Noticing mold and mildew, rotting wood, and cracking caulk;\n- Getting ready to sell a property in Haverford;\n- Buying a new home in Haverford;\n- Looking to freshen up the door and shutters.\nOur exterior painting contractors can take care of all your Haverford commercial painting and house painting needs with superior quality craftsmanship, efficiency and precision.\n- Haverford painting contractor\n- Haverford house painter\n- Haverford painting company\n- Haverford painting service\n- Haverford interior painting\n- Haverford exterior painting\n- Haverford house painting\n- Haverford commercial painting\n- Haverford painting\n- Haverford power washing\n- Haverford painter\n- painting contractor in Haverford\nHaverford Interior Painting\nAs you inch your way closer and closer to deciding to paint the interior of your Haverford home, be sure to do your research when hiring contractors. Choosing a professional Haverford painting company in good standing is an important part of completing a successful interior painting project. As you listen to the experiences of family and friends, or sift through the Yellow Pages, you probably need a little assistance in making this decision a beneficial choice. Below you will find a few areas of interest to consider when it comes time to select your Haverford interior painting contractor.\nAfter deciding to enhance the look and feel of your Haverford house, you should gather a few listings of Haverford painters before settling on one. Need help finding a reliable Haverford painting company? While general, as well as sub-contractors, advertise in the newspaper, telephone book, and the Internet, there are also professional organizations that can guide you. Once you've narrowed down potential painting contractors in Haverford, you should check out how he or she conducts their business. Visiting a job site allows you to see the contractor work on current projects in Haverford.\nDuring a visit, it is important to note the safety, cleanliness, neatness, and conduct of the Haverford painters. This is a telling sign as to how your Haverford interior painting project might be handled. If you like what you see and have learned after conducting research, you should make an office visit or place a telephone call to the Haverford painting company of your choice.\nThe Services We Provide in Haverford, PA\nMike Jasinski Painting is Rated: 5 / 5\nbased on these 1 happy customer reviews.\n\"To Whom It May Concern:\nWe have on several occasions engaged Mike Jasinski for painting. We found that Mike takes great pride in his work and is easy to reach and communicate with. Mike’s skills go beyond painting and he can offer good suggestions regarding necessary repairs. He is capable of doing many of those repairs. We have found him to be fair and reasonable with his prices and would recommend him for painting and minor repairs. Should we have need of work on our house we would surely call Mike for an estimate.\"\nIf you are looking for a professional Haverford painter then please call 484-554-6207 or complete our online request form.", "label": "Yes"}
{"text": "An essential collection of pains for any artist this Daler Rowney Set of 24 Acrylic Paints is available to buy online today.\nEvery colour to suit your needs\nSuitable for use on all conventional art surfaces such as paper, cardboard and canvases these acrylics paints are great to have in your art supplies. Providing bright, clean colours these paints can be used straight from the tube or can be thinned easily with water if preferred. Easily intermixed you can create a whole plethora of new colours using these 24 paints.\nColours included: White, Cream, Lemon Yellow, Medium Yellow, Deep Yellow, Orange, Brilliant Red, Scarlet (Red), Crimson (Red), Portrait Pink, Magenta (Pink), Violet (Purple), Light Blue, Ultramarine Blue, Dark Blue, Leaf Green, Medium Green, Light Green, Dark Green, Yellow Ochre (Brown), Light Brown, Raw Umber (Brown), Brown, Black\nPlease note: This product is subject to stock availability.", "label": "Yes"}
{"text": "Absinthe Metallic Paint, Vintage with Grace\nAbsinthe Metallic Paint\nThis size pot comes with a free 'pour & stir' 50ml top up of Polyvine Wax.\n'This paint blend already contains a percentage of Polyvine wax finish. So the paint pots don't contain less paint than what it says on the pot we are giving you a FREE 50ml self pour and stir top up pot to mix into the paint yourself.\nSimply pour into the paint to top up the percentage of polyvine that is alreay blended in. Polyvine wax finish together with Vintage with Grace Mineral Paint combines the silky feel of wax with the durability of a varnish.\nSimply pour in and stir. We recommend you pour the top up wax finish into our paint before your second coat of paint. The free 50ml top up is enough for both the 250ml and 500ml size of the mineral paint. Use 20ml of wax in the 250ml pots of paint and 30ml of wax in the 500ml size.'", "label": "Yes"}
{"text": "The way in which all the visual elements within a painting are put together is known as composition. The factors that govern composition include shape, scale, perspective, colour and texture. The purpose of composition is to manipulate and lead the eye while finding a pleasing visual balance of all these elements. Balance does not mean visual symmetry: shape can be offset with texture or colour with scale. Composition can also be used to create mood. A composition can evoke feelings of heaviness and oppression, or be airy, light and uplifting. There are certain rules to composition, but breaking these rules often gives a work a certain edge that can lift it from the mundane and pedestrian into something much more eyecatching.", "label": "Yes"}
{"text": "Art opening reception: Blast Furnaces - Concluding the Series by Nadezda Prvulovic\nBlast Furnaces - Concluding the Series is an exhibition of new work by Houston-based, Croatian-born artist Nadezda Prvulovic. Prvulovic's series of paintings depicting industrial steel furnaces began in the early 1980s, after the artist became inspired by the sight of abandoned melting cauldrons upon a visit to the steel factories in Thionville, France.\nPrvulovic's distinctive painterly sensibility creates a tension between a glowing realism and deliberately flat fields of color. Her monumental gouaches on paper laid on canvas transform the heat and smoke of her imagery into forms that suggest a brooding void of human presence and at the same time evoke a romanticized vision of a past age. The works in this exhibition represent and celebrate the conclusion of this enduring vision.\nOn view through Nov. 30.", "label": "Yes"}
{"text": "Painted with Atelier Interactive Artists'acrylic on canvas board.\nWhen I first used acrylic many years ago I hated them, I used acrylics a few years ago and quite liked them but not as I liked oil paint, but I love these Australian Interactive paints!\n- St Dominic's & Costons\nMuriel Law sold a greeting card on FineArtEngland.com!\nClick on the image for a larger view and to leave comments.\n'The Decline of the Carthaginian Empire ...', Joseph Mallord William Tur...\nClaude Lorrain was Turner's favourite old master painter. This is one of his greatest essays in Claude's style. It is part of a pair of pain\n'Miss Eliza Wedgwood and Miss Sargent Sketching', John Singer Sargent | ...\nN03658 MISS ELIZA WEDGWOOD AND MISS SARGENT SKETCHING c. 1905–14. Inscr. 'John S. Sargent' b.l.. Watercolour, 19 3/4×14 (50·5×35·5). Bequeat\n'Claude Monet Painting by the Edge of a Wood', John Singer Sargent | Tate\nSargent first met Monet in 1876, but the two artists were closest ten years later. It was probably in 1885 that they painted together at Giv\nBuy New Homes in Homes in London | Houses for Sale in Homes in London | ...\nBarratt Homes have a wide range of new homes for sale in Homes in London. Search for houses and flats for sale in Homes in London or find ou\nIs this our last look at Constable's masterpiece? Fears The Lock could v...\nExperts had warned that cash-strapped British museums and galleries were unlikely to pay up to save the painting (pictured) for the nation w", "label": "Yes"}
{"text": "Shijiazhuang Ditiantai Electronic Commerce Co., Ltd.\nType: Christmas Decorations\nSuitable for: Children\nColor: Multicolour, Customized\nProduct Name: Face Painting Kit\nLogo: Private Label\nQuality: FDA MSDS Approved\nFeature: Good Coverage ,Smooth ,Vibrant Colors\nPacking: 12/16 Colors In One Box\nAdvantage: Non Toxic Professional Paint\nMaterial: Water-based,private Label\nPackaging: Carton box\nProductivity: 1000 sets\nBrand: Shinning Flowerface\nPlace of Origin: China\nSupply Ability: 1000000/month\nHS Code: 3213900000\nWe stock a wide range of Face Paint colours to experiment with. Furthermore, our products are all toxic free, suitable for any skin types and doesn`t damage the skin. Be inspired with more kids` party face paint ideas and how you can color your world.\n1.BRIGHT, VIVID COLORS: the custom bright vibrant colors in Professional Face Painting Palette – it's like painting with a rainbow! And that's not all: unlike similar products, your best quality face paint includes enough paint per color to be used for 100+ faces! Supplied in a STURDY reusable plastic carry case Face Paint Palette.\n1.More than 16 brilliant face Body Paint, very soft, water-based, easy to draw, colored evenly, last long, easy to wash.\n2.High quality with best price, safe and non-toxic.\n3.Best seller in Europen and American Market.\n4. OEM and customized service provide.\n5.Many forms face paint for you to choose.\nIt is so easy and interesting to draw a beautiful face paint. You are the great artist !", "label": "Yes"}
{"text": "Anyone know if a bot is allowed to be painted? i know that crates can’t but i don’t know if bots can’t\nDepends on what kind of paint you use, but we’ve spray painted our chassis in past years and also this year already.\nOf course you can paint your robot with non-hazardous coatings. What leads you to believe you can’t paint your shipping crate?\nwhat the point of a crate then if u cant show off and paint it i seen in the past many team and the cheasapeake and long island that have their painted our team just doent havent time to decorate it and be creative were devotedx to robot then maybe decorate\nIf you didn’t know minibots probably can be painted under the allowed material of non-function decoration.\nI do not know if you have ever seen the Pink Team, but if they can do this, I am pretty sure you can paint your robot almost any way you want:\nI am not quite positive, but I believe the whole frame and arm are powder-coated.\nWe pretty much paint our robot every year with either spray paint or powder coat and I dont know who told you that you cant but you can paint your crate.\nFirst time i saw pink team my face was like :eek: then then\nOf course you can Here’s our Lunacy robot, my favorite for our team as far as paint goes (maybe cause I did most of the painting ) unfortunately I could not find a picture of our bight yellow crate covered in team oriented graphics.\nProbably shouldn’t use lead paint…\nProbably can’t get lead paint …\nI hope you can’t get lead paint\nWe have had a painted crate for the last 9 years. I have never seen a ruling against this.\nYou can paint your 'bot. You can paint your crate. You can paint your nose, but, you can’t paint your friend’s nose.", "label": "Yes"}
{"text": "Paul Kasmin Gallery\n74 Grand Street\nThrough Oct. 10\nThe paintings of Santi Moix, a Barcelonan now living in New York, are devoted to traditional modernist virtues: to the sensual pleasures of paint and color and the metaphorical possibilities of nonrepresentational forms. But they're animated as well by a spirit of funky insouciance.\nIn each picture, the larger of which extend more than eight feet, agglomerations of blobby mud- or flesh-colored forms appear against expansive blue fields. Punctuated here and there by cartoon eyes, the brown forms may spill en masse from the top of the picture or stretch out across the canvas like a bridge. The shapes evoke the body: breasts, genitalia, orifices, internal organs or feces. They also suggest stones or clods of mud, calling to mind the earthy comedy of Philip Guston's late work.\nMr. Moix paints the blue background with a wide, generously loaded brush, giving it a thick, viscous texture and, in some cases, a crusty impasto. The blue modulates from darker to paler areas, creating the impression of a sky skimmed by vaporous haze. The convergence of sky and earth suggests a wedding of the transcendental and the terrestrial, or the mind and the body. It gives these viscerally sensual works an expansive philosophical dimension. KEN JOHNSONContinue reading the main story", "label": "Yes"}
{"text": "Paul Cezanne is one of the most famous French artists of the 20th century. His works and ideas were influenced by impressionism. Although his work was misunderstood and rejected by the people of his time, his reputation increased both for the way he created a painting through what his eyes saw in nature and for his unique quality of painting art which he achieved through color, space and mass. Through thorough inspection of Paul Cezanne’s watercolor-like oil painting titled Rocks in the Forest one can examine the characteristics of the Modern period otherwise known as Impressionism. This painting dates from 1839-1906, it location is known as the Forest of Fontainebleau, where Cezanne worked on most of his painting around 1894. According to the text panel, which accompanies the painting, another suggestion was that this picture was also painted near Aix-en-Provence.\nRocks in the Forest is a painting that is characterized by spotty effects. When one is looking at the picture up close, the painting is unclear and hard to view. It becomes visible once it is viewed from a distance. The artist is depicting a scene in the forest made up of rocks and trees. It is important to note Cezanne emphasis on color, he uses colors that he sees in nature and combines it with natural light. He uses small brushstrokes. This painting seems as if it was painted in the nighttime because of the dark colors he used. He uses grey and dark tones by mixing complementary colors. The painting has a rough surface due to the layers of paint that are applied.\nCezanne was interested in capturing the present moment of the painting. The painting is in such great detail that it leaves almost no empty space. All the corners are diagonally turned in giving the picture a “closing” effect. It is apparent that Cezanne drew the painting from a close position because the rocks and trees are painted in a large scale. The rocks and trees are non-symmetrical, each forming a different size and shape. Although the picture depicts a scene up-close, it is interesting to note that Cezanne included the sky and the ocean, objects that are seen in the distance.\nThe French Academy was one of the oldest schools of art where professional artist would submit their artwork to the Salon. It dictated the way art should be created. During the time that Cezanne created this painting, a movement known as impressionism began. It started in 1874, with the first impressionist exhibition, which was aimed at going against The French Academy. The impressionist artists’ paintings often included the same characteristics such as painting outdoors in a natural setting in order to capture natural light, capturing what their eyes saw, rather than what is really there or using brushstrokes that were often short, thin, small and choppy.\nRocks in the Forest is a perfect painting that illustrates impressionism. Cezanne uses all the key characteristics listed above. He uses short and choppy brushstrokes to create a painting of such detail. He takes what he saw in the forest and draws it through his impression. He paints using colors that make the picture appear the closest to natural light. We learn that impressionists often painted in the", "label": "Yes"}
{"text": "« back add to lighbox\nTitle:The Mother of God Our Lady of Pochayiv\nArtist: Russian icon\nMethod: Tempera on panel\nCreated: Second Half of the 18th cen.\nTrend in art: Russian icon painting\nKeywords: Motherhood, Madonna, Virgin, Icon Painting, Bible, New Testament, Virgin and child, Infant Christ, Mother, Christ, Mary, Christ child, Mother of God, Christianity, Orthodox Church, Icon, Russian Church, Jesus Christ, Wonder, Theotokos, Helpfulness, Patroness, Wonder worker, Maternity, Wonder-working Icon, Theotokos of Pochaiv, Pochayev, Our Lady of Pochaev, Pochaev", "label": "Yes"}
{"text": "Nippon Textured paint can creates special textures on walls with an opaque wall finish. With textured paint you can select any one of the following special effects for your house.\nEnhancer paint series is a special line of semi-transparent paint that can decorate any wall or room with a semi-transparent glaze-over you can select below two special unique effect to enhance look of your home\nMemento Metallic series of paints are available for interior as well as exterior sleek and luminous finishes for your room walls, metallic shimmers adds to lustrous shimmers for an elegant timeless appeal.\nStone art paint series offers implantation of beauty of various stones surfaces into your house walls, its capture the natural beauty of stones with concept to bring outdoor in, and available in below effects for your adobe.\nDesigner Paint series offer out of box solutions for all creative and designer painting needs, this series offers a direct substitution for various wall papers textures available in market, for a creative appal implantation for your house, this series of paints are available in followings kinds of looks for a unique painting solution for your expectations.", "label": "Yes"}
{"text": "Painting treated lumber is a challenging job because it is different from painting ordinary wood. This is because treated wood has undergone a process of chemical infusion to prevent rotting, fungi and insects, which mean it should get a different treatment of painting. However, it is not a difficult job because you just need to pay more attention to the cleaning, type of paint and painting the wood in this process.\nBefore painting treated lumber, cleaning the wood is very important to ensure the paint will hold on it. You can wash the wood with soapy water and rinse it with clear water. Leave it to dry thoroughly before starting to paint. It may take three hours to dry the wood, but the more time you wait, the better the finish will be. Quick sand the wood if you find any foreign material that resists using fine-grit sandpaper, then rewash. Painting treated lumber needs a special paint that you have to carefully choose. Check the label of the paint to find out if it will work with treated lumber and if it is normally used for painting treated lumber. Typically, only latex-based paint which is appropriate for painting treated wood since it will provide a thicker coat and it will also enhance the moisture resisting nature of the wood.\nCheck if there is any mildew or algae information before painting your wood plumber. Clean the surface with chlorine diluted if you find any before starting paint your wood. Painting your treated wood can be started by applying a coat of acrylic primer, then acrylic flat to ensure that the paint sticks to the wood. You can use spray paint to create a uniform finish or a brush to paint your treated wood. So, you can consider some important things above for painting treated lumber and achieving a great finish as you want.", "label": "Yes"}
{"text": "How you can use this image\nThis image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s).\nReview the copyright credit lines that are located underneath the image, as these indicate who manages the copyright (©) within the artwork, and the photographic rights within the image.\nThe collection that owns the artwork may have more information on their own website about permitted uses and image licensing options.\nReview our guidance pages which explain how you can reuse images, how to credit an image and how to find images in the public domain or with a Creative Commons licence available.\nBuy a print or image licence\nYou can purchase this reproduction\nIf you have any products in your basket we recommend that you complete your purchase from Art UK before you leave our site to avoid losing your purchases.\nAdd or edit a note on this artwork that only you can see. You can find notes again by going to the ‘Notes’ section of your account.\nA bunch of flowers is crammed into a terracotta pot. Many are in the final stages of bloom: the daffodil’s yellow petals are fully open and the weighty white viburnum heads droop at the bottom left. Our eye is led deeper into the picture by the large red poppy head facing away from us and the viburnum head at the lower left, which is partly in shadow to suggest that it’s further away than the one in the light. Red and white tulips were popular during the seventeenth century and found in the work of Dutch and Flemish artists, which Blancour must surely have seen.\nNot all of these flowers bloom at the same time, so Blancour worked from individual studies made throughout the year in order to create this fictional arrangement.\nA Bowl of Flowers\nOil on canvas\nH 65.5 x W 51.4 cm\nBequeathed by Capt. E.G. Spencer-Churchill, 1964\nArt Detective discussions\nOpen 8 comments", "label": "Yes"}
{"text": "Darren MacPherson produces vibrant figurative works which offer subtle complexity surrounding the human condition. Working in acrylic, spray paint, oil, and crayon, he creates works which demonstrate strong influences from traditional Indian art, Japan Manga, tattoo motifs, Expressionism, and urban architecture.\n“I wanted to treat each piece uniquely and as a work of art in its own right. Translating my work down to such a small scale was a particular challenge but I focused on my usual painting process and let it lead the way until I was satisfied with the finished product. The layering of the lacquer was the final stage of the painting process and I dedicated a significant amount of time to create the kind of hard shine and depth that I had envisioned.“", "label": "Yes"}
{"text": "oval Sunset Framed by Barbara Haviland in Miscellaneous Available here This lovely sunset is done in oils and is framed. It was a sunset from Sabine Lake in Port Arthur,Tx. The oval frame makes the piece.\nPurple Glow Hydrangeas oil painting,Floral, flowers 12/4/2017 6:05:07 AM Purple Glow is my newest Hydrangea oil painting. I love how this looks like it is glowing. I did the flowers very loose and I do like the effect. The painting is signed and framed for you. Title Purple Glow Hydrangeas Oils on canvasContinue reading “Purple Glow Hydrangeas, oils, Barbara Haviland,Texas Floral Artist”\nPansies in Glass Vase, oils on canvas, Barbara Haviland ©Barbara Haviland Barb’s Garden 2014 Pansies in Glass Vase Medium oils on canvas Size 12″x12″ by Artist Barbara Haviland Click to Purchase BarbaraHavilandFineArt.com\nPurple Iris by Barbara Haviland-Barbsgarden Texas Artist on 11/11/2016 7:33:19 AM Comment on this © Barbara Haviland-Barbsgarden Texas Artist Purple Iris is done on a 16″x8″ canvas stretched and does not have a frame. The painting is signed and ready for a new home. http://barbarahaviland.fineartstudioonline.com/workszoom/2215239 ©Barbara Haviland Barb’s Garden 2014 by Artist Barbara Haviland BarbaraHavilandFineArt.comContinue reading “Purple Bearded Iris Barbara Haviland Texas Contemporary Artist”\nSunset and Egret By Barbara Haviland Barbsgarden on 6/18/2016 5:20:58 PM © Barbara Haviland BarbsGarden Sunset and Egret is done on a 12″x12″ canvas panel. The painting is signed and framed. https://barbarahaviland.fineartstudioonline.com/workszoom/2088303 ©Barbara Haviland Barb’s Garden 2014 by Artist Barbara HavilandBarbaraHavilandFineArt.com http://feeds2.feedburner.com/~u/12781411496106015592\nFire Abstract oils by Barbara Haviland Texas Contemporary Artist on 2/4/2016 7:14:10 AM Comment on this © Barbara Haviland Fire is done in oils and on a canvas panel measuring 28″x 10″ It is framed in a white frame. You can hang long ways or hang it vertical. http://barbarahaviland.fineartstudioonline.com/workszoom/1974902 ©Barbara Haviland Barb’s GardenContinue reading “Fire Abstract Oil painting framed Barbara Haviland Texas Contemporary Artist”\nRunning Away By Barbara Haviland Texas Contemporary Artist on 11/18/2015 7:09:39 AM © Barbara Haviland This piece shows people running away. I see three people in the image. How many or what do you see. The piece can be matted and framed. It is an original and is signed on the back. http://barbarahaviland.fineartstudioonline.com/workszoom/1914648 Continue reading “Running Away Abstract Barbara Haviland Texas Contemporary Artist”\nDaffodil in Yellow flower,miniature,oil painting By Barbara Haviland on 6/16/2014 6:25:12 AMComment on this © Barbara Haviland Title Daffodil in Yellow Medium oils on canvas Size 8″ x 8″ Signed by artist purchase 100.00 + free shipping http://barbarahaviland.fineartstudioonline.com/workszoom/1488249", "label": "Yes"}
{"text": "A lifelong interest in art has led Kathleen McGee through a variety of mediums and expressions, culminating in watercolor. Her love of beauty and of nature has translated itself into her paintings.\n“I think I was raised with the idea that I would be an artist. I began painting with oil on canvas in high school. I later switched to acrylics and then to airbrush and photography.\nThen, in 1991, I rediscovered my “roots” in watercolor. The transparency of watercolor delights me. I love the way colors move and blend into unexpected and pleasant surprises. The capture of light and shadow is continually fascinating.\nAfter 19 years of living in Hawaii, then 15 years in Coastal Southern California, I now live in Northern Arizona with my husband and best supporter. My art is focused on the flora and scenery of California, Hawaii, Mexico and the Southwest.\nOver the years I have been active in the arts community and have served on the board of directors for two art organizations. I have also integrated my years of computer experience with my art background and design web sites for artists and others, including the online gallery www.artfaces.com.\nA lifelong love of beauty and of nature has translated itself into my paintings and I can see how the facets of my past have been brought together into the expression of my art today.”\nShows & Exhibitions\nRancho Buena Vista Adobe Gallery, Vista\nQuail Botanical Gardens, Encinitas\nFebruary – May, 2001\nArts Alive, Encinitas\nOff Track Gallery, Leucadia\nArtist’s Studio and Garden Tour\n- Two of Kathleen’s paintings have been featured in the North County (San Diego) Times.\n- Kathleen’s painting, “Heliconia Forest”, was chosen as the artwork for the 2001 Annual Fundraising Gala for Quail Botanical Gardens in Encinitas, California.\n- Kathleen’s painting of Poinsettias for the 2001 Arts Alive Banner Auction was purchased by the City of Encinitas Sister-City program to be presented to the city of Hondo, Japan.\n- “Time Heals all Wounds” was chosen as the brochure artwork for a nurse’s conference on wound care in Seattle, Washington.", "label": "Yes"}
{"text": "Tuesday, March 29, 2011\nWell, Spring must be coming because the Arts Shows are all popping up. I'm in the H2O exhibit at the Arts Center in Old Forge. I went to the opening reception this past weekend (yes they still had snow in Old Forge). Also coming up are \"A Sense of Place\" with Associated Artists at the Manlius Library and the Hecklectic Eklectic Art Show with CNY Artists at the Fayetteville Library both opening April 3. It's time to start thinking of the next big show, one of my favorites, \"Along the River's Edge\" at the Thousand Island Arts Center in Clayton.\nPictured here is \"Adirondack Still Life\", an oldie, but one of my favorites for the \"A Sense of Place\" show.\nMonday, March 7, 2011\nThis watercolor is a study for a larger piece which I plan on painting this Spring.The use of analogous colors (3 colors next to each other on the color wheel) create a sense of color harmony which helps to hold the composition together.\nI was working on this up at camp; no running water yet. I used melted snow to clean my brushes.", "label": "Yes"}
{"text": "I want to repair a spot in my bathroom ceiling where the paint has started\nto bubble due to condensation. Even with the vent fan on, it seems to be\ntoo damp in the room.\nMy plan was to scrape the area so that it is flat and then patch with\ndrywall compond before painting. My concern is that due to the nature of\nbathroom and dampness, won't the drywall patch eventually bubble-up again\nand cause the same problem?\nDo I have to buy a special mixture of patch for bathroom?", "label": "Yes"}
{"text": "This is a scenery I’ve been wanting to paint for a very long time. It was years back, I was taking a morning stroll in Munnar, Kerala, India. Suddenly my attention turned to this beautiful spot, a meadow glowing, as the sun sheds a brilliant light over the horizon. It was magical.\nAcylics on Canvas, 14 x 18 inches", "label": "Yes"}
{"text": "Fine Leaf is a leading agency for fine artists. Working with emerging and mid-career nationally recognized artists, we help mentor artists, and use our network of art galleries, frame shops, interior designers and art collectors around the country, to introduce artist's work around the country. Fine Leaf is an online company, with hundreds of high quality original pieces of art available on FineLeaf.net. Even though we are online company, we believe in the importance of seeing fine art in person, which is why our artist representatives have traveled hundreds of thousands of miles, showcasing the art in person.\nFounded in 1989 as JT Art & Frame, by artist and founder, Joan Terese Hayes, JT Art & Frame started as an art gallery and frame shop in Southern New Hampshire, before evolving into an agency to visual artists in the early 2000's, taking on Trish Hurley as the first artist represented. In 2010, JT Art & Frame, decided to focus exclusively on representing artists, rebranding as Fine Leaf, which has become known as one of the premiere sources of original art both online and in person.", "label": "Yes"}
{"text": "Massimo ReggianiSTILL LIFE\nSTILL LIFE - Oil on oval canvas cm.50x40 by Massimo Reggiani, Italy, 2002.\nShipping, Returns & Payment\nAbout the Seller\n1stdibs seller since 2017\nTypical response time: 15 hrs\nLocated in Napoli, IT\nYou may also contact the seller by phoneCall seller through 1stdibs\nMore From This Seller\nStill life - Massimo Reggiani Italia 2007 - Oil on canvas cm.40x60\nStill life - Massimo Reggiani Italia 2007 - Oil on canvas cm. 40x60\nStill life - Massimo Reggiani Italia 2002 - Oil on canvas cm.40x60. Frame available on request from our workshop.\nYou May Also Like\nStill Life with Flowers in a Vase\nOil, Wood Panel\nPainted in the style of the 17th century Dutch painter Alexander Andrienssen, this painting is of a glass vase on a wood surface filled with flowers. The artist's careful attention ...\nFloral Still Lifes\nFollower of Giacomo Recco (Italian 1603-1654) \"Floral Still Life\" ca. 1630 Oil on Canvas 47\" x 40.5\" inches frame 40\" x 33\" inches unframed Italian painter, part of a family ...\nStill Life with Grapes\nAttr. Giuseppe Pesci (Parma?-1722) \"Still Life with Grapes\" ca. 1720 Oil on Canvas 42\" x 77\" inches framed 34\" x 68\" inches unframed Refined in his creations, the Giuseppe Pesci el...\nYoung Girl after Sir Thomas Lawrence\nCharming work in the Regency style, mid 19th Century after Sir Thomas Lawrence. High quality painting. Old Christie's Stencil to verso. Would grace any home, suitable for contempor...\nWoman Bathing (Rembrandt)\nWoman Bathing 2012 – original by Rembrandt (1606 – 1669) A masterful oil on canvas copy of the original Rembrandt depiction of a woman bathing. Artist Biography: Jonathan Ada...\nJan Davidsz De HeemStill life with fruit, animals and vases\nPrice Upon Request\nStill life with fruit, animals and vases\nJan Davidsz De Heem\nThe painting finds itself in a very good condition. Taking into account of great quality of this painting and the superb eye of this artist for detail and composition, an attribution...\nHenri QuevremontStill Life with Musical Instruments, 1867\n$9,403 Sale Price\nStill Life with Musical Instruments\nHenri Quévremont was born in Rouen he died in 1892 - 19th century. French pupil of Isabey and of Philippe Rousseau. He exhibited at the Salon in 1865 and 1867 genre subjects and stil...\nUnknownPainting 18th Century Vanitas Still Life Skull Religion Esotericism Occult , circa 1790\nPainting 18th Century Vanitas Still Life Skull ...\nVanitas 18th century French School Oil on canvas Old frame gilded with gold leaves Dim canvas : 73 X 60 cm Dim frame : 93 X 80 cm Certificate of authenticity", "label": "Yes"}
{"text": "Watercolor on paper, mounted and matted, depicts standing male actor musician with double gourd instrument in left hand and beating stick in right hand, dressed in large black coat over left shoulder, purple and white checkerboard kimono with red sash and gold characters on sleeve and skirt, blue and red undergarments, large floppy purple hat. Actress kneeling to his left with high-combed hairstyle with ten golden hairpins, red sash, dressed in black kimono, brown, purple, and red sash; red and blue undergarments, holding folded scroll in left hand, hairpin in right. Bright blue in high sky, buff in mid sky, and green in foreground.\n|Toyokuni I; Japan\n|Watercolor on paper\n|14 x 9 in\nAdditional Information: Signature lower right with double censor seals, red publisher's mark and printer's seal.", "label": "Yes"}
{"text": "Wondering how to paint grass in acrylics? This article shows you several simple simple ways to achieve this using a variety of brushes and tools. First of all, let's look at what you can use to create the grasses. The thin rigger brush in the photo below is ideal for creating long, thin, individual wispy grasses, whilst various sizes of bristle brushes are perfect for producing short clumps of grass.\nThe piece of credit card can be used to scrape out light grass from a thicker layer of paint, as can the cocktail stick. This can also be used to paint in short individual grasses. A closer look at the lower photos will show what I mean.\nThe clumps of grass above are painted very simply by drawing the rigger upwards quickly and with a light touch. This way, the brush comes off the surface at the top of the stroke so giving a fine point at the tip of the grass stalk.\nIf you're not certain about this, just try the same technique with a pencil to give you confidence.\nVarious colours have been tried - don't just paint grass as one 'standard' green colour!\nThe grass on the left has been painted with paint the consistency of single cream, the ones on the right with thicker paint - hence the hit and miss effect and wider stalks...\nThe two clumps below were painted with a 1/2\" flat bristle brush. The brush is loaded with paint then placed vertically on the paper.\nIt's then flicked, stabbed or pushed upwards slightly to create a ragged short line of grass blades. Notice again how the use of different colours adds interest, even to a simple study like this.\nIncidentally, the really ragged old round brush in the photo is great for this technique as well.\nNow let's look at how to paint grass by scraping out with the credit card or the cocktail stick. This is more effective where you have a slightly thicker layer of paint.\nYou could put on an underpainting of say a pale yellow/green, then when dry, paint over this with your dark background colour. While this is still wet, scrape out your grasses which will take on the colour of the underpainting.\nOr another way is to scrape out the grass stalks, then put a light glaze over the area with your choice of colour....\nAnd now a couple of thoughts about how to paint grass when it's a reflection. Note that the reflections of the light grasses are slightly darker than the grasses themselves.\nDarker grasses would appear as slightly lighter. This is because the tonal contrast is always a bit less distinct in water. The grasses left and right have been produced with the rigger - the ones in the centre with a small bristle brush.\nYou can get away with just a representation of the reflection of clumps of grass as long as they're immediately below the real grass and broadly the same overall shape. With separate blades of grass, make sure they lean the 'correct' way in the reflection. Have a look at the illustration above to see what I mean.\nFinally, remember that grasses are usually in the foreground so to be effective they need to stand out.\nNotice in the little sketch below of a rough stone wall I've put light grasses against the dark stone and dark grasses over the light bushes. See how the grass stands out very clearly.\nThis is called tonal contrast or counterchange where you put a dark next to a light feature and is especially important to give vibrancy to your paintings....\nWell there we are. I hope this tutorial on how to paint grass in acrylics has proved useful. Of course you can use the principals in any medium - not just acrylics.\nAnd I'm sure you can come up with different (or better!) tools for creating grassy effects, so don't be afraid to practice and experiment - and keep enjoying your painting!", "label": "Yes"}
{"text": "A black conservative activist says it's hard to comprehend why former president Barack Obama commissioned a controversial artist for his portrait.\nKehinde Wiley's portrait of the former president will be added to the America's Presidents exhibit at the National Portrait Gallery in Washington D.C.\nBut the unusual portrait of Obama isn't the main controversy – it's Wiley's habit of painting black women holding the severed heads of white women.\n\"It's sort of a play on the 'kill whitey' thing,\" he once told New York Magazine.\nRadio talk show host Stacy Washington says she is shocked that Obama picked an artist whose body of work includes such controversial artwork.\n\"How are you not ultimately incensed,\" says Washington, \"by the idea that this artist makes flowery wall paper, puts black women in dresses with their hair up likes it's a formal event? And then in their hands he places a knife in one hand and a severed head of a white woman in the other.\"\nThe fact-checking website Snopes confirmed as \"true\" that Wiley has painted two such controversial portraits but pointed out they are only two from his large body of work. The same story also suggested that Wiley's work has never generated controversy until he made headlines for Obama's portrait.\nOne can only imagine, Washington says, the outrage if a white artist had painted a white woman holding a black person's severed head. That double standard, she says, is \"weapons grade\" and hard to comprehend.\nRegarding the portrait of Obama itself, Washington says it's an embarrassment and shameful.", "label": "Yes"}
{"text": "Title: Palm Valley After the rain, NT\nMedium: Oil on stretched linen\nSize: 30 X 20 inches (76 x 51 cm)\nFraming: Ready to hang. Frame options are available at an extra cost.. Please inquire to discuss your needs.\n• Professional artist grade oil paints on oil primed linen\n• A certificate of Authenticity is given with this painting.\n• This painting is Varnished for protection\nThis painting shows a view of Palm Valley in the West MacDonnell ranges west of Alice Springs. In this hostile place one finds these unique palm trees that manage to survive probably accessing water deep down in the ground.\nThese paintings are handcrafted and individually made and not mass produced.\nPaintings are photographed in a professional studio setup to retain fidelity of colour to the original painting. However slight variations might occur due to lighting, digital photography and monitor settings.\nCopyright Christopher Vidal (2019)\nArtist has copyright on this original painting so it may not be copied in any way.\nThis original artwork can be resold by the buyer for profit.\nArtist quality oil on linen\nFree Shipping And Free Returns\nReady to hang\nThis artwork is ready to hang.", "label": "Yes"}
{"text": "i started painting in 2019 when journalling and therapy were no longer enough to externalise my very harsh and strong emotions at the time. painting saved me. i don’t consider myself a painter as i never studied it and have absolutely no technique. it’s therapeutic nonetheless. my aim is to learn more about the craft as a hobby.\ni am currently organising a shoot of my painting as i haven’t really taken pictures of them during the past 3 years.", "label": "Yes"}
{"text": "From all accounts, it would appear that Edwin Roper Loftus Stocqueler was present on the Bendigo goldfields during the mid 1850s. Stocqueler could be described as the archetypal mid-nineteenth century traveller, who recorded his journeys in watercolour, oil and pencil. Although few of his works remain, his surviving paintings serve as a visual record of the colonial period. Contemporary newspaper reports indicate he had broad interests, encompassing natural history and the environment. Of particular interest is his seminal work ‘Castlemaine from Ten Feet Hill’ a work that provides an accurate image of the emergent city of Castlemaine during its formative years.\nHis detailed paintings, particularly of the narrative surrounding the early discovery of gold, provide specific details of daily life on the diggings. For example, the oil painting titled ‘Australian gold diggings c.1855’ is a colourful depiction of miners panning, cradling and digging for gold. In this work, Stocqueler provides a detailed narrative within a shallow valley: the viewer can observe the vigorous activity of miners against a backdrop of canvas tents. Other artists of this period, including S.T. Gill and George Lacy, portrayed various aspects of life on the diggings with humour; Edwin Stocqueler, however, adopted a realistic approach, unconsciously conveying the environmental impact of alluvial gold mining.", "label": "Yes"}
{"text": "Oil 20\" x 20\"\n$595.00 + $20. s/h\nI made the few changes that I talked about in the last post...darks here and there, adjusted some lights, painted the cupola. I'm happy with the way the painting turned out. One odd thing, the photo here on blogger came out a bit bluer than the photo in Iphoto. Not sure why. I've removed and reloaded this and for some reason, it's a bit too blue. I don't like having a photo here that's not accurate. Not sure why this is happening. Frustrating. Please imagine that the blues in the roof and the silo are a bit grayer, not quite so bright blue. Otherwise, I like this! Now, on to some painting from life.", "label": "Yes"}
{"text": "(b. ca. 1400, Vicchio nell Mugello, d. 1455, Roma)\nThe Story of St Nicholas1447-48\nTempera and gold on panel, 34 x 60 cm\nThe large altarpiece, called Perugia Triptych and executed for the Cappella di San Niccolò of the church San Domenico at Perugia, contained three main panels, a predella with three pictures, and two decorated side pilasters. It was dismembered in later centeries. The majority of the parts are in the Galleria Nazionale dell'Umbria at Perugia, while two of the predella paintings are in the Vatican.\nThe central part of the triptych represents the Madonna with the Child and Angels, while on the side parts four saints are shown. The predella depicts the story of St Nicholas.\nThe first predella painting (this picture) shows the birth of St Nicholas (on the left), The Vocation of St Nicholas (in the center) and the Giving Dowry to Three Poor Girls (on the right).\nThis scene refers to the most popular legend concerning this fourth-century churchman. He reputedly tossed bags of gold through the open window of a house, providing the three women who lived within with dowries and thus saving them from turning to prostitution. The event is shown, with two other scenes from the saint's life, in one of the predella panels from the altarpiece.", "label": "Yes"}
{"text": "Tuesday, 2 November 2010\nMessing about with the river\nThe swatch above was made by laying a watercolour wash and drawing into the wet paint first with watercolour pencils and watching the pigment melt into the surface. Next came acrylic ink, china graph pencil and felt tip pen. Once it had all dried I scratched back into it with a stanley knife taking the surface off the painting to reveal some bright whites. Whilst it was a whole heap of fun to do I'm not sure if it reads as a reflective and moving surface. Maybe if I'd added the line of trees and river bank to show a static contrast the movement of the water would have read better.", "label": "Yes"}
{"text": "This is another Painting by Claude Monet its called Sunrise and it was painted in 1874. what caught my eye to this piece was the coloring of the sunrise; the bright orange that was just made to pop being put against the blue shipyard in the morning. What I love about this painting is how alot of the details are subtle you have to really look at the paining to find them, not just take a glance at it. You really have to try and see it.\nMonday, October 26, 2009\nI have never seen this painting before and I can't belive that i haven't. I really like how the artist made all the figures look so simple, but bu doing that eh brought out their detail. I love the coloring it reminds me of spring!\nI wasn't able to find the year and the arist, but it looks like to me that its oil on canvas. I could be wrong though.\nThis was painted by Claude Monet. I couldn't find the name or the year of this paining, but it is one of my absolute favorite paintings. I love how from far away it looks like simple and easy, but then when you look up close you see all the detail he created with all the tiny brush strokes. Beautiful!\nTuesday, October 13, 2009\nWhen i saw this piece by Gauguin as well, i loved his detail in the painting and how he captured the life of these people in the Ssouth Pacific.\nThis is a painting done By Gauguin. I saw his work in a movie called Paridise Found; which was a movie about his life. I stubbled upon this searching the web and i really liked it. It drew me in because Irisis are my favorite flower and i loved how he did this piece. It reminds me of a painting that Van Gough did.", "label": "Yes"}
{"text": "One thing you should note is that the thinner the paint gets, the easier it will be to brush it on and do other things that require a thin, malleable paint. That’s a really great question. Marion Boddy-Evans. Have you noticed that dark t-shirts with a lot of design or color elements are hard and crunchy? That’s a great question. Plus you may not need the volume of fabric paint that comes in the container. It’s a tried and true brand, and is my go to for any medium: pouring medium, matte medium, and more. However, if you have some glycerol lying around, this can be substituted for an acrylic medium and it works extremely well. Wash and dry your fabric prior to painting if possible, then paint away. Acrylic paint works as fabric paint. I decided on this ratio after ⦠For more fun and creative ideas, get free advice from this great post on acrylic painting and tips for beginners. Additionally, I’m using freezer paper stencils so more than two layers of paint generally results in leaky lines. Can i add fabric medium to wall paint to use paint my comforter cover? As with any of these methods, be careful not to scorch or burn your fabric. I used a transparent Liquitex gloss medium which works well for light colored fabrics. The glycerol to water ratio should be approximately 1:5. This is Part 2 of the Stars and Stripes Craft Box by Pop Shop America. thanks. So this is a quick post this week but I have been soon busy! This process is really just one of thinning the paint with a “fabric” agent. Fabric Paint comes in Large Containers and is Pricey. You should also check the safety warnings before using glycerol or mixing mediums with children. The secret in using acrylic paint on fabric lies in the use of a fabric medium. Fresh, liquid paint will work best for making Acrylic Paint Pourings. In The Dryer: The dryer takes the longest amount of time, 40-50 minutes, but itâs very easy. Once you have your acrylic mixed to a fabric-specific consistency, you can use it to do just about anything. Your email address will not be published. It should be able to move a bit when you turn the palette on it’s side. great post on acrylic painting and tips for beginners. I am now trying to purchase a fabric paint color that appears to be no longer available. Hi Noorjahan! tia. My favorite is this Liquitex Fabric Medium thatâs also shown below. Most that I have found are quite old and seem dated per the materials we have available now. I’ll do the same. The only issue is that acrylic paint can be a little too thick for wood block fabric printing. Me too. We are using ours to make these DIY Star Stamped Tea Towels. Acrylic paint is actually permanent. Additionally, when added to acrylic paint, fabric medium improves the work-ability and flow of the paint when applying to fabric. Acrylic fabric medium is a liquid acrylic polymer emulsion that you can mix with acrylic paints, which offer a very soft feel and the stability to be laundered without damaging the designs. Additionally, when added to acrylic paint, fabric medium improves the work-ability and flow of the paint when applying to ⦠For example, I used fabric from the Premier Prints ⦠Directions: 1. Making fabric paint sounds like something I would love to do. Please select all the ways you would like to hear from us, How to Turn Acrylic Paint into Fabric Paint. The only reason that fabric medium is best is that it’s especially designed to be used with fabric! Fabric paint starts at around $20 per container, which can add up if you are using multiple colors. Why spend twice as much money to have more items to store? 1. Step 3: Apply the first coat of paint. A better paint option for a wider range of colors is acrylic paint mixed with a textile medium. To use the fabric medium, you simply mix 1 part fabric medium with 2 parts acrylic paint. Otherwise you could try using Mylar Stencil Sheets and apply the fabric paint with a paint roller like this. And it would be great for screen printing too. It wasnât the end of the world, I just put a thin layer of acrylic paint over it, but it was an extra step that wouldnt have been necessary if Iâd used the all purpose to begin with. Remember that acrylic paint without fabric medium works just fine on fabric – so you could even use gel medium, matte medium, or pouring medium to get nearly the same result. But there’s a quick and easy way you can turn any acrylic paint into fabric paint. However, it will give you a paint like dry texture thus fabric paint is best for patterning and stamping. The consistency is what’s important. ... Americana Fabric Paint Medium⦠It’s because they use a unique printing method with Plastisol Ink. 3. Can I stop this? Why are some acrylic mediums milky, some translucent and some clear when wet? 2. How to heat set fabric paint with an iron thoughtco.. Acrylic with 19 dec 2010 in my post about freezer paper. Ingredients needed to make homemade fabric paint medium. I like doing a little bit of everything. This site uses Akismet to reduce spam. 3. First, I’m always looking for ways to space save since I am filled to the brim with craft supplies. The most common acrylic medium you could use to make acrylic paint work on fabric is glycerol. When I paint on fabric, the color bleeds into the weave. It can be too thick for screen printing. ... Matte Finish, Matte Acrylic Paint Set for Art & DIY Projects on Glass, Wood, Ceramics, Fabrics, Paper & Canvas. Place fabric in the oven for four or five minutes and keep a close eye on it. The color is rich and vibrant. Why double up on storing similar items? Hi. I used a regular 2â³ paint brush for all of the coats, and a small artistâs brush to paint the piping so that I didnât get paint on the white wood trim. First we mixed 10mls white vinegar, 10mls glycerine and 20mls water in a jar and gave it a shake. So what are you going to make with your new fabric paint? This fabric paint could also work for simple wood block printing like these Rainbow Polka Dot Bandanas here. I’m doing something wrong. Take color 1 and make a puddle, add other colors on that puddle and tip the canvas so the paint can cover and flow. To Match Items that Need Different Types of Paint. You can get fabric dye in gray affordably on Amazon! Be sure what you are using is “Fabric Medium.” Because there are so many different brands of acrylic paint in addition to heavy body, medium body, and light paint, there is no set formula for the ratio of acrylic paint to fabric medium. While the fabric is still damp, apply the first coat of paint. A lot of people prefer rice paper for making lampshades. Fabric â I love Premier Prints fabric because they have coordinating patterns. Learning how to turn acrylic paint into long lasting, easy-to-use fabric paint is ridiculously easy and should be a part of any DIY enthusiast’s repertoire. Americana fabric painting medium is used in combination with DecoArt Americana acrylics for painting on fabric. Martha Stewart Fabric Medium â see the current price here.. Acrylic Paint â Any brand will work with the fabric medium above but here are great deals on Amazon: Acrylic Paint Sets. Place the aprons in the dryer for 30 minutes. Fabric paint should be the consistency of thick syrup. I mixed a 1:1:1 solution of paint, fabric medium, and water and used that for the first coat, since that was what the other ladies recommended. Remember that you will want to finish Part 1: Red, White, and Blue Wooden Serving Spoons before turning your acrylic paint into fabric paint. It doesn’t have to be measured perfectly, instead look for a specific consistency of paint that we describe below. If you get lucky (haha), share your source. The fabric can easily be hand or machine washed when the paint is dry. Top Six DIY Acrylic Medium Recipes. It’s permanent. While you can, and should, experiment with different viscosities, let me give you a starting point for glycerol because it can be very easy to ruin a batch of acrylic paint with too much of it. I’m glad to see a newer post approaching this process. 2 to 1 paint? To turn acrylic paint into fabric paint, all you need is one simple supply: Fabric Medium. When it comes to modifying acrylic paints, there are no rules. DIY fabric medium for Acrylic paint on fabric â Mix 1 part Glycerol with 5 parts water BEFORE. Floetrol vs. Other Pouring Media. Instead, this will help you streamline. Why in the world would we even want to turn acrylic paint into fabric paint?! Let me know how else I can help? We then used a small amount of our DIY textile medium to thin down our acrylic paints to make fabric paint. Freezer paper will give you leaky lines, so you may want to consider a silkscreen. And the containers are fairly large which is a lot to store. Fabric because they have coordinating patterns cover the Blue gray color using my paint... Latex paint in the dryer: the dryer for 30 minutes acrylic paint. Part paint ratio 20mls water in a jar and gave it a shake however, it ’..., heat set the wash. my paint is best is that acrylic but... An online video course, reach students across the globe, and paint Realistic People your craft Supplies with.. Of glycerol mixture should be able to move a bit thatâs also shown below the longest amount of our textile! Seem dated per the materials we have available now will take a long, long time to dry without the... Than that online video course, reach students across the globe, and paint Realistic People pretty clever DIY and! A shake to 1 part fabric medium is used in combination with DecoArt americana acrylics for painting fabric. Like this bottles and are very inexpensive wall paint to use paint comforter... Extends the drying time and makes the paint but not house paint consider a silkscreen the wash. my is... Is still damp, apply the first coat of paint crafts online are ways. Gave it a shake you may want to turn acrylic paint but keep its integrity choose from but. Thick and turns soft fabric into cardboard s a quick post this week i., fabric medium either moment to consider the big picture ideas, free! Appears to be a few dollars more expensive, but itâs very easy parts water.. Leaky lines paint, or even less than that Sandy, when added acrylic. Volume of fabric paint color that appears to be measured perfectly, instead look for a specific consistency of syrup! Printing too for something for them to do just about anything helps when you say using! Are quite old and seem dated per the materials we have available now fabric printing the aprons in the would... And turns soft fabric into cardboard paint comes in large Containers and is.. I made aprons for the grandparents with my kids handprints using acrylic paint mixed with a textile medium used., which can add up if you have some glycerol lying around this. 1 part fabric medium will take a long, long time to dry is so timely crafts online great to. Let 's Draw: how to make fabric paint, and paint Realistic People that we describe below to! Following ratio: 3 cups of water 5 parts water before goes on thick and soft. Turn any acrylic paint in the use of a fabric paint, all you need is one simple diy fabric medium for acrylic paint fabric. Darker fabrics in lighter colors of art more depth glycerol MUST be with... Box by Pop Shop… am filled to the canvas are several ways you would with fabric paint all! And use it Martha Stewart Tintable fabric medium with 2 parts acrylic paint turn the palette on it learn the! Flowable, close to the paint is not very soft depends on what paper you use for your project because. To achieve best results, Nov 19 without affecting the binding of the keys to keeping the.! Acrylic mixed to a library of online courses and digital learning tools for lampshades. Too thick for wood block fabric printing the longest amount of time, 40-50 diy fabric medium for acrylic paint, but very. Use paint my off white comforter cover the Blue gray color using my wall paint make! Longest amount of our DIY textile medium to wall paint to make a breakthrough in your with... Printing too when added to acrylic paint and Liquitex.. ” are using! Using an acrylic medium you could use to make and use it to be a little too thick for block. Glycerol to water ratio should be used with fabric paint color that appears to be a little too for! Digital learning tools for your project, because you need to Match items with different materials, this a... Other words, for every one part glycerol with 5 parts water for 30 minutes gray. Using an acrylic glaze is a quick and easy way you can any! Will it fade but there ’ s take a moment to consider the big picture glycerine and 20mls in... ItâS a tried and true brand diy fabric medium for acrylic paint and paint multiple coats have be! Acrylic mediums milky, some translucent and some clear when wet color bleeds into the weave available any. Washed when the paint when applying to fabric quite well to begin with 1 part glycerol 5. Paint that comes in the world would we even want to consider the big picture fun! Paint for darker colors, it will take a long, long time to without... Medium at a 5o/50 ration and shake well my wall paint to it! Get free advice from this great post on acrylic painting and tips for beginners different mediums that you mix. For around the same time process is really just one of the paint when applying to fabric quite to. You may not need the volume of fabric paint, fabric medium with 2 parts water any! Knows that it goes on thick and flowable, close to the consistency of paint that we describe.... S also shown below to 2 cups of water the glycerol mixture should be able move. A painting, the color of the paint has set for approximately hours. What you ’ re using the correct product hear from us, how to use an opaque gloss satin... 'S so…, note: this is part 2 of the keys to keeping the fabric soft is thin. Today with this five-star class on painting with Impact thus fabric paint sounds like something i would to. Paint with an iron thoughtco.. acrylic with 19 dec 2010 in my post about paper... Dry at medium-high to high heat depending on what you ’ ve never used acrylics before, check out step-by-step... Large which is a pretty clever DIY project and it would be better use! That you can use it on fabric â mix 1 part fabric medium that ’ s best patterning. Airbrush medium or glazing medium ( gloss or satin ) they will thin the paint and Liquitex ”... Safety warnings before using glycerol or mixing mediums with children you use for your project, because you need color! Glaze is a lot to store us, how to use an opaque gloss satin!, check out this step-by-step course on how to use diluted paint, get subscription. Is my go to for any medium: pouring medium, and is Pricey paint on fabric to achieve results! ¦ DIY fabric medium to the paint and how to sell crafts.. You could imagine can be a little too thick for wood block printing like Rainbow! In pretty much any color you could try using Mylar Stencil Sheets and apply the first of. To water ratio should be able to move a bit when you bush on the paint has for... After ⦠use a medium block printing like these Rainbow Polka Dot Bandanas here now to... Color you could try using Mylar Stencil Sheets and apply the first coat of paint ), share your.. With an iron thoughtco.. acrylic with 19 dec 2010 diy fabric medium for acrylic paint my post about freezer paper so! Option for a specific consistency of thick syrup comes in large Containers and my! By Pop Shop… damp, apply the fabric can easily be hand or washed! The medium up to 50 % without affecting the binding of the keys to keeping the fabric medium you... Go on smoothly and to dry without stiffening the fabric is still damp, the... Better paint option for a specific consistency of thick syrup dollars more expensive, but we working. 2 of the Stars and Stripes craft Box by Pop Shop… to know to a!", "label": "Yes"}
{"text": "Watercolour half pan set Cotman Blue Box\nWinsor&Newton Cotman watercolour is affordable but uncompromising on quality – it has excellent tinting strength and are easy to work with. Cotman watercolour includes both traditional pigments and reliable synthetic colours that replace some of the more rare and expensive pigments used in the Winsor&Newton Professional watercolors.\nThis lightweight dark blue metal box contains 12 assorted Cotman Water Colour half pans with space for an additional 12 colours. Each of the 12 assorted colours has been chosen in conjunction with each other, for a colour range that allows the cleanest mixing of the whole colour spectrum. The robust metal box has a mixing palette integrated into the lid and a removable palette to help simplify cleaning.\nWatercolour half pan set Cotman Blue Box metal box\nAvailability in stores\n|30.00€||Add to Cart|", "label": "Yes"}
{"text": "Painter, block-cutter, commercial artist (male), lithographer, sculptor (male) and writer (male)\nFranz Marc was born in Munich in 1880, where he began studying painting at the city’s premier art school, the Akademie der bildenden Künste, in 1900. On trips to Paris he was able to study works by Vincent van Gogh and Paul Gauguin. Beginning in 1910 he painted increasingly stylised animal pictures, like Dog Lying in the Snow. In his paintings Marc used colours symbolically so as to express the harmonious integration of animals in their natural habitats. He had his first exhibition in 1910 and in 1911, together with artist colleagues, he founded the Blauer Reiter group, which was joined by Wassily Kandinsky and August Macke. Influences from early and later Cubism and from Futurism can be seen in his increasingly abstract works. In 1914 Marc volunteered for military service, and in 1916 he died at the front near Verdun.", "label": "Yes"}
{"text": "Biography Darren Paul Clarke was born in Oxford and then grew up in Wiltshire, inspired by the natural beauty of the historic landscape and locations like Stonehenge and Avebury as well as the ancient woodlands. Every chance he had he visited the coast and felt inspired by the crashing seas, the fresh salty air and the dramatic skies. After beginning his passion for painting quite late in life, at 32 , he found himself a couple of years later enrolling as a mature student at the Arts University in Bournemouth where he gained a BA (Hons) in Fine Art. He moved to Cornwall in 2012 and now lives and practices in St Ives, truly inspired by his surroundings and the famous amazing light.\nDarren works mainly with Oil Paints, he attempts to communicate the relationship between Man and Nature…he says ‘I paint from within, the landscape inspires me and ignites my senses, the light ,the colour and the composition of what I see, feel and hear. The history and atmosphere of a location always influences the work I create, resulting in energetic and dramatic scenes rich in texture and colour. The relationship between Mankind and Nature is important, how we affect the world around us and then in turn how it affects us back and then our counter reaction to that.’\nDarren has exhibited at the Galleria in St Ives, The Stowe Gallery of Fine Art in St Ives and a number of High Street Stores around Cornwall as well numerous other locations in the last few years. He has exhibitions planned for for the future in St Ives at the Crypt Gallery and more.\nDarren has also run art workshops for autistic and vulnerable adults for the last 10 years in Dorset and Cornwall.", "label": "Yes"}
{"text": "Welcome to dickblick\nThis handmade red sable wash brush has a razor edge that is excellent for precise, wide strokes of color. The Series 6238 brush offers artists the highest precision possible in a flat watercolor brush, with unparalleled snap, spring, and control.\nYour cart is currently empty.\nYour cart currently contains N item.\n® Isabey is a registered trademark.\nDick Blick Art Materials®, Blick®, Blick Studio®, and Artists Pick Blick® are registered trademarks of Dick Blick Holdings Inc.\n© Copyright 1999-2017 Dick Blick Holdings Inc. All rights reserved.", "label": "Yes"}
{"text": "My paintings are a manifestation of my love for color and a desire to take traditional subject matter (landscape, floral and figurative imagery) in a contemporary, fresh direction. I want to create visual interest by using striking colors and varied techniques to create my work.\nAs an abstract-expressionist, I am most interested in form, composition, and the interaction of color. The beginning of a painting starts with the creation of an interesting color palette. I work with hundreds of color swatches mixing and comparing them to find striking color combinations.\nWhen I approach the canvas, I have a general idea about the subject that I will portray but the specifics develop as the painting develops. I may start the process by applying paint with a paint roller and then work the canvas with thin dripping washes of paint followed by thicker layers, with my primary consideration being the overall composition. I use an array of small and large brushes, palette knives, and spatulas to create varied textures and movements of paint. After I apply paint to an area of the canvas, I step back to evaluate the effect, move forward to scrape back an area or apply more paint, back and forth, working quickly and letting my intuition guide me. The painting feels as if it advances through me, frequently surprising me with the result.\n2002-2009 - Studio Oil Painting, Cheryl Battiato, Palo Alto, CA\n2008 – Abstract Figurative Painting, Michael Azour, Palo Alto, CA\n2001 – Life Drawing, Palo Alto Art Center, Palo Alto, CA\n2002 – Sculpture, Stanford University, Stanford, CA\n2001 – Studio Drawing, Stanford University, Stanford, CA\nWindhorse Gallery (Permanent Collection), Eustis FL\n2006 to 2008, on loan: Aragon Surgical Company, Palo Alto, CA\n2006 to 2007, on loan: Mike’s Café, Menlo Park, CA", "label": "Yes"}
{"text": "Style with Edouard Manet canvas prints\nManet's took his inspiration from the streets of Paris where he painted beggars, singers, businessmen and other common people. Using bold colours and broad brush strokes, this style of his took many people by surprise. When Edouard became friends with a number of new artists called Impressionists including Claude Monet and Edgar Degas, he began painting outdoors and experimenting with light and different colours. These critical factors are very visible in our assortment of Edouard Manet canvas prints. In the 1870s, Manet's paintings finally began to receive critical acclaim as he had several paintings accepted by the Salon, and even received a medal from them in 1881. Today he is considered as one of the great French artists. You will be able to display Edouard Manet canvas prints that show how this artist eventually bridged the gap between Realism and Impressionism, paving the way for a new style of art. Some art historians even consider Manet to be one of the founding fathers of Modern Art!\nWhether you are looking to decorate your home, office or any other space, you cannot go wrong with something like \"Bar at Folies-Bergere, Edouard Manet\". This Edouard Manet canvas print is considered to be the last of his major paintings, as this particular item highlights his inclination towards realism because of the intricate details in the entire scene. Another very striking Edouard Manet canvas print is \"Berthe Morisot, Edouard Manet\". This gorgeous and intriguing piece depicts Berthe Morisot, a fellow painter of Manet. Acquainted with Manet since 1868, Morisot had posed in many of his other paintings. This type of Edouard Manet canvas print can elevate your room into a whole new level of sophistication.\nEdouard Manet canvas prints information\nUnlike some of his contemporaries, this artist actually grew up in a wealthy family in Paris where he was on January 23, 1832. His father wanted Edouard to become a lawyer, but he had no interest in the law and only wanted to work at being an artist! When he turned eighteen, Manet began to study art under the teaching of painter Thomas Couture. Over the next few years he also traveled to places like Florence, Rome, the Netherlands and Germany to study classical works of art, which is a massive influence on his style as you will see in these Edouard Manet canvas prints. His legitimate painting career started in the style of realism. He wanted to be so accepted by the Salon, which was the official art exhibition of France, that he submitted \"The Absinthe Drinker\" and later on \"The Luncheon on the Grass\" even though he was rejected. These paintings were very different from what the conservative critics of the Salon expected from artists as they were not grand scenes of historical importance, but an everyday situation of ordinary people, which you will see in some of Edouard Manet canvas prints.", "label": "Yes"}
{"text": "I love to paint animals as I find them a very interesting subject matter to paint. One animal I have started to paint recently has been all kinds of birds. To some artists, it can seem difficult to paint a bird.\nTo help make the painting of a bird easier, I have outlined 7 easy steps to help you paint a bird as a subject matter. These seven basic steps include 1) layout and plan your painting using Procreate on your Apple Ipad, 2) print out your Procreate layout in the size of your canvas 3) prepare to use your Procreate layout to place your artwork onto the canvas 4) use studio charcoal to outline the Procreate layout on the canvas 5) fill in any missing lines of the design 6) start painting a base coat and 7) add details to your painting.\nIf you follow these 7 basic steps you can paint some amazing paintings of all your favorite bird subjects:\nStep 1 – Layout and Plan Your Painting\nOne of the most important things you can do whenever you start painting is to have a plan in mind. Having this plan in mind will help to save you time in the long run and help give you the best-completed painting possible.\nTo use Procreate you need to have an Apple Ipad and pencil. I prefer to use the Apple Ipad Pro as I find it works better with the Procreate app. Procreate is not an expensive program (only $9.95 for the entire program- no monthly fees or costs) but you should invest in a decent Apple Ipad and an Apple pencil.\nIn many places around the world, Apple will teach classes in their stores about Procreate and the Apple Ipad. This is really great service and I have found that many of the Apple staff who are teaching these classes are also artists, so they have some great insight into how to use Procreate.\nDuring these free classes that Apple gives, they will allow you to try out the Apple Ipad and Procreate before you purchase it. If you have any questions about this program please visit Apple.com or go to your local Apple Store.\nI love to use Procreate as it allows me to work off the canvas before I actually start to paint anything, especially something as complicated as painting a bird. One of the great things about this is that it will give me an idea of what my bird painting will look like before I actually start to paint anything on the canvas.\nTo find out more about using Procreate and laying out your paintings with Procreate can read our blog Procreate to Layout your Oil Paintings, What You Need to Know by clicking here. We show you why we like to use Procreate to layout our paintings. We really feel Procreate is a great tool to use to layout your paintings before you put anything onto the canvas.\nYou can watch our video below on the steps we use to layout our paintings. Though this video is about painting a dog, we use the same steps for painting a bird:\nThe great thing about using Procreate is that it can give you an idea of what your painting may look like before you even start to paint it. That is one of the main reasons I love it so much. I find by having an idea of what my painting will look like, it really helps me throughout the entire painting process.\nI like to think of this step as the same as how the old masters would sketch out and draw out their paintings before they actually painted anything. Except, today by using this wonderful technology and by using Procreate this can be a much faster process than ever before.\nStep 2 – Print Out Your Layout\nWhen you are painting a bird, one of the most important things is to get the proportions correct for your painting. If the proportions are not correct it can be a huge problem and the bird will not look right.\nWhen I am painting a subject like a bird, and I know it will require that I get the proportions very close, I will print out my Procreate layout in the canvas size I am going to be painting. If for example, my canvas is 20″ x 20″ then I will print my layout in a 20″ x 20″ size.\nSometimes I will print out the larger size of my print in black and white due to the cost of having to print out a large size in color. The black and white works just fine to do the layout with. But I always print out the layout also in color, even if it is a smaller size so I can use the color print as my reference for my painting.\nToday with all the technology we have available, there are so many ways we can use technology to help us with our painting and to become better artists. Certainly, one way is to get a very good printed copy of your layout so that you can use that printed copy as the model for the actual painting of your subject matter like a bird.\nStep 3 – Prepare to Layout On The Canvas\nOnce I have printed my Procreate layout print in either a large black and white print or a color print, then I will use this as the basis to use to actually outline the bird onto my canvas. This helps me to make sure I get the proportions as close as possible.\nThere are two methods that I use to layout my bird painting on the canvas and to get my proportions as close as possible:\n- Trace the design layout onto your tracing paper – Sometimes I will trace and outline the Procreate layout print onto tracing paper. This will give me the shape and lines that I need to get very accurate proportions of my bird that I can then put onto my canvas.\n- Use the Procreate Print – Other times I skip the step of tracing and outlining on to the tracing paper and will use the Procreate layout print to outline the bird directly onto my canvas. Lately, I have been using my Procreate layout print so as to not have to do the extra step of tracing onto the tracing paper. But, if I find the print or subject matter needs it then I will use the tracing paper to outline what I am painting first.\nStep 4 – Use Charcoal to Put On The Canvas\nNow that I have the print all set up either with the tracing paper or the actual print copy, I am now ready to put the design of the bird directly on to my canvas.\nHere is how I will do these steps:\n- Use either the tracing paper or print of the bird in the exact size to put the bird design on my canvas. I will then put charcoal all over the back of the tracing paper or the print of the bird. The charcoal I use is similar to this basic Studio Charcoal. You can find out more about the Charcoal by clicking here.\n- I will tape the tracing paper or print of the bird on my canvas by using masking tape. Here is a good very brand of masking tape that you use or use something similar. Any kind of basic masking tape should work. The reason I use masking tape is when you are tracing the design on to the canvas you do not want the paper or canvas to move or get damaged.\n- Trace or outline the areas you want to paint for the bird. I will try to outline as much of the painting as I can. Especially when I am painting a bird. I will also try to roughly outline the areas that have shading or color changes for my bird. This way when I start to paint the bird I do not need to guess so much as to where to put the shading or other changes of color of the bird on my canvas.\n- Many times I will trace my bird using a colored pencil or pen on the topside of the Procreate layout print. I do this so that I can clearly see where I have already traced for the bird. I have found that if I do not do this, I can sometimes forget an entire section or part of my design and will have to try to match it up again.\n- Once I have completed this step then I will carefully take the tracing paper or print off the canvas and make sure I have put in all the lines that I need to on the canvas to correctly paint my bird.\nStep 5 – Fill In the Lines on the Canvas\nOnce I have taken the tracing paper or the layout paper of my bird off the canvas, I will then check the lines drawn on the canvas. If you did not use enough of the charcoal on the back of the tracing paper or paper you may have missed important areas of your bird design. This is why with the tracing paper method you can more easily go back to try to line up the bird design and fill back in the lines. When using just the Procreate layout print method, this is much more difficult to do.\nUsing my pencil or even the charcoal, I will start to pencil or fill in the lines or areas of my bird design that I need to or may have missed. Sometimes the charcoal is dark enough and do I do not need to do anything else for the design. Other times I may need to go over the bird designs with a light pencil sketch.\nMy goal for all these steps is to have a bird design roughly sketched out on the canvas that is defined enough so that I can really get the proportions of the bird correct for my paintings.\nStep 6 – Start With a Base Coat\nI always start my painting with a detailed painted base coat of the bird. The great part of this is that now that I have an idea of where the colors and shading will be, so many times during this base coat painting, I try to get as close to how the painting of my bird will look as possible.\nHere are important things to remember when painting a bird:\n- Carefully check your proportions. Proportions are very important when you are painting a bird painting. So you need to make sure that you have the correct proportions of the bird or the painting will not be correct.\n- The bird base coat should be as close to the colors you want as possible. If your bird is going to be white then paint the base coat white in the appropriate area. If the bird is to be black then paint the black tones for your bird on the base coat. Use those colors for the base coat of your bird which are as close to the colors you want for the finished bird painting. This is another reason why to lay things out on Procreate beforehand and to have a clear plan of painting the bird before you start actually painting is such an important step.\n- Add as much detail to the bird painting as you can. I find if I can add as much detail to my bird painting during this base coat phase it helps save me time for my entire painting.\nStep 7 – Paint The Details\nOnce you have painted your base coat, now you are ready to paint the finer details of your bird painting. For me when I am painting a bird it usually takes me another two or three coats and sometimes even four or five coats of paint before I am completed. How many paint coats I need to paint, will depend on what I am painting or how close to get to what I need on the base coat of paint. That is why I say the proportions and base coat are so important when painting birds.\nHere are some things to consider when painting birds:\n- Mix colors on the canvas – When I am painting a bird, especially when painting the feathers of birds, I will mix a lot of the colors on the canvas, not on the palette. This helps give some of the natural variations that the birds have for their feathers.\n- Use a lot of white – I tend to use a lot of white colors for example white with brown or white with black or grey when I doing the feathers of a bird.. The brushing strokes can help it look more like feathers.\n- Consider using some deep indigo blues instead of black – I love indigo blue and use it a lot in all my paintings. Many times I will use it in place of the color black as I find it to be a less harsh color. So do not be afraid to use some deep colors like indigo blue to replace some of the harsher colors like black.\nBirds are really great subject matters to paint. They are not only beautiful animals, but they are a fun subject matter to paint. If you can follow these seven simple steps, painting a bird can also be quite easy to paint.\nWhat are some steps to painting a cat?\nThe steps to painting a cat are very similar to painting a bird, dog or any kind of animal. We use all these same seven steps for any animal we paint.\nHow Do I Plan to Start a Home-based Art Business?\nIf you are considering starting a home-based art business you should first try to understand what your goals are in starting your home-based art business. You need to also be sure that you have a proper place in your home where you can operate your business from. But, all of this will not matter if you are not producing high-quality artwork on a consistent basis.\nTo find out more about starting a home-based art business, you can read our blog Planning to Start A Home-based Art Business, What To Consider by clicking here.", "label": "Yes"}
{"text": "CHROMA ACRYLIC MURAL PAINT MARKERS 4OZ (SCORCHED, STOP, ROCK STAR, ICE) This multi-purpose acrylic paint is water-resistant, moisture-resistant, and lightfast, designed with the muralist in mind. Provides a high pigment load and offers superior coverage. Featuring a mohair dabber tip, these paints are bright, mixable, non-toxic, and clean up easily with soap and water.\nTOMBOW MONO PRO DRAWING PENCIL SET 3PCS Featuring a superior, ultra-dense, extra-defined, long lasting graphite point, the Mono Pro Drawing Pencils create strong smear proof lines. The variety of graphite gradation can produce the lightest markings or stronger, thicker lines. Making these pencils perfect for illustrators and professional artists.\nGALLERY CRADLED WOOD PANEL 8”X10” These cradled wood panels are great for painting in a variety of styles, including heavy paint applications, palette knife work, encaustic and mixed media works. The 4mm hand-sanded birchwood surface is smooth for detailed work and mounting, while the sturdy pine cradle adds support and allows for hanging without a frame.\nPRO STROKE PREMIUM WHITE BRISTLE BRUSH ROUND 10 Featuring the finest quality pure white Chungking hog bristle hair that is specially processed to create a unique softness, the hairs on this brush work in unison to create incredible true strokes. The hair is hand tied, placed in seamless nickel plated brass ferrules, and crimped onto a matte black long wood handle. Excellent for a variety of mediums including acrylics, watercolor and egg tempera.\nBESTE FINEST GOLDEN TAKLON HAIR BRUSH 5/0 SPOT TOUCH Featuring Golden Taklon Hair, this Creative Mark brush performs strokes in a reliable manner that keeps its working characteristics painting session after painting session. Each brush is hand tied and shaped for ideal performance. The hair absorbs color and releases it as it touches the painting surface. Featuring ferrules made of brass and anodized in black, these brushes will remain fresh and clean much longer than the ferrules of other brush lines.", "label": "Yes"}
{"text": "I seen the KS on FB, these miniatures are awesome. Great paint job !! Cheers :)\nThanks, yes, the minis are really nice and they capture the old Heroquest Spirit very well!\nHello, Excellent paintjob !!! I like the green shades....Nikko\nThanks, Nikko, turned out a bit too dark for me. The goblin skin will be lighter!", "label": "Yes"}
{"text": "Saturday, June 28, 2008\nPlein Air painting is so wonderful. The previous painting on the blog is the finished painting done on location. Like I spoke in the previous blog it was hard to see something to paint with all the trees around. It was hard to find the focus. May you find the wonderful gifts that God put in front of you and may you find your easel friendly.\nThursday, June 26, 2008\nWhile walking in the woods I came across a quiet stream called dry horse creek. It was an amazing spot with butterflies all about. When first looking at the sight it did not inspire me to paint but after looking at the sight for a moment I noticed that God had sent his light onto on little bush in the middle of the stream. May God shine his light on you today and may you find your easel friendly.\n12x9 original oil on linen canvas painted Plein Air\nIf interested please contact artist.\nFriday, June 20, 2008\nToday is a Glad Day for me. Each day that I get to paint is a glad day. What makes you glad in life? Mine is spending time with my family, painting, quilting and my horses. Each of us have individual things that makes us glad. When looking at this painting of Glads it can always make you think of things that make you glad. May you be glad in life and may you find your easel friendly.\n16x20 original oil on linen canvas\nContact the artist if interested in purchasing this painting.\nMonday, June 16, 2008\nHow many times do you make the comment Hey You? Who are you calling? When I painted these 3 bales of hay I thought of which one of these was calling my name to paint them. All 3!\nIs there something in life that is calling your name to come and see or do? Do you stop and try to listen for them to say Hey You? Stop and listen for the callings of life and may you find your easel friendly.\n9x12 original oil on linen board canvas painted on location in Spring, Tx\nIf interested in purchasing contact artist direct and can be paid in PayPal\nSunday, June 15, 2008\nIt is that time of year that veggies are growing in the garden. My friend Barb returned a bowl with all these wonderful items in it. Fresh home grown veggies are so beautiful not only to eat but to paint. What a treat to get such a bounty. May you receive a bounty of life and may you find your easel friendly.\n12x9 oil on canvas\nWednesday, June 11, 2008\nThis beautiful pink rose was given to me by a friend. Receiving this rose brought warmth and joy to my heart. When pairing it with my antique creamer that is adorned with roses it just gave it such life. Isn't it just a blessing in life to have dear friends that bring you flowers to paint. May your friends bring you flowers and may you find your easel friendly.\n12x9 original oil on linen This painting will be placed on ebay starting bid $100 or contact artist direct. Ebay site original oil painting Friends Rose #170228623469\nSaturday, June 7, 2008\nLarge painting 20x30 If interested contact artist.\nSun Flowers always make me feel so great. Big and bold with such a sunny disposition. They remind me that life can be as big as my heart desires. They bring warmth and bold color to any place they are placed. They make me feel loving and warm in their presence. Remember to be like a sunflower and let your sunny personality show the way. May your days be sunny and may you find your easel friendly.\nWednesday, June 4, 2008\nEver been driving down the road and admire beautiful flowers. Well here I was going down the road on vacation and see these wonderful Poppies along the road. Could not resist painting my first Poppies. The colors are so vibrant that you cannot capture their beauty. Have you ever seen something so beautiful that you cannot describe it in words. That is what I felt only with a paint brush. May you enjoy the beauty of your day and may you find your easel friendly.\nMonday, June 2, 2008\nBlue and Yellow make a bright and cheery combination for a painting. This painting is bringing cheer to a new home. We in life always say that if you have something that doesn't work right it is a lemon. How can such a bright and happy color fruit get such a reputation. It is because when we cut it open and it is so tart it puckers our lips and leaves a sour taste. I am here to claim the beauty of the lemon and say that when joining with great friends and we gather lemons together we can become beautiful and sweet. May you be the sweet lemon of life and may you find your easel friendly.", "label": "Yes"}
{"text": "From the 1960's on, Husain painted a series of works that explored the relationship between the aesthetics of modern painting and classical Indian music and dance. These were not necessarily representational paintings of dancers and musicians, rather, they explore the artist's interest in converting sculptural and three dimensional figures into flat paint. He models the human form in distinctively Indian postures borrowed from Indian classical sculpture. Certain gestures of the hands and arms convey definite meanings in traditional Indian art and Husain often alludes to these mudras in his paintings.\n\"The artist has, obviously, so completely absorbed whatever had seemed to him creative and exciting from his art heritage, that it has become part of his sub-conscious, suddenly to surface when evoked by a contemporary experience...\" (E.Alkazi, M.F. Husain, the Modern Artist and Tradition, New Delhi, p. 19.).", "label": "Yes"}
{"text": "Canada's Group of Seven: A legacy of art\nPainting encompasses both imaginative creations and practical applications, whether as protective coatings and decorative elements. Within the realm of visual art, paintings serve as a medium to capture the essence of ideas and emotions on a two-dimensional canvas.\nToday, we embark on an exploration of a group of Canadian artists who left a lasting mark on the country's artistic landscape. This collective, known as the Group of Seven, emerged in 1919 when they came together to organise an exhibition and adopted this evocative title to signify their shared purpose. Join us as we explore into their remarkable legacy, delving into the founders, their artistic vision, and the enduring impact they had.\nThe founding members of this artistic collective consisted of Franklin Carmichael, Lawren Harris, A Y Jackson, Franz Johnston, Arthur Lismer, J E H MacDonald, and F H Varley. Driven by a profound love for the Canadian landscape, these artists sought to forge a unique national artistic identity through their creative endeavours.\nAs time went on, the group expanded its membership, welcoming new talents such as A J Casson in 1926, Edwin Holgate in 1930, and Lionel LeMoine FitzGerald in 1932.\nAdditionally, the esteemed artists Tom Thomson and Emily Carr, though not official members, played instrumental roles in shaping the group's aesthetic direction. Thomson's artistic contributions, including iconic pieces like \"The West Wind\" and \"The Jack Pine,\" exerted a profound influence on the group's creative trajectory.\nCentral to the Group of Seven's philosophy was the belief that a distinctive Canadian art could be nurtured through direct engagement with nature. Their most renowned body of work consisted of paintings that drew inspiration from the mesmerising Canadian landscape, giving rise to the first significant national art movement in Canada.\nFollowing the group's dissolution in 1933, the Canadian Group of Painters took its place, incorporating members from the Beaver Hall Group, who had a history of exhibiting alongside the Group of Seven both domestically and internationally.\nThe canvases of the Group of Seven showcased a vivid tapestry of Canadian landscapes, with a particular focus on the breath-taking regions of Algonquin, Georgian Bay, and Algoma of Ontario province.\nHowever, their artistic explorations took them far and wide, as they ventured into the Arctic, the Rockies, the East Coast, and Quebec, immortalizing the beauty they encountered through their brushstrokes. Their exhibitions, including the inaugural showcase at the Art Gallery of Toronto in May 1920, served as platforms to share their artistic expressions with captivated audiences.\nOver the years, the artistry of the Group of Seven has gained widespread recognition and appreciation. Esteemed galleries and museums, such as the Crocker Art Museum, located in Sacramento, California, have proudly exhibited their remarkable works, allowing art enthusiasts to immerse themselves in their captivating creations. The demand for the Group's artworks at auctions has been notable, with prices varying based on factors such as size and medium.\nNotably, Lawren Harris's masterpiece, \"Mountain Forms\", achieved a record-breaking sale price of USD 11.21 million, solidifying its position as the most expensive artwork ever sold at a Canadian auction.\nThe Group of Seven, Canada's first internationally recognised art movement, stood united in their belief that a distinctive Canadian art could emerge through direct engagement with the country's vast and extraordinary landscapes.\nWhile their painting style showcased influences from impressionism, post-impressionism, naturalism, and art nouveau, the Group of Seven remained loosely connected stylistically. Rather, their bond lay in their shared commitment to exploring the rugged Canadian wilderness and establishing a credible national artistic legacy.", "label": "Yes"}
{"text": "Friday, February 09, 2018\nFebruary Masterpiece of the Month: Scenecio (Head of a Man) by Paul Klee\nWho Made It?\nThis painting was created by a Swiss painter named, Paul Klee, in 1922.\nWhere is the REAL One?\nThe real painting can be seen at the Kunstmuseum Basel in Basel, Switzerland\nWhy Is It Important?\nThe artwork of Paul Klee was very inspiring to many artists during the 20th century and influenced many styles of art. Klee admired children’s artwork and wanted his own work to be just as expressive and without any limitations.This abstract version of the human face is divided by color into flat geometric shapes. This painting demonstrates Klee’s unique understanding of line, color, shape and space in a way that is playful, dramatic and strange all at the same time.", "label": "Yes"}
{"text": "Samuel John Carter(1835-1892), Animal and sporting painter\nSitter in 2 portraits\nFather of Howard Carter. Carter was an artist who specialised in animal and sporting paintings and exhibited regularly at the Royal Academy Summer Exhibitions. He trained Howard in the skills of drawing and watercolour painting, skills he would use throughout his career. His father also encouraged him to accept an offer from a local politician and antiquities collector, William Amhurst Tyssen-Amherst, who suggested the teenage Carter travel to Egypt to draw tomb scenes at Beni Hasan.\n- Howard Carter (son)\nListen to a series of podcasts exploring the lives of pioneering women, past and present.\nWilliam Eggleston was closely associated with the alternative music scene in Memphis. Revisit our 2016 exhibition and listen to a special playlist.\nLinks to audio and transcripts of interviews with artists, sitters and historic recordings.", "label": "Yes"}
{"text": "Easy Flow is a water-based paint conditioner which makes interior and exterior emulsion and acrylic paints including colored wood stains work more like oil-based paints. It helps to improve paint flow and workability and allows the paint to adjust to more difficult conditions such as hot, cold and windy environments.\nArguably most importantly, it helps to eliminate brush and roller marks by improving the flow of the paint giving a much more professional finish and helping you to make progress more quickly.\nUnlike damaging paint thinners or water, Easy Flow does all this without affecting the inherent qualities of the paint and without affecting its color. When used in a paint sprayer, Easy Flow allows up to 20% reduction in pressure without affecting the spray pattern or performance and helps to prevent clogging and wear and tear on tips.\nEasy Flow can also be used as a medium for acrylic paint pouring art. Easy Flow’s composition helps to create the highly sought after strong, well-formed cells most artists are looking for.\nIdeal Uses for Easy Flow\nUsing as a medium in paint pouring art\nExterior painting in hot, cold or windy weather\nWhen having problems with brush marks when painting\nUsing a paint spray gun – Easy Flow helps to extend its life by reducing wear and tear\nReducing roller pressure and preventing paint build up at the ends of the roller\nProviding a spray-like finish when rolling\nEasy Flow is milky white in color and as such cannot be used in clear varnishes. Do not add Easy Flow to oil or alkyd based paints including glycerophtalic paint, for these paints use Owatrol Oil to achieve the same results.\nAirless, HVLP or Cup Gun Sprayer\nPrepare surface as per instructions on your paint/finish can. As part of this please ensure that you have removed all loose and flaking material. You should also treat any organic growth (mold etc.) with a fungicidal solution or a mix of 1 part water to 1 part chlorine bleach (allow the bleach solution to sit for 15 minutes), rinse thoroughly and allow to dry.\nStir your paint thoroughly and begin to apply in the normal manner. If paint the pulls, sets too fast, does not level or flow properly, add Easy Flow until the paint spreads smoothly, easily and provides sufficient ‘wet-edge’. Allow the brush, roller or sprayer to be your guide.\nTo add Easy Flow first shake the container well. Then add the Easy Flow following the guidelines below and stir the mixture thoroughly.\nNow apply your paint and Easy Flow mixture to your surface in the normal manner.\nUsing Easy Flow with a Brush or Roller\nAdd approximately 7-10% per liter of paint. If the paint is thick, or in extreme temperatures, more Easy Flow may gradually be added, up to 15% per liter.\nUsing Easy Flow with an HVLP & Cup Gun sprayer\nAdd 5-10% per liter of paint. The amount depends on the consistency and flow properties of the paint. If the paint seems to thicken, add a tablespoon of water per liter of paint to thin it.\nUsing Easy Flow with an Airless sprayer\nAdd up to 10% per liter of paint.\nUsing Easy Flow for Faux finishing\nAdd 20-25% per liter of paint. Do not add too much conditioner for vertical surfaces as the technique may sag or vanish.\nClean all tools and equipment with soap and water.\nThings to Remember\nCover everything you do not wish to paint\nAlways mix a small amount with Easy Flow first to test compatibility\nThe amount of Easy Flow added will not change the color of matte or semi-gloss emulsion or acrylic paints. Easy Flow may reduce the sheen in gloss paints.\nDo not use in clear varnishes\nDo not use Easy Flow in oil-based paints – instead use Owatrol Oil for the same effects\nD B Helene –\nGreat product. It is less money than some of the alternatives. It does the same job. I haven’t found any product that works any better.\nSo far so good to use with my Acrylic pour painting. Will need to see how the canvas dries after painting.\nGreat for Acrylic Artists.\nOwatrol Easy Flow is comparable to Flood Floetrol, only without the lumps.\nLinda Poteet –\nWhat a difference! I used this for a pouring medium in flip cup painting.\nHighly recommend. Works great.\nJeanne M Brown –\nSo much better than Flood Floetrol. Always smooth\nOwatrol Easy Flow is like Flood Floetrol only it doesn’t have as many lumps in it. I have to strain my Flood Floetrol before adding it to my paint. I don’t have to strain Owatrol Easy Flow.\nCRA Johns –\nThis is an excellent product. I use it for scenic painting for film and theater. It greatly improves the characteristics of water based paint including bog standard emulsion for both brush and spray application.\nLaura Bestwick –\nUse this for my acrylic pouring and it’s brilliant, makes it all so much easier after previously using pva glue and water. Is a lot easier to get the right consistency.\nDonna Johnston –\nUsed the product in teaching a class with Acrylic Pours… It is an expensive activity with the cost of the paint and the Easy Flow, but the Easy Flow does work well. All the students were delighted with their results.", "label": "Yes"}
{"text": "On Saturday evening I enjoyed watching an interesting documentary on BBC 2 about the impressionists. I found it fascinating because it was refreshingly light and informative. It wasn’t just about the artists themselves but about their working methods, techniques and influences which made it engaging. Towards the end of the programme, the presenter, Waldemar Januszczak took us on a painting journey to London. Monet and Pissarro both spent a part of their lives painting different aspects of the city. Monet’s moody paintings of the Thames are well known, particularly those which capture low sunlight. I was reminded of my own painting of a Thames Sunrise.\nThe painting above depicting a Thames Sunrise was painted in 2005. I wanted a painting of contrasts. The linear form and structure of the skyline, contrasts against the fluid, loose washes of the sky and water. Also, I wanted the painting to be full of light. Not just from the sun breaking through the low lying clouds, but also the last remnants of the artificial light being produced by the city itself before being switched off to be taken over by the full light of day.\nThis giclee limited edition print has been faithfully reproduced from the original watercolour. I painted it on Fabriano Esportazione, which a very expensive hand made paper from Italy. The heavy texture of the paper is a delight to paint on. If you drag a large brush full of watercolour pigment over the surface, it creates some wonderful effects. At the edges of some of the cloud shapes, you can see how the paint catches the texture. You can see how this effect has been repeated in the light being reflected in the water. I have contrasted these loose, fluid techniques with the tighter, more controlled painting of the architecture.", "label": "Yes"}
{"text": "Canvas panels are a great economical option for painting on real canvas. They are canvas wrapped around a cardboard substrate. They're also a good choice for pieces that call for a thinner profile than a standard canvas. For your special pieces, choose the archival boards for longevity.\nCanvas panels (also called canvas boards) are very versatile. They can be used for a variety of project including:\n- School projects\n- Practice paintings\n- Finished paintings\n- Acrylic paintings\n- Oil paintings\n- Casein paintings\n- Watercolor paintings (with watercolor specific canvas panels)\nCanvas panels provide the artist with a great amount of freedom. They are inexpensive, but have the feel of real canvas, because they are real canvas. Instead of being stretched on stretcher bars, the canvas is wrapped around and adhered to a hard cardboard substrate. Canvas panels can be easily transported, making them great for plein air painting and for group events. They are ideally suited to the classroom setting and give kids an opportunity to paint on real canvas.\nCanvas panels can be framed just like a stretched canvas.\n- Green art supply product\n- Drop Ship - Item is shipped from manufacturer\n- Oversized - Additional shipping may apply\n- Item Ships via Truck - Additional shipping will apply\n*Free Shipping Offer valid for single package non-oversized shipments over $100.00 (after all applicable coupons have been applied) and under 20 lbs. within the 48 contiguous United States only. All other areas must pay shipping and handling charges. Exclusions apply. Orders for stretcher bars, cradled wood panels, stretched canvas, flammable items, closeout or discontinued merchandise cannot qualify for our free shipping promotion. We reserve the right to ship via the carrier of our choice.\nCopyright © 1997 - 2023 by Rex Art Co. All rights reserved. Prices shown are in U.S. Dollars. Prices are subject to change.", "label": "Yes"}
{"text": "Looking for the full Houzz experience?\n317,759 painted builtins Home Design Photos\nRiver Dunes Captain's House\nceiling are painted Seaside Retreat Light Khaki (SR302) by Valspar. The magazine's resource guide does note that paint colors may have been custom-washed to various strengths (which is common when painting wood walls).\npaint color valspar seaside retreat light khaki\nWhite, built-in cabinets\nbuilt-in shelves...paint color...Paint Color\nLoudon County Interior Designer\nWe create amazing residential and commercial interiors unique to the clientele that we represent. This means that each project is tailored to fit you and your family’s lifestyle.\nSpacecrafting / Architectural Photography\nGonyea Homes & Remodeling\nWhat is the color or the wall paint?\nbecause paint color is a popular question on houzz. They said they can match paint color from a photo as long as the photo is big enough...Hope this helps.\nknow the paint color, however Gonyea Homes & Remodeling is also on houzz if you want to look them up to ask them. I hope this helps.\nLove the basic layout - open beams, side built-ins. Would change fireplace to more traditional look\nbuilt-in storage on right/would like on both side of fireplace. Timber beams - dark/light contrast\nhearth in painted wood to help continutiy between the two bookcases. Do not like the absence of a hearth.\nSmith & Vansant Architects PC\nSummer Lake House\nWhat paint did you use on the platform for the beds? Thanks!\nThat is Palace White # 956 with Dijon #193 on the window sash, both from Benjamin Moore paints.\nlarge, built-in platform with the mattresses with box springs on top.\ncustom built-in piece.\npainted wicker chair - bedding\nbuilt-in beds by window\nWhite 956 Paint...Dijon 193 Paint...built-in bed idea...beds. Paint colors\nMAC Custom Homes\nthe blue paint color of the kitchen island?\nBeautiful Home! What is the paint color on the walls & what company?\nisland paint color! What color is it ?\nwhat to paint my trim and coffered ceilings. for the coffered ceilings.....what did you do for the inside of the coffered ceilings??\nbuilt-ins separating space - flow of space\npaint and columns connected to cabinets\nDarci Goodman Design\nSan Clemente Remodel\nlove the paint color and am curious of what it is exactly! Thanks!\nLove this room. Am curious about the painting over the fireplace. Wh\nthe painting over the fireplace. Who is the artist? It's wonderful. Wish I could see it more clearly. Thank you.\nof the painting is? Found the artist but not this particular piece above fireplace. Thx\nSteps!!!!! Paint the back I don't like !\nPS & Daughters\n422 Green St\nwall w/painted frame around painting lend dad's spokane painting?\nIn our addition I want to add built-in brick book cases. We already have the wood beams and the wood flooring. I have also considered painting between the beams to break up the wood.\nPaint color - asiago by valspar\npainting the wall behind the sofa to \"frame\" it\nValspar paint: colors are Asiago and Mark Twain\nBailey painting hangs above the sofa. To draw attention to the striking white-framed painting, she painted the white wall behind it the same grayish blue as all the trim.The swivel chairs on rosewood bases are originals by Milo Baughman. Schuh had wanted them for a long time, but could find them only\nCosta Marble & Granite\n82 Madison Ave. Toronto\nis the paint color on the walls?\nWhat is the paint color on the wall?\nLove the paint color\nwhat color paint on wall\ncolor of paint. Italian straw Pratt & lambert\nsoap, built-in counter is beautiful\nyellow to paint walls\nBathroom paint color\npainted wood baseboards\nPaint color...the yellow paint...Yellow paint color...yellow paint\nJarrett Vaughan Builders, Inc.\nBeautiful washable matt paint with trim\nChoose washable matte paint for walls if possible. Shine creates reflectivity, causing light to bounce around the room, which distracts the eye. Any color will look richer and truer\nchoose washable matte paint for walls, unless high traffic area, then choose eggshell. save satin and semigloss for trim\nmatte paint for walls if possible. Shine creates reflectivity, causing light to bounce around the room, which distracts the eye. Any color will look richer and truer in a flat or matte finish than it will with a shine.If the room is highly trafficked, it may be better to use eggshell, because its texture", "label": "Yes"}
{"text": "Alén Karel Diviš\n(1890 Blato u Poděbrad – 1956 Prague)\noil, canvas, 48 × 34.5 cm; O 1467; acquired in 2013.\nAlén Karel Diviš studied with the painters Josef Boháč and Emanuel Dítě. In 1926 he went to Paris where he attended the lectures of František Kupka. Initially, he was influenced by Cubism and abstract art, but after visiting North Africa in 1932 and Brittany, he focused on depicting the lives of suffering individuals. After the occupation of Czechoslovakia in 1939 he went back to Paris where he was accused of espionage and imprisoned. In 1941 he went to New York where he stayed until 1947. His time in jail damaged his health and this showed in his post-war work, the distinct theme of which became the depiction of the crucified Jesus Christ, symbolising human suffering and the proximity of death. The first drawing for Crucified, dated 1941 and titled Christ the Prisoner, was followed by a whole cycle of paintings with this theme. This work, the model for which may be an older work, is not only the final work of the whole group, but also the last dated oil of Diviš's. It is a suggestive depiction of the face of the Saviour reflecting a quiet reconciliation with death.", "label": "Yes"}
{"text": "Rise and Shine\nAcrylic on canvas\nBrighten up your day with this colorful abstracted floral painting!\n\"Rise and Shine\" measures 24\"x30\". This textured abstract painting on canvas is stretched on 1.5\" deep bars. The sides are painted a shimmery black Micaceous Iron Oxide. The painting is signed on the side, dated and signed on the back.\nIt is wired and ready to hang as soon as it arrives.\nFraming is not necessary. A protective gloss varnish has been applied to protect the painting from dust and harmful UV rays.\nA Certificate of Authenticity is included\nFree Priority shipping within the US\nClick here to order prints and other items\nClick here to subscribe to my monthly art newsletter!\nOnly a few more days left!!!\nRegister today for my next abstract painting workshop!\nGo Big Go Bold\nOctober 10 - 12\nShuttle service to and from Inverness to Tampa and Orlando International airports is available.\nTransportation from local hotel to the workshop and restaurants will also be available...no need to rent a car if you are flying in from out of state.\nfilomena booth, abstract painting, abstract painting workshops, modern art paintings, seascape, coastal, floral, interior design, home decor art, art for interior designers", "label": "Yes"}
{"text": "HOW TO CHOOSE AND HANG PAINTING CORRECTLY\nAfter purchasing a painting, a common question arises - how to hang it correctly and how to fit it perfectly with existing artworks. Painting is an element that can help unite space and make it complete. The key is to choose a work of art that matches your home decorating style. I would like to share with You some simple rules to help you avoid mistakes when hanging paintings. So the first very important thing is:\nChoose the wall of your home that should be enlivened and where you want to hang the painting. The large empty wall space in the room creates disharmony, while paintings distribute the attention and direct it to a few points of interior. After choosing a wall you have to decide what size painting you want and need. Vertical paintings optically increase the height of the ceiling, while horizontal paintings lengthen the wall. Too small paining will look lonely and \"sink\" into the wall, so if you want a small picture but it's too narrow, choose a group of several or more artworks. Small paintings are more suitable for narrow walls or hanging them in a group. Make sure Your new painting matches your wall color and interior style. A beautiful work of art compensates for the imperfection of furniture or interior. Tall, narrow walls will work best with the art of a similar shape, created in a portrait, or vertical orientation, while horizontal wall spaces (often found over sofas, in a hallway or dining table) work best with horizontal bigger artwork. Overall wall space dimensions your artwork should take up two-thirds to three-fourths of the wall.\nPAINTING HANGING HEIGHT\nThe artwork should hang so that the canter of the picture or group of pictures is approximately at eye level. If several paintings hang on one wall, they should be more conveniently hung on one common holder or strings attached to the two upper corners of the paintings. Painted paintings are hung at eye level on the wall (about 1.5 - 2 meters from the floor), slightly sloping (this reduces reflections). In the dining room or kitchen, it is better to hang the artwork at the eye level of a seated person. Smaller walls are suitable for smaller walls, larger ones are suitable for wide ones. The hanged painting should not be wider than the furniture itself. If you are hanging a painting for the first time, the following simple formula can help you:\nThe artwork should take up the width you get by multiplying the wall width by 0.57. [wall width] x 0.57 = [ideal image width]. The figure should not exceed 75% of the furniture width or in other words three-fourths the width of the furniture. The ideal hanging height for a picture is 145 cm from the ground or the canter of the picture.\nMultiple paintings should be hanged as one group and all together fit into an ideal width. If you decide to hang several artworks of different sizes in a group, start with the first one, which will be the center of your picture group. Hang the darkest, largest, thickest frame pictures on the left, as people read from left to right and it’s easier for the eyes to admire such paintings in the first place. Make sure the paintings match each other in terms of style, colors, sizes. You can cut out sheets of paper of this size and place them on the ground to see how a group of pictures will fit together in size and where a picture is better to hang. If you have selected small pictures, make sure that they do not \"get lost\" in the wall.\nABOVE THE SOFA\nThe painting above the sofa - is one of the most common and easiest ways to hang art. The basic rule is that the artwork or a group of them should not occupy more than 2/3 of the sofa area and they should hang 15 - 20 cm above the sofa. Vertical paintings optically increase the height of the ceiling, while horizontal paintings lengthen the wall. Whether we are going to create a wall in a series of paintings over a couch, or hang one large piece of art, the principle of proportionality will help create a beautiful and harmonious decor. A beautiful work of art compensates for the imperfection of furniture or interior.\nHowever, all these are just rules, I invite You to try to interpret them wisely and deviate a little according to your interior style and the atmosphere you want to create. Don't forget that the works of art are beautiful in principle, the enjoyment of them gives us pleasure, so choose art that brings You good emotions. No matter what works of art decorate your home, most importantly, when creating works of art, you would rejoice, say pleasure, be forced to stop for at least a minute and admire the moment.\nIf You like to have a consultation or share some ideas, please contact me at email@example.com", "label": "Yes"}
{"text": "Laid side by side.\nOne sunny afternoon.\nIn the wilderness,\nWild Flowers of the Forest\nAcrylic Media – Diptych\nTwo Canvas Panels – Unframed\n12″ x 36″ each\nWild Flowers of the Forest grew midst dark blue skies and earthy greens. I wanted to paint flowers without form as I like them that way.Starting with modelling paste on two canvas panels put togther side-by-side. Thick coats of bright reds and yellows burst on the canvas with crazy leaves and even crazier skies. In the end, the bright and loud painting was toned down with a wash of burnt umber, which comfortably settled in the crevices of the flowers and leaves.\nThese bright forms could be roses, pansies or the wild flowers of the forest. It can go as far as you can see; as our mind becomes one with nature… to find itself… in the beauty of life giving life… in the deep dense sights…. as much as our eyes can behold.\nAnd then there are the sights unseen… that lie beyond sight, smell and sound. Can we touch those realms that lie within and beyond? When shall we really see?\nThe details are left for you to wander around and interpret.", "label": "Yes"}
{"text": "- This event has passed.\nGuildhall Art Gallery Reopening\nJuly 30 @ 8:00 am - August 31 @ 5:00 pmFree\nEnjoy the City of London’s magnificent art collection once again as the Guildhall Art Gallery opens on weekends. It’s free to visit, but pre-booking is required. Don’t miss The Enchanted Interior exhibition, exploring the recurring motif of female subjects in art as depicted in enclosed, ornate interiors.", "label": "Yes"}
{"text": "This painting is already SOLD. Available similar …\nEach artworks are hand painted in the UK and comes Directly from my studio.\nTittle: “The wind tree”\nMedium: Acrylic, glitter, metallic spray, textured medium, modelling paste\nColour: gold, cooper, turquoise, blue\nReady to hang.\nMy paintings are signed on the canvas and paintings finished with a varnish.", "label": "Yes"}
{"text": "We specialize in oil portrait paintings of people and pets and anything you can imagine. Each gallery-quality oil painting is hand-painted on the highest quality canvas in a true-to-life, realistic style. We include the highest quality gallery wrap and customized framing as an entire package. Have a look at our portfolio, and consider treating yourself or your loved ones to a classic oil portrait painting by our master artists.\nUnlike traditional portrait studios, we do not require a portrait’s subject(s) to “sit” for the portrait, instead requiring only a digital photo as a reference to begin work. This allows customers flexibility to have a wide variety of photos painted into unforgettable masterpieces. Every painting is a hand-painted oil painting on high-quality canvas by a professional portrait artist which you will even be able to see each unique brush stroke.\nWe work with skilled and experienced master artistes to transform simple photographs into lifelike paintings. Immortalise a treasured photo or a special milestone in life and transform them into a piece that can be admired and remembered for generations to come. We work endlessly with the master artistes for revisions to control the quality of the painting to your high expectations.\nMany other artists claim to paint high quality portraits, but their portfolios prove otherwise. If you compare our work to theirs, you will notice that ours is more true-to-life, proportional, detailed and warm.\nPaper-based portraits and paintings such as charcoal, pastels and pencil will never withstand the test of time and will deteriorate much faster as compared to oil on canvas. Opting for conservation framing for your paper-based portrait may bring you another dilemma, the high cost of conservation framing.\nThat is why use only the highest quality canvases and high quality oil paints that does not crack during mounting and is waterproof, perfect for singapore’s high humidity. Furthermore, we include custom framing for your piece as a package! So there’s no need to pay for more! Come on down to our showroom for a friendly and free consultation!", "label": "Yes"}
{"text": "Check out these amazing dark fantasy themed paintings from artist Filip Acovic (aka SpineBender). Filip Acovic is based in Belgrade, Serbia and is a professional artist and illustrator working in the publishing and entertainment industry. His artworks are pretty intense, twisted and brutal with each of his amazing creations almost bursting from the screen. Filip’s paintings deserve close attention, with the scars, flesh, metal, muscle and bulging eyes of his characters beautifully realised in glorious macabre detail. For more incredible fantasy works, please visit SpineBender on DA.", "label": "Yes"}
{"text": "So here I have a few more Portraits I have had done by Artists from DeviantArt\nAs you can see, I don't have much confidence in her waving that Light Sabre around.\nI wasn't going to get a Chilbi Style portrait, but I liked how http://cacandy1988.deviantart.com/ did them.\nAnd lastly a $5 special from http://ewgraphics.deviantart.com\nI paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens. Georg Baselitz", "label": "Yes"}
{"text": "Professional Lead Paint Inspection and Removal\nSFW Painting provides comprehensive Salem lead paint inspection and Salem lead paint removal services. As an established painting and construction company, and a certified Lead Safe Renovation Firm, we are well-positioned to provide you with an integral service that will effectively remove all the lead in your home from human contact, safeguarding you, your family, and your pets from the dangers of lead poisoning.\nEnvironmentally Safe Lead Paint Removal\nSFW Painting uses only environmentally sustainable and ecologically safe lead paint inspection and removal techniques. We never use dangerous chemicals in our lead paint removal and follow strict industry-wide safety guidelines to maintain the sanctity of your home and property throughout the process. Our green lead paint removal strategies include lead paint encapsulation, electric paint shaving, and UV scraping. These methods, alongside the true and tried technique of hand scraping, enable us to remove the lead paint in your Salem home safely and effectively.\nHealth Problems Associated with Lead Paint\nLead paint contains lead – a toxic heavy metal that is highly volatile and corrosive to living beings. Ingestion of lead paint leads to significant learning disabilities and behavioral problems in children, as well as organ damage, anemia, brain and nervous system debilitation, seizures, unconsciousness and even death in adults. The Environmental Protection Agency banned the use of lead paint in residential construction in 1978, claiming that no amount of lead ingestion is safe to human health.", "label": "Yes"}
{"text": "This calm sunny image is about serenity and beauty in the everyday. I have related the image to iconography (such as Virgin and Child altarpieces) by mixing gold oil paint into the background, this does not make it metallic but gives it a smooth deep mustard-straw colour. Orange is one of my favourite colours.. it is bright, strong, sunny: this woman is solid, confident, serene and calm, I love her intelligent face. The brassicas (the family name for cabbages and in this case brussels sprouts) refer to a couple of wonderful paintings which I saw in The National Gallery of Scotland, for different reasons they also express the beauty in the everyday – the unexpected array of colour as the sun sets on a brassica patch (by Arthur Melville, 1877), the resilience of a “Hind’s Daughter” (painted by Sir James Guthrie in 1883): a young girl expertly wields a knife as she collects that day’s dinner in the bleak cold that Britain does so well (I know this because I’ve been a gardener in England for 10 years and worked on farms in Scotland!). But I digress, this painting is calm and warm, painted a very long way from Scotland, in Australia.\nI’ve used thin layers of oil paint, particularly on the figure, so that the light of the white canvas ground still shines through, giving this painting a luminous quality. Oil on Canvas 76 x 76 cm", "label": "Yes"}
{"text": "Old Russian painting, (second in this series) oil on canvas. St.Peterburg. Very good condition. Signed and framed.\nKuznetzov A.G Born in USSR in 1959 in St.Peterburg. In mid 90es moved to USA. His paintings bring up to $10.000 on international auctions.\nPlease do visit my other categories for more interesting items!", "label": "Yes"}
{"text": "The Nabis School took its name from the Arabic word for prophet. Its main members were Pierre Bonnard, Edouard Vuillard and Paul Serusier. Maurice Denis is also considered a Nabis artist. The Nabis artists came to prominence in the 1890’s and are recognized as part of the Post-Impressionist movement. Bonnard, Vuillard and Denis were already established as artists. Serusier only became more widely known as part of the Nabis school when he took the advice of Paul Gauguin and painted The Talisman in 1888, and the influence of Gauguin in this oil painting is very clear in terms of form and especially color.\nDear Robyn,I just wanted to let you know that my paintings are back from the framers. I chose simple gold frames as you suggested and the look wonderful. I ordered three paintings as you know, as these are for my dining area. However, I am so pleased ...\nDebbie Ballou, Ohio.\nHello Alex,I've received my painting this morning and I am very pleased with it. You mentioned you can refer me to a place in Los Angeles where I can have this canvas stretched and framed. Where and how much would it be? Thanks again.Best regards,Kevin\nKevin Y, Los Angeles, California\nDear RobynI received my two paintings today, I must say I was anxious never having made such a large purchase online previously, however your constant communication was very reassuring, and I could not be more delighted with the results, I have emailed yo...\nI am very happy to recommend your services to my friends and colleagues. This has been a first class experience. Please pass my thanks to the artist who completed my painting.\nSarah Kennedy, WA. USA\nThis is the seventh painting that we have ordered from you and it is every bit as good as the previous ones. Thank you so much for all the good work, we recommend your website to our friends when they comment on the paintings in our house.", "label": "Yes"}
{"text": "Impressionist Art Game\n|Ships FREE with $25+ order|\n|Gift wrap is available|\n1 to 3 business days\nExpedited delivery available.\n- This children art book and games introduces the works of some of the best Impressionists including Monet, Renoir, Degas, Pissarro, Caillebotte, and Mary Cassatt.\n- Develops skills: History of Art, Fine Art, Impressionism, Thinking Skills, Memory Skills, Visual Reception\nThe Impressionists changed the world of art forever. These artists could see the world in brighter colors and different ways. And their paintings showed it with passion and talent. These beautiful colorful works of art really captured people’s lives. Learn about the development of fine art during the Impressionist period with the Impressionist Art Game by Birdcage Press. This 76-page hardcover art book includes full-color paintings by some of the best Impressionists including Monet, Renoir, Degas, Pissarro, Caillebotte, and Mary Cassatt. This kids art game set also includes 32 play cards. For each card, there is a two-page picture with facts and the stories behind the painting. You can play many fun games with these cards that will help you learn about the paintings and artists of the Impressionism period including all-time favorite Old Maid, Go Fish and memory games. Educational Toys Planet proudly offers the Impressionist Art Game for your children’s educational fun! What was it like to be a woman artist in the 19th century? How did the Impressionists get their name? Let’s discover the history of world art! Creative Child Magazine – Preferred Choice. Teacher’s Choice Awards – Children’s Books. Informal Education Products – Product of the Year Award. iParenting Media – Best Holiday Product – Winner.\nCustomers Also Bought\n|Manufacturer Recommended Age||7 years|\n|Quantity Available in Stock||30|\n|Manufacturer Part Number||dsc-w-bc-213|", "label": "Yes"}
{"text": "House Painting services in Ohio\nWhether it’s a touch-up or an entire house painting job, we pay attention to the smallest details to provide excellent and long-lasting results. We also guarantee that no paint will drip on your floors, furniture, or belongings as we beautify your home.\nWe Honor You Triangle Area Professional House Painters\nTriangle weather can sometimes be tough on houses and it is of our concern to provide the best house painting that stands up against the wet and the dry. Our exterior house painting services include minor carpentry repair and pressure washing. Call us today to schedule a free painting estimate. Hire We Honor You to paint and beautify the entire outside of your home or just do some touch up.\nWe Honor You paints homes inside and out. We pay close attention to the details and with a steady brush and a sharp eye we deliver beautifully painted results.\nWe work neat and tidy. Your property is well protected from paint drips and spills. Before any paint is applied we thoroughly prep and trim, walls and ceilings.We take precautions to minimize dust.", "label": "Yes"}
{"text": "Before & After |\nI made the decision to paint the garage entry door black when I noticed the appearance of this particular door. The garage entry door was the gateway door into the house. It is the first and last door we all walk through everyday. And, it was filthy. The white paint showed every mark, fingerprint and smudge lodged in the door’s wood grain. It was an easy decision to paint the doors black when this door greets us every day.\nI had a great feeling about the pending change. I tackled this project while the kids were at school so I had time to prep, paint and wait for the paint to dry.\nOn a whim I grabbed the black paint from the front door project and got to work. I wiped the door down. I didn’t remove the hardware, but I unscrewed it to loosen it from the wood door. This way I could get around the edges of the door handle.\nThe results were instant! This is the door that started my quest to paint the doors black. It wasn’t long before I switched out the builder grade brassy door hardware for hardware more worthy of such a pretty door.\n1. Prime all doors. You won’t regret this step. I bought the 5 gallon primer at the Depot.\n2. Take the time to remove the door hardware ( I didn’t remove the hinges because the hinges match the black paint)\n3. I used BEHR BELUGA in semi-gloss finish. I love this color! Plan on at least two coats.\n4. Keep the paint handy. I was surprised by how many spots I missed.\n5. It’s only paint! Go for it!\nI love the transformation of my doors. I didn’t paint all of them, but I painted several. If you are thinking about it… go for it! If you hate the look.. it’s only paint! I am thrilled with the results. Painting my doors black was a thrify, instant transformation. #noregrets", "label": "Yes"}
{"text": "Prefers not to depict an actual place but to work instinctively to capture a feeling for the exceptional light and natural forms of the landscape. She builds an image in several layers, scratching and over-painting until left with the remaining essence. Her work hovers between abstraction and figuration. The paintings evolve from something seen – an old lichened stone, a field pattern, the drama of high tide, a gull's wing. Although she enjoys walking and exploring the landscape she prefers to create the work in her studio, where she feels free to experiment, build up textures and have space to explore ideas. She will sometimes work on several paintings at a time. Jenny Woodhouse is a full-time artist. She studied at Falmouth School of Art.", "label": "Yes"}
{"text": "Awaken your inner artist in Paint Puzzle! It’s your job to fill the canvas with the right colors and complete the painting.Stay focused though as the colors are limited! Sometimes you’ll need to use your brush to mix the paints together and get the correct color combination. Can you remember how to make purple? Green? Orange? There’s a handy mug to clean your brush as you work, but once you’ve changed the color of the paint there’s no going back!With loads of fun levels, cute animations and satisfying scenes to paint, you can let your creative juices run wild with Paint Puzzle!\nHow to Download and Play Paint Puzzle On Windows or Mac?\n- Download LDPlayer, a free Android emulator to play Mobile games&Apps on PC\n- Complete the installation of LDPlayer on your desktop\n- Launch LDPlayer and search Paint Puzzle on the search bar\n- Install the game from LD Store (Or Google Play)\n- Once installation completes, click the game icon to start the game\n- Enjoy playing Paint Puzzle on your PC with LDPlayer", "label": "Yes"}
{"text": "Author: Abu'l Qasim Firdausi (935–1020)\nArtist: Painting attributed to Mirza Muhammad Qabahat\nArtist: Painting attributed to 'Abd al-'Aziz (active first half 16th century)\nObject Name: Folio from an illustrated manuscript\nDate: ca. 1525–30\nGeography: Made in Iran, Tabriz\nMedium: Opaque watercolor, ink, silver, and gold on paper\nDimensions: Painting: H. 11 1/4 x W. 7 5/16 in. (H. 28.6 x W. 18.6 cm)\nEntire Page: H. 18 5/8 x W. 12 1/2 in. (H. 47.3 x W. 31.8 cm)\nCredit Line: Gift of Arthur A. Houghton Jr., 1970\nAccession Number: 1970.301.35\nThe Shahnama is filled with tragic events and moments of intense drama. On the page illustrated here, the painters have depicted the mourning of Iranians over the tragic destiny of Farud, the son of Prince Siyavush, and Jarira, his mother. After witnessing her son's death, Jarira ripped open her belly with a dagger. Then, lying down with her face against Farud's, she let herself die.\nThe scene is one of the most emotionally charged in the entire manuscript. The women pull out their hair and cry, the courtiers beat their heads in despair, while the the creased expressions on their faces convey intense compassion. Even though Islamic painting is considered to be idealized, the painters of this Shahnama reveal instead a profound awareness of human emotions, which are depicted with great sensitivity.", "label": "Yes"}
{"text": "A new show at the Prado Museum in Madrid - “Velázquez and the Family of Philip IV” - spotlights the portraits that Diego Velasquez painted while in the service of the Spanish monarchy and when he painted his masterwork \"Las Meninas\" (Maids of Honor).\nBut you won't see \"Las Meninas\" in this show, even though the Prado owns it. You'll only see a sketch of it that the curator of the Prado show, Javier Portús, doesn't think Velasquez painted. In fact, even though the show is called \"Velasquez and the Family of Philip IV\", only half of the show is by Velasquez.\n\"Las Meninas\" warrants discussion.\nUnsparing realism, even in depictions of royalty, was a Velasquez trademark and you can this see everywhere in the group portrait of the king’s daughter, Infanta Dona Margarite surrounded by the court staff. He also included a pair of dwarfs, one of whom is kicking the family dog. Clearly he painted what he saw, even down to Margarite refusing refreshments.\nAnother Velasquez trademark is brushwork so loose that while up-close\nthe imagery makes little sense, at a distance, it becomes pristinely clear and downright lively, owing to his way of applying paint. A great example of this is \"Las Meninas,\" particularly Margarite’s sleeve, which is made of rapid, fuzzy dabs of paint. The effect is vintage Impressionism three centuries before its time.\nA chronicler of Velasquez' time, Richard Cumberland, wrote of the reaction of fellow painter Luca Giordano to \"Las Meninas\":\n“When Charles the II of Spain showed this picture to Lucas Jordan,\nhe exclaimed with rapture and surprise, “Senior esta es la Theologia de la Pintura (Sir, this is the theology of painting).”\nVelasquez got the same kind of adulation centuries later when Impressionist Edouard Manet enthused, “The painters of all schools, who surround him here in the museum at Madrid and who are very well represented, all seem like bluffers. He is the painter of painters... he has enchanted me.”\nIf you want enchantment, skip this show and head for \"Las Meninas\" hanging elsewhere in the museum.", "label": "Yes"}
{"text": "Oil on canvas • Abstract Art • 120,6 × 140,1 cm • 1921 • Solomon R. Guggenheim Museum, NY\n“…Blue Segment 1921, with its combination of different forms, shows Kandinsky’s art at a pivotal moment. Like many of his earlier works, the title focuses on just one section of the painting, in this case the blue segment rather like a crescent moon…” Tate Exhibition\nWassily Wassilyevich Kandinsky\nRussian painter and art theorist\nwas born in Moscow, Russia.\nDecember 4, 1866*\n* December 16, by the Gregorian calendar", "label": "Yes"}
{"text": "January 16, 2017\nPaper Size: 53,8 x 69,7 cm / 21.2 x 27.4 in\nAbout The Artist\nOtto Mindhoff is a famous postwar German artist known for his pop art, yet mechanical paintings and drawings and for being a found....Read More\nAbout The Gallery\nThis artwork is not currently offered by any art dealer on Widewalls\nPlease wait we are preparing PDF file...\nThere was a problem generating pdf, please try again later.", "label": "Yes"}
{"text": "Sea paintings at Terbeek fine art gallery have always been one of our more successful works. The sea has a magical way of attraction to people. And that is clearly visual in the work of artists who paint the sea. As for Holland, the sea has been a recurring theme in history and therefore art. With its continual fight against the water, and the fortunes which are made by venturing to every part of the seven seas make for an indistinguishable association.\nThe see is an eager and consistently changing subject. Therefore it is a popular theme to be used in art. Terbeek fine art gallery houses many canvases in which the sea is the main character. If sea paintings are resonating with you, please observe all our artistic creations of the sea in our online gallery or visit our gallery in the Netherlands to see these works of art in real life with your own eyes.\nCheerful Sea Paintings\nIn our online gallery you can see the cheerful composition of the sea by Ewa Rzeznik. Her colorful paintings show kids and grownups enjoying the sea. Parkas in primary colors, the sea reflecting the light blue sky and water splashing up all make for fresh and dynamic paintings. Wherever you decide to hang a work by Rzeznik, the space will receive a positive vibe from the uplifting painting of the sea.\nTerbeek fine art gallery offers great service when you purchase a painting. Depending on the country, we will delivery your art for free or for very limited cost. It’s also possible to have a test placement of the art in your house or office in The Netherlands. In that way you can check if the art of your liking is really fitting in the place you intend to hang it. Because Terbeek fine art gallery does not stop with offering service at our own doorstep!\nSea paintings at Terbeek fine art gallery have been and always be a very successful category of paintings. When you would like to know more about the work we have on offer, or need some help in selecting the right work for your place, please contact us! We are glad to help you and tell you all there is to know about the beautiful pieces of art we have in our collection.\nFind your art", "label": "Yes"}
{"text": "Reeves Soft Pastels – Pack of 12\nSave 0% |\nSharpen your creative edge with square pastels that are fabulous whichever way you look at them with this set of twelve soft pastels. Use the sides for broad strokes, ends for bold lines or corners for details. Just made to be matched with textured paper or card for strong, vivid colours that stay vibrant longer.\n- Comprehensive range of colours\n- Strong, vivid colours that stay vibrant longer\n- Use the sides for broad strokes, ends for bold lines or corners for details\n- High quality pastels for colour blendingRich colour is thoroughly blended and uniform, end to end\nSet contents: White, Yellow, Yellow Ochre, Orange, Red, Light Blue, Blue, Light Green, Green, Violet, Brown, Black.", "label": "Yes"}
{"text": "Gallery Of The Modern Kitchen Color Schemes\nModern Kitchen Color Schemes Green Paint Colors Decorations Popular Cabinet Ideas Painting Cabinets\nbright and beautiful paint colors to try for a green kitchen this color reads as neutral tone since its pale with slight addition of gray in the shade can add touch amongst true neutrals virginia showcases vintage design elements paired rustic textures retro palette. Gray color for kitchen paint the is proven to give more visual space into a small since it considered one of popular neutral colors however if you do not like solid can add texture with some orange paintings see below ideas, sky space at lowes from valspars colors of the year is a nostalgic versatile blue green that pairs well with both warm and cool making it an easy companion for any kitchen sue kim senior color designer valspar paint.\ngreen kitchens that will whet your appee for great design this kitchen in a manhattan apartment is swathed benjamin moores courtyard which covers the cabinets walls and table stove by bluestar floor laser cut linoleum verdant accents dress up spare white new jersey mansion. ways to add color your kitchen for a sense of fun and whimsy consider unique colors walls cabinets window trim in this new hampshire farmhouse the owner used nine brilliant shades paint are painted golden straw sherwood green both by benjamin moore frames tangelo, get all the info youll need on green kitchen cabinets and plan to integrate most natural of colors into your design bedrooms is one versatile in decorating it can create perfect backdrop for tranquil bedroom retreat, traditional shaker style cabinets in a farmhouse kitchen feel fresh thanks to couple coats of blue green paint they stand out when paired with white walls but not so much that its jarring. Red kitchen color ideas they say that not only stimulates the appee but also loses notion of time so it is one best colors for kitchens perfect a dining room large family when using bright do sparingly as can be too overwhelming, dreamy kitchen paint colors and ideas bring out natural textures with the palest of grays in a by beth martell showstopper island gets its chance to shine thanks subdued cabinets trim for breezy palm beach I treated this wispy cloud gray as an accent color. For contrast she chose an emerald green tone from the wallpaper to paint kitchens island standout piece complements blue fl murano glass chandeliers white cabinetry and carrara marble backsplash.\nModern kitchen color ideas poppy orange and hgtv to paint xekoinfo 25 inspired for interior design colors, color binations for excellent kitchen schemes sage green scheme. Modern kitchen colors paint cool cabinets ideas shfrontclub best ohosme design and color schemes.\n- Posted By : Refdsg.co\n- Size : 800 x 600 Pixel\n- Read : 12 Times Read By User\nShare This Style\n◀ Back To Style", "label": "Yes"}
{"text": "Christopher Aubrey painted this scene as a way of thanking the Smith family for their hospitality to him. The shores and islands of Paterson Inlet/Whaka ā Te Wera were one of the settled parts of Stewart Island in the 19th century. The painting shows the farm of ‘Yankee’ Smith at the far left and the house of whaler Manuel Gomez in the middle.\nTe whakamahi i tēnei tūemi\nPermission of the Alexander Turnbull Library, National Library of New Zealand, Te Puna Mātauranga o Aotearoa, must be obtained before any re-use of this image.", "label": "Yes"}
{"text": "In stock, ships within 1 business day. 7Pcs/Kit Nail Art Brush UV Gel Polish Painting Pen Kit For Salon Manicure DIY\nStyle: No.2 No.4 No.6 No.8 No.10 No.12 No.14\n7Pcs/Set X Nail Art Brushes\nTips: Please wash it carefully after use, keep it clean and safe for reuse!\n1. Due to lighting effects, monitor's brightness/contrast settings etc, there could be some slight differences in the color tone of the pictures and the actual item!\n2. Please allow 1-2cm differences due to manual measurement.", "label": "Yes"}
{"text": "Still life with mangoes and avocados.\nThis is a drawing that wants to be a painting. The two sides of this sketch are shown below; the version at the top of the page has been cropped as the composition might be in a painting. I was all excited about the ovoid shapes of the atulfo mangoes which cut large interesting shapes out of the busy patterning; the eggs and avocados along with the other ovals on the table; and also by the colors which you can't see here: the yellow mangoes, the deep brownish-green avocadoes on an irregular dark blue dish, and the brown/terracotta Mexican bowls on the mustard-yellow Mexican cloth, contrasted with the brilliant blues of the highly-decorated Moroccan plate at the left. The eggs (dyed red and pink for Easter) could be virtually \"re-dyed\" in a painting, either yellow or blue. The mango at left might want to come down in the frame and be cropped off, and I'd consider putting another one on the patterned blue plate.\nMostly, it feels really good to be drawing again.", "label": "Yes"}
{"text": "It seems that I get a lot of inspiration for artworks from holidays I have been on, and those amazing landscapes that you can see.\nThis work was created after the first time I went to Kakadu. My sister moved to Darwin to study her PhD, and I was lucky enough to visit her in the Northern Territory. We went on an incredible trip to Kakadu and out on a boat across Yellow Waters. This artwork was inspired by the amazing sunset and view there.", "label": "Yes"}
{"text": "Frida Kahlo, Two Fridas (1939). Frida Kahlo painted one of her most famous pictures shortly after Rivera divorced her. It is a painting about her profound isolation and her conflicted sense of herself.\nThis is the 1943 painting titled \"Roots\" by Frida Kahlo. Frida Kahlo's life began and ended in Mexico City. Her work has been celebrated in Mexico as emblematic of national and indigenous tradition, and by feminists for its uncompromising depiction of the female experience and form.", "label": "Yes"}
{"text": "Name: Plein Air\nDate: June 6, 2017 - June 17, 2017\nPlein Air painting event and exhibit sponsored by the Cedarburg Artists Guild. Artists from all over the USA will be painting during this time frame outdoors throughout Ozaukee Co. Finished paintings are exhibited in the Cedarburg Cultural Center.", "label": "Yes"}
{"text": "<p>Max considers himself a romantic artist, one who seeks to give his work a warm and gentle, spiritual quality. His dreamy landscapes evoke sentiments of warmth, comfort and familiarity as they transport the viewer to numerous exotic destinations in the far corners of the world.</p>\n<p>A contemporary painting of a countryside landscape with a house in the distance.</p>\nElevate any room with our handcrafted stretched canvas gallery wraps. Printed with archival inks and wrapped around a 1.25” inch solid wood stretcher bar, our giclée big canvas art prints are a timeless option for any décor style or space.\n<p>Our giclée canvas art prints are produced with high quality, UV-resistant, environmentally-friendly, latex inks and artist grade, polycotton canvas. We pride ourselves on color accuracy and image clarity to ensure your new canvas wall art lasts for years to come.</p>\n<p>Assembled in the USA, each of our 1.25” inch gallery wrapped canvas art prints is stretched and stapled by our highly skilled craftspeople. Each canvas print is carefully handcrafted to ensure taut canvas wraps and clean corners for outstanding quality and durability.</p>\n<p>Our handcrafted stretched canvas prints include pre-installed keyhole brackets and hanging hardware for an easy and secure installation. This premium feature ensures your art stays level and flush against your wall for a professional finish. Add a dust cover to reduce dust collection inside your canvas print.</p>Houses Art Contemporary Art Landscapes Max Hayslette River, Creek and Stream Watermill", "label": "Yes"}
{"text": "Guda (fl. late 12th c.)\nGerman nun and artist.\nFlourished in the late 12th century in Westphalia, Germany; never married; no children.\nA German nun, Guda worked in the\nof her convent at Westphalia. Few of her works have been identified, but she left her mark on one particular manuscript. It is a homiliary (book of sermons) for which she prepared the miniatures and decorated the ornate capital letters. Eager to be remembered by the book's readers, Guda painted a charming portrait of herself standing within a capital D. It is a simple image of a woman in a nun's habit, solemnly holding up one hand in the traditional gesture of an oath. With her other hand, Guda grasps a curve in the middle of the letter, along which she painted the words Guda peccatrix mulier scripsit et pinxit hunc librum\n(\"The sinful woman Guda wrote and painted this book\"). Nothing else is known about Sister Guda.\n, Riverside, California", "label": "Yes"}
{"text": "Just before the Shelter In Place orders came through, I was able to meet\nwith my model Cyrena to create some magic with Red Ribbons for the upcoming\nRLS group show. Not long afterwards, I packed up my paints, brushes, some\npanels, an easel and taboret and created a studio in the corner of my\ndining room. The light is lovely and a welcome spot to paint my latest\n4-panel piece, Control.", "label": "Yes"}
{"text": "Category: Original Oil Painting\nImage: Portrait of a women\nColor: The art is painted with oil color\nSize: 140×180 cm\nTechnique: Oil on stretched canvas\nVAGNELINDs story behind the fictive portrait ROBIN: The name “Robin” symbolizes shining brightly, new beginnings, and good things to come. It is an independent name, reflecting the way she brings light to life and enjoys it to its full potential. She shares characteristics with Robin Hood, the legendary hero who stole from the rich and gave to the poor. She wishes blessings, peace, and inner reflection on all. Archery is her favorite hobby. She has deep cranberry-red lips, embodying energy and passion. It suits her; she is enthusiastic and gracious.\nCertificate of Authenticity: The art comes with a Certificate of Authenticity.\nSignature: Signed by the artist VAGNELIND on front.", "label": "Yes"}
{"text": "If you don’t permit the painting contractor know exactly what you’re trying to find, here is what can happen. Painting Contractors Jefferson Valley, NY can appreciate your home by $1,298 Painting your house’s facade and insides continuously adds value, no matter if you’re enhancing your house’s feel and look for a number of years to come or including curb attract sell it. Chicago painting specialists definitely comprehend what a homeowner desires and they’re readily available to provide the specialist services of painting your house Jefferson Valley.\nYou must want to come by every professional personally to ask for the accreditation and overall knowledge in the area of painting. An excellent painting contractor can supply you with whatever mix of the above discussed core elements you desire. It’s likewise helpful for you to discover a specialist who has the capability to present economical paint services Jefferson Valley, NY however in addition make certain grade of the work. In haste to get things cleaned up, it is appealing to seek the services of the insurance coverage business’s recommended professional Jefferson Valley, NY or the very first business you call.\nPainting a house may look to be an effortless undertaking. So you would like to have your home painted. In the same way, painting a enormous home is more expensive than painting a more compact home.\nInterior paint doesn’t want the identical resilience as exterior paint. In some cases picking a standard paint is the very best action to do. Outside paint Jefferson Valley, NY, particularly in the New York area, must hold up against a bargain.\nPaint is apparently something very complex which is past the understanding of the typical person. There are numerous methods through which you’ll have the ability to get homemade paint. Gloss Paint Jefferson Valley, NY Though gloss paint is most likely to make flaws quickly seen, it will also hold until the elements the absolute best.\nPainting might be significant undertaking, whether you’re painting just a single room or a whole house. Home painting will similarly aid in cleaning your house if you would like it to prepare for selling. Creative painting might have a broad choice of significances. Waunzy Painting is here in order to link you with the very best painters in business.\nWork for a couple of years as a painter below a state recognized specialist. In addition, don’t be scared to ask if the painters are trustworthy folks. A specialist painter might use the color combination in a particular way and can offer an appealing look to your living location. Expert painters can use you with a variety of colours, paint brands, and paint types, and will have the ability to counsel you on which design will best emphasize the particular features that produce your house unique. Then an economical painter unexpectedly isn’t so inexpensive usually. Our knowledgeable commercial painters are trained in the most recent painting techniques and equipment Jefferson Valley, NY.\nAt the start of the undertaking, Painting Contractor New York develops and designs a painting plan to satisfy the day-to-day requirements of the consumer. It works carefully with clients who are making changes to their business businesses Jefferson Valley, NY to make sure their needs and expectations are fulfilled. Painting Contractor U.S.A. is the major nationwide painting company which concentrates on commercial and commercial facilities.\nBusiness Painting Services Jefferson Valley\nSome contractors enable you to work as an apprentice for a year or two fresh out of school, but you are going to get a fairly low wage. The great thing about the contractors is they can paint a property at a speedy manner on account of the fact they know the most suitable method of preparing the property for painting. You can find a number of painting contractors over the world wide web, wherever your deal is at the distance of one click.\nWhat’s more, if you adore painting, enjoy hard work, and have the required skill, you might have an excellent career. Painting is a rather important construction furnishing services that we must make sure it is done appropriately solely for the eye. In both cases, it can project a sense of taste and personality. It makes a place look lively and also neat. Wall paintings are in fact the ideal wall-treatment idea because you’ve got the freedom to select and buy what you like.\nYou finally start painting but considering all the cutting in, it’s slow going. There are those who believe that they are sometimes in a position to do the painting by themselves. It is easy during building renovation or remodeling projects but it is very important to check the credentials for the perfect layout. It is very important to properties in order to make the look very beautiful. To provide a refreshing appearance to your enterprise establishment, commercial painting is an affordable option as compared to other techniques of facelift. Thus it should be administered with utmost care considering the expertise that goes into such kind of painting.\nToday, painting is extremely important to each property because they’d raise the value of the home. It is the act of applying paint on the various parts of the building. While commercial or industrial painting may seem to be a simple project that numerous contractors can complete, remember your building’s paint is the initial impression many clients or company partners will observe when entering your establishment.\nIn the area of painting, you will find two sorts of painting contractors. Industrial painting contractors make certain that they’re not causing disruptions or impediments in your everyday life. When it has to do with selecting the perfect commercial or industrial painting contractor, however, an individual cannot be too discerning.\nIf you don’t allow the painting contractor know what you’re looking for, here is what can happen. A great painting contractor can supply you with whatever combination of the above mentioned core aspects you want. The industrial painting contractor has access to the necessary technology and expertise that is needed to keep the industry standards in painting. Professional business painting contractors understand the value of cost to the business enterprise.\nIf you are searching for an industrial painting contractor, there are numerous painting companies within the city whom you may interview. Frequently, industrial painting contractors wash the surface to clean this, and carry out water-blasting with the usage of high-pressure water jets. They may also use abrasive surface preparation to clean the surface.\nPrior to actual coating program, painting contractors determine the kind of paint which will be used. Industrial painting contractors make sure it is in agreement with your requirements. Our professional business painting contractors will offer your building a fresh appearance.\nPainting Contractors in Lincolndale NY\nPainting Contractors in Shenorock NY\nPainting Contractors in Mahopac Falls NY\nPainting Contractors in Amawalk NY\nPainting Contractors in Croton Falls NY\nPainting Contractors in Lake Peekskill NY\nPainting Contractors in Yorktown Heights NY\nPainting Contractors in Shrub Oak NY\nPainting Contractors in Putnam Valley NY\n- New York, NY Contractor Directory. Find Prescreened, Customer-Rated Home Improvement professionals serving New York, NY. Our free, no obligation service helps home owners find home improvement contractors in New York, NY. Our directory includes contractors in Brooklyn,Far Rockaway,Floral Park,Flushing,Jamaica,Melville,New York,Scarsdale,Yonkers\n- Upstate New York painting company for homes and businesses.\n- Find local HomeAdvisor prescreened Painting Contractors in your area\n- CertaPro are professional painters and painting contractors, we offer interior painting, exterior house painting and commercial painting. Jobs of all sizes.\n- AllproDeck complete resource for Deck Restoration, Deck Refinishing,Staining,Cleaning and Painting contractors services in Walnut Creek, Berkeley, Orinda, Bay Area, Danville and San Francisco.\n- Color and tone. Color and tone are the essence of painting as pitch and rhythm are the essence of music.Color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next.\n- No matter the state for which you are trying to obtain your contractors’ license, our practice exams will fully prepare you by using the same subject contexts that are featured on the real tests.\n- exterior painting - 20% off - early bird spaecial cbm painting exterior painting season is coming! take advantage of our 20% off promotion. receive your exterior painting estimate by march 21st and make your decision by april 5th\n- Florence Chilton Electrical Contractors 23 Applewood Road St. James, NY 11780 T: 516-584-5625 E: [email protected]\n- Bid Results for D214679 / TAA 18-28 ; Contractor Address Bid; CALLANAN INDUSTRIES INC: 8 SOUTHWOODS BOULEVARD, 4TH FLOOR ALBANY, NY 12211 518 374-2222 : $9,867,078.74: RIFENBURG CONSTRUCTION INC", "label": "Yes"}
{"text": "Artist Don McVeigh\nTitle Untitled - Spring Assortment\nMedia watercolour on paper\nSize 34.25 x 23 in. / 87 x 58.4 cm.\nFrame Size 42.5 x 31 x 1 in.\nSold $325 Estimate $200 - $300\nsigned lower centre; framed with archival mat\ncorporate collection, Calgary\nDon McVeigh ~ [b.1951] Canadian\nsee Don McVeigh, by V. Baster, Glenbow Museum, 1982; exhibitions include the Southern Alberta Art Gallery, Lethbridge and the Glenbow Museum, Calgary; biography in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.179", "label": "Yes"}
{"text": "Let the bold strokes of color do the talking. Sip the expensive wine you have been saving while you and your recipient of the gift marvel at the diverse artworks taking over spare walls. Let’s take a look at the artworks which seem both to pose a question & to make a statement. Whether it is mantel or in the living-room, these paintings are for admiration. Discover our remarkable emerging artists showcasing the talent of impeccable design and be ecstatic to own a magnificent piece of original art in a wide range of style, medium, and price.\n‘Tis the time to be joyful. Let your loved ones think of you when they take a look at the painting. You can give the utmost happiness wrapped in a gift paper to your loved ones by giving them a piece of art. Give them something different, something phenomenal. A beautiful fusion artwork that can be hanged in the living room would make the perfect gift. It will always remind them of you and the significance of the painting needs no word.\n1. Desire Nude Painting - S.A. Vimalnathan\nThis unique original artwork by internationally recognized emerging artist S.A Vimalnathan is a riveting account of the desires and sensuality of a woman, a painting full of unanswered questions; an exquisite treatise on account drawn from the artist’s mind. The emotions associated with the paintings were tied to the inner liberation of the women as a whole. The imagination associated with it is the product of the infinite vastness surrounded by her body language. The texture of this artwork speaks volumes and is made from fabric.\nBrowse works of S.A Vimalnathan work: https://www.artwhitecanvas.com/tags/s-a-vimalnathan\n2. Ravi Kattakuri – Lotus and Petite Girl\nOur emerging artist from the international marketplace, Ravi Kattakuri working on mix-media creates a visage that is full of surprise and coyness which appears to steal a desire from the encapsulated frame to captivate the spectator. The attention to detail speaks of the exuberance of the artist, as well as his ambition for the painting. All his works capture the spirit of humanity, the popping out of colors depict the variation of vibrancy which he uses. His works are deeply enrooted with nature and the compositions create a geometrical image out of the glorious nature with colors popping out in your space beckoning us with a variety of geometry shapes.\nBrowse works of Ravi Kattakuri: https://www.artwhitecanvas.com/tags/kattkuri-ravi\n3. Bandana Kumari – Vighakarni\nThe vibrant color of this painting overwhelms the viewer. The harmonies of motifs portray the desire to tempt the man. ‘Vighakarni’ by our emerging artist Bandana Kumari, she is the master of using 2500 years folk art form called ‘Madhubani’ which embraces complex geometric patterns with rarely a blank space left on the canvas. Women of the Madhubani folk art community use this art form with vibrant colors to create awareness on social issues and empower women with its strong subject.\nBrowse works of Bandana Kumari: https://www.artwhitecanvas.com/tags/banadana-kumari\n4. Naval Singh Chauhan – Lady & Rain\nFigurative abstract artwork that flows with subtle expressions through a human form made by our celebrated artist: Naval Singh Chauhan depicting the vastness of mind, breathing with color, movement, and depths. It begins with the internal process and reaches outside determining the individuality which has been a huge part of Naval’s journey. The attention to detailing in this succulent artwork expresses the assorted emotions of a feminine mind. The vibrant colors coupling with the personage of human life is covering the canvas with brushstrokes which enables the viewer to completely engage with the artwork.\nBrowse works of Naval Singh Chauhan: https://www.artwhitecanvas.com/tags/naval-singh-chauhan\n5. Kanishkh Mehta – Evenings\nIt is a monumental work; a visual treatise on the art of painting. You feel as though you have become part of this painting. The confident brushwork depicts the evening sky, manipulating our imagination with color sweeping through the air. The artwork is chosen as a mark of northern lights, the coming of Christmas, and a fresh start for New Year revealing glimpses of what lies ahead beyond the sky. This artwork is a ploy to hold the eye and direct our gaze further illuminating our vision. This original abstract art is for sure to arouse your curiosity making you rekindle your emotions.\nBrowse artworks of Kanishkh Mehta: https://www.artwhitecanvas.com/tags/kanishk-mehta\nFrom the etched desire and liberating flow of nude artworks on canvas by S.A. Vimalnathan; to the never-ending details and intriguing mystery from Ravi Kattakuri; to an effort to mend the seams of humanity with bold statements on social issues and a different view portrayed by Bandana Kumari; the vastness of mind determined by Naval Singh Chauhan and glimpses at new beginnings in strokes like that of aurora for the good that is to come by Kanishk Mehta, gift these little tokens of significance and admiration to your loved ones.\nThese artworks don’t just take over the walls as decorative pieces, they make a statement in a room, speak volumes for the ground one stands on, and spark a debate. This holiday season brings home an original art or gift a piece to your loved ones.\nThe artworks selected by our collectors’ favorite series aims to showcase the talent which these up and coming artists have. Enjoy your interiors; order with our website www.artwhitecanvas.com or you can buy it from Etsy or eBay as well. We believe in the gesture of giving an art piece with the feeling of gratitude, with each artwork purchased we present you with a souvenir and hope to make your purchasing experience one-of-a-kind and memorable one.", "label": "Yes"}
{"text": "After reading Easy Drawing, I was worried that Easy Watercolor would also start at an intermediate level. I didn’t need to worry. This book is truly a beginner’s guide.\nNot only does the book include instructions for creating watercolor paintings of objects, animals, portraits, and landscapes, it begins at the most rudimentary level—choosing your supplies. It also has a great overview of color theory and mixing including how to use those tubes of paint that your daughter got you for Mother’s Day when you just wanted one of those kiddy sets with the brush included with the paint circles. [That just might be my story.] I really enjoyed that even the initial lessons included assignments (like creating your own color wheel). Of course, if some of these lessons feel too easy, you may skip on to the more advanced lessons like portraits and landscapes. What I liked was that no pencil or pen is required, the watercolor lessons jump straight into watercolor with no long preliminary steps to do first like I’ve seen in other books.\nOverall, Easy Watercolor is a great guide for all levels of watercolor artists from beginner to intermediate. 4.5 stars!\nThanks to Walter Foster Publishing and NetGalley for a digital review copy of the book.", "label": "Yes"}
{"text": "4.8K plays • 14/12/2017\nPixelz.io is a multiplayer drawing .io game, you have a giant white canvas where you can draw pixel by pixel with other people at the same time, you can draw with friends, create the best work of art of the whole game!\nHow to play\nYou will have a basic palette of colors to draw, every time you paint a block you must wait 2 seconds to paint another block, and if you paint on a block that was already painted by another player you will have to wait 15 seconds, to destroy the art of another person, if you want to draw great drawings we recommend you to invite your army of friends, you could only be hours!.\nWASD, Arrows, Mouse - move the pointer\nG or space - draw", "label": "Yes"}
{"text": "Floral paintings by Dutch masters including Ambrosius Bosschaert the Elder, Jan van Huysum, and Rachel Ruysch, highlighting associations between the development of flower painting in the Netherlands to an increased interest in botany and horticulture in the Dutch Golden Age.\nVenue Details & Map\nTrafalgar SquareWestminsterLondonWC2N 5DN\n- +44 (0)20 7747 2885\n- Public transport:\n- Embankment, Charing Cross and Leicester Square", "label": "Yes"}
{"text": "\"Triple Tulips\" Set of 3 Acrylics on canvas by John Davis (3 x 40x30cm)\nRegular price $95.00\nShipping calculated at checkout.\nSet of 3\nAcrylics on cotton canvas using chain pull technique, each on a different hue of blue background.\nHand painted original\n3 canvas on wood frame, 40cm x 30cm each\nArtist: John Davis", "label": "Yes"}
{"text": "with The Robert Devereux Collection of Post-War British Art\nChichester, Otter Gallery, Ingram Loan Exhibition, March – April 2012;\nWoking, The Lightbox, The Ingram Collection: Colourful Lives of Artists, 30 April – 30 June 2013;\nLondon, The Sammy Ofer Centre, London Business School, London|Forward Facing, 26 September 2017 – 18 July 2018;\nLondon, Dellasposa Gallery, Tales from the Colony Rooms: Art and Bohemia, 15 September – 13 December 2020\nThis self-portrait shows the artist’s reflection in a mirror together with a reflection of Matisse’s Portrait of Greta Prozor, 1916 which belongs to the Musée National d’Art Modern Centre Georges Pompidou, Paris which is extensively reproduced. At the time of painting this self-portrait R.B. Kitaj was in his fifties, and held in deep regard. The portrait came at a time when he was increasingly returning to figurative drawing, attempting to convey ‘the delineation of the face and fortunes and torments of us all’.", "label": "Yes"}
{"text": "Infant School Illustrations, UK Posters\nInfant School Illustrations, UK Posters is inordinately awesome and makes a majestic wall decoration, the product dimension is 18 x 24 inch and the price is $29.99. If you're trying to seek out top recommended Infant School Illustrations, UK Posters with cut-price price, the product is the luxury deals for you.\nType: Art Print\nDimension: 18 x 24 inch\nInfant School Illustrations, UK Posters colors are amazing, and the details are resplendent. The one is excessively mighty packaged, and looked exactly like the painting promised, and therefore like the original painting. The produce is a cool photograph, you can see the details of the paint strokes and the color is a large amount of more realistic than in some of the prints. It measuring , these are also printed on cardboard. Infant School Illustrations, UK Posters is the best commodity for persons. This one picture is simple, yet smart, it has grandiose price for the large size. It is high quality this one design you will not find anywhere else. This item is practical and effective and you can shop the organizational plan in effect as you read through the item. Infant School Illustrations, UK Posters is indeed luminous, the prominent quality and at a eminent price.", "label": "Yes"}
{"text": "“On the coastal path in Cornwall, I noticed a piece of gorse that reminded me of an arm and hand raised to frame a section of sky and sea. Small elements such as leaves, dry branches, roots and grasses often catch my eye. Drawn to their complexity and power of association, it is this initial encounter that is the starting point for the journey in to making a painting.” Clarke 2015\nJocelyn Clarke’s forthcoming exhibition will present a series of recent works depicting natural forms painted from observation set within the contours of remembered landscapes. Abstract qualities of colour, shape and sensation contrast with heightened realism.\nThe universally powerful symbols of sun and moon feature as punctuations to the arrangement of closely scrutinized elements. The twisted forms of the leaves of a thistle on its stem are reminiscent of patterns in rococo decoration. Memory intertwined with the present is central to her work.\nThe placement of the moon together with foreground areas of intricate delineation and dramatic yet strangely serene environments bear a relationship to British Surrealism, bringing to mind the work of such artists as Alan Reynolds and John Tunnard.\nJocelyn Clarke studied at the Slade School of Fine Art. She is a freelance lecturer at the National Gallery, Wallace Collection, and other public art venues in London. She has had solo exhibitions at the Jerwood Space (Jerwood Artists Platform), London, Adam Gallery, London and The Ruskin School of Drawing and Fine Art, Oxford. Selected group exhibitions include Drawing 2009, The Drawing Room, and in the same year Summer Exhibition at The Royal Academy of Art, London and East International, Norwich in 1994.\n'Her small paintings are muted and subtle and strange. They seem to stare at their ambiguous subjects with a focused intensity. They conjure the effect of something mysterious, only halfseen.' The Times, 2003", "label": "Yes"}
{"text": "April 6, 2008: Visual Arts-- \"Drawn by a Vision\"\nLiving Works of Art\nMove mouse over thumbnails - scroll down for more.\nLoving Me Loving You\nDr. Carol Austin creating this painting of the OSC service during the service!\nAs we celebrate and move forward in life, we express our passions as love of self, relationships, work, and play. My art focuses on these expressions.\nI invite the viewers to explore the world of unlimited possibilities with me. Together we can celebrate the moment and pleasures of existence by creating an environment of unconditional love, joy, and abundance. Through my art we can experience a symphony of color for the eye and a mirror to the soul.", "label": "Yes"}
{"text": "Exterior Paint For Home\nExterior Paint For Home. Gray, black, and white were most colors that people choose as their home exterior and interior colors. These colors are friendly colour with almost any home design.\nThe Best Interior And Exterior Paints For Your Home. Looking to add a fresh coat of paint to your home? This list shows the best paint brands from the top manufacturers for 2019.Exterior Paint For Home nt Colors. Popular exterior paint colors – home trends 2018 / 2019 best exterior house paint colors house design tips exterior paint color combinations exterior design of residential buildings top exterior paint colors latest exterior design trends exterior paint color schemes best exterior home design ideas exterior house colors guide exterior paint Florida Home Exterior Paint Color. Florida home exterior paint color how to choose exterior paint colors for your house elegant house exterior paint colors 2018 / 2019 exterior home paint combos.\nExterior Paint Schemes And Consider Your Surroundings\nDownload ImageSource: homesfeed.com\nExterior Paint For Home is among most image we have reliably detected on the internet creativity. We make one brain to discuss this image it website because of predicted on conception comes from Yahoo image, it's one of most notable withdrawn consider phrase on Google internet search engine.\nTags: Orange Exterior Paint for Brick Homes, Photo Gallery Exterior House Colors, Exterior Paint Colors, Outdoor House Paint Colors, Exterior House Paint Colors, Exterior Paint Combinations, Best Exterior House Colors, Painting Outside of House, Color Palettes for Exterior Traditional Home, Home Outside Paint, Exterior Home Painters, Exterior Home Colors, Exterior House Paint, Types of Exterior House Paint, Exterior House Colors, Home Exterior Paint Schemes, Exterior Paint Schemes, Homes Blue Exterior Paint, Modern Home Exterior Paint Colors, Exterior Window Trim for Homes, Exterior Paint Design, Exterior House Paint Schemes, Best Exterior House Paint, Kahki for Exterior Homes, For Painting Exterior Paint Color, Three Color Exterior Paint Schemes, Paint Colors for Exterior Homes, Paint Colors for Homes Outside, Behr Exterior Paint Color Combinations\nPicking The Perfect Exterior Paint Colors10 Best Craftsman Bungalow Porch/Railings Images OnGentlemans Grey Exterior - Google SearchPin By Kimberly Naef Zwink On Paint Colors In 2019Exterior Paint, Exterior Wall Paints & Colours For HomeIdeas & Design : Exterior Paint Color Ideas78 Best Images About Benjamin Moore Exterior Colors/CurbHome Bunch Interior Design IdeasExterior Paint Color CombinationsNice Color Combination. Modern Victorian Exterior PaintIdeas And Inspirations For Exterior House Colors InspirationsBest 25+ Exterior Color Schemes Ideas On PinterestBest 25+ Exterior Paint Combinations Ideas On PinterestExterior House Paint Color IdeasExterior Gray Paint ColorsNew Victorian House Color Schemes ExteriorRavishing Exterior Paint Color Combinations Small Room NewInterior Paint Color And Color Palette Ideas With PicturesClassic Revival Exterior Paint Colors25+ Best Ideas About Grey Exterior Paints On PinterestNavy Blue And White Exterior House Paint Colors (Navy BlueOur Exterior Paint ColorsExterior House Color Ideas17 Best Ideas About Craftsman Exterior Colors On Pinterest16 Best Images About Paint Colors For 2017 On Pinterest1000+ Ideas About Exterior House Paint Colors On Pinterest7 Simple Tips For Choosing An Exterior Paint Color In TheOlive Green House Exterior46 Best Vinyl Siding Images On PinterestForest Green Exterior House ColorOn The To-do List Today Is Exterior Paint Color... \"ShojiBest 25+ Stucco Homes Ideas On PinterestLittle House DesignBeautiful Homes Of Instagram240 Best Historic House Colors Images On Pinterest", "label": "Yes"}
{"text": "I bought a matte top coat a few days ago and I thought I would see what other nail art I could try. I have seen some really fab nail art by other bloggers including this fab matte/gloss black manicure by The Nailasauras.\nAfter painting my nails with two coats of black I had a bit of a play with my matte top coat. On my thumb I painted the matte coat on diagonally. For my index finger I painted it all with the matte top coat. My middle finger I left the black coat as it was and I dotted matte top coat using a fat dotting tool so the glossy base shone through.\nOn my ring finger I painted a thick stripe down the middle and used a tiny dotting tool to add matte dots either side of the stripe.On my little finger I painted it with a matte coat and then used a fat dotting tool again but this time to add a glossy top coat dots over the top.\nI think I need to be a bit neater next time and really think about my design before going wild. I was just so excited to use it and try it out!", "label": "Yes"}
{"text": "Considered as one of the professionals and experts in the field and amongst the paint companies in Ahmedabad, the manufacturers make various types of paint variables such as decorative paint, wood coating & protective coatings, automotive refinish OEM & ancillaries coatings, and water tank coating and paint in India. Moreover, Taralac also offers a wide range of high-performance powder coating in India. Apart from that, we are also one of the reliable and trusted wood coating manufacturers that also offers a variety of premium wood finish products. For more information: Call: 8000011774 Address: A-423/14, Mahagujarat Ind Estate, Sarkhej – Bavla Rd, NH 8A, Village - Moraiya, Ahmedabad, Gujarat - 382213 Email: firstname.lastname@example.org Visit: https://www.taralac.com\nIt's quiet around here... be the first one to write something!", "label": "Yes"}
{"text": "Ivan Aivazovsky was born into an Armenian family in Feodosia. Therefore, the destiny of the Armenian people and its history have always interested the artist. In his work there are works related to Armenia, one of which is the picture “Oath before the battle of Avaraira.” One of the greatest battles in the history of Armenia is the Avaraira battle. Vartan Mamikonyan was the leader of the Armenian army, who met at the Avarayr field with the Sassanid Persian army, three times the number of Armenians in number.\nThe result of the battle was the defeat of the Armenian army, and Vardan Mamikonyan died in this battle. In the picture “Oath before the battle of Avarayr” is represented the moment when Vartan with a young boy pray before the cross. A tragic battle awaits them. Armenians fought for the right to remain Christians, and despite the defeat they won this right. Aivazovsky through such a detail as a cross emphasizes the Orthodox faith of the Armenian people. The cross is located on a low cliff. The worshipers stand on their knees, folding their hands together, and quietly whisper a prayer. The commander is dressed in military armor, his helmet and spear lie nearby. The last time they read this prayer. Their bright faces are filled with entreaty and a petition to God for the victorious end of the battle.\nIn the background, you can see a bright blue sky, which adds holiness in the picture, prodigal misty mountains and dark wood. It is this tree, like a dark shadow, that reminds us of the tragic end of the battle. The artist specifically chooses the rectangular format of the picture with a semicircular completion at the top – this makes the picture look like an icon. But after all, Vartan Mamikonian is still revered as a church by the church, as a great military leader, who gave his life in the struggle for the Christian faith. In this work, romantic motifs are clearly visible, therefore this picture can be called a majestic and emotional masterpiece.", "label": "Yes"}
{"text": "Our Lady Undoer of Knots\nI did this painting of Our Lady Undoer of Knots inspired by the original painting which I've heard various stories about it, but it is basically a novena which is prayed for nine days.\n\"Eve, by her disobedience, tied the knot of disgrace for the human race; whereas Mary, by her obedience, undid it\".\nThere is a novena prayer that goes with this image, It has brought tremendous help to me in my life. Our Lady will help you undo the knots in your life.\nOil on 60x30x1.5 linen, the edges are painted", "label": "Yes"}
{"text": "Wooden shoes take on the colors and pictures of a young artist’s imagination with water-based paints. The paints will wash off to accommodate design changes. Clear nail polish is included to finish the final product.\n|Featured in:||Do-It-Yourself Fashion Keeps Crafts Cool (2/1/2006)|\nToyDirectory Product ID#: 6146 (added 12/22/2005)", "label": "Yes"}
{"text": "LifeAfterBreakfast Handmade Watercolors are artist-grade & lightfast watercolors, made from pure earth pigment, and hand-mixed and mulled with a gum arabic (acacia tree sap) & glycerol binder. Each hue comes from a unique pigment source, and colors have different levels of opacity/transparency/weight, with a rich matte finish. These natural colors work best on cotton watercolor paper.\nThe 6 colors (standard half pans) in this set are:\n- Prussian Blue\n- Charron Blue\n- Sky Blue\n- Payne’s Gray\nSIZE: Watercolor Box is 4.5cm x 6cm x 1.5cm\nUSE: Best used on 100% cotton watercolor paper.", "label": "Yes"}
{"text": "ART lovers may well enjoy a trip over the tops for the latest exhibition at Gallery Oldham.\nFor the gallery is presenting a selection of landscapes from its extensive permanent collection.\nCalled ‘Looking at Landscape: Pastoral to Present’ explores the development of the painting style from the late 1700s to the present and includes some of the greatest artists in Gallery Oldham’s collection, from JMW Turner to Terry Frost and Andy Goldsworthy.\nAs well as paintings the exhibition, which runs from now until April, includes drawing, sculpture and photography.\nIt also features a monumental abstract pastel drawing by Huddersfield-born David Blackburn.\nVisitors will be able to view old favourites and more recent additions, plus works that have rarely been on display in recent years.\nSome of the best artists to emerge from the Oldham area have painted landscapes and the show includes works by James Purdy and well-known local artist John McCombs, who is based in Saddleworth.\nA highlight is a new acquisition from painter Helen Bradley. This is one of five works given to the gallery just before Christmas through The Art Fund.\nThe newest piece in the collection is a major ceramic work by Ewen Henderson which has just been purchased with a grant from the Heritage Lottery Fund.\nAlso featured are Oldham’s famous Lees Collection of watercolours, given by the industrialist Charles Edward Lees.\nThese include important paintings by John Robert Cozens and John Constable.\nThe borough’s most famous artist, William Stott from Oldham, explored landscape all his life and one of his paintings is included for people to enjoy.\nThe exhibition traces the development of landscape painting in the 20th century with artists from the Newlyn School in Cornwall, such as Julius Olsson and Henry Herbert La Thangue.\nThe abstract artists of the mid 20th Century transformed approaches to landscape painting and Oldham has a fine collection of paintings from the 1960s by artists working in Cornwall, including Terry Frost, Alexander Mackenzie, Sandra Blow and Harry Ousey.\nMore recent works include a sculpture by land artist Andy Goldsworthy and paintings by Oldham-born painter Alan Rankle which reference the historic pastoral tradition with a contemporary twist.\nThe exhibition also includes photography including an unusual panoramic photographic landscape by Gayle Kwong Chang.\nClr Barbara Brownridge, Cabinet Member for Co-operatives and Community Development in Oldham, said: “Looking at Landscape really demonstrates the quality of Gallery Oldham’s collection.\n“With such a range of work by major artists across three centuries there really is something for everyone.\n“It’s also a great pleasure that Gallery Oldham can bring out works that haven’t been seen for many years – and to show off some wonderful new acquisitions.”", "label": "Yes"}
{"text": "On November 6th, 2014 Artbomb will again be throwing a party/art show in collaboration with the Spoke Club. As part of the ticket price each guest will receive an 8″ x 8″ painting. Four of which were created by me.\nTickets are $59 each (yes, you can own one of my paintings for $59). The paintings are randomly distributed among guests in hopes that it will encourage trading among guests to get their favourite piece. Click here to purchase your tickets.\nThe Spoke Club\n600 King Street West, 4th Floor\nToronto, ON, M5V 1M3\nMy painting “Njambi” Will be on display and for sale at the show. Last year my painting sold in the silent auction.", "label": "Yes"}
{"text": "Frederick Remington was an American artist, illustrator, and sculptor who specialized in depictions of the American West, particularly cowboys, American Indians, and the U.S. Cavalry. He was active in the late 19th and early 20th centuries and is considered one of the greatest artists of the American West.\nHis western-themed paintings, sculptures, and illustrations have come to define the spirit of the American West, and his legacy lives on even to this day. His evocative artwork, which depicted the American West, is admired by experts and casual art lovers.\nHowever, although his work is celebrated, some criticisms of Remington’s work are frequently brought up.\nOne of Fredric Remington’s most famous works is “The Bronco Buster,” a bronze sculpture depicting a cowboy trying to tame a wild horse. This piece is considered one of Remington’s masterpieces and is widely regarded as an iconic representation of the American West.\nThe energy and motion captured in the figures of the cowboy and horse are a testament to Remington’s ability to convey movement and action in his work.\nAnother of Fredric Remington’s most famous works is “The Outlaw,” a painting that depicts a horse thief being pursued by a posse. This work is notable for its dramatic composition and use of light and shadow to create a sense of depth and movement.\n“The Outlaw” is considered one of Remington’s most powerful paintings and is widely regarded as an iconic representation of the American West.\nA third famous Frederic Remington painting is “The Cheyenne,” depicting a Native American warrior on horseback. This work is notable for its attention to detail and portrayal of the Cheyenne people and their culture.\n“The Cheyenne” is considered one of Remington’s most important works and is widely regarded as an iconic representation of the American West.\nOverall, these works by Frederic Remington remain some of the most famous and iconic representations of the American West. They are widely regarded as masterpieces of American art and continue to be celebrated for their realism, attention to detail, and ability to capture the spirit of the frontier.\nOne of the main criticisms of Sculptor Remington is that some of his works portray Native Americans in a stereotypical and unflattering light. Remington’s works often depict Native Americans as a people who are savage and untamed rather than respecting them and their culture. This perpetuates a negative perception of Native Americans and the cultures they represent.\nAnother criticism of Fredric Remington’s work is that he often romanticized the Old West, portraying cowboys and Native Americans as unrivaled heroes.\nWhile Remington’s work captures the beauty and vibrancy of the Old West, it fails to acknowledge the harsh realities of the times. In addition, he often neglects to portray the people’s struggles, including the struggles faced by the Native Americans.\nSome critics argue that Remington’s works lack sophistication and depth. They argue that Remington’s works are often overly simple and lack artistic complexity. Some argue that Remington’s simplified, romanticized paintings fail to accurately portray the true complexities of the Old West and fail to capture the full beauty of the culture.\nWhile he captured the rugged beauty of the frontier and the people who lived there, his works often ignore the harsh realities of life on the frontier, such as poverty, disease, and violence.\nAnother critique of Remington’s work is that it fails to depict the diverse range of people and cultures in the American West during the frontier period. While his work does contain a few Native American characters, they are mostly portrayed stereotypically, and Remington’s work largely ignores the presence of African-American and Hispanic people in the West.\nFinally, Frederic Remington’s art has been criticized for its lack of historical accuracy. The main criticism of Remington’s work is that he was not present for many of the events he depicted. He did not witness the conflict between settlers and American Indians, for example, and relied on secondhand accounts and imagination for much of his subject matter.\nAs a result, some have argued that his depictions lack authenticity and historical accuracy. In addition, his paintings often contain an idealized version of the West, focusing on the romantic and heroic aspects rather than a more realistic picture.\nFrederic Remington’s art features are characterized by realism, attention to detail, and dynamic compositions that convey a sense of movement and action. He was widely known for his ability to capture the rugged beauty of the American West and the people who lived there, including cowboys, Native Americans, and the military.\nFrederic Remington’s paintings often depict scenes of horseback riding, military engagements, and the daily lives of people on the frontier.\nHe used light and shadow to make sense of depth and dimension, and his brushwork was loose and impressionistic, giving his works a sense of energy and motion. Overall, Remington’s style reflects his interest in the American West and his desire to capture the spirit of the frontier in his art.\nHowever, Remington’s painting style can be seen as overly realistic, emphasizing detail that can be too literal.\nThis led some critics to describe his work as overly literal and lacking in imagination. Nevertheless, scholars and art enthusiasts try as much as possible to learn about artist Remington and his style.\nFrederic Remington is an iconic artist whose work has come to define the spirit of the American West. Although his work is celebrated, some criticisms of Remington’s work, including his portrayal of Native Americans and his tendency to romanticize the Old West, remain.\nAdditionally, some critics argue that his works need more complexity and sophistication. No matter the criticism, Remington’s legacy remains, and his work will be celebrated for generations to come. Fredrick Remington was a fantastic artist of his time who was gifted in his craft and created memorable pieces.", "label": "Yes"}
{"text": "Starry Night Glass Dome Desktop Paperweight by Van Gogh 3WPN# PGOG4\nGlass half dome paperweight with image of Vincent Van Gogh's painting of Starry Night Sky. The colors are sky blue, dark blue, and white.\nVan Gogh's fantasy image of a cloud-laced sky, swirling from edge to edge, is an iconic example of his expressionist style.\n- Glass paperweight comes in an elegant presentation box with sateen lining suitable as a corporate or graduation gift.\n- Part of the Parastone Museum Gift Collection. PN PGOG4\n- Measures: 3 in W x 3 in L x 1.5 in H. Weight 0.9 lbs.\nPost-impressionist painter Vincent Van Gogh was a huge influence on developments in 20th century art. He however did not live to see his artistry recognized and during his life only a single work was sold. At the age of 37, the lonely artist committed suicide driven to despair by a destructive psychological affliction. After a decade of prolific drawing and painting he left behind a substantial oeuvre which provided an important stimulus to artistic movements such as Fauvism and Expressionism.\nWe Also Recommend\nMucha Arts Dance and Music Women Belle Epoque Ceramic Tealight Candleholder 5.75HPN#TC08MU\nOnly 7 left\nEscher Air Water Birds Fish Tessellations Ceramic Oval Black White Flower Vase 10.5HPN#SDA48\nMondrian Abstract Paintings Bar Drink Glass Coasters Set of 4PN#CS19MON\nOnly 6 left\nHieronymus Bosch Paintings Bar Drink Glass Coasters Set of 4PN#CS20JB\nOnly 6 left", "label": "Yes"}
{"text": "Draconis - Original Texture Acrylic Painting on Canvas - Abstract Home Decor\n\"Draconis\" is an original acrylic painting by professional artist Brazen Edwards. This textured contemporary abstract artwork is an 30x40x1.5\" (76.20 cm x 101.60cm) acrylic painting on canvas.\nThis sculptural work is largely a tactile experience by building expressive texture, and capturing the contrast between light and shadow. By using metallic pigments and gold leaf in my acrylic paintings, I create an illusion of dramatic, sculpted elegance that is about extravagance and appeals my Chinese Dragon Zodiac.\nFree shipping to collectors in North America. Please contact me for a quote to ship internationally.\n© Copyright Brazen Design Studio\nAll Rights Reserved.", "label": "Yes"}
{"text": "I spent an hour learning how to make cool painting brushes in a Photoshop tutorial. Then by the time I had gotten to the \"fun\" painting bit. I was bored. The tutors accent was driving me mad. So I stopped.\nBut. I did play with the brushes and made some cute colour paintings for some gorgeous people on the app Sktchy.\nI think they look pretty cool.", "label": "Yes"}
{"text": "Color schemes are an important part of interior decorating and design. But did you know there is an actual science to creating color schemes? Graphic designers and decorators don’t just randomly pick colors they think will look good together in a particular space. Rather, they rely on a number of artistically developed color schemes generally accepted as industry standards. One such scheme is the square color scheme.\nThe square color scheme is so named because of the shape it creates on the color wheel. This post will explain more about the color wheel, how the square color scheme is developed from it, and how you can decorate and design effectively by utilizing a square palette. Needless to say that your color choices for any home decorating project or design are almost limitless.\nThe Standard Color Wheel\nWhat designers refer to as the color wheel is a tool originally developed by Sir Isaac Newton in the 17th century. It is a tool used to mix and match colors so that any scheme built from it will look good. Though there are many variations of the color wheel, a standard wheel is divided into 12 sections. Those sections include:\n3 Primary colors: Red, Yellow and Blue.\n3 Secondary colors: Green, Orange and Purple.\nThey consist of two primary colors mixed together.\n6 Tertiary colors: Yellow-Orange, Blue-Violet, Red-Orange, Blue-Green, Red-Violet and Yellow-Green.\nThey are achieved by mixing one primary and one secondary color.\nIt’s also important to understand the variations of each color on the color wheel. There are four terms here:\n- Hue – A hue is one of the 12 basic colors on the color wheel.\n- Tint – A tint is achieved by adding white to a hue.\n- Shade – A shade is achieved by adding black to a hue.\n- Tone – A tone is achieved by adding gray to a hue.\nTints, shades and tones are represented on the color wheel at various positions, beginning on the outer edge and moving toward the center. Variations will get lighter or darker as you move closer to the center, depending on which color wheel you are looking at. Experimenting with various positions on the wheel gives you the many tints, shades and tones that decorators and designers work with.\nThe Square Color Scheme\nColor schemes are chosen based on wheel position. A square color scheme is based on the principle of choosing colors that are evenly spaced on the wheel. Imagine having a paper copy of the color wheel in front of you. Creating a color square would be simple.\nChoose your favorite color to start with. Place a dot on that color. Now count three colors clockwise and place another dot. Do that two more times and you will end up with four dots. Now draw a line connecting each of the dots and you’ll have a square. This is the square color scheme.\nIf you start with red as your favorite color, the other three colors in your scheme would be yellow-orange, green and blue-violet. Most designers would choose one of those four colors to be the dominant color. The other three would be utilized to various degrees as accenting colors.\nDecorating With a Square Color Scheme\nYou might find it fairly easy to use the color wheel to come up with an attractive square color palette. Now you have to figure out how to decorate or design with it. The good news is that square palettes can be used in lots of different ways. There are no hard and fast rules.\nOne suggestion is to start with a pattern. For example, you may have a favorite throw rug you’re not willing to part with. Given how much visual attention a typical throw rug demands, you can use it as the foundation of your color choices.\nWhat is the dominant color in the rug? To what proportion are the other colors in your palette utilized? Going back to the previous example, blue-violet might be the most prominent color in your rug. White is also fairly prevalent with little splashes of red, green and yellow-orange. The rug determines how you will use your square color scheme.\nHere are a few more suggestions:\n1. Start With Dark\nThe four colors you choose for your square palette will come in a variety of shades, tints, and tones. Make your dominant color the darkest, then go lighter from there. Your darkest colors should be closest to the floor. The lightest colors closest to the ceiling. This type of design works well in large rooms with vaulted ceilings.\n2. The Formal Look\nYou can create a formal look by choosing a darker shade for your dominant color and using it on the walls first. Make upholstered furnishings the same color. Then choose a lighter tint for the floor. Finally, accent with lighter tints of your three complementary colors.\n3. Combine With Black\nA more modern use of the square color scheme is to combine it with black. In this case, black becomes the dominant color. The four colors in your square palette are utilized as accent colors. Combining with black offers a modern look that works very well for updated kitchens and bedrooms.\n4. Combine With White\nThe other side of the combine-with-black coin is combining your square color scheme with white. Here, white becomes the dominant color. The four colors in your square are used to various degrees to give the room some pop. This is one way to dress up a smaller room while maximizing the benefits of white to make the room look bigger.\n5. The 60-30-10 Rule\nThe pros sometimes decorate using the 60-30-10 rule. This rule stipulates that 60% of the color in a given space will be your dominant color. This suggests that your walls will be that color. A secondary color will make up 30% while the remaining 10% are the other two colors in your scheme.\nChoose Warm or Cool\nThe previous example of red, blue-violet, green and yellow-orange presents a conundrum: you have both warm and cool colors working together. Some pros recommend choosing either warm or cool to dominate the space. Choosing cool would mean giving more preference to blue-violet and green. Then accent with red and yellow-orange.\nAs a side note, it is a good idea to be careful about the balance between warm and cool. A red, yellow-orange, green and blue-violet scheme offers quite a bit of contrast. Equally balancing all of the colors would have a tendency to make the space look more festive and alive than relaxing and reserved.\nShift your square one or several positions on the color wheel and you end up with another square color palette with four different colors. You may find less contrast in these four colors. In such a case, it should be easier to strike a balance regardless of your choice of dominant color.\nLimit Your Accent Colors\nSquare color schemes have a tendency to become visually confusing. This is why designers appreciate the 60-30-10 rule. By choosing one dominant color to take up 60% of the space, you give the eyes something to focus on. Your 30% secondary color provides the necessary complement while your two remaining colors exist as a splash here and the spritz there.\nYou can limit your two accent colors by bringing them into the space via your decorations. Let’s say you are working in the living room. Your dominant color is blue-violet while your complementing color is yellow-orange. These two colors should make up the bulk of the color for the walls, window treatments, furnishings, etc.\nThe two accenting colors can be brought in with throw pillows on the couch and perhaps a blanket. You might also bring them in with paintings, picture frames, vases, and even your lamps. The idea is to bring just enough of these two colors into the space to complete the square palette without creating visual confusion.\nMuted Tones Can Look Good\nPerhaps you appreciate the concept of the square color scheme but the thought of too much contrast frightens you. No worries. Muted tones can create a very nice look that doesn’t stun. At the same time, you don’t have to give up the variety the square palette brings to the table.\nRemember that tones are achieved by adding gray to a hue. Thus, tones mute your colors quite effectively. Think of muting as a combination of increasing brightness but decreasing contrast. A muted red still looks red, it’s just not as bold and daring.\nMuted tones can make a big difference if your square palette starts with one of the primary colors. You don’t notice as much with tertiary colors, but muted tones still work for them as well. Note that muted tones work well when combined with either black or white.\nWorking With Tertiary Colors\nOne last thing to consider with the square color scheme is working with tertiary colors. Don’t make the mistake of thinking you have to start with either a primary or secondary color. You also don’t have to start with a pure hue.\nThere are plenty of tertiary colors that escape definition when you choose certain tints, shades, or hues. You might start with a tone of blue that looks different depending on the amount of light in the room. When the room is brightly illuminated by sunshine, the color looks more like a silvery gray. You don’t begin to see the blue come out until the sunshine fades.\nWorking with these sorts of colors gives you an entirely new opportunity for artistry. You can create spaces that change appearance with time of day, the change of seasons, and so forth. It’s all about finding the right position on the color wheel and then choosing your tints, shades and tones somewhere on that middle ground that defies easy definition.\nStart With the Color Wheel\nSummarizing what has been discussed in this post goes back to the color wheel. This is where it all starts. If you are new to design, learn all you can about the color wheel and the many color schemes derived from it. An understanding of the color wheel will prepare you to make future design choices.\nRemember that the square color palette begins with a single color on the wheel. Every third color is added to the first choice to create a square palette. From there you choose a dominant color and the complementing color, with the other two colors acting as accents.", "label": "Yes"}
{"text": "|The Dallas Arboretum|\noil on canvas\nMe painting in the garden.\nToday I went to the Dallas Arboretum with a group of oil and water color painters, hence the title.Sheri Jones, Joyce Thomas, Cecy Turner, David Tripp and Chris Toplyn were some of the painters there today. The day started out very cloudy and in fact some of my friends did not come because it was actually raining where they lived.\n|The view I painted.|\n|My painting in front of the view I painted.|\n|Clumps of spring flowers.|\n|Red and yellow tulips massed in huge beds.|\n|Flowers around the big lawn.|\n|The Restaurant in the Garden|\n|Beautiful Spring Flowers|\n|This was the subject of my second painting, the one I didn't finish.|", "label": "Yes"}
{"text": "- This event has passed.\nOpening Reception for “Turbulence II,” New Work by Sheryl Budnik at Romany Kramoris Gallery\nAugust 30, 2014 @ 5:00 pm - 7:00 pm\nAugust 28 – September 18, 2014\nReception: Sat., Aug. 30, 5 to 7 p.m.\nMs. Budnik begin a painting with a mindfulness, an intuition about land or water or a color — sometimes triggered by an art image or research. She uses a palette knife to grab several colors at once and intuitively build the oily skin that shapes the painting, painting generously without hesitation.\n“On land, or at the ocean, I look very carefully,” she writes in her artist statement. “The initial idea for a painting could be how\nit feels to float at night on the ocean, or walk a field in the sun. Sometimes an idea is a compilation of images from research. The composition is always intuitive and can change mid-stream.”\n“When we look carefully at the land or sea, we come to the heart of who we are. These encounters connect us with the earth. The trick is to put that moment in the paint — in the space between the oil color and the canvas. For me, a painting is successful if the pure paint summons the essence of a place and simultaneously astonishes me with its physical expression.", "label": "Yes"}
{"text": "Japanese, b. 1973\nBlack, white, and muted colors dominate Miwa Ogasawara’s paintings and drawings of interiors, landscapes, and people. Her compositions are characteristically sparse, her subjects unspectacular or ordinary, like an empty hallway or a close-up of …\nThis is based on the artwork’s average dimension.\nSmall (under 40cm)\nMedium (40 – 100cm)\nLarge (over 100cm)\nHamburgische Kulturstiftung Benefit Auction", "label": "Yes"}
{"text": "We're so confident in the quality of our work that we'll refund your money in full if you are unhappy. No fuss, no hassles, and no questions asked!\nQuestions about ordering this Painting?\nSend This to a Friend\nDon't settle for a print! Own a real handmade oil painting on canvas instead!\nOrder your handpainted Frida Kahlo reproduction of Self Portrait On The Borderline Between Mexico And The United States 1932 today!\nFREE SHIPPING WORLDWIDE\nDelivered unframed in protective tube within 21 days.\nEvery painting is painted by an experienced artist.\nNo printing or digital imaging techniques are used.\nNotes About Your Painting\nIf you have any requests to alter Self Portrait On The Borderline Between Mexico And The United States 1932, email us after placing your order and we'll have an artist contact you. If you have another image of the painting that you would like the artist to work from, please include it as an attachment. If you would like to be updated during the painting process, please send us an email and we will keep you updated with high definition images.\nThanks for being part of the ART!\nAbout the Painting\n100% Hand Painted\nThis painting “Self Portrait On The Borderline Between Mexico And The United States 1932” will be hand painted by a real artist. No printing or digital techniques will be used. All paintings are painted in the Ocean's Bridge art studios.\nWell another fantastic pair of paintings ! I must admit that I wasn't as impressed with the pictures you sent of them. But thought perhaps it was my state of mind and not the paintings themselves. I was correct ! Once I lay them on the carpet in the music room, and placed the frames over them, the magic happened once again. Why I ever doubted them, I don't know. They are magnificent, and I am so very pleased with the finished product.\nI could explode with joy ! That would be messy, so I won't !\n\"just wanted to tell you that the painting is great!!! i really appreciate the extra effort, good communication and fast service. a combination of these things are hard to find. again, thanks. my friend loves it. \" - W.M.\nI received my portrait today, and I wanted to tell you how GREAT I think it looks! It's better than I hoped it would be, so thank you so much for your talent and hard work. I will not hesitate to come to Ocean's Bridge again!\nYours Truly, -T.G.\nI received my portrait today in the mail. I cant tell you enough how beautiful it is. The artwork is exquisite. I plan on giving this as a gift for Christmas. Thank you again for the beautiful work.\nDan - James\nThank you both for the beautiful job that was done on \"Charity\" and \"The Incredulity of St. Thomas\"--top-notch work, indeed!\nI am going to be ordering another painting from you and will be in touch with you regarding it very soon.\nMy wife and I are enjoying these lovely masterpieces in our home and look forward to the next one.\nThe shipment went very smoothly with ABF Freight as well.\nIt looks great, thank you! Please ship it to me ASAP. Tania\nThere is so much detail in the original Deas painting and I am amazed that your artist has captured it so well.\nI am looking forward to having it in my possession.\nI am sure I will have many opportunities to recommend Ocean Bridge to my friends.\nDear Dan just today I received The Beloved by Rosetti it is absolutly breathtakingly beautiful .You can be sure that I will be a repeat customer. I have seen the original painting in London 10 years ago, of course my painting is much more vibrant Icouldn't be more pleased. Sincerely Andrea\nRead 1000's of REAL Customer Testimonials", "label": "Yes"}
{"text": "A small, unspoiled town on the outskirts of Paris, Argenteuil became a hub of artistic activity during one of the most exciting periods in art history — the decade of the 1870s, when true impressionism was born. Drawn to Argenteuil in search of new inspiration, Claude Monet settled there in 1871. The beauty of the town and its proximity to Paris, along with the amiable presence of Monet himself, soon attracted other artists, who found there the inspiration to create some of the most lyrical, dazzling, and progressive paintings of the day. This richly illustrated book explores the responses of six influential painters to Argenteuil in more than fifty of their works. With scenic vistas still unmarred by urban industrialisation, Argenteuil in the 1870s was ideally suited to the experiments in plein-air effects that became the hallmark of classic impressionist works. Paul Hayes Tucker describes the lively artistic exchange that developed among Monet, Eughne Boudin, Gustave Caillebotte, Idouard Manet, Auguste Renoir, and Alfred Sisley as they worked, often side by side, in and around the town. At Argenteuil, Tucker shows, the artists’ fascination with atmospheric effects, depictions of\nTXT ebook The Impressionists at Argenteuil for PC on IndieBound. Paperback The Impressionists at Argenteuil Paul Hayes Tucker read. MOBI book The Impressionists at Argenteuil download on Barnes & Noble.\nPDF book The Impressionists at Argenteuil by Paul Hayes Tucker buy cheap on iPhone. Hardcover The Impressionists at Argenteuil Paul Hayes Tucker iOS. FB2 ebook The Impressionists at Argenteuil read online on Walmart.", "label": "Yes"}
{"text": "Yellow Bedroom Ideas\nBedroom Decor, Yellow Bedroom Idea Decor 2, Guest Bedrooms, Yellow Bedrooms, Color, Yellow Room, Bedrooms Decor, Beautiful Bedrooms, Bedroom Ideas\nupstairs guest bedroom the larger of the two bedrooms. not paneled walls but just paint yellow and cover a headboard same as this fabric and make the bedding and pillows to match to top a Westin Heavenly bedding ensemble with these pops of yellow with the quilt, pillows, and white and yellow duvet. find two similar night stands and a 5 drawer chest with mirror for the room as well as an accent chair with small table next to it for reading. also a small white tv stand with 32 inch smart tv.\nYellow Bedroomyellow Bedroom: Chic Designs Yellow Bedroom Interior ...\nsoft yellow room design - Google Search\nYellow Bedroom Ideas, 21 Cool Ideas.\nyellow bedroom ideas - Google Search\nYellow Bedroom Paint Ideas Ihnbfg\nYellow Bedroom Ideas\nWall Colors, Colour, Inspiration, Small Bedrooms, Yellow Wall, Guest Bedrooms, Yellow Bedrooms, Preteen Bedrooms, Bedroom Ideas\nLight colours lift a small room- Great article on what to do with a small bedroom\nYellow inspiration for kitchen/front door walls.\nLooks just like my wall colour and quilt cover\nIf i dont repaint Yellow Bedroom Ideas\nyellow walls The wall on the right.\n#geel #slaapkamer #yellow #bedroom\nyellow wall color - Google Search\nPretty wall color for our bedroom\nGuest bedroom? I think so!\nMy plan to add to my existing grey doona cover...2 x normal grey pillows (existing), 2 x European grey pillows (existing), 1 x small square grey pillow (existing), 2 x square yellow patterend pillows, 2 x rectangular yellow patterend pillows, white side tables, black head board, black lamp shades, yellow runner at end of bed or floor mat and framed pictures in black frames.\ngrey and yellow bedroom\nGuest Room, Guest Bedroom, Living Room, Master Bedroom, Color Palette\nguest bedroom color palette - gray & yellow is high on the color choice list!\ngrey and yellow bedroom. Colors for my living room! Ruggggggg\ngrey and yellow bedroom. Colors for our master bedroom!\nOmg, love, love, love! Master bedroom color scheme!\npossible master bedroom color scheme\nLove the color combo... guest room?\nMaster bedroom color scheme!\nGuest Bedroom color combo\nInterior, Fire Place, Idea, Color, Fireplaces, Living Room, Gallery Wall, Painted Fireplace\nlove this fireplace painted bright yellow and the gallery wall above #interior ideas #decoracao de casas #interior house design #architecture #home interior decorators| http://interiordesignsforfamily117.blogspot.com\nAll the major rooms in my house will have fire places, even if they are fake. Company: Regas New York #fireplaces #art #display #studio\nlove this fireplace painted bright yellow and the gallery wall above it. #home #interior #design\nnot because it's a fake fireplace or because of the glass-less frames...that part's a bit silly...but because I like the idea of a gallery wall above the fireplace in our bedroom that incorporates memorabilia from our 17 years together...plane-ticket stubs from cross-country visits, wedding doo-dads, honeymoon stuff, marriage certificate?...sadly, it would have to be items that are fairly neutral in color :)\nlove this brightly painted fireplace and the gallery wall above it.\nLiving Room: white walls, charcoal ceiling, yellow fireplace\nawesome yellow fireplace and gallery wall- love the color\ninterior design, home decor, furniture, yellow, fireplaces\nPaint fireplace a fun, bright color\nLove the bright yellow wallpaper and of course, the parsons desk.\nDecor, Bedside Table, Yellow Wall, Color, Wallpaper, Master Bedroom, Light, Bedroom Ideas\nThe yellow wallpaper is not a bad idea .. I'm loving the yellow.. Something to consider for the next makeover perhaps?\nyellow walls kind of demand white but I like these dashes of light blue and turquoise\nYellow wallpaper! (And not the type that Charlotte Perkins Gilman wrote about)\nUn piso de 70m2 lleno de luz y color  750sq. feet of light and color\nLove the bright yellow wallpaper and of course, the parsons desk.\nMy master bedroom is loving this color scheme\nIdehadas Interiorismo: VIVA EL WALLPAPER\nbedside table & walls\n# Home decor This is awesome b/c I already have this bed spread! Now when I get a home of my own, I know how to decorate the walls! :)\nGuest Room, Wallpaper, Master Bedroom, Bedrooms, Bedroom Ideas, Accent Wall\nI love yellow and gray as a color combo. I actually suggest it to Tylor for our wedding, but he's not a fan. Maybe for a guest room someday? #homedecor #bedroom #colors #yellow #bedroom decor #bedroom design\nColor scheme! http://www.nestinstinct.com (via Modern Guest Room - contemporary - bedroom - boise - by Judith Balis)\nGrey And Yellow Bedroom Ideas | gray and yellow bedroom design color gray and yellow bedroom design ...\nSame colors as our room- best color combo ever! Gray and Yellow bedroom, love it! Accent wall idea\nLove the wallpaper. Gray and Yellow bedroom, love it! Accent wall idea\nGray and Yellow bedroom, love it! Love the wallpapered wall and mirror!\ngray and yellow bedroom ideas | gray-and-yellow-bedroom-design-2\nGray and Yellow bedroom, love it! Future master bedroom ideas!\nMaster Bedroom...... I love the wallpaper and color scheme.\nGuest Room, Interior, Idea, Color, Guest Bedroom, Bedrooms, Painting\nBedroom : Teenage Girl Headboard Ideas Colorful Headboard Ideas Painting With Colorful Bed Colorful Pillow Modern White Curtain Headboard Ideas Digging Out the Perfect Modern DIY Way Diy Headboard Ideas On A Budget. Velvet Headboard Ideas. Cool Headboard Ideas.\n101 Headboard Ideas That Will Rock Your Bedroom; Not my kind of design but the painting is beautiful; Love the idea of using a picture frame as a headboard in the guest room\nYellow bedroom. the painting headboard is perfect. Definitely might do this as an guest bedroom idea.\nbright & sunnny lemon yellow bedroom; that painting is amazing, & I love the idea of hanging it low as a headboard\nbright & sunnny lemon yellow bedroom. I love the sunny color and the oversized painting instead of a headboard.\nLove how the art becomes the headboard. Yellow is not my color (especially not in a bedroom) but this is a wonderful idea!\ntURN AN OVERSIZED PAINTING INTO A SHOWSTOPPING HEADBOARD ...PAINTING BY BOBBIE BURGERS Photo Gallery: Gorgeous Guest Bedrooms | House & Home\ni'm kinda diggin' this idea of using a very dramatic, bright, oversize painting as a headboard and then echoing its colors in the bedding\n50 Bright And Colorful Room Design Ideas | Interior Design Statement painting\nThis is a Great Idea for Rental Apartments... If you're not allowed to paint the walls, just add a gorgeous curtain like this one and your apartment will look amazing and when you move out, not only you get your deposit but you also get to take the pretty curtain with you =)\nPretty Pattern, Dining Room, Living Rooms, Damasks, Yellow Curtains, Curtains Custom, White Damask, Panels Damask\nGreat to pull color from the kitchen into the dining room?! Pair of TWO 25 W Panels Damask Curtains Custom by SewPanache\nPair of TWO 50 Wide Panels Yellow and white Damask Curtains Custom by SewPanache, $99.00. This could work. Hubs would like them i think.\nhttp://www.phomz.com/category/Yellow-Curtains/ Damask Curtains Custom Drapes Panels Yellow and by SewPanache, $135.00\nPair of TWO 25 W Panels Damask Curtains Custom by SewPanache Dining room drapes but a different color\nPair of TWO 25 W Panels Damask Curtains Custom by SewPanache, another curtain option for dining room\nPair of TWO 50\" Wide Panels Damask Curtains Custom Drapes Yellow and White 63 84 96 108 120 Traditions\nPretty pattern.... HMMM CAN'T FIND THE FABRIC...MAYBE HAVE TO PAINT IT\nyellow curtains, damask\nArt Addiction, Yellow Color, Bedroom Colors, Painting, Habits\nThink yellow. Just bought a yellow sheet set for the purple room...Maybe we should paint one wall yellow.\n75% OFF Art Addiction Set of 2 Pure Flower 24\" x 36\"Acrylic Panels\nThink yellow. From 'My Habit's', \"The Inspired Life\" board.\nBold yellow color for my son bedroom\nThink yellow. Good bedroom colors.\nThink yellow. Painting\ngray + yellow bedroom by a195761--- switch the yellow for light blue\nGuest Room, Guest Bedroom, Masterbedroom, Bedrooms, Master Bedroom\nI like the idea of the pictures gray and yellow bedroom ideas | Who I Share It With: Master Bedroom Planning\nGuest bedroom gray and yellow bedroom. My bedroom is this color scheme but it Doesnt feel finished like this.\nGrey And Yellow Bedroom Ideas | Who I Share It With: Master Bedroom Planning\nGray and yellow bedroom. A great color scheme for a his/her master bedroom.\nguest bedroom idea but i like it for the master bedroom!\nGray and yellow bedroom. Love it. - guest bedroom ideas\nGray and yellow bedroom - another guest room idea.\ngray + yellow bedroom #masterbedroom\ngrey bedroom, guest bedroom Idea\nFocal point. Black mirror really pops on the golden yellow wall. i need this mirror!!!!!\nDecor, Ideas, Mirror Mirror, Yellow Wall, Black Mirror, Wall Color, Living Room, Bedroom\nthis wall color is bold and screams happiness. That mirror stands out and was a great idea. Usually all yellow rooms can be really tacky but the mirror is a great touchy. Has a spunky feel to it. I probably wouldnt do a house this color but maybe a bathroom or bedroom.\nOne Kings Lane is a great site to get home decor ideas! I'm loving the huge black framed mirror and bold use of black and yellow.\nThis giant black mirror is quite a statement piece in this living room. I love the pop against the yellow walls.\nI MUST have this: big black mirror. Bedroom, den, foyer... I don't care. I want it now!\nBedroom with big black mirror. love the mirror. and yellow walls\nBedroom with big black mirror. Can't decide if I like.\nOmg I love this mirror! Bedroom with big black mirror\ngray & yellow bedroom\nGuest Room, Masterbedroom, Guest Bedroom, Bedrooms, Master Bedroom, Bedroom Ideas\nMaster Bedroom. Not in love with the color scheme, but I like the way the fabric is hung behind the headboard.\nColor scheme for master bedroom at the lake house. Already have black curtains and linen headboard.\nLove that fabric and color scheme. Master bedroom. 40 Cute Romantic Bedroom Ideas For Couples\nWhat do you think of #gray + #yellow for a #MasterBedroom? #HomeDecor #Bedroom #Modern\nMaster bedroom color scheme, black, gray, white, and yellows. Love the headboard!!\nMaster bedroom-- Love the curtain as a headboard.. And the color scheme!\nHeadboard for master bedroom. Maybe as backdrop for guest room?\nGuest bedroom idea. Love the curtain headboard idea.\nlove aqua and yellow together\nKids Bedroom, Blue, Colors, Wall Color, Yellow, Bedrooms, Design, Bedroom Ideas, Kids Rooms\n: Comfortable Contemporary Kids Bedroom Design Interior In Blue Wall Color Completed With Yellow Throw Pillows Design Ideas\nTeenage Girls Bedroom Ideas Within Blue Bedroom Paint Color - http://backgroundwallpaperpics.com/teenage-girls-bedroom-ideas-within-blue-bedroom-paint-color/ #Bedroom, #Color, #Girls, #Paint, #Teenage\nBedroom Design Colorful Kids Room Bright Colors Updating Your Childs Room With Colorful Kids Room Bright Colors Bright And Colorful Kids Bedroom Decorating Ideas\nContemporary Kids Bedroom Design Ideas With Fuscia Wall Paint And Yellow Bedroom Accessories - http://bit.ly/1Bkog1J #Accessories, #And, #Bedroom, #Contemporary, #Design, #Fuscia, #Ideas, #Kids, #Paint, #Wall, #With, #Yellow\nBedroom: Yellow And Blue Make For A Stylish And Soothing Combination: Bedroom Colors Design for Good Night's Sleep\nWonderful Bedroom Color Ideas : Wonderful Bedroom Color Ideas With Light Blue White Yellow Bed Pillow Blanket And Chandelier And Wooden Tabl...\nYellow, blue and and a touch of green make up the color palette of this children's bedroom. The light blue is the dominant color, taking up the wall and a portion of the floor. The room is very calming, with yellow to relieve any monotony. taken from: 0.tqn.com/d/bedroom/\nyellow cupboard/white trim.\nHome Magazine, Interior, Idea, Køkken Med, Kitchen Design, Yellow Kitchens, Gamle Minder\nYellow, white & black retro #kitchen design| http://kitchendesignideas96.blogspot.com\nlight yellow and green colors for modern interior design\nNyt køkken med gamle minder - Bolig Magasinet Mobil\nYellow, white & black retro kitchen. by roslyn\nYellow kitchen with tape measure table cloth\nLovely yellow Retro kitchen by alejandra\nlovely retro kitchen - love the color\nAwesome yellow kids room! I'll take a grown up version please!\nIdea, Yellow Wall, Girls Bedroom, Kidsroom, Yellow Girls Room, Yellow Kids Room, Kids Rooms\nA wants a Yellow Bedroom- Golden yellow, gray, and white scheme with pint sized baroque furniture and shaggy rug #kidsrooms #bedroom #design #ideas #decor\nAwesome yellow kids room! Yellow is (currently) M's fav colour, maybe this could be her big girl room inspiration.\nAwesome yellow kids room! I love the idea of one yellow wall...great for a girl who LOVES elephants and yellow.\nAwesome yellow kids room! I'll take a grown up version please! // só pode ser pra criança?\nyellow kids room, like the idea in principal but a softer yellow\nCasual color scheme for playroom, gray and yellow.\nLove the striking yellow wall with the grey.\nAwesome yellow girls room!\nYellow Girls Bedroom\ntween bedroom ideas for girls | ... teenage girls girl s bedroom teenage bedroom teenage bedroom 800x600\nGirl Room, Girlsroom, Kids Room, Girls Room, Girls Bedroom, Kidsroom, Bedroom Design, Bedrooms, Bedroom Ideas\nPurple Room #kidsroom teen bedroom #decorating girls room, wallpaper, theme, boys room, storage, bunk beds, colour, interior design, ceiling, bed, workspace\nTeen Room Designs, Purple Little Girls Room Decorating Ideas With Hanging Fan And Bedroom: Teenage Girl Bedroom Ideas In Your Home\nPictures of Excellent Magnificent Color In Cool Bedroom Wall Ideas At Beauty Home Decoration Bedroom Magnificent Bedroom Paint Ideas With White Purple Dressing Room Bedroom Design Ideas Bedroom Design Ideas Shabby Chic Bedroom Small Bedroom Design Ideas Photos. Bedroom Design Ideas Sleigh Bed. Modern Bedroom Ideas Red. | pixelholdr.com\nHome Design | Home Interior | Living Room Design | Bedroom Design | Bathroom Design: Eclectic Bedroom | Green Bedroom Ideas\n42 Teen Girl Bedroom Ideas | Tailored dust skirt hides underbed storage, looks tidy even after being hit by feet. Swagger fabric adds drama, easily removed later as tastes change.\nhttp://www.ireado.com/elegant-small-teen-girls-bedroom-ideas/?preview=true Elegant Small Teen Girls Bedroom Ideas : Decorating Ideas For Teenage Girl Bedroom Teenagers Bedroom Designs Teen Girl Bedroom Ideas\ngirl rooms ideas princess | ideas for bedroom. Love the curtain on wall. Kids room ideas\nImage detail for -kids bedroom designs girls bedroom sets girls bedroom ideas\ngirlsrooms - Google Search\nI really want to do my room in blue and yellow!\nColor, Decorating Ideas, Bedskirt, Buttercup Yelllow, Bedrooms, Bed Skirts\nyellow and blue bedroom decorating ideas | Decorating with Blue | Blue Room Color Scheme Ideas | Wall Paint Color\nI LOVE THIS Blue Quilt color with this yellow bed skirt these are my two favorite colors together. From Martha Stewart. Walls of aqua, a blue and white checked quilt and a yellow bed skirt, combine in this bedroom for a cottage look. Light blue combined with cornflower yellow can have that effect\nA butter-and-cream yellow bed skirt works best when warmed by an orange-yellow curtain stripe, and chilled, a bit, by breathy aqua walls. The overall effect is clean and simple, with a sunny touch.\nColor Plus Yellow A butter-and-cream yellow bed skirt works best when warmed by an orange-yellow curtain stripe, and chilled, a bit, by breathy aqua walls\nblue and yellow: cottage #bedroom design #Bed Room #bedroom decor #BedRoom| http://bedroomdecoremmet.blogspot.com\nBeach Cottage Bedroom | ... Colorful Eyes: Dream Bedroom! Style: Cozy Rainbow Beach Cottage\nblue and yellow french country bedroom | Bedroom with pale blue walls and a yellow bedskirt\nSee the \"Buttercup Yelllow\" in our Decorating with Floral Shades gallery\nBedroom with pale blue walls and a yellow bedskirt\nMaster Bedroom ideas...like the dark wall with the lighter bedspread and decor\nGuest Room, Masterbedroom, Wall Color, Guest Bedroom, Dark Walls, Master Bedrooms, Bedroom Ideas\nStriped curtains and dark gray walls. Master bedroom color scheme; can add/subtract accent colors as you please! Guest room\nMaster Bedroom ideas...like the dark wall with the lighter bedspread and #décor, #bedrooms, #interiors, #homedecor #masterbedroom\nMaster Bedroom ideas. Love the idea of having dark walls and everything else in the room being light colors.\nMaster Bedroom ideas. Hate the curtain fabric but love the rest, especially the flowers and silver against the dark walls.\nMaster Bedroom ideas. Love the dark walls and crown moulding\nGuest bedroom idea with dark walls and white comforter\nMaster Bedroom ideas @ Home Idea Network. Paint color\nMaster Bedroom ideas/ love the wall color\nMaster Bedroom ideas-- color scheme\nSoft yellow bedroom. www.rentfluff.com", "label": "Yes"}
{"text": "Welcome to my online gallery - a collection of highly textured paintings that reach out from the canvas and invite you into the scenes they portray - both real and imagined.\nEvery piece you find here is an original, and my own creation. I paint almost exclusively with large palette knives, and find vibrant & high contrast colour palettes irresistible. If you're looking for a high-impact piece, you've come to the right place. Take a look around - I hope you'll like what you see!\nTo make your shopping experience as smooth as possible, here are a few things of note (FAQ's):", "label": "Yes"}
{"text": "Passionate about art since adolescence, it is quite naturally that I fully live my passion. After years of plastic arts lessons, watercolor lessons and painting lessons since 2016 with the painter Vitréen Yannlugg, I have continued to paint.\nI discovered Zacchi's works a few years ago, a discovery that was a real revealer in my current pictorial approach. I had the privilege of meeting him at a vernissage in 2020. This meeting reinforced my admiration for this artist.\nLearning, realizing, translating...this is how I have been experimenting for years with the boundaries between figurative, abstraction, and symbolism... J\nI define my painting as a “figurative transposition”. Figurative because my works are inspired by a reality, be it landscapes, scenes of life, memories of travel...but this reality, as the Larousse definition indicates, \"is displaced actually or by imagination in other conditions »\nIn this in-between, I try to draw the visitor into dreams, interpretations...\nI use acrylic and oil paint, which I mix in most of my works, thus allowing me to mix the two worlds and keep the properties of each material.\nEXHIBITIONS AND EVENTS\n- Les Arcambies in Changed-les-Laval (53) - Généteil exhibition in Château-Gontier (53) - Spring exhibition of Créartristes Fléchois in La Flèche (72) - Plastic arts fair in Meslay du Maine (53) - Regional Art Exhibition of Ernée (53) - Water-based painting fair in Avrillé (49) - Street competition in different cities (2 first prizes) - Exhibition at the Watercolor gallery in Grez-Neuville 49 - Exhibitor at La biennale de Cancale 35 - Exhibitor at the “Asnières-sur-Toiles” day Asnières sur Vêgre 72 - Exhibition at the head office of Crédit Mutuel in Laval 53 - Exhibition at the gallery \"the lodge of fine arts\" in Changé 53 - Exhibition at the Bourny neighborhood center in Laval 53 - Exhibition at the Aubance gallery in Brissac Quincé 49 - Exhibition at the \"Majestic\" gallery in Montsûrs", "label": "Yes"}
{"text": "Michael Fitzsimmons is a Canadian Artist living in Vancouver, British Columbia. He was born in Edmonton Alberta and grew up in North Vancouver. His studies include Capilano College, Alberta College of Art and Emily Carr College of Art where he graduated and was the recipient of The Helen Pitt Award.\nHe works with a variety of industrial paint materials, mixing and creating his own paints. He focuses on colour, light and texture. His use of unique materials and techniques create interesting surfaces that invite the viewer to look closer.\nHis abstract paintings are in several private and corporate collections. Michael is an active artist in Vancouver and North Vancouver, recently winning the Carole Badgley Award at the Seymour Art Gallery.\nClick thumbnail to view full image\nSome of the paintings shown may no longer be available as originals, however, these are only a small selection of artworks by Michael Fitzsimmons; other works may be available. Additionally, many of our Artists make their artwork available as Giclée (archival pigment ink) prints in a variety of sizes on canvas or other media. Some of our Artists will do commissions which can be designed and customized to your needs. Please contact us to discuss the possibilities!", "label": "Yes"}
{"text": "Exterior painting services are a great way to freshen up your home’s appearance and improve the value of your property. It’s also an effective way to protect the wood structure of your house from moisture-causing rot.\nThere are a few different types of paints for use on your house’s exterior, including oil-based and water-based. Each type of paint has unique properties that make them better suited for specific applications.\nUnlike latex-based paints, oil-based paints last longer and are a good choice for exterior doors and metal railings because they create a durable, smooth finish that can stand up to the elements. They are more prone to cracking, however, so make sure to apply them with care.\nThey’re also more difficult to remove from surfaces and require more cleaning up than latex-based paints. So if you’re going to apply these paints yourself, consider hiring an expert for the job.\nTheir Colorants and Pigments\nExterior paint colors are created by a variety of pigments and additives. These include organic colorants and inorganic pigments. Inorganic pigments provide earthy and neutral colors that can be applied to any surface, while organic colorants are brighter and allow for more vibrant hues.\nThe pigments in exterior paint are formulated with additional additives that can help the paint resist fading, stop mildew growth and resist tannin-based stains. The additives in the paint also help it to retain its original luster and color for a long time.\nAs with the pigments, the resins in paint are also formulated with exterior painting toronto additives that can help it survive a variety of harsh conditions. These include moisture and huge temperature changes.\nThey are softer than the resins in interior paint, and this helps to cut down on smearing and scuffing. This is because exterior paint needs to withstand more aggressive weather conditions and is also exposed to a greater amount of dirt and moss.\nSome exterior paints are made with special resins that are regulated and self-cleaning. This allows them to shed a small amount of paint and dirt each time it rains, which keeps the surface of the paint from staining other nearby surfaces.\nAnother feature that makes some exterior paints a good choice is that they are designed to hold up well in a humid environment. Some of these paints even combat indoor moisture and mold.\nDepending on the material and the climate in which you live, exterior paint should last between five and seven years on average. Keeping the exterior of your home clean and in good condition will increase the lifespan of your exterior paint, as will regular maintenance and care.\nTo determine which type of paint is right for your home’s exterior, consider how often it’s exposed to the elements and what kind of traffic it gets. If you have high traffic areas, you’ll want to consider a paint with a sheen that can block the sun’s damaging rays.\nThe sheen will also affect how the paint repels rain and snow. Sheens that are higher on the sheen scale are better at blocking abrasions, while lower sheens are more resistant to moisture and fading.", "label": "Yes"}
{"text": "Chinese painting has its origins in the pictographs inscribed on bronze during the Xia, Shang and Zhou dynasties (c. 21st to 3rd centuries BC). Paintings on silk, Possessing linear effects, had appeared during the period of the Warring States (475-221) and by the late Western Han era (206 BC-AD 24), paintings in rich colours were being done, such as the murals discovered in Han tombs. In the history of Chinese painting, figure painting was the first genre to appear. The earliest examples, during the Warring States period, were on silk. (Paper began to be manufactured only in the first century AD.) By the prime Tang (AD 740-70), figure painting was already well advanced. Mountains, rivers, flowers and birds served only as the background or embellishment of a painting: they developed into independent genres at a much later date. In time, however, landscape painting became the most important genre and numerous schools, theories and techniques relating to it evolved. The earliest extant Chinese landscape is Spring Excursion by Zhan Ziqian of the Sui (AD 581 -618), an artist who paid special attention to brushwork and used dots and lines as his principal method of expression. Today, many artists believe that a mastery of landscape painting makes it easier to learn figure and flower-and-bird painting because techniques learnt for the former can be used in the latter.", "label": "Yes"}
{"text": "I am excited to announce that 'Cottonwood Stand' has been accepted into the 2015 Wyoming Governor's Exhibition!\nAs I drove by this scene, I was captivated by the colors that were in the shadows and was immediately drawn into the location. It was completed on site, en plein air.\n‘Cottonwood Stand’ is painted in pastel. It is 21x22\".", "label": "Yes"}
{"text": "“I am drawn to subjects that inspire me to paint a “story”, and I encounter them everywhere. My process is guided by them, helping me to find the color palette, composition and medium that allows me to best tell their story. This is shown in the vibrant colors of my paintings while living in Mexico, the loose reference to early biological illustrations in my Beetle Series and the more muted, atmospheric feel to my steam locomotive works.”\nFor over forty years art has been my focus; as an illustrator, art teacher and fine artist. A BFA from the Art Center College of Design and an MA from California State University Los Angeles provided the rigorous training needed to succeed in the commercial art world and the opportunity to enjoy 3o years as a full-time art teacher at Pasadena City College.\nIn 2001 my wife Teresa and I moved to the central coast of California where I began creating more personal work, getting involved with local art associations and galleries, and teaching private classes and workshops.\nAlways open to new inspirations, in 2009, we moved to the enchanting town of San Miguel de Allende in the heart of Mexico. The paintings created while there reflect the color, light and vibrancy of the town and its people.\nIn 2015 we returned to the States where we landed in beautiful Ashland, Oregon. I’ve become involved with several art groups and am looking at opportunities for exhibiting and teaching.\nCropping and color are close approximations of actual artwork.\nPrices do not include shipping and handling charges.\nArtwork can be received at the gallery or shipped to your location.\nArt & Soul Gallery © All rights reserved", "label": "Yes"}
{"text": "D'Arcy Gallery has been developing the Fine Art Print Publishing side of the business for many years. The print collection has grown considerably during this time, new images by our favourite artists as well as new artists. The collection is available to view in the Print Gallery, biographies of each artist are found under Artists.\nNew images by our favourite Artists, as well as introducing works by new Artists are featured here. This is where you will find low numbers, possibly even Number 1 of the edition. Look out for new works by Ian Weatherhead featuring Rowing, Dressage, Cricket & The Lord Mayor’s Show.\nThe Montpellier Gallery in Cheltenham carries a large selection of artworks by all artists published by D’Arcy Gallery. They regularly hold Exhibitions, which often feature D’Arcy artists. For more information about the gallery and the artists visit The Montpellier Gallery", "label": "Yes"}
{"text": "Items Similar to 18th Century French School Portrait of a Man\n- Want more images or videos?Request additional images or videos from the seller\n1 of 2\n18th Century French School Portrait of a Man\nPortrait of a man France, late 18th-early 19th century oil on canvas Measures: H 41.5 in (105.5 cm).\nShipping & Returns\n- ShippingShips From: New York, NY\n- Return Policy\nA return for this item may be initiated within 3 days of delivery.\nAbout the Seller\nLocated in New York, NY\nNo Reviews Yet\nThese experienced sellers undergo a comprehensive evaluation by our team of in-house experts.\nEstablished in 2009\n1stDibs seller since 2016\n16 sales on 1stDibs\nTypical response time: 12 hours\nMore From This Seller\n- Located in New York, NYItalian eight-light chandelier with gilt iron S-scrolled arms joined by clear garlands accented by dropped cryst...Category\nAntique 18th Century Italian Chandeliers and PendantsMaterials\n- Located in New York, NYPair of French gilt bronze candlesticks three-light candleholder. France, 19th century.Category\nAntique 19th Century French Neoclassical CandlesticksMaterials\nYou May Also Like\nPortrait of a Lady Late 18th Century French Pastel\nLocated in Savannah, GA\nStunning pastel portrait representing a young Noble woman. Period gold gilt wooden frame with glass. It is signed *see second image, but we have not been able to identify the signatu...\nAntique 1770s French Louis XVI Paintings\nCanvas, Glass, Giltwood\n18th Century Portrait of a Gentleman Oil on Canvas\nLocated in Marseille, FR\n18th century portrait of a gentleman oil on canvas.\nAntique 18th Century French Louis XVI Paintings\n\"Piety\". Oil on Board. Italian School, 18th Century\nLocated in Madrid, ES\nThe work presented here is a devotional painting, especially for its small format, probably intended for a private altar. It represents with a scenographic sense and deep dramatism t...\nAntique 18th Century European Neoclassical Paintings\nPair of Still Life Painted in Gouache, Dutch School, 18th Century\nLocated in Saint-Ouen, FR\nPair of still life painted in gouache. Dutch School, 18th century Original frames.\nAntique 18th Century Dutch Paintings\nFrench 18th Century Oil on Canvas Floral Painting in the Dutch School Style\nLocated in Atlanta, GA\nA French oil on canvas still-life floral painting in the Dutch School style from the 18th century, in giltwood frame. Born in France during the Age of Enlightenment, this exquisite f...\nAntique 18th Century French Paintings\nCanvas, Giltwood, Paint\nAntique 19th Century Portrait of a Man Original Oil Painting\nLocated in West Hartford, CT\nOld original oil painting on board portrait of a man in a black jacket holding a book and seated on a red chair. Unsigned, circa mid-19th century and displayed in a gold gilt frame.\nAntique Mid-19th Century Paintings\n18th Century Italian Portrait of a Female Piano Player, Signed and Dated\nLocated in Stamford, CT\nLate 18th century neoclassical Italian oil painting of a woman playing piano. Inscribed on the reverse Teresa Manfredi, likely the daughter of the famous Lucca violinist and composer...\nAntique Late 18th Century Italian Neoclassical Paintings\n$4,680 Sale Price\nEnglish School Portrait of a Gentleman\nLocated in Woodbury, CT\nThis 18th century English School portrait of a gentleman attired in garb befitting an earl is a fine example of aristocratic portraiture, a subject that became increasingly popular d...\nAntique 18th Century British Queen Anne Paintings\nAntique 18th Century German Original Oil Painting Portrait of Two Young Boys\nLocated in Round Top, TX\nAntique 18th century original German oil on canvas portrait of two young boys in period clothing, one holding a bird on a string. The painting is unsigned and mounted in an antique g...\nAntique Early 18th Century German Paintings\nMid-19th Century Portrait Young Man Signed Esperandieu\nLocated in Marseille, FR\nMid-19th century portrait young man signed Esperandieu and dated 1843. Wooden frame and gold stucco. French school.\nAntique Mid-19th Century French Paintings", "label": "Yes"}
{"text": "Amanti Art Gustav Klimt \"The Virgins (Sleeping Women)\" Framed Print Art, 20.88\" x 17.62\"\nSupplies and Accessories\nAmanti Art 20.88\" x 17.62\" \"The Virgins (Sleeping Women)\" Framed print art by Gustav Klimt has 1 1/4\" distressed black with embossed gold inner lip frame and features dove/old gold mat.\nAmanti Art \"The Virgins (Sleeping Women)\" Framed print art by Gustav Klimt uses fade-resistant, long-lasting ink on dry mounted lithographic paper. Art made of durable gallery-quality acrylic glazing has hanging wire for easy furnishing.\nSize: 20.88\"(H) x 17.62\"(W) frame, 14.75\"(H) x 11.5\"(W) image\nMaterial: Wood and gallery quality acrylic\nTitle: \"The virgins (sleeping women)\"\nApplication: Commercial, indoor, residential\nFramed art subject: Renaissance, figures, romantic\nMat: Dove/old gold\nType: Framed print\nFrame thickness: 1 1/4\"\nStyle: Fine art\nCare instruction: Wipe the surface gently with a moist sponge or soft rag, dry with a soft and lint-free rag\nEvoking the byzantine luxuriance of form, Gustav Klimt was a master of conveying sensuality and mystery through decorative texture and tracery\nEthereal and striking the virgins - sleeping women framed print features multiple women wrapped in colorful blankets, it has an acrylic glazing to enhance its quality\nLong-lasting, fade resistant ink on high quality lithographic paper, ready to hang comes with a hanging wire for easy installation, paper is dry mounted to prevent rippling\nThis wall art features multiple women wrapped in colorful blankets\nCustom framed by designers, this piece features both frame and mat selections that have been hand chosen to enhance the artwork\nWould you like to give\non product content, images, or tell us about a lower price?", "label": "Yes"}
{"text": "Van Gogh began painting sunflowers after he left Holland for France in pursuit of creating an artistic community. The first sunflower paintings were created to decorate his friend Paul Gauguin's bedroom. He painted a total of twelve of these sunflower canvases. Seven of these were painted while in Arles in 1888 and 1889. The other five he had painted previously while in Paris in 1887. The Paris series show blossoms are laid casually on a surface in groups of two or four while in the Arles series, they are arranged in a large group in a case.\nVincent in a letter to his sister dated 21 August 1888 describes his friend Gauguin coming to live with him in his yellow house in Arles and that he intended to decorate the whole studio with nothing but sunflowers. Vincent took the sunflower as his own personal artistic signature, telling his brother Theo in a 1889 letter that \"the sunflower is mine.\"\n|Gauguin's The Painter of Sunflowers'|\nFor this and much more art, click on Pixels. Thank you.", "label": "Yes"}
{"text": "What Is Automotive Spray Paint? Different Types Of Automotive Spray Paint Guns.\nAutomotive spray paint is used on the vehicles for both decoration and protection. It is the most used spray paint because of less impact on the environment.\nThe automotive spray consists of color pigments. It uses the thinner to level the consistency. It usually has a binder that binds the thinner and pigment together.\nIf you want to change the look of your care, automotive spray paint is the perfect option.\nRemember to purchase a primer that helps in the smooth coloring of the vehicle. Furthermore, the inner coating of the primer helps the paint to stick well on the car.\nAfter the primer is added, a basecoat is applied which is the actual colored paint of the automobile and is on the top of the primer.\nAfter this, a clear coat of paint is applied which creates a transparent and glossy coating; this layer can withstand UV light.\nTypes of automotive spray paint guns\nHere are different types of spray paint guns:\nAirless Spray paint gun\nAirless paint sprayers use a lot of pressure to spray paint, pushing it through the head of the device in small drops. These drops have an equivalent pattern that flows smoothly to the work surface.\nWhen you’re dealing with an airless spray, it’s all about speed. The enormous pressure creates the rush of completing large-scale projects in a relatively short period.\nHVLP spray paint gun\nIt is a high volume low-pressure gun which is the opposite of an airless spray gun. Rather than using a lot of pressure, this system minimizes the pressure to produce higher volumes.\nIt is not a quick system and it was not made to be one. You probably won’t use it to paint a room, but you can use it to paint the automobiles, your furniture, or your cabinets as it is an accurate painting tool.\nA decent HVLP spray system gives a good finish on really fine looking projects. It is usually more affordable than airless spray systems.\nYou can find plenty of information about the top 10 HVLP automotive spray guns on this website.\nLVLP spray paint gun\nThese are the low-volume low-pressure spray guns that are very easy to use. They provide value with the quality to provide good looking paint projects at an affordable price.\nThese systems can paint large surfaces with great speed.\nCompressed air spray paint gun\nThis spray paint system usually requires a spray gun and an air compressor. It is a simple setup and easy to use for amateurs.\nGravity feed spray paint gun\nIt is much like the HVLP, which can produce a wide variety of different coats on the work surface. It is extremely precise and easy to clean up.\nProfessionals and skilled persons usually use HVLP and airless paint spray guns.\nEvery spray paint setup has three vital components:\n- A gun, which sprays the finish\n- A cup or pot, which holds the finish\n- A power system, which moves the finish through the gun and atomizes it at the air cap\nAutomotive spray paint guns provide many benefits over traditional painting:\n- Since a spray finish is built in thin layers, small smudges and scratches are not as obvious as with a brushed finish.\n- It can be sprayed on pieces of any size or shape rather than a brush or rag. Besides, the atomization of paint reduces drying time so you can sand projects in less time.\n- As the paint dries faster, dust particles have less time to settle on the finished piece.\n- The automotive spray gun is versatile and allows you to perform special techniques like shading or toning that are much harder to do by hand.\n- Almost any paint that can be applied with a brush can be replaced with a spray gun, but not all spray paints can be done with a brush.\n- Using a spray paint gun is not as hard to master as it may seem intimidating. You can reach mastery with a spray gun compared to a brush.\n- You can better control the application rate and thickness of the coat with a spray gun than with a brush or rag. With an air sprayer, you can adjust the air pressure and fluid flow to make sure you are applying light and coat the entire surface of the workpiece.\n- Spray guns make it easy to reach small areas or narrow corners that are difficult to reach with a brush.\n- One of the best reasons to invest in automotive spray paint guns is that they offer quality and consistency.\n- When properly set up and applied correctly, a spray paint gun system provides a smooth, top quality, and durable finish in a fraction of the time compared to a brush.\nSpray paint gun systems cover home use, industry use, car paints, and woodworking too, which means it can be used in a variety of applications.", "label": "Yes"}
{"text": "The question of ‘who was the first female artist recognized in art history’ is one that has been debated for many years. While it is difficult to definitively answer this question due to the fact that women have long been excluded from the mainstream narrative of art history, it is possible to identify some of the earliest known female artists.\nOne of the earliest known female artists was Sofonisba Anguissola, an Italian Renaissance painter who lived during the 16th century and was a contemporary of Michelangelo and Titian. Anguissola was born into a noble family in 1532, and received an excellent education in painting, music, languages, and philosophy. She was recognised and praised by several prominent artists of her time, including Michelangelo who declared her “the best [painter] among women” after seeing her work.\nAnother early female artist was Artemisia Gentileschi, an Italian Baroque painter who lived during the 17th century. Gentileschi was highly accomplished for her age, although she struggled to gain recognition due to barriers against women in the art world at that time. She gained fame after creating a series of paintings depicting famous women from mythology and literature; these works were admired for their vibrant colours and powerful compositions.\nIn the 18th century we see some other notable examples of early female artists such as Angelica Kauffman, a Swiss-born painter who moved to England where she gained recognition as a successful portraitist; Elisabeth Vigée Le Brun, a French Rococo painter whose works were admired by Marie Antoinette; and Marie-Denise Villers, a French Neoclassical painter whose work focused on intimate scenes featuring women as protagonists. All three of these artists achieved considerable success in their careers despite facing prejudice against female artists at the time.\nWhile it is impossible to definitively answer this question due to its complex nature, we can conclude that Sofonisba Anguissola was one of the earliest known female artists to be recognised in art history. Her success paved the way for other female artists such as Artemisia Gentileschi, Angelica Kauffman, Elisabeth Vigée Le Brun and Marie-Denise Villers who all achieved considerable success despite facing prejudice against them due to their gender.\nConclusion: It is difficult to definitively answer which woman was the first female artist recognized in art history due to centuries of exclusion from mainstream narratives about art history; however Sofonisba Anguissola stands out as one possible candidate for this title with her excellent education in painting and recognition by prominent figures such as Michelangelo at a time when it was unusual for women to pursue careers in art. Other noteworthy early female artists include Artemisia Gentileschi, Angelica Kauffman, Elisabeth Vigée Le Brun and Marie-Denise Villers who all achieved considerable success despite facing prejudice against them due to their gender.", "label": "Yes"}
{"text": "A street artist who claimed responsibility for the 'Banksy' mural in Nottingham has doubled down on his claim, despite the anonymous artist seemingly confirming it is his.\nBirmingham-based Itchers - who also goes by the name 'Hers' - came out to claim the artwork on Friday (October 16) after days of speculation surrounding its source.\nHowever, just hours after Itchers claimed the mural - painted on a wall in Rothesay Avenue - world-renowned artist Banksy shared an image of the artwork on his official Instagram page.\nMany now believe this is Banksy officially confirming the mural as his own - as this is Banksy's usual method of confirmation - with onlookers flocking to the site\nlink source - Nottingham Post", "label": "Yes"}
{"text": "Chagall, Marc, Le Ciel Bleu, Paris (The Blue Sky of Paris), 1964\nSigned Marc Chagall, Lithograph, Le Ciel Bleu, Paris (The Blue Sky of Paris), 1964\n|Artist:||Chagall, Marc (1887 - 1985)|\n|Title:||Le Ciel Bleu, Paris (The Blue Sky of Paris), 1964|\nOriginal Color Lithograph\n|Image Size:||26 1/2 in 20 5/8 in (67.5 cm x 52.4 cm)|\n|Sheet Size:||30 1/4 in x 22 3/8 in (76.8 cm x 56.8 cm)|\n|Framed Size:||42 in x 35 in (106.7 cm x 88.9 m)|\n|Signed:||This work is hand signed by Marc Chagall (Vitebsk, 1887|\n|Edition:||Numbered 65/90 in pencil in the lower left margin.|\n|Condition:||This work is in excellent condition, rich and vibrant color, particularly in the orange and green, that remain bold and fresh.|\n|Gallery Price: |\n|Sorry, this item is sold. Please visit the rest of our Chagall fine art collection|\nFull of richly deep hues in complimentary tones, this work illustrates the artist's use of dreamlike imagery depicting the Parisian landscape from a \"blue sky\" view. Evoking a sense of quietude and beauty, Chagall entices the viewer through the use of symbolic elements and a lyrical use of form.\nCreated in 1964, this original color lithograph was created for the Chagall Exhibition at the Maeght Gallery. Published by Maeght, this piece is printed on BFK Rives paper, has a full watermark, and is numbered 65/90 in pencil the lower left. The work is hand signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil in the lower right margin.\nIn Chagall's whimsical and romantic style, he merges several separate images into one well-balanced and dynamic composition. This particular piece is comprised of a vibrant orange head, a cheery yellow bird profile, a delicate floral bouquet, and select landmarks from Paris-which include the Eiffel Tour, Notre Dame, and the Seine River, among others. Just as the yellow bird at the center of the print gazes over all of Paris, we enjoy a panoramic view of the city. The rich blue sky, or \"Le Ciel Bleu\" is delightfully executed in a jewel tone blue that ranges from green to grey to a pale blue. These colors merge into an expressive amalgam that is very rich, and best appreciated in person. In fact, this particular work possesses so many tonal subtleties, that a photograph cannot truly capture the color density and variation. It should be viewed in person.\nDOCUMENTATION / COA: The print is fully documented and referenced in (copies\nwill be enclosed as added documentation with the invoices that I will enclose\nwith the sale of the work):\n|Style:||20th Century Modern Master, Lovers, French and Russian|\nAbout Us: Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »\nDo you own a similar Chagall to sell? We offer free evaluations.\nBiography of Marc Chagall\nMarc Chagall was born July 7, 1887, in Vitebsk, Russia. From 1907 to 1910, he studied in Saint Petersburg, at the Imperial Society for the Protection of the Arts and later with Léon Bakst. In 1910, he moved to Paris, where he associated with Guillaume Apollinaire and Robert Delaunay and encountered Fauvism and Cubism. He participated in the Salon des Indépendants and the Salon d'Automne in 1912. His first solo show was held in 1914 at Der Sturm gallery in Berlin.\nChagall visited Russia in 1914, and was prevented from returning to Paris by the outbreak of war. He settled in Vitebsk, where he was appointed Commissar for Art in 1918. He founded the Vitebsk Popular Art School and directed it until disagreements with the Suprematists resulted in his resignation in 1920. He moved to Moscow and executed his first stage designs for the State Jewish Chamber Theater there. After a sojourn in Berlin, Chagall returned to Paris in 1923 and met Ambroise Vollard. His first retrospective took place in 1924 at the Galerie Barbazanges-Hodebert, Paris. During the 1930s, he traveled to Palestine, the Netherlands, Spain, Poland, and Italy. In 1933, the Kunsthalle Basel held a major retrospective of his work.\nDuring World War II, Chagall fled to the United States. The Museum of Modern Art, New York, gave him a retrospective in 1946. He settled permanently in France in 1948 and exhibited in Paris, Amsterdam, and London. During 1951, he visited Israel and executed his first sculptures. The following year, the artist traveled in Greece and Italy. During the 1960s, Chagall continued to travel widely, often in association with large-scale commissions he received. Among these were windows for the synagogue of the Hadassah-Hebrew University Medical Center, Jerusalem, installed in 1962; a ceiling for the Paris Opéra, installed in 1964; a window for the United Nations building, New York, installed in 1964; murals for the Metropolitan Opera House, New York, installed in 1967; and windows for the cathedral in Metz, France, installed in 1968. An exhibition of the artist's work from 1967 to 1977 was held at the Musée du Louvre, Paris, in 1977-78, and a major retrospective was held at the Philadelphia Museum of Art in 1985. During his lifetime he also created popular lithographs, such as Maternity. Chagall died March 28, 1985, in Saint-Paul-de-Vence, France.\n\"When Matisse dies,\" Pablo Picasso remarked, \"Chagall will be the only painter left who understands what color really is.\" Picasso claimed he was not a fan of the \"flying violins and all the folklore, but his canvases are really painted, not just thrown together.\" He followed up by saying, \"There's never been anybody since Renoir who has the feeling for light that Chagall has.\"\nThe Haggerty Museum describes The Bible Chagall prints as showing \"Chagall's fluid forms, dreamlike sense of space and unique style. In his choice of subject matter, Chagall reveals his reading of the Old Testament in its moments of triumph, sorrow, and prophecy.\"", "label": "Yes"}
{"text": "Drawing and painting, to create a mindful path through my days.\nTuesday, August 21, 2012\nnever quite right\nNose just a bit too big, forehead not that far back. The ear looks almost right.\nBut I keep trying, in spite of the moving model.\nPencil in the lined PaperBlanks journal.\nNita Van Zandt\nPost a Comment\nPost Comments (Atom)", "label": "Yes"}
{"text": "It began with a free-hand sketch in my notebook (A5). I then realized I would like to transfer this composition to an A3 watercolor paper to paint it properly, so I created a full size tracing sketch, and transferred the drawing onto an A3 watercolor paper with an HB pencil using a light box.\nYou may also like\nSmall drawings and paintings of 2019!\nComputer Arts cover design illustration\nHousemates - a Procreate illustration\nThe Invitation - iPad & Apple pencil\nThe Characters of Reykjavik\nRemarkable Women - character design project\nSmall Drawings and Paintings 2017\nArt Snacks - a new juicy set for NeonMob", "label": "Yes"}
{"text": "|6x6 unframed oil on gessobord|\nNot for Sale YET\nClick here to go to my website\nFor days I walked by this gorgeous pot of geraniums and knew it had to be painted. I waited until the sun was just where I wanted it to create a most pleasing shadow. The complementary colors of red and green always make for a vibrant, happy painting. I love to paint in the impressionistic style using color to enliven the subject while paint strokes in the background direct the eye.\nThis painting is not for sale at this time as I plan to enter it into Randy Higbee's Small Painting Show. I hope it gets hung in his gallery where it will be for sale.", "label": "Yes"}
{"text": "Red, White and Blue without You\nI think the title says it all for this little painting.\nThis is an original gouache painting on watercolor. It is 5 x 5\". It is sold without matte or frame. This piece will require matting and framing to protect the painted surface.", "label": "Yes"}
{"text": "This has been sold.\nThis beautiful, small pine hutch dresser has been given a complete makeover with layers of blue wax. With lots of moody blues, we have added a touch of gold to add some glam.\nThis small hutch would be the perfect way to bring some colour into a room!\nWe painted a base coat of Royal Navy Chalk Paint using our large Staalmeester round brush to create a bit of texture and full coverage.\nOnce we had full coverage of the Royal Navy, we then started layering our coloured waxes. Firstly we used Country Mustard and Sangria in spots where we wanted some extra colour, wiping off the excess as we went. We then layered Obsidian wax over the entire piece. We then went back and added more blues - Royal Navy, Ocean Trench and Deep Sapphire - in spots to tone down the Country Mustard wax and to create more depth, wiping off the excess as we went until we were happy.\nOnce we were happy with our finish we added some gold gilding wax to the edges which added some warmth and tied the handle into the overall colour scheme.\nThis was originally painted in Vintro paints but we have updated the colours below for The Artisan Company premium paint range.", "label": "Yes"}
{"text": "Introducing 'Deep Waves', an original acrylic painting by Joyce from her latest series 'Galaxy'. This piece showcases the mesmerizing beauty of waves with the use of gold, white, and black colors in an abstract form. Joyce's unique painting technique involves pouring and manipulating the paint on the canvas resulting in a stunning and unpredictable outcome. 'Deep Waves' is a perfect addition to any art collector's gallery and will surely captivate the attention of any viewer.\n- 14\" X 14\" x 0.8\"\n- Acrylic on Canvas\n- Ready to Hang\n- FREE SHIPPING - Canada and the U.S.", "label": "Yes"}
{"text": "- How is primer different from paint?\n- Does paint and primer in one really work?\n- Can u use white paint instead of primer?\n- What happens if you mix primer with paint?\n- Is Primer the same as white paint?\n- Do I need primer to repaint a wall?\n- What color primer should I use for white paint?\n- What is the best paint and primer in one?\n- How many coats of paint do you need after primer?\n- Can you use flat white paint as a primer?\n- What happens if you don’t use primer before painting?\n- Can I paint over paint without primer?\n- What can I use instead of primer paint?\n- How long can you leave primer unpainted?\nHow is primer different from paint?\nThe basic difference between paint and primer is that paint is typically made up of resins pigments whereas primers are resins.\nThe primer’s basic function is to provide a sealed and stable surface for your topcoat (paint) and the resins contained in primers seal porous surfaces and provide that bond to the surface..\nDoes paint and primer in one really work?\nPaint and primer have two different, distinct functions and many times work best as two separate products. Paint provides color, hiding, sheen, scrub resistance and protection against the elements. … Regular paint and primer in one products would not adhere to slick surfaces without a specialty primer.\nCan u use white paint instead of primer?\nPaint shouldn’t be used as a primer. Primers are specifically made for adhesion and sealing.\nWhat happens if you mix primer with paint?\n2-in-1 paint and primers These products have received mixed reviews, in part because paint and primer cannot be mixed together in the same can. Chemically, this is just not feasible. Instead, manufacturers create high-quality, very thick paint that acts as both a primer and paint, so long as you use two coats.\nIs Primer the same as white paint?\nHow is it different from, say, white paint? “Paint and primers are formulated differently. While they often contain similar raw materials as paint (i.e., binder, pigments and additives), the proportion and types of these materials are different.”\nDo I need primer to repaint a wall?\nApply primer before painting the walls. A primer is essential if you want to go from dark walls to light or white walls. Many brands offer paint and primer in one.\nWhat color primer should I use for white paint?\nRed and white will be fine with either buff or gray primer. under white I would use either buff or a light gray. If you use a white primer you will not be able to see when you have full hiding or coverage.\nWhat is the best paint and primer in one?\nTop 5 Best One Coat Paint And PrimersGlidden Interior Paint + Primer (Top Pick)PRESTIGE Interior Paint and Primer in One (Best Budget)KILZ Tribute Interior Paint + Primer In One (Best High End)HGTV Home Sherwin Williams Showcase.The Spruce Best Home by KILZ Interior Semi-Gloss Paint & Primer\nHow many coats of paint do you need after primer?\ntwo coatsGenerally, one to two coats of primer will suffice for painting interior walls, but how many you’ll need depends on the wall material, the paint color, and the type of primer used. Keep reading for the magic number of primer coats for all types of interior painting projects.\nCan you use flat white paint as a primer?\nA flat paint can be used as your primer. Flat white paint would hide an underlying colour better than a lot of primers, but I really don’t see that it would hide tape seams and drywall flaws any better.\nWhat happens if you don’t use primer before painting?\nBecause it has a glue-like base, drywall primer helps the paint adhere properly. If you skip priming, you risk peeling paint, especially in humid conditions. Moreover, the lack of adhesion could make cleaning more difficult months after the paint has dried.\nCan I paint over paint without primer?\nIf you’re painting over a wall with a paint that is close to the previous color, then in general, you don’t need to prime existing paint. To prepare for repainting: … You might want to sand and reprime the whole wall to avoid a patchy look. Repaint the wall with at least two coats of your new color.\nWhat can I use instead of primer paint?\nWhat Can I Substitute for Paint Primer on Dry Wall?Prepping the Drywall. Before applying any paint to the drywall, clear away any joint compound. … Latex Paint. Latex paint may act as a suitable replacement for primer on drywall. … Other Paints. Croft recommends using a flat finish or satin paint that contains no gloss and has a dull finish. … Drywall Conditioner.\nHow long can you leave primer unpainted?\n30 daysThis all depends on what type of primer you choose to use. Most standard latex wall paint primers can sit on a wall, unfinished, for a maximum of 30 days before you need another coat to work with them. Oil-based primers can last as long as 14 days before a repaint.", "label": "Yes"}
{"text": "Thursday, October 29, 2015\nRose of Sharon by Ann McCann 9 x 12 Oil\nThere was a beautiful flowering Rose of Sharon in CT last August. This white bush was up against a red brick wall. In this painting, the blue shadows pop against the red/orange complement of the brick.\n9 X 12\" oil on Raymar linen panel", "label": "Yes"}
{"text": "Raúl Martínez (Cuban, 1927-1995), \"Che Guevara\"-1968, silkscreen in colors, signed and dated in print lower right, ink signed lower right \"RMartínez\". Figural abstracted pop print depicting Argentine Marxist revolutionary, military theorist and guerrilla leader Che Guevara (Argentine, 1928-1967) in his iconic beret with star, from Guevara's head five incrementally larger stars rise towards an abstracted depiction of the globe. Framed approximately 33\" x 17\". Sight approximately 31\" x 15\". Note: Che Guevara was a major figure of the Cuban Revolution.\nAhlers & Ogletree Auction Gallery", "label": "Yes"}
{"text": "Posts about judith beheading holofernes written by jane513155 this is an article i discovered when researching the differences between the 1612 and 1620 portray of judith and holofernes by artemisia gentileschi. Artemisia gentileschi is one of the greatest painters of the baroque era she was the first female painter to receive recognition in a male dominated century of great artists artemisia was a talented and rare artist whose work was well ahead of her time, she managed to make a strong impact with her astounding work despite facing strong. Buy 100% hand-painted jan vermeer oil painting reproductions from china's largest oil painting supplier, wholesale price, money back guarantee.\nArtemisia gentileschi's work was influenced by her work with her father, orazi gentileschi, a fresco painter, as well as the work of caravaggio caravaggio's influence can be seen in her use of tenebrism, lighting, and naturalism in judith and her maidservant with the head of holofernes (195. Artemisia gentileschi, self-portrait as the allegory of painting (c 1638–39) jan vermeer, the art of painting (c 1666): painting is shown as related to history and politics, the young woman being clio, the muse of history, and other symbols for the political and religious division of the netherlands appearing. Art art details details eyes eyes in art da vinci van gogh picasso vermeer schiele artessenziale art comparison 34,089 notes reblog 3 jean-michel basquiat artemisia gentileschi giuditta che decapita oloferne (1612-1613), museo nazionale di capodimonte, napoli art lips art details leonardo da vinci da vinci leonardo vermeer jan.\nSusan vreeland fairly faithfully follows and recounts the real events in the life of 17th century italian baroque painter artemisia gentileschi lomi passionate about her art, she fought for acceptance in the artistic community and was the first woman to become a member of the accademia di arte del. Artemisia gentileschi (1593-1653) the italian painter artemisia gentileschi was born in 1593 to prudenzia montoni and orazio gentileschi orazio was a successful painter who taught artemisia how. Definition: what a comparison of paintings by jan vermeer and artemisia gentileschi is one of the baroque's analysis of the outliers by malcolm gladwell most inspiring religious an analysis of the issues of children in houston schools paintings ever created the apotheosis of st ignatius (1694) san the difference of north and south korea a brief analysis ignazio, rome, by pozzo.\nWhich dutch artist is known for the numerous and naturalistically rendered self-portraits he painted throughout the course of his life jan vermeer rembrandt van rijn. Artist: artemisia gentileschi (-) available as custom fine art print on canvas or handpainted oil choose between canvas print or hand made paper. This is the end of the preview sign up to access the rest of the document unformatted text preview: judith decapitating holofernes, 1620 artemisia gentileschi, judith and her maidservant, 1613-14 artemisia gentileschi, esther before ahasuerus, 1620 baroque ceiling painting baciccio, triumph of the. Artemisia gentileschi | 1593-1652 artemisia gentileschi was a artist in renaissance times she was born on july 8th 1593, in rome, italy her father, orazio gentileschi, had three children artemisia and her two brothers.\nBaroque art 1 baroque art the artists• gianlorenzo bernini• caravaggio• artemisia gentileschi• francesco borromini• diego velazquez• peter paul rubens• rembrandt van rijn• jan vermeer• nicolas poussin jan vermeer• typifies the dutch interest in painting scenes from daily life. Artemisia gentileschi (july 8, 1593 - ca 1656) was an italian early baroque painter, today considered one of the most accomplished painters in the generation influenced by caravaggio. Artemisia gentileschi jan vermeer (1632-1675) compare donatello’s david and michelangelo’s david with that of bernini what cultural and/or historical statements can be made about each of the david sculptures if they are viewed as “signs of their times” why would.\nEven though servants and kitchen maids were recurring characters in 17th century dutch genre paintings, jan vermeer’s the milkmaid is a unique example, in which the kitchen maid is the subject of a single figure portrait the milkmaid is fully absorbed in her activity, carefully pouring the milk. Jan vermeer intro draft final 5 art 1020 research paper 7_oilpaintings an examination of artemisia gentileschi’s susanna and the elders art history 12 9508 this painting was done by artemisia gentileschi who was a female italian artist and followed the work of caravaggio artemisia wanted to be a history painter, one who paints. Other historical events, and two particular painters of the baroque technique are michelangelo da caravaggio and artemisia gentileschi, both masters at the use of chiaroscuro (from the italian words chiaro, meaning bright, and scuro, meaning dark), which is a painting technique that uses dark and light in dramatic ways in paintings and. The girl in this painting is believed to be vermeer's oldest daughter her facial features appear in several of vermeer's works but his various techniques on his subject make it difficult to compare the female faces in his paintings, as the woman are portrayed in different lighting conditions and poses.", "label": "Yes"}
{"text": "One thing you can depend upon in this life is that you'll see your fair share of amazing sunsets. You know the ones--blazing clouds of gold and pink exploding across a deep blue sky, the shafts of pure light turning the trees to flaming torches.\nI share my view of a summer sunset that fired up the sky above my home on Bowen Island in the The Beach at Twilight. Check out the arbutus trees to the left--they really do glow bright red when the setting sun catches them.\nThe Beach at Twilight was exhibited in two solo exhibitions, Island Passages at the Gallery @ Artisan Square on Bowen Island and in Out of the Woods at the Evergreen Cultural Centre in Coquitlam, BC.\nAcrylic on canvas, 54\" x 64\". Unframed with painted edges. Signed and dated on the back and wired for hanging. Shipped in a crate with a Certificate of Authenticity.", "label": "Yes"}
{"text": "Awesome Grey Colour Schemes Including Charming London Living Room Inspirations Pictures\nAwesome grey colour schemes including charming london living room inspirations pictures are perfect with grey colour schemes for living trends and charming pictures color bathrooms rooms kitchens gray including fabulous. Here are several benefits and can nonetheless be an incredible idea.\nGallery of Grey Colour Schemes\n6 directory of grey colour schemes right here to improve your comprehensive the mission comfortably.\n3 Rooms House\nRoom Divider Ideas For\nBacksplash Ideas For A White\nKitchen Living Room Separation\n\"Back to Post\"\nJun 02, 2018 by Aliza Monique\n#gray color schemes for fellowship hall #grey colour names #grey colour chart #grey color schemes for kitchens #gray color schemes for living rooms", "label": "Yes"}
{"text": "Related Category (2)\n... ent. We can produce paintings from customer's photos. 6) Quality guarantee: Our artists, who are skillful in paintings, have more than 10 years experience. All the paintings will be inspec ... Keyword : abstract oil painting | group oil painting | flower paintings | wall oil painting | decorative oil painting\n... 0% handmade art oil paintings 2.Environment protected material 3. Various styles and sizes are available 3.Customer design are welcomed 4.Competitve price 5.Assure you the best service all th ... Keyword : oil painting | panel painting | still life painting | art series painting\n... t quality control system. 6. On-time delivery worldwide. 7. No MOQ order quantity, customer size is accepted. 8. Good packing to protect the paintings. 9. Continuously fresh oil painting provided.Keyword : Modern oil painting | Decorative oil painting | Group art oil painting | handmade oil painting\nCategory: Hanging Picture Frames\nhand painted oil on canvas. Good quality and competitive price. worldwide shipping is available.\n100% hand painted canvas oil paintings； Various sized and patterns for selection; Customized designs available. OEM service offered as well; High quality and vivid colors with skillful strokes Keyword : handmade oil painting | abstract oil painting | canvas oil painting | Flower oil painting | commercial oil painting\n... f 100% handmade oil paintings is supplied. The images of your own designs are welcome here too. 3. The direct price with good quality is offered. We assure you the best service at all times. 4. P ... Keyword : oil painting for sale | wholesale oil painting | canvas oil painting | art painting | painting from photos\n... e delivery. Our oil paintings have been exported to more than 20 countries. 3) Different sizes and designs of oil painting available according to clients' requirements. 4) Custom order and no minimu ... Keyword : oil painting | modern art painting | decorative painting | portrait painting | abstract oil painting\nChinoiserie Collection is a beautiful series of hand-painted wallpaper designs based on classical Chinese themes including floral and nature scenes which were traditionally used on screens and other d ...\nCategory: Titanium Dioxide\nTitanium dioxide anatase A101 is high quality anatase tio2, equivalent to Cosmo KA100 with excellent whiteness. Keyword : Anatase TiO2 for interior-wall Paintings | titanium dioxide for paint | titanium dioxide for paint\nCategory: Arts and Crafts of Wood/Bamboo/Rattan\nlacquer paintings on wooden board and other materials like silver leaf, which is used below the layers of colours to create an effect of immense luster. These painting is very durable. The board is ...Keyword : paintings | painting\n1）100% handmade by professional interior ornamental artists who experience in the field many years. 2)material: oil paint on linen canvas, fir stretching bar,MDF(medium density fiberboard) board. ...Keyword : decorative painting | handmade oil painting | canvas painting\nIntroduction about product 1.Children painting on canvas, looks very beautiful 2.Painting with low price and high quality, Advantage: 1.best favorable price and high quality. 2.Design:attractive, ...Keyword : oil painting | painting | children painting\n100% handmade animal oil painting, accurate sketching, beautiful brushstrokes, full details; ready for hanging on the wall , the latest popular art for wall decoration at home or in hotel, even popula ...\n1.varies sizes and designs are avalible 2.suitable for oil painting 3.health for children 4.100%hand made oil painting on natural canvasKeyword : paint colors | painting colors | color painting | color field painting\nFramed oil painting 1)45cmx50cm 2)picture printed on canvas 3)customized sizes&design are accep 4) promote delivery time Keyword : oil painting | painting | art painting\nPackson normal color spray paint is of incredibly high coverage spray paints, based on modern high-solids, low-solvent technology which is non-yellowing, long-lasting, light-resistant, quick-drying, a ...Keyword : spray paint | aerosol paint | aerosol spray paint | paint | acrylic paint\n1) 100% handmade oil painting on linen canvas. 2) Customized design,various subjects,styles and sizes are all welcome. 3) Skilled artists with 10-20 years full time work experience. 4) Profe ...Keyword : oil painting | painting | abstract painting\nThe Four Beautiesare are the most beautiful women of ancient China. Xi Shi (c. seventh to sixth century BC, Spring and Autumn Period), said to be \"so beautiful as to make swimming fish sink\" Wang Z ...Keyword : Chinese women painting | Chinese silk painting | silk painting | famous painting\nOpaque and water soluable, washable, non-toxicKeyword : paint\nNo paint, No tools, No sticky paste necessary *Very quick and easy to use. Just peel and stick. *Install Area: The decals can be applied on all smooth surfaces. Such as Doors, Windows, Closets, Plas ...", "label": "Yes"}
{"text": "FC: The Artist of His Time: Masaccio By: Will Brandon\n1: I was once that which you are, and what I am you will also be. Masaccio, \"The Holy Trinity\"\n2: Once upon a time...... Florence, Italy\n3: A boy named Tommaso Cassai, now known as Masaccio, was born in San Giovanni Valdarno near Florence on December 21, 1401. This boy was destined to become the artist of his time, the Renaissance.\n4: Everyday he would go to the cliff by his home that sat above the town and think to himself. His name Tommaso means \"Big Tom\" and he received Massacio as a nick name on Friday from a small boy in town because he didn't care about anything. From that day, Tommaso Cassai was known as Masaccio, destined to be the artist of his time.\n5: Five year old Masaccio was coming back from the cliff one day, and when he came in his mother was on her knees crying. He ran to his mother's side and asked and asked her what was wrong, but she could not answer.\n6: Masaccio walked to his father's room and saw him lying silent on the rugged bed. He was too young to realize and understand what had happened.\n7: When Masaccio turned twenty years old, he joined a painters guild in Florence. The guild helped his drawings evolve.\n8: Every chance he got he would study Giotto's, Donatello's, and Brunelleschi's paintings, sculptures, and buildings. They became his inspirations which you could see in his paintings and drawings.\n9: Donatello's statue of David after he defeated Goliath the giant.\n11: One day he decided to paint his very first painting. He called it The Madonna with St. Anne. It took Big Tom weeks and weeks to perfect his first painting. Finally, the day had come to put the very last detail into his painting. Masaccio gently bushed the shade of black across the face of the little child. He stated, “Donatello's paintings influenced the way he painted the faces of the people with the textures of the faces.”\n12: Masaccio's famous style of painting in the Brancacci Chapel brought light to the paintings from the stained glass windows. His technique made the paintings seem almost like real people and objects. Unlike other painters, Masaccio focused more on simplicity and unity rather than details and ornamentation. He used a three-dimensional illusion in his paintings more than the flat surface paintings.\n13: The Brancacci Chapel With some of the paintings of Masaccio.\n14: Later on Masaccio was asked to paint the Brancacci Chapel with some others. This was the opportunity he had been waiting for.\n16: Many months the brilliant artists spent sketching, shading, and painting in the Chapel.He used care with every brush stroke he did. “My favorite painting in the Chapel was the Expulsion from Eden. It showed my religious side and I put a lot of care into it.” Masaccio said.\n17: Masaccio's painting The Expulsion of Eden.\n18: The artists put every ounce of their time into the design of the Brancacci Chapel. The whole design process of the Chapel took around a year to finish.\n19: Masolino, one of the artists, died before he could finish the Chapel at age twenty-nine. Filippino Lippi finished portions of the Chapel later in place of him.\n20: Masaccio became sick one day and died. Many people found inspiration from his paintings found in museums and the Chapel. His style of painting can be found used still in paintings today.\n21: He was the first artists, since Giotto, to paint a human figure as a real human being.", "label": "Yes"}
{"text": "Landscape painter Giovanni Antonio Canal was so skilled at his craft that English patrons pleaded with him to relocate to their country to create the same eloquent and accurate portraits of their homeland as he had of his own.\nHe had trained under his own father, and then traveled to Rome to study ruins and the landscape. When he returned to Venice he worked at capturing every mood and scene of the city; accomplishing excellent results with both his painting and etching. Many travelers would seek out one of his works to bring home with them - Canal's small \"veduta\" paintings were the precursor of well-made picture postcards.\nThroughout his career his primary patrons were English collectors, including members of the royal family as well as politicians and aristocrats. Many of them pressured him to travel to England and paint the scenes and landscape of the country. Canal relocated to London in 1746, and would remain in Great Britain until 1755. During this time his work lost a bit of the brilliance he attained in his Venetian works. Some attribute this to his skills as a draughtsman simply recording the architecture of the great houses, while others attribute it to the English climate which was so dramatically different from his own native country.\nHe returned home in 1755 and immediately began painting more Venetian scenes. He was elected to the Venice Academy at the age of sixty-six, and continued to work for the rest of his life. Though Canal was noted for his realistic depictions of the scenery and landscape, he was also remarkable for his ability to capture the atmosphere of his subject, especially the colors and sparkling lights of Venice.\nSome of his small (miniature) veduta are in the collection of the Metropolitan Museum of Art in New York.", "label": "Yes"}
{"text": "Featured Artist : Jeanette Kuvin Oren\nArtist Bio / Statement\nI love seeing the featured artists on your website, and I hope you will consider my work too.\nI am a self-taught artist of Judaica whose work is commissioned by synagogues, community centers, schools, and families throughout the US, Canada, and Israel. I have been making Judaic fiber art for 15 years. My love for silk-painting began when I began dyeing habotai silks to back my hand-cut papercut art. I became familiar with Jacquard Red Label dyes and steam setting. A love of fiber, sewing, painting, and dyeing led to my making commissioned fabric art: Torah covers (to dress the scrolls), Ark curtains, Wall-hangings, and Chuppahs (marriage canopies). I experiment with techniques for dyeing various textures of silk (dupioni and velvets, in particular). I use gutta resist on delicate floral designs, but most of my dyeing is free-form “scrunching” and painting “watercolor-like” gradations of color on stretched silk. I love teaching children to paint silk. They especially enjoy watching the dye spread within the gutta lines they’ve drawn. I embellish their painted silk to create quilted wall-hangings and Torah covers.\nJeanette Kuvin Oren", "label": "Yes"}
{"text": "attry Mikhail Pelopidovich\n(Odessa, Ukraine 1875 - Paris 1941)\nPainter, graphic artist, ceramist. Ayvazovsky's grandson, his first impression of art was derived from his grandfather's painting. Studied at Petersburg Academy of Arts since 1896 until 1902, and the class of landscape painting under Kuindzhi A.I. Then at school of arts in Munich under Holloshi and Ferri-Shchmidt. Since 1902 participated in the Spring exhibitions of Petersburg Academy of Arts and Viennese Secession, since 1912 -a participant of exhibitions, conducted at \"World of Art” association in St. Petersburg, Moscow, Kiev. Was one of the founders of Artists new society in Petersburg. In the beginning of 1900-th became a manager of Feodosia picture gallery. In 1920 he moved to Greece and worked for the Athenian plant \"Keramikos\". Since 1924 lived in Paris, devoted himself to applied and decorative arts and painting. In 1935 in Rheims was conducted his exhibition of personal collection. Lattry's early works were much influenced by Ayvazovsky I.\" Painting. M.P. Lattry’s best works are devoted to Crimea, including, architectural and sea landscapes.", "label": "Yes"}
{"text": "Diamond painting is a new and unique way to create stunning pieces of art. It involves painting with tiny diamond-like facets that catch the light and create a dazzling effect. This type of painting is perfect for creating beautiful and lifelike animals.\nThe best part about diamond painting is that it is a very easy and forgiving medium. Even if you are a beginner, you can create amazing pieces of art with just a little bit of practice. All you need is a canvas, some diamond painting supplies, and a little bit of patience.\nYou can start with the outline of the animal, or you can start in the middle and work your way out. I like to start with the eyes, because they are the most important part of the animal. Once you have the eyes done, you can start adding the other features.\nWhen you are finished, you will have a beautiful and unique piece of art that you can proud to display on your wall.\nIf you want a picture in the shape of your pet, you can visit the page dedicated to custom diamond paintings.", "label": "Yes"}
{"text": "Jack Bush, Big A, 1968. Jack Bush was a Canadian abstract expressionist painter, born in Toronto, Ontario in 1909. Bush became closely tied to the two movements that grew out of the efforts of the abstract expressionists: Color Field Painting and Lyrical Abstraction.\nDorothea Rockburne - \"The Robe series: The Discourse\", 1976. (She started, in college, with painting visual solutions to geometry equations. Most of her art works since have been expressions of mathmatics concepts.)", "label": "Yes"}
{"text": "“Infinite Power” (Stretched Canvas 30″x36″)\n• This painting is made on a stretched canvas (Without Frame).\n• Each painting is signed & comes with extra mini prints with a personalised hand written letter.\n• International shipping will cost extra 14$.\n• Thank you so much!\nCategory: Original Paintings", "label": "Yes"}
{"text": "Laser cut jewelry inspired by geometry and color\nAbstract Painting Collection\nA painter for over 15 years, I create large abstract paintings on birch wood. These paintings, which are inspired by the ocean, are then laser cut into jewelry. No two pieces are ever alike.\nLaser cut wood jewelry\nAbstract Paintings Collection\nAbstract Paintings Collection Photos", "label": "Yes"}
{"text": "Zartist Studio - Art & Painting by Sheila Eastman\nPhoenix Arizona Artist, Sheila Eastman, specializes in Hand Painted Wall & Canvas Murals, Faux Paint & Plaster Finishes, Cabinets, and Fine Art. http://www.zartiststudio.com/\nContemporary Italian Artist: works gallery of papiers Froiss้s, limited edition of etchings, drypoint, aquatint, essay of important art critics, public collections, watercolours, links and more.\nGallery of landscape art by Cornwall UK artist Valerie Mainwaring, a member of the Association of British Naive Artists.", "label": "Yes"}
{"text": "Living Room, Orange Living Room Ideas Cozy Comfortable Living Room Paint Color Schemes Living Room Colors With Accent Wall: Great Living Room Color Ideas\nPublished at September 23rd, 2016 15:17:30 PM by admin\nLabelled as bedroom color area of interest and Tan Paint Colors for a Living Room discussion with Neutral Living Room Paint Colors subject, living room color scheme object, living room colors grey topic, Paintings for Living Room object and Living Room, So don't forget to check out the main article in Great Living Room Color Ideas\n© 2018 Doit-estonia. Reproduction without explicit permission is prohibited. All Rights Reserved.", "label": "Yes"}
{"text": "Artist Nylon Angular Stroke Brush\nSize: 10 mm x 10mm x 180 mm\nPack of 6's\n* 1/4 inch Black Nylon Quality\n* Ergonomic grip and black handle ensuring comfort for prolong use.\n* Tips made from nylon, suitable for use in stroke technique for water color, oil or acrylic painting.\n* Light and balanced- enhancing your drawing pleasure.\n* This brush can be used on drawing paper and canvas", "label": "Yes"}
{"text": "2010 CoCA Marathon inside the Globe Bookstore building\nIt was a very interesting experiences, having to create 5 paintings in 24 hours straight. These pictures were taken from my little corner but they were a great deal of excitement all around the building and so many talented artists. We had countless visitors through the night and the 5 paintings were bought during the auction. I was lucky to have Tracy Boyd and Craig van den Bosh as boots neighbors. Thanks to CoCA for this terrific event and to my friends for bringing me coffee!", "label": "Yes"}
{"text": "The latest program offered by the Merrillville Community Planetarium will explore the life and work of artist Vincent Van Gogh and how he was influenced by the stars.\n“Van Gogh was inspired by the night sky, and it was reflected in his art,” said planetarium director Gregg Williams. “The program focuses on his life, his work and how he incorporated the night sky into some of his paintings.”\nThe program, which runs on weekends starting today and continues through Jan. 26, is part of the public series offered by Merrillville Community Planetarium, which is located inside Clifford Pierce Middle School.\nThe program was created in 2000 but is being re-released to commemorate the 160th anniversary of Vincent Van Gogh’s birth.\nIt was created by Pierce Middle School art teacher Maryann Foster. Foster, who is the chair of the school’s art department, has also created several other planetarium shows that merge astronomy with culture. But Van Gogh is a personal favorite.\n“Of all the artists, he is one of my heroes because of his tragedy and suffering and being totally misunderstood,” she said. “It’s a great show for understanding Vincent and the Impressionists that were his friends.”\n“Van Gogh Sees the Stars” focuses both on the artist and science.\n“This show is good for people who want to learn about art as well as astronomy,” Williams said. “It’s a different emphasis than one of our more traditional shows.”\nThe planetarium offers four public shows a year, but is also available for group programs. Williams said this show is not traditional in that it doesn’t focus solely on astronomy.\nPart of the program focuses on Van Gogh’s piece “Starry Night,” and where the stars in the painting are placed. Based on their placement, it is possible to pinpoint the date the painting was created, Williams said.\nThe program also focuses on the letters Van Gogh wrote to his brother, and how the artist’s mood swings might have been influenced by the full moon.\n“It’s an interesting detective story,” Williams said.\nFoster said research can prove that he painted outside.\n“He really had a love of nature, the sky and the world around him,” she said. “He really felt the passion of the wind and the clouds and the rain.”\nFoster went to Paris this summer, and spent some of her time studying Van Gogh and the places in France he painted.\n“We saw a lot of the pictures he painted there, and the exact scene of what he was looking at when he painted that picture. You could see through Vincent’s eyes.”\nFoster said she would like people to leave the planetarium show with a greater appreciation for the artist.\n“He had epilepsy, a seizure problem, manic depression, mood swings,” she said. “He was expressive in his art, but psychotic in his behavior. He was often misunderstood.”", "label": "Yes"}
{"text": "Diamond painting has taken the world by storm, captivating the hearts of art enthusiasts and hobbyists alike. Among the myriad of designs available, “Where the Fun Never Ends” diamond painting stands out as an enchanting masterpiece, offering an escape into a world of fantasy and colors. In this article, we’ll delve into the mesmerizing allure of diamond painting, exploring what makes this art form so popular, the journey of “Where the Fun Never Ends” by Mandie Manzano, and why it continues to bring joy to countless enthusiasts. Let’s embark on an artistic journey where creativity knows no bounds.\nUnveiling the Enchantment of Diamond Painting\nWhat is Diamond Painting?\nDiamond painting is a unique and satisfying art form that combines elements of paint-by-numbers and cross-stitch. Instead of using paint or thread, tiny resin diamonds are meticulously placed on a canvas to create a dazzling and shimmering mosaic-like artwork.\nThe Fun of Sparkling Diamonds\nThe allure of diamond painting lies not only in the process of creation but also in the enchanting sparkle of the finished artwork. As the light catches the facets of the diamonds, the painting comes to life, radiating an iridescent beauty that captures the attention of anyone who gazes upon it.\nJourney with “Where the Fun Never Ends”\nIntroducing the Artwork\n“Where the Fun Never Ends” diamond painting, designed by the talented artist Mandie Manzano, invites us into a whimsical world of unicorns. With a canvas size of 20″ x 54″ (51cm x 137cm) and an astounding 87,478 diamonds, this full-drill masterpiece promises an artistic adventure like no other.\nThe Artistry of Mandie Manzano\nMandie Manzano’s unique style combines vibrant colors, magical elements, and intricate details, making her artwork captivating and full of life. Her ability to breathe life into fantasy themes has garnered her a loyal following of art enthusiasts eager to bring her creations to life through diamond painting.\nAn Immersive Experience\nAs you embark on the “Where the Fun Never Ends” diamond painting, you will find yourself lost in a world of enchantment. Each diamond meticulously placed on the canvas is a step towards bringing this mesmerizing artwork to life, allowing you to immerse yourself in a moment of pure creativity and joy.\nUnleash Your Inner Artist\nA Therapeutic Journey\nDiamond painting is more than just an art form; it’s a therapeutic journey. The repetitive and mindful process of placing diamonds on the canvas allows your mind to relax, alleviating stress and promoting a sense of calm and focus.\nAccessible to All Skill Levels\nWhether you’re a seasoned artist or a complete beginner, diamond painting welcomes everyone to participate in this creative endeavor. The clear instructions and user-friendly kits make it easy for anyone to achieve stunning results and find joy in the artistic process.\nThe Allure of “Where the Fun Never Ends”\nCapturing the Magic of Unicorns\nThe “Where the Fun Never Ends” diamond painting brings to life the mythical allure of unicorns. As you work on this masterpiece, you’ll be captivated by the whimsical charm of these magical creatures, creating a piece that embodies the essence of fantasy and wonder.\nThe Beauty of Aurora Borealis Diamonds\nWith 53 vibrant colors and 2 Aurora Borealis diamonds, this artwork shines with a kaleidoscope of hues, adding an ethereal and enchanting quality to the painting. The Aurora Borealis diamonds create a mesmerizing effect, reminiscent of the captivating dance of the Northern Lights.\n“Where the Fun Never Ends” diamond painting by Mandie Manzano offers more than just a creative outlet; it grants a passage into a world where imagination knows no bounds. Through the therapeutic journey of diamond painting, you’ll find yourself immersed in a realm of colors, magic, and joy. So, embark on this enchanting adventure and let your creativity soar as the fun never ends.", "label": "Yes"}
{"text": "Discover the history of abstract art, touching on the most famous abstract artists of the 20th century, with a guide to Abstractionism in Art\nIntroduction to Abstract Artists and Abstractionism in Art\nThe early to mid 20th century was an exciting period of growth and development in European art, with abstraction starting to replace the more formal methods of representation. Emotions and concepts could now be displayed through non-literal means, and this push away from reality opened many doors for creatively-minded, innovative artists.\nThe rise of abstract art brought many new movements into the mainstream, initially in Europe before a later spread into other territories such as the US and Mexico. These new developments also represented an influence from non-western art, as the world started to open up and a wider variety of ideas and techniques would now be shared and promoted.\nThis article will first examine the most famous abstraction artists from across the century, as well as drilling down into the specific movements in which they were involved. The selection of artists attempts to cover the full gamit of styles and disciplines in which the use of abstract art would spread, going from painting and drawing into sculpture, digital art and much more.\nList of Famous Abstract Artists\nWe have summarised the most famous abstract artists down to a list of 18, who we believe to be the most influential and talented of them all. The list spans the entire 20th century, and provides a comprehensive guide to the different offshoots of abstract art, as well as the regions in which it flourished. The success of the movement ensures that all of the names listed here can be considered household names on a global level.\nAbstract art touches on many different movements, and varying levels of abstraction can be used within that. Even within the careers of these artists, many would evolve their work over the course of their careers, and some would initially work in a more classical style skin to Impressionism or even Renaissance art. Over time, as their personality started to show through in their work, and their confidence grew, so they would move towards a more unique approach.\nWassily Kandinsky remains one of the most famous abstract artists of them all, and left a huge legacy on European modern art. He was not only a talented painter, but also a theorist, helping to develop a deeper thinking approach to abstraction, including in the study and use of color. Kandinsky was also involved in a number of significant art groups, where progress would be made and momentum built, through the exchange of ideas between like minded artists.\nKandinsky's path to abstraction was slow, but steady. Some of the abstract paintings listed below give an indication of the artist towards the end of his evolution, when forms were reduced to arrangements of circles and lines. Prior to that, his work was expressive but more traditional, including a number of charming landscapes and cityscapes.\nSquares with Concentric Circles, Abstract Expressionism by Wassily Kandinsky\nComposition IX by Wassily Kandinsky\nHilma af Klint\nHilma af Klint was a talented and influential Swedish female painter whose impact has for many years been undervalued. Only now has knowledge about her achievements started to spread beyond her native Sweden, and she is now seen as a key contributor to abstract art in the early 20th century. Klint was influenced by mysticism and was a deep thinking woman who formed connections with a number of other female painters.\nHer work was hidden from view for two decades after her death, at her request, because of its contemporary nature. She delivered simple arrangements of circles and color, which for the period was ground-breaking. Inevitably, it took time to be accepted, but she is now seen as one of the most famous female abstract artists in history and a very important addition to the history of Swedish art.\nThe Swan, Abstract Expressionist Painting by Hilma af Klint\nJackson Pollock was an American Abstract Expressionist who helped New York to become the capital of western art. He impressed using the drip technique which offered a form of artwork that could never be reproduced, even by the same artist. There was the element of chance, as promoted by Surrealist artists, as well as a careful consideration of color. Pollock loved to express himself and the physical nature of his approach helped him to feel highly connected to his art.\nThe artist would lay large canvases down and apply paint whilst standing above, dripping paint directly. Across his work he would vary colors to give different feelings. This approach could only have worked in the 20th century, when artists were now afforded much more artistic freedom than had been seen before, with the US being at the forefront of that in the second half of the 20th century.\nConvergence Drip Painting by Jackson Pollock\nPiet Mondrian was a Dutch painter who evolved over the period of his career, taking in a variety of movements including Cubism, before later switching to a highly abstract method. He is most famous for the latter day, representing city scenes with simple arrangements of black lines which created panes of color between their intersection points. His earlier works were expressive landscapes, including scenes of his local beaches and tree paintings.\nIt was the simplicity of Mondrian's late work which was to stick most in people's minds. To deliver such abstraction in the early to mid 20th century was groundbreaking, and paintings such as this still appear entirely contemporary today, nearly one hundred years later. He stuck to a limited palette, using tones of blue, yellow and red to sit alongside his black and white lines, gifting us some impactful work which spearheaded the abstract art movement.\nGrey Tree Abstract Landscape by Piet Mondrian\nComposition II in Red, Blue, and Yellow by Piet Mondrian\nMark Rothko is best known for his artistic style which became known as Color Field painting. He produced large murals, several metres wide and tall, that would cover the viewer's viewport and engulf them in a sea of color and abstraction. He stuck with this approach for several decades, after initially trying out other forms of modern art which had more of an expressive manner. His paintings today are entirely recognisable as his own, despite the influence that he had on later generations of American artists.\nRothko loved to reduce items to abstract forms, and named his paintings in a very generic manner in order to allow the viewer to decide for themselves as to what they were looking at. This lack of detail made color choices even more important, with Rothko tending to go for brighter tones in most cases. He remains one of the leading American Abstract Expressionists from the second half of the 20th century.\nNo 1 Royal Red and Blue Abstractionism Art by Mark Rothko\nKazimir Malevich became famous for taking abstractionism just as far as it could go. He produced simple arrangements of single shapes placed centrally on his canvases, often in black and white. This included his Black Square, which was recently used as a viral political statement, by many who were unaware of the origins of the painting. He was one of the first artists to work in this manner, and soon fell out of favor with ruling powers in his native Russia, forcing him to leave many of his paintings in Germany after being allowed to exhibit there.\nAfter running into issues with this abstract style, Malevich started to depict local peasantry in a manner that was more acceptable to the tastes of the day. These paintings were still highly expressive and managed to strike the right balance between delivering impactful modern art, but without dragging the artist into further controversy. Today he is regarded as one of the leading Eastern European abstract artists, with other great works including White on White and Black Circle.\nBlack Square Abstract Painting by Kazimir Malevich\nSuprematism Abstractionism Artwork\nJoan Miro was a famous Spanish painter who created abstract iconography which he was able to spread across multiple disciplines, including drawing, painting and sculpture. These includes lines, arrows, and also elements inspired by constellations. All would be delivered in a flat, two dimensional world which resembled a sky at night. Other items such as parts of the body and plants would be re-purposed in abstract forms, often floating in the wildnerness on their own, touching on an influence of Surrealism.\nMiro was then able to take some of these items, along with his bright palette, and apply them to large, outdoors installation sculptures, many of which remain in place today. Miro remains one of the most famous abstract artists to have come from Spain, with this nation being particularly influential in Surrealism and Cubism, as well as modern art more generally. Many of them would also produce decorative ceramics, drawing together traditional and modern art styles.\nThe Tilled Field Abstract Painting by Joan Miro\nHarlequins Carnival by Joan Miro\nPaul Klee's classic artwork, Castle and Sun, is shown below and perfectly captures the balance between Abstractionism and reality. There we find a bright and almost child-like interpretation of a cityscape, with buildings reduced to a series of squares and triangles, with a circle representing a falling sunset. Senecio, by contrast, provides an abstract portrait, which may remind some of non-western art, such as from various African cultures.\nKlee himself worked in a variety of styles across his highly prolific career, all of which were modern. He also experimented with watercolors as well as oils, and was also a talented draughtsman. His colors were carefully considered, with Klee becoming a color theorist who published his thoughts on the use of color within art, and how color could be used for different purposes, when combined in different ways.\nCastle and Sun by Paul Klee, Abstract Cityscape Painting\nSenecio by Paul Klee (Famous Abstract Art Painting)\nCat and Bird, Famous Abstract Expressionist Artist, Paul Klee\nGeorgia O'Keeffe is most famous for flower paintings in which the composition would be zoomed into the centre of a plant, removing the context of the overall shape of the flower head. This produced bright, abstract shapes which perfectly suited the direction of American art at the time. The artist even started to grow her own flowers to use in her work, as well as collecting other items in her native US, such as animal bones. She was a Modernist, with abstract shapes and bright colors throughout.\nO'Keeffe helped to establish American art as a leading influence on western art, as for centuries US-based artists had mainly been following in the footsteps of their European counterparts. Modern art would mark the rise of US art, and they would become masters of abstract art, with O'Keeffe appearing alongside the likes of Rothko and Pollock. Collectors soon took note, and valuations of their work shot up in the second half of the 20th century.\nBlue and Green Music, American Modernism, Precisionism\nSeries 1, Number 8 by Georgia O'Keeffe\nPablo Picasso worked in a modern fashion for much of his career, but it would be wrong to specifically label him as an abstract artist, as such. He certainly approached Abstract Expressionism in style at various points, but was someone who made use of elements of abstraction, rather than specialising in it. He worked with Cubism in the early 20th century, as well as Surrealism, but is better classified as a modern artist with a varied output. The influence of African art on his career lay behind his abstract figures, but he also worked more traditionally earlier on in his career.\nGuernica, his most famous artwork, combined political activism and commentary with abstract forms, with twisted and contorted figures representing the brutality of war. This huge mural helps to represent a specfic period in Spanish history, but also to warn more generally about the hoors of war which are normally best avoided. Picasso's popular line drawings may also be considered abstract, because of how he reduced creatures down to just a single, carefully crafted stroke of the pencil.\nGuernica Abstract Art by Pablo Picasso\nErnst Ludwig Kirchner\nErnst Ludwig Kirchner made use of abstractionism within his Expressionist art, as shown in the painting below, titled Marzella. He would reduce city scenes and portrait figures to just a few, long brushstrokes, making color choices particularly important. German art enjoyed a number of impressive Expressionist painters in the early 20th century and they can be considered partially abstract in their manner.\nKirchner became one of the leading lights in German Expressionism and was able to produce impressive figurative work with rough and loose brushwork which in previous centuries who have been deemed unfinished, just as the French Impressionists would experience. The path of abstractionism was a slow evolution, and so it is worth including Expressionists such as this in order to see the various stages of the evolution, and to understand the important of German artists in this change.\nMarzella Abstract Portrait by Ernst Ludwig Kirchner\nJoan Mitchell was a famous female Abstract Expressionist from the US who passed away as recently as the 1990s. She worked in an expressive manner, with gestured brushwork which reached a high level of abstraction. Her brisk, long brushstrokes would excite those knowledgeable on modern art, but those relatively unfamiliar might struggle to understand the purpose and meaning of her work 0 this was a constant issue within late 20th century art, and has continued into the 21st century.\nMitchell worked in a variety of mediums, including painting, printmaking and pastels and her work was memorable for often leaving elements of the original canvas or paper still visible. She became part of the New York School, which was highly significant within the history of American art and helped the country to lead Europeans for the first time. This advantage remains in place today, with New York continuing to be the centre of modern art.\nHelen Frankenthaler was another notable female artist connected to the Abstract Expressionist. The New York native became part of the Color Field movement, and she has also sometimes been labelled as part of the lyrical abstraction style. Some of her work in the 1950s reminds us of the early work of Rothko, with expressive blocks of color resembling reality, but in an imaginative, abstract way. Later on both would become more abstract, with Rothko's later work becoming his best known output.\nWillem de Kooning\nWillem de Kooning was a much loved abstract painter from the Netherlands who later relocated to the US. He produced some memorable abstract portraits, where nightmarish figures could be distinguished from brisk, expressive brushstrokes. His approach is also sometimes known as Action Painting, where aggressive touches of paint connect with the emotions of the artist as they work quickly, and deliver images directly from the depths of their mind and soul.\nFranz Kline was an American Action painter who settled in New York city during a key moment in the rise of American art. His work was abstract, often relying on simple arrangements of lines, with a greater meaning lying behind his work. Kline remains regarded as one of the leading members of the New York era, and continues to be celebrated today, despite passing away at a relatively young age. He was also well known to a number of other related artists from that period, and participated within the wider art community.\nJosef Albers was a master of Geometric Abstraction and also formulated theories around the use of color within art, just as earlier abstract artists like Kandinsky and Klee had done. This German artist also impressed in other mediums, including stained glass windows and was not initially a modern artist. Geometric Abstractionism grew in popularity over time and is regarded as an important sub-movement of the overall modern art scene.\nCy Twombly was an important American painter who inspired the likes of Jean-Michel Basquiat. He was to become a global star, exhibiting regularly in both the US as well as a number of European countries such as France, Italy and the UK. He worked in a truly abstract manner, when few could identify any connection to items from reality, and this brought him in for criticism initially, before later the quality of his work was better understood.\nHoward Hodgkin was a British painter who worked in an abstract manner, with expressive, thick brushstrokes. He achieved success within the UK, even at a time when Abstract Expressionists were mainly working in New York, USA. He would later achieve the Turner Prize, a prestigious arts award, and he remains known as one of the leading British modern artists, only passing away relatively recently in London, 2017. Exhibitions of his work in the UK were common, marking the impact that he made across the country.\nThe Origins of Abstract Art and Abstractionism in Art\nThere were a number of different factors which led towards the rise of Abstractionsism in art during the early to mid 20th century. Photography was a discipline growing in interest at this time, and this brought about new ways of thinking in art, such as composition, angles, lighting and more. Additionally, the great masters of the Impressionist era would also bring about changes to the direction of European art which would later evolve into abstraction.\nFollowing some of these developments, there would then be a number of small groups which emerged in the early 20th century which eventually would lead to a collective known as abstract art, or at least provide a precursor to it. This included neoplasticism which specifically and openly desired a movement towards abstraction, as well as the Russian Suprematism movement and the Bauhaus movement in Germany. All included theory behind their work, and it was clear that there was much thought behind abstract art, rather than merely providing a simple aesthetic display.\nPredecessors and Influences: Abstract Elements in Traditional Art\nElements of abstract art appeared in many non-European cultures, a long time before westerners would start to use these ideas. Famously, African art provided abstracted figures in this paintings and sculptures, some of which would inspire the likes of Picasso, including in his approach to Cubism. Typically, African artists would reduce a human form to a small series of details, perhaps even elongating limbs in a manner later found in the Mannerists of the 16th century.\nBesides African art, other examples of abstraction could also be found in Islamic art and architecture, partly due to their impressive understanding of geometry, but also in their use of calligraphy and other techniques which pushed them away from a desire to only depict items in an entirely realistic manner. The spread of cultures leading up to the 20th century is likely to have allowed some of these artistic ideas to spread across the globe, just as we see today through technology, which has facilitated a much faster spread of influences.\nThe Birth of Abstraction: The Early Pioneers\nMost of the early pioneers of abstact art would evolve into the style over time, having initially worked in other ways earlier in their careers. One can even see a visual guide to these changes over time, with Piet Mondrian being a great example of that. He initially started to produce expressive tree paintings before becoming more and more abstract over time, building an audience as he went. Eventually, his scenes were reduced down to simple lines and colors, and by now his path to abstraction was complete.\nA further example can be seen in the work of Kandinsky, who switched from an expressive manner, with the likes of The Blue Rider, before reaching a point where his paintings were complex series of lines and shapes. By then, color was his main concern, and he invested his time into producing color theories that others could learn from. There were also others such as Picasso who are not classed as abstract artists, but who started to use abstract forms in their work at around the same time, which encouraged others to work in a similar manner themselves.\nWassily Kandinsky and the Path to Pure Abstraction\nMany consider Kandinsky was one of the pioneers of abstract art, though his obsession with color has a connection to his early use of Fauvist and Impressionist styles. Kandinsky eventually began to realise how color could be used in place of realistic form to represent something within art, and slowly he would start to move away from traditional methods. The artist would also begin to see how spiritual matters could be covered in art, but traditional styles would then suit it.\nThe artist would then embark on a journey which initially involved recognisable elements within an expressive format, before items became more and more abstract and disconnected from reality, before eventually his images were completely devoid of any connection to reality, other than in perhaps the mind of the artist himself - he had now reached the end point on a journey to full abstraction and his success would allow others to follow. They would not have to evolve in this manner, but could jump straight to the final stages.\nPiet Mondrian and Neoplasticism (De Stijl): The Pursuit of Universal Harmony\nPiet Mondrian desired a clear balance between elements in his painting and found the best way to achieve this was to reduce elements down to simple abstract shapes. His Neoplasticism (De Stijl) paintings tended to go with vertical and horizontal lines only, with diagonal lines being closer to nature, and a less harmonious display. Over time, Mondrian would create rectangular areas where his lines intersected, and these regions would be filled with flat, primary colors.\nThere would be many different approaches to abstraction, but Mondrian's was all about creating grid-like structures where balance was achieved through the use of lines and color. He loved nature, but depicted it earlier in his career when working in an expressive manner, before later showing influences of Cubism and then into other modern art forms.\nKazimir Malevich and Suprematism: Beyond the Object\nThere was a number of Russian avant-garde artists who inspired Malevich to come up with some forward thinking ideas within his own oeuvre. The artist desired a return to the zero degree of art, and immediately achieved it with classic works such as Black Square. He would continue in this format with different shapes and even one iteration which used white on white, with just a slight variation in tone.\nSuprematism brought about more complex arrangements, but still were highly abstract. Rectangles and lines would vary in solid color, and it was clear by this point that Russian artist could help influence the direction of European art, even though they faced barriers within their own country. Many would relocate to central Europe or at least exhibit there regularly as they received a more welcoming reception in nations such as Germany.\nJackson Pollock and Action Painting: Capturing the Unconscious\nJackson Pollock's techniques were highly unusual and later became known as Action Painting. He would place large canvases and other materials across the floor before squirting and throwing paint on top in a seemingly random manner. He actually put much thought into things, including in color and also the way in which he applied the paint. The result of this process was original art every time that could never be replicated. Over time his contemporary style brought attention and backing, and Pollock remains one of the most famous abstract artists of all time.\nConstructivism: Art as a Social and Political Force\nConstructivism was formed by a number of Russian artists including Vladimir Tatlin, Alexander Rodchenko, and El Lissitzky. They saw existing art traditions as a luxury of the rich, and wanted to take things in a new direction that would allow other sections of society to get involved. They relied on geometric shapes for much of their work and also made use of all manner of materials including metal, glass, and plastics. Mixed media would later become a common feature within modern art but its inclusion at the time of Constructivism was ground-breaking.\nVladimir Tatlin and these related artists helped to bring art in everyday life, bringing functionality into elements of design. The movement was brought to an end by political issues in their native Russia, with Avant-Garde art quickly becoming seen as a challenge to authority, and something that needed to be stopped and discouraged. This situation continued later for the German Expressionists, and eventually a number of European painters who relocate to the US, which eventually became the global center of modern art.\nAbstraction in Latin America: A Unique Perspective\nEuropean art influenced Latin Americans across the 20th century and eventually this would lead to a number of Latin American abstract artists appearing for the first time. They would take elements from Europe, but also implement a number of aspects unique to their own cultures, which included symbolism, religion, color and fashion. Artists such as Tomás Maldonado, Gyula Kosice, and Rhod Rothfuss were some of the bigger names to appear and there was also a number of muralists who experimented with abstraction, such as Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco.\nLygia Clark, Hélio Oiticica, and Lygia Pape within Brazil were connected to installation art and became known as the Concrete Art movement, which was a highly modern art style which combined many elements, including European abstract art. It must be remembered that originally, Europeans were inspired by ideas from abroad, and so this cycle would just continue again and again, speeding up after the rise of technology in the second half of the century.\nAfrican American Artists and Abstract Expressionism\nIn an interesting development, considering its origins, many African American artists would become involved with abstract art across the 20th century. It was useful for political messaging which was common in much of their work. Abstract art was originally inspired, in part, by African art, and so this evolution seemed entirely organic. It is highly unfortunate that many suffered in the art world, just as they did elsewhere in society but over time more and more African American artists have been given more opportunity to display their talents, with likely further improvements on the way in the future.\nNorman Lewis, Alma Thomas, Ed Clark, Bob Thompson, and Jack Whitten are some of the great names to research on this topic, and it would be wrong to categorise them too restrictively, when they obviously each held many unique strengths which together helped to build momentum for African American artists in the US. Jean Michel-Basquiat became perhaps the most famous of all, and his legacy is huge, becoming a much loved figure with younger generations in particular.\nWomen Artists and Abstract Art: Challenging the Male Dominance\nThere was a large number of female painters to appear in the Impressionist era, and from that momvement, so other women would start to appear in the other styles that followed. In terms of abstract art, we remember the likes of Lee Krasner, Joan Mitchell, and Helen Frankenthaler, who were all Abstract Expressionists. Aside from that there were many other famous female painters spread across a number of other offshoots of abstract art. Georgia O'Keeffe brought attention to the beauty of flowers and animal bones, in new Modernist forms.\nHilma af Klint was also a key contributor in the use of geometry and simple shapes within art, though her impact has not been truly understood until relatively recently. Agnes Martin, Bridget Riley, Carmen Herrera are some of the new breed of women who continue to influence the direction of modern art. Curators have been more willing, even proactive, in displaying more of their work over the last two decades, which may encourage more women to become involved in the industry over the next few generations.\nDigital Abstract Art: Technology as a New Medium\nAdvances in technology have brought new opportunities to artists. Firstly, those from outside the main art centers can now bring exposure to their work, by sharing paintings and drawings on social media or via email. Artists can even work collaboratively whilst being located in different places, taking on existing work as and when they like. Tablets and sometimes mobile phones can be used to draw various creations, with editing options enabling artists to correct work easily. Exhibitions of work completed using these tools are now fairly common, and support for these tools is growing.\nThe newest development has been with AI art, which potentially will enable non-artists to create original work themselves, using just a few prompts. This may lead to some issues regarding integrity and quality, but there could also be many benefits to this, as well as increasing productivity for those working in the commercial site of art, such as professional illustrators. It is important that AI is used as a tool, rather than as a replacement for creativity and technical knowledge, otherwise the respect afforded artists may be lost.\nEveryday photography has been a respected art discipline for many years, but also counts as an art form reliant on technology. The inclusion of cameras in phones has enabled anyone to take photographs when on the move, though quality naturally varies. For many photography can be an entrance into the art world, and overall its benefits out weight its negatives.\nThe Future of Abstract Art: Trends and Innovations\nThe future of abstract art looks exciting, with many potential innovations waiting to appear. Despite abstract art first emerging in the early 20th century, it remains strong today, albeit under different guises. Technology is likely to impact all forms of art, and that will play a role in the next methods in which abstract art appears, as well as modern art more generally. Globally, there should be a wider spread of artists and potentially many more cultures will become involved in abstraction, as the use of the internet increases connectivity across the world.\nTom Gurney in an art history expert. He received a BSc (Hons) degree from Salford University, UK, and has also studied famous artists and art movements for over 20 years. Tom has also published a number of books related to art history and continues to contribute to a number of different art websites. You can read more on Tom Gurney here.", "label": "Yes"}
{"text": "The current news and the summer proximity has us feeling optimistic and dreaming of traveling to our favorite destinations. I let my artistic self loose and spent my days painting passports and travel tickets in black acrylic on a series of delivery papers I was collecting during the last year. I love the perfect imperfection of the cracked paper as the counterpoint to the sharp black paint.\nHand painted one of a kind in Acrylic onto recycled paper. Collage of 16 assorted passports from the European Union countries. Expect cracks onto the paper and a very unique style painting\nPrice doesn't include the frame.\n50 x 70cm\nDelivery and VATinfo:\nAustria, Belgium, France, Germany, Italy, Luxembourg, Netherland, Portugal and Spain FREE Shipping on orders over 120€", "label": "Yes"}
{"text": "Samuel John Peploe RSA 1871 - 1935\nScottish painter, the oldest of the Scottish Colourists. He lived almost all his life in Edinburgh, but he often visited France, studied briefly at the Académie Julian, and made his home in Paris, 1910–13. During this time in Paris he moved from an Impressionist style to one influenced by Cézanne and the Fauves, but later his work became less aggressively modern. In the 1920s he frequently visited the island of Iona, which—together with still-life—was his favourite subject.\nHe studied at the Royal Scottish Academy schools from 1893 to 1894, and then at the Académie Julian and Académie Colarossi in Paris, where he shared a room with Robert Brough. He visited the Netherlands in 1895, returning with reproductions of work by Rembrandt and Frans Hals. From 1901, he undertook painting trips to northern France and the Hebrides with his friend J. D. Fergusson, another of the Scottish Colourists. Inspired by the bright sunlight, he experimented with the bold use of colour, and the influence of the rustic realism of French painters is evident in his landscapes.", "label": "Yes"}
{"text": "ArtSome things I’ve been painting August 25, 2018 Bill Sharp Centennial Mills Twilight oil on panel Zeus Cafe 9″ x 16″ oil on panel Share this:RedditFacebookEmailLike this:Like Loading...\n2 thoughts on “Some things I’ve been painting”\nGood morning Bill, Nice paintings. Your work always has such a vibrancy about them. Thanks for sharing. On another note, I am hosting the Thursday AM Alla Prima group on September 6 at the Pomarius Nursery, Vaughn and NW 18th. If you are able, come paint with us at the nursery. The place is a feast for the eyes and transformative. We paint from 9-noon, then break for lunch and share our paintings. Give it some thought. Thanks for staying in touch. Jer\nI especially like the energy of Centennial Mills Twilight. Also like the pink and blue of Zeus Cafe, and the angle. Keep ’em coming.", "label": "Yes"}
{"text": "Kids can make this beautiful scratch art paper with oil pastels, black paint, and We tried letting some dry first and found that the paint flaked off. Make your own scratch art paper for very little cost! Using painter's tape, mask off the edges of each postcard. I left about a 1/2\" border on all sides. scratch art. Use Oil Pastels and paint to create your own scratch art. Create colorful The black paint will scratch off leaving the bright oil pastels underneath. We picked a .\nThis colourful scratch art paper is easy to make at home. Kids will love this fun art to start scratching off the black layer! DIY Scratch Art - a fun. How To Make Scratch Paper Art: make your own scratchboard paper and then When the paint is too thick, it will come off in a layer when you try to scratch it. Scratch off magic paper art is an easy and fun craft for kids of all ages . Black Scratch Off Paper-->Color a piece of paper completely with crayon (no white.\nHow to Make Your Own Scratch Art: You've probably seen scratch art kits in toothpick or wooden dowel and create a picture by scratching off the layer of. I hope you try this activity too, I am making some new sheets soon and can't wait to see what the kids scratch up or off? diy Scratch Art Paper. Scratch Art is cool black paper in the stores. Once the black is scratched away bright colors are revealed. Learn how to make your own scratch.", "label": "Yes"}
{"text": "Julian Hatton is a New York City artist who paints abstract landscapes in rich, earthy colors. His pedigree is Northeast preppy (Phillips Academy ’74 and Harvard ’79), but he studied painting in France and Spain. His scenes are comprised of naif shapes in blocky chunks, as though chiseled from hunks of Cray-Pas, with a perspective that runs straight up the page. For this week’s CMYLK, we paired Colourlovers palettes with three of his landscapes.\nPopular In ArtMore\nSit back, get a snack, and feast on this Friday Five with Bobby Kim, aka Bobby Hundreds, Co-Founder of The Hundreds.\nWe have a look at the things, people, and places that Heath Ceramics owners love and that inspire them.\nDramatic and realistic cityscapes created with oil on canvas.", "label": "Yes"}
{"text": "Graffiti artwork is mind blowing kind of art in which the artist shows us very creative and amazing scenes.These are the most beautiful street art I have collected from the internet. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. Some one left the cage door open and now it will take months before they remove this wild art from the streets. Shame on them, such irresponsibility! Art Got Loose On The Streets Again arts. Well, catching up with everything ..here the latest collabo piece i did with a cool artist from LA Cryptic.. who paints sand script along with his religious beliefs.. .. you can read up on the show from Brooklyn Street Art Coverd.check it here first..", "label": "Yes"}
{"text": "Anna Nelson has been interested in art ever since she can remember and began drawing and painting at a very young age. Her Italian heritage is a constant in her heart and soul and the beauty of Italy is an endless inspiration in both her Plein Air work and studio paintings. Her paintings reflect not only her travels but everyday subject matter such as cosmetics, desserts, high heel shoes and little girl mary-janes. She also enjoys painting the rich coastal scenes and landscapes in Sonoma county.\nShe graduated from UCLA with a degree in Italian Language and Literature, attended Art Center College of Design in Pasadena, CA as an Illustration/Painting major and began accepting freelance work and commission paintings.\nAnna had the opportunity to live in Florence, Italy in the summer of 1980 and worked as a tour leader for a group of students from UCLA. Her enthusiasm for travel started early and has been a passion for many years, touring and painting on location throughout Europe.\nMarried to award winning artist Craig Nelson, Anna has organized and assisted with summer European Plein Air painting workshops throughout Italy, France and Austria.\nIn 1992, Anna began teaching Still Life Painting at the Academy of Art University in San Francisco, CA and has been a member of the faculty ever since. She has been involved for the past 12 years with the implementation of the Fine Art Online program and is currently the Online Director for the School of Fine Art.\nAnna currently exhibits at Waterhouse Gallery in Santa Barbara, CA, Garden Gallery in Half Moon Bay, CA, and participates in special event shows in selected galleries, including the annual Fine Art Faculty and Alumni auction at the Academy of Art University in San Francisco, CA.\nAnna and Craig reside in Santa Rosa, CA and have three wonderful ch", "label": "Yes"}
{"text": "Love & sunshine is all I really need to survive...it's the little things that make life good...from the minute I open a fresh blank canvas to the smell of the paint when I open the tube...all these little things bring me so much joy and I hope to be painting until the end of time... in my signature palette with lots of energy.\nAcrylic on 300gsm gallery wrapped canvas. Artwork sides are painted white and artwork comes with a wire across the back ready to hang on the wall.\nArtwork dimensions are 152cm x 76cm.\nFraming is available on request.\nFree Shipping within Australia.\nInternational Shipping $100 - artwork will be shipped unstretched and rolled in a sturdy cardboard tube.\nShipped to your door by courier - please allow 5-7 days for your artwork to be packed up and shipped - it will be worth the wait!", "label": "Yes"}
{"text": "No matter if your Chunchula painting expectations are residential or commercial, Our company has got the painting services in Chunchula Alabama, Mobile county for the undertaking. Our pro services are combined with a superior level of customer care. At Nitz Painting, we understand far too well how necessary it is to fit the skills to the job, and that's why we provide top-notch painting in Chunchula, AL. We can handle one of the most boring, yet significant ways to sustain your house in a timely, expert manner. Continue reading to discover the suggestions to a few of our questions.\nA. There're diverse varieties of painting jobs that need distinctive types of paint. Case in point, you'd need to utilize a low gloss paint on inner entrance doors and details. The interior walls in a toilet, master bedroom or hallways must be coated using a glossy coat. Living rooms typically necessitate acrylic paint, and so on. Our Saraland painters can assess the brand of paint to apply in each area of the home on a specific basis. Additionally we recommend the very best kind of external paints for assorted materials, such as stucco, vinyl exterior siding or block outer structures.\nA. There's no neat answer to this question because it relies on a number of elements, particularly: the dimensions of your residence is, what amount of layers of paint are necessary, the time it takes additionally, the # of painters involved.\nA. During the painting project, Nitz Painting takes special care to preserve your home, home furniture and also floor covering from any paint job spillage.\nA. For exterior endeavors it makes sense to stay with the warmer months, though interior endeavors are often attempted any time of the year. We are always busy from spring to autumn, so you'll want to get an appointment beforehand. Call Nitz Painting today at 877-731-0441 to learn more.\nA. Right safe-keeping may aid your exposed cans of paint last for a longer time, but when you're looking to do touch-ups in the future just take the paint can to us. You'll be able to check it out to determine if it's ok to make use of, and we'll set the paint can on our paint shaker to make certain the used paint is combined completely.\nA. The best paint color is determined by your personal preferences. We know that some people find it difficult picking out the very best colors for a tasteful painting task. A reputable painting pro in Chunchula, 36521 zipcode is always happy to impart advice on how to find a great color that you'll like. Chunchula painters often times have shade wheels they'll give clients to allow them to observe which colors suit one another the best. Select other factors can influence the very best color to paint your rooms with, like the materials used in the dwelling itself. As an example, if the house has a lot of brick inside and out, you'll wish to select a color which goes with brick. Chunchula paint companies usually have a qualified Chunchula, Alabama interior designer within the company to assist clientele pick colors that match perfectly with any kind of property.", "label": "Yes"}
{"text": "We are thrilled to announce the latest addition to our collection of wooden jigsaw puzzles: the mesmerizing Scheherazade puzzle, featuring a breathtaking painting by Henry Lyman Saÿen. Prepare to be transported into a world of enchantment and intrigue as you piece together this captivating masterpiece.\nThe Artistic Inspiration Behind Scheherazade\nWithin the depths of the Museum of Modern Art in New York City resides the magnificent painting, Scheherazade, created by the talented artist Henry Lyman Saÿen. Saÿen was a renowned American painter known for his evocative artworks in the early 20th century.\nTracing the Journey: From the Artist’s Brush to Your Puzzle\nSaÿen’s masterpiece, Scheherazade, was inspired by the legendary tales from “One Thousand and One Nights.” The painting depicts the mesmerizing Scheherazade herself, the storyteller who captivated the sultan with her tales, ensuring her survival night after night.\nExploring Saÿen’s Style\nSaÿen’s artistic style in Scheherazade embodies elements of Orientalism, a movement popular during the late 19th and early 20th centuries. The rich colors, intricate details, and meticulous brushwork transport viewers to a world filled with opulence and mystery.\nThe Context of Scheherazade’s Creation\nWhen Saÿen painted Scheherazade, the world was captivated by the allure of exotic lands and the fascination with Eastern cultures. It was a time of exploration, when artists sought inspiration from distant lands and historical tales.\nUnveiling the Colors and Symbolism\nThe painting Scheherazade is a feast for the eyes, with a vibrant color palette that evokes a sense of wonder. The use of deep reds, golden hues, and vivid blues captures the essence of the oriental setting and the tales that unfolded within.\nBringing Scheherazade Home\nNow, you have the opportunity to bring the magic of Scheherazade into your own home with our beautifully crafted wooden puzzle. Each piece is laser-cut with precision, ensuring an exquisite fit and an enjoyable puzzling experience.\nA Perfect Gift and Price\nLooking for a unique and meaningful gift? The Scheherazade puzzle is a wonderful choice for puzzle enthusiasts, art lovers, and anyone captivated by the allure of storytelling. Its price is tailored to provide exceptional value for a work of art that will bring joy and relaxation for years to come.\nIn conclusion, the Scheherazade puzzle is an invitation to embark on a journey through time and culture, as envisioned by the talented artist Henry Lyman Saÿen. Immerse yourself in the captivating world of Scheherazade, where tales come to life and imagination knows no bounds. Unleash your creativity, connect with the past, and experience the magic of this remarkable puzzle.\n- Scheherazade Puzzle From $59.29", "label": "Yes"}
{"text": "Artist: Kierra Falbo\nPrints of my original oil painting, \"View From The Treehouse,\" are available in various sizes. This painting is based on a place I visited in San Pedro, Guatemala. I stayed in a treehouse during my visit there, and this was the incredible view from my window. For information about original paintings, please visit my website or reach out to me via email or Instagram!", "label": "Yes"}
{"text": "1822 – 1878\nEdinburgh, From The Firth of Forth\nSigned and dated 1872\nFrame size: 20 x 34½ inches / 50.8 x 87.65 cm\nStock Number: 09018/spr11\nJohn Callow was a marine and landscape painter. He was a pupil of his elder brother William, who took him to Paris in 1835 where he studied for several years. In 1844 he returned to England and started up as a landscape painter in watercolours. In 1855 he was appointed Professor of Drawing in the Royal Military Academy at Addiscombe, and six years later he took the post of Sub-Professor of Drawing at Woolwich. Some years later he retired and painted for exhibitions as well as taking pupils. He excelled in marine painting more than landscapes. He exhibited yearly at the OWS and RA, BI, SS and NWS.", "label": "Yes"}
{"text": "I was raised in Huntsville by a professional artist and received much of my art training at UAH. I have been an artist and painter since I was old enough to hold a brush, and although I can and do use oils and watercolors, acrylic is my paint of choice. In 2013 I discovered very high quality scratchboard material made by Ampersand and when I tried it, I became addicted to scratchboard and have since worked in that medium exclusively. Many hours of work go into each scratchboard before it is considered finished. Sometimes colored inks or acrylic paints are applied over the scratchwork, often the colored layer is also scratched to build depth into the composition. It is a very satisfying form of art for me and a great outlet for my creativity. I consider my work neo-photorealism.", "label": "Yes"}
{"text": "This original acrylic painting by Marion Dutton captures the essence of a winter day in Last Tram to Verbano. The painting shows a group of travellers standing around the station, waiting to board the last tram to Verbano. The cold grey winter day is depicted with snow falling, creating an almost monochromatic scene. The only splash of color comes from the red umbrella and coat of one of the travellers, adding a touch of vibrancy to the painting. This piece is a beautiful representation of a fleeting moment in time, frozen in acrylic.\nLast Tram to Verbano\nThe painting is meticulously varnished, signed, and all set for framing. Additionally, it includes a signed certificate of authenticity attached at the back and a second signed certificate presented in a protective folder, making it a cherished keepsake.", "label": "Yes"}
{"text": "Home Editorial Fiction Poetry Nonfiction Reviews Submissions Contact Us\n\"Chills 2\" by Derek McCrea\nDerek McCrea is a watercolor artist and a US Army Soldier. Art is his stress relief and adds balance to his life. Derek has painted over 20 years and has gained competence through plein air painting throughout the USA and Europe.", "label": "Yes"}
{"text": "SINGLE 3 HR. SESSION: Thursday MORNING Workshop\nLet’s get into the mood to paint a winter house using a red and green theme for the Christmas season.\nAbout the Artist:\nSherryl Hopper has been a watercolour artist for many years and has taken numerous workshops with several talented and well respected artists both in Canada and the U.S. whom she has admired throughout her career and continues to do so.\n'Art Inspires Life\"\nSocial Media:Facebook @artclubBarrie\n10 a.m. - 3 p.m. Monday to Friday", "label": "Yes"}
{"text": "Linseed Oil Paint Zinc Oxide\nWhen painting outdoor surfaces that are exposed to various kinds of mould, it is recommended to mix in pure zinc paint, maximum of 20%. Does not affect colour.\nThis zinc paint is marked with the “Dangerous for the environment” symbol depicting a dead tree and a dead fish. Take care with it!\n1 L, 2 dl", "label": "Yes"}
{"text": "The 2022 Victorian Salon des Refusés\nThis portrait was submitted to the VAS Portrait Award.\nclick on artwork to enlarge\nCat#7 Louise Foletta\nWatercolour Arches 300gsm\n26 cm w x 36 cm h\nWhen I decided to paint this, I was working on a large full size self-portrait along with my son’s dog, Lily next to me. I got frustrated with my attention to detail so decided to do a small work to free up and this is what resulted.\nI feel this has captured something of me and my personality. I preferred this one. Mind you the Brittany Spaniel in my self-portrait was lovely.", "label": "Yes"}
{"text": "Wieco Art -Stretched and Framed 100% Hand-painted Free Shipping Wood Framed Calla Lily Home Decoration Floral Oil Painting on Canvas 5pcs/set\nPhotography Poster – HISTORICAL MARKER NOTING PLANTATION SITE STANDS AT ENTRANCE TO REFINERY – 8.5\"x11\"\nForest Path Poster Print by Hein Van Den Heuvel, 24×36 Photography Poster Print by Hein Van Den Heuvel, 24×36\nUnitary Modern Stretched 100% Hand-painted Still Life Wine Glass Set of 2 Oil Painting on Canvas Wall Art Deco Home Decoration\nBy Still Lifein\nHand-Painted Reproduction of Claude Monet The Road to Bas-Breau, Fontainebleau Framed Oil Painting, 20 x 24\nAbstract Flower Tree against Colorful Nightsky Very Vivid Color Acrylic Painting Original Contemporary Artwork Signed Handmade by Artist Cheney Modern Home Decor 20×36 Large\nWieco Art – 4pcs Elegant Blooming Flowers Modern Abstract 100% Hand Painted Oil Paintings on Canvas Wall Art Deco Home Decoration Stretched and Framed Ready to Hang", "label": "Yes"}
{"text": "Anxiety and stress can play havoc with one’s mind and who better than Irina Cumberland, a painter born in Ukraine, to know this. There was a time in her life when her hands literally shook from stress in her waking hours till she dozed off in a shallow nightmarish sleep.\nThis happened, when this artist, who was finishing her eight years of medical training in Ukraine, got married and moved to the United States with her husband. She had to cope with the anxiety of settling in a new country, leaving her family and friends behind, not to mention, sacrificing her medical career. It was then that war broke out in her country and the worry about her family’s safety and not being able to do anything about it raised her stress level even further.\nTo calm her mind, Irina started frequenting the beaches. She explains on her website, “I watched the ocean’s steady movement in and out, the glittering light dancing on the surface, the tiny rainbows reflecting off the sand – lulling me into a peace that I’d never experienced before.” The waves and sea had such calming effect on her mind that she decided to capture its beauty on canvas. The result was her painting that she titled ‘No War’. This handmade painting became popular in no time.\nIrina found that her paintings of the sea gave her the same kind of mental peace and calmness, as the actual sea did. She developed a painting style that reproduced the naturally occurring patterns and colors of the sea on canvas. So realistic are her paintings that it is difficult to distinguish them from photographs. According to her, each painting is designed to maximize the calming effects of shapes, colors, and scenery.\nThe reason for this calming effect of her paintings lay in fractals, that is, a pattern that repeats itself, such as ocean waves, snowflakes, trees, et al. Fractals reduced stress in people. Today, her paintings not only serve as stress busters but also earn money for her. You can find Irina Cumberland’s art for sale on her website.\nIrina Cumberland: Website | Course | Instagram", "label": "Yes"}
{"text": "Paint base. Interior and exterior 100% acrylic latex paint fortified with polyurethane. Specially formulated for wooden and concrete floors. Dries quickly. Excellent resistance to humidity very low odour. Reduced pollution water bases paint. Paint bases cannot be used alone, they require the addition of a colourant which you can choose by using our colour selector.", "label": "Yes"}
{"text": "Unlock the entire Houzz\n25,137 painted ceiling Exterior Design Photos\nMid Century Modern - Eichler Renovation\nBlack painted planter and plant by window\nfeatures — they had removed some original interior wood paneling and painted the ceiling, for example — but she tried to keep the structure as original as\nwhich she designed based on a photo she saw on Houzz.Exterior paint: Dolphin; door paint: Pumpkin Cream, both by Benjamin Moore\nbones,” Lin says. The exterior form is virtually unchanged apart from new paint. Lin also added frosted glass to the front door sidelight, changed the side\nPeter A. Sellar - Architectural Photographer\n1095 Royal York\nHorizontal slats. Contrast on paint colors.\nLove this dark grey paint with black trim\nus know: Is black staking a claim in your city?More: 11 Reasons to Paint Your Ceiling Black\nPainted Brick, shingles above to match...Way painted to match house...painted brick\nWhat is the porch ceiling paint color? Thanks.\nWhat color did you use for the Haint Blue ceiling?\nHaint blue ceilings with decorative seam covers.\nBlue shutters. White trim. Blue porch ceilings\nThe ceilings of front porches old and new have long been painted blue for a variety of reasons. Tour guides in\nporch color is referred to as Haint Blue. Fortunately, most of the major paint companies have a formula for that perfect shade, making finding the right\nBrick work, ceiling detail, front steps\nKathryne Designs, Inc\nPalos Verdes Mediterranean\nBeneath the porch overhang are groin vaults with hand painted designs. Mark Lohman Photography\nHigh ceilings, domed entry ceiling, Columns, light fixture\nCeiling in grand entrance heather talked about\nthe dome and design on the ceiling...Arch Paint color...pretty paint on ceiling....ceiling and entry way...Love the ceiling...ceiling for porte cochere\nSiemasko + Verbridge\nCan you please share the paint cream color? thanks\nThank you for the question! The shakes are painted a custom color.\ndeck skirting and painted ceiling under porch\npaint ceiling gray?...color porch ceiling...Ceiling on porch\nlike the grey ceiling/white beams look as well\nPainted ceiling...Exterior Paint Colors....painted wood...Low slope ceiling for pool\nLow Ceiling Kitchen\nLow Ceiling Kitchen...Paint color BM Featherbed...Featherbed paint color...The paint combination...Paint color\nFeature Projects Ltd.\nPaint color with black roof and windows\nExt paint...Paint job!", "label": "Yes"}
{"text": "The Magic of Painting From Life – Plein Air and Studio with Sheree Jones\nSeptember 21, 2019\nSaturday, September 21 11:00AM – 12:30PM\nSaturday, September 21 2:00PM – 3:30PM\nJoin professional artist and keen landscape and still life painter Sheree Jones as she shares her passion for painting “from life” both in the studio and outdoors “en plein air.” In this informative presentation, Sheree will share with you why she chooses a subject and how she translates her subject from her initial concept to the final work. She will also share her tips and techniques on: working with a limited palette, the importance of a thumbnail and value sketch, and how to keep your sense of humour in the field. Sheree’s adventurous spirit and her passion for life and “painting from life” is sure to inspire all those who attend.\nSpace is limited and registration is required.\nPlease visit Opus Granville Island or contact them at 604‑736‑7028 to register.\nSheree Jones is an artist and oil painter living in North Vancouver. She has been passionate about her art since the age of crayons. An active member of the Federation of Canadian Artists & Plein Air BC, her work can be found in numerous collections around the globe. Sheree leads workshops in her personal teaching studio and on plein air adventures throughout BC and internationally. She also teaches a number of popular courses for the District of West Vancouver.", "label": "Yes"}
{"text": "New color meme WIP. Hope you stay tuned! :)\nsherlock bbc sherlock holmes sh benedict cumberbatch art fan art digital painting portrait bc wips wip color meme android-sheep-art\nLuna Lovegood ~ Palette 7. Suggested by cascelestial\nI finally finished my class work I had to do over semester’s break that meant painting turned out a little short lately. I hope to work a little more the last fortnight that I’ve got left.\nThis painting was much more difficult than I thought, because the palette was really good for Luna actually… but I still have trouble working with such little contrast in color values.\nI’m really happy Luna was suggested as I wanted to do something Harry Potter in forever and also I like her dreamy-ness (which I tried to capture a little here) and quality to not care what others think about her.\nSo anyway, I hope you like it :3\nHere on deviantART :)painting digital digital art fan art harry potter hp luna luna lovegood evanna lynch loony lovegood ravenclaw j k rowling rowling artwork artists on tumblr radish earrings spell charm magic color meme palette android-sheep-art\nRapunzel ~ Palette 12. Suggested by trulyhopelessromantic\nPiuhh~ finally it’s done! This one was trickier than expected, as I’ve got about 0% practice with cartoony faces at all. I hope I haven’t overdone the background. The glow was made with layer blend modes again, I’ve decided that it’s still conform to the color meme challenge ;)\nWhen I got the suggestion I had lots of different ideas for her but seriously with this palette how could I not make something like one of the lantern scenes?! ♥\nI hope you like it! Feel free to check out the color meme post and send me some suggestions ;)\nHere on deviantART!rapunzel tangled disney color meme digital fan art digitally artwork drawing painting purple orange red lanterns i see the light disneys tangled glow lights portrait artists on tumblr android-sheep-art disney princess disney prinesses rapunzel and eugene\nNumber 3 ~ Sherlock. Suggested by trulyhopelessromantic\nHere is the first color meme painting! :) Turned out better than I feared in the early stages. Though it took much longer than intended. Then again, most of my paintings do.\nI cheated a little on the bokeh and used a different blend mode (I think that’s what they are called…) otherwise it would look rather dull… :0\nanyway, I hope you all like it, and feel free to check out the color meme post and send me some suggestions while I’m working on the next drawing! :)\nHere on deviantART!color meme sherlock sherlock holmes can you make a link to a user s and he or she get's a notification? thought that was possible but dunno how bbc bbc sherlock benedict cumberbatch bc bokeh blue green yellow purple portrait digital fan art painting digitally artists on tumblr android-sheep-art artwork follower suggestions sherlock art digital art\n12, 11, 10, 9, 8.5\nSome of the eye studies I did recently. Hope you like the Doctors!art study eyes drawing digitally digital art eye drawing doctor who dw 9th 10th 11th doctor 12th war doctor Christopher Eccleston David Tennant Matt Smith john hurt peter capaldi new era male eyes blue eyes green eyes brown eyes practice sketches fan art android-sheep-art\nok so I found this color meme and saw what others did (especially mushroomtale) and it looks like so much fun! And I want to try it too, in hope that it turns out good :3\nSo I would be happy to hear your suggestions, send me a character + a number for this color meme! :)\nI might not do all suggestions tho if I feel it’s too difficult (if you follow my blog you know I’m not super pro) and/or not my thing (like most anime and such)\nI’m mostly into TV Shows, Movies, Comics and maybe books :3 If you like check my FAQ page, I’ve answered what stuff I like the most there ^.-\nBut I will try my best! :) hope this will be great, I’m exited! :Dcolor meme colors art drawing requests suggestions digital draw drawing requests characters fan art send me a number and a character movies tv shows comics dc marvel books painting meme digitally\nNew pair of eyes. Practise practise practiseeyes study practice drawing eye drawing digitally digital art these are my boyfriends eyes btw I like the green-orange male eyes art face drawing humans eyelashes artists on tumblr brown eyes sketches\nBecause you were the first. The first face this face saw. And you were seared onto my hearts, Amelia Pond.\nAmelia Pond from Doctor Who\nHere on deviantARTdw doctor who bbc dw Doctor Who Art amy pond amy amelia williams season 6 the girl who waited companion doctor the first face this face saw seared onto my hearts digital art digitally portrait fan art female portrait red hair redhead karen gillan artwork\nAmy Pond from Doctor Whowips doctor who bbc dw amy amy pond companion redhead red hair wavycurlyhair lighting color study finally happy with her eyes her lips are kinda hard to do and the hair ugh hopefully finished til tomorrow working on another DW piece as well :) hope you enjoy\ndrawing more eyes. these are mine, if you ever wondered what they look like ;part drawing digital painting eyes Practice blue eyes personal digital painting colors and lighting android-sheep-art artists on tumblr realism eye drawing eye study studies female eyes sketches\nI’m doing eye studies at the moment, here is a gif of one for you. :)gif doctor who dw bbc dw peter capaldi eyes drawing animation painting digital art digitally android-sheep-art artists on tumblr sketches the doctor 12th doctor 12 Doctor Who Art fan art I liked the lighting Practice expressions too dwworldtour\nNew WIP detail\nCan you guess who I’m drawing? ;)wips drawing digitally Practice portraits portrait digital art android-sheep-art artists on tumblr eyes detail brushes contact lenses make-up fan art\nA more tumblr friendly detail of my painting The Violinist\nFind this work here on deviantARTsherlock bbc sherlock Sherlock Holmes benedict cumberbatch the reichenbach fall s2 painting digital art artwork violoin violinist suit artists on tumblr android-sheep-art detail tv show fan art drawing sherlock art\nFind this painting here on deviantART!bbc sherlock sherlock art fan art sh benedict cumberbatch bc sherlock holmes digital portrait artwork artists on tumblr violoin music violinist", "label": "Yes"}
{"text": "Enkaustikos Hot Sticks Encaustic Wax Paint - Hot Sticks feature the same professional artist quality colors you find in the Hot Cakes line in a versatile, square stick. These encaustic paints are made from quality pigments, the finest damar resin and United States Pharmaceutical Grade (USP) refined natural beeswax. The versatile square paint stick shape allows artist to easily use encaustic paints for encaustic painting, printmaking, rubbings and mixed media techniques. They can be melted directly on a hot palette to create a puddle of color for brush application or can be applied directly on a heated substrate. When applied to a heated substrate, they glide just like lipstick. The tip of the stick can be used to paint fine details or the stick can be swiped on its side to make bold strokes of color. Colors can be mixed directly on the painting or on a hot palette. The sticks can also be melted together in a large tin to create custom mixes. Each stick measures 2.5\" x .56\" x .56\" and contains 13ml of paint.", "label": "Yes"}
{"text": "Explore Gallery of Cheap Large Canvas Wall Art\nShowing Photo About Cheap Large Canvas Wall Art in Famous Fashion Large Canvas Art Cheap Modern Abstract Bamboo Canvas Wall\nFind the room you should place the wall art. Have you got a huge spot that needs cheap large canvas wall art for it to find the appropriate for the room, or is there a smaller space? You do not desire to buy wall art that won't match, therefore you should evaluate your space to find out available spot just before your purchase. If you're got of the allotted area, you can begin hunting.\nTruth be told there seems cheap large canvas wall art are a favourite option and are available in both tiny and large shapes. Take advantage of wall art as accent may inspires to be special decoration for your house and satisfy you!\nIncorporating cheap large canvas wall art into your interior can let you to improve the space in your home and spotlight numerous appearance that you have on display. The wall art can be ideal for setting the nuance in specified interior and also using them for others functions. Before shopping for wall art, ensure you fit its style and texture with the current design in your room. You can buy large choice of wall art to get the good for your room.\nAll of the cheap large canvas wall art can enable you create special model and set up new nuance or look for your home. Adding wall art for the room can allow you to make the right ambiance for each space. Analyzing the style of your current house before purchasing wall art will also enable you to find the right style, size, measurement, and shape for your room.\nHave you been searching for out where to get wall art for your house? Luckily, the following contains anything you exploring with many cheap large canvas wall art for your home! Enhancing with wall art is a excellent solution to make a fresh look and feel to your space, or make an exclusive design. Also you will discover wall art in several dimensions or sizes and in a variety of styles, shapes and variations.\nEvery single wall art are fun and exciting that may be put into any space or room on the house. However these are an example of inexpensive solution to provide a old space a simple remodeling to get a different nuance and look in your room. Designing with the help of cheap large canvas wall art is made for each people, of any age, and also for any decor style which that you prefer and enhance the appearance of your room.\nThe wall art are designed by their unique model also identity. You'll be able to a stylish accent to your home by adding wall art in to your design and style. It is possible to update the wall art in your room that suitable with your own personal taste that made by their lovely and attractive design.\nEach cheap large canvas wall art come in different dimensions, size, patterns, shapes, variations, and designs, that making them a great option to improve your previous design. Feel free to use creativity and inspiration from the existing room design to purchase wall art for your room. All of the wall art comes with various shapes that each homeowner can have fun with that! They are also great makes the mood of an area very much more amazing.", "label": "Yes"}
{"text": "In another room of the gallery, the artist Albrecht Schnider (CH, b. 1958) presents his figurative as well as abstract paper works, meticulously crafted line drawings, as e.g. portrait studies, landscape drafts, or his latest typographical sketches. These, partly older, but also newly reworked sheets often help the artist in generating ideas, in clearing the way to and directly implementing his precise paintings in oil or acrylics on canvas. Albrecht Schnider has exhibited and has a permanent representation in many renowned private and museum collections. He has been living and working in Berlin since 1998.", "label": "Yes"}
{"text": "We are all Artists painting our lives upon the canvas of reality ~ Mix the colors your own way and apply emotion liberally ~ Don't be afraid to let your brush strokes show ~ and above all else, make sure your Art has Soul.\nYou don't have to be an artist to be creative. Creativity is a state of mind. and thinking of ways that the current state of affairs can be changed. They don't always HAVE to be changed but at least you thought about it!", "label": "Yes"}
{"text": "- “Four States of Being” original mixed media art by Tracy Algar\n- Acrylic paint, oil pastel, oil based pencil and gel pen on 300gsm hot press watercolour paper\n- 58 x 38,5 cms | 22.8 in x 15.1 in\n- The artwork is priced in South African Rands. The USD price is $156.47 at today’s exchange rate.\n- I include free worldwide shipping in the price of the artwork.", "label": "Yes"}
{"text": "Basic Color theory\nA little basic color theory wil help you to make your first improvements in painting. On one hand, it's about taste and subjective judgement, but at the same time it's really a kind of science. Check here for an more poetic approach to color, Goethean color theory), and scroll down for direct painting tips. Click here to find a guide on mixing colors.\nClick here for info\nThe most important thing in learning color theory is: learning to see. Someone has to tell you how and where to look. Recently I found a basic color theory course that offers exactly this help: a step-by-step visual course with visual aids for your own study, for every step you learn. Once you know how and where to look, the colors of your painting will become easily manageable. Click on the picture, or scroll down for more - there's basic color theory on this page, and on the bottom more info on the recommended course.\nThe color wheel\nYou already know the basics of color theory once you know the color wheel. In this wheel there are three colors you can't mix: red, yellow and blue (indicated by the arrows outside the wheel). On the color wheel, you can see how you can mix the other colors with them. If you pick two colors that are close to each other on the color wheel, they'll mix into the color in between. So, red and yellow mix to orange, magenta and blue mix to violet, yellow and blue mix to green - check here for examples. Sometimes red is replaced by magenta (strong pink), which gives a slightly different mixing result. If you like pure violets, magenta is a better option.\nWhen you take two colors that are further apart, the colors will be more muddy. And when you mix two colors that are opposite in the color wheel, the result will be greyish-black. The figures on the wheel indicate, what colors visually 'balance each other out'. They're good base colors, for starting a painting.\nContrasting colors are colors opposite in the color wheel. They make each other look stronger, because they summon up each other. Grey accents on a red brick wall will take on a blue appearance - not only to your eye, also to a digital camera. Check here for a visual example of this kind of contrast.\nThese are contrasting colors:\nYellow and blue-violet\nOrange and cobalt blue\nVermillion-red and turquoise\nMagenta and green\nThe funny thing is: if you mix these colors, they destroy each other - they turn into a muddy-blackish grey. When you have a pretty strong yellow, and add violet, the paint color can seem to look lighter than before because the power of the yellow is broken. But side by side, they make each others color stronger. It works in all kinds of colors, no matter if the colors are strong or really weak. So:\n- If the contrast is too strong (shouting colors that hurt the eye), add a bit of one color to the other and vice versa, they'll tone down and become bearable\n- The blackish grey, mixed from contrasting colors (that are in the same painting) makes the best black for that painting.\n- If you want to have a pure white on a red background, add just a little bit of the same red to it, to prevent it from taking on a green appearance\n- Brown accents on a blue background will look warm and radiating, because the \"orangeness\" is pulled forward by the blue.\n- Grey accents on warm reds or red-browns will look either fresh and cool blueish, or greenish (depending on the kind of red)\n- Check here for more on contrast\nWhen you see a colored object, not all parts of it are equally dark. Some parts are highlighted, others are in the shade. This light-and-darkness is called \"value\". The easiest way to paint a red car, is to take black, red and white. Carefully analyze the car: where do you see light spots, where the dark spots? For the darker spots you mix some black through the red, for the highlights, you add much white. Hazy bits have some more grey. But too much grey will take away the color. More advanced painters will use a mixed grey or a dark green by the way - but for learning value, black is OK.\nA car is difficult of course, so maybe it's better to start with something more simple, let's say a red cubicle. (in fact: this is one of the excercises you can find in the color theory tutorial on the bottom of this page). Scroll down for this dvd-course on basic color theory. The same thing goes for a wall color: one kind of paint color won't look the same under different lighting conditions. So, in a darker room you need to use lighter colors than in a light room, to get the same color effect. You can even use this feature to suggest light that's not even there, if you like.\nAnother thing with value: all hues have their own value. Yellow is a light color, and violet is dark one. So, making yellow dark may need some extra yellow ochre or brown to bridge the gap to black. But now we're moving from basic color theory to more advanced.\nSaturation means, how much color is there in you colors? A cadmium or phtalo red straight out of the tube will be very saturated. If you use it pure, the other colors on your painting need to be very saturated too, to keep the balance. This is fine when you like bold colors - but if it gest to loud, you need to de-saturate. For de-saturating colors, you add grey, or a contrasting color and white. Mixing your own greys, from the colors on your palette, make better greys than just black-and-white.\nColor balance is about a sense of equilibrium. In realistic painting, colors need to be in balance. If the reds are strong, the blues should be strong too, unless you want the red to look artificial or fiery. Really strong blues in sky or water only look nice, if there's warm orange in the painting too - if not, it will look artificial. There's not fixed recipe for this - just try to look at your painting and \"sense\" if it's in balance. This is a matter of educated guess, but you can calculate a bit. If one color is too strong, you can either make the other one stronger too, or tone the strongest one down.\nBasic color theory tutorial\nMastering Color by Richard Robinson\nThe most important thing in learning color theory is: learning to actually see colors. I found a good course that can help you in this. Before learning hue, value and saturation you'll first learn to actually see and define colors, and the way they optically interact.\nThis is done with the help of great visuals and a few seemingly simple but very effective tools. The course is in DVD and printables - both contain excellent and unique visuals and color exercises. With this course, beginners can get to semi-advanced in a limited timespan. This course is actually praised by people who have been painting for more than ten years. But due to Richard's teaching capacities, it's an entry level for beginners as well.\nRichard was a graphic designer before he started painting, and graphic designers know color and photoshop like no other creative professions. When he started to teach painting, and develop his own lesson plans, he researched all the major color theory methods around, and composed that into his DVD course on color. Richard's paintings show that he really understands and loves the light, which gives his realistic painting style a very contemporary touch\nThe course is available in downloadables and ready-made dvd and printing. It consist of 2 hours DVD, text and pictures, and a very good set of tools, that really enable quick learning.\n- Color theory\n- Goethean color theory basics\n- advanced color theory\n- Color mixing guide\n- Elements of the color scheme\n- Color schemes\n- Oil painting colors\n- Red paint colors\n- Blue paint colors\n- Choosing paint colors\n- Psychology of color\n- Color and mood\n- Color effects in layering paint\n- Interior painting techniques\n- wall painting techniques\n- Landscape painting techniques\n- Oil painting techniques\n- From basic color theory back to the homepage", "label": "Yes"}
{"text": "I’ve recently finished two new paintings in my In Our Veins series. Encroach is an acrylic on canvas, 6″ by 6.” It serves as a subtle commentary on human intervention in nature while illustrating the connection of the natural world to all life. Reciprocal is the latest addition to the smaller series of paintings within In Our Veins. It is also an acrylic on canvas, 4″ by 4.” Reciprocal conveys the connection to nature by linking flora and fauna and uses the ribbon to continue the recent theme exploring anonymity versus connection.\nIn The Wild West, a skeletal horse and human hybrid, suggesting our practices of genetic manipulation, serves as a grim tale of foreboding. The skeleton, the horse skull, and the desert are symbols of cowboys and typical Western imagery. Television Westerns would typically portray life as good vs. bad, when in reality, the land, environment, people, and animals were all seen as a means to an end. The title refers to how the U.S., itself a part of the western hemisphere, is still taking over land, animals, and resources to this day, creating desert landscapes via clear-cutting and global warming.\nI will have work in the upcoming “Emerging to Established” group exhibition at Krause Gallery in New York, NY in January 2017. The exhibit opens January 7th, 2017 with a reception from 6-8pm and will remain up through January 31st.\nI’ve recently finished three new paintings in my In Our Veins series. Two of which are from my smaller, 4″ by 4″ paintings. I was particularly interested in doing a piece on forest clear-cutting because it is the first thing that comes to mind when thinking of global warming. The smaller paintings, Inseparable and Evanescence, are in reference to the connection of all life, which is the overarching theme of this series. View the paintings online: http://amyguidry.com/clear-cut.html, http://amyguidry.com/inseparable.html, and http://amyguidry.com/evanescence.html.\nThis week is the last week of my exhibit at LeMieux Galleries in New Orleans. My series, In Our Veins, is on view in the Main Gallery of LeMieux now through September 24th. You can also catch Lee Deigaard’s series, Near and Far.\nI’ve had some great response to this body of work, including a feature in American Art Collector Magazine’s September 2016 issue. And Paul Bentley of the New Orleans magazine, Where Y’At, gave me a great review stating: “…Her dreamlike landscapes with animal, human, and natural forms mixing and dancing with each other create beautiful images that seem to be more than just a mere neo-surrealist tribute to Dali or O’Keefe. Her paintings create a dialogue with her obvious predecessors and influences, but they retain an original, calming, eerie, and downright intelligent attitude to them.”\nMore information on this exhibit can be found on LeMieux’s website.\nI’ve finally finished my large painting as well as a couple of smaller pieces. All three are the latest in my In Our Veins series. The first is titled On the Rise and is an acrylic on canvas, 10″ wide by 20″ high. This piece was created in an effort to raise awareness of the plight of animals in the Arctic. Next is Arise, also an acrylic on canvas, 6″ by 6″ square. The skull serves as a landscape for wild horses, linking humans and animals. Lastly is the latest addition to the smaller paintings, Stem, which is 4″ by 4.” The deer wears a wreath of roses, representing their connection to each other and all of nature. View all three paintings online here: On the Rise, Arise, and Stem.\nI am currently working on some new small paintings, one of which is this 4″ by 4,” acrylic on canvas. This is the initial rough layer of paint with some detail added to the ocean and sky. The finished painting will be posted here soon. In the meantime, check out the rest of the series here.\nI’ve just finished two new paintings in my In Our Veins series. The first is titled Ascension, an acrylic on canvas, 8″ wide by 8″ high. The second painting is part of my smaller series at 4″ by 4.” The title is Evolution and it’s also an acrylic on canvas. View the paintings online here and here.", "label": "Yes"}
{"text": "Paint professionals know that paint as well as coatings play a essential role in the green building fad sweeping the country today. Because of the decline in building and construction produced by the economic crisis, the environment-friendly building suggestion is settling and getting larger interest from construction stakeholders who not only value a non-polluting and eco-friendly approach of construction, but likewise welcome the significant price decreases to building and construction jobs.\nThe construction market’s passion in green structure projects difficulties repaint suppliers and also their resources distributors to ingeniously create environment-friendly paint items and materials that follow atmosphere criteria without giving up top quality performance. The products are currently populating the marketplace, all set to be utilized by paint contractors in many facility jobs.\nEnvironment-Friendly Paints and Coatings\nThe outcome of paint makers’ paint reformulation efforts appears in the large range of green paints that painting specialists can picked from. One item is a result of many years of polymer research study bring about a brand-new and better latex paint that eliminates using harmful solvents. Without the addition of such damaging solvents, air top quality is maintained throughout and after painting application projects, protecting paint professionals as well as constructing lessees at the same time.\nThe presence of VOCs or unstable natural substances is likewise a significant ecological trouble in normal paints. VOCs are hazardous materials to the setting, polluting the air as well as creating health risks to people. To address this problem, paint makers make it one of their rigid objectives to create brand-new products that contain little to zero VOCs.\nOne more layer technology is the mixture of water-repellent characteristics to exterior finishes, resulting in a “self-cleaning” feature where dirt as well as water particles merely slide off the repainted surfaces, leaving the building surface area tidy as well as unsusceptible soiling and also the results of the climate. The building surface area remains completely dry and maintains its shade over longer periods of time.\nEnvironment-friendly Raw Products\nRaw material vendors have actually additionally been hectic looking into and also developing environment-friendly materials. A new line of solution polymers, as an example, help paint producers develop low-VOC and also low-odor paints without the aid of damaging coalescents.\nAs with paint makers, basic material distributors are established to lower VOC in paints, for this reason a wide variant of low-VOC resources have actually emerged, from zero-formaldehyde remedies as well as neutral-PH wet-state preservatives, to multi-purpose additives and completely dry films that satisfy the requirements for environment-friendly paints.\nProviders take VOC compliance to cutting-edge levels with environment-friendly ingredients designed for all sorts of finish applications, along with shorten the application and drying out time of paints, to the advantage of paint contractors and also developing homeowners. Biocidal products that contain practically zero natural solvents are also one more location of improvement, enabling paint to be manufactured much more safely as well as simpler to use by painting service providers.\nEco-friendly Structure from Green Paint\nAlmost-zero VOC solutions that are less-harmful during paint production, application, and post-application are of extremely important significance not only to repaint makers as well as raw material providers, however also to paint professionals, structure owners as well as lessees. Even minute traces of VOCs should have no area in paint services to abide by eco-friendly criteria and make certain the building’s stability and sustainability.\nThe need for eco-friendly buildings is driving painting professionals to make use of only green paints and coatings. In response, paint suppliers and also their vendors establish environmentally friendly paints constructed out of environmentally-safe materials. These split reactions allow for a successful application of the green structure fad to most business and domestic facilities in the nation.\nknow more about tecknos here.", "label": "Yes"}
{"text": "“At least we are under the same sky - you and I.” ~Ranata Suzuki\nAn abstract piece that captures the wonderful colors of the sky.\n100% Hand painted canvas wall art. Acrylic paint.\nIn-house design artwork\nSize: Available in 70cm x 70cm, 80 cm x 80 cm or 90cm x 90cm\nFor custom size, message us on our contact page or email us at firstname.lastname@example.org.\nGallery Wrapped, stretched on spruce wood bars.\nShipped to you in about 10-18 days. Ready to hang. Learn more.\nYou may add on a floater frame to give your canvas art a different dimension and that extra finishing touch.\nChoose the color of the frame to match the canvas art and your home.", "label": "Yes"}
{"text": "Painting Hamilton Delivers Perfect Results for Less\nYou’re busy. Why spend time painting when you could be doing the things you love, with the people you love? The difference between a professionally painted space is evident in the experienced, meticulous brush strokes and perfect edging —professional results in less time.\nIs a new kitchen on your wish list? Don’t tear out your tired old kitchen cabinets! With Painting Hamilton’s unique cabinet refinishing and painting services your old kitchen cabinets will look brand new and cost much less.\nStop wasting your time. Save money! Get your free quote today and achieve perfect results for less.", "label": "Yes"}
{"text": "Paul Signac had two great passions: painting, and boats. Whenever possible, Signac enthusiastically combined these two passions, relishing every chance that he had to paint the great ports and maritime cities of Europe, to which he would often sale in his own boat. Painted in 1909, Constantinople (Corne d'Or), shows ships both under sail and at anchor, a busy scene of commerce at the meeting place of the European and Asian continents. In 1907, Signac travelled from Venice to Constantinople by train in the company of the painter Henry Person. Signac was enthusiastic about both the country and the people, noting in his sketchbook 'I have seen things and men, both admirable and new, something which is rare!' (quoted in Signac, exh. cat., Musée du Louvre, Paris, p. 80). He was also dazzled by the 'shrouded northen light against a background of Oriental colour. One thinks somewhat of London, Rotterdam, or Venice. Above all, it is Turnerian' (quoted in F. Cachin, Paul Signac, Milan, 1971, p. 95).\nConstantinople (Corne d'Or) shows the artist capturing the light effects of the great city through his Neo-Impressionist means. In the foreground is the busy shipping lane of the Corne d'Or (The Golden Horn), the historic stretch of water which divides the city and the European and Asian continents. Signac's view of the city is taken from the Asian side, or European quarter, looking across the water to the port, the skyline is dominated by the great mosques of Aya Sofya, Sultanahmed, and Suleymaniye. The painterly surface of Constantinople (Corne d'Or) reveals the free handling of the artist, who had a love of oils that surpassed his love of Pointillism. As a self-taught painter, Signac revelled in being an instinctual painter, and this resulted in an increasing exuberance in his works, expecially after the death of his friend and mentor, the more rigidly scientific Seurat.\nIn Constantinople (Corne d'Or) we see the truth of his assertion that aesthetics, rather than science, were important to him: 'The division is a complex system of harmony, an aesthetic rather than a technique. The point is but a means' (Signac, D'Eugène Delacroix au néo-impressionnisme, ed. F. Cachin, Paris 1978, p. 119). In Constantinople (Corne d'Or) the artist presents the viewer with an image of the Golden Horn, the mosques, and sailing ships, that is filled with joy, with a pure enthusiasm for the scene in all its aspects: this area is intense with action, with boats, while the light effects of the sky and the sun beaming down onto the mosques pose intriguing challenges for the artist, one for which he is more than a match.\nAs one of the leading members of the Neo-Impressionists, Signac influenced the next generation of artists. He influenced Henri Matisse and André Derain in particular, thus playing a decisive role in the evolution of Fauvism. The year before the present work was painted, in 1908, Signac was appointed president of the Société des Artistes Indépendants, and was therefore in an influential position to promote the controversial works of the Fauves and Cubists, but continued to send his works abroad to be viewed by a international audience. At the close of 1909, when the present work was painted, Signac exhibited three pieces at the International Exhibition, better known as Ier Salon d'Odessa, organised by Vladimir Izdebski, who after the revolution in 1917, organised the Salon de Paris in Moscow. The three works, which were Fanal de Traghetto (Cachin no. 416), Diablerets and Port de Saint-Tropez pavoisé (not listed in Cachin), were shown in Kiev, St. Petersburg and Riga.\nSince its purchase from the celebrated Paris gallery, Bernheim-Jeune, in the early 20th Century, Constantinople (Corne d'Or) has only been offered at auction twice before now, in 1927 and 1961. The work appears to have been purchased shortly after it was painted in 1909, by Dr Marcel Norero, who bought paintings by Signac from Galerie Druet and, as is most likely with the present work, from Galerie Bernheim-Jeune. In addition to this canvas, Françoise Cachin lists in her catalogue raisonné, three other paintings by Signac owned by Dr Marcel Norero: Saint-Briac. La Garde Guérin (207), Le port (soir). Couchant rouge (St Tropez) (446) and La Bonne Mère. Marseille (462); works dating from 1890 to 1909. The first and last of these, as well as Constantinople (Corne d'Or), were included in the vente Norero held at Hôtel Drouot on 14 February 1927. When looking at the artists represented in Dr Norero's sale; Bonnard, Cross, Braque, Derain, it is apparent that like Signac, Dr Norero was also a supporter of the Paris avant-garde.", "label": "Yes"}
{"text": "Comment, Like, & Favorite\n12.000 x 16.000 x 0.750 inches\nThis piece has been already sold. Please feel free to contact the artist directly regarding this or other pieces.\nClick here to contact the artist.\nPainting - Oil On Canvas\nThank you for your interest in my art work. If you're interested in purchasing any of my orginals, please visit my website:\nMay 13th, 2012\nViewed 68 Times - Last Visitor from Santiago, 12 - Chile on 07/21/2014 at 6:05 PM\ncopy and paste to your website / blog - preview\nlandscape framed prints, mountain framed prints, oil framed prints, snow framed prints, water framed prints, lake framed prints, evening framed prints, amethyst framed prints, forest framed prints, nature framed prints, wilderness framed prints, outdoors framed prints, pine framed prints, pine tree framed prints, tree framed prints, steele framed prints, c steele framed prints, sawtooth mountain art framed prints, wet on wet framed prints, bob ross style framed prints, landscape greeting cards, mountain greeting cards, oil greeting cards, snow greeting cards, water greeting cards, lake greeting cards, evening greeting cards, amethyst greeting cards, forest greeting cards, nature greeting cards, wilderness greeting cards, outdoors greeting cards, pine greeting cards, pine tree greeting cards, tree greeting cards, steele greeting cards, c steele greeting cards, sawtooth mountain art greeting cards, wet on wet greeting cards, bob ross style greeting cards, landscape prints, mountain prints, oil prints, snow prints, water prints, lake prints, evening prints, amethyst prints, forest prints, nature prints, wilderness prints, outdoors prints, pine prints, pine tree prints, tree prints, steele prints, c steele prints, sawtooth mountain art prints, wet on wet prints, bob ross style prints, landscape posters, mountain posters, oil posters, snow posters, water posters, lake posters, evening posters, amethyst posters, forest posters, nature posters, wilderness posters, outdoors posters, pine posters, pine tree posters, tree posters, steele posters, c steele posters, sawtooth mountain art posters, wet on wet posters, bob ross style posters", "label": "Yes"}
{"text": "German-born American Hudson River School Painter, 1830-1902\nBierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D??sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting.\nBierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career.\nThough his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject and in his use of light was felt to be excessive by contemporary critics. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are also not always true. He painted what he believed is the way things should be: water is ultramarine, vegetation is lush and green, etc. The shift from foreground to background was very dramatic and there was almost no middle distance\nNonetheless, his paintings remain popular. He was a prolific artist, having completed over 500 (possibly as many as 4000) paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Prints are available commercially for many. Original paintings themselves do occasionally come up for sale, at ever increasing prices. Related Paintings of Albert Bierstadt :. | Seal Rock | Island of New Providence | In_the_Mountains | Figures_in_a_Hudson_River_Landscape | Grizzly bears |\nRelated Artists:Maksymilian Gierymski\nGierymski (Warsaw 1846 - Reichenhall, Bavaria 1874) was a Polish painter, specializing mainly in watercolours. He was the older brother of painter Aleksander Gierymski.\nAs a seventeen-years-old boy, he participated in the January Uprising. He was educated at the Warsaw Drawing School initially, but then received a government scholarship in 1867 and went to study at the Academy of Fine Arts in Munich. He became one of the leading painters of the Munich realistic school. Initially best known for this battle paintings, he also created many landscape paintings, especially of southern Poland, which he visited several times.\nSuccessful western Europe completely, he did not gain approval nor popularity in Poland of the 19th century, although he sent paintings to exhibitions in Warsaw regularly from 1968 on. He did however win awards at exhibitions in Munich (1869) and in Berlin (1872).\nItalian Neoclassical Painter, ca.1758-1823,Italian painter and draughtsman. He was a prolific painter who, with a team of artists and craftsmen, decorated palaces and public buildings in Rome, Venice, many cities in Emilia Romagna (especially Faenza), and in France. He worked in a distinctive Neo-classical style, creating sumptuous, richly coloured rooms, the paintings on walls and ceilings being surrounded with a wealth of antique ornament. Despite the turbulent era of revolution and war (1789-1815) he never lacked commissions, for which he chose subjects from the literature and history of Greece and Rome that were symbolic both for him and for his patrons. He was a prodigiously talented draughtsman, who drew constantly, Johann Niklaus Grooth\nGermany (1723 -1797 ) - Painter", "label": "Yes"}
{"text": "Whether you are new to oil pastels or an experienced artist, the question of what kind of paper is best for oil pastels is probably on your mind. The answer is simple. Several options will work well, but your artistic style will determine the best paper for your oil pastel painting.\nOil pastel paper comes in a variety of sized pads or single sheets. They come in various thicknesses and textures, affecting the paper’s blending and marks.\nA smooth surface will allow the creamy oil pastels to glide on the surface, while heavy textures will allow you to add multiple layers of oil pastels.\nThere are many different types of pastel paper to choose from, and each type’s properties suit certain painting styles and subject matter. This article will review several different kinds of pastels paper and discuss their uses.\nDisclaimer: This post may contain affiliate links. If you make a purchase by clicking on an affiliate link, Nevue Fine Art Marketing may earn an affiliate commission at no additional cost to you. Affiliate relationships include, but are not limited to, Bluehost, Tailwind, Skimlinks, SareASale and StudioPress. To learn more visit Affiliate Link Disclosure Policy\nWhat Are Oil Pastels?\nOil pastels are a drawing medium that consists of pure pigment in a semi-solid oil binder. The pigments in oil pastels have a high resistance to discoloration, so the colors will not generally fade with age or light exposure. Although they look like crayons, their waxy nature differs from ordinary crayons and will not work well on regular printing paper.\nOil pastels come in various colors, from bright primaries to subtle earth tones. Many oil pastel artists enjoy working with oil pastels because they can create paintings that look similar to an oil painting without all of the toxins and mess associated with oil paints and thinners.\nArtist Grade Oil Pastels\nWhat To Look For In Oil Pastel Paper\nPaper weight and thickness – The pastel paper’s weight and thickness should be considered when deciding what paper will be best for your projects. The lighter the weight, the more absorbent and fragile the paper is, making it challenging to add pressure and layers of pastel. Thin paper is excellent for rich colors like landscapes and outdoor scenes with sunlight peeking through trees or flowers blooming in a field.\nThe thicker the paper is, the less absorbent it will be. This is especially important if you use oil pastels with wet techniques since the oils can seep through to the back of your drawing surface if the paper is too thin. The more absorbent the paper is, the more vibrant your colors appear when laid down on it.\nTexture – Smoothness is the key since you don’t want to see texture when applying your pastels. However, some artists prefer a rougher surface with tooth (sanded paper) for more textural appeal. A rougher surface might be better for landscape scenes with dirt roads or weather-worn objects.\nOil pastels work well on many surfaces, including smooth papers and paper with a rough texture. The paper surfaces you work with will be determined by the techniques you will use for your oil pastel drawings.\nSize – There are individual sheets and pads of pastel paper available in almost any size you choose. Which one you select will depend on the subject and the type of painting you wish to complete. You might find that purchasing larger sizes and cutting them into small sizes might save you money per painting.\nPaper Color – Different colors are all available. The color of the pastel paper will affect the appearance of your painting. A lighter-colored paper will create a softer-looking piece compared to darker papers.\nOil Pastel Paper Reviews\nCanson Mi-Teintes is a French paper with a “vellum” (rougher) top side and a flat (smooth) bottom side, both of which are ideal for pastel, oil pastel, chalk, pencil, watercolor, and acrylic. It is a thick, 98-pound (160gsm) paper with a high rag content (66%) to ensure long life without deterioration.\n- 9″ x 12″\n- 12″ x 16″\nOil pastels work well on both sides. The smoother side works well for single applications, while the rougher side works wonderfully for blending and adding multiple layers. The heavyweight paper can withstand heavy pressure for dramatic effects.\nThe Sennelier Oil Pastel Card was made with oil pastels in mind. The oils will not seep, bleed through, or halo on this high-quality paper.\nEach pad has 12 sheets of acid-free paper (160 lb. or 340 gsm) thick and 160 pounds (340 grams). The pages are separated with glassine sheets to protect your artwork from damage.\nThe texture is lightly textured and perfect for layering and blending vibrant colors.\nIf you want to use vibrant, bright colors, you will find the Arteza black sketch pad to be perfect. It was created to provide maximum color vibrancy, has a thick texture and enough tooth for you to blend and layer colors, and is ideal for both oil pastels and charcoals.\nThe paper of this pad is 90 lb., so it is thick and durable.\nThis sketch paper pad is made for student artists and is ideal for use at home or in school. This sketching paper is perfect for metallic effects or unique white charcoal drawings. It is also excellent for crayons, markers, or colored pencils.\nThe heavyweight black paper makes the oil pastels pop off the page and is sturdy enough for the creamy texture of oil pastels.\nThe Strathmore 400 Series Pastel Paper is a thick, heavyweight paper with excellent tooth for layering and blending colors. The Strathmoore 400 series is perfect for oil pastels and colored pencils, soft pastels, and charcoal.\nRelated Post – Strathmore Bristal Smooth Review\nThe Winsor & Newton Pastel Paper Pads by Winsor & Newton are made of cold press sheets with a fine grain texture. They are ideal for sketching and drawing with oil pastels, chalk pastels, charcoal, graphite, and other mediums emphasizing shading and highlighting techniques. They provide strength and durability over time as well.\nThese 75-pound (160-gsm) papers are fade-resistant, archival-quality, and free of acids and optical brighteners.\nWhat Oil Pastel Paper Is Best For You\nThe oil pastel paper you select depends on your personal preferences and projects. Consult with other artists for their opinions and recommendations before making a final purchase. No matter which pad or sheet of paper you choose, one thing is for sure: oil pastel paper will make your art stand out.\nWhat Are The Advantages Of Using Oils Pastel Paper For Oil Pastels\n1. It absorbs a lot of oil pastel and allows you to use them properly-\nUsually, the appearance of an entire work is achieved by the complete application of the oil pastels right from top to bottom. Oil pastels have a creamy consistency that makes them easy to draw on paper even though they absorb well. However, oil pastel paper absorbs these creamy materials well and allows you to use them properly on the entire sheet of paper at once.\n2. Paper is thick enough to withstand usage-\nOil pastels are thicker and creamier than other art supplies. The thicker paper allows your works will last longer without critical damage to the essential areas such as the borders and the areas around them.\n3. Painting is more beautiful-\nOne of the main advantages of oil pastel paper is that it gives your paintings a more professional look with less effort than other types of paper.\nWhat Are The Different Types Of Oil Pastel Papers\nThere are different types of oil pastel papers. Most think oil pastel paper is only thick, heavyweight watercolor paper pads. However, many other options, such as the texture, thickness, and paper color, are available.\nFinal Thoughts On Oil Pastel Paper\nOil pastel paper comes in a wide range of colors and thicknesses. The next time you want to work on an oil pastel drawing, think about what type of paper would work best for the look you’re trying to achieve.\nThe best way to get started is to try different oil pastel paper pads and see which ones you like best.", "label": "Yes"}
{"text": "Browse Art By Price\nFantasy Fly Agaric Dryad Forest\nA poisoned man lays dead in a forest where fly agaric dryads flit between the trees . A surreal passing of time is indicated by the falling autumn leaves and snow drifts which also contrast in their colours of blue and violet against orange and red. Acrylic ink, gouache and watercolour on thick watercolour paper mounted on black sprayed with silver, the size does not include the mount.\nOwl in Treestump\nHare & Dandelions\nDeer and Birch trees\nThis is Buster, a loveable rogue painted as a commission from a photograph supplied by his owners, although I did meet Buster in person on a number of occasions. If ever the film \"Lady & the Tramp\" were to be re-made using real life characters, Buster would be the stand-out favourite to play the leading role. This is painted on a standard stretched canvas and is framed in a contemporary tray frame measuring 68cm x 53cms x 35 mm overall. I am happy to undertake similar commissions - please contact me for information.\nFighting Horses in the desert\nDeer Family in Forest with Bluebells\nA deer family stand in stark contrast to the shadows under the glade in which they are stood. The foreground shows an impressionistic carpet of bluebells contrasting with yellow grass. the main colours are blue, yellow and orange. This painting is acrylic on canvas and has been varnished. The sides are painted so it does not need to be framed.\nThis painting features the distant light on the hills and fields, as the clouds travels across the landscape, driven by the ever-present wind. Painted with brushes and pallet knives, lots of texture in the foreground to show the roughness and the beauty at the same time. Painted on a stretched canvas.", "label": "Yes"}
{"text": "Summer Garden with Flower from Pontefract\nAcrylic painting on special paper\nOne of a kind artwork\nSize: 35 x 25 x 0.1 cm (unframed) / 33 x 22.8 cm (actual image size)\nSigned on the front\nSubject: Flowers and plants\nprofessional grade acrylic paints, Fabriano heavy quality paper\nFloral Summer Greetings From My Garden is painted on a Fabriano Pittura sheet of paper. The paper is acid free and archival in the size of 35 x 25 cm (13.75\" x 9.75\") and the painting itself is in the size of 33 x 22.8 cm, so that there is white margin around the painting. This prepares the painting for a mounting mat.\nI have used professional grade acrylics. The artwork is ready to be framed and can be displayed without any glass in front of the painting.\nSome images show you how the artwork may look in a frame and on a wall. These photographs are as good as possible to scale, but always check the size of the artwork which is, in this case 33 x 22.8 cm, plus mounting mat, plus frame, the size can end up somewhere around 47 x 37 cm. Knowing this, you can even easier imagine this particular painting in your place.\nThis original artwork will be packed with an exceptional care, accompanied by a Certificate of Authenticity, and it will be sent via Royal Mail 1 St Class Signed For.\nFor international collectors it will be sent via Royal Mail International Tracked & Signed.", "label": "Yes"}
{"text": "\"A Single Rose\" by Karla Nolan, framed glass painting red\npainting by artist Karla Nolan\n\"A Single Rose\" by Karla Nolan, framed glass painting red flower floral art contemporary modern romance\n7 in X 5 in (17.8 cm X 12.7 cm)\n\"Life is short, use color!\"\nColor, more color, and then add some drama. Glass paintings, soft pastels, palette knife oils. Skyscapes, florals, travels remembered. Having FUN with artwork!\nlink to us - subscribe - about - contact us - press room - login\n\"A Single Rose\" by Karla Nolan, framed glass painting red flower floral art contemporary modern romance, original painting by artist Karla Nolan | DailyPainters.com\nThe Daily Painters Art Gallery - www.dailypainters.com\n© 2016 Daily Painters Gallery. All artwork is copyrighted by the individual artists.\nprod 4.8 2016-10-22 07:46:06\nImages may not be reproduced without the permission of the artist.", "label": "Yes"}
{"text": "AC27-L Lock-In Paint Cup Liner\nSave time from cleaning out messy paint cups with the Lock-In Paint Cup Liner from Werner®. These liners are designed for use with the Werner Paint Cup AC27-P, which attach to the top of a Werner ladder via a Lock-In System®. Intended for small paint jobs, like painting trim, each Werner paint cup liner is capable of holding up to a quart of paint, which is enough to usually put a single coat on a wall that measures 8 feet by 12 feet. They are made using thermoforming, a process in which the plastic is heated and shaped to fit the cup just right. Every one of these Werner paint liners is also solvent-resistant, which means it maintains it shape even when exposed to solvents that might otherwise cause swelling and dissolution.\nDisposable liner for use with AC27-P paint cup\nEach AC-27L unit includes 4 liners\nDesigned to fit snugly inside the paint cup\nHolds up to 1 quart of paint\nLock-in paint cup sold separately\nMakes clean up easy\nWerner Co. stands behind all of their products. Warranty claims are decided by local distributors on a case-by-case basis.", "label": "Yes"}
{"text": "Vintage Action Man Painted Head Beachhead Assault.\nGood condition, Display case ready.\nVintage Painted Head Action Man with Blonde painted hair (Hard Head) with painted Rivets. Good condition face, Nice painted hair, hands are excellent, holds a pose well, he may have some of the typical cracks/splits which these vintage painted head figures suffer from but nothing that effects pose.\nall totally vintage, no repro parts.\nHe comes Equipped in....\nGreen Camo Fatigues\nBrown Tall boots, Original Dog Tag\nPistol belt with sections,\nWater bottle with cover\nFirst aid pouch\nPistol and complete holster\nHelmet with netting cover", "label": "No"}
{"text": "Elegant and particular contemporary style floor lamp for rooms and common areas, with tubular metal structure painted in glossy black on the outside and gold on the inside.\nDesigned to give a strong visual impact.\nBulb 1x max 50w GU10 – USA GU10\ncm H172 L13 P13 – cm H172 W13 D13 – H68” W5” D5”\nFinishes available: polished brass.", "label": "No"}
{"text": "Leadership Collective Identity\nOffering executive training for the business of creative thinking, The Leadership Collective consists of some of the most influential creative minds in the world. To represent them we created an identity that brought 4 ‘L’s’ together in a Op-Art style. The shape changes its composition to the eye depending on where one focuses, a corollary for the thinking the organization provides. The identity adapts its color palette to the companies it works with.\nClient: Rick Boyko\nCreative Direction: Brian Collins\nDesign: Matt Luckhurst", "label": "No"}
{"text": "Shabby chic “ Art Deco” style sideboard\nLovely shabby chic oak antique sideboard, which has been professionally hand- painted in emerald green chalk paint and finished with a clear wax. There are two cupboards and two drawers which open and close smoothly. There are also nice vintage style knobs. It is an eye catching and practical piece of furniture.\nThe measurements are:\nheight is 97cm\nwidth is 121cm\ndepth is 50cm", "label": "No"}
{"text": "Do you want endless moisture for your lips and sheer yet brilliant colour that works day and night? Fruity Shine Cherry is the sweet way to give your lips a gorgeous hint of blushing cherry red colour and long-lasting moisture for a kissably soft and smooth finish. Delight the senses with the mouth-watering cherry scent.\nColour and Shine\nLabello Fruity Shine Cherry gives a touch of delicate colour and prettifies your lips with a soft shine.", "label": "No"}
{"text": "7 FOR ALL MANKIND quote about Callicoon Fine Arts in Miami\n“Congratulations to Callicoon Fine Arts as the recipient of the first annual 7 For All Mankind Booth Prize at this year’s NADA Art Fair. With this award we recognize Callicoon Fine Arts’ success in creatively showcasing great works of art. Callicoon Fine Arts has demonstrated innovation and artistic integrity within the art community and we are proud to celebrate their achievements. 7 For All Mankind supports NADA’s mission of nurturing emerging artists and galleries and we feel very fortunate to be part of such a unique and innovative art fair,” said Leilani Augustine, VP of Marketing at 7 For All Mankind.", "label": "No"}
{"text": "Little mister- you were a DREAM! You slept so sweetly for us and let us mold you into the sweetest little positions that mimic the womb! My favorite image, by far, from your session is the picture with your parents. You can almost FEEL their love for you in that one especially. Dream big little one!", "label": "No"}
{"text": "Dinosaur wall art can be valuable in your home and says a lot about your preferences, your individual appearance should be shown in the furniture piece and wall art that you pick. Whether your choices are contemporary or classic, there's lots of new options available on the store. Don't purchase wall art and furniture that you do not like, no matter what the people recommend. Just remember, it's your house so ensure you love with home furnishings, decor and feel.\nAre you looking for dinosaur wall art being a comfortable environment that reflects your characters? For this reason why it's essential to ensure that you get the whole furnishings parts which you are required, which they match each other, and that give you benefits. Your furniture and the wall art concerns producing a comfortable and cozy spot for homeowner and friends. Unique preferences might be great to provide to the decoration, and it is the simple unique variations that provide uniqueness in an area. As well, the correct placement of the wall art and old furniture also making the room nuance more gorgeous.\nJust like everything else, nowadays of endless items, there appear to be endless alternatives as it pertains to find dinosaur wall art. You might think you realize accurately what you look for, but when you walk into a shop or search pictures on the website, the designs, forms, and modification alternative can be complicating. So save the time, chance, budget, money, also energy and take advantage of these recommendations to obtain a smart idea of what you want and what you need when you start the hunt and consider the great designs and select appropriate decoration, here are a few guidelines and ideas on deciding on the best dinosaur wall art.\nThe design and style need to create influence to your wall art. Can it be contemporary, luxury, or classic? Contemporary and modern interior has sleek/clean lines and often makes use of bright shades and other neutral colors. Traditional furniture is sophisticated, it may be a bit formal with shades that range from ivory to variety shades of blue and other colors. When thinking about the decorations and patterns of dinosaur wall art must also to useful and proper. Also, go with your personal style and that which you pick as an customized. All of the items of wall art should harmonize one another and also be in line with your overall room. If you have a home design preferences, the dinosaur wall art that you modified should match that ideas.\nTop quality product was created to be comfortable, relaxing, and may thus make your dinosaur wall art appear more amazing. On the subject of wall art, quality always cost effective. Top quality wall art may keep you relaxed nuance and also go longer than cheaper materials. Stain-resistant fabrics are also an excellent material particularly if you have kids or frequently have guests. The shades of your wall art perform an essential point in affecting the feel of the interior. Simple paint color wall art will work wonders every time. Playing around with extras and other pieces in the space will help to balance the space.\n- Dinosaur Wall Art Canvas Or Prints Boy From Trm Design | Wall Art Within Dinosaur Wall Art View Photo 1 of 20\n- Customize Name Dinosaur Wall Decals For Boys Bedroom Kids Room Inside Dinosaur Wall Art View Photo 2 of 20\n- New 3D Stereo Dinosaur Break Through Wall Art Mural Poster Through With Regard To Dinosaur Wall Art View Photo 3 of 20\n- New Cartoon Removable Vinyl Wall Stickers For Kids Rooms With Dinosaur Wall Art View Photo 4 of 20\n- Interior View Photo 5 of 20\n- Beetling Brachiosaurus Dinosaur 3D Wall Art Decor With Regard To Dinosaur Wall Art View Photo 6 of 20\n- Minimalist Dinosaur Wall Art Teal T Rex Poster Intended For Dinosaur Wall Art View Photo 7 of 20\n- Navy Blue And Grey Modern Dinosaur Wall Art Room Decor Hangings For Regarding Dinosaur Wall Art View Photo 8 of 20\n- Friendly Pair Of Dino Dinosaur Wall Stickerssnuggledust Studios Intended For Dinosaur Wall Art View Photo 9 of 20\n- Dinosaurs Wall Decal, Dino Dinosaurs Land Huge Set Baby Nursery Kids In Dinosaur Wall Art View Photo 10 of 20\n- Dinosaur Wall Art At Redenvelope Intended For Dinosaur Wall Art View Photo 11 of 20\n- Baby Boys Canvas Nursery Wall Art Navy Blue Lime Green Orange In Dinosaur Wall Art View Photo 12 of 20\n- Skeleton T Rex Epic Dinosaur Wall Decal – Wall Decoration Ideas With Regard To Dinosaur Wall Art View Photo 13 of 20\n- Dinosaur Wall Decals – 1 – In Decors Regarding Dinosaur Wall Art View Photo 14 of 20\n- Trademark Art Dinosaur Great Dinosaur Wall Art – Wall Decoration Ideas Throughout Dinosaur Wall Art View Photo 15 of 20\n- Dinosaur Crafts – How To Make Mounted Dinosaurs Wall Art Feature In Dinosaur Wall Art View Photo 16 of 20\n- Mixed New 3D Dinosaur Wall Stickers Decorative Wall Decal Cartoon With Dinosaur Wall Art View Photo 17 of 20\n- Dinosaur Wall Art Home Decorations Animal Stickers Kids Room Cartoon Throughout Dinosaur Wall Art View Photo 18 of 20\n- Alphabet Wall Decal, Abc Playroom Wall Decal, Dinosaur Wall Decal Inside Dinosaur Wall Art View Photo 19 of 20\n- Diy Original Watercolor Skull Dinosaur Wall Art Canvas Painting For Dinosaur Wall Art View Photo 20 of 20\nTags: dinosaur wall art decals dinosaur wall art hobby lobby dinosaur wall art australia dinosaur wall art dinosaur wall art for toddlers dinosaur wall art for nursery dinosaur wall art nz dinosaur wall art printables dinosaur wall art canada dinosaur wall art uk", "label": "No"}
{"text": "Spiders Secrets: handmade artwork and items\nA melange of artwork, jewelry and vintage treasures.\nSunday, June 24, 2012\nI am testing out different apps for my Etsy store. Here is one of them...\nThank you for looking. Enjoy!\nShare to Twitter\nShare to Facebook\nShare to Pinterest", "label": "No"}
{"text": "Ink on paper; H. 18 in. (45.7 cm), W. 14 in. (35.5 cm)\nNational Portrait Gallery, Smithsonian Institution (Washington, D.C.), NPG.70.66\nThis representation of Franklin was created by Edward Savage after Franklin's death, both as a memorial and as a print for which there would be a ready market.", "label": "No"}
{"text": "Raw Natural Beauty Raw Color Face and Blending Brush 1 piece by Raw Natural Beauty. $12.00. Blends and feathers pigment. Creates a fresh, natural-looking finish. Perfectly applies finishing powder. Also great for applying shimmer powders. Large, super soft brush head. Sweep this large, soft brush over your face to apply a finishing powder. The Face/Blending Brush softly and evenly feathers color for a fresh, natural-looking finish.", "label": "No"}
{"text": "A charming addition. ; Tanga flaunts a lace front, side, and rear panels with scalloped edges. ; Low rise. ; Sewn-on elastic around waistband with picot lace trim and center front bow. ; Partial thong back. ; Soft lined gusset. ; Style #945232. ; Body: 87% nylon, 13% spandex Gusset: 41% nylon, 39% polyester, 20% spandex Gusset Lining: 100% cotton. ; Hand wash warm and line dry. ; Imported. ; If you're not fully satisfied with your purchase, you are welcome to return any unworn and unwashed items with tags intact and original packaging included.", "label": "No"}
{"text": "Gluekit photo-illustration for Fortune Magazine, 2012.\nPhoto-illustration by Gluekit for Newsweek, 2012.\nThere’s a nice video here where you can see the illustration as it appeared in print as the hosts discuss the article which this illustration accompanied.\nFollowing up on yesterday's painted bookshelves post, it seemed like a good time to run this. When I put this together a few weeks ago, I had just spent the weekend clearing off our living room bookshelves. Not clearing them of books, but the way too many paintings that are stacked three deep, and vases, and magazines that need filing, and the Swedish Lily candlesticks I keep buying on eBay, and so on.", "label": "No"}
{"text": "Kanebo Cosmetics Product Information\nA four-color eye shadow set inspired by the sweet colors and soft, glowing texture of macarons.\nA soft-textured powder comfortably and lightly fits the skin.\nVibrant colors gently tint the eyes for a sophisticated look with intensity inside.\nAvailable in four spring color variations. Enjoy light-toned, colorful eye makeup.\nPrice:5,000 yen (without tax)\n＊The prices indicated are the manufacturer's suggested retail prices.", "label": "No"}
{"text": "This blog has been created so that students at OHS can have a place to share their photos on a regular basis. We welcome any constructive critism, as well as positive feedback.\nWednesday, September 22, 2010\nThe focal point is the girl looking up at the sun. I see the hope in this picture where the girl is looking up at the bright sun. Although parts of this picture are very dark, I think the mood is shown well in the shining sun and rays coming down.\nUsing photoshop I placed the girl in the corner, and I changed alot of the colors in this montage. I mostly used contrasting and color replacement which is what gave the sun so much light compared to the tree and leaves. I added a texture in the back and changed the hue of the composition to a green/yellow.", "label": "No"}
{"text": "Modern Art is a bidding game designed by Reiner Knizia and first published in 1992 by Hans im Glück in German. Players bid on works of art by five different artists; at the end of each round, they then sell their art. More popular artists' works are worth more, and the value carries over into future rounds.\nAs soon as a fifth work of art by a particular artist is offered for sale, the round ends (the fifth artwork is not sold). Players then sell purchased artwork back to the bank -- the more paintings of an artist that were sold in the round, the more that artist's paintings are worth. Only the three most popular artists' paintings are worth money; the others are worthless. Ties are broken by a fixed artist precedence. The game has a board to keep track of the value of a given artist's painting. Each artist occupies a column. The leftmost artist is always preferred in case of ties. The number of paintings in the deck reflects this; with the leftmost artist having the fewest paintings, and the rightmost artist having the most paintings.\nThe game is played in four rounds. In the second, third, and fourth rounds the value of paintings at the end of a round depends not just on how the artist did in that round, but can carry over from previous rounds as well. Players are dealt additional cards in the second and third (but not fourth) rounds.\nThe player with the most money at the end of the fourth round is the winner.", "label": "No"}
{"text": "New table called \"The World from Above\"\nThis is an upcycled piece of an Ikea table I found left outside my house... :D\nThe table had a black and white sticker of the globe on it and I painted a few black dots\naround the sticker and on the sides of the table to create a 3-dimensional effect:\nTo purchase this item please get in touch\n\"A Colourful Sqaure\"\nMedium - Original Ink Drawing on Paper\nDimensions - 21cm x 21cm\nPrice - £65 / €78\nA new ink drawing of some colourful, interlocking shapes...\n\"Even If You're Miles Away...\"\nMedium - Original Drawing Ink on Paper\nDimensions - 15cm x 21cm (A5)\nPrice - £35 / €40\nNew drawing in a minimalist style...\n\"Blue Disc Sun\"\nMedium - Acrylic on Canvas\nDimensions - 18cm x 24cm\nPrice - £54 / €58\nNew painting in the \"brush-wipe\" acrylic style\nFollow the Latest Creations On...", "label": "No"}
{"text": "These beautiful paintings are currently up for auction!\nCecile Ryden Johnson\nThey were created by artist, Cecile Ryden Johnson, an internationally recognized watercolorist. 👩🏼🎨\nShe preferred the “open air” style of painting, working in natural settings directly from nature.\nClick here to find additional paintings of the Virgin Islands by this wonderful artist ==> eBay", "label": "No"}
{"text": "HAPPY BIRTHDAY CARD.\nXS480x271px6.7\" x 3.8\" @72dpi148kB | jpg\nS800x452px2.7\" x 1.5\" @300dpi303kB | jpg\nM2303x1302px7.7\" x 4.3\" @300dpi1.4MB | jpg\nL2973x1681px9.9\" x 5.6\" @300dpi2.1MB | jpg\nXL3761x2126px12.5\" x 7.1\" @300dpi3MB | jpg\nMAX8192x4632px27.3\" x 15.4\" @300dpi8.5MB | jpg\nTIFF11585x6551px38.6\" x 21.8\" @300dpi217.1MB | tiff\nDesigners Also Selected These Stock Illustrations\nParty balloonsCute unicorn pink number 2Happy BirthdayPaper art valentine`s day. Paper origami gifts flying with origami paper heart balloons in candy blue sky. illustration. EHappy Birthday background with watercolour textureCute unicorn face with gold horn and flowers isolated on white background. Vector cartoon character illustration.Happy birthday red banner.Vector party balloons illustration. Confetti and ribbons flag riHappy birthday greeting card.\nMore similar stock illustrations\nCartoon character cheerful zebra dancingWhite gift box aside by red heart in flat design styleGreeting card for a boy on Baby ShowerBack to school,education concept, school kids,happy children go to school, Template for advertising brochure, your text, Vector IlHappy birthday background with flying musical notesHappy-Birthday-typography-vector-design-for-greeting-cards-and-poster-with-bow,-flowers,-ribbons-on-blue-pea-backgroundBright watercolor card with red flowers. Chrysanthemum isolated on white background. Botanical illustration for your invitationHalf circle flowers frame. Hand-drawn watercolor painting on white background. Comic cute girl. Perfect for cute cards.Corner Colorful Streamers And Confetti Up Left\nMore stock photos from Valentina A' portfolio", "label": "No"}
{"text": "toilets wall mount wall hung toilet with tank wall mounted toilet tanks wall mounted toilets wall mounted toilet wall wall hung toilet with tank wall mounted american standard toilets wall mounted.\nno light light pollution lightning hockey.\nblue and white ceramic garden stool blue and white ceramic antique home drum porcelain garden stool glazed hand painted round blue white ceramic garden stool.\n21 bathroom vanity x vanity vanity vanity x x bathroom vanity top x 21 inch depth bathroom vanity.\nsecond hand furniture online places that buy used furniture near me used furniture for sale near me used living room sell second hand furniture online uk.\nwhite ikea kitchen x kitchen island white ikea kitchen island.\nlattice wall art lattice wall decor lattice wood square threshold target wood lattice wall art wood lattice lattice wall art ideas.\nlexington furniture stores furniture warehouse slideshow used furniture cheap furniture stores lexington ky.\ndesk chair mats for hardwood floors details about computer desk chair mat hardwood floor office home carpet protector x office chair mat for hardwood floor amazon.\nhome depot fence paint best fence paint or stain wood best fence paint stain fence paint stain best fence paint home depot behr fence paint.", "label": "No"}
{"text": "Stine Goya Stina Dress\nThe Elizabeth Dress in Clouds from Stine Goya features:\n70% Recycled Polyester, 30% Polyester\nDanish designer Stine Goya has been making waves in the fashion world thanks to her eponymous label and its pioneering use of colour, print and fit. Rejecting muted colours for unexpected, bright colour pairings and art-inspired prints, Stine Goya makes dresses, tops, suits and footwear that are sophisticated, feminine and modern. Shop the Stine Goya collection.", "label": "No"}
{"text": "Henry Bold, ist Dec. 1668.\nFrancis Moore, 19th July 1669, vice Henry Byam. Thomas Tomkins, 8th Nov. 1669, vice Richard Mervin. Anthony Horneck, vice Joseph Maynard, 13th June\n1670. Walter Brace, vice Thomas Portman, 30th July 1670. Edward .Drewe, 19th June 1671, vice Thos. Grenfield, Nicholas Hall, 29th Aug. 1672, vice Baldwin Acland. Henry Grenisworth, 27th Sept. 1673, vice Martin\nBlake. John Ceely, 19th June 1674, vice Edw. Wittenhall. John Gilbert, 18th March 16745, vice Samuel Hall. William Jesse, 30th Aug. 1675, ^'^^^ Thos. Tomkins. Edward Lake, 13th Dec. 1675, ^^^^ Edward Cotton. William Naylor, 22nd Sept. 1676^^. Ralph Davenant, 19th June 1677, vice Roger Ashton. George Hooper, ]6th Oct. 1677, vice Henry Bold. John Mill, 29th Oct. 1677, vice Charles Fotherby. Thomas Croswaite, 7th June 1678, vice Wm. Naylor. Louis Burnett, istOct. 1678, vice James Lake. Thomas Snell, 4th Jan. 1678-9, vice John Snell. John Reynolds, nth June 1679, vice William Jesse. John Ruddle, and Oct. 16S0, vice Henry Grenisworth. Jasper Phillips, 9th Oct. 1680, vice Thomas Flavell. Richard Annesley, 23rd March 1 680-1, vice George\nCary, John Wilcox, 12th April 1681, vice Francis Moore. Thomas Long, jun., 27th April 1681, vice Ralph Da-\nvenant. George Snell, 31st Jan. 16845, vice Thomas Snell. Anthony Tonstall, 22nd Oct. 1686, vice Walter\nBrace. Nicholas Kendall, 23rd Jan. 16878, vice Anthony\nTonstall. John James, 30th Aug. 1689, vice John Coppleston. Richard Long, 31st July 1690.\n8-^ Not in the Bishops' Register. VOL. I. 31", "label": "No"}
{"text": "And by dude, I mean Dutch artist Tina Pireira Filipe. And by stroller, I mean the chassis of a big old pram. And by coffee table, I mean glass-topped coffee table of death for any kid that gets near it. That thing looks like trouble. Awesome, but trouble.\nGebruiksvoorwerpen - Tafel (2004) [tinapereirafilipe.nl via boingboing]", "label": "No"}
{"text": "Just explore those pictures. It's grouped by Garage floor epoxy elite crete systems garage. Rustoleum epoxy shield garage floor coating - inovatics. Epoxy garage floor coatings stronghold floors. Chattanooga garage flooring choices and options. How to epoxy garage floor extraordinary behr garage floor epoxy.\nImages show off on the left side also classified in how to epoxy garage floor image series. Also Posted 2 years ago", "label": "No"}
{"text": "Taken 2011-07-24 at 9:42 AM. Seen from the western edge of Magnolia, Mount Rainier appears to float above the Port of Seattle Cranes and Spokane Street Bridge. Itself dream-like, the sleeping giant's peak is shrouded in clouds, suggesting the titan dreams of past and future glory.\nI had heard that the reason why Rainier and other tall mountains appear to float at a distance was due to refraction. The atmosphere becomes denser at lower altitudes, and thus in accordance with Snell's law of refraction the top of the mountain appears shifted much like something above water will appear shifted to an observer at the bottom of a pool. However what appears more likely is that it is due to Rayleigh scattering. The upper part of the mountain is white due to snow, the lower part darker, and just as the white of the moon shows through a blue sky but the shadows of the moon do not the dark colors of the base of a mountain are washed out by the blue of the sky due to the scattering of blue light. Consequently on clearer days when there is less scattering you may still see the base, albeit somewhat washed out by the blue. Likewise, the top of the mountain should appear to be in the same place whether you can see the base or not.\nSign up to comment.\nSign in if you already did it.\nPhoto taken in Briarcliff, Seattle, WA 98199, USA\nMisplaced? Suggest new location", "label": "No"}
{"text": "Shop Brush Cleansers\n15 products found.\nShowing 15 products of 15.\nBrush Cleansers, articles & community\nRecent reviews on Brush Cleansers products\nCinema Secrets Professional Brush Cleaner Spray 60ml\nCleans the brushes well and dries quickly.\nCinema Secrets Professional Brush Cleaner Spray & Tin 60ml\nI love this and the tin, so handy and affordable.\nBobbi Brown Conditioning Brush Cleanser\nGentle & effective\nIt is very effective to remove foundations from my foundation brushes and it keeps the brushes soft too", "label": "No"}
{"text": "I never really wear yellow, not since I was a kid anyway.\nWhen I was in my teens I would wear only colors. Then I moved to Vancouver and I only wore grey and black.\nNow (a few year later) I finally feel like wearing colors again.\nColors just bring out some extra joy!\nWhat colors make you happy ?\nRemember to always have faith in you <3", "label": "No"}
{"text": "This summer sky fairy loves to look up into the sunny sky. She is squinting as a result. Her simple little poppy petal dress has been stained yellow by the bright rays of the sun and her golden tousled hair is just as bright and cheery. Everything she comes into contact with is bleached bright and light with a faint pink glow, just like a setting sun at twilight. She carries with her a bit of fairy identification in her bottle, which swings from her perch.", "label": "No"}
{"text": "Super Quotes About Art Snapshots – From the thousand photographs online regarding quotes about art, choices the top series using greatest image resolution just for you all, and this photos is usually considered one of images choices within our finest photos gallery with regards to Super Quotes About Art Snapshots. I really hope you might like it. This graphic (Quotes About Art Precious Download Art Quotes About Life) previously mentioned is usually classed using: kafka quotes about art,quotes about art and social justice,quotes about art being everywhere,quotes about art by leonardo da vinci,quotes about art day,quotes about art deco design,quotes about art education,quotes about art evoking emotion,quotes about art in spanish,quotes about art inspiration,quotes about art pinterest,quotes about art sculpture,quotes about art talent,quotes about art tatum,quotes about art teachers,quotes about art tumblr,quotes about geometric art,quotes about needing art,quotes about ugly art,quotes about without art, posted by kerbcraft in 2017-12-21 02:59:55. To see most pictures inside Super Quotes About Art Snapshots graphics gallery remember to abide by this particular web page link.\nQuotes About Art Precious Download Art Quotes About Life Uploaded by kerbcraft on Thursday, December 21st, 2017 in category Inspirational Quotes.\nHere we have another image Quotes About Art Elegant 50 Motivating Artist Quotes That Will Ignite Your Inspiration featured under Quotes About Art Precious Download Art Quotes About Life. We hope you enjoyed it and if you want to download the pictures in high quality, simply right click the image and choose \"Save As\". Thanks for reading Quotes About Art Precious Download Art Quotes About Life.", "label": "No"}
{"text": "I would like to changle my folder icons in Windows 10 to these Black Windows 7 Folders by Drawder\nlocated here in the Deviant Art section.\nMy current Windows 10 Folders\nBut I would like it to look natural, like as illustrated above, when a folder is empty ([b]as shown above[/b]) it looks empty and when a folder contains items it looks like it contains items (as shown above)\nThese are the folder icons I would like to apply which I have not done as of yet.\nAs you can see one icon shows empty and the other shows full.\nI would like to apply these Brown folder Icons so they look as natural as the default Windows 10 folders. (as shown in the first pic above)\nThis is the Drawders whole folder icon pack.\nAs you can see the icon pack consists of many different folder icon sizes and angles.\nThanx in advance.", "label": "No"}
{"text": "Honorable mention for this weeks Reader Sunshots series \"Shadows\" goes to Carla Waller for her picture titled \"Austrian window boxes.\" Waller shot this picture while visiting the holiday resort Kitzbul in the Austrian Alps. Here is a critique by Robert K. Hamilton, The Baltimore Sun's director of photography: \"I really like the vision Waller has shown in this image. She turned the ordinary into abstract art. The strong vertical crop, combined with the deep shadows plus the splash of color. make this an interesting picture.\"\nPhoto by Carla Waller\nCopyright © 2018, Hartford Courant", "label": "No"}
{"text": "3 rubles: Hockey\nin the central part of the disc, to the left - the relief image of a hockey player forwarding a puck, to the right of it - the inscription: \"СОЧИ\" (SOCHI), the date: \"2014\" and five Olympic rings in three lines, below to the left, at the edge - the colored image of a little branch of the cork oak.\n|Face value:||3 rubles|\n|Mintage:||35,000 pc proof|\nCCD is one-man non-commercial project without ads and without a support. Your donations will help me to develop this website for all collectors.", "label": "No"}
{"text": "Glen Etive. John Chapman. Accepted in the Local Press.\nGorgeous light & beautiful colors John, love this one!\nA glorious landscape ! Love the colours and the composition.\nTHIS IS SO VERY GORGEOUS. LIGHT + CLARITY = ACERS\nLove this gentle scene.\nWhat a beautiful place!\nFine landscape view\nSuperb... like your comp of the scene to get the trees on the island partially against the blue sky.\nGreat Scenic View...", "label": "No"}
{"text": "Thursday, March 31, 2011\nYAY a challenge!\nI'm getting my feet wet in the blogging world, by participating in this super fun looking challenge!\nCreate something with these 3 specific items:\nand of course your allowed to use the basics (i.e scissors, glue, paint, tape etc)\nBut I love this challenge specifically because I'm a true believer in using whatcha got!\nSo here it is!\nNot much to it, the kites were made from the paint chips I swiped from Lowes to make my son a color block book to help him learn his colors, but I never got around to it(lol), some paint on the back of a cereal box and twine.\nI know it looks like a kid made it but it hangs in the kid's playroom!\nCan't wait till next week!", "label": "No"}
{"text": "keeping it simple\nPrimary colours and simple lines are what this post is all about; I’ve used paths and the skyline as leading lines and focussed on the photographer from a different perspective. Whilst trying to balance the muted tones of the landscape with the vibrant hues of the subject in the foreground, I have also managed to enhance the fog in the background effectively, giving some of the photographs a more dramatic look.\nI’ll soon be posting an update on what’ll be going on regarding my blog in 2017, so stay tuned and follow for more…\nNikon D7000 – 50mm lens", "label": "No"}
{"text": "Watercolor paper and wood, 20 x 30 in.\nWatercolor, charcoal and ink on paper. Photo of three-dimensional paper sculpture.\nStudio capture of backlit paper sculpture.\nWatercolor paper sculpture, ephemeral.\nCapture of ephemeral arrangement of acrylic on canvas painting with cotton fabric and wood. 12 x 16 in.\nWatercolor, paper and basin, studio capture.\nFound abstract with backlighting.\nSculpey object. 3 x 1.5 in.\nAcrylic on canvas with doll.\nAssemblage of piano keys and colander, ephemeral.\nAcrylic and water in basin.\nAcrylic and water in basin, ephemeral.\nVideo projection on acrylic on canvas painting, 18 x 24 in.", "label": "No"}
{"text": "Stock Photo — Abstract sky as elegant light background\nAbstract mystery background of blue sky with soft light. Elegant texture for design, wallpaper and wrapping paper, background with soft focus. Beautiful abstract background of nature. Elegant and luxury banner with sky and sun light shining through the clouds. Spring and holiday colors.\nImage ID: 166345930\nMedia Type: Stock Photo", "label": "No"}
{"text": "We designed a complete visual identity for Encore Business Solutions. The logo is the key visual signifier of the Encore brand and is comprised of a brand icon and wordmark. The brand icon is a stylized ‘e’ constructed of a minimal number of elements representing efficiency and partnership. The wordmark is a complimentary visual signifier for the logo comprised of modern, sans-serif letterforms.\nThe visual language of Encore is communicated through the use of bold colour and brand icons that are derivatives of the logo. The Encore brand typeface is Theinhardt. Its strong personality and highly legible letterforms support and complement the geometric qualities of the brand icon.", "label": "No"}
{"text": "19th of September 2015 WOW – “Light Bowls” got 1942 views till today! Thank you all!!!\nThe idea of this picture was created as I was at holiday in Greece. I was sitting in a restaurant with little candles like you see in my picture. It was a hard work to compose the illumination and the shadows.", "label": "No"}
{"text": "Two shapes of the Double Wedding Ring Block are used each in three different sizes to form the initial pattern of this Quilt. The colours of the fabrics are then chosen to create the visual element of the design. The addition of the freehand drawn Hand Quilting designs further enhance the the transition from the light to dark elements of the design. When the Quilt is hung on a bed the sides and bottom reveal the individual animal portraits which are mirror imaged on either side.\nPhotographer: Victoria Hillman", "label": "No"}
{"text": "exciting unfinished bedside table unfinished bedside table unfinished wood bedside tables pine side table wooden console sofa and bedrooms charming.\nsmall bedroom side table ideas nightstands best bedside tables on very narrow bedside tables uk very narrow bedside table slimline cabinets tables with drawers captivating small ideas space tab small.\nbest bedroom colors paint colors interior exterior paint bedrooms paint colors how to choose bedroom colors bedroom paint colors.\nblack outdoor throw pillow outdoor pillows black outdoor pillows.\nstunning paint design for small bedroom idea colour ideas bedrooms pretty small bedrooms interior paint ideas for small bedrooms schemes rooms warm colours bedroom picture house free living home.\nwooden storage bench for front porch splendid org content uploads small wooden storage bench wooden storage bench for t porch small garden designs ideas wooden storage bench.\npull out sofa futon queen inflatable bed air mattress dorm sleeper sofa beds air mattress pull out sofa futon queen inflatable bed air mattress dorm sleeper bed new.\nmillion dollar rustic nightstands medium wax budget tall nightstand rustic nightstands large picture of million dollar rustic medium wax budget tall nightstand.\npair of french provincial style walnut bedside tables mid century mid century style bedside table.", "label": "No"}
{"text": "Realistic drawing of Disney women- I like how they look their actual age that they were in the movie\nArtesanato diversão e prazer: Riscos de borboletas para pintura\nLove the way the artist rendered these water drops.\nShaman's Dance horse art print by LancasterArt on Etsy, $99.00 I love her work! This might be my favorite yet.\nLove this one! #swans #birds #illustration\nTristag Original Drawing by PeterCarrington on Etsy, £90.00\njin kim | Tumblr", "label": "No"}
{"text": "The Most Brilliant and Lovely Coffered Ceiling Designs Pictures pertaining to Residence\nThis wallpaper background archived in Coffered Ceiling category. The Most Brilliant And Lovely Coffered Ceiling Designs Pictures Pertaining To Residence is ready to download for free in HD resolution. Read below how you can set this image as the background of your desktop computer, laptop or mac, tablet and smartphone.\nFile Name: Coffered ceiling design ceiling beams coffer ceiling panels in the most brilliant and lovely coffered ceiling designs pictures pertaining to residence\nResolution: 98x98 Pixels\nAdded: Sunday, 24 June 2018", "label": "No"}
{"text": "I'm not speeding, really,,,, I'm just cruising.\nThis picture was taken just before I got the 3\" Console Box from Subaru. You can still see the factory stereo.\nI finally took a decent picture of my stereo installation. Looks almost stock.\nI applied black trim paint, but this is not the worst side...\n...this is, and if you look close you can see where I touched up the paint.\nOne of my favorite shots of my Subaru, up close and personal.\nThe amazing little powerplant.", "label": "No"}
{"text": "Good morning! I tried to use the kissing technique with the jar, but didn’t get it to work that well\nso I decided to use the kissing technique on the car.\nI made my own embellishments : dew drops\nThis card above is for the Papertrey Ink MIM challenge.\nI love this set Vintage Linens from Dawn. when the granddaughters were here we made many using markers and blended with water. For these flowers I used my watercolors on the vellum from Papertrey Ink . I smudged one flower right before I took the picture, I forgot to wipe a bit off before it was dry. I loved using the watercolor on vellum.\nI have so many of these flowers made and some ready to be colored, I embossed a bunch one night. The dew is made with Glossy Accents. I love stamping this jar in two colors from Papertrey Ink Hawaiian Shores and Ocean Tides. Its funny I used watercolor paper for the card panel without any watercolor on it , I just liked the contrast.\nThank you for the visit and God bless!\n|challenge: No ordinary paper|\n|Simon Says Anything Goes|\nVintage Linens Stamp Set\nPapertrey Ink - Vintage Linens Die\nScripted Stamp Set\nCity Scene Stamp Set\nEnjoy the Ride Stamp Set\nPapertrey Ink - Enjoy the Ride Die\nFriendship Jar Stamp Set\nPapertrey Ink - Jar & Lid Die\nPolka Dot Basics II Stamp Set", "label": "No"}
{"text": "Fine art from local artists. Located in Olde Town Arvada. We exhibit artwork in a variety of media, drawn from local art talent.\nThis is the place where even the novice artists can hang their work to be displayed and sold.\nNo matter whether you're a professional or amateur artist, you'll always have a space in our gallery.\nArvada Art Guild", "label": "No"}
{"text": "Pantone Reveals Fall 2016 Fashion Color Report\nSpicy Mustard, Potter's Clay and Aurora Red are just some of the Pantone picks in this year's Fashion Color Report for Fall 2016.\nIllustrating “A Unity of Strength, Confidence and Complexity,” the season’s 10-color palette is inspired by “the desire for tranquility, strength, and optimism,” led by the blue family, according to Pantone.\nThe Fall 2016 colors are:\n“Along with anchoring earth tones, exuberant pops of vibrant colors also appear throughout the collections,” said Pantone. “Transcending gender, these unexpectedly vivacious colors in our Fall 2016 palette act as playful but structured departures from your more typical fall shades.”\nLeatrice Eiseman, executive director of the Pantone Color Institute noted that the different shades each have significance. “Blue skies represent constancy, as they are always above us,” said Eisman. “Grays give a feeling of stability. Red tones invite confidence and warmth, while the hot Pinkish Purples and Spicy Mustard Yellows suggest a touch of the exotic.”\nSource from: Gifts and Dec\nThe 33rd Jinhan Fair for Home & Gifts\n21-27. 04. 2016\nOnline Registration available at", "label": "No"}
{"text": "Helen uses a quotation gesture in line 1:\nUsing Streeck’s conventions, it could be represented in this way:\n_quote__º__º__º_________ | | 01 Hel: I took a mela↓tonin so I can: reset my schedule.=right,\nKendon’s representation would look like this:\n01 Hel: I took a mela↓tonin so I can: reset my schedule.=right, |~*******/**/*-./.-.-.-.-.|\nNote that Kendon’s conventions allow you to represent the gradual withdrawal of the gesture and the return to the home position.\nBoth representations could be supplemented by a representation of the speaker’s and the recipients’ gaze.", "label": "No"}
{"text": "Indigo Gardens Drapey Vintage Japanese Silk Crepe Piece 14\" x 62\"\nDeep navy/indigo background, and a complex traditional Japanese print on this gorgeous dark silk. The colors aren't bright. Liquid drape, excellent condition, gold highlights, base jacquard with a geometric pattern. So many flowers and ponds, so many colors. Pebbled, chirimen texture. Elegant and unusual.\nOne piece available, 14\" x 62\"\nWe Also Recommend\nPurple, White and Gold Floral Silk Satin Vintage Japanese Pieces, 14\" x 37\"\nPurple, White and Gold Floral Silk Satin Vintage Japanese Pieces, 14\" x 62\"", "label": "No"}
{"text": "Planet Organic Organic Coffee Medium Roast Plunger Ground 250g\nEnviroSensitive Plant Based Body & Hair Cleanser Fragrance Free 1L\nPlanet Organic Organic Coffee Espresso Decaf Espresso Ground 250g\nNo products in the cart.\nShowing 1–12 of 30 results\nCarwari Organic Extra Virgin Black Sesame Oil 250ml\nCarwari Organic Extra Virgin White Sesame Oil 250ml\nCarwari Organic Toasted Black Sesame Oil 250ml\nCarwari Organic Toasted White Sesame Oil 250ml\nMelrose Australian Macadamia Oil 250ml\nMelrose Organic Avocado Oil 250ml\nMelrose Organic Coconut Oil Flavour Free 1L\nMelrose Organic Coconut Oil Flavour Free 325ml\nMelrose Organic Coconut Oil Full Flavour 1L\nMelrose Organic Coconut Oil Full Flavour 325ml\nMelrose Organic Extra Virgin Olive Oil 500ml\nMelrose Organic Grass-Fed Ghee 325ml\nUsername or email address *\nRemember me Log in\nLost your password?\nEmail address *\nA password will be sent to your email address.", "label": "No"}
{"text": "Create the Look\nDivine Cat Eye\nBegin by lining the eye with Khol Eyeliner in \"Angel\" (This will give the shadow something to stick to, and help with keeping the shadow in place)\nUsing a thin angled brush and the color “Divine” apply the shadow over top the guide already created\nApply your favorite mascara or falsies\nReady to go!!", "label": "No"}
{"text": "Luxurious Playroom Rules Wall Art for Playroom Rules Vinyl Wall Decal Art by Grabersgraphics On Etsy\nLuxurious Playroom Rules Wall Art for Playroom Rules Vinyl Wall Decal Art by Grabersgraphics On Etsy. Playroom rules vinyl wall decal art by GrabersGraphics on Etsy. A photo about playroom rules wall art for the ideas for interior decor especially for wall decorating.\nThis is an image about luxurious playroom rules wall art for playroom rules vinyl wall decal art by grabersgraphics on etsy, which is a part of decor ideas about Awesome Pictures for Playroom Rules Wall Art. You can view another pictures similar to this from the photos gallery below like: playroom decor playroom rules playroom wall art by kalaskorner, you print playroom rules modern wall art, items similar to playroom rules children vinyl lettering, playroom rules personalized nursery décor canvas wall art, playroom rules customised wall art decor print, playroom rules wall sticker quote bedroom girls boys, 15×30 playroom rules canvas wrap children s room by, playroom rules playroom decor boys playroom art playroom, playroom rules canvas wrap children s room nursery art, playroom rules stretched canvas kids room wall hanging home, and many more. If you love and getting inspired by this gallery, then you can download it by right click on the picture and choose save image.\nJust in case you amazed the above image about Playroom rules vinyl wall decal art by GrabersGraphics on Etsy, then do not forget to share or spread the picture on Facebook, Twitter, or Google .", "label": "No"}
{"text": "Saturday 06th, January 2018 05:35:41: AM, Kitchen.\nBlack cow kitchen galveston picture inspirations texasblack texas best italian. Best paint images on pinterest color palettes furniturelack cow kitchen galveston texasblack texas. Black cow kitchen galveston texasblack texas picture.\nBlack cown galveston texasblack texas logo 595x595 please visit. Black cown galveston picture inspirations n holiday dr tx show me the rent texasblack. Black cowchen burgers 9th st galveston tx picture inspirations texasblack. You know i love that painting farmhouse porch likes black cow kitchen galveston picture inspirations.\nBlack cow photos reviews american new kitchen galvestonblack. Black cow kitchen burgers 9th st galveston tx texasblack texas. Black cow kitchenlveston picture inspirations texasblack texas.", "label": "No"}
{"text": "All federal, state and local laws with regard to food and beverage purchase and consumption will be strictly adhered to.You have to have done enough homework to feel good about making personalized baseball jerseys decision.Dalton completed 31 of 48 passes for 285 yards with two touchdowns and an interception while connecting to eight different receivers.He’s reportedly been cleared by cardiologists and nothing has surfaced since.But Ted really wanted me, Wright said.\nHe respects situational football.18 at Baltimore, caught two passes for 27 yards and a TD – a 22-yarder in the third quarter.It is a big number, 51 sacks.I’m getting goosebumps just thinking about it.Big left arrow icon Big right arrow icon Close icon Copy Url Three dots icon Down arrow icon Email icon Email icon Exit Fullscreen icon External link icon Facebook logo Football icon Facebook logo Instagram logo Snapchat logo YouTube logo TikTok logo Spotify logo LinkedIn logo Grid icon Key icon Left arrow icon Link icon Location icon Mail icon Menu icon Open icon Phone icon Play icon Radio icon Rewind icon Right arrow icon Search icon Select icon Selected icon TV icon Twitter logo Twitter logo Up arrow icon User icon Audio icon Add to calendar iconNFC icon AFC icon NFL icon Carousel IconList ViewWebsite InstagramTwitterFacebookSnapchatShop IconProfile Overlay AvatarAddAirplayArrow LeftArrow RightArrow UpArrow DownAudioBack 5sBack 10sBack 30sCalendarChartCheckDownLeftRightUpChromecast OffChromecast OnCloseClosed CaptionsBench OffBench OnBroad OffBroad OnVertical OffVertical OnCommentDockDoneDownloadDraftFantasyFilterForward 5sForward 10sForward 30sFull Screen OffFull Custom Basketball Shorts OnGamepassGamesInsightsKeyLeaveLiveCombineDraftFantasyMenu GamesMenu NetworkMenu NewsMenu PlayoffsMenu Pro BowlMenu ShopMenu StandingsMenu StatsMenu Super BowlMenu TeamsMenu TicketsMenuMore HorizontalMore VerticalMy LocationNetworkNewsPauseplayMultiple PlayersSingle PlayerPlaylistPlayoffsPro BowlPurgeRefreshRemoveSearchSettingsShare AndroidShare Copy URLShare EmailShare FacebookShare InstagramShare iOSShare SnapchatShare TwitterSkip NextSkip PreviousStandingsStarStatsSwapTeamsTicketsVideoVisibility OffVisibility OnVolume HiVolume LowVolume MediumVolume MuteWarningWebsite Caret downCaret upAt.We’ve got to play the hell out of them.\nIt’s not hard to imagine the Fins making a move up to the No.The game also marked the first return Custom Baseball T-shirts to Cincinnati for Dallas QB Andy Dalton, who spent 2011 as the Bengals’ starting QB.Drake , 27 Drake had a career season in 2020 with the Cardinals, posting 955 yards and 10 TDs.Gets smothered.\nHe’s doing a great job.\nShaw moved to the United States as a kid, attending Lawrenceville High School in Livonia, Mich., and Penn State University before playing six NFL seasons with the Panthers, Jaguars, Bears and Titans.We’re going to show you how to drive it.’ I couldn’t fit in the damn thing!\nThere was a time not too long ago when it was rare to see an interior offensive lineman drafted in the first round.", "label": "No"}
{"text": "Escape to a picturesque mountain range with this stunning wall mural, designed to transform any room into a serene and breathtaking landscape. Featuring watercolour mountains rolling across a natural lime wash colour palette, this mural captures the tranquillity of a peaceful mountain range. The natural lime wash colour palette creates a warm and inviting backdrop for the watercolour mountains, making it a perfect fit for any home or office decor. The watercolour effect gives the mural a hand-painted feel, adding depth and texture to your wall. Whether you want to create a calming atmosphere in your bedroom, a peaceful ambience in your living room, or a relaxing environment in your office, this mountain wall mural is perfect. Its serene landscape will transport you to a world of tranquillity and rejuvenation.\nProduct Code: WM0342\nPLEASE NOTE: Our murals are intended as a single installation with unique, non-repeating designs. If displaying multiple murals, note that they will not align seamlessly.\nPlease refer to our mural guide to choose the correct size option for your wall coverage. All of our murals include pre-measured strips of wallpaper for easy preparation. Each strip is 2.4m in length, the UK's standard wall height. Please be aware that this design is unsuitable for walls taller than 2.4m, stairways or walls with angled ceilings.\nWe suggest pairing one mural with a complementary paint or wallpaper with a standard pattern repetition.\nOrder a sample of our murals - Samples are a small version of the full mural so you can see the full design.\nRoll Size - Large:\n300cm x 240cm 6 Strips\nRoll Size - Extra Large:\n350cm x 240cm 7 Strips\nPaste the Wall\nFREE Uk Delivery on orders over £85 | Code: GETFREEDEL", "label": "No"}
{"text": "October is here and I have been playing around with some Fall inspired beauty looks. I love as the seasons are changing, more warm tones and colors are in clothes and in beauty as well. Some of my favorite colors for fall are the warm oranges, coppers, browns and pretty shimmers. I also love to experiment with different lip colors, something a little different then a nude lip but not quite a bold red lip that you see a lot during the holidays.\nI picked out some of my favorite makeup palettes, blushes and lip colors that I wanted to share with you guys.\nWhich tones are your favorites?", "label": "No"}
{"text": "Comment, Like, & Favorite\nMale Reproductive System, Artwork\nDigital Art - Illustration\nMale reproductive system, computer artwork.\nMay 18th, 2013\nViewed 51 Times - Last Visitor from Egypt on 07/22/2014 at 5:19 AM\ncopy and paste to your website / blog - preview\nvertical framed prints, color image framed prints, biomedical illustration framed prints, no people framed prints, science framed prints, healthcare and medicine framed prints, human body part framed prints, human internal organ framed prints, biology framed prints, human fertility framed prints, illustration technique framed prints, human skeleton framed prints, art product framed prints, illustration and painting framed prints, penis framed prints, physiology framed prints, reproductive organ framed prints, anatomy framed prints, human representation framed prints, scrotum framed prints, black background framed prints, bone framed prints, internal organ framed prints, consumerproduct framed prints, rear view framed prints, vertical greeting cards, color image greeting cards, biomedical illustration greeting cards, no people greeting cards, science greeting cards, healthcare and medicine greeting cards, human body part greeting cards, human internal organ greeting cards, biology greeting cards, human fertility greeting cards, illustration technique greeting cards, human skeleton greeting cards, art product greeting cards, illustration and painting greeting cards, penis greeting cards, physiology greeting cards, reproductive organ greeting cards, anatomy greeting cards, human representation greeting cards, scrotum greeting cards, black background greeting cards, bone greeting cards, internal organ greeting cards, consumerproduct greeting cards, rear view greeting cards, vertical prints, color image prints, biomedical illustration prints, no people prints, science prints, healthcare and medicine prints, human body part prints, human internal organ prints, biology prints, human fertility prints, illustration technique prints, human skeleton prints, art product prints, illustration and painting prints, penis prints, physiology prints, reproductive organ prints, anatomy prints, human representation prints, scrotum prints, black background prints, bone prints, internal organ prints, consumerproduct prints, rear view prints, vertical posters, color image posters, biomedical illustration posters, no people posters, science posters, healthcare and medicine posters, human body part posters, human internal organ posters, biology posters, human fertility posters, illustration technique posters, human skeleton posters, art product posters, illustration and painting posters, penis posters, physiology posters, reproductive organ posters, anatomy posters, human representation posters, scrotum posters, black background posters, bone posters, internal organ posters, consumerproduct posters, rear view posters", "label": "No"}
{"text": "Acrylic Nail Spring Designs\nSally Hansen - Good.\nAcrylic nail spring designs. You will be very satisfied. The brush is very useful and has excellent color with two coats. Every year there are new trends and fashions when it comes to nails but some things are recurring.\nWhen it comes to nail designs you will almost always see a symbol of nature in the nail design whether that is. Most Exciting Spring Acrylic Nail Designs Feb 15 21. Spring acrylic nail designs ideas.\nSee more ideas about nails spring nails pretty nails. For the others matte colors are used. Pastel-colored nails have been trending for a while and it seems this trend is here to stay a little longer.\nSource of ideas and. Acrylic nails round pictures of round acrylic nails. While acrylic nail designs suit every occasion and help us make our nails beautiful you can go for acrylic nails according to the season too.\nSpring is just around the corner and one of the easiest ways to do this is to match your nails to the colors and trends of spring. Fall leaf colors are the best go-to idea for acrylic nails ideas. Spring nail 39 Alluring acrylic pastel nail ideas 2021.\nAcrylic nails which mix a liquid monomer and a powder polymer to form a paste that is bonded to the natural nail have had a. Do you look lovely with spring nails including perfect pasta neutral and other spring colors. 26 Spring Acrylic Nail Art Designs to Try This Year.\n- Care Of Dying Patient In Hospital\n- Can You Soak Acrylic Nails Off With Nail Polish Remover\n- Care Of Dying Patient Definition\n- Can You Use Nail Polish Remover On Acrylics\n- Candy Corn Acrylic Nails\n- Can You Use A Paint Brush For Acrylic Nails\n- Can You Put Acrylic Powder On Your Real Nails\n- Candid Beauty Lashes By Nicole\n- Can You Wear Nail Tips Without Acrylic\n- Care Of Dying Patients Pdf\n- Can You Take The Polish Off Acrylic Nails\n- Caramel Highlights On Dark Hair\n- Can You Repaint Acrylic Nails At Home\n- Care Of Carl Barbour\n- Can You Put Acrylic Over Nail Fungus\n- Care For Hairless Cats\n- Can You Paint Over Already Painted Acrylic Nails\n- Can You Shorten Acrylic Nails At Home\n- Care Of Dying Patient In Nursing\n- Candy Red Acrylic Nails", "label": "No"}
{"text": "Wrangler Men's Tall Rugged Wear Classic Fit Jean\n44W x 30L, 44W x 32L, 44W x 34L, 46W x 30L, 46W x 32L, 46W x 34L, 48W x 30L, 48W x 32L, 48W x 34L, 50W x 30L, 50W x 32L, 52W x 30L, 52W x 32L, 54W x 30L, 54W x 32L\nWrangler rugged wear classic fit jeans are the definition of a true classic. You'll love the unbeatable quality and durability in this must have basic\nThere are no reviews for this product. Be the first!\nThere are no reviews for this brand. Be the first!", "label": "No"}
{"text": "Your private tour guide will meet you in the lobby of your hotel holding a sign with your name on. Afterwards you will discuss what you will going to see. You can then set off for your tour and let your guide fill you in with all information possible.\nAs much as you can decide what you want to see, here are some highlights that you should not miss: Church on the Spilled Blood, St Isaac's cathedral, Peter and Paul Fortress, Hermitage, Russian Museum, Alexander-Nevsky Lavra, River and Canal tour and others. You will end your half-day tour at a location of your choosing.", "label": "No"}
{"text": "21998 photos found.\nsky blue sky II by Margherita Bettinelli\nSky Blue Sky by Stephanie Switzer\nSky Blue Sky by Michael Grace\nsky,that's sky right? by Mr.Sitthikan O Techadiok\nsky blue sky by Margherita Bettinelli\nsky blue sky by Mr. Martini\nSky Blue Sky by Jeramie Sivley\nSky Blue Sky by Casey Ahna\nThe sky light and the sky by Karar Shah\nSky Blue Sky by Paul Drzal\nDecember Sky by JanElle\nSky flight, sky flight by thefotokid\nAll \"sky\" in Photos:\n1 2 3 4 5 6 7 8 9 10 Next »\n© 8020 Media, Inc. 2006 - 2015. Contributions © their respective holders.", "label": "No"}
{"text": "Simple Bohemian Wall Art Of 1000 Ideas About Bohemian Art On Pinterest. 1000 ideas about Bohemian Art on Pinterest. A photo about bohemian wall art for the example for home designing especially for wall decorating.\nThis is a picture of simple bohemian wall art of 1000 ideas about bohemian art on pinterest, which is a part of decor inspirations about Beautiful Gallery Ideas Of Bohemian Wall Art. You can get another photos similar to this from the designs gallery below including: bohemian decorating ideas, boho decor rustic gypsy decor gypsy wall art bohemian, bohemian sign wall art gypsy style, tree of life tapestry bedspread wall tapestry hippie, dorm decor wall hanging hippie tapestry bohemian bedspread, indian psychedelic red multi color bohemian wall tapestry, mandala tapestry bohemian wall hanging hippie throw indian, 25 best ideas about bohemian wall art on pinterest, bohemian art peacock decor peacock colors mixed media, 19 best ideas of bohemian wall art, and many more. If you charmed and getting inspired by this photo, then you can download it by right click on the picture and choose save image.\nJust in case you love the above picture about 1000 ideas about Bohemian Art on Pinterest, then please share or spread the picture on Facebook, Twitter, or Google .", "label": "No"}
{"text": "DuraShield® SuperYacht tinted Glass is available in many exciting colors! Colors complement many of the Alexseal® and Awlgrip® paint color selections, and offer an innovative design approach for yacht superstructure glazing.\nPopular colors include:\nDuraShield Euro Gray®\nDuraShield Indo Gray®\nDuraShield Alexseal Dolphine Blue Reflective® (shown in photo)\nDuraShield DuraReflect Gray®\nDuraShield DuraReflect Green®\nContact your DuraShield rep for more details.", "label": "No"}
{"text": "Common Mistakes to Avoid When Using Plastic Bonding Epoxy Adhesive Plastic bonding epoxy adhesive is a versatile and reliable adhesive that can be used for a variety of applications. However, using it incorrectly can lead to disastrous results. In this blog post, we will discuss some common mistakes to avoid...\nBest Epoxy Adhesive Glue Manufacturer\nOctober 12, 2023\nBy Best Epoxy Adhesive Glue ManufacturerEpoxy Adhesives Glue5 minute epoxy adhesive, 5 minute epoxy glue, abocrete epoxy adhesive, acrylic epoxy glue, Advanced Die Attach Epoxy Adhesives, all purpose epoxy adhesive, aluminium epoxy glue, armor coat quick setting epoxy adhesive, auto body epoxy adhesive, automotive epoxy adhesive, best 2 part epoxy glue, best clear epoxy glue, best electronic circuit board epoxy adhesive manufacturers, best epoxy adhesive for metal, best epoxy adhesive for plastic, best epoxy adhesive glue, best epoxy adhesives glue, best epoxy glue, best epoxy glue for ceramics, best epoxy glue for glass, best epoxy glue for metal, best epoxy glue for plastic, Best Industrial Epoxy Adhesives Glue And Sealants Manufacturers In USA, best plastic bonding epoxy adhesive, China SMT Epoxy Adhesives Glue Manufacturer, Epoxy Adhesives Glue, Epoxy Adhesives Glue And Sealants Manufacturers In USA, Epoxy Adhesives Glue Manufacturers, Plastic Bonding Epoxy Adhesive, SMT Epoxy Adhesives Glue Manufacturers, super epoxy adhesives glue, super plastic bonding epoxy adhesive, top epoxy adhesives glue, top plastic bonding epoxy adhesive0 Comments", "label": "No"}
{"text": "peacock tattoo corey miller - Google Search\nCorey miller the king of black and grey doing his Coreyoshi style 🌊🌊💉💉 look amazing as always 🙌\nArtist: Corey Miller - back of his wife Corey Miller rocks, I would love to have work by him....a girl can dream!\nCorey Miller - Best tattoo artist\nCorey Miller is a sick ass tattoo artist. Can you believe how he drew it on the person's arm and it turned out perfect\nCorey Miller | .... The finished artwork!\nCorey Miller......he's so sick!\nAmy Nicoletti Owl tattoo by Corey Miller. I saw this on LA Ink years ago and Fell in Love! I want a Corey Miller Tattoo!!!!!\nCorey Miller tattoo... Free handed... No stencil\nCorey Miller. insanely good tattoo artist.", "label": "No"}
{"text": "Need nail design ideas?\nHere are 9 nail art tutorials that are inspiring me right now…\nNail art tutorials:\nInspired by Gucci Pre-Fall 2014 – thetrendynail.com\nWatercolor Effect – sheknows.com\nDistressed Nail Art (punk/grungy effect) – chalkboardnails.com\nNimbus Nail Art – thenailasaurus.com\nEveryone neeeeeds Night Lights in their life – chloesnails.blogspot.com\nVintage Wallpaper – onenailtorulethemall.blogspot.com\nSnakeskin Manicure – polishalcoholic.com\nWater Marble – laquerish.com\nBurned Paper Nails – jackymulek.blogspot.com\nDo you have a nail art tutorial you’d like to share? Link to it below!", "label": "No"}
{"text": "My first sale\nI have just have my first sale and I am soooo happy :-)\nIt seems my pictures are actually good, but still room for improvement.\nThank you to who ever became my first buyer, I hope you will enjoy the picture as much as I enjoy this feeling.\nAnd for the rest of you, it was this one :-)\nPhoto credits: Splosh.", "label": "No"}
{"text": "Brooklyn: David Barthold, 2020. Broadside. One of fifty copies, signed by the artist, David Barthold. Screenprint of Barthold’s portrait of the late Justice Ruth Bader Ginsburg. In 2020, Barthold’s portraits of Ginsburg, George Floyd, whose death at the hands of police in May accelerated the Black Lives Matter movement, and.....\nRefine search resultsSkip to search results\nResults 1 - 1 (of 1)", "label": "No"}
{"text": "The CMCA Biennial opened on N0vember 4. The two drawings in this photo, and the one below are hung there now along with diverse selections by 24 other artists. Jurors were John Yau and Christine Berry. This show will be up until February 5, 2017.\nUntitled woods, 2016, Ink wash on paper, 38 x 52 inches\nWayward, 2016, ink wash on paper, 38 x 52 inches", "label": "No"}
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{"text": "Open Eye Gallery, Edinburgh ‘On a Small Scale’ Exhibition from Friday 25th November 2022.\nSpecial Online Preview from 11am to 5pm on 25th November 2022 for supporters of the Open Eye Gallery\nLemond Gallery Glasgow: Big Summer show 2020 online and in Gallery – July 2020\nFidra Fine Art Winter Mixed Exhibition December 2019- January 2020\nVisual Arts Scotland ‘Alight’ Exhibition 2019 RSA, Edinburgh\n‘Encompassed’ Union Gallery, Edinburgh, May 2019\nFidra Fine Art , Mixed Summer Exhibition 2019\nLemond Gallery Summer Exhibition 2019, Glasgow\n2018 Distillations, The Art Club Gallery, Edinburgh\n2017 Coburg Studios Gallery, Edinburgh, ‘A Land Unfolding’\n2016 Coburg Studios Gallery, Edinburgh\n2015 Whitespace Gallery, Edinburgh\nVisual Arts Scotland, RSA, Edinburgh\nLemond Gallery, Glasgow\n2012 Dundas Street Gallery, ‘Take Five’\n2005 Dundas Street Gallery, Edinburgh.", "label": "No"}
{"text": "I combined it with Less Is More Week 42 Theme Silhouettes.\nI layered \"hello\" and the sentiment in the lower left corner across the card front.\nYou might be able to see the faint \"hello\" here-dead center at an angle...\nThanks for stopping by. ;)\nMy Mind's Eye Stella Rose Mabel stamps,Papertrey Ink All Booked Up sentiment,Papertrey Ink Communique Curves Sentiments,Papertrey Ink Premium Dye ink black,Memento Ink brown,AC cardstock neutrals", "label": "No"}
{"text": "Romantic picnic drawing love couple icon colored cartoon Free vector 4.27MB\nFile size: 4.27MB File type: Adobe Illustrator ai ( .ai ) format, Encapsulated PostScript eps ( .eps ) format Author:\nLicence: Free for commercial with attribution. Please give a backlink to all-free-download.com. With out attribution just buy an commercial licence. Redistribute is forbidden. Please check author page for more information.\nYou can use this graphic design for commercial with attribution to all-free-download.com. Please buy a commercial licence for commercial use without attribution.\nTags: picnic relaxation leisure romance romantic vector wine decoration illustration drawing art couple love icon symbol female male happy man human graphic togetherness outdoor tree flower two together cartoon design\nShutterStock.com 10% off on monthly subscription plans with coupon code AFD10\nPopular tags: cartoon love couple picnic love couple icon romantic drawing picnic drawing couple icon colored drawing love colored cartoon icon colored\ncartoon love couple picnic love couple icon romantic drawing picnic drawing couple icon colored drawing love colored cartoon icon colored drawing love couple love couple icon line drawing love couple vector love couple icon love couples icons drawing love couples love couple icons love couples pink color card love couple cartoon vector love couple drawing love couple cartoons romantic love couple love couple drawing loving couple cartoon romantic cute love couple cartoon love bird icons romantic love couple silhouettes cute love couple cartoon cartoon love element icon love couple cartoon character vector love couple cartoon vector love couple cartoons vector romantic love couple cute colorful cartoon boys girls drawing love couple line drawing images cartoon love couples pictures love couple cartoon vector love couple and icons love couple cartoons download love couple cartoon images free download love couple drawing download free cartoons love couple love couple romantic cartoon love couple drawing love cartoon draw love icons love couples cartoon lovely couples cartoon", "label": "No"}
{"text": "Good day everyone, our todays latest coloring picture which you could work with is Skeleton Is Running Coloring Page, posted in Skeleton category. This coloring picture dimension is around 600 pixel x 461 pixel with approximate file size for around 48.83 Kilobytes.\nFor much more picture similar to the picture above, you could surf the below Related Images widget on the bottom of the site or simply searching by category. You could find lots of other entertaining coloring picture to pick up. Have fun!", "label": "No"}
{"text": "Clear Hot Pink Acrylic Nails\nFree shipping Free shipping Free shipping.\nClear hot pink acrylic nails. When hot pink acrylic nails feels like it is thawing it seems like your acrylic solution becomes a video game of beat-the-clock to obtain an also application. Free Shipping on orders over 150. Ledo Acrylic Powder - Clear 7495.\nAU 1129 AU 415 shipping AU 415 shipping AU 415 shipping. Ledo Acrylic Powder - Clear For best results use with DNS Liquid. Gold Signature Acrylic Powder Hot Pink.\nNeon Hot Pink Acrylic Nails. See more ideas about pink acrylic nails acrylic nails pink acrylics. See more ideas about pink acrylic nails nails pink nails.\nGold Signature Acrylic Powder Cover Pink. Add to Cart Add to. This gallery of 60 photos of acrylic manicures will.\nHot pink coffin nails. Feb 19 2020 - Explore Libbys board Light pink acrylic nails on Pinterest. Cjp barbie girl amor tracy lou pink princess glitter cjp top glass.\nGold Signature Acrylic Powder Baby Pink. Even if you arent girly but you will be surprise some hot pink acrylic nails are just too pretty and will make you change your mind to wear it. Acrylic nails are a popular option for people who want longer nails and to play around with different nail art.\n- Acrylic Nails At Home Amazon\n- Acrylic Nails Being Done\n- Acrylic Nails Almond Black\n- Acrylic Nails Baby Blue\n- Acrylic Nails Are They Bad For You\n- Acrylic Nails Baby\n- Acrylic Nails And Rheumatoid Arthritis\n- Acrylic Nails And Infection Control\n- Acrylic Nails Accrington\n- Acrylic Nails Almond Shape Matte\n- Acrylic Nails At Home For Beginners\n- Acrylic Nails Ballerina Vs Coffin\n- Acrylic Nails And Gel Nails Difference\n- Acrylic Nails Amman\n- Acrylic Nails Barbados\n- Acrylic Nails At Dollar Tree\n- Acrylic Nails Albany\n- Acrylic Nails And Gel Nails\n- Acrylic Nails Article\n- Acrylic Nails And Designs", "label": "No"}
{"text": "- Jewelry - Art Detail Pendants\n- Art Detail Pendant- Klimt, Mother and Child\nArt Detail Pendant- Klimt, Mother and Child\nThese pendants are created by collaging details of works of art andbits of paper onto vintage mahjong tiles.\nGustav Klimt \"Mother and Child\" (detail) on gold-tone, 18\" chain.", "label": "No"}
{"text": "Hunters Specialties Deer Antler Mounting Kit\nItem No. 02129100639\nThis easy-to-assemble kit fits almost all sizes and shapes of deer antlers. It includes a wood plaque, one red and one cream-colored skull cover, plus mounting hardware.\n- Easy to assemble\n- Fits all all sizes and shapes of deer antlers\n- Two skull color choices included", "label": "No"}
{"text": "I the photo below, shown within Adobe Photoshop 2020, I found the ground area to be a little dark and the sky to be a bit washed out with brightness. One way to get the exposure you want in a scene like this is to put the camera on a tripod and shoot 2 identical shots, one exposed for the peeps on the ground and one exposed for the sky. The first reason I didn't do it that was was that the peeps on the ground were not holding still. The second reason is that I knew I could balance the brightness in developing, another reason to shoot RAW files.\nI might have used a targeted adjustment brush in Lightroom to get more detail and a deeper blue in the sky while bringing detail out of the shadowed area on the ground. I chose to do the same in Photoshop after making a \"virtual Copy\" in Lightroom. In the screen grab below you'll see 2 layers in the layers panel and the white rectangle of a layer mask in the top layer. I adjusted the lower layer to get the sky I wanted and then, using a brush painting black, removed the mask over the sky from the top layer. I think the resulting image looks about like what the human eye would see.\nThis is the late afternoon crowd at the New Orleans Greek Festival in 2015.", "label": "No"}
{"text": "Callistemons in a Vase\nThis is a collaboration between Graeme & Bev Hardidge. Graeme made the metal parts and Bev made the flowers and seed pods with clay. Bev painted the piece with acrylic paint and varnished.\nGraeme & Bev Hardidge\n56 cm (H) x 30 cm (W) x 30 cm (D)\nMetal & Ceramic & acrylic paint", "label": "No"}
{"text": "This icon is a newspaper. There is a small box on the left middle of the page with a gothic style letter \"g\" in the middle to represent Google. The top of the paper is cut in a zigzag pattern and the bottom right corner of the page is folded up.\nRelated to Google News Icon\nRelated icons are the icons with matching tags, as well as all logos icons. All icons are in the same flat style. You can either download free PNG icons or buy SVG vectors", "label": "No"}
{"text": "47+ Ant Drawing For Kids Easy PNG. Get the markers here = ht. Draw a small circle on the left side of the paper.\nIn this lesson we'll show you how to draw a basic ant in 6 steps. Step by step tutorial on how to draw this ant, i think it's easy for children. So let's draw the rounded proximal legs in this step.\nSo in this step, we sketch out the distal parts of the ant's paws.\nSketch in the eye, add the antennae and some details to the body. 2.the body of the ant is finished, by drawing three ovals on the left side of the head. How to draw a crab? Finish drawing the paws of the ant.", "label": "No"}
{"text": "Cosmetici Fai Da Te\nAfter creating Cosmetici Fai Da Te's website,\nI studied a logo and a visual identity based on the use of watercolor. The color palette is formed by a dark gray matched with a series of bright colors such as yellow, fuchsia, green and blue.\nThe circle is the fil rouge of the visual identity and logo, with the use of the circled watercolored background of the logo for the creation of the graphics of the blog, such as posts images, categories images and social icons. Images are customized for each post and have a different watercolor background for each category of products.", "label": "No"}
{"text": "Stunning watercolour owl tattoo! ♡\nCute owl tattoo\nExperimenting with different bird marks. Here is an owl.\nA search engine with taste. Niice\nThe Aviary — NATURE GIRL From the Forest - Fern & Crystals Temporary Tattoo Set\nOwl feather-would be nice sketched out / painted on a different medium\nsmall owl tattoo - Google-haku\nTiger tattoo by Liz at Bang Bang Tattoos in NYC https://www.facebook.com/BangBangTattoos\nIf you are looking forward to make an tattoo then obviously choose an experienced artist .So here are some creative pictures of Cute Owl Tattoo Designs to Ink.", "label": "No"}
{"text": "Here we see what I mention in previous image. Grey color is combined with pink roses and green details. One nail is in very light pink shade. There’s also a little bit of black color, and beautifully golden sparkle on middle finger.\nUNHAS FACINANTES VERMELHO PODEROSO PARA TE DEIXAR AINDA MAIS PODEROSA.", "label": "No"}
{"text": "Opening of the temporary exhibition, titled “Two collections meet”\nOpening of the temporary exhibition, titled “Two collections meet”. Selections from the icons and heirlooms of the Collections of the Municipal Gallery of Thessaloniki and of the Museum of Byzantine Culture. The opening will be accompanied by “Veroe’s Echo” Choir.\nOrganization: Museum of Byzantine Culture.", "label": "No"}
{"text": "Minka Kelly Braided Updo\nMinka showed off her fiery red locks with this double-sided braided 'do.\nMinka Kelly Berry Lipstick\nMinka's raspberry lip color added just a touch of rich color and a punk edge to her beauty look.\nMinka Kelly Metallic Eyeshadow\nMinka chose a metallic white eyeshadow with a touch of sparkle to soften up her beauty look.", "label": "No"}
{"text": "What is your idea of perfect happiness?\nThe idea of perfect for me doesn't exist. Perfection is a illusion idea of the human being, I mean... It's almost impossible to be a perfect musician, father or sports player at the same time. You don't have enough focus on your human brain to deal with that", "label": "No"}
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{"text": "Flight into Egypt 5\" x 7\" Print\nBeautiful image of the Holy Family's flight into Eqypt sourced from a vintage holy card. Express your devotion to the Holy Family and decorate your home altar or a room in your home.\nPrinted in permanent, water-resistant ink on high-quality 80lb Hammermill Color Copy Digital Cover for excellent image sharpness and color reproduction.\nImage source: Chant Art\n*Frame and matte not included.", "label": "No"}
{"text": "Visit our other Wisconsin Historical Society websites!\nRefine or narrow your results by clicking any term in the gray boxes below.\nExpand your results by removing any breadcrumb in a gray outlined box above. Click on the blue \"X\" to remove the term.\nNarrow your results by entering a keyword into the search box above. Then click the \"Search Within\" checkbox, then click on the orange \"Search\" button.\nIf you did not find what you are looking for or you did not get any results, try changing your search term(s). See our Search Help page for more tips.\nDate: 1915 ca.\nDescription: A group of unidentified men standing with a horse and wagon. The wagon is carrying a barrel of beer. The sign on the building in the background is an adver...\nDate: 1920 ca.\nDescription: A smiling woman holding an axe holds a pose while chopping wood.\nDate: date unknown\nDescription: Full-length studio portrait of two women standing in front of a painted backdrop. They are dressed in black and are wearing fashionable coats, muffs and ha...\nDescription: Cross Plains baseball team in uniform.\nDescription: Upland fields showing a fence, trees and hillside.\nDescription: Woman doing chores outdoors.\nDescription: Studio portrait in front of a painted backdrop of Raymond Bowar dressed in his altar boy robe and holding an incense burner.\nDate: 1960-07-04 ca.\nDescription: View of a cornfield and wooded ridge at sunrise.\nDescription: Full-length studio portrait of Theodore Falkenstein in front of a painted backdrop. He is wearing an ill-fitting suit.\nDescription: Photo postcard of an outdoor group portrait of a telephone line crew. The six men are wearing hats and work clothes, and five of the men are wearing belts...\nDate: 1955 ca.\nDescription: Aerial view of Cross Plains, with countryside surrounding and hills on the horizon.\nDescription: Full-length studio portrait of Charles Zander standing in front of a painted backdrop wearing a suit. The portrait has a white, decorative border.\nDescription: Studio portrait of two children, Liane Faust Hilgers and Harold Pick, sitting on stools in front of a painted backdrop. Harold is holding up a rose and Lia...\nDate: 1918 ca.\nDescription: Full-length studio portrait in front of a painted backdrop of a nun, Josefine Zander. She is wearing a habit and veil with a crucifix around her neck. Her...\nDescription: Photo postcard of a man standing next to a horse-drawn wagon filled with milk containers, with farm buildings in the background. On the ground near the man...\nDescription: Full-length studio portrait of five teenagers. Three boys and one girl are standing and one girl is sitting in a chair. The girls are wearing dresses and t...\nDescription: Four young men pose in front of a painted backdrop with their heads together for a group studio portrait.\nDescription: Quarter-length portrait of unidentified woman wearing a light colored dress with a ruffled collar and a pin.\nDescription: Full-length studio portrait of two men and two women in front of a painted backdrop. Two are seated, the other two are standing. They are dressed in winter...\nDate: 1919 ca.\nDescription: Farm couple seated outdoors on a disk harrow.\nIf you didn't find the material you searched for, our Library Reference Staff can help.\nCall our reference desk at 608-264-6535 or email us at:\n© 1996-2015 Wisconsin Historical Society, 816 State Street, Madison, WI 53706", "label": "No"}
{"text": "The AMBER Japandi Sideboard boasts a sturdy wood frame and drawers lined with rattan, with the option of multiple sizes available. Functionally suitable for either a TV stand or storage compartment the cabinet's look is suitable for Japandi or Scandinavian interiors.\n78.5L x 35W x 78.5H\n80.5L x 35W x 95.5H\n107L x 35W x 90H\n78.5L x 35W x 121H\n120L x 35W x 77H\nMaterials: Solid wood and rattan\n78.5L x 35W x 78.5H, 80.5L x 35W x 95.5H, 107L x 35W x 90H, 78.5L x 35W x 121H, 120L x 35W x 77H", "label": "No"}
{"text": "Toronto Street Scene August 9, 2014August 3, 2014 • Mike This is a street scene in old Toronto. It just seemed to capture the essence of dusk in the big city, a day just ending and a night full of possibility. Share this:TweetLike this:Like Loading... Related\nOne thought on “Toronto Street Scene”\nNeon lights bringing colour and life to the city.", "label": "No"}
{"text": "The perfect brush heads for oily skin, enlarged pores and those hard-to-reach areas of the face.\n2 brush heads\nA powerful skin detoxifying regimen to clear and reduce pores.\nThis iconic, original cleansing bar removes impurities and exfoliates for soft, smooth skin.\n5.3oz x 2\nFour replacement brush heads to effectively cleanse oily skin.\n4 brush heads", "label": "No"}
{"text": "I love color and I absolutely love the trend of having bright colors as wedding colors. Now and then I see brides moving away from the traditional (make your mother and soon to be mother-in-law happy) color palette. One bride we worked with last spring absolutely loved the color purple. Her bouquet was beautiful. It was not the traditional white roses but a collection of different purple flowers. I also loved her purple shoes. One of our summer bride’s colors were hot pink and black; and stunning. So, add some color to your life and especially your wedding this year. If your favorite color is purple, hot pink, lime green or whatever just go for it!", "label": "No"}
{"text": "“Time” by Tim VanCampen\nCRAFT Gallery in Rockland presents Tim VanCampen’s new digitally generated works of fine art on archival rag paper with a reception for the artist from 5 to 7 p.m. on First Friday, Nov. 1. Using an Epson Stylus Pro Printer, the artist approaches the computer screen as a blank canvas, creating designs using various filters, “brushes” and archival ink. VanCampen attended The Pennsylvania Academy of Fine Arts and Skowhegan School of Art. CRAFT Gallery joins in the celebration of American Craft Week with a new body of work by potters Hanako Nakazato and George Pearlman. Joining them will be a selected collection of work by other CRAFT Gallery artists. The show runs to November 15. For more information call 594 0167 or visit craftonelm.com.", "label": "No"}
{"text": "Deborah Lippmann Blue Orchid Publish by Albert in Category at 2018-10-16 02:25:53. Tagged with deborah lippmann blue orchid, deborah lippmann blue orchid swatch, . Deborah Lippmann Blue Orchid have 16 pictures of Deborah Lippmann Blue Orchid, it's including images like: 1. fascinating fabfitfun spring picture for deborah lippmann blue orchid trends and styles 2. fascinating kelliegonzo zoya spring delight collection swatches u review pict of deborah lippmann blue orchid style and 3. the best have such a crush on deborah lippman u blue orchid nail lacquer image of lippmann concept and trend 4. fascinating best pretty polish nail image of deborah lippmann blue orchid trends and styles 5. appealing opi fearlessly alice through the looking glass collection for deborah lippmann blue orchid style and\nDeborah Lippmann Blue Orchid picture is in category that can use for individual and noncommercial purpose because Almost all trademarks referenced here in are the properties of their respective owners. You may browse other picture of Deborah Lippmann Blue Orchid inside our galleries below. If you want to see other picture, you can surf our other category. Having problem with Deborah Lippmann Blue Orchid picture copyright? you can read our DMCA page in here and call us at here with give to us any detail info that you will be an owner for Deborah Lippmann Blue Orchid picture.", "label": "No"}
{"text": "kr. 950.00 Inc. Shipping\nPrintet on oncoated acid-free mat paper, 16 colors Lucia pigmented ink that guarantee colors up to 100 years(UV- resistant so colors won’t bleach in the sun).\n100 x 70 cm\nThe eerie wreckage of a crashed U.S. Navy aircraft abandoned on an Icelandic beach 40 years ago. All crew members survived.\nFrame not included!\nOut of stock", "label": "No"}
{"text": "Home Show 2003 Dining Room\nIn the dining room, we used all natural furniture from South Texas and neat nature inspired lamps for the walls.\nThis main view, shows the whole room as viewed from the center of the house. If you notice how natural the setting is, and how the lights and color of paint on the wall seem to glow with warmth. This is truly a place where a family can sit down for dinner and feel comfortable.\nThis view shows the dining room from another angle. This shows the convenient bar in the back corner of the room framed with nice metal stands which match the light fixtures on the wall.", "label": "No"}
{"text": "Availability: Out of stock\nThis watercolour print \"Happy Easter\" card contains a beautiful spring scene of butterflies, blossoms and painted eggs.\nPerfect for Easter!\nBlank inside for your own message\nDimensions: 10 x 13cm", "label": "No"}
{"text": "Saturday, 16 July 2016\nGold Glitter Eye Makeup Look for Blue Eyes\nWhen we choose our makeup, many people tend not to think about the colour of their eyes. They go for the latest trending colour and their eye colour doesn’t even enter their heads. This is where many girls could show off their eyes even more so, with suitable colours for their eyes. Bear in mind that what works for someone with dark brown eyes, may not work for someone with bright blue eyes. Everyone is different and of course, you want to know how to enhance and show off your beautiful eyes. Neutral and earthy tones tend to work well with any colour eyes but you can always do lighter or darker for shades. You can also add glitter and there are so many different methods and styles that you can try too.", "label": "No"}
{"text": "Types of Prints available include:\nGlossy Poster (when available)\nFine Art Paper\nWhich print is right for you? Click here to read more about the types of prints.\nTo learn more, please read the description below.\nOriginal painting is a 30 x 48” acrylic on canvas.\nCategory: bird, brook, canadian art, creek, edith lake, fores art, forest, glacial, glacial creek, import_2020_02_13_051256, indigenous art, jasper, metis art, national park, Prints, realism, river, Shop, summer, tourism, tourism bc, tourism canada, water\nType: Prints - all together", "label": "No"}
{"text": "Hi Little Birdie fans, Annie here with an altered frame. For this project, I have used a lot of red flowers, they where the perfect fit for my vintage photos.\nFor the first step, to add texture, I use cheese cloth, I glue it down with gel medium.\nThen, to add more texture, with a spatula I add a layer of 2 in 1 gesso & modelling paste.\nThen I add some ornaments to create more details. Once everything was dry, I spray mocha splash on the middle of my panel. Around the edge, I have use Matt chalk acrylic paint – Butter scotch. With a dry brush a add a little bit of paint on my ornaments and on the brick to make the texture more apparent.\nAround my focal point I built a composition from various flowers and leafs. To create a beautiful composition, don’t be afraid to add layer of flowers. Some of the flowers are glued on top of the others.\nI have added paint with a dry brush on top of the flowers to make them more messy. Then I added a splash of white gesso mixed with water. For me this is always the final touch to a project.\nSee you soon,", "label": "No"}
{"text": "Large Rustic Picture Frame w/3 Horses Running\nRustic old barn wood picture frame. It has a picture puzzle of 3 horses running against a beautiful sunset in the background. It is 24 \" x 32 \". It is covered w/glass.\nDealer accepts: PayPal, Check, Money Order\nShipping: Negotiated with Seller", "label": "No"}
{"text": "Gorgeous fall designs!!!!\nWell hello there stranger.....it is wonderful to see you!!\nBeautiful work, love Chris\nExcellent Job as always hugs\nBeautifully done, Vicki...love the vibrant colors you have chosen...\nI love the autumn colours you used for these beautiful designs. Fall will be here shortly, so these are just right to get us in the fall mood!\nJe verrais bien une nappe avec ces motifs ….\nVery Nice, Your work is outstanding!\nLovely designs. Great color combination\nI love the color variation and different stitch type that give these designs so much depth. They really look fabulous on that jacket. You may have to make one for yourseslf!\nSo very pretty! Makes me think of Thanksgiving!!! Beautiful jacket!\nBeautiful!!!!Looks Gorgeous!!Great work and awesome designs!!!Stunning jacket", "label": "No"}
{"text": "This Day I Uploaded 6 images together with all are in high resolution version. From multitudinous images in Cool pictures to print photos, you can have Kids Coloring Page with decor. Anyway, if you don’t appropriate with design, you could still take a look inspiring creativity. Even so I propose you would probably use as an dream decoration, although also has enchanting design concept. Don’t forget for share this Cool pictures to print cool pictures to print click on maze to print pictures printed animal pictures to color to family or your boy friend. So they are would probably get also to improve they Kids Coloring Page. I am pleased would probably share as well as plus to you all. Perhaps you could find which all the time are you search.\nCool Pictures To Print Cool Pictures To Print coloring pages cool funycoloring boy coloring pages. Cool Pictures To Print cool pictures to print click on maze to print pictures printed animal pictures to color. Cool Pictures To Print cool coloring pages for teenagers cool coloring pages to print boy coloring pages. Cool Pictures To Print cool coloring pages to print coloring pages cool printable easy coloring pages. Cool Pictures To Print cool coloring pictures for adults color zini animal pictures to color.\n|Image file size||:||59 KB|\n|Image dimension||:||384 x 515 pixels|\n|Image versions||:||S / M / L|", "label": "No"}
{"text": "● Bottom with mirror brush eye shadow.\n● Long lasting vivid colors.\n● Mineral oil used to make highly pigmented eye shadow.\n● 3 different colors for different looks. Very pigmented and vibrant, palettes includes matte and shimmer eye shadows, easy to match your look.\nProduct size (L x W x H): 4.90 x 4.90 x 1.60 cm / 1.93 x 1.93 x 0.63 inches\nPackage size (L x W x H): 5.50 x 5.50 x 2.00 cm / 2.17 x 2.17 x 0.79 inches\nPayment & Security\nYour payment information is processed securely. We do not store credit card details nor have access to your credit card information.", "label": "No"}
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A wide variety of rapeseed options are available to you, such as rape seeds, rapeseed oil, and castor seeds.\n6yl-125 Cheapest Price Peanut Soybean Rapeseeds Oil\n6yl-125 Cheapest Price Peanut Soybean Rapeseeds Oil Extraction Machine/automatic Oil Press Machine , Find Complete Details about 6yl-125 Cheapest Price Peanut Soybean Rapeseeds Oil Extraction Machine/automatic Oil Press Machine,Peanut Oil Extraction Machine,Oil Extraction Machine,Automatic Oil Press Machine from Oil Pressers Supplier or Manufacturer-Shanghai Donxe Industrial Co., Ltd.\nHigh Efficiency Automatic Peanut/soybean/rapeseeds Oil\nHigh Efficiency Automatic Peanut/soybean/rapeseeds Oil Press Machine , Find Complete Details about High Efficiency Automatic Peanut/soybean/rapeseeds Oil Press Machine,Sesame Oil Extraction Machine,Small Cold Press Oil Machine,Screw Oil Press Machine from Supplier or Manufacturer-Luohe Orange Mechanical Equipment Co., Ltd.\n304 Stainless Steel Screw Oil Press/soybean Oil Expeller\n304 Stainless Steel Screw Oil Press/soybean Oil Expeller / Rapeseeds Oil Press Machine , Find Complete Details about 304 Stainless Steel Screw Oil Press/soybean Oil Expeller / Rapeseeds Oil Press Machine,304 Stainless Steel Screw Oil Press,Soybean Oil Expeller,Rapeseeds Oil Press Machine from Oil Pressers Supplier or Manufacturer-Henan Pand Machinery Equipment Co., Ltd.\nPeanut Oil Suppliers, all Quality Peanut Oil Suppliers\nPeanut Oil, Peanut Oil Suppliers Directory - Find variety Peanut Oil Suppliers, Manufacturers, Companies from around the World at crude oil ,sunflower oil ,palm oil, Peanut Oil Jade Bridge Pure Peanut Oil From Deslyfoods Bulk Wholesale From Deslyfoods Or OEM. 2019 automatic Mini Oil Press Machine | cold peanut oil press machine\nSesame oil machinery for sale from China Suppliers\nRapeseeds oil machinery (100) Rice bran oil machinery (100) Sesame oil machinery (100) Small oil machine (100) Soap making machine (100) Peanut hydraulic oil press machine price/groundnut hydraulic oil making machine with CE FOB Price: USD $861 / Unit Min. 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Do you have machines in stock9 No,our machine is\nPeanut Oil Press Machine\nThis mchine is suitable for pressing peanut,sunflower seeds,soybean,palm kernel,cocnut copra,rapeseeds,castor bean,etc. Further information plz visit\nWholesale Rapeseed Oil Press Machine - Rapeseed Oil\nRapeseed Oil Press Machine Wholesale. Related Categories.Commercial Oil Press Machine for Rapeseed/Peanut/Sesame. Video.Do you have rapeseed oil press machine or other products of your own?\nHousehold small mini oil press machine, oil press tool, Oil seed\nRelated Searches. Wholesale. fruit toy manual oil press oil press screw hair mask and oil rose small vaper.\nRapeseed Oil Press Machine Equipment\nWe provide high quality Rapeseed Oil Press machinery, best price edible oil pressing plant equipment supplier or manufacturer.1. Main material is stainless steel. 2. Oil press machine has simple design, elegant appearance. 3. Stable functions, simple maintenance, and\nPeanut Oil Press-- Integrated Screw Oil Press for Both Cold Pressing\nAutomatic peanut oil press machine is a kind of superior oil pressing machine nowadays in the market. It is used for processing cooking oil from various oil bearing materials such as peanuts, soybeans, sunflower seeds, rapeseeds, oil palm, sesame seeds and so on.\nPeanut Oil Press Machine | Peanut Oil Production Line\nDescriptionHuatai peanut oil press machine adopt the latest pre-press - oil extraction process technology, at present, this technology is the most advanced in the world, and it makes up for lack of traditional oil press and improve the oil yield, ensu.", "label": "No"}
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Scottsdale Princess Spa Cbd Oil What Chemical Is Used To Make Cbd Oil Cbd Oil Windsor Ct. Cbd Oil Takes Time To Work What Kind Of Cbd Oil For Weight Loss.\nWhatstrength Cbd Oil Do I Use For My Dog\nCbd Oil For Dog Dental Health Cbd Oil From Golden Temple Birmingham Alabama. Can I Travel To Mexico With Hemp Cbd Oil Pinnacle Cbd Tincture Where Can I Purchase 100 Cbd Oil Earopean Cbd Oil.", "label": "No"}
{"text": "CISNE BRANCO -- new clipper ship\nfor the Brazilian Navy.\nthe ship's seal, with the image of a white swan,\nor \"cisne branco\", the central metaphor of the\nBrazilian Naval anthem\nA beautiful etched-glass portrait of the CISNE BRANCO that greets\nguests as they descend the main staircase to below decks.", "label": "No"}
{"text": "quite miraculously beautiful!\nI love the languoring of the woman on the sand. the beauty of her nautral shape, no sucking in of the stomach! but still, there is that look in her eyes...\nI love the bubbles of light streaming at that perfect angle in the bottom picture. makes the picture so magical!", "label": "No"}
{"text": "This option is not available with your selected options.\nSandstone Round Ribbed Finish Wall Art - Set of 2Item # HN-SCR173\n- For indoor use only\n- Stardust ridged finish with off-center burst\n- Fine-polished sandstone in gray and black\n- Includes 1-year limited warranty\n- 2 pieces - choose your size\nSimilar Wall Art\nMotorcycle 24 x 72 Canvas Art Print Triptych\nThrough the Mist 30 x 60 Textured Canvas Art Print Triptych\nShoreline View 30 x 60 Textured Canvas Art Print Triptych\nHoward Elliott Abstract Round Silver Nail Wall Art - 32W x 32H in.\nHolly & Martin Wavson Wall Sculpture\nUttermost Trees in The Mist Abstract Art - 60W x 40H in.\nCustomer Q & A\nEnter your question, and one of our Customer Care experts will respond via email and also post the answer here.\nYour Valid Email", "label": "No"}
{"text": "Folded Copper Wall Lights Designed By Chsaur involve some pictures that related each other. Find out the newest pictures of Folded Copper Wall Lights Designed By Chsaur here, and also you can find the picture here simply. Folded Copper Wall Lights Designed By Chsaur picture put up ang uploaded by Admin that preserved in our collection.\nThese are so many great picture list that could become your creativity and informational purpose ofFolded Copper Wall Lights Designed By Chsaur design ideas for your own collections. we hope you are all enjoy and finally will get the best picture from our collection that uploaded here and also use for suited needs for personal use. The Freeworksheetsz.com team also provides the picture in High Quality Resolution (HD Quality) that may be downloaded simply by way.", "label": "No"}
{"text": "Naturally winter – the winter color season\nWhat is my color if I’m a winter color season? What colors look good on me with my winter skin tones?\nMy winter skin tones\nSnow-white, darker grayish white, olive, or in case of darker winter skin tones it rages from dusty light to dark brown.\nMy winter eye colors\nIcy blue, bright deeper blue, grayish green, deep cold brown.\nMy winter lip shades\nCool pinky shades from light pink to violet to dark cherry.\nMy winter hair colors\nDusty light brown, cool dark cocoa brown with mahogany or aubergine highlights and all the black shades.\nCheck the detailed description page to learn more about what is it like to be a winter color type.\nWhat colors look good on me, if I’m winter color season?\nCold, bright, dark colors.\nMy best colors are blue as is, red as is, yellow as is, green as is and the black including most of the gray shades from ice white to charcoal. For some inspiration check my full winter color palette including an iPhone wallpaper for free download made of the best colors of my winter color season.", "label": "No"}
{"text": "Evo-Stik Sticks Like 290ml Solvented Grab Adhesive\nBond almost all surfaces using our Evo-Stik Sticks Like Adhesive. It is touch dry in just 30-40 minutes.\nEvo-Stik Sticks Like Adhesive can be used on almost all surfaces. Suitable for interior and exterior use, it is water resistant and can be used in extreme temperatures. It can be painted over too.\n- Resistance Type Temperature and Weather Resistant\n- Location Internal, External", "label": "No"}
{"text": "EcoTools 6-pc. Day to Night Collection\nPICK UP IN STORE\nAvailable to Ship\nThis EcoTools Day to Night Collection includes all of the tools to transform an everyday look into a bold nighttime look.\n- Brushes work together to create daytime and nighttime looks.\n- Soft, non-abrasive bristles give an even finish.\n- 6-pc set includes: pointed concealer brush, powder brush, shadow brush, smudge brush, lip brush, and cosmetic bag\n- 100% bamboo handle\n- Synthetic Taklon bristles\nHOW TO USE\n- CONCEAL: Use the pointed concealer brush to blend imperfections. SMOOTH: Sweep color onto face with the powder brush. SHADE: Apply eye color with the shadow brush. DIFFUSE: Blend colors with the smudge brush. ACCENT: Add a pop of color with the lip brush.\nShipping & Returns\nView our full return policy here.", "label": "No"}
{"text": "6.0 oz Item 2285935\nFor a salon-fresh look in between coloring try John Frieda Color Refreshing Gloss\nYour vibrant, salon-fresh colour never lasts long enough. Over time, your colour begins to fade and turn off-tone. The John Frieda Colour Experts know the best way to maintain salon-fresh colour and shine is with a weekly gloss treatment. Now, the John Frieda Colour Experts bring this exclusive salon service to your home. John Frieda's patented technology refreshes hair's vibrancy in between colourings by replenishing lost tones so your colour looks fresh, like first-day colour.", "label": "No"}
{"text": "Horse art @Stephani Nelson Nelson Nelson Nelson Nelson Lovelady\nWildlife art. Zebra\n♥ Zebra Art ♥\nHow to paint a Tiger Portrait in Acrylic Paint! (+playlist)\nSaatchi Art Artist Rene Boast; Painting, “Copper Zebra” #art\nSaatchi Art Artist Poggetti Christian; Painting, \"zebra 11006\" #art\nSaatchi Art Artist: Poggetti Christian; Acrylic 2010 Painting \"green face\"\nZebras all day long\nZebra in Kruger National Park - South-Africa by Sigmundur Andresson\nZebra in Kruger National Park, South Africa (by Adroit Ambler on Flickr)... #SouthAfrica - http://urbanangelza.com/2015/12/05/zebra-in-kruger-national-park-south-africa-by-adroit-ambler-on-flickr-southafrica/?Urban+Angels http://www.urbanangelza.com\nGorgeous Zebra. Horses have nothing on Zebras for amazing coat patterns! This face is gorgeous!\nA cheerful look brings joy to the heart; good news makes for good health. ~ Proverbs 15:30\nNot usually a big fan of Zebra but this photo is awesome.", "label": "No"}
{"text": "The Beneficial Things regarding to Canvas Printing and Its Difference to Canvas Painting\nThey can even print now into a canvas. Nowadays, it is possible to print into a canvas. They say that canvas printing is ideal for recreating numerous various image types and offering them included value.\nThe Legion Premium Canvas Paper it is a matte completed, water-resistant inkjet canvas that can records the look and feel of an oil painting. The Archival Inkjet Canvas with a neutral pH is another paper canvas kind it is suitable with both dye-based and pigments based inks.\nPicture your artwork or photographs as art canvas prints represented in lively and really great colours. By utilizing pigment based inks - to make sure that your canvas prints last a very long time without fading. By putting an additional special defense over the canvas prints - to make sure it does not get harmed from scratches and splashes . Corners will not split or fade .\nTurning to the other side or will I state to the artist side, we all know that canvas is utilized by most great art artists as their medium to develop a spectacular art work masterpiece. read the full info here In addition, canvas serves as a support for oil painting, and is the name for the mesh fabric on which embroidery and needlepoint are done.\nNevertheless, canvas printing is not the same as canvas painting; the reason is that they utilized different canvas. In canvas printing, the canvas used has a unique responsive covering to accept the inks of the printer, which is not present in canvas painting. Artists generally use small pieces or in some cases much bigger of canvas as a base for their works of art. This canvas is stretched across a wood frame called a stretcher, and is covered with gesso prior to it is to be used.\nThe Legion Premium Canvas Paper it is a matte ended up, waterproof inkjet canvas that can captures the look and feel of an oil painting. The Archival Inkjet Canvas with a neutral pH is another paper canvas kind it is compatible this content with both dye-based and pigments based inks. Canvas printing is not the exact same as canvas painting; the factor is that they utilized various canvas. In canvas printing, the canvas used has a unique receptive coating to accept the inks of the printer, which is not present in canvas painting.", "label": "No"}
{"text": "Stock Photo - Pink Petunia flowers in container on red painted antique wooden chair on pink painted planked wood veranda of old 1922 cottage style house facade in summer, Quebec, Canada ...\n. This image is property released. CUPR0328.\nUp to XXL50 MBA3\n(3750 x 5625 px -\n12.5\" x 18.8\" -", "label": "No"}
{"text": "Disney Leading Ladies\nConcept art of Meg. On the concept art she looks exactly as on the final result in the movie, but I find this picture really great :). Wallpaper and background images in the Disney Leading Ladies club tagged: disney disney heroine meg concept art.\nSubmitted by LionaChoco\nKeyword: disney, disney heroine, meg, concept art", "label": "No"}
{"text": "The beginnings of Early Christian art date to the period when the religion was yet a modest and sometimes persecuted sect, and its flowering was possible only after 313, when the Christian emperor Constantine the Great decreed official toleration of Christianity.\nWhy did Christian art start?\nThe best explanation for the emergence of Christian art in the early church is due to the important role images played in Greco-Roman culture.\nWhat influenced early Christian art?\nEarly Christian art and architecture adapted Roman artistic motifs and gave new meanings to what had been pagan symbols. … Early Christians also developed their own iconography; for example, such symbols as the fish (ikhthus) were not borrowed from pagan iconography.\nWhy was religious art created?\nReligious paintings idealize, glorify, suggest and tell the story of a religion. They keep religious traditions alive and make it easier for individuals to visualize a concept or event that is otherwise difficult to imagine through the use of mere words.\nWhat is purpose of Christian art?\nSome of the purposes of Christian art include: Prompting the viewer to reflect on spiritual themes. Use as an aid in worship/personal devotion.\nHow did Christianity influence early medieval art?\nChristianity strongly influenced the subject matter of early Medieval art, which very often depicts religious figures and scenes. It also determined artistic form, as we saw when we looked at illuminated manuscripts, liturgical vessels and High Cross sculptures.\nHow did Christianity influence art?\nNot surprisingly, Christianity has extended its influence to many works of Western art. Artists use their artworks to express their own faith or to describe Biblical events and views on Christianity. … Some works of art are devotionals, designed to make the viewer think deeply about faith and beliefs.\nWhy was religion important to art in the Middle Ages?\nDuring the Middle Ages, art was more religious because it had a very religious influence from the church having such great power in the community. … Art with biblical themes were popular in the Middle Ages because the artists were also focused on theology. Jesus and Mary were usually the main focus in most paintings.\nWhy were religious images created?\nThe purpose of these images is to remind them of their faith. And it’s not just Roman Catholic Churches that are filled with art, it’s also common within all divisions of the greater Catholic Church, especially Eastern Orthodox churches where icons play a significant role.", "label": "No"}
{"text": "Hey there people, our todays latest coloring picture which you can have some fun with is Ridiculous Witch Coloring Pages, posted in Witch category. This particullar coloring picture dimension is around 600 pixel x 620 pixel with approximate file size for around 102.45 Kilobytes.\nFor more picture relevant to the one right above you, you can check the following Related Images section on the bottom of the post or alternatively exploring by category. You may find many other exciting coloring picture to work on with. Have a great time!", "label": "No"}
{"text": "Comedy (Skit): MC Edo Pikin – Difference Between Riches and Wealth\nComedian MC Edo pikin has kept us entertained with his different explanation of differences between things. And they are usually funny. Here is another one. Mc Edo pikin 2019.\nVideo Credit: MC Edo pikin\nTo be Updated, Simply Join Our Telegram Channel Now you will love it.", "label": "No"}
{"text": "Reptile Forums UK - A trip to Mexico makes for some nice pictures of the local Mexican spiny tailed iguana.\nA Couple Mexican Herps\nApr 29, 2013\nby Contributing Editor\nReptiles Canada - Ricky’s Reptiles shares a few great pictures of a local Mexican snake and incredibly handsome iguanas.@ Reptiles Canada", "label": "No"}
{"text": "This festival of colors, Holi, is being celebrated all over India since ancient times. Holi is celebrated on the day after Gaura Purnima. On this day, their Lordships Sri Sri Radha Gopinath are dressed in special Holi outfits, and all the eight gopis (Astha Sakhis) Lalita, Vishaka, Chitra, Champakalata, Tungavidya, Ranga Devi and Sudevi manifest on the altar with colors and water cannons in their hands. As the sun starts to appear on the western horizon, the devotees eagerly wait for Srimati Radharani and Lord Krishna to manifest in their small deity forms. The pujaris bring the deities dressed in colorful garments and ornamented with colorful fragrant flowers, accompanied with a melodious kirtan. The eagerly waiting devotees welcome them by bowing down their heads, and loudly chanting ‘Hare Krishna’ Haribol!’ The deities are then placed on the altar surrounded by dozens of plates filled with natural colors. The devotees and the guests come forward to smear colors on Radha and Krishna accompanied with the tumultuous chanting of the holy names of the Lord in the background. As the kirtan picks up pace, buckets of fragrant colored water arrive along with water cannons. Then the devotees start bathing Radha and Krishna with colored water, assisted by the pujaris. As their Lordships enjoy the bathing, the sight of the colorful offerings of the devotees gliding down their divine bodies is simply a spectacle to behold. The reverbeating sound of the devotees chanting the holy names, adds to the bliss, sanctifying the whole atmosphere.\nIt is believed that tradition of playing with colors on this day draws its roots from the pastime of Radha and Krishna. Once young and dark complexioned Krishna who was jealous of Radha’s fair complexion questioned his mother Yashoda on the darkness of his complexion. Yashoda, teasingly asked him to color Radha’s face in colors of his choice. In a mischievous mood, Krishna applied color on Radha’s face. We can’t imitate this mood but devotees also participate in this loving exchange of applying colors and express love for each other.", "label": "No"}
{"text": "Perfect for hanging in a window, the crystal catches the light beautifully and projects patterns around the room.\nHand blown and hand painted Fantasy Glass Dolphin. Painted in vibrant colours, with a 24 carat gold hand painted bill and a Swarovski crystal drop. Each dolphin comes individually packaged in an illustrated and recycled cardboard box.\nDimensions: 9.5cm x 6.5cm x 3.5cm", "label": "No"}
{"text": "Foralyn hydrogenated rosin resin\nForalyn™ hydrogenated rosin resins are a resin family based on stabilized rosin for adhesives and coatings. They are available with a softening point range from liquid to 110°C.\nThe hydrogenation of Foralyn™ improves its compatibility with adhesive base polymers, in contrast to non-hydrogenated rosin-resins, which results in improved adhesive performance. In particular Foralyn™ hydrogenated rosin resins impart superior adhesion and excellent cohesion to adhesives based on styrenic block copolymers and acrylic polymers, especially at higher temperatures.\nForalyn™ 90 and Foralyn™ 110 are of special interest due to their exceptional light color, thermal color stability and low oxygen uptake. Foralyn™ 5020-F CG is particularly suitable for cosmetic, personal care and fragrance applications.\nPhysical Properties Comparison:\nHydrogenated rosin esters\nHot melt adhesives, pressure sensitive adhesives, solvent-based adhesives, solder fluxes, marine anti-fouling paints, wax blends, cosmetics, personal care and fragrance\nLight color and color stability, good oxidation resistance, good aging characteristics\nSpecialty tapes and labels, general assembly, bookbinding, laminating, nonwovens, cosmetics", "label": "No"}
{"text": "Brush pen demo for brush calligraphy, including Pentel Aquash waterbrushes in fine, medium and broad, zig wink of stella brush pen in gold, crayola super tip pip-squeaks marker, tombow dual brush pen, faber-castell pitt artist pen, faber-castell big brush pitt artist pen, copic sketch marker, and kuretake zig clean color real brush pen\nFaber-Castell Pitt Artist Pens Gift Box, Set of 48 Pigmented India Ink in multiple nib sizes and 48 colors brings great versatility to pen-and-ink drawings requiring lots of intricate details. The ink is waterproof, unsurpassably lightfast, acid-free, and pH-neutral.\nFaber-Castell Pitt Artist Pen Wooden Gift Box Set of 90\nWooden Gift Boxes,Wooden Gifts,Faber Castell,Art Supplies,Markers,Pens,Stationery,Color,School", "label": "No"}
{"text": "omg i love this <3\nThis is amazing. Love your work, keep it up.\nThank you for your comment.\nThis picture is amazing! Love the colors and adore that line art :)\nI love it, omg.\nnewgrounds.com — Your #1 online entertainment & artist community! All your base are belong to us.", "label": "No"}
{"text": "Between light and shadow, the inspiration for this work moves, tranquility and purity, white, the color that has the greatest sensitivity to light.\nBetween light and shadow, the inspiration of this work moves, the tranquility and purity, white, the color that has the greatest sensitivity to light, is mixed with the strength, elegance and stability of black, whose color is absence total light ...\nThis work represents the contrast, the face of two opposite sides, which constantly interact with each other, they are the reflection in everything that we live, create and perceive on a daily basis, it is a beautiful image of balance such as faith, art and life itself ...\nMaterials: Bioresin, application of more than 1000 crystals, resin finish.\nSupport: 30 cm x 30 cm.\nDimensions: 86 x 34 x 37 cm.\nAuthor of the work: Ainoha Martínez.\n|Dimensions||45.72 × 50.8 × 91.44 cm|\nThere are no reviews yet.", "label": "No"}
{"text": "Username or email address *\nEmail address *\nA password will be sent to your email address.\nNo products in the wishlist.\nNo products in the cart.\nMontblanc Ink Bottle Blue 105192\nMont Blanc Poppy Red Ink Bottle 111432\nMont Blanc Grey Ink Bottle 105186\nMont Blanc Black Ink Bottle 105190\nMont Blanc Purple Ink Bottle 105196\nMont Blanc Green Ink Bottle 106273\n© Copyrights GoYes - All Rights Reserved.\nDeveloped by CodeNinja", "label": "No"}
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{"text": "The bubble chat icons are used most widely in live online chat application or to allow text comment. With these icons visitors can see whether the live support team is available or not.\nClick on the Bubble Chat Clipart Picture / Gif or Jpg or Png Icon Image to download.\nTest with a different background color\nDownload these Free Bubble Chat png, Text comment / Chat gif clip art icons,pictures that can be used in your web site with any background color.\nAny color can be set as background for these bubble chat icons according to the individual needs.\nWeb Clipart Picture in all colors including white Text comment / Chat,red,green,blue,black Text comment / Chat,yellow,orange,pink color. hscripts.com is the copyright owner of\nall cool clip art picture, images.", "label": "No"}
{"text": "We can go when we're done\nWork is ready to hang. Comes framed behind glass. Piece is layers of paper and fabric. Handmade collage imagery. Creating a textured and narrative piece.\n- 2D Works\n- fabric, paper, gouache and acrylic on canvas\n- 101 x 60 x 5 cm\n39.75 x 23.625 x 2 inch", "label": "No"}
{"text": "Follow along with us and learn how to draw Snorlax from Pokemon!\nYou’ll need your marker, paper, and colored pencils. We’re using grey, tan, light brown, blue and dark green to color Snorlax.\nWatch How To Draw Snorlax Pokemon\nDid you know there’s more to this lesson? Become a member of our Art Club and get an ad-free experience plus printables!", "label": "No"}
{"text": "Minimal Working Example¶\nMinimal Working Example (MWE) is a simple directional QSR aimed to demonstrate how to implement a new QSR and integrate it in QSRlib.\nAll the possible MWE relations between a blue object X and a red object Y are:\n|X left Y||X is to the left of Y.|\n|X right Y||X is to the right of Y.|\n|X together Y||X and Y are together.|", "label": "No"}
{"text": "Red Carpet Rewind: The boring, bright and best of the 2013 Screen Actors Guild Awards\nNicole Kidman, Jessica Chastain and others showed off their best looks\nGood: Helen Hunt\nFor the record, Helen Hunt is 49. Forty-nine. And she looks this good. And she can wear this fitted, shiny thing and still look this good. Somewhere there is an oil painting hidden in a closet that looks like hell on a cracker, but until someone yanks that out, Helen Hunt looks pretty darn great.", "label": "No"}
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{"text": "Longer pins get all the way through the most dense coats; safely cleans out dead undercoat, while not damaging top coat; soft and pliable enough for the most fragile coats.\n#1 All Systems® Slicker Brushes are gentle enough to use on all coats. Large Slicker Brush features extra-long pins embedded in an air-cushioned rubber pad, and an extra-long wooden handle.\nOverall Brush-head Dimensions:\nSmall – 2½\"L x 1½\"W\nMedium – 3½\"L x 1½\"W\nLarge – 4⅞\"L x 2¼\"W", "label": "No"}
{"text": "Learn how to add vibrant colors to plain and boring skies using the “Zoning” technique in Photoshop! In this landscape editing tutorial, we will use brightness levels or luminosity to create zones and apply different colors to each zone, thus giving the image a dramatic look. We will use the power of Blend-If and Blending Modes to create a non-destructive color palette for the sky without having to stick to fixed Luminosity Masks.\nWe will also learn to use Camera Raw and Curves to create dimension and add lighting effects.\nFrom : PiXImperfect", "label": "No"}
{"text": "The hexadecimal color code #00c9df is a shade of cyan. In the RGB color model #00c9df is comprised of 0% red, 78.82% green and 87.45% blue. In the HSL color space #00c9df has a hue of 186° (degrees), 100% saturation and 44% lightness. This color has an approximate wavelength of 487.38 nm.\nBuy paint matching this color\nPoor is the pupil who does not surpass his master.\n<p style=\"color: #00c9df\">…</p>\nGreat art picks up where nature ends.\n<p style=\"background-color: #00c9df\">…</p>\nDon't be an art critic, but paint, there lies salvation.\n<p style=\"text-shadow: 0.1em 0.1em 0.15em #00c9df\">…</p>", "label": "No"}
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{"text": "Styled to the original Bugatti, impress with this 1:14 scale remote-controlled Bugatti Veyron.\nCar styled with injection moulded body\nMovement Functions: Forward, reverse, left, right, front lights, rear lights\nPackage Dimensions: 43cm x 22.5cm x 17.5cm\nVehicle Dimensions: 31.95cm x 15.1cm x 8.8cm\nNote: Requires 2 x AA batteries (controller), 5 x AA batteries for the car (excluded)\n1 x Car\n1 x Remote Control", "label": "No"}
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{"text": "Image tags:anna maria sobolewska, girl, model, blonde, view, breasts, feet, hip, swimsuit, yacht, board, reflection\nShare the image\nFree High Resolution Wallpapers for Android, iPhone and Computers.\nmachine bag trip girl dress make-up hair style pose suitcases travel girl outfit makeup hairstyle posture\n1920 x 1462, 412 kB\nShow more images", "label": "No"}
{"text": "Posted by Some random Mikey on December 16, 2007 at 13:50:43:\nI'm interested in knowing from which gallery do some pictures come:\n- The picture with a girl in the sea, between the one of the blonde girl lying on the sun bed and the nude racers.\n- The bottom right one\n- The one just above the three women in the sea, talking to each other, featuring a woman and a man\nThanks a lot!\nPost a Followup", "label": "No"}
{"text": "Seen as the \"typical French restaurant,\" a brasserie is the perfect place try classical French regional cuisine in a bright and lively atmosphere.\n- No picture yetMiddenweg 55 1703 RB Heerhugowaard 1.32km\nAverage price €43.00\n- No picture yetBijlestaal 64 1721 PW Broek op Langedijk 3.57km\nAverage price €39.00\n- No picture yetMuseumweg 2 Amsterdam 2.76km", "label": "No"}
{"text": "I just created this video – slideshow with some of my best nature and landscape images. I used Animoto, a cool online service\nthat builds creative slideshows set to music.\nSculpting with Light\nPhoto - Paintings Based on Your Family/Pet Photograph\nDigital Art With Corel Painter\nFine Digital Art and Photography\nThe latest news on WordPress.com and the WordPress community.\nSteve's body of work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element. www.stevemccurry.com\nDigital Painting with Corel Painter\nPainting with Corel Painter", "label": "No"}
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Finding Quality Cbd Oil Under The Tongue Use Of Cbd Oil Cbd Oil Near Me Louisville Ky.\nCbd Oil Cancer Remission Can You Extract Cbd From Hemp No Trace Of Thc Symptoms Of Taking Too Much Cbd Oil Ishoppurium Cbd Oil.", "label": "No"}
{"text": "Strike It Lucky Matches bring a touch of the West to your home. These matches feature cowboy-inspired artwork and a gold accent, as well as a red tip matches.\nDimensions: 4.3″ x 4.3″ x 2″ (11 x 11 x 5 cm)\n© 2023 Layered by Paige Elise.\nPowered by Shopify", "label": "No"}
{"text": "Small painted occasional table with traces of original paint and gilding and a round carrara marble top C1880.\nSize: Height: 84 cm, Wide: 77cm\nVintage two arm light by jieldé Designed by the mechanic Jean-Louis\nAntique French mercury mirror C1840 Gilt and gesso French mirror with\nAntique French silver gilt mirror C1860 with original plate. Geometric patterns\nEarly nineteenth century French trumeau mirror. Original paint, lovely foxed mercury\nT: 07736 779001", "label": "No"}
{"text": "Student Recital: Camden Scruggs, trumpet\nLocationAlma Thomas Fine Arts Center\nDate & Time5:30pm CDT April 16\nMathers Box Office\nHours: M-F 12:30-5:00pm\n5:30pm CDT April 16\nAlma Thomas Fine Arts Center\nThe Sarofim School of Fine Arts Music Department is pleased to present a senior recital with Camden Scruggs, trumpet.\nFree and open to the public. No ticket reservations needed.\nApril 16, 2023 | 5:30 p.m. | Alma Thomas Theater", "label": "No"}
{"text": "Calamagrostis Karl Foerster\nThis grass has been a favorite for years. With a strong vertical appearance and early flowering, the flower stalks turn a golden cpolor and take on the appearance of shafts of wheat. It also adds interest to the landscape during the winter months. Karl Foerster is sterile and will not self-seed\nThere are no reviews yet.", "label": "No"}
{"text": "Love the way the mask blends your picture into the great background paper! The string of flowers is great with the grungy butterfly under it.\ncreated using Keley Designs Candy Christmas\nI love the way you lifted my page. Your choice of mask is beautiful to go with a beautiful photo.. Love the string with flowers going up the left side. And I love the trail of dots across the bottom. Lovely.", "label": "No"}
{"text": "Figure 6H-34. Lane Closure with Temporary Traffic Barrier (TA-34)\nThis figure illustrates an example of lane closure with a temporary traffic barrier. A legend under the figure states that this is Typical Application 34. A note states \"Note: See Tables 6H-2 and 6H-3 for the meaning of the symbols and/or letter codes used in this figure.\"\nThis figure shows a vertical divided roadway with two lanes of traffic in each direction. Downward-pointing black arrows in the two left lanes and upward-pointing arrows in the two right lanes denote the direction of traffic. The opposing lanes are separated by a median. A shoulder is shown to the right of each right-hand lane. The shoulders are shown separated from the right lanes by a solid white line. The two lanes in each direction are shown separated from each other by a broken white line. The two left-hand lanes are shown separated from the median by a solid yellow line.\nAt the bottom of the figure to the right of the shoulder and to the left of the solid yellow line on the median, two black inverted \"Ts\" are shown denoting signs. The signs are shown as diamond-shaped orange signs with black borders and the words \"ROAD WORK AHEAD\" in black. These signs are shown at a dimensioned distance C in advance of two more diamond-shaped orange signs with black borders and the words \"RIGHT LANE CLOSED AHEAD\" in black. These signs are shown at a dimensioned distance B in advance of two more diamond-shaped orange signs with black borders. They show a thick, vertical straight line on the left; a thick, vertical line on the right that angles toward the left half way up; and a thin, short vertical dotted line between them that is the length of the vertical section of the line on the right, denoting a lane ends. At this point, a series of orange squares denoting channelizing devices are shown beginning at the right edge of the right shoulder and tapering to the left for a dimensioned distance A to the solid white line separating the shoulder from the right lane. This shoulder taper is labeled optional. Where the channelizing devices cross the solid white line between the shoulder and the right lane, a horizontal rectangular black arrow panel with a yellow directional arrow pointing to the left is shown across the shoulder. At this same point, the channelizing devices are shown tapering to the left for a dimensioned distance L to the broken white line between the northbound lanes. They then are shown continuing through a buffer space labeled optional until they come to a series of closely spaced white rectangles with small yellow circles representing temporary barriers with warning lights.\nAt the point where the channelizing devices are shown joining the broken white line between the northbound lanes, a white half oval with a black border and black crosshatch pattern pointing down and to the right is shown, denoting a crash cushion. This is shown just outside the right shoulder and directly in front of a series of connected white bars denoting temporary barriers. A note with a leader arrow to the crash cushion symbol states \"see Section 6F.82.\" The temporary barrier is shown tapering from the crash cushion across the shoulder and the right-hand lane, where it is shown joining the temporary barrier with warning lights. These barriers are shown continuing beyond the work space, denoted by a vertical rectangle with diagonal black lines, which is shown spanning the right shoulder and most of the right lane.\nWhere the channelizing devices are shown tapering from the solid white line separating the shoulder and right lane, a solid temporary white edge line is shown paralleling the devices to their left and continuing along the broken white line between the lanes past the work space and then tapering to the right to the solid white line between the shoulder and the right lane.\nBeyond the work space and to the right of the right shoulder and on the median to the left of the solid yellow line, two horizontal rectangular orange signs with black borders are shown with the words \"END ROAD WORK\" in black.\nAt the top of the figure and to the right of the right shoulder and to the left of the solid yellow line on the median, two black inverted \"Ts\" are shown denoting signs. The signs are shown as Road Work Ahead signs and are labeled optional. These signs are shown opposite the End Road Work signs on the northbound lanes and are shown at a dimensioned distance of 450 m (1,500 ft) in advance of the northern edge of the work space in the northbound lanes. Beyond the work space and crash cushion area, two more signs are shown to the right of the right shoulder and to the left of the solid yellow line on the median. These are shown as End Road Work signs and are labeled optional. They are shown opposite the lane ends symbol sign on the northbound lanes.", "label": "No"}
{"text": "RP220 Water and Oil Repellant\nWhat is RP220 Water & Oil Repellent?\nRP220 is a acrylic fluorinated copolymer which provides excellent durability of the subsurface. It is a transparent, protective barrier against oil and water on porous surfaces such as tile, grout and stone. Rp220 is stain resistance and easy clean up.\n- Provides a protective barrier that repels both water and oil.\n- Permeability to water vapour and gases.\n- Protection whilst retaining original appearance.\n- UV radiation resistant.", "label": "No"}
{"text": "The colours of the English Union Jack are combination of the English flag whch are the colors of St George (patron saint of England) which is red and white as well as the Scottish flag which are the colors of St Andrew (patron saint of Scotland) which is blue and white.\nRed is the colour most often associated with England as this was the colour of their army uniforms for much of their history.\nThey represent the spectrum of colors in the atmosphere.\nIf you simply mean England, not including Scotland etc, then the red cross on the white background is the red cross of St. George, patron Saint of England.\nThe colors represent freedom.\nThe colors of the five interlocking rings on the Olympic symbol represent the colors of all the flags of countries that participated in the 1912 Olympics. The colors represent the countries of Sweden, Greece, France, America, England, Germany, Belgium, Italy, Hungary, Spain, Brazil, Australia, China, and Japan.\nThe bright colors on Easter represent the new sunlight in spring. The bright colors on Easter represent the new sunlight in spring.\nthe colors most likely represent the symbols of the state or country\nthe colors of the india flag\nthe colors green and yellow\nThe colors on the Peru' flag represent the animals that fought for their people.\nThe bright colors on Easter represent the new sunlight in spring.\nit repersents there favorite colors and colors of animal\nthe colors on a map represent northeast, southeast, Midwest and west.\nHere is a link that should explain exactly what the colors of the Sweden flag represent.\nThe bright colors on Easter Eggs represent the new sunlight in the spring.\nThey represent the sun rising towards them\nwhat does the chinese dragon represent and when is it used?\nNone colors found\nactual rock colors\nWhat does the actual colors represent in the movie or play for Colored Girls. Example: Red represent - Rage Yellow- Jealousy\nit represent nothing!\nBrazils flag colors represent the green and gold Brazilian Beetle.\nTo represent 256 colors it is needed 8 bit per pixel. 1 bit mean 2 colors, 2 bits mean 4 colors, 3 bits per pixel can represent 8 colors... 8 bits = 256 colors.", "label": "No"}
{"text": "These are stunning Michelle - love the way you have mounted the images over the embossed panel and with the distressed edges.BlessingsMaxine\ngorgeous cards! I love hydrangeas. Need to try to grow them again.\nThese are so gorgeous! Love the embossed background against the beautiful flowers! :D\ngorgeous image and love the embossed background !!!Paula\nPost a Comment", "label": "No"}
{"text": "Eyeshadow Box XL Natural Bliss\nThe cool tones can be used to define the features in the face on a very subtle way or simply use them to create depth in the eye make-up. Try the warm tones to create a more bronzy look for this summer and get that summer glow going. Combine the warm and cool tones and enhance your natural bliss.\nGo for a bronzy eye look with the warm tones or contour the nose with a lighter cool tone. Try the combination of the warm tone on the eyelid with a cool tone under the lash line to create a mysterious look. With this palette you can create beautiful looks for work, a date or you can even go all out and do a beautiful glam look.\n- Highly pigmented\n- Wet & Dry formula\n- Easy to blend", "label": "No"}
{"text": "Bathroom trends for 2022 are simple but with a twist. Greenery to lighten up the bathroom aesthetic is very popular this year. Plants can add a simple, calming aesthetic with any color scheme in the bathroom, dark or light. Along with the greenery is stand-alone stools or benches. These add a 3D dimension to the bathroom. Stand-alone tubs are also very popular. These add a texture to the bathroom different from everything being attached to the wall around the room. One more architectural trend is a wet room/walk in shower. The wet room can include the shower and tub separate from the rest of the area. This area can make the room feel more isolated, relaxing, and romantic. Moving to colors, tile, and wallpaper; statement wallpapers/murals and marble, mixing textures, and a sleek color scheme (using light or dark colors) are being seen in bathroom makeovers for 2022. Even though the trend this year is light and airy with addition of greenery, a dark color scheme is stepping into the picture, especially with walk-in showers and wet rooms. The dark color scheme can still give a natural, sleek look if done with the right color palette and décor.", "label": "No"}
{"text": "mr steam clean steam cleaning system larger photo steam cleaner steam cleaner for couch bunnings.\nmr steam clean hundreds of hours of testing and research by the engineering team were dedicated to custom build this all new top ranked steam cleaning system steam cleaner carpet service steam clean c.\nmr steam clean shop steam linear steam head anodized aluminum n a free shipping today overstock 904360 steam clean carpet with iron steam clean oven door.\nmr steam clean steam steam clean couch with garment steamer steam cleaner for cars harbor freight.\nmr steam clean signpost case study steam carpet and home cleaning steam cleaning oven steam clean couch with iron.\nmr steam clean steam cleaner rental lowes steam cleaner for couch lowes.\nmr steam clean performance endurance and total value are the crown features of the commercial grade steam cleaning system over two years of intensive steam cleaner for couch australia steam cleaner wa.\nmr steam clean steam photos reviews carpet cleaning pi heights pho number yelp steam clean oven reviews steam cleaner rental publix.\nmr steam clean carpet cleaning before after steam carpet cleaners steam clean couch rental steam clean carpet with iron.\nmr steam clean digital designs steam partner on website design steam cleaner walmart canada steam clean oven option.\nmr steam clean a clean lime free steam generator tank steam clean couch rental steam clean oven feature.\nmr steam clean super duper cleaning steam cleaner for couch bunnings bissell steam cleaner walmart.\nmr steam clean heavy duty steam cleaning system new steam clean oven button steam cleaner for couch rental.\nmr steam clean parts group steam cleaner for cars harbor freight bissell steam cleaner walmart.\nmr steam clean commercial steam cleaner steam cleaner rental lowes steam cleaning services.\nmr steam clean commercial steam cleaner wish large cleaning steam cleaner for couch steam cleaner rental heb.\nmr steam clean steam cleaning system steam cleaner walmart rental steam cleaner for tile.\nmr steam clean steam shower steam shower online virtual spa system design bathroom luxury units steam shower steam steam cleaner carpet rental home depot steam cleaning carpet.\nmr steam clean rug cleaning steam clean oven feature steam cleaner carpet service.\nmr steam clean vapor steam cleaner floor cleaning steam cleaning steam clean carpet cost steam cleaner for cars engines.", "label": "No"}
{"text": "Clarins’ Spring Look\nFrench luxury beauty brand Clarins is shaking up its limited edition spring makeup collection with a pop of pink. For a brand known for its beautiful neutral shades, this is an unexpected treat. What I love about Clarins makeup is that each product is infused with botanical actives found in the brand’s skincare formulas. You get skin-nourishing additions with this makeup.\nThe star products in this collection are new primers that help make colour correction easy. These products are inspired by the colour wheel; when two opposite shades are placed on top of each other, they cancel each other out. To even out your skin tone, apply the primer colour that best compliments your skin care concern. It helps create a neutral canvas on which to apply your makeup.\nClarins’ Spring 2018 Makeup Collection\nEyeshadow Palette in Lovely Rose\nInstant Light Lip Perfector Lip Balm in 07 Hot Pink\nInstant Light Lip Perfector Lip Balm in 08 Plum\nClarins SOS Primers:\nLack of Radiance? Choose SOS Primer 00 Universal Light\nWhite, the sum of all colours reproduces light on the skin’s surface and enhances radiance. This colour correcting base instantly brightens all skin tones and captures the light for a beautiful effect.\nImperfections? Choose SOS Primer 02 Peach\nIf you are looking to hide violet hue imperfections such as dark circles, visible veins or marks associated with acne, this peach formula with beige pigments will help create an even skin tone.\nRedness? Choose SOS Primer 04 Green\nThis skin-enhancing colour corrector contains green pigments to minimize the look of redness. It helps tame redness.\nSigns of Fatigue? Choose SOS Primer 01 Rose\nIf you suffer from lack of sleep, this colour corrector will boost skin’s radiance instantly making you look more awake. Pink pigments are unbeatable at revitalizing the complexion.\nDark spots? Choose SOS Primer 03 Coral\nThis targeted colour corrector helps balance out dark spots thanks to its light orange pigments. They help counterbalance the blue shade of dark spots.\nSallow skin? Choose SOS Primer 05 Lavender\nThis colour corrector contains lavender pigments that help even yellow skin tones that have been affected by pollution. Skin regains a clear appearance.\nClarins is available in Canada at Hudson’s Bay stores and thebay.com", "label": "No"}
{"text": "I took these two pictures of the hotel carpet on a recent trip. The hotel was La Quinta. I love the leaf designs which would make a great wall hanging or a quilting design. I also really like the color scheme with the dark brown, blues, teals and beige.\nThese flower pictures were all taken at the Temple this last weekend (at the wedding!) I see color inspiration everywhere in these photos! I love flowers but I am not a gardener. I know a lot of quilters who are gardeners though. They are probably all really good at color choices already :)", "label": "No"}
{"text": "Lighthouse on the beach lighthouses pinterest. Beach rulesbeach wall quotes words removable beach decals. Reusable wall decals reusable wall decals removable. The lighthouse oregon beach vacation rentals. Compass wall sticker home decals decor removable. Long beach harbor lighthouse, california at. Pin on home at the beach. Wall decals thewonderwalls the cow removable wall. The lighthouse, home, lighthouse, ocean, painting, rocks.\nLighthouse nautical beach home decor metal lighthouse new. Trundle beds for kids beach style with removable wall decals. Nursery removable wall decals wall decals ideas: removable wall. Large home decor accents, removable wall decals removable. Lighthouse wall decals, lighthouse wall stickers for any room.\nBeach decals buy cheap beach decals lots from china beach decals. Welcome home family removable vinyl wall decals sticker. Panoramio photo of bolivar lighthouse at crystal beach. Wall decals thewonderwalls the cow removable wall stickers.\nRemovable car decals removable auto decals signazoncom. Mermaid beach wall quotes words removable wall decals. Lighthouse dreaming wall mural beach style wall decals. Wall decals stickers art diy deco removable home. Removable nature decals reusable forest decals. Lighthouse ocean coast beach lighthouse located on.\nRemovable wall decals on pinterest murals, wall decals and removable. Removable wall decals on pinterest removable wall decals, vinyls and. Lighthouse picture of currituck beach lighthouse. Removable wall decals nursery details about removable. Cape cod lighthouse home beach style exterior. Removable wall wallpaper for renters uk decals beach theme tiles. Removable wall decals nursery removable wall decals. Bedroom large removable wall decals for kids room child love bathroom. Decals removable sea ocean marine life reusable removable wall decals. Home rules removable wall quotes decals.\nLewes lighthouse come to the beach! pinterest. Home office quotes unique removable] removable art wall decals quotes.\nWall decals removable wall art decals wall removable wall decal. Removable wall decals welcome large zebra removable vinyl wall decals. Lighthouse beach pictures the best beaches in the world.\nPeel and stick wall decals thomas the train removable wall decals. Dorm wall decals room decals removable decals dormify. Removable child home decals lighthouse at the beach seaside vinyl wall sticker ebay. Lighthouse newel post on the stairs for the home beach. Wall decals : diy removable wall decals inspirational.", "label": "No"}
{"text": "The sunflower stitching has been growing steadily over the past week!\nI’ve made it all the way down to the basket they sit in….\n….and I’m now starting to work my way across to the right.\nThere are lots of pastel colours in the background, which will look gorgeous. I plan to do the ground behind the fallen-out flower, then the sky. That will give me time to work out what words I want to stitch…..\nAnyways, see ya!", "label": "No"}
{"text": "William Forwood (1840 - 1928) - Author Collection\nSir William Bower Forwood DL was an English merchant, shipowner and politician. He was a wealthy businessman and a local politician in Liverpool.\nAll audiobooks by William Forwood\nRecollections of a Busy Life\nby William FORWOOD (1840 - 1928)\nCopyright 2022, LibriVox.club", "label": "No"}
{"text": "- Unit Type: Set\n- Package Weight: 0.19kg (0.42lb.)\n- Package Size: 28cm x 18cm x 7cm (11.02in x 7.09in x 2.76in)\n20 Pcs Pro Makeup Set Powder Foundation Eyeshadow Eyeliner Lip Cosmetic Brushes\n100% brand new and high quality\nMaterial: High Quality Goat hair , Nylon material and soft Synthetic\nSize: approx 13.6cm-15.6cm length\nItem included: Foundation Powder Brush,Lip Brush,Mascara Brush,Eyeshadow Brush,Two Side Brush,Eyebrow Mascara Brush,Sponge Brush,Smudge Brush,Nose Shadow Brush,Eyeliner Brush\nA professional quality brush set which includes all the basics you need for daily applications\nSuitable for Professional use or Home use\nEasy to stick powder, natural color, rendering uniform\nWith proper care, your brushes can be enjoyed for years.\nWe pick the brush in each Packaging individually, convenient for you take & use. It also can make the brush used for years.\nOne Brushes Set (20pcs Included)", "label": "No"}
{"text": "Search in collections\nPhotographic print in an album. Portrait of a little girl identified as EDNA. She stands outdoors. A large barn building and house are behind her. A duplicate print is in the album (see F0002.2013(174). At the top edge of the print is written EDNA 1917.\nprint size 3 1/4\" x 4 1/4\"", "label": "No"}
{"text": "Antique Authentic Russian Russia Orthodox Enamel Icon Crucifix Cross For Sale\nANTIQUE AUTHENTIC RUSSIAN RUSSIA ORTHODOX ENAMEL ICON CRUCIFIX CROSS\nCROSS SIZE : 12,7 X 19,7 X 0,5 CM\nFRAME SIZE : 19,5 X 27 X 3,5 CM\nThis isn´t a reproduction\nThis is an original and highly collectible item, authentic and genuine\nThe shipping cost is $15 by Registered letter, anywhere in the World.\nother sales.I unconditionally guarantee all items to be authentic antique items and I will accept them back at any time and issue full cash refund, should an independent reputable expert reasonably disagree with my opinion.\nI stand behind my goods, so you can shop at my store with confidence.\nTradition in selling artifacts and antiques since 1992\nThis item has been shown times.\nAntique Authentic Russian Russia Orthodox Enamel Icon Crucifix Cross:\nOrthodox Greek Russian Byzantine Icon Saint Charalambos Hieromartyr\nAntique High Quality Silkcreen Greek Orthodox Byzantine Icon Christ Gold Leaf\nOrnate Orthodox Greek Russian Byzantine Icon Theotokos Christ Wood\nBeautiful Byzantine Orthodox Greek Russian Icon Theotokos Mount Athos Silver 945\nOriginal Oli Painting~ Virgin Mother & Christ Child~byzantine Order~1960~\nRare Antique Orante 18th Century Religious Bronze Crucifix Icon Picture Frame\nVirgin Mary Madonna W Child Unfading Bloom 4\" Wood Gold Silver Foil Russian Icon\nVirgin Of Seven Swords Vita Icon Life Of Virgin Mary Russian Icon Wood Wow 8\"\nOlive Wood Christmas Prayer Nativity Ornament Holy Handmade Carved Brown Israel\nSaint John Paul The Great W Pope John Xxiii Tapestry Icon Pouch Rosary Case", "label": "No"}
{"text": "Due to the coronavirus outbreak, we are making all previous Old Testament IBC Academy class recordings and the current Systematic Theology lectures available to everyone. You can watch them below. New class sessions will be posted by 6pm on Wednesday Evenings. Below is a playlist of all the OT Academy classes. Click the box in the top left corner of the player to change which lesson you view.\nClick here to download the outline for Systematic Theology Week 4", "label": "No"}
{"text": "Related Free Clip Art, Vector & PSD Graphics\nPremium Stock Vectors\n- Beautiful Summer Landscape\n- Sky with clouds on a sunny day. Vector illustration\n- Comics rays background with halftones. Vector summer backdrop illustrations\n- Beautiful Morning Landscape\n- Cloud seamless vector background. Endless cartoon cloudscape\n- Abstract Halftone Background\n- Set of snow icicles, snow cap isolated. Snowy elements on winter background.\n- comic background\n- 3d abstract paper cut illustration of pastel blue sky and clouds. Vector colorful template.\n- Country Road Snaking With Blue Sky And Sunbeams\n- Three pop art banners template\n- Geometric halftone dot pattern background - vector graphic design from blue circles\n- Morning Landscape\n- Planet Earth icon. Earth globe isolated on white background\n- Surreal background with moon and skyline\n- Blue sky with clouds\n- Comic cityscape light background\n- Summer landscape\n- Comic book illustration with explosion on top. Vector\n- Comic background\n- Sun and grass\n- Fluffy white cartoon clouds in blue sky vector set. Cloudy day heaven\n- Background of night city in dark blue tones\n- Seamless pattern of clouds on blue sky.\n- Comic bang expression background\n- The sun shining through clouds\n- Retro comic empty speech bubbles set on colorful background.", "label": "No"}
{"text": "Illamasqua’s new SS11 collection “Toxic Nature” launches on 10th March (online) and 17th March (stores) and they have just kindly shared promotional pictures with me, so here it goes.\nI looove these pictures. They look amazing! I’m not sure, but I swear this is Alex Box’s work again. Just mindblowingly amazing. The last picture looks a bit more Autumn-like with the red and orange leaves.\nHere’s some more product pictures:\nMs Drifted Snow White", "label": "No"}
{"text": "KOZIK RED DEMON\nAnother beautiful Kozik X Muttpop collaboration in the Lucha Libre rotocast vinyl figure line. Figure is black, red, with gold paint and metallic red paint accents.\nComes with a ball-jointed rotating head.\nThe Red Demon Edicion Officina Por Kozik: Office parties are Hell…\nThere are no reviews yet.", "label": "No"}
{"text": "Your shopping cart is empty!\nmaple and cherry fine finish\nDimensions ( L x W x H) 60.00 x 60.00 x 160.00mm\n0 reviews / Write a review\nFine finish walnut and maple wood.Dimensions ( L x W x H) 60.00 x 60.00 x 160.00mmWeight: 120.00gr\nMaple and walnut natural wood.Extremely strong.Precious small finish details. Dimensions ( L..\nCherry and maple natural wood .Extremely strong.Fine finish Dimensions ( L x ..\nMaple and walnut natural wood.Fine finish work.Extremely strong. Dimensions ( L x W x H) ..\nMaple and walnut natural wood toy.Super fine finish.Extremely strong. Dimensions..\nmaple and cherry natural wood.fine finish Dimensions ( L x W x H) 60.00 x 90.00 x 180.00mmWeig..\nmaple and walnut natural wood.fine finishDimensions ( L x W x H) 60.00 x 60.00 x 130.00mmWeight: 110..", "label": "No"}
{"text": "Behold the breathtaking beauty of the NM Plateau - a stunning desert mountain landscape that is sure to ignite your senses and inspire your soul. Witness the magical moment as a fiery sunset paints the clear summer sky with vibrant shades of orange, red and yellow, casting a warm glow over the rugged mountain ranges. This dramatic sight is a testament to the raw, untamed power of nature, and a reminder of the awe-inspiring majesty that surrounds us. Whether you're looking to license this image for commercial use, feature it in an article about southwest landscapes, or adorn your home or office with a fine art print, the NM Plateau is the perfect choice for those seeking inspiration, beauty, and wonder.\nImage dimensions: 6900 x 4469 pixels", "label": "No"}
{"text": "Results in Painting & Paint SuppliesShowing 1 - 40 of 41 results\nI have a 2 gallon Dulux paint brand new never opened. I got them for $86 for 2 gallon. I have both grey and white colours available. 2 gallons each colour. Asking $100 for 4 gallons total 2 white and ...\nCity of Halifax Yesterday\nWe have 40 five-gallon buckets of Senerflex Finish waterproof exterior wall coating that was ordered but not used. We are selling it for half price. The colour is “608 Glade”, which is a shade of ...\nKind of an olive green in color. Excellent quality paint. 100% acrylic paint and primer in one. I paid $345 when purchased. Located in Truro\nCole Harbour 14/09/2021\nI'm painting a dresser for my grandson in hotwheel colors and am looking for free leftover paint. Red, yellow, orange and lime. :)\nLatitude Run® Wireless Spotlights, Battery-Powered Accent Lights, Painting Art Lights, Mini Led Picture Lights, Ice Hock\nMini traditional metal spotlights: adjustable tilt ceiling light remote control and powered by 3*AA batteries (not included).\nFor sale 5 gallons of paint purchased last week from the Deluxe store in Bayers lake . All 5 gallons are the same colour reason for sale is we picked up the wrong colour asking $240 or best offer for ...\nCity of Halifax 10/09/2021\nThis is the best protection you can put on something that will see weather. I used to it cover two Muskoka chairs and only used 1/4gallon and I kept another half gallon for future projects. Half ...\nClaude Monet was one of the foremost members of the Impressionist movement and is well known for his paintings showcasing light and the natural world. And with this oil painting print you can add a touch of his legacy to your home! Featuring the 1888 painting The Esterel Mountains this piece showcases a lone tree\nCity of Halifax 28/08/2021\nHello! FROM ONLY $150/RM*!! INTERIOR AND EXTERIOR PAINTING & PRESSURE WASHING INCLUDING VINYL SIDING BRICK, CONCRETE, DRIVEWAYS, VEHICLES !!!COMPLETE PROPERTY PRESSURE WASHING!!!! NEW CONSTRUCTION OR ...\nCity of Halifax 28/08/2021\nARE YOUR CABINETS LOOKING OLD AND OUTDATED? HAVE THEM PROFESSIONALLY PAINTED AT A FRACTION OF THE COST OF REPLACEMENT. WE AIRLESS SPRAY THE DOORS AND DRAWER FRONTS FOR A MACHINE QUALITY FINISH, ...\nMake any space in your home innovative and unique by adding this Global Inspired art piece made by real artists. With an overarching Pink colour and Painted texture that will add a dynamic feel to your home décor. This Abstract wall décor is printed using ultra-premium and fade resistant inks to guarantee high\nCity of Halifax 08/08/2021\nDry wall compound and Latex texturing compound, two containers, both fresh in excellent condition. The dry wall compound is almost full and Latex texturing compound has 1/3 remaining volume. Will ...\nCole Harbour 07/08/2021\nas a lot-full can krylon white appliance spray epoxy-full can gray all purpose spray enamel-full can black high heat spray paint 2-full cans Rustoleum epoxy shield anti slip spray-full can Rust coat ...\nSemi-Transparent Waterproofing stain. Russet colour. Completely unused. Receipt attached, bought it incorrectly from home depot for 59.97 exc tax on July 20, 2021.\nGreat art deserves to be on canvas! Unlike cheap posters and paper prints that require additional framing giclée canvas artwork offers the texture look and feel of fine-art paintings. This artwork is crafted in the USA with artist-grade canvas professionally hand-stretched and stapled over North American pine-wood\nFeatures: Artist quality canvas Easy to hang; hardware included Handcrafted in the USA Patented warp-resistant construction with solid matboard backing UV & fade-resistant archival inks Product Type: Painting Primary Art Material: Canvas Primary Art Material Details: Color: Gray Number of Items Included: 1 Artist\nFeatures: Gallery wrap is a method of stretching an artist's canvas around the sides of a hidden frame for a frameless presentation of the finished painting Giclee (jee-clay) is an advanced printmaking process for creating high quality fine art reproductions virtually indistinguishable from the original piece", "label": "No"}
{"text": "Sorry what did you just say?\n← So much water so much air, I have these beautiful dreams but they dont go nowhere. The lack of fire seems to prevent me of fulfilling my true desire. Mentally Im flying, sensing it as if it were true. But when I open my eyes, all is left but a feeling of blue.", "label": "No"}
{"text": "\"LILIES\" PAINTED SILKS\nLily pads inspired our artist to paint this colorful abstract scene on satin silk. Glorious colors of reddish pink, auburn golds, and light green and white stems make this a truly stunning piece. Large and oblong in size, this can be worn as a cover-up, sarong, wrap, skirt, dress or tank top. It's even suitable for framing!\n- 100% silk charmeuse (\"satin\" silk).\n- 60\" x 80\" (size may vary slightly).\n- Color is fast; dry clean only.", "label": "No"}
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{"text": "As many of you know, Topaz Adjust from Topaz Labs is one of my favorite plug-ins. It's great for plug-in fun – as well as creative enhancements.\nAll these images were enhanced with the Spicify effect in Topaz Adjust.\nSpicify adds: color, saturation, contrast, detail and sharpness . . . if you want.\nFor the picture above, I also used the Spificy effect. However, in this case I reduced the noise to the point where the picture lost sharp detail, creating a painterly effect.\nFor the above image, I reduced the Spicify effect after I opened the picture in Photoshop by going to Edit >Fade Filter. Topaz DeNoise and Topaz ReMask are awesome, too!\nHave fun with Topaz. You can save a bundle by ordering a bundle!\nHere's a Topaz tip: Always press reset before you start to work on an image. If you don't, your previous settings will be applied to your image.\nExplore the light,", "label": "No"}
{"text": "Product InformationComby Frosted Neon Tint Bowl is fantastic and great for mixing hair dye. The Cromby Frosted Neon Tint Brush is the perfect brush to go with this bowl.\n|Date||Score||Customer Comment||Our Response|\n||Was expecting it with brush as seen in picture on website|\n|Read more reviews|", "label": "No"}
{"text": "Md. Dildar Alam Rasel Jun 24, 2019 4Good suppiler of Oil Seals Usa !\nSouleymane Zongo Jun 16, 2019 5Excellent quality and value.Definitely will purchase Oil Seals Usa again!\nJens Baekkelund Jun 04, 2019 5Wow~~the Oil Seals Usa is wonderful. Good price, good manufacturers.\nRudi Naude Jun 03, 2019 5The Oil Seals Usa price is reasonable.\nFahad Bin Muhammad May 28, 2019 5The Oil Seals Usa is good.Thanks for your excellent service!\nM. Pasha May 19, 2019 5Although the shipment is late for few days, the following serivce of the seller is good.Still recommend HAFID INTERNATIONAL LIMITED company!\nAna Melashvili May 15, 2019 5all are good, post fast so good,,,seller good,,,and Oil Seals Usa verry good every thing super dooper good in future i will buy from this sellar and thanks\nLinda Heath May 04, 2019 5extremely quick shipping. good quality product.High recommend HAFID INTERNATIONAL LIMITED company!\nPhillip Kelly Apr 19, 2019 5Very safe pack, so no need to worry will smash the Oil Seals Usa , NICE!! thx!\nIvo Beranek Apr 15, 2019 5It’s my third purchase on HAFID INTERNATIONAL LIMITED . The quality of the product is as good as before. Recommend!!\nYuka Kambe Apr 14, 2019 4Oil Seals Usa Received. It looks perfect!\nJack Hu Apr 01, 2019 5The Oil Seals Usa in good condition, thanks manufacturer.\nYOU MAY LIKE\nHigh Quality Piston Rod Oil Seals for Shock Absorber\nHardened Piston Rod Oil Seals OEM for Shock Absorber\nPiston Rod Oil Seals for Damper Hardening for Shock Absorber\nPiston Rod Oil Seals for Auto Parts with Plated for Shock Absorber\nPiston Rod Oil Seals for OEM Manufacturer Chromed for Shock Absorber\nAuto Oil Seals, Rubble Oil Seals\nOil Seal, Car Oil Seal, Truck Oil Seal, Rubber Oil Seal, Auto Parts Oil Seal, Car Parts Oil Seal, Truck Parts Oil Seal, Auto Oil Seal\nAny Sizes of NBR Tc Oil Seals Used in Hydraulic Field Can Be Customized\nSealing Ring Viton Oil Seals Gasket Customized\nNBR/FKM Outer Skeleton Double Lips BS/Tb Type Oil Seals\nShaft Oil Seals Made in China\n2018 Hot Sale hydraulic oil seals For Hydraulic Excavator/Wheel Loader\nHigh quality 60*90*10 DIN 3760 oil seals\nHigh quality 60*90*10 CFW oil seals\nHigh quality fkm, nbr Oil seals 90*120*12 Oil Dust sealing rings Mechanical Industry Auto Parts Oil Seal\nTeflon PTFE oil seals\nHigh quality motorcycle shock absorber PTFE oil seal\nFloating Oil Seal Hydraulic Excavator Spare Parts\nfactory price double lip metal FKM oil seals\nGood Design Auto Parts Oil Seals with OEM (3925529)\nSEND US A MESSAGE\nWe didn't put all products on website. If you can't find the product you're looking for, please contact us for more information.\nCopyright © 2019 HAFID INTERNATIONAL LIMITED All rights reserved.", "label": "No"}
{"text": "CGHUB artist Darren Bartley, a.k.a. FightPUNCH, has added a few more captivatingly cool character designs to his series of Sci-Fi military art. This artist has done a ton of awesome art that we've posted that you can see right here. That first picture above looks insanely uncomfortable, especially with the whole face stretch thing going on. I love the amount of detail that the artist puts into his work.", "label": "No"}
{"text": "Paint mixing tray\nOf Caroline Schetky Richardson (American, 1790–1852)\nOverall: 15.2 x 12.1 cm (6 x 4 3/4 in.)\nMedium or Technique\nceramic, evidence of old paint\nNot On View\nWhite ceramic paint mixing tray with evidence of old paint, the tray broken with six compartments remaining. Located in the bottom drawer on the right side of the paint box formerly belonging to Caroline Schetky Richardson.\nGift of William and Nancy Osgood", "label": "No"}
{"text": "Provide a quality envelope for your invitations in no time. The geometric shape of Yellow Square Envelopes gives them a particularly sleek look. The warm and inviting color makes an impression on your guests. And in 7 different sizes, finding the right one for your invitation is easy. Yellow Square Envelopes are also offered in an assortment of different yellows so you can go with one that’s loud and bright, or delicate and demure. Choose one that coordinates perfectly with your event and make your special day even more special.\nYellow Square Envelopes are available in:\n5 ½ x 5 ½ – Gold Yellow, Sunflower Yellow, Primary Yellow Translucent\n6 x 6 – Yellow Translucent\n6 ½ x 6 ½ – Yellow, Lemon, Lemonade, Primary Yellow Translucent\n7 ½ x 7 ½ – Lemonade\n8 x 8 – Primary Yellow Translucent\n8 ½ x 8 ½ – Yellow, Primary Yellow Translucent\n9 ½ x 9 ½ – Primary Yellow Translucent\nJust change the size and color to change the picture.", "label": "No"}
{"text": "cieling light ceiling light led chrome ceiling light with pull chain switch uk.\ncieling light ceiling light fixture for bedroom.\ncieling light led ceiling lamp ceiling light covers lowes.\ncieling light modern ceiling lights bar lamp silver chandelier lighting kitchen pendant light ceiling light panels uk.\ncieling light textured architectural bronze inch energy star led flush mount with frame flush ceiling lights lowes.\ncieling light ceiling lamp ceiling light cover plate uk.\ncieling light modern led crystal ceiling pendant light indoor chandeliers home hanging down lighting lamps fixtures with ceiling light cover plate removal.\ncieling light industrial semi flush ceiling light with 8 lights metal lighting in black ceiling light medallions lowes.\ncieling light additional view of circa outdoor wall ceiling light ceiling light fixture box.\ncieling light ceiling lights flush mount lights ceiling lights without wiring.\ncieling light ceiling light covers diy.\ncieling light creative led ceiling light morn minimalist living room light bedroom study lighting lamp ceiling in ceiling lights from lights ceiling light fixture.\ncieling light ceiling light with pull chain switch uk.\ncieling light gaucho 1 light ceiling pendant matt black small ceiling light medallion size.\ncieling light ceiling light box.\ncieling light key ceiling light minimal led inch square ceiling light medallion.\ncieling light black finished led round flush mount light modern lights ceiling light with pull chain switch uk.\ncieling light 2 light ceiling light good ceiling lights flush mount ceiling light fixtures ceiling light panels.\ncieling light small copper ceiling light ceiling light fixture with outlet.\ncieling light harbour point three light semi flush mount in liberty gold ceiling lights for bedroom.\ncieling light ceiling light covers home depot.\ncieling light phoenix contemporary cream ceiling pendant light with ceiling light box cover.\ncieling light creative geometry ceiling light white setup ceiling light cover plate canadian tire.\ncieling light crystal ceiling lights led ceiling lights ceiling light panels ideas.\ncieling light led suction dome light simple modern personality and creative atmosphere of the living room study lamp room lamp main ceiling light box extender.\ncieling light smooth case minimalist ceiling light black ceiling light covers.\ncieling light drop ceiling lights lowes.", "label": "No"}
{"text": "Please look at the similiar picture. The image is a part of Scofield® proguard duracover - temporary floor protection for. Hardwood floor protection scotchgard for hardwood mohawk flooring. Dust-protection-for-your-remodeling-project--design-build-prosjpg. Protect__xjpg. Floor-protection--hardwood-floor-protection-mats--x-jpg.\nThe picture that showed on the left side grouped in floor protection Picture series. And Posted 2 years ago", "label": "No"}
{"text": "Bedside Locker | Grey (Set of 2) | HK Living\nIndustrial style grey painted bedside lockers.\nMade from mango wood.\nHandles are grey painted metal. Set of 2.\nDimensions 65x36x33 cm\nHK Living is a Dutch brand that creates accessible collections inspired by the past and given an eclectic twist. Stocked in 55 different countries, HK Living is an interior brand with a global view!\nBedside Locker | White (Set of 2) | HK Living\nIndustrial style white painted mango wood bedside tables.\nHandles are white painted metal. Set of 2.\nCabinet | Single Door Charcoal | HK Living\nPainted mango wooden charcoal cabinet with single door and wooden lock.\nDimensions 122x81x36 cm\nCabinet | Single Door Vintage Green | HK Living\nPainted mango wooden vintage green cabinet with single door and wooden lock.\nCoat Rack | Black | HK Living\nBlack painted timber coat stand.\nDimensions 180x60x60 cm\nCoat Rack | Natural | HK Living\nCoat Rack Natural.\nDimensions 60x60x180 cm\nCoat Rack | White | HK Living\nWhite painted timber coat stand.\nLocker | 3 Door Wood Grey | HK Living\nThis grey locker cabinet is made of mango wood; the doors of pressed wood, and the handles are metal. The cabinet has three shelves. Delivered assembled.\nTV Locker | Wood Grey | HK Living\nIndustrial style grey painted mango wood TV locker. Handles are grey painted metal.\nDimensions 160x40x57 cm\nTV Locker | Wood White | HK Living\nIndustrial style white painted mango wood TV locker. Handles are white painted metal.", "label": "No"}
{"text": "Above Cigel, Slovakia\nSplendid composition with superb colors and tones .\n20 Jan 2018 7:30am\nLove the layers, colors and textures.\n20 Jan 2018 8:02am\nsuch beautiful composition, colors & atmosphere!\n20 Jan 2018 8:40am\nBeautiful framing in diagonal\n20 Jan 2018 9:24am\nBeautiful layers of different tones !\n20 Jan 2018 9:26am\nlooks very unspoilt by the hand of man\n20 Jan 2018 10:53am\nVery strong compo. with all those diagonal graphics!\n20 Jan 2018 12:14pm\n20 Jan 2018 1:26pm\nA very attractive look over the woods to the distant mountains, and not a single snow flake anywhere! Just like here this winter ...\n20 Jan 2018 1:56pm\n@franz: Thanks, Franz. I took this picture during a thaw. The past few days we've had a lot of snow here. I hope you get some too because it is so beautiful.\nI really like the tree lines slope in this view\n20 Jan 2018 3:02pm\nAn image of a dry winter. Good deep.\n20 Jan 2018 3:04pm\nBeautiful colors and tones, and also a attractive white border.\n20 Jan 2018 3:14pm\nthis has a simple elegant beauty !!! Love this :)\n20 Jan 2018 3:25pm\nWonderful layers and depth.\n20 Jan 2018 3:51pm\nUn couleur rouge bordeau sur cette végétaiton avec la diagonale sueprbe\n20 Jan 2018 5:24pm\nUn paysage joliment rendu ici compliments\n20 Jan 2018 6:32pm\nA superb image of the subtle colors and mountains. Love it.\n20 Jan 2018 7:20pm\nBeautiful color combination !!\n20 Jan 2018 11:14pm\nI like the varying colors here.\n21 Jan 2018 2:26am\nnice slopes and interesting, subtle tones\n21 Jan 2018 4:16am\n21 Jan 2018 6:28am\nAdd your comment ...\nPENTAX Optio A301/125 secondF/5.4ISO 200113 mm (35mm equiv.)\nPhotography by Michael Skorulski © 2019\nPowered by Aminus3 Photoblog Software", "label": "No"}
{"text": "- Related Searches:\n- oil painting, home decor, home goods oil painting, modern art paintings , ceramic flower pot painting designs, nude sexy paintings More...\nMinimum Order: OK\nHot body painting Directory: Recommended body painting\nDo you want to show body painting or other products of your own company? Display your Products FREE now!", "label": "No"}
{"text": "Outdoor metal wall art absolutely could make the house has stunning look. First thing which is done by homeowners if they want to designing their house is by determining design ideas which they will use for the interior. Theme is such the basic thing in home decorating. The decor ideas will determine how the home will look like, the decor ideas also give influence for the appearance of the home. Therefore in choosing the design ideas, people absolutely have to be really selective. To ensure it succeeds, setting the wall art pieces in the correct place, also make the right paint colors and combination for your decoration.\nOutdoor metal wall art certainly can boost the appearance of the space. There are a lot of style which absolutely could chosen by the people, and the pattern, style and paint colors of this ideas give the longer lasting gorgeous visual appearance. This outdoor metal wall art is not only make gorgeous decoration but can also enhance the look of the space itself.\nWe know that the colours of outdoor metal wall art really affect the whole appearance including the wall, decor style and furniture sets, so prepare your strategic plan about it. You can use all the colour schemes choosing which provide the brighter colour schemes like off-white and beige color. Combine the bright colors of the wall with the colorful furniture for gaining the harmony in your room. You can use the certain paint colors choosing for giving the design of each room in your home. The several paint colors will give the separating area of your home. The combination of various patterns and colors make the wall art look very different. Try to combine with a very attractive so it can provide enormous appeal.\nThe outdoor metal wall art maybe lovely ideas for homeowners that have planned to design their wall art, this decor style certainly the ideal suggestion for your wall art. There may generally several decor about wall art and home decorating, it surely tough to always upgrade and update your wall art to follow the recent and latest themes or update. It is just like in a life where house decor is the subject to fashion and style with the latest and recent trend so your house is likely to be generally stylish and new. It becomes a simple design ideas that you can use to complement the stunning of your home.\n- 38 Outdoor Metal Wall Art, Image Gallery Large Outdoor Wall Art with regard to Outdoor Metal Wall Art Image 1 of 20\n- 3D Wall Art: Metal Dragonfly Wall Art - Outdoor Metal Wall Art in Outdoor Metal Wall Art Image 2 of 20\n- Best Outdoor Wall Art Ideas On Pinterest Patio Wall Decor For with Outdoor Metal Wall Art Image 3 of 20\n- Comfortable Outdoor Metal Wall Art Turtles Outdoor Metal Wall Art in Outdoor Metal Wall Art Image 4 of 20\n- Decorative Outdoor Wall Art Metal Decor And Stores Uk - Awesome Home intended for Outdoor Metal Wall Art Image 5 of 20\n- Discount Outdoor Metal Wall Art Decor — Joanne Russo Homesjoanne within Outdoor Metal Wall Art Image 6 of 20\n- Fascinating Sun Wall Art Large Outdoor Metal Decor Garden U with regard to Outdoor Metal Wall Art Image 7 of 20\n- Garden Wall Plaques Outdoor Outside Wall Art Decor Large Wall With in Outdoor Metal Wall Art Image 8 of 20\n- Large Metal Wall Decor Outdoor Art Cross - Awesome Home pertaining to Outdoor Metal Wall Art Image 9 of 20\n- Large Outdoor Metal Wall Art Best Of Wall Art Garden Home From C3 A2 pertaining to Outdoor Metal Wall Art Image 10 of 20\n- Outdoor Metal Sun Wall Art : Into The Glass Beautiful Outdoor Iron in Outdoor Metal Wall Art Image 11 of 20\n- Outdoor Metal Wall Art Decor And Sculptures | L.i.h. 56 Outdoor Wall in Outdoor Metal Wall Art Image 12 of 20\n- Outdoor Metal Wall Decor Ideas | Amepac Furniture with Outdoor Metal Wall Art Image 13 of 20\n- Outdoor Patio Art Extra Large Outdoor Metal Wall Art Exterior Wall for Outdoor Metal Wall Art Image 14 of 20\n- Outdoor Wall Art Metal Tree Hanging Garden Iron Sculpture Laser intended for Outdoor Metal Wall Art Image 15 of 20\n- Steel Wall Art Fresh Wall Art Design Ideas Sun Moon Outdoor Metal for Outdoor Metal Wall Art Image 16 of 20\n- Wall Decoration. Outdoor Metal Wall Decor - Wall Decoration And Wall throughout Outdoor Metal Wall Art Image 17 of 20\n- Well Known Wall Art Designs Outdoor Wall Art Metal Tree Metal Wall throughout Outdoor Metal Wall Art Image 18 of 20\n- Winsome Outdoor Pine Tree Metal Wall Art Decor Decorative Metal Wall in Outdoor Metal Wall Art Image 19 of 20\n- Wrought Iron Wall Decor/ Metal Wall Hanging/ Indoor/ Outdoor Metal for Outdoor Metal Wall Art Image 20 of 20\nYour outdoor metal wall art should be beautiful and the perfect products to suit your home, in case you are in doubt where to get started and you are seeking ideas, you are able to take a look at these ideas page at the bottom of the page. So there you will see numerous photos regarding outdoor metal wall art.\nWhen you are looking for outdoor metal wall art, it is essential for you to consider components such as for instance quality, dimensions and visual appeal. Additionally you need to give consideration to whether you want to have a design to your wall art, and whether you will want contemporary or traditional. If your interior is open space to one other room, you will want to make harmonizing with this space as well.\nIt is usually essential to find outdoor metal wall art which good, useful, stunning, and cozy parts that show your existing layout and merge to have a cohesive wall art. Thereby, it is very important to put personal style on this wall art. You want your wall art to reflect you and your characteristic. For that reason, it is advisable to buy the wall art to beautify the look and nuance that is most valuable to your room.\nA perfect outdoor metal wall art is stunning for anyone who put it to use, both family and guests. Picking a wall art is critical with regards to their aesthetic appearance and the functions. With all of this preparation, let us take a look and get the ideal wall art for your room.\nLast of all, have a look at these 20 photos collection, these may be stunning options that you can go for if you want relaxed and beautiful wall art. Make sure you get attention concerning related wall art and decoration articles below, which means you will receive a fully charming designs concerning to your personal appearance.\nTags: #outdoor metal wall art perth #outdoor metal wall art tree of life #outdoor metal wall art sun #outdoor metal wall art flowers #outdoor metal wall artwork #outdoor metal wall art nz #outdoor metal wall art bunnings #outdoor metal wall art canada #outdoor metal wall art uk #outdoor metal wall art", "label": "No"}
{"text": "Tropical leaf and flower collection\nBeautiful floral pattern background\nSet of illustrations of tropical hibiscus flowers.\nTropical print with summer leaves\nTropical foliage illustration\nTropical plants collection illustrated\nRaelistic exotic flowers transparent background set. collection of tropical flowers on transparent background elements hibiscus magnolia strelitzia plumeria and leaves.\nTropical flowers and leaves collection\nWarm coloured flowers and tropical leaves\nSummer background with tropical vibes\nTropical background with exotic nature\nTropical palm leaves set isolated on white background.\nTropical leaves and flowers\nTropical flowers collection in watercolor style\nHibiscus engraved illustrations set.\nTropical leaves set\nRealistic hibiscus set\nRaelistic exotic flowers set. collection of tropical flowers on white background elements hibiscus magnolia strelitzia plumeria\nWatercolor orange fruit wreath border and frame design\nTropical flowers set isolated\nHand drawn flat summer tropical background\nHibiscus hawaii seamless pattern.\nElegant boho watercolor leaves invitation card template\nHand drawn summer tropical background\nWhite-yellow bouquet plumeria flowers transparency .floral\nModern set of tropical leaves with flat design\nTropical plants collection\nPink morning glory ipomoea purpurea in garden\nBlooming hibiscus flower on a beige background vector\nTropical floral border with hand painted leaves and flowers\nBackground with leaves and flowers\nTropical background with toucan and exotic leaves\nTropical flowers and leaves background for zoom\nTropical flowers background for zoom\nRealistic tropical leaves background\nTropical leaves wallpaper concept\nHand painted watercolor tropical leaves background\nLovely natural frame with tropical leaves\nNatural background with tropical flowers\nHammered pink wood looks beautiful.\nLovely tropical background with flat design\nFrame illustration composed of tropical flowers and leaves on white background hibiscus magnolia strelitzia plumeria and exotic foliage in realistic style\nTropical monstera leaves on wood background\nWatercolor leaves frame with watercolor background\nHand drawn flowers luau background\nHibiscus flower sticker, brown vintage botanical illustration vector\nColorful flower explosion luau background\nTropical summer party poster template with pink flamingo", "label": "No"}
{"text": "Artist Geo Overton\nTitle Untitled - View of the Mountains\nMedia relief print on paper\nSize 3.75 x 9.75 x 1 in. / 9.5 x 24.8 x 2.5 cm.\nsigned and dated verso; framed with archival mat\nex-collection Doris Hamill / Fleet Galleries, Winnipeg", "label": "No"}
{"text": "Sheer Shadow Brush - #4\nWhat It Is:\nEssential eye brush that delivers perfect, even pigment without looking overdone.\nBrush #4 - Sheer Shadow\nA multipurpose fluff brush used to apply sheer, shimmer or translucent eyeshadows. Soft hair and a full, rounded shape—it applies exactly the right amount of shadow to the lower lid and crease.\n*Holly worked with a brush maker for almost 2 years to create the perfect set of face and eye brushes.\n*The original 11 brushes still complete the Holly Doss Brush Collection.", "label": "No"}
{"text": "Draw Me A Star by Eric Carle\nIt is about how to draw things. First they said draw me a star, and then a couple, then the couple said to draw them a house. Then on the end the moon told the artist to draw him a star.\nBook read by Jemi\nBy MPPL on June 27, 2008 Categories: Picture Books", "label": "No"}
{"text": "World Meteorological Organization (WMO) ; Intergovernmental Oceanographic Commission (IOC) - WMO, 2002 (WMO/TD-No. 1135)\nPublished by: WMO ; 2002\nFormat: Digital (Free), Hard copy (ill.)\nTags: Capacity development ; Marine meteorology ; Joint WMO/ IOC Technical Commission for Oceanography and Marine Meteorology (JCOMM) ; Argentina ; Australia ; Brazil ; China ; France ; Greece ; India ; Japan ; Mauritius ; New Zealand ; Pakistan ; Russian Federation ; South Africa ; United Kingdom of Great Britain and Northern Ireland ; United States of America Add tag\nPublished by: Commonwealth of Australia ; 1999\nFormat: Digital (Free), Hard copy\nTags: Capacity development ; Meteorology ; National Meteorological and Hydrological Service (NMHS) ; Region V - South-West Pacific ; Samoa ; Australia ; Cook Islands ; Micronesia, Federated States of ; Fiji ; French Polynesia ; Kiribati ; Marshall Islands ; New Caledonia ; New Zealand ; Niue ; Papua New Guinea ; Solomon Islands ; Tonga ; Tuvalu ; Vanuatu ; Guam ; Nauru ; Northern Mariana Islands ; Palau ; Pitcairn Islands ; Tokelau ; Hawaii ; Wallis and Futuna Add tag\nPublished by: WMO ; 1994\nReport of the seventh WMO Meeting of Experts on Carbon Dioxide Concentration and Isotopic Measurement Techniques\nFormat: Hard copy (ill., charts, maps)\nTags: Global Atmosphere Watch Programme (GAW) ; Observations ; Carbon dioxide (CO2) ; Measure ; Methodology ; Observational records ; Atmospheric chemistry ; United States of America ; Germany ; Japan ; Italy ; Hungary ; Netherlands ; Spain ; New Zealand ; Australia ; France ; China ; Republic of Korea ; Canada ; Russian Federation Add tagFourteen countries contributed information on the planning, development and organization of their national hydrological data banks, according to an annotated guideline provided to them.\nPublished by: WMO ; 1981\nFourteen countries contributed information on the planning, development and organization of their national hydrological data banks, according to an annotated guideline provided to them.\nFormat: Digital (Available online for logged-in users), Hard copy\nISBN (or other code): 978-92-63-10576-9\nTags: Information management ; Hydrological data ; Database ; Australia ; Belgium ; Canada ; Colombia ; Finland ; France ; Germany ; Morocco ; New Zealand ; Norway ; Poland ; Switzerland ; United Kingdom of Great Britain and Northern Ireland ; United States of America ; Commission for Hydrology (CHy) ; OHR 17 Add tag\nPublished by: WMO ; 1962\nCollection(s) and Series: WMO RA-V\nFormat: Hard copy (ill., maps)This \"Climate Action Tracker\" is an independent science-based assessment, which tracks the emission commitments and actions of countries. The website provides an up-to-date assessment of individual national pledges to reduce their greenhouse gas emissions.", "label": "No"}
{"text": "Irs 1040ez Tax Form Template Eligibility involve some pictures that related one another. Find out the most recent pictures of Irs 1040ez Tax Form Template Eligibility here, and also you can have the picture here simply. Irs 1040ez Tax Form Template Eligibility picture uploaded ang submitted by Admin that saved inside our collection.\nThese are so many great picture list that may become your inspiration and informational reason forIrs 1040ez Tax Form Template Eligibility design ideas for your own collections. hopefully you are all enjoy and finally will get the best picture from our collection that posted here and also use for ideal needs for personal use. The Lapakonlineindonesia.id team also provides the picture in TOP QUALITY Resolution (HD Resolution) that can be downloaded simply by way.", "label": "No"}
{"text": "JBaron Photography - Pittsburgh Portrait and Nature Photography\nJBaron Photography is a Pittsburgh area portrait and nature print business. Schedule a portrait session, or buy a fine art print today!\nwall art,canvas prints,pittsburgh photographer,art prints,nature pictures for sale,fine art pictures,artistic landscape photography,pictures for sale online,wall art,mcconnells mill,waterfalls near pittsburgh,waterfall,fine art nature photography,ohiopyle\nLast Update: MEZ/CET 17.08.2017, 01:11:51 Uhr | OnlineShoppingTotal.de", "label": "No"}
{"text": "Zinnia Boxed Thank You Notes\n• 10 notecards (\"Thank you\" on front; blank inside) with envelopes\n• Decorative box with acetate lid\n• Printed in full color on recycled paper with soy based inks\n• High-quality 250 gsm card stock\n• Soft white envelopes\n• Pomegranate's notecard sets feature exclusive selections of art from museums and artists around the world\nBox size: 4 x 5.625 x .875 in.\nCard size: 3.5 x 5 in.\nBeth Van Hoesen (American, 1926–2010)\nBeth Van Hoesen believed that an artist needs to see not only with the eyes but also with the heart. In this print, the blossom of a zinnia spills out beyond the edges of the print, perhaps reflecting her boundless appreciation for its beauty. This note will serve you well in expressing your own appreciation for someone.", "label": "No"}
{"text": "Wallpaper Red And Purple at Constance Washington Blog\nWallpaper Red And Purple. Purple background abstract texture red abstract white orange black wall dark christmas background grey background dark background background texture red wallpaper purple bokeh abstract background red roses sergio souza. You can also upload and share your favorite blue red and purple wallpapers.\nThe great collection of red and purple wallpaper for desktop, laptop and mobiles. Purple wallpaper works well with greys and whites and can make a dramatic statement or a subtle background. It has gotten a ton of compliments and it suits the style of the house beautifully.\nRed Purple Abstract, HD Abstract, 4k Wallpapers, Images\nAlthough you can still find some flower power themed wallpaper, today's modern styles range from classy to casual chic. 1920x1200 46+] blue gaming wallpaper on wallpapersafari>. Enjoy our curated selection of 56 4k ultra hd purple wallpapers and backgrounds. If you're having a flashback to the busy wallpaper of the 60s, don't panic.", "label": "No"}
{"text": "Need more options for Commercial Use or don’t want to give attribution? Contact us\nThis cool promotional banner blends a high-tech abstract look with a casual style.\nA white square with rounded corners occupies the foreground and provides space for text; a subtle gradient darkens the square's top left corner while smaller blue squares peek out from the sides. All of the corners are rounded, which adds to the clean, open feel.\nThe graphic has pleasant abstract textures, which are especially apparent in the fluid lines that move through the background. The color palette of blue, gray, and white lends contrast to the black text, emphasizing the importance of your brand name or message.", "label": "No"}
{"text": "Edo Diaz Joined 4 years ago User Stats 0 videos 354 likes 26 following 0 groups 1 channel 0 albums Profile Images Follow Message User Bio Edo Diaz has not yet updated their profile :( Following + See all 26 Related RSS Feeds Edo Diaz’s Videos Edo Diaz’s Likes Recently Uploaded Edo Diaz does not have any videos yet. Recent Activity 1 day ago Edo Diaz liked RED HOOK CRIT LONDON Nº1 CHAPTER 2 2 months ago Edo Diaz liked Disorderly Habits - Red Hook Crit Barcelona 3 2 months ago Edo Diaz liked MASH 2015 TRAILER 3 months ago Edo Diaz liked Die flicker! Die! How to remove that nasty high shutter speed/ high frame rate artefact in your NLE. 3 months ago Edo Diaz liked Red Hook Criterium Barcelona 2 by VOLATA Mag 4 months ago Edo Diaz liked LONQUIMAY DESDE DRONE, \"CHILE CON OTROS OJOS\" 4 months ago Edo Diaz liked Keith Haring x OBEY Collaboration 4 months ago Edo Diaz liked Swanski x Dwa Osiem x Cinelli. Making of a custom race bike.", "label": "No"}
{"text": "Cbd oil for pms\nWe did not find results for: cbd oil for pms. Apothecary hemp extract. . check spelling cbd oil for pms or type a new query. cbd oil uses and dosage. cbd naturals. healing hemp of arkansas. ultracell cbd. . maybe you would like to learn more about one of these? .\nHemp plant vs pot plant\nManitoba harvest hemp oil cbd Cbd oil withdrawal symptoms Cbd oil vero beach Can you give a dog cbd oil Cbd dog oil Hightech cbd gummies Cannabidiol cbd How long does it take to feel cbd oil Milk mascara cbd oil Cbd entourage oil Platinum series cbd gummies 1000mg Cbd oil summerville sc Cbd hemp oil and macular degeneration Wellness cbd gummies How much cbd oil for my dog Cbd coconut oil uses Emu cbd oil Best cbd oil for copd Choice hemp oilON]", "label": "No"}
{"text": "Love this smokey eye makeup! Adding that touch of sparkle to the lower lashline really pops!\nSmoldering smoky eyes in the color the year, Marsala. Spice up your look with Stila Eye Shadow Compact in \"Pigalle\" ($18.00) from crcmakeup.com!\nPlum Smokey eye. Matte eyeshadow\nMakeup by Lis Puerto Rico Makeup Artist and Beauty Blog | Daytime Plum Smokey Eye Makeup Tarte Tartelette Palette Tutorial\nPlum-but much lighter on the dark color for pale skin\nSantak Make Up\nLove this girls makeup tutorials! @Jaclyn Hill - this look is truly amazing in person, i have done it!\nplum smokey eye", "label": "No"}
{"text": "Darkside Timber Faux Wood Rug Flooring Background Or Floor Drop\nDARKSIDE TIMBER FAUX WOOD RUG FLOORING BACKGROUND OR FLOOR DROP\nWooden Floor Background\nPlease look at the similiar picture. The image is a part of Hardwood floor wallpaper wallpapersafari. Wooden floor texture psdgraphics. Hardwood floor wallpaper wallpapersafari. Wooden flooring a realistic background eps royalty free. Website design where would i find a high quality version of a.\nThe picture that showed on the left side grouped in wooden floor background Picture series. And Posted 1 year ago", "label": "No"}
{"text": "Acrylic Nail Liquid Medium Speed\nNSI Attraction liquid-and-powder requires a medium-wet mix ratio 1.\nAcrylic nail liquid medium speed. Ad Free Shipping on eBay. The Secrets Primerless Nail Liquid you can eliminate the use of a nail primer and still create strong beautiful acrylic nails with all your favorite acrylic products. To achieve this we recommend submerging your brush into the monomer liquid and gently spreading your brush on the bottom of the dappen dish.\nPopular with technicians working in warmer environments. It features nail salons in plymouth looe and plymouth city centre and includes maps and photos of plymouth nail technicians who offer manicures pedicures nail extensions acrylic nails overlays and gel nails. Secrets Primerless Nail Liquid a medium.\nCross linking plasticizers allow strength and flexibility. There is 237 mL in each bottle. Sold by The Beauty Box and ships from Amazon Fulfillment.\nAcrylic liquid available from salons direct. Acrylic paint is high pigmented and will stain your nails just as regular nail polish would when you painted on the acrylic paint you will see the paint get dry the paint gets a semi matte finish. Entity Nail Sculpting Liquid is designed to be used with our exclusive line of Sculpting Powders.\nBlends tip into natural nail plate. This powder contains a mix of medium and small sized glitter - making it brighter more multidimensional and ideal for coloured French tips and dipping systems. Start with the brightest NEON acrylic available on the market.\nPut the paint mixture into the can or jar. Medium viscosity everyday acrylic with artists pigments. This gorgeous pink acrylic powder reflects pink and purple sparkles.\n- Curly Hair Care Routine Quiz\n- Crop Hairstyles\n- Curly Hair Hairstyles\n- Curly Hair Care Steps\n- Creamy White Acrylic Nails\n- Cuban Twist Hair Beauty Supply Store\n- Curly Angled Bob\n- Curly Hair Care Routine Reddit\n- Curly Hair Haircuts\n- Crimped Acrylic Nail Brush\n- Create Your Own Acrylic Nails Online\n- Curly Hair Cut\n- Crushing Beauties\n- Crown Beauty Upper Norwood\n- Crown Braids\n- Curly Hair Type Quiz\n- Curly Hair Haircut Manchester\n- Curly Afro Men\n- Crown Beauty Bar Coupon\n- Cropped Bob", "label": "No"}
{"text": "Hello there everyone, our latest update coloring image that you can use with is Cute Scarecrow In Autumn Season Coloring Page, posted in Autumn category. This particullar coloring image height & width is around 600 pixel x 907 pixel with approximate file size for around 91.06 Kilobytes.\nFor much more image related to the picture right above you, you can surf the below Related Images widget at the end of the post or maybe searching by category. You could find other enjoyable coloring picture to work on with. Enjoy it!", "label": "No"}
{"text": "Barista Making Coffee With Latte Art\nSwan latte art, top view. Texture of coffee foam. Coffee shop advertising.\nLatte art flower. Cup with coffee, top view.\nLatte art heart. Coffee cup and lid.\nLatte cup top view. Coffee foam art flower.\nBear latte art. Coffee cup top view.\nLatte art snowman. Coffee cup, top view.\nHeart latte art. Light coffee foam, blurred background. Peace, love and coffee.\nLatte with flower picture. Coffee cup spinning, top view. Sip of the art.\nLatte art heart, paper cup. Coffee close up.\nLatte art swan, top view. Cup of coffee spinning.\nCloseup Of Cappuccino Or Latte Coffee With Heart Shape Art\nPortions of this page translated by Google.", "label": "No"}
{"text": "Gel Nail Polish For Uv Light\nWholesale Gel Nail Polish. Gel polish is our #1 Category. Shop our vast offering of over 3,000 colors and accessories at the best price.\nGel Nail Polish Kits, Gel Nail Polish Colors. Gel Nail Polish Products The leader for gel nail polish products in USA that last approximately 14 days with 150+ colours to choose from! Check out the Pink Gellac Gel Nail Polish colour collections. We offer gel polish and nail care products of the highest quality.\nStamping Polish & Plates, Nail Polish, Gel. Welcome to BORN PRETTY, we offer online unique nail stamping products, premium nail polish, best gel nail polish, with free shipping worldwide. What is more, you can get inspirational design and various themes from our nail artist Connie Chan.\nGel Polish Manicure CuringSalon Edge Gel Curing Nail Polish UV Lamp 36W AcrylicPro Nail Polish Dryer Lamp 9W UV Gel Acrylic Curing LightProfessional 36W UV Gel Curing Lamp Nail Polish AcrylicAbody 24W Nail Polish Dryer Lamp LED UV Gel Acrylic CuringMylee 36W UV Lamp Gel Polish Curing Nail Art Dryer WithAliexpress.com : Buy Professional 9W UV Gel Nail PolishL.A. Colors Extreme Shine Gel Nail PolishSalon Edge 36W UV Nail Lamp100-240V Mini 6W LED UV Gel Curing Polish Nail Art LampBeauty LED Light Nail Polish Dryer UV Lamp Gel Fast CuringProfessional 48W LED UV Lamp Nail Dryers For Art ManicureSUNONE White Light 48W Led Lamp UV Nail Dryer LED Gel Nail36W Manicure Nail Dryer Salon Gel Curing Polish UV LampArtistic Colour Gloss LED Lamp 30W Gel Nail Polish Light36W Professional 110V UV Nail Art Gel Curing Polish Light48W LED+CCFL UV Nail Lights For Nails Gel Polish CuringPro 36W UV Lamp Nail Art Manicure Set UV Gel Polish NailAVIIAE Jade Green Gel Nail Polish Long Lasting Nail GelOCEAN PEARL CCFL UV Lamp Nail Dryer 36W UV Lamp Nail Gel14W Nail UV Lamp Acrylic Gel Curing Ultraviolet LightHot 48W LED Light UV Nail Dryer Gel Nail Polish LampMelodySusie Nail Dryer LED UV Lamp Light For Curing NailPortable Mini UV Gel Curing Lamp Nail Dryer LED FlashlightProfessional UV Nail Dryer Machine 2 Hand 54 Watt LightPro 36W UV Lamp Light Cure Dryer Gel Polish Nail Art Tips36W Nail Dryer Salon Gel Curing Polish UV Lamp Light9/18/36W UV Nail Polish Dryer Lamp Gel Acrylic Curing UV36W LED UV Nail Polish Gel Timer Dryer Nail Art CuringThermal Spa 49135 Professional 45w UV Light Gel Polish48W LED UV Lamp For Nails Polish Gel Art Professional CCFLAliexpress.com : Buy 36W LED Nail Timer Dryer UV Lamp LongCLAVUZ Gel Nail Polish Kit With UV Light Soak Off NailProfessional 9W Gel Curing UV Lamp Acrylic Nail Polish9W Nail Art Mini UV LED Lamp Curing UV Gel Nail PolishGel Polish Set Soak Off LED/UV Gel Kit UV 36W Curing LampWholesale-excellent-36W-nail-art-UV-lamp-gel-curing-lightGel Polish Set Soak Off LED/UV Gel Kit UV 9W Curing LampBeau Gel 15ml Nail Gel Polish UV Lamp Gelpolish LightAliexpress.com : Buy Professional Led Lamp Gel Polish NailProfessional 24W UV LED Nail Lamp 09c 09s Gel Nail MachineSalon Beau Gel Curing Nail Polish UV Lamp 36W Acrylic24W LED UV Lamp UV Gel Nail Dryer White Nail Lamp 15PCS36W Manicure Nail Polish UV Lamp Dryer Gel Curing Acrylic4 Bulbs 36W UV Light Nail Lamp Gel Polish Manicure ArtUv Light For Gel Nail#*^Buy MelodySusie 9W Portable UV/ LED Light Lamp Gel NailDIY Full Set Nail Style Nail Gel Polish Manicure Kit With48W Pro CCFL&LED Nail Cure Lamp UV Gel Dryer Light TimerLKE Newest 9W Mini LED UV Lamp Gel Nail Polish Nail Dryer36watt CCFL LED Lamp Nail Ebay, Difference UV, 36 Watt GelProfessional 48 W CCFL UV LED Lamp Nail Dryer For Nail GelSUNone LED UV Lamp Nail Polish Dryer Gel Curing WhiteAliexpress.com : Buy SUNUV SUN6 UV LED Nail Lamp 48W Smart24W LED UV Nail Dryer Curing Fingernail Toenail Gels6 Color Nail Gel Varnish Polish Manicure Set With UV LampLED 36 W White UV Lamp Gel Polish Curing Dryer LightGel Nail Polish No Uv Light NeededPRO UV Nail Gel Polish Deluxe Shellac Starter Kit Set, 36WPro Mini LED Nail Dryer Curing Lamp Flashlight Torch ForSANTEE 6 GEL EFFECT SHINE NAIL POLISH NO UV/LED LIGHTBurano 36W UV Lamp & 36 Colors UV Gel Nail Polish Art\n13 Best Gel Nail Polish Brands: Your Buyer’s Guide (2019. As a professional or just someone who does their own gel nails at home, you want to work with the best. These are the best gel nail polish brands of 2019.\nVideo of Gel Nail Polish For Uv Light\nTags: Gel Nail Polish No UV Light, No Light Gel Nail Polish, Gel Nail Polish without UV Light, No UV Gel Nail Polish, Gel Nails No UV Light, Gel Polish without UV Light, Gel Nail Kits with UV Light, UV Gel Polish at Home, Gel Polish No UV Light, UV Gel Polish with Light Kit, Gel Nails without UV Light, Gel Nail Polish without UV, UV Gel Nail Polish Brands, Light Pink Gel Polish, UV Gel Polish Brands, Nail Polish Gel Curing Light, Gel Nail Polish at Home, Gel Nail Polish Kit, Block UV Gel Nail Polish for Nails, UV Gel Polish with UV Light, No Light Gel Nails, DIY Gel Nail Polish, Light Cure Gel for Nails, No Light Gel Nail Kit, Nail Polish Product, Gel Nail Polish Brands, UV Gel Light Nail Dryer, Pink Gel Polish, Gel Nails without Polish, LED Lights for Gel Nails, Best Gel Nail Polish DIY, Gel Nail Polish and Dryers, UV Gel Manicure Kit, IBD Gel Nail Polish", "label": "No"}
{"text": "Fine Art America is the world's most powerful sales and marketing tool for photographers and visual artists.\nSimply open an account, upload your images, set your prices for all our available products, and you're instantly in business! FAA provides you with an e-commerce website, fulfills your orders for you, and sends you your profits each month.\nDogwood Tree 1 Pink Dogwood Flowers Artwork Art Prints Canvas Framed Cards\nBaslee Troutman Fine Art Collections\nPhotograph - Photographic Art Print, High Resolution For Art Prints, Canvas Art, Framed Prints, Greeting Cards\nDOGWOOD FLOWERS, PINK DOGWOOD TREE FLOWERS ART PRINTS, Pink & White Dogwood Tree Flowers, Pink Dogwood, White Dogwood, Blue Sky, SPRING FLOWERING TREES, Art Prints, Nature Art, Botanical Art, Gardens, Landscapes .... Copyright Baslee Troutman LLC ...... Art prints are AVAILABLE IN MANY SIZES, FINE ART PAPER, CANVAS ART, FRAMED PRINTS, GREETING CARDS .... Order Prints through FineArtAmerica or (http://BasleeTroutman. Imagekind.com) for the Baslee Troutman Imagekind Art Gallery and art image products at (http://www.artwanted.com/ artprintsbaslee) for ArtWanted Art Galleries or( http://www.zazzle.com/ basleeartrpintgits) for Zazzle Art Gifts Galleries. Baslee Troutman also has art prints direct from artist and 100's of gifts at artist's website (http://www. artprintgiftsfishflowers.com) Baslee Troutman Fish Flower Garden Landscape & Wildlife Artist ..... Baslee Troutman high quality giclee art prints, canvas art, framed artwork, fine art greeting cards. COME SEE new, fresh, unique gifts at (http://www. ArtPrintGiftsFishFlowers.com)\nJuly 21st, 2009\nViewed 2,069 Times - Last Visitor from Princeton, NJ on 12/03/2013 at 11:14 AM", "label": "No"}
{"text": "I was looking through the caps from this episode and found something in the background too good to hold onto until I finish a recap. Look on the U-Haul behind Cole's truck just walking into the picture from the left. Sam's truck has just driven out of the shot.\nI really love the crew on this show.\nCap from homeofthenutty", "label": "No"}
{"text": "Threatened by shadows at night, and exposed in the light.\nFriday, April 06, 2007\nUn colpo di cannone\nThere’s still a little bit of your taste in my mouth There’s still a little bit of you laced with my doubt It’s still a little hard to say what's going on ... So it's not hard to fall When you float like a cannonball", "label": "No"}
{"text": "A group of artists who has come together to share their works of art (all art. even wood art). Send me your email or post a comment with your email saying you want to join if you want to join the group.\nyou too! happy holiday\nHello! May i join the group? I am an artist from Manila, Philippines :)\nWOW!!Haha!Cool character!!!Happy holidays to you to!\nPost a Comment", "label": "No"}
{"text": "On this website we recommend many pictures abaout beats pill colors that we have collected from various sites Coloring for Your Inspiration, and of course what we recommend is the most excellent of picture for beats pill colors. If you like the picture on our website, please do not hesitate to visit again and get inspiration from our website.\nAnd if you want to see more images more we recommend the gallery below, you can see the picture as a reference design from your beats pill colors.\nThank you for seeing gallery of beats pill colors, we would be very happy if you come back.\nSimilar Keyword beats pill colors : beats by dre pill 20 colors, beats pill 20 colors, beats pill 20 colours, beats pill all colors, beats pill color options, beats pill colors best buy, beats pill colors neon, beats pill colors pink, beats pill pics, beats pill plus colors, beats pill shape, beats pill shaped wireless bluetooth speaker, beats pill xl colors, beats pill xl different colors, bluetooth beats pill all colors, and more.", "label": "No"}
{"text": "It is the beginning of September,\nit always becomes cool and you know summer is over.\nThe flowers still bloom, the vegetables still come,\nBut there is a finality it all these things.\nSoon, the colors will come,\nscreaming their, reds and yellows and oranges.\nThe green will be gone and stillness will come.\nBut there will be an Indian summer yet!", "label": "No"}
{"text": "Too cute! ... Poor lil' guy... </3\nI really like the minimalism here. The lines are super neat, too!\nSomething that strikes me as a little off are his/her feet. He/She seems to be floating in space, when the composition suggests that he/she might be standing on solid ground, stretching up to offer the little heart to his/her crush. Maybe standing on his/her tippy-toes might work better? That way you could add in a little shadow and balance out the bottom of the image. Right now it looks slightly tilted or off-balance. Could just be me, though!! xD Just trying to offer some constructive insights.\nKeep up the great work!\n(p.s. I love your piplup submission, too!!) <3\nThank you very much for the review! I really look up to your work, especially your Pokemon art. I'll definitely add something to convey standing on solid ground more. :D\nAlso thanks for loving Piplup :D that was my first real attempt at color and solid line work. I know I'm not the best at color theory so I try to get my lines as clean as possible.", "label": "No"}
{"text": "Luxury Wedding illustration package\nPerfect for intimate bridal parties. For couples who would like to create memories through illustration for themselves and their bridal party. I offer a package of products to help you treasure your special day.\nThe package includes:\n1 x A3 bridal illustration with/without background (framed)\n3 x A4 couple illustration (unframed) perfect for sketches of parents, best man or bride of honour\n1 x A4 sketch of bridal party (unframed) 2 x small stylised A5 couple illustration\nPlease send you photos and any other details that you would like included to firstname.lastname@example.org", "label": "No"}
{"text": "We ship to over 100 countries, including:\nTap on image to zoom\nHover on image to zoom\nShop all FP Beach\nStyle No. 43191832 ; Color Code: 010\nUltra soft terry hoodie featuring volume sleeves and a comfortable, relaxed fit.\nOne of nine exclusive, in-house labels.\nEffortless seaside styles.\nMachine Wash Cold\nLike it? Share it!", "label": "No"}
{"text": "Yep, yep, yep.... It's the legendary Miss Birkin: One magnificent fashion icon on the top of my list of fashion goddesses. No wonder she's muse behind the iconic Hermes Birkin bag. She had a chic, timeless sensibility.\nLike the bag, her look is very simple but very well put together; as portrayed in the picture below, which is perfectly elegant and real. \"Jane Birkin\" by photographer Norman Parkinson in US Vogue 1966.", "label": "No"}
{"text": "\"Equinox\" Poster Print of a Black Dragon Above a Castle, by Ruth Thompson\nItem Number: 10100877\nPoster Title: Equinox\nDescription: Ruth Thompson art print of a black dragon, guarding a castle.\nSize: 23\" x 30\" Artist: Ruth Thompson\nPrice: $8.99 (subject to change)\nTopic: Fantasy and Sci-Fi Posters\nRelated Terms: dragons & sea serpents, beasts, dragon, dragons, beast, fantasy, fantasy creature, fantasy creatures, black dragon, black dragons, ruth thompson, equinox, castle, castles,", "label": "No"}
{"text": "top of page\nBench molded in one piece, certainly from the 70 ies.\nFabric: Injection molded in Fiberglass we have added a cushion reupholstered in a red ocher velvet from Elitis (91% Co, 9 %Pl)\nWork: Trompe l'Oeil oil paint and shiny varnish with white & emerald green lacquer\nMeasurement: 65 x 130 x 45\nHand Made Renovation and painted in Paris, France.\nbottom of page", "label": "No"}
{"text": "Stock Photo - An abandoned office in an old building showing peeling paint on walls and ceiling. Birmingham, Alabama, USA\nJoseph De Sciose\nUp to XL50 MBA3\n(5500 x 3660 px -\n18.3\" x 12.2\" -\nEDITORIAL USE ONLY\nReleases:No signed releases for this image.\nAvailability:Image availability cannot be guaranteed until time of purchase.", "label": "No"}
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{"text": "Lovely little girl standing in wheat holding grain in her hand and smiling\nSmiling happy young woman holding her lovely long dark hair in her hands standing against a blue background grinning at the camera\nLovely girl holding ripened wheat ears on field\nHappy family walking together. Lovely cheerful girl holding hands with grandparents and walking outdoors. Happy weekend with family.\nLovely woman is sitting on the couch, holding her little baby and smiling\nBeautiful woman is holding and caressing her mother's hand in cafe. Mother and grandmother are lovely smiling to each other.\nLovely couple wearing 3D glasses, holding hands\nlovely girl mysteriously and playfully looks at the camera and smiles. Close-up portrait of a girl holding a wheat ear in her mouth\nHappy asian father holding hands of his giggling little daughter and spinning her in circle in park against blue sky background. Cheerful dad playing with his lovely preschool girl outdoors.\nLovely girl looking at the camera and straightens her hair.\nNice teenage girl wearing trendy clothes looking for book in library. Portrait of lovely school holding book in hands. Indoors.\nPortrait of young single woman using dating app on her smartphone. Girl in the yellow sweater holding a smartphone in hands and typing on it chatting in the living room. Lovely home atmosphere.", "label": "No"}
{"text": "Well here is my entry for the *ArtisanCraft\ncommunity's Recycled Inspiration contest: [link]\nMy Inspiration: Russian Folk Art, particularly Nesting Dolls and the color pallet that seems to be pretty consistent. [link]\nMy recycled: I found a cool pillow case at a thrift store and it seemed to really fit with my inspiration, the color pallet, the pattern, everything. You'll see that in the face and on the arm bands.\nAnyway, I also put this guy up on my etsy shop: [link]", "label": "No"}
{"text": "H.H.Lim – Politicamente Parlando\nCurated by Giacomo Zaza\nAuthor: Giacomo Zaza\nFormat: 160 x 240 mm.\nFeautures: 76 pages, 20 color plates, 25 illustrations b/w, soft cover\nEdition: 500 copies\nH.H.Lim – Politicamente Parlando: the book is a research about the chinese/malysian artist H.H. Lim, based in Rome. Released during his solo exhibition in Milan at the Bianconi Gallery (March 21st 2014), the book contains a special feature about the artist and a rich documentation of his works.", "label": "No"}
{"text": "Simple Navy Blue Wall Decor for the Best Navy Blue Wall Art\nA picture ideas of simple navy blue wall decor for the best navy blue wall art for navy blue wall decor for the reference of design and decorating.\nThis is, Simple Navy Blue Wall Decor for the Best Navy Blue Wall Art, a photo about navy blue wall decor which might be your guide and reference choosing the most awesome decorating space. There are tons of ideas and inspirations that might be useful for your work on redesign your room interior design. Here we have posted various references about navy blue wall decor which available in high quality images. This photo is handpicked from theartssection.com.\nThis is an image about simple navy blue wall decor for the best navy blue wall art, that is a part of decor ideas about Amazing Photos About Navy Blue Wall Decor. You can get another photos similar to this from the pictures gallery below including: navy blue coral wall art coral prints coral watercolor wall, navy home decor paper dahlia wall hanging white navy blue, 20 easy diy art projects for your walls, navy blue art blue white wall art home decor set by, navy blue art print printable wall art blue arrows print, navy blue grey white wall art vintage modern inspired set, navy blue home decor wall art prints set of 6 sea coral, etc. If you charmed and getting inspired by this gallery, then you can save it by right click on the picture and choose save image.\n- 24 attractive Photos for Gingerbread House Lawn Decoration\n- 23 Inspiring Photos for Sliding Glass Door Decorating Ideas\n- 24 attractive Gallery Ideas About Elegant Living Room Decor\n- 32 Awesome Images About Florida Room Decorating Ideas\n- 33 Cool Design Ideas for Letter G Wall Decor\n- 25 Newest Photos for Ninja Turtle Room Decor\n- 29 Cool Gallery Inspirations About New orleans Style Decor\n- 34 Luxurious Gallery Inspirations Of Fake Hay Bales for Decoration\n- 25 Cool Photos About Wilton Cake Decorating Tips\n- 32 Ideal Images About Living Room Wall Decor Pinterest\nJust in case you love the above picture about The Best Navy Blue Wall Art, then do not forget to share or spread the picture on Facebook, Twitter, or Google .", "label": "No"}
{"text": "If you have to associate a colour with a Bollywood heroine, then what would it be?\nThese are very tricky choices but we feel that we will still give it a go. Let’s see what we get…\nKatrina Kaif : We will give her the colour blue. Katrina Kaif is a man’s woman, she perhaps lives in the fantasy world of every man. So, she deserves this colour, what say?\nKareena Kapoor : Kareena is a quintessential woman. We would give her the colour pink.\nAlia Bhatt : She has proved her mettle with intense roles and she can lay her claim to the colour red.\nSonakhsi Sinha : It is difficult to assign a colour to her but she would definitely be a fit for bright orange. She is intense, passionate and effective. Let’s see her in orange.\nShraddha Kapoor : She would get the colour green. Not because she is a jealous but because there is an earthy, practical feel around her. She is the next-door girl we would love to fall in love with.\nLet us know whether you liked the post or not", "label": "No"}
{"text": "My favourite portrait from my day with Homer Sykes in Portobello Road, London.\nAlessandro seemed pretty cool and his look fitted the area of London really well.\nHe was kind enough to let me take his photo and I really like the mood of this shot. He’s relaxed and all of the elements seem to come together, the colours, the composition etc. Homer made some positive comments about the portrait too which was a bonus.\nMany thanks for posing for me Alessandro!", "label": "No"}
{"text": "Whether you are in a city, travelling the outback, enjoying a coastal holiday you will find ways in which you can connect with the world’s oldest living culture.\nExplore the many enriching and immersive Aboriginal experiences that you can have only in Australia.\nBest of Aboriginal Experiences\nBest Aboriginal Experiences in the Northern Territory\nExperience the deep connection between Aboriginal people and the spectacular landscapes of the Northern Territory – a stronghold of Aboriginal culture.", "label": "No"}
{"text": "KAHUNA - Shorts - Baby Boy - Blue brush wave print\nComfy lightweight french terry fabric with side pockets and contrast tyes\nMade from 100% cotton\nMachine washable at 30 degrees.\nAvailable in Blue brush wave print/?Grey brush wave print/?Pink brush wave print\nBaby: 3-6 months, 6-12 months, 12-18 months, 18-24 months", "label": "No"}
{"text": "FREE SHIPPING ON ORDERS OVER $50!\nBrand new for Spring 2018, this is the long awaited, cutest baby version of the supremely popular Woodie.\nMaterial: Solid Beech Wood, water based paint and clear urethane coat. White ABS plastic rims, with rubber tires.\nDimensions: 5\"L x 2.5\"W x 1.5\"H (12.7cm L x 6.4cm W x 3.8cm H)", "label": "No"}
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Mild Cognitive Impairment And Cbd Oil Cbd Oil And Piriformis Syndrome Missouri Age Requirement Buy Hemp Cbd Oil.\nVape Pen Or Mod For Cbd Oil Cbd Oil For Sleep Forum Best Price On Pharma Cbd Oil Rso Oil Cbd Purchase.", "label": "No"}
{"text": "Celebrating 100 Years of art in Nevada\n“Celebrating 100 Years of Art in Nevada” The Latimer Art Club is named after the famous artist Lorenzo Latimer, and is a 501(c) (7) nonprofit organization dedicated to promoting the fine arts in a wide variety of mediums. Lorenzo Latimer greatly influenced Nevada’s artists in the early 1900s and co-founded the Nevada Museum of Art. He was a successful artist and teacher in the Bay Area of Northern California and traveled to Reno, Nevada to create his art. The Latimer Art Club was formed in 1921 with over 100 member artists displaying their art for sale in a variety of mediums today.\nCelebrating 100 Years of Art in Nevada April’s show is a Latimer Art club members only show and is hosted by the Artist Co Op Gallery of Reno. The first of a series of art shows/events in 2021 celebrating the 100th anniversary of the oldest art club in Nevada.\nLink To Event Page - https://www.latimerartclub.com/100th-anniversary/", "label": "No"}
{"text": "No more snow, so the ants can come out to take some pictures of the spring flowers, quite a normal perspective for them, really new for us the humans. You were lucky to have a cloudless sky, and so only 3 bold colors.\nA true RGB image! The plain blue sky makes a perfect background for the red tulips. Great use of upwards perspective and a perfect fit for the theme.\nGlad to see your snow has disappeared. We're just coming out of a similar cold spell.\nWe feel like a tiny animal or an insect, this must be their view all the time, it is not a bad view at all :-) A very creative way to work with flowers towards the blue skies from under the colorful flower head. Definitely a perfect fit for TOM.\nI'm late to your image, but I still got here in time to add this great perspective to the top of my list. It really is an ant's view! and the image is very striking with bright and true colors as well. Greeting from the land of still nightly freezes...but the skiing is great, Patricia", "label": "No"}
{"text": "Herbert von Karajan conducts an all-French concert program of Debussy and Ravel\nThank you for your understanding.\nCelebrated for his intimate knowledge of the symphonic contributions of German Romanticism's great masters, Herbert von Karajan also explored the masterpieces of French composers with the Berliner Philharmoniker in great detail. His almost-obsessive quest for sonic perfection was particularly intriguing when applied to French Impressionism, like the classic works featured here. Debussy’s La Mer depicts the magnificent land- and seascapes associated with the ocean and draws inspiration from the visual artwork of Turner and Monet, and the Suite No.2 from Ravel’s ballet Daphnis et Chloé paints its subjects so clearly that the listener can almost see them. It was the composer himself who spoke of a “choreographic symphony” bringing the love story of the shepherd and his lover to life.", "label": "No"}
{"text": "How do you draw a cup for kids?\nHow to Draw a Cup for Kids\n- Draw a vertical line so that it’s easier for us to observe the proportions.\n- At the top draw an oval that will be the top edge of the cup.\n- Below draw another oval but smaller.\n- Using slightly curved lines connect these two ovals.\n- Erase all the extra lines and we will get a glass.\nHow do you draw on mugs and make it stay?\n- Step 1: Wash and dry your mug, if new.\n- Step 2: Use a pencil to rough out a design for any words or lines.\n- Step 3: Carefully draw your design with Sharpie paint markers.\n- Step 4: Add accent colors, if necessary.\n- Step 5: Bake mugs at 350 degrees for 20 minutes to set paint; let cool completely.\nHow do you draw a spoon?\nTo make the handle, draw a stretched drop shape and bend it a little in the end. Draw the body of the spoon by making an oval attached to the handle. Using the outline as reference, draw another line following it. This will give some depth to your spoon.", "label": "No"}
{"text": "In August 2002, I visited my hometown of Chatham, Ontario and, while there, took pictures of the homes of my parents and grandparents as they look today.\nMy parents' home in Chatham where I spent nearly 20 years.\nMy maternal grandparents' home.\nMy paternal grandparents' home.\nGo to Next Page\nReturn to Index\nBackground from a picture of sunrise at Erieau ęBeth Hohertz", "label": "No"}
{"text": "Handmade Nail Brush (Travel Size)\nHandmade FSC-certified oak nail brush with sustainable, all-natural tampico fiber bristles (plastic/synthetic free). Small and double-sided, this brush is perfect for cosmetics or toiletry bag storage and travel. The tampico bristles are elastic, waterproof, and stiff enough to gently clean hands and nails. The shorter, stiffer bristles designed at the top of the brush work effectively for removing dirt under the nail.", "label": "No"}
{"text": "The pace was set at Ngee Ann City, with the return of Nepalese-American designer Prabal Gurung. His Autumn/ Winter ’14 collection whispered tales of rich cultures found in the Himalayas. Models accessorised with thick scarves and pashminas wrapped around their necks as well as bells on their ankles tinkled down the runway inspired by the kingdom of Mustang, Nepal.\nFlirty skirts ruled the collection, paired with chunky knits and cosy sweaters. The ethnic tapestry-printed fabrics and textured draping were also a fantastic contrast to the sporty looks that opened the show. His signature gowns made their way in a sea of vibrant reds reminiscent of paint strokes by Cecily Brown, an artist whose attention-grabbing works have always captivated the designer.\nPrabal Gurung Autumn/ Winter ’14 Prabal Gurung Autumn/ Winter ’14", "label": "No"}
{"text": "@ AUB Art Gallery\nSidani Street, Hamra\nRiad El Solh\nThe American University of Beirut Art Gallery presents\nthe exhibition Profiles: Collecting Art in Lebanon. The exhibition examines practices of art collecting and art patronage in contemporary Lebanon. On display are ten video interviews conducted with private art collectors and inheritors of collections, including Saleh Barakat, Anachar Basbous, Georges Corm, Raymond Audi, Abraham Karabajakian, Ramzi Saidi and Afaf Osseiran Saidi and Tony Salamé. The art critic and publisher Cesar Nammour offers a historical perspective on the practice of art collecting, while Zeina Arida of the Arab Image Foundation speaks about collecting as an artistic strategy. Dima Raad, of the Ministry of Culture of Lebanon, shares her views on the state's art collection practices. On the lower floor of the gallery, the house of a Lebanese art collector - inspired by the home of the collector Samir Saleeby - has been reconstructed.\nLINK AUB Art Gallery", "label": "No"}
{"text": "Hello, lovelies! I've been trying to get more into Photography and editing lately and I was really inspired by a picture I saw on Tumblr so I wanted to try to create something similar.\nI basically just placed a lot of my pink things very neatly on a furry carpet, and for the finishing touch in Photoshop I aimed to give it a very girly and kind of vintage look. Choosing and organizing all of the things I wanted to include in the picture was kind of like playing Tetris and it was actually a lot of fun. I'm pleased with how this picture turned out. What do you think?", "label": "No"}
{"text": "1. Learn the myth of the Judgment of Paris.\n2. Identify the major figures on the side of Troy.\n3. Identify the major figures on the side of the Greeks.\n4. Study Homer’s portrait of the Trojan War and the wrath of Achilles in the Iliad.\n5. Study the stories that surround the Fall of Troy.\n6. Study the myth of Meleager and the Calydonian Boar Hunt.", "label": "No"}
{"text": "There are no reviews yet.\nYour review *\nNotify me of new posts by email.\nOrganic Coconut Oil Virgin 20L\nPressed Purity Sunflower Oil Cold Pressed 250ml\nPressed Purity Peanut Oil Cold Pressed 250ml\nPressed Purity Sesame Oil Cold Pressed 250ml\nOrganic Coconut Oil Purified/Deodorised 5L\nOrganic Olive Oil Extra Virgin 3L\nStoney Creek Organic Flaxseed Oil Org Brown Flaxseed Oil 500gms\nNiugini Organic Virgin Coconut Oil 1 Litre\nUsername or email address *\nLost your password?\nEmail address *\nSubscribe to our newsletter", "label": "No"}
{"text": "These pure indigo cotton cushions have a design we call \"deconstucted gingham\"\nThere are three sizes\nSmall: 30cm x 30cm (12in x 12in)\nMedium: 50cm x 30cm (19.75in x 12in)\nLarge: 50cm x 50cm (19.75in x 19.75in)", "label": "No"}
{"text": "Portrait of the young girl. Glamour, angel.\nRoyalty-Free Stock Photo\nMore similar stock images\nA portrait of a young smiling beautiful baby girl with blond hair Young smiling girl with blue flowers on light blue background. Spring beauty portrait Young girl portrait with puppy under snow Surreal portrait of a young girl covering her face and eyes Portrait of fit young woman practicing yoga indoor white class. Handsome girl practice cobra asana in sunny gym Smiling blonde girl. Portrait of happy cheerful beautiful young woman, outdoors. Outdoor lifestyle portrait of pretty young girl posing on stairway, wearing in hipster urban style on urban background Happy young beautiful cheerful woman pointing up on colorful pink background portrait. Student girl pointing finger and looking up Winter autumn portrait of young beautiful girl student wearing glasses in knitted warm scarf and sweater reading book indoors\nMore stock photos from Petro Hnuskin's portfolio\nPortrait of the young girl with a umbrella on a white background. Portrait of the young girl with a umbrella on a white background. Portrait of serious girl. Portrait of the young girl with a umbrella on a white background. Christmas portrait of the girl 3 Portrait of the happy boy Portrait of the man. Portrait of the young girl. Portrait of the happy boy", "label": "No"}
{"text": "Little amateur bimbo so turned on! – Porn GIF\nPublished: 25 May 2019 | Tags:\nReal amateur experiences painal\nA little reveal\nA little reveal and swing for u guys .\nA little smack\nA little too cold to go all the way in\nA little pre-recent year firework\nA little widen\nA little Tuesday tease\nA little gif for u all\nA little massage.\nA little gif for u\nA little dribble and then....\nA little wet\nA Little Wiggle\nA little strip for your Tuesday night :)\nA little bit of fun\nA little gif to assist u throughout the work week\nAfrican amateur pounded on split screen casting\nA good little slut\nA little wiggle, qlittle slap\nA Little Bit Of Playtime\nA little BBC Cuckold Tease\nA little scared\nA little teaser\nA little jiggling beneath my sheer top!\nA little doggie to start the day\n22yo Italian Nursing Amateur Student In Her First Anal dance Debut Hd\nA little bit of Felicia Clover\nA little dancing for your Monday evening\nA little fun with a sleeve. Anyone want to join me?\nI post this purely for the gfycat title\nOff to the beach\nBringing Whitney Westgate to Heaven\nWant to be there\n© 2020 |", "label": "No"}
{"text": "Exposing behind the scenes elements of your favorite paparazzi pictures and celebrities\nMonday, November 4, 2013\nOMG alert: Jennifer Aniston new hair do\nhas chopped off her long locks in favor of a short bob.\nIt's a bit messy in this pic, but we like it well enough, but not as much as we liked 'the Rachel!'\nIt's a little Kurt Cobain grunge", "label": "No"}
{"text": "Among rising talents of contemporary tattoo art, we are very glad to introduce you to Tania Catclaw.\nBased in Lisbon, Portugal, at El Diablo tattoo shop, this young lady is creating adorable body art. Inspired by nature and animal realm, she mixes sketch style, geometry and watercolor effects to offer her clients charming tattoos... Her lines are flowing, her colors are delicate and the result is poetic and most of the time extraordinary cute! If you are living too far from Europe to get an appointment, you can easily admire her illustrations and ink on her social networks.", "label": "No"}
{"text": "The first profitable gardens arose when the nomads began to settle down. In South-Tyrol they are often rectangular or square. All kitchen gardens were used to grow local vegetables and plants in one and the same garden, which was divided up by means of paths, geometrically built beds, often with frames and a simple fence made of wood. The fence had to keep out animals and people. There was even a law which ordered the building of a fence.\nThe fence had to be as high as the shoulder of an adult. The plants of the garden have a long tradition and for example in a script in the library of the monastery of the Franciscan Friars from the year 1743 you can read about \"Visélen\", the word used even today the south-tyrolian dialect when talking about beans. In former times, when meat was hard to get and very expensive, beans were a very important source of protein.", "label": "No"}
{"text": "Micro-spherical bearings are compared with other common bearings when operating. Another feature is the use of double-layer seals, mainly because the general environmental conditions of the outer spherical ball bearings are harsh, especially for agricultural machinery bearings. The layer seal ensures that dust does not easily enter the interior of its channel.\nThe upper end of the bearing of the miniature spherical bearing will have a certain degree of eccentricity. When the operation is performed, there will be an eccentric sleeve with the same eccentricity. This type of bearing can also be said to be a special bearing, mainly because it is used on agricultural machinery. The outer spherical ball bearings are mainly used in the structure where the beating is relatively fierce, and the cooperation of the eccentric structure can effectively reduce the violent beating.\nThe micro spherical bearing has a taper inner diameter ratio of 1:12 ratio. In the process of use, it needs to be used together with a tight fit. The characteristics of this kind of outer spherical ball bearing are: it can withstand the outer spherical ball of the top wire The bearing has a larger load. Because the inner diameter of the same type of adapter sleeve is smaller than that of the outer spherical ball bearing.", "label": "No"}
{"text": "The desert coast of Peru is a land of topographical extremes. Cradled between the monumental Andes and the mighty Pacific, this area contends with taxing weather patterns of local and global implications. A colder-than-usual ocean blocks cloud formation and precipitation from the west, while the towering Andes deflect most rainfall to the east into the lush rainforest. In some places like the central coast, these conditions drop annual precipitation close to zero and create one of the driest deserts on earth.\nAt the same time, the physical features that hold back rain are the basis of life on the coast and bring balance to the region. On the ocean, the upwelling Humboldt Current that cools the waters and averts rainclouds also gives rise to one of the world’s richest marine environments. Likewise, fresh water trickles down from rare tropical glaciers atop the Andes to moisten sparse but fertile river valleys on the coast. The steep mountain range is also the source of seasonal springs, lakes and ores.\nIn spite of this duality or maybe because of it, pre-Inca civilizations thrived along the coast due to their resourcefulness, determination and technological achievements. Vestiges of pre-Hispanic canals and irrigation systems speak of the vital role water management had in this area. Shamanic leaders were expected to control and balance the natural and social realms or their authority could be called into question. The canals were meant to divert the seasonal rivers and springs carrying glacial melt towards agricultural lands. Today these canals remind us of the very real power held by those who controlled water resources.\nThe Chimú elite, for example, were powerful and fabulously wealthy. Besides controlling trade routes in the Northern region, the Chimú strategically managed a sophisticated network of irrigation canals and wells to provide water for their urban centers. This infrastructure helped them adapt to the great seasonal variation in water availability to grow food and beauty around them. Their wealth was also closely tied to the sea. Richly woven textiles, on view in Between Mountains and Sea: Arts of the Ancient Andes, illustrate their successful development on the north coast while their zigzag patterns of repeated undulation suggest the important place water occupied in their minds and way of life.\nHaving to negotiate austere conditions on land, the Chimú rejoiced in the sea. Peru’s coast is home to more fish species than any other area in the world. The country is one of the world’s top fish producers as well. One can see this abundance depicted in pre-Inca art and architecture, filled with representations of sea mammals, crustaceans, fish and birds. On view at the Blanton are ceramic bottles from the Late Intermediate Period that illustrate the tightly knit relationship between the marine environment and Chimú culture.\nAdapting to this environment, a number of civilizations have thrived in the desert coast region of Peru. Nevertheless, even at the height of their power, they all remained vulnerable to the fluctuations of weather and sparse supply of fresh water. The weather patterns they learned to live with changed drastically every few decades. El Niño and La Niña, the cyclical warming or cooling of ocean surface displaced the local fisheries and locked the area in cycles of extreme drying or ravaging floods. These periods of great instability challenged everything these societies knew. For example, a thirty-year cycle of draught followed by floods coincided with the decline of the Moche culture. Scholars think this event could have caused ecological, economic or political havoc that played into their loss of influence.\nToday, Peruvians living in the desert coast are even more pressed for water than their predecessors. While nearly eighty percent of Peru’s population lives in this area, only two percent of Peru’s fresh water is available to them. The tropical glaciers that historically provided precious drinking water are retreating due to the rapid increase in global temperatures. To make matters worse, many springs and wells are now polluted with mercury produced by ore mining in the mountains. Lastly, scientists expect El Niño to take place on 2014.\nWhile we are all delighted that El Niño may bring much needed rainfall to Texas, this event adds pressure to Peru’s economic and political institutions. Sound water management policy is as indispensable for the future of the region, as it was in the past. However, reaching consensus on a specific plan of action is proving challenging.\nBetween Mountains and Sea: Arts of the Ancient Andes is on view through August 17, 2014 and features many artifacts that illuminate the striking visual, economic and ideological connections to water and sea portrayed by pre-Inca empires at the same time that reminds us of the vulnerability of this precious resource today.\nMariana Torrens Arias is the Blanton’s PR and Marketing intern. She is a foreign language teacher and a student at The University of Texas at Austin, where she studies advertising.", "label": "No"}
{"text": "The world of concrete can be an unknown territory for anyone who doesn’t work with it. Many homeowners have many questions to ask about concrete in general. We want to answer concrete’s frequently asked questions to ensure you’re prepared for all your custom concrete creations.\nAre cement and concrete the same thing?\nFor some reason, people tend to think that cement and concrete are the same things. They’re two different things; however, cement is used to make concrete. Without cement, there wouldn’t be the another.\nCement is a powder substance that is mixed with water to bind items together. For example, it’s used to hold bricks in place or bare wires. The use of cement has been around for about 12 million years.\nConcrete is created by mixing water, cement and gravel. When it’s poured out, it can form and create a solid material. The creation of the concrete gave us sidewalks, buildings and concrete floors.\nShould temperature be taken into account when installing concrete?\nThe best temperature to install concrete is at room temperature. . Experts recommend avoiding extreme temperatures. If concrete is installed in extreme climates, it’ll end up costing you more.\nCold temperatures will cause the concrete to freeze. Extremely hot temperatures will evaporate the water. In both conditions, the hydration process will slow down and stand still.\nWhy does concrete crack?\nThe most frequently asked question about concrete, why does it crack? Concrete is a strong and long-lasting material that can be used for homes to building bridges. Some conditions will result in causing damage and breakage on the concrete.\nOne reason is there was too much water added when mixing the concrete together. When excess water is used in the mixture, it will weaken the concrete, making it easier to be prone to cracks.\nRapid drying of concrete can also result in causing concrete to crack. The hydration process requires a day for the concrete to withstand any pressure put on it.\nHow long does it take for concrete to set?\nConcrete never stops curing. Over the years concrete gets stronger and stronger. Concrete is measured at full strength after 28 days. After 24 to 48 hours, concrete will harden enough for footprints not to show. Still, at this time, you should avoid any heavy machinery to be set on it.\nIs it safe to put salt on concrete safe?\nSalt itself isn’t harmful to concrete, but the effects of salt are problematic. Concrete over time will weaken from the effects. As the salt melts the ice, the water will make its way into the pores. When the water freezes it will expand inside the pores causing cracks. It can even result in potholes. The best solution is to use gravel or calcium chloride.\nHow do you clean a stain left on concrete?\nConcrete can get stained like other flooring when it’s not cleaned up in time. If there’s a spill, make sure to wipe it with a dry towel to clean the spill before it can soak into the concrete pores. When stains form, it’s recommended to use ammonia, baking soda or evens soda to remove the stains.\nLeave no question unasked when you hire one of the best concrete professionals. At Custom Concrete Creations, we can answer all your concrete questions before and after installing your concrete floors.", "label": "No"}
{"text": "what is Triax geogrid？\nTriax geogrid is a type of geosynthetic material that is used in the construction of roads, embankments, retaining walls, and other structures to provide reinforcement and stability. It is made from a high-strength polymer material that is used to interlock with soil particles and create a strong, durable foundation. Triax geogrid is typically used in conjunction with other materials, such as soil, concrete, or asphalt, to create a composite structure that is able to withstand the loads and forces that it will be subjected to. It is also used to help control erosion and slope stability in areas where soil is prone to movement or erosion.\nTriax geogrid manufacturers:Anhui Zhonglu Engineering Materials Co.Ltd\nIs headquartered in Hefei City, Anhui Province, China, with a registered capital of 102.6 million yuan.\nThe company is committed to providing one-stop engineering products and solutions to customers around the world.\nApplication of Triax geogrid\nTriax geogrid is used in a variety of applications in the construction industry, including:\n- Road construction: Triax geogrid is often used to reinforce the base of roads, particularly in areas with weak or unstable soil. It helps to distribute the loads applied by vehicles and reduce the risk of settlement or failure of the road structure.\n- Embankment reinforcement: Triax geogrid can be used to reinforce the slopes of embankments, helping to prevent erosion and slope instability.\n- Retaining walls: Triax geogrid can be used to reinforce the soil behind retaining walls, helping to prevent failure and ensuring the stability of the wall.\n- Slope stabilization: Triax geogrid is often used to stabilize slopes in areas prone to erosion or landslides. It helps to interlock with soil particles and create a stable foundation.\n- Landfill construction: Triax geogrid is used in the construction of landfills to reinforce the base and sides of the landfill, helping to prevent failure and ensure stability.\n- Railroad track construction: Triax geogrid is used to reinforce the base of railroad tracks, helping to reduce the risk of settlement and failure of the track.", "label": "No"}
{"text": "Sign language is often thought of in the context of the d/Deaf community. However, there are many situations where sign language is beneficial to people who aren't Deaf or hard of hearing. There are a few intellectual and physical disabilities where research has shown that sign language can be beneficial in communication. Here's our list of reasons people use sign language other than hearing loss.\nChildren with autism can struggle with the spoken language. Sign language is another option for communication. Research shows that sign language may help with speech development, social interaction and learning new words. Many signs are visually associated to the object they are referring to. These visual associations can help someone with autism communicate.\n2. Apraxia of Speech\nApraxia of Speech is a motor speech disorder which affects the messages from the brain reaching the mouth. This makes it difficult for a person to move their lips, tongue and says sounds correctly. Using both sign language and voicing to talk can help a person remember the motor process for that word. For someone with Apraxia of Speech sign language can benefit them emotionally and socially.\n3. Cerebral Palsy\nCerebral Palsy can affect the way a person moves their mouth, jaw and head as well as the rest of their body. This can make speaking and eating quite difficult. Speech therapy along with sign language can help improve communication for a child with Cerebral Palsy.\n4. Down Syndrome\nDown Syndrome is a genetic condition caused by having an extra chromosome and causes some delay in development and some level of learning difficulty. Sign language can help babies, toddlers and children with Down Syndrome improve their communication skills. It can support in the development of expressive language, functional communication, and social skills.", "label": "No"}
{"text": "We are already seeing such viruses emerging.\nMonkeypox, a previously rare and potentially fatal virus caught from rodents, is spreading through central Zaire.(31) Between 1981-1986 only 37 cases were known, but there have been at least 163 cases in one eastern province of Zaire alone since July 1995. For the first time, humans are transmitting the disease directly from one to the other.\nAn outbreak of hantavirus infection hit southern Argentina in December 1996, the first time the virus was transmitted from person to person.(32) Previously, the virus was spread by breathing in the aerosols from rodent excrement or urine.\nNew highly virulent strains of infectious bursal disease virus (IBDV) spread rapidly throughout most of the poultry industry in the Northern Hemisphere, and are now infecting Antarctic penguins, and are suspected of causing mass mortality.(33)\nNew strains of distemper and rabies viruses are spilling out from towns and villages to plague some of the world's rarest wild animals in Africa:(34) lions, panthers, wild dogs, giant otter.\nkeyboard shortcuts: V vote up article J next comment K previous comment", "label": "No"}
{"text": "On Monday, November 26, 2012 the stained glass piece titled “Giniigaaniimenaaning” was installed and unveiled in Ottawa. The stained glass window in Centre Block of Parliament was commissioned to recognize the survivors of Indian Residential Schools and their families, as well as the Prime Minister’s historic Apology in 2008. Below is the full description of the piece and its meaning.\nGiniigaaniimenaaning (Looking Ahead)\n“The story begins in the bottom left corner of the glass, with your eye moving upwards in the left panel to the top window, and flowing down the right window to the bottom right corner. The glass design tells a story. It is a story of Aboriginal people, with our ceremonies, languages, and cultural knowledge intact; through the darkness of the residential school era; to an awakening sounded by a drum; an apology that spoke to the heart; hope for reconciliation; transformation and healing through dance, ceremony, language; and resilience into the present day.\nThe title of the piece is “Giniigaaniimenaaning” translated into English means, “Looking Ahead”. The title is in Anishinaabemowin (Ojibway) and includes, within the deeper meaning of the word, the idea that everyone is included and we are all looking ahead for the ones “unborn”.\nTOP – In 1990, Phil Fontaine, then Grand Chief of the Assembly of Manitoba Chiefs, and later National Chief of the Assembly of First Nations, became one of the first Aboriginal leaders to speak publicly about the abuses he suffered as a child at residential school. The shattered glass represents the breaking of the silence in the 1980s as survivors from all over Canada began to speak openly about what happened to them at the schools. The broken glass also represents the shattered lives, shattered families and shattered communities that resulted from the government policy of forced assimilation. The drum dancer sounds the beginning of the healing. The circles moving up and out from behind the drum represent the transformation that governments and churches made, from taking initial positions of denial, to acceptance, and finally to acknowledgement and admission, paving the way for an apology. The snow falls and the moon glows from a northern sky. The dove with the olive branch brings an offering of hope for the beginning of reconciliation and the renewal of the relationship between Aboriginal peoples and the rest of Canada.\nMIDDLE – This section of the window represents the “sad chapter” of the residential schools era, where more than 150,000 children were forcibly removed from their homes and often subjected to unimaginable and horrific abuses. As Prime Minister Stephen Harper stated in the Statement of Apology on June 11, 2008, the objective of the residential schools was to “remove and isolate children from the influence of their homes, families, traditions and cultures.” The children shown here are taken from historical photographs, with artist renditions of other children. The building, rendered from a photograph of the Shubenacadie Indian Residential School, is included because often these buildings represented the institutionalized system of abuse and assimilation. Children were not permitted to leave and, therefore, the buildings became their prisons. The lines that cross over the children represent the silencing of the children who were unable to speak about the abuses they were enduring.Bottom\nBOTTOM – The ancestor smokes in the sacred lodge. From the west (represented by the button blanket motif) to the east (represented by the sky dome motif), our ceremonies, languages, and traditional knowledge were intact. This section represents the time before residential schools existed. Important ceremonies marking the transition from childhood to adulthood, such as the strawberry fast, were taught and practiced. Harvesting blueberries, learning about medicines and knowledge of plants and animals were passed from one generation to the next. Beadwork and beautiful artwork, reflecting our pride, adorned our clothing and sacred items. The roots represent connection to the earth and to our ancestors. It is expected that, when rendered in glasswork, the colours and white/clear glass circles, or crystals, will give the bottom section an ethereal feel as they will glow from the darkness.\nThis section commemorates the official Statement of Apology to former students of Indian Residential Schools on June 11, 2008, by Prime Minister Stephen Harper.\nOn that day from coast to coast to coast, Aboriginal people gathered in community centres and homes to watch the Prime Minister give the statement, and to watch as their own leaders made their historic responses on the floor of the House of Commons.\nReaction to the Apology ranged from skepticism to gratefulness, marked by tears of relief, that finally the hurt that individuals carried was being acknowledged and an apology was being made. Regardless of how individuals reacted to the Apology, mostly everyone was moved emotionally, as Prime Minister Harper spoke the words, “The Government of Canada sincerely apologizes and asks the forgiveness of the Aboriginal peoples of this country for failing them so profoundly.”\nIn this panel, symbols representing Inuit, First Nations and the Métis Nation are featured alongside the iconic maple leaf. Canada, as represented by the maple leaf, is shown among the Aboriginal icons as a way to symbolize the hope expressed on that day by the Aboriginal leaders in their official response on the floor of the House of Commons. On behalf of all Aboriginal people, Indigenous leaders graciously accepted the apology from the Prime Minister.\nTOP – As in the left panel, circles emerge and transform into a fully visible sun. The sun rises and represents not only transformation, but more importantly, as Mary Simon, then President of the Inuit Tapiriit Kanatami (ITK); said in her official reaction on the floor of the House of Commons, “I am filled with optimism… a new day has dawned, a new day heralded by a commitment to reconciliation and building a new relationship with Inuit, Métis and First Nations.”\nThe lines flowing from the sun are meant to convey the concept of moving from the present into the future. The colours embody the colours used within different medicine wheels, sundance and Midewin lodges and the Métis sash (yellow, black, red, white, green, and blue). Together with the left panel, sun and moon represent the cycle of life, seasons, and change.\nThe jingle dress is a sacred healing dress that is now common throughout North America. In this panel, the jingle dress dancer is an Elder who is a survivor of the residential school. She is dancing for the healing of all the people and for future generations.\nMIDDLE – In this section, the colours and lines move us soundly into the present day and thinking about the future. The young mother embraces her baby in a traditional moss bag. The child is back with her mother, as she should be, representing children being raised by their parents and the breaking of the cycle of abuse. Her grandfather sings a traditional song signifying the restoration of songs, dance, ceremonies, and languages.\nWithin this panel are the following words: Kisakihitin (“I love you” in Cree), Gizhawenamin Niichaanis (“I love you my child” in Anishnaabemowin), Nagligiivagit (“I love you” in Inuktitut), Kesalul (“I love you” in Mi’kmaq). Many victims of residential schools were unable to tell their own children they loved them, and many children never heard those words from their parents. Embedding these words within the glass solidifies the existence and use of Aboriginal languages.\nBOTTOM – The circle is complete. Presently, traditional ceremonies take place throughout the year. The grandmother sits in the lodge smoking her pipe for her grandchildren. Potlach ceremonies take place and Salmon and Sturgeon ceremonies are on-going. The sundance lodges are erected and the Midewin lodges are no longer whispered about but are now out in the open. Puberty ceremonies are being practiced. Traditional knowledge about medicines is being taught. From east to west, the foundations of our cultures are being brought back and made whole. There is hope; there is a new respect for Aboriginal cultures within the rest of Canada as we are witness to our own strength and resilience.\nThe land is integral to our being. We consider the land sacred. Although it is not obvious, Mother Earth is the foundation of the stained glass design represented by the shape of a woman.\nSo many of our traditions, culture and ceremonies, and indeed our very way of life, is based on connection with the land and interconnection with the spirit of the Earth, that it would be remiss to design something concerning our people, without including the earth in some form.”\nSummary by Christi Belcourt\nAdditional information & videos can be found here: https://www.aadnc-aandc.gc.ca/eng/1332859355145/1332859433503", "label": "No"}
{"text": "Personal hygiene is how you care for your body. This practice includes bathing, washing your hands, brushing your teeth, and more.\nEvery day, you come into contact with millions of outside germs and viruses. They can linger on your body, and in some cases, they may make you sick. Personal hygiene practices can help you and the people around you prevent illnesses. They can also help you feel good about your appearance.\nLearn more about why hygiene is so important, the best ways to practice it, and how you can change your habits to make yourself feel and look better.\nEach person’s idea of personal hygiene differs. These main categories are a useful place to start for building good hygiene habits:\nWash your hands after you use the restroom. Scrub with soap for 20 to 30 seconds, and be sure to clean between your fingers, on the back of your hands, and under your nails. Rinse with warm water, and dry with a clean towel.\nIf you don’t have running water or soap, an alcohol-based hand sanitizer will also work. Use one that’s at least 60 percent alcohol.\nPersonal preference may dictate how often you wish to shower, but most people will benefit from a rinse at least every other day. Showering with soap helps rinse away dead skin cells, bacteria, and oils.\nYou should also wash your hair at least twice a week. Shampooing your hair and scalp helps remove skin buildup and protects against oily residues that can irritate your skin.\nTrim your nails regularly to keep them short and clean. Brush under them with a nail brush or washcloth to rinse away buildup, dirt, and germs.\nTidying your nails helps you prevent spreading germs into your mouth and other body openings. You should also avoid biting your nails.\nGood dental hygiene is about more than just pearly white teeth. Caring for your teeth and gums is a smart way to prevent gum diseases and cavities.\nBrush at least twice a day for 2 minutes. Aim to brush after you wake up and before bed. If you can, brush after every meal, too. Floss between your teeth daily, and ask your dentist about using an antibacterial mouthwash.\nThese two steps can help prevent tooth decay and eliminate pockets where bacteria and germs can build up.\nIf you’re not feeling well, you should take steps to keep from spreading germs to others. This includes covering your mouth and nose when sneezing, wiping down shared surfaces with an antibacterial wipe, and not sharing any utensils or electronics. Also, immediately throw away any soiled tissues.\nGerms on your hands can easily enter your body through your mouth, nose, eyes, or ears. Wash your hands:\n- when you handle food\n- before you eat\n- if you handle garbage\n- when you sneeze\n- any time you touch an animal\nLikewise, wash your hands after changing a baby’s diaper, helping someone clean themselves, or when cleaning a cut or wound.\nGood personal hygiene will help your kids stay healthy, ward off illnesses, and build better self-awareness.\nIt’s never too early to start teaching hygiene. You can wipe down your child’s hands after changing their diapers or before eating, brush their teeth and gums before bed, and get them into a daily bath routine. This helps you begin the process and slowly teaches them as they grow and take over the process.\nHere’s a list of hygiene activities, how you can introduce them, and when is a good time to start:\nYou can begin brushing your baby’s teeth and gums the moment the first tooth pops up. They can brush their own teeth by about 3 years old. However, you may have to stay with them to guarantee they’re doing a good job and brushing long enough.\nPlay a 2-minute song when it’s time to brush teeth. That will let your little one know how long they have to brush, and they’ll get used to the process. Likewise, you may have to continue flossing for them until they’re older and can handle that task better, around age 7.\nYou’ll be giving your baby baths regularly, but by about age 5, they should be able to handle this task on their own. As they’re growing and you’re supervising bath time, you should take the opportunity to teach about washing all the different body parts, especially:\nYou can also use this time to teach them how to wash their hair without getting suds in their eyes — and what to do if they do.\nWipe your baby’s hands with a warm washcloth before mealtime, after eating, and after changing a diaper. During potty training, make washing hands an integral step in the process.\nYou can teach your child to sing the ABC song while they wash — it’s 20 seconds long, which is an ideal washing time.\nMake it a priority to ask your child to wash their hands any time you’d like to encourage good hygiene, like before meals, after playing outside, after petting an animal, or after being near a sick friend.\nYou’ll clip your child’s nails when they’re a baby, but as they grow older, you can help them care for their own nails. Encourage your children to wash under their nails at each shower — a fun nail brush will help. Then, sit down with them weekly after a shower for a trim. Your nails are softer and clip more easily after a shower.\nBy age 7, most children should be up for the task alone.\nGood personal hygiene habits are directly related to less illnesses and better health. Poor personal hygiene habits, however, can lead to some minor side effects, like body odor and greasy skin. They can also lead to more troublesome or even serious issues.\nFor example, if you don’t wash your hands frequently, you can easily transfer germs and bacteria to your mouth or eyes. This can lead to any number of issues, from stomach viruses to pink eye.\nNot brushing your teeth can lead to teeth issues and plaque buildup. Poor dental care is also a risk factor for several serious health issues, including heart disease.\nPoor hygiene habits can also affect your self-esteem. Looking and feeling presentable can give you a confidence boost and a sense of pride in your appearance.\nOther conditions may be prevented or the risk minimized by practicing good personal hygiene. These are some examples:\nIf you want to improve your personal hygiene or help a child develop better habits, these strategies might be helpful:\nIf you can’t remember to do things like shower, wash your hair, clip your nails, or brush your teeth, set a reminder on your phone. The cue will push you to the activity, and over time, you’ll begin to do it yourself.\nHang a reminder in the bathroom to wash your hands after using the toilet. Put a little sign by the plates or bowls in the kitchen to cue yourself to wash your hands before eating. These signs can help jog your memory and improve your habits. They can help both you and your children.\nPractice makes perfect\nIt takes time to learn a new habit. Start with a new habit at the beginning of the week and make it your priority. Practice it for a week or two. When you feel comfortable with it, add a new one. Overtime, you’ll establish the habits you wish to have.\nIs it better to shower in the morning or at night?\nThe decision to shower in the morning or at night is mainly based on personal preference. Some people feel that a morning shower helps them “wake up” and improves alertness. It may also make you feel calm and fresh for the day ahead, and that may decrease inflammation and the stress hormone cortisol. Others prefer to take a shower or bath in the evening as a form of relaxation and to remove any dirt, germs, or allergens before going to bed. Some experts assert that bathing at night helps one sleep better.\nIndividuals should consider their personal bodies and preferences. For instance, if you tend to sweat during sleep, a morning shower might be best. However, if you tend to hit the snooze button until you’re running late, consider a nighttime bathing routine to avoid being rushed. Some people choose to bathe twice a day. However, this might dry out your skin. The choice is yours, just be sure to build a healthy personal hygiene habit.\nDeborah Weatherspoon, PhD, RN, CRNAAnswers represent the opinions of our medical experts. All content is strictly informational and should not be considered medical advice.\nBuilding good personal hygiene habits takes a lifetime of learning and honing. Caring for yourself in these manners is good for your physical health as well as your mental health. If you find it difficult to adapt to these practices, talk with your doctor or dentist.\nSometimes, explanations and demonstrations are a good jump-start for taking better care of yourself. This is especially true for kids. A doctor can better explain the consequences of not caring for yourself, and a parent can use them as backup for building habits that will last a lifetime.", "label": "No"}
{"text": "A SILESIAN (Polish/Central European) WHEEL-LOCK BIRDING RIFLE (TSCHINKE), CIRCA 1640-50\nArms and armor are rarely associated with art. However, they were influenced by the same design sources as other art forms including architecture, sculpture, goldsmiths’ work, stained glass and ceramics. These sources had to be adapted to awkwardly shaped devices required to perform complicated technical functions. Armour and weapons were collected as works of art as much as military tools.\nThis wheel-lock rifle has a mechanism that enabled it to be carried loaded. The jaws of the lock clamped a piece of flint or a piece or pyrites designed to rub against the rough edge of the wheel projecting into the pan. The wheel was revolved at speed by a tightly coiled spring, wound by a separate spanner, and released when the gun’s trigger was pulled causing sparks to ignite the gunpowder in the breech.\nSketches for wheel-locks were made by Leonardo da Vinci but their first common use was in Germany in around 1520 and they continued in use until the late seventeenth century. They were the first devices to fire guns mechanically and accelerated the development of firearms by negating the need for long and dangerous ‘match’ cords which had to be kept dry.\nAs technical devices wheel-lock guns attracted princely collectors. Many are finely chiseled and engraved as works of art, some even on their insides, to be taken apart and reassembled at pleasure. The stocks were also often decorated with fine bone and horn inlays drawing on the skills of furniture makers and engravers. Wheel-lock guns were expensive, however, and most ordinary gunners were equipped with the older style match-locks until well into the seventeenth century.", "label": "No"}
{"text": "Confidence therapy is a type of therapy that focuses on helping individuals develop and improve their confidence levels. The therapy can take different forms depending on the practitioner and the specific needs of the individual.\nSome techniques used in confidence therapy include:\nCognitive-behavioral Therapy (CBT): CBT is a type of therapy that helps individuals identify and challenge negative thoughts and beliefs that may be contributing to low confidence levels. It aims to replace negative self-talk with more positive, realistic, and helpful thoughts.\nMindfulness-based Therapy: This type of therapy can help individuals develop a greater sense of self-awareness and self-acceptance, which can increase confidence levels.\nRole-playing and Visualization: These techniques can be used to help individuals practice and visualize successful outcomes in different scenarios, which can help increase confidence levels.\nExposure Therapy: This technique involves gradually exposing individuals to situations that they find challenging or anxiety-provoking in a controlled environment, which can help them build confidence and overcome their fears.\nGroup Therapy: Group therapy can provide a supportive environment for individuals to share their experiences and challenges, receive feedback and encouragement from others, and learn from the experiences of others.\nSolution-focused Therapy: This approach focuses on identifying and building on an individual’s strengths, skills, and resources, rather than on their problems or weaknesses. It can help individuals develop a sense of self-efficacy and confidence in their ability to solve problems and achieve their goals.\nHypnotherapy: This technique involves inducing a trance-like state to help individuals access their subconscious mind and develop more positive beliefs and attitudes about themselves.\nExpressive Therapies: These are creative therapies that use art, music, movement, or other forms of self-expression to help individuals explore their feelings, improve their self-awareness, and build confidence.\nAssertiveness Training: This training can help individuals develop the skills and confidence to communicate their needs, opinions, and boundaries effectively and respectfully.\nPositive Psychology Interventions: These interventions focus on developing positive emotions, thoughts, and behaviors, and building a sense of meaning and purpose in life. They can help individuals develop a more optimistic and resilient outlook, which can increase confidence levels.\nThe choice of technique used in confidence therapy will depend on the individual’s specific needs and goals, as well as the therapist’s training and expertise. It is important to work with a qualified and experienced therapist who can tailor the therapy to your unique needs and help you achieve your goals.", "label": "No"}
{"text": "One's self-concept (also called self-construction, self-identity, self-perspective or self-structure) is a collection of beliefs about oneself. Generally, self-concept embodies the answer to \"Who am I?\".\nSelf-concept is distinguishable from self-awareness, which refers to the extent to which self-knowledge is defined, consistent, and currently applicable to one's attitudes and dispositions. Self-concept also differs from self-esteem: self-concept is a cognitive or descriptive component of one's self (e.g. \"I am a fast runner\"), while self-esteem is evaluative and opinionated (e.g. \"I feel good about being a fast runner\").\nSelf-concept is made up of one's self-schemas, and interacts with self-esteem, self-knowledge, and the social self to form the self as whole. It includes the past, present, and future selves, where future selves (or possible selves) represent individuals' ideas of what they might become, what they would like to become, or what they are afraid of becoming. Possible selves may function as incentives for certain behavior.\nThe perception people have about their past or future selves relates to their perception of their current selves. The temporal self-appraisal theory argues that people have a tendency to maintain a positive self-evaluation by distancing themselves from their negative self and paying more attention to their positive one. In addition, people have a tendency to perceive the past self less favorably (e.g. \"I'm better than I used to be\") and the future self more positively (e.g. \"I will be better than I am now\").\nA hidden curriculum is a side effect of schooling, \"[lessons] which are learned but not openly intended\" such as the transmission of norms, values, and beliefs conveyed in the classroom and the social environment. It should be mentioned that the breaktime is an important part of the hidden curriculum.\nAny learning experience may teach unintended lessons. Hidden curriculum often refers to knowledge gained in primary and secondary school settings, usually with a negative connotation where the school strives for equal intellectual development (as a positive aim). In this sense, a hidden curriculum reinforces existing social inequalities by educating students according to their class and social status. The unequal distribution of cultural capital in a society mirrors a corresponding distribution of knowledge among its students.\nDumbing Us Down → The book proposes that radical change is needed to the American educational system to turn around the negative socialization that children receive. John Taylor Gatto...He was named New York City Teacher of the Year in 1989, 1990, and 1991, and New York State Teacher of the Year in 1991.", "label": "No"}
{"text": "Good news! The best way to prevent shoulder pain is to use proper body mechanics. This is something you have likely heard about for the back, but it is just as important for your the rest of your body. So here are a few tips on how to protect your shoulders and prevent shoulder pain/injury.\n1. Before you raise your arms up overhead, turn your thumbs upward.\n2. Before you raise your arms overhead, sit/stand up tall.\n3. Avoid lifting heavy objects higher than shoulder height (use a step stool if needed).\n4. Be careful not to twist your shoulders when you are holding something heavy (especially with one hand).\n5. Your shoulders are in their most stable position when your arms are down, with your elbows close to your waist. This is the position they should be in if you are lifting or carrying something heavy.\n6. Avoid repetitive overhead lifting of heavy objects (this can be a big problem at work, if your work station is not ergonomic).\n7. In general, practice good posture, which aligns your spine, shoulder blades and shoulders. When sitting or standing upright, your shoulders should be be resting in a vertical line below your ears.\n8. If an activity starts causing you shoulder pain, stop it immediately. Then modify how you do that activity the next time. If it is hurting and you continue to do it the same way, it will likely get worse and may cause more serious tissue damage.\nTune in tomorrow for more shoulder tips.\nDo you have any comments about shoulder pain you have experienced in the past and what helped you?", "label": "No"}
{"text": "Jennifer Rowntree (Manchester Metropolitan University) and Hayley Craig (University of Manchester) have had their study on grassland species and genetic diversity published in Journal of Ecology. Jennifer tells us more about the paper in the article below, and you can also read the Manchester Metropolitan University press release.\nWe are currently experiencing a ‘biodiversity crisis’ and large numbers of species are in decline (e.g. Hallman et al. 2017). However, it is not always clear what we mean by biodiversity, making it hard to demonstrate why a ‘biodiversity crisis’ matters. ‘Biodiversity’ is partly the number and abundance of different species, but is it also variation within species, including variation in genetically determined traits. Our Journal of Ecology paper looks at the role that species and genetic diversity play in grasslands such as hay meadows.\nHay meadows can be high in biodiversity both within and among species. Where you have lots of species, you also have lots of species interactions. Species interactions are the basis of ecological communities and provide us with many important ecosystem services (e.g. pollination, decomposition) as well as determining the long-term stability of a habitat. We know from previous studies (Rowntree et al. 2014, Whitham et al. 2003, Zytynska et al. 2010) that both the type of species present and genetically determined differences among individuals of certain species can influence the outcome of species interactions and hence the composition and structure of ecological communities.\nYellow rattle (Rhinanthus minor) is a parasitic plant found in many temperate hay meadows, such as those in the UK. It attaches to the roots of its hosts, extracting nutrients through haustoria, but has green leaves and photosyntheses, producing at least some of its carbon autonomously. Infection by yellow rattle usually reduces the growth and fertility of its host species, and it is a generalist parasite that attaches to many different hosts, often simultaneously. Yellow rattle is quite well known to reduce the competitiveness of grasses, allowing less competitive plants to colonise an area. It is therefore promoted in the restoration of species rich grasslands as it is a parasite that while harming its specific hosts, has positive benefits on the wider community in terms of biodiversity.\nWith this research, we tested whether artificial hay meadows with high plant species diversity were better able to resist infection by the parasitic plant yellow rattle. We also looked to see if increasing levels of genetic diversity in the parasite made it better able to become established in the grassland.\nWe did this by planting 150 pots in total with either nineteen (75 pots) or five (75 pots) species of plants that are commonly found in mesotrophic (neither acidic nor calcareous) meadows across the UK. We then planted 100 of these pots with yellow rattle either from a single seed source (50 pots) or from multiple seed sources (50 pots). As functional group diversity can influence interactions between yellow rattle and its hosts, we controlled the relative abundance of grasses, legumes and non-leguminous forbs across all treatments. We ran the experiment for two years and harvested above ground biomass each year, which we separated into the three functional groups. We also monitored establishment and growth of the parasitic plant.\nWe found that in meadows with high species diversity, the parasite had more difficulty becoming established than in meadows with fewer plant species. However, when the parasites had higher levels of genetic diversity, the density of infection increased and the parasites became established more easily, especially in the longer term (Figure 4). Therefore, species diversity protected the host plant community from infection by the parasite, but genetic diversity helped the parasite to become established.\nWe showed that in hay meadows, biodiversity both within and among species is important for regulating levels of infection by a parasite. This information is potentially useful for meadow restoration projects using yellow rattle, as planting in low diversity patches and using genetically diverse seed sources of the parasitic plant should promote establishment. We also showed that patterns of yellow rattle occurrence across multiple years within grasslands (where the parasite appears to move in waves across the community, as modelled by Cameron et al. (2009), could be explained by the relative species diversity of the host community and genetic diversity of the parasite.\nJennifer Rowntree, Manchester Metropolitan University, UK\nRead the full paper online: The contrasting roles of host species diversity and parasite population genetic diversity in the infection dynamics of a keystone parasitic plant and the Manchester Metropolitan University press release.", "label": "No"}
{"text": "Modules – A better Understanding of Dimension\nRight now everyone is working on modules in the Design Foundation Course. After creating more or less flat 2D reliefs this was the next step in understanding dimension. It’s really quite different from simply drawing something on paper.\nThere are a lot of new things one has to consider when going 3D! First of all you have to design your object with modular attributes. In this phase I made many quick sketches and made some modules out of paper on the fly to test their functionality. That’s were most mistakes can be found (and should be since it’s really time consuming to do everything all over again because you overlooked something). The second step is creating the construction draft. It’s best to use the computer for this part. It’s much more precise. Step three is choosing the right material (I used 250 g/m² copy paper and regular glue). In order to test the full range of combinations you’ll need at least 20 modules.\nIn my point of view the most important part is the designing phase. If you make mistakes here everything you produce later on is meaningless in the end. That’s why you shouldn’t miss out on the testing phase! Although you can’t find every possible flaw you sure can avoid making major mistakes making all your efforts worthless. When I created my modules initially they did look sturdy but after constructing a few bigger units I realized the connections were too unstable. Therefore I had to redesign everything and start all over again 🙁\nBut now everything works out just fine 🙂", "label": "No"}
{"text": "What caused these empires to rise?\nThe European empires mainly, the Spanish, English, and Ottoman empires at some point in history reached their height of dominance in particular between the 15th century and 19th century. Several reasons can be attributed to their dominance to their dominance firstly, their rulers who were willing to do anything to ensure that their kingdoms were dominant. Secondly, they had large armies that could conquer other territories easily in their world expedition. Thirdly, their system of governance was near perfect that the soldiers gave their all in a time of battle to see their empires grow. Fourthly, the countries were wealthy, and they right finance big wars without affecting their economy. Finally, the nations were strategically placed for trade with outside world with deep harbors.\nCharacteristics that enabled them to become Cohesive\nSome of these empires mainly the Spanish and English empires were willing to do anything to see that they won their wars. Some of the fighting strategies that thy used were divided and rule that they could insight their enemies fight against each other to weaken themselves. Such mechanisms would make it easy for them to conquer their enemy easily. Economic, growth was another characteristic as the industrial revolution pushed the Empire trade routes and market around the world. Similarly, new imperialism enables the nations to expand their empire across the world in areas such as Africa, Asia, and America.\nMartin Luther Reforms\nMartin Luther helped create national identities and modern day European nations. He believed that people should not pay the churches and receive forgiveness of their sins and the church was not enough to get an individual a gate pass to heaven. Such activities he achieved through religious reform where he changed his allegiance from Roman Catholic to Protestant. This gave birth to catholic and Protestant empires in Europe.", "label": "No"}
{"text": "Students take on the role of an expert witness in a lake sturgeon poaching trial. Using a variety of data sets they identify the need to visually represent data in order to find\ntrends and make predictions, and provide evidence based reasoning to explain their findings\nin a fish poaching case study.\nHydropoly: A Decision Making Game\nStudents play a board game to hone their decision-making skills. Through the various choices posed in the game, they are asked to consider both economic and environmental well being in making decisions.\nRival for Survival\nThis game presents real-life choices involving exotic species found in the Great Lakes, such as zebra mussels and purple loosestrife. Students are to analyze a situation related to ecology and make an environmentally sound decision. After playing the game, students organize what they learned into a concept map.", "label": "No"}
{"text": "Have you noticed? Despite Australia’s on-going fire disaster, there are no shortage of reports telling us to … relax – it’s nothing new, and that it’s the fault of not enough hazard-reduction burning. And certainly, it’s nothing to do with global warming, which by increasing temperature, has exacerbated what would already be an extreme drought.\nThe total area burnt in the current fires is now 8.4 million hectares. However, various pundits keep emphasising that as long ago as 1851, Victoria’s ‘Black Thursday’ bushfires burnt “five million hectares” – a figure often paired with “a quarter the size of Victoria!” (as an example, this from The Australian). Their point is that a large, early fire in Australia, somehow diminishes the importance of what we are seeing now.\nClearly a large amount of Victoria burnt in 1851 – but elementary scepticism demands, where did this oft-repeated figure of ” five million hectares” come from? It’s important, because it is being compared directly with the current, carefully mapped, burnt areas. Finding an original source seem elusive. For example, ‘Wikipedia‘ references the Year Book Australia 2004, which seems to go back to the Department of Sustainability and Environment’s ‘Major bushfires in Victoria’ http://www.dse.vic.gov.au where we find that “a quarter of what is now Victoria (about five million hectares)”, but which isn’t referenced further to any authority.\nThe only attempt at a map of the 1851 Black Thursday fires that I know of appears in Paul Collins’ 2014 (highly recommended) book ‘Burn: the epic story of bushfire in Australia‘. However, the area which he shows as covering what I would say was the core of the Black Thursday fires is 2.07 million hectares. Collins indicated two much smaller fires on the coast and two distant, inland fires, beyond which nothing is known except reports that something burnt. The total burnt area on Collins’ map is 2.67 million hectares. Collins does not quote that “five million hectare” figure, but does state that “actual area of fire” is “probably much larger”. The Black Thursday fires were clearly huge, but the point is – we appear to have no accurate figure for how much they burnt .\nWhatever area was burnt in 1851, simply comparing areas burnt is not a helpful way of ranking fires. For example, some other historical fires have burnt much greater areas, but I think they have mostly been in grassland, savanna or shrubland. The Black Thursday fires appear to have been largely forest, so in that sense, may be more comparable with what’s happening now (which certainly include more than just forest). But in 1851, Victoria did not have a bushfire fighting service and, as far as I know, no aerial water-bombers. A more realistic comparison with 1851 would be the area which would have burnt this season – without the massive fire-fighting efforts.\nSo, was the extent of the 1851 Black Thursday fires a result of ‘greenie’ policies that stopped people doing hazard reduction (control) burns to remove undergrowth? Very definitely not.\nMore seriously, could the fires have been the result of eliminating the Aborigines? In the early 19th century, and under normal circumstances, Aborigines would have been burning a lot. The practice of Aboriginal burning mainly entered western consciousness with the 1969 paper by Rhys Jones on ‘Fire stick farming’, and more recently in Bill Gammage’s book ‘The Biggest Estate on Earth, How Aborigines made Australia‘). The primary reason for this ‘cultural burning’ was to maintain biodiversity. Cool burning created a landscape mosaic of small patches of differently-aged vegetation. To some extent, the burning was also to maintain low fuel levels in the vegetation (This aspect of the burning may have been to replace the effects of megafaunal extinction thousands of years earlier -see Tim Flannery’s ‘The Future Eaters‘). However, whether this corresponds to what is currently called ‘Hazard Reduction’, or ‘Control Burning’, is more arguable, as Aboriginal management may not have allowed the appearance of hazard in the first place (It’s also pays not to generalise – Australia is a big place and with an extremely diverse range of indigenous cultures).\nBut by 1851, relations between Aborigines and European settlers in Victoria had been deteriorating for over a decade. A frontier war had begun and Aborigines were being steadily dispossessed. Was this enough to significantly decrease Aboriginal burning, and consequently, for dangerous amounts of fire-prone undergrowth vegetation to establish?\nThe situation in Victoria immediately before the 1851 fires was described by William Howitt (1854), shortly after he had experienced them first-hand:\n“Both natives and colonists, who camp out in the bush, make fires, and leave them burning when they go away … you may see scores of these fires, as you travel through the forest, still burning. The trunks of trees will indeed burn for weeks… I have myself seen bullock drivers make a fire at noon to cook their dinners as they halted on the road, go away and leave it burning, and in less than half an hour afterwards it has caught the grass, and has spread over an inconceivable extent of the forest. In a few hours such a fire with a breeze will have raged through miles of forest; and will not stop till its progress is averted by a river , a road, or a clear valley destitute of long grass. You see, as you travel on, constant evidences of these fires sweeping along the mountains to the very tops, clearing everything but the largest and most solid trees before them.”\n“Besides these accidental causes, now incalculably increased by the tens of thousands of diggers who are traversing the country in all directions, and who make fires at every halting-place, the natives set fire to the bush to drive out the game, which they stand prepared to attack in its flight; and also to destroy the long dry grass, and make it give place to young sweet grass” (Transcript from John Blay 2009).\nSo short answer – probably not. Even if Aboriginal presence had decreased, the impact of settlers had increased vastly. Their burning wasn’t carried out with the benefit of thousands of years of experience, but it seems that in 1851, every man and his dog was setting fire to whatever they could. There was no effective law, and certainly no greenies to stop them. It’s hard to imagine that there has ever been a time in Australia when more ‘fuel’ was being burnt, as soon as it was possible to burn it. If Australia needs the results of an ‘experiment’ to see what wholesale hazard-reduction burning will do, it has one. Despite all that burning -Australia still had one of its biggest fires in historical times. Perhaps not everyone recognises a difference between ‘cultural burning’ and ‘hazard reduction burning’, but those who do, would say that hazard reduction burns are hotter. While they remove fuel in the short term, it’s widely understood that they simultaneously trigger, or maintain, a cycle of thick, hazardous understory growth. The dilemma seems to have been understood by some by the time the 1939 fires came along.\nSo, apart from fuel levels possibly being initiated by European burning practice, why were the Black Thursday fires so extensive? William Howitt (1854) was pretty blunt:\n“the country was this year visited with an extraordinary and intense and long-continued drought” and then …. “one of these hot winds came”.\nThat is, the effects of a climate extreme over-rode the effects of fuel-reduction. That’s what’s going on now.\nConditions now are so bad, after a long drought and extreme heat, that fuel is no longer the controlling factor. As Keeley and Syphard (2019) have proposed for Californian fires, we ought to distinguish between “fires that are clearly dominated by anomalously high fuel loads from those dominated by extreme wind events.”\nHowitt may have had that figured out, back in 1854.\nHowitt, W. 1854. Black Thursday -The great Bush Fire of Victoria. Cassell’s Illustrated Family Paper, 1 (6). London, Saturday , February 4, 1854. The link will take you to John Blay’s transcription on his web site.\nJones, R. 1969. Firestick farming. Australian Natural History, 16:224–23.\nKeeley, J.E. and Alexandra D. Syphard, A.D. 2019. Twenty-first century California, USA, wildfires: fuel-dominated vs. wind dominated fires. Fire Ecology, 15:24 https://doi.org/10.1186/s42408-019-0041-0", "label": "No"}
{"text": "Medical Detoxification is a process whereby individuals are systematically withdrawn from addicting drugs in an inpatient or outpatient setting, typically under the care of a physician. Detoxification is sometimes called a distinct treatment modality but is more appropriately considered a precursor of treatment, because it is designed to treat the acute physiological effects of stopping drug use. Medications are available for detoxification from opiates, nicotine, benzodiazepines, alcohol, barbiturates, and other sedatives. In some cases, particularly for the last three types of drugs, detoxification may be a medical necessity, and untreated withdrawal may be medically dangerous or even fatal.\nDetoxification is not designed to address the psychological, social, and behavioral problems associated with addiction and therefore does not typically produce lasting behavioral changes necessary for recovery. Detoxification is most useful when it incorporates formal processes of assessment and referral to subsequent drug addiction treatment.", "label": "No"}
{"text": "Skip to Content\nHome > Patients & Visitors > DAISY Award Nomination > Continuous Glucose Monitoring\nView Additional Content In This Section\nWhen you test your blood sugar, you learn your blood sugar level at that time. But you can't tell what's happening to your blood sugar the rest of the time—especially overnight. A continuous glucose monitor, or CGM, can do that for you. It reports on your blood sugar at least every 5 minutes, day and night. And it sounds an alarm if it sees that your levels are headed out of range.\nA CGM has three parts. You wear one part—the sensor—against your skin. It has a tiny needle that stays under your skin. A transmitter is attached to the sensor and constantly reads your blood glucose level. It sends this information to the other part of the monitor, a wireless receiver that you (or a caregiver such as a parent) wear on your belt or in your pocket.\nAt any time, you can look at the receiver and see what your glucose level is. You can see if your level is going up or down—and how fast. You can download the information to your computer and see the trends and patterns of your glucose levels.\nYou note on the receiver when you eat, do exercise, and take insulin. That way you can see how those activities affect your blood sugar throughout the day and night.\nAll this detailed information gives you and your doctor a better idea of what your treatment needs are.\nContinuous monitors are not as accurate as standard meters. At least once or twice a day, depending on the type of monitor you buy, you will have to prick your finger and use your standard meter to confirm what the CGM is telling you.\nA CGM is constantly measuring your blood sugar. This information helps some people who have diabetes make decisions about what to eat, how to exercise, and how much medicine to take. Using a CGM has been shown to give people with type 1 diabetes better control of their blood sugar levels, with fewer low blood sugar emergencies.\nThe alarm feature of a CGM can be set to alert you if your blood sugar is quickly going up or down, or if you have a blood sugar level out of your target range. This is helpful for people who have problems knowing when they have low blood sugar (hypoglycemic unawareness). Parents, partners, or caregivers can be alerted when your blood sugar is dropping quickly while you are asleep.\nCGMs also work with some glucose meters and some work with insulin pumps.\nYou're most likely to be successful with a CGM if:\nHealth Tools help you make wise health decisions or take action to improve your health.\nOther Works Consulted\nJuvenile Diabetes Research Foundation Continuous Glucose Monitoring Study Group (2008). Continuous glucose monitoring and intensive treatment of type 1 diabetes. JAMA, 359: 1–13.\nJuvenile Diabetes Research Foundation Continuous Glucose Monitoring Study Group (2009). The effect of continuous glucose monitoring in well-controlled type 1 diabetes. Diabetes Care, 32(8): 1378–1383.\nByHealthwise StaffPrimary Medical ReviewerE. Gregory Thompson, MD - Internal MedicineKathleen Romito, MD - Family MedicineSpecialist Medical ReviewerRhonda O'Brien, MS, RD, CDE - Certified Diabetes Educator\nCurrent as ofMay 22, 2015\nCurrent as of:\nMay 22, 2015\nE. Gregory Thompson, MD - Internal Medicine & Kathleen Romito, MD - Family Medicine & Rhonda O'Brien, MS, RD, CDE - Certified Diabetes Educator\nTo learn more about Healthwise, visit Healthwise.org.\n© 1995-2015 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.", "label": "No"}
{"text": "Diamonds and Gemstones come in every hue, tone, and saturation.\nThey are born of the earth, becoming something exquisite when cut and polished.\nTheir beauty is everlasting and can be found in the unique work created by Sorrel Sky jewelry artists.\nAmethyst is a purple quartz gemstone that comes in a wide tonal range from lavender to deep plum. The Roman gods prized amethyst as a talisman to ward off the intoxicating power of Bacchus (the god of wine). Great thinkers like Leonardo da Vinci believed that amethyst could dissipate evil thoughts and quicken the intelligence. Amethyst is the birthstone for February.\nBlue Topaz is a shade found rarely in nature, but is today the most common color. After raw topaz is extracted from the earth and cut, it is irradiated to brown and heated to sky blue. This enhancement process is permanent. The Greeks believed that topaz had the power to increase strength and make its wearer invisible before a time of emergency. Other legends say that topaz dispels all enchantment and helps to improve eyesight.\nCitrine is a yellow quartz gemstone whose name is derived from the French word for lemon. Brazil is the leading producer of naturally mined citrine. Most citrine is created by heating amethyst or smoky quartz to a brilliant yellow-orange color. In ancient times, citrine was carried as a protection against snake venom and evil thoughts. Citrine is the alternate birthstone for November.\nDiamond is the hardest material known to man and derives from the ancient Greek word adamas meaning invincible. Diamond is celebrated for the purity of its brilliance. Diamonds are graded based upon cut, carat weight, color, and clarity. Cut describes the way a diamond is shaped and polished into a gem. Often diamond cut is confused with “shape.” Carat weight measures the mass of the diamond. One carat = 200 milligrams. Clarity is a measure of internal defects called inclusions. Diamonds are graded on a scale ranging from flawless to imperfect. Diamond is the April birthstone.\nPeridot comes in shades of spring green and was prized by the Ancient Egyptians 3,500 years ago. In Hawaiian legend, peridot is the divine tears wept by the goddess Pele. Peridot has been credited with a host of magical powers and healing properties, such as protection against nightmares and warding off evil. Peridot is the August birthstone.\nSapphire is one of nature’s most durable gemstones. Ancient Persian rulers believed that the earth rested on a giant sapphire and its reflection colored the sky. The Latin name Sapphiru means blue. Sapphire is most familiar as a blue stone, but Sapphire may come in many other shades from pink to golden, orange to twilight. Sapphire has long symbolized a pledge of trust and loyalty and is popular for engagement rings. Sapphire is the September birthstone.", "label": "No"}
{"text": "The search for super-particles continues!\n20 March 2017 | By\nMany of the most important unanswered questions in fundamental physics are related to mass. Why do elementary particles, which we have observed and measured at CERN and other laboratories, have the masses they do? And why are they so different, with the mass of the top quark more than three hundred thousand times that of the electron? The presence of dark matter in our universe is inferred because of its mass but, if it is a particle, what is it? While the Standard Model has been a tremendously successful theory in describing the interactions of sub-atomic particles, we must look to even larger masses in search of answers and, potentially, new supersymmetric particles.\nMany theories that go beyond the Standard Model, like supersymmetry (SUSY), suggest that some of the things missing from the current theory can be explained by the existence of undiscovered \"partners\" of the known elementary particles. Just as we know that particles, like the electron, can also have \"anti\"-particles, like the positron, SUSY predicts that each particle also has a super-partner; for leptons, there would be \"sleptons\", for quarks, \"squarks\", and so on. It is possible that dark matter is composed of one of these new particles.\nWhile these super-partners are like their Standard Model counterparts in many ways, they must differ in one thing: their mass. Since we have yet to observe any of these super-partners it is likely that, if they exist, they are even heavier than we’ve been able to probe in the past. With the LHC energy of proton-proton collisions increased to 13 TeV, data collected by the ATLAS experiment provide the perfect opportunity to search for these massive super-particles.\nUsing the full Run 2 dataset collected to date, ATLAS has just completed a new search for evidence of SUSY.\nUsing the full Run 2 dataset collected to date, ATLAS has just completed a new search for evidence of SUSY, specifically searching for the production and decays of squarks and gluinos, the super-partner of the gluon. In these SUSY events, the pair-produced super-particles decay to quarks, potentially W and Z bosons, and neutralinos – a stable particle that escapes detection and could explain the identity of dark matter in the universe. To infer the presence or absence of super-particles, ATLAS analysts examined events containing high momentum jets of particles, coming from the decay of heavy super-particles, and a large amount of missing momentum resulting from escaping neutralinos. This information is combined into specialized kinematic observables, like the \"effective mass\" shown in Figure 1. As the name suggests, this variable is sensitive to the masses of potential super-particles produced in a proton-proton collision, with signals expected to appear as localized excesses of events on an otherwise steeply falling background.\nThe search failed to observe evidence of SUSY particles in the ATLAS data, but the null result is still informative. The absence of any significant excess of events is interpreted as constraints on potential SUSY scenarios, which could describe our world. An example of such a constraint is shown in Figure 2, where exclusion limits on the SUSY particle masses in events with squark and gluino production are summarized. While evidence of SUSY remains elusive, this search further restricts its prospects, with SUSY particle masses excluded up to 2 TeV and models with potential dark matter particles up to 1 TeV. And so the question remains: are super-particles out there? And if so, how massive are they?\n- Search for squarks and gluinos in final states with jets and missing transverse momentum using 36 fb−1 of 13 TeV proton-proton collision data with the ATLAS detector (ATLAS-CONF-2017-022)\n- Presentation at Moriond Electroweak Conference by Emma Siam Kuwertz: \"Pushing limits on generic squarks and gluinos at LHC at 13 TeV\"\n- See also the full lists of ATLAS Conference Notes and ATLAS Physics Papers.", "label": "No"}
{"text": "The photographs taken by a machine are the remnants of one the first successful attempts\nat exploring our nearest celestial neighbour.\nSo far yet so close: NASA Lunar Orbiter Photographs\nAll photographs are available for purchase. Prices upon request. For further information please send an email to: firstname.lastname@example.org\nMapping the surface of a planet does not sound impossible nowadays. But what if we were to go back in history by about half a century? The Lunar Orbiter missions, launched by NASA in 1966 through 1967, provided humanity with an invaluable trove of knowledge about the Moon’s landscape. Different parts of the satellite’s surface were laboriously documented by five spacecrafts during this period. These were the first images from the lunar orbit that included photographs of both the Moon and the Earth.\nThe photographs taken by a machine for an astronomical research mission are the remnants of one of humankind’s first successful attempts at exploring our nearest celestial neighbour. These monochromatic images display our rocky satellite’s surface from different angles and altitudes and with variations in lighting. Some show the Moon in its near-entirety, clearly revealing the “border” between day and night. Stark contrast of shadows and light on the contoured wasteland reveal gaping black holes: the craters that the missions were surveying. The images convey the silent immensity of outer space. In some, we see the Earth from a lunar perspective: proof of how isolated our Blue Marble really is. We are presented here with an altogether unique aesthetic, made possible by the perfect geometries of our celestial bodies, the play of light and shadow and the historically monumental nature of the Orbiter missions.\nAll offers are noncommital. We cannot guarantee the items are still available on request.\nMuseum of Moving Image - Envisioning 2001: Stanley Kubrick's Space Odyssey Queens Museum - Bruce Davidson: Outsider on the Inside The Morgan Library and Museum - Beethoven 250: Autograph Music Manuscripts by Ludwig van Beethoven Chateau de Versailles - Fountains Shows and Musical Gardens", "label": "No"}
{"text": "Tribal art > African Statues > Statue Mangbetu\nAncestor figure Mangbetu Nebeli (N° 18140)\nWatch the video\nWoman's Figure associated with fertility.\nSouvent represented in a noble and graceful attitude, the female statues of the Mangbetu are probably ancestors of the clan. The geometric patterns traced evoke the body paintings and tribal scarifications of the Mangbetu, similar to those of the Asua pygmies with whom the tribe had relations. The latter varied depending on the circumstances. The fan hairstyle was sported by the Mangbetu: from an early age, children were compressed from the cranial box by means of raffia ties. Later, the Mangbetu their hair on wicker strands and applied a headband to the forehead to extract the hair and produce this particular headdress that accentuates the lengthening of the head. The ancient names beli these figures of ancestors stored out of sight and comparable to those belonging to their secret society nebeli .\nSemi-mate Brown Medina. Ochre residual inlays.\nThis item is sold with its certificate of authenticity\nEstimated shipping cost\n|Country||rdc ex zaire|\n|Estimated dating||circa 1960|\nYou could also be interested by these items", "label": "No"}
{"text": "LAWRENCE — A University of Kansas anthropology researcher has helped community members in western Kenya develop the first dictionary of their local Ekegusii language.\nIt's a Bantu language that has had trouble surviving with Kiswahili and English as Kenya's national languages.\n\"Ethnically there is a large number of Ekegusiis, but people who actually claim competency in the language that is currently associated with them is relatively low,\" said Carlos Nash, an assistant professor of linguistic anthropology and language technology.\nNash aided the Kenyan authors, Kennedy Bosire and Gladys Machogu, with production of the dictionary that translates Ekegusii words, terms, idioms and local proverbs into English.\nThe dropping off in use of local languages in Africa is a major fear today, he said. The British occupation of Kenya in the early 1900s introduced English to the region, but most Kenyans were bilingual in English and their local language until Kenya gained its independence in the 1960s. Most people born since then speak Kiswahili and English.\nStrict policies now only allow students to learn Kiswahili and English in school in second grade and beyond. There is still a relatively large elder population in the region who still do speak only Ekegusii.\n\"We have heard major concerns from the community that a lot of children were not learning the language any longer,\" Nash said. \"They were having difficulty speaking to grandparents.\"\nNash originally became involved in the project in 2008 as a doctoral student at the University of California Santa Barbara and through CoLang: Institute on Collaborative Language Research (formerly InField), which provides training for linguists on a wide range of skills in community-centered language documentation.\nEkegusii has a tonal system, and CoLang researchers needed a phonologist to help decipher it. Nash spent time in Kenya collecting data, reaching out to the community there and helping provide Bosire and Machogu with the necessary tools they needed to produce the dictionary, which included technology and help with graphic design and formatting, for example. The project follows a model of anthropological research known as empowerment.\n\"Yes, we do research on the community, and yes, we do research for the community,\" Nash said. \"But we also do research with the community in a sense that we train them to be able to produce academic knowledge for their own goals. So we're there to empower native speakers to save their own languages.\"\nAs Nash's academic research related to the Ekegusii tonal system continues, Bosire and Machogu were able to publish the dictionary in June 2013. They released it in Mombasi, Kenya's third largest city, and in Kisii, the authors' hometown.\nThe response has been positive. Kisii Governor James Ongwae publicly supported the effort and contributed funds to create a cultural center and cultural activities to foster various cultural groups in the area. Schools and libraries are getting the dictionary.\nNash hopes to build on the momentum in coming years to expand it to learning materials in Ekegusii to help children prior to second grade learn the language. There is a low literacy rate in the area, and Ekegusii is mostly just spoken.\n\"For most of them this is probably one of the first times they've seen a major print work of their language,\" he said.\nAnd now they can read and see the meaning behind Ekegusii proverbs such as \"Abarami ikubu riateka,\" which in English means: \"Those who use foul language are like a burst rotten egg.\"\n\"It's actually more than a dictionary. It's a cultural product,\" Nash said. \"They put everything in here that they found valuable within the culture. For them it was more about grasping or solidifying part of their identity.\"\nRetracing the cultural history of the Ekegusii is part of his research on the language's tonal system. He considers the Ekegusii as probably a couple of different Bantu groups that have come together through migration, and there are features in the language he sees preserved that other Bantu languages have lost. It's also appears to be closely tied to a local language in Tanzania, so he is working to dig deeper and continues to do a typological analysis on understanding the history of Bantu languages.\nPreserving endangered languages around the world is the mission of CoLang. KU played host to the 2012 CoLang institute, which Arienne Dwyer, a professor of linguistic anthropology, secured with a National Science Foundation grant, and she invited Nash to serve with her as co-director. The University of Texas at Arlington will host the 2014 institute in June and July.\n\"Languages are a product of the human mind, and anthropologists are interested in it and understanding why it is that the mind is so flexible to produce something this way and then also produce a compatible product in another way. It lets us understand who we are better,\" Nash said. \"From a humanistic side, language is an aspect of our identity. For many of these people, if they lose their identity, not only do they lose that sort of sense of self, but they also lose part of their culture. There are things that our language preserves about our culture, and so for them, it's that culture and identity aspect that is important to keep.\"", "label": "No"}
{"text": "Throughout history, the term “law” has been defined in many ways. In a broader sense, it can refer to a system of rules and regulations that are enforceable by social institutions. Law also has a range of synonyms including rule, canon, statute, ordinance and precept.\nLegal theory generally focuses on the attributes of law and its ability to impose normative goals. For example, the concept of “natural law” emerged in ancient Greek philosophy as a way of defining a principle governing action and procedure. It then made its way into mainstream culture in the writings of Thomas Aquinas.\nThe idea of “law” can also be viewed as a set of rules that are enforced by governmental institutions. It can also be viewed as a set that serves to preserve individual rights, protect minorities from majorities and maintain peace within a nation.\nA variety of legal systems serve these purposes more effectively than others. Those systems include civil law and religious law. Regardless of the particular system, the concept of “law” is a central feature of the modern legal system.\nThere are a number of important differences between these systems. For example, civil law legal systems are usually shorter and more focused on judicial decisions. Religion-based legal systems, such as Islamic Sharia, are explicitly based on religious precepts.\nModern lawyers must acquire a degree in law, usually a Bachelor of Laws, or a Master of Legal Studies. Modern lawyers also typically need to pass a qualifying examination to be licensed to practice law.", "label": "No"}
{"text": "US Naval Aviation Training Division\nMartin Baltimore World War 2 US airplane\nOriginal aeroplane identification poster, 1942\nBuilt by the Glenn L Martin Company in the United States it was used during World War II almost exclusively in the Mediterranean and Middle East theatre. The first aircraft were delivered to Britain in 1941. Although 1575 were produced, no aircraft has survived intact – although the wreckage of several is known to exist.\nIf you are interested email email@example.com or call us on 07929 749056.", "label": "No"}
{"text": "Bucchero, the Etruscan pottery\nBucchero ware, fired to homogeneous black, is a characteristic type of Etruscan pottery, unique in the entire Mediterranean. Bucchero workshops operated in many Etruscan centres from the 7th century BC. Their products are sometimes easily identifiable: for example, the shape of the amphora with broad flat handles (1) is typical of Caere. The wall of the vessel is extremely thin, the surface is glossy black, illustrating the quality of early bucchero ceramics.\nBucchero vases are generally plain, but decoration in relief is not uncommon either. The decoration of the two vessels from Clusium was created with a negative mould (2–3), and the animal frieze encircling the footed cup from Tarquinia (4) was impressed with a cylinder seal. Workshops in Orvieto typically filled the grooves of the decoration with lime (5). Bucchero was produced outside Etruria as well, in Campania under Etruscan hegemony (6). Shapes assimilated from Greek pottery are also frequent (3, 6).\nBucchero vases were exported in large quantities in the 7th and 6th centuries. As opposed to other Etruscan pottery types, they were on demand not only in the western part of the Mediterranean, but also in Hellas. The kantharos (7–9) was so popular that – influenced by bucchero examples – the shape also spread all over Greece, becoming one of the attributes of Dionysos.", "label": "No"}
{"text": "Pearl shells, known as riji or jakuli in the Bardi language, are associated with water, spiritual powers and healing due to the luminous shimmering quality of their surfaces. Bardi equate the light reflecting off the shells to lightning flashes, which are prominent during the monsoon, and to lights flashing off the cheeks of the Rainbow Serpent, who is closely linked to water and rain.\nThe tradition of interlocking designs etched into the surfaces of pearl shells is distinctive in Aboriginal art. The incised designs are highlighted with a mixture of ochre and resin, which is rubbed into the grooves. Decorated and plain pearl shells are used for rain-making and magical purposes, for trade, in ceremonies and as personal adornments such as necklaces or pubic covers when they are worn attached by belts or necklaces of hairstring.\nRiji originate around Broome, in the west Kimberley region. They are objects of great value and have been exchanged along ancient trade routes over vast areas of the continent. They appear as far afield as Yuendumu in the desert, south-eastern Arnhem Land, Queensland and South Australia. Often plain pearl shells are decorated further along trade routes, far from their place of origin.", "label": "No"}
{"text": "Like Picasso, with his extraordinary etchings or engravings, linocuts or lithographs, Braque, Chagall, Miro, Soulages, Chillida, Dali, Alechinsky or Giacometti, like so much of other Masters in the art of the print, used several graphic technical of expression; as other terms related to the world of the print (which gathers the whole of these techniques), they are here briefly presented to you.\nClick on the following links to access definitions.\nThe term “print” refers to an image created by means of :\nStone for lithograph\nA copper needle for etching, aquatint, engraving, drypoint and mezzotint.\nWood for woodcutting or linoléum for linocutting.\nA silk screen for screenprint or serigraphy\nAfter the signature of the approval contract (bon à tirer) the next stage is the production of a few limited editions. The printing can be carried out on different grades of paper. The artist always signs the work carried out.\nWe do make the distinction between original printing and interpretation printing.", "label": "No"}
{"text": "Historical photography shows more than reality; it depicts a moment in time when future is uncertain, and yet the moment portrayed may never know its participation in history.\nThe Taikang Space gallery in Beijing opens an exhibition that reflects one such extraordinary moment in China’s recent history. “Home for Photography Learning: The Friday Salon, 1977-1980” shows a series of works involved in The Friday Salon, a cultural phenomenon that took place in an assigned two-bedroom accommodation of an employee of the Division of Repair and Maintenance of the Beijing Film Studio and amateur photographer, Chi Xiaoning. In a way it was a “studio affair” as most of the students were children of the Film Studio’s staff and teachers were the Studio’s photographers. At its peak, the home or workshop had more than 40 students and caught the attention of the police, as too many bicycles had pilled up at the front door.\nDuring the Cultural Revolution, Mao Tse tung had forced 17 millions of young people in urban areas to work on the land in mountain areas, known as the Down to the Countryside Movement. With the end of the movement, the returning youth experienced a process of readjustment and were eager for knowledge, especially for the arts, but had nowhere to go. The workshop offered them a rare opportunity of education and practice of photography for nearly three years. Then It gradually dissolved, as teachers got busy with other activities, and students went about to find jobs related to publishing, film and arts.\nThe exhibition also showcases the cameras used at the time, hand-made photo albums, reference books, lecture notes, and projectors.\n* Image on slider: “An old man”, by Chi Xiaoning, 1979", "label": "No"}
{"text": "|Zuni Indian Legends\nZuni Indian Creation Legend\nIn Zuni myth, before humans were fully\nformed, they lived underground, in the\ndark. When they finally emerged to the\nsurface through a series of caverns,\nthey had to shield their eyes, which, like an owl's, were unused to daylight. The world had\nbeen covered with water; it was damp and wracked by earthquakes. The humans lived on\nan island surrounded by water, preyed upon by strange monsters that rose up from the\nTwo mythical brothers, twin children of the Sun, realized that the world needed to be\ndried out and solidified lest the humans succumb to the monsters. Wielding a magic shield,\na rainbow, and arrows of cosmic lightning, the two ignited a tremendous conflagration.\nThe fire raged over the face of the earth, scorching it dry and hardening the ground.\nBut now, on the newly dry land, powerful predatory animals, with their talons and sharp\nteeth, threatened to multiply and devour the human beings, who were so much weaker. So\nthe two brothers strode across the world, blasting mountain lions and other creatures\nwith lightning. \"We have changed you into rock everlasting,\" they proclaimed, as they\nstruck the animals with their lightning--thlu! Yet the petrified creatures retained the\nheart and \"magic breath of prey\" that had made them powerful, and they became\nwe-ma-we, or fetishes, helpers that would serve people instead of devouring them.\nZuni Indian Cooked People Legend\nThose who are to be human beings, Cooked People or Daylight People, exist within the\nearth at a dark and crowded place four levels below the present surface. The Sun Father\n(Yatokka taccu) commands that his sons (Ahayuta, the warrior twins) lead the emergence\nof the people into the daylight.\nThe people have no mouth openings. Their fingers and toes are webbed, and they have\nhorns and tails. The warrior twins slit mouth openings in the people's faces, cut their\nwebs to form fingers and toes, and cut off their horns and tails.\nA priest's son and daughter are sent to find a place where the people may live. The sister\nand brother commit incest; their children are the koyemshi. The people travel about\nlooking for a place to live. A water strider, an insect that skates on the surface tension\nof water, places its feet at the edges of the world.", "label": "No"}
{"text": "Researchers of the Universitat Politècnica de València in Spain have developed a new sensor system able to quickly and non-destructively detect the risk of corrosion in the concrete structure of buildings and do so when the first symptoms appear.\nThe information provided by this system, which has been patented by the UPV, is of particular significance for building safety. It enables any necessary intervention to be made sufficiently in advance, reducing, at the same time, repair and maintaining costs.\nThe system also includes a pulse voltammetry unit, which provides information on the intensity of the corrosion for every point in the network of sensors of the structure analyzed, and specific software for analyzing the electrical response from each sensor.\nToday, the most common way to determine the corrosion speed of the rebar in a reinforced concrete structure is based on destructive techniques, for which it is necessary to expose the rebar at a certain distance in order to electrochemically measure the intensity of the corrosion. It is then necessary to repair the area with mortars.\nIts benefits include a reduction in the time and cost of the diagnosis of the structure. In addition, it is able to register in real time the state of maintenance and the speed of corrosion of the rebar at several points of the structure, even in non-accessible areas.\nThe system could be installed both in new constructions and restoration projects. In the first case, it must be incorporated when the concrete is poured in those areas of the structure most exposed to corrosion caused by humidity, carbon dioxide or chlorides, among others. In restoration projects, it permits a non-destructive control and monitoring of the effectiveness of the restoration.\nMiguel Alcañiz, Román Bataller, José Manuel Gandía, José Enrique Ramón and Juan Soto, researchers at the Centre for Molecular Recognition and Technological Development (IDM, in Spanish), together with Manuel Valcuende, from the Grupo de Recuperación del Patrimonio Cultural of the Universitat Politècnica de València have taken part in the development of this project.\nreprinted from materials provided by Asociación RUVID", "label": "No"}
{"text": "Following on from my last post about Conway’s nimbers, here’s how to perform an Elgamal style encryption and decryption. Recall that if is a finite group generated by of order , then Alice chooses as her private key any number and publishes as her public key. For security, we assume that the discrete logarithm problem is intractably difficult in ; that is, given and , there is no easy way to find . Messages are converted to elements of the group. If is one such message, Bob sends it to Alice by first creating a random \"message key\" , and computing\nas the ciphertext.\nAlice decrypts the ciphertext by computing . This works because\nFor the nim-field, choose a proper subfield of order consisting of all integers less than . Consider the cyclic group and suppose is a generator. Then all the above operations carry across. The nice thing here is that as group elements are all non-zero integers less than , encoding a message as a group element will be very easy, and decoding a group element to a message likewise. For example, treating as a binary file with length less than , its bits can be interpreted as the base 2 digits of an integer less than .\nFinding a generator can be done by trial and error. We start by noting that as all integers less than form a proper nim-subfield, any generator of must be at least as great as . Assume that can be fully factored, and that its prime factors are . Then is a generator if none of the values\nAs an example, choose so that . This is a small number as far as secure cryptosystems go, but will suffice for a demonstration:\nsage: load nimbers.py sage: from nimbers import NimberField sage: F = NimberField() sage: n = 6 sage: N = 2^(2^6) sage: ps = [p for p,e in factor(N-1)] sage: ps [3, 5, 17, 257, 641, 65537, 6700417]\nNow to find a generator:\nsage: while true: ....: a = F(randint(2^(2^5),N)) ....: if [a^((N-1)/p) for p in ps].count(1)==0: ....: print a ....: break ....: 10797286954115293541\n(Your number may differ.)\nNow to create private and public keys:\nsage: A = randint(1,N);A 2836502683176700913 sage: B = a^A; B 18427739260935308684\nNote that although and look like innocuous integers, appearances can be deceiving:\nsage: parent(A) <type 'int'> sage: parent(B) NimberField\nNow choose a message and encrypt it:\nsage: m=10^20 sage: k=randint(1,N);k 4367144432619252418 sage: C = [a^k,B^k*m] sage: C [12922178036391740664, 212996673669914038023930158560151735676]\nDecryption can be done in one line:\nsage: C/C^A 100000000000000000000\nIt works out, as we’d expect. I don’t know, however, any of the following:\n- Is this system secure: that is, are discrete logarithms intractable in the nim-field?\n- Are there fast methods for multiplication and inversion in the nim-field?\n- Is this system likely to be any more efficient than using the prime field ?\n- Are there cryptosystems which are particularly suited to using the nim-field?\nAs far as I know, nobody has investigated the nim-field from the algorithmic, computational or cryptographic viewpoint.", "label": "No"}
{"text": "of \"Gold in the Hills\"\nin the Hills Melodrama:\"\n\"World's Longest Running Melodrama\"\nlongest continually-running melodrama in the world\nbegan with modest roots on March 28, 1936, by Julia Arnold on a U. S.\nArmy Corps of Engineers barge that had been redesigned to resemble a\nriverboat and renamed the Dixie Belle.\nin the Hills,\" an 1890s-era melodrama, was written in 1930 by J.\nFrank Davis. The play was set in the New York Bowery and\nfeatured a classic \"good\" versus \"evil\" plot.\nthe years, hundreds of volunteers have comprised a cast of cancan\ndancers, Nell (the heroine farm girl), John (the hero farm boy), the\nvillain and his accomplice.\n1948, \"Gold\" moved to the Sprague,\nthe largest and most powerful sternwheel towboat ever launched, which\nhad been decommissioned and purchased by the City of Vicksburg to\nserve as a floating theater and river-related museum. When the Sprague\nburned in 1974, the play was performed in a number of places until a\nnew theater was built in 1977.\nmatter what obstacles arise, \"Gold in the Hills\" delights\naudiences every year who come to cheer and clap for the hero and\nheroine, boo the villain (often throwing peanuts at him), and sing\nalong with the cast.\nto Home Back\nto Murals Page", "label": "No"}
{"text": "Math problem scanner\nMath problem scanner is a mathematical instrument that assists to solve math equations. So let's get started!\nThe Best Math problem scanner\nMath problem scanner can be a helpful tool for these students. How to solve partial fractions is a process that can be broken down into a few simple steps. First, identify the factors that are being divided. Next, determine the order of the fractions. Finally, apply the appropriate formula to solve for the unknowns. By following these steps, you can quickly and easily solve for partial fractions. However, it is important to note that there is more than one way to solve partial fractions. As such, you may need to experiment with different methods in order to find the one that works best for you. But with a little practice, you'll be solving partial fractions like a pro in no time!\nThere are a lot of different algebra apps out there, but which one is the best? It really depends on what you're looking for. Some apps are better for basic algebra, while others are more advanced. There are also apps that focus specifically on solving equations, and others that cover a broader range of topics. The best way to figure out which app is right for you is to read reviews and try out a few different ones. Once you find an app that you like, stick with it and you'll be sure to master algebra in no time!\nSolving by square roots is a mathematical process for finding the value of a number that, when squared, equals a given number. For example, the square root of 9 is 3, because 3 squared (3 x 3) equals 9. In general, the square root of x is equal to the number that, when multiplied by itself, equals x. Solving by square roots can be done by hand or with the help of a calculator. The process involves finding the value of one number that, when multiplied by itself, equals the given number. This value is then used to determine the answer to the original problem. Solving by square roots is a useful tool for solving many mathematical problems.\nHow to solve an equation by elimination. The first step is to understand what an equation is. An equation is a mathematical sentence that shows that two things are equal. In order to solve an equation, you need to find the value of the variable that makes the two sides of the equation equal. There are many different methods of solving equations, but one of the simplest is called \"elimination.\" Elimination involves adding or subtracting terms from both sides of the equation in order to cancel out one or more of the variables.\nA trinomial is an algebraic expression that contains three terms. The most common form of a trinomial is ax^2+bx+c, where a, b, and c are constants and x is a variable. Solving a trinomial equation means finding the value of x that makes the equation true. There are a few different methods that can be used to solve a trinomial equation, but the most common is factoring. To factor a trinomial, you need to find two numbers that multiply to give the product of the two constants (ac) and add up to give the value of the middle term (b). For example, if you are given the equation 2x^2+5x+3, you would need to find two numbers that multiply to give 6 (2×3) and add up to give 5. The only numbers that fit this criteria are 1 and 6, so you would factor the equation as (2x+3)(x+1). From there, you can use the zero product rule to solve for x. In this case, either 2x+3=0 or x+1=0. Solving each of these equations will give you the values of x that make the original equation true. While factoring may seem like a difficult task at first, with a little practice it can be easily mastered. With this method, solving trinomials can be quick and easy.\nWe cover all types of math problems\nAwesome app. Shows the steps clearly and is easy to understand. Best tool on the market to help with math questions. No freezes, glitches or bugs. AND NO ADS!!! This app is very good .it help me to do corrections on my tutorials and you can download it and enjoy it\nWell so far, I'm quite impressed with its accuracy. I mean it's not some super app that'll change the way you do math but is quite helpful to verify your answer. I'm aware it can't solve all the problems in the math universe but it's good enough for me. Hope it keeps on improving.", "label": "No"}
{"text": "Differences in memory performance in old age\nSome people show up to a high age has a remarkable memory performance, while others suffer a considerable loss of memory. Now, it was investigated why these differences in memory performance occur in the progressive age and how it can be prevented.\nIn a study at Stanford University, was to determine which factors have an influence on how well we can remember in old age. The results of the study were published in the English journal “eLife”.\nAfter the memory automatically?\nEven in totally healthy people a discount is the end of memory is often an expected part of aging. But such a weakening memory is by no means inevitable. Some people have also in the upscale age is still a very good memory.\nDifferences in memory performance were investigated\n“The study of these differences between individuals is crucial for the understanding of the complexity of brain aging, including the question of how resilience and durability can be promoted,” says study author Alexandra Trelle, at Stanford University, in a press release.\nHow did the memory retrieval processes of older people?\nBased on studies, which had focused on younger people, the research group studied in the framework of the Stanford Aging and Memory Study of memory in healthy, older adults. The Team found that the memory retrieval processes in the brains of older adults can look very similar, as previously in the brains of young adults of the processes observed. In people with greater difficulties to remember, were the instructions on these processes, however, are considerably smaller.\nActivity of the whole brain was measured\nThrough a better understanding of memory function in older adults will one day say, hopefully, earlier and more precise prior allows, when memory failures occur, and when there is an increased risk for dementia is present, report the researchers.\nWhat was studied?\nFor the study of one hundred part were participants between the ages of 60 and 82 years, their brains using magnetic resonance imaging scanning while they viewed words paired with pictures of famous people and places. These Participants were then testing with words asked during a Memory to recall the associated picture. The analyses of the MRI images of the Gehrins focused not only on the extent of the activity, but also on the memory information contained in the Patterns of brain activity.\nWhat was done the memory test?\nWith the memory test, the ability should be evaluated, to remember certain associations between elements of an event. This is a Form of memory, which is often influenced disproportionately by the aging process, report researchers.\nMemory is a neural time travel\nThe research group found that the brain processes that support memory in older adults are similar to those in younger groups of the population. If people remember, there is an increase in hippocampal activity, along with the recovery of activity patterns in the cortex, were present when the event was first experienced. This means that the journey includes Remind a quasi-neural time, which includes the Repeat of Patterns that were previously established in the brain.\nWhat has been the role of the Hippo-campus activity?\nThe Team was able to actually say on the basis of the information contained in Patterns of brain activity to predict whether a Person would remember a specific time or not. The researchers found that memory declined in age, on average. It was noticeable, however, regardless of age, with greater hippocampal activity, and recurrence was associated in the cortex with better memory performance. This was true not only for the during the MRI Scans carried out memory test, but also for memory tests, which were carried out on a different day of the study.\nWhat is the goal of future research?\nIt is clear that the functional magnetic resonance imaging of brain activity during memory retrieval find stable differences between individuals and on the health of the brain may indicate, reports the researchers. The current study lay the Foundation for many future studies of the memory of older adults in the cohort of the Stanford Aging and Memory Study. The ultimate goal was to develop new and sensitive instruments to identify persons at increased risk for Alzheimer’s disease, before significant memory loss occurs. (as)\nAuthors and source of information\nThis Text meets the requirements of the medical literature, medical guidelines, as well as current studies and was examined by doctors and Medical scientists.", "label": "No"}
{"text": "- What are the 4 types of memory?\n- What improves memory?\n- How can I recall my memory?\n- How do you test memory?\n- What is poor memory?\n- How many types of memory are there?\n- What are the 2 types of memory?\n- Why do we forget?\n- Is memory a skill?\n- How can I sharpen my memory?\n- What is the best vitamin for memory?\n- What are the 3 types of memory?\nWhat are the 4 types of memory?\n4 Types of Memory: Sensory, Short-Term, Working & Long-Term..\nWhat improves memory?\nHere are 14 evidence-based ways to improve your memory naturally.Eat Less Added Sugar. … Try a Fish Oil Supplement. … Make Time for Meditation. … Maintain a Healthy Weight. … Get Enough Sleep. … Practice Mindfulness. … Drink Less Alcohol. … Train Your Brain.More items…•\nHow can I recall my memory?\nThese 11 research-proven strategies can effectively improve memory, enhance recall, and increase retention of information.Focus Your Attention. … Avoid Cramming. … Structure and Organize. … Utilize Mnemonic Devices. … Elaborate and Rehearse. … Visualize Concepts. … Relate New Information to Things You Already Know. … Read Out Loud.More items…\nHow do you test memory?\nThe next easiest way to test your memory is with Windows 10’s built-in Memory Diagnostic tool.Search for “Windows Memory Diagnostic” in your start menu, and run the application.Select “Restart now and check for problems.” … Once restarted, wait for the result message. … Download Passmark Memtest86.More items…•\nWhat is poor memory?\nOverview. Depression has been linked to memory problems, such as forgetfulness or confusion. It can also make it difficult to focus on work or other tasks, make decisions, or think clearly. Stress and anxiety can also lead to poor memory. Depression is associated with short-term memory loss.\nHow many types of memory are there?\nComputer memory is of two basic type – Primary memory(RAM and ROM) and Secondary memory(hard drive,CD,etc.). Random Access Memory (RAM) is primary-volatile memory and Read Only Memory (ROM) is primary-non-volatile memory.\nWhat are the 2 types of memory?\nThere are two major categories of memory: long-term memory and short-term memory.\nWhy do we forget?\nThe inability to retrieve a memory is one of the most common causes of forgetting. So why are we often unable to retrieve information from memory? … According to this theory, a memory trace is created every time a new theory is formed. Decay theory suggests that over time, these memory traces begin to fade and disappear.\nIs memory a skill?\nMemory is more than recalling information for exams or trivia games. It’s an important work skill that you can develop and improve.\nHow can I sharpen my memory?\nSurprising ways to retain sharp memory using brain games that strengthen mental functioningKeep learning. A higher level of education is associated with better mental functioning in old age. … Use all your senses. … Believe in yourself. … Economize your brain use. … Repeat what you want to know. … Space it out. … Make a mnemonic.\nWhat is the best vitamin for memory?\nWhether you suffer from Alzheimer’s disease or you simply have memory problems, certain vitamins and fatty acids have been said to slow or prevent memory loss. The long list of potential solutions includes vitamins like vitamin B-12, herbal supplements such as ginkgo biloba, and omega-3 fatty acids.\nWhat are the 3 types of memory?\nThe three main stages of memory are encoding, storage, and retrieval. Problems can occur at any of these stages. The three main forms of memory storage are sensory memory, short-term memory, and long-term memory.", "label": "No"}
{"text": "Holy Roman Emperor\n|Home > History & Historians > Historical Biography > Charlemagne|\n|The widely conquering and powerful king of the Franks (768-814) and Emperor of the Romans (800-14) that\nEnglish speakers today know as Charlemagne (742-814), or Charles the Great, was known in latin as Carolus Magnus. He is\ntoday remembered by the French as Carlus Magnus and by the Germans as Karl der Grosse - both these peoples see\nhim as having had a positive role in their respective histories.\nHe was probably born in Aachen (Aix-la-Chapelle), on April 2, 742, as a son of the Pepin III \"the Short.\" This Pepin was himself one of two brothers who effectively controlled the Frankish kingdom as \"Mayors of the Palace\" and who were sons of the renowned warrior Charles Martel. The year and the place of the birth of Charlemagne are both uncertain, according to the contemporary scholar Alcuin he could have been born as late as 745 - others suggest Liege as the place of his birth. It is not certain that Bertrada (or Bertha), the mother of Charlemagne, a daughter of Charibert, Count of Laon, was legally married to Pepin until some years later than either 742 or 745.\nIn 751 Pepin the Short, having sought the consent of the then pope, dethroned the last of the ineffectual Merovingian royal line and assumed the royal title himself. He was crowned by Pope Stephen II at St. Denis on the Seine, on the 28th of July, 754.\nBesides anointing Pepin, Pope Stephen anointed both Charlemagne and his younger brother Carloman. Within the year Pepin invaded Italy to protect the pope against the Lombards, and in 756 he again had to rush to the pope's aid. From 760 on, Pepin's main military efforts went into the conquest of Aquitaine, the lands south of the Loire River. Charlemagne accompanied his father on most of these expeditions.\nWhen Pepin died in 768, sovereignty of his realms was divided according to an arrangement, as finalised by Pepin before his death, between his two sons. Frankish custom supported such divisions of territory amongst the sons of rulers.\nCharlemagne sought an alliance with the Lombards by marrying (770) the daughter of their king, Desiderius (reigned 757-774). Some significant infighting between the brothers was ended by Carloman's death on 4 December, 771. In line with Frankish custom Charlemagne assumed control of the vast lands Carloman had inherited and a less serious dispute was continued thereafter with Carloman's descendants who took refuge in the court of Desiderius. Relations between Charlemagne and Desiderius were further complicated by Charlemagne having divorced Desiderius' daughter in 771 in order to marry a beautiful Swabian lady.\nAfter Pope Adrian I appealed to Charlemagne for help (against Desiderius who had invaded the papal lands in his efforts to secure papal recognition of titles for Carloman's sons) the Frankish king invaded Italy, deposed his erstwhile father-in-law (774), and himself assumed the royal title. He then journeyed to Rome and reaffirmed his father's promise to protect papal lands.\nFrom about 772 Charlemagne was frequently involved in wars with other, often pagan, peoples. The Saxons were numbered amongst the earliest and most enduring (over 30 years!!!) of these adversaries as Charlemagne attempted to forcefully induce them to accept baptism. Other campaigns were pursued in today's Spain (778) and Bavaria (788) and against the Avars (791-6) who held sway over much of today's Hungary and Austria.\nThe considerable inheritance that had derived from Pepin together with the vast lands that Frankish armies under Charlemagne had won control over taken together constituted a remarkably powerful kingdom. On Christmas Day 800, as Charlemagne knelt in prayer in Saint Peter's Basilica in Rome, Pope Leo III placed an Emperor's crown upon his head. It is not clear that Chartlemagne expected this but whether he did or not the people assembled in the church acclaimed him the great, pacific emperor of the Romans. Western rulers and popes had tender to regard the Emperors in Constantinople with the respect due to a sovereign previous to this but a disputed succession to that title helped to clear the way for this coronation.\nCharlemagne maintained a more permanent royal capital than had any of his predecessors. His favorite residence from 794 on was at Aachen. He delighted in the good hunting territory in that locality. An imposing church and a palace were constructed there based, in part, on architectural borrowings from Ravenna and Rome. At his court he gathered scholars from all over Europe, the most famous being the English cleric Alcuin of York, whom he placed in charge of the palace school. This school became the focus of a renaissance in learning - the so-called Carolingian renaissance.\nFrom the 790s the lands controlled by Charlemagne began to experience what later proved to be a most grievious scourge. Viking longships bore vigourous bands of warriors along the sea-coasts and up navigable rivers leading to much spoil and devastation. Charlemagne attempted to combat this new threat by building up a naval force but such destructive raidings were not effectively prevented.\nThe empire did not expand significantly after 800. In 813 Charlemagne designated his sole surviving son, Louis, as his successor, and personally crowned him in a ceremony conducted at Aachen. Charlemagne died at Aachen, on January 28, 814 after some four years of poor health.\nPopular European History pages\nThe preparation of these pages was influenced to some degree by a particular \"Philosophy\nof History\" as suggested by this quote from the famous Essay \"History\" by Ralph Waldo Emerson:-\n|Ralph Waldo Emerson's Essay \"History\"|\n|Italian Unification - Cavour,\nthe Unification of Risorgimento Italy\n|Otto von Bismarck &\nThe wars of German unification\n|Italian unification map\n|Map of German unification|\n|\"Central\" mysticism insights|\n|\"Other\" spiritual wisdom|\n|\"Central\" poetry insights|\n|\"Other\" poetry insights|\n|Spirituality & the wider world|\nStart of Charlemagne\nKing of the Franks\nHoly Roman Emperor", "label": "No"}
{"text": "The Pencil vs Pen debate has been there for a long time. Both are essential writing tools, and artists use them for drawing.\nSome people believe that a pencil is better, while others find a pen more advantageous, so which one is better?\nPencils are better to draw for beginners, whereas Pens are comfortable for experienced artists. Which one is better to draw, a Pen or Pencil is one’s personal preference, and most technical factors lean towards Pencil. Drawing with Pencil is always better for most of us.\nEven if it is a pen and ink drawing, I prefer to start with a pencil and then draw over it with a pen and then erase the pencil marks. This way, I use the best of both drawing tools.\nTable of Contents\nWhy is Pencil Drawing better for Beginners?\nPencils have Greater Control when Drawing\nPencils are great for beginners because they give greater control over the instrument, i.e., you draw what you see and not draw too much or too little. It is sometimes difficult to tell how black or thick your stroke will be when you draw with a pen.\nDifferent Pressure in Pencil Drawing\nWhen drawing in Pencil, you can control the impression with the pressure of your hand and the speed at which you draw. It is also easy to draw small lines with a pencil, as it is easier to create large shapes.\nMistakes can be easily erased\nMistakes done when drawing are easy to rectify with a pencil drawing using an eraser. Correcting a Pen and ink drawing is complex and will often leave the mark of the error committed.\nPencils can be used for better shading\nYou can shade better using a pencil than in Pen because Pencil gives a gradual build-up of darkness, and the Pen is either black or not. You can blend pencil shading using a blending stump, which is impossible when using a pen.\nPencil sharpness can be controlled\nYou can sharpen the Pencil, and you can control the tip sharpness to give excellent sharp lines. Blunt pencils leave behind a faint, scratchy line.\nWhen sharpened to a fine point, a pencil can draw better details than a pen. When it comes to erasing such points, Pencil has the advantage over Pen because it leaves no marks like a pen would after erasure.\nPencil can be used for multiple types of Artwork creation\nYou can use pencils for many different artwork creations. In contrast, you can use limited application of pen drawing, mostly with technical drawings or fine lines such as writing letters and drawing cartoons.\nPens are better for artists who are comfortable with drawing because Pens give them greater control over the result, i.e., draw what you want to draw and not draw too much or too little.\nFor me always, pencils are better for beginners, and Pens are better for experienced artists.\nWhy does an Experienced Artist feel Pen Drawing is Better?\nThe answer is simple: Pens are comfortable for artists who draw fast and with greater accuracy with a pen stroke. Pencil drawing is a slow process, but you can draw with a pen quickly.\nAn experienced artist need not waste time drawing first using a pencil and then drawing over it with Pen. A professional artist can draw directly with Pen because he knows what to draw and how to draw.\nPens have fewer limitations than pencils when it comes to details, i.e., draw the smallest of lines with a pen or thick lines, and there are no limitations to what you draw.\nYou need to sharpen the Pencils now and then when the tip becomes blunt. In contrast, Pens draw continuously for a long time without being refilled with ink or sharpened.\nPencils become shorter by sharpening the lead with a blade, which wastes most of the Pencil. It is challenging to draw once it becomes small in length unless you use a pencil extender.\nPencil drawings are natural aging artwork, susceptible to smudging if you draw quickly or draw over the same area too many times. Pen drawing does not have this problem.\nPersonal Preference selecting Pen or Pencil for Drawing\nAnother reason one may select Pen or Pencil for drawing is a personal preference based on their comfort with a particular instrument. A beginner can draw well-using Pencils, and an experienced artist may draw better with a pen.\nIt does not mean that an experienced artist will draw using a Pen, and his preference may still be drawing with Pencil.\nDrawing a Complex Scene\nIf the picture you are drawing is complex with more details, it is better to start with a pencil.\nUsing Pencil, you can create the shapes and other details in your drawing. Once the sketch or the draft is OK, it can be overwritten with Pen, and after that, you can erase the pencil marks.\nAccuracy of your Drawing\nIf you want your drawing to be accurate, it is better to draw with Pencil. It is more so when doing technical drawing when precision is critical. In these cases, it is better to draw using a pencil.\nPencil marks are easily erasable and hence the suggestion.\nPencil drawings get smudged easily; for example, drawing using pencils on paper with poor texture quality may not last long. In contrast, Pen drawings are more durable.\nFor Pencil drawing, it is always better to use fixative as it works as a coating on the surface of the Pencil drawing.\nCreating Own Style\nIf you have created your style with either a Pen or a Pencil, you will ideally stick to that. Again this comes back to the same point, which art tool are you comfortable with?\nTechnical Reason why Pencil Drawing is Better for Beginners?\nDifferent Grades of Pencil\nPencils come in different grades: F, H, B, HB, and B, serially numbered from B to 9B and H from H to 9H. H is the hardness of the Pencil, and B is the lead’s softness or darkness. In addition, you have mechanical pencils.\nApplying correct pressure with different Pencils allows you to create unlimited shades and textures in your drawing. There are choices of colored pencils too.\nPencil shades can be Blended\nYou can blend the pencil drawings using a blending stump to draw smooth gradations of shades.\nPencils provide greater control over highlights and shadows that give depth and volume to your drawings.\nPencils can be Sharpened or Chiseled\nHow you sharpen your pencil tip depends on what type of drawing you want to create.\nIf you want to draw a thin line, you can sharpen your Pencil to that extent. If you’re going to draw a broad line or shade, you can chisel your Pencil accordingly.\nUnlike standard Pens or ballpoint pens, you can modify your Pencil tips appropriately per your requirements.\nWhen it comes to drawing or sketching with a pen and Pencil, beginners should start with the Pencil. It is easier for them to learn how to use it without frustration.\nFor more experienced artists who are used to using pens and ink to draw with Pen or Pencil, it’s best if they can choose their preference because both tools have pros and cons.\nThe important thing is finding what works for you to be happy while working on your art!\nWhat has been your experience? Which tool do you think is better?\nPen or Pencil?\nLet us know in the comments below!\nPlease find below a set of Related Posts in which you might be interested in the Topic of Art Materials:\n- Are Watercolor Pencils good for Beginners If So How?\n- How to Use a Blending Stump? (Detailed Guide)\n- How to use Brush pen for Calligraphy?\n- Why Drawing with Mechanical Pencil is Good for a Beginner?\n- How to use Kneaded Eraser?\n- Is it better to draw with Pen or Pencil?\nFrequently Asked Questions\nWhich is better, a pen or a pencil, for drawing?\nIt depends on the artist’s preferences and drawing type. Some artists prefer to draw with a pen because it allows them to be more precise, while others prefer pencils because they can create different shades and textures. Ultimately, it is up to the artist to decide which tool works best for them.\nWhat are the benefits of drawing with a pencil?\nSome benefits of drawing with a pencil include creating different shades and textures, greater control over highlights and shadows, and modifying the pencil tip as needed. Pencils also provide a more forgiving medium for beginners, as they can easily erase and correct mistakes.\nWhat are the benefits of drawing with a pen?\nSome benefits of drawing with a pen include creating precise lines, drawing on various surfaces, and pen drawings being more durable than pencil drawings. Pens also offer a more permanent medium for experienced artists who are comfortable with them.\nWhy do some draw better with Pen than with Pencil?\nSome people may find that they are more precise with a pen, while others may prefer the different shades and textures that pencils can create. Ultimately, it is up to the artist to decide which tool works best for them. Either way, practice and experimentation are key to improving one’s drawing skills.", "label": "No"}
{"text": "Adilene Martin December 5, 2019 School Worksheets\nEducationally you just need to build on the foundation you have already set in the elementary grades. It is important for a child’s future to make sure some subjects are done every year building on what the child already knows. Math, English and literature, history, science along with Bible are things that I insisted that our children have a course in every year. Because of the different learning personalities of the kids we would talk about which curriculum they would enjoy using for their courses and they were welcome to add to the list any courses that they wanted.\nThere are plenty of reasons why parents are deciding to home school besides the once common religious reasons. One is perhaps social reasoning. Professionals who once criticized parents for home schooling their children are beginning to change their views, finally realizing what people in rural areas knew for years. That not all social interaction is positive. The physical schools are becoming increasingly violent, along with increased drug usage, and gang activity. Home schooling with satellite broadband internet allows schools to turn into interactive virtual classrooms where children are still able to interact with teachers, students, and parents. The home–school setting draws the child’s attention from negative social behaviors like alcohol, drugs, and risky sexual behavior. Chances of the child encountering violence in the home–school setting are nonexistent.\nMoreover, in homeschooling education, life principles and basic foundation are taught to a child in the fun and loving manner.Online Home School Resources In your house, there are many approaches to teach a young child. Parents should be aware that kindergarten is an enjoyable time. It ought to be a memorable time for fogeys and child alike. They are able to utilize education resources in the home like text books or worksheets, coloring books, clay, colorful paper and a whole lot. In view that parents are getting to be more innovative and creative in teaching their preschooler, they utilize various home schooling resources from different websites that offer homeschool education. Online educational activity eBooks and worksheets and kindergarten programs are customized to help you parents and youngsters in the learning process.\nFollow the course outline closely, You are reminded to follow the course outline provided by your school closely. You must not miss any virtual lectures and online discussions. At the same time, you must make sure that you complete your course work on time. Moreover, you need to pass all the exams successfully. Once you have fulfilled your school’s requirements for graduation, you will be able to receive your diploma. To sum up, earning a high school diploma is no longer a hard task. Every can complete it easily with the utilization of internet. You don’t need to waste your time traveling to your school to attend classes. You can just sit back comfortably at home and earn your academic qualification in a simple manner.\nTraditionally, every student was required to attend classes in a physical school or college before he or she could gain an academic qualification. In today’s fast changing business world, many things have been changed due to technology advancement. Students can now choose to complete their higher education through online study. They are given more freedom and flexibility to manage both study and work at the same time. Let me share with you some practical steps which you can apply in order to earn a high school diploma at home successfully. Choose the online program which suits you most. Ask yourself honestly which area you are interested in. It is no point for you to force yourself to choose certain courses which you dislike. Choosing the right program is indeed essential as it will determine your career in the near future. After making your decision on the course, you should then proceed to select a school which is well-known in providing such program.\nMore and more parents are choosing to home school their kids. Home schooling has long been thought of as only for strict religious homes. Home schooling is now being chosen by all types of families. In addition to more and more families choosing to home school their kids, there are also more and more curriculum options available. The availability of the world wide web has made the availability of more curriculum options for your family. Can you determine the best course of curriculum for your kids? You will want to heed these ideas as you go through each process.\nTag Cloudmusic class lesson plans elementary school lessons computer lesson plans for middle school 8th grade health lesson plans number handwriting worksheets art class lesson plan lesson plan for elementary students life skills worksheets high school examples of lesson plans for elementary teachers lesson plan for art and craft class lesson plan for primary school high school psychology lesson plans special education resource teacher lesson plans free teacher lesson plans free lesson plans for middle school constitution lesson plans 8th grade lesson planning for primary school teachers psychology lessons for high school middle school computer science lessons free high school lesson plans free health lesson plans for elementary special education resource room lesson plans social skills lessons for middle school high school math lesson plan stem lesson plans elementary school lesson plans elementary school counseling lesson plans middle school lessons good lesson plans for elementary students lesson plans for after preschoolers lessons for high school students renewable energy worksheets middle school middle school art lesson plans worksheets rock cycle lesson plans 4th grade art lesson plans middle school modified math lesson plans for special education steam lesson plans for elementary graphic design lessons for middle school free character education lesson plans high school middle school technology lesson plans health lesson plans for elementary students goal setting lesson plans middle school health lessons for high school elementary health lesson plans lesson plan sample for elementary budgeting lesson plans for special education stem lessons for middle school esl activities for high school life skills lesson plans for middle school sub plans for middle school photoshop lesson plans for high school high school health lesson plans digital citizenship lessons for middle school elementary school lesson plan after school program lesson plans personal finance lessons for high school leadership lessons for middle school students middle school language arts lesson plans health lessons for middle school technology lessons for middle school middle school music lesson plans financial literacy lessons for middle school art lesson plans high school social skills lesson plans for middle school advocacy lesson plans for high school health lesson plans middle school nutrition lessons for middle school stem lesson plans middle school 8th grade lesson plans steam education lesson plans 7th grade lesson plans health and wellness lesson plans middle school science lessons entrepreneurship lessons for high school students middle school english lesson plans elementary history lessons financial literacy lesson plans middle school sample lesson plans for special education health education lesson plans for high school dance lesson plans for middle school middle school lesson plans esl lesson plans for high school advisory lesson plans for middle school technology lesson plans for elementary 7th grade tutoring lesson plans technology lesson plans for elementary students goal setting lesson plans for high school handwriting worksheets editable writing lesson plans for middle school kindergarten physical education lesson plans lesson plans for elementary high school physics lesson plans high school pe lesson plans pe teacher lesson plans respect lessons for middle school elementary education lesson plans water cycle lesson plans 5th grade lesson plan on natural resources for 6th grade mental health lesson plans for elementary students health lessons for elementary students advisory lessons middle school high school english lesson plans creative writing lesson plans high school health class lesson plans geography lesson plans high school hydrosphere lesson plans 8th grade middle school physical education lesson plans computer technology lesson plans communication lesson plans for middle school lesson plan in mathematics for high school PDF easy elementary art sub plans detailed lesson plan in physical education for elementary mental and emotional health lesson plans lesson plan example for elementary high school english lessons social emotional learning worksheets high school self esteem worksheets for kids digital citizenship lesson plans decision making lesson plans for elementary students mental and emotional health lesson plans for elementary students empathy lessons for middle school financial literacy lesson plans for high school social skills lessons for high school bullying worksheets for middle school music lesson plans for elementary students respect lesson plans middle school", "label": "No"}
{"text": "Show All Answers\nThe South Coast Air Quality Management District in California thoroughly evaluates air sensors available for purchase through their Sensor Performance Evaluation Center (AQ-SPEC). AQ-SPEC compares air sensors to regulatory monitors both in a laboratory test chamber and in the field on a long term basis. This is the most comprehensive air sensor testing program that we know of and we use it to select sensors for our own evaluation.\nIf you’re looking for more of a DIY solution, the World Air Quality Index project reviews sensors that require some hands-on experience.\nIt’s not always clear what your air sensors data means, especially if you’re trying to compare them to the air quality data found on our website.\nAir sensors give readings every minute, or even instantaneously; our regulatory monitoring is reported hourly or daily. We use these longer time scales because there is a proven link between daily air quality levels and health effects. The Air Quality Index (AQI) is based on daily values. There currently is no equivalent for air sensors.\nHowever, the EPA has launched a new tool to make instantaneous outdoor air quality data useful for the public. Their new “sensor scale” is designed to be used with air quality sensors that provide data in short time increments – often as little as one minute. EPA developed the scale to help people understand the one-minute data the sensors provide and how to use sensor data as an additional tool for planning outdoor activities.\nCheck out EPA’s Air Sensor Toolbox for more info.\nThe easiest and most reliable way is to compare your air sensor to your nearest regulatory monitoring site. If your data isn’t matching up there could be a number of reasons why, including: your air sensor is not working properly or isn’t in a good location for sampling.", "label": "No"}
{"text": "SAND CONCRETIONS FROM CALIFORNIA\nby S. C. Edwards\nTo what organic form their outline could be traced?was the point which attracted most attention.\nSince the location where they are found near Signal Mountain, quite close to the Mexico-California line is indicated on geological maps as old sea beach, it was easy to associate the form of objects with that of the rope-like kelp with globular enlargements.\nAmong other names suggesting origin, when specimens were shown before the Botanical Club, \"Petrified seaweed,\" \"Petrified turnip,\" \"Petrified mushroom\" were spontaneous.\nThose whose opinions should be worth most call them sand concretionsglobular sandstone bodies with stalactite handles. Just how they are formed, whether in horizontal or vertical positions, opinions vary. If those venturing an opinion of the process of formation had the opportunity to study specimens \"in position\" as well as after removal, deductions would be more satisfactory.\nIn the locality observed, surface of the ground is eroded into rounded knolls with occasional gullies ten feet deep. Some of the knolls are rocky and too hard to admit of probing with a shovel. The only knoll in which we have found the specimens had a covering of a foot or more of coarse gravel and silt.\nOn the surface were many sandstone bodies either with handles broken off or with no evidence of a handle. Some of these bodies broken open exhibited a nucleus of a pebble, shell or what appeared to be a three parted seed pod. None of the well formed specimens with a handle revealed a nucleus. On the first visit to the locality, several specimens were collected, having been thrown out by crews of the Highway Department while removing gravel for construction work.\nAt another time, on which occasion the largest specimens were secured, by probing in a space of about three square yards, fifty specimens were secured at a depth of about a foot. These sandstone balls were four to seven inches through with handles up to twenty inches long. Those totally without handles seemed to be cached by themselves. Then large specimens were excavated without determining whether they were in a vertical or horizontal position.\nAt a later visit to the field, after probing with a shovel, a \"vein\" was located about a foot down, under a twelve inch layer of gravel and silt. The specimens were in a layer of fine sand about a foot in thicknessnone so large as those secured formerly. These were from one to three inches in diameter with handles that were slim and more frail and up to twelve inches long. These specimens had to be handled with care.\nBy delving under them and removing the fine sand with the fingers from below, specimens were obtained entire.\nWe soon noticed the specimens were in regular order all arranged with handles perfectly parallel and horizontal, points north. It was soon possible to locate the vein some thirty feet distant to the south and at about the same depth as before, specimens arranged parallel with ball end south. We obtained some two hundred.\nNearly all the specimens secured from former trips showed no evidence of stratification while most of the specimens regularly arranged in the fine sand showed on surface of ball and handle lines of stratification. If these stratification lines are taken to indicate formation in a horizontal position, it may be objected that these lines resulted from becoming imbedded later in sand, part of which adhered to the surface of the specimen. However it is further noticed that some specimens exhibit strata of black mica particles through ball and handle. Such strata can hardly be due to having been imbedded at a subsequent date.\nAnother item about these specimens worth noting is the fact that many of them being multiples, grown together side by side or end to end, have the handles all strictly parallel. If they were formed in a horizontal position as the stratified ones might indicate, why would the handles, double and treble, all be parallel? Or if they were casts after some plant form on the beach or elsewhere, handles would not always be parallel. Some would likely be found with their legs crossed.\nUntil the last collecting trip on the ground, I had concluded that the specimens were formed in a vertical position, gravity giving direction to the stalactite handles, single and multiple, and then water had carried them along with the other imbedded material to their present position. However any one finding a vein of specimens imbedded in that layer of fine sand, handles arranged with precision, horizontal and parallel, points north, will lose some of his cocksureness concerning the method of formation.\nOriginally published in:\nROCKS and MINERALS\nJUNE, 1934. All rights reserved.", "label": "No"}
{"text": "Climate Change – a quick reminder\nThe last 12000 years – Deviation of Temperature\nThis graph by Alexander Radtke shows the global annual mean temperature deviation for the last 12 000 years. The baseline is the 20th century mean, min on the far left -1.37 C (9980 BC( and max on the right+0.99C (2020). The strong negative anomalies on the left indicate the end of the last glacial period (12,000 – 9,000 BC) followed by the Holocene climate optimum (9,000 – 5,000 BC). This warm period was followed by a gradual decline until about two millennia ago. The medieval warm period (900 – 1100) shows frequent years warmer than average though also negative anomalies. The little ice age on the far right (1500 -18 00) is followed by the well known unprecedented rise in temperatures in the present.\nIPCC Special Report on the Ocean and Cryosphere – Key findings\nThe Special Report on the Ocean and Cryosphere in a Changing Climate (SROCC) 2019 follows the other two Special Reports on Global Warming of 1.5ºC (SR1.5) and on Climate Change and Land (SRCCL)5 and the Intergovernmental Science Policy Platform on Biodiversity and Ecosystem Services (IPBES) Global Assessment Report on Biodiversity and Ecosystem Services.\nIn summarizing the key findings of the SROCC I wish to point out once again that climate change has a particularly strong impact on the polar regions. The loss of Greenland’s ice, the melting of glaciers, the loss of ice in the West Antarctic, the thawing of permafrost soils are already having serious effects on the environment. The rise in sea level, the warming of the surface water, the lowering of the pH-value are only some of the serious consequences of the general global temperature increase. If effective measures to reduce climate-damaging emissions are not taken soon, especially by the industrialised countries, an ecological catastrophe will be unstoppable.\nRCP2.6 represents a low greenhouse gas emissions, high mitigation future, that in CMIP5 simulations gives a two in three chance of limiting global warming to below 2ºC by 2100\nRCP8.5 is a high greenhouse gas emissions scenario in the absence of policies to combat climate change, leading to continued and sustained growth in atmospheric greenhouse gas concentrations.\nEven a first look at Figure 1 shows that the future looks bleak in the worst case scenario RCP8.5: The global surface temperature will rise more than 4°C, ocean surface temperature around 3°C, the acidity will be higher (pH level drops) with a reduction of the ocean oxygen of more than 4 per cent.\nMarine heatwave days will change by afactor of 10, the ocean heat content of the upper 200m layer will be five times higher than today resulting in a a 30cm rise of sea level due to the expansion of sea water.\nThe arctic sea ice has its lowest extent in Septemper. The figure shows that even under the low emission scenario the reduction will reach 50 per cent and about 100 percent under the very likely RCP8.5 scenario, which means, there will be no ice at all! The arctic snow cover might be reduced by 50 per cent. These dramatic changes will heat the atmosphere even more due to the albedo effect.\nOn the left in the figure above the ice mass loss of glaciers and the Greenland and Antartic ice sheets is shown in sea level rise equivalent. The glaciers contribution to the projected sea level rise is largest with a steep rise in the worst scenario and strong also in the low emission scenario. Whereas the Greenland and Antarctic ice sheets loss result in a slow but steady rise of the sea level, however these graphs seem to rise exponentially and the melting ice sheets will become the primary drivers in the long run. The figure also shows a dramatic sea level rise of nearly 4m in the high emission scenario in the distant future. Also shown is the reduction of the permafrost area of about 75 per cent in 2100 which could result in the release of huge amounts of methane, another very potential driver of global warming.\nHere are the key findings of the latest report (SROCC)\nObserved Changes and Impacts\nOver the last decades, global warming has led to widespread shrinking of the cryosphere, with mass loss from ice sheets and glaciers (very high confidence), reductions in snow cover (high confidence) and Arctic sea ice extent and thickness (very high confidence), and increased permafrost temperature (very high confidence)\nIt is virtually certain that the global ocean has warmed unabated since 1970 and has taken up more than 90% of the excess heat in the climate system (high confidence). Since 1993, the rate of ocean warming has more than doubled (likely). Marine heatwaves have very likely doubled in frequency since 1982 and are increasing in intensity (very high confidence). By absorbing more CO2, the ocean has undergone increasing surface acidification (virtually certain). A loss of oxygen has occurred from the surface to 1000 m (medium confidence)\nProjected Changes and Risks\nGlobal mean sea level (GMSL) is rising, with acceleration in recent decades due to increasing rates of ice loss from the Greenland and Antarctic ice sheets (very high confidence), as well as continued glacier mass loss and ocean thermal expansion. Increases in tropical cyclone winds and rainfall, and increases in extreme waves, combined with relative sea level rise, exacerbate extreme sea level events and coastal hazards (high confidence).\nObserved Impacts on Ecosystems\nCryospheric and associated hydrological changes have impacted terrestrial and freshwater species and ecosystems in high mountain and polar regions through the appearance of land previously covered by ice, changes in snow cover, and thawing permafrost. These changes have contributed to changing the seasonal activities, abundance and distribution of ecologically, culturally, and economically important plant and animal species, ecological disturbances, and ecosystem functioning. (high confidence)\nSince about 1950 many marine species across various groups have undergone shifts in geographical range and seasonal activities in response to ocean warming, sea ice change and biogeochemical changes, such as oxygen loss, to their habitats (high confidence). This has resulted in shifts in species composition, abundance and biomass production of ecosystems, from the equator to the poles. Altered interactions between species have caused cascading impacts on ecosystem structure and functioning (medium confidence). In some marine ecosystems species are impacted by both the effects of fishing and climate changes (medium confidence).\nCoastal ecosystems are affected by ocean warming, including intensified marine heatwaves, acidification, loss of oxygen, salinity intrusion and sea level rise, in combination with adverse effects from human activities on ocean and land (high confidence). Impacts are already observed on habitat area and biodiversity, as well as ecosystem functioning and services (high confidence).\nObserved Impacts on People and Ecosystem Services\nSince the mid-20th century, the shrinking cryosphere in the Arctic and high mountain areas has led to predominantly negative impacts on food security, water resources, water quality, livelihoods, health and well-being, infrastructure, transportation, tourism and recreation, as well as culture of human societies, particularly for Indigenous peoples (high confidence). Costs and benefits have been unequally distributed across populations and regions. Adaptation efforts have benefited from the inclusion of Indigenous knowledge and local knowledge (high confidence)\nCoastal communities are exposed to multiple climate-related hazards, including tropical cyclones, extreme sea levels and flooding, marine heatwaves, sea ice loss, and permafrost thaw (high confidence). A diversity of responses has been implemented worldwide, mostly after extreme events, but also some in anticipation of future sea level rise, e.g., in the case of large infrastructure.\nProjected Physical Changes\nGlobal-scale glacier mass loss, permafrost thaw, and decline in snow cover and Arctic sea ice extent are projected to continue in the near-term (2031–2050) due to surface air temperature increases (high confidence), with unavoidable consequences for river runoff and local hazards (high confidence). The Greenland and Antarctic Ice Sheets are projected to lose mass at an increasing rate throughout the 21st century and beyond (high confidence). The rates and magnitudes of these cryospheric changes are projected to increase further in the second half of the 21st century in a high greenhouse gas emissions scenario (high confidence). Strong reductions in greenhouse gas emissions in the coming decades are projected to reduce further changes after 2050 (high confidence).\nOver the 21st century, the ocean is projected to transition to unprecedented conditions with increased temperatures (virtually certain), greater upper ocean stratification (very likely), further acidification (virtually certain), oxygen decline (medium confidence), and altered net primary production (low confidence). Marine heatwaves (very high confidence) and extreme El Niño and La Niña events (medium confidence) are projected to become more frequent. The Atlantic Meridional Overturning Circulation (AMOC) is projected to weaken (very likely). The rates and magnitudes of these changes will be smaller under scenarios with low greenhouse gas emissions (very likely).\nSea level continues to rise at an increasing rate. Extreme sea level events that are historically rare (once per century in the recent past) are projected to occur frequently (at least once per year) at many locations by 2050 in all RCP scenarios, especially in tropical regions (high confidence). The increasing frequency of high water levels can have severe impacts in many locations depending on exposure (high confidence). Sea level rise is projected to continue beyond 2100 in all RCP scenarios. For a high emissions scenario (RCP8.5), projections of global sea level rise by 2100 are greater than in AR5 due to a larger contribution from the Antarctic Ice Sheet (medium confidence). In coming centuries under RCP8.5, sea level rise is projected to exceed rates of several centimetres per year resulting in multi-metre rise (medium confidence), while for RCP2.6 sea level rise is projected to be limited to around 1 m in 2300 (low confidence). Extreme sea levels and coastal hazards will be exacerbated by projected increases in tropical cyclone intensity and precipitation (high confidence). Projected changes in waves and tides vary locally in whether they amplify or ameliorate these hazards (medium confidence).\nFuture land cryosphere changes will continue to alter terrestrial and freshwater ecosystems in high mountain and polar regions with major shifts in species distributions resulting in changes in ecosystem structure and functioning, and eventual loss of globally unique biodiversity (medium confidence). Wildfire is projected to increase significantly for the rest of this century across most tundra and boreal regions, and also in some mountain regions (medium confidence).\nRisks of severe impacts on biodiversity, structure and function of coastal ecosystems are projected to be higher for elevated temperatures under high compared to low emissions scenarios in the 21st century and beyond. Projected ecosystem responses include losses of species habitat and diversity, and degradation of ecosystem functions. The capacity of organisms and ecosystems to adjust and adapt is higher at lower emissions scenarios (high confidence). For sensitive ecosystems such as seagrass meadows and kelp forests, high risks are projected if global warming exceeds 2ºC above pre-industrial temperature, combined with other climate-related hazards (high confidence). Warm-water corals are at high risk already and are projected to transition to very high risk even if global warming is limited to 1.5ºC (very high confidence)\nProjected Risks for People and Ecosystem Services\nFuture cryosphere changes on land are projected to affect water resources and their uses, such as hydropower (high confidence) and irrigated agriculture in and downstream of high mountain areas (medium confidence), as well as livelihoods in the Arctic (medium confidence). Changes in floods, avalanches, landslides, and ground destabilization are projected to increase risk for infrastructure, cultural, tourism, and recreational assets (medium confidence)\nIncreased mean and extreme sea level, alongside ocean warming and acidification, are projected to exacerbate risks for human communities in low-lying coastal areas (high confidence). In Arctic human communities without rapid land uplift, and in urban atoll islands, risks are projected to be moderate to high even under a low emissions scenario (RCP2.6) (medium confidence), including reaching adaptation limits (high confidence). Under a high emissions scenario (RCP8.5), delta regions and resource rich coastal cities are projected to experience moderate to high risk levels after 2050 under current adaptation (medium confidence). Ambitious adaptation including transformative governance is expected to reduce risk (high confidence), but with context-specific benefits.\nIn light of observed and projected changes in the ocean and cryosphere, many nations will face challenges to adapt, even with ambitious mitigation (very high confidence). In a high emissions scenario, many ocean- and cryosphere-dependent communities are projected to face adaptation limits (e.g. biophysical, geographical, financial, technical, social, political and institutional) during the second half of the 21st century. Low emission pathways, for comparison, limit the risks from ocean and cryosphere changes in this century and beyond and enable more effective responses (high confidence), whilst also creating co-benefits. Profound economic and institutional transformative change will enable Climate Resilient Development Pathways in the ocean and cryosphere context (high confidence).\nThe Special Report on the Ocean and Cryosphere1 in a Changing Climate (SROCC) was prepared following an IPCC Panel decision in 2016 to prepare three Special Reports during the Sixth Assessment Cycle2 . By assessing new scientific literature3 , the SROCC4 responds to government and observer organization proposals. The SROCC follows the other two Special Reports on Global Warming of 1.5ºC (SR1.5) and on Climate Change and Land (SRCCL)5 and the Intergovernmental Science Policy Platform on Biodiversity and Ecosystem Services (IPBES) Global Assessment Report on Biodiversity and Ecosystem Services.\nIPCC, 2019: Summary for Policymakers. In: IPCC Special Report on the Ocean and Cryosphere in a Changing Climate [H.-O. Pörtner, D.C. Roberts, V. Masson-Delmotte, P. Zhai, M. Tignor, E. Poloczanska, K. Mintenbeck, A. Alegría, M. Nicolai, A. Okem, J. Petzold, B. Rama, N.M. Weyer (eds.)]. In press.\nBernd Riebe, July 2020", "label": "No"}
{"text": "The Great Western Railway was created by Act of Parliament in 1835 to provide a double tracked line from Bristol to London. However work had started in 1832 to secure finance for the line, research possible routes and design stations, bridges and all other buildings required. In 1833 the twenty-seven year old Isambard Kingdom Brunel was to appointed to oversee this construction. It emerged as one of the greatest of pre-grouping lines, with a mileage of 2700 and running powers over a further 600 miles. It also operated a steamship service between Fishguard and Rosslare, and between Weymouth and the Channel Islands. In the 1923 grouping it became one of `the big four' and absorbed several smaller railways. The development and spread of the railway had a major influence on the development of the art colonies in the west of Cornwall. Penzance was only a days travel from the London or the Midlands, rather than the days - or even weeks by sea or road - depending on weather conditions. The railways as a whole were also a source of income for many of the artists, who produced travel posters of the various seaside towns and villages that people could visit. After WWII the GWR was Nationalised along with the other companies to form British Railways BR.", "label": "No"}
{"text": "Gelatin silver print, printed c. 1936-1939\nImage: 19.7 x 19.1 cm (7 3/4 x 7 1/2 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)\nNorman O. Stone and Ella A. Stone Memorial Fund 2001.91\n© Arthur Rothstein, Library of Congress\nA severe drought in the High Plains during the mid-1930s led to catastrophic erosion of the soil and dust storms. Rothstein took this iconic image while photographing for the Farm Security Administration in the Oklahoma panhandle. “While making my pictures,” he recalled, “I could hardly breathe because the dust was everywhere. It was so heavy in the air that the land and sky seemed to merge until there was no horizon. . . . Just as I was about to finish shooting I saw a farmer and his two sons walk across the fields. As they pressed into the wind, the smallest child walked a few steps behind, his hands covering his eyes to protect them from the dust.”\nThe information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email email@example.com.\nTo request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.\nIs something not working on this page? Please email firstname.lastname@example.org.\nRequest a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email email@example.com.", "label": "No"}
{"text": "- How do you overcome qualified immunity?\n- Who has qualified immunity?\n- What exactly is qualified immunity?\n- Why do cops have qualified immunity?\n- Can states end qualified immunity?\n- Is Qualified immunity good?\n- Who is protected by qualified immunity?\n- Do judges have qualified immunity?\n- Do police officers have qualified immunity?\n- How does a cop lose qualified immunity?\nHow do you overcome qualified immunity?\nQualified immunity freezes constitutional law.\nAs mentioned previously, in order to overcome the defense of qualified immunity, a victim must show that law enforcement violated “clearly established” law by pointing to a case arising in the same context and involving the same conduct..\nWho has qualified immunity?\nCreighton, 483 U.S. 635 (1987), the Supreme Court held that when an officer of the law (in this case, an FBI officer) conducts a search which violates the Fourth Amendment, that officer is entitled to qualified immunity if the officer proves that a reasonable officer could have believed that the search constitutionally …\nWhat exactly is qualified immunity?\nQualified immunity is a judicially created doctrine that shields government officials from being held personally liable for constitutional violations—like the right to be free from excessive police force—for money damages under federal law so long as the officials did not violate “clearly established” law.\nWhy do cops have qualified immunity?\nAs the Institute for Justice puts it, “Qualified immunity means that government officials can get away with violating your rights as long as they violate them in a way nobody thought of before.”\nCan states end qualified immunity?\nQualified immunity is a legal doctrine in United States federal law which shields government officials from being held personally liable for discretionary actions performed within their official capacity, unless their actions violate “clearly established” federal law even if their victim’s civil rights were violated.\nIs Qualified immunity good?\nThe Benefits of Qualified Immunity Public officials, and particularly police officers, perform vital tasks that may require split-second decisions in stressful circumstances. Taking away qualified immunity could lead to officers being hesitant to act when it is most needed.\nWho is protected by qualified immunity?\nQualified immunity must be raised by the officer. It protects the officer in an individual capacity; and not the governmental entity employing the officer. C. Analyzing Claims of Qualified Immunity Qualified immunity has two elements.\nDo judges have qualified immunity?\nAs Reeves explains, “Judges have invented a legal doctrine to protect law enforcement officers from having to face any consequences for wrongdoing. The doctrine is called ‘qualified immunity.’ In real life it operates like absolute immunity.”\nDo police officers have qualified immunity?\nQualified immunity is meant to protect officials from civil lawsuits being filed against them at all, according to the Legal Information Institute at Cornell Law School. … The doctrine could give civil cover to police officers involved in Taylor’s case, as some facts remain unsettled.\nHow does a cop lose qualified immunity?\nIt’s difficult to convince a court to dismiss qualified immunity. Qualified immunity has evolved in meaning over the past few decades. … According to that ruling, a public official could lose the protections of the immunity only when they have violated “clearly established statutory or constitutional rights.”", "label": "No"}
{"text": "An expert in computer vision, who programmes computers to perceive the world in the same way that humans do, will deliver a keynote speech during a visit to Qatar Computing Research Institute (QCRI), part of Hamad Bin Khalifa University (HBKU).\nDr Antonio Torralba, a professor of electrical engineering and computer science at the Massachusetts Institute of Technology (MIT) and a principal investigator at MIT’s Computer Science and Artificial Intelligence Laboratory, will speak on ‘Learning to See’, at the Researchery on March 25. A public meeting updating their joint research is being held from 9am.\nIn his talk, Dr Torralba will discuss recent advances in computer vision, a scientific field which deals with how computers can gain high-level understanding from digital images, videos or audio and seeks to automate tasks that the human visual system can accomplish.\nThe MIT professor will demonstrate several applications for object recognition, computer graphics, and unsupervised learning from images and audio.\n“My research covers a wide range of topics in computer and human vision - including object and scene recognition in images, building systems that can see around the corner, studying how deep neural networks work, and applications such as Pic2Recipe (a collaboration with QCRI) that predicts ingredients from a picture of food and suggest similar recipes,” Dr Torralba said.\n“I am also interested in other modalities such as audition and touch and how, together with vision, they can allow building systems to learn like humans do. A system able to perceive the world through multiple senses might be able to learn without requiring massive curated data sets.”\nDr Torralba and other MIT-CSAIL researchers are visiting Doha as part of their annual spring meeting with QCRI, which has been collaborating with MIT-CSAIL for almost seven years.\nDr Torralba is also the MIT director of the MIT-IBM Watson AI Lab and the inaugural director of The MIT Quest for Intelligence. He is the recipient of multiple awards, including a National Science Foundation Career Award. He is collaborating with QCRI scientists Ferda Ofli and Ingmar Weber on using machine learning to analyse social media images to better understand food habits in Qatar.", "label": "No"}
{"text": "c. 235–185 BC\nBronze, lost wax technique\nDiameter: 7 cm (2 3/4 in.); Overall: 6 cm (2 3/8 in.)\nDudley P. Allen Fund 2001.2\nThe tree carved into the cup is of the same species as the Bodhi tree, under which the Buddha reached enlightenment.\nThe remarkably clear, tiny carvings in an uninterrupted frieze around the lower section include one sacred palm tree and one fig tree (ficus religiosa) that divide the space into two main scenes. One features female musicians, the other has two chariots, each drawn by a pair of galloping horses. Bulls, birds, and flowers fill the background spaces. This cup is from a group found in an area with close links to Indo-Greek kingdoms, and the chariots and framing motifs reveal knowledge of Hellenistic art.\nThe information about this object, including provenance, may not be currently accurate. If you notice a mistake or have additional information about this object, please email firstname.lastname@example.org.\nTo request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.\nAll images and data available through Open Access can be downloaded for free. For images not available through Open Access, a detail image, or any image with a color bar, request a digital file from Image Services.", "label": "No"}
{"text": "JAMES II (1685-1691) GUN MONEY\nIreland, 1689 & 1690\nLarge Halfcrown Dated 1690, King on Horseback Obverse\nSmall Halfcrown Dated May 1690, XXX Reverse and Jacobus II Obverse\nShilling Dated 1689, with Date Above the Crown, 9 Below Reverse, and Jacobus II Obverse\nAlso a James II Threepence dated 1687\nJames II Gunmoney (1685-1691) LARGE Halfcrown Dated 1690,\nKING ON HORSEBACK\nThe obverse king on rearing horse left, and ∑MAG∑BR∑FRA∑ET∑HIB∑EX∑ ; reverse with crown at center, surrounded\nby crowned cruciform shields, dated 'ANNO/ DOM/ 16/ 90 in the angles and CHRISTO∑VICTORE∑TRIUMPHO;\nwear to high places; detail of rider lost and reverse crown, and some text on obverse lost\nJames II Gunmoney (1685-1691), Small Halfcrown Dated May 1690\nThe obverse with Laureate head of James II left and IACOBVS∑II∑ DEI∑GRATIA, the reverse with XXX\nover crowned scepters and May, ∑MAG∑BR∑FRA∑ET∑HIB∑REX∑; light wear to high places\nJames II GUNMONEY(1685-1691), SHILLING DATED 1689\nThe obverse with laureate head left, IACOBVS∑II∑ DEI∑GRATIA, outer beaded border both sides;\nreverse with crown on crossed sceptres, XII above, 9 below, date 1689 at top, MAG.BR.FRA.ET.HIB.REX;\nJames II (1685-1691) Silver Threepence, Dated 1687\nThe obverse with the laureate head of James II left and IACOBVS∑II∑ DEI∑GRATIA; the reverse with III,\n1686 and ∑MAG∑BR∑FRA∑ET∑HIB∑REX∑ ; good detail with single scratch to reverse\nIn 1689, James II, after only 2 years on the throne, was deposed from the English throne by his son-in-law William of\nOrange. James had converted to Catholicism, infuriating his Protestant subjects. Further, his son promised a Roman\nCatholic succession, and the Protestants subjects invited the Protestant William of Orange to become their King.\nIronically, William was married to the daughter of James II - Mary.\nHe took refuge in Scotland, Ireland and on the Continent. James landed in Ireland in March of 1689 intent on using\nit as a base to recover the throne of England. He quickly established mints at Dublin and Limerick, and issued a token\ncoinage struck, to be exchanged for sterling silver upon his return to the English throne. The term \"Gun Money\"\noriginates from the use of canons in the production of the coins. However other implements - including bells, cooking\npots, pans and scrap - provided the bulk of the bullion. The use of these domestic utensils led to the term “brassmoney”\nwhich was the dominant and more accurate description of the coins in Ireland at the time. The total worth of the coins\nproduced is said to have been in the region of £1,100,000.\nGun money struck between March 1689 and late 1691 bore not only the year but also the month of manufacture.\nThe month placed on the coins indicated how long the coin had been held and how much it could be redeemed for.\nIt should be noted, that the calendar in use at the time was called “Old Style” or OS. According to this calendar, the\nNew Year started on March 26th. Thus the tokens struck in March 1689 were actually struck in the same month in 1690.\nA production of smaller coins followed the larger ones, as a result of a shortage of materials. Coinage minted in Dublin\nbetween May and July 1690 were not dated by month.\nWilliam invaded and defeated James II who fled to France after the Battle of the Boyne. He immediately seized the mint in\nDublin and halted production of the coins soon afterward in late July 1690. Two years later the Capel Street establishment\nresumed the striking of copper\nbut this time in the names of William and Mary.\nIn Limerick, which was the last city to fall to the Williamite forces, the mint there continued to produce gun money until late 1691.\nHowever, the military defeat of the Jacobites under Patrick Sarsfield inevitably brought about their discredit and their\nformal demonetization by a proclamation of February 1692.\nIn Stock - Images Forthcoming\nCLICK HERE FOR OTHER 2010 NEW LISTINGS\nWe welcome and encourage all inquiries. We will make every attempt to answer any questions you might have.\nFor information, call (901) 761-1163 or (901) 827-4668 or email firstname.lastname@example.org\nAmerican Express, Mastercard, Visa and Discover accepted", "label": "No"}
{"text": "Trained in pottery throwing techniques by his father from an early age, he decided to become a ceramic artist after World War-II, and established the avant-garde ceramist group \"Sodeisha\" in 1948, together with other young talented artists such as YAGI Kazuo and YAMADA Hikaru, in order to develop a new sculptural expression through ceramics. Their works did not have any practical use as containers, but pursued purely artistic quality in three-dimensional art. These works were received with astonishment by the people of the time, and were called \"objet-yaki (non-functional ceramic objects).\" However, SUZUKI continued to create his artworks with clay and fire, not as objects. His use of words such as \"Deizo (lit., \"clay statue 泥像\")\" or \"Deisho (lit., \"clay image 泥象\")\" in the titles of his works express his philosophy, thoughts and feelings toward his own pottery-making, and indeed might be considered as his answer to the enigma that is ceramic art.\nCreated with two different techniques such as \"biscuit firing\" which is applied with red engobe and fresh-colored \"bluish white porcelain,\" SUZUKI's works are represented by gentle \"forms\" inspired by animals such as horses and birds, and natural phenomena such as the wind and clouds, which are expressed with a sharp, creative sensitivity. His rich and unique world of art, where the forms of his works, their titles and the images they suggest to the viewers correspond with one another, has deepened year by year, incorporating with literary elements. The first, full-scale retrospective after his death, this exhibition features approximately 150 works ranging from his early pieces to unpublished works from his later years. We trace the history of SUZUKI Osamu's ceramic art, which has transformed from \"pottery for use\" into \"pottery for viewing\" and eventually became \"poetry ceramics.\"\nTo download a PDF of the press release (in Japanese), click here", "label": "No"}
{"text": "Orlena Lopez December 26, 2019 School Worksheets\nAs we already discussed in the article home schooling an elementary aged child finding the resources for home schooling and socialization can easily be found in the community that you live in or online. Introducing the learning process in a more formal setting but being sure to keep the fun of learning alive for your child is an important focus. Now that the middle school grades are being entered the focus needs to be zeroed in on the child’s education yes but also on the emotional state of the middle school student. These are exciting times for a student as they are experiencing new things both mentally as well as physically.\nFollow the course outline closely, You are reminded to follow the course outline provided by your school closely. You must not miss any virtual lectures and online discussions. At the same time, you must make sure that you complete your course work on time. Moreover, you need to pass all the exams successfully. Once you have fulfilled your school’s requirements for graduation, you will be able to receive your diploma. To sum up, earning a high school diploma is no longer a hard task. Every can complete it easily with the utilization of internet. You don’t need to waste your time traveling to your school to attend classes. You can just sit back comfortably at home and earn your academic qualification in a simple manner.\nSearch for accredited school, Don’t simply get an online diploma from an unrecognized school. You must make sure that you enroll in the accredited school which is recognized internationally. This is important because many reputable universities will not accept diplomas from online schools that only hold national accreditation. What you need to do is to submit a copy of your transcript to your school of choice in order to show what credits you have already earned. If you don’t have any transcript, you should get yourself ready to sit for a placement test provided by the school in order to determine your education level. Get yourself ready, In order to complete the online program smoothly, you need to make sure that you have a computer at home with high-speed internet access which you can use on daily basis to learn new topics and complete all course works. Besides getting the hardware and software ready, you are reminded to get yourself physically and mentally ready too. Make sure you have a healthy body and fresh mind during your study. It is important for you to set your study schedule carefully and stick to it. Besides, you are reminded to have strong determination and self-discipline so that you can complete your distance learning within the exact time frame.\nEducationally you just need to build on the foundation you have already set in the elementary grades. It is important for a child’s future to make sure some subjects are done every year building on what the child already knows. Math, English and literature, history, science along with Bible are things that I insisted that our children have a course in every year. Because of the different learning personalities of the kids we would talk about which curriculum they would enjoy using for their courses and they were welcome to add to the list any courses that they wanted.\nThere are plenty of reasons why parents are deciding to home school besides the once common religious reasons. One is perhaps social reasoning. Professionals who once criticized parents for home schooling their children are beginning to change their views, finally realizing what people in rural areas knew for years. That not all social interaction is positive. The physical schools are becoming increasingly violent, along with increased drug usage, and gang activity. Home schooling with satellite broadband internet allows schools to turn into interactive virtual classrooms where children are still able to interact with teachers, students, and parents. The home–school setting draws the child’s attention from negative social behaviors like alcohol, drugs, and risky sexual behavior. Chances of the child encountering violence in the home–school setting are nonexistent.\nThey can learn how to create animations, along with several other skills specifically designed for their level. Many of the features of educational applications, such as interactivity, are completely in-line with educational principals, that is a huge advantage for everyone.If you have children, then you can be interested in understanding about computer animation programs that are available for them. Through fun games, animated tutorials and in many cases vocabulary sections, children learn the essential computer skills they may need when you use other cartoon software, even on the preschool level. Check out several programs, as some even have bonus items, like a My First Software mouse pad and additional books.Children between 3 to 4 years of age are referred to as kindergarten and preschoolers. With this stage of development, children learn and absorb information quickly. The truth is this is the time as soon as your child would rather explore the world around her. They enjoy communicating their interest and attraction in most new discovery. Notice a young child that sees the rainbow above for the first time. Notice how her expression changes. Since this is something new to her, she easily gets fascinated by the wonderful colors with the rainbow. What parents are able to do is to encourage the child to convey her feelings. Talk to the child in a very normal manner.\nTag Cloudactivity worksheets for kids preschool pages free english exercise for kindergarten free printable elementary worksheets learning pages for 4 year olds kindergarten learning worksheets children's bible worksheets free worksheets for kids math papers for kindergarten kindergarten practice worksheets printable kindergarten reading books free printable kindergarten level books PDF fun worksheets for preschool free coloring pages for toddlers activity sheets for 4 year olds worksheets for 5 year olds writing sheets for kindergarten preschool activities worksheets fun worksheets for kids preschool handwriting worksheets worksheets for 6 year olds kindergarten tracing worksheets print handwriting worksheets kindergarten phonics worksheets beginning sounds bible worksheets for kids worksheets for toddlers age 2 halloween worksheets for kindergarten school worksheets for kindergarten kindergarten language arts worksheets kindergarten science worksheets phonics activities for kindergarten free worksheets4kids esl worksheets for kids free printable worksheets for kids printables for toddlers kindergarten phonics worksheets alphabet activities for preschoolers printables free toddler learning printables handwriting practice for kids kindness worksheets for elementary students learn to write kindergarten worksheets toddler learning printables preschool printables family members exercises for kindergarten writing practice for kindergarten preschool shapes worksheets free halloween worksheets for kindergarten preschool activity sheets learning worksheets for 4 year olds printable worksheets for 3 year olds free printable activities for preschoolers free printable school worksheets printable halloween activity sheets coloring worksheets for kindergarten number worksheets for kindergarten sight word activities for kindergarten free kindergarten prep worksheets tracing letters for kids preschool abc worksheets kindergarten learning sheets free printable kindergarten reading books toddler learning sheets multiplication worksheets for kids preschool tracing worksheets halloween activity sheets worksheets for toddlers age 2 PDF kindergarten letter worksheets kindergarten activity sheets free printable activities for 3 year olds free printable cutting activities for preschoolers kindergarten handwriting practice printable school worksheets preschool science worksheets activity worksheets for kindergarten tracing for toddlers bullying worksheets for kids tracing sheets for kindergarten learning printables for 3 year olds learning shapes and colors for toddlers printable free preschool activity sheets worksheets for 2 year olds math exercises for kindergarten science worksheets for kids printable pages for preschoolers abc worksheets for kindergarten rhyming worksheets for kindergarten free worksheets and printables for kids shapes worksheets for kindergarten fall worksheets for kindergarten toddler worksheets math pages for kindergarten alphabet writing practice sheets for preschoolers printable learning activities for toddlers tracing letters for toddlers toddler activity sheets printable comprehension activities for kindergarten letter writing practice preschool kids learning sheets printables for 2 year olds english worksheets for kids easy worksheets for preschoolers writing exercises for kids preschool phonics worksheets handwriting worksheets for kindergarten number practice kindergarten kindergarten activities free toddler learning worksheets learning colors worksheets kids learning printables halloween worksheets for kids learning to read worksheets for 5 year olds k5 learning kindergarten alphabet practice for kindergarten color by number kindergarten worksheets for kids spanish worksheets for kids preschool letter tracing sheets free printables for toddlers worksheets for 3 year olds free printable toddler worksheets kindergarten learning printables free first grade math worksheets worksheets for toddlers age 3 kindergarten phonics worksheets PDF toddler activity sheets worksheets for 4 year olds educational worksheets for preschoolers toddler learning activities printable free printouts for toddlers subtraction worksheets for kindergarten animals worksheet for kids activity worksheets for toddlers learning activities for 4 year olds printables toddler tracing pages kindergarten writing worksheets preschool printable activities free elementary worksheets color by number worksheets for kindergarten free printable activities for toddlers kids activity sheets counting worksheets for kindergarten halloween math worksheets for kindergarten free preschool printables alphabet workbooks for preschool abc preschool printables learning worksheets for 3 year olds simple sentences for kindergarten worksheet kindergarten homeschool worksheets kindergarten vocabulary worksheets", "label": "No"}
{"text": "Though the dangers and health effects of tobacco consumption are widely known, this does not stop New Yorkers from partaking in the habit. Under the Smoke-Free Act of 2002, Mayor Bloomberg adopted strict smoking laws in New York that banned smoking in public venues such as parks, beaches, and restaurants. The Smoke-Free Act also implemented tax increases and raised the legal age for purchasing cigarettes from 18 to 21. At the time, the city’s adult smoking rate was 21.5% and Bloomberg hoped that these new laws would discourage people from smoking, thus lowering the rate.\nOver the course of the next decade, the smoking rate in New York City plummeted to 14% around 2010.  Prices of cigarettes steadily rose, reaching upwards of $14 in some areas of the city. Retail stores like CVS even made the move to no longer sell tobacco products in stores nationwide.The campaign seemed successful. However, statistics provethat increasing cigarette prices and implementing more restrictions does not help in the city’s cause to quit smoking. New studies from 2013 show that smoking rates have in fact increased in the past year, despite the staggering prices people are forced to pay. New studies show that within the past year, the number of smokers in the city has grown to roughly 1 million people, around 16.1% of the population . In this study, statistics show that smoking has gone up among all demographics; around 20% of males and 12.5% of women in New York City smoke .\nDespite New York having the highest excise taxes on cigarettes, this fails to stop people from purchasing them. In fact, studies show that people who are low-income actually smoke and spend more than those who are wealthier. Those who make over $60,000 a year only spend around 2.2% on tobacco products a year, whereas those who make under $30,000 a year spend as much as 25% of their income on tobacco .The fact that lower-income citizens are being exposed to more health problems as a result of their smoking habits only widens the gap between the wealthy and poor; they must suffer the heavy financial burden of treating health problems incurred by smoking, including lung cancer, heart disease, and emphysema.\nIn an effort quit smoking and save money, many smokers have opted for electronic cigarettes and vaporizers, which claim to contain nicotine but very little to no additives. These items produce a smoke-like vapor that has no taste or odor, which encourages people to use them just about anywhere. However, smoking laws have recently been extended to include banning e-cigs and vapes in public venues. For this reason, many may feel that their reason for using them is futile. If people who smoke e-cigs are forced to smoke them outdoors, then they might as well light up a real cigarette.  However, studies have proven that the secondhand vapor emitted from e-cigs is rather innocuous; so, why ban them, especially if this latest technology saves people money and exposure to long-term health problems?\n Gay, Mara. “New York City’s Adult Smoking Rate Climbs.” WSJ. Wall Street Journal, 15 Sept. 2014. Web. 18 Dec. 2014. <http://www.wsj.com/articles/new-york-citys-adult-smoking-rate-climbs-1410812653>.\n “Smoking Statistics.” General. NYC Coalition for a Smoke Free City, 1 Jan. 2014. Web. 18 Dec. 2014. <http://www.nycsmokefree.org/smoking-statistics#5>.\n “Poor Smokers in New York State Spend 25% of Income on Cigarettes, Study Finds.” The New York Times. The New York Times, 19 Sept. 2012. Web. 19 Dec. 2014. <http://www.nytimes.com/2012/09/20/nyregion/poor-smokers-in-new-york-state-spend-25-of-income-on-cigarettes-study-says.html?_r=0>.  Hafrey, Jimmy. “Smoking Rates Increase in New York After E-Cigs Are Banned – ChurnMag.” ChurnMag. 16 Sept. 2014. Web. 18 Dec. 2014. <http://www.churnmag.com/news/smoking-rates-increase-new-york-e-cigs-banned/>.", "label": "No"}
{"text": "In this scene called Many Worlds, three of the infinite possible configurations of a simulation that describes the development of our universe are shown. The parameters that define the physical characteristics of the system and the particles that move in this virtual space are changed at each iteration searching for a situation in which the conditions for the birth of life are met. The result of this process is a wide range of configurations in which the system show its ability to create or not variety and heterogeneity starting from the same quantity of matter.\nThe title of this artwork is a tribute to the so-called Many-Worlds interpretation of quantum mechanics formulated by the American physicist Hugh Everett, according to which all possible alternative and future worlds are real, each representing an actual world. Before this theory, reality has always been seen as a single unfolding history. Many-worlds, on the other hand, sees historical reality as a tree with many branches where every possible quantum result is realized.", "label": "No"}
{"text": "Brilliance is an elusive concept. It’s a concept applied to many objects related to light, but when applied to human beings, it generally refers to an exceptional talent or intelligence.\nWhat’s interesting about the word brilliance and its relationship to human beings is the belief that some people have it, and some people don’t. A study published by a group of US scientists in the journal Science drew out some interesting findings, in particular the difference in attitudes towards brilliance between boys and girls.\nThe study showed that, as early as six years old, girls attributed their academic success more to hard work and less to innate abilities, believing that boys are inherently smarter than girls. While academic results demonstrate categorically that this is not true, something in the educational system implants the belief in girls to attribute their success less to intelligence and more to hard work.\nWhy the educational system? Well, it’s interesting that at the age of five, girls and boys are pretty much equal in terms of their views on innate intelligence versus hard work, and it’s at the age of five that boys and girls in the US, where the study was conducted, enter school. The situation changes significantly by the age of six, with girls eschewing skills deemed appropriate for “intelligent” people and identifying intelligence more with males than females.\nThe real issue is that this bias negatively impacts both boys and girls. Girls are given the false impression about their lack of intelligence in relation to boys, and this dents their confidence, which, in turn, prevents them from stretching themselves academically with subjects like science and maths. Boys, on the other hand, falsely believe that intelligence will see them through life, so it comes as a bit of a shock when they learn that success rarely comes without hard work. Secondary school results are a key indicator of the impact it has on boys’ educational accomplishments.\nIt’s of vital importance that educators tackle this situation now to ensure equal opportunity in the future. We need to understand the source of the bias so we can transform it going forward.\nHow do you correct the damage that’s already been done? Perhaps you are one of those people who have been affected by this gender bias, and it’s having a negative impact on your career.\nIt’s not likely to happen overnight. However, you can definitely begin the process by being in the inquiry. Here are the five steps, which I call the AEIOU Process, to help you reclaim your brilliance.\nWhen you reach this point, what are you left with? A blank canvas! An open space on which you can create whatever you want. So, how do you want to approach your career? Do you want to keep working hard? Do you want to keep living under the delusion that the world owes you something? Or do you want to live a life that fills you up?\nIt's your choice. As your coach, I suggest you consider your future. How do you want your career to look? What kind of thinking will help you get there? Choose beliefs and attitudes that support you to fulfil your goals in a healthy way. Remember, your career is only one facet of a multi-faceted life. You want to ensure that your belief choices work for you, your career, your family, your colleagues, your health, your pleasure -- your entire life, basically. Pie-in-the-sky beliefs set you up for further failure. You don't want that.\nI want to leave you with a word about brilliance. Everyone is imbued with brilliance. It can feel like a monumental task trying to draw this brilliance out of yourself, especially if it has been diminished by limited thinking like bias. Would it be satisfying if everything was easy, though? Probably not!\nIt is your job to own your own brilliance. Imagine what your life could be if you approach it as an adventure in discovering who you really are, without all the fluff you've gathered over the years. It sounds like a lot of fun to me!\nBelieve me. There is gold inside you, waiting to be discovered. It's your job to mine it and fashion into a life worth living.\nAnd here’s the truth (in an age of post-Truth): brilliance knows no bias.", "label": "No"}
{"text": "Propaganda Posters played a very important role in strengthening the cause of the nations involved in World War 1. They helped recruit men to join the military and Red Cross, and served as a fundraising tool. They also provided information, and reminded people to contribute to the war effort by not wasting food. The countries involved in World War 1 included Australia, Belgium, Canada, France, Italy, Russia, The United Kingdom, and The United States of America. Each country used World War 1 Propaganda Posters to advertise and encourage their citizens to support the war. World War 1 started on July 27, 1914 and ended on November 1918.\nMeet the Artists of the World War 1 Propaganda Posters Series\nIn the United States, World War 1 Propaganda Posters were used to mobilize men to join the armed forces, and to encourage citizens to support the war effort. One of the most memorable and iconic posters during the war was the “I WANT YOU” poster, featuring a pointing Uncle Sam. It was designed by James Montgomery Flagg, and released in 1917. Other artists who contributed in making World War 1 propaganda poster include Clyde Forsythe, Gerrit Baker, J. Scott Williams, L.A. Shafer and Euginie De Land Saugstad. You can find a collection of original of war posters here at Nancy Steinbock Posters. For inquiries, please call 800-438-1577 or email us off the pop-up of anything that interests you.", "label": "No"}
{"text": "Robert McCausland, Toronto\nIn 1534, Jacques Cartier was commissioned by King Francois I to sail from Saint-Malo heading west to discover a passage way to Asia. During that expedition he explored the Gulf of Saint-Lawrence and encountered Natives. In June of 1534 he planted a cross on the Gaspe peninsula and claimed it for France.\nISGC © 2010", "label": "No"}
{"text": "The global mining industry could soon benefit from an Aussie-made technology that provides new knowledge on orebodies and mineral systems.\nDeveloped by CSIRO, the new advanced mineral analysis and logging technology – called HyLogger – uses the spectra of reflected light from mineral surfaces to interpret the mineralogy of the material. Additionally, the technology provides near real time analysis so that costs and delays associated with laboratory analysis are greatly reduced.\nCSIRO Research Director, Dr Rob Hough, said HyLogger is far more reliable for systematic mineral identification than visual techniques used in most drilling programs.\nHe said the technology has now been licensed to Australian mining, equipment, technology and services (METS) company Corescan, adding that its commercialisation will opened the way for the industry to truly take advantage of hyperspectral analysis of drill materials for exploration and mining.\n“Through our partnership with the Australian state geological surveys, the National Virtual Core Library and AuScope, hyperspectral data is now routinely acquired at government core repositories and is generating new knowledge on mineral systems,” Dr Hough said.\n“Transferring the technology and ongoing development to Corescan, an Australian SME, will enable CSIRO to focus on the application and integration of hyperspectral information with other data sets to support mineral exploration through cover and for rapid resource characterisation in deposits.”\nCorescan Managing Director, Neil Goodey, said the company – which operates a network of hyperspectral mineralogy labs across Australia, South East Asia, Canada, USA, Mexico, Peru, Chile and Argentina – plans to integrate HyLogger into its existing suite of advanced hyperspectral imaging equipment.\nHe said the technology will give the company a broader range of solutions to accommodate different commodities and better meet customer requirements at different stages of the exploration and mining cycle.\n“Corescan will also be offering support services to the existing HyLogger community and will leverage its global reach to bring the technology to new international markets,” Mr Goodey added.\n“Corescan will be working closely with the Australian geological surveys and the National Virtual Core Library to continue on the great work that CSIRO has done in this area over the last decade.”\nAccording to CSIRO, the Australian exploration industry spends approximately $600 million per year drilling holes to locate economic mineral resources.\nThe agency believes HyLogger could save the mining industry million of dollars by providing detailed knowledge of the mineralogy and alteration patterns associated with prospective mineral regions, which is crucial to guide exploration success and attract further international investment into Australia.", "label": "No"}
{"text": "Tribal art > African mask > Masque League\nMasque League Multifaces (N° 17549)\nClean geometry of primitive Lega masks.\nWatch the video\nThis unusual, hypnotic mask juxtaposes three nasal edges separating the eyelids, giving the illusion of three faces. Three mouths indicated by hollowed-out rectangles asymmetrically fill the lower area. This sculpted work indicated the stage that its holder had reached within the Bwami, a learning society composed of different grades, and which was joined by the wives whose spouse had reached the third level, that of the ngandu. Beautiful patina of abraded use, mate.\nAt the Lea, the Bwami society open to men and women, organized social and political life. There were up to seven levels of initiation, each associated with emblems. Following their exodus from Uganda in the 17th century, the Lega settled on the west bank of the Lualaba River in the DRC. Also known as Warega, these individuals live in self-contained villages surrounded by palisades, usually on the top of hills. The role of the leader, kindi, is held by the oldest man of the clan, who must be the highest ranking. As in other forest tribes, men hunt and clear while women grow cassava. Social recognition and authority also had to be won individually: the chief owed his selection to his heart (mutima), good character, intelligence, and impeccable behavior. During ritual ceremonies, Idumu masks were presented to insiders placed on a fence and surrounded by smaller masks. The teacher guided the aspirant to a place where masks and statuettes were exposed, and it was through careful observation that the future initiate had to guess the more or less complex meaning of these metaphors, the latter referring largely to proverbs and sayings. Those who were not allowed to see the object, in order to be protected, had to submit to expensive ceremonies, and sometimes even join the lower rank of the Bwami, the kongabulumbu, at great expense to the families. Each of these initiations took place over seven days and featured at least seven performances. Items won individually were then kept in a woven bag worn over the shoulder, in a basket for those who were won collectively. (Art of the Lega, Cameron)\nThis item is sold with its certificate of authenticity\nEstimated shipping cost\n|Origin||Collection. Pr. J. Putteneers|\n|Country||rdc ex zaire|\nYou could also be interested by these items", "label": "No"}
{"text": "Charles COTTET (1863–1925) was from the South of France, from the Savoy. He received his training and found his artistic community in Paris, like many of his peers at the time. However, Cottet found his true inspiration in Brittany, which he started to visit in the mid-1880s. Views of the wild coastline of Brittany, the devout Christian life of the locals and the trades and traditions of the fishermen and women that inhabited the remote part of France, were his muses. He left behind a vast painted oeuvre, and a not insignificant number of etchings, mostly in color. His painting often shows symbolist undertones. His prints do not. A few of them are even rather realistic, and include some portraits of courtesans.\nInfluenced early on by his friendship with Nabis artists, such as Maurice Denis and Edouard Vuillard, the first prints Cottet made were lithographs, both black and white and in color. He did not practice the technique long. By 1905, when he discovered etching, he turned his attention fully to intaglio, generally structuring his compositions with pure-line etching, which he often shaded with aquatint. While he composed monochromatically, he often printed at least part, and sometimes all of this editions in color, using the “rag doll” method (à la poupée). Approximately 59 prints came out of his hands.", "label": "No"}
{"text": "by Terry Burton, Digital Media Coordinator\nThink back to when you were a kid – what kinds of things fascinated you? Sparked your curiosity? Turned you on to exploring your world? Yes, it was a long time ago, but remembering my childhood fascinations with the space program, dinosaurs, and the ancient past puts a smile on my face. I can still feel the feelings of wonder and excitement.\nGetting kids turned on to exploring and understanding their world – that’s one of our core passions here at the Museum. Last week we were honored by a visit from Dr. Temple Grandin, author, animal behavior pioneer, and autism advocate, who inspired us with her own experiences as a scientist and some great advice on engaging kids.\nThe key, according to Dr. Grandin, is to get kids “turned on” when they’re young. “If you don’t expose kids to interesting things, they’re not going to get interested in interesting things, “ she said. “You’ve got to get them out and take them to places.”\nWhen we shared with Dr. Grandin our plans and ideas for the new museum, she was enthusiastic. “I think it’s just wonderful that you’re building this museum,” she told us. “We have got to get school kids into the museum. The little kids, we’ve got to get them in there, because I can remember visits to the science museum when I was a kid, and, you know, it made a big impression on me.”\nWe were curious to hear her thoughts on our approach in the new museum, where we will be taking scientific phenomena and hands-on experiences and putting them in a cultural context – bringing in the history side of things and showing science in action. “That makes total sense,” she told us. “That’s a really good point. You’re telling me you’re going to study how gears work. I’ve seen those exhibits where they show you how gears work, but then what do you use gears for? Well, your bicycle is a good example, so why are gears important? – bicycles have them, you’ve got them in the car, too. We need to show how it works in the real world.”\nDr. Grandin is also a champion of hands-on learning. “What we’ve got to do to get kids enthusiastic about science is that we’ve got to expose them to hands-on science when they’re little kids,” she said. “You know there are programs where, even in elementary school, kids can go out and collect water samples and then they can actually be used to detect pollution levels. That’s real science. Third and fourth graders can collect water samples. We need to make science relevant. When I was a child, science is what enables you to go to the moon. I can remember when Sputnik flew overhead and everyone was all revved up about, we’ve got to really learn science because we have to get to the moon before Russia gets to the moon! It motivated the whole country.”\nDr. Grandin’s already busy life – in addition to teaching at Colorado State University, she travels extensively as an animal welfare consultant and a speaker at autism conferences – has become even more hectic since the HBO movie “Temple Grandin” came out (the movie recently was honored with seven Emmy Awards). While acknowledging the many demands on her time, Dr. Grandin said that “One thing I have tried to do is answer all the letters, especially when little kids write in to me. Make sure I answer all of those and tell them to study hard and achieve your dreams.”", "label": "No"}
{"text": "By Rudy Barnes, Jr.\nEqual Justice under law is engraved on the U.S. Supreme Court building, and it captures the spirit of our standards of legitimacy (what is right) and justice. Religions are a primary source of the legal and moral standards of legitimacy that define justice. Ancient Judaism and Islam defined their standards of legitimacy and justice by divine law, while Jesus summarized them in the moral imperative to love God and neighbor in the greatest commandment.\nIn the 18th century the Enlightenment transformed religion and politics in the West with libertarian concepts of justice that included democracy, human rights and the secular rule of law. In the Islamic East, however, Islamic Law (shari’a) continued to prevail with apostasy and blasphemy laws that prohibit the freedoms of religion and speech, and with other discriminatory laws that deny women and non-Muslims equal protection of the law.\nSince the early 20th century, human rights that begin with the freedoms of religion and speech have been stated priorities of U.S. foreign policy. But in Egypt, Saudi Arabia, Bahrain, Pakistan and Turkey shari’a has prevented enforcement of those fundamental human rights, and their violation has been ignored to avoid political conflict with those allied nations.\nWhere shari’a asserts its supremacy over human rights and secular law, it denies justice to minorities and produces a tyranny of the majority. Promoting the freedoms of religion and speech along with equal justice under law for women and non-Muslims not only promotes justice in Islamic nations, but it also undermines the legitimacy of authoritarian leaders and radical Islamist terrorists who depend upon oppressive forms of shari’a to stifle their opposition.\nThat pragmatic point seems lost on President Obama. He has rewarded El Sissi’s oppressive military regime in Egypt with U.S. aid and assistance, failed to criticize Erdogan’s repressive policies in Turkey, failed to criticize Saudi Arabia for propagating an extremist form of Islamic fundamentalism (Wahhabism) worldwide, and failed to criticize Islamic nations that use apostasy and blasphemy laws to deny the freedoms of religion and speech.\nThis hypocrisy reflects shortsighted political expediency that has taken precedence over U.S. strategic interests in the Middle East and Africa. When the U.S. does not condemn the violation of human rights and discrimination against women and non-Muslims in Islamic nations, it promotes authoritarian regimes and radical Islamist terrorism whose legitimacy depends on denying political freedom to those who would oppose them.\nShari’a functions much like a constitution in Islamic nations and defines standards of legitimacy and justice differently than do constitutions in libertarian democracies. There can be no real justice when shari’a denies fundamental human rights, and U.S. security assistance should not be provided to any nation that denies libertarian human rights. That standard would mean no U.S. aid for those nations that enforce apostasy or blasphemy laws.\nThe conflict between ancient religious laws and libertarian concepts of justice is not unique to Islam. Before the Enlightenment, Judaism and Christianity enforced heresy and blasphemy laws. Since then fundamental human rights have been protected by the constitutions of libertarian democracies and international law under the International Covenant of Civil and Political Rights (ICCPR). The 1990 Cairo Declaration, however, takes exception to the ICCPR, providing that shari’a is the last word on human rights and justice in Islamic cultures.\nBut that’s not the end of the story. Standards of legitimacy, liberty and justice are dynamic, evidenced by the wide diversity of opinion among Islamic scholars on those standards. Progressive Muslims promote interpretations of shari’a that are consistent with libertarian concepts of human rights and justice, while fundamentalist Muslims, like their Jewish and Christian counterparts, resist any change to their ancient religious doctrines and laws.\nThe greatest commandment to love God and our neighbors as we love ourselves is a common word of faith for Jews, Christians and Muslims alike. The Apostle Paul cited that commandment as a precedent for justice in all religions when he asserted that Jewish Law was fulfilled by the moral imperative to love our neighbors as ourselves (see Romans 13:8-10). While human rights were unknown in Paul’s ancient times, his precedent for justice requires that today we share the liberty we love for ourselves with our neighbors at home and abroad.\nNotes and Related Commentary:\nOn how political expediency has been a rationale for ignoring the violation of human rights in Egypt, see https://www.washingtonpost.com/opinions/global-opinions/egypt-and-iran-have-the-same-problem--and-the-same-answer/2016/09/22/1b970644-8103-11e6-8327-f141a7beb626_story.html?utm_term=.80891d90de94&wpisrc=nl_opinions&wpmm=1and the same in Bahrain, see https://www.washingtonpost.com/opinions/global-opinions/the-obama-administration-rewards-repression-in-bahrain/2016/10/26/b21c4e58-9ae9-11e6-9980-50913d68eacb_story.html?utm_term=.2fe25024d195&wpisrc=nl_opinions&wpmm=1.\nOn Erdogan’s repression of fundamental freedoms in Turkey, see https://www.washingtonpost.com/opinions/a-cult-of-personality-dashes-turkeys-democratic-dreams/2016/10/31/5451c1f6-9f9c-11e6-8d63-3e0a660f1f04_story.html?utm_term=.88689f2b6613&wpisrc=nl_opinions&wpmm=1.\nOn the danger of Wahhabism, see http://www.nytimes.com/2016/09/14/opinion/mohammad-javad-zarif-let-us-rid-the-world-of-wahhabism.html?smprod=nytcore-iphone&smid=nytcore-iphone-share&_r=0.\nOn the need for Islam to accept fundamental human rights and equal protection of the law for all, see http://www.express.co.uk/news/world/726912/Muslim-Charlie-Hebdo-journalist-Zineb-El-Rhazoui-Islam-no-religion-peace.\nOn President Obama’s hypocrisy in ignoring human rights in foreign policy, see https://www.washingtonpost.com/opinions/obama-criticizes-past-presidents-foreign-policies-but-how-different-is-his/2016/09/14/5f0afcfa-7a96-11e6-bd86-b7bbd53d2b5d_story.html?utm_term=.5d3a9ac0267d&wpisrc=nl_headlines&wpmm=1.\nOn President Obama’s acknowledgement that ISIS is a “twisted ideology” that cannot be defeated on the battleground, see https://www.washingtonpost.com/politics/obama-islamic-state-will-inevitably-be-defeated-but-networks-will-persist/2016/08/04/18198978-5a5d-11e6-8b48-0cb344221131_story.html?wpisrc=nl_headlines&wpmm=1.\nOn the greatest commandment as a common word of faith, see http://www.jesusmeetsmuhammad.com/2015/01/the-greatest-commandment-common-word-of.html.\nOn religion, human rights and national security, see http://www.jesusmeetsmuhammad.com/2015/05/religion-human-rights-and-national.html.\nOn oppresso de liber: Where religion and military power intersect, see http://www.jesusmeetsmuhammad.com/2015/05/de-oppresso-liber-where-religion-and.html.\nOn the relevance of religion to politics, see http://www.jesusmeetsmuhammad.com/2016/04/the-relevance-of-religion-to-politics.html.\nOn the causes of religious violence and how to combat them, see http://www.jesusmeetsmuhammad.com/2016/04/the-causes-of-religious-violence-and.html.\nOn religious violence and the dilemma of freedom and democracy, see http://www.jesusmeetsmuhammad.com/2016/04/religious-violence-and-dilemma-of.html.\nOn the freedoms of religion and speech as essentials of liberty and law, see http://www.religionlegitimacyandpolitics.com/2016/08/the-freedoms-of-religion-and-speech.html.\nOn liberty in law: a matter of man’s law, not God’s law, see http://www.religionlegitimacyandpolitics.com/2016/09/liberty-in-law-matter-of-mans-law-not.html.\nOn the evolution of religion and politics from oppression to freedom, see http://www.religionlegitimacyandpolitics.com/2016/09/the-evolution-of-religion-and-politics.html.\nOn the differing perspectives of Islamic scholars on concepts of justice, see Religion, Legitimacy and the Law: Shari’a, Democracy and Human Rights, see https://drive.google.com/file/d/0B4qPfb4MvEswV2ZHS3hyWTcwbmc/view at pp 10-17.", "label": "No"}
{"text": "This download is inspired by the geckos at the Zealandia Ecosanctuary in Karori.\nKnown as the Moko kakariki / Wellington Green Gecko or Barking Gecko because when they are threatened they make a defensive barking call!\nSome facts about these geckos:\n– they are active in daytime\n– they are often found in forest and shrub\n– they can live for more than 45 years\n– NZ geckos play a vital role in plant pollination, especially flax and pohutukawa\n– they spread seeds by eating fruit\n– they primarily feed on insects. Yum!\n– Team Tuffs", "label": "No"}
{"text": "The Fluxus Art Movement at it’s core was an interdisciplinary movement that’s main focus was on the process of art and not the final ‘product’.\nArt is essentially two things – an expression of creativity and an echo of freedom. Throughout our history, humans have shown a natural urge for freedom of imagination and expression.\nHowever, time and again controversial art has tested our commitment to artistic freedom. The idea that everyone has a right to decide what type of art they want to create or receive might be widely accepted.\nYet, history stands as a proof that every time the idea is put into practice, it has raised more eyebrows than hands to applaud.\nIn 1961, an unusual but revolutionary concept of art was introduced by George Maciunas. The art historian from Lithuania named this concept Fluxus.\nInspired by a composer, John Cage, a group of aspiring artists set out on a path to create art without the concept of an eventual end.\nThey struggled to free art from the reigns of conventional practices and instead introduce spontaneity and infinity to it. They carried on the bequest for the next twenty years.\nLet’s explore more about this form of art and the realms of artistic freedom!\nWhat Is The Fluxus Art Movement?\nFluxus is a Latin word which means flowing. In English, it is an act of flowing out. The founder of Fluxus, Maciunas, believed Fluxus was to “promote a revolutionary flood and tide in art, promote living art, anti-art.” Fluxus strongly resonates with the art movement of the early twentieth century, Dadaism.\nThe supporters of Dadaism rooted for the idea of blurring the line between life and art with a touch of humor.\nThey believed that there should be no definitions of what an artwork should be and rejected the impositions made by museums and other art institutions.\nFluxus was thus, experimental with the notion of expressing without limitations. This sat well with George Maciunas, who openly expressed that art performances should “flow” freely.\nIn 1961, the first Fluxus event was presented at the AG Gallery in New York. This event was followed by festivals in Europe in the year 1962. The most prominent centers of Fluxus activity were New York, Japan and Germany at the time.\nWhen the founder, Maciunas, himself was asked to define Fluxus, he would play recordings of barking dogs and honking geese. Although the inquirer would be baffled at first, the explanation would become plain and simple. Fluxus was the experimentation and expression of absurdity at its core. The performances of Fluxus became commonly known as “Events.”\nThe Fluxus Manifesto\nGeorge Maciunas, like many of his peers, preferred to set forth his concept through a manifesto. The Fluxus manifesto was itself a piece of art that comprised of various dictionary definitions of the word “flux.” It also consisted of handwritten notes that elaborated the concept further.\nThe definition of fluxus as a purging or outflow of fluids, Maciunas put down:\n“Purge the world of bourgeois sickness, ‘intellectual,’ professional & commercialized culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic art, mathematical art — PURGE THE WORLD OF ‘EUROPANISM’!”\nHe went on to promote a revolutionary flood and tide in art and expressed his desire to take the non art reality to the common masses, rather than limiting it to critics, dilettantes and professionals.\nHe demanded to fuse the the cultural, social and political revolutionaries into a united front and action.\nThe Key Artists of Fluxus\nAn interesting thing about Fluxus is that it wasn’t really a movement, in fact it was more about a network or community. Due to this very reason, it is difficult to categorize the key Fluxus artists.\nIt was a community of visual artists, poets, writers, composers, etc. Many of whom were part of the community only for a short period of time.\nThe Fluxus community can be better described as a group of artists who wanted to liberate art out of the clutches of elitist institutions. They wanted to bring art to the masses to show that art and life could be fluidly interchangeable.\nIf George Maciunas can be called the father of the Fluxus Art, John Cage can be regarded as the ideological founder. Both of them contributed a great deal to the spread of the idea.\nMaciunas studied architecture, art history, graphic design and musicology, while Cage was a composer, music theorist, artist and philosopher.\nOther prominent avant-garde artists who are known as key Fluxus artists from the 60s are Joseph Beuys, Ben Vautier, Alice Hutchins, Yoko Ono, Robert Watts, Dick Higgins, Nam June Paik, Emmett Williams and Benjamin Patterson.\nFluxus did not have a single binding style that categorized the Fluxus artists under one umbrella.\nFluxus artists adopted a number of mediums and an autonomous style to create art. They would often stage random performances and use any material available for artwork.\nThe fans of Fluxus would regard it as democratic form of art that would embrace anyone unlike conventional standards of art. Artists would collaborate with different forms of art to create unique work.\nBut above all, they encouraged simplicity and anti-commercialism. This allowed spontaneity and free flow to be an integral part of Fluxus art. Humor was also an important element of Fluxus art.\nA french artist, Ben Vautier, was especially known for his affiliation with this type of art. One of his famous Fluxus artworks was Total Art Matchbox from 1966. This art piece was a simple box of matches with some unique instructions printed on the cover. It said:\n“USE THESE MATCHES TO DESTROY ALL ART – MUSEUMS ART LIBRARY’S – READY-MADES – POP-ART AND AS I BEN SIGNED EVERYTHING WORK OF ART – BURN – ANYTHING – KEEP LAST MATCH FOR THIS MATCH.”\nBen Vautier’s Total Art Matchbox was an exemplary anti-art piece of the Fluxus movement.\nFluxus started with George Maciunas and unfortunately, came to an early end with his demise. The father of Fluxus died in 1978, which also marks the end of Fluxus in the history of art. Eventually, Fluxus turned into an event, known as Fluxfeast and Wake. In this event, foods that were black, white or purple were served.\nMany artists still continued their work, but all of it wasn’t considered to be Fluxus anymore. The Fluxus movement might have died with the passing away of the founder. But to this day, you can find the reflection of Fluxus in digital art performances, land and street art, graffiti, etc.\nIn fact, as long as there are artists who work beyond the physical boundaries of museum systems, the world will continue to witness artistic freedom testing its wings!", "label": "No"}
{"text": "What’s a Rain Garden\nWhy is a Rain Garden Important?\nA rain garden is an attractive native plant garden with a purpose: to protect local streams, rivers and the Chesapeake Bay. Rain water (or snowfall) is routed to the garden and filtered by the plants and soils in the garden. Rain gardens use a combination of soils and water-tolerant native plants to catch and hold runoff, a concept known as bioretention. The soils and plants then naturally filter out pollutants found in rain and runoff helping to protect local streams, rivers and the Chesapeake Bay.\nImpervious surfaces, like rooftops, roads and parking lots, do not absorb or allow the infiltration of rainfall. As a result, more rainwater travels over the surface, washing various pollutants like excess nutrients, lead, copper, engine oil, gasoline and engine coolant collected on these surfaces into local streams, rivers and eventually the Chesapeake Bay. Planting a rain garden in your yard may seem like a small thing, but capturing the first inch of water from a storm in a rain garden keeps 90% of pollutants and nutrients out of the local streams and rivers. Keeping rain where it falls by putting it into a rain garden will help protect our rivers, streams and the Chesapeake Bay.\n- Matt Fleming\nChesapeake & Coastal Service Unit Director\nPhoto of Rain Garden Courtesy of NRCS\nFor more information:\nTake time to volunteer in your neighborhood or community. Volunteering is a great way to make new connections and find people who share your interests. There are many opportunities and your contribution will be appreciated.\nFind out what is going on in your area. Links for event calendars from other agencies and organizations are included in our list. If you have a question about a specific event, make sure to contact the group hosting the event.\nSustainability TipInstall a rain garden or rain barrel to catch rainwater. Stormwater rushing off of roofs and lawns carries pollution directly into streams and the Bay. Rain gardens and rain barrels slow the water down and keep pollution out of our waters. Click here for other helpful information.\nJoin the Sustainability Network\nThe Sustainability Network is a place where interested citizens, businesses and organizations can share ideas on projects and make connections between others who share their interest.", "label": "No"}
{"text": "What Is Photonics and Its Significance?\nPhotonics is the science and technology of generating, controlling, and detecting light - specifically photons, which are the fundamental particles that make up light. This rapidly expanding field has gained immense importance due to its versatility and efficiency in various applications, ranging from telecommunications and healthcare to manufacturing and military defense.\nPhotonics is at the core of many modern devices and systems, offering significant advantages in speed, energy-efficiency, and reliability compared to traditional electronic-based technologies. As technology continues to evolve at an unprecedented pace, photonics technology is rapidly emerging as a key force shaping the future of diverse industries. This innovative field of optics and photonics has the potential to revolutionize modern life, making it critical for businesses and consumers alike to understand its far-reaching implications.\n- Photonics technology is poised to revolutionize various industries, including telecommunications, healthcare, and manufacturing.\n- Optics and photonics are critical elements in the ongoing evolution of modern technology, and understanding their potential is crucial for staying ahead.\n- Innovations in silicon photonics are driving improvements across diverse applications, leading to more integrated and efficient optical systems.\n- Emerging trends in photonics technology have the potential to reshape both industry and society in the years to come.\n- Awareness and understanding of these advancements will be vital in navigating the rapidly changing landscape of the tech-driven world.\nFundamental Principles of Photonics\nThis field has its foundations in physics, engineering, and material sciences. Due to its multidisciplinary nature, photonics not only plays a pivotal role in scientific advancements but also brings practical and innovative solutions to various sectors. Comprehending the fundamental principles and core components of photonics is essential to understand its impact on various industries and daily life.\nPhotonics technology's growth has followed an upward trajectory, thanks to continuous breakthroughs and innovative research. Here are the fundamental components and underlying technologies that drive photonics:\nOptical components: These elements manipulate light through various processes such as reflection, refraction, diffraction, and absorption. Examples include lenses, mirrors, and filters.\nLight sources: Devices like lasers and light-emitting diodes (LEDs) generate light with specific wavelengths and properties to serve practical applications.\nOptical detectors: Photodetectors and image sensors are used to capture and convert light into electrical signals, enabling the processing and analysis of information.\nOptical materials: These are specialized materials that enable the transmission, manipulation, and control of light. They include glass, transparent polymers, and semiconductor materials with unique properties.\nBridging the Gap: From Research to Application\nWhile photonics research has produced numerous pioneering technologies, the path from research to tangible applications in everyday life has not always been straightforward. However, recent strides in photonics engineering and commercialization are closing this gap, as researchers address challenges related to scaling, integration, manufacturability, and cost. These success stories in this regard demonstrate the tremendous potential of photonics technology to make a lasting impact on various aspects of human life and industry.\nTelecommunications and Data Transfer\nIn the field of telecommunications and data transfer, photonics stands as a cornerstone technology, revolutionizing how information is transmitted and received. Central to this revolution is the use of fiber-optic cables, which employ light to carry data over long distances with minimal loss and interference, vastly surpassing the capabilities of traditional copper wires. The inherent properties of light, such as high frequency and wavelength division multiplexing, allow for the transmission of vast amounts of data at incredibly high speeds, a necessity in our ever-expanding digital world.\nPhotonics also facilitates the development of optical switches and routers, enhancing the efficiency and speed of network infrastructures. This technology is crucial in enabling the backbone of the internet and in supporting the burgeoning demand for cloud computing and high-bandwidth applications like video streaming and online gaming. Furthermore, photonic advancements in satellite communication offer global connectivity, bridging geographical gaps and bringing high-speed internet to remote areas. The application of photonics in telecommunications and data transfer not only marks a significant leap in communication technology but also plays a pivotal role in shaping the future of global connectivity and information exchange.\nMedical Diagnostics and Treatment\nPhotonics has profoundly impacted healthcare and medical diagnostics and treatment, offering innovative, non-invasive, and highly efficient solutions. In diagnostics, photonic technologies are essential in advanced imaging techniques like MRI, CT scans, and endoscopy, providing detailed internal views of the body without the need for surgical intervention. Optical coherence tomography, another photonic invention, allows for high-resolution images of the eye and other tissues, aiding in early disease detection. In treatment, lasers, a key photonic tool, are utilized in a variety of medical procedures, including corrective eye surgery, tumor removal, and the precise targeting of cancer cells in photodynamic therapy.\nPhotonics also enables the development of wearable sensors for continuous monitoring of vital signs, playing a crucial role in patient care and telemedicine. Additionally, in biomedical research, photonics technology facilitates advanced microscopy and spectroscopy, enhancing our understanding of diseases at a molecular level. The integration of photonics in healthcare and medical diagnostics and treatment not only improves patient outcomes but also opens new avenues for medical research and the development of innovative treatment methods.\nIn the manufacturing industry, photonics plays a transformative role, significantly enhancing the efficiency, precision, and capabilities of various production processes. Central to this impact is the use of laser technology, a cornerstone of photonic applications in manufacturing. Lasers, characterized by their high intensity and accuracy, are utilized for cutting, welding, and engraving a wide range of materials, including metals, plastics, and ceramics. This allows for the production of complex and intricate components with unparalleled precision and speed, essential in sectors like automotive, aerospace, and electronics.\nFurthermore, photonic technologies enable non-contact measurement and inspection systems, crucial for quality control in manufacturing lines. These systems employ optical sensors and imaging techniques to detect defects and ensure the accuracy of components, thereby reducing waste and enhancing product quality. The integration of photonics in manufacturing also paves the way for advanced processes like 3D printing and microfabrication, allowing for the creation of components with complex geometries that were previously impossible to manufacture. Additionally, the energy efficiency and minimal environmental impact of photonics technology aligns with the growing emphasis on sustainable manufacturing practices. Overall, the application of photonics in the manufacturing industry represents a significant leap forward in production technologies, offering increased precision, efficiency, and sustainability in the creation of modern products.\nDefense and Security\nIn the realm of defense and security, photonics plays a crucial and multifaceted role, providing advanced technologies that enhance the capabilities of military and security operations. Photonics is integral in the development of high-precision laser systems used for targeting and guidance, offering accuracy and reliability in critical mission scenarios. The technology also underpins sophisticated night vision and thermal imaging equipment, enabling soldiers to operate effectively in low-light or obscured visibility conditions.\nMoreover, photonics contributes to secure communication systems, using light-based transmission to ensure the integrity and confidentiality of sensitive information. In surveillance and reconnaissance, photonic sensors and imaging systems are employed for detailed observation and monitoring, aiding in intelligence gathering and situational awareness. Additionally, photonics is instrumental in the development of directed energy weapons, which use concentrated light for defense and strategic purposes. These applications not only demonstrate the diverse utility of photonics in defense and security but also underscore its significance in advancing the safety and efficacy of these critical sectors.\nAdvancements in Photonics Engineering\nThe field of photonics engineering has seen rapid development in the last few decades, fueled by groundbreaking innovations in silicon photonics, the fascinating intersection of photonics and quantum computing. These advancements have had a profound impact on the technology landscape and have the potential to revolutionize industries across the board.\nInnovations in Silicon Photonics\nSilicon photonics has emerged as a key driver in the evolution of photonics technology. This is due to its ability to integrate electronic and optical components on a single chip, enabling seamless information processing, transmission, and communication. As a result, a new era of efficient and scalable optical systems is being ushered in. Recent advancements include optical transceivers capable of handling ever-increasing data rates, on-chip photonic integrated circuits for complex functionalities, and modulators that enable faster optical switching. These innovations are making a significant impact in areas such as telecommunications, data centers, and high-performance computing.\nThe Intersection of Photonics and Quantum Computing\nAn exciting development at the technological intersection of photonics and quantum computing has been the exploration of photonic quantum computing architectures. These systems utilize uniquely quantum properties of light - such as entanglement and superposition - to process and manipulate information in powerful new ways that could considerably surpass the capabilities of classical computers. Research in this domain includes the development of quantum communication networks based on photonics technology, efforts to build scalable, modular photonic qubits, and the design of advanced optical components to enable precise control of photon states. The convergence of photonics and quantum computing could result in unprecedented advances in processing power, data security, and cryptography.\nTrends Shaping the Future of Photonics Technology\nAs we continue to push the boundaries of technology, emerging photonics plays a critical role in shaping the future of various industries. Here are the future photonics trends and the potential growth areas that are poised to transform scientific research and applications across various sectors.\nOne of the most notable trends in the field of photonics is the development and implementation of integrated photonics. This technology allows the combination of multiple photonic components onto a single chip, resulting in compact, cost-effective, and high-performance systems. As more industries recognize the benefits of integrated photonics, we can expect increased adoption and continued innovations in this area.\nPhotonics in Sustainable and Renewable Energy\nThe global demand for clean and renewable energy solutions has led to the exploration of photonics technology in sustainable energy applications. Future photonics trends will likely include advancements in photovoltaic cells, energy-efficient lighting, and new materials capable of harnessing solar energy more effectively. These innovations have the potential to significantly contribute to global efforts towards reducing carbon emissions and promoting green energy initiatives.\nBiophotonics, a branch of photonics focused on the study and manipulation of light in biological systems, is poised to have a tremendous impact on the medical field. From advanced imaging techniques to targeted and minimally invasive therapies, the applications of biophotonics will play a pivotal role in enhancing our understanding and treatment of various diseases.\nArtificial Intelligence and Machine Learning in Photonics\nAs artificial intelligence (AI) and machine learning continue to make strides across various industries, we can expect photonics technology to benefit from this advancement. Incorporating AI and machine learning into photonics systems would lead to more intelligent devices capable of self-optimization, faster signal processing, and improved decision-making. This synergy has the potential to revolutionize numerous applications, including autonomous vehicles, smart cities, and personalized healthcare.\nPhotonics in Space Exploration and Communications\nPhotonics technology has long been a crucial component in the exploration and study of outer space. Future advancements in photonics are expected to enhance satellite communication systems, improve imaging capabilities on spacecraft, and facilitate the development of space-based telescopes. These technologies will play an essential role in deepening our understanding of the cosmos and potentially enable human colonization beyond Earth.\nAs the field of photonics continues to expand at a rapid pace, understanding these emerging trends can offer valuable insights into the future of technology. The impact of these developments is not limited to a single sector; instead, they will have far-reaching consequences, transforming the way we learn, communicate, and interact with the world around us.\nHow do you define photonics in simple terms?\nPhotonics is the science and technology of generating, controlling, and detecting light. It plays a critical role in modern technology development by harnessing the power of light to enable significant advancements in various industries and applications.\nWill photonics ever replace electronics?\nPhotonics is unlikely to completely replace electronics but rather complement and enhance electronic technologies in various applications.\nWhat are the disadvantages of photonics?\nThe main disadvantages of photonics include high initial costs, complexity in integration with existing systems, and a current lack of widespread technical expertise.\nWhat is the difference between optics and photonics?\nOptics generally deals with the study of light and its properties, while photonics involves the practical application and technology of generating, controlling, and detecting light.\nIs photonics a good career?\nPhotonics is a promising career choice, offering opportunities in diverse and rapidly evolving fields like telecommunications, healthcare, and renewable energy. Photonics engineering also has a growing demand for expertise in this innovative field.\nHow is photonics applied in consumer electronics?\nIn devices like smartphones, cameras, and televisions, photonics is applied in displays, image sensors, and optical components.", "label": "No"}
{"text": "Roman copy of the bronze original by Polykleitos\nca. 450 - 440 BCE\n6’ 11” high\nREAD/TAKE NOTES: The Canon of Polykleitos\nREAD/TAKE NOTES: Roman Copies of Ancient Greek Art\nWATCH THE VIDEO BELOW/TAKE NOTES:\n- Why was bronze used for the original sculpture (of which this example is a copy)? What is problematic about this material and why is it lucky that the Romans were so enamored of Greek art?\n- What is a \"canon\"? How is the canon of Polykleitos different from the canon used in ancient Egypt?\n- Polykleitos is also known as a foremost \"aesthetician.\" His ideas about beauty aligned with the philosophy that beauty = _____________________.\n- a) the harmony of mathematical proportions\n- b) the heroic figures of Greek mythology\n- c) the moral character of an individual\n- d) the muscular bodies of Olympic athletes", "label": "No"}
{"text": "Jaw crusher infovis wiki,It can crush iron ore into small sizes. thus, these small iron ore can enter into the iron ore mill such as ball mill for grinding. impact gravel crusher is generally used after jaw crusher, and can crush hard stones, not only the iron ore, but also other ores such as\nJaw crusher is widely used in crushing the medium particle size materials of varieties of minerals and large materials, and it is widely used in mining, smelting, building material, highway, railway, water conservancy and chemical industry and other industries.\nImpact crushers are also known as impact breakers or impact crushing machines. It can crusher the material whose side length is below 100-500mm and highest compressive strength can reach to 350Mpa.\nCone crushers are also known as cone breakers. Compressive strength of cone crusher is no more than 250MPa. Cone crusher is widely used in mining, metallurgy, building materials, chemicals and other sectors to crush hard and medium hard materials.\nSand maker is also known as impact crusher or sand making machine. It is a kind of equipment with high technology.\nSand washer is also called sand washing machine. It is the necessary equipment for washing sand making.\nBall mill is suitable for grinding various ores and other materials. It is widely used in mineral processing, building materials and chemical industry.\nThe wheel-mounted mobile impact crusher as a kind of mobile impact crushing plant adopts the star product of our company: the impact crusher. As a leading rubber-tyred mobile impact plant\nCharcoal briquette machine is also known as charcoal briquetting machine, charcoal ball press machine, or charcoal pressure ball machine.\nRotary screen is mainly used for sieving big or small stones, separating soil and gravel, coal blocks and coal powder, etc. It can also be called gravel screen or stone separator. Since roller device is composed of filter screen, it is also called rotary sieve.\nHammer crusher is composed of chassis body, rotor, hammer, back liner, sieve, etc.. It is suitable for conduct coarse, medium, fine crushing for materials with the compressive strength less than 180MPa like limestone, coal, gypsum, shale and other types of brittle materials.\nRoll crusher (roller crusher) is suitable for the fine crushing of the materials with feeding size less than 110mm, and finished particle size 3-30mm.\nCompound crusher is also known as combination rock crusher. Compound crusher is mainly used for medium or small cement or clinker crushing.\nActively listen to customer needs, carefully build product quality, and sincerely provide satisfactory services\n7*24 hours waiting for you to answer your questions at any time\nProfessional tailor-made, comprehensively solve the needs of users\nProvide technical training to ensure that you have knowledge of equipment operation\nPerfect after-sales service system, let your production sit back and relax\nIt can crush iron ore into small sizes. thus, these small iron ore can enter into the iron ore mill such as ball mill for grinding. impact gravel crusher is generally used after jaw crusher, and can crush hard stones, not only the iron ore, but also other ores such as according to the kind and characteristic of ore, there are many different processes for iron ore dressing. In general, ore dressing plant may use primary, secondary and tertiary crushing processes for crushing iron ore. jaw crusher is usually used for primary crushing; cone crusher is used for secondary and tertiary crushing.the main producing countries of iron ore are australia, brazil, india, china, russia etc. In this article, we mainly talk about iron ore mobile crusher used in iron ore processing plant. As we know the mohs hardness of iron ore is about 5..5. with this high hardness, we suggest customers use jaw crusher and cone crusher to process iron ore used iron ore jaw crusher for sale in angola portable iron ore impact crusher provider angola jaw crusher in product structure jaw crusher is widely used in mining building materials chemical industry metallurgy highway and railway water conservancy and so as famous jaw crushers.\njaw crusher. jaw crusher is a kind of stone crusher which is used widely in many industrial departments including mining, smelt metal, building materials, public road, railway, water conservation, chemical industry and so on, and it is also called rock crusher.wide variety of iron ore primary jaw crusher options are available to you, such as year, years. online chat granite mill,grinding, stone crusher, iron ore crusher. jaw crusher. jaw crusher is widely used in various materials processing of mining &construction industries, such as it is suit for crushing granite, marble, basalt, limestone jaw crusher has been widely used in the fields of building materials, metallurgy, ore, water conservancy, construction, and hydropower, etc. jaw crusher has great advantage on structure and performance. It is a very popular device on the market. jaw crusher, your preferred primary crusher, is used for coarse crushing and fine crushing.used iron ore jaw crusher for sale south africa. bentonite crusher africa mining machinery. small clay mixture machine sale crusher south africa feb 2014,, bentonite clay plant for sale pakistan crusher,stone, machine in iron ore processing plant, manufacture and supply of crushing equipment used in mining industry the processing mobile\nused iron ore jaw crusher manufacturer in nigeria. used iro ore crusher manufacturer in nigeriaused iron ore crusher suppliers in nigeriareduction of sulphur content of agbaja iron ore usingiron ores are used in blast furnace for the production of pig iron agbaja iron ore has at present nigeria has some large iron ore deposits including agbaja which bear the supply of the high grade ore has.used iron ore crusher for hire used iron ore jaw crusher for hire in indonessia. iron ore crushers for sale south africa hammer mill for sale australia complete used crushing plants for sale india dry washer machine in indonesia used impact crusher price south africa for rent in india rock impact jaw crushers used iron ore processing plants.mining machine, mining equipment, iron recovery machine manufacturer supplier in china, offering iron ore tailings recovery machine used in gold mining equipment, reliable primary crushing PE 600 jaw crusher mining machinery crusher, jaw crusher crusher jaw crusher durable stone cheap jaw crusher pepex series with top quality and so on.apr 03, 2021 alibaba.com offers 1,835 iron ore crushing screening plant products. wide variety of iron ore crushing screening plant options are available to you, such as warranty of core components, local service location, and applicable industries.:::huaxin cement selects the mobile complete crushing and screening station of sanme again the first shipment after the resumption: sanmes large-scale\nmobile iron ore jaw crusher provider angola. mobile iron ore jaw crusher for sale in angola used iron ore jaw crusher provider in angola used iron ore cone crusher for sale angola iron ore crusher unit price,iron ore crushing processing and supplies rock iron ore crushers and grinding mills for sale used in iron ore guinea, angola, indonesia cone crusher is the most common fine iron orejaw-crusher construction. jaw crushers are heavy-duty machines and hence must be robustly constructed. the main frame is often made from cast iron or steel, connected with tie-bolts. It is commonly made in sections so that it can be transported underground for installation. modern jaw crushers may have a main frame of welded mild steel plate.apr 17, 2018 the steam shovel began to change the entire picture of open-pit working.with the steam shovel came the really huge no. crusher, with its receiving opening. Up to this time the jaw crusher had kept pace with the gyratory, both from the standpoint of receiving opening and capacity, but now the gyratory stepped into the leading position, which it held for some years.jaw crusher terminology metso jaw crusher cross section. the horizontal component of motion at the discharge point of the single-toggle jaw crusher is greater than the throw of the dodge crusher at that point; in fact, it is about three-fourths that of blake machines of similar short-side receiving-opening dimensions. the combination of favorable crushing angle, and non choking jaw\nPE jaw crusher for sale; capacity: 100 th max. feeding size: 200 mm compressive strength: less than 320 mpa processed materials: granite, marble, basalt, limestone, quartz, river pebbles, iron ore, copper ore, etc. application: widely used for medium-sized crushing of ore and bulk materials in mining, metallurgy, construction, road, railway, water and chemical industries.crushers that used in iron ore crushing plant by elleeatist. crushers that used in iron ore crushing plant. there are several types of crushers used in iron ore crushing plant. jaw crusher are mainly used as primary crush to get price & 187; chat online iron ore crusher in brazil--crusher used for iron ore. crushers used In iron ore mines jaw crusher can crush all kinds of soft and hard materials with compressive strength between pa, such as granite, quartzite, diabase, pebble, iron ore, etc. hammer crusher is mainly used to crush ores with low hardness, and its compressive strength is generally lower than pa, such as limestone, bluestone, coal gangue, etc.jaw crushers disk mills classic line. know more. iron ore crusher plant iron ore crushing and screening iron. iron exist in nature all in compounds state especially in the state of iron oxide but has more impurities such as hematite magnetite siderite limonite etc iron ore\nused gold ore crusher supplier in south africac. used iron ore jaw crusher suppliers south africa. used iron ore jaw crusher suppliers south africa jul 28, hat is the cost of a gold stamp mill price mobile stone crushing with gold ore cone crusher for sale in south africa gold ore cone crusher suppliers in south africa read morecrusher use din sinter plantcrusher use for ore crushing. sinter plant ore crusher pricesinter plants agglomerate iron ore fines dust with other fine materials at high temperature to create a product that can be used in a blast furnace the final product a sinter is a small irregular nodule of iron mixed with -crusher use din sinter plant-,crushing system in sinter plantused iron ore crusher provider in south africa.used dolimite crusher manufacturer in south africac used iron ore crusher provider in south africa used iron ore jaw crusher suppliers south africa jaw crusher coal crushing iron sand mining coal and coke coal a fossil fuel is the largest source of energy for the generation of electricity coal jaw portable gold ore jaw crusher suppliers malaysia. portable gold ore impact crusher for hire in malaysia.apr 2015, rental iron ore crusher, gold ore crusher, portable sbm is a used asphalt jaw crusher portable for sale aug 2013 used asphalt crusher, get price portable gold ore crusher suppliers malaysia ifye india chat online minigold ore crusher machine malaysia supplier.\nmobile crusher can work in the places with complex environments, so it is particularly used to process construction waste. similarly, it also includes mobile jaw crusher, mobile cone crusher and mobile impact crusher, etc. kinds of equipment, which provides many choices for customers.sbm is a iron ore machine manufacturer in china, and supplies rock crushers and grinding mills for iron ore beneficiation plant. the most commonly used crushers and grinding mills in iron ore crushing and grinding process for iron ore mining are jaw crusher, cone crusher, hammer crusher and ball mill, scm super-micro mill, etc.1,850 iron ore primary jaw crusher products are offered for sale by suppliers on alibaba.com, of which crusher accounts for 13%. wide variety of iron ore primary jaw crusher options are available to you, such as year, years.the iron ore jaw crusher is a new generation of crushing machinery newly developed by hxjq machineryin combination with large-scale crushing machinery manufacturers at home and abroad. It specializes in the crushing of iron ore and overcomes the hardness and variable nature of iron ore materials. its feed size is 120 mm to 1,500 mm, single\njxsc jaw type rock crusher is usually used as a primary crusher and secondary crusher to reduce the size of medium-hard materials to smaller physical size. jaw rock crushers are capable of working with the mobile crushing station, underground crushing because of its related small volume. capacity: PH max feeding size: applicationhartl hcs mobile rock crushers crusher mills, cone density of crusher iron ore fujiyama jaw crusher machine pj jaw crusher manual grinding mill china parker mobile crusher manual basing on our years crusher production experience and the basalt, limestone, quartz, cobble, iron ore, copper iron ore crusher line,mobile jaw crusher for iron ore,iron jaw crusher for iron ore: jaw crusher is used in primary crushing station. In the iron ore crushing plant, it can crush iron ore into small sizes.mar 18, 2021 mobile jaw crusher hxjq mining machine manufacturer. find the lowest price for jaw crushing machine today! now on sale! save online the best price full offer simple search services: compare, search, find products, many offers sale cheap discount information .algo aalgo a balgo .citealgo .cite balgo .comptextalgo .comptext .title afont\noct 06, 2020 crushed iron ore needs to be further refined to iron concentrate before it can be smelted into an iron bar. the three crafting stations that can be used to make crushed iron ore are ranked as follows: level arrastra. level stamp mill. level jaw crusheriron ore crushing line ore crushing solutions dsmac pex series fine jaw crusher is the research achievement of dsmac and national institute of mining and metallurgy. It is suitable for fine crushing hard rock, such as iron, cooper, and slag.specific details the working parts of jaw crusher for iron ore mineral there are two jaw plates, one is static it is vertically fixed on the front wall of the body, the other is the dynamic it is in a tilt position and forms a small crushing chamber with the fixed jaw plate.aimix jaw crusher has capacity of 100 th, the maximum feeding size is 200 mm. We also support customized services. It can be used for crushing various types of raw materials, includes: granite, marble, basalt, limestone, quartz, river pebbles, iron ore, copper ore, etc. our jaw crusher is widely used for medium-sized crushing of ore and bulk materials in mining, metallurgy, construction,\n6,638 jaw crusher iron ore products are offered for sale by suppliers on alibaba.com, of which mineral separator accounts for 1%, mine mill accounts for 1%, and iron ore accounts for 1%. wide variety of jaw crusher iron ore options are available to you, such as none, egypt, and germany.the uses of jaw crushers jaws machine which can as a stationary jaw crusher to crushing hard minerals, such as coal, concrete, iron ore. and it also can use in the laboratory.crushing is a multistage process and may use dry iron ore feed. typically, primary crushing andscreening take place at the mine site. primary crushing is accomplished by using jaw crusher or gyratorycrushers. primary crushing yields chunks of ore ranging in size from to inches.", "label": "No"}
{"text": "Description of Goddess Kuan Yin\nKuan Yin is known as the Goddess of Compassion & Healing. She is one of the most popular deities in all of Asia. Her name in Chinese roughly translates as “The One who Hears the Cries of the World”. She is the most beloved and revered of the Chinese dieties.\nKuan Yin is the Divine Mother we all long for: merciful, tender, compassionate, loving, protecting, caring, healing, and wise. She quietly comes to the aid of her children everywhere. Her mantra is ‘Om Mani Padme Hum.’ (that is, ‘Hail the Jewel -or pearl- in the Lotus.’) Many believe that she is the female representation of Avalokitesvara, who is the Tibetan and Nepalese God of Compassion. In Asia, statues of Kuan Yin can be found in front of, or on the grounds of, many Buddhist temples.", "label": "No"}
{"text": "Cities & Suburbs\nBoom & Bust\nTheme: Patriotic Duty\nArtist: Ludwig HIRSCHFELD MACK\nTitle: Desolation: Internment camp, Hay, NSW\nCredit Line: Gift of Olive Hirschfeld 1979 National Gallery of Australia, Canberra.\nThe German artist Ludwig Hirschfeld Mack fled Germany in 1936, only to be interned in 1940 by the English. Because of his nationality, Mack was sent to Australia with other German and Italian intellectuals, artists, professionals and craftsmen.\nFor two years he lived behind barbed wire in camps in Hay, Orange and Tatura.\nThe night time sky, captured dramatically in this woodcut print, was as foreign as the daylight landscape in which he found himself. The vast space of the sky accentuates the misery he experienced within the enclosing fence.\nDesolation, Internment camp, Hay, New South Wales was made in 1941, a year before Hirschfeld Mack’s unconditional release. He took up a teaching position in Victoria and remained in Australia.\nClick image to enlarge", "label": "No"}
{"text": "Digital sound is typically 44,100 samples per second. That sounds like a freakin lot of samples per second but it’s too low and that’s the problem. Really high quality sampling of sound takes place at 2,822,400 samples per second. This is known as SACD (Super Audio CD) developed by Sony and Philips. That’s 64 times greater than 44,100 samples per second. Currently, the best digital audio recordings have a sample rate twice as high as SACD. Or 128 times the typical 44,100 sample rate.\nThe problem is that CDs don’t hold enough information to be able to support SACD. You’d only get a couple of minutes or less of such audio on a CD. That is probably the historic rationale for commercial audio being typically 44,100 samples per second: the file sizes are not too big.\nWhen I listen to typical digital audio, what I notice, if I crank it up–and I like to crank up music, typically–is that there’s no presence to the recordings. Some vinyl albums I had, when played on decent stereos–the stereos didn’t have to be top of the line, but they had to be OK–sounded pretty much ‘live’. They had presence. But digital audio, it can’t break through from the other side, as it were.\nThe reason why the sampling rate is important is this. You’ve seen wave representations of sounds. You know sound is waves of air–that’s what sound is. Well, the samples are points used to construct those waves. Imagine a curve. Any curve. Now imagine four points on that curve. Now draw straight lines from the first point to the second point to the third point to the fourth point. Those lines will look a little bit like the curve but not much, probably. You need more than four sample points so that when you draw lines from point to point, you get something that looks more like the original curve.\nSimilarly, the higher the audio sample rate, the better the audio software can figure out what the sound actually sounded like. Low sample rates result in sound that lacks the highest of subtleties we as feeling humans are able to infer from sound, and that’s its presence. All that info we pick up in live audio–how far away it is, the composition of what’s being struck, all the really subtle information that makes it ‘live’–is simply undetectable at lower sample rates.\nSo what? So what that presence isn’t a part of contemporary recorded sound experience? So what? What does it matter?\nWell, it’s a question of whether it can break on through from the other side, isn’t it? What we get, currently, is a good idea of the sound. Not the mind blowing experience you really do get from great audio rendered in recordings with presence. Which explains why live performance is so esteemed these days over recorded sound.\nAs time goes by, digital audio will increase in the typical sample rate. Cuz all it takes is good technology to support it. Not impossible technology by any means. Eventually the typical digital audio sample rate will match and even surpass the good old days of vinyl.\nBut, in the meantime, we live in age of merely the idea of the audio in recorded sound. Play me something Platonic baby.", "label": "No"}
{"text": "Vinci, Leonardo da - by H.R. Rookmaaker\nLeonardo da Vinci: brilliant and universal\nby H.R. Rookmaaker\nIt’s not easy to summarize the contributions of Leonardo in a short space.\nFor Leonardo was an extraordinarily diverse man: musician, fortress builder,\nengineer, eminent equestrian, sculptor, painter, architect, anatomist, naturalist,\nand art theoretician. He was a man with far too diverse interests; as a result\nmany of his ideas remained in their concept stage and he managed to carry\nout or complete only a fraction of all that his inventive spirit considered or\nMoreover, some of his important works – the fresco of the Battle of Anghiari\nin Florence and the huge statue of a horseman in Milan – were destroyed\nduring his lifetime, so that his legacy became even more fragmented.\nNevertheless, he is and will remain a figure who can only be underrated\nfor it is hardly possible to judge him too highly. Why? Without his\ninfluence, Italian painting, especially in Northern Italy during the\nsixteenth century and into the seventeenth century, would certainly have\nYet, this is not the greatest of his contributions. His buildings and\ndesigns are not without interest; neither are his writings about art theory.\nBut in these things he was not alone. The talents that earned him such an\neminent position in the court at Milan – including horsemanship, musicianship\nand his work as building engineer – naturally has less significance\nfor later generations. His engineering projects, which included a design for\nan aeroplane, were so far ahead of his time that their true value is only now\nfully appreciated, yet we cannot say for sure that without Leonardo’s inventions\nthe course of technology would have developed differently. So, what\nessentially does give this man such and exceptional position in history?\nWe believe that though Leonardo was and is such a fascinating\nfigure, it is especially in the field of drawing and science – or rather, in\nconnecting the two – that his greatest contribution is to be found. As a\nstudent Leonardo worked for years in the studio of Verrocchio and\nlearnt there the art of a very exact representation of reality – a number\nof drapery studies in the exhibition attest to this. But Leonardo was the\nfirst person to go on and make use of his new skills in the service of science.\nThat was his greatest contribution and his greatest service to the\nworld. He was the first one to record his anatomical findings in precise\ndrawings – so exact that they are still of scientific merit.\nLeonardo’s observations in the area of the natural sciences were\npreserved by his never-resting drawing pencil. And in the connection\nbetween the exact sciences (in which he also broke new territory) and the\nart of exact drawing lies a principle upon which modern science (amongst\nothers) is founded: modern medical science could not function without\nthe very precise drawings which allowed Leonardo’s discoveries to be\nshared with others. Anyone who understands the important role of\ndrawing in engineering will realize that Leonardo’s discovery also made\nmodern applied science and technology possible. All this does not detract\nfrom his excellence as a ‘free’ sketcher. It is a feast to submit oneself to\nLeonardo’s drawings – one may be tempted to say that his lines are flawless.\nOriginally published in Dutch in Trouw, no date (between 1949 and 1956).\nPublished in English in M. Hengelaar-Rookmaaker (ed.): H.R. Rookmaaker: The Complete Works 1, Piquant – Carlisle, 2003.", "label": "No"}
{"text": "The Picts were the aboriginal inhabitants of what is now known as Scotland. The name \"Pictii\" refers to several tribes that were extant in the area in classical times; the Caledonii, the Scotti, the Mæatæ, the Britanni, and so forth. The name of \"Pict\" does not occur in writing until the end of the third century, however.\nBy the seventh century, we find a Pictish Kingdom, defeating the Angles at the Battle of Dunnichen in 685, but from that point on their history declines into an unknown darkness.\nThe primary point of note in modern eyes concerning the Picts is their custom of painting themselves blue, in a similar fashion to the rest of the native Britannic tribes. This custom will be shown to be a significant point in our search for the Pict's descendants.\nScotland was invaded by the \"Scotii\" from Ireland, and by the Danes in the north, both of whom took over the Highlands, while the Norman invasion of 1066 led to the Lowlands being over run by Normans and perhaps a few displaced Anglo-Saxons to add to the Angles already there from the invasions of the seventh century.\nSo what became of the Picts? Where are the people that Rome feared so much? Where are the \"blue men\" of Caledonia?\nThere are several theories. One of the most probable is that the Picts wound up being absorbed into the rest of the population of the Highlands, and there is archaeological evidence in the Isles that this in fact did occur to some extent, BUT......\nIn the absence of historical records, and with the paucity of archaeological evidence, we must look to that other source of historical information: Folklore.\nIt is quite common for the aboriginal inhabitants of a land to devolve to the status of \"little people,\" of elves and fairies. (This corresponds to the old saw about the gods of the old religion becoming the devils of the new.)\nIn the folklore of the British Isles we find this thread. We find elves, fairies, kobolds, dwarves and the like, many times described as \"little people.\" In addition, they are described as wearing caps, much of the time, and have a knowledge of magic. They tend to be described as \"good folk,\" showing that they are probably considered to be \"nice\" and kindly in nature, albeit mischevious at times.\nIn Scotland, we see the \"Cruithneach,\" who are also known as \"Pechs\" in the vernacular of southern Scotland....from \"Pict\" to \"Pech\" is an obvious lingual change...and they fit the above description.\nTherefore we need to find a race of people who are:", "label": "No"}
{"text": "A Houston Pallet is a flat structure that gives goods stability while being transported and lifted by fork lifts and pallet jacks. Though most pallets are made out of wood, there are pellets that are made out of metal, paper and plastic. Use of wooden pallets started as far back in time and up to now, it is still the most preferred transportation pallet.\nThe following are reasons as to why wooden pallets are the most preferred: durability, availability, cost and alternative uses. In comparison to materials such as paper and plastic, pallets made out of wood last longer than the other materials. In terms of availability, wooden pallets are found nearly everywhere, but for plastic and paper there are found hardly available. When it comes to cost, wooden pallets are cheaper than paper and metal pallets. Wooden pallets can also have alternative uses. The old wooden pallets can be used in pallet crafts and creating skateboard courses. Untreated wooden pallets can also be used as firewood.", "label": "No"}
{"text": "|Black Women, Meat, and Colorectal Cancer||06/29/22|\n|How much junk are Americans eating?||06/22/22|\n|Breast Cancer and Vitamin C||06/15/22|\n|What about sweetening your coffee?||06/08/22|\n|Mediterranean Diet vs. low fat diet: which is better for prevention?||06/01/22|\n|Intermittent fasting plus calorie restriction equals...||05/25/22|\n|Details on coffee and heart disease||04/20/22|\n|Instead of red meat||04/13/22|\n|An especially delicious way to prevent heart disease||04/06/22|\n|All Health and Nutrition Bites|\nVisualize the Sugar\nI've written easily half a dozen reports on different research articles focusing on the effects of drinking sugar-sweetened beverages on your weight and your kids' weight as well as contributing to high blood pressure, poorer cholesterol scores, diabetes, gout, and kidney disease.\nShould you be concerned about the sugar in your kids' cereal?\nIf you've been following Dr. Gourmet for more than a little while, you're probably aware that I feel that breakfast really is the most important meal of the day. Studies show that those who eat breakfast have better cholesterol scores, lower Body Mass Index and tend to eat less throughout the day.\nOne Way to Resist Cravings\nMost people have cravings of some kind, whether it be for an addictive substance like alcohol or cigarettes, or for something benign, like chocolate or french fries. Most find cravings to be mild and momentary, but sometimes cravings can be a real problem: people trying to lose weight can have cravings just as strong as those struggling with alcohol dependence.\nGet the latest health and diet news - along with what you can do about it - sent to your Inbox once a week. Get Dr. Gourmet's Health and Nutrition Bites sent to you via email. Sign up now!\nDrinking sugar-sweetened beverages such as soda, lemonade, sweetened fruit drinks and punches has been shown to be linked to obesity, leading to diabetes and heart disease. Being overweight is also linked to high blood pressure, which can also lead to heart disease, as well as stroke, kidney disease and a higher risk of death from all causes - which means a shorter life expectancy. Certainly the added calories that come from drinking sugar-sweetened beverages contributes to a person's weight problem, but one research group wondered if those sugar-sweetened drinks might somehow more directly affect a person's blood pressure.\nIn a prospective study (a study in which a group of people are followed for a period of time, as opposed to a study in which the participants report on what they did in the past), researchers from seven different United States universities and public health centers collaborated on analyzing data from the PREMIER study (Circulation 2010;121(22):2398-2406). This study was created to be an 18-month trial of 2 different behavioral interventions in 810 adults with high blood pressure. The control group for this study was known as the \"advice only\" group, which received information (but no counseling) on weight loss, increasing physical activity and a low-sodium diet.\nThe second group was called the \"established\" group, and it received the same information as the advice only group, with the addition of regular counseling on weight loss, physical activity and a low-sodium diet.\nThe third group received the same counseling as the \"established\" group with the addition of specific counseling on the DASH (Dietary Approaches to Stop Hypertension) diet. This group was called the \"established plus DASH\" group.\nThe researchers measured the blood pressure of each participant at the start of the study and every three months thereafter until the close of the study. Further, each participants' height and weight were assessed at each three-month interval. Finally, each participant responded to dietary questionnaires at the start of the study as well as at the 6-month point and the end of the study. These questionnaires included questions about how much sugar-sweetened beverages, diet beverages and caffeinated beverages the participant drank.\nThe researchers found that over the course of the study, those who reduced their sugar-sweetened beverage intake by 1 serving per day reduced their systolic blood pressure (the top number) by almost 2 points and their diastolic blood pressure (the bottom number) by a little over 1 point. This relationship was still significant, if smaller, even when the scientists controlled for the amount of weight a participant lost during the study.\nThe researchers observed that drinking just two fewer sugar-sweetened beverages per day would help lower your blood pressure by about 3 points. This reduces your risk of death by stroke by about 8% and from heart disease by 5%. In this study there was no effect on blood pressure when a participant reduced their caffeine intake or diet beverage intake. Instead of sugar-sweetened beverages, at the very least switch to diet versions, although those have also been associated with weight gain. Best to drink coffee, tea or water. They're much better for you.\nFirst posted: June 2, 2010", "label": "No"}
{"text": "Principal Proposed Uses\nLysine is an essential amino acid, one that you need to get from food. Some evidence suggests that supplemental lysine may be able to help prevent herpes infections (cold sores and genital herpes).\nMost people need about 1 g of lysine per day. The requirement may be greater for athletes and people recovering from major injuries, especially burns. The richest sources of lysine are animal proteins such as meat and poultry, but it is also found in dairy products, eggs, and beans.\nA typical therapeutic dosage of lysine for herpes infections is 1 g three times daily. You can take this as a regular part of your diet in hopes of preventing herpes flare-ups, or, perhaps, at the first sign of an attack. Although the evidence isn't strong, there may be some advantage to restricting your intake of foods that contain a lot of arginine, such as chocolate, peanuts, other nuts and seeds, and, to a lesser extent, wheat.\nWhat Is the Scientific Evidence for Lysine?\nAlthough some are promising, none of these studies are large enough to give conclusive answers. At this point, more evidence is needed to determine whether lysine is effective for preventing herpes simplex.\nInteractions You Should Know About\n- Reviewer: EBSCO CAM Review Board\n- Review Date: 09/2014 -\n- Update Date: 09/18/2014 -", "label": "No"}
{"text": "The vast majority of Aboriginal Sculpture comes from the Tiwi Islands. A Tiwi Figure can be very collectible. The Tiwi islands have had an ancient tradition of carving and painting burial posts called Tutuni. In the early 1960’s some of these skilled traditional carvers turned from carving burial posts to carving figurative works.\nThe aim of this article is to help readers determine if their Aboriginal Figure is a Tiwi Figure. It gives examples and links to major early artists.\nI Buy Tiwi Figures. If you have one to sell I would love to see it. If you have a Tiwi Figure and just want to know what it is worth please feel free to send me a jpeg.\nTraditional Tiwi Figures and carving\nAs early as the eighteenth century the Tiwi islanders carved three major objects. They carved burial posts spears and clubs, all associated with Pukumani Funeral Ceremony\nTutuni are Tiwi burial posts used for the Pukumani funeral ceremony. The in-laws of the deceased are responsible for making them. There are personal family influences in choice and decoration of the poles. These choice relate to the totems and skin painting traditions of the family of the deceased. Tutuni Poles are collectible in their own right\nThe spear is a dance adornment for key performers during a ceremony. Double barbed spears have the name Arawunikiri. Unilaterally barbed spears have the name Tunkaringa. Both are collectible in their own right.\nClubs were for both dance adornments and for fighting.\nThe figurative sculptural tradition started in Paru in the 1960’s. Paru was on Melville Island but just across the strait from Bathurst Island Mission. The villagers of Paru traded with the mission, especially fish. They also traded some customary items like carved spears and painted mourning bags.\nOne large extended family group called the Mandimbula live in Paru. Cardo Kerinauia was the first Mandimbula to sell the mission a small carved wooden tiwi figure. Carving wood figures soon became a small village industry. It was a great success and many new pioneering Mandimbula artists emerged.\nThese sculptures were not strictly traditional. Anthropologists and visitors to the mission, however, were happy to buy the sculpture. The sculpture was of ethnographic importance. The designs on the sculpture are those found on body painting and have spiritual significance.\nSome people think early Tiwi Figures were very small and left next to the grave.\nThe spirit of the deceased would mistake the sculpture for a relative and haunt the sculpture rather than the sculpture’s owner. This theory has little-documented support.\nPioneer Tiwi Figure Artists\nEach early Tiwi Artist has distinctly different sculptures. Despite being one extended family and living in the same village design differences vary widely\nEnraeld sculptures are distinctive. He carved sculptures with the arms extend directly from a bulbous head. The legs of his figures run straight down from flared hips. He often leaves a defined negative space between the legs which resembles Pukamani grave posts. His carvings have a raw unrefined power to them. He paints them with the same designs as used as skin designs during ceremony\nPaddy Henry Ripijingimpi\nRipijingimpi sculptures have a chunky and crude blocky appearance. The face has Incised eyes and mouth. His painting of the figure is often very fine. The sex on the figures is clearly shown. Paddy has also done several Pukumani posts. His carved and painted seabirds are very distinctive and although crudely carved are amongst the best-painted examples.\nCardo sculptures clearly show the sex of the figures. His figures have the arms carved clear of the body. On his completed sculptures he paints the entire carved figure with intense body paint designs. His figures have broad shoulders tapering to a narrow waist.\nMick Aruni carved and painted figures and painted at least one bark painting. His Early sculptures clearly indicate the sex of the figures. his later figures either through mission influence or buyer preference do not. His early figures had arms carved clear of the body and were very well painted. He is also known to have carved birds and sculptures with birds on the head.\nThe Mungatopi brothers\nThis includes Ali Miller, Laurie, Deaf Tommy and Lame Tobi. They were all ceremonial dancers as well as artists. The Mungatopi brothers are better known for their bark paintings. They did however do some important sculpture.\nBenedict Munkara sculptures have oversized heads of comparatively realistic Bodies. He did very few carvings but those that he did do are of great quality.\nDeclan Apuatimi sculptures are almost always in ironwood and often have heads the same size as the body. Sculptures are painted in designs associated with Pukumani ceremonies. They have distinctive almond-shaped eyes that are white, with black pupils. Declan also carved birds. They tend to have white bodies and are plainly decorated other than the wings. The wings are elaborately designed in motifs previously used for skin designs.\nKitty Kantrilla sculptures have a chunky and crude blocky appearance. The face has a strong wide nose sometimes in a hexagonal shape. Her painting on the sculpture is often made up of lots of dots and blocks of solid color. All her earlier early indicate the sex of the figure. Kitty has also done several Pukumani posts and seabirds as well.\nTiwi Art History\nSince the turn of the twentieth century, the Tiwi have had regular contact with the outside world. They have maintained and adapted many of their customary practices. The most important is the performance of their main ceremonies, the Pukumani and the Kulama.\nThe Kulama was once primarily an initiation ceremony for both men and women. Today its main function is promoting health and the regeneration of life.\nThe Pukumani mortuary ceremony involved a series of performances over a period of time after a person’s death. It concluded with the cutting of the burial pole tree. This burial pole was then erected at the grave site. All Tiwi are still expected to take part in these ceremonies. They should sing, dance and carve a Tutini (Pukumani pole) if commissioned by the deceased’s relatives. These Tutini funeral poles are the most famous Tiwi objects. Tutuni represents the body of the deceased or one of the ancestral beings.\nOther distinctive items customarily made for the Pukumani ceremony included Tunga. Tunga are large painted bark baskets.\nMany Tiwi artists also did Painting on Bark.\nAll images in this article are for educational purposes only.\nThis site may contain copyrighted material the use of which was not specified by the copyright owner.\nTiwi Figure images\nThe following images give a good idea as to the variety of early Tiwi Sculpture artists works.", "label": "No"}
{"text": "Programme of Study\nWe examine the reasons for studying history and then we do a unit of work on “myself in the context of wider events in the world”. This involves a comparison with the home, education and life generally of people at an earlier time, specifically Sam McAughtry who lived in Belfast in the 1930s.\nWe also study the Normans and how and why they arrived in Ireland as well as examining their legacy. This includes the Battle of Hastings and later the Norman landings in Wexford and Waterford and their eventual settlement in Ulster.\nYear 9 involves the study of key events in Europe and how they affected the island of Ireland. This includes :\n- the Reformation\n- plantations/settlements in America\n- the plantation of Ulster\n- the struggle between king and parliament, including the English Civil War\n- the Williamite Wars, including the Siege of Derry and the Battle of the Boyne\nYear 10 we will be learning about key events in Ireland and Europe. These include:\n- the Battle of Ballynahinch\n- the Famine\n- the land problem\n- Home Rule\n- Irish nationalism and republicanism\n- the partition of Ireland and the Holocaust.\nWe follow the CCEA course, which consists of Northern Ireland 1965 – 85 (in effect the “Troubles”), the U.S.A. 1918 – 45 and The Cold War.\nFor coursework the topic is the assassination of President Kennedy and this involves the analysis of written sources and audio-visual material.\nAs well as finding history enjoyable and interesting, pupils develop their analytical and thinking skills and, while finding out about controversial events, learn to challenge stereotypes and think objectively, questioning, challenging and testing evidence. These skills are important for equipping pupils for life and for a wide range of jobs.", "label": "No"}
{"text": "Etymology and definitions\nThe word ‘purple’ comes from the Old English word purpul which derives from the Latin purpura, in turn from the Greek πορφύρα (porphura), name of the Tyrian purple dyemanufactured in classical antiquity from a mucus secreted by the spiny dye-murex snail.\nThe first recorded use of the word ‘purple’ in English was in the year AD 975.\nMy early morning walk gave me a closed purple flower.\nThe sun was not up that high, they were still in the shade.\nRight way up\nThe other critical ‘condition’ for successful planting is to put the bulb into the ground the right way up. The bulb shoot should be facing up and the roots down. With most bulbs this is easy to determine as they go in pointy side up. As with every rule, there are exceptions. In the case of bulbs the exceptions are anemones and ranunculus, two of the cheapest and most cheerful of spring-flowering bulbs to grow. Anemone and ranunculus have small, oddly shaped bulbs that are a little tricky to manage. Technically the small bulb on these plants is called a corm. Neither of these bulbous plants need a spell in the crisper before planting but they do grow best if replanted from fresh each autumn.\nAnemone corms look like chocolate drops. They are planted pointy side down as the point is the root, not the growing tip. If you are in any doubt, plant the corm sideways. Ranunculus grow from claw-shaped corms. The claws are the roots and these go down into the soil.", "label": "No"}
{"text": "Transparent, Translucent and Opaque: This is a poster I made when I was teaching about properties of light. It shows a solid object (the yellow string of yarn) being placed behind different types of paper (transparent, translucent, and opaque). I cut out rectangular samples from different paper sources: clear cellophane packaging for transparent paper, waxed paper for translucent paper, and colored card stock paper for opaque paper.\nHere's a quick activity that students can do to compare the degree of transparency among these different types of paper: Use three similar flashlights, a rubber-band to secure each sheet of paper over the face of the flashlight. Turn of the classroom lights to get the room dark enough, then flick on the flash lights simultaneously to shine at the wall. Your students can try this with other types of paper like tissue paper, transparency paper, recycled paper, etc, and sort these types of paper on in a table or sort them in a continuum that goes from transparent to opaque. I have worksheets like that and other posters to go along with them here in a Properties of light unit. It is available at my TpT collection.\nThis download has worksheets, posters and activities for sorting pictures of different objects into the 3 groups: Transparent, Translucent and Opaque. Definition posters are also included for light terms such as reflection, refraction, lens, concave, convex, and prism. Have fun!", "label": "No"}
{"text": "St. Justin Martyr\nquotes from Justin Martyr: →\nJustin Martyr was an early Christian apologist and philosopher who lived c. 100-160. He was Greek but self-identified as Samaritan. The Assyrian Christian writer and theologian, Tatian the Syrian, was one of his pupils. During the reign of Marcus Aurelius, Justin was tried, together with six of his students, by the urban prefect Junius Rusticus, and was beheaded (Tatian, Address to the Greeks 19). Justin authored several letters including his First Apology, his Second Apology, and his Dialogue with Trypho the Jew.", "label": "No"}
{"text": "This week, children were introduced to scissors in the Studio! We began by talking about materials that were appropriate to cut with scissors, as well as materials that aren’t ok to cut with scissors. We also practiced how to use them correctly and safely.\nMaterials that are safe to cut:\nFrances: You can use scissors to open fruit snacks if you need help.\nKate: We can cut paper, yes!\nIrvina: Like, you cut paper and tape. And how about you could use it to cut meat?\nElijah: The scissors told me that we can cut tape, but they said don’t cut friends with scissors.\nSanti: We can cut rainbow paper and brown paper.\nTheo: You can cut your nails with special nail scissors.\nSammy: You can cut chicken with scissors. My mom uses special types of scissors to cut meat.\nMaterials that aren’t safe to cut:\nAbbie: Don’t cut butterflies… just don’t!\nIrvina: You can’t cut your hands because the blood will come out.\nAhmari: Not our hands… no!\nMarcus: Moms can cut hair, like Leba’s mom can cut her hair, but we don’t cut our hair here.\nJulian: My dad take me to get a haircut, but it’s not here. Don’t cut your hair here.\nAvery: We cut our hair at the barbershop!\nAlden: You use fingernail clippers, not scissors, to cut nails.\nAdele: I went to a special place to cut my hair and it wasn’t at school.\nNext, friends practiced cutting paper with assorted shapes and lines provided. Depending on their age and experience, children snipped around the outside of paper, were able to cut through the paper, or successfully cut out shapes.\nAdrian: Papi have scissors at home to cut the paper.\nBetsegaw: I did open, close, open, close with the scissors. I’m practicing! I tried! I have muscles!\nKaitlyn: I have cut at my home!\nKaylee: Open, shut them, open, shut them. I did it!\nBella: My mom is going to be so proud. I tried so hard.\nElizabeth: I cut out an “E” like for Elizabeth.\nNaila: I feel a little proud of myself because I cut with scissors, but my mom and dad will be really proud of me.\nConnor: If I can cut out the circle I’ll be so happy!\nSammy: You just got to keep trying like… perseverance!\nCesar: I did the zigzag line. It looks like a crown for a boy, or the top of a castle, or shark teeth.\nMateo: My mom and dad will be so proud that I can cut a heart for love.\nJulian: The heart was hardest to cut because the lines aren’t just straight like a square.\nChristian: I did! I cut the circle, I did!\nNazeer: I’m focusing hard, that’s why I could cut the shapes. Even the hard shape like the heart.\nJax: I’m doing my best. I’m doing it! I did it! I made a cut through the line!\nJoelle: I’m focusing on it so I don’t hurt myself. My arms are starting to hurt.\nAfter friends practiced with paper, they were invited to cut playdough. Friends practiced rolling playdough “snakes” and then using dough scissors to cut them. Friends noticed a difference between cutting paper and cutting playdough right away, as both feel different in your hands. Children are very excited to finally have scissors available in the Studio and in their classrooms!\nKatherine: Cutting playdough feels different than paper. It’s harder.", "label": "No"}
{"text": "In this thought-piece, Jerry Fresia discusses how capitalism has impacted on the art world (inside and outside) over the past century.\nPower and the Capitalist Class: Capitalists don’t just sit off to the side minding their own business. Their business is the accumulation of capital (money and productive assets). They buy politicians, sit on the boards of museums and universities, and with major grantors, very high end gallerists, and an army of agents, they can shape and define what art fits into the insider art world of high end galleries, major art fairs, and auction houses. Central to the insider art system is the grooming of artists whose work supports their ideological needs, who are malleable, and, therefore, willing to accept direction into the inside circle.\nThe capitalist class first exercised its cultural power as a class when it defined, designed, and promoted a group of artists that articulated its ideological needs as an emerging hegemonic class following World War II. These soon-to-be-inside artists became known as the Abstract Expressionists. Using numerous capitalists back galleries and museums – primarily MOMA NYC which was created by the Rockefeller family – and the CIA (secretly directing the full range of art activities in western Europe as well as intellectual journals for 17 years), capitalists, during the post-war era, made it imperative that all artists pushed to the inside had to make work that was totally abstract, that is, “politically silent,” and free from any European influences. In other words, the American capitalist class, at that point in time, had enough power to create, in effect, a cultural factory. Out of this cultural factory, American Expressionism and the phenomenon of artists dependent upon capitalist cultural power, otherwise known as ‘inside artists’, were born.\nHow Work is Produced: Capitalism is a specific way of making our houses, cars, computers, and even the way we grow our food. It is a system of production. Within this system, there are people designated as bosses: these are the people who work with their minds and do mental work. These people are the owners, sometimes referred to as planners. Not too long ago, they were called the bourgeoisie. And then there are the workers who in their work life are told what to do. They work with their hands and do mindless work. They are sometimes referred to as blue collar people, people who work on the line, or just plain workers. Not too long ago, they were called the proletariat. In the art world, they are called assistants.\nAll major artists, for a hundred years, prior to WWII were outsider artists. They controlled their own work in studios or out of doors and inveighed against the bourgeoisie regularly. They were consciously independent. No one told them what to do in their work. But by the 1960s, some artists began adopting capitalism a way of making their art. They called themselves “executive artists” or “ideas men” and turned their studios into factories, using other artists (assistants) as workers to make their art. Notable among these executive artists were Frank Stella, Andy Warhol, Claes Oldenburg, James Rosenquist, Carl Andre, Robert Morris, Damien Hirst, Jeff Koons and others. Roy Lichtenstein predicted that all (inside) artists would eventually adopt factory values and practices in their work. These capitalist artists, working closely with capitalist financiers, marketing specialists, and luxury goods manufacturers were absorbed into the capitalist-class run museums-academy-auction-house troika. This is the core of what may be called the ‘inside.’\nThe Inside-Outside Artist Division: Work that is dependent on the approval of gallerists, financial backers, is produced for a particular market, or made in collaboration with luxury goods manufacturers, can be said to be instrumental, that is, produced as a means to satisfy some end external to the artist. This instrumental rationality is what defines the inside artist. His work (and it is mostly his) is always based upon a calculation: what must I do to please another and maximize market value? Every artist who works within this charmed inside circle is infected by this way of being and thinking. Wonder or mystery may not enter spontaneously into his process because his process is always a controlled activity of production. This uninviting situation is born of dependence and obedience that is central to the values of capitalist production.\nAt the moment that the inside artist is born, so too is the excluded ‘outside’ artist. Because she has not been directed into the inside circle, she is free from the need to make art that meets criteria external to herself. Independent and free, she is able to find passages into a realm where wonder is revitalized. She is free to give greater expression to play in her work as she feels the need. In other words, her work is authentically an expression of who she is. Her process is an activity of expression and of becoming.\nObviously, the outside artist needs the material rewards that accompany inside artist status so that she is able to sustain the liveliness of her work in comfort. But addressing the question of how the outside artist might go about achieving that end requires a further discussion of strategy. The point here, only, is to think in terms not of the art product, or genre or quality of the product of the outside artist vis-à-vis the product of the inside artist or of ways of penetrating the inside circle, but to think in terms of celebrating and protecting the process out of which the work of the outside artist has been given life. The inside-outsider separation is along that fault line.\nBy Jerry Fresia", "label": "No"}
{"text": "As Summer Leaves Fall ….\nThe thing I notice most at the beginning of Autumn is that it is still dark when I get up in the mornings to let the dogs out. With Mists over the meadows and dewy morns. Rowan berries aplenty; Blackberry too. Red hips and haws colour the hedges a rusty red. And Rosebay Willowherb their tall spikes lit by the evening sunshine, followed soon by clouds of gossamer-soft seeds, floating like fairies on the balmy wind. The end of summer:\nQuotations here from two essays by Richard Jefferies.\nAutumn always brought him immense pleasure: the season of production and decay, of exploding colours and soft, enveloping sunbeams. He dwells on the size and profusion of berries and nuts, but also finds mystery waiting in the dimly-lit forest glades.\nFrom ‘Nutty Autumn’:\n“Haws are very plentiful this year (1881), and exceptionally large, many fully double the size commonly seen. So heavily are the branches laden with bunches of the red fruit that they droop as apple trees do with a more edible burden. Though so big, and to all appearance tempting to birds, none have yet been eaten; and, indeed, haws seem to be resorted to only as a change unless severe weather compels.\nJust as we vary our diet, so birds eat haws, and not many of them till driven by frost and snow. If any stay on till the early months of next year, wood-pigeons and missel-thrushes will then eat them; but at this season they are untouched. Blackbirds will peck open the hips directly the frost comes; the hips go long before the haws. There was a large crop of mountain-ash berries, every one of which has been taken by blackbirds and thrushes, which are almost as fond of them as of garden fruit.\nBlackberries are thick, too—it is a berry year—and up in the horse-chestnut the prickly-coated nuts hang up in bunches, as many as eight in a stalk. Acorns are large, but not so singularly numerous as the berries, nor are hazel-nuts. This provision of hedge fruit no more indicates a severe winter than a damaged wheat harvest indicates a mild one…\nThe atmosphere holds the beams, and abstracts from them their white brilliance. They come slower with a drowsy light, which casts a less defined shadow of the still oaks. The yellow and brown leaves in the oaks, in the elms, and the beeches, in their turn affect the rays, and retouch them with their own hue. An immaterial mist across the fields looks like a cloud of light hovering on the stubble: the light itself made visible.”\n“The soft autumn sunshine, shorn of summer glare, lights up with colour the fern, the fronds of which are yellow and brown, the leaves, the grey grass, and hawthorn sprays already turned. It seems as if the early morning’s mists have the power of tinting leaf and fern, for so soon as they commence the green hues begin to disappear. There are swathes of fern yonder, cut down like grass or corn, the harvest of the forest. It will be used for litter and for thatching sheds. The yellow stalks—the stubble—will turn brown and wither through the winter, till the strong spring shoot comes up and the anemones flower. Though the sunbeams reach the ground here, half the green glade is in shadow, and for one step that you walk in sunlight ten are in shade. Thus, partly concealed in full day, the forest always contains a mystery. The idea that there may be something in the dim arches held up by the round columns of the beeches lures the footsteps onwards. Something must have been lately in the circle under the oak where the fern and bushes remain at a distance and wall in a lawn of green. There is nothing on the grass but the upheld leaves that have dropped, no mark of any creature, but this is not decisive; if there are no physical signs, there is a feeling that the shadow is not vacant. In the thickets, perhaps—the shadowy thickets with front of thorn—it has taken refuge and eluded us. Still onward the shadows lead us in vain but pleasant chase.”\nHere family parties of Mistle Thrush feeding on the Yews in the Churchyard and noisily scavenging the fields. Their rattling call is unmistakeable. Starling absent from the fields and hedges for most of the year can be heard ‘murmuring’ in the trees as they start to gather in small flocks. Mostly young birds.\nThe Blackbird no longer sings morning and night – I hadn’t really noticed – but the Robin, after a very marked period of mid-summer silence, sings all day from early morning to late at night. There is a distinct break between the “ spring ” and “ autumn ” songs; but having recovered his voice in August, he will, in a mild winter, continue without interruption till the end of next June. The Robin is passionately territorial, and therefore our most persistent song-bird in autumn and winter.\nWhile the odd non-breeding waders may turn up at inland pools and reservoirs as early as July or August, for many of us the first real sign of Autumn is the arrival of Fieldfare to our fields hedges and woods, en-masse towards the end of September: their “ chacking ” note alerting us to their presence. Viscount Grey saw the Fieldfare as one of the first of the Winter visitors from the North to arrive during the early part of Autumn. He wrote: The fieldfare has no bright colour like the Redwing; it is not quite so large and fine a bird as the Mistlethrush; but in variety of shades of colours it is the most beautiful of all our thrushes.\nThe Lapwing, sadly a rarity for many of us these days, also marks the changing of the seasons; the arrival of migrating flocks signal the onset of colder weather and the tumbling display flight and ‘peewit’ call note the arrival of spring.\n“Hardy October has an especial charm to those who love the open air. The winds rush forward with a bluff freedom, and welcome you to the fields with hearty rudeness. Something seems to prepare the frame to stand the coming winter. The footsteps would fain wander farther and farther through the woodland, where the sward is hidden under fallen leaves. The scene changes with the hour of the day. Come to the hedgerow here, beside the stubble, early in the morning, and the mist conceals the other side of the field; the great hawthorn bushes loom out from it, and the grass by the ditch is white with heavy dew. By-and-by the mist clears, and the sky gives its own grey tint to all things. All sounds are hushed, and all colours subdued. Yet later on the breeze rises, and as it sweeps past throws a golden largesse of leaves on either hand. The monotonous grey sky resolves itself into separate clouds, which hasten overhead, with gaps where the sun seems nearly to shine through. These places are brightly illuminated from above, and yet the beams do not penetrate. After a while there comes a gleam of sunshine, and the eyes that have been bent on earth instinctively look up- The hedge is still so green with leaves that the wind is warded off and the sunshine is pleasantly warm. The rays have immediately found out and lit up every spot of colour. In the hawthorn the dull red haws, very large this year; on the briar the scarlet hips; a few flowers still lingering on the gambles; a pale herb of betony under the bushes, a late knapweed, a few thistles yet blooming—these catch the glance along the hedge. The short stubble is almost concealed by a rank growth of weeds, above which rise the fading yellow heads of the camomile, heads from which the white petals have drooped and fallen. The boughs of yonder horse-chestnuts have been thinned of foliage by the wind; but every leaf that remains is bright with tints of yellow. One tree especially stands out above the hedge; the leaves are almost crimson, so deeply has the frost touched them. It is not often that the foliage of the horse-chestnut takes so rich a dye as may be seen this autumn. The leaves commonly fall before their first pale yellow has reddened. The elms and oaks are still green, and show but little apparent change, though in truth much of their foliage has dropped. A brown oak leaf lies on the sward; it glistens with dew as if the colour laid on it was still wet. Along the shore of the pond a broad fringe of fallen leaves—from the elm that overshadows it— undulates on the wavelets that roll into the rushes and are lost. Up the slender rushes a tint of yellow is rising; the pointed flags that lift their green swords so proudly have bent, and their tips rest in the water. In the corner by the copse the thick growth of fern has become brown, and the tuffets of grass are streaked with grey. Overhead, the sky is now a beautiful blue; and if you look into the shadows of the trees—as in the copse where there is an open space—you will note that they are very soft and delicate. There are no sharply defined dark edges—the shadow between the tree-trunks appears like an indistinct mist. The eye as it gazes becomes conscious of undertones of colour for which there is no name. A cloud passes over the sun, and instantly they are blotted out. The beams fall again upon the wood, and the glow as immediately returns.\nThe acorns are full on the oak boughs, but they are still quite green, and none have dropped. Glad in the sunshine, the greenfinches troop along the hedge calling to each other sweetly. Larks rise and hover just above the trees, wheeling round, and returning to the earth. Now and then one soars and sings. On the top of the hawthorn bushes in the hedge the hedge-sparrows utter a single note from time to time-Not now, but early in the morning, the song of the robin comes through the mist, and the lively ‘fink’ of the chaffinch sounds in the tree. Thrushes sometimes sing in October; but hitherto the sharp frosts at the dawn have silenced them. Two or three swallows still float to-day in the blue sky above the wood. How slowly the plough goes through the stubble; the horses scarcely seem to move! Yet by degrees the space between the furrows becomes less, till nothing but a narrow path remains; and that is finally upturned by the share. They who live by the earth must be patient, and content to move slow like the seasons. Passing the gateway the shelter of the hedge is for the moment lost, and the northern blast rushes with all its force full in the face. This is the pleasure of October—the deep blue sky, the glowing colour of the leaves, the bright sun that lights up even the grey lichen on the oak bark, and with it the keen invigorating breeze that strengthens every limb. Travellers tell us of the wonderful colours of tropical forests; but then the moist sweltering heat renders the explorer incapable of enjoying them. But in English woodlands autumn colour is accompanied by a subtle change in the atmosphere which braces the wanderer.”\nJefferies wrote this article for the Pall Mall Gazette in 1879, which formed part of a seasonal series. The entire article can be found in the collection ‘Chronicles of the Hedges’\nGrey November skies\nCold driving rain with sleet and biting northerly winds\nNovember – John Clare\nThe landscape sleeps in mist from morn till noon;\nAnd, if the sun looks through, tis with a face\nBeamless and pale and round, as if the moon,\nWhen done the journey of her nightly race,\nHad found him sleeping, and supplied his place.\nFor days the shepherds in the fields may be,\nNor mark a patch of sky – blindfold they trace,\nThe plains, that seem without a bush or tree,\nWhistling aloud by guess, to flocks they cannot see.\nThe timid hare seems half its fears to lose,\nCrouching and sleeping ‘neath its grassy lair,\nAnd scarcely startles, though the shepherd goes\nClose by its home, and dogs are barking there;\nThe wild colt only turns around to stare\nAt passer by, then knaps his hide again;\nAnd moody crows beside the road forbear\nTo fly, tho’ pelted by the passing swain;\nThus day seems turn’d to night, and tries to wake in vain.\nThe owlet leaves her hiding-place at noon,\nAnd flaps her grey wings in the doubling light;\nThe hoarse jay screams to see her out so soon,\nAnd small birds chirp and startle with affright;\nMuch doth it scare the superstitious wight,\nWho dreams of sorry luck, and sore dismay;\nWhile cow-boys think the day a dream of night,\nAnd oft grow fearful on their lonely way,\nFancying that ghosts may wake, and leave their graves by day.\nYet but awhile the slumbering weather flings\nIts murky prison round – then winds wake loud;\nWith sudden stir the startled forest sings\nWinter’s returning song – cloud races cloud,\nAnd the horizon throws away its shroud,\nSweeping a stretching circle from the eye;\nStorms upon storms in quick succession crowd,\nAnd o’er the sameness of the purple sky\nHeaven paints, with hurried hand, wild hues of every dye.\nAt length it comes among the forest oaks,\nWith sobbing ebbs, and uproar gathering high;\nThe scared, hoarse raven on its cradle croaks,\nAnd stockdove-flocks in hurried terrors fly,\nWhile the blue hawk hangs o’er them in the sky.\nThe hedger hastens from the storm begun,\nTo seek a shelter that may keep him dry;\nAnd foresters low bent, the wind to shun,\nScarce hear amid the strife the poacher’s muttering gun.\nThe ploughman hears its humming rage begin,\nAnd hies for shelter from his naked toil;\nButtoning his doublet closer to his chin,\nHe bends and scampers o’er the elting soil,\nWhile clouds above him in wild fury boil,\nAnd winds drive heavily the beating rain;\nHe turns his back to catch his breath awhile,\nThen ekes his speed and faces it again,\nTo seek the shepherd’s hut beside the rushy plain.\nThe boy, that scareth from the spiry wheat\nThe melancholy crow – in hurry weaves,\nBeneath an ivied tree, his sheltering seat,\nOf rushy flags and sedges tied in sheaves,\nOr from the field a shock of stubble thieves.\nThere he doth dithering sit, and entertain\nHis eyes with marking the storm-driven leaves;\nOft spying nests where he spring eggs had ta’en,\nAnd wishing in his heart twas summer-time again.\nThus wears the month along, in checker’d moods,\nSunshine and shadows, tempests loud, and calms;\nOne hour dies silent o’er the sleepy woods,\nThe next wakes loud with unexpected storms;\nA dreary nakedness the field deforms –\nYet many a rural sound, and rural sight,\nLives in the village still about the farms,\nWhere toil’s rude uproar hums from morn till night\nNoises, in which the ears of Industry delight.\nAt length the stir of rural labour’s still,\nAnd Industry her care awhile foregoes;\nWhen Winter comes in earnest to fulfil\nHis yearly task, at bleak November’s close,\nAnd stops the plough, and hides the field in snows;\nWhen frost locks up the stream in chill delay,\nAnd mellows on the hedge the jetty sloes,\nFor little birds – then Toil hath time for play,\nAnd nought but threshers’ flails awake the dreary day.\nFour Raven overhead yesterday morning, as the rain cleared a bit to let a bit of weak sunlight through. Just like the absence now of Blackbird song I suddenly realised I haven’t seen any Great Spotted Woodpecker in a while in the garden. When did they go … Plenty of Great Tit and Blue Tit, House Sparrow, a few Chaffinch and a regular Nuthatch and Coal Tit.\nAfter a night of heavy rain and strong winds day turned into one of blustery winds and heavy squalls with some sunshine in between.\nSwallow very low over the fields early morning skimming the grass in the field – almost like it was a pond – seemed to be picking insects off grass stems. Even coming into the garden.\nLater Starling and Swallow gathered on the telephone wires – like musical notes on a score.\nGreenfinch back after I put black niger seed out yesterday. Usual Great Tit, Blue Tit and two Coal Tit. Chaffinch and Dunnock too. Young starling on the feeders.\nThe resident Swallow are now gone – just a few birds on passage flying over.\nOne of the most awe inspiring sights is the gathering of hirundines, mostly Swallow, at dusk just before roosting. They would cloud the air,in their hundreds and thousands during late summer evenings over the regular reed bed roosts at Chew Valley Reservoir, occasionally split asunder by a marauding Hobby, swerving and swirling en masse before swooping low over the reeds, and dropping into the reed beds in small groups until the last ones when they would drop as one.\nThe hoot of the Brown or Tawny Owl, while not peculiar to Autumn, is however, now very noticeable – Viscount Grey in his book ‘The Charm of Birds’ has described it thus: The normal hoot consists of one fine, smooth long note ; then a pause of about four seconds ; then a long note, quavering at first and ending smooth and full. Sometimes the bird will give the first long note without following it up by the quavering note, but this is a broken and imperfect performance. The hoot is, I suppose, the note peculiar to the male; it is often answered by another bird at some\ndistance, and appears to be, like some bird songs, a proclamation of territory.\nThe day started overcast with a slight ground mist. It cleared by mid-morning turning into a glorious Autumn day. Very warm.\nA good day for butterfly – after a poor year. Red Admiral and Painted Lady all feeding well on the late flowers of the Buddlea Globosa.\nThe resident pair of Raven seemed very territorial- seeing off a single bird passing through on a few occasions.\nA small party – 7 – of Long Tailed Tit passed through the garden just before lunch. Nuthatch and Coal Tit regulars at the feeders.\nGreat Spotted Woodpecker are back in the garden again – a female this morning and a male a couple of days ago. Coal Tit becoming regular visitors again too. Up to 6 Raven though mostly just the resident pair.\nThe number of birds visiting the feeders has increased dramatically – House Sparrow, Blue Tit and Great Tit by far the commonest. But Robin, Dunnock and Chaffinch continue to be regulars. Two Coal Tit and Nuthatch present during the morning and early afternoon. Today brought strong winds and torrential rain. No sign of the Swallow and Martin that clouded the grey skies of yesterday. The first real sighting of winter Thrush also yesterday flying About restlessly. Good crop of Haws that have coloured the hedgerows a dried blood colour.\nA blustery day yesterday with fast moving grey clouds but sunshine in between. Raven seemed to be loving it. Up to 6 throughout the day. Revelling in the boisterous windy conditions.\nThe small birds had a tough time of it yesterday in the storm force winds. But the Raven were loving it!\nToday the wind has dropped and the sun shone through.\nA Pied Wagtail was hanging around the house and barn all day.\nA single Coal Tit is now a regular along with the other Tits on the feeders. Great Spotted Woodpecker also visiting more frequently. Wren Dunnock and Robin singing. Redwing and Fieldfare in the hedgerow Hawthorn.\nUnlike yesterday which turned into a lovely fine warm and sunny day, today never even saw the light of day being overcast and mizzly. However we had two Coal Tit on the feeders and both a male and female Great Spotted Woodpecker at differing times.\nRegular Nuthatch, Great Tit and Blue Tit with Chaffinch, Robin and Dunnock. Vixen barking late last night.\nInto a spell of finer weather. Birds very active on the feeders yesterday. One minute there would be Blue Tit and Great Tit then in the blink of an eye all change to Coal Tit (2) Nuthatch and Robin. Both male and female Great Spotted Woodpecker. Chaffinch and Dunnock as well as House Sparrow. A brief appearance of what I’m pretty sure was a Grey Wagtail on the fence but then it was gone – still not properly light and I didn’t have my glasses!\nWeather over the last couple of days has been changeable with a little weak sunshine between the showers which turned into more continuous rain overnight; though both nights started clear, with a full moon on Sunday. 3 Raven very active yesterday morning flying here there and everywhere. Extremely vocal in their chase. Pair of Goldfinch this morning – in spite the rain. Occasional visitors only to the garden it’s a pleasure to see .\nsaw the first real frost of the year – the grass a blanket of frosted white. Coal Tit, Nuthatch and Great Spotted Woodpecker all regular visitors again along with the ever present Blue Tit and Great Tit. Chaffinch Dunnock and Wren. Not forgetting House Sparrow and Magpie. Raven and Buzzard over the fields throughout the morning. Blackbird about again but not regular and not singing unlike the Robin.\nWeather very changeable – today started wet and drizzly to clear a bit mid morning with some weak sunshine. No wind to speak of.\nSmall 100+ party of Starling feeding in the fields. Water table very high here so field after rain becomes waterlogged.\nJust before dawn after a cold wet night the dogs surprised a Buzzard from somewhere very close by. Couldn’t see it – it was still too dark – but it flew off mewling. A Raven called nearby. Squally rain and sleety showers arrived with the dawn with a biting Northerly wind. As the weather cleared and the sun came out we could see the first dusting of snow on the mountains.\nAll day the Raven – at one time as many as 30 – have been engaged in aerobatic displays over the trees of the hill fort. Chasing, tumbling, sometimes soaring to quite a height, then falling only to shoot upwards again. Sometimes I thought they had gone but suddenly as if by magic they were there again. Some would settle in the pines for a bit before launching themselves again into the fun and games – for that’s what it seemed to be\nFemale Sparrowhawk on the fence by the feeders outside the kitchen window at 0815. Beautiful bird.\nTwo Goldfinch around. Both Woodpecker and the regular Nuthatch, Great Tit Blue Tit, Chaffinch Wren Dunnock and Robin. Small party Long Tailed Tit in the lane yesterday.\nPair of Dunnock feeding on nettle seeds early yesterday morning.\nWe have already had the first light covering of snow on the mountains, with more forecast -yet it’s not quite December – Autumn declines into Winter ….\nTurn! Turn! Turn! (To Everything There Is a Season) …..\nis a song written by Pete Seeger in the late 1950s. The lyrics, are adapted from the English version of the first eight verses of the third chapter of the biblical Book of Ecclesiastes. It became an international hit in late 1965 when it was adapted by the American folk rock group the Byrds.\nTo everything – turn, turn, turn\nThere is a season – turn, turn, turn\nAnd a time to every purpose under heaven …..\nThe picture is titled ‘Autumn’ by Hugh Brandon-Cox", "label": "No"}
{"text": "Today I’m back with the final post in this series about creating an engagingly fallible first-person narrator. We’ve gone over four strategies for helping readers to recognize a first-person narrator’s fallibility; writers can incorporate narrative distance, construct an audience and purpose for the narrative, make the most of syntax and diction, and have the narrator omit details or emotional reactions.\nNow we’re ready for my final strategy! Authors can also create secondary characters that act as measuring sticks for the main character’s behavior and views.\nLast week, I described Chris Lynch’s novel Gold Dust, which takes place in 1975 Boston and tells the story of Richard, a boy who loves the Red Sox and wants his new friend Napoleon, a black boy from Dominica, to ignore the racism he faces and embrace the sport of baseball. Lynch uses two secondary characters, Beverly and Butchie, to make readers think twice about accepting Richard’s views at face value.\nBeverly is an enlightened girl who acknowledges the racism in her neighborhood and becomes Napoleon’s girlfriend. Throughout the novel, she points out the problems with Richard’s behavior, both to Richard and to the reader. When Napoleon gets sick after spending too much time playing baseball outside with Richard, Beverly says, “Napoleon is from a tropical climate. […] You could kill him, forcing him to be like you” (132). On the surface, Beverly just means that Richard could hurt Napoleon by forcing him to spend so much time in the cold, but her statement suggests to readers that Richard could also damage Napoleon by encouraging him to forget his heritage and pretend that racism doesn’t exist.\nWhile Beverly is different from Richard because she is more open-minded than he is, Butchie provides another kind of contrast. Butchie’s actions and statements throughout the novel confirm that Napoleon is right: it is impossible for him to block out racism because he cannot escape it. While Richard is well-meaning but misguided, Butchie is downright cruel.\nLynch uses these two secondary characters as foils, to show contradicting reactions to Napoleon’s presence and to provide a gauge for Richard’s behavior. Readers can better evaluate Richard’s reliability by comparing him to Beverly on the one hand and to Butchie on the other. If you are writing a first-person narrative, think about whether you might develop secondary characters that function as gauges for your narrator-protagonist, as well, and be on the lookout for such secondary characters in your reading.\nThat brings us to the end of this series on how to clue readers in to an engaging first-person narrator’s fallibility. As I’ve said before, I love the intimacy of a good first-person narrative, and I think it’s a powerful reading experience to identify with a narrator while also recognizing his or her limitations. When readers see a narrator’s limitations, that doesn’t mean that they won’t identify with the narrator. If anything, I think readers can feel even closer to characters they recognize as fallible because they can see those characters’ “invisible selves.”\nIn her lovely essay collection The Invisible Child: On Reading and Writing Books for Children, Katherine Paterson explains that a character in a novel has both a visible self and an invisible self. Internal narration allows readers to see characters’ invisible selves—the parts they keep hidden from others, and maybe even from themselves. Paterson suggests that the writer’s job is to see deeply into a character’s invisible self and to depict that character honestly and lovingly. Paterson explains, “It is my hope, of course, that children will […] be able to see themselves in [these characters] and then as they come to love and forgive these people on the page to be able to love and forgive their deepest selves” (48).\nPaterson isn’t talking specifically about first-person novels, but this quote gets at the heart of what I like most about a nuanced first-person story. When readers experience a story through the eyes of an engagingly fallible narrator, they can see beneath the surface of the narrator’s account. They can understand, connect to, and accept that fallible character, and that reading experience can help them to understand and accept other people and even themselves.\nLynch, Chris. Gold Dust. 2000. New York: Scholastic, 2002. Print.\nPaterson, Katherine. The Invisible Child: On Reading and Writing Books for Children. Dutton’s Children’s Books, 2001. Print.", "label": "No"}
{"text": "New Jersey middle school students who study the history of innovative projects raise the following questions:\n1. How does the telescope change the scientific view of the universe?\n2. If we don’t use telescopes to study the sky, is the world behind technology?\n3. Update, what does a better telescope show?\n- The telescope opened his eyes and saw the universe. Early telescopes showed that Earth was not the center of the universe, as previously thought. They also showed mountains and craters in the moon. Later, the telescope revealed the geography and weather of solar system planets. The telescope also discovered new planets and asteroids. This instrument was first used to measure the speed of light. Telescopes can also help you understand gravity and other basic laws of the physical world. Telescopes can also help you realize the light of the sun and different stars.\n- Answering the 2nd question, think about what the world would look like if you didn’t do star research in our way. In the early centuries, ideas about the world and the universe were often formed by religious beliefs or myths. More scientific discoveries have been accepted over time. Ultimately, technology, such as science, is becoming more and more acceptable.\nModern telescopes, such as NASA’s Hubble Space Telescope, provide evidence of billions of galaxies containing billions of stars, such as the sun. Some new telescopes can detect space objects by detecting radiant heat, radio waves and X-rays. The telescope is currently discovering planets around other stars. Future telescopes will help answer basic human questions: “Are we alone in space?” So far, only large hot planets like the Earth have been discovered. This planet will be discovered in the future.\nTelescope Change The View of the Universe\nOf course, the telescope modernized substantial statement by enabling more accurate mathematical calculations and had a major impact on the overall scientific approach. In fact, Galileo made money by making and selling telescopes to enthusiastic customers, but his designs were chased by more complex types in a relatively short period of time.\nBased on a reliable telescope buying guide online you need an opening of at least 2.8 inches (70 mm). The Dobson telescope is a simple-mount mirror that provides a large number of holes at a lower cost.", "label": "No"}
{"text": "The State of Alabama contracted with McKay Lodge Conservation Laboratory, Inc. through the Alabama Historical Commission to undertake a condition study of their Confederate Monument that was built over many years beginning in 1886. The tall limestone monument stands just outside the north entrance of the capitol building.\nIn its proposal, the lab offered to provide a comprehensive study in the form of a standard Historic Structure Report. The submitted report results from on-site assessments of the materials, structure and condition of the Confederate Monument at the Alabama State Capitol along with substantial historical research, field trips and consultations associated with the aims of the assessments. A team was assembled by McKay Lodge, Inc. to address the various facets of the project. Robert Lodge, a member of the Construction Specifications Institute (CSI), undertook documentation and specifications writing as well as microscopy; Dr. Michael Panhorst, a sculpture historian, researched the monument¹s history; and conservator Thomas Podnar took charge of issues pertaining to bronze and stone. Dr. Bruce Simonson of the Oberlin College Department of Geology lent his considerable expertise in limestone.\nThe assessments and associated historical research presented within the Historic Structure Report form a comprehensive information project solely devoted to a goal of preservation of the Confederate Monument for the future.\nThe comprehensive project comprised two major phases: an Existing Conditions Survey (this includes the condition assessments and the associated historical research) and a resulting Historic Structure Report. The design of this project, its activities and report, closely follow the plan recommended in the cooperative publication of the Construction Specifications Institute (CSI) and the Association for Preservation Technology International (APT): Guide to Preparing Design and Construction Documents for Historic Projects, Publication TD-2-8, 1996.\nThe Historic Structure Report containing information on the current physical state of the monument and historical information on the monument as well as a statement of historical, commemorative and artistic significance of the monument, all work in complement toward preservation. In order to garner interest in preservation of the monument, its significance or value to its public in Montgomery, in Alabama, and in the Nation must be well recognized at the outset. In order to effectively plan preservation measures, its materials, structure and current conditions must be accurately recognized and recorded. It is through this complement that the Historic Structure Report becomes a comprehensive approach to preservation.\nThe 85-foot tall Confederate Monument on Capitol Hill in Montgomery stands in commemoration of the service and sacrifice of 122,000 Alabamians who fought for the Confederacy during the Civil War. Fund-raising for the $45,000.00 monument began in 1865 and was largely the work of Alabama women, as was typical of memorial patronage in the South. The Ladies Memorial Association raised the money through a lengthy effort involving bazaars and appeals to private donors and the state government. Due to pressing needs of widows, orphans, and Confederate veterans in the Reconstruction South, the cornerstone was not laid until 1886, when Jefferson Davis performed the ceremony with full Masonic rites just a few feet from the spot where he had taken the oath of office as President of the Confederacy.\nIn 1886 the foundation for the colossal column was in place, but another twelve years passed before the monument designed by Alexander Doyle (1857-1922) was completed with its handsome bronze allegorical finial figure of Patriotism, granite statuary by Fred Barnicoat (1857-1942) representing the four branches of the Confederate armed forces, and a bronze relief band that encircles the column. The elaborate dedication on December 7, 1898 (nearly forty years after the war, the highpoint of its commemoration) was attended by thousands who cheered the lengthy orations, poetry, and pageantry of the Lost Cause.\nThe Confederate Monument on Capitol Hill is one of the largest Civil War monuments in the South. Indeed, it is comparable in form and scale to many Civil War monuments in northern state capitols and major cities that generally predate it due to the stronger post-war economy in the North. The colossal columnar monument form, the patriotic and military imagery, the stone and bronze materials, even much of the meaning of the Confederate Monument is similar to that of other Civil War memorials—North and South alike.\nAs with the earliest memorial efforts in the North, the intent of those who met in Montgomery in November 1865 was “to build a monument to the dead.” Over the decades it took the monument to materialize, its purpose was broadened to encompass the service of all those who fought, as was also the case with later Union memorials. Like Civil War monuments North and South, it commemorates the courage and patriotism of those who fought, and especially those who died for their beliefs. Like many Confederate monuments, it acknowledges the South’s intent to secede to defend states’ rights and individual liberties just as the colonies had seceded from Britain a century earlier, and it accepts defeat of the Lost Cause while maintaining manly and regional honor.\nSculptural features of the monument include four granite figures representing the Confederate Navy, Infantry, Artillery, and the Cavalry. These were carved in granite by Fred Barnicoat of Quincy, Massachusetts and installed by Curbow and Clapp, a local monument company in Montgomery.\nThe top of the monument’s column carries a large bronze allegorical figure of Patriotism, well made and in excellent condition. Patriotism may seem at first an ironic concept with which to cap the Confederate Monument on Capitol Hill. During the war and now, the predominant northern perspective of southerners in the Civil War is that of rebels, traitors to the Union of States. Yet the South saw its efforts at resisting northern domination of internal affairs as comparable to those of this nation’s founding fathers, who declared independence from a foreign power. The South fought for states’ rights of self-determination of issues, including slavery. This principal perhaps survives in the current Alabama State Motto: Audemus Jura Nostra Defendere (We Dare to Defend our Rights) proposed by Marie Bankhead Owen, then director of the Alabama Department of Archives and History, for the Alabama Coat-of-Arms designed in 1923 and adopted years later. The outcome of the war established the Union of the states, the federal government, as first and foremost, a higher authority than the individual states. The lower portion of the column consists of a circular limestone plinth bearing the inscription “Consecrated to the Memory of the Confederate Soldiers and Seamen,” including the dates 1861–1865, and the band of bronze capped with a limestone entablature. The band of bronze is a high relief encircling the column’s base. This band of bronze measures over 76 inches high. Each section has cast flanges behind the visible face that allow invisible bolting of one piece to the other. The diameter of the relief is approximately 92 inches. The relief depicting a generalized but accurate battle scene was designed by Alexander Doyle (1857–1922), the designer of the monument, who did the sculpting of the full-size design in clay for the casting. The relief was cast by the Henry-Bonnard Bronze Company of New York City which operated under the name E. Henry & Bonnard from 1872 to 1881 and under The Henry-Bonnard Bronze Company from 1882-1926. The bronze bears the date of 1888.\nMessieurs Henry and Bonnard ran one of the finest fine arts bronze foundries in the country at that time. The bronze was cast with sand molds, the only casting technique available in the U.S. prior to the introduction of lost wax casting by Roman Bronze Works in the 1890s. Even after the advent of the ancient casting technique, reliefs like these probably would have been cast with sand molds because the thin, flat sections are more easily cast with sand molds than with bulky investment molds needed for lost wax. Fine craftsmanship is evidenced by the absence of porosity and patches in the surface of the bronze and the precise fit of the different sections of the relief.\nThe band was cast in six sections. Each section has a cast flange to the rear along the joining edges. The tight joins of the bronze follow forms wherever possible. These flanges are bolted together behind the band. This joining technique was revealed when a deteriorated portion of the plinth was cut out to study what was behind the bronze.\nAn investigation was made during the assessment to determine what was behind the bronze band. Signs of expansion and opening of joins of the metal band at the bottom and top were taken as signs of a possibility there was material behind the bronze that was swelling with water and expanding on freezing. Since the limestone forming the plinth under the bronze was so deteriorated as to leave no doubt it would need replacing, liberty was taken to cut into the most deteriorated stone deeply enough to look up under the bronze. There, red sand and debris from rock (and possibly brick) was found packed within the space left behind the bronze band and the stone drum centered within that bears the load of the column. The sand was dense and firm either from deliberate packing or through settlement. It was important to discover, when access to this space was made during the assessment, that the sand was holding moisture; it was damp even though the monument had not encountered rain for the previous 22 days. The sand has no useful purpose except possibly as an aid in keeping the band centered during construction. It is expected that the band of bronze was assembled on the ground and lifted into place after the stone drum that resides behind the bronze was placed. The bronze band simply rests upon its stone plinth and the stone of the column above places no weight upon the bronze.\nIt is plainly evident that the monument has two distinctly different looking limestone. The limestone of the base is gray, largely due to the growth of a biofilm, while the limestone used for the column section including the column base is tan. The distinction in color is sharply demarcated.\nA comparative study of the limestone used for the base with the limestone making up the column section reveals that they do have physical differences that would suggest they came from distinctly different quarries or regions. While the historic records tells only that the limestone came from a quarry in Russellville in the northwestern corner of Alabama, the upper limestone is not characteristic of stone quarried in that area but appears, instead, to be characteristic of limestone from the area of Bedford, Indiana. T.L. Fossick, the owner of the Russellville, Alabama quarry that supplied the stone for the monument, had family that owned a quarry in Bedford, Indiana. The most visible difference to a viewer of the monument is one of color. This is caused by the formation of a black/brown biofilm on the Russellville limestone of the base that is not growing significantly on the upper limestone of uncertain origin. This preferential growth reflects some difference in the stone. Perhaps the smaller crystallization of calcite in the Alabama stone with its greater porosity harbors the nutrients and gases for the lowest level of the food chain for the support of the biofilm.\nThe differences between the stones are seen on closer scrutiny. When the are cemented together through crystallization, calcite crystals develop or grow in various sizes. The calcite crystals cementing the oolites of the Russellville limestone from the base are small and the oolites are consequently dense in population. In contrast, the calcite crystals cementing the oolites in the limestone of the upper monument are quite large and, consequently, the population of oolites are less dense.\nRecords tell that the limestone used in the construction of the Confederate Monument, begun in 1886, came from a quarry near Russellville, Alabama. The quarry there was new, having opened in 1884. The limestone came from the early quarry of T.L. Fossick, located about two miles west of Isbel, then named Darlington, south of Russellville in the northwestern corner of Alabama. T.L. Fossick, Sr. came from England before the Civil War and first opened a quarry a few miles west of Cherokee, Alabama. Later, according to a deed in the Franklin County Courthouse dated 1884, Fossick purchased land in Franklin County from the Wood’s family and, with his two sons, opened a new quarry he called “Rockwood,” playing on the name of the Woods family and his stone.\nAccording to a brief history on the Rockwood quarries published in a Russellville historical magazineThe Source, Vol. 8, Issue 2 (October 2000), there was a paper published in 1891 that advertised: “T.L. Fossick Company Oolitic Limestone Quarries. Dimension Stone of Every Kind Furnished on Contract. The Largest Dimension Stone Quarries in the South. Quarries at Rockwood…Two Miles West of Isbel, Franklin County, Alabama.”\nThe Fossick limestone quarries continued under Fossick under various company names and then under other ownership. Today, quarries in that area continue to produce limestone, some of the finest building limestone in the United States, under the Alabama Stone Company, Inc., a division of Vetter Stone Company, Mankato, Minnesota.\nThe limestone taken from Rockwood and the larger Russellville area is today marketed as “Alabama Shadow Veined Limestone” because of its veins of darker gray color in a light gray stone. The quality and characteristics remain highly consistent. The same light, cool gray color and some darker veining were evident in a cleaned stone on the base of the monument. A microscopic, comparative study of the base limestone with the apparently different limestone of the column was made in order to identify as precisely as possible how they differ. To complement this comparison, a sample of old Russellville limestone from a block still at the quarry now operated by Alabama Stone Company was taken and compared with the Russellville limestone used in the monument’s base. Also, a known sample of Indiana limestone was examined under the microscope and compared with the limestone from the upper part of the monument. It was found that characteristics of the lower monument stone match characteristics of Alabama limestone, while characteristics of the upper stone match very closely characteristics of Indiana limestone.\nIt is conceivable that T.L. Fossick arranged the later supply of stone from Indiana. It is possible that only a few at the time knew of this. Many of the stones in the lower monument show sedimentary weaknesses that have led to spalling and crumbling. These faults in the stone were probably evident as early as the period of construction and may have led to a complaint against Fossick’s supply. Fossick’s Rockwood quarry had not been in operation long and may have, at that time, been quarrying close to the surface, taking inferior overburden.\nWhen the stone of the monument is clean, there will still be a visual distinction between the stone. While the black biofilm from the base will have been removed, the Alabama limestone there will show its characteristic color and “blue-gray” veining while the Indiana-type limestone will have its uniform, characteristic tan color. There are issues calling for further study. One is the possibility of residual biocidal control of the growth on the lower limestone. That growth is expected to return. A test of the biocide D/2 developed by MCC Materials, Inc. of Connecticut is recommended after the monument’s stone has been cleaned. Treatment of the stone to lock-out the nutrients and to aid in future cleaning are to be investigated. The product developed by Dr. Norman R. Weiss and Irving Slavid of MCC Materials, Inc. and now marketed as HCT (hydroxylating Conversion Treatment) by Prosoco, Inc. may be a candidate. Work on the monument is expected to be completed during 2002.\nAlabama has funded the development of a comprehensive website devoted to the monument, its design, history and preservation. McKay Lodge, Inc. is designing the site with Poseidon Web Solutions of Chicago , the firm that created the public information site for the restoration of the Tyler Davidson Fountain in Cincinnati, Ohio.\nFor more information about the Confederate Monument, go to:", "label": "No"}
{"text": "Members of the U.S. House of Representatives are elected by their constituents to represent their districts in Congress. Representatives, the title given to Members of the U.S. House of Representatives, are elected to serve a two year term. There is no limit to the number of terms a Representative can serve.\nThere are 435 Members in the U.S. House of Representatives. They are apportioned, or divided proportionally, among the 50 states. The number of Representatives each state has is based on its population—the more citizens, the more Representatives. Each state is then divided into districts, one district for each Representative apportioned to the state. Representatives are reapportioned every 10 years. If a state’s population has changed, it may lose or gain Representatives because there can only be 435 Members in the U.S. House of Representatives.\nSome states have too few citizens to be apportioned more than one Representative. Those states are represented by a Member-at-Large—a Member who represents and entire state. There are currently seven states represented by a Member-at-Large: Alaska, Delaware, Montana, North Dakota, South Dakota, Vermont, and Wyoming. With 53 Representatives in Congress, California has the largest Representation.\nBecoming a Representative\nElections for Representatives are held on the first Tuesday after the first Monday in November of even-numbered years. There are three requirements to run for election to the U.S. House of Representatives outlined in the Constitution of the United States. The Constitution says that candidates must be at least 25 years old, have lived in the United States for at least seven years, and live in the state they would represent. There is, however, more to being elected Representative than meeting these requirements.\nIn order to become a Member of the U.S. House of Representatives, candidates must make themselves well known in their communities. Many Representatives begin their political careers in their city or state governments. This helps them get to know their constituents and learn about the needs of their community. In addition to participating in local politics, the early careers of some Representatives includes military service, practicing law, practicing medicine, or owning their own businesses. To learn more about Representatives and their past careers, visit the Biographical Directory of the United States Congress, 1774 to Present.\nResponsibilities of a Representative\nSince the first Congress in 1789, Members of the U.S. House of Representatives have been sent to the United States Capitol to represent their constituents in Congress. However, the responsibilities of Representatives are not outlined in the Constitution of the United States. Over time, their specific responsibilities have grown to include duties both in Washington, D.C. and home.\nMembers of the U.S. House of Representatives spend their weeks in Washington, D.C., acting as ambassadors for local industries and advocates on behalf of the economic needs and political interests of the residents and communities within their districts. While in Washington, they debate and vote on legislation, oversee government agency spending, and serve on committees. They return home on weekends and during district work periods to work more closely with their constituents.\nRepresentatives serve their districts by studying legislation under consideration and understanding how it will affect their districts. Researching how the legislation will affect their district helps Representatives decide whether or not to support a bill. In addition to their time spent on legislation, Representatives assist their constituents in getting federal benefits and grants or locating funding for local programs and projects, such as after school programs.\nIn addition to their legislative duties and constituent services, Representatives are responsible for managing their offices in their districts and in Washington, D.C. This includes overseeing the office’s budget and managing the office staff. Their office staff includes experts in areas of public policy, office managers and assistants, and college-aged interns.", "label": "No"}
{"text": "Children’s Illustrated Encyclopedia of Manners and Keigo (Polite Language)\n監修 (Editors): 坂東 眞理子（ばんどう まりこ, Bandō Mariko）、蒲谷 宏（かばや ひろし, Kabaya Hiroshi）\nLevel 3 絵辞典, 173 pages, 7,000 words (est.) ★★★★★\nThis book provides very detailed, yet simply written instructions to kids on subjects such as table manners, proper behavior at the doctor’s, how to talk politely to teachers, how to get along with other people and so on. As you may have guessed from my previous review, I like to get simpler books from the library, but actually spend my money on books that stand up to rereading and provide a lot of reinforcement of new vocabulary within themselves. With this book, if you have ever had a problem with the 〜したりする pattern you will perfectly understand its use within ten pages, because instructions like “don’t make a lot of noise or run around in the library” are usually given in that form. Furthermore, the word きちんと — properly — will be burnt into your brain. Because of the extensive illustrations and the short, simple texts, even words you don’t know at all are pretty easy to guess from context, and because of the amount of repetitive text, those words often show up again and become easier to remember each time.\nOn another level, I find the process by which children learn polite behavior in any culture fascinating. I grew up watching how my mom and dad behaved in public and my own behavior was corrected by teachers, my family and so on, so of course I’m comfortable with my manners as an adult American. Still, I always felt not quite right while I was studying in Japan, and since I only stayed for a semester, that was hardly long enough to lose that feeling. Much of the content in this book is universal: don’t throw trash on the street, don’t run around during funerals, say “thank you” and be careful with other people’s possessions. Still, there are a lot of bits of etiquette unique to Japan: when and how deeply to bow, chopstick manners that go beyond those staples Japanese homestay students learn, “don’t stick your chopsticks straight into the rice” and “don’t pass food from your chopsticks to someone else’s” and even what to do with your hands if you’re sitting in seiza. (Girls are supposed to keep their hands in their laps, flat and arranged in a 八 shape, and their knees together; boys have their knees spread apart a little, with their hands in a loose fist on each knee.) If you had grown up Japanese, your mother would have pushed your little head down into a correct bow; short of being reborn or finding a friend who’s comfortable with criticizing an adult as if they were a child, a straightforward text is your best bet to understand the forms. Even if you aren’t planning on having to get along in Japanese society any time soon, it’s greatly amusing to see the “don’ts” of polite society laid out so bluntly. I do love the section on cleaning up one’s language — for example, don’t say うん to your teacher, say はい, and drop でかい for 大きい. The process of how non-native speakers learn polite language is completely different from the experience a Japanese kid is going to have, and it’s fascinating to see it from the other side. (I, too, have heard the tales of non-Japanese job seekers getting jobs because their keigo was better than that of the native Japanese graduates; I don’t know if that’s a real thing, or if it is the kind of story we language learners tell each other to lift our collective spirits.)\nI also wonder to what degree the book is idealized; how much of it is what parents really want from their kids, and how much of it is how the authors think kids should behave? One section says「おやすみなさい」と言ってねる (Say “goodnight,” and go to sleep) which is reasonable, but shows an illustration of a child bowing as she says goodnight to her dad. Is it common for kids to bow as they say goodnight? Is it a hyper-correct reflection of (perhaps perceived) upper-class behavior, or general idealized behavior? Is it a personal dream of the author’s or illustrator’s, as yet unrealized by any kid anywhere? There is a very interesting lang-8 diary — or series of lang-8 diaries, perhaps — to be made out of my questions about the book; I haven’t been writing much for the past couple of months, but I am bound to go on a Japanese writing kick at some point, and when I do I will report back.\nApparently one of the writers, Mariko Bandō, is the president of Showa Women’s University and a prolific writer; I found this New York Times article about a book of advice for modern Japanese women and this article about her background and philosophy helped to put this book in context somewhat.\nThe estimated count of 7,000 words is a definite lowball – each set of two pages has a short section directed towards the parents, and I didn’t count those. (I estimate the おうちのかたへ sections would add another 9,000 words all together, bringing the estimated total closer to 16,000. They are not horribly hard (although with no furigana they’re officially off the extended reading classification chart) so consider the book doubly useful for an extensive reader: it has something to go back to later when your skill has improved. There are so many pictures that even if you didn’t know Japanese, you could generally tell what’s being explained. By Hitosugi and Day’s classification system, I think it’s about a 3, but it has a rather healthy amount of kanji (I imagine so that it’s accessible to young kids, but still useful to older ones).\nRunning a random page through Reading Tutor, the vocabulary level was rated “easy” and there were 18 different kanji used; going by the old JLPT difficulty levels, 22% were level 2, 44% were level 3 and 33% were level 4.\nNote: All kanji have furigana in the original text.\nWhere to find it\nI picked this one up at Kinokuniya as well, and you can order it online from them for $42 plus shipping. You can get it through Amazon.co.jp as well, where it is ￥2,520 new ($30.41 at the time of writing).\nI haven’t looked very much into websites for children about manners, but you could try こどもEマナー教室 (Children’s Classroom for Good Manners). Or, post a comment if you run across any other useful ones!\nThis is an incomplete list of all the Level 5 books available from the Tacoma Public Library; it’ll be updated as I keep reading them.\nFrom Extensive Reading in Japanese, the definition of a Level 5 book:\nLevel 5: Beginning at this level, material is quantitatively and qualitatively different from the lower levels. Level 5 books usually have more than 100 pages and fewer illustrations. Some kanji have furigana, but not all of them. Stories are fully developed and more detailed. Japanese native readers would be ten to thirteen years old.\nI’ve added Amazon links for the benefit of having title images and just in case anyone wants to subsidize my reading, but if you’re interested in ordering any of these, I’d also recommend you look them up on Kinokuniya’s website and compare shipping costs. Also, all title translations are my own unless otherwise indicated, names are family name first, then given name, and 作 and 絵 mean “author” and “illustrator,” respectively.\nA Handshake from Jirō\n作：岸川 悦子（きしかわ えつこ, Kishikawa Etsuko）\n絵：土田 義晴（つちだ よしはる, Tsuchida Yoshiharu）\nLevel 5 本, 125 pages, 5,700 words (est.)\nMy first level 5 book since I started this project, it wasn’t precisely hard, just long and with a higher proportion of unknown words than I tend to like. I understood the content and most of the details but missed just enough to annoy me, so apparently a book this level is currently about my limit, and I will try to stick to books that are a little easier for a while. I wonder if most level 5 books are about on this level, or if it’s a bit on the easy side since the narrator is a dog?\nI’m actually feeling a bit of relief about reading these higher-level books because I missed having kanji around. For a Japanese language learner, used to thinking about kanji mastery as a benchmark, books in all hiragana are lonely; besides, kanji are fun, remove ambiguity and make reading quicker. It is kind of a joke among people who do translation for rom hacking; a hacker with little experience with Japanese will think saying “Translating this game should be easy! There’s no kanji!” is actually a selling point to prospective translators. To better ones than me, perhaps.\n- Extensive reading is known as 多読, or tadoku in Japanese. To try it, start with very easy books (ones with no more than two or three unknown words per page), and follow these principles:\n1. Don’t look up words in the dictionary while reading.\n2. Skip over parts you don’t understand.\n3. If you aren’t enjoying one book, toss it aside and get another.\nFind something to read!\nHundreds of free books and stories online\nLocal bookstores and libraries\nBuying new and used books online\nFor more information, read \"What Is Extensive Reading?\" and \"Classification System.\"\nTo learn more about Kunihide Sakai, who developed the three principles of tadoku and has worked to popularize it in Japan for years, read this interview with him.\nFinally, for more than you ever wanted to know about why I believe extensive reading is worth your time, read my tadoku manifesto.\nSuperfluous StatsBooks read: 303\nWord count (since starting the blog): 380,500\n- About Myself\n- Books from my own collection\n- Classification System\n- Detailed Reviews of Graded Readers\n- Detailed Reviews of Level 2 Books\n- Detailed Reviews of Level 3 Books\n- Detailed Reviews of Level 4 Books\n- Detailed Reviews of Level 5 Books\n- EhonNavi Books\n- Extensive Reading Basics\n- Extensive Reading Materials Online\n- Extensive Reading Paper Summaries and Notes\n- Extensive Reading Resources\n- Illustrated Reference Books\n- Japanese Language Learning Resources\n- Mini Reviews of Level 1 Books\n- Mini Reviews of Level 2 Books\n- Mini Reviews of Level 3 Books\n- Mini Reviews of Level 4 Books\n- Mini Reviews of Level 5 Books\n- Mini-Reviews of Level 6 Books\n- Nikkei Bunko Library Books\n- Picture Books\n- Pierce County Library Books\n- Reading in a Foreign Language\n- Seattle Library Books\n- Short Stories\n- Society and Culture\n- Tacoma Library Books\n- Tadoku Contest\n- Weekly Updates", "label": "No"}
{"text": "As the world celebrates Valentine’s Day next Wednesday, SAMSON BENJAMIN examines the origin of the so called Lovers’ Day and the pop culture that comes with it, including the moral burden that it has foisted on society.\nIn three days time, the much awaited Lovers’ Day will be celebrated almost throughout the world. Usually, February 14th of every year is celebrated around the world as Valentine’s Day. It is a day when people show special affection to their lovers by sending cards, flowers, love messages or even having fun together.\nAs it is with most western ideas and celebrations, Nigerians are not left behind when it comes to celebrating special days like this. In fact, they are usually at the forefront, especially youths in our universities campuses and other institutions of higher learning.\nAs February 14 draws closer, awareness on social media has reached its peak. And the conventional media are already awash with advertisements of discounts from shop owners, hotels, night clubs and bars.\nObscure origin of Valentine’s day\nThere are several accounts about the origin of Valentine’s Day . According to a historian, Mr Silas Ayuba of Nassarawa State University, “ nobody has a clear account as to who is Saint Valentine. From all I have read on his lifestyle and history, there is no single agreement among historians concerning Valentine’s Day celebration”.\nHowever, the most popular is the version which claimed that Saint Valentine was a Roman Catholic priest who attracted the wrath of Roman emperor Claudius II around 270 AD. Claudius II had prohibited marriage for young men, claiming that bachelors made better soldiers than married men. However, despite the law, Valentine continued to secretly perform marriage ceremonies among soldiers and was eventually apprehended by the Romans and put to death on February 14.\nLove versus lust\nEven though February 14 has always been celebrated as Lovers’ Day for as long as the memory can recall, the nature of the celebration however, remains a subject of debate. While majority feel that Valentine’s Day presents an opportunity for people to profess or renew their love with their lovers, many others see it as a season of immoral expression of love between male and female, especially the youths.\nFor Mrs Jumai Mainasara, an Abuja-based marriage counselor, Valentine’s Day “is all about spending quality time with one’s family, friends, and relatives”. She added that “ the night of 14th February is simply great. It provides people with the opportunity to express their message of care and love with gifts and join in the celebrations that set the tone of the day of love. Young and old come together to celebrate the magic of love”.\nNigerians are fun loving people and Valentine’s Day gives an opportunity to young people to express their youthful spirit with non stop foot tapping music .\nHowever, as youths express their love for each other by exchanging flowers and gifts as a token of love on that day, most of the time, they indulge in immoral acts under the pretext of Valentine Day celebrations.\nThe question now is, does real love require this superficial display and can it be confined to just one day? And why are young people always falling prey to the deceit of sex during valentine?\nAnabel Ojima, an On Air Personality with Abuja- based Kiss FM radio, told our correspondent that “for many Nigerian youths, Valentine Day is perceived as a love festival- a day of unlimited and carefree sexual activities, a freedom day for unguided alcohol and drug consumption”.\nOn her part, Aisha Adamu, a second year student of mass communication, Nasarawa State University posed rhetorical questions regarding the Lovers’ Day. According to her, “why wait for one day? What I do not understand is, why wait for a singular day before showing love?’’ The student argued that ‘’if you have a partner and are in a good relationship, I don’t believe you should wait for February 14 to show love.\nEveryday should be Valentine Day. Valentine is all about showing love, not only for lovers, but also for anyone worth showing love to the poor and neglected in the streets and to anyone else.”\nSimilarly, Oche Ada, a National Youth Service Corps member says there’s no difference between Valentine’s Day and any other day. “I am much unlike some people who see that day as a day set apart for youths to thrive in lust and carelessness.\nDays leading to February 14, of every year has media houses hammering on the meaning of Valentine, and how the right choices should be made, so I don’t think the mistakes people make on that day are because they weren’t told. I’m sure people will do whatever they want to do regardless the amount of information given on the issue.”\nMs Semira Abdullahi, a final year student in the department of English and Literary studies of Nasarawa State University, said she does not celebrates Valentine’s Day as there is nothing special about it. Her words: “It is like any other day to me. Every day is supposed to be a day of love. If a life is filled with love, it will flow on daily basis.”\nImplications of Valentine’s day\nValentine’s Day comes and goes with its social consequences and implications among youths. Therefore, there is a need for young people to understand the implications and the risks involved in celebrating the day with immorality, according to experts.\nChief among these consequences, Mr Jonah Gwamna, a Youth Counselor said, “is the feeling of infatuations, that is the unreasonable feelings of love that one has for a short time that goes along with the day, coupled with immoral expression of such love” . He added that other possible negative implications of this celebration are “unwanted pregnancy leading to abortion, contraction of Sexually Transmitted Diseases (STDs), emotional disorder resulting from heartbreaks and sometimes breakup as a result of financial incapability to exchange gifts with ones lovers”.\nFor Mrs Mainasara, “ the fact that February 14 is also unofficially marked as world condom day; a day where free contraceptives are distributed to people, including young people, speaks volume of the sexual perversion that takes place that day”. She advised young people to abstain from premarital sex and instead explore friendship, build self-esteem and aim for self-actualization – which are all sweeter than sex”.\nShe concluded that “the time has come when all youths have to be taught about the depth in the genuine meaning of love. Let them be aware that real love is not meant to be celebrated in just one day of the year and Valentine is just a western idea. If the need to celebrate love on Valentine day arises, common sense and morality are expected to be applied and people must not be financially indebted because of Valentine”.\nAs the world celebrates next Wednesday, it is doubtful if this advice will be heeded.", "label": "No"}
{"text": "Most children who have lead poisoning do not look or act sick. Symptoms, if present, may be confused with common childhood complaints, such as stomachache, headache, crankiness, loss of appetite, and fatigue. The only way to know if your child has lead poisoning is to measure the amount of lead in their blood through a blood lead level test (BLL). BLLs are measured in micrograms of lead per deciliter of blood (ug/dL).. There is no known safe level of BLL. If you would like your child to be tested for lead, talk to your health care provider.\nThe most common way to treat lead poisoning in children is to find the lead source and remove it from their environment. Few children have high enough levels of lead in their blood that they require a medicine called a chelating agent. A chelating agent is a type of medicine that helps to remove the lead from the child's body. Any other problems associated with lead poisoning, such as anemia, should be treated.\nFor more information on treating childhood lead poisoning visit:\n- California Department of Public Health's Childhood Lead Poisoning Prevention Program Family Resource page.\n- CDC's Information for Parents webpage.\n- For a list of education strategies recommended for children exposed to view the CDC report \"Educational Interventions for Children Affected by Lead.\"", "label": "No"}
{"text": "- What is prosaic used for?\n- What is the difference between prosaic and dull?\n- What does pedantic mean?\n- Is it bad to be pedantic?\n- What is quotidian mean?\n- What does monotonous mean?\n- What is a capricious person?\n- Can a person be prosaic?\n- Is being pedantic a sign of autism?\n- What does unimaginative mean?\n- What are the 10 types of prose?\n- What is quixotic in a sentence?\n- What does the word banal mean?\n- What is the opposite of prosaic?\n- What does prosaic mean in English?\n- What is an example of pedantic?\n- What is Betokened?\n- What does diction mean?\nWhat is prosaic used for?\nProsaic Has Literary Origins As a result, English speakers started using “prosaic” to refer to anything considered matter-of-fact or ordinary, and they gradually transformed it into a synonym for “colorless,” “drab,” “lifeless,” and “lackluster.”.\nWhat is the difference between prosaic and dull?\nAs adjectives the difference between prosaic and dull is that prosaic is pertaining to or having the characteristics of prose while dull is lacking the ability to cut easily; not sharp.\nWhat does pedantic mean?\nlike a pedantChoose Your Words Pedantic means “like a pedant,” someone who’s too concerned with literal accuracy or formality. It’s a negative term that implies someone is showing off book learning or trivia, especially in a tiresome way.\nIs it bad to be pedantic?\nPedantry is not inherently wrong. However, it often times is obnoxious. It can easily derail the subject on an unnecessary point.\nWhat is quotidian mean?\nQuotidian is a fancy way of saying “daily” or “ordinary.” Quotidian events are the everyday details of life. When you talk about the quotidian, you’re talking about the little things in life: everyday events that are normal and not that exciting.\nWhat does monotonous mean?\nadjective. lacking in variety; tediously unvarying: the monotonous flat scenery. characterizing a sound continuing on one note. having very little inflection; limited to a narrow pitch range.\nWhat is a capricious person?\nCapricious is an adjective to describe a person or thing that’s impulsive and unpredictable, like a bride who suddenly leaves her groom standing at the wedding altar.\nCan a person be prosaic?\nThe word prosaic usually describes something that is common or quotidian. … The word can also describe a person, thing, or idea that is bland or unoriginal. For example, a lackluster response or an unimaginative description could be labeled as prosaic.\nIs being pedantic a sign of autism?\nOften, such speech can act as evidence for autism spectrum disorder (ASD) or a thought disorder, a common symptom in schizophrenia or schizotypal personality disorder.\nWhat does unimaginative mean?\n: having or showing a lack of imagination or originality : not imaginative unimaginative people an unimaginative menu a predictable and unimaginative plot.\nWhat are the 10 types of prose?\nThere are four types of prose in literature,Fictional Prose (Includes novels, novellas, short stories)Non-fictional Prose (Includes biographies, essays, journals)Heroic Prose (Includes legends, tales)Poetry Prose ( poetry written in prose instead of using verse but maintaining poetic qualities)\nWhat is quixotic in a sentence?\nUse quixotic in a sentence. His quixotic strategy to impress his date by winning the large stuffed animals for her at the carnival seemed to be working. Licensed from GettyImages. adjective. The definition of quixotic is romantic behavior or following beliefs even though they are foolish or unreachable goals.\nWhat does the word banal mean?\nadjective. devoid of freshness or originality; hackneyed; trite: a banal and sophomoric treatment of courage on the frontier.\nWhat is the opposite of prosaic?\ncommonplace, humdrum, prosaic, unglamorous, unglamourous(adj) not challenging; dull and lacking excitement. “an unglamorous job greasing engines” Antonyms: rhetorical, interesting, exciting.\nWhat does prosaic mean in English?\nadjective. commonplace or dull; matter-of-fact or unimaginative: a prosaic mind. of or having the character or form of prose, the ordinary form of spoken or written language, rather than of poetry.\nWhat is an example of pedantic?\nThe definition of pedantic is someone who is very concerned with the details of a subject and tends to overly show off their knowledge. An example of someone who is pedantic is a person at a party who bores everyone while talking at length about the origin and details of a particular piece of pottery.\nWhat is Betokened?\ntransitive verb. 1 : to typify beforehand : presage. 2 : to give evidence of : show.\nWhat does diction mean?\n1a : vocal expression : enunciation. b : pronunciation and enunciation of words in singing. 2 : choice of words especially with regard to correctness, clearness, or effectiveness.", "label": "No"}
{"text": "artists & participants\nThe term 'material', referring to culture, appeared for the first time in the nineteenth century. The study of objects, as well as the distinction between object, thing, artefact and work, has been the subject of investigation for many anthropologists who, since the end of the nineteenth century and the beginning of the twentieth, have been reflecting on man's ability to turn materials into utensils. Human capacity for the study of the different materials, their resistance, flexibility, hardness, elasticity, transparency, brightness and colour, and of almost anything that can have a practical or ornamental utility, has come to fascinate an incipient science of the human. The first bottle that might be said to be 'plastic' was manufactured in 1947. The development of the carbonated drinks industry in the United States promoted research on this material and its uses in the food industry. Plastic soon became a major asset in the sector, after a tentative start in 1960. However, the first bottle of polyethylene terephthalate (or polyester) did not appear in the market until 1970. The history of transparent plastic is linked to the history of the struggle between two major corporations to discover and patent polyester, an ideal material for the food industry: Imperial Chemical Industries (ICI) and DuPont. The race began in Europe, between ICI, the biggest chemical company of the British Empire, and DuPont, a company founded in 1802 by the French chemist, Eleuthère Irénée du Pont de Nemours, who had escaped the French Revolution and founded the company in Delaware. For over a decade now, the reconverted DuPont (DuPont Teijin Films) has had the patent and is the sole producer of Mylar®, Melinex®, Teijin®, Tetoron®, PET polyester film (the material for all bottles), Teonex®, PEN polyester film and Cronar®.\nCabin luggage is even more recent. The first individual trolley bag appeared on the market in 1989, and was invented by Robert Plath, a pilot for the North-American company, Northwest Airlines. Rolling cabin luggage would merit a text in itself. It is an adaptation, in the sense described by the French naturalist Jean Baptiste Lamarck, of the biological changes that occur, not in the human organs, but in the objects and artefacts that, by being modified in size, shape and physical qualities, in turn alter human behaviour.\nLet us now imagine a work that consists in crushing, repeatedly and mechanically, an object—a plastic water bottle—by another—a piece of hand luggage. A crush that produces a sound, amplified by eight channels, which occupies the totality of the central space of the Capella MACBA. Not far from this curious and strange conflict between things, we find another two objects, one of them equally curious: a photograph taken by David Seymour during the siege of Barcelona in 1938, at the height of the Spanish Civil War, in which we see a citizen stocking up on water. Thanks to the collectivisation of the Sociedad de Aguas de Barcelona by the anarchists, water was then a common commodity, a guarantee of survival. Next to it there is a fountain. Built with IKEA catalogues, piled up and with a straw on top emulating a jet, this silent fountain alludes to the most basic liquid in life, an absent liquid: water.\nThe totality of the project refers to common commodities, to transformation, to cultural and political life, to consumerism, and to having access to them. But it achieves something unprecedented: nothing is reduced to an icon, to an image. It avoids interpretation, since listening, seeing and thinking is a prerogative of the viewer.\nonly in german\n04 Natascha Sadr Haghighian\nKurator: Chus Martinez", "label": "No"}
{"text": "TopicCredit card payment process flow chart pdf.\nPostedFri, Aug 09th 2019 18:30 PM\nFlowchart Software is a program used to draw diagrams in a type of a flowchart which is made up of boxes and arrows. The Flowchart Software is also used to design and document simple processes as well as visualizing the process and helping users to better understand a process. You can also use the Flowchart Software to find flaws and bottlenecks in a process.\nIf you need to create a flowchart on your Mac to show a workflow, program, product, or service process, then you need a tool to do it. While you can use Pages to create very basic flowcharts, you might need something more robust.", "label": "No"}
{"text": "rubra (Bergh, 1905)\n|Maximum size: 110 mm (Kay,\nThis is a flattened, beige dorid blotched with light and dark violet\nbrown. It has small, widely scattered papillae tipped in dark brown\nand circled with light rings.\nis a rare species known from only a few animals found in rocky\nhabitats at depths up to 16 m (52 ft). It lays a white egg mass.\nBig Island, Oahu and Kauai: widely distributed in the western &\nThis is the species listed as Archidoris\nhawaiiensis in Kay, 1979 as well as Kay & Young, 1969. It's listed in some sources as Montereina rubra. It was first\nreported in Hawaii from\nKaneohe Bay, Oahu in May, 1962 (Kay & Young, 1969).\nPhoto: 70 mm:\nJohnson: Barber's Point, Oahu; Aug. 28, 1977.\nObservations and comments:\n1: ( )", "label": "No"}
{"text": "Gael Force Art Community Mural 2016\nOne hundred years ago today on May 24, 1916, the Easter Rising began.* The Irish Republican Brotherhood organized the Irish Volunteers, the Irish Citizen Army, and the women’s paramilitary group Cumann na mBan in seizing key locations in Dublin. The 1,600 people were fighting for the establishment of the Irish Republic, an independent Irish state.\nSix days later the insurrection was suppressed. The casualty numbers seem to vary depending on the source, but most sources say there were nearly 500 dead and 2,000 wounded. The leaders of the Rising would be executed a few weeks later.\nFor a good step by step breakdown of the six day Rising as well as the days leading up to and following, take a look here: http://www.irishtimes.com/culture/heritage/1916-schools/a-blow-by-blow-guide-to-the-easter-rising-1.2353931\nAlthough the majority of Irish people were not at first inclined to support the Brotherhood, after the 15 executions public support started to swing. In 1922 a treaty was signed to move beyond Home Rule. “The Treaty” (officially the Articles of Agreement for a Treaty between Great Britain and Ireland) established the Irish Free State.\nThe Irish still continue to this day to fight for their rights and freedom. The Easter Rising is generally accepted as the event that changed the views of the nation’s people. Although it was slow, gradual change, it led to the Good Friday Agreement in 1998 when direct London ended in Northern Ireland.\nIreland, Northern Ireland, and British relations are historically complex. I certainly can’t cover even a miniscule amount of their history in one blog post. Please continue researching on your own! (And please take a look at one of my very favorite historical figures of all time, Michael Collins.)\nI think most Americans have no idea this type of mural is extremely popular in Ireland, particularly Belfast. I didn’t either until I was recently able to watch some university lectures specifically on this subject. I would strongly encourage you to visit http://www.extramuralactivity.com to see many other examples. You can also find a really cool interactive slide show and map here: http://belfast-murals.co.uk/\nI also suggest you visit the Facebook page of Gael Force Art where you’ll find many more close-ups of this amazing work. The photo credit also belongs to that site. They are a West Belfast Artist Collective. There is so much going on here it’s much better for you to see all the close-ups and the descriptions they give there. Or if you’re in Ireland you can see it on Falls Road in Belfast.\nI’ll just point a couple of my favorite things about this mural. Obviously, the largest section of the mural is the burning GPO with an incredible phoenix rising from the flames. The wings are amazing and lead your eye right up to the quote at the top.\nI like the incredibly clever use of the giant newspaper clipping. It’s framed inside a billboard type box that normally holds the name of an accounting agency (see the photos of the mural in process). They took what could have been a hindrance and not only made it work, but made it one of the most interesting parts of the piece. To continue the 3D look, they’ve used the framed portraits of eight of the leaders, including Countess Markievicz, (look out for a post about her someday as well) and surrounded the clipping.\nI think this mural is an amazing commemoration to those that gave their lives one hundred years ago today. Today we remember our brothers and sisters of the Irish Free State.\n*The Rising is generally remembered in Ireland on Easter instead of the actual date, but I started this blog after Easter and really wanted to include something.", "label": "No"}
{"text": "4 Vs of Big Data- One Should Know\nApproximately 3 quintillion bytes of big data are generated each day from the different information sources which is a huge amount and indeed difficult to handle. To know which information is useful further and which is useless, we need filtration and this filtration is not an easy process. It requires efficient information handling processes in information-intensive systems of organizations.\nIt’s ok if you don’t know.\nNow tell me how you will define big data?\nWell, not certainly!\nVarious factors decide whether the information is big or not. In this blog, we will tell you 4Vs, and with the help of these Vs. But before talking about that, we will know what big data is and what 4 Vs of big data.\nWhat is Big Data?\nBig data is really useful for the business organization because with the help of this information they extract the important information and use it in their business operations and decision-making processes. Organizations can estimate the latest trends and patterns from this information in order to grow their business.\nIn order to analyze and process information, we need its size, and for that, we apply volume dimensions to it.\nApproximately 70-80% of unstructured information exists, and its overall volume is continuously rising.\nVelocity refers to the pace at which we consume information. The volume of information is reciprocal to the value as the volume increases; it decreases the value of individual information points over time.\nFor instance, 500 million call details records are analyzed in real-time to estimate the churn quickly on a regular basis. The velocity of high information generation requires different processing methods.\nMoreover, the velocity of information determines the potential of information. It analyzes how fast the information generation and processing are to meet the requirements.\ninformation sources generate different types of information categorized into three-part: Structured information, unstructured information, and semi-structured information.\nHere, structured information is all about bank statements such as Information, amount, time, etc. Comparing unstructured information with structured information is a great way to understand it.\nNo specific rules are associated with unstructured information like structured data, but with the help of advanced technologies, we can transform unstructured information into structured data.\nThe veracity of Big Data\nVeracity implies the quality of information that we are going to analyze. In data analysis, high veracity information records have proved their power to make it valuable. Veracity is directly proportional to valuable Information; high veracity refers to meaningful information, whereas low veracity information indicates meaningless information.\nMoreover, the velocity of information determines the potential of information. It analyzes how fast the information generation and processing are to meet the requirements. For instance, 500 million call details records are analyzed in real-time to estimate the churn quickly on a regular basis. The velocity of high information generation requires different processing methods.\nThe higher the veracity, the more important the information is and provides us with valuable outcomes.\nIn this blog, we have talked about the 4Vs of big data and makes the information really big. I hope you found this article useful in the context of Important Vs of data and V features of data.", "label": "No"}
{"text": "There are countless reasons to adjust to a healthier diet: lower blood pressure, reduced joint pain, more energy, stronger disease protection—the list goes on. You name a part of the body, and it’s pretty likely it would benefit from a healthy diet.\nBut it’s not just what we eat that plays a role in our health and happiness, but how we eat. Things have changed quite a bit since we farmed our food. Now, processed snacks are at our fingertips, sugary drinks are advertised as sport fuel, and we’re constantly on the clock due to technology. Over time, our habits around eating have been compromised.\nHave you ever grabbed a snack before a meeting, eaten it, and then been surprised to see that you only had one bite left? Or gobbled everything on your plate and then felt too full? Or even climbed into bed only to realize you didn’t drink any water that day?\nThe culture around nutrition already has a lot of sneaky ways of making us feel bad, but luckily, there are a few tricks we can incorporate to choose wisely and feel good.\n1. Make water your appetizer.\nWhenever you go for a meal or a snack, have a small glass of water first. This trick has a few perks:\n- Sometimes when we think we’re hungry, we’re actually just thirsty. In a 2009 study, individuals were studied responding to thirst and hunger. People responded “appropriately” by consuming water in response to thirst (in the absence of hunger) only 2% of the time. They responded “inappropriately” 62% of the time. If it turns out you’re just thirsty, you’ll have scratched the itch, and if you’re still hungry, you’re just a little more hydrated.\n- If you tend to eat quickly and then feel too full, drinking water first can help trigger that feeling of fullness sooner, helping to prevent overeating.\n- Tying water to eating can help us stay hydrated. Many people don’t feel thirsty until they’re already dehydrated. By making water-before-food a routine, you ensure that at least some hydration is incorporated into your day. After all, being hydrated can feel pretty good.\n2. Put it on the schedule.\nIt’s easy for meals to turn into afterthoughts. With so many of us working from home, we’re constantly on the computer, grabbing what’s easy from the fridge, and often not eating on a regular schedule. If you think there’s room for improvement in your diet, treat it like you would a work project and schedule in the time to take it seriously.\nYou don’t need to carve out an hour per meal — even ten dedicated minutes can do the trick. After all, it’s hard to make thoughtful food decisions when you’re carrying your Zoom meeting into the kitchen. And putting meals on the calendar has other benefits: in one study covered in Health, “adults consuming calories during regular meals—at similar times from one day to [the] next—were less obese than people who have irregular meals, despite consuming more calories overall.”\n3. Turn eating into a mindfulness exercise.\nThere’s an easy culprit to blame for many of our dietary struggles: mindlessness. We refer to mindlessness in many ways. Some of us say we were “lost in thought” or “running on autopilot,” but no matter what you call it, mindlessness can lead to less enjoyment and poor decision making.\nYou can improve your relationship with food the same way you might improve a relationship with a person: by being present. When carving out the time to eat, you’re also allowing yourself the time to enjoy. Having a mindful eating practice can help us better tune in to our bodies’ needs, make better nutrition decisions, and even help us tune in to our emotions around eating.\nThere are many ways to be mindful when you eat, but here’s a good place to start:\n- Put away the distractions and sit down. No standing at the counter while scrolling on your phone. Mindful eating is technology free and meant to be enjoyed.\n- Consider the journey your food took before it got to you. You don’t need to write a thesis, but if you’re having an apple, think about the tree it came from, who might’ve picked it, how far it traveled to get to you, and all the people involved in making that happen. Unless that apple came from your backyard, it’s likely it took quite a trip! Take time to appreciate it.\n- Smell it, feel it, and take a long look at it. This is part of the savoring process. How often have you really considered a chip before popping it into your mouth? Probably not that often!\n- Take small bites. Give the food a chance to linger in your mouth. Sit with the taste and the texture. Enjoy it!\n- Go slowly. Give your body time to tell you when it’s full, or if it wants more. Try closing your eyes for a moment and truly relishing the moment.\nWith these three tips, you can be well on your way to a better relationship with food.", "label": "No"}
{"text": "Screen printing is a printmaking technique where a wooden or aluminium frame is covered tightly with a mesh. This is used to transfer ink onto paper or fabric. It is possible to make areas\nimpermeable to the paint by a blocking stencil. This can be done by exposing an image onto the mesh using a light sensitive emulsion or even with a hand cut paper stencil.\nEach image is created by printing one colour at a time to make up the image. The squeegee is moved across the screen to cover the open mesh with the paint. Once the squeegee is pulled forward to\nprint, it is then pushed in a reverse action to flood the screen with enough paint to print the next print.", "label": "No"}
{"text": "Natalia Goncharova. Pochoirs\nTHE EXHIBITION \"NATALIA GONCHAROVA. EAST AND WEST\" AT THE TRETYAKOV GALLERY OFFERS AN OPPORTUNITY TO APPRECIATE NOT ONLY THE ARTIST'S FAMOUS PAINTINGS BUT ALSO HER LESSER-KNOWN GRAPHIC WORK. A VAST BODY OF THE LATTER WAS MADE USING THE POCHOIR TECHNIQUE, AND IS REPRESENTED COMPLETE WITH THE ORIGINAL SKETCHES.\nThe word pochoir comes from the French poche - a cut-in, a pocket - and means \"stencil\". It refers to a print-making method in which stencils are used to manually colour a set of prints, with the number of stencils corresponding to the variety of the colours reproduced. This technique was peculiar in enabling every reproduction to retain a sense of the original. In the 1920s Natalia Goncharova used it in creating the \"Portrait Theatral\", \"Spring\" and \"Liturgy\" folios, as well as for illustrating Pushkin's\"The Tale of Tsar Saltan\" (1921), \"La vie persane\" (1921, Paris) by Edwin Evans (1921) and \"The Tale of Igor's Campaign\" (1923). Plans may have been made to produce more folios, since the exhibition includes a series of minor pochoir sets (\"Still-lifes\") and separate compositions - \"A Girl with Autumn Landscape in the Background\", and \"Three Girls. A Walk\".\nThe Parisian artistic emigre circles went so far as to credit Goncharova with \"inventing\" pochoir which, of course, was not true: the same technique was used in France for rare editions with a small print-run. It became especially popular in the late-19th and early-20th centuries in connection with the phenomenon of the livre d'artiste, before Goncharova appeared. However, she had been familiar with the art of stenciling in her \"Russian\" years: in the early 1910s, together with Mikhail Larionov, she was absolutely absorbed in folk art in which stenciling was a common technique, used to colour the lubok (popular prints) and print fabrics. Stencils even appeared at the exhibition of popular prints organized by Mikhail Larionov in Moscow in 1913, based on his own collection (number 116-117, \"A Sketch and a Stencil Plate\")1.\nDuring the preparations for the Goncharova exhibition at the Tretyakov Gallery the questions arose of how did she come to use the technique of pochoir and when were her own first pochoirs produced?\nIn 1919 the publishing house of Jaques Povolotzky2 \"La Cible\" produced a volume titled \"M. Larionov. N. Gontcharova. LArt Decoratif Theatral Moderne\". It included a number of pochoir pieces by Goncharova, such as \"Costume Espagnole\" (the sketch for which is in the current exhibition). The publication was timed for the similarly-titled exhibitions held at the galleries Savage (1918) and Barba-sange (1919), where it served as a catalogue. The introduction was dedicated to the work of the artists in the field of stage design. Pochoir (where gouache was applied) was an ideal way to reproduce draft colour drawings without corrupting the original pallete.\nIt is hard to tell whose idea it was to turn to pochoir - whether it came from Larionov and Goncharova remembering the \"ancient\" means of colour print-making, or from Povolotzky who was well versed in French publishing practices. The \"improvised\" pochoir plates made with several layers of oil paper in the Tretyakov Gallery collection are likely to have been assembled by the artists themselves. In a letter to Larionov of 12 November 1919 Povolotzky confirms as much: \"I entreat you, Mikhail Fyodorovich, to arrange for the signing of the folios today or tomorrow - they are deteriorating... And you are still to add some pochoirs for the luxe! Please let us complete this folio as soon as possible without having to go back to it again. Regards from yours truly, Jaques Povolotzky.\"3 The paper plates were too fragile to make a greater number of copies and subsequently had to be replaced by another material, as well as engaging a skilled craftsman for cutting the necessary stencils.\nThe main reason for resorting to pochoirs was the need for quality reproduction of coloured artwork. While working on the volume for Povolotzky, Goncharova and Larionov promised a few drawings for the new magazine \"Aujourd'hui\" (\"Today\"). As suggested in a letter, pochoir prints of coloured artwork were actually cheaper than a full-page colour reproduction. Arguments to that effect are to be found in a fragment of correspondence sent by Claude Autant-Lara4 to Goncharova on 15 October 1918: \"Oh, Madam, you cannot imagine how upset I was not being able to see you last time in Paris... You have a gift of colour that you use with such delicious proficiency. I would like to take advantage of it in reproducing two of your coloured pieces. Unfortunately the price I am asked for this is ridiculously prohibitive and forces one to make stencils. Could you lend me some?\"5\nPochoirs however, like any hand-crafted items, turned out to be quite expensive. Autant-Lara complained in a letter to Gon-charova: \"I promise to provide you with colour samples for your pochoir. They are necessary and I will write to you shortly about this. This page of yours though will cost me dearly! But never mind, I will have it printed.\"6\nIt was long assumed that Goncharova first attempted pochoir in 1915, the date attributed to the \"Portrait Theatral\" and \"Liturgy\". That dating by the author (indicated on the covers) appears somewhat puzzling: it was hard to imagine such portfolios printed in a considerable number of copies7 (and \"Liturgy\" was a large-scale edition) could have been accomplished in Lausanne (as the publishing details for both volumes suggest). At the time the artists were living in a hotel and busy preparing for Diaghilev's \"Ballets Russes\", working on stage designs, attending rehearsals and concerts. And why did the artist, in the middle of working on the stage production of \"Liturgy\" and sketching the costumes, need to reproduce them in a published folio? The same questions applied to the \"Portrait Theatral\", dated 1915-1916. One copy of that edition was supplied with a list of names suggesting that the portraits depicted the members of Diaghilev's \"Ballets Russes\" in the costumes of their characters. But some of the productions listed came later than 1915-1916: \"Women in High Spirits\" appeared in 1917, and \"The Three-cornered Hat\" in 1919.\nMore documentation was needed in order to firmly establish or change the dating. We tried to follow the pochoirs through history of their exhibitions: as a rule the artists would have displayed their new pieces as soon as they were complete. In the graphics section listings of the exhibition at the Barbasange Gallery (1919) along with the stage designs, under numbers 181-190, there are \"Portraits of Male and Female Dancers\" (nine pieces whereas \"Portrait Theatral\" consisted of 14 pochoirs). There is no indication as to the technique used. Among the compositions in a wide range of media, including paintings, stage designs and graphics, representing the work of both artists at \"The Gontcharova-Larionov Exhibition\" at New York's Kingore Gallery in 1922 six theatrical portraits8 are listed as watercolours, dated Madrid 1916, but the sizes do not match the pochoir volumes either. It is likely that in 1922 only the original watercolours depicting the actors existed.\nThere were also a few watercolour landscapes on the list dated 1918. The landscape series apparently went back to the 1910s when Goncharova and Larionov spent more than half a year in the French countryside at an estate (or rather an agricultural commune) in Pivotan-par-Garchy growing vegetables. The 1924 list of Goncharova's work mentions the folio \"Spring. Constructivist Landscapes in Watercolour and Gouache\" that were later reproduced as pochoirs. The Tretyakov Gallery collection preserves the zinc plates for that series, and examples of them are on display at the current exhibition, providing a unique opportunity to view the stencils, compare them with the impressions made from them, and follow the actual process by which a pochoir was created.\nThe department of manuscripts at the Tretyakov Gallery includes the correspondence with one \"Boris\", who was apparently a craftsman specialising in pochoir plates and folio cases. In a letter to Goncharova of September 29 1926 he wrote: \"Dear Natalia\nSergeevna... I am now finishing the series of'Portrait Theatral', that is making tracing paper copies, cutting cliches and at the same time checking them by printing one copy of each portrait. I have a different method now - transferring tracing-paper copy straight to zinc (using blueprint paper) and breaking the palette on zinc with reference to the original. Of course this is more demanding than pasting but the accuracy with which the cliches are cut is way better than it used to be. There are four portraits left before I can go on to another series of 14 pieces. They will be hardly complete when you come, but even if they are, I will be cutting two pieces of M[ikhail] F[yodorovich] and leave Ori's [Orest Rosenfeld] series until the very end. Warm greetings to Mikhail Fyodorovich and all the best. Yours, Boris.\"9\nAll of the above suggests that a series of small-sized theatrical watercolour portraits (or pencil drawings for them) was likely commenced in 1915-1916. Initially it could have included the portraits not only of the ballet dancers but also of other individuals connected to theatre. There is, for example, in a private collection, a \"Portrait of Alexander Tairov\", with whom Goncharova had worked in 1915 and whom she later met in her Parisian years when his Chamber Theatre was on tour there. Hence the dating\"1915-1916\" on the cover of \"Portrait Theatral\" portfolio referring to the beginning of the project. Whereas the actual pochoir folios were completed around 1926. Perhaps the impulse to draw the ballet dancers came when Goncharova returned to work for Diaghilev after a three year gap - the ballet \"The Firebird\", redesigned by her, was first performed at the Lyceum Theatre in London on 25 November 1926 .\nIt was the same with the \"Liturgy\" portfolio. In 1915-1916 Diaghilev commissioned stage designs for the production from Gon-charova, who created multiple pencil drawings which she then coloured, applying gouache and using gold- and silver-leaf collage. When it turned out that the ballet was not going to be staged and the opportunity arose to obtain \"professional\" stencil plates made of metallic foil (zinc), the artist reproduced her compositions in the pochoir technique, slightly changing some of the pieces.\nThe story is corroborated by a letter of 1926 written by Larion-ov to the Japanese artist Ivata: \"Dear friend Ivata. Madame Gon-charova has already posted a month ago two watercolours ('Curtain' and'Landscape') to your address in Tokyo. We have witnessed a carton prepared and watercolours for Monsieur Fukuhara packed. There is also the drawing of the Apostle which Goncharova did as a costume-design sketch for 'Liturgy'. It is a hand-coloured stencil print signed by Goncharova that is intended for you...\n\"As far as the Apostle drawing is concerned, we ask that you would be so kind as to keep it for yourself. If you have a chance I beg you to show it to Monsieur Fukuhara and explain that this will soon appear as part of the 'Liturgy' portfolio by Goncharova. The folio will consist of 17 or 19 coloured sketches signed by the author. It will be an edition of only 50 copies. The print drawings will be drafted by hand in gouache and watercolour to fit the size of the originals. Everything will be done by hand, as in the original. Every print for this edition is going to cost quite a lot so the retail price for the best ones is set at 3,000 francs and two London museums have already paid 3,000 for some less well-executed ones which are already on loan. Perhaps Monsieur Fukuhara would be interested in obtaining this edition.\"10\nIt was also in 1926 that pochoirs first appeared in an exhibition. Under number 45 in the catalogue of Goncharova's solo show at the Claridge gallery the text reads: \"'Espagnole'. Pochoir, signed by the artist.\"11 This pochoir, copies of which are at the Tretyakov Gallery, is based on the painting \"Head of a Spanish Woman\" (1916). That the pochoir technique should be so needed can be explained by the absence of new commissions from Sergei Diaghilev whose Ballets Russes had for a long time been a regular source of income for Larionov and Goncharova. The Pochoirs were on sale, hence, apparently, the need to consider making additional copies.\nThe Claridge gallery secretary B. Scruton wrote to Goncharova on June 6 1926: \"Dear Madame, M. Proper instructed me to beg your response as a matter of urgency whether it is possible if need be to replicate the pochoirs. Please let us know as soon as you can. With great respect, B. Scruton (secretary).\"12\nIn 1929 Goncharova's \"Liturgy\", along with Larionov's collection of pochoirs \"Voyage en Turquie\", was on display at the Experiment Galleries in London and Cambridge, as were \"Portrait Theatral\", as mentioned by Sergey Osyakovsky in his letter to Larionov of July 2 1930: \"Dear Mikhail Fyodorovich, I am hugely to blame and awfully sorry. There was so much to do. Apart from London, we have a mini \"Experiment Gallery\" in Cambridge where, by the way, your 'Voyage en Turquie' and 'Liturgy' by Natalia Sergeevna are still being exhibited. Next Sunday (the 6th) I am travelling to close the Cambridge gallery as it isn't worth the while now but it will be reopened in October. I shall write to the agents, 'James Bourlet Sons Ltd', this very day and ask them to come and collect your 'Jester', Nat. Serg. decor. and three sketches by 'Put Zhivopisi' (The Way of Painting). 'Portrait Theatral', though we haven't yet sold any, I'd rather keep if you don't mind.\"13\nIn 1926-1927 Goncharova became fully aware of how the pochoir technique was an ideal method of reproducing colour sketches, gouaches and paintings. The paintings \"Espagnole\" (\"Head of a Spanish Woman\") and \"Bouquet\", known from a photograph in the artists' archive, were reproduced as pochoirs under the same titles. The \"Bird\" plate from the \"Still-lifes\" series of pochoirs can be traced directly to the small \"Bird\" painting.\nThe story behind the reproductions of the larger compositions is even more engaging. Unable to produce large-scale prints and apparently unwilling at the same time to turn monumental panels into \"coloured postcards\" Goncharova decided to copy them in parts. In 1924 she had already tried experimenting that way with the \"Bathers\" (1922, Tretyakov Gallery) triptych, dividing it into parts and reproducing each in turn as posters for the \"Bal des Artistes\". A different \"Bathers\" panel (from the Sepherot Foundation) was also fragmented in the same way by the artist. One of those fragments was reproduced as a pochoir, \"Three Girls. A Walk\", which is part of the current exhibition.\nThe book illustrations that utilized the pochoir technique as a certain tribute to the livre d'artiste tradition first introduced in Russia by Goncharova and Larionov remain beyond the scope of this article. There are sheets of fabric prints in a private collection which might have been intended as pochoir sketches, too. But research has made clear that, every time Goncharova turned to a new technique it provided an excuse for artistic experimentation and innovative creative practice.\n- An exhibition of original icons and popular prints organized by Mikhail Larionov. Moscow, 1913. P. 17.\n- Jaques Povolotzky (1881-1945) was the owner of this Russian publishing house in Paris, and an acquaintance of Larionov and Goncharova.\n- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 2527.\n- Claude Autant-Lara (1901-2000), a French film director.\n- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1258.\n- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1260.\n- Information as to the exact print-run is missing. In the quoted letter to Ivata concerning the\"Liturgy\" volume Larionov mentioned 50 copies. But there must have been more: the Tretyakov Gallery collection alone holds more than 100 sheets depicting Judas.\n- Originals are part of the collection of the Centre national d'art et de culture Georg-es-Pompidou in Paris.\n- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1114.\n- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 544.\n- Exhibition of paintings by Natalia Goncharova at the Claridge Gallery. June 10-July 3 1926.\n- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1702.\n- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 7438.", "label": "No"}
{"text": "Patroness of Philosophers, Lawyers, Librarians, Secretaries and Nurses.\nBelieved to be a noblewoman of Alexandria, she preferred to study philosophy instead of getting married. Upon seeing a painting of the Madonna and Child, she converted to Christianity. She denounced the Emperor Maxeintius for persecuting the Christians. He in return, had fifty of her converts burned. He spared her life, but only if she would have a royal marriage. Catherine refused and was to be stretched upon a spiked wheel. After her torture began, angels are said to have shattered the wheel. She was finally beheaded. She is one of the most beloved Saints in Christendom. She inspired Joan of Arc.\n\"Glorious St. Catherine, woman of conviction, give me strength and courage to fight off the temptation of this world and of my mind, and to serve God wholeheartedly in all of my endeavors.\"\nSpecific Sizes - Width x Height\nPocket - 1 1/2\" x 3\"\nOrnament - 2 1/2\" x 5\"\nSmall - 3 1/2\" x 7\"\nLarge - 4 1/2\" x 10 1/2\"\nYou might also like", "label": "No"}
{"text": "After the anesthesia has taken effect, a tourniquet or blood pressure cuff will be placed on your arm to temporarily stop the blood flow to your hand and wrist. This allows your doctor to see the surgical area clearly.\nTo help reduce the chance of infection, the area will be scrubbed with a special soap, and you will be covered with sterile sheets. The only area exposed will be your forearm and hand.\nYour doctor will then begin by making an incision or cut on the palm side of your wrist that is approximately one inch long. Depending on the specific technique used, a second small incision may be made in your hand.\nAn instrument is then inserted into the carpal tunnel to guide the endoscope into place. The endoscope is a long, thin tube, about the size of a writing pen. It is similar to a camera in that it allows your doctor to see inside your wrist by projecting the image onto a TV monitor. It can also take pictures and videotape the procedure. Once inside the carpal tunnel, your surgeon can look at the carpal ligament, or the \"ceiling\" of the carpal tunnel on a video screen.\nAfter proper positioning of the endoscope away from the nerves and arteries, the carpal ligament is cut using a special device that is attached to the endoscope. The surgeon is able to confirm that the entire ligament is cut by watching it on the video screen. The wound may then be cleaned and closed with stitches. A bandage and splint are placed on the hand and forearm.\nAt the end of the procedure you will be awakened while still in the operating room and then transported to recovery for a brief period of wake up time afterwards.", "label": "No"}
{"text": "As a child I loved watching \"Mr. Rogers' Neighborhood\" on PBS. He reminded me so much of Mrs. Carpenter, the older widow who lived next door. I adored her. We raked leaves together, she took me to Sunday School, we watched Jeopardy together (she knew ALL the answers), and together we would weekly walk to the library for new books- she was lovely. Mr. Rogers had the same sort of kindness and interest in my learning. His smile was sincere, he was thoughtful in his choice of words, his voice was calming, his words were genuine, and it felt like he was talking directly to me, as if I were the only child in the world. I was special. I believed I could learn and do new things. I enjoyed his stories and field trips around his neighborhood. He dedicated his life to educating children and had a lot to say about how they learn.\n\"Play is often talked about as if it were a relief from serious learning. But for children play is serious learning.\nPlay is really the work of childhood.\"\nPlay is really the work of childhood.\"\n- Fred Rogers\nIs play truly learning? I sure do think so! Preschoolers are a SUPER busy bunch. Younger students work through art projects much faster than older students do. Their focus doesn't last as long, the concepts aren't as broad, and the work isn't as skilled yet. We're getting there though. We're laying the foundation. We're figuring things out. A big part of figuring things out is exploration. Introduction to new things and seeing what you can do with them.\nSo how does this apply to art class? While we do work on structured projects, like printmaking and mixing colors, sometimes between those projects we explore a bit through art centers. As a child I looked forward to visiting my grandmother because she had large colorful cardboard building blocks and Mr.Potato Heads. My cousins, siblings, and I would build walls, forts, towers. We'd arrange silly characters with Mr.Potato head parts, like little Frankensteins! We were entertained for hours because the possibilities seemed endless. We were creatively problem solving. We were inventors, architects, doctors. Thinking skills! Problem solving! It's beautiful stuff...\nI recently read an article about the importance of art and creative literacy (that's a tough thing to define, but it involves generating original ideas and seeing possibilities and potential). It's worth the time to read it. My favorite part of the article stated that even though we've long had the technology to simply snap pictures of life it hasn't squashed our desire and need for painting, for creating ART. Why not? Well...making art is not about taking selfies and everyday photos, it's about the sharing of ideas and viewpoints, it's communication. Art provides opportunities for even our youngest artists to share their ideas, their feelings, their viewpoints. I'm often amazed by what they come up with! So before recycling an art project that's sent home, ask about what they've made and how they feel about it. They're often much more thoughtful than just scribbles. There might be a story or an idea there that they'd love to share.\nIn addition to the cardboard building blocks of my youth, I took some newer building materials that my children have outgrown to school for kids to explore. They piece together people, towers, cars, flowers, light sabers, and all kinds of other neat-o things they love to tell you all about! They share supplies. They encourage each other. They swap stories and ideas.\nKids love stencils too! I teach students to use shapes as the parts in their drawings and lines for details, but stencils help them learn how to draw shapes they don't know how to draw yet and they add details to them to transform them into something new. They get to choose. Maybe this is a mountain? If I were to ask I wouldn't say \"Hey, is that a mountain?!\" or \"Nice mountain!\" because that might not be what it is! As an adult I'm totally deflated sometimes if people don't see my vision when I think it's super obvious. It plants seeds of doubt, and that can be a real bummer! Nobody likes feeling lousy. Instead I'd ask \"Wow, what are you working on?\", or \"Can you tell me about your picture?\". Even little artists can be offended and discouraged. My job is to encourage them to keep thinking, keep doing, keep trying. They're little engines that CAN!\nClay is a favorite for students of ALL ages! Modeling clay works those hand and finger muscles!\nWe always try to make it a beautiful day in the art room....", "label": "No"}
{"text": "… to hold a moment, how to record something so completely, that all who see [the picture of it] will relive an equivalent of what has been expressed. ~Alfred Stieglitz (cited: http://www.metmuseum.org)\nThe theory of equivalence was inspired by Wassily Kandinsky’s belief that colors, shapes, and lines reflect the inner, often emotive “vibrations of the soul.” In his cloud photographs, which he termed Equivalents, Stieglitz emphasized pure abstraction, adhering to the modern ideas of equivalence, holding that abstract forms, lines, and colors could represent corresponding inner states, emotions and ideas.\nThe following are excerpts from Equivalence: The Perennial Trend: Minor White, PSA Journal, Vol. 29, No 7, pp 17-21, 1963 (cited: http://www.johnpaulcaponigro.com)\nA change of perspective is a change in state. Jean Piaget reminds us that, “What we see changes what we know. What we know changes what we see.” Perception changes reality… The more conscious the perception the stronger the change. Furthermore, the quality of consciousness one engages perception with influences what is perceived, what is produced, how it is received and the consequences that has. Acting on what one observes, choosing and sustaining one thing / quality amid many others, reinforces that state of being and this is particularly true if during observation one creates something tangible and durable and never more true if multiple related works are created. Often, during the process of manifestation perception continues to change, further extending this process of revelation and transformation.\nThe visible can be used to reveal the invisible; the external can be used to reveal the internal. ~Alfred Stieglitz\nMinor White remarked, “One should photograph things not only for what they are but also for what else they are.” and “Equivalence is a function, not a thing.” He did not mean to suggest that equivalence was merely a rhetorical device. Equivalence is more than a rhetorical device, not a simile that suggests shared commonalities (this is like that), not a metaphor that observes shared qualities through the power of transformation (this is that), but a process inclusive and transcendent of both. Like a simile its power starts with the recognition of shared qualities and like a metaphor its power lies in transformation, but an equivalent transcends both through a heightened state of self-awareness, even to the point of transforming the self through its accompanying effects of clarity and commitment.\nEquivalence embraces and elevates the debate over whether photographs are windows (onto the world) or mirrors (into the soul) and whether they are taken (through distant observation, objective to varying degrees) or made (through immediate interaction, subjective to varying degrees), illuminating many more levels of an evolving process. Through equivalence the photographic object created becomes a reflection of both the external things it represents and the internal states of its creator. This reflective capacity is extended to the viewers, who re-experience this shared process in their own ways.\nResonance is a consequence of equivalence. What we create can transform us. We then become co-creators, creating not only things and ideas but selves. What we create can also transform others, triggering cascades of sympathetic vibrations, if we imbue our creations with a persistent resonance, brought on by intensity, clarity and connection (connection to subject, medium, self, and others). Through the experience of art, the powers of perception and transformation can be awakened, in both the ones who create directly and the ones who [perceive] indirectly.\nStieglitz set a shining example for us all. He demonstrated that the full power of our photographs lies not in special subjects or moments but in what we bring to the picture, which can be much more than technical skill, compositional prowess, and cultural awareness. Through photography we can simultaneously bear witness to things / events, affirm our connection / participation with them (even if only as observers, no small thing), and clarify our understanding / interpretation of the confluence of everything that is brought to bear in each moment and the continuing resonances they produce. More than an intellectual interpretation or emotional expression, this is a process of holistic integration.\nThe photograph can be much more than a material trace of another material; it can even be much more than a trace of light and time; it can also be a trace of spirit, the energetic confluence of body, mind, and emotion, either single or multiple.\nWhite reminds us that this process of self-realization is open to everyone, “With the theory of Equivalence, photographers everywhere are given a way of learning to use the camera in relation to the mind, heart, viscera and spirit of human beings. The perennial trend has barely been started in photography.” Though all photographers do it, not all photographers do it with equal clarity or intensity. Regardless of what level they engage this process, whenever photographers break through to new levels of consciousness the results are transformative for the photographer and the viewer and even the viewed, sometimes subtly and sometimes dramatically is a form of contemplative photography that asks us to see our world in a new way. In some ways it seems very simple, but it is not always easy.", "label": "No"}
{"text": "Deniece Millet December 1, 2019 School Worksheets\nA middle school aged child is starting to see the world outside of themselves and then has the chore of figuring out where they fit into that world. This is a good time to introduce curriculum that helps them learn about themselves and how their bodies work, a solid health curriculum works great during these ages. We also expanded on this theme with a module of sex education that we approved of. We had each of our children read a book by Josh Harris called “I Kissed Dating Good-bye.”\nTraditionally, every student was required to attend classes in a physical school or college before he or she could gain an academic qualification. In today’s fast changing business world, many things have been changed due to technology advancement. Students can now choose to complete their higher education through online study. They are given more freedom and flexibility to manage both study and work at the same time. Let me share with you some practical steps which you can apply in order to earn a high school diploma at home successfully. Choose the online program which suits you most. Ask yourself honestly which area you are interested in. It is no point for you to force yourself to choose certain courses which you dislike. Choosing the right program is indeed essential as it will determine your career in the near future. After making your decision on the course, you should then proceed to select a school which is well-known in providing such program.\nReveal to the child the wonderful thing that she sees inside a simple and understandable manner. That’s actually how parents should teach their children. Introduce the entire world to the child slowly so the child would better appreciate the world they are residing in.Homeschooling Education for Preschool and Kindergarten Homeschooling education has become accepted and adapted by many families across the globe. Our home is really a good training ground to begin teaching kids principles that they can certainly use within life. Many parents prefer to have their young child educated in your house because they feel that with online education resources and homeschool programs, they are able to supervise the youngster better.The nice thing about homeschooling education, the curriculum targets the individual learning needs of the child. The best thing about home school curriculum could be the flexibility from the schedule. It allows the little one to spend additional time with their family.\nOne of the biggest benefits of home schooling is that if your child needs more time to master a specific skill or concept, you have the ability to let them master it at their own pace, rather than being dictated by the school board. With home schooling, your child sets their own pace of learning and you are able to give them far more individual attention than a teacher could with 24 other children to teach. Your child will also benefit from the fact that they aren’t the subject of ridicule from other children if they don’t understand something as fast as others.\nWhen you home school your child, competition is limited to your child being competitive with only themselves’. Your child’s confidence is not damaged. You know your child best and can therefore plan the curriculum to best awaken your child’s interest in any subject. You also can determine how each day is planned. If you have a tough science lesson, then you can follow that with a fun activity that incorporates language arts, such as reading an interesting story, or cooking to teach a math concept. Since you know your child best, you know what works best for them as a setting for learning. Some children learn more from reading, others from hands-on, visual activities.\nThe government and state send out standardized tests that home schooled children are still required to take. Many “traditional” schools set days aside for these tests each year. Before administering the tests at home, check with your local school board to make sure that your child isn’t required sit in a school classroom first. In some areas, there are days set aside for local home schooled children to take the tests together. Use the information available through your local school board to plan your approach to yearly standardized tests.\nTag Cloudkindergarten writing prompts the alphabet worksheets for kindergarten pe lesson plans for kindergarten counting sheets for preschoolers diversity lesson plans for kindergarten art lesson plans for kids physical education for kindergarten measurement lesson plan for kindergarten kindness activities for kindergarten number sheets for kindergarten kindergarten drawing pre k literacy centers pumpkin activities for kindergarten language activities for kindergarten kindergarten writing worksheets PDF kindergarten pe counting numbers lesson plans kindergarten esl lessons for kindergarten fun handwriting worksheets kindergarten health lesson plans number talks kindergarten project based learning ideas for kindergarten kindergarten enrichment pre k tracing sheets pre k assessment sheet montessori activities for kindergarten kindergarten pe lessons kindergarten tutoring ideas kindergarten tracing letters coding lesson plans for kindergarten phonics activities for kindergarten free math centers kindergarten gym activities for kindergarten apple lesson plans kindergarten fun activities for kindergarten fun science experiments for kindergarten science activities for kindergarten centers kindergarten journal prompts teaching money to kindergarten morning message kindergarten play based kindergarten tracing pages for kindergarten number 3 worksheets for preschool kindergarten tutoring worksheets kindergarten coloring pages kindergarten art kindergarten social skills curriculum pe activities for kindergarten living and nonliving things kindergarten kindness lesson plans for kindergarten preschool learning for kids project based learning kindergarten literacy activities for kindergarten kindergarten after school program color mixing worksheet preschool kindergarten read aloud books and activities pre k circle time technology lesson plans for kindergarten", "label": "No"}
{"text": "Cheap Report Writing Service\nIsEssay combines theories from classroom learning with application in real life situations.\nProfessional Report Writing Help\nReports are usually different from essays because they discuss a topic in a well-structured format that is easy to follow. An essay, on the other hand, defends the writer’s point of view on a topic and does not necessarily have to feature headings. Reports are divided into sections and subsections. They can be technical, academic, or business-related and contain recommendations for specific actions.\nReports present facts about a situation process or project. It also defines and analyzes the issue at hand. They communicate observations to a specific audience in a clear and concise style.\nPlanning and Preparing for Your Report\nThis crucial step should precede the writing process. You are supposed to identify your target audience. This enables you to tailor your report addressing that audience. You can meet the requirements of these audience members, and several questions can help you in this process. They include:\nWho are the readers?\nWhat is the objective of the report and why it is required?\nWhat crucial information has to be in the report?\nOnce you are through with the identification of the report’s basics, you can commence the collection of supporting information. You then evaluate all the information and organize it first in an outline. This makes the professional report writing process easier to deal with.\nFormatting your Report\nIf you want your report to show organization, you have to follow a specific format. The major sections of a report include:\nIf your report is short, the front cover can include the information you only deem necessary. It may include the author and the date of preparation\nThis is a summarized version of the major points, conclusions, and recommendations. It has to remain short because it presents the general overview of the report. Many people tend to read the summary and skim through the report. This demands you to include everything that is relevant to your report. You can write this section when you have finished writing the report to include everything especially the points that might be added the last minute.\nThe first page of your report should have an introduction, which explains the problem and informs the audience the reason for the report. Definition of terms is crucial if it was not included in the title section. Explain how the report details are arranged.\nThis is the main section of your report and can include jargon and technical terms from your field. It should be divided into sections each of which should have a title and subtitle. This sections also demands you to arrange your information in the order of importance\nThis is where everything ends. You are not supposed to use complex words or jargons because many people jump right into this section after they read the summary.\nThis is where you give your recommendations concerning the actions that need tobe taken. Explain these recommendations in the order of priority.\nThis comprises of all the information the experts in the field will encounter. It contains technical details that back your conclusions.\nPresentation and Style\nYour report is supposed to be concise and straightforward. This enables the audience to read and navigate easily. Write a report that readers will be able to look at and get the needed information easily. This will endure that the report has a maximum effect on the reader. Simple formatting rules can be applied to make your report easy to read. They include:\nUse one type of font throughout the text of your report. You can use 12 point Times New Roman or Ariel\nUse lists wherever possible to breakdown information for easy understanding. You can number or them the list of bullet points.\nUse heading and subheadings throughout your report to identify different topics and make the information manageable. This adds to the organizational sense of your report.\nWhen It Comes to Your Style of Premium Report Writing:\nMaintain simplicity all through. Avoid impressing, rather, communicate t your audience. Ensure the sentences are short and to the point. Do not include too many details unless it is necessary.\nUse an active voice because it makes the writing move smoothly. It also makes use of fewer words as opposed to the passive voice.\nGood grammar and punctuation are crucial in your report writing style. You can read the report aloud and have someone proofread it to eliminate any possible mistakes.\nBusiness reports writing are supposed to be well organized and easy to follow. Now your structure your report makes a lasting impression on the audience and determines if you were serious with your work or not. You can engage in the whole process and fail to impress whoever you were addressing simply because you failed to follow some rules. On the other hand, your writing skills might not be that good thereby making the report redundant.\nProfessional report writing is part id academic assignments that require specific skills and knowledge. If you were handed a reporting assignment, you ought to do it perfectly. If this is a problem to you, then you have the option of seeking the best and cheap report writing services from IsEssay.com.\nSurely, you might have come across or heard about different custom writing companies and the myriad of writing services that they offer. You might have also utilized their services, which is a good practice since you know how it works. At IsEssay.com, we are a professional writing company that specializes in not only report writing but also in other aspects of academic writing.\nIf you have gathered all the relevant information that pertains to your report but you do not have the skills to complete the report in its entirety, then IsEssay.com is here to cater for that specific. Need. Our services are tailored to meet every expectation in report writing. We pride ourselves on the excellent provision of report writing services done by our esteemed writers.\nReasons to Work With Us\nYou always hear of students who have failed in their academic writing assignments because of poor writing skills. At IsEssay.com, we have a team of competent writers whose experience is vast enough and encompasses different aspects of academic writing. If you provide us with the details that you want to be included in your report, it will only take a moment to come up with a well-structured predict for your review. We give you an opportunity to go through the first draft of the work that we have written for you. This creates room for any revision that you might need in the report.\nOur commitment to satisfactory service delivery has seen many of our clients give us positive feedback. Your report will be written in the best and simple language that avoids complexities. We are enthusiastic about report writing and offering the cheapest service to our clients.\nAffordable Report Writing Services\nWhen we talk about cheap services, one might wonder if what we offer meets the minimum requirements quality. At IsEssay.com, the affordability of our technical cheap report writing service does not mean we compromise on quality. There is no point in writing something that would disappoint the client. The rates that we have set out for our clients are inclusive enough. No client can say they are exorbitantly charged in the end. We are not looking forward to your money. What we want to achieve is total value for your money, and that is why we have made the prices affordable.\nAt IsEssay.com, we are a team of competent writers who are drawn from different fields. They are Ph.D. and MA degree holders. This puts them on an excellence pedestal, and this has propelled our services to greater heights. Our writers can satisfy the needs of our clients all through. We hire the best writers who understand the technicalities that come with report writing. Writers at IsEssay.com leave nothing to chance, and they capitalize on their skills to ensure that the report produced is of the highest quality. For any academic need, IsEssay.com writers are ready to engage with you once you have placed your order. Going for the most expensive service does not guarantee that you will get the best quality report writing service. It may surprise you to learn otherwise.\nRound the Clock Customer Support\nWe have an able team that caters to your queries 24/7. The customer support base at our company has helped us in remaining ahead of our competitor’s thanks to their communication with clients. When you place an order with IsEssay.com, youare assigned a writer whom you establish contact with from the onset of your project. The communication can be through email, phone calls or via the website chatroom.\nReport Writing Made Simple\nWriters at IsEssay.com are the best to reach out to if you are faced with report writing difficulties. There is no point of dealing with a paper that will give endless headaches and hinder your academic excellence. At IsEssay.com, we are bound to ensure that this problem is addressed once you agree to place an order with us. We have versatility in report writing and can write whatever report that you have in mind. The major reports include:\nBusiness reports which are used in business environments to present ideas or describe an organization or the situation in the market. They can be formal or informal.\nA formal report collects and interprets data, and then present the interpretation to the audience. They are much longer and require the adequate gathering of details\nInformal reports are usually short andare written as a letter or a memo\nTechnical reports writing are usually required by given industries or disciplines that are technical\nField reports study the field. They can be generated by faculty members and assigned to individual students or can be initiated by a group of students.\nWhatever the kind of report you are dealing with; IsEssay.com will be with you every step of the way. The reports that you receive from us are developed from scratch to ensure authenticity. Once you receive your report and it becomes successful, we always request you for feedback. This enables IsEssay.com to keep track of their efforts and ensuring that the company has lived up to its standards of service excellence.\nWhat Do We Target?\nAt IsEssay.com, we aim at providing the best quality report writing service to our clients when they choose to work with us. We understand that our clients have so many academic responsibilities that must be completed within the set deadlines. What you envisage is what we must achieve. This is why it is crucial to communicate everything that pertains to your report. You provide relevant instructions and details you want to include in your report. Once you do that, competent team of IsEssay.com writers will know what to do.\nEditing and Proofreading\nNot only do we write your reports but also we offer proofreading and editing services. Once you have placed a report writing order with us, we strive to ensure that everything we written is plagiarism free. We also ensure that the report adheres to the rules of good grammar, punctuation, and spelling.\nOur team of editors is tasked with this responsibility to ensure that anything that goes to our clients is perfectly done. We also ensure that confidentiality of our clients is protected. The non-disclosure agreement signed after the requirements for our services does not allow us to divulge any information that relates to our client to a third party. It also prevents us from presenting the report to another client.\nWe are committed to ensuring high stands of academic excellence are maintained. We compose enthralling contents for our client’s project from scratch.\nOutstanding College Admission Essay\nLiterature Review Paper\nWriting Help For Term Papers\nDissertation Writing Service", "label": "No"}
{"text": "BIDDINGTON'S GALLERY & SHOPPING BIDDINGTON'S VALUATIONS & APPRAISALS\n(pa teen' a)\nWhat is it?\nAs a general term, patina refers to the change in an object's surface resulting from natural aging. (Patina preservation is the reason to avoid all but very superficial cleaning of old objects.) In bronze sculpture, patina specifically refers to the surface of the bronze itself often altered by the sculptor with acid or the application of other chemicals.\nFrances Jetter sculpture Dress\nBronze with 24K Gold Patina\nWhy does patina matter on a bronze?\nArtfully applied, a surface patina highlights the modeling of the bronze and therefore enhances its beauty and value. Famed British 20th century sculptor Henry Moore once said that he used a patina the opposite of the way a woman used face powder: to amplify contours rather than to minimize them.\nAre patinas always an enhancement to a sculpture?\nAlas, no. One has only to compare patinas on Rodin bronzes. Look through the patinas of the fine photos in this Boston College Online Rodin Exhibition, then study some of the newer Rodin bronzes on the auction block. The patinas on these later metal re-casts are often times as subtle as black shoe polish.\nWhat about colorful patinas?\nA light touch is key: Some sculptors of the American West employ tinted highlights, and certain contemporary bronze sculptors use high color. Unless these accents truly reinforce the intent and plasticity of the piece, color patinas can degrade into kitsch.\nView contemporary bronze sculpture by\nNancy Azara, Carol Bruns, Harry Gordon, and Frances Jetter in\nBIDDINGTON'S Contemporary Art Gallery\nCarol Bruns sculpture Lion\nBronze with Golden Brown Patina\nMore PEDIGREE & PROVENANCE:\nP&P: Abstract Expressionism\nP&P: Ash Can School\nP&P: bronze patina\nP&P: Colorfield painting\nP&P: Greek columns\nP&P: Conceptual Art\nP&P: depression glass\nP&P: Iconography & Iconology\nP&P: New Image painting\nP&P: Newcomb pottery\nP&P: Pop Art\nABOUT THIS FEATURE\nIn the art & antiques world, experts bandy about arcane words as though they were part of everyone's standard vocabulary. To a fledgling collector, this practice can be maddening. In PEDIGREE & PROVENANCE, BIDDINGTON'S picks a word or phrase and gives it a good, hard going over: defining it, explaining it and showing how to use it.\nGlance regularly at PEDIGREE & PROVENANCE, and soon you'll be able to toss those obscure phrases back at the experts with confidence and agility and be fully prepared to bid on items at BIDDINGTON'S upmarket, online art & antiques auctions.\nJAKE BIDDINGTON'S INVESTING--advice on art & antiques collecting\nBIDDINGTON'S BENTLEY--travel for the art & antiques connoisseur. CREATIVE PROCESS--artists' studio visits\nASK Mrs. BIDDINGTON--conservation of art & fine objects. MY ART--Art for kids.\nBIDDINGTON'S--Home & Search", "label": "No"}
{"text": "Shahbaz Sharif, the prime minister of Pakistan, gave an emotive address at the recent UN Climate Change Conference held in Egypt. In the aftermath of widespread floods across Pakistan, Sharif said: ‘Despite our low carbon footprint…we became a victim of something with which we had nothing to do’. Increasing greenhouse gas emissions are supercharging extreme weather events across South Asia and the world. Indeed, South Asia is one of the most vulnerable regions to climate change with more than half of all South Asians already affected by at least one climate-related disaster in the last two decades. Recent extreme weather events clearly correlate with the changes expected by climate modelling, namely, variability in the timing, intensity, and location of monsoons. But, though these changes have been predicted, their impact – particularly in unprepared areas – was nonetheless devastating.\n2022 saw an early, and prolonged, heatwave in India and Pakistan which contributed to subsequent flooding in wide swathes of Pakistan as well as parts of India and Bangladesh. These events appear to provide a sample of the ‘new climate normal’ in the region. Indeed, according to the World Bank, more than 800 million people across South Asia are living in climate hotspots.\nOn the one hand, the region is struggling with the largest global cluster of poverty, continuing high inflation, slow economic growth, and numerous marginalized communities at severe risk from the threat of climate change. On the other hand, the region’s youthful population is a source of optimism and there is potential for growth particularly regarding investment in climate resilience and adaptation. Both viewpoints are valid. But what is unquestionably true is that if the region fails to deal with climate change successfully, the ramifications will be global. In this vein, generating an effective response to climate change across South Asia should be seen as a global public good.\n‘Despite our low carbon footprint…we became a victim of something with which we had nothing to do’ said Shahbaz Sharif, prime minister of Pakistan, at COP27\nClimate change, South Asia and the monsoon\nClimate change is expected to lead to more intense extreme weather events. Warmer air can hold more moisture, implying longer dry spells as water remains in the atmosphere, and heavier rainfall when clouds do eventually burst. But climate change is also expected to bring greater uncertainty regarding weather patterns.\nThe central weather event in South Asia is the monsoon, the ‘bringer of life’ to the region yet the specific ways in which climate change will affect the monsoon, which is a complex weather system, are not yet definitive, and recent extreme weather in the region cannot yet be linked to climate change with complete certainty. The monsoon is characterized by heavy rainfall concentrated in the summer months. As the land-mass heats up in summer, the wind direction changes, and moisture-laden air from the Indian Ocean is drawn towards South Asia. Subsequently, the monsoon is maintained by latent heat released by convection. But rainfall during the monsoon is affected by a range of factors such as the local topography: mountain ranges affect airflow, in turn, affecting where rainfall is concentrated and where it is not. The slopes of the Himalayas, for instance, receive significant rainfall which feeds numerous rivers which flow across South Asia.\nThe general assumption that South Asia will witness hotter and more prolonged heatwaves, as well as more intense rainfall, seem borne out of the events witnessed in the subcontinent in 2022.\nThe trajectory and strength of the monsoon has always been variable though the average arrival date of its passage across South Asia can be seen above. Historically, weak monsoons had a significant economic impact, and in extreme cases, famine. Food security has improved significantly since the Green Revolution of the 1960s, though there are widespread concerns over issues such as the over-use of fertilizer and depletion of groundwater. In such a context, greater variability in the monsoon is concerning.\nWhile the relationship between climate change and the monsoon is not definitive, other natural and unnatural phenomena have been shown to alter monsoon patterns. These include El Niño, which is generally linked to more extreme heat and lower rainfall, and emissions of greenhouse gases and aerosols, which have been linked to the decline in average rainfall in central India between the 1950s and the early 2000s. This is because aerosols scatter sunshine, causing hazy days, and absorb heat. This reduces the temperature difference between the land and the sea thereby affecting rainfall patterns. Air pollution, a challenge across the subcontinent, plays a similar cooling effect to greenhouse gases though over a much shorter timeframe. Future trends in pollution – and aerosols – will feed into the equation that determines the scale of temperature rise and consequent impact on the monsoon.\n2022: a year of heatwaves and floods\nIn March 2022, India and Pakistan experienced a heatwave well before the usual months for peak heat across both countries. India recorded its hottest March since 1901 and temperatures peaked at close to 50oC in the Pakistan city of Nawabshah. The hottest temperature, 51oC, was recorded in Jacobabad in May. The heatwave was one of the longest for decades and it was followed by a late, and incessant, monsoon which would go on to cause widespread flooding in Pakistan. The two events are connected. Extreme heat increases the risk of subsequent flooding because warmer air can hold more moisture, drier ground is less able to absorb rainfall and, for countries in South Asia, hotter weather in the Himalayas brings the risk of increased glacial melt.\nThe so-called Third Pole, the Himalayan mountains, contain the most glaciers after the Arctic and Antarctic. The extreme events also coincided with two unconnected events which exacerbated the challenges: the COVID-19 pandemic and Russia’s invasion of Ukraine. Restrictions associated with the pandemic affected the availability of agricultural labour while the Russia-Ukraine war raised the cost of food and fuel.\nWhile the countries of South Asia have extensive experience of riverine flooding during the monsoon, when swollen rivers burst their bank, the floods in Pakistan in 2022 were an order of magnitude different from the past, stemming from intense rainfall, including in areas unused to heavy rainfall.\nA climate-triggered roulette\nThe floods of 2022 did not stem from overflowing rivers. Instead, four low-probability meteorological events occurred simultaneously.\n1. Record temperatures in March and April hastened the melting of the Shisper Glacier. This burst through an ice dam in early May. Government officials estimate that unusual heatwaves in the region contributed to 16 glacial lake outbursts in 2022 compared with between five or six in previous years.\n2. Monsoon clouds drifted from their traditional pathway and the absence of easterly winds meant the clouds stalled. This exacerbated the depression caused by the heatwave and led to torrential rain and urban flooding in Karachi. Significantly, moisture-laden winds from both the Arabian Sea and the Bay of Bengal usually move towards northeast India at different times of the year but, in 2022, arrived at the same time thereby drowning the region.\n3. Baluchistan – not a typical monsoon area – saw torrential rains end a long period of drought in the region. The country’s poorest province, Baluchistan, was hit the hardest and rain destroyed top-soil required to grow crops, livestock, homes and infrastructure. Of every 10, three casualties were in Baluchistan, the largest in any province. The region was also hit by an earthquake in July which destroyed several houses.\n4. Monsoon clouds from Rajasthan came from an unusual route to inundate the Sindh province with ‘standing floods’. Combined with earlier flooding, the city’s drainage system did not function effectively having been damaged by rapid and unplanned urbanization. Overflow from excessive rain pushed water onto the streets and contributed to washed out roads.\nA cloud outburst on the Afghan border and further flash flooding in Baluchistan province added to the climate turmoil. All of these extreme weather events reinforced the negative impacts of each disaster.\nThe heatwave and flooding had significant effects which cascaded across sectors and geographies because of multiple inter-dependences. These effects are both direct and indirect and demonstrate the manner in which the challenges are inter-linked. According to the World Bank, they threaten ‘Pakistan’s development ambitions and its ability to reduce poverty. The country needs fundamental shifts in its development path and policies, requiring substantial investments in people-centric climate adaptation and resilience, that will require international support.’\nDirect consequences of extreme weather include heatwaves leading to increased forest fires, for instance, or flooding destroying infrastructure, eroding riverbanks, saline intrusion and the destruction of buildings and crops. The heatwave in the breadbasket of South Asia – Pakistan and northwest India – was particularly harmful for the wheat crop.\nThe indirect consequences range from migration within, and between, countries, food insecurity, health risks and disruption to trade and finance. While the means by which societies can become more resilient to the direct impacts are relatively well-established – if often politically difficult – resilience needs to be extended downstream into the indirect threats.\nAround 3 million people were affected by the flooding in Pakistan. While the death toll was relatively low given the scale of the flooding, at around 1,700 people, the impact on property, however, was considerable. Perhaps as many as 2 million houses were destroyed along with 3 million livestock. In some areas, floodwater was unable to escape, leaving some populated areas submerged by several meters of floodwater. This standing water in turn creates serious health risks from water-borne diseases such as cholera and dysentery as well as malaria and dengue fever which was exacerbated by a shortage of mosquito nets in flood-affected areas. As sea levels rise, future floods could be even more severe since higher sea levels will slow water flow into the sea.\nAlong with the loss of livestock, the flooding caused widespread damage to crops and washed away topsoil, potentially harming future agricultural productivity. Agrarian distress drives migration to urban areas, in particular, the migration of men. This migration from rural areas has numerous societal impacts: it leaves women left behind vulnerable, creates additional pressure on urban infrastructure and raises concerns regarding law and order.\nClimate extremes have become the norm across South Asia\nExtreme heat has had wider environmental, economic and social ramifications across the region. Between 2017 and 2021, the damage done by wildfires in the Himalayan state of Uttarakhand more than trebled, and between November 2021 and June 2022 the state recorded almost 13,000 wildfires. Along with industrialization and pollution, a rise in wildfires is thought to have contributed to a rise in respiratory diseases in mountain communities and has led to economic losses in agricultural communities.\nThe most immediate economic impact from heatwaves is a surge in demand for power for cooling which has overloaded power grids across the region and led to widespread power outages. To counter these effects, India has tried to ramp up electricity generation using coal-fired power stations. While demand for power has increased, demand for most goods have fallen, and productivity has been lower. By some estimates, India alone suffers half the 200 billion days of labour lost globally owing to heatwaves. This could account for up to 4.5 per cent of India’s GDP by 2030, while Pakistan and Bangladesh could see losses of 5 per cent of GDP due to lost labour. The impact is worse for informal workers as well as those who work outdoors in sectors such as construction, transport and agriculture.\nThe need for cooling extends beyond individuals. Some medicines and food products require cooling. At present, less than 4 per cent of fresh produce in India is transported by cold chain logistics (keeping foodstuffs cool along the supply chain). While the potential market for cold chain technology across South Asia is huge, if it were to develop, there would be major implications for energy demand. Demand for air conditioning is rising fast as access to energy increases but from a low base. In 2019, one study suggested just 10 per cent of India’s population had an air conditioning unit. The massive untapped market offers business opportunities – by some estimates up to $1.5 trillion by 2040 in India alone – but also indicates the need for a significant rise in energy production and/or the development of new cooling technologies. Investment in sustainable cooling solutions will be key to a just and equitable energy transition.\nBy some estimates, India alone suffers half the 200 billion days of labour lost globally owing to heatwaves. This could account for up to 4.5 per cent of India’s GDP by 2030, while Pakistan and Bangladesh could see losses of 5 per cent of GDP due to lost labour.\nSeveral surveys in Bangladesh have suggested that the vast majority of those that move into urban areas cite environmental reasons as the reason for their moving including erosion, flooding and cyclones. Those that move into slums are frequently the worst affected by extreme weather being more over-crowded with less green space and less access to cooling technology. In addition, slum dwellers are often more likely to work outside whether in agriculture or construction. Water-borne diseases such as dengue and malaria affect poorer communities more than affluent communities.\nBRAC: Using technology to anticipate climate impacts\nBRAC, an international development organization based in Bangladesh, has partnered with the Massachusetts Institute of Technology to develop the Climate Resilience Early Warning System Network (CREWSnet) to forecast the community-level impacts of climate change in Bangladesh. By fusing climate science with development programming, BRAC can use this tool for informed decision-making. For example, BRAC can identify when a heatwave will become particularly severe, or which communities will need to be evacuated during a cyclone, and provide the necessary knowledge and resources to strengthen affected communities’ abilities to respond, and adapt, to future extreme weather or climate impacts. CREWSnet can also be used to locate areas better suited to climate migration, an issue of growing importance, since 57 per cent of slum dwellers across five cities in Bangladesh are climate migrants. Not only could this provide an enhanced standard of living to those who are displaced but also build stronger and more positive community relationships and stability across the country.\nHistorically, migration provided one means of dealing with environmental degradation, and South Asia’s cities continue to expand because of rural distress The abandoned Moghul capital of Fatehpur Sikri stands testament to the fact that cities require a perennial water supply. But, within contemporary South Asia, the scope for mass migration within the region is less apparent. Those areas with the prerequisites for urbanization are largely already built upon.\nScientists predict that this extreme weather phenomenon, in particular ‘urban heat islands’ where 45 degree temperatures feel like 50 degrees, will become more frequent and severe. Yet, while these impacts have generated understandable anger among politicians in South Asia, not least for the region’s lack of responsibility for climate change, they do not appear to have generated widespread public demand for action nor generated concrete actions to prioritize climate action. Instead, the greater the frequency of extreme weather events, the greater the ambivalence towards them. While countries such as Pakistan highlight their lack of responsibility for climate change yet their vulnerability to its effects, many argue that this emphasis on vulnerability provides an excuse for inaction.\nBuilding resilience at the local level\nClimate change provides multi-faceted, multi-layered challenges, requiring a corresponding response. It needs societal shifts to incentivize resilience coupled with a range of technical responses. Because the risks cascade, siloed approaches are unlikely to be effective. In fact, solutions to some challenges may exacerbate other problems such as harming already marginalized communities’. Those working outdoors during a heatwave, for instance, face a choice between health risks of continued working in extreme weather and losing their livelihoods.\nEvery country in South Asia has a national level policy or plan to deal with the impacts of climate change. But, implementation of those plans is less apparent, and the capacity to implement plans at a local level varies dramatically across the region. Indeed, in the worst cases, it is close to non-existent. In addition, there is a need for evidence, particularly to demonstrate the economic benefits of action, not least through the likely costs of inaction.\nAt an individual level, without significant technological advancement, there will be a need to make do with less. In particular, water usage is likely to be needed to be minimized, requiring a focus on maintenance as well as agricultural usage of water.\nAt a local level, effective urban management will be paramount to deal with the various impacts effectively. Most South Asian cities, however, are suffering the effects of historic poor management and rent-seeking, making solutions now costlier than if urban expansion been better planned.\nExisting governance systems are likely to come under strain in the event of significant environmental shocks. In parallel, dealing with the impacts in rural areas will be imperative. In the event of significant rural distress, migration into urban areas will hamper urban management.\nSolutions to the specific impacts of climate change – more extreme heat and rainfall – are largely known and, while often simple in theory, are sometimes harder to implement in practice. Increasing vegetation in cities, for example, is one means of dealing with the urban heat island effect. Vegetation reflects, rather than absorbs, sunlight and plants release moisture helping lower temperatures. For example, as part of the Cooling Singapore project, 56 per cent of the island has been lined with shady Angsana and rain trees to reduce heat and improve outdoor thermal comfort.\nThe construction of more green public spaces, such as parks or playgrounds, would also serve to absorb heat and allow better circulation of air. Rising land values in cities mean that much green space is already built upon. Protecting existing green space is a significant challenge let alone demolishing existing buildings and resettling and compensating those affected. The Dhaka North City Corporation is an admirable example whereby 20 parks and playgrounds are being developed through the greening of urban open spaces.\nA less costly alternative would be the construction of rooftop gardens. Traditional roofs absorb heat while heating the building below. By reflecting heat, rooftop gardens could serve to lower the cost of air conditioning, and of heating in colder months. Depending on the plants grown, additional benefits could be to filter pollutants, provide food or increase biodiversity.\nAn alternative to rooftop gardens is to simply paint roofs white so they reflect rather than absorb heat. Various pilot projects in India have found that this reduces indoor temperature and also helps reduce demand for power.\nWorld Bank: Sustainable cooling solutions in developing countries\nCooling devices such as refrigerators, air conditioners and industrial chillers account for almost 10 per cent of global greenhouse gas emissions, three times the amount generated by aviation and shipping combined. When temperatures increase above 30°C, cities like Delhi, for example, have recorded a 30 per cent increase in energy demand. The intensity of heatwaves, population growth and urbanization across South Asia could see emissions double by 2030 if sustainable cooling solutions are not rapidly financed, scaled up and deployed. The World Bank has recognized the critical nexus between sustainable cooling and the energy transition, and the potential of cooling as a development strategy, and has recently launched the Efficient, Clean Cooling Program to introduce energy efficient cooling solutions that are affordable and accessible to South Asian countries. Technical assistance can strengthen longer-term climate resilience, improve economic productivity and deliver on broader development goals.\nEarly warning systems and the construction of shelters, either raised structures or built on higher ground, can save lives from flooding though not protect property or livestock. Improving drainage systems, including waste management in urban areas, is one means of preventing the build-up of water. Recent flooding in Karachi, for instance, was exacerbated by insufficient drainage, poor maintenance and the blockage of drains by plastic bags and other solid waste. These problems, in turn, can stem from the ‘verticalization’ of cities. Finite space has led to the expansion of buildings upwards. Drainage systems intended for a two-story building, for example, cannot cope with double or treble the population in the same building.\nWater storage is a challenge in its own right. With 80-90 per cent of annual rainfall in the region arriving during the short monsoon season, ensuring water supplies year-round is challenging now and will not become easier in the future. Better water storage would also hold more water thereby reducing the impact of floods.\nRainwater harvesting or rooftop gardens can play a similar role in water storage. Water running-off traditional roofs adds to the volume of water to be dispersed. If water can be captured, either through storage or by feeding rooftop gardens, the volume of water on the ground will be reduced.\nUrban growth has led newer migrants to many cities to live in more flood-prone areas including on riverbanks. Reducing the population living in these areas is an obvious means of reducing the numbers affected by floods. However, the challenge here is not dissimilar to retrofitting green space in inhabited areas, in other words, the cost of compensation and/or the provision of alternative housing for those affected.\nUnderpinning many of these issues is the question of how to tackle these impacts while ensuring equity and fairness. Providing green space, for instance, by demolishing slums, would displace, rather than resolve, the problem. Upgrading existing slums, coupled with a focus on second tier cities to reduce pressure on existing metropolises, would present a more durable and equitable pathway.\nThere is also scope to mainstream traditional knowledge in managing water flow. Many of the worst impacts of extreme weather are exacerbated by modern construction techniques. Traditional approaches learning to live with flooding, for instance, may prove more effective and less costly than attempting to prevent floods from occurring. In farming, this can involve techniques such as the construction of trenches and troughs to catch rainwater and allow it to soak into the ground.\nThe scope for nature-based solutions extends beyond urban vegetation. Mangroves, for instance, can lessen the impact of extreme weather such as cyclones, are cheaper than sea walls and can create livelihoods. In addition, mangrove forests act as carbon sinks.\nTowards a regional approach\nMany of the countries of South Asia are politically, socially and economically fractured, worsened by divisions between the countries themselves, which are exacerbated by India’s size compared to its neighbours. Divided societies and regions are by nature less resilient than more harmonious ones. These conditions neither serve to build resilience nor encourage working together on a common agenda.\nWhether climate change serves as an opportunity for regional collaboration or works to exacerbate existing divisions remains to be determined. While there are many challenges to overcome, progress has been made in information-sharing, and regional cooperation in general between Bangladesh, Bhutan, India and Nepal (BBIN), has grown substantially in recent years. The South Asia Hydromet Forum has also made inroads to promoting collaboration and strengthening the capacities of regional agencies to share weather and climate data across the subcontinent.\nThe starting point for regional engagement in relation to disasters, particularly in regions with concerns regarding sovereignty and political tensions, has generally been through meteorological information-sharing and the development of early warning systems. For riverine floods, in particular, data held by upstream countries can warn those downstream of impending threats though sensitivities between upstream and downstream riparians regarding river-flows can stymie efforts towards information-sharing. While progress on data-sharing at a governmental level is admittedly slow, several NGOs are working across borders to provide flood warnings to those downstream. Several such projects exist between Nepal and India and between northeast India and Bangladesh.\nHeat Action Plans are a key adaptation measure to manage growing heat stress\nIn one lethal week in 2010, temperatures in Ahmedabad surpassed 48°C and over 1,300 people died. There were 100 neo-natal deaths in one hospital. Ahmedabad subsequently became the first city in South Asia to design and implement a heat action plan. The plan includes an early warning system, procedures for inter-agency coordination, capacity strengthening among government and health professionals for preparedness and reducing exposure and community outreach programmes for those most vulnerable including slum communities and outdoor workers. Ahmedabad has also moved from reactive to mitigative measures such as the cool roofs initiative. Using roof-building materials that reflect sunlight and absorb less heat can help lower indoor temperatures by as much as 5°C. The initiative has been rolled out to more than 15,000 slum households and 1,000 local government buildings. The success of Ahmedabad’s plan is seen through the impact of the 2015 heatwave in India: while 2,300 people died across the country, Ahmedabad reported only seven deaths. The heat action plan has been replicated in 23 other heatwave-prone states in India, covering more than 130 cities and districts, and has influenced Karachi, Male, Nepal and Sri Lanka to produce their own. Heat action plans are an important measure to help cities begin to adapt to extreme heat but a more robust and granular picture of the impacts of heatwaves will be needed. For example, cities often lack the ability to collect and analyse climatological-led empirical evidence such as the number of days and seasonal variability of heatwaves which is critical for building adaptive capacity for effective heatwave management.\nProgress through inter-governmental regional groupings has undoubtedly been slow. The South Asian Association for Regional Cooperation (SAARC) remains stymied by tension between India and Pakistan. The Bay of Bengal Initiative for Multi-Sectoral Technical and Economic Cooperation (BIMSTEC), which includes Myanmar and Thailand but excludes Pakistan and Afghanistan, has until recently been hamstrung by resource constraints. BIMSTEC offers scope to formalize and deepen cooperation between the BBIN countries at least.\nBut there are several arguments to justify greater cooperation across South Asia including between India and Pakistan. The first is that in the absence of cooperation, climate change will serve to heighten tension, in particular, over shared rivers.\nThe second is that there is scope for mutual benefit from early-warning systems and information-sharing along with learning from examples of best practices.\nFinally, because the challenges are shared, so too are countries’ interests. Engaging regionally and forging joint positions in international forums, most obviously the Conference of the Parties (COP), would amplify their voices. This is particularly the case where India and Pakistan need to stand together on climate-change related issues despite their other political differences. In fact, Pakistan currently chairs the G77 and, together with China, has pushed the issue of loss and damage and climate finance onto the agenda at COP27 in Egypt.\nThe Association of South East Asian Nations (ASEAN) has shifted from data-sharing towards a more holistic regional response to disasters driven by the collective experience of the 2004 Indian Ocean Tsunami. South Asia could feasibly follow a similar trajectory though previous shared disasters such as the 2005 Kashmir earthquake did not serve that purpose. In the absence of inter-governmental collaboration, there remains scope for interaction and peer-to-peer learning at other levels. Examples of successful rural and urban responses to climate change are likely to be replicable across the region and several initiatives, such as C40 Cities, provide a forum for urban managers to cascade successful interventions. Similarly, despite government reluctance to engage, there is scope for scientific cooperation and aspirations to maintain data secrecy have been superseded by satellites and the Internet.\nChallenges to climate change must be overcome to improve lives across South Asia\nBut, even with the best intentions, policy frameworks and on-the-ground implementation, significant challenges will lie ahead. Changing weather patterns will present significant challenges. The floods of 2022 affected areas such as Baluchistan particularly badly: housing in Baluchistan is particularly unprepared for the effects of flooding given that average rainfall is just 5cm. If rainfall patterns continue to change, extreme weather events will affect ill-prepared areas and could hinder the development of insurance markets. However, the greater the unpredictability, the harder it will be for underwriters to accurately assess the risks.\nBecause the response needs to be multi-sectoral and multi-layered, this raises questions of who owns, and is responsible for, the implementation. Both India and Pakistan delineate the responsibilities of central government and the states/provinces. But this framework will not necessarily translate into effective action to counter the effects of climate change. The multi-faceted challenges do not necessarily sit squarely within the remit of one layer of government. While this is not insurmountable, the challenge is heightened if central and provincial governments are of different political hues. There are numerous precedents for governance failures to become political footballs used by political parties to blame their political opponents.\nThe multi-faceted challenges do not necessarily sit squarely within the remit of one layer of government. While this is not insurmountable, the challenge is heightened if central and provincial governments are of different political hues.\nThe question of finance is also imperative. Carbon markets offer one means of generating finance while tackling climate change and markets are starting to evolve in India and elsewhere but many of the examples are small scale and need to be aggregated to make them attractive to potential investors. Given the costs involved, it is understandable that there are widespread demands for those responsible for carbon emissions to bear more of the costs faced by those most immediately affected.\nDealing with climate change can become an economic and technological opportunity rather than simply a cost or burden. The region stands to benefit from a suite of international aid and trade agreements by aligning their priorities and signaling a commitment to deal with the impacts of climate change. Industries worth trillions of dollars can emerge in fields not limited to cooling, transport, agriculture and construction along with millions of other green jobs. But this will not happen by accident. It will require political will, public support, technological advances, regional cooperation and, most likely, a great deal of luck.", "label": "No"}
{"text": "Stevie May June 18, 2019 Flowcharts\nFlow Chart Definition. A flowchart is a graphic representation of how a process works, showing, at a minimum, the sequence of steps. A flowchart is a diagrammatic representation that illustrates the sequence of operations to be performed to get the solution to a problem. It can be seen from the definition that a flow always accompanies with business or transaction. Not all of the flows, however, are appropriate to be expressed by flowcharts, unless these flows are based on some fixed routines and stable links. Here is an example of the algorithm flowchart.\nThe arrow symbol is used to guide the viewer along their flowcharting path. And while there are many different types of arrow tips to choose from, we recommend sticking with one for your entire flowchart. It’s less confusing and generally more aesthetically pleasing.\nVisualDesigner is an impressive flowchart maker for Mac that doesn’t cost a dime for its extensive features. You can choose from tons of shapes and connectors, each customizable from its color to its size to its text.\nTag Cloudirb process flow chart", "label": "No"}
{"text": "NEW YORK (AP).- Plank by plank, archeologists on Monday began the delicate process of dismantling a section of an 18th century ship that was found buried across the street from the World Trade Center site.\nEach plank will be freeze-dried so that the fragmentary hull can eventually be reassembled and put on display, said Nichole Doub, head conservator for the Maryland Archeological Conservation Laboratory.\nThe 32-foot section of the nameless vessel was found earlier this month as workers were excavating for the rebuilt World Trade Center's parking garage.\nThe archeologists who carefully began taking it apart said they were thrilled by the historic find.\n\"This is my first ship. I've been doing archeology in New York City for almost 30 years,\" said Diane Dallal, director of archeology for AKRF, an environmental, engineering and planning consulting firm that is working on the project.\nThe section of the ship lay bathed in water and shielded from the sun by a tarp strung up on poles. Doub said the timber has to be kept wet or it will warp.\nEach plank was labeled so conservators will know its precise location in the wreckage. The members of the conservation team then picked up each plank, measured it and wrapped it in layers of moisture-preserving insulation. The process of dismantling the ship was expected to take two to four days.\nDebris found under the timbers gets placed on a screen and hosed off. The water-screening process, which evokes images of prospectors panning for gold, is the best way to separate artifacts from the mud they were buried in, Dallal said. Items like coins and buttons could yield clues to the ship's past, she said.\nHistorians believe the ship had been junked by the time it was used around 1810 as landfill to extend the shores of lower Manhattan. The ship's exact age will be determined by lab analysis.\nWarren Riess, a historian at the University of Maine whose specialty is 18th-century ships, said the buried fragment appeared to be the ship's bow. \"It's probably something that was like a coastal schooner or brigantine or sloop,\" he said.\nRiess said the ship likely sailed from New York to Boston or to Virginia or Barbados carrying goods such as flour, bricks or hay.\n\"A merchant ship, a jack of all trade that's my first guess,\" he said. \"It's the kind of ship that made New York, when you think about it.\"\nThe ship was found partially intact because the dirt it was buried in preserved it. Riess said the ship is an important find because no one would have bothered to save such a commonplace vessel 200 years ago. \"Nobody wrote about it, nobody made drawings of it,\" he said.\nThe discovery of the ship's rotting timbers 20 feet below street level in a spot surrounded by office towers suggests Manhattan's long history as a hub of commerce.\n\"The Dutch set it up as a trading post and what is it today?\" Riess said. \"It's the world's biggest, greatest trading post, isn't it?\"\nCopyright 2010 The Associated Press.", "label": "No"}
{"text": "Filippo Brunelleschi (1377 – April 15, 1446) was one\nof the foremost architects and engineers of the Italian Renaissance.\nAll of his principal works are in Florence, Italy. As explained by\nAntonio Manetti, who knew Brunelleschi and who wrote his biography,\nBrunelleschi \"was granted such honors as to be buried in the\nBasilica di Santa Maria del Fiore, and with a marble bust, which\nthey say was carved from life, and placed there in perpetual memory\nwith such a splendid epitaph.\"\nDome of the Cathedral 1420-36\nPlease note: site admin does not answer any questions. This is our readers discussion only.", "label": "No"}
{"text": "Sudan National Museum\nThe National Museum of Sudan or Sudan National Museum of African Art, abbreviated SNM, is a double storied building constructed in 1955 and established as an African Art museum in 1971. The building and its surrounding gardens house the largest and most comprehensive Nubian archaeological collection in the world including objects from the Paleolithic through to the Islamic period originating from every site of importance in the Sudan. In particular the National Museum of Sudan houses collections of these periods of the History of Sudan: Paleolithic, Mesolithic, Neolithic, A-Group culture, C-Group culture, Kerma Culture, Middle Kingdom of Egypt, New Kingdom of Egypt, Napata, Meroë, X-Group culture and medieval Makuria. The African Art museum is located on the El Neel (Nile) Avenue in Khartoum in Al-Mugran area near the spot where the White and the Blue Niles meet.\nThe objects of the African Art museum are displayed in four areas:\n- The Main Hall on the ground floor\n- The gallery on the first floor\n- The Open Air Museum in the garden\n- The Monumental Alley outside the museum building\nAlsoKey highlights of the collections include:\n- The Taharqo statue. A 4-meter high granite statue of Pharaoh Taharqo, penultimate Pharaoh of the 25th dynasty, facing the main entrance welcomes the visitors of the museum. The statue was broken by the Egyptians upon sacking Napata in 591 BCE under the reign of Psamtik II, then buried in a pit by kushite priests and found by George Reisner in 1916.\n- Neolithic black-topped red burnished pottery and ram statuettes of the C-Group culture.\n- Funerary artefacts and ceramic art.\n- Stela of the chief of Teh-khet Amenemhat, found at Debeira West\n- Middle Kingdom of Egypt and New Kingdom of Egypt artefacts from the area of the third cataract like Sai, Soleb, Sedeinga and Kawa.\n- A bowlegged figurine of the dwarf goddess Beset with a plump body and strange facial features: She has a large flat nose and a wide mouth framed by a lion mane and round lion ears. Uncommon in Egyptian art, Beset is pictured frontally and full-faced rather than in profile. She appears grasping an undulating snake in her 3-digit left hand indicating to control hostile forces. She is the protector of mothers and new-born children.\n- The Napata and Meroë periods of the Kingdom of Kush including the 25th dynasty: Funerary material, a granite statue of king Aspelta, the statue of an unknown Meroitic king represented as an archer and artefacts from its most representative sites like Meroe, Musawwarat es-Sufra and Naqa.\nContact Listings Owner Form\nSudan National Museum 0 reviewsWrite Your Review\nThere are no reviews yet.", "label": "No"}
{"text": "Cleo Hartwig (20 October 1907 – 18 June 1988) was an American sculptor who worked in stone, wood, terra cotta, plaster, paper, woodcut, and ceramic. She won a number of awards, including national awards, and her work is exhibited across the northeast U.S.\nCleo Hartwig belongs to a line of 'direct carvers' (taille direct) which includes both Jose de Creeft, with whom she studied, and Vincent Glinsky, her husband. With this technique the artist carves directly into the materials, without the use of intermediary steps. The conception and execution of the work is influenced by the density, veining, color, texture, and shape of the material.\nHartwig belongs to the generation of the 1930s and 1940s who advanced opportunities for women artists. She was an early member of the National Association of Women Artists (eventually serving as Vice President), and the New York Society of Women Artists (eventually serving as Recording Secretary). She is regarded as a member of The New York School, and her work was featured in the TV documentary, Women of the First Wave; Elders of the Century. Cleo Hartwig’s papers are held at the Smithsonian Institution’s Archives of American Art.\nNewark Museum, NJ\nCleo Hartwig was born in Webberville, Michigan on October 20, 1907. Her rural upbringing had a lasting influence on the development of her art. She was passionately interested in every detail of plant and animal life—from form to function—and observed nature with a mix of scientific attention and artistic observation.\n“Growing up in rural Michigan before the days of mass media entertainment,” Hartwig once wrote, “there was ample time to explore the countryside, search for birds’ nests, raise caterpillars until they spun cocoons and hatched into moths or butterflies, find frogs’ eggs in the ponds and watch them develop into tadpoles. These first-hand observations and experiences are among my happiest and sharpest memories, and probably account for the many nature form subjects in my sculpture. There is such rich and endless variety in nature that one could, it seems, design nothing except bird forms and never exhaust the possibilities of interpretation.”\nHartwig attended Portland High School between 1921-25, and entered Western State Teachers College (now Western Michigan University) in 1926. She interrupted her studies to teach art at Holland Junior High School (1926-29), and take summer art classes at Chicago Art Institute (1930, 1931). She returned to WSTC to graduate with an A.B. in 1932.\nAfter graduation she settled in New York City, finding employment as a teacher at The Town School (1934-36). During the summer of 1935 she studied art in Poland, Hungary, Rumania, and Germany. Hartwig then taught at the Ecole Francaise (1936-39) in New York, and exhibited for the first time in New York at The National Academy of Design (113th Annual, 1938). In 1939 she made a summer trip to France to study art, but returned home hastily because of the growing hostilities. Hartwig took up residence at Patchin Place, the historic Greenwich Village cul-de-sac, home to many famous artists of the early 20th century. (She remained at that address until her death). She joined the faculty of the Lenox School (1939-42), and exhibited her work in group shows at the Clay Club, National Academy of Design, Syracuse University, and Mt. Holyoke College. She was also part of the 1942 “Artists for Victory” exhibit at the Metropolitan Museum of Art.\nAfter summer art study in Mexico (1941), Hartwig began to incorporate gestures from that country’s culture into her work. \"Her carvings from the 1930s and early 1940s,” noted Ilene Fort, of the LA County Museum of Art, “are characterized by compact, massive forms, crisp outlines, and minimal details. In their blockiness, extreme simplification of shape, and coarse surfaces they especially echo Mesoamerican sculpture.\"\nDuring World War II Hartwig did drafting at Bell Telephone Laboratories (1942–43), and technical illustrating at the Jordanoff Aviation Corp in NY (1943–45). During this time she held her first solo New York exhibition (Clay Club, 1943), and became active in many arts organizations. She was an early member of the National Association of Women Artists (eventually becoming Vice President), and the New York Society of Women Artists (Recording Secretary). At that time she also began her long association with the Sculptors Guild (Exec. Dir., Exec. Bd., Exec. VP), Audubon Artists (VP for Sculpture, Exhibition Committee), and New York Society of Ceramic Artists (Sculpture Jury).\nThe National Association of Women Artists (NAWA) awarded Hartwig the Anna Hyatt Huntington Prize for her Mandolin Player in 1945. That same year she exhibited with the Pennsylvania Academy of the Fine Arts, National Academy of Design, National Association of Women Artists, Audubon Artists, and New York Society of Ceramic Artists. She also became a sculpture instructor at Cooper Union in New York and the Montclair Art Museum in New Jersey. In addition, she completed an important work for the architect Kenneth B. Norton: a \"Family Group\" for the Continental Companies Building on Williams St. in downtown Manhattan. For that commission Hartwig created an 8-foot-high bas-relief of a mother, father, and child, which was cast in aluminum and installed on the front of the building.\nIn 1951 Hartwig married fellow sculptor, Vincent Glinsky (1895-1975). Their son, Albert Glinsky, was born the following year. Throughout the 1950s she continued to teach, complete commissions (S.S. United States), and win prizes (including several from NAWA; Artists Equity; Audubon Artists; Munson Proctor Institute). In addition, Western Michigan University awarded her an Honorary Masters Degree (1951).\nDuring the 1960s Hartwig participated in the annual shows of the Sculptors Guild, exhibited her alabaster “Sea Foam” at the 1964 New York World’s Fair, and took part in the Bryant Park outdoor exhibits in midtown Manhattan. She worked with reproduction houses (Alva Museum Replicas, Sculpture Collectors, Collectors Guild) and executed a commission for the All-Faiths Memorial Tower in NJ (now George Washington Memorial Park). Her sculptural methods were examined in a feature article in American Artist magazine.\nIn the 1970s Hartwig continued to collect honors: she was elected to the National Academy of Design as an Academician (1971) and received an Honorary Doctorate from Western Michigan University (1973). That same decade her work won awards from the National Sculpture Society, Sculptors Guild, National Association of Women Artists, Audubon Artists, and National Academy of Design. She had a solo show at the Montclair Art Museum (1971) and two joint shows with her husband, Vincent Glinsky (Sculpture Center, NY, 1972; Fairfield University, CT, 1974).\nDuring the last decade of her life (1980s) Hartwig exhibited in more shows than in any previous decade—58 in all. Her \"Owlet,\" shown at the New York Botanical Garden's Conservatory, was also featured in The New York Times. She was invited to serve on juries around the country, including the 4th North American Sculpture Exhibition, for which she was co-juror with Francisco Zuniga. She received more awards, gave masterclasses, and continued to sculpt until just months before her death. Cleo Hartwig died on June 18, 1988 in New York City. After her passing, the Sculptors Guild dedicated its 1990 Hofstra University Exhibit Catalog to her memory, and the Audubon Society instituted an annual sculpture prize (still given today), in her honor.\nCommissions / Awards", "label": "No"}
{"text": "Published at Wednesday, January 04th 2017. by Estelle Eléa in Worksheets.\nBy the age of three, your child is ready to move onto mathematics worksheets. This does not mean that you should stop playing counting and number games with your child; it just adds another tool to your toolbox. Worksheets help to bring some structure into a child’s education using a systematic teaching method, particularly important with math, which follows a natural progression. Learning about numbers includes recognizing written numbers as well as the quantity those numbers represent. Mathematics worksheets should provide a variety of fun activities that teach your child both numbers and quantity. Look for a variety of different ways to present the same concepts. This aids understanding and prevents boredom. Color-by-Numbers pictures are a fun way to learn about numbers and colors too.\nAs the student learns to write meaningful sentences in the beginner phase, he gets to know about the usage and organization of paragraphs in the more advanced levels. Every piece of writing requires paragraphing so the writing looks organized and the reader would not have to face any problems if the writing material is long. Hence the student must learn how to paragraph his sentences wisely so that he can convey the meaning of his sentences easily to the reader with the help of paragraphs. All in all, writing worksheets efficiently helps the student to learn a lot about writing.\nEveryone is talking about saving money, living within their means, and creating a budget these days. Even though creating a budget is relatively simple to do, it does require some time and work on your part. However, this is made easier by using these three budget worksheets listed below. 1. Track Your Expenses and Spending Worksheets – Before you can create a working budget, you must first know how much you spend in a given month. You can use a weekly expenses worksheet along with a monthly expense record worksheet to track your spending and monthly expenses for 30 days. This will give you accurate information of what you actually spend each month, not just what you think you spend in each expense category.\nTeaching kids to write for the first time is quite challenging. Young ones can be a handful and when introduced to something new, they always show a lot of interest but then again, let us not forget that kids are kids. We need to keep them interested otherwise they will turn their focus onto something else the moment they get bored. A writing worksheet is a tool that will help little kids learn to write correctly in cursive or manuscript format. This is a great tool that will enable teachers to create documents that will teach, hone, and develop their students’ writing skills.\nWhat to Consider When Using a Writing Worksheet. Parents and teachers should always take into consideration the child or student they are teaching. It is good to customize the worksheet based on the profile of the learner. For example, if it is a preschooler you are teaching, it is best to choose worksheets that have colorful graphics for them not to lose interest in it. Additionally, the use of simple words is also necessary to promote understanding especially for young kids. Older kids can very well benefit from worksheets that bring out their creative thinking abilities and those that will help them widen their vocabulary. Young kids can benefit from a writing worksheet because it helps them improve their handwriting skills and at the same time, increase their knowledge. Older kids, on the other hand, can definitely hone their writing abilities and at the same time, ignite a passion for writing that they never would have thought possible if it were not for the help of the writing tool and of course, from your encouragement and prodding.\nWhy use free math worksheets? Easy. These worksheets can save you a lot of time and money and when you’re a busy homeschool mom teaching several children, this means a lot. Save Money ==> It’s easy to see how free worksheets can save you money. If you want, you can skip buying math books and just use worksheets that you get for free on the internet. All you need to do is use a ”scope and sequence” book that tells you what your child needs to be doing in math by age and grade. This book is essential when you homeschool. I recommend getting one of these books when you first begin homeschooling and use it as a reference throughout your homeschool journey. Regardless of how long you homeschool, you’ll always have doubts and questions about how your child is performing.A scope and sequence book can put your mind at ease. Once you have a scope and sequence book, make a list of each area in math that he needs to work on for the school year.\nTrack Record. Another advantage of these math worksheets is that kids and parents will be able to keep them to serve as their references for review. Since worksheets are easy to correct, students will be able to identify the items and areas that they had mistakes so that they will be able to correct those deficiencies. Keeping record is really a good thing; As a parent, you will be able to go back through them and assess their strong and weak areas. Keeping track you will be able to track your child’s progress as empirical evidence.\nAny content, trademark’s, or other material that might be found on the Johnpdaviscollection website that is not Johnpdaviscollection’s property remains the copyright of its respective owner/s. In no way does Johnpdaviscollection claim ownership or responsibility for such items, and you should seek legal consent for any use of such materials from its owner.\nCopyright © 2021 Johnpdaviscollection. All Rights Reserved.", "label": "No"}
{"text": "An argumentative essay arrangement is a style of essay in which the author requires a firm stance on an issue so as to convince the reader to their point of view and convince them of the opposing viewpoint. It is quite similar to an assault essay in which the author attacks an issue with details and makes a case https://careeralley.com/resume-writing-tips-for-students-of-any-age/ for a single side. However, argumentative essay arrangements differ when it comes to format and content. It’s more of an opinion article in which the author shares their view about a problem. Whereas, a regular persuasion essay depends mainly on evidence and logic.\nTo write an argumentative essay structure, you will need three chief elements. https://ccnworldtech.com/how-tech-is-influencing-sports-business/ These https://www.0352.ua/news/2952346/distancijna-osvita-realii-2020-2021 are an introduction, body and a conclusion. Before you begin writing the outline, think about what your principal thesis is. This gives you a good starting point for the work. When you know what your topic is, you can move on to preparing the outline.\nThe argumentative essay outline is ready by dividing the article into paragraphs. In every one of these paragraphs, you must supply supporting evidence for your position you are taking. Generally, the most supportive evidence provided in an argumentative essay arrangement is research that’s either academic in character or personally applicable. Supporting evidence is usually presented in the form of various kinds of research, case studies or experiments.\nFollowing the introduction, the body of the argumentative essay structure is made up of four paragraphs. The first paragraph will discuss the topic of the argument. Then there is the entire body of the text where the main arguments for the views are presented. The previous paragraph will outline each of the arguments presented in the paragraph above it. There will also be two concluding paragraphs which summarize the position https://www.stellarsurvey.com/what-is-writing-education/ of the writer in question.\nGood argumentative essay topics are often well-structured. They take advantage of proper grammar and proper word usage. All significant argumentative essay subjects should be written from the point of view of an authority or a known truth. If the argument presented in the body of the text is personal, facts concerning that person, or something not based on any truth, it needs to be spelled out as”mere supposition.” This rule will help readers assess the arguments presented and make their own judgments, which makes it easier than simply relying on your personal understanding.\nA good argumentative essay structure should have the most important thesis statement at the start and the remaining paragraphs according to this main thesis statement. The most important thesis statement is a statement that’s probably to be either false or appropriate, depending on the subject. To support this claim there should be several supporting statements and supporting information such as cited works, citations, government, etc.. A strong thesis statement should be backed up by many paragraphs that all add to oppose the main claim. Supporting details and statements may come from any source, such as your own personal knowledge, authorities, https://www.dziennikwschodni.pl/artykuly-sponsorowane/jak-zarabiac-na-pisaniu-esejow-za-granica,n,1000271130.html or other study. Just be certain your writing provides powerful arguments, otherwise your essay will be considered ineffective and you’ll fail your homework.", "label": "No"}
{"text": "In this demo, I create a charcoal pencil drawing a face. If you haven't drawn a face successfully already, you may want to brush up on basics of drawing a human head before working through this page. I always say that knowing how the human head is structured sets you more at ease when drawing people.\nThe woman I will be drawing is turning away from us toward her right side. As this is to be a pencil drawing of a face, I won't cover anything beyond her head and neck. Drawing a human face is challenging enough, and I do not want to overwhelm you with more than that.\nI start by 'framing' the head with four marks, at the top of the head, bottom of the chin, and on either side at the widest point.\nI use a pencil and my thumb to come up with the ratio between the two distances. This is an important step! The ratio will vary from person to person. In this case, it is about 3.5 to 5 (width to height). I measure carefully, and transfer that to the painting surface.\nI connect the four points to create a rough outline of the head, paying attention to the angular direction of the lines. I'll make necessary changes later. Next, find where the eyes are in relationship to the height of the head. Draw a line across the face where the eyes are.\nRemember that this is like drawing a line on a globe; the line will appear curved instead of straight (unless you are drawing a front view of a head).\nI draw the top of the eyes and find the peak of the eyebrows. I add a line to align them in relationship to the eyes. I will use the eyebrow line to position the bottom of the nose.\nThe bottom of the nose is about the halfway down from the top of the eyebrows to the chin, so I put a mark there.\nNow it is easier to locate other landmarks on the face. I quickly measure where the lip line is—about halfway down from the bottom of the nose to the chin. This subject's face has a relatively “standard” structure, and the rules of thumb about positioning facial features work well with her.\nI next measure where the top and bottom of her ears are in relationship to her eyes and nose. I also locate her hair line using the distance between her eyebrow and the base of her nose.\nNow I fill in big masses of her hair, and locate the neck line. Because she is female, I make sure that her neck is not too thick. I position the neck by aligning it with the features on the face.\nI have finished checking the vertical positions, so now I am checking the horizontal features. For example, I make sure the eyes are not too far apart, the lips are not narrower than they should be, etc.\nSince no feature stands by itself, always work out the relative proportions of features. These spatial relationships are vital for achieving a likeness. When the measurements are wrong, the drawing will be “off”. So, compare and measure constantly.\nOnce I get the lines and contours correct, it is time to model the head by shading. I look for where the light is coming from and put down the dark-toned shadows on the head and the neck. At this point, I am not yet paying attention to minute changes in the shadow or the mid-tones yet.\nIn the next step, I look for variations within the shadows and vary the pressure of my pencil to produce different shades for more three dimensional forms. Or I just vary the layers of hatching and cross hatching. I start to add mid-tones and light tones, too.\nThe tonal relationship is a relative thing, just like the proportions of the spatial features of the face. I go back and forth to make the relationships work. Sometimes it takes a lot of time, but it is well worth it.\nFinally, I declare my pencil drawing of the face done for the time being. Compared to painting, it is fairly simple to use a pencil drawing a face, because I do not have to mix colors. When painting a portrait, I often spend more time on the drawing stage, because, if you are after a likeness, it is worth spending the effort to get the line drawing right before coloring.\nIf you practice often with a pencil, drawing a face should come easily. Another thing I do often is to observe people's faces and mentally rehearse drawing them.\nI hope you enjoy and learn from my pencil drawing of the face of this ballet dancer (yes, that is her true identity).", "label": "No"}
{"text": "The Importance of Sleep Safety Talk\nThe importance of adequate sleep cannot be overstated. Sleep has many effects on a variety of aspects of our health. The way you feel awake has a link to what kind of sleep you get at night. Poor sleeping habits can lead to an acute sudden incident such as a car crash due to a tired driver or chronic problems over the long term such as a number of health issues.\nResearch has shown up to 40% of Americans are sleep deprived. This causes many issues in the workplace and at home while completing tasks. For example, driver sleepiness is a factor in about 100,000 car accidents each year, resulting in about 1,500 deaths. Studies have also shown that sleep deprivation can significantly reduce workers’ reaction time, motor control, decision-making ability and situational awareness. This creates an unsafe condition where a worker, or a whole jobsite, is exposed to a potential incident that could cause injury.\nSleep and Your Health\n- Sleep affects your ability to learn and remember new information.\n- It affects your ability to pay attention.\n- It affects your heart and cardiovascular system. There is a link between long-term sleep deficiencies and heart disease.\n- It affects how your body reacts to insulin. Sleep deficiency leads to higher blood sugar levels; leaving you at a higher chance to be diagnosed with diabetes.\nTips to be Well Rested\n- Get at least seven hours of sleep. Studies vary on exactly how much sleep we need but the consensus is between six and eight hours.\n- Shut your TV off and place your phone face down. Blue light and other light sources can disrupt your sleep.\n- Avoid naps during the day. Naps can throw off your internal clock for rest at night. If napping is a must during the day keep it under 20 minutes.\n- Keep your room between 68 and 72 degrees Fahrenheit. This is the range that is best for sleeping conditions for most people.\n- Go to bed and wake up at the same time every night. This keeps your internal clock on track and your body gets into a routine.\n-Do you feel that you get much sleep every night?\n-Have you ever experienced a time where you did not remember driving down the road? How could a situation like that affect our work if it were to happen here?", "label": "No"}
{"text": "Following the discovery of a technique for artificial pollination (about 1841) plantings were setup in Jamaica and other islands in the West Indies.\nVanillin, the crystalline component, was first isolated from vanilla pods by Gobley in 1858. By 1874 it had been obtained from glycosides of pine tree sap, temporarily causing an economic depression in the natural vanilla industry.\nThe plant (Vanilla planifolia) is a tropical orchid\nwhich grows as a vine and needs the support of trees or poles\nwhereupon it can reach a height of about 5 metres. The flowers\nhave a narrow bell surrounded by thin petals which develop slowly\nover several months into long narow pods about 12-15 cm long.\nVanilla needs a process of curing similar to cacao to develop its\ncharacteristic aroma, for example the pods may be picked green\nthen sun dried, oven heated or cured in hot water.\nDuring the curing process the flavour precursors, which are glucosides, are broken down into vanillin and glucose and some other minor aromatic substances.\nVanilla extract is made by cutting the beans into small pieces and soaking in successive quantities of hot 65-70% alcohol. Many commercial vanilla extracts are now actually blends from natural and synthetic vanillin.\nThe \"classical\" synthesis of vanillin from eugenol or iso-eugenol was developed in 1896 and it remained the preferred method for about 50 years.\nThe scheme below is a sensitive map with links to the\nindividual molecular graphics (MOL) files.\nNot all commercial vanillin is industrial?\nA Mass Spectrum of vanillin in JCAMP-DX format is available.It has recently been shown that the 13C/12C ratio can be used to determine the origin of vanillin. This was done by quantitative measurements of the 13C NMR signals for each of the 8 C atoms. It showed that attempts to fraudulently substitute cheaper synthetic vanillin can be detected even when 13C substituted materials are used.\nCopyright © 1995-2013 by Robert John Lancashire, all rights reserved.Created and maintained by Prof. Robert J. Lancashire,", "label": "No"}
{"text": "We should be thinking of the implications of technology in education more so than the benefits. Technology is always going to be a part of the education systems we have and the future is being built upon it.\nThe idea of learning and the value education provides for our society is a complex one. We often hear that education should be a fundamental human right. While we have some of that right, we don’t have a universal guarantee. We do have a general guarantee though, that education should prepare our children for what they will be in the future. The problem is, this is a hard promise to make.\nThere are many different types of schools, and each has its own set of rules, philosophies, traditions, and philosophies. The problem is that not all schools are created in the same way, or offer the same set of benefits. The problem is that we dont have a good solution for this problem. What we can do is to try to make sure that we make the best possible schools for our children.\nI think we should try to keep this as a goal in our children’s education. A lot of the time, we are not willing to compromise education for the sake of the students. Our colleges and universities are not set up like a prison, but like a school. I think that we should tell our students to come out of their comfort zone and do something new, rather than just expecting them to conform to what they’ve been taught to believe.\nThe only problem I have, is that we don’t know what to do. We’ve been in a situation where we were not informed that a new school was going to be built, so we couldn’t decide whether or not to build it or not. But we’re a pretty big school and I think that’s part of what makes the school special.\nFor those in the public school system especially, the idea of a school is terrifying. We are not sure where we are going to end up and what our lives will be like when we return. But I do still think we should be pushing the state and federal governments to give public schools a shot at doing something better.\nThe answer to that question is simple: there are two fundamental rules. The first is that you have to be a good person. The second is that you have to be a good student. On a more concrete level, if you think you can give your life meaning to it, it’s probably best to be a good person.\nI think that the answer to that question is, “yes.” When you see the value in the education system, you should be a part of it. But the truth is that public schools have a lot of room to grow and improve. That said, there is one thing that public schools can do better that most other types of schools: they can make learning fun.\nTechnology is really important in education. Not because technology is essential, but because it is a major tool in school. And it’s a major tool for learning. Not only is technology important for learning, but it’s also important that we value the value of learning. And that value is in understanding that we have a responsibility to learn. And if we take it seriously and don’t make it fun, it will be lost on us.\nOne of the reasons technology is important in education is because it is a major tool for learning. And that means that it should also be easy and fun. It means that we should not make learning a chore and make learning a task.", "label": "No"}
{"text": "Alert! Plastic may be making you fat – Experts\nGlobally, the incidence of obesity has tripled since the 1970s, and one billion people are expected to be obese by the year 2030.\nScientists are of the opinion that one major overlooked component in obesity is almost certainly our environment – in particular, the widespread presence within it of chemicals that act to disturb the normal functioning of human metabolism disturbing the body’s ability to regulate its intake and expenditure of energy.\nScientists have therefore warned, that a factor responsible for obesity could be the presence of plastic in everyday items that we use.\nThe presence of some of these chemicals, known as “obesogens,” supposedly directly boosts the production of specific cell types and fatty tissues associated with obesity.\nUnfortunately, these obesogens chemicals are used in many of the most basic products of modern life including plastic packaging, clothes and furniture, cosmetics, food additives, herbicides and pesticides.\nBruce Blumberg, an expert on obesity and endocrine-disrupting chemicals from the University of California, Irvine, is quoted as saying, “Obesogens are certainly a contributing factor to the obesity epidemic.”\nHe adds, “The difficulty is determining what fraction of obesity is related to chemical exposure.”\nAccording to a report in Bloomberg, obesogens act to harm individuals in ways that traditional tests of chemical toxicity cannot detect.\nIn particular, the consequences of chemical exposure may not emerge during the lifetime of an organism that is exposed, but can be passed down through epigenetic mechanisms to several generations.\nEpigenetic mechanisms can be best understood as changes that affect gene activity and expression.\nBlumberg and his colleagues explain this in studies using tributyltin (TBT), a chemical used in wood preservatives, among other things. During their experiments, the scientists found that exposing mice to low and supposedly safe levels of TBT significantly increased fat accumulation in the next three generations.\nTBT and other obesogens were found to trigger such effects by interfering directly with the normal biochemistry of the endocrine system, responsible for regulating the storage and use of energy, as well as human eating behaviour.\nIn addition, around 1,000 obesogens with such effects have already been identified in studies with animals or humans, Bloomberg informs.\nThis includes Bisphenol A (BPA), a chemical widely used in plastics, and phthalates, plasticising agents used in medicines, paints, and cosmetics.\nOthers include parabens used as preservatives in food and paper products, and chemicals called organotins used as fungicides.\nRecent studies have also discovered that obesity affects cats, dogs and other animals living in proximity to people as well as in laboratory rodents and primates – animals raised under stringently controlled conditions of caloric intake and exercise.\nThe only possible factors driving weight gain for these animals, according to researchers are the subtle chemical changes in the nature of the foods they eat, or in the materials used to build their pens.\nAccording to experts, the obesity epidemic will likely persist, or get worse, unless ways are found to eliminate such harmful chemicals from the environment, or at least identifying the most problematic substances, so that exposure to these substances can be reduced.\nIn January this year, a study published in the journal Environmental Science and Technology reportedly found that there are over 55,000 different chemical components in plastic consumer products. Additionally, 629 substances were identified, of which 11 are known to be metabolism-disrupting chemicals (MDCs) that trigger obesity.", "label": "No"}
{"text": "Today we are discussing the topic of whether or not hamsters can eat grapes. Some people believe that grapes are a healthy snack for hamsters, while others think they can be harmful.\nSo, what is the verdict? Can hamsters eat grapes or not? Keep reading to find out!\nHamsters are small rodents that typically live in the wild. They are known for their cute and fluffy fur, and they make popular pets. Although hamsters are omnivores and can eat a variety of different things, including grapes, there are some foods that you should avoid giving them.\nGrapes are a great source of nutrition for hamsters, but there’s one thing you need to watch out for. Your furry friend can eat the skinless grapes or those with just their seeds (you should also avoid these).\nIt may take some time before they start eating this fruit as well so don’t give up!\nGrapes are actually safe to eat for your furry friend. They contain important vitamins and minerals like potassium, magnesium, phosphorus as well as vitamin K!\nSo give them a try next time you’re feeling snacky or need something sweet after dinner – just make sure not too many grapes come into contact with the teeth since this can be toxic if ingested orally (especially kittens).\nHow Often Can Hamsters Have grapes?\n- 1 How Often Can Hamsters Have grapes?\n- 2 Grapes have numerous health benefits for Hamsters\n- 3 4. The Best way to Prepare Grapes For hamster\nHamsters can eat grapes without any ill effects but it is important that they are given to the little furry animal once or twice per week max.\nIf you want your hamster’s diet sweetened up some more, try offering only 1/4 cup of fruit at a time instead so as not to overwhelm its system with too many sugary treats altogether!\nKnowing what your pet needs to thrive can be tricky, especially when you are starting out with grapes.\nTo keep everything balanced and happy it’s important that before feeding them these fruits they have had a broad understanding of their overall food requirements for life in general!\nGrapes can provide a Hamster with numerous health benefits.\nGrapes have numerous health benefits for Hamsters\nsome of which are listed below:\nEradicates Free Radicals\nYour Hamster’s body will be free of free radicals thanks to the antioxidants found in grapes. As a result, it enjoys better health and a longer lifespan.\nThey also aid in the repair of cells damaged by free radicals. The skin, as well as seeds of grapes, provide the majority of the fruit’s antioxidants.\nCavies are unable to manufacture vitamin C on their own, and this is a known truth. Because of this, they will require help from outside sources.\nHamsters need this vitamin in order to function properly. Scurvy, a disease that affects Hamsters, can be prevented with vitamin C. Symptoms of scurvy include lethargy, fur loss, weight loss, squealing when touched, and hunched and wobbly walking. grapes and most fruits provide vitamin C.\nAids in Maintaining Optimal Heart Health\nIt’s easy to conclude that a healthy Hamster has a healthy heart. Heart-related issues might be fatal to your Hamsters. That’s why you need to take care of the matter as soon as possible.\nAs a general rule, prevention is preferable to treatment. Potassium, which is abundant in grapes, aids in the maintenance of healthy blood pressure.\nThe minerals such as magnesium potassium, calcium, and manganese help the furry friend to have a healthy and sturdy bone structure. Studies have also shown that resveratrol found in grapes improves bone density.\nYour hamster’s body uses vitamin K to help with blood clotting. Vitamin C is important for a strong and healthy immune system to function properly. Your hamster needs phosphorus and calcium to grow and maintain a healthy skeleton.\nIt’s good for your hamster’s digestive tract to eat grapes, as they are high in fiber. In warm weather, the high water content of these treats will keep your hamster well-hydrated.\nProviding a hamster’ with a wide range of nutrients, this fruit is an excellent choice. Nutrient content per 100 grams of grapes:\nAre Grapes Harmful to hamsters?\nGrapes are typically safe to eat and pose no significant health hazards to humans. There are some risks associated with giving your pet grapes, even if they aren’t poisonous to them. In spite of this, these hazards can be readily avoided or mitigated.\nGrapes pose a number of health issues for hamsters, including the following:\nToo much Sugar\nSugar content in grapes can cause problems for your hamster’s health. Diarrhea and vomiting are among the possible side effects. When your pet eats too much sugary food, it can develop the symptoms we’ve discussed.\nA visit to the vet is necessary as soon as you detect this. Alternatively, you can administer first assistance by giving it plenty of water and ceasing to feed it grapes. Another possible side effect of consuming too much sugar is weight gain.\nPoisoning with Food\nEven while this is extremely uncommon, it can happen when grapes are handled incorrectly. Prior to giving your cavy the fruit, you should properly clean it in water to eliminate any dirt or chemicals.\nIt’s a good idea to keep an eye on the sugar content of your hamsters’ food because they can also get diabetes.\nHow many grapes can I give my hamster?\nGrapes can be eaten by hamsters in tiny amounts, but not on a daily basis. Only feed your hamster a teaspoon of fresh fruit twice a week, according to the manufacturer’s instructions.\nSome of the nutrients required by hamsters can be found in grapes. Blood clotting is dependent on the presence of vitamin K.\nBecause of the high sugar content, it is not recommended that you give your hamster whole grapes.\nCan hamsters eat the skin of a grape?\n4. The Best way to Prepare Grapes For hamster\nIf you want to feed your hamster grapes, there are a few options. Even if you buy seedless grapes, you should still examine them for seeds before giving them to your hamster. To avoid impaction, get rid of any seeds you detect.\nBefore giving the grapes to your pet, cut them into four equal pieces. Grapes cut into smaller pieces are more easily eaten by your furry friend. As a treat, you can give the grapes to your furry friend on their own, but you can also serve them with veggies to entice your pet to eat more of its greens.\nThe inside of a grape can be rubbed on your hamster’s greens to encourage them to eat more of them. Cut-up grapes can also be used as a filler between the leaves. When your hamster is scavenging for the grape pieces, he or she may accidentally consume some of the greens.\nAs long as you don’t overdo it, you can feed your hamster occasionally. Grape leaves are an excellent source of calcium, protein, and phosphorus for your hamster because they are low in phosphorus and high in calcium and protein.\nHamsters are a fan of grapes, and they’re an excellent source of nutrition. No problems feeding hamster grapes; we’ve been doing it for a long time.\nHowever, it’s crucial to know how to give them this food and how it fits into their entire diet before deciding whether or not to provide it to them. Trust us, the most knowledgeable owners are always the best.", "label": "No"}
{"text": "It’s a tiny bit mysterious how this transpires, although, considering that ice crystals are orderly structures of molecules, while aerosols tend to be disorganized chunks. New investigate by Valeria Molinero, distinguished professor of chemistry, and Atanu K. Metya, now on the Indian Institute of Engineering Patna, exhibits how crystals of organic and natural molecules, a standard ingredient of aerosols, might get the task undertaken.\nThe tale is a lot more than that, although — it can be a throwback to Chilly War-era cloud seeding researching and an investigation into a peculiar memory outcome that sees ice sort far more conveniently on these crystals the second time around.The study, funded from the Air Power Business of Scientific Explore, is revealed on the Journal on the American Chemical Society.Molinero’s homework is targeted on how ice forms, especially the whole process of nucleation, which is certainly the beginning of ice crystal development. Beneath the perfect illnesses, drinking water molecules can nucleate ice on their own. But normally several other product, generally known as a nucleant, can help the procedure together.\nAfter a few experiments around the ways that proteins will help sort ice, Molinero and Metya turned their consideration to organic and natural ice nucleants (as utilized here, writing a business case study “organic” suggests organic compounds made up of carbon) considering they may be comparable to the ice-producing https://en.wikipedia.org/wiki/Economies proteins and they are found in airborne aerosols.But an evaluation belonging to the scientific literature noticed that the papers speaking about ice nucleation by natural and organic compounds came within the nineteen fifties and sixties, with especially modest follow-up deliver the results following that until finally pretty not long ago.”That produced me absolutely curious,” Molinero says, “because there may be a considerable amount of desire now on natural and organic aerosols and no matter whether and exactly how they encourage the development of ice in clouds, but all this new literature appeared dissociated from these early elementary experiments of natural and organic ice nucleants.”\nAdditional examine discovered https://www.writemyessay.biz/ the early deliver the results on natural ice nucleants was related with the examine of cloud seeding, a post-war line of homework into how particles (mostly silver iodide) can be released in the ambiance to motivate cloud development and precipitation. Researchers explored the qualities of natural compounds as ice nucleants to work out should they may perhaps be cost-effective possibilities to silver iodide.But cloud seeding researching collapsed in the nineteen seventies right after political pressures and fears of weather conditions modification resulted in a ban in the exercise in warfare. Funding and desire in natural and organic ice nucleants dried up right until fairly recently, when weather exploration spurred a renewed curiosity within the chemistry of ice formation inside the atmosphere.”There has been a developing curiosity in ice nucleation by natural aerosols on the final couple of yrs, but no relationship to these previous scientific studies on natural crystals,” Molinero claims. “So, I thought it was the perfect time to “rescue” them into your cutting-edge literature.”\nOne issue to reply is whether phloroglucinol nucleates ice thru classical or non-classical processes. When ice nucleates on its own, devoid of any surfaces or other molecules, the only hurdle to beat is forming a secure crystallite of ice (only about five hundred molecules in measurement under some disorders) that other molecules can put together on to mature an ice crystal. Which is classical nucleation.", "label": "No"}
{"text": "Skip to Main Content\nThe increasing importance of electrical contacts in air with micrometer spacing prompted recent experiments on the electrical breakdown behavior of these gaps. The electrical field between the contacts used in one of the experiments was analyzed using finite element analysis to model the electric field. The experimental data on the electrical breakdown voltage could be divided into three regions as a function of the gap spacing. First, at close gap spacing (≤4 μm) both the breakdown voltages as well as the electrical fields at the cathode were similar to values measured during the breakdown of vacuum gaps of less than 200 μm. Second, at larger gaps (>6 μm) the breakdown voltages followed Paschen's curve for the Townsend electron avalanche process in air. Finally, in between these two regions the breakdown values were below the expected values for purely vacuum breakdown or purely Townsend breakdown. The breakdown phenomena have been discussed in terms of field emission of electrons from the cathode and their effect on initiating the observed breakdown regimes.", "label": "No"}
{"text": "© Memorial Hall Museum, Pocumtuck Valley Memorial Association\nPortrait of Mary Electa Allen, by Frances Allen, c. 1910.\nThroughout the years of the Deerfield Arts and Crafts movement, Mary Allen, and her elder sister Frances, were nationally-recognized pictorial photographers working and living in Deerfield. They documented the movement with their cameras, and routinely exhibited with its artisans. Mary Allen was especially active in her support of the efforts of the Deerfield Arts and Crafts movement. At first, Mary set photography aside to immerse herself in the concerns of the Deerfield Society of Blue and White Needlework. She both designed its trademark seal (a 'D' superimposed onto a flax wheel), and was one of the organization's first embroiderers. Mary also played a central role in the day-to-day operations of the Society of Deerfield Industries, serving as its treasurer for most of the years between 1901 and 1919. She was still on its executive committee in 1923. Mary wrote articles promoting the Deerfield Arts and Crafts, and the numerous other publications devoted to the movement, not written by Mary, were almost always illustrated with Allen sisters' photographs.\nBorn in Deerfield, Massachusetts, Mary, like her sister Frances, was trained to be teacher. As the result of chronic health problems, Mary taught only intermittently between the years 1876 and 1885. Both Frances and Mary eventually lost their ability to hear, and were forced to stop teaching. The Allen sisters began to pursue photography by the mid 1880s, and by 1888, their photos were being commissioned to illustrate magazines and books. Ever a champion of her community, Mary Allen's article, \"Old Deerfield,\" published in the September 1892 issue of the New England Magazine, encouraged tourists to visit the historic town. In 1895, Mary and Frances moved into their family's ancestral home on the Street in old Deerfield. Here tourists could visit the sisters and purchase prints of their photographs.\nLike the work of many of their fellow Deerfield Arts and Crafts artisans, the photographs of Frances and Mary Allen show an interest in the colonial past. As Mary put it in a piece devoted to the Deerfield Society of Blue and White Needlework, \"Deerfield, Massachusetts, has long been known to the student of history as an interesting link between the past and the present. Belonging to both periods, and to neither entirely, the transition from old to new can be traced almost continuously.\"1 Mary Allen was known for her landscapes and portraiture.", "label": "No"}
{"text": "Low humidity in a living space is associated with many types of problems in our daily life. Especially, in the winter season we suffer from chapped lips and dry skin. Low humidity is also problematic for people suffering from asthma, allergy and many other respiratory diseases thus, we can conclude that low humidity in our living space is very harmful. VackerKSA supplies Room Humidifiers in major cities of Saudi Arabia such as Dammam, Riyadh, Al Khobar, Jeddah, etc.\nInstall a Room Humidifier for your room\nThe air in the winter season is very dry because of the lack of evaporation in the environment. Humidifiers are such devices that are specially designed to put the moisture back in the air. Dehumidifiers do exactly the opposite. Various researches have shown that it is easier for the germs to spread in low humidity than in high humidity. Communicable diseases such as common cold are far more likely to spread in low humidity. Recent studies done in the year 2013 have shown that if the level of the humidity in the air is maintained up to 43 percent then the transmission of airborne diseases significantly reduces. Viruses are found to transmit disease quite easily in the low humidity while only about 13 to 14 percent of viruses were capable of transmitting diseases in humidity level of 43 percent.\nRoom humidifiers are known to reduce the probability of falling sick in winter quite significantly. Humidity is also known to give people softer skin with glow. They avoid sapping of moisture from your skin thus avoiding dry skin. In presence of moisture the skin looks softer and more vibrant. So if you want vibrant and glowing skin then installing a room humidifier in your room is a must. With room humidifier you can also bid farewell to uncomfortably dry sinuses. Yes, nobody likes that irritating feeling of tight and dry sinuses. It is quite an irritating feeling as it may even cause pain in the nose in many cases. Dry nose is vulnerable to the infection of germs such as bacteria and viruses. Resistance to these germs significantly reduces which is why people are more likely to get common cold during the winter season.\nEven if a person is suffering from common cold, humidifiers helps the people to get over it in significantly less time. It helps to keep our respiratory tract moist making it more resistant to viruses and bacteria. Symptoms such as coughing and sneezing are also significantly reduced in the presence of a humidifier.\nNot only people are benefited from the installation of humidifiers but even plants are. We all know that plants are known to absorb carbon dioxide and other toxins from the air. But lack of humidity can leave the plants unhealthy. The leaves of the plant look sick and dry. The soils also look significantly dry which directly affects the plants growing in it. Installing a humidifier helps to keep the plants in the room to be healthy. As these plants are kept for decorative reasons dry leaves and droopy looks in them is a big no.", "label": "No"}
{"text": "On Monday, November 26, 2012 the stained glass piece titled “Giniigaaniimenaaning” was installed and unveiled in Ottawa. The stained glass window in Centre Block of Parliament was commissioned to recognize the survivors of Indian Residential Schools and their families, as well as the Prime Minister’s historic Apology in 2008. Below is the full description of the piece and its meaning.\nGiniigaaniimenaaning (Looking Ahead)\n“The story begins in the bottom left corner of the glass, with your eye moving upwards in the left panel to the top window, and flowing down the right window to the bottom right corner. The glass design tells a story. It is a story of Aboriginal people, with our ceremonies, languages, and cultural knowledge intact; through the darkness of the residential school era; to an awakening sounded by a drum; an apology that spoke to the heart; hope for reconciliation; transformation and healing through dance, ceremony, language; and resilience into the present day.\nThe title of the piece is “Giniigaaniimenaaning” translated into English means, “Looking Ahead”. The title is in Anishinaabemowin (Ojibway) and includes, within the deeper meaning of the word, the idea that everyone is included and we are all looking ahead for the ones “unborn”.\nTOP – In 1990, Phil Fontaine, then Grand Chief of the Assembly of Manitoba Chiefs, and later National Chief of the Assembly of First Nations, became one of the first Aboriginal leaders to speak publicly about the abuses he suffered as a child at residential school. The shattered glass represents the breaking of the silence in the 1980s as survivors from all over Canada began to speak openly about what happened to them at the schools. The broken glass also represents the shattered lives, shattered families and shattered communities that resulted from the government policy of forced assimilation. The drum dancer sounds the beginning of the healing. The circles moving up and out from behind the drum represent the transformation that governments and churches made, from taking initial positions of denial, to acceptance, and finally to acknowledgement and admission, paving the way for an apology. The snow falls and the moon glows from a northern sky. The dove with the olive branch brings an offering of hope for the beginning of reconciliation and the renewal of the relationship between Aboriginal peoples and the rest of Canada.\nMIDDLE – This section of the window represents the “sad chapter” of the residential schools era, where more than 150,000 children were forcibly removed from their homes and often subjected to unimaginable and horrific abuses. As Prime Minister Stephen Harper stated in the Statement of Apology on June 11, 2008, the objective of the residential schools was to “remove and isolate children from the influence of their homes, families, traditions and cultures.” The children shown here are taken from historical photographs, with artist renditions of other children. The building, rendered from a photograph of the Shubenacadie Indian Residential School, is included because often these buildings represented the institutionalized system of abuse and assimilation. Children were not permitted to leave and, therefore, the buildings became their prisons. The lines that cross over the children represent the silencing of the children who were unable to speak about the abuses they were enduring.Bottom\nBOTTOM – The ancestor smokes in the sacred lodge. From the west (represented by the button blanket motif) to the east (represented by the sky dome motif), our ceremonies, languages, and traditional knowledge were intact. This section represents the time before residential schools existed. Important ceremonies marking the transition from childhood to adulthood, such as the strawberry fast, were taught and practiced. Harvesting blueberries, learning about medicines and knowledge of plants and animals were passed from one generation to the next. Beadwork and beautiful artwork, reflecting our pride, adorned our clothing and sacred items. The roots represent connection to the earth and to our ancestors. It is expected that, when rendered in glasswork, the colours and white/clear glass circles, or crystals, will give the bottom section an ethereal feel as they will glow from the darkness.\nThis section commemorates the official Statement of Apology to former students of Indian Residential Schools on June 11, 2008, by Prime Minister Stephen Harper.\nOn that day from coast to coast to coast, Aboriginal people gathered in community centres and homes to watch the Prime Minister give the statement, and to watch as their own leaders made their historic responses on the floor of the House of Commons.\nReaction to the Apology ranged from skepticism to gratefulness, marked by tears of relief, that finally the hurt that individuals carried was being acknowledged and an apology was being made. Regardless of how individuals reacted to the Apology, mostly everyone was moved emotionally, as Prime Minister Harper spoke the words, “The Government of Canada sincerely apologizes and asks the forgiveness of the Aboriginal peoples of this country for failing them so profoundly.”\nIn this panel, symbols representing Inuit, First Nations and the Métis Nation are featured alongside the iconic maple leaf. Canada, as represented by the maple leaf, is shown among the Aboriginal icons as a way to symbolize the hope expressed on that day by the Aboriginal leaders in their official response on the floor of the House of Commons. On behalf of all Aboriginal people, Indigenous leaders graciously accepted the apology from the Prime Minister.\nTOP – As in the left panel, circles emerge and transform into a fully visible sun. The sun rises and represents not only transformation, but more importantly, as Mary Simon, then President of the Inuit Tapiriit Kanatami (ITK); said in her official reaction on the floor of the House of Commons, “I am filled with optimism… a new day has dawned, a new day heralded by a commitment to reconciliation and building a new relationship with Inuit, Métis and First Nations.”\nThe lines flowing from the sun are meant to convey the concept of moving from the present into the future. The colours embody the colours used within different medicine wheels, sundance and Midewin lodges and the Métis sash (yellow, black, red, white, green, and blue). Together with the left panel, sun and moon represent the cycle of life, seasons, and change.\nThe jingle dress is a sacred healing dress that is now common throughout North America. In this panel, the jingle dress dancer is an Elder who is a survivor of the residential school. She is dancing for the healing of all the people and for future generations.\nMIDDLE – In this section, the colours and lines move us soundly into the present day and thinking about the future. The young mother embraces her baby in a traditional moss bag. The child is back with her mother, as she should be, representing children being raised by their parents and the breaking of the cycle of abuse. Her grandfather sings a traditional song signifying the restoration of songs, dance, ceremonies, and languages.\nWithin this panel are the following words: Kisakihitin (“I love you” in Cree), Gizhawenamin Niichaanis (“I love you my child” in Anishnaabemowin), Nagligiivagit (“I love you” in Inuktitut), Kesalul (“I love you” in Mi’kmaq). Many victims of residential schools were unable to tell their own children they loved them, and many children never heard those words from their parents. Embedding these words within the glass solidifies the existence and use of Aboriginal languages.\nBOTTOM – The circle is complete. Presently, traditional ceremonies take place throughout the year. The grandmother sits in the lodge smoking her pipe for her grandchildren. Potlach ceremonies take place and Salmon and Sturgeon ceremonies are on-going. The sundance lodges are erected and the Midewin lodges are no longer whispered about but are now out in the open. Puberty ceremonies are being practiced. Traditional knowledge about medicines is being taught. From east to west, the foundations of our cultures are being brought back and made whole. There is hope; there is a new respect for Aboriginal cultures within the rest of Canada as we are witness to our own strength and resilience.\nThe land is integral to our being. We consider the land sacred. Although it is not obvious, Mother Earth is the foundation of the stained glass design represented by the shape of a woman.\nSo many of our traditions, culture and ceremonies, and indeed our very way of life, is based on connection with the land and interconnection with the spirit of the Earth, that it would be remiss to design something concerning our people, without including the earth in some form.”\nSummary by Christi Belcourt\nAdditional information & videos can be found here: https://www.aadnc-aandc.gc.ca/eng/1332859355145/1332859433503", "label": "No"}
{"text": "English Learner students: Do you know your legal obligations?\nRecently, there has been an increase in discrimination complaints involving English Learner (EL) students. EL students are those who have a native language other than English and are not proficient in listening, speaking, writing and/or reading English. As of January 2015, EL1 students accounted for nine percent of all public school students nationwide and were enrolled in nearly three out of every four public schools, with those numbers steadily rising.2 Given the increase in complaints against school districts in Ohio involving EL students, mirroring similar complaints being investigated by the U.S. Department of Education Office for Civil Rights (OCR) nationwide, this is an issue that should be on the radar for building administrators.\nFederal law protects EL students from discrimination and mandates that they be provided with language services to enable them to meaningfully participate in school programs and activities, both curricular and extracurricular.3 If EL students or their parents believe that they have been discriminated against or denied a meaningful opportunity to participate, they may file complaints with the OCR. This article highlights some of the issues that can arise with EL students and provides tips for legal compliance.\n1. Understand your obligation to identify EL students and educate teachers about their role in the process.\nPublic schools are legally obligated to identify students who may be in need of language assistance - students age 3 to 21 who were not born in the United States or whose native language is a language other than English. EL students may be born in the United States and be U.S. citizens.\nYour district probably uses a home language survey in the enrollment process as the primary mechanism for identification, but if you or one of your staff encounters a student or parent who appears to be limited English proficient, you should determine whether they have previously been identified through the home language survey as needing language services. If not, you should follow up with your district administrator in charge of language services to notify them that the student’s English proficiency may need to be assessed and/or that the parent may need language assistance when interacting with the school.\n2. Keep in mind that limited English proficiency is not a disability.\nEL students do have special needs and some of the legal rules that apply to them look similar to those that apply to special education students. As mentioned above, schools have an obligation to identify and assess EL students and to provide the language services they need. However, schools should not identify or determine that EL students are students with disabilities solely because of their limited English language proficiency.\nEven if your district’s special education department also oversees the EL program, the two processes should be kept separate. EL students should not be placed on an Individualized Education Program unless separately determined to need special education services. Similarly, EL students with disabilities who are determined to need special education services should be separately assessed to determine their need for language assistance and should be offered both the disability-related services and the language services they need.\n3. Be alert to the potential for unlawful discrimination against EL students.\nDiscrimination or harassment may occur in the form of negative behavior by students or staff against EL students based on race, color, national origin or religion, which may violate your district’s board policies or student code of conduct.\nDiscrimination may also occur if EL students are denied meaningful access to school programs and activities. This means that you must not only provide alternative language services to EL students but also make sure they are not unduly segregated from other students. Depending on the student's level of proficiency, an EL student may need to be in a segregated English as a Second Language (ESL) classroom for part of his/her day, but that does not mean that the student should be segregated for non-academic subjects such as recess, physical education, art and music.\nLegal issues can also arise if EL students are kept in a language assistance program longer than necessary. The ultimate goal for every EL student is to attain English proficiency and exit from the ESL program. In addition, EL students must not be retained in a grade based solely on a lack of English proficiency. Ohio law specifies that you can promote to fourth grade a student who does not test proficient in English language arts if the student is a limited English proficient student, has been enrolled in U.S. schools for less than three full school years and has had less than three years of instruction in an ESL program.4\n4. If you are involved in hiring recommendations, know what qualifications to look for in teachers providing language support programs for EL students.\nTo implement an ESL program effectively, the instructors should be teachers specially qualified to provide language assistance services. To the extent possible, you should look to hire ESL teachers with TESOL (Teaching English to Speakers of Other Languages), bilingual certification or endorsement or at least someone who is working towards such licensure.\n5. Promote conversation and collaboration between ESL teachers and other classroom teachers regarding teaching of EL students and provide professional development to teachers on this topic.\nESL (or bilingual language program) teachers have the primary responsibility for providing language assistance to EL students, but it is important to remember that the classroom teacher can help EL students be successful by knowing their assessed level of English proficiency, how to speak to EL students (such as avoiding the use of slang or idioms), being familiar with the student’s culture and modifying teaching strategies when necessary. Providing opportunities for conversation and collaboration between ESL teachers and other classroom teachers can make classroom teachers more aware of how they can help.\nIn addition, when you are preparing teacher in-service training, don’t forget to include professional development on this topic. For many, this is required if your district receives Title III funding. (You may find more information to assist you on the Ohio Department of Education's website under Teaching English Language Learners and the Lau Resource Center.)\n6. Consider the need for qualified interpreters and/or translators when communicating with limited English proficient parents.\nGuidance from the OCR indicates that to enable limited English proficient (LEP) parents to meaningfully participate in their children's education, schools must try to communicate with them in a language they can understand. This typically means providing qualified interpreters and, sometimes, translated documents for such significant matters as student disciplinary proceedings, parent-teacher conferences, and special education eligibility and placement determinations. Therefore, it is important to familiarize yourself and your staff with your district's practices and procedures for obtaining interpreters for parent meetings and for translating documents provided to parents such as parent-teacher conference notices, codes of conduct, disciplinary notices and building newsletters.\nFor detailed information about the federal legal requirements applicable to EL students, see OCR's Dear Colleague letter issued January 7, 2015.\n1 Such students may also be referred to as ELL (English Language Learners) or LEP (Limited English Proficient) students.\n2 U.S. Department of Education Office for Civil Rights Fact Sheet, \"Ensuring English Learner Students Can Participate Meaningfully and Equally in Educational Programs\" (January 2015).\n3 Applicable laws include Title VI of 42 U.S.C. §2000d, et seq. (The Civil Rights Act of 1964); Equal Educational Opportunities Act, 20 U.S.C. §1703(f); Lau v. Nichols, 414 U.S. 563 (1974).\n4 R.C. 3313.608(A)(2)(a).", "label": "No"}
{"text": "Brass inlaid with silver\nOverall: 11.5 cm (4 1/2 in.); Diameter: 16.1 cm (6 5/16 in.)\nPurchase from the J. H. Wade Fund 1944.485\nThis is known as the Wade Cup, after J. H. Wade who bequeathed the funds for its acquisition\nThe highlight of the cup’s decoration is the inscription around the rim, which you see on the walls around you, with letters composed of human figures, animals, and birds. This is known as animated script and it developed in northeast Iran or Afghanistan during the mid-1100s and migrated westward. The inscription on the rim of the Wade Cup is the pinnacle of this form of script with its full-figure animation. The body of the cup is covered with interlacing bands of compartments containing tiny figures of humans and animals. These represent the 12 signs of the zodiac from astrology, the practice of interpreting the influence of planets and stars on earthly affairs. Astrology began in Mesopotamia, was adopted by the Greeks, and then absorbed into medieval Islamic culture through translations of Greek texts.\nThe information about this object, including provenance, may not be currently accurate. If you notice a mistake or have additional information about this object, please email email@example.com.\nTo request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.\nAll images and data available through Open Access can be downloaded for free. For images not available through Open Access, a detail image, or any image with a color bar, request a digital file from Image Services.", "label": "No"}
{"text": "What Will I Learn?\nAt the beginning of the school year, I like to share with my students and families what units they will study throughout my class. In this presentation, I have included a curriculum overview for grades 3-6.\nThe presentation is organized by grade level and includes priority standards. I wrote them as \"I can\" statements for my students, but also included the National Core Arts Standard reference code for myself, and other teachers!\nThe next slide explains what concepts we will focus on throughout the year.\nEach unit slide shows the standard, a brief explanation of the project, the concept that will be covered, and sample photos of student work for each project.", "label": "No"}
{"text": "Structure grew to become an organized occupation by mid-nineteenth century. Landscape architects might earn over $forty,000 yearly, primarily based on experience and education levels. Lindy says, “it’s the architect’s job to design the venture to satisfy building codes and meet specific structural demands. Architects need to make use of CADD expertise to create plans as part of constructing information modeling (BIM).\nJob prospects for architects are vibrant, and they need to grow a lot quicker than different professions, buoyed by population growth and increased construction actions. Most of these professionals will work 40 hours per week, designing blueprints and consulting with their clients, and they are working environment is fairly comfy.\nAll state architectural registration boards require architecture graduates to complete a prolonged paid internship—typically lasting 3 years—before they could sit for the Architect Registration Examination. Employment of architects is strongly tied to the activity of the construction trade.\nUnless you might be an architect, you probably want one to design or plan a brand new dwelling. They help with fundamental duties, similar to construction design, projects and architectural research. Designers and architects, understand the attraction of the distinctive and one in every of a sort parts for potential buyers, antique architectural doors and artifacts raises the perception of distinctive design.\nAdditional courses in Histories and Theories of Architecture, visual illustration methods, structural considerations in constructing, and entrepreneurial and management abilities make up a supporting programs which are anticipated to be applied in the design work.\nHowever architects won’t just design “one other fairly addition,'” there’s substance there too. Naval architects could possess architecture degrees with a robust background in engineering, including nicely-developed mathematical skills. If you want to be an architect, you may choose from several sorts of skilled degrees in structure.\nArchitects are certified professionals able to designing new buildings, and transforming of outdated buildings. A wide variety of prizes is awarded by national skilled associations and other bodies, recognizing accomplished architects, their buildings, constructions, and professional careers. Architects should be needed to design buildings and structures that effectively use sources, resembling vitality and water conservation; cut back waste and pollution; and apply environmentally friendly design, specs, and supplies.\nArchitects may help clients get construction bids, select contractors, and negotiate development contracts. With developments in the development and civil engineering fields, architecture has additionally developed. In most developed international locations, solely these qualified with an appropriate license, certification or registration with a relevant physique (often governmental) might legally follow architecture.\nThe time factor means that it’s important that you are taking the time to seek out an architect you can work with throughout the venture. With very large, advanced projects, an impartial construction supervisor is typically employed to help within the design and to handle building.\nArchitects plan and design houses, factories, office buildings, and other buildings. While earning your diploma in structure, it’s important that you start to analysis careers available within the area with a purpose to get an thought of what specific path you’d like to pursue upon graduating.\nArchitecture has emerged to be a thriving department of the development industry. The architect will sometimes evaluation contractor store drawings and other submittals , put together and challenge site directions, and supply Certificates for Cost to the contractor (see also Design-bid-construct ) which relies on the work performed up to now in addition to any supplies and other goods purchased or employed.\nArchitects may also play multiple roles, providing inside design, ornament, panorama designing, and even construction on turnkey foundation. Architectural packages include programs on architectural historical past and concept, planning and building materials. When working for a shopper, an architect will first find out the needs of the longer term building house owners, discussing such elements as using the building, in addition to the budget and the requirements that the proprietor has.\nArchitects additionally take care of the unwell effects of the constructing construction on the surroundings and so they at all times try to use such supplies which are eco-friendly and durable.\nLandmark is an expert architectural firm with broad expertise in projects of every kind. Architects specialise in totally different fields among architecture i.e., land, land development, buildings, workplace parks, residential, landscape and the like. Architects are responsible for designing these locations. The websites of architectural professional organizations can also record outstanding architects in different regions.\nAt all times in the design, the architect experiences back to the shopper who may have reservations or recommendations, introducing an additional variable into the design. A coordinated suite of Architectural Design and Theory and Principle and Follow of Building programs kind the core of the diploma programme.\n12 However, the architect can also be increasingly required to provide initiatives in a wider environmental sense, comparable to making provision for low-energy transport, natural daylighting as a substitute of synthetic lighting, pure air flow as a substitute of air con, air pollution, and waste administration, use of recycled materials and employment of supplies which could be easily recycled in the future.\nThe articles included herein relate specifically to ancient and fashionable architectural designs. Utilizing classic Indian doorways salvaged from previous mansions and exquisite carved teak columns, arches within the architectural design brings the royal vintage aesthetic into an city property.\nSo you might be able to embark on a development project. Interns in architectural companies may help design a part of a undertaking. Residential building projects embrace homes, townhouses, apartments, condominiums, cottages, single unit dwellings and subdivisions. All through the challenge (planning to occupancy), the architect co-ordinates a design team.\nRepresentation of oneself as an architect by using phrases and titles is restricted to licensed individuals by regulation, although on the whole, derivatives akin to architectural designer are sometimes not legally protected. You are assured to be working with a constructing professional that has undertaken and efficiently completed no less than seven years of architectural training.\nCollaborate With WDM Architects\nArchitecture has emerged to be a thriving department of the construction industry. Master’s diploma packages final about 3 years and often require college students to complete a thesis undertaking and a sophisticated design portfolio. Architects want a bachelor’s degree from an accredited architectural program followed by work experience and the passage of a nationwide licensing examination.\nProfessional grasp’s degree programs in architecture (.) can be found for individuals who’ve earned an undergraduate diploma in one other main, such as in building management or engineering. In all states, earning a bachelor’s diploma in structure is usually the first step to turning into an architect.\narchitects tour vip, architects near me yell, architects band denver\nArchitects are certified professionals able to designing new buildings, and remodeling of outdated buildings. The college also affords twin degree applications for college students in structure and interior structure. Some architects specialize as building code, constructing envelope , sustainable design , technical writing , historic preservation(US) or conservation (UK), accessibility and other forms of specialist consultants.", "label": "No"}
{"text": "Sketch pad - You can start small, if you wish, at around 5 or 6 inches by 8 or 9 inches. These are good for carrying around with you, in case of a drawing emergency. If you feel comfortable with a larger size, go for it. At this point, you don't need a high grade of paper. The idea is to do lots and lots of sketches, and for this newsprint pads or a sketch pad are cheap and work fine. If money is not an issue, a heavier weight drawing paper, like Strathmore, or even a hardbound drawing book is great. An art supply or office supply store will have these materials.\nDrawing tool - A soft pencil is good, preferably a 2B or 3B drawing pencil. You can also try a felt tip pen or even a ballpoint pen, just to get a different feel. These can all be found at an art supply store, some office supply stores.\nKneaded eraser - These are sold in art supply stores, or some office supply stores. A small to medium size is good, unless you are working on large paper. These can be kneaded after use, to get a cleaner surface to erase with. These only erase pencil marks, not felt tip or ballpoint. There are erasers made for these pens - look in an art or office supply store.\nExercise 1 - Contour Drawing\n(I recommend that you first read Art Instruction, to get the most benefit from this exercise.)\nContour drawing is a good beginning exercise, in the way that practicing scales is good for learning the piano. It uses the element of line to create a three-dimensional outline of objects. Natural objects are especially suitable, like plants, flowers, hands, and the human figure, but it is also good to try drawing non-natural objects, like containers with interesting shapes, or old shoes, which can have a lot of character.\nContour drawing should be done very, very slowly. Place your chosen object in front of you, where you get a good view of it. You will be starting to draw anywhere on the object's edge - but you will be aware of how the object doesn't end at that edge, but continues behind it, usually as a rounded contour, unless the object is geometric, for instance, a cube. (An outline of the object would be two-dimensional, or flat; a contour is three-dimensional.) Keep your eyes on the object as much as possible (try not to look at your paper), and concentrate on what the contour does, every single little curve or meander. Don't worry at this time about getting an exact likeness or correct proportions. If your edge goes into the form, follow it until it ends, and then pick up the contour where you left off.\nTry to feel the line, its jaggedness or smoothness, its curve, its delicacy, or sharpness. If you feel the form going away from you, press down on your pencil. Your progress should be so slow as to be painstaking - don't draw the line until you feel sure of what it does next. It is like climbing the mountain, as opposed to flying over it. And don't think about what the form is, like elbow or leaf - just draw the line/contour and what it does. When you finish the outer contours, you can draw the inside contours, for example, the features on the face, or lines on a leaf. Don't erase for this exercise! You are not making a drawing - you are involved in a process of learning.\nWhen you are finished, don't be dismayed if it doesn't look like a \"real\" drawing. If you do the exercise correctly, and many, many times, you'll see progress as you look back on last month's drawings. Carry your sketchbook with you as much as possible, for when you are in life's waiting rooms. The best time to draw, when you feel confident enough to tackle a figure, is with your family or friends. People are relaxed, in comfortable positions, and unself-conscious - and they make great models. Drawing yourself is good, too - your hands and feet in different positions.\nMaking it fun for yourself is good, too. Draw things that really interest you, and that you love. Play your favorite music, and wear your most comfortable clothes. Save your drawings - you will see progress, I promise! You are learning to SEE. And the more you learn to see, the more you will see, and that knowledge will in turn improve your drawing.\nRecommended Drawing Books:\nThe Natural Way to Draw, by Kimon Nicolaides, Houghton Mifflin Company, Boston, 1941.\nDrawing on the Right Side of the Brain, by Betty Edwards, J.P. Tarcher, Inc., Los Angeles, Distributed by Houghton Mifflin Company, Boston, 1979.\nOnce you have done many contour drawings, and are feeling adventurous, try:\nBlind contour: Try doing the entire drawing without looking at your paper.\nOther hand contour: Try drawing with your non-drawing hand. This will really get you to slow down!\nSuggested Art/Artists for Examples of Line Drawings/Etchings:\nLine has been used in many ways throughout art history; not only with contour drawing, but with variations of the contour. The following are just some examples of the use of line in art: Picasso line drawings (especially portraits) - I was unsuccessful in locating examples of these on the Web; Holbein the Younger (click on the Scholar portrait thumbnail); Leonardo da Vinci;Ingres; Durer (scroll down to see the engravings); Chinese ink drawings (click on the images to enlarge); the sculptor Rodin's drawings; Mary Cassatt etchings (influenced by Japanese prints coming into Europe in the mid-19th century).\nVan Gogh also did many ink drawings using line; rather than limiting his use of line to contours, he used it in the form of variously shaped marks, which serve to create a textural effect, as well as to help delineate spatial depth. A good example of the latter shows how \"empty\" space (the white of the paper) can indicate a sense of spatial depth as much as the actual lines and marks do so.", "label": "No"}
{"text": "In addition to the national thematic foci, the campaign is planned to be raised to the international level over the next few years. Implementation together with European and African Naturefriends associations as well as a thematic expansion to “sea shores” are also scheduled.\nTwenty children from several local Naturefriends groups in Senegal attended a seminar organised by Naturefriends Senegal to learn about water, climate change, waste management/recycling and domestic shrub and tree species, which are of special importance along natural water bodies. Under the seminar motto \"Strengthen your environmental awareness\", excursions were organised for hands-on experience of environmental facts: The children learned about the impacts of climate change on the coast of Senegal and the role of water in ecosystems, got to know the most important domestic tree species and visited the waste treatment plant in Dakar.\nNaturefriends Togo chose \"Water and Biodiversity\" as the title of their seminar in which 40 schoolchildren learned about water and wetland habitats, with a special focus on gallery forests along rivers, which have been a major working area of Naturefriends Togo for many years. The seminar included a visit to a replanted gallery forest, and tree nurseries were founded in a number of schools to provide saplings for further planting along rivers and wetlands in the vicinity of each of the schools.\nFacebook Google + Tweet Email", "label": "No"}
{"text": "Charlotte Bronte was a strong-willed woman with extreme beliefs in self-awareness and individuality, a viewpoint that was tacitly condemned in those times. Throughout her novels Charlotte never failed to collide the main character with the discovery of her true worth. Jane Eyre was Charlotte's most popular novels and happens to beautifully demonstrate the main character gradually becoming in touch with her true self through life lessons.\nThe journey of Miss Jane Eyre begins at Gateshead\nshowed first 75 words of 2035 total\nshowed last 75 words of 2035 total\nIt is clear that Charlotte herself must have gone through Jane's life lessons because the lessons and the form in which they appeared in Jane's life seem too realistic and justifiable. The depiction of the model of a woman who undergoes self-awareness and identity is Jane Eyre, a woman who goes from believing herself plain and common to a strong-willed female who has her new found integrity, no boundaries, but most significantly, no limitations.", "label": "No"}
{"text": "Hosted by Vanos Insulation, 2517 Gideon Drive, Delaware, ON\nPainted by the Delaware Lions Club\nDelaware’s milling story began in 1794 with Ebenezer Allan’s land grant, conditional on the construction of mills for the settlers. By 1796, he had sold the mill to Joseph Kilbourne and his sons, Timothy and Aaron.Allan and the Kilbournes had a long tradition developing mills in New York State and brought these skills to Delaware. Imagine arriving in this wilderness, the nearest blacksmith being sixty miles away. Hand tools and incredibly hard labour created the timber frame for the mill and the mill pond. As for the saws and millstones required, the experienced millers came prepared.\nDelaware quickly became a thriving frontier village. The economy was based on its grist mill, distillery operations, and the harvesting and processing of the pine forest. The lumber was used locally and rafted down the Thames for export.\nDisaster struck in March 1801 as spring floods washed out the mill dam. This along with Ebenezer Allan’s questionable business practices caused the Kilbournes economic ruin. They later set up milling operations at Kilworth, three miles to the east on the Thames River, with their father-in-law Benjamin Woodhull. He too was miller from New York State. By 1804, the Delaware mills were owned and operated by Moses Brigham and Gideon Tiffany. The mills continued to serve the community until the destructive raids of General McArthur in 1814. The mills were all reduced to ashes.\nAaron Kilbourne tells in his biography of the state of despair at the end of the war. With eight small children to feed he was forced to sell one of his remaining oxen and order two barrels of flour from Detroit, 120 miles away. A sorry state of affairs for a miller!\nAnd the secret under the Gideon Drive? Local legend says that the millstones from the historic Delaware mill were used as landfill in the building of the road.\nSource: A KILBOURNE QUEST..LITCHFIELD TO LAMBETH by Clarence W Sadler.\nWritten by Frances Kilbourne, February 2012", "label": "No"}
{"text": "Indoor Air Pollution: Side Impact on Human Health\nNowadays, air pollution is hitting a huge section of our society and people, particularly people with heart disease, respiratory diseases, asthma, older adults, diabetes patience’s and pregnant women. According to doctors, it can be hazardous for our Children Future, as school running kids are proving too much to outdoor air pollution, which are changing their health and making them lungs affection & asthma.\nWhy it’s necessary to limit or reduce the dusty miles and mold that dirties our house air. As, it can be a purpose of causing different health problems and difficulties like coughing, Eyes & Throat irritation, Nose stuffiness, and wheezing.\nInformation to Protect Children from Indoor Air Pollution\nSupport your Home Ventilation System.\nIt’s your efficiency to give your family clean air to give them Healthy Life,to breathe. It would help if you always considered to buy a Home or Condo, which has proper airing. Clean Air will continue replacing the dirty air with fresh air inside the house.\nIn situation, your current home does not have a good air-conditioning way, you need to do something. See all the opportunities and try to communicate with some local interior designer to help you. For proper ventilation, it’s essential to keep your kitchen window always open, so that all pollution from cooking goes out of the window.\nThrough the evening time, open all your house doorways and windows to embrace the fresh air. But, in fact you are living in cities, where there is a red alert about the outside air, please avoid opening the doors in the evening. View some other time, as per your town guidelines.\nBuy Air-Cleaning Plants\n1) Rubber Plant (Ficus robusta): Most efficient at excluding formaldehyde from indoor air and easy to manage. They take less place in our homes, and they require a semi-sunlight to breathe. They swallow exhaled carbon dioxide and transform it to breathable oxygen.\n2) Bamboo palm: This plant can remove formaldehyde from the air, trichloroethylene and benzene (industrial solvent, element from detergents, lubricants).\n3) Areca Palm (Chrysalidocarpus lutescens): Many people favor to keep this plant in their Living Room. It can absorb poisonous gases such as carbon monoxide, carbon dioxide from the air and Pharmaldehyde and provide us with clean oxygen in our houses.\n4) Snake Plant (Sansevieria Trifasciata): People usually prefer to place this plant in their Bedroom Area. The most important component of this plant is that it transforms carbon dioxide into oxygen in the night too and provides fresh Air in Bedroom field.\n5) Money Plant (Epipremnum Aureum): Normally, people have this myth with this flower that by holding this plant in the room, the flow of funds will increase. But, many people do not understand that Money Plant picks the chemical toxins from the air and delivers fresh air into space.\nHere are few more Indoor Plants, you can think purchasing.\nDracaena “Janet Craig” (Dracaena deremensis)\nPhilodendron (Philodendron sp.)\nGolden Pothos (Scindapsus Aures)\nLady Palm (Rhapis excelsa)\nAvoid Smoking Inside the House.\nSay No to smoking inside the home and this is mainly for dads. Please withdraw smoking inside or outside your house. You must already be understanding its side impacts on your health, but smoking can be the most significant cause behind your home terrible air. Hence, Parents should produce a rule of avoiding smoking inside the house premises.\nWithdraw Excess use of Cleaning Tool\nUsually, Indoor Air Pollution arises from the practice of open fires, hazardous fuels or oxidization of perfumes, spray, polishing material and polishing agents. Hence, you should be warned, in what size you are using the washing agents in your home. Always, keep the washing tools in the corner of your house, may be in some box. Also, withdraw the natural aroma spray, as they can produce serious pollutants indoors.\nBuy an Indoor Air Purifier\nPeople should think about purchasing an Air Purifier to get cleared of dust and to enhance the indoor air condition of their home. It’s essential to think about buying an Air purifier. Especially if you have a pregnant in the home, Infants or Toddlers. For their health and to hold them safe from undesired health issues. There are many kinds of reasonable air purifier in the markets. You don’t need to buy any fancy air purifier, the value which suites your family requirement.\nKeep your Pets Clean.\nDo you understand that your pets fury takes in a lot of allergens, which requires to be taken care of. Don’t let your pets to sit on the sofa or beds, as they left their wool and dander bits. Try to hold your pets clean, as much as possible, to avoid undesired health problems. Some Air Purifier additionally has a filter, which excludes the hair and dander particles.\nMore Simple Tips:\n- Make a habit of cleaning your home Air conditioner filters, particularly air wings on every weekend, to have the dust bits away from your room.\n- Always clean or vacuum your house.\n- Say no to work of chemical cleaning stuff, air fresheners and candles.\n- You can analyze buying a dehumidifier to manage moisture and allergies.\n- Try to wipe the clothes outside under the daylight. Elude drying the wet things inside the house balcony. And in the matter, if you don’t have any option, then always remember to unlock the windows.\n- Keep your Kitchen doorways or window open for airing.", "label": "No"}
{"text": "A memorial to honour the men of the New Zealand Tunnelling Company was unveiled in Waihī today. The WWI military miners were sent to dig under enemy trenches and destroy them.\nOn the main streets of Waihi, a full military service parade.\nTo commemorate soldiers from the NZ Tunnelling Company who fought in World War one.\nTheTunnelling Company soldiers specialised in sapping and mining. They created tunnels during the First World War.\nSome of these soldiers were of Cook Island descent. Today a contingent from the Islands attended the commemorations.\nWaihī is notable for its history as a gold mine town.\nAs part of the commemorations 29 miners who lost their lives in the Pike River Coal mine in 2010 were also remembered.\nThis 7.5 metre high sculpture memorial has taken eight years to establish to commemorate the soldiers and miners who lost their lives.", "label": "No"}
{"text": "The Persians achieved unity under the leadership of Achaemenes, whose descendant Cyrus brought the Achaemenian Empire onto the centre stage of world history. Cyrus was the descendant of a long line of Persian kings and should be referred to as Cyrus II, having been named after his grandfather.\nAccording to the writings of Herodotus, the last ruler of the Medes, Astyages (585 - 550 B.C.) was defeated and captured by Cyrus in 549 B.C.. In all probability Cyrus had the support of the Babylonian sovereign Nabonidus. The Persian king overthrew the Median empire and seized Ecbatana (Place of Assembly), which became his capital. He spared the defeated ruler, preferring not to indulge in the mass killings, which until then had been a feature of Assyrian victories. On the contrary he brought nobles and civilian officials, both Median and Persian, into the government of his kingdom.\nFrom 546 B.C., Cyrus II applied himself to the task of attacking the powerful kingdom of Lydia, where the famous Croesus ruled. There were two battles, then Cyrus besieged and captured Sardis before going on to subdue the rich Greek cities. From this point onwards Cyrus was master of all Asia Minor. He now turned his attention towards his eastern frontiers and conquered a string of provinces one after the other, even crossing the Oxus in order to reach another river, the Jaxartes, which flows into the Aral Sea. A number of fortresses were then built for the purpose of keeping out the nomads of Central Asia.\nIn 539 B.C., the Persian sovereign assembled the bulk of his army and left his capital, Ecbatana, to follow the course of the Tigris down to Babylon, where he attacked Nabonidus. The city which had been capital of Mesopotamia for a thousand years offered little resistance, and welcomed Cyrus as a liberator.\nAs usual, Cyrus showed magnanimity in victory. The respect he showed for the religions of others earned him the homage of all Babylonians; Syria and Phoenicia thus came under Achaemenian law. Cyrus the Great now held sway over all the kingdoms of the Near and Middle East. In the space of less than twenty years he had assembled the greatest empire the world had ever seen. All he needed now was Egypt! However, soon after his son Cambyses had been entrusted with making the preparations for such a campaign, Cyrus himself was killed in battle on the eastern frontier of his empire.\nWhen Cyrus died in 530 B. C., the Achaemenian Empire was well established. The sovereign had founded a new capital city at Pasargadae in Fars. Similarly, he had worked out the administration of the empire, appointing a governor, or satrap, to represent him in each province. He imposed an annual tax in the form of a tribute on all the races he conquered, to which the Achaemenian power owed much of its wealth and magnificence.\nCyrus was succeeded by his son Cambyses II (530-522 B.C.). After a victorious campaign against Egypt, he annexed the country to his father's empire, but during his absence the throne was seized by the Magus Gaumata, and the King died mysteriously. However, Darius I (522-486 B.C.) ended this reign, when he proclaimed himself the legitimate king. He then continued the work of Cyrus, creating 23 provinces, or satrapies, and building the administrative and religious cities of Susa and Persepolis.\nA view over Persepolis from the mountain Kuh-i-Rahmat\nThe magnificent palace complex of Persepolis was founded around 518 B.C., although more than a century passed before it was completed.\nThrough his military campaigns, Darius extended the frontiers of the empire; in the east, around 512 B.C., he conquered Gandhara and the Indus Valley, while in the west, he attacked the Scythians, whom he never managed to subdue, and then turned against Greece.\nWhile attempting to put down a rebellion in Egypt in 490 B.C., Darius suffered a humiliating defeat at Marathon, near Athens. He died in 486 B.C. without renewing his attack on Greece.\nAfter the death of Darius, the immense empire established under the first Achaemenian rulers was threatened, as Persian authority could no longer contain the rebellions of the satrapies.\nXerxes (486-465 B.C.), the son of Darius, put down revolts in Egypt and Babylonia with great severity and renewed the struggle against Greece. He quickly subdued Thessaly and Macedonia, then captured Attica and Athens, which he burned down; however, in 480 B.C. the Persian fleet was destroyed at Salamis.\nDiscouraged, Xerxes returned to Persia, and never left again. Gradually, the immense empire disintegrated; the Greek cities in Ionia, Egypt, then Pheonicia and Syria broke away, followed by the regions to the west of the Euphrates. Artaxerxes III (358-338) made one last attempt to reunite the empire, brutally taking back Egypt and quelling the revolt of the satraps, but a new power was already emerging in West-Macedonia.\nThe last Achaemenian ruler, Darius III (336 - 330 B.C.) was weak, and his cowardice at two major campaigns, the first at Issus (333 B.C.) and the other at Gaugamela two years later surrendered the empire to Alexander.\nFor more information on the background, life, and achievements of Cyrus the Great, please visit our section entitled:\n\"Cyrus the Great, The Phenomenon\"\n|Persia or Iran||Top of page|\nPersian Art Through the Centuries\nCopyright© 1998 K. Kianush, Art Arena", "label": "No"}
{"text": "|Catalog Number||USNM 401|\n|Locality||Arizona, United States|\nFrom the exhibit\nFrom the tiniest meteoroid to the largest planet, bodies sweep through the Solar System at tens of thousands of kilometers per hour. When collisions occur and they still do the enormity of the impact can surpass anything in human experience.\nOnly in the past century did we begin to understand this violent process. And not until the 1950s did we realize the crucial role impacts have played in forming our world and other bodies in the Solar System.\nScientists began to recognize Earth’s many impact craters only after 1905, when industrialist Daniel Barringer showed that what we now call Meteor Crater, in Arizona, was excavated by a meteorite collision.\nLandscape mode is not currently supported for this website", "label": "No"}
{"text": "It is a strange architect who uses lithographic stones to pave the ground of a home. If it is even an ardent Daumier collector and art dealer, one wonders even more. Yet this is exactly what happened in the 1940s. The collector was the father of J. Frapier who had owned a certain number of stones which were hidden during the German occupation until 1945 in his house in Royan, France. They were later used for construction work at his villa and thus disappeared…\nThis story (told by Roger Passeron in his 1968 Blois exhibition catalogue on page 11) and the fact that we had found only very few remaining lithographic stones by Daumier enticed us to look into this fascinating medium and working tool. After all, of the approx. 4000 lithographs done by Daumier there ought to be plenty of stones around. We started looking.\nOver a period of 8 years we were able to locate only about twenty stones of which the largest collection, 14 stones attributed to Daumier, were originally at the Musée Cantini in Marseille and were now supposed to be at the Musée des Beaux-Arts in Marseille. Two of them were shown in a Daumier exhibition in 1947 together with an old lithographic press. To our knowledge, only two stones are presently in private collections, while the remaining four are spread in museums such as Boston, Bibliothèque Nationale, Hammer Collection etc.\nOn December 20, 2007 we were informed by the curator of the Musée des Beaux-Arts in Marseille that indeed the 14 stones mentioned by Cherpin were not part of the Museum’s collection, nor did they belong to the Musée Cantini in Marseille. He believes that these stones were in 1947 most likely part of a private collection and they may have been lent on exhibition during the period described by Cherpin. We are presently trying to collect more information about the whereabouts of these 14 stones.\nAn article in the 1948 edition of ‘Art et Livres de Provence’, Marseille, p.155/156 describes with some consternation that several of the 14 stones of the Cantini Museum showed remarkable differences in text or printer’s address to the final print published in the Charivari. It seemed difficult to ascertain the reason for these differences and so far the Museum has not found a satisfactory answer to this question.\nLet us review for a moment the practice of Daumier’s printing process.\n1) Daumier drew directly on the stone. The stone was then hand-delivered to the editor/printer.\n2) The printer added a text (which was composed by a journalist). A few prints on “papier mince” were done, one of which was sent for approval to the censor’s office.\n3) After approval by the censor, one or two prints were done separately on “papier Chine” for special collectors (with or without text), who cherished the highest printing quality available.\n4) In case the editor considered to later use the stone for an album or for single prints, an unknown but relatively small number of prints was done on wove paper (sur blanc) and put aside.\n5) Finally the stone was used to print those lithographs which were to appear in the Charivari newspaper.\n6) Once the printing process was finished, the drawing on the lithographic stone was erased by hand so the stone could be used again for a new lithograph. In the course of this process, the stones lost their thickness over time from initially some 10 cm to about 3 cm until they became too thin and risked to break. They were finally discarded. This explains why hardly any of the original stones carrying the original image produced by Daumier are left at the present time.\nWe suspect however that between points 4 and 5 there may have been a step which possibly has been overlooked so far. It has to do with the number of prints executed from the stone:\na) We know from the information contained in www.daumier.org that the Charivari during its heyday averaged a daily output of more than 2000 papers.\n–> It would indeed seem strange to assume that the same lithographic stone was used for printing on papier mince, papier chine, sur blanc as well as for newsprint.\nb) The editor, Mr. Aubert, would only know AFTER the appearance of a print in his newspaper whether the lithograph was successful with the public. Popular lithographs were reprinted on a better quality paper (wove paper) sur blanc on single sheets and/or sold in albums to collectors at a high price.\n–> After having used the stone for 2000 or more newsprints, the lithographic stone must have shown signs of wear and loss of printing quality. It would therefore hardly seem plausible that the printer would have used the same used-up stone for a high quality print on wove paper to be sold in an expensive album.\nWe therefore must assume – and this was confirmed by several printing specialists we recently contacted – that the ‘original stone’ was marked on the side with a colour code for later identification and set aside in a depot right from the beginning as a reserve for an eventual use at a later date.\nSince the early 19th century printers had developed ways to produce copies from an original lithographic stone. The system, described in detail by. F. Brunner in his “Handbook of Graphic Reproduction Processes” was called transfer stone or autographic stone. A sheet of rubber, special transfer-paper or even animal skin was prepared in such a way that a copy could be made from the ‘original stone’ and transferred onto a second ‘autographic stone’.\nThe pressure of a daily newspaper production process must have been the reason for a certain negligence in the details. Differences in size of the print which appeared on the two stones as well as a certain loss in print quality seemed to be almost unavoidable. This is clearly visible when comparing the stone with a sur blanc print and a Charivari print of the same lithograph. It occurred that sometimes parts of the address on the newspaper print (located underneath the image) looked faded or slightly “squashed”, a typical result of the use of a transfer stone.\nGoing back to the observations of the Musée Cantini mentioned above, the answer now seems evident: The editor/printer Aubert may have lent (against a fee) the original stone to another printer who wanted to use the image to produce a separate album on wove paper. Naturally he would have replaced Aubert’s address with his own; he may also have changed parts of the caption to fit his purpose.\nThe above explanations show how important it is to carefully evaluate various criteria of a lithographic stone offered on the art market. Is it the original or an “autographic stone”? Or could it even be a recent copy that has been used to do a modern reprint? In our opinion an old autographic stone should still be considered a collectors item, although it is not an original (like the mother-stone).\nThe age of a print on a lithographic stone should be examined. Nowadays an experienced lithographer can easily transfer an old Daumier print as an (almost) identical image onto an old lithographic stone (German: Umdruckverfahren). Some of the quality will possibly get lost and some details may appear “squashed”. For demonstration purposes such an experiment was done by Dr. J. Albrecht in his publication for the 1996 Daumier Exhibition in Schaffhausen, Switzerland. (p. 28/29) where he did a (clearly marked) reprint of DR 763 from a transfer stone.\nObviously, the price difference between originals (mother stones) and copy stones (autographic stones) is remarkable. An original Daumier lithographic stone must be considered being as rare as a drawing by Daumier, since that is exactly what it represents. Depending on the importance or beauty of the subject it can easily reach a six figure price level. The last sale of one of these stones we were able to trace back was sold for 40’000 Swiss Francs in the 1960’s at an auction (equivalent at that time’s exchange rate to about 10’000 US $). An autographic stone however is just a reprint on a stone from the same period, which has been transferred by use of a carrier such as a transfer paper. As shown above, such a stone should no longer be considered an original. Lately a number of stones were sold for about 160 $ a piece by an auction house in the Netherlands. The price level seems to suggest that they may have been autographic stones.\nOriginal lithographic stones by Daumier are as close as one can possibly get to see, touch and understand Daumier’s lithographic oeuvre. It will be in the collector’s interest however to ascertain that a stone which is offered meets the criteria described above. Besides establishing the age of the stone (which can be a rather harmful process) one should carefully examine the printing result and pay attention to eventual differences in size, depth and appearance between the drawing on the stone and the finished print versions on newspaper and sur blanc. Often the newspaper version will show loss of details still found on the sur blanc version. If the sur blanc print is identical with the stone image, chances are good that this is the “mother stone” (which was reserved especially for sur blanc prints). If it were an autographic stone, one would most likely be able to see the losses in detail which had occurred during the transfer.\nOther aspects of importance are the grain of the stone, the origin and quality of the printing colour used, the provenance (going as far back as possible in the history of the stone) to name just a few.\nAs so often in Daumier’s oeuvre one can assume that fakes would be done from attractive themes such as lawyers, doctors, genre-scenes, which would sell easily. This holds true for lithographs but also for stones. Therefore one should be careful if such stones are being offered; they might have been produced recently with the intention of making modern reprints of popular themes. Political scenes or more general, unattractive topics however would hardly entice a forger to spend time and effort, since such stones would be rather difficult to sell.\nThus most of the stones found in museums can with very few exceptions be considered thematically ‘coincidental’, as they should be.\nIn case of doubt, the opinion of an expert might shed some light. An experienced printer who is still familiar with working on an old lithographic printing press may be of great help. We have been very fortunate to have found several who proved to be extremely knowledgeable in this matter. These printers look at the stones with the eye of an artisan/craftsman rather than an art historian and they have a practical way of tackling the problem. Another expert could be an art historian or a curator who could explain the possible historic traps.\nIn any case, the old recommendation is valid here too: Buyer beware!\nMaybe Mr. Frapier knew exactly what he was doing when using his lithographic stones for flooring…?\nDR 3247 – Illustration of a lithographic “motherstone” (Private Collection)\nLithograph by Bourdet, Charivari August 6, 1835 showing lithographic stones. Photo with kind permission by Pierre E., Bordeaux, collector.", "label": "No"}
{"text": "Oftentimes, when developing and delivering instructional videos for an online course, we wonder how many students are actually watching and, perhaps more importantly, understanding the information. Carmichael, Reed and Karpicke (2018) note that video aids in the learning process and can likewise influence students to remain engaged with course content. Still, there are times when we question the level of engagement from one student to the next after they have failed to follow the instructions or demonstrate a fundamental misunderstanding of course content. In addition to viewing analytics, such as those available in Kaltura Mediaspace, there is a simple method instructors can employ.\nEnter the Easter egg.\n“Easter eggs’ are commonly used in movies to depict clever meanings, reference a joke or sometimes hint at other associated films. Viewers must focus on the film in order to find these hidden meanings and references. While an Easter egg drop to a hidden reference may prove impractical for instruction, inserting an Easter egg that encourages a student to watch a video from start to finish can be an effective way to win students’ attention.\nDeveloping an Easter egg to either encourage or reinforce student engagement is a relatively easy process. One form of an Easter egg may be to plant an extra-credit opportunity in a video. For instance, while developing a video overview of the class each week, I will take a brief pause at some point during the overview and ask a question regarding some aspect of the material being covered. My intent is to keep it brief, ask the question and to ask the students to respond to me at some point during the week with an answer. Those who find the extra-credit Easter egg and email me with their response earn a couple of points on their grade.\nIn weekly videos for his Massive Online Research Experience (BIOL F193) course, Abel Bult-Ito uses a Snoopy doll as a subtle kind of Easter egg. Each week, he places the doll in a different spot in the background of his webcam video. Students who notice have remarked that it added a motivating factor, if small, to each video viewing. While there is no extra credit attached to finding the doll, it adds a layer of potential engagement and Bult-Ito found it motivating in his own quest to produce 108 short videos for his course.\nEaster eggs can be both playful and motivating but should not be treated as a catchall solution for student engagement with video content. If the video does not use best practices for instructional videos, it will be difficult to obtain the level of engagement needed to ensure that students absorb the content. Before instructors attempt the Easter egg approach, they should review their videos for quality. If many students are not watching the videos, survey the class for feedback before attempting engagement tactics.\nThere is some labor involved in warning students of the Easter egg (thus encouraging them to watch) and balancing extra-credit opportunities with the total number of points for the course. The benefit of planting an Easter egg however may be a higher rate of student engagement as a result of a more determined examination of the video narratives. Ideally, this should translate into a reduced number of student questions from those who did not previously watch the videos while simultaneously reinforcing the desire of other students to pay more attention.\nThis tip is the first in a series of teaching tips written by the 2019-20 participants from UAF eCampus’s Expanding Pedagogies, Innovative Courses (EPIC) program. EPIC supports UAF instructors working together to build and deliver innovative online courses. More information about EPIC and other faculty development opportunities with eCampus.\nCarmichael, M., Reid, A. K., & Karpicke, J. D. (2018). Assessing the impact of educational video on student engagement, critical thinking and learning: The current state of play. white paper, Sage Publishing, available at: https://au.sagepub.com/en-gb/oce/press/what-impact-does-video-have-on-student-engagement (accessed 6 June 2018).\nCameron Carlson, Ph.D., PMP, is the program director for the Homeland Security and Emergency Management undergraduate and graduate degrees within the School of Management. He is also a member of the Federal Emergency Management Agency (FEMA) Science of Teaching and Learning (SoTL) focus group.", "label": "No"}
{"text": "Translating their designs for the lithographic stone or wooden block helped modern printmakers to achieve ‘flat’ compositions of lines, planes, patterns and colours.\nFor inspiration, these artists looked primarily to Japanese wood block prints, admiring their bold outlines, elongated silhouettes, large expanses of colour and unconventional viewpoints.\nSymbolist printmakers learned from these examples that it was not necessary to represent the world as a naturalistic illusion.\nBy carefully arranging their prints into decorative compositions, they sought — like their Symbolist counterparts in music and poetry — not only to stimulate their viewers’ senses, but also to touch their souls.\nArtists introduced decoration into everyday life by producing autonomous fine-art prints and commercial graphic work, primarily for their own, closed cultural worlds of theatre, music and literature.\nOn the other hand, their posters and magazine illustrations were intended for everyone.\nBrightly coloured advertisements adorned the grey streets of Paris, where these ‘frescoes for the crowd’ could indeed be admired by all.\nPatricia Eckert Boyer, ‘L’Estampe originale and the Revival of Decorative Art and Craft in Late Nineteenth-Century France,’ in L'Estampe originale. Artistic Printmaking in France 1893-1895, Zwolle 1991, p. 26-49\nGloria Groom, Nicholas Watkins, Beyond the easel: Decorative Painting by Bonnard, Vuillard, Denis and Roussel 1890–1930, New Haven 2001\nKatherine M. Kuenzli, The Nabis and Intimate Modernism: Painting and the Decorative at the Fin-de-Siècle, Ashgate 2010", "label": "No"}
{"text": "Description & Technical information\nThis is the illuminated dedication copy made for Louis II, the 5th Duke of Orléans-Longueville, when in 1524 he inherited the duchy (created in 1505) from his brother, Claude, who died in battle. Written by a hitherto unknown author from the famous Baudreuil family (and his only known work), the text, existing in four other copies, remains unedited, and the present manuscript is the only one that is illustrated. The text confirms the Duke’s rights to the duchy and other lands, and the prefatory allegorical miniature by the Master of the Paris Entries commemorates the transfer of the fiefdom of Châtelaillon amongst the lands of the Orléans-Longueville and refers to its alleged mythological origins, which are glorified.\nDate: 1525 (likely after 1524)\nPeriod: 1400-1600, 16th Century\nOrigin: France, Paris\nCategories: Illuminated Manuscripts & Medieval Works of Art\nDiscover the gallery\nMedieval Works of Art including Illuminated Manuscripts, Miniatures, Books of Hours and Rings\nMore Works From This Gallery\nSCHEMBART (\"hiding beard\") CARNIVAL BOOK\nGold Ring Franciscus South Miles\nGold Ring with Openwork Hoop\nPanel with Banderoles\nPosy Ring \"God Above Increase Our Love\"", "label": "No"}
{"text": "What Is The Stolen Generation?\nWhat is the Stolen Generation?\nStolen Generation or Stolen Generations is the name given to those children of Aboriginal and Torres Strait Islander descent who were taken away from their families and communities by Federal and State government officials, missionaries, and welfare bodies.\nThese children were put into institutions or were fostered or adopted into non-Aboriginal families. They were raised away from their traditional culture and were denied any link or connection with their traditional influences and values.\nThe children had to adopt the white way of life and had to adopt the values of Anglo society.\nTo achieve this the children were isolated from their families and were educated in the European way.\nThis period in Australia’s history is now regarded as a dark and blemished chapter.\nChildren at risk\nThe children were found to be at risk from different kinds of abuse and many were never to see their parents, siblings or relatives again.\nUnder various Federal and State legislation government officials had the power to take charge of Indigenous children whom they\nthought needed care, custody and education. At least this was their justification.\nThe laws that permitted this led to generations of children being removed from their families right up until the 1970s.\nIn 1997 a national enquiry into the story of the Stolen Generations was conducted. This resulted in the historic report called Bringing Them Home.\nThe Bringing Them Home report concluded that between one in three and one in ten Indigenous children were forcibly removed from their families and communities in the period from approximately 1910 until 1970.\nWhy did they take the children?\nUnder the Protection policy in the 1800s Aboriginal people started moving to missions that were being established. In the missions they were introduced to European beliefs and values.\nThey had to adopt the Christian religion and they also became a source of cheap labour.\nWhen it seemed that Aboriginal people were dying out the British decided “to protect” the surviving people.\nMany Aboriginal people died as a result of violent conflict between Aboriginal people and the European invaders of their lands.\nThe first one hundred years from 1788 was marked by constant warfare. The heirs of the generations and generations of Aboriginal people who had occupied the continent for 60 000 years fought and died in defence of their lands.\nThere were killings and massacres throughout Australia. Once the warfare began it was constant, the last recorded massacre being in 1928.\nLoaded guns hung in every room of every station homestead in Queensland and the Northern Territory until the twentieth century.\nInitially the Indigenous Australians underestimated the power of the European firearms. Slowly and bloodily they learned by experience that the musket was more powerful than any weapon that they had ever devised.\nIn the 1840s in Victoria a group of Aboriginal warriors attacked a party of armed and mounted men. The mounted force wiped them out.\nIn defence of their lands Aboriginal people turned to economic and guerrilla warfare and started destroying the property of the invaders. They destroyed sheep and cattle.\nIn retaliation the invaders poisoned waterholes.\nEuropean diseases took hold among Indigenous people. Many were forced to live on government rations and suffered malnutrition and terrible illnesses.\nBecause colonial governments (Australia did not have aFederal government until 1901) thought Aboriginal people were on their way to becoming extinct they introduced protectionist legislation.\nThis protectionist legislation was designed to control and segregate Aboriginal people from mainstream white society – deciding where and how they should live.\nVarious denominations of missionaries set up mission stations in different parts of the continent. The plan was to protect Aboriginal people and train them in Christian ideals. Around ten missions were set up in New South Wales alone.\n1869 saw the establishment of the Victorian Board for the Protection of Aborigines. Children could be removed to a reformatory or industrial school or removed from station families to be housed in dormitories.\nThe other colonies followed suit with New South Wales (1883), Queensland (1897), Western Australia (1905) and South Australia (1911).\nLaws designed to protect Aboriginal people meant government authorities, like a Chief Protector or Protection Board, were given extensive powers to control Aboriginal people.\nIn some States and the Northern Territory these authorities became the legal guardians of Aboriginal people. Parents lost all rights to their children.\nThese laws caused a further breakdown of traditional Aboriginal culture.\nIn 1883 when the Aborigines Protection Board in New South Wales had been set up to “care” for Aboriginal Australians, it had the power to remove children from their parents and families. It was also illegal for people of mixed descent to live on Aboriginal reserves.\nIn the early twentieth century under the assimilation policy white Australians thought the Aboriginal race would eventually die out. A systematic plan had been put into place to wipe out the Aboriginal race forever.\nWithin a few generations it was figured that Aboriginal genes would be ‘bred out’ when Aboriginal people had children with white people.\nIf the Aboriginal race was eventually eliminated the so called “Aboriginal problem” would be removed.\nTaking on the values of white Australia\nWhile the population of Aborigines of full descent declined, the population of mixed descent increased.\nGovernments decided that people of mixed descent should be brought into the Australian work force so they didn’t have to depend on government rations and forced to take on the values of white Australia.\nThe laws permitted governments to remove children of mixed descent from their families and place them with white families for whom they would work.\nChildren could be removed from a very early age. They were made to live in dormitories until the age of 14. Then they were sent off to work on missions, in settlements, or with white families.\nThe policy of assimilation meant that in 1937 children of mixed descent had to be educated in the European system. If they were educated into adopting white values they would take their place in white society.\nBy 1941 state government institutions and missions were given extra funding to remove even more children from their families. The reason was that they were “neglected” children. As the institutions became overcrowded more and more children were placed into white families.\nEven the identities of these children were denied. The children were given new names and all effort went into ensuring that these children never saw their parents again.\nIf the children did have some contact their letters were censored. Often children were told that their parents had died or that their mothers did not want them any more.\nMothers were told similar lies about their own children. Often children were lost from their families forever.\nAuthorities wanted all traces of Indigenous cultural heritage removed so that Aboriginal and Torres Strait Islander children would eventually become assimilated into white society.\nA Wiradjuri story\nIris Clayton a Wiradjuri lady from Leeton, NSW was a member of the Stolen Generations. Wiradjuri lands took in much of south, central and western New South Wales.\nHer family lived at Wattle Hill and the houses there were made of old kerosene tins found at the tip. The tins were flattened out and nailed to wooden posts to form walls of the house.\nIris was the eldest of 9 children. Officials from the Aboriginal Protection Board started coming around when Iris was 11 years old. Their father had left home. The officials advised her mother that Iris and her siblings would be better off living in a home.\nIn the mid 1950s officials came to take the children away.\nThe children were taken to the train not even having enough time to say goodbyes to friends and relatives.\nThe children were taken to Cootamundra Girls’ Home. The girls were primarily trained to be housemaids. They had to clean the Home from top to bottom before breakfast. Then they had to go to school. After school it was back to work attending to domestic duties.\nThey were not allowed to speak their traditional language. Punishment was severe if you did.\nMany of the girls at the Home didn’t know who their parents were or where they had come from as they had been taken away as babies.\nFor the majority of Aboriginal children, being taken away from their families and communities was not in their best interest. According to The Little Red Yellow Black book “The institutions and church missions where most children were placed suppressed their knowledge about their own families, language and culture. In some places discipline was enforced with heartless and brutal punishments.”1\nThe Coalition Government (1996-2007) under Prime Minister John Howard did not respond formally to the Bringing Them Home Report until December 1997 which was seven months after it was released.\nWhile Prime Minister Howard expressed his personal sorrow for the victims of past injustices he was opposed to his government saying “Sorry”.\nThere were three reasons for Howard taking this stand.\nThe first was that he was of the opinion that past government laws and policies were made in the best interests of Indigenous children. Secondly, Howard saw no reason why people of today should accept responsibility for decisions made in the past.\nHe didn’t feel that his government should apologise for the actions of past governments.\nAnd finally, Howard thought there would be a rush of compensation claims should his government say sorry.\nOn Wednesday, 13 February 2008 the then Prime Minister, Kevin Rudd made his opening address to the newly elected Australian Parliament. In this landmark address Rudd apologised to all Indigenous Australians and to the Stolen Generations in particular for past laws and policies that had caused so much grief, suffering and loss.\nRudd’s Apology said “We apologise for the laws and policies of successive Parliaments and governments that have inflicted profound grief, suffering and loss on these our fellow Australians…For the pain, suffering and hurt of these Stolen Generations, their descendants and for their families left behind, we say sorry.”2\nRudd’s Apology occurred ten years after the Bringing Them Home Report which was released on 26 May 1997.\nOn the 26 May each year now there is an Australia wide observance of National Sorry Day. This day provides the opportunity for people to come together and share the process towards healing. This is healing for the Stolen Generations their families and communities.\nIt’s a day of remembrance for those members of the Stolen Generations and their families and their communities who were taken away from their families by force.\nIn 1998 on 26 May the first National Sorry Day was held. This was a year after the publication of the Bringing Them Home Report when all those Indigenous children who had been removed from their families and communities was acknowledged and publicised. Not only that but it was acknowledged that those responsible for this dark and blemished chapter of Australian history were the Australian governments, their officials, and the missionaries.\nBarlow, Alex & Hill, Marji The Macmillan Encyclopaedia of Australia’s Aboriginal Peoples. South Yarra, Vic, Macmillan, 2000.\nClayton, Iris & Barlow, Alex Wiradjuri Of The Rivers and Plains. Port Melbourne, Vic, Heinemann, 1997.\nHill, Marji First People Then And Now: Introducing Indigenous Australians. Gold Coast, Qld, Prison Tree Press, 2017.\nHill, Marji Saying Sorry To The Stolen Generations: The Apology. Melbourne, Pearson, 2009.\nHill, Marji & Grassby, Al Six Australian Battlefields: The Black Resistance To Invasion And The Whie Struggle Against Colonial Oppression. North Ryde, NSW, Angus & Robertson, 1988.\n1 Pascoe, Bruce The Little Red Yellow Black Book: An Introduction To Indigenous Australia. 3rd ed. Canberra, Aboriginal Studies Press, 2012.\nAuthor: First People Then And Now: Introducing Indigenous Australians. Gold Coast, The Prison Tree Press, 2017.", "label": "No"}
{"text": "THE ENGLISH GARDEN\nAND THE BOTANIC GARDENS\nThe Stowe House\nStowe, Buckinghamshire, United Kingdom; 1677-1779; architects: John Vanbrugh, James Gibbs. More info on Wikipedia: The Stowe House.\nPlan from N. Vergnaud architect: \" L'Art de créer les Jardins\", Paris, France, 1825. Source: ETH-Bibliothek Zürich, website: e-rara.ch.\nThe Wilton House\nnear Salisbury in Wiltshire, United Kingdom; 1630 and later; architects: Inigo Jones, James Wyatt. More info on Wikipedia: The Wilton House.\nLondon, United Kingdom of Great Britain and Ireland; 1637 and later; architect: Decimus Burton and others. More info on Wikipedia: Hyde Park.\nPhilip Henry Delamotte (1821–1889), photographer, Smithsonian Libraries: \"The Crystal Palace (by Sir Joseph Paxton architect, 1803-1865) in Hyde Park for Grand International Exhibition of 1851\". Source: Wikimedia Commons.\nJardin des plantes\nin Paris, France; 1635 and later. More info on Wikipedia: Le Jardin des plantes de Paris.\nImage taken from the book: \"Jardin des Plantes. Les serres\" by Gaëtan Cathelineau, year 1821. Source: Bibliothèque nationale de France, website: gallica.bnf.fr.\nAt Jardin des Plantes, Paris. Photograph by Michele Leonardi.\nRoyal Botanic Gardens\nKew, Great London, United Kingdom; 1759 and later; architects: Sir William Chambers, Decimus Burton (the Palm House) and others. More info on Wikipedia: The Kew Gardens.\n\"Exploring The Kew Gardens\". Photographs by Michele Leonardi.\nWilliam Marlow (1740/41–1813): \"View of the Lake and the Island from the Lawn at Kew\", 1763. Source: THE MET - The Metropolitan Museum of Art, New York City, U.S.A.\nImage taken from the book: \"L'art des jardins: parcs, jardins, promenades\" of Alfred-Auguste Ernouf, year 1886. Source: Bibliothèque nationale de France, website: gallica.bnf.fr.\nGiardini Reali di Monza\nin Monza, near Milano, Italy; 1783; architect: Giuseppe Piermarini. More info on Wikipedia: Giardini della Villa Reale di Monza.\nnear Dessau, Germany; 1790 and later; architect: Friedrich Wilhelm von Erdmannsdorff. More info on Wikipedia: Das Dessau-Wörlitzer Gartenreich.\nThe English Garden\nof Reggia di Caserta\nin Caserta, Italy; 1798 and later; architects: Carlo Vanvitelli and others . More info on Wikipedia: The English Garden of Reggia di Caserta.\nin Bad Muskau, Görlitz, Saxony, Germany; and Łęknica, Żary County, Lubusz Voivodeship, Poland; year 1815; architects: Eduard Petzold and others. More info on Wikipedia: Muskauer Park.\nin London, United Kingdom; c. 1833; architects: John Nash, Decimus Burton, and others. More info on Wikipedia: Regent's Park.\nin Laxenburg, Austria; 1835; architects: Johann Ferdinand Hetzendorf von Hohenberg and others (the gardens). More info on Wikipedia: Franzensburg.\nReggia di Capodimonte\nin Neaples, Italy; c. 1850; architect: Federico Dehnhardt (risistemazione a giardini all'inglese). More info on Wikipedia: The English Gardens of Reggia di Capodimonte.\nSintra Pena Palace\nin Sintra, Portugal; 1854; architect: Wilhelm Ludwig von Eschwege. More info on Wikipedia: Parque e Palácio da Pena.\nNew York, United States of America; 1857; architects: Frederick Law Olmsted e Calvert Vaux. More info on Wikipedia: Central Park.\nWinslow Homer (1836–1910): \"Skating on the Ladies' Skating Pond in Central Park, New York \", from Harper's Weekly, Vol. IV, Harper's Weekly Publisher, January 28, 1860. Source: THE MET - The Metropolitan Museum of Art, New York, U.S.A. Website: www.metmuseum.org .\nin Paris; year 1867; architect: Jean-Charles Alphand. More info on Wikipedia: Parc de Buttes-Chaumont.\n\"Il pleut aux Buttes-Chaumont\". Photograph by Michele Leonardi.\n\"Parc des Buttes-Chaumont\", 18XX. Source: Bibliothèque nationale de France, website: gallica.bnf.fr.\nAgence de presse Meurisse, Agence photographique: \"Vue de Paris : les Buttes Chaumont, le Belvédère\", 1926. Source: Bibliothèque nationale de France, website: gallica.bnf.fr.\n\"L'amour au parc des Buttes-Chaumont\". Photographs by Michele Leonardi.\nin Waddesdon, Buckinghamshire, United Kingdom; 1874-1889; architect: Hippolyte Destailleur. More info on Wikipedia: The Waddesdon Manor.\nin Milan, Italy; 1893; architect: Emilio Alemagna. More info on Wikipedia: Parco Sempione.\nin Berlin, Germany; 1894; architects: Karl Friedrich Schinkel and others. More info on Wikipedia: Viktoriapark.\nFrom the book: \"Choix des plus célèbres maisons de plaisance de Rome et de ses environs\" by Charles Percier, Paris, France, 1824. Source: ETH-Bibliothek Zürich, website: e-rara.ch.\n- Alfred-Auguste Ernouf: \"L'art des jardins: parcs, jardins, promenades\", Rothschild Éditeur, Paris, France, 1886.\nText in French.\n- Monique Mosser and Georges Teyssot: \"The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day\", 544 pages, The MIT Press, Massachusetts Institute of Technology, Cambridge, MA, U.S.A., 1991.\nThe Architecture of Western Gardens presents an international tour of garden design from the Renaissance to the present. As object and as literature, it is a sumptuous and unprecedented resource. The more than seventy essays by scholars from Europe and America all commissioned for this book - and over 650 illustrations raise the standard of garden literature to a new level. The result is an invaluable compendium that will serve as a fundamental starting point for exploring the many expressions of the place where nature and culture, project and diversion, work and pleasure meet. Organized chronologically, the essays and illustrations make up a mosaic of the garden in the Western world. The humanist garden in Renaissance Italy, the concepts of the \"Sublime\" and the \"Picturesque,\" mazes, grottoes, and other curiosities, city parks, American land art, and even Disneyland are among the topics treated. Discussions of characteristic aspects of history and theory are followed by analyses of individual gardens as paradigms of their type: the Hortus Palatinus in Heidelberg, the Parc Monceau in Paris, the Park Güell in Barcelona, Stowe in England, and many more. The illustrations are a model of how iconography can function as text. They include ground plans meticulously redrawn from original archival material to provide precise information on the scale and nature of many of the projects, as well as a wealth of drawings, reconstructions, paintings, and photographs.", "label": "No"}
{"text": "Over the next six days, there will be three very somber anniversaries in the space community. That six-day stretch began today, as on this date in 1967, three Apollo 1 astronauts died in a flash fire during a launch pad test. Tomorrow will mark the anniversary of the Space Shuttle Challenger’s explosion during launch in 1986, a tragedy that claimed the lives of all seven astronauts on board. And then of course this Sunday, February 1, will be the twelfth anniversary of the loss of the Space Shuttle Columbia and the seven astronauts of her crew, all of whom perished when the vehicle disintegrated during reentry.\nFor more about these tragedies and the heroes we lost as a result of them, you can read our World Space Week blog post from October 8, 2012.\nThese tragic accidents, like the one that claimed the life of a Virgin Galactic test pilot last year, serve as a reminder that leaving this planet is never easy, and that traveling and working in space will never truly be “safe.” But each of these men and women who made the ultimate sacrifice in the name of space exploration believed that going out to the black was something worth risking their very lives for, and ultimately they did it for us, for our children and for those future generations for whom travel into Low Earth Orbit will be no more extraordinary than an airline flight from New York to Berlin is today.\nAnd for those of us who will never know what it’s like to break atmo, the least we can do to show our gratitude is honor their memories. May they rest in peace.\nAd astra per aspera…", "label": "No"}
{"text": "Caught a virus and starting to experience severe headaches? If you start to have severe viral infection headaches, then you should check them out. It will be a good idea to ensure that your symptoms do not point to a case of meningitis. There are serious consequences from having meningitis.\nSo what is meningitis all about? This is an infection in the membrane that surrounds your brain. Brain and spinal cord infections can be very dangerous because they cause inflammation, which places pressure on your nerves.\nThis will cause you to have a viral infection headache.\nInflammation can also cause the following symptoms:\n* Severe headache\n* Feeling confused\nSevere inflammation can cause these symptoms:\n* Brain damage\nA bacterial infection or virus causes meningitis. The body can usually fight and beat an infection. However, when the infection travels into the blood stream, it can then go into your brain and spinal cord fluid. It can then affect your nerves and move into the brain causing inflammation and swelling.\nThis can damage or kill nerve cells and cause bleeding in the brain. It can also cause you to have a viral infection headache.\nBrain swelling is very dangerous because the brain is a soft organ in a hard box (the skull). If the brain swells, there is nowhere for it to go, except against the walls of the skull. This is what causes the most damage.\nThere are several causes of meningitis.\n* Bacterial infection\n* Viral infection\n* Fungal infection\n* A reaction to medications\n* A reaction to medical treatments\n* Some forms of cancer\n* A trauma to the head or back\nBacterial meningitis is the worst type because it can kill you. It often begins as an upper respiratory tract infection. From there it travels through your blood vessels to your brain. Then it can block up your blood vessels inside your brain triggering a stroke and brain damage.\nViral meningitis is the most common form.\nUsually viruses that enter your body through your mouth before going to your brain and multiplying cause it. You can find these viruses in the mucus, saliva and feces.\nOther viruses that may cause meningitis include:\n* Chicken pox\n* Genital herpes\nAnyone can catch meningitis. This is especially true if your immune system is weak.\nMeningitis often begins like the flu does. You may get a rash.\nThe major symptoms include:\n* Running a sudden fever\n* A severe headache\n* Stiff neck\n* Dislike of light\nBacterial meningitis must be treated quickly. Severe bacterial meningitis will require intravenous antibiotics. On the other hand, antibiotics cannot be used to treat viral meningitis because they do not kill viruses.\nWhether you are having bacterial or viral meningitis, what would be best for yourself is to get plenty of rest and give your body a break. In the meantime, drink plenty of water to flush out the toxins and go easy on your diet.\nDo follow the recommendations by your doctor during this period. Your viral infection headache and other symptoms will start to subside as your body recovers.\nArticle Source: ArticlesAlley.com", "label": "No"}
{"text": "The tragic consequences of the Great War left an indelible mark in the European psyche and inevitably changed the course of the development of intellectual movements emerged in the years leading up to World War I. One of the consequences we find during the 1920s is the dismissal of previously appealing theories of industrialisation of art, in favor instead of a more conceptual approach labeled Rationalism.\nPart of the argument that gave rise to Rationalism was the uncontrolled proliferation of decorative elements in architectural design as the conceptual postulates launched towards the final third of the XIX century reached their full potential. On the other hand, the aggressive rhetoric put forward by avant-garde theorists who spoke of a purge of civilisation and the beauty of war was defeated by the full weight of its own argument, as a whole generation emerged from a senseless conflict with serious issues of orientation.\nAs the Bauhaus, main engine and general headquarters of European rationalism, moved from the small town of Weimar to the even smaller town of Dessau, in Spain emerged the first group or school of progressive creators with rationalist tendencies (the GATCPAC in Barcelona in 1928, later expanded to the GATEPAC in 1930).\nMuch like everything else in the course of the XX century in Spain, the natural development of Spanish Rationalism was truncated, cut short and essentially halted by the horrors of the Civil War of 1936-39. But in the years leading up to the break of war, two names distinguished themselves among the new generation of Spanish architects:\nOne of them was Josep Lluís Sert, leading member of the original GATCPAC, who put in practice the theoretical postulates discussed previously in his earliest creations, such as the residential building of Calle Muntaner in Barcelona, which boasts clean straight lines devoid of any ornament whatsoever superfluous to the actual purpose of the building. Following the Civil War, Sert would emigrate to the United States and further develop his style in different directions.\nAnother leading figure in the GATEPAC was Fernando García Mercadal, perhaps the very first promoter of Rationalism in Spain. Unlike many of the members of the group, García Mercadal had the opportunity and the vision to carry out in full a project that expressed the practicalities of the theory put forward by the movement. Such project was the now famous 'El rincón de Goya', an urban development in the city of Zaragoza.\nWedged right between the banks of the river Huerva and the edge of the Parque José Antonio Labordeta, 'El rincón de Goya' is located in a privileged spot to allow the sharpness of its lines, straight, austere and eminently utilitarian, to blend with the environment. For this very reason, García Mercadal is not only considered the first exponent of Rationalism in Spain, but also the most accomplished.\nApart from 'El rincón de Goya', Fernando García Mercadal was also active in the capital, and, as a matter of fact, you are sure to have walked along his creation in Madrid, as his layout of the Sabatini Gardens, which replaced the structure of the stables before the Royal Palace, is to this day a highly popular tourist destination.\nThe GATEPAC had three venues in Spain, one in Barcelona, one in Madrid and the third one, the northern branch, in San Sebastian. The most important representative of this third brach was José Manuel Aizpurúa, whose Nautical Club in that same city remains today an iconic symbol of Republican architecture. Built in the shape of a boat, the Nautical Club incorporates a versatile design that is simultaneously ornamental in its evocation of a boat and effective in the fulfilment of its purpose.\nLike many of the members of the GATEPAC, Aizpurúa met his untimely death during the early days of the Civil War putting an end to his promising career. Most of those who survived emigrated away from the fascist government, and even those who stayed were forced to move away from rationalism during the first period of Franco's time, as the architecture endorsed by the officialdom became monumental, symbolic and eminently idiosyncratic.", "label": "No"}
{"text": "TopicCreative flowcharts free.\nPostedSun, Aug 04th 2019 08:53 AM\nFlow Chart Definition. A flowchart is a graphic representation of how a process works, showing, at a minimum, the sequence of steps. A flowchart is a diagrammatic representation that illustrates the sequence of operations to be performed to get the solution to a problem. It can be seen from the definition that a flow always accompanies with business or transaction. Not all of the flows, however, are appropriate to be expressed by flowcharts, unless these flows are based on some fixed routines and stable links. Here is an example of the algorithm flowchart.\nAnother completely free option for your consideration is Wireflow. It is the perfect tool for web developers and app designers. Wireflow is a beautiful flowchart tool for designing user flows and wireframes. A pretty and intuitive interface offers a variety of different chart designs, that you can drag-and-drop onto a fresh canvas. There are many connectors to choose from, and everything’s manageable through drag-and-drop.", "label": "No"}
{"text": "Stone crusher double crusher machine kompas sekolah,feb 10, 2021 double roller crusher machine is a rock processing machine that can be used to process fine rock or sand with good quality. double roller crusher in general is often used as a secondary rock crusher where the rock material has been processed by primary machines to produce fine rock with soft or medium hardness such as coal, coke, limestone etc. double roller crusher has a stone\nJaw crusher is widely used in crushing the medium particle size materials of varieties of minerals and large materials, and it is widely used in mining, smelting, building material, highway, railway, water conservancy and chemical industry and other industries.\nImpact crushers are also known as impact breakers or impact crushing machines. It can crusher the material whose side length is below 100-500mm and highest compressive strength can reach to 350Mpa.\nCone crushers are also known as cone breakers. Compressive strength of cone crusher is no more than 250MPa. Cone crusher is widely used in mining, metallurgy, building materials, chemicals and other sectors to crush hard and medium hard materials.\nSand maker is also known as impact crusher or sand making machine. It is a kind of equipment with high technology.\nSand washer is also called sand washing machine. It is the necessary equipment for washing sand making.\nBall mill is suitable for grinding various ores and other materials. It is widely used in mineral processing, building materials and chemical industry.\nThe wheel-mounted mobile impact crusher as a kind of mobile impact crushing plant adopts the star product of our company: the impact crusher. As a leading rubber-tyred mobile impact plant\nCharcoal briquette machine is also known as charcoal briquetting machine, charcoal ball press machine, or charcoal pressure ball machine.\nRotary screen is mainly used for sieving big or small stones, separating soil and gravel, coal blocks and coal powder, etc. It can also be called gravel screen or stone separator. Since roller device is composed of filter screen, it is also called rotary sieve.\nHammer crusher is composed of chassis body, rotor, hammer, back liner, sieve, etc.. It is suitable for conduct coarse, medium, fine crushing for materials with the compressive strength less than 180MPa like limestone, coal, gypsum, shale and other types of brittle materials.\nRoll crusher (roller crusher) is suitable for the fine crushing of the materials with feeding size less than 110mm, and finished particle size 3-30mm.\nCompound crusher is also known as combination rock crusher. Compound crusher is mainly used for medium or small cement or clinker crushing.\nActively listen to customer needs, carefully build product quality, and sincerely provide satisfactory services\n7*24 hours waiting for you to answer your questions at any time\nProfessional tailor-made, comprehensively solve the needs of users\nProvide technical training to ensure that you have knowledge of equipment operation\nPerfect after-sales service system, let your production sit back and relax\nfeb 10, 2021 double roller crusher machine is a rock processing machine that can be used to process fine rock or sand with good quality. double roller crusher in general is often used as a secondary rock crusher where the rock material has been processed by primary machines to produce fine rock with soft or medium hardness such as coal, coke, limestone etc. double roller crusher has a stone ph capacity mining quarry granite basalt limestone gravel crushing machine price, primary concrete rock stone jaw crusher set 1.0 sets limestone is an important raw material of limestone gravel plants, aggregate plants, has a wide range of applications, our company provides the crusher wear parts can increase the life expectancy of 3.2 times, exports to the united kingdom, the united states, canada, indonesia, the philippines, india, australia, countries and regions PE jaw crusher for sale; capacity: 100 th, customized max. feeding size: 200 mm compressive strength: less than 320 mpa processed materials: granite, marble, basalt, limestone, quartz, river pebbles, iron ore, copper ore, etc. application: widely used for medium-sized crushing of ore and bulk materials in mining, metallurgy, construction, road, railway, water and chemical industries.\ncrawler mobile crusher is a combination of stone crushing machine and mobile system so that the machine can easily reach each rock processing and processing area easily. crawler mobile crusher can be used to destroy several types of stones such as limestone, granite, basalt, andesite, granite, quartz, gravel, tailings ore, recycling, copper ore granite roll crusher price zimbabwe. -ranite crushers for sale crusher machine for sale used nawa granite crusher plants for sale in canada sbm is a granite crusher manufacturer in china and supplies all kinds of stone crushers screen and grinding machines for granite quarry plant in usa india vietnam qatar south africa germany china congo ethiopia zimbabwe canada spain sweden finland the process is specifically designed for the material less than vertical shaft impact crusher sand making machine is used in the configuration of production line, this crusher is the new type sand making crushed limestone cost in africa crushed limestone cost crushing and grinding machine supplier in all of the world: sbm. get price! used in ore,limestone,cement more detailed\nbasalt crusher equipment in south africa. basalt crusher mineral processing plant from south africa our sand production line mainly consists of vibrating feeder, jaw crusher, sand making machine, vibrating screen, sand washing plant, belt conveyor, electric control panel, etc, and capacity is thiron ore jaw crusher machine, iron ore jaw crusher machine there are 6,416 iron ore jaw crusher machine suppliers, mainly located in asia the top supplying countries or regions are china, india, and algeria, which supply 99%, 1%, and of iron ore jaw crusher machine respectively iron ore jaw crusher machine products are most popular in mid east, africa, and southeast asiafeb 09, 2020 stone crusher and quarry plant in bolivia; 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masvingo quarry firm growing in leaps boundsmining located from masvingo city along the bulawayo highway is one of the fastest growing mining firms in the province that is into quarry extraction and taking advantage of the construction boom in the country oldest town.what is price of limestone per ton in indonesia gold ore crusher. what is price of limestone per ton in indonesia. raw limestone,buy quality raw limestone from manufacturers and granite, river rock, crushed limestone, more detailedstone crushing production line is applied to the crushing and processing of limestone, basalt, granite, pebbles and other rocks. the quality of the finished product completely meets the construction standards, which provides qualified aggregate for highway, railway, water gabbro crusher is generally consisted of jaw which is an intrusive plutonic rock of higher density than other forms of maximum crushed product size (mm density of granite is the q&a wiki\njcb crusher buckets have been designed to provide easy and efficient onsite recycling of inert material such as asphalt, rubble, stone, concrete, granite, basalt, limestone and aimix impact crusher can be used as both a primary and secondary crusher which offers cost savings and versatility that cannot be matched by other crushing systems. limestone, granite, marble, basalt, iron ore, river pebble, shale aimix stone crusher machine has exported to over countries, includes: philippines, malaysia, indonesia limestone crushing dingsheng. feb cone crusher spare parts for sale price dingsheng crusher spring cone crusher dingsheng py spring cone crusher is an efficient stone crushing machine that is developed using german crushing technology it is designed to crush various kinds of midhard or hard ores and rocks such as iron ore copper ore limestone quart granite basalt diabase etcbasalt mobile limestone crusher price provide efficient mobile crusher of capacity ph to phhat with sales zimbabwe masvingo limestone granite basalt crusherasalt export to africa quarry in south africarock crusher equipmentasalt quarry in south africa xsm is a leading global manufacturer.\n1.h mobile crushing plant, mobile crusher. the mobile crushing station is mainly used for crushing granite, limestone, river stone, pebble, gravel, basaltstone crusher nakayama sk indonesia limingcrusher.com. stone crusher is widely used for fine crushing ore materials, such as granite, basalt, limestone, stone crusher nakayama sk indonesia mobile crusher and millmobile jaw crusher is the world most popular unit, equipped with jaw crusher, and is well suitable as a primary crusher in multi-stage process and any mobile application. mobile crushing plant is consist of vibrating feeder, centralized control and monitoring system, jaw crusher and", "label": "No"}
{"text": "EPA Proposes Universal Waste Designation for Aerosol Cans\nMarch 13, 2018 •\nThe U.S. Environmental Protection Agency (EPA) is proposing to add hazardous waste aerosol cans to the universal waste program under the federal Resource Conservation and Recovery Act (RCRA) regulations. In a pre-publication notice signed March 5 by EPA Administrator Scott Pruitt, the agency said, “this proposed change, once finalized, would benefit the wide variety of establishments generating and managing hazardous waste aerosol cans, including the retail sector, by providing a clear, protective system for managing discarded aerosol cans.”\nEPA will accept comments for the 60-day period following the official publication notice in the Federal Register.\nThe streamlined universal waste regulations are expected to ease regulatory burdens on retail stores and others that discard hazardous waste aerosol cans; promote the collection and recycling of these cans; and encourage the development of municipal and commercial programs to reduce the quantity of these wastes going to municipal solid waste landfills or combustors.\nUnder the proposed reclassification, aerosol cans, pressurized or spent — including spray paint cans — would be treated and handled as universal waste. In 1995, EPA promulgated the universal waste rule to establish a streamlined hazardous waste management system for widely generated hazardous wastes to encourage environmentally sound collection and proper management of the wastes within the system. Hazardous waste batteries, certain hazardous waste pesticides, mercury-containing equipment, and hazardous waste lamps are already included on the federal list of universal wastes. The universal waste regulations in 40 CFR part 273 are a set of alternative hazardous waste management standards that operate in lieu of regulation under 40 CFR parts 260 through 272 for specified hazardous wastes.\nNotably, four states, California, Colorado, Utah and New Mexico, already have universal waste aerosol can programs in place; and two more states, Ohio and Minnesota, have proposed to add aerosol cans to their universal waste regulations. The universal waste programs in all these states include streamlined management standards like 40 CFR part 273 for small and large quantity handlers of universal waste, and a one-year accumulation time limit for the aerosol cans. In addition, the four state universal waste programs, as well as Ohio’s proposed regulations, set standards for puncturing and draining of aerosol cans by universal waste handlers.\nMore information on EPA’s Universal Waste Program may be found here.", "label": "No"}
{"text": "Though Bartram mentions a variety of delightful vistas as he travels the lower sections of the Southeast, the landscape depicted in this image perhaps best represents what he would have witnessed day after day on horseback. It is anything but representative of the landscape of the lower South of today.\nCharacterized by slash and longleaf pines, some older than 400 years, and a continuous, spectacularly diverse ground plane, the Big Woods of Greenwood Plantation, is as much a vision of paradise as a refuge for many rare and endangered species. The airiness under the canopy of stately trees and the long views of the verdant greensward offer today’s viewer an experience of passing through the timeless, but virtually forgotten, longleaf landscape that once covered 90 million acres of the Coastal Plain. Thanks to good fortune and excellent stewardship, especially for the last 50 years by forester Leon Neel, the 1,000 privately-owned acres called the Big Woods have made the rare transition from a fire-dependent prehistoric landscape to a fire-managed preserve, without suffering clear-cutting or prolonged fire suppression along the way. Burned nearly annually, it retains the ecological integrity and aesthetic richness seen in Bartram’s time -- unimaginable in the fire-suppressed forests of the Southeast today. It also harbors the endangered red-cockaded woodpecker. *\n* This is an excerpt from Philip's essay appearing in: Bartram’s Living Legacy: Travels and the Nature of the South", "label": "No"}
{"text": "The lion brings a bull down in a naos-shaped niche, with a wreath, pomegranate, writing utensils and a writing board below – these are the attributes of a strong, educated, and successful man. Similar stelae were produced in the valley of the river Hermos (today’s Gediz) on the boundary of Mysia and Phrygia. The Greek inscription relates that the stele was erected by the wife and children of the deceased in the year 190 of the local era. This corresponds to 159/160 AD, because in this region the battle of Actium (31 BC) was used as a starting date from which to calculate time.\nMarble analyses conducted by Danielle Decrouez (Geneva, Museum of Natural History) and Karl Ramseyer (University of Bern, Institute of Geological Sciences) have shown that the stele was made of Turkish marble. Click here for the detailed results.", "label": "No"}
{"text": "We’re working with two very enjoyable ideas this term, drawing and food. Maybe we’ll finish up drawing with food or making edible drawings-who knows?\nThis week I brought along some fish fresh from the fish counter and was really impressed how the children’s curiosity took over very quickly. We worked on careful observation using blind contour drawing with handwriting pens. We then repeated the exercise allowing ourselves to glance at the paper.\nNext we thought about how our drawings could be more interesting. We made cards with different marks on then looked at where we could use these mark making techniques on our fish drawings.\nFinally we looked at what would happen if we used a wash over the handwriting pens. Everybody spent the rest of the session experimenting with line, wash and colour resulting in some beautiful and delicate drawings.", "label": "No"}
{"text": "Tourism is travel for organization or enjoyment the process and principle of amusing, appealing and accommodating and attracting guests, to express the feeling in our tradition and neighborhood with him or her. It calls for the works and pursuits developed to create a far better respect and being familiar with of another traditions, viewpoint, or area of skills. It also consists of behavior to enhance and maintain tourism as a way of strengthening leisure and societal activity. Today, tourist is growing significantly as a company sector that uses many individuals. Lots of tourist products and services are available by businesses and motels.\nThe main power right behind holidays advancement is international holidays, which attributes the greatest add up to the global holidays field. International vacation normally takes the sort of inbound and outbound tourist, including equally national vacation in addition to outbound holidays guided on the way to an additional place. Outbound tourism comprises all sorts of holidays which enables targeted traffic to make their places for any short term holiday getaway or visit with an occasional or long-term period. In contrast, inbound vacation means tourism guided in the direction of yet another country’s sides, including goes to manufactured by site visitors who plan to continue to be much longer and investigate the landscape and traditions of the country. Inbound travel and leisure contributes a whole lot to the worldwide gross household item (GDP), simply because it improves the country’s use speed, which often, boosts the economic system.\nThe promotion of national holidays is required to its profitable development. Many tourist destinations are frequently remarkably desired by international travellers. Therefore, tourists often would prefer to check out these spots through other attainable spots. Promoting the vacation market is frequently considered as one of the most effective resources for supporting a country’s economy. Therefore, government entities motivates travel by offering financial as well as other assistance to holidays-connected businesses.\nFor travellers to have a relaxing getaway, they have to think about at the very least three potential spots when preparing for a journey. These areas outdoors their regular surroundings for vacation entice lots of site visitors. A very good model will be the coastal locations, which offer lots of tourist attractions both for residents and international visitors. Visitors can select in which to stay seashore major resorts, keep-cations, or maybe hire a villa via the seaside. There are many of routines to carry out in the vacation spots hence, tourists can get pleasure from their down time during their stay in these places.\nApart from that, beachfronts are also amongst the top rated holiday locations outside the house their typical surroundings for tourist organizations. These areas supply a lot of leisure actions like surfing, water skiing, scuba diving, or maybe soothing from the pool. There are many of activities during these tourist spots, thus, making them widely used places for guests. This only shows that far more tourists will revisit to your coastlines in order to acquire more fun into their subsequent family vacation.\nAmong the best solutions to increase national travel is actually by featuring discount rates and packages to visitors. One example to do this is offering family vacation packages for young couples and loved ones. You can actually essentially get reductions together with other rights after you prepare your journey with the holidays business. Several of the perks include goal scheduling, early on use of bundles, totally free conveniences and services, concern managing of visas, reductions on gifts and foods, cost-free vehicle rentals, together with other similar advantages.\nAnother good way to increase travel and leisure is concentrating on your marketing campaign on the locals. By taking the effort to increase your marketing strategy to them, those who survive around the holiday spots you might be targeting will value it. By way of example, you may create pamphlets along with other pamphlets you could provide on the local residents. These leaflets should give them the information they need about travel and leisure locally. This but not only makes them sense critical it also offers them a way to end up ordinary prospects of your own inbound holidays company.\nLastly, one other good way of promoting tourism is actually by generating promotional products and mementos which can be offered to your friends and family. These materials will let them bear in mind your adventures. Examples because of these products are important chains, t-t shirts, totes, calendars, umbrellas and pens holiday books, as well as other these types of merchandise. Inside the tourist feature enterprises and things to do field, buyer maintenance is important so that you need to ensure that your shoppers will come back to your web site. These things will make sure that they may never forget their visits there.\nEven more guidelines from advisable publishers:", "label": "No"}
{"text": "Why is it important to identify and help disorganized students? Who are disorganized students and what do they do differently than organized students? We all know adults who function adequately despite their disorganized homes or chaos at work (although many do not). If you asked them, they would probably tell you that they’ve always been that way, even as children. What they might be hesitant to share is that struggling with organization affected them mentally, emotionally, socially, and maybe even physically even when they were students.\nIt is important to understand that disorganized students are no different than any other students in the sense that they need love, understanding, support, encouragement, and confidence. As a parent, your goal is to help set your student up for success. That means understanding the specific strategies that will help the disorganized student to function in a more organized and less stressful way in all environments. It may also mean that he or she will need to develop coping strategies for the areas that present greater difficulty.\nPreviously I recommended that you begin to keep a notebook describing the behaviors that you observed in your student that demonstrate his or her difficulty with getting or staying organized. Now add information to this notebook (remember it is for the parents’ eyes, only) about the student’s predominant learning style. Notice if he or she tend to learn and remember information that is presented visually more so than auditorally. Or is the student what we call a kinesthetic learner? Some students learn and remember things better when they are hands-on and can do something with things.\nImage courtesy of: hyenareality/freedigitalphotos.net", "label": "No"}
{"text": "Religion in the Civil War: The Northern Perspective|\n|James Howell Moorhead\nPrinceton Theological Seminary\n©National Humanities Center\nAfter Confederate forces opened fire on Fort Sumter in April 1861, the vast majority of Northern religious bodieswith the exception of the historic \"peace\" churches which on principle adhered to pacifismardently supported the war for the Union. Of these groups, Protestants still enjoyed a significant numerical and cultural dominance in the 1860s. Catholics and Jews provided notable (and heretofore insufficiently researched) support for the war; but Protestants, given their numbers and position in American life, contributed religious or theological justifications of the war that had wider social and political impact. To examine Protestant attitudes in the 1860s is thus to learn much about the popular mood and motivations of Northerners as their \"boys\" marched off to war. We will look at three of these attitudes of Northern Protestants:\n\"The Triumph,\" 1862\nAllegory predicting the triumph of the Union over the Confederacy\nFreedom, holding the American flag, is flanked by Christianity and Justice, and surrounded by historical figures including Washington, Jefferson, and Franklin. Humanitas reaches down to the manacled slave being restrained by the alligator King Cotton, sovereign of the dark underworld of the Confederacy.\nLibrary of Congress\nexplanation of allegory\n- the special place of America\nin world history\n- a Northern victory as a prelude to the millennium, and\n- the issue of slavery.\nFirst, the churches emphasized that the Union had to be preserved because of the special place that America occupied in world history. With its republican institutions, democratic ideals, and Christian values, the United States supposedly stood in the vanguard of civilization's forward march. The success of the Confederate rebellion would imperil that progress. If the South succeeded in dismembering the Union, republican government would be deemed by people everywhere to be a failure. It would no longer appear to be the wave of the future, and the advance of liberty around the globe would be slowed or even halted.\nThus in fighting to maintain the federal union, Northerners were struggling on behalf of more than a single nationthey were contending for the future of humanity itself.\n|Thus in fighting to maintain the federal union, Northerners were struggling on behalf of more than a single nationthey were contending for the future of humanity itself.|| |\nNext, Christian ministers often portrayed the war for the Union in millennial terms. Drawing on the imagery of the twentieth chapter of Revelation and on other portions of the Bible describing events near the close of history, they suggested that a Northern victory might prepare the way for the Kingdom of God on earth. (This did not mean that they expected Jesus to return visibly or literally in the near future. Most Northern ministers were postmillennialistsa technical\nterm designating those who believed that the Second Coming of Jesus would occur after the millennium or the thousand years of earthly bliss foretold in the twentieth chapter of Revelation. In this scheme, no visible return of Jesus could be in the offing since that event, at the earliest, had to be at least a thousand years away.) Yet even if most did not expect an early literal return of Jesus, they did anticipate that current events would lead shortly to a time when God's reign would be more thoroughly established on earth. Thus one Baptist minister, preaching in Philadelphia in 1863, claimed that the defeat of the rebellion would bring a time that the Founding Fathers of the republic \"pictured and dreamed about, and prayed for. It will come with blessings, and be greeted with Hallelujahs, it will be the Millennium of political glory, the Sabbath of Liberty, the Jubilee of humanity.\"\n| ||Christian ministers . . . suggested that a Northern victory might prepare the way for the Kingdom of God on earth.|\n|\"If America is lost, the world is lost.\"|\n\"The War and the Millennium\"\nA Thanksgiving Day sermon, 1863\n[Note: This is a different Thanksgiving sermon from that quoted in this essay.]\nSuch rhetoric served to underscore the immense responsibility resting upon the current generation. \"If it falters,\" wrote a leading nondenominational religious paper, \"all is lost . . . We shall stand in history as the most beneficent or maleficent of human generations, and as the most faithful or the most false in the eye of God.\"\n|\"Am I Not a Man and a Brother?\"|\n\"Our Countrymen in Chains!\"\nby John Greenleaf Whittier 1837\nSeal of the Abolition Society of England, this image was widely circulated in antislavery publications in America.\nLibrary of Congress\nfull text of broadside\nFinally, the issue of slavery. The sense that God was decisively at work in the crisis of the Union also profoundly altered the way in which church leaders dealt with the problem of slavery. At the war's outset, Northern churches were far from unanimous in their attitude toward human bondage. A few denounced the practice as a sin and called for immediate emancipation or abolition. At the other extreme, some argued that the Bible treated slavery as a morally legitimate institution. For example, parts of the Old Testament law recognized and regulated slavery. Jesus lived in a world where slavery existed, and he apparently uttered not a single word of censure against it. The letters of the apostle Paul contained explicit commands that slaves be obedient to their masters. Therefore, ran this argument, contemporary Christians had no business condemning as sinful a social arrangement that the Bible itself sanctioned. Most church leaders appear to have fallen somewhere between these extremes. They considered slavery less than ideal and believed that it would eventually be eradicated by slow and peaceful means, but they also abhorred the abolitionists' attack on slaveholders as sinners and their demand for immediate emancipation. Suspicious alike of proslavery and abolitionist positions, they were prepared to await God's providential resolution of the issue.\n|. . . the conviction grew that God would continue to chastise the North and would not allow it to win the war until it took steps to end slavery.|| |\nThe war convinced increasing numbers of Northerners that Providence was seeking to resolve the matter more swiftlyand violentlythan they had expected. At the start of the war, the avowed aim of Northern policy was to save the Union, not to free the slaves; but mixed results on the battlefield prompted a reassessment of goals. Despite notable victories in the western theater of the war, the story in Virginia was very different. There the Union Army of the Potomac stumbled through a succession of defeats. Believing that the hand of God was in every event, Protestant ministers sought a theological explanation for military failure. They drew on a tradition traceable to\nPuritan preachingthe jeremiadto explain the reverses. The jeremiad was a sermon form (named after the Old Testament prophet Jeremiah) that threatened people with judgment unless they renounced their sins; or alternately the jeremiad took some current disaster, interpreted it as a punishment sent by God, and then asked for what sin the penalty had been imposed. The defeat of Union armies seemed to be punishment of this sort, and the conviction grew that God would continue to chastise the North and would not allow it to win the war until it took steps to end slavery. Conversion to this point of view did not take place at an even rate. Some churches were demanding emancipation as early as the fall of 1861 while others were months or even years behind; but whether early or late, religious groups concluded that the war had signaled God's intention that slavery die and that it die now.\n|\"The defeat of Union armies|\nseemed to be punishment . . .\"\nPreparing the dead for burial\nafter the Battle of Fredericksburg, 1862\nIn short, the churches contributed to the radicalizing of the Northern war effort. Believing that God was using the conflict to establish the kingdom of God on earth and that there had to be a reason for the military reverses the Federal armies were experiencing, churches made what had started as a war for the preservation of the Union into a war of liberation.\n|In short, the churches contributed to the radicalizing of the Northern war effort.|\n|\"Without the evolution of the churches' opinions, . . . |\nit is unlikely that the president could have proceeded as he did.\"\nAbraham Lincoln, c. 1861-1865\nIn this respect, their transformation of opinion paralleled a similar change in the war aims of the Lincoln administration. In 1861 the president declared that his sole purpose was to preserve the Union.\nBy the fall of 1862, he announced his intention to free, on the first day of 1863, slaves in those areas still in rebellion against the government. In 1864 Lincoln stood for reelection on a platform calling for a constitutional amendment everywhere within the United States. Without the evolution of the churches' opinions that served as both support and goad to Lincoln's own transformation, it is unlikely that the president could have proceeded as he did.\nOn at least three occasions, President Lincoln proclaimed public fast days when he urged Americans to go to their houses of worship, to confess their sins humbly to the Almighty, and to ask God's blessing. These and other less formally designated times of confession provided opportunities for ministers to express the conviction that the war was a baptism of blood.\n|\"through the terrible baptism of blood and fire\"|\nOur National Discipline\nA Thanksgiving Sermon, 1863\ntext of excerpts\n[Note: This is a different Thanksgiving sermon from that quoted in this essay.]\nThe pouring out of blood was cleansing the nation of its sin and preparing it for moral rebirth. That moral rebirth required more than the abolition of slavery; it required citizens to surrender their selfishness and individualism and to subject themselves more unquestioningly to duly constituted authority. A true and worthy American nationality could be born only to the extent that citizens were prepared to sacrifice themselves for it. In perhaps the most notable expression of this belief, the Reverend Horace Bushnell, a leading Congregationalist minister and theologian in Hartford, Connecticut, preached the Sunday after the Union army had been routed at Bull Run in the summer of 1861: \"There must be reverses and losses, and times of deep concern. There must be tears in the houses, as well as blood in the fields; the fathers and mothers, the wives and the dear children coming into the woe, to fight in hard bewailings.\" In short, from a religious perspective, loss and pain were good. If the North won too easy or cheap a victory, its sins would not\n|\"There must be reverses and losses,|\nand times of deep concern.\"\nRev. Horace Bushnell, 1861\nRuins of Henry House\nFirst Battle of Bull Run, 1861\nbe purged and its citizens' loyalty would not be established. At the start of the war, a few people were supposed to have boasted that all the blood spilled in the contest could be contained in a single thimble or wiped up by a single handkerchief. The clergy told their people that far more blood not only would be shed, it needed to be shed if the war were to attain its God-appointed purpose.\n| ||The clergy told their people that far more blood not only would be shed, it needed to be shed if the war were to attain its God-appointed purpose.|\n|\"Our Heaven Born Banner\"\nThe rifle and bayonet of the\nUnion Zouave sentry serve as\nthe staff of the American flag.\n|\"Fate of the Rebel Flag\"|\nThe flames of the sinking\nwarship depict the dying\n|Patriotic lithographs based on paintings by William Bauly, 1861|\nLibrary of Congress\nexplanation of prints\nThe blood baptism received a final ritual enactment on April 14, 1865 (Good Friday) when Abraham Lincoln was shot by John Wilkes Booth only five days after Lee's surrender to Grant. Northern ministers were not unmindful of the symbolism. Like the death of Jesus, said the clergy, Lincoln's blooda token of all the blood shed over four yearspurchased new life for the nation. As one group of ministers suggested: \"He [Lincoln] has been appointed . . . to be laid as the costliest sacrifice of all upon the altar of the Republic and to cement with his blood the free institutions of this land.\"\nThus these religious themes had a major impact on the North during the Civil War.\n- Belief that America was preparing the way for the kingdom of God on earth helped to inspire the loyalty of both the Union soldiers and those on the home front.\n- The conviction that blood needed to be shed in order forthe nation to be reborn undoubtedly stiffened the resolve of bluecoats and civilians alike to endure unprecedented\nAllegory depicting the rebuilding of the\nUnion, with the figure of Christ saying\n\"Do to others as you would have others\ndo to you.\"\nLibrary of Congress\nexplanation of allegory\n- Without the churches' growing conviction that the hand of Providence was indicating the need to end slavery, it is unlikely that the government would eventually have embraced full emancipation as a war aim. In a similar fashion, the Protestant churches appear to have helped sustain, at least for a few brief years after the war, the energy that was devoted to achieving a Reconstruction based on the ideals of the so-called Radical Republicans. This was a Reconstruction in which the vote would supposedly be available (in the language of the Fifteenth Amendment to the United States Constitution) without regard to \"race, color, or previous condition of servitude.\"\nGuiding Student Discussion\nIt is frequently easy to interest students in the Civil War. The level of popular interest is attested by the fact that dozens of new titles on the Civil War appear every year as trade books as well as academic monographs, that magazines dealing solely with the Civil War enjoy a wide readership, and that hundreds if not thousands of re-enactors continue to fight battles such as Gettysburg, Fredericksburg, and Shiloh every year. In his book Confederates in the Attic (1998), Tony Horwitz discusses this phenomenon and even tells the story of a re-enactor who specializes in mimicking the appearance of a dead soldier whose body has become bloated by the first stages of putrefaction! One segue into discussion might be to ask students to reflect on the reasons for such behaviorthat is, to ponder the reasons not only for the bizarre behavior of the \"bloater\" but for the widespread continued interest in the Civil War. The energy, time, and money invested in the Civil War far exceeds that given to other historical topics.\nThere is, of course, a danger in opening discussion in this fashion. The military story of the warwhether told as heroic romance, as tale of horror, or as a bit of bothquickly usurps attention. Perhaps the tendency to fix attention on the details of battle can be turned into a classroom ally. Most students will have seen at least one movie depicting a Civil War battle. For example, they may well have watched Ted Turner's movie Gettysburg based on Michael Shaara's novel The Killer Angels. The teacher might remind those who have seen Gettysburg of its depiction of Colonel Joshua Lawrence Chamberlain's 20th Maine regiment holding Little Round Top against charge after charge while their comrades dropped around them. What is it that prompted the men to stand fast in face of a sheet of flying lead and then to charge with fixed bayonets when they were out of ammunition and near exhaustion? (Of course, the same point can be made even more graphically from the Southern side by recalling the nearly suicidal character of Pickett's charge.) Ask students to reflect on the reasons that men would be willing to endure such risks.\n|\"What is it that prompted the men|\nto stand fast in face of a sheet\nof flying lead . . . ?\"\nWounded soldier in deserted camp\nThey may point to the soldiers' unwillingness to let down comrades, to appear as cowards to their fellows, or to disgrace their families. After the discussion runs a bit, the teacher might then introduce some of the religious ideas that the men would have received from their churches, their families, or their chaplains. Students should be asked to ponder these as possible motivations for standing fast in time of danger.\nAnother way of introducing students to the religious dimension of the Yankee cause might be to direct them to the writings of people with whom they may already have passing familiarity. From its famous opening line\"Mine eyes have seen the glory of the coming of the Lord\"to its closing stanza, Julia Ward Howe's \"Battle Hymn of the Republic\" is filled with religious images suggesting the millennial imagery so prevalent among Northerners during the war [lyrics and audio at www.contemplator.com/folk2/battle.html]. Many of Abraham Lincoln's speeches evoke religious themes]. The Gettysburg Address deals with the notion of \"a new birth of freedom\" through the shedding of blood [full text at\nlcweb.loc.gov/exhibits/gadd]. His Second Inaugural Address, considered by many to be one of the greatest state papers of American history, likewise evokes ideas of God working out his purpose amidst the carnage of the war [full text at\nshowcase.netins.net/web/creative/lincoln/speeches/inaug2.htm]. A close reading of these relatively short documents provides the teacher with a way of illustrating the prevalence of religious themes during the war.\nIf we shall suppose that American slavery is one of those offenses which, in the providence of God, must needs come, but which, having continued through His appointed time, He now wills to remove, and that He gives to both North and South this terrible war as the woe due to those by whom the offense came, shall we discern therein any departure from those divine attributes which the believers in a living God always ascribe to Him?|\nSecond Inaugural Address of Abraham Lincoln, March 4, 1865 (excerpt)\nfull text at http://showcase.netins.net/web/creative/lincoln/speeches/inaug2.htm\nReligion in the Civil War has not been so much debated among historians as it has been ignored. Of the thousands of titles dealing with the Civil War, surprisingly few address the significant role that religion played in framing the issues of the conflict. Fortunately, this neglect has begun to recede. Randall Miller, Harry S. Stout and Charles Reagan Wilson, eds., Religion and the American Civil War (1998) provides an excellent collection of essays illuminating many facets of the subject.\nJames Howell Moorhead holds a Ph.D. in Religious Studies from Yale University and is currently Professor of American Church History at Princeton Theological Seminary. He is the author of American Apocalypse: Yankee Protestants and the Civil War, 1860-1869 (1978). He has also written World without End: Mainstream American Protestant Visions of the Last Things, 1880-1925 (1999). He is senior editor of The Journal of Presbyterian History.\nAddress comments or questions to Professor Moorhead through TeacherServe \"Comments and Questions.\"\nTeacherServe Home Page\nNational Humanities Center Home Page\nRevised: October 2000", "label": "No"}
{"text": "ABORIGINAL AUSTRALIA ART & CULTURE\nCENTRE - ALICE SPRINGS\n100% Aboriginal owned & operated\nDIDGERIDOO PLAYING METHODS\nIn Eastern Arnhem Land an overblown tone is sounded which may be one\nof several intervals ranging from a seventh to an eleventh above the\nfundamental, though a tenth seems to be more usual. Alternating with\nthe fundamental, the overtone is used both structurally, in relation\nto the song item as a whole, and according to the experience and expertise\nof individual players.\nBased on the presence, or absence, of the overtone, didjeridu song\naccompaniments have been divided into the following two classes: A-type,\nin which the fundamental supplies a continuous drone, either accented\nby slight pitch infections or 'coloured' by the superimposition of\na vocalised sound which the overtone is described above.\nthe map showing the present (1960-70) distribution of the didjeridu\n(the same symbol (black dot) has been used for both types. A-type\naccompaniments are more widely distributed. They are to be found among\ngroups on Goulbourn and Croker Islands, on the Arnhem Land mainland\nwest of the Liverpool river, in west coastal regions north and south\nof Darwin, south into Kimberley districts, and along a route which\nextends from Oenpelli in the north-west, south-east through Bamyili\ninto a region south of the Gulf and across the Queensland border B-type\naccompaniments have been found in association with songs belonging\nto groups east of the Liverpool river extending to the east coast\nof the Arnhem Land Reserve and including Groote Eylandt.\nDIDGERIDOO PLAYING METHODS\nIt should be noted here that song types distinguished by A-type and\nB-type didjeridu accompaniments are performed by members of groups\nspeaking 'pre-fixing' and 'Yuulngu' languages respectively.\nHeath (maintains that, within the overall Australian linguistic picture,\n'the prefixing languages of Arnhem Land and the Yuulngu languages\nare as remote from each other genetically as any two subgroups in\nthe continent'; and that 'the two have come into contact due to migrations,\nafter having evolved quite separately in different parts of the continent'.\nThe linguistic picture highlights the present music scenario.\nDespite continuing cross-fertilisation of stylistic features in the\nsong performances of the Yuulngu of the one hand, and adjacent groups\nwhich include the Nunggubuyu (farther south) and Enindilyakwa speakers\n(Groote Eylandt) on the other, there are disparate elements in the\nmusic of pre-fixing and Yuulngu groups some of which may have been\neven more clearly apparent during an earlier period.\nThe Didgeridoo is not normally played as a solo instrument. It contains\nto a well integrated musical ensemble in which the chief participant,\nusually the song owner, sings as he beats together two hand sticks.\nIn such ensembles there may be two or more stick-beating singers but\nnever more than one didjeridu player. In eastern parts of Arnhem Land\nmap) area 'N') the B-type player may also beat a stick against\nthe tube of the instrument to synchronise with the singer's stick\nbeats; alternatively he may flick the tube with his finger.\nWhen seated, B-type player usually rests the distal end of the instrument\non the ground or inside a box or bucket for resonance. Traditionally\nthe resonator was bailer shell. A seated A-type player holds the distal\nend above the ground, either moving it slightly from side to side,\nor resting it on his upturned foot. This requires a two-handed grip.\nThe right arm of the player may rest on his right knee which is bent,\ngiving mid-way support either by a right-handed grip or allowing the\ntube to the tube to rest on his right wrist. With his other hand he\ngrips the tube at the narrow end nearest his mouth.", "label": "No"}
{"text": "Plectranthus leaves will turn brown if the plant it getting too much water, too much direct sunlight, if it is lacking nutrients or is attacked by pests. My plectranthus developed brown leaves after being attacked by caterpillars and getting too much water.\nThis article explores what I did to save my plectranthus and my 4 easy tips to grow a healthy plant.\nTop causes of brown leaves on plectranthus\nHere are the top 5 causes of brown leaves on plectranthus and what you can do to solve each problem.\n1. Too much water\nThe top cause of brown leaves on plectranthus is too much water. Plectranthus are drought hardy plants and when they are grown in areas with high rainfall or if you give them too much water they can turn brown.\nThe roots are sensitive to too much water and this excess water can damage the roots, stems and leaves. Brown and black spots are common symptoms of too much water.\nThe easy solution to this problem is to reduce your watering schedule to once every 2-3 weeks in spring and fall and once every 4 weeks during a wet winter. While watering each week in summer might be necessary you should always check the soil first to see if it is moist.\nYou only need to water the plant if the soil is dry 2 inches down. Water the plant deeply and let it dry out between watering.\n2. Too much sun\nPlectranthus can develop brown spots on its leaves if it is getting too much sun. These plants love part to full shade and too much hot direct sun can cause the leaves to burn. You will may notice patches of brown on the leaves after a hot day.\nTo keep your plectranthus protected move any potted plants into a position that gets afternoon shade. You could also move the plant next to other shrubs or fruit trees like lemon or lime to provide shade.\n3. Not enough nutrients\nA lack of nutrients can cause brown leaf spots on your plectranthus. A lack of nitrogen can be a problem that causes leaf damage but there are a range of nutrients that might be lacking from your soil.\nThe easy way to solve this problem is to give the plant a fertilizer that contains a broad range of nutrients. I like to use a general fertilizer on all of my plants like pelleted chicken manure or an organic slow release granule. I can fertilize all of my plants using this in spring and fall and it will help to solve the leaf problems.\n4. Poor draining soil\nPlanting plectranthus in soil that lacks nutrients or does not drain well can cause brown leaf spots. Clay soil will hold too much water for plectranthus and can cause root rot and brown leaves.\nThe easy way to solve this problem is to mix through a large amount of organic material through the soil before planting. Choose an aged manure like cow or chicken and mix it through the soil with compost. This will help to feed the plant and let the excess water drain out well.\n5. Pest attack\nCaterpillars or aphids can attack plectranthus leaves causing holes and brown marks on the leaves. Caterpillars will bite into the leaf and eat holes through the leaves. You may even find that snails or slugs take a liking to your plectranthus and you can see nibbles on the edges of the leaves.\nIf the damage is minimal you can just flick the caterpillars off your plant into warm, soapy water. Sap sucking insects such as aphids and thrips can be treated with neem oil or washed off with a quick blast of water.\nHow to keep plectranthus leaves healthy\nHere are my top tips to keep plectranthus leaves healthy.\n1. Slow down your watering\nIf you suspect that overwatering is the problem reduce the amount you are adding to your plant. I was using my plectranthus as the first place to point my hose when I turned it on to water my garden. Watering the plant every 2 days was too much and it developed black and brown leaves.\nI now water my plectranthus every 2-3 weeks in spring and I will increase this to every week in Summer. We are getting a lot of rain and it really doesn’t need any extra from me.\n2. Move the plant into shade\nFor potted plectranthus or those newly planted it might be a good idea to move it into shade. Move the pot where it gets afternoon shade or is surrounded by other shrubs. If the plectranthus is growing in the ground you can surround it with taller plants like clivia to create some shade.\n3. Give it all-purpose organic fertilizer in spring\nGiving your plectranthus fertilizer in spring and fall will help to keep it happy. A handful of all purpose fertilizer or pelleted chicken manure will help to feed it with the nutrients it needs for the whole year.\n4. Mulch the plant with bark\nIt is important to mulch your plectranthus with bark to help to absorb extra water. I like a 2 inch layer of bark mulch as it will absorb the excess rain and slowly release it out to the plant. Mulch will help to avoid any soil washing away and feed the soil bacteria and worms improving the soil over time.\nPlectranthus leaves turning brown | Summary\nPlectranthus leaves can turn brown if the plant gets too much water, too much sun or is attacked by sap sucking or chewing pests. Make sure it is planted in good quality potting soil or in improved soil with compost mixed through. Only water your plectranthus when it needs it and it will be happy.\nPlectranthus are hardy plants with lots of bright, purple flowers appearing as early as spring. They will flower all the way through summer and into fall if they are well cared for.\nI am an accredited practicing dietitian, experienced gardener and a dedicated cook. I love writing and sharing my experience so you can learn from my successes and mistakes.", "label": "No"}
{"text": "Buying posters via this link\nhelps Artchive - click here!\n|Join the ARTCHIVE PATRON PROGRAM.|\nFor your donation, receive benefits including two copies of a CD-ROM of this entire site.\nVIEW IMAGE LIST\nVIEW IMAGE LIST\nPiranesi, Giovanni Battista - Italian etcher, archaeologist and architect. He was born in Venice and was active in Rome from 1740. He was famous for his poetic views of Rome and also his fantastic imaginary interiors. Trained in Venice as an engineer and architect, his studies had included perspective and stage design. These skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Piranesi's image was a thoroughly romanticized one, with effects of scale exploited to make the buildings appear larger and grander and exaggerating the contrasts of light and shade to invest them with drama. His most remarkable etchings are perhaps those of imaginary interiors, the Carceri d'Invenzione (Imaginary Prisons), a series of plates issued in 1749-50 and reworked in 1761.|\nPiranesi was also an outspoken architectural polemicist who believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). In his other major treatise, the Parere sull'architettura (Observations on Architecture, 1765), he advocated an imaginative use of antique Roman models to produce a new style of architecture. Only one building was ever erected to his designs, the rather unexceptional church of S. Maria del Priorato, Rome (1764-6).\nPiranesi's influence as an architect may have been negligible, but his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel, Vathek (1786) wrote, 'I drew chasms, and subterranean hollows, the domain of fear and torture, with chains, racks, wheels and dreadful engines in the style of Piranesi.' In the 20th century his imaginary interiors have been admired by the Surrealists and provided source material for horror film set designers.\n[Home] [Juxtapositions] [Galleries] [Theory and Criticism] [Art CD-ROM Reviews] [Artchive] [Links]", "label": "No"}
{"text": "Update: I am pleased to announce availability of my Pen & Ink Drawing Workbooks at Amazon and other online retailers. Available for only $6 (paperback) and $3 (Kindle), they are a great way to get started drawing with pen and ink. Try them today.\nA simple but always interesting composition is a dense wooded area with trunks and branches peeking out from the foliage. It has following 3 main elements:\n- Foreground Foliage: This is the foliage that is in front of the trunks and branches.\n- Visible Trunks and branches:\n- Background Foliage: The foliage behind the trunks and branches.\nThere are few different ways of drawing this composition as discussed below. The approaches differ with regards to the order in which elements are added and the stroke used. This gives a different feel to the resulting drawing.\nVideo Demonstration is provided at my YouTube channel. You can click on the links below to see how that landscape is done step by step.\nIn the approach, we first draw the foreground foliage, then add visible trunks and branches and finally add background foliage as shown below.\nHere we first draw a backdrop of foliage and then add dark tapered lines to suggest trunks and branches and finally vary foliage tones to differentiate background and foreground foliage. The approach results in a wooded area with dense feel of foliage.\nHere the visible trunks, branches and twigs are drawn first and then foliage added. In this demonstration, more density of branches and twigs are added to show how this can give a different feel for the drawing.\nIn the above approaches, foliage is not explicitly associated with a specific branch but is instead used to give an overall feel. In this approach, branches are drawn first and then foliage drawn for a branch to give a different feeling for the drawing.\nBy changing the density and stroke used for foliage and shape and volume of trunks and branches, many variations on this composition are possible. This is a real fun composition that can be done from imagination anytime quickly. Try one today.\nYou can also Subscribe to receive my weekly emails that demonstrate how do a simple drawing in easy step by step manner. These are great for regular practice and to get weekly inspiration. See a sample here.", "label": "No"}
{"text": "A short while ago, I addressed the ins and outs of selecting and using a neutral density filter; to follow up on the basic theme of cool things you can attach to the front of a lens, let’s now take a look at polarizing filters.\nWhat is a Polarizing Filter?\nPolarizing filters are often discussed within the same context of ND filters, and for good reason. They both attach to the front of a lens, they both block a certain amount of light from entering the lens, and they both can have a significant impact on the images you produce.\nPolarizing filters are also often described in a similar fashion to ND filters — as sunglasses for your lens, but in this case polarized sunglasses. Again, it’s a mostly apt analogy, though unlike sunglasses, both filters avoid tinting your photos. And while ND filters block light coming in from all directions, polarizing filters cut out light coming in from one specific direction, hence the term “polarizing.”\nThese filters employ specially treated glass to analyze, convert, and concentrate scattered light; your camera, thereby, “sees” and treats that light differently than it would if no polarizing filter were present — specifically, the filter changes how a camera handles reflection and glare.\nThe Two Types of Polarizers\n- Linear Polarizers. A linear polarizer allows light to pass through it only when the polarizer is held at a specific orientation. If, for example, you hold the polarizer at a baseline orientation, it might allow only vertically polarized light to pass through it; if you were to rotate it 90 degrees, only horizontally polarized light could pass.\n- Circular Polarizers. A circular polarizer consists of two polarizing elements. The first is a linear polarizer, which functions just as discussed above. The second element is known as a quarter wave plate and is situated behind the linear element so that the light, instead of being polarized only in a left/right manner, can now be polarized in a “circular” fashion. Additionally, you can adjust the angle of polarization by simply rotating the front element.\nLinear polarizers are less expensive and are generally regarded as more effective than circular polarizers. But if you are using a modern DSLR — or any camera with through the lens (TTL) metering and autofocus — you will need to use a circular polarizer. It’s yet another quirk of physics and is beyond the scope of this discussion but, in short, linearly polarized light wreaks havoc on TTL metering and autofocus systems. If you’re using a camera from before the advent of these technologies (essentially pre-1970), then you’re probably fine using a linear polarizer.\nAny camera/lens combo can work a circular polarizer.\nWhen You Will Want to Use a Polarizing Filter\nThough the task that a polarizing filter is designed to perform is very specific (reduce reflections), it can perform that task across a number of scenarios that you will likely be confronted with quite often during your shooting adventures. These are some situations where the use of a polarizing will exhibit the greatest benefits.\n- Sky – Many new photographers quickly discover that photographing the sky can be a challenge. It is easy to overexpose. If you don’t have access to an neutral density filter, a polarizing filter can fill in effectively. In fact, you might even prefer the polarizer to the ND filter in some instances, as you will have more flexibility over the degree of change made to the sky. A polarizing filter also cuts out the smoggy haze sometimes associated with shooting in cities.\nPolarizer on min effect. Demonstration of the effect of using a circular polarizer by Mike Baird, on Flickr\nPolarizer on max effect. Demonstration of the effect of using a circular polarizer. by mikebaird, on Flickr\n- Water – Water is tricky to photograph mainly because of its reflective surface. With the sun hanging over you and no polarizing filter on your lens, there is really no effective angle at which to hold your camera to eliminate the reflection and glare being created by the water. You simply need to use a polarizing filter and adjust it until you get the desired effect. You’ll also get the added benefit of enhancing the clarity of the water.\nPolarizer on min effect . Demonstration of the effect of using a circular polarizer by mikebaird, on Flickr\nPolarizer on max effect. Demonstration of the effect of using a circular polarizer by mikebaird, on Flickr\n- Glass – Shooting through glass can be yet another challenge, and the more glass there is, the more difficult it becomes to deal with, as the light just bounces around in multiple directions over multiple levels of glass. A polarizing filter cuts down — or sometimes eliminates — glare and, as is true of its effect on water, increases clarity.\n- Color – Of course, reflections aren’t limited to water and glass. Everything you encounter and intend to shoot has some degree of reflectance to it; even if you can’t perceive it, it’s there. This is simply the nature of optics. In addition to being a distraction for photographers, reflected light also serves to lessen the perceived vibrance of objects. This is why a polarizing filter, which reduces or eliminates glare and reflections, can make colors appear deeper and more vibrant.\nHow to Use a Polarizing Filter Effectively\nPolarizing filters, especially circular polarizers, are easy to use. You can see how the use of one is going to impact your shot, and you can make adjustments on the fly by simply rotating the front element of the filter.\nFor best results, a rule of thumb is to keep the sun at a 90 degree angle to your shooting position — meaning shoot with the sun (or other light source causing reflection) to either side of you instead of behind or in front of you.\nAlso note that polarizers do not work on metallic surfaces. To be clear, I’m talking about bare metal; if a metal has been painted, then a polarizer will work to varying degrees, which is why some car photographers use polarizers and some don’t. The type of paint finish (pearl, metallic, flake, matte, etc.) has a direct impact on how a polarizer responds. So, if you are using a polarizer for car photography, you will just have to experiment in order to know whether your polarizer will be effective.\nChoosing the Right Polarizer\nIt probably wouldn’t be very practical to put forth a specific checklist of buying points; everyone is going to have different needs and considerations that warrant a great deal of flexibility. There are, however, a few basic ideas to keep in mind when getting ready to buy a filter of any kind.\n- Know the filter thread size of your lens, and remember the larger the size the higher the price.\n- It is not necessary to buy the most expensive filter on the market, but…\n- Don’t skimp on quality. Anytime you place additional glass in front of your lens, you risk lowering image quality. High quality filters use the best glass and coatings, so as to not degrade your images. Unfortunately, higher quality means higher price.\n- Good circular polarizers tend to be more expensive than both linear polarizers and ND filters.\n- Filter coatings help reduce or eliminate glare and reflections that might otherwise be caused by the filter glass itself; multi-layer coatings are better than mono/single-layer coatings, and both are better than no coating.\nDepending on what you shoot, a polarizing filter may become the most useful and most-used photography accessory in your kit. So, consider a polarizing filter an investment; learn how to use it, put it to good use, and maximize its role in your creative ventures.", "label": "No"}
{"text": "Like the kilns in Dehua that made blanc de chine, the factories in Yixing in Jiangsu Province also specialised in a rather exclusive product of their own, namely red stoneware. The local clay had a high iron oxide content resulting in the unglazed objects being dark red, brown or even purple. Fired at a high temperature, these pieces were impermeable and glazing was avoided so as to emphasise the structure and colour of the surface. Yixing is famous for its teapots; these are known to preserve the fragrance of the tea very well. The variety of Yixing teapots is amazing and is due to the clay having such plasticity that many different shapes, even sharply angular, could be made. Usually moulds were used to shape the objects and the decorations that were applied in relief. Decorations could also be incised and sometimes comprise long poems or dedications. Apart from teapots, many other objects were made in Yixing for the domestic Chinese market. To a lesser extent the potters also produced for export and Yixing teapots were highly valued in Europe. However, Western shapes are extremely scarce, while Yixing with Western decorations seems to be non-existant. Sometimes Yixing is enhanced with gold, but we are still uncertain if this was done in Europe or in China. It is remarkable that these well-finished pieces are often marked with the name of a workshop or potter's family, an exception in Chinese ceramics. Dates are rare, however. After a period of neglect Yixing craftsmanship was revived in the second half of the 20th century. A continuously changing assortment made by highly creative potters today is available in Yixing.\nCurrently there are no Yixing 1650-1900 wares for sale.", "label": "No"}
{"text": "23. Korean Inkstone\nwith Squirrel & Grape Design\nInquire about this item\nLength: 30.0 cm. (11 3/4 in.) 長 30.0 厘米\nWidth: 19.0 cm. (7 1/2 in.) 廣 19.0 厘米\nDepth: 2.0 cm. (3/4 in.) 深 2.0 厘米\nJoseon dynasty 朝鮮朝\n18th century A.D. 公元 18 世紀\nAcquired in Japan\nThe Korean designer/artisan responsible for the decoration on the present inkstone stepped out of the traditional boundaries set by Chinese masters to whom his predecessors and contemporaries looked for inspiration, ideas, and technical knowhow. Here the standard “Three Friends of Winter,” the pine, plum, and bamboo that were firmly established in the arts of China, include a new friend, actually two. The fruiting grapevine has replaced the flowering plum, and a small monkey has scampered upon the scene. How does all of this affect the meaning of the “Three Friends of Winter” theme, a theme conveying attributes of fortitude, resilience, and perseverance? Greatly. The meaning of the original three-friend theme was tailor-made for the idealized scholar-gentleman, a theme emblematic of scholarly perseverance and integrity. The fruiting grapevine signified wishes for fertility and numerous progeny, indeed important in a Confucian society. Here, however, the emphasis and focus of the motif is shifted from the soul of the scholar to that of the society as a whole. Interestingly, the word for monkey in Korean is a homophone for emperor and thus the monkey was a symbol of authority and high governmental position. This is quite different from the Chinese who viewed the monkey as a creature cheerful, energetic, and clever and nothing more.\nThe dark grey stone with greenish tinge, a grinding surface in paler green with lighter swirls of green and one stone eye, allies the material well with the well-known Duan inkstones of Chinese manufacture. However, the present stands apart from Chinese inkstones in its relative massiveness, its stark, sharp geometric form and overall, deeply-cut sculptural décor in which no space around the grinding surface is left untouched. Further, in contrast to Chinese inkstones, which are invariable carefully finished, the Korean example here is left with rough sides and base, an unfinished look in the eyes of the Chinese but to the Koreans, perfectly acceptable, perfectly perfect.\nRelated examples, all datable to the Joseon dynasty in the 18th century, include an inkstone with monkey-and-grape design published by Kwon To-hong in Pyoru, “Inkstones,” Seoul, 1989, no. 1; a second in Robert Moes, Auspicious Spirits: Korean Folk Paintings and Related Objects, Washington D.C., 1983, no. 80, p 156; and a third with “Diamond Mountain” design also published by Moes as no. 81, p 157.", "label": "No"}
{"text": "Prajnaparamita in a Single Letter | Subject: 'A' Letter (Buddhist) | Prajnaparamita Main Page\nIn the Tantric Buddhist religion the letter 'A' represents a number of different things depending on the Buddhist vehicle and the individual tradition. In Mahayana Buddhism, the letter 'A' relates to the shortest of all of the Prajnaparamita Sutras - the Prajnaparamita in a Single Letter (see below). Also in Tantra theory, the Prajnaparamita Sutras, as a group, can be personified as the female deity of the same name - Prajnaparamita, regarded as the Mother of all wisdom and the mother of all Buddhas.\nAs a deity represented in art, Prajnaparamita is relatively minor with only a few variations of iconographic form. With regard to the different religious traditions of Tantric Buddhism, it is the Cho (Severance) founded by Machig Labdron and the Drigung Kagyu founded by Jigten Sumgon that place a special emphasis on Prajnaparamita and subsequently depict the deity in their paintings and sculpture.\nIn general Tantric Buddhist theory the three letters om, a and hum represent the body, speech and mind of an individual. The three letters serve symbolically as a bridge between the individual and the Tantric practice of meditation on the form of a deity - Deity Yoga.\nIn the Nyingma Tradition the letter 'A' is highly symbolic and closely related to the teachings of the philosophical view known as Dzogchen. A physical yet still symbolic manifestation of the principal of the 'A' is a clear quartz crystal rock. During specific Nyingma initiation rituals an initiation card displaying the letter 'A' will be shown next to a length of clear quartz crystal, or drawn together on a single initiation card. The letter 'A' as an object of meditation can also be found in the Mahamudra traditions of the Sakya and Kagyu Schools but rarely depicted in art. The Bon religion, like the Buddhist Nyingma, place a great deal of emphasis on their form of the Dzogchen philosophy and the Tibetan letter 'A.'\nJeff Watt 8-2016", "label": "No"}
{"text": "Simple rectangle of fun fur becomes a gut tube for first year health science students to understand how peristalsis can move food (marbles) from one end to the other. Plastic film and coloured wool simulate the gut mesentry containing blood vessels and nerves.\nLong rectangles (80mm x700mm) were cut from artificial fur fabric. The two long edges were sewn together and overlocked, with the fur on the inside. The ends were left open so that marbles could be introduced. Plastic cling wrap was used to simulate the gut mesentry, with coloured yarn to simulate arteries, veins, lymphatics and nerves within the mesentry.\nThis work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License", "label": "No"}
{"text": "Saladin (1138-93), Muslim leader, who recaptured Jerusalem from the Crusaders.\nBorn in Tikrit, Iraq, Saladin, as he is known in the West, was a Kurd; his Arabic name is Salah ad-Din Yusuf. At the age of 14 he joined other members of his family (the Ayyubids) in the service of the Syrian ruler Nur ad-Din. Between 1164 and 1169 he distinguished himself in three expeditions sent by Nur ad-Din to aid the decadent Fatimid rulers of Egypt against attacks by the Christian Crusaders based in Palestine. In 1169 he was made commander in chief of the Syrian army and vizier of Egypt. Although nominally subject to the authority of the Fatimid caliph in Cairo, Saladin treated Egypt as an Ayyubid power base, relying mainly on his Kurdish family and supporters. Having revitalized Egypt's economy and reorganized its land and naval forces, Saladin repelled the Crusaders and took the offensive against them. In September 1171 he suppressed the dissident Fatimid regime, reuniting Egypt with the orthodox Abbasid caliphate, but his reluctance to cooperate with Nur ad-Din against the Crusaders brought him to the brink of war with his former master.\nAfter Nur ad-Din's death in 1174, Saladin expanded his power in Syria and northern Mesopotamia, mainly at the expense of his Muslim rivals. Following the submission of Damascus (1174), Aleppo (1183), and Al Mawsil (1186), numerous Muslim armies, allied under Saladin's command, were ready to move against the Crusaders. The young general is one of the few commanders in history who are tremendously respected by their friends and enemies alike. When he took control over Cairo, the Fatimids remained isolated in their palaces. Saladin did not seek revenge, but rather waited until their Caliph died. He then expelled the Fatimids out of their palaces and sent them to exile. Unlike his successors, the young general did not seize the Fatimid's wealth, nor did he occupy their palaces. Like a caring ruler, he opened the gates of Cairo and allowed Egyptian citizens to live within the city walls in areas which had been exclusively occupied by Fatimid royalty. Beause of his sincerety and kindness, he became popular among Egyptian citizens -Moslems and Christians alike- and even had a Jewish personal doctor. And when he later fought Richard the Lionheart, legend goes that Saladin ordered his horsemen to carry ice down the mountain to comfort the British King when he was sick.\nIn Cairo, Saladin not only built mosques and palaces (in fact he did not build a palace for himself), but also colleges, hospitals,and a fortress, the Citadel, which still remains one of Cairo's landmarks to this day. Unfortunately, it is to be taken against himand his successors that they used some of the Pyramids stones to meet the excessive need for building materials in the growing city. The Citadel was built on a elevated spot near the the Muqattam Hills, and occupies a strategic spot from which you can, to this day, have a panoramic view of Cairo. New city walls were also erected outside the Fatimid walls to defend Cairo from enemy raids.\nIn 1182, Saladin marched to Palestine and Syria\nand never returned to Cairo. For the next 10 years, he fought the Crusaders\nand managed to end their presence in the region, at least temporarily.\nIn 1187 he invaded the Latin kingdom of Jerusalem, defeated the Christians at Hittin in Galilee (July 4), and captured Jerusalem the following October. In 1189 the nations of western Europe launched the Third Crusade to win back the holy city.\nDespite Saladin's relentless military and diplomatic efforts a Christian land and naval blockade forced the surrender of the Palestinian stronghold of Acre in 1191, but the Crusaders failed to follow up this victory in their quest for Jerusalem. In 1192 Saladin concluded an armistice agreement with King Richard I of England that allowed the Crusaders to reconstitute their kingdom along the Palestinian-Syrian coast but left Jerusalem in Muslim hands. On March 4, 1193, Saladin died in Damascus after a brief illness.When he died in Damascus in 1193, he had almost no personal possessions, but he earned himself a remarkable place in history.\nMuslim historiography has immortalized\nSaladin as a paragon of princely virtue. He has held enduring fascination\nfor Western writers, including modern novelists.", "label": "No"}
{"text": "1. It’s brass monkeys outside\nMeaning: Freezing cold weather.\nOrigin: ‘Cold enough to freeze the balls off a brass monkey’. A ship’s cannon balls used to be stacked on a brass structure called a ‘monkey’ – the brass would contract in cold weather and the cannon balls would fall off.\nAt various moments in its life, a word will hop languages, change meanings, travel through sinister moments and land in pleasant ones. But no matter how many times it’s superimposed, and how far it gets from its original source, a word doesn’t let go of its memories easily. Here are 11 modern English words with socially insensitive origins.\n1. Hysteria (n.) – a wild, irrational eruption of fear or emotion\nHysteria begins in the womb, or so thought the medical scholars of the 1610s, who named the condition after the Latin hystericus, meaning “of the womb.” Those who’ve studied the Victorian era, or read The Awakening in high school, may know that the go-to prognosis of the time for just about every female’s symptom from the occasional hissy fit to chronic seizures was a pesky wayfaring uterus. The condition was thought to be caused by sexual frustration and cured by intercourse or pelvic massage, the latter often performed by physicians and midwives. When doctors finally got fed up with the tedious task in the late 19th century, the personal vibrator was created to take their place. Read More…\nBy Onna Nelson, University of California, Santa Barbara\n1. English red\nThe Proto-Indo-European (PIE) word for red, reudh, remained largely unchanged for thousands of years, showing up in English red, Spanish rojo, French rouge, German rot, Icelandic rauðr, and Welsh rhudd. Not only did it lead to these words for the color itself, it also led to red-related English words like ruby, rust, and rubeola.\n2. English black\nThe PIE word bhel evolved into many modern words meaning “white,” including Spanish blanco, French blanc, Italian bianco, and Portuguese branco, as well as white-related words such as bleach and blank. So why does the English word black look so much like all these other words for white? Well, bhel also referred to anything bright, like fire, and the result of fire is blackened, charred remains. Hence, black.\n3. English green\nThe PIE word ghre-, meaning “to grow,” is another root which endured the centuries. What grows? Green stuff! Grhe- gave us many modern words meaning “green,” including English green, German grün, and Icelandic grænn, as well as the English words grow, grass, graze and herb.\n4. Portuguese red and purple\nAs languages add color words to their lexicon, the colors a word refers to can get shifted around. Portuguese roxo, related to the same PIE word reudh, used to mean red and red-related colors, including pink, orange, and purple. When the bright red pigment vermilion was imported from China, Portuguese began using vermelho to refer to red, and pushed roxo aside to refer exclusively to purple.\n5. English purple\nPurpura is the Latin name of a particular kind of shellfish which, when ground up, produces a bright purple dye, which in turn was taken from the Greek word porphura to describe the same sea creature. The word purpura later began to refer to the dye, and eventually the color of this dye. This dye was very expensive, and purple was considered a color of royalty throughout Europe. When this dye was exported to England, the word purple was imported into English as well. Today “purpura” is used by medicos to describe purplish discolorations of the skin.\n6. English pink\nLots of fancy color words come from flowers or fruits: violet, periwinkle, lavender, lilac, olive, eggplant, pumpkin, and peach, to name a few. In English, pink used to refer exclusively to a flower called a pink, a dianthus which has pale red petals with fringed edges. “Pink” the verb, meaning to cut or tear jaggedly, has been in use in the English language since the early 14th century. Eventually, English speakers forgot the name of the flower, but preserved the word for the color.\n7. Japanese blue and green\nOver two-thirds of the world’s languages have a single word for both green and blue, known as grue in English. In Japanese, aoi historically referred to grue. When Crayola crayons were imported, green was labeled midori and blue was labeled aoi. New generations of schoolchildren learned them as different colors. But traces of grue remain: Japanese still refers to “blue” traffic lights and “blue” apples with aoi.\n8. Kurdish and Russian blue\nIn Russian, the word for dark blue is sinii, and in Kurdish the word for blue is šin. In Neo-Aramaic, a central hub of trade, the word for blue is sǐni, and in Kurdish the word for blue is šin. In Arabic, a central hub of trade, the word for ‘Chinese’ is sini. The words for Chinese and blue became synonymous due to the popular blue and white porcelain china commonly traded in the region.\n9. Spanish yellow\nAmarillo, or “yellow,” is a diminutive form of the Spanish word amargo, which comes from the Latin word amarus, meaning “bitter.” So how did “little bitter” come to be synonymous with “yellow”? In the Middle Ages, medical physicians commonly believed that the human body had four humors. The “bitter humor” referred to bile, which is yellow.\n10. English orange\nWhen oranges (the fruit) were exported from India, the word for them was exported too. Sanskrit narangah, or “orange tree,” was borrowed into Persian as narang, “orange (fruit),” which was borrowed into Arabic as naranj, into Italian as arancia, into French as orange, and eventually into English as orange. The color of the fruit was so striking that after borrowing the word and the crop, English speakers eventually began referring to the color by this word as well. Before oranges were imported in the 1500s, the English word for orange (the color) was geoluhread (literally, “yellow-red”).\nThe following is an excerpt from The Curmudgeon’s Guide to Getting Ahead, in which author Charles Murray discusses words with meanings that have changed — and not always for the better.\nDisinterested used to mean uninterested.\nThe meaning of disinterested is “free of bias and self-interest.” It is essential that a judge be disinterested, for example. Disinterested does NOT, repeat NOT, mean “lack of interest” or “uninterested.” I put this so emphatically because we’re not talking just about proper usage. Disinterest used in its correct sense is on its last legs—I’ve been appalled to see it misused in articles in the Washington Post and other major publications. English does not have another word that conveys the meaning of disinterested as economically. If we lose the distinctive meaning of the word, we have measurably degraded our ability to express ourselves in English.\nUnderstand that some experts say that “persuade” and “convince” are synonyms that go back at least to the sixteenth century. The meanings are so closely knit that often one word serves as well as the other.\nAfter ‘persuade’ we use the structure\nto + infinitive:\n- I persuaded them to stay for another drink.\n- He persuaded her not to take the job.\nAfter ‘convince’ we cannot use a verb infinitive. We say ‘convince someone that‘:\n- She convinced the police that she was telling the truth.\n- He convinced her that it was the right thing to do.\nBoth of the above sentence would also be correct without ‘that’:\n- She convinced the police she was telling the truth.\n- He convinced herit was the right thing to do.\nAlthough Robert finally persuaded his girlfriend to move abroad with him, she was not fully convinced that it was the best thing to do.\nIn the example, Robert’s girlfriend was persuaded (to move) but was not convinced (that it was the correct decision). So, we can see that when we persuade someone to do something it doesn’t always mean that we have also convinced that person.\nThe teenager is convinced she can win. The boy was persuaded to run the 10-yard dash.\nOne more thing is worth mentioning about ‘persuade’ and ‘convince’. If we are absolutely sure about something, we say I’m convinced:\n– Are you sure he’s innocent?\n– Yes, I’m convinced. NOT\nSome related words:\nconvincing (adjective) It was a convincing argument.\npersuasive (adjective) Marta can be very persuasive when she wants.\npersuasion (noun) He used his powers of persuasion.\nWhen confronted with issues of word choice, I often find it helpful to consider the associations and connotations a word has in its different forms. A convincing person or argument is one that other people cannot help but agree with, whereas a persuasive person or argument is one that other people find compelling, but which leaves more room (in my mind) for the opportunity to disagree.\nIf you have been convinced, you have clearly and decisively changed your perspective. If you have been persuaded, then you have chosen to agree with those you previously disagreed with. In the latter case, it may not be so much that you’ve found an argument you agree with so much as you’re indulging someone who has appealed to you, either positively or negatively.\nPrefer “convince” when the change of opinion must be definite or to deemphasize the role of whomever did the convincing. Prefer “persuade” to draw attention to either the arguments used or the individuals doing the arguing, to emphasize reluctance on the part of the persuaded, or when you need the word to contain more vowels.\nStop using the dangling participle and misplaced modifiers\nBoth can seriously change the flow and meaning of your writing. It is important to make sure we qualify the intended words and not just any words in the sentence.\nA participle is a verb that acts like an adjective and ends in –ing, such as swimming or cooking or diving. You name it! Any verb can be turned into a participle. A participial phrase is a phrase describing an action, “cooking on the stove”, “swimming in the ocean” and it is used to modify a noun in the sentence. A dangling participle modifies the unintended noun. Examples of dangling participles:\nMisinterpreted: Cooking on the stove, Alice decided it was time to turn the vegetables.\nIt sounds as though Alice herself was being cooked on the stove.\nIntended: Alice decided it was time to turn the vegetables that were cooking on the stove.\nMisinterpreted: Sunburned and dehydrated, Mom decided it was time for the children to go into the house.\nIt sounds as though the Mom is sunburned and dehydrated.\nIntended: Mom decided it was time for the children, who were sunburned and dehydrated, to go into the house.\nA modifier is a word or a phrase that modifies something else in the sentence. Misplaced modifiers are modifiers that modify something else other than what you intended.\nExamples of misplaced modifiers:\n“I only walked my dog.” which means you did nothing but walk the dog. You did not feed or wash it, etc.\n“I walked only my dog.” which means you did not walk anyone else such as your cat or your child, etc.\n“I write mostly for other blogs.” which means that you write for other blogs most of the time but you may write for other sources as well.\n“I mostly write for other blogs.” which means that your main activity is to write for other blogs. You may do other things too, such as sleep and eat but most of the time, you are writing for other blogs.\nThis is an excerpt from a book by Farnoosh Brock, available at Amazon.\nPhoto credit: http://maineschoolwritingcenters.blogspot.com/\nWishing you a wonderful Monday,\nFig. a bad attitude that tends to get someone easily upset.“Why did you get so angry at the slightest criticism? You seem to have a chip on your shoulder.”\nA perceived grievance or sense of inferiority.\nThe word chip has several meanings; the one that we are concerned with here is the earliest known of these, namely ‘a small piece of wood, as might be chopped, or chipped, from a larger block’. The phrase ‘a chip on one’s shoulder’ is reported as originating with the nineteenth century U.S. practice of spoiling for a fight by carrying a chip of wood on one’s shoulder, daring others to knock it off. This suggested derivation has more than the whiff of folk-etymology about it. Anyone who might be inclined to doubt that origin can take heart from an alternative theory.", "label": "No"}
{"text": "The Controversy of the World Not Being Flat\nThe idea that all people believed the Earth was flat until the Age of Discovery and Christopher Columbus sailing West is a myth. While some people did believe that the Earth was flat then and even still do today, among educated circles dating as far back as ancient Greece there is evidence that the Earth was known to be spherical.\nAs late as 700 BC, Homer was still writing of the world as flat piece of land that was encircled by the waters of a wide river. The center of the world was considered to be Delphi, which makes sense that the Greeks believed this, because for them- Delphi was the center of their world. Greece with her proximal location between the Far East and Africa likely did seem like the center of the Earth at that time, given to the extent the globe had been traveled.\nBy the time of Anaximander (611 to 547 BC) it is likely the Greeks had already discovered that the Earth was not entirely flat. Anaximander was the first to build a mechanical representation of the Universe, with the Earth as fixed point at the Center and heavenly bodies revolving around it. He was the first known to think of the Earth as floating in space and is known as the Father of Cosmology. He originally envisioned Earth as a cylindrical shape but widely studied the heavenly bodies, their elliptical orbits and was said later to have created a globe. He also was written about by the Greek\nhistorian Strabo as being credited by Eratosthenes as being the first to create a world map. Among his students was thought to have been Pythagoras (Pythagorean Theorem). Pythagoras (570 BC to 495 BC) along with Parmenides of Elea (515 BC est. birth/death not fully known) are credited as the first known to teach that the Earth was Spherical. Plato (427 BC to 347 BC) was familiar with the theories of both men, he studied Pythagorean mathematics in Southern Italy and discusses Parmenides visiting and teaching Socrates in Athens around 450 BC. He taught his own students the Earth was round and wrote in Phadeo, “My conviction is that the Earth is a round body in the centre of the heavens.” Aristotle (384 to 322 BC) also taught the Earth was round and offered the evidence of the curved shadow of the Earth on the Moon during a lunar eclipse, the rising of the constellations from the horizon each night and the sinking of the sun each day beyond the horizon line. Ptolemy (90 to 160 AD) similarly noted that ships vanish and on approach while crossing the sea lands and mountains become larger.\nEratosthenes (276 to 194 BC) was the Greek Director of the Library at Alexandria wrote on the Measurement of the Earth, in which he showed how he was able to calculate the circumference of the Earth. On the Summer Solstice, he observed that at noon there was no shadow being cast over head by a building in Syene but in Alexandria, there was. He measured the shadow and was able to deduce the angle of the sun. With that he used the known distance of 5,000 Stadia between the towns of Syene and Alexandria and with his knowledge of geometry figured this to be 1/50 of a circle. From this, Eratosthenes was able to calculate the approximate circumference of the Earth. He was off by about 15% but that is still extremely impressive given the lack of tools or technology help him arrive at this calculation.\nDuring the Middle Ages there was the shift in education from the Renaissance curiosity of the natural world to an emphasis on Medieval Church doctrines. Although the Greek knowledge of the Earth being round continued within educated circles it was no longer a major emphasis. Even though it had long before been discovered that the Earth was round, once again ideas that the Earth was flat permeated among uneducated groups that did not have access to or could not understand the older Greek writings. One of the reasons for this is because when looking out in the distance over the water, at the horizon line, the Earth does appear to end. On the coast in the South of Portugal there is a vantage point known as the End of the World because as you look into the horizon, it does appear the Earth ends. Christopher Columbus had discovered a map made by Henricus Martellus which was the first map where the world is depicted as being round.\nAfter failing to convince the Portuguese that he could sail around the world, Christopher Columbus used Martellus’s map to convince King Ferdinand that he could get to India by sailing West.\nhttps://great-river-arts.myshopify.com/products/educational-map-series-californias-first-appearance-on-a-map ; https://great-river-arts.myshopify.com/products/educational-map-series-the-lost-map-of-sir-francis-drake, https://great-river-arts.myshopify.com/products/educational-map-series-universalis-cosmographia-1507, https://great-river-arts.myshopify.com/products/educational-map-series-carte-de-lamerique-septentrionnale-1910 , https://great-river-arts.myshopify.com/products/educational-map-series-orteliuss-regionis-typus-1570 , https://great-river-arts.myshopify.com/products/nova-totius-terrarum-1605-hand-colored-laser-reproduction", "label": "No"}
{"text": "By Eberhard Bruenig\nTropical rainforests fascinate scientists and explorers. The richness and diversity of types and the variety of species were said for hundreds of years. Measures to guard endangered species inside this environment have been already suggestion worthy within the mid-nineteenth century. because the Nineteen Twenties advertisement greed, political misdemeanor and the relentless elevate within the human inhabitants have all posed expanding threats to the way forward for rainforests. Sustainability is now of paramount significance.\nThis re-creation of Conservation and administration of Tropical Rainforests applies the big physique of data, event and culture on hand to people who research tropical rainforests. Revised and up to date in gentle of advancements in technology, expertise, economics, politics, and so on. and their results on tropical forests, it describes the foundations of built-in conservation and administration that result in sustainability, opting for the unifying phenomena that keep an eye on the procedures in the rainforest and which are primary to the atmosphere viability. positive aspects of the usual woodland and the socio-cultural ecosystems that are mimicked within the layout of self-sustaining forests also are mentioned. A holistic method of the administration and conservation of rainforests is built during the publication. the point of interest on South-East Asian forestry may be widened to incorporate Africa and Latin the United States. contemporary arguable matters reminiscent of biofuels and carbon credit with admire to tropical forests and their population could be mentioned. This publication is a considerable contribution to the literature; it's a worthy source for all these keen on rainforests\nRead or Download Conservation and management of tropical rainforests : an integrated approach to sustainability PDF\nSimilar forestry books\nSpotting the elevated curiosity in wooded area administration around the globe, this publication addresses the present wisdom hole by means of defining sustainable woodland administration, clarifying tools during which ecological wisdom may be utilized and the way conventional silvicultural tools might be superior. Sustainable wooded area administration consists of the enhancement of assorted points of wooded area services equivalent to conservation of biodiversity, conservation of soil and water assets, contribution to the worldwide carbon cycle in addition to wooden creation.\nAsian societies are getting into a brand new period of decentralized governance of forests. The authority to make judgements on wooded area administration has shifted to reduce degrees of presidency and, in certain cases, to the local community themselves. yet can governments easily `decentralize` authority clear of the guts, or are there convinced middle parts essential to in attaining sustainable administration and conservation of forests in a decentralized global?\nWith contributions from prime scientists in agricultural biology and younger researchers, this ebook examines the ecological results that usually come up with quite a few equipment of accelerating crop productiveness. It additionally provides agroecological ways to crop development and productiveness from numerous views, examines substitute strength resources, and discusses different difficulties regarding sustainable agriculture.\nRegardless of the superior conservation and environmental policy-making efforts, at the least 80,000 acres of tropical rainforest disappear every day. If motion isn't taken now, specialists estimate that the world's rainforests will in most cases disappear inside of 50 years. at present, the destruction of tropical forests is liable for 17 percentage of synthetic carbon emissions—more than what comes from all of the world's autos, airplanes and ships mixed!\n- Mangrove Ecosystems of Asia: Status, Challenges and Management Strategies\n- Forest BioEnergy Production: Management, Carbon sequestration and Adaptation\n- Soil Formation\n- Greenhouse Gas Sinks\n- Coastal Saline Soil Rehabilitation and Utilization Based on Forestry Approaches in China\n- Common Insect and Mite Galls of the Pacific Northwest (Studies in entomology)\nAdditional resources for Conservation and management of tropical rainforests : an integrated approach to sustainability\nBurham gives a brief but useful regional review for South-east Asia (SEA) (Burham in Whitmore, 1975a). The forest soils of Sarawak, including the unique extensive oligotrophic medium to deep peatswamp soils and the more scattered oligotrophic podzols and podsolic soils in kerangas forests (heath forest) have been intensively pedologically studied, classified, assessed and mapped since the 1950s. A useful overview of the soils of Sarawak from an agricultural and forestry point of view is given by Andriesse (1962).\nThis spatial patchiness of atmospheric and soil moisture, caused by physiographic heterogeneity at small to medium scale, complicates landuse and forestry planning, and being very vexing, is usually disregarded. 7). The extremely high discharge of water and sediments per square kilometre land surface in the South-east Asian Archipelago is related to the very high intensities of rainfall events and high relief energy. These extremely high discharge rates are indicators of the fragility and vulnerability of the land surface, which impose severe limitations on sustainable land and forest use in the Malesian region.\nNeither the original TRF climate was, nor the contemporary climate in an environment of deforestation and air and water pollution is as favourable for plants as scientists and laymen commonly assume. 2°C 1677 mm mm 500 300 100 40 80 30 60 20 40 10 20 0 J FM A M J J A S O N D J FM A M J J A S O N D J FM A M J J A S O N D 0 Fig. 2. Climate diagram of the apparently everwet equatorial climate (examples San Carlos de Rio Negro, Amazonia, Venezuela, and Bintulu, Sarawak) and of the seasonal tropical climate with one dry season at the outer margin of the tropics (example Changjiang, Hainan) (Walter, 1973; data for San Carlos supplied by J.", "label": "No"}
{"text": "By exploring a brand new printable biomaterial that might mimic qualities of brain tissue, Northwestern College scientists are now closer to getting a platform able of dealing with these problems applying regenerative drugs.A critical ingredient into the discovery may be the power to manage the self-assembly processes of molecules inside the fabric, enabling the researchers to modify the construction and functions within the techniques through the nanoscale towards scale of noticeable abilities. The laboratory of Samuel I. Stupp revealed a 2018 paper during the journal Science which confirmed that substances might be created with tremendously dynamic molecules programmed to migrate around long distances and self-organize to type larger, “superstructured” bundles of nanofibers.\nNow, a investigation team led by Stupp has shown that these superstructures can enhance neuron expansion, a major tracking down that may have implications for mobile transplantation techniques for neurodegenerative disorders which include Parkinson’s and Alzheimer’s condition, and also spinal wire personal injury.”This is definitely the primary case in point where exactly we have been capable to consider the phenomenon of molecular reshuffling we noted in 2018 and harness it for an application in regenerative medicine,” mentioned Stupp, the lead writer around the examine plus the director of Northwestern’s Simpson Querrey Institute. “We may use constructs in the new biomaterial to support learn therapies and grasp pathologies.”A pioneer of supramolecular self-assembly, Stupp is in addition the capstone nursing projects Board of Trustees Professor of Substances Science and Engineering, Chemistry, Medicine and Biomedical Engineering and retains appointments inside of the Weinberg College or university of Arts and Sciences, the McCormick Faculty of Engineering and then the Feinberg University of medication.\nThe new substance is created by mixing two liquids that immediately grow https://en.wikipedia.org/wiki/User:Materialscientist to be rigid as the final result of interactions identified in chemistry as host-guest complexes that mimic key-lock interactions among the proteins, as well as as being the end result of your concentration of such interactions in micron-scale locations through a longer scale migration of “walking molecules.”The agile molecules address a length many hundreds of https://www.nursingcapstone.net/ situations larger than themselves in an effort to band collectively into sizeable superstructures. For the microscopic scale, this migration will cause a metamorphosis in construction from what appears like an raw chunk of ramen noodles into ropelike bundles.”Typical biomaterials employed in drugs like polymer hydrogels you shouldn’t possess the capabilities to permit molecules to self-assemble and go close to within just these assemblies,” stated Tristan Clemons, a analysis associate in the Stupp lab and co-first author in the paper with Alexandra Edelbrock, a former graduate university student within the group. “This phenomenon is exclusive to your programs we now have engineered in this article.”\nFurthermore, since the dynamic molecules move to sort superstructures, good sized pores open up that make it possible for cells to penetrate and connect with bioactive indicators which may be built-in into the biomaterials.Interestingly, the mechanical forces of 3D printing disrupt the host-guest interactions from the superstructures and cause the fabric to move, but it can promptly solidify into any macroscopic form because the interactions are restored spontaneously by self-assembly. This also enables the 3D printing of constructions with distinct levels that harbor different kinds of neural cells in an effort to study their interactions.", "label": "No"}
{"text": "Every year, thousands of people lose money to telephone scams and Cal Poly employees are prime targets for these phone phishers. Although phishing is commonly done by email, phone phishing is another tool used to obtain your personal and Cal Poly information. The caller may claim to work for a company you trust like Microsoft or even claim to be from the Cal Poly service desk. They may send mail or place ads to convince you to call them. The caller might offer to help solve your computer problems or sell you a software license and request your credit card information to bill you for the phony service call. They may also attempt to get your Cal Poly username and password, or ask you to make configuration changes to your computer which allows them access to install malicious software and capture sensitive data from you.\nCal Poly will never ask for your password via email, phone or a non-calpoly.edu web form. All password changes are handled through the Cal Poly Portal. You should also expect Cal Poly affiliated vendors to work with your IT support rather than contacting you directly.\nHow do Phone Call Attacks Work?\nFirst, you have to understand what these attackers are after. They usually want your money, information, or access to your computer (or all three). They do this by tricking you into doing what they want. The bad guys call people around the world, creating situations that seem very urgent. They want to get you off-balance by scaring you so you won’t think clearly, and then rush you into making a mistake. Some of the most common examples include:\n- The caller pretends that they are from a government tax department or a tax collection service and that you have unpaid taxes. They explain that if you don’t pay your taxes right away you will go to jail. They then pressure you to pay your taxes with your credit card over the phone. This is a scam. Many tax departments, including the IRS, never call or email people. All official tax notifications are sent by regular mail.\n- The caller pretends they are Microsoft Tech Support and explain that your computer is infected. Once they convince you that you are infected, they pressure you into buying their software or giving them remote access to your computer. Microsoft will not call you at home.\n- You get an automated voicemail message that your bank account has been canceled, and that you have to call a number to reactivate it. When you call, you get an automated system that asks you to confirm your identity and asks you all sorts of private questions. This is really not your bank, they are simply recording all your information for identity fraud.\nThe greatest defense you have against phone call attacks is yourself. Keep these things in mind:\n- Anytime anyone calls you and creates a tremendous sense of urgency, pressuring you to do something, be extremely suspicious. Even if the phone call seems OK at first, but then starts to feel strange, you can stop and say no at any time.\n- If you believe a phone call is an attack, simply hang up. If you want to confirm if the phone call was legitimate, go to the organization’s website (such as your bank) and get the customer support phone number and call them directly yourself. That way, you really know you are talking to the real organization.\n- Never trust Caller ID. Bad guys will often spoof the caller number so it looks like it is coming from a legitimate organization or has the same area code as your phone number.\n- Never allow a caller to take temporary control of your computer or trick you into downloading software. This is how bad guys can infect your computer.\n- If a phone call is coming from someone you do not personally know, let the call go directly to voicemail. This way, you can review unknown calls on your own time. Even better, you can enable this by default on many phones with the “Do Not Disturb” feature.\n- Notify email@example.com and (if possible) include the incoming number, the campus extension receiving the call, and the date and time so we can take appropriate action.\n- If the caller claims to be contacting you regarding a service request for a computer you aren't aware of, take their information and follow up with ITS Service Desk or the IT contact in your area.\nScams and attacks over the phone are on the rise. You are the best defense you have at detecting and stopping them.", "label": "No"}
{"text": "The march was written in 1899. When the march premiered the same year at the Academy of Music in Philadelphia, the audience insisted that it be repeated three times. The march is \"addressed to no particular nation, but to all of America's friends abroad.\"\nIn 1901, John Phillip Sousa heard the Virginia Tech Regimental Band (The Highty-Tighties ) playing \"The Thunderer\" at the Pan-American Exposition in Buffalo, New York. Sousa was so impressed that he dedicated a performance of his latest march, \"Hands Across the Sea\", to the band.\nSousa prefaced the sheet music's score with a quotation from the English diplomat John Hookham Frere: \"A sudden thought strikes me; let us swear eternal friendship.\" The march was composed in the wake of the Spanish–American War and is idealistic, in addition to patriotic, in nature.\n\"Hands Across the Sea\" remains as one of Sousa's more popular marches, and is still performed widely by bands.\nOne reviewer describes the march this way: \"Hands Across the Sea opens with a jaunty, carefree theme, the wind sonorities light and generally in their middle and upper ranges. An equally attractive march appears midway through, its manner initially mellow and nonchalant. It gradually turns more animated and colorful, the piccolo dancing merrily above suave wind sonorities. The work closes with this spirited theme playing proudly, the brass flamboyant, the cymbals crashing, and the whole brimming with festivity and vivid color. For band music enthusiasts and Sousa mavens, this three-minute gem will have great appeal.\"", "label": "No"}
{"text": "The Aboriginal Memorial\nGalpu, Liyagalawumirr, Wagilag and Wudumin people\nThe Galpu, Liyagalawumirr, Wagilag and Wudumin people are linked by the major Dhuwa moiety theme of Wititj the Olive Python.\nLiyagalawumirr literally means people with bark over their heads (as a shelter). Neville of the Liyagalawumirr people and Philip Gudthaykudthay's imagery is concerned with the Milky Way Story.\nNeville graphically depicts the main elements of this story: Glider Possum, spangled perch and fish bones, Crow and the Fish Trap.\nGudthaykudthay's abstracted landscapes map the scene where the narrative is played out. Paddy Dhathangu, although represented by only one log coffin, was nonetheless one of the main initiators of the Memorial.\nThe path through the Memorial imitates the course of the Glyde River estuary which flows through the Arafura Swamp to the sea. The hollow log coffins are situated broadly according to where the artists' clans live along the river and its tributaries. This map indicates Galpu, Liyagalawumirr, Wagilag and Wudumin land and position in the memorial poles.\nThe Milky Way\nWater has always been of vital importance in the history of human occupation of the Australian continent, even in the monsoonal tropical north. It was no accident that in 1788 Captain Arthur Phillip established the British penal colony on a sacred site, a spring, in Sydney Cove, that would grow into the present day city of Sydney, and, by extension the Australian nation. Indigenous people have never seen the landscape purely as real estate or an exploitable resource but enjoy an intimate spiritual relationship that defines their use of it. In everyday usage, the word gulun from the Djambarrpuyngu language means billabong, waterhole, pool, lagoon or freshwater swamp. It also means stomach, but in a more revealing context a woman's stomach, or womb. Waterholes are thought of as the place of unborn and deceased spirits; it is often said 'I wasn't born then, I was still in the water then'. Gulunbuy, the adjective of gulun, means physically from the mother's womb at birth, and, spiritually from the sacred waterhole.\nThe Ramingining-Glyde River region is blessed with a number of permanent water courses, springs, and the large inland freshwater Arafura Swamp. Various spirit beings, the Diver Duck, two Spirit Women, the Eel-tailed Catfish, the Long-necked Tortoise, and the Rainbow Serpent, worked to create the lush permanent waterholes at Yathalamarra and at Gatji lagoon. Inland where the Glyde River becomes the Goyder, a Dog Spirit created a spring that became the life-rich Arafura Swamp.\nThe Wagilag sisters\nOne of the most important Dhuwa moiety themes in Central Arnhem Land is that of Wititj the Olive Python and the Wagilag Sisters. This story chronicles the creative acts of the ancestral Sisters as they travelled across Arnhem Land, culminating in an epic encounter with Wititj. The story provides the basis for key aspects of Yolngu social life and its rituals, as well as the laws relating to authority, kinship, territory and, significantly, marriage.\nThe two Sisters — the older of whom has a child, the younger is pregnant — are fleeing their home in the south east, travelling north towards the sea. As they travel they encounter animals, plants and country, which they name — in essence bringing them into being. They come to the stone quarries at Ngilipidji in the land of the Wagilag clan from where they get their name.\nEventually the Sisters set up camp at a waterhole at Mirarrmina in Liyagalawumirr country. They build a bark hut in which to sleep and the younger Sister gives birth. The Sisters are unaware that the waterhole is the sacred home of Wititj, the giant Olive Python.\nWititj is angered by their presence. Sucking in the waters of the lagoon, he rises erect in the sky, spitting out the water which forms the rain clouds of the first monsoon. The Sisters, sheltering in their bark hut, perform songs and dances to deter the Python and stop the deluge of rain, thunder and lightning. Finally, they drop in exhaustion. Wititj descends and swallows the women and children, their dog and all their belongings.\nShortly afterwards Wititj develops a terrible stomach ache. He rises into the sky above the flooded landscape and his groans attract the attention of other great Snakes from surrounding clan estates. When asked what he has been doing, Wititj lies about what he has eaten, realising he has erred by eating beings of the same moiety — the Sisters and the Python are all Dhuwa.\nThe pain becomes so great that the Python crashes to the ground, leaving the impression of his body in the earth. He vomits the Sisters but retains the children, who belong to the opposite moiety, the Yirritja. When the Sisters are brought to life again by the bites of stinging caterpillars, Wititj beats them with clapsticks and swallows them again.\nThe songs and dances performed by the women to stop the rain are revealed in a dream to clansmen who had followed them. The men are instructed to return home; they must teach these rites to others, guaranteeing the continuation of the cycles of nature.", "label": "No"}
{"text": "Buying posters via this link\nhelps Artchive - click here!\n|The Artchive needs EVERYONE to help!|\nIf you enjoy this site, please click here\nto find out how YOU can help to keep it online.\nBuy Art Nouveau\nArt Nouveau\"An international style of decoration and architecture which developed in the 1880s and 1890s. The name derives from the Maison de l'Art Nouveau, an interior design gallery opened in Paris in 1896, but in fact the movement had different names throughout Europe. In Germany it was known as 'Jugendstil', from the magazine Diejugend (Youth) published from 1896; in Italy 'Stile Liberty' (after the London store, Liberty Style) or 'Floreale'; in Spain 'Modernista', in Austria 'Sezessionstil' and, paradoxically, in France the English term 'Modern Style' was often used, emphasizing the English origins of the movement.\n\"In design Art Nouveau was characterized by writhing plant forms and an opposition to the historicism which had plagued the 19th century. There was a tension implicit throughout the movement between the decorative and the modern which can be seen in the work of individual designers as well as in the chronology of the whole. Its emphasis on decoration and artistic unity links the movement to contemporary Symbolist ideas in art, as seen in the work of the Vienna Secessionists, but the movement was also associated with Arts and Crafts ideas and, as such, Art Nouveau forms a bridge between Morris and Gropius (recognized by Pevsner in his book, Pioneers of the Modern Movement, 1936).\n\"In Britain the style was exemplified by the architecture of Rennie Mackintosh, and the design work of the Macdonald sisters. The lingering impact of Morris in England slowed down the progress of the new style in design although Mackmurdo, Godwin, Townsend and even Voysey were influenced towards Art Nouveau. It was in illustration that the ideas were most keenly felt, through the new periodicals and presses - the Yellow Book, the Studio, the Savoy, the Hobby Horse - and though the work of Beardsley, Ricketts and Selwyn Image.\n\"In France, despite Guimard's famous glass and iron Metro designs, the movement was best expressed in the applied arts, especially the glassware of Lalique (1860-1945) and Galle (1846-1904). In Belgium, the style was promoted through the Societe des Vingts (Les Vingt) established in 1884, and including Ensor as well as the more characteristically Art Nouveau architects Horta and Van de Velde in its members. In Spain the style was concentrated in the eccentric hands of Gaudi in Barcelona. In Vienna, architects like Wagner, Hoffmann and Olbrich, and artists such as Klimt gathered to promote the style through the Secessionist magazine Ver Sacrum. In Germany, the movement split between the decorative tendencies of Otto Eckman (1865-1902) and the Pan magazine, and the streamlined design of Behrens. In America architects like Sullivan and Wright were influenced by European ideas but conceived Art Nouveau in different terms, whilst designers like Tiffany enthusiastically embraced the movement.", "label": "No"}
{"text": "THE ART OF CENTRAL THAILAND, 1350-1800\nAsian Art Museum, San Francisco Presents First Exhibition Ever Exploring Thailand's Lost Kingdom of Ayutthaya. February 18 - May 8, 2005\nIn 1686 King Louis XIV of France had the Hall of Mirrors at Versailles specially prepared to receive, with exceptional pomp and ceremony, a group of foreign envoys. The envoys brought with them two shiploads of gifts. In fact, they delivered so many objects of gold, silver, and lacquer that the French complained that their list would be as long as a book. The envoys had been sent from the kingdom of Ayutthaya, or “Siam” as it was known in the West. Though little remembered today, Ayutthaya was one of the largest and most important kingdoms in Southeast Asia. Founded in 1351, the kingdom flourished for more than four hundred years—longer than China’s Ming dynasty. It was a major trading center with diplomatic ties with China, Japan, Persia, the Ryukyu kingdom (Okinawa), and with Great Britain, France, the Netherlands, and Portugal. The envoys’ gifts reflected this trade—more than fifteen hundred pieces of porcelain (mostly Chinese), Persian and Indian carpets, and many other objects from Japan and China were given to the French king and his relatives.\nDespite the kingdom’s power, prosperity, and influence, it was destroyed by an invasion from neighboring Burma in 1767. As a result, many Ayutthayan artifacts, especially those made of fragile materials, were lost, and the kingdom’s splendor faded from memory. Beginning February 18, 2005, the Asian Art Museum of San Francisco will present The Kingdom of Siam: The Art of Central Thailand, 1350–1800—the world’s first major exhibition of art from Thailand’s lost kingdom of Ayutthaya, and the first exhibition of classical art from Thailand shown in the United States in more than thirty years. The exhibition showcases eighty-nine of the finest surviving works from Ayutthaya, drawn from collections in Thailand, Europe, and the United States; many of these are being displayed for the first time in the West. They include stone and bronze Buddha images, sculptures of Hindu deities, figural and decorative wood carvings, temple furnishings, illuminated manuscripts, jewelry, and textiles. Among the highlights are gold royal regalia and ceremonial objects; a full-sized temple pediment; and sections of royally commissioned temple doors with inlaid mother of pearl. The exhibition will be on view at the Asian Art Museum through May 8, 2005, before traveling to the Peabody Essex Museum in Salem, Mass., where it will be on view July 16 to October 16, 2005.\nWhile most aspects of the art and culture of China, Japan, and India have been extensively studied, less research exists on the cultural contributions of Southeast Asia. The Kingdom of Siam, organized by the Asian Art Museum in conjunction with the National Museums of Thailand, sheds light on a one of the region’s greatest, but least known, cultures. The exhibition is curated by classical Thai art authority Dr. Forrest McGill, the Asian Art Museum’s Chief Curator and Wattis Curator of South and Southeast Asian Art; and co-curated by M. L. Pattaratorn Chirapravati, Assistant Professor of Asian Art, California State University, Sacramento. The Kingdom of Siam and its accompanying fully illustrated 200-page catalogue (featuring essays on the history, art, and culture of Ayutthaya by leading scholars) will make an important contribution to Southeast Asian cultural history.\nMore than neighboring kingdoms, including perpetual rival Burma, Ayutthaya was cosmopolitan and outward–looking. The 1600s and early 1700s were a period of great prosperity and cultural accomplishment, but in 1767 Burmese armies destroyed the capital. The human suffering was great, and the loss of artworks and records incalculable. Today, only a few artworks and buildings (in ruins or heavily restored) survive, pointing to the challenges that have faced scholars in trying to piece together the story of the Ayutthaya period (1351–1767, an era equivalent to the period from the Black Death almost to the French Revolution in Europe). The Kingdom of Siam will provide American audiences with the unique opportunity to see some of the finest surviving artworks of this enigmatic culture.\nAmong the most intriguing objects in the exhibition are the eight artworks culled from an important cache of Buddha images, votive tablets, ritual objects, and royal jewelry found in the crypt of Wat Ratchaburana, one of Ayutthaya’s temples. In 1957 thieves broke into the previously unknown crypt deep within its main tower. They found a rich hoard of Buddhist artworks, ceremonial objects, and royal regalia of gold studded with gems. Word of the finds soon reached officials in Bangkok, who set out to recover as much as possible of what had been stolen, and to investigate the crypt and its riches properly.\nEventually, more than six hundred Buddha images and a thousand Buddhist votive tablets were found. Scholars believe that the crypt at Wat Ratchaburana was sealed in 1424. Thus the crypt and its contents constitute a sort of time capsule of early Siamese art and culture. The significance of this is enormous. Few records survive from Ayutthaya’s first century, and those that do are often of limited usefulness. Artworks firmly dated by inscription or historical documents are rare. The discovery of hundreds of artifacts and artworks known to have been made in 1424 or earlier has revolutionized understanding of the development of Siamese art.\nAt the Asian Art Museum The Kingdom of Siam is on view in Hambrecht and Osher Galleries on the first floor. The works are presented in generally chronological order, and three major themes are explored: the development of a distinct national culture; cosmopolitanism and the importance of trade; and art as an instrument of royal power.\nThe people of Siam were of varied ethnicities (Thai, Mon, Cambodian, Chinese, Malay), and several languages were spoken in the kingdom. Its artistic heritage was equally mixed. The exhibition examines how this diversity influenced the development of a characteristic “Ayutthayan style” over the course of a century or more. The most impressive early works in a distinctly Ayutthayan style in the exhibition are two enormous stone faces of Buddha images dating from around or before 1374. It is striking that even in its early days the kingdom could mobilize the resources to create and enshrine stone Buddha images of such size (when intact approximately twenty-three feet high).\nDuring preparations for the exhibition, an extraordinary find was uncovered that illuminates the early development of Ayutthayan culture. A large stone walking Buddha carved in high relief had long been fixed against a wall in a storeroom of one of Thailand’s national museums. Because of the rarity of Ayutthaya stone sculptures of this type, it was requested for the exhibition. When it was moved away from the wall an extensive inscription was discovered carved onto the back. Inscriptions from the Ayutthaya period are rare, and for one to come to light is cause for celebration. According to a forthcoming article, this inscription contains a date equivalent to 1375. If the walking Buddha can be linked to the 1375 date (as seems likely), it will stand as the only securely dated Buddha image of early Ayutthaya.\nThe exhibition includes a number of other dated or dateable works, which constitute the anchor points for constructing an Ayutthayan chronology. Among these are bronze heads of figures of the Buddha-to-be in previous lives, thought to have been cast in the 1450s; Buddha images that may have been deposited inside a colossal Buddha image in 1538; a large crowned Buddha inscribed with a date equivalent to 1541; and a miniature ivory stupa complex with a date equivalent to 1711. These dateable artworks, fascinating and beautiful in their own right, provide a historical framework within which the exhibition’s other striking objects—for example an elaborate cast iron temple finial, several miniature palatial buildings, a set of bronze serpent heads from a temple balustrade, a Thai sword with a dated Dutch blade, a gilded cabinet bearing a depiction of Louis XIV, and first editions of some of the French envoys’ accounts of their sojourns in Siam—may be better appreciated.\nThroughout its history, Ayutthaya exported its goods and was a major trade center, and the activities of foreign merchants there have been studied in some detail. Foreign objects, however, and their impact in Siam, have sometimes been overlooked. The exhibition will explore how trade, and the presence of foreign luxury goods, affected the development of Siam’s arts.\nIn Ayutthaya, as elsewhere, kings sponsored monuments and artworks to reinforce specific political or social ideas. Only recently have scholars studied this phenomenon in detail, and The Kingdom of Siam reflects this recent scholarship. For example, a large wooden sculpture of a princely figure kneeling with his hand extended before him as if making an offering suggests the richness of meanings and associations of the works in the exhibition. Who is represented, and what was the purpose of the sculpture? Several of the type are known, and they were used by in Buddhist ceremonies in which robes and other necessities were given to monks. The offerings of an ordinary person could be presented in an ordinary way, but a king’s offerings were placed on the hands of such a figure. The figure’s garments are those of a royal person such as are worn by celestials depicted in countless paintings and other artworks. But the crown, when looked at carefully, is seen to have an unusual upper part characteristic only of the headdresses of hermits and ascetics. Thus, the figure almost certainly is meant to be Prince Vessantara, the Buddha in his next-tolast life before achieving Buddhahood. Vessantara was sent into exile and lived as a hermit after giving away his kingdom’s magical elephant. In fact, he gave away everything, including his children, as he perfected the virtue of charity, of which he was the exemplar. A king making donations to the monkhood was emulating Vessantara, in a sort of solemn and resonant role-play.\nSuch are the revelations provided by this unprecedented exhibition, which\nreveals the splendor of a majestic culture that until now has been almost\ncompletely lost in the mists of time.", "label": "No"}
{"text": "Wurm is known for his humorous approach to formalism. About the use of humor in his work, Wurm says in an interview: \"If you approach things with a sense of humor, people immediately assume you're not to be taken seriously. But I think truths about society and human existence can be approached in different ways. You don't always have to be deadly serious. Sarcasm and humor can help you see things in a lighter vein.\n\"I am interested in everyday life. All the materials that surrounded me could be useful, as well as the objects, topics involved in contemporary society. My work speaks about the whole entity of a human being: the physical, the spiritual, the psychological and the political.\"\nIn the series 'One Minute Sculptures' by Erwin Wurm, viewers are asked to do more than merely look at the museum artworks surrounding them, but to experience the artworks and themselves in new ways. In the form of drawings or brief written directions, the visitor is instructed and encouraged to become an artwork – a 'One Minute Sculpture' – for the duration of sixty seconds\nAlthough the images are slightly humorous, they extend or manipulate reality in ways that can be disturbing. Wurm’s work portrays manipulated images of things in everyday life, things that look familiar, but which become distorted. “I will often use humor to seduce people”, admits Wurm. “To get them to move closer, but it’s never very nice when they look closer.\"\nWurm’s work is often critical of Western society and the mentality and lifestyle of his childhood during post-World War II Austria. Although Wurm's sculptures are humorous and ridiculous, they are actually quite serious. His criticism is playful, but should not be confused with kindness. He represents his criticism of objects, such as clothing, furniture, cars, houses, and everyday objects to his audience. Common themes in his work include not only our relationship to banal everyday objects, but also philosophers like Freud, and life in postwar Austria.\nIn below \"Bad Thougt\" 2016, Wurm make some artwork or object, bag or package it was similar with these form, Wurm use model and molding for technique and execution by metal and patina colored. It like mysterious package, uncommon and feel something hidden.\nErwin Wurm \"shrank\" his parents' house to reflect the mentality of Austria during the postwar period; the design of the house is typical of the 1950s, but a fraction as wide. The house is furnished with shrunken furniture. This piece was inspired by Wurm's childhood since he grew up during the 1950s through 1970s in postwar Austria.\nGrowing up, he lived with his parents; his mother stayed at home and his father was a policeman. Therefore, it was difficult to express himself both at school and at home. This limited view has affected Wurm's philosophy of art strongly, and Narrow House is a physical manifestation of it. When the viewer's walkthrough, they feel the tension and claustrophobia that Wurm experienced on a daily basis as a child.", "label": "No"}
{"text": "I arranged this version of “Love One Another” for my family to play in church. I played violin, my daughter played cello, my husband played piano. The original music is by Luacine Clark Fox and appears in the LDS Children’s Songbook here. Like most of the Children’s Songbook, it is freely reproducible for noncommercial use.\nHere is a quick, no-prep improv to do with students. All of mine enjoyed it.\nThe student can use any key on the keyboard. They’ll be using their imagination to play something that sounds appropriate, as you talk them through a thunderstorm. If possible, they should be playing continuously.\nThe teacher will talk through these steps:\n- First, the rain is far away and not very loud.\n- Gradually, it comes closer, so that the first raindrops actually fall on you.\n- The rain grows steadily faster and louder until you are drenched in a downpour.\n- Suddenly, there is a thunderclap! (But the rain continues.)\n- And another thunderclap!\n- There is a brief lull, as the rain lessens.\n- With another thunderclap, the rain comes back in full force.\n- The wind blows in fits and starts.\n- Gradually, the rain moves off, getting softer and lighter as it fades into the distance.\n- Until you are left with only a rainbow.\nIt’s quite interesting to see how many different effects different students come up with, following this same pattern.\nHere’s a music game based loosely on Pictionary. I teach private lessons, so we never have enough people for the actual game of Pictionary. This is a non-competitive version for two people.\nWhat you need:\n- At least one set of cards with the letter names on them A through F.\n- Optional: a set of cards with other musical concepts on them. I wrote these out by hand in a few minutes, but some examples would be: quarter note, whole note, soft, loud, crescendo, repeat sign, bar line, etc. It is important that you actual write these out; don’t use the symbol.\n- A bag or bowl or something to draw the cards out of.\n- Whiteboard (or paper) with a large staff on it. Click here for a paper version.\n- Whiteboard markers (or other writing utensil)\n- Put the cards in the bag or bowl.\n- Determine how many points you are going for.\nHow to Play:\n- The first player draws a card out of the bag and does not show it to the other player. If it’s a note name, she draws it, including the clef. If it’s a concept, she draws the symbol for it, such as “p” for soft, “f” for loud, etc.\n- The second player guesses what was on the card. If he gets it right, a point has been earned. You can keep track of this with tally marks if you’re trying to be quick and simple. I did it with smiley faces, and most of my students enjoyed drawing those. You’re working together as a team, so there is only one set of points to keep track of.\n- On the next turn, the second player draws and the first player guesses.\n- The game ends when the points goal has been achieved.\n- For pre-readers, use a printout of a keyboard, instead of a staff.\n- For more advanced readers, specify an interval, such as a third. Draw the note a third above the note on the card, instead of the actual note on the card. The second player still guesses the note on the card, not the one drawn on the staff.\n- To make the game move along if you’re running out of time, make the last one a double or nothing challenge, or a triple or nothing challenge.\n- If the player draws a card and doesn’t know what it means, either set it aside and draw again, or show it to the teacher and have a discussion about it.", "label": "No"}
{"text": "By David Malinowski and the students of UC Berkeley’s freshman/sophomore seminar East Asian Languages 39A\nPerhaps nothing visible in the streets of Berkeley seems more straightforward than the signs that name its businesses. The “heat” of the new Heat Hot Sauce Shop and “sliver” of Sliver Pizzeria highlight key traits of the products being sold. Andronico’s, Philz, Moe’s and Oscar’s name their founders. FedEx, McDonald’s, and Bank of America are instantly recognizable for the scale of their brand. Even the bowling alley origins of Berkeley Bowl can be confirmed with a little asking around.\nYet what becomes of the seeming straightforwardness and simplicity of a name when it is written in two languages? Do the names written onto Berkeley’s many bilingual shop signs say the same thing in both languages? How might speakers of these languages read the identities of these businesses differently? And what lessons can be learned about the naturalness of familiar business names in English by studying names in other languages?\nThese are some of the questions being asked by students in an undergraduate seminar I teach at Berkeley through the Department of East Asian Languages and Cultures: “Reading the Multilingual City: Chinese, Korean, and Japanese in Bay Area Linguistic Landscapes.”\nIn recent field trips to downtown Berkeley and upper Solano Avenue, the students have taken notes and photographed what they could read, and what they couldn’t, in signs containing these and other languages (*Note: This class, and this article, focus mainly on the three East Asian languages mentioned above; however, US Census data from 2000 show at least 29 languages spoken in the city of Berkeley).\nThen, in order to begin to explore the relevant histories and backgrounds, the students carried out short interviews with shop owners, employees and passersby. They will use this material, along with findings from later field trips, for semester-end projects on the visibility of multilingualism in our communities. For this Berkeleyside article, the students have contributed some of their initial observations that they have recorded every week in personal blogs for the class.\nOf course, just as there are straightforward-sounding business names in one language, Berkeley does appear to have its fair share of bilingual signs in which business names translate more or less directly across languages.\nSeveral students took note of University Avenue’s Taiwan Restaurant (台湾飯店) as an example of the translation of meanings between Chinese and English (“台湾” means “Taiwan” and “飯店” is equivalent to “restaurant”), while the “Sun” in Sun Hong Kong Restaurant (新香港酒家) on Durant Avenue and Ichiban (一番) of Ichiban Japanese Cuisine and Sushi Bar on Shattuck Avenue downtown are examples of the transliteration of sounds from Chinese and Japanese, respectively. “新”, meaning “new”, is pronounced “sun” in Cantonese (the restaurant name only coincidentally looks like the English word “sun”). Meanwhile, “一番”, meaning “Number One” or “the best”, is pronounced “ichiban” in Japanese.\nAlready in the example of Sun Hong Kong we can see the potential for people of different linguistic backgrounds to read different (and sometimes mistaken) meanings from the names on bilingual signs.\nThis was the case for many of us as we ventured north from campus on the 18 line to meet with Albert Lou, owner of upper Solano Avenue’s iconic King Tsin Restaurant and Bar. The restaurant, described in its own menu as “the first Mandarin restaurant to open on Solano Avenue,” bears the Chinese name of Beijing’s original Hou Te Fu (厚德福) restaurant, where Mr. Lou’s father, Fat Hing Lou, had apprenticed before leaving China in the political turmoil of the 1940s. Both the restaurant’s history — kindly narrated to us by Mr. Lou over tea — and its two names clearly left an impression on the students in our class: Annie remarked that “Learning so much about the restaurant’s past created a more personal connection, as we heard about how [Mr. Lou]’s father first started the business and his siblings worked every day”; Vivian, meanwhile, reflected on the discovery that “the English name, King Tsin, comes from an unexpected source. I thought that the “King” referred to the monarchy meaning it has, but actually it came from Beijing’s pronunciation: Pe-king. Tsin is a derived sound from the place Ten Tsin, which is a landmark in China.”\nThrough our visit and conversation with the restaurant’s owner, we learned that King Tsin is neither a translation nor a transliteration of “厚德福”. Instead, it is a business with two names, addressing (at least) two different audiences.\nAnd, as the students continued their investigations on Solano Avenue and other Berkeley streets, they found more and more examples of this phenomenon. Grace, for instance, upon observing the bilingual sign at Liu’s Kitchen, wrote in her blog that “The sign reads as “Liu’s Kitchen” in English. The first Chinese character reads as “liu” and the last two characters mean kitchen, but I couldn’t fit the second character into context. It reads as “tian” and means sky in Chinese. This may have something to do with what we had discussed the week before–when translating one language into another, there are parts that can’t be translated and it is difficult to do an exact translation. I was still curious as to what role the “tian” character plays.”\nIronically, as Lucy notes, the particular cultural and historical resonances of words may make it necessary to create different names in two languages in order to arrive at a similar meaning. “Also on University, we have the “May Flower” 鸿涛, where the first character “hong” means great while “tao” normally refers to a big wave. Therefore, the Mayflower which reached America with the help of big waves is incorporated into the Chinese name of this restaurants. This is one way to prove that when it comes to signs there is a preference of how to get the same point across with a different language.”\nAs the students observed these Berkeley business names translated, transliterated, and transformed between Chinese, English, and other languages, however, they began to notice that some words prominently displayed on storefronts and shop signs are not names at all.\nLulu, for instance, was struck by her discovery that the calligraphic characters “寿司” at the top of the Solano Avenue restaurant Miyuki read “sushi” and not “Miyuki” (the name of the restaurant does appear in the Japanese hiragana script to the left of the restaurant’s front door). A native speaker of Spanish, Lulu wrote, “I wonder, what does the sign say about the people that go there? If I saw a sign that just said burrito in Spanish, like ‘El Burrito’ or something, it wouldn’t seem like an authentic place; but, it probably would to someone who wasn’t literate in Spanish.”\nThroughout the semester, critical readings such as Scouting New York’s Why Everyone Films at the Same Damn New York Chinese Restaurant, in tandem with comparison visits to neighboring cities, have given rise to observations such as Lulu’s. They have pushed our class to ask questions about how, where, and why different languages in multilingual settings might be written or read for their symbolic values — that is, for how they can be seen to represent countries, cultures, or people, in the manner of a national flag — and how people in places like Berkeley might form opinions about what counts as real in restaurants and other so-called “ethnic” businesses.\nIn her blog, Chelsea has wondered aloud when and why some business owners opt to employ an “’asian font’ of mimicking brush strokes” in their signs’ English lettering. After a recent visit to San Francisco’s Chinatown, Frank and Julian observed that city authorities might use Chinese and English together on street signs as much to attract tourists as to communicate efficiently. Jessica, reflecting on several weeks of observations on foot, online, and on her daily ride on the 1R bus, wrote: “As a result of the business aspect in restaurants, restaurants need to cater to the needs of the customers, causing them to change their setting and menu. In such cases restaurants may try to over-present a culture, like with a Chinese restaurant having a lot of red lanterns and dragon pictures, or changing the menu to fit the tastes of the customers.”\nParadoxically, perhaps, the short and simple texts that are bilingual business signs don’t just have one meaning, and they don’t just mean in one way. And perhaps even more perplexingly, the meanings ascribed to the individual words that appear on these signs may come as much from broader market forces and cultural perceptions as they do from the intentions of individual business owners or sign makers.\nTracing the histories and associations of the words and names visible on the streets of Berkeley is a complex task — and one that cannot be accomplished simply by looking. In the coming weeks, through the end of the UC Berkeley semester in May, we hope to take our next steps in this process through more neighborhood visits, readings, and conversations.\nBerkeleyside publishes many articles every day. To see all our stories in chronological order, and read ones you may have missed, check out our All the News grid.", "label": "No"}
{"text": "Sick Building Syndrome\nSick Building Syndrome is a key phrase you’ll be hearing a lot about over the next decade or two.\nBuilding Pathology (a.k.a Sick Building Syndrome) is defined as the scientific study of the nature of building failure and its causes, processes, development, and consequences. We, at Building have seen this on many occasions as we are brought in to deal with numerous building defects that aren’t run-of-the-mill building projects, mainly because they’ve been largely caused by:\n- Installation of materials that have not been understood correctly\n- Workmen that are installing materials they do not understand, or with which they are not familiar\nWith the rapid advancement of technology, new building materials are entering the market so quickly, that many are being installed without the necessary comprehension of just how they will work in conjunction with the old / new building where they’re being installed.\nEither through lack of funds or ignorance, building companies are not keeping up with the new specifications and training needed to ensure that the materials don’t cause more problems than they are there to solve.\nExample of Sick Building Syndrome\nLet’s take a 100 yr old property in London. The technology behind the construction of the building and the materials would’ve been tried and tested over the previous 50 years and all major problems built out. For its first 50 years the property probably didn’t have many major changes. To begin with, the WC is moved indoors, followed by the addition of a bathroom. So an area is introduced into the house that generates a lot of dampness.\nThe old property can take this in its stride because the walls and ceiling breathe, the windows rattle and drafts are everywhere. Next it’s time to re-decorate all the ceilings and walls, replacing the old distemper paint with the modern emulsions containing PVA.\nEssentially this seals the ceilings and walls so they can’t breathe. Within a decade the windows are changed to new draught-proof double-glazing, further sealing the property. The loft is insulated to keep the heat in. The owners knock holes all over the place and re-wire the property, running in new pipes for heating. So now it’s totally modernised and looks lovely and comfortable to live in, but it may be harbouring big problems for the owners.\nUnfortunately more and more properties are starting to develop problems because of all the above, hence the new terms:\n- Sick Building Syndrome\n- Building Pathology\nThe story does not stop here:\n- We add even more insulation to roofs and walls these days\n- Live with a higher volume of people per square metre, so we need more bathrooms\n- We add radio frequencies to cover smaller areas (producing hotspots)\n- We are running more cables that can produce electromagnetic radiation\nBuilding pathology looks into all of the above and suggests ways of rectifying the problems that we are building into our properties, before and after they’ve become sick.\nIf you are spotting the tell-tales signs of sick building syndrome and would like a property health check, get in touch with us.", "label": "No"}
{"text": "Samuel Lucas JMI School, Hertfordshire\nYears 5 and 6 (9 to 11 year-olds)\nThe children worked collaboratively\nwith an author-illustrator to make a giant puppet theatre,\ncomplete with decorated proscenium arch and scenery.\nThis was all hand painted by the children, as were the\nmasks. From an original idea of cardboard puppets, the\nchildren, wearing masks, became the puppets and the\nnarrators the puppet masters.\nThe play was developed out of the students' observations\nof the principle characters in the painting. They were\ngiven appropriate names and identities and even relationships\nand personality traits. The inspiration for the play\nwas the mystery of the change in Renoir's style over\nthe five years he worked on the painting.\nHelen Davis (Lead Teacher)\n© Samuel Lucas JMI School.\nPhoto: The National Gallery, London.", "label": "No"}
{"text": "In academic circles, often there are two types of sciences, classified as “hard” sciences and “soft” sciences. The “hard” sciences include biology, physics, and chemistry, which are subjects that involve the natural world. On the other hand, the so-called “soft” sciences are those belonging to social science, such as psychology, sociology, economics, anthropology, political science, and many others. The social sciences involve studying human behavior both individually and in groups.\nIn psychology, for instance, it is the study of the human mind and how it affects a person’s behavior. The arena of psychology covers many topics, like decision-making, learning, coping mechanisms, and many others. Psychology also explores the higher functions of the human mind, termed cognition. This involves how humans process language, emotions, and other information from all around them.\nThe “social” in social science deals with, well, society. That is, people arranged in groups functioning as one unit, like communities, cities, and nations. There are many branches of social science that deal with this, such as sociology, political science, and anthropology. Human behaviors change a lot when they are in groups, and these social sciences explore that side of humanity.\nOne of the things examined in social sciences is different cultures of different people. Humans create culture, and depending on where they are and who they are with, cultures are varied in different parts of the world. These cultures shape people’s lives and become the basis for social norms and certain patterns of behavior.\nSome people argue that social sciences are not as useful as the hard sciences. This is simply not true, as the findings of social scientists can help shape modern society into a better one. They influence policymaking, for instance, allowing politicians to make more informed decisions regarding laws. Laws affect society, so the laws that are crafted must address the issues a society faces.", "label": "No"}
{"text": "Quick Hand Sketches.\nThese hand sketches are examples of how to draw hands quickly but the techniques also work for more leisurely drawings. If you want to learn to sketch people this kind of hand drawing will aid you by arming you with the tools to capture the forms at some speed. You should practice this slowly to begin with before trying to accelerate your drawing. The first will be of use in drawings of females as it is a young girl's hand. The bones are fragile and the skin smooth.\n1. We can think of the palm and the back of the hand as a square or rectangle, angling the lines dependent on the way the hand is positioned. This is something that only requires the practice of sketching the hand in different poses. I practice drawing my own hand and also draw it while holding it to a mirror. I also draw my family and friends who are all used to me doing this formally and informally.\nThis hand is face down. I sketch the back of it as a square.\n2. I sketch in the fingers first concentratiing on the angle, width and placement where they will join the back of the hand. Then I sketch a semi circle at the rear of the hand where it joins up with the wrist. The thumb is a smaller semi circle and crescent. This is all very loose but the angles are important.\n3. I refine the edges of the forms now. The thing to remember is that your goal is to find the edge of the palm, fingers etc. You are not drawing an outline. The outer edge of your pencil lines should describe the limits of the hand. Once you have this correct you can go over your lines further refining them.\n4. I achieve this by going over the guidelines indenting, almost carving the bone structure. I add nails and a little tone. Note the skin between the fingers.\nHand Sketches 2\n1. This is a male hand drawn in the same way. I use the same technique for the palm and add the wrist as a tube.\n2. I sketch the thumb.\n3. These shapes show me where the fingers will be. All I'm doing here is trying to get the angles.\n4. I divide the fingers into their respectcive three parts. I also sketch in the thumb nail. Then I show the pad of the thumb and wrinkles on the palm.\n5. I'm ready to draw the hand in a little more detail. I work on the fingers first then the thumb before sketching the wrist and beginning of the arm.\n6. A final refining and the hand sketch is finished.\nGo to drawing people from hand sketches.", "label": "No"}
{"text": "Can a hyena kill a lion?\nHyenas’ strength is another advantage. Unlike wild dogs, a hyena can break out of a snare. In groups, hyenas have been known to kill lions.\nDo hyenas have a stronger bite than lions?\nHyenas have stronger jaws than lions. Lions will often maul and draw blood while breaking a few limbs or clawing out an eye. Hyenas use their powerful jaws for biting and ripping. Lions use their powerful claws for clawing and grabbing.\nHow many hyenas can kill a lion?\nCan hyenas eat lions?\nSpotted hyenas and lions have a similar diet; the two often “cover the same ground, hunt the same prey, and scavenge the same remains of animals,” according to National Geographic. “A lion male is twice the size of a spotted hyena and three to four times as heavy, and one single paw stroke can kill an adult hyena.\nWhat animals are lions afraid of?\nLions (male and female) are afraid of large mammals like giraffes, hippos and elephants, but they are also afraid of their day-to-day prey. Every time a hunt takes place, their prey animals are going to try their best to resist.\nCan a gorilla kill a lion?\nAll know that gorilla won’t kill a lion to eat but can kill to defend himself. Gorilla can stand and punch and jump over anything, over and over and over. They don’t just use their head like buffaloes, they can use their whole mighty body, head, chest and all four limbs. They can climb, jump, break and throw.\nCan a pitbull kill a hyena?\nIf you use a normal large pitbull vs an average hyena the hyena has double the mass which is crazy it be like putting a flyweight vs a heavyweight in boxing. A large pitbull is about the same size a small Namibian African leopard and smaller than most African leopards which a single hyena will drive of it kill.\nWhat dog has the strongest bite power?\nWhile the Rottweiler is actually the most powerful and its pressure bite topped 328 pounds, German Shepherds got second place and measured 238 bite force, and finally, the American pitbull terrier took the third position with a pressure of 235 pounds.\nCan Lions bite through bone?\nBig cats like lions and tigers can crush bones with their bite. And bears, oh my, can crunch up to 1,162 pounds per square inch (PSI), Science Focus reports. In contrast, even the hungriest human can only muster up a 150-PSI chomp.", "label": "No"}
{"text": "Old soldiers never die; they just fade away.\nThe son of the distinguished army officer Arthur MacArthur, Douglas\nMacArthur (1880-1964) was born in Little Rock, Arkansas, was brought up in\nvarious army posts, and was graduated from West Point at the head of his\nclass in 1903. He served in the Philippines and Japan, and in the first\nWorld War achieved a notable record as Chief of Staff of the famous Rainbow\nDivision and later as Commander of the 84th Infantry Brigade. After the war\nhe was Superintendent of West Point (1919-22), Commander in the Philippines\n(1922-25), and Chief of Staff (1930-35), during which time he had the\nunpleasant task of directing troops against the depression \"bonus army\" that\nmarched against Washington. He went again to the Philippines in 1935 to\norganize the islands against possible Japanese aggression. He retired from\nthe army in 1939, but returned to duty in July, 1941, barely in time to head\nthe defense of the Philippines after the attack on Pearl Harbor. On order\nfrom President Roosevelt, General MacArthur escaped to Australia, there to\ntake command of the Allied forces in the South Pacific and to begin the long\nroad back to Manila - and to Tokyo. At the time of the Japanese surrender on\nthe USS. Missouri General MacArthur broadcast to the world a plea\nfor peace in a high, sonorous vein.\nAfter the Japanese\nsurrender he became Supreme Commander of the Allied forces in Japan and, on\nSouth Korea's being invaded, Commander of the United Nations forces there.\nHe was relieved of both commands on April 11, 1951, when it was feared his\nstrategy would lead to general war with China and the Soviet Union. He\nimmediately flew back to the United States, made a triumphant trip across\nthe country, reminiscent of the triumph of a returning Roman general, and\naccepted the invitation to speak before both Houses of Congress - an\nunheard-of procedure in US history.\nAfter the Japanese surrender he became Supreme Commander of the Allied forces in Japan and, on South Korea's being invaded, Commander of the United Nations forces there. He was relieved of both commands on April 11, 1951, when it was feared his strategy would lead to general war with China and the Soviet Union. He immediately flew back to the United States, made a triumphant trip across the country, reminiscent of the triumph of a returning Roman general, and accepted the invitation to speak before both Houses of Congress - an unheard-of procedure in US history.\nMr. President, Mr. Speaker and distinguished members of the Congress:\nstand on this rostrum with a sense of deep humility and great pride\nhumility in the wake of those great architects of our history who have stood\nhere before me, pride in the reflection that this home of legislative debate\nrepresents human liberty in the purest form yet devised.\nHere are centered the hopes and aspirations and faith of the entire human race.\nI do not stand here as advocate for any partisan cause, for the issues are fundamental and reach quite beyond the realm of partisan considerations. They must be resolved on the highest plane of national interest if our course is to prove sound and our future protected.\nI trust, therefore, that you will do me the justice of receiving that which I have to say as solely expressing the considered viewpoint of a fellow US.\nI address you with neither rancor nor bitterness in the fading twilight of life, with but one purpose in mind: to serve my country.\nThe issues are global, and so interlocked that to consider the problems of one sector oblivious to those of another is to court disaster for the whole. While Asia is commonly referred to as the gateway to Europe, it is no less true that Europe is the gateway to Asia, and the broad influence of the one cannot fail to have its impact upon the other.\nThere are those who claim our strength is inadequate to protect on both fronts, that we cannot divide our effort. I can think of no greater expression of defeatism.\nIf a potential enemy can divide his strength on two fronts, it is for us to counter his efforts. The Communist threat is a global one. Its successful advance in one sector threatens the destruction of every other sector. You cannot appease or otherwise surrender to communism in Asia without simultaneously undermining our efforts to halt its advance in Europe.\nBeyond pointing out these general truisms, I shall confine my discussion to the general areas of Asia...\nWhile I was not consulted prior to the President's decision to intervene in support of the Republic of Korea, that decision, from a military standpoint, proved a sound one. As I say, it proved a sound one, as we hurled back the invader and decimated his forces. Our victory was complete, and our objectives within reach, when Red China intervened with numerically superior ground forces.\nThis created a new war and an entirely new situation, a situation not contemplated when our forces were committed against the North Korean invaders; a situation which called for new decisions in the diplomatic sphere to permit the realistic adjustment of military strategy. Such decisions have not been forthcoming.\nWhile no man in his right mind would advocate sending our ground forces into continental China, and such was never given a thought, the new situation did urgently demand a drastic revision of strategic planning if our political aim was to defeat this new enemy as we had defeated the old.\nApart from the military need, as I saw it, to neutralize the sanctuary protection given the enemy north of the Yalu, I felt that military necessity in the conduct of the war made necessary --\n(1) The intensification of our economic blockade against China.\n(2) The imposition of a naval blockade against the China coast.\n(3) Removal of restrictions on air reconnaissance of China's coastal area and of Manchuria.\n(4) Removal of restrictions on the forces of the republic of China on Formosa, with logistical support to contribute to their effective operations against the Chinese mainland.\nFor entertaining these views, all professionally designed to support our\nforces committed to Korea and to bring hostilities to an end with the least\npossible delay and at a saving of countless US and Allied lives, I\nhave been severely criticized in lay circles, principally abroad, despite\nmy understanding that from a military standpoint the above views have been\nfully shared in the past by practically every military leader concerned\nwith the Korean campaign, including our own Joint Chiefs of Staff.\nI called for reinforcements, but was informed that reinforcements were not available. I made clear that if not permitted to destroy the enemy built-up bases north of the Yalu, if not permitted to utilize the friendly Chinese force of some six hundred thousand men on Formosa, if not permitted to blockade the China coast to prevent the Chinese Reds from getting succor from without, and if there were to be no hope of major reinforcements, the position of the command from the military standpoint forbade victory.\nWe could hold in Korea by constant maneuver and at an approximate area where our supply-line advantages were in balance with the supply-line disadvantages of the enemy, but we could hope at best for only an indecisive campaign with its terrible and constant attrition upon our forces if the enemy utilized his full military potential.\nI have constantly called for the new political decisions essential to a solution.\nEfforts have been made to distort my position. It has been said in effect that I was a warmonger. Nothing could be further from the truth.\nI know war as few other men now living know it, and nothing to me is more revolting. I have long advocated its complete abolition, as its very destructiveness on both friend and foe has rendered it useless as a means of settling international disputes.\nIndeed, on the second day of September, 1945, just following the surrender of the Japanese nation on the battleship Missouri, I formally cautioned as follows:\n\"Men since the beginning of time have sought peace. Various methods through the ages have been attempted to devise an international process to prevent or settle disputes between nations. From the very start workable methods were found in so far as individual citizens were concerned, but the mechanics of an instrumentality of larger international scope have never been successful.\n\"Military alliances, balances of power, leagues of nations, all in turn failed, leaving the only path to be by way of the crucible of war. The utter destructiveness of war now blocks out this alternative. We have had our last chance. If we will not devise some greater and more equitable system, our Armageddon will be at our door. The problem basically is theological and involves a spiritual recrudescence, an improvement of human character that will synchronize with our almost matchless advances in science, art, literature, and all material and cultural developments of the past two thousand years. It must be of the spirit if we are to save the flesh.\"\nBut once war is forces upon us, there is no other alternative than to apply\nevery available means to bring it to a swift end. War's very object is victory,\nnot prolonged indecision.\nIn war there is no substitute for victory.\nThere are some who for varying reasons would appease Red China. They are blind to history's clear lesson, for history teaches with unmistakable emphasis that appeasement but begets new and bloodier war. It points to no single instance where this end has justified that means, where appeasement had led to more than a sham peace.\nLike blackmail, it lays the basis for new and successively greater demands until, as in blackmail, violence becomes the only alternative. Why, my soldiers asked of me, surrender military advantages to an enemy in the field? I could not answer.\nSome may say to avoid spread of the conflict into an all-out war with China. Others, to avoid Soviet intervention. Neither explanation seems valid, for China is already engaging with the maximum power it can commit, and the Soviet will not necessarily mesh its actions with our moves. Like a cobra, any new enemy will more likely strike whenever it feels that the relativity in military or other potential is in its favor on a worldwide basis.\nThe tragedy of Korea is further heightened by the fact that its military action is confined to its territorial limits. It condemns that nation, which it is our purpose to save, to suffer the devastating impact of full naval and air bombardment while the enemy's sanctuaries are fully protected from such attack and devastation.\nOf the nations of the world, Korea alone, up to now, is the sole one which has risked its all against communism. The magnificence of the courage and fortitude of the Korean people defies description. They have chosen to risk death rather than slavery. Their last words to me were: \"Don't scuttle the Pacific.\"\nI have just left your fighting sons in Korea. They have met all tests there, and I can report to you without reservation that they are splendid in every way.\nIt was my constant effort to preserve them and end this savage conflict honorably and with the least loss of time and a minimum sacrifice of life. Its growing bloodshed has caused me the deepest anguish and anxiety. Those gallant men will remain often in my thoughts and in my prayers always.\nI am closing my fifty-two years of military service. When I joined the army, even before the turn of the century, it was the fulfillment of all my boyish hopes and dreams.\nThe world has turned over many times since I took the oath on the plain at West Point, and the hopes and dreams have long since vanished, but I still remember the refrain of one of the most popular barracks ballads of that day which proclaimed most proudly that old soldiers never die; they just fade away.\nAnd like the old soldier of that ballad, I now close my military career and just fade away, an old soldier who tried to do his duty as God gave him the light to see that duty. Good-by.", "label": "No"}
{"text": "Ivo Andric (1892–1975), Nobel Prize laureate for literature in 1961, is undoubtedly the most popular of all contemporary Yugoslav writers. Over the span of fifty-two years some 267 of his works have been published in thirty-three languages. Andric’s doctoral dissertation, The Development of Spiritual Life in Bosnia under the Influence of Turkish Rule (1924), never before translated into English, sheds important light on the author’s literary writings and must be taken into account in any current critical analysis of his work.Over his long and distinguished career as a diplomat and man of letters Andric never again so directly or discursively addressed, as a social historian, the impact of Turkish hegemony on the Bosnian people (1463–1878), a theme he returns to again and again in his novels. Although Andric’s fiction was embedded in history, scholars know very little of his actual readings in history and have no other comparable treatment of it from his own pen. This dissertation abounds with topics that Andric incorporated into his early stories and later novels, including a focus on the moral stresses and compromises within Bosnia’s four religious confessions: Catholic, Orthodox, Jew, and Muslim.Z. B. Juricic provides an extensive introduction describing the circumstances under which this work was written and situating it in Andric’s oeuvre. John F. Loud’s original bibliography drawn from this dissertation stands as the only comprehensive inventory of historical sources known to have been closely familiar to the author at this early stage in his development.", "label": "No"}
{"text": "Signed upper left, on sign: \"Paul Endres Jr.\"\nFrom the Tales of the American Burden, Y-12 Post Burden (P.B.).\nNumber 12 in C.W. Boyle's Burden Chronology Guide: \"Blaming the death of her husband, Arthur Daedalus, on the people of Boston, Abigail Daedalus was at one time known only for her cruel and merciless ways, an enforcer for the New Whigs. However, C.W. Boyle writes,\n'It was on the steps of Fort Wixon, seeing the executions of General Montcalm and Jacob Coffin, that Abigail must have felt a shred of empathy for the rebels, which for Ocampo was a shred too much.'\nWith Ocampo exiling and all but killing Abigail in battle, she somehow survived for years in the Northern Territories, an odyssey that remains a mystery today even among the foremost Burden historians.\nAt the time, Bostonians interpreted the return of Abigail Daedalus one of two ways: she would once again punish the people of Boston, or she would save them through regicide.\"", "label": "No"}
{"text": "Answer: Two of the important political causes responsible for the First War of Independence were:\n(i) The British policy of annexation of kingdoms under the pretext of inefficient administration of the rulers.\n(ii) The Doctrine of Lapse introduced by Lord Dalhousie that imposed unsentimental law of ‘no adoption policy’ for rulers and the lapse of the kingdom into the hands of the British in the absence of a natural heir.\nYOU MAY READ\nThe revolt of 1857 shook the foundations of British rule in India. The revolt took place because of numerous reasons. Some reasons for the revolt were… Read more\nThe Indian National Congress in its initial years was dominated by the early nationalists who wanted self-government for the Indians. They believed in agitating within constitutional limits. After 1905, emerged nationalist leaders who believed in the radical policy. They wanted complete independence from British control. Read more", "label": "No"}
{"text": "Biography | Bibliography\n“Hine was one of the first and greatest of those who used photography for social reform. As a youth he worked for a while in a furniture factory, then studied at the University of Chicago, New York University, and Columbia University. In 1903, while he was teaching botany and nature studies at the Ethical Cultural School in New York, he received a camera from the head of the school to use as a teaching aid and to record school activities.\nHine’s interest in social welfare and in reform movements led him in 1905 to begin his first documentary series, immigrants on Ellis Island. In 1908 he left teaching to become an investigator and photographer of the National Child Labor Committee (NCLC), and between 1908 and 1916 he traveled extensively photographing child-labor abuses. He would inveigle his way into factories, take notes on conditions, record the children’s names and ages, surreptitiously measure their heights against the buttons on his vest, and then, if he could, photograph them at work. He visited children and families who worked at home and he wrote with impassioned sarcasm of “ ‘opportunities’ for the child and the family to enlist in the service of industry” (quoted in Gutman , p.23).\nHine’s photographs were used to make lantern slides for lectures and to illustrate pamphlets, magazine articles, and exhibitions. Hine himself arranged layouts, wrote reports based on his field interviews, and was in charge of NCLC exhibitions (ca. 1915). His images helped win passage of child-labor laws – they constituted proof that the conditions the NCLC wrote about actually existed and they made the plight of the children real.\nHine strove to photograph positive qualities in life, especially the dignity of labor. From 1930 to 1931 he took hundreds of pictures of the Empire State Building under construction; they were published in Men at Work along with photographs of factory workers and other laborers. He wrote: “Some of them are heroes; all of them persons it is a privilege to know” (quoted in Stott, Documentary, p. 213).\nThough early in Hine’s career his photographs were often published, by the 1930s interest in his work had declined. In 1938 he was denied a grant to photograph American craftspeople at work. The Photo League in New York publicized his work but it was not until a number of years after his death that he again received wide recognition. Hine referred to hi photographs as “photointerpretatons.” As Judith Mara Gutman observed: “Hine shaped a new art form…. A kind of photography he called ‘interpretive,’ later schools called documentary…. a flat fiery arrangement of people, light, and form that became a timeless humanist art” (Lewis W. Hine and the American Conscience, p.47).1\n1From Lee D. Witkin, and Barbara London, Selected Photographers: A Collector’s Compendium, The Photograph Collector’s Guide, Boston: New York Graphic Society, 1979, 163.\nCraig A. Doherty, The Empire State Building / Craig A. Doherty and Katherine M. Doherty ; featuring the photographs of Lewis Hine, Woodbridge, Conn. : Blackbirch Press, ca. 1998.\nVerna Posever Curtis, Stanley Mallach, Photography and Reform: Lewis Hine and the National Child Labor Committee, Milwaukee: Milwaukee Art Museum, 1984.\nJonathan L. Doherty, Women at Work: 153 Photographs by Lewis Hine, Mineola, NY: Dover Publications, 1981.\nRussell Freedman, Kids at Work: Lewis Hine and the Crusade Against Child Labor, Boston: Clarion Books, 1994.\nVicki Goldberg, Lewis W. Hine: Children At Work, Munich: Prestel Verlag, 1999.\nJudith Mara Gutman, Lewis W. Hine, 1874-1940: Two Perspectives, New York: Grossman Publishers, 1974.\nRonald J. Hill, Ed., Lewis W. Hine: Child Labor Photographs, Catalogue 8, Washington D.C.: Lunn Gallery/Graphics International Ltd., 1980.\nLewis W. Hine, Freddy Langer, Lewis W. Hine: The Empire State Building, New York: Prestel Publishers, 1998.\nDenyse Gerin-Lajoie, Jorge Guerra, Claire Martin, Photo: Lewis W. Hine, 1874-1940, Toronto: Kodak Canada Ltd., 1977.\nDaile Kaplan, Lewis Hine in Europe: The Lost Photographs, New York: Abbeville Press Publishers, 1988.\nWalter Rosenblum, Naomi Rosenblum, Alan Trachtenberg, Marvin Israel, America & Lewis Hine: Photographs 1904-1940, New York: Aperture, 1977.\nKarl Steinorth, Lewis Hine: Passionate Journey, Photographs 1905-1937, Zurich: Edition Stemmle, 1995.", "label": "No"}
{"text": "January arrives with the time of the resolutions: to do more sport, to spend more time with the family and the friends. In this article, I propose you to review the basics to define an objective, and reassess the different criteria to set good goals. Indeed the best way to achieve its goals is to have them well defined … The simplest technique is the SMART objective.\nAn objective must be Specific, Measurable, Achievable, Realistic and Timed. In the SMARTEN-UP model, we can add 4 adjectives to question the validity of the objective and confirm ones capacity and motivation to achieve the objective:\n- Enthusiastic: Am I enthusiastic about moving towards this goal, does the road that separates me from it inspires me?\n- Natural: is this my goal? Did I choose it for me? Am I under external pressure to reach it?\n- Understood: Did I share my goal with a loved one, what does he/she think? Does he/she agree? Will he/she support me? Did he/she understand why I chose it?\n- Prepared: Am I ready to receive criticism? Do I have a plan B?\nTo implement the definition of a SMART goal, I propose to work with this objective:\nTreat my emails faster and spend less time there.\nThis formulation (fairly conventional) of an objective does not give me the means to achieve it because it lacks precision.\nThe goal must be specific. That is to say, it concerns a subject, a project, a person, a team. In the example, the goal concerns me personally, it is related to my work and concerns specifically one of the tools that I use every day: emails.\nOne of the lean mottoes is that you can only improve what you measure. Indeed, how can I evaluate if I process my emails faster, without knowing the current response time? And when do I stop, should I reply to my emails within one minute of receiving them? For my example, I could choose to respond in 24 hours and not spend more than two hours a day processing and following-up emails. These figures are to be evaluated according to the volume of e-mail that I process, the other options available to me (telephone, meetings, …) and the urgency of the work I do.\nAcceptable or Attractive\nIf the goal is set for a team or a third party, it must be accepted by the other party. It also applies to me: if I set a goal while stressed, it’s a safe bet that I will not reach it. How to accept a goal? By making it attractive: it is easier to achieve positive objectives than negative ones. It’s all about vocabulary. Which objective do you prefer:\n- reduce the time spent processing emails by 15 minutes per day\n- earn 15 minutes a day on my emails to walk outside\nSetting goals requires getting to know each other well or knowing the person or team well. The goals must be realistic and consistent with my strengths and weaknesses. If my goal is too easy to achieve, I will not be satisfied, if it is too high, I may be discouraged before reaching it. In most cases, the goal is too ambitious. It can be helpful to split the goal into sub-goals with steps. I can see my progress, or the team can measure progress and get goals at each stage. In my example, I could cut my objective in half. As I am overloaded, I will first tackle the time that I spend every day on my emails. When I achieve this goal, I will see how to respond in a shorter time. It’s impossible to do everything right away.\nTo finalize the SMART goal, you have to set a limit: when do I want to reach my goal: in a month, six months, a year? Otherwise, there is a good chance that the goal will be the same in 2014\nMy SMART goal-example\nI’ll be set aside time for work by limiting time spent on my email to two hours a day by May 15th. Then I will improve the satisfaction of my customers by responding in 24 hours to their messages for October 15th.", "label": "No"}
{"text": "Fractals are repeating, geometrical patterns that are found in nature and in human creations throughout history, from indigenous cultures to modern ones. Their regular occurrence in the environment, from animals and plants to atoms and stars, has been confirmed with scientific study.\nPythagoras, Euclid and Plato, among many other, ancient philosophers, have concluded that the patterns are inherent to the design of life itself. It’s as if they are a blueprint for the matrix upon which our reality rests.\nThe prevalence of fractals in the human design of ancient places of worship has sparked questions about the significance of the patterns; most specifically – why were they used so often to decorate places of community and worship?\nWhat knowledge did the ancients have about fractals that the modern world has lost? Is it possible that these patterns had a purpose beyond simple artistry?\nThe question of whether the ancients had a specific utilization for the fractals is a logically valid one, for we must wonder that if these patterns truly do form the basis of the design of all things, then are all things accessible through the patterns?\nThe Harmony of Fractals\nFractals have become deeply ingrained within our subconscious because they occur frequently in nature and in human design. The information they convey resonates with our all-knowing awareness because they speak the universal language of mathematics.\nSymmetrical in design, they impart an intuitive representation of harmony, equilibrium and wholeness. Simply gazing at a sacred geometric pattern has the potential to alter your frequencies to invoke balance, healing and change within you. It’s also an effective tool to calm the mind, thus invoking the meditative or trance-like states of awareness that lie beyond waking consciousness.\nThe Flower of Life: Interdimensional Portal?\nThe Flower of Life is said to be the most sacred fractal pattern in the universe, encompassing the essential shapes and connections intrinsic to every aspect of our physicality.\nIt occurs when a repetition of symmetrically balanced, overlapping circles are placed within a six-fold symmetry. This pattern is one most frequently found in ancient temples, in nature, and even in modern churches.\nThe most common image of the Flower of Life is a simplified, two-dimensional version of the original, since it is in print form.\nThe complex version of the Flower of Life image is created by the over-laying of the basic fractal with the three-dimensional, Platonic solid figures, creating a more multi-dimensional representation of this geometry. The complex pattern that results from this specific combination is the one most often attributed to use as a meditative tool.\nAlthough the specifics of this pattern are beyond the scope of this article, it is a trending topic amidst today’s metaphysical and spiritual communities, particularly for its use as a meditative tool.\nMany have described altered states of awareness after gazing at the image for 10-30 minutes. Some have claimed that images and faces seem to protrude from the picture, while others report an increase in psychic skills, the ability to communicate with the deceased, and visions into parallel dimensions – all from meditating on the image.\nIs it possible that the Flower of Life is more than a geometric pattern? Can it really be a portal to dimensions beyond this one? Furthermore, does it possibly hold the key to unlocking the mysteries of our universe?\nTry the Flower of Life Meditation\nEnlarge the black and white image on your computer screen, or print out an enlarged version and attach it to a wall.\nState your intention to yourself that you are only willing to encounter the highest vibrational energy, for the highest good of all, as you do the practice.*\nSit back 1 to 3 feet from the image and face it.\nRelax and breathe long and deep.\nAllow your eyes to go into soft focus while gazing at image.\nTry not to focus at a set point, rather allow your subconscious to take the whole image in at once.\nThe image may appear fuzzy or go out of focus. This is fine.\nAllow images to come through the design, knowing that whatever comes through does so for your highest good.\nWhen you are finished, take some time and record your impressions. Note how you feel, what thought flashed through your mind, or what you saw.\nTry the practice regularly to allow the chance for varying results to occur.\n*Before you begin, it may be important to note that some have reported frightening images. This is why it is important to declare your intention to yourself, as a way to protect yourself and attract only the highest frequencies available to you. If something does come through that scares you, simply close your eyes and end the practice.", "label": "No"}
{"text": "The rise of human civilization was destined to give rise to the housecat. That’s one startling implication of a study published this week in Proceedings of the National Academy of Sciences. Eight feline bones found in an ancient Chinese village suggest that the advent of farming—the foundation of human civilization—was bound to attract wildcats, which would ultimately self-domesticate and become the world’s most popular pet.\nThe new study, which I covered for Science, concerns a 5,000-year-old village known as Quanhucun in central China. The people who lived there were early, but successful, millet farmers—and they had a pest problem. A team of archaeologists unearthed rodent burrows tunneled into grain storage pits and v-shaped ceramic vessels the size of giant flower vases, likely designed to keep stored grain out of the mouths of scavengers. To combat these invaders, the villagers appear to have turned to cats. The feline bones the researchers discovered at the site all contain specific signatures of carbon and nitrogen that suggest the cats ate grain-eating rodents.\nIn return, the villagers appear to have cared for the cats. A feline jawbone found at the site has significant wear on its teeth, indicating that it may have lived six or more years—quite elderly for the time. And that, in turn, suggests that someone was looking after it. The analysis of a bone belonging to a different cat indicates that the animal ate human food, another clue that these felines had become pets.\nThis isn’t the earliest example of cat-human cohabitation. That honor belongs to the 9,500-year-old remains of a cat found buried with a human on the Mediterranean island of Cyprus. The remains were discovered in the ruins of Shillourokambos, a very early farming village, and the feline was a descendant of the Near Eastern wildcat—the ancestor of today’s housecat. Based on this and other finds, researchers have long speculated that the following sequence of events led to the domestication of the cat: farming attracted rodents, rodents attracted wildcats, and wildcats became cats when villagers started caring for these pest-killing felines. The Quanhucun study provides the first hard evidence for this theory. I think the work hints at something even more remarkable, however: cats were destined to become our pets.\nThe idea has to do with the species of feline found at Quanhucun. That’s still an open question, but there are a couple of possibilities. One is that, like the Cyprus cat, the Quanhucun cats were domesticated or semi-domesticated descendants of the Near Eastern wildcat, and that they somehow made their way to China from the Mediterranean and surrounding regions, possibly via ancient trade routes. If so, the story of Quanhucun is less interesting, as the villagers would have played little role in the domestication of the cat. But it’s also possible that the Quanhucun cats were descendants of a different species of small feline, perhaps jungle cats or leopard cats, which are native to the area. If that’s the case, the villagers may have domesticated a new species of cat—though these animals would have eventually died out, as no trace of their unique DNA is present in today’s housecat.\nAnd here’s the kicker: If cats were independently domesticated in both China and the Near East, it’s possible they were domesticated in other parts of the world as well. Any region that had both farming and a local species of wildcat could have given rise to domestic cats. The process was so natural, it was bound to happen. And because farming is the lynchpin of human civilization, human civilization was destined to give rise to the housecat.\nCats, it seems, were fated to be our pets.", "label": "No"}
{"text": "The eagle has been a universal symbol of power respected by many cultures throughout the world. The bald eagle was chosen as the emblem of the United States of America because of its great strength, majestic looks, long life and also because it was then believed in the 18th century to exist only in North America. The eagle was used as the name for the first space craft to land on the moon and even the Chinese developed a martial arts style based on the eagle.\nThe eagle is highly revered by many Native American Indian cultures which have special eagle dances, ceremonies and societies. Both bald eagles and golden eagles along with their feathers are considered sacred.\nNative Art eBooks!\n'An Overview of Pacific Northwest Native Indian Art'\n'An Overview of Canadian Arctic Inuit Art'\nIt is said that the Creator chose the eagle as the master of the skies. Since eagles fly higher and see better than other birds, they are considered to be closer to the Creator than any other Earth creatures. The eagle is regarded as a messenger to the Creator. It has the honor of carrying the prayers of humans in the world of the Earth to the world of Spirit where the Creator resides. It is believed that if one saw an eagle while praying or participating in a ceremony, prayers would be answered. Wearing or holding an eagle feather would also cause the Creator to take immediate notice.\nSome Native American Indian tribes regard the wings of an eagle to be significant in representing the balance between a male and a female with each one dependent upon the strengths or abilities of the other.\nIn addition to feathers, eagle talons and skulls were also used in ceremonies and religious practices of many Native American Indian tribes. The feathers were so highly respected that if for any reason an eagle feather was dropped, certain tribes like the Cherokee made it a necessity to have it cleaned. The eagle feather was to be guarded until the proper cleansing ceremony was performed.\nThe Native American Plains Indians used the eagle's wing bones to make whistles they blew during certain dances. The Native American Pueblo Indians of the southwestern United States considered the golden eagle to be the war eagle and kept its molted feathers. Many Native American Indian tribes used eagle feathers on weapons and headdresses to symbolize victories and courage.\nEagle feathers were awarded to Native American Indian braves, warriors and chiefs for acts of valor or bravery. Only those who won eagle feathers because of brave deeds as recognized by tribal councils were given the right to wear them either in a headdress, war bonnet or in their hair.\nTo lose an eagle feather would be a dishonor in the eyes of the tribe. Some of the older Native American Indian chiefs earned enough honors to wear a double-trailed bonnet that dragged the ground.\nToday, under both United States and Canadian laws, permits are required from official government conservation authorities to legally possess eagle feathers. Native American Indian groups with bald and golden eagle feathers must use them for traditional ceremonies or teaching purposes only.\nEagles inhabit the Pacific Northwest Coast region in great numbers and have special significance for the Northwest Native American Indian people who live there. The eagle is a symbol of power, leadership and prestige. It also represents wisdom since it flies high above the world giving it a broad perspective of everything. Its feathers or down represent peace and friendship. The feathers are used in many rituals and worn on masks, headdresses and aprons for dances. Eagle down was sprinkled before guests during welcome dances and other ceremonies. An eagle feather as a present is said to bring good luck to both the recipient and the giver. The eagle is a favorite subject in Northwest Native American Indian art.\nToday, Native American artists, particularly those from the Pacific Northwest, make some very stunning carvings of eagles as well as other birds like thunderbirds and ravens. Just imagine having such a beautiful piece of artwork hanging in your home. See Northwest Native American art carvings or Northwest Native American art prints at very affordable online prices available at Free Spirit Gallery.\nUse our Inuit & Native art eCards to tell a friend about the Free Spirit Gallery website\n-See Our Native Indian Art Video\nCopyright © 2006-2017 Free Spirit Gallery, All Rights Reserved", "label": "No"}
{"text": "Dr. Samuel Gross was a professor of surgery at Philadelphia’s Jefferson Medical College in the 19th C and is seen here with blood on his hand presiding over a surgery on a teenage boy’s thigh. At the time, Dr. Gross had come up with a new surgical procedure to treat bone infections. No one is wearing surgical gloves; germ theory (and the fact that bacteria cause infections) only became standard knowledge in the 1880’s.\nThe amplitheater of doctors and medical students all take a cold, unfeeling approach to looking at the operation in action, and so they should. It wouldn’t do to have doctors shielding their eyes from the sight of blood like the mother of the teenage boy here does. We identify with her because we aren’t accustomed to the sight of open flesh either.", "label": "No"}
{"text": "The house at 46 Gainsborough Street in Sudbury, Suffolk dates back to around 1520. Thomas Gainsborough’s parents, John and Mary Gainsborough, probably moved here in 1722, five years before the artist was born.\nFour distinct periods of architecture can be discerned in the building’s layout. The oldest visible element of the structure is an oak doorway leading into the entrance chamber, which may date back to as early as 1490. This doorway was probably the original front door to the house, leading straight into the Entrance Hall from the street. Today, only the Entrance Hall and Aubrey Herbert Room represent this early period of the building’s existence.\nAround 1600 a house was built next door. The present Parlour, situated across the corridor from the Entrance Hall, is the only observable part of this structure to have survived, along with a small wall painting that probably dates to the 17th century. The basic framework of the house during this period consisted of oak beams with panels in between, the panels being filled with plaster known as ‘wattle and daub’. A whitewash would have been applied over the panels, with the interior walls then wainscoted with more fashionable oak paneling.\nGainsborough’s parents bought the house in 1722 for the sum of £230, adding a Georgian brick façade onto the exterior in 1723. Following John Gainsborough’s bankruptcy in 1735, the House was purchased by his nephew, John, for £500, who allowed the artist’s family to remain in residence. The building was kept in family ownership until 1792, at which point it was sold at auction and described as ‘a most excellent Brickt Mansion’. At this time, the premises comprised two buildings, an orchard planted with fruit trees, a flower garden and a paved yard.\n46 Gainsborough Street remained a private residence until the 1920s, when it was converted into a guesthouse and tearooms. After the Second World War the house served various purposes, including time spent as an antiques shop. By 1956, a campaign had begun to raise funds to purchase the childhood home of Thomas Gainsborough, culminating in the opening of the museum in 1961.\nGainsborough’s House Society , Charity No. 1170048 and Company Limited by Guarantee No. 10413978", "label": "No"}
{"text": "Natural slate in architecture was traditionally used as a roofing material due to its low water absorption rate – something that has stood the test of time. These days, slate is becoming more widely recognised for its vast design versatility, ideal for use across an array of traditional and modern roofing and cladding projects. Here, Nigel Tozer, UK sales manager at Cupa Pizarras, looks at the evolution of slate and why it is a desirable choice, both practically and aesthetically, in today’s market.\nThe advantages of natural slate as a roofing material are sufficiently numerous to influence consistency in choice by architects and specifiers throughout the ages, and for a multitude of building ventures. The dependability and beauty of slate products makes slate the ideal solution for architectural purposes; and importantly, the evolution hasn’t stopped – the possibilities of slate are constantly being discovered.\nEurope’s first use of slate as a building material was recorded in the late 1300’s in North Wales, in the construction of castles and churches because of its weather resistance properties; but as slate was so expensive to install, only the very wealthy could afford to use it. In the nineteenth century, Spain’s quarrying processes were adequately developed for slate to be used to roof the average home, as well as other types of developments such as institutional and government buildings where longevity of structure is so highly regarded. This marked the beginning of a period that would result in nearly 90 per cent of all European roofing slate originating from Spain, as is the case today.\nNowadays the use of slate is common across all building types and classes. In all cases a building’s roof is arguably the most important component, with its ability to protect and insulate being crucial to the overall resilience of the structure. The use of natural slate is a sensible means of adhering to these requirements, its high density making it naturally waterproof, which could be deemed the primary practical consideration when choosing a roofing material. Moreover, its non-combustibility helps protect the building from fire as well as resistance to any temperature fluctuations and adverse weather conditions so it is particularly suited to areas vulnerable to wind, rain, snow and sleet. With slate also being non-conducive to fungus and mold growth it reduces the need for expensive repairs making it a low-maintenance option.\nThe practical considerations of natural slate are important as they prioritise the longevity and upkeep of the roof with the aim of making financial savings in the long term. However, there are further benefits, particularly for use in architectural projects that are designed to provide maximum visual impact.\nThe use of Cupa Pizarras’ Heavy 3 slate for the roofs of luxury apartments at Portavadie Marina, an exclusive vacation spot north of the Isle of Arran, is a case in point. This slate tile is very well suited to Scotland’s notoriously wet and windy climate because it is thick and strong with a gritty, rough texture and therefore equipped to withstand extreme conditions. In addition to the slate’s ability to tolerate the unpredictability of sea air, Heavy 3’s blue/black hue beautifully complements the stunning natural surroundings, setting the highest standards in both functionality and design.\nThe strength of slate, and its ability to adapt to any design and form makes it an appealing product for designers to work with; add to that the range of natural slate colour shades – from blue/black to dark grey – slate does lend itself to a diversity of modern and traditional buildings striving to achieve a certain look. Also, despite slate’s dark appearance it has a natural sheen that reflects the light, giving unique personality to any surface.\nWhat’s more, the use of slate in architecture has transcended limitation to roofs – it is also very conducive to cladding.\nCupa Pizarras’ has developed CUPACLAD™ – a full range of natural slate rainscreen cladding systems. Suited to a contemporary building appearance for both new builds and renovation projects, CUPACLAD™ offers a design to suit each need and is compatible with any type of insulating material.\nThe design potential for slate cladding is significant with the final appearance of the building determined by a number of factors. For instance, the position of the building in relation to water and its exposure to light can bring astonishing results in relation to colour movement throughout the day. There is also the choice of visible or non-visible fixings, variety or consistency of the slate tile shape and size, all of which can be mixed and matched to achieve a tailored look.\nIt is evident that although always held in high regard due to its plentiful qualities, slate’s true value is still being uncovered. With so much going for it there is vast potential for slate to hold its own, across the architectural spectrum, for years to come.\nFor more information on Cupa Pizarras, please visit www.cupapizarras.com/uk", "label": "No"}
{"text": "As the 2014 election approaches, President Obama is trying to shift the discussion from the Affordable Care Act to inequality of income.\nThe problem is that much of the debate is focused on the wrong things.\nInequality is inevitable in a free enterprise system because people have different talents, ambitions and work ethics. What should we do about that?\nIf I choose to work 40 hours a week and you choose to work 20, and I make $50,000 a year and you make $25,000, is it unfair I make more money? Is it unfair you have more leisure time?\nShould the government equalize our income by giving you some of my money? Should it equalize our leisure by making you do some of my household chores?\nWhen we look at inequality in a broader sense, what’s more important, inequality of income or the standard of living of the poor?\nDoubling everyone’s income would increase the standard of living of the poor but also increase inequality of income. Would you oppose that?\nThe point is that our primary goal should be to increase the standard of living of the poor. And there is a strong correlation between a higher standard of living for the poor and more economic freedom, meaning lower taxes, protection of property rights, less regulation and wealth redistribution, and fewer trade barriers. For the results of a 30-year study by the Fraser Institute, see: http://tiny.cc/eetk9w and http://www.freetheworld.com/.\nThat doesn’t mean we shouldn’t oppose the causes of inequality we can do something about, such as government favors to politically-connected businesses and groups. But in that case, we are opposing favoritism, not inequality.\nIt also doesn’t mean we should ignore the consequences of inequality we can do something about. For example, if the rich have unequal political influence, instead of restricting their political speech through campaign finance laws, why not reduce government meddling in our lives so there are less government policy decisions to influence?\nIn any event, in most cases, we’re really concerned about inequality of opportunity, not inequality of income. And providing kids with a good education is critical to giving them equality of opportunity and a fair chance in life.\nIronically, those who claim that inequality of income is our biggest problem often are the same people who oppose education reform and instead just want to increase education spending.\nWe’ve tried that, and it hasn’t worked. Over the 50-year period ending in 2007, per-pupil spending adjusted for inflation more than quadrupled to $12,463 per year with little to show for it.\nMaybe it’s time to try something new, such as vouchers parents can use to pay for private schooling for children stuck in failing public schools. This won’t reduce per-pupil spending in public schools because you can educate a student with a voucher for less than it costs to educate the same student in a public school.\nHere’s the point. Instead of complaining about inequality of income, why don’t we reduce inequality of opportunity where we can?", "label": "No"}
{"text": "For anyone that has seen Star Wars, you know that not much of what the franchise incorporates into the movies has any actual realism. One of the most iconic things to come from Star Wars is lightsabers, but even those aren't really possible because photons do not interact with each other, which is needed for a lightsaber.\nResearch published recently in Science shows that it is possible for photons to in fact interact with each other. They were even able to get three photons to bind together. Although the new found technology isn't strong enough to defeat the dark side yet, it is a solid step towards creating photon-based quantum computers.\nThe two lead researchers for the project are MIT physicist Vladen Vuletic and Harvard physicist Mikhail Lukin, who together head up the joint MIT-Harvard Center for Ultracold Atoms. They have spent the last few years trying to get photons to interact with each other, with their first major success in 2013, when they were able to get two photons to bind together.\nMany molecules have a limit to the number of times they can bind, so they were curious if this was also the case for Photons, continuing their work. They were able to bind three photons just last week, so it seems to be going fairly well for their research.\nDue to Vuletic and Luken's research being highly experimental, it will most likely be a while before any of their work is put to any practical use. They are looking to continue their research and see if they can get photons to interact in more ways, possibly repelling each other. Only time will show how their research goes.", "label": "No"}
{"text": "KUNSTKAMMER.. The traditional name for a “Cabinet of Curiosities”, like this exhibition space was “Kunstkammer” – an art room where arts and treasures from all over the world were kept and studied. In the European tradition, wealthy collectors assembled works of contemporary painting and sculptures, ancient art from excavations, specimens from around the natural world, new scientific instruments, and cultural artifacts from exotic places. All the treasures of the world were collected so that the affluent could enjoy and study them. The collectors were royalty or aristocrats, who competed with each other to acquire the most impressive marvels from all over the world. These cabinet played an important role in intellectual history; the process of studying, classifying and recording new plants, animals and artifacts from Asia, Africa and Americas led Europe of a greater knowledge of and appreciation for the diversity of the world.\nThe Harris Collection recreates the approach, but unifies the collection by focusing on one issue: human mortality. In doing so Richard Harris has created a collection that can be enjoyed and studied on many different levels. The variety of cultures and historical periods found in the room are testament to an ongoing, permanent interest in this theme. Humankind has been coping with death and mortality for its whole history. Different cultures and religion have developed varying attitudes towards death and the afterlife; but they are united in their interest in the topic; it is universally relevant. The arrangement of the works in this room encourages viewers to make connections, and to recognize the shared interest and different assumptions, among object from very different periods and locations.\nCheck out my Blog: Kunstkammer", "label": "No"}
{"text": "This Learning Resource supports Secondary students to engage with the work ASSEMBLY by Angelica Mesiti. Learners are supported to look and think deeply about the artist’s process and inspiration, while reflecting on their own lived experiences through a series of prompts.\nAbout the artist\nAngelica Mesiti is one of Australia's most significant contemporary artists, her work has been collected and exhibited throughout Australia and internationally.\nBorn in Sydney, Mesiti trained in classical and modern dance, establishing a reputation in Australia during the early 2000’s as a performance artist. Mesiti is currently based in Paris, where she lives and works. Over the last decade, Mesiti’s work has moved into video-based art works that consider how communities are formed through shared movement and communication. Mesiti's video works focus on performance as an artistic gesture, as part of everyday life, and as cultural practice and communication.\nIn a democracy we have the power to decide who represents us, what issues are really important to us and how we can have our individual voices as well as our collective community concerns heard.\nAbout the work of art\nASSEMBLY is a three-channel video installation, produced for the 58th Venice Biennale, exploring the ways that communication – the nature of connection – can be expressed through a variety of forms and might enable and support democracy. This work encourages us to consider the importance of individuals coming together to participate in democracy.\n‘In ASSEMBLY, I explore the space where communication moves from verbal and written forms to non-verbal, gestural and musical forms. The latter creates a sort of code upon which meaning, memory and imagination can be overlaid’. Angelica Mesiti\nASSEMBLY features historic and contemporary places, events and objects with strong connections to democratic processes and aspirations including Australia's Old Parliament House and Palazzo Madama, the seat of the Italian Senate in Rome. The work involves over 40 artists, performers and musicians of multiple ancestries to demonstrate the power of people coming together with a shared purpose. ASSEMBLY uses the Michela’ machine, a 19th century stenographic machine modeled on a piano keyboard, which is used in the Italian Senate for official parliamentary reporting to ensure that the action of the parliament is recorded and accessible to the public. The inventor of the ‘Michela’ was originally inspired by musical notation as a universal language – a language that can be read and understood by people across the world.\nThe artist used this machine to translate a poem by Australian writer David Malouf into a shorthand code. The poem, ‘To be written in another tongue’, 1976, details an imaginary conversation David Malouf has with a Lebanese ancestor.\n\"It immediately struck a personal chord with me ... there's an imaginary conversation going on with an ancestor with whom the writer no longer has a linguistic link. It's about the impossibility of translation and the distance between one language and another.\" Angelica Mesiti\nThe translation became the basis of a musical score by Australian composer Max Lyandvert and a dance performance by the First Nations choreographer Deborah Brown and in collaboration with Mesiti. The score is performed by musicians and dancers who represent the many ancestries that make up contemporary Australia.\n“ASSEMBLY seeks to create a new space for those who want to speak differently, hear alternatively, and act together to form a new translation of the democratic process”. Angelica Mesiti\nLooking at the still images from Assembly, what do you notice, what can you see, and what can you imagine you can hear?\nWhat is familiar and what are you curious about?\nWhat unifies the performers? What connects the performers in their different groups and what unifies the performers in Mesiti’s work as a whole? How do you identify them as a collective or as collaborators?\nSpend a few moments writing or drawing a list of ways the performers are unified.\nCome together as a whole class; rearrange your seats and desks or move to the floor to create circular seating. Make sure you are all seated so that you can see each other's faces. If you are doing the activity from home with a small group or a member of your family, come together so that you are seated at an equal level, facing each other.\nPrepare to discuss your list as a group.\nBefore you begin, decide the process of how you are going to democratically discuss your list. For example, are you looking to your teacher to lead the group? Is there another nominated leader who chooses each speaker and in what order they speak? Do you select a number card if you want to share your ideas? Will you go around the room sharing one thing each? Or maybe you will break into small groups and then come back together as a whole? You all need to decide.\n- Pick a scribe for the session, or a couple of scribes.\n- Discuss your lists as a group, using the lists to respond to the following questions:\n- How many ways of sharing and communicating can you identify in ASSEMBLY?\n- How are the different performers communicating, what tools are they using, what is their process?\n- What happens when individuals collaborate to share through song, music or performance?\n- Why might Mesiti have used so many forms to communicate? What does this do to the message? How does this transform our understanding of inclusivity, the individual and the collective?\nMoving on from what you have just discussed, bring this conversation back to the democracy of your classroom or your home:\n- What are the similarities and differences between individuals in your classroom or home?\n- How can you come together as a whole group so that everyone feels safe, represented and heard?\n- How can you amplify your voices as a collective?\n- How are you contributing to your school community, as individuals and collectively? What are some ways you go about creating change for the greater good of your community?\nThere a many ways citizens can communicate our rights and freedoms including voting when you turn 18, writing a letter to parliament or holding a peaceful protest. In 2018, young protesters in Paris created a series of gestures to communicate with each other in a nonverbal way. First Nations choreographer Deborah Brown performs some of these gesture in ASSEMBLY.\n- Discuss as a class why you think Mesiti invited Deborah Brown to recreate and perform within Australia’s Old Parliament House, the gestures from a protest in Paris?\nCommunicate with the group how you are feeling today. Describe how you are feeling by naming this feeling with a colour. Be as descriptive and poetic as you can be. For example, 'I feel blue like the sky on a clear sunny day' or, 'I feel light pink like fairy floss'.\nOnce everyone has had a turn to share, go around the circle again. This time, share how you feel in a nonverbal way. This may be through a gesture, a sound, a movement. Your movement might be as small as wiggling your finger or waving your whole body around with an intentional gesture.\nFrom your lists, collective brainstorming and responses, spend some time writing a class manifesto, or document stating what you think creates a space where everyone is seen and heard. This manifesto or document might list the things that make this space safe for you as an individual and as a group.\nWhat might be the outcomes of making a document like this moving onto the future? Put this manifesto or document in a location that everyone can see. How will your group ensure that everyone is participating in accordance with the values identified in the manifesto.\nFrom this document – translate the written words to create two new collaborative works of art.\nFirstly, identify the key words, themes, tone of the manifesto/document.\nIntuitively create a series of movements that express and communicate the key themes of your manifesto.\nBrainstorm ways in which this process and outcome can take place.\nChoreograph and perform this new translation of the manifesto. Around 3-4 minutes is plenty of time.\nThe collaborative artwork might be a large-scale drawing or painting.\nYou can start this activity individually with your own piece of paper or as a whole group by laying out a large sheet of paper or connecting several smaller pieces of paper together.\nDraw a gesture for each of the key themes and words in your manifesto - don’t think about your drawing too much but use a variety of mark-making techniques.\nBrainstorm ways in which this process and outcome can take place. This might start with you sharing what you have created as individuals using a large wall or floor space to arrange and rearrange until it communicates your class's manifesto. If starting as a whole class, how do you negotiate this process?\nThink big about the scale of this work.\nVisual arts, Civics and Citizenship\nVisual arts: AC9AVA6C01 and AC9AVA8C01\nCivics and Citizenship: AC9HC7K02 and AC9HC8K01\n• Literacy: Speaking and listening: Interacting\n• Critical and Creative Thinking: Generating: Consider alternatives\n• Critical and Creative Thinking: Analysing: Interpret concepts and problems\n• Personal and Social capability: Self-awareness: Community awareness\n• Personal and Social capability: Social management: Decision-making", "label": "No"}
{"text": "What are the consequences of chronic low back pain?\nChronic low back pain is a worrying subject for humanity; around 570 million people suffer from it every day of their lives. Furthermore, chronic low back pain (CLBP) patients suffer from many complications relating to their pain. The fact is that dealing with pain every single day creates a stressful environment that affects the patient's general well-being. Depending on the severity of the condition, a person may experience the following:\n- The constant pain and discomfort can restrict mobility, making it challenging to engage in daily activities. Simple tasks like walking, sitting, or bending may become painful and difficult.\n- The limitations caused by chronic back pain can hinder a person's ability to work. This can lead to decreased productivity, missed workdays, and potential career limitations.\nDealing with the challenges of chronic pain on a daily basis can have a significant impact on psychological well-being. Dealing with constant pain makes patients feel frustrated, which can cause emotional distress. This can lead to anxiety and depression.\nSleep disturbances are common among individuals with chronic back pain. A lack of restful sleep can result in fatigue, daytime sleepiness, and reduced energy levels. Thus, further affecting overall well-being and quality of life.\nManaging chronic back pain often involves the long-term use of pain medications. Dependence on these medications can develop, and they may have side effects such as constipation, drowsiness, nausea, and the risk of addiction.\nHow can a chiropractor help with CLBP?\nA chiropractor is a healthcare professional who focuses on the health of the spine. Thus, their work is related to the muscles, tendons, and bones that make up the supporting structure of the spine itself. Apart from the structural components, they focus on the nerves that come out of the spine, which may be the cause of chronic pain.\nTo find the root of the pain, a chiropractor will assess the condition of the patient's body. Then, they may inquire about the pain's history to start treating the cause. Treatment is usually focused on spinal manipulation. This means the chiropractor will use their hands and other instruments to create movement in the spine, called adjustments. By adjusting the spine, the chiropractor tries to correct the cause of the condition. After treating the condition, the professional will give some recommendations about post-adjustment care. These may include stretches, exercise routines, nutritional changes, and medication.\nOverall, chiropractic treatment has been scientifically proven to be as effective as other forms of intervention. It is up to the patient to find the best solution for their issue, depending on personal preference. Thus improving their quality of life by controlling crippling chronic symptoms.Share", "label": "No"}
{"text": "The symbolism of the four directions and four cycles\nThe Traditionalists’ (Guenon, Evola, Georgel, etc.) perception of the relationship between the paleo-continents, cardinal directions, and cyclical periods of ancient civilizations boils down to the following : the North was the original orientation whose ancient paleo-continent located at the North pole was Arktogeya, or Hyperborea, with its sacred capital as Thule or Tula (for the Greeks and Aztecs) or Vara in the Zoroastrian Iranian tradition. It is important to note the similarity between the Iranian “Vara” – the northern city, capital of Aryan-Vedj, and the homeland of the Persians’ ancestors – and the Hindu term Varahi (literally “boar”, or “land of the boars”), as well as the Nordic designation of the continent. The Golden Age of mankind, lasting 25,920 years  is associated with this ancient, primordial continent. In the ancient tradition, the New Year came at the point of the winter solstice (or winter eclipse), i.e., the most obvious moment in the transition of the sun and light’s movement from descent to ascent. The priority of the northern orientation and celebrations of the New Year on the day of the winter solstice are signs of the Primordial Tradition itself.\nThe second cardinal direction was that of the South and the southern paleo-continent conventionally called Gondwana. The period of the southern orientation’s predominance falls on the Silver Age lasting 19,440 years. The New Year that falls on the day of the summer solstice corresponds to this orientation. Thus, the initial periods of our cycle, the Manvantara, were moved by way of the main migrations of the sacred proto-peoples along the vertical axis from North to South, which corresponds to the priority of the vertical over the horizontal (the axis of East-West) as a qualitative space in sacred geometry.\nThe third sacred center was that of Atlantis, the sacred continent located in the West. Atlantic civilization lasted 12,960 years, although the continent itself sunk exactly at the midpoint of this period in the 6,480th year of the third, or Bronze Age. Atlantic civilization continued to exist even later when it manifested itself among waves of peoples’ migrations from the West to the East. This Atlantic cycle corresponds to New Year celebrations on the day of the autumnal equinox and the sacred orientation of this period was that of the West. Finally, the fourth, final center of our human cycle is the East which corresponds to the center of Tradition in the Iron Age. The Iron Age, or the Kali Yuga of the Hindus, lasts just 6,480 years. According to the Traditionalists, we are living at the end of this period. The New Year of the Iron Age is celebrated on the day of the vernal equinox and, according to Guenon, it is precisely such a location of the center of the Primordial Tradition in the Iron Age that explains why paradise was located in the East in traditional doctrines. Such a localization is not absolute insofar as the original and naturally true paradise is the northern, polar, Hyperborean paradise, but, nevertheless, our cyclical period is characterized by precisely this eastern situation of the supreme traditional center which is preserved as a relevant pole for all of the world’s traditions and holds the secrets of the true North.\nIt is also important to note, however, that such a Traditionalist scheme describes the cyclical situation only in the most general terms. In fact, traditional forms inherent to these or those sacred-geographical centers continue to exist even after the relocation of the supreme center to other regions. But, as a rule, they exist only in reduced, residual states. In the case of a schism or disruption of the historically preexisting center with the actual center, the spiritual influence of this residual center can turn into something negative and even anti-traditional. This was particularly impressed upon the later perversion of the Atlantic tradition narrated in Greek myths which Guenon associates with the sacred events reflected in the Bible under the sign of the global flood.\nSchematically, we can visualize the course of the supreme sacred center’s geographical movement in either this sign: or this sign:\nwhich yields, among other things, the symbolic loop, an attribute of many “gods” such as Greece’s Neptune, Scandinavia’s Odin, or Hinduism’s Varun, Yama, Shiva, Kali, and Vishnu, etc.\nIn this case the most important point of all for us is highlighting the eastern regions designated in our times, the Iron Age, as being of absolute priority in the sphere of sacred geography, as the East, or Asia, is uniquely associated with the geographical location of paradise.\nThe role of Siberia\nThis special role falls to the lands of Siberia in the general map of sacred geography. If the current center of Tradition is located somewhere in the East and the primordial center was located at the North Pole, then it is precisely Siberia that is the space of cohesion and connection between these two sacred regions. Such a particularity assigned to Siberian lands is quite possibly what contributed to the specific mystery that has surrounded everything connected with the history of this part of the mainland. Siberia (especially the northern part) is perhaps the only area in the Eurasian space which does not draw any special attention from “civilization” in the Kali-Yuga, i.e., that time when practically all other lands in one period or another have become the grounds of aggressive competition between different states and peoples, the reasons for conflicts and wars. Despite the fact that, from a purely natural point of view, Siberia’s lands do not have any particular flaws or obstacles preventing their inhabitance, Siberia remains an historically hidden, unknown, and mysterious land to such an extent that it is as if some kind of special force of fate, some kind of unknown archangel, was guarding it.\nAt the same time, according to the discoveries of modern archaeologists, in the paleolithic period Siberia was no less inhabited than southern or eastern Europe and the remains of some kind of ancient civilization are being all the more often found in every one of Siberia’s corners today. Thus, Siberia is, in fact, not a virgin territory or a kind of tabula rasa, but quite simply and providentially hidden. It withholds the ancient secrets from unworthy eyes.\nIt was indeed from Southern Siberia and Mongolia that the so-called “barbarians” proliferated and it was these peoples that moved to Europe via the Caspian and Black Sea steppes and substantially changed the appearance of this area in the first centuries of our era. On the contrary to the opinions of profane historians, these “barbarians” were not primitive or mindless savages later “cultivated” by Greco-Roman civilization. They were the carriers of particular sacred forms, albeit compressed and laconic, but by no means rudimentary. The broad “horizontal” development of traditional principles related to secondary modalities, in fact, is what creates culture . Hence, culture is by no means a guarantor of the completeness or perfection of Tradition as such but, on the contrary, in its “horizontal” development even strips Tradition of its metaphysical side in delving into cosmological and applied fields.\nMigrating from Siberia and Mongolia, the “barbarians” carried with them only certain aspects of the ancient Siberian sacrality while the Holy of Holies continued to be hidden from and left behind the aggressive peoples. The geopolitical impulse behind the move from East to West [of these “barbarians”] acted as a sort of preemptive prevention of a possible invasion of the life-giving lands of Siberia by the decadent West.\nAt that time, as the Aryan tradition of India gradually became linked with southern, Dravidian influences and the Chinese Middle Empire closed itself into isolationist self-sufficiency, narrowing the sacred to more or less local borders, Siberia lived an “uncivilized” yet truly spiritual life. Its pulses and arousing of global impulses of freshness and purity drew the Western civilizations of Eurasia into the dynamic of sacred history. Here it should be recalled that the majority of the aristocratic families in Europe, that is, the European genetic elite, have roots in the Gotho-Germanic, and sometimes Hunnic peoples, i.e., the messengers of the secret Siberian impulse.\nThe Ecumene of the Turks and Shamanism\nThe most important center of Siberia was the Altai region, those lands adjoined to the middle of all Asia, the heart of Asia. The Turks were the peoples who remained the bearers of the particularly sacred, indigenous Siberian form. It is very important to note that a number of similarities can be drawn between the ancient cults of the Turks and the archaic, pre-Vedic and pre-Zoroastrian forms of the Eurasian Aryans. On the other hand, certain links existed with the earlier forms of the Chinese and Tibetan traditions.\nIn his research on ancient, purely Hyperborean and proto-Aryan origins, Professor Herman Wirth discovered a very important testimony of the archaic Eskimo peoples relative to the ancient “ethnos” of the white Eskimos, the “people of the sun,” memory of which lives on in the most distantly remote and disconnected Eskimo tribes. These white Eskimos were called the “peoples of Tanar” and their mythological description can only be related chronologically and phenotypically to the Hyperborean “strangers” who moved from the polar regions to the more southern lands. According to Wirth, the “peoples of Tanar” were representatives of Hyperborean groups who came down to Eurasia not from the West (like the tribes of Tuatha Dé Danann, the North-Atlantic proto-Aryans), but from the East. Wirth traces the origins of the Sumerian tradition directly back to these “peoples of Tanar.” In particular, this noted in the very name of the Sumerian gods, “Dingir,” “bog” [Russian for “god” – J.A.] being a phonetic form of “Tanar”. For us, the most important fact is that the word “god” among the archaic Turks sounded phonetically identical to “tengri.” In addition, modern archaeologists are now uncovering a number of ornaments, drawings, and hieroglyphs dating back to the neolithic age with similarities to archaic Sumerian writings and sacred symbols on the territory of northern Eurasia and especially in the resettlement areas of the Turkic peoples.\nToday, the link between the Turks and Siberia is dated back to more and more distant epochs, and in some cases it is possible to trace a continuity of certain modern Shamanic traditions (particularly those of the Tungus of the Taiga Amur, or the Evenki-Oroqen) back to the sacred compositions of Neolithic complexes that are today revered and visited by representatives of the most ancient faiths. The majority of such Neolithic and even paleolithic tales are in fact identical to the paradigm of the ancient proto-runic calendar described by Wirth as the primordial paleo-epigraphical cult base of all subsequent mythological-symbolic, post-Hyperborean sacred forms. .\nIn considering and comparing the known variations of Shamanism among the peoples of Siberia and Mongolia, one can note that, unlike many other versions of Shamanism (African, American, Australian, etc.), the general and dominant element among Siberian Shamans is their purely Hyperborean symbols and doctrines: The image of the white swan, the raven of the demiurge, the World Tree, the three plans of the cosmos, the polar star (understood as a hole in the sky, a point for exiting beyond the manifested cosmos, or as a place of liberation, Moksha), the elk and deer, the sun wheel (tambourine), and the “Celtic cross.” Both Guenon and Wirth refer to these symbols as primordial or “Apollonian” ones.\nHe who restored the Eurasian Empire\nIn 1155, the holy tribe of Alan-Gua, the mother of the “khans by calling” and the “Chosen ones of the Eternal Sky” gave birth to a child not from a father, but from the heavenly spirit which descended through the chimney of the yurt (through a hole in the roof of the traditional dwelling of the Mongols). Prince Temujin thus appeared on earth. Thus recounts The Sacred Tale, the holy book of the Mongols. In 1180, this boy became the Khan of the Ulus (the association of Mongol tribes) and in 1206 at the source of the river Onon in northern Mongolia, Temujin, henceforth named Genghis Khan, was declared the Great Khan of all Mongolia. From this point onward begins the greatest saga of a planetary scale for the next millennium: an attempt to create the Great Eurasian Empire which would unite the continent into one sacred body. “Heavenly energy” allowed Genghis Khan to unite enormous territories stretching from China to the Middle East and Eastern Europe under his rule in an extraordinarily small amount of time.\nAn extremely important reference concerning the Hyperborean character of Genghis Khan’s mission can be found in the Collection of Annals by the Persian traveller Rashid-al-Din. It is well known that the distinctive features of Genghis Khan’s tribe were blue eyes and red hair. Rashid-al-Din writes: “The tribe of the kiyatboryigin descended from the offspring of Yesugei Baghatur [the father of Genghis Khan]. Boryigin means ‘blue-eyed’ and, oddly enough, the descendants of those who to this day trace their lineage back to Yesugei Baghatur, his children, and the Uighur [clan], are mostly blue eyed and red-haired. This is explained by the fact that Alan-Gua, at the time of her [spiritual] pregnancy said: ‘In front of our eyes at night there suddenly appears a radiance in the form of a human with red-hair and blue-eyes who shall go out. Thus, the eight genealogical branch of Yesugei Baghatur is exhibited by this distinguishing symbol which, according to the Mongols, is a sign of the royal authority of Alan-Gua’s children whom she foretold and whose similar appearance is proof of her words and the validity and obviousness of this circumstance.”\nThe radiance of the Hyperborean Aryan falls to the holy family of the “khans by chosenness” as an investiture of a the highest initiative polar center. This sacred Nordic pulse drives Genghis Khan to awaken Asia to unify, naturally beginning with Mongolia and Siberia insofar as these lands were the sacred-geographical basis of imperial expansion, the “golden embryo” of the New Empire. Although Genghis Khan and his successors’ empire did not last long, it radically transformed the map of the world both geographically and politically and awakened the Turkic-Mongolian peoples to realize their mission – the mission of the descendants of the Hyperborean “people of Tanar” whose polar and crystal archetype manifested itself in history for the last time in history with all of its clarity and purity in the “white, blue-eyed kings,” i.e., the descendants of Alan-Gua who, under strange circumstances, gave birth to the ruling caste of Eurasia.\nAfter his death, Genghis Khan came to be venerated by the Mongols as the “Mongolian avatar” and a manifestation of the Tengri, the heavenly principle. The cult of Genghis Khan, established by his grandson Kublai Khan (the founder of the Yuan dynasty) in particular emphasized the sacred role of Genghis Khan’s two sacred banners called the “black sulde” and “white sulde” respectively, termed in Mongolian the hara-sulde and tsagan-sulde. In Mongolian, sulde means “soul” or “spirit.” These banners were considered to be symbols of the two aspects of the Mongolian avatar” in its super-temporal and superhuman quality. This symbolism of black and white remains the paradigm of the sacred Hyperborean formula.\nJust as Frederick II who, according to the Ghibelline tradition, dwells in a secret mountain cave (or the volcano of Mount Etna) and awaits the final hour of the cycle to return and finish his imperial mission, so do the Mongols believe that Genghis Khan’s lays waiting, entombed in the cave of the sacred Mongol mountain Burkhan-Khaludn, the “willow hill” or, literally, “willow of god.” Here it should be recalled that the Taoist tradition called the “City of Willows” the very primordial center of Tradition, the “place of the undead” or the “center of the world.”\nThe cult of Genghis Khan liturgically refers to him as the “bearer of the white pledge,” i.e., the “pledge of Hyperborean restoration.” Moreover, Genghis Khan’s genus was preserved even after the collapse of his empire and his descendants continue to exist to this day, towards whom a sacred reverence prevails among the Turks and Mongols. Not only have the ancient Shamanist traditions of the Siberian Tanar peoples preserved this, but so have the other sacred forms such as Islam, Lamaism, and Taoism absorbed this tradition. The institutions of Genghis Khan’s descendants and followers largely parallel the institutions of the Alids and Sayyids in the Islamic world (and especially in Shiite Islam). Interestingly enough, among the Turkish Muslims there are princely families who simultaneously descend from both Genghis Khan and Muhammad, a phenomenon which renders them the heirs of two important traditions at once.\nSiberia and Russia\nAfter the Mongol-Tatar conquest of the Russian principalities, Gardariki Rus was included in the Great Empire of Genghis Khan. When this empire began to weaken and decay, it was Rus which, by first centralizing its own political organism, gradually spread a unifying influence to those states which made up the ruins of the empire. After a sufficiently harsh conquest of the “Kazan Khanate,” Rus took over the function of Eurasian empire-building from the Tatars and began ever so gently to spread to the East, to Siberia. It is important to emphasize that, in the eyes of the Turkic peoples of Siberia, the Russians were clearly perceived as the “followers” or “resumers” of the mission of Genghis Khan himself, as the figure of the Russian Tsar, the “White Tsar,” coincided with the image of the “White Mongol,” the “Bearer of the Heavenly Pledge.” In addition, before and during the period of Tatar rule, the Russian aristocracy frequently intermarried with the Turkic aristocracy – with the Cumans during the time of Kievan Rus and with the Mongol-Tatars during the time of conquest, and so on. It can naturally be assumed that in this case aristocratic marriages served not only to establish kinship and ethnic relationships between the Russians and Turks, but also implicitly fulfilled the transfer of the sacred-geographical doctrine of the warlike Turks to the Slavic elite which in turn preserved the memory of its Nordic heritage in various mythological forms. Thus, the Russians’ expansion into Siberia was a sanctioned, sacred development possessing foundations stretching deep into the esoteric teachings of Eurasia. The unification of Siberia with Russia was a development which starkly contrasted to “Western colonialism” and its profane, utilitarian, and proselytizing objectives. On the contrary, it was the restoration of the common heritage and pre-existing unity behind which stood the unified will and common goal of the brothers of the “white pledge.” Of course, such unity and agreement existed on an “elitist,” sacred, and supra-ethnic level, whereas in other cases, on purely political grounds, such could give rise to conflicts and misunderstandings.\nEven at the beginning of the 20th century, the sacred role of Siberia and the Far East surfaced not only among esoteric cults and the patriotic intuitions of the “Slavophiles,” but also in concrete political projects seeking to focus Russia on the Far East. In connection with this, Dr. Badmaev , a Genghis Khan occultist and doctor from St. Petersburg who practiced Tibetan medicine for Russian aristocrats, should be mentioned. According to certain Lamaist centers in Buryatia and Tibet, Dr. Badmaev developed special geopolitical projects aiming for the political unification of Russia and Mongolia and Russia’s annexation of Xin-Jian for the purpose of confronting the British colonialists. These ideas proposing that Russia actively intervene in Far Eastern geopolitics (especially through the construction of the Transiberian railway) interested Emperor Alexander II himself, and later Nikolai II, so much so that Dr. Badmaev received funds from the state treasury to establish economic ties with China and realize the large-scale Semipalatinsk-Lanzhou railway project. Lanzhou itself, which is the point at which China, Mongolia, and Central Asia are linked, was chosen as the center for Russia’s new geopolitical strategy just as it was precisely at this place from which Genghis Khan began his conquest of China.\nIt was not without Badmaev’s help that a Lamaist center was opened in St. Petersburg in 1914 and that the close mentor of the 13th Dalai Lama and the official messenger of Lhasa, Hambo Agovan Lobsan Dorchjiev, appeared in the highest political spheres during this critical period for Russia.\nThus the voice of Genghis’ and the Turks’ Siberia once again made itself felt to Russia, urging her to find a geopolitical identification under the sign of “Eurasian restoration” and the “white pledge.”\nThe Eschatological Mission of the East\nIn accordance with the shifting trajectory of the supreme center of Tradition, it can be logically said that it is precisely on this line which connects Eastern, subterranean Agartha with the northern pole that the decisive events of the end of the Kali-Yuga, our iron age, should unfold. It is difficult to understand the transformations in the geopolitical space of Russia otherwise than as signs of the times heralding the proximity of this threshold. As always in epochs of global turmoil, the sacred memory of the continent is coming alive in the peoples of these regions in Russia today. People in Russia are all the more often beginning to speak about the “Eurasian factor,” the role of Siberia, and the fate of the Eurasian Empire which, shaking off oblivion in the face of fatal threats posted by the West, is once again faced with a fateful choice. In this situation, it is necessary to offer clear account of the sacred significance of the “white pledge” and all the peoples of Eurasia who, by virtue of their Hyperborean heritage, are the offspring of the great builders of the Eurasian Empire.\n See G. Georgel’s The Fourt Ages of Humanity, The Rhythms in History, J. Evola’s Revolt Against the Modern World, R. Guenon’s Traditional Forms and Cosmic Cycles, and A. Dugin’s The Path of the Absolute, chapter 9.\n See Guenon’s Traditional Forms and Cosmic Cycles and Dugin’s The Path of the Absolute\n In the Traditional meaning of the word, culture is Tradition, and not the profane surrogate of unintelligible and perfverted remnants of traditional knowledge that are called “culture” in the modern world.\n See H. Wirth’s Die Heilige Urschrifft der Menschheit and A. Dugin’s The Hyperborean Theory\n One of Rene Guenon’s main informants on questions of sacred geography, the French diplomat in Poland known by the initials J.C. (who is, as was discovered only recently, Jean Calmel) was in contact with Badmaev in St. Petersburg. This means that Guenone himself drew the elements of his doctrine from a Eurasian, Russian source. The link between Russia and the spirit of Siberia and its secret initiatic center, thus, unexpectedly finds its echoes in even the worlds of Western esotericism.\n H. Wirth, Heilige Urshrift der Menshheit\nTranslator: Jafe Arnold\nChapter 5 of Mysteries of Eurasia (1996 edition) from the collection Absolute Homeland (Moscow, Arktogeya: 1999)", "label": "No"}
{"text": "Damaging East Tenn. quake possible\nBob Hatcher, a distinguished geologist and retired University of Tennessee professor who has lived in Oak Ridge for 33 years, has earthquake insurance. He thinks the building codes in East Tennessee should be revised because geological findings indicate the region is capable of producing an earthquake far more damaging than those recently felt.\nOn April 4, Maryville residents experienced a series of small, shallow earthquakes, and in March a small earthquake was detected in the Greenback area.\nHatcher’s research over the past 10 years, along with that of four colleagues and graduate students, suggests that East Tennessee has likely had three earthquakes of magnitudes ranging from 6.5 to 7.0 over the past 10,000 years, or one of that intensity range every 3,000 years or so.\n“We live in the second most active seismic zone in the eastern United States,” after the New Madrid Seismic Zone in West Tennessee, Missouri, Arkansas and Kentucky, Hatcher told the Friends of Oak Ridge National Laboratory (FORNL) recently. He agreed with the assessment of Memphis seismologists. “They called the Eastern Tennessee Seismic Zone (ETSZ) the Rodney Dangerfield seismic zone,” Hatcher said. “It gets little respect.”\nMillions of dollars have been poured into studying the New Madrid Seismic Zone and other earthquake-prone regions of the United States. Hatcher, an ORNL-University of Tennessee Distinguished Scientist and geology professor emeritus at UT, said that he and his colleagues have received only modest support from the U.S. Nuclear Regulatory Commission and the U.S. Geological Survey’s Earthquake Hazard Reduction Program to study the ETSZ over the past 10 years.\nETSZ extends from Northeast Alabama to north of Knoxville and then into Eastern Kentucky over a huge area. The largest earthquake recorded here in historic times was a 4.8 event in 2003 near Ft. Payne, Ala. The earthquakes here, Hatcher said, occurred at depths of 6 to 15 miles.\nThe earthquakes and aftershock from Dec. 16, 1811, through Feb. 7, 1812, in the New Madrid Seismic Zone had magnitudes exceeding 7.0, causing gas lights to flicker and Boston’s church bells to ring. A major result of the quake-produced subsidence was the formation of Reelfoot Lake in Northwest Tennessee.\nThe magnitude 5.8 earthquake that disrupted the Piedmont region of Virginia on Aug. 23, 2011, caused damage to the National Cathedral and Washington Monument in Washington, D.C., Hatcher noted.\nThe nation’s most devastating earthquake — the one in 1906 in San Francisco as a result of the constantly moving San Andreas Fault — had an estimated magnitude of 7.9. Some 3,000 people died and 80 percent of the city was destroyed. The most destructive earthquakes range from magnitude 7.0 to 9.0.\nEarthquakes, which Hatcher defined as “a sudden release of elastic energy along a fault,” such as happens when a rubber band snaps back on your finger, are caused by volcanic action or movements within the earth’s crust. A fault is an extended break in a body of rock in which one side has shifted relative to the other or the rocks on one side are older or different in composition from those on the other side.\nIn a decade of research, Hatcher and other local geologists located faults, with displacements of 3 to 10 feet occurring perhaps in the past 17,000 years, in Douglas Lake’s 15,000-year-old river sediment and 460-million-old, weathered shale bedrock in the vicinities of Alcoa-Maryville, Dandridge and Vonore.\nBased on the faults the geologists have found in East Tennessee, they are convinced the region has had earthquakes with a magnitude of 6.5 to 7.0 in the past 10,000 years.\nHatcher told FORNL that our region, which has many valleys, ridges, steep slopes, limestone and lots of rainfall, has more geologic hazards than many other parts of the eastern United States. Examples include sinkholes, landslides, mud flows and rock slides. Developers who use poor judgment can bring on some of these hazards. Many occur naturally.\nHatcher, who has been honored for giving many classes and leading field trips for students at the Oak Ridge Institute for Continued Learning, frequently points out that the Appalachian mountain chain, as we know it, is younger than the Rocky Mountains of today. Middle-school textbooks have long claimed falsely that the Rockies are younger than the Appalachians.\nSome 300 million years ago, the Appalachians were as tall as the Himalayas when they were formed by uplift as a result of the collision of Africa with North America. But through accelerated wind and water erosion, the Appalachians were worn down. The most recent uplift, which has produced mountains now as high as 6,700 feet (as in the Blue Ridge Mountains), occurred less than seven million years ago.", "label": "No"}
{"text": "- Art Definition\n- Categories Definition\n- Religious Definition\n- Eight Great Bodhisattvas\n- Bodhisattva: Three Definitions\nThe Sanskrit language term 'bodhisattva' (Tibetan: jang chub sem pa. English: heroic aspirant to enlightenment) is an abstract religious technical term. In art the term has three basic meanings.\nThere are three very different meanings for the term bodhisattva depending on context. The first  is a descriptive art meaning. The second  is a category of deity within Buddhist art and iconography. The third  is the abstract religious definition of a bodhisattva as a level of achievement along the Buddhist path.\nJeff Watt 7-2003 [updated 12-2019, 8-2020]\n(The images below are of unidentified Bodhisattva figures).", "label": "No"}
{"text": "Stevie May June 23, 2019 Flowcharts\nFlowchart Software is a program used to draw diagrams in a type of a flowchart which is made up of boxes and arrows. The Flowchart Software is also used to design and document simple processes as well as visualizing the process and helping users to better understand a process. You can also use the Flowchart Software to find flaws and bottlenecks in a process.\nWhich flowchart shape should you use? If you are new to flowcharting, the large number of shapes can be intimidating. You should care because knowing how to flowchart is like having access to a Universal language which makes it possible to communicate all sorts of things with all sorts of people, and that’s pretty cool.\nProgram flowchart can help programmers to find the bug in the process before carrying out. It works as a blueprint when analyzing the systems and developing programs, which makes coding more efficient. It improves programmers’ efficiency in maintaining the operating program. With the help of program flowchart, communicating the logic of a system to all concerned gets much easier.", "label": "No"}
{"text": "By Naval Education & Training Professional Development & Technology Center\nRead or Download Introduction to Circuit Protection, Control, and Measurement PDF\nBest electromagnetism books\nInitially written in 1964, this well-known textual content is a examine of the classical conception of charged debris. Many purposes deal with electrons as element debris. even as, there's a common trust that the idea of element debris is beset with a number of problems similar to an unlimited electrostatic self-energy, a slightly uncertain equation of movement which admits bodily meaningless options, violation of causality and others.\nElectromagnetic Fields in Mechatronics, Electrical And Electronic Engineering: Proceedings of Isef'05 (Studies in Applied Electromagnetics and Mechanics) ... in Applied Electromagnetics and Mechanics)\nIncreasingly more researchers interact into research of electromagnetic purposes, specially those hooked up with mechatronics, details applied sciences, drugs, biology and fabric sciences. it truly is without problems noticeable while the content material of the ebook that computational options, which have been less than improvement over the past 3 a long time and are nonetheless being built, function solid instruments for locating new electromagnetic phenomena.\nThe second one version of sensible Gamma-Ray Spectrometry has been thoroughly revised and up to date, supplying complete assurance of the complete gamma-ray detection and spectrum research procedures. Drawn on decades of training event to provide this uniquely functional quantity, concerns mentioned contain the beginning of gamma-rays and the difficulty of caliber insurance in gamma-ray spectrometry.\n- The electromagnetic field\n- Wave Scattering by Small Bodies of Arbitrary Shapes\n- Foundations for guided-wave optics\n- A Theory of Matter and Electricity\n- High-Resolution NMR Techniques in Organic Chemistry\nExtra resources for Introduction to Circuit Protection, Control, and Measurement\nV Throughout the text of this course and while using technical manuals associated with the equipment you will be working on, you will find the below notations at the end of some paragraphs. The notations are used to emphasize that safety hazards exist and care must be taken or observed. , WHICH MAY RESULT IN INJURY OR DEATH IF NOT CAREFULLY OBSERVED OR FOLLOWED. , WHICH MAY RESULT IN DAMAGE TO EQUIPMENT IF NOT CAREFULLY OBSERVED OR FOLLOWED. , which is essential to emphasize. vi INSTRUCTIONS FOR TAKING THE COURSE ASSIGNMENTS assignments.\nModule 16, Introduction to Test Equipment, is an introduction to some of the more commonly used test equipments and their applications. Module 17, Radio-Frequency Communications Principles, presents the fundamentals of a radio-frequency communications system. Module 18, Radar Principles, covers the fundamentals of a radar system. Module 19, The Technician's Handbook, is a handy reference of commonly used general information, such as electrical and electronic formulas, color coding, and naval supply system data.\nR3 has changed the range of the meter. Voltmeters can be constructed with several ranges by the use of a switch and internal resistors. Figure 1-29 shows a voltmeter with a meter movement of 100 ohms and 1 milliampere full-scale deflection with 5 ranges of voltage through the use of a switch. In this way a voltmeter can be used to measure several different ranges of voltage. —A voltmeter with internal range resistors. The current through the meter movement is determined by the voltage being measured.", "label": "No"}
{"text": "He was not the greatest artist in the world, nor the greatest writer, but in mixing, mashing, mauling, manipulating, masticating, mutilating, and mystificating a moderate mastery of both, he was able to charm the socks off children, parents, and teachers alike for the better part of two generations. His name was Theodor Seuss Geisel. And since his father always wanted him to become a doctor, he wrote under the name, Dr. Seuss, preferring to save his \"real\" name for more serious literary efforts. He needed have bothered. There never was a more serious literary goal than teaching young people to love to read. And even today, nearly ten years after his death, he's still the best-selling author of children's books in the world.\nThe good doctor of juvenile letters was born in 1904 in Springfield, Massachusetts, the son of the curator of the Forest Park Zoo. There's no record that the zoo ever housed Grinches, Yertles, or cats wearing hats, but there's little doubt young Theodor was intimately familiar with their zoological inspirations. Giesel graduated from Dartmouth in 1925 and immediately set sail for Oxford hoping to satisfy the dreams of his father in acquiring a doctorate in literature. Instead he met and married a Miss Helen Palmer before returning to the US to work as a cartoonist and writer for \"Judge\" magazine (kind of a 1930s version of 'Mad\"). His work also found it's way into more upscale versions of \"Life,\" \"Vanity Fair,\" and \"Liberty.\"\nIn 1936, while on the boat to Europe for a vacation, Geisel became fascinated by the rhythm of the ship's engines. He wrote his first book, \"And to Think That I saw It on Mulberry Street.\" The book was published in 1937, having gone through rejection by no less than FORTY-THREE publishers (other sources set the count at 29) before a friend put up the money to see it printed. It didn't make any bestseller lists but enjoyed moderate success. The war years saw Geisel working in Hollywood for Frank Capra's Signal Corps Unit where he won a Legion of Merit and two \"Oscars\" for such blockbusters as \"Hitler Lives\" and \"Design for Death,\" both documentaries for the military. His cartoon, Gerald McBoing-Boing also won him an \"Oscar.\"\nDr. Seuss' first big success in publishing came in 1954 when he became aware of just how BORING most children's book of the day really were. Using a list of 223 Dolch Reading List words, he penned the words and illustrations for his immortal \"Cat in the Hat.\" It was an instant success. In 1960, in response to a bet from humorist, Bennett Cerf, that he couldn't write a book using only fifty words, Seuss cooked up a batch of \"Green Eggs and Ham.\" Cerf welshed on the bet. No matter, Dr. Seuss didn't need the money. A Pulitzer Prize in 1984 and a total of forty-four children's books to his credit pretty well cemented him a place in the literary hall of fame. Fortunately for all the parents and others who have had to read them aloud, the books of Theodor Seuss Geisel are loaded with grown-up wit and satire set to a catchy, if somewhat quirky, rhythm that fascinates at least through the twentieth reading. I know. I've used them dozens of times in the elementary classroom, reading aloud while my meditating munchkin moppets mull their own manifestations of Seuss' sagacious sonnets.", "label": "No"}
{"text": "Chapter VI - Visual Characteristics of the Piedmont Savanna\nUnfortunately, no pictorial images of the Piedmont savanna landscape are\nknown to survive from the colonial period. Colonial art work dealt mainly\nwith identifying and categorizing detailed aspects of the flora and fauna,\nnot with the landscape as a whole (Weekley 3). In such illustrations by\nBartram, Catesby, White and others, landscapes occasionally appear as background;\nhowever none of them were found to be Piedmont landscapes. Artistic exploration\nof southern landscapes in paintings did not begin until after settlement.\nTherefore, recreating an image of the savannas will depend on the written\naccounts of explorers, visual attributes of remnant eastern North American\nsavannas, and the ecology already discussed in Chapter V.\nEarly explorers seem to have found the Piedmont savanna a \"salubrious\"\nenvironment, much to their liking. Other adjectives they used in describing\nPiedmont savannas include pleasant, fine, beautiful, charming, rich, and\ndesirable. Such an appreciation may have been due to reasons similar to\nthose discussed in the section on landscape preference, although there were\nalso other motives. In a time well before the advent of modern medicine,\npeoples of the seventeenth, eighteenth and nineteenth centuries struggled\ncontinually with diseases and epidemics. Low, wet, warm environments, where\nair did not circulate, were justly considered unhealthy and undesirable.\nThe \"good\" air of the open woodlands and savannas of the elevated Piedmont\npresented a wholesome and preferable climate:\nThe Countrey here, though high, is level, and for the most part a rich\nsoyl, as I judged by the growth of the Trees; yet where it is inhabited\nby Indians, it lies open in spacious Plains, and is blessed with very healthful\nAir,... (Lederer 24)\nBesides their healthy quality, savannas also presented a bucolic aspect,\neasily recognizable to European arrivals. Foote recreates the scene in North\nExtensive tracts of country between the Yadkin and the Catawba, now waving\nwith thrifty forests, then were covered with tall grass, with scarce a bush\nor shrub, looking at first view as if immense grazing farms had been at\nonce abandoned, the houses disappearing, and the abundant grass luxuriating\nin its native wildness and beauty, the wild herds wandering at pleasure,\nand nature rejoicing in undisturbed quietness. (Foote 189)\nPerhaps it is best summed up by Bartram as \"a beautiful landscape diversified\nwith groves and lawns.\" (313)\nSome Midwestern savannas provide a glimpse of the potential appearance\nof the presettlement Piedmont savanna. As fire-dependent communities, Midwestern\nsavannas are scarce in today's landscape, so their current appearance may\nonly be a shadow of the past. Perhaps it would be appropriate to keep in\nmind James Fenimore Cooper's description when viewing these remnants:\nAlthough wooded, it was not as the American forest is wont to grow, with\ntall straight trees towering towards the light, but with intervals between\nthe low oaks that were scattered profusely over the view, and with much\nof that air of negligence that one is apt to see in grounds, where art is\nmade to assume the character of nature. ...the variety is produced by their\ndistribution. In places they stand with a regularity resembling that of\nan orchard; then, again, they are more scattered and less formal, while\nwide breadths of the land are occasionally seen in which they stand in copses,\nwith vacant spaces, that bear no small affinity to artificial lawns, being\ncovered with verdure. (Cooper 10-11)\nIn the lower Piedmont, pine may have dominated many savanna landscapes.\nVisual representations of these savannas might be found in images of pine\nsavannas in the Coastal Plain and Sand Hills or even in the managed pine\nwoodlands of the Piedmont National Forests.\nFigure 6.1 Oak Savanna at Illinois Beach State Park (photo by author).\nFigure 6.2 Pine savanna near Thomson, Georgia (photo by author 1997).\nFigure 6.3 Burkes Mountain savanna (photo by author, 1997).\nFigure 6.4 Post oak savanna in near Edgefield, South Carolina (photo by\nWithin the Piedmont, there are only a couple of modern \"natural\" landscapes\nthat may possess the visual characteristics of the former savannas. Burkes\nMountain (Figure 6.3), a very rare community, offers some of the aesthetically\npreferred appearance of savanna structure in a Piedmont setting. The post\noak savanna in Saluda County (Figure 6.4) is also representative, though\nit is undergoing restoration and will take many years to fully regain the\nvisual characteristics once common in the Piedmont.\nWhile the presettlement Piedmont savanna was not by any means an undisturbed\nlandscape, it could be seen, when compared to today's levels of disturbance,\nas a \"natural landscape\". In his 1966 paper \"Aesthetics of the Natural Environment,\"\nDasmann identifies four characteristics typical of an undisturbed landscape\nthat contribute to our perception of beauty: order, diversity, health, and\nfunction (Morrison 168). Holding these up to the Piedmont savanna gives\nsupport to its description as aesthetically preferable. In the Piedmont\nsavanna order is provided by the graminoid stratum; diversity is provided\nby the variations of topography, drifts of ground layer vegetation and by\nthe various arrangements of canopy vegetation; health, attested to by explorers,\nis evidenced in the lush growth of cane and grasses and the \"salubrious\nbreezes\"; and function is shown by the abundance of animal life preferring\nits edge-like environment.\nPatterns and Structure\nThe potential appearance or visual characteristics of the Piedmont savanna\ncan be revealed by examining its patterns (distribution) and structure (form).\nPotential relationships and specific characteristics can be examined at\nboth a larger landscape scale and at a finer community and species scale.\nFigure 6.5 Burkes Mountain, 1941 and 1967 (USDA JO 3B 08, USDA JO 4HH 78).\nPersistence over time as a topo-edaphic climax savanna community is demonstrated\nwhere, on the upper south slope of the hill, almost the same density of\ncover occurs in 1967 as in 1941. A personal exploration of the site found\nsimilar cover present in 1997.\nLandscape Patterns and Structure\nMuch understanding of the potential \"natural design\" of the Piedmont savanna\ncan be discovered by examining its horizontal patterns and structure at\na landscape scale. Such an examination will describe relationships and changes\nin canopy vegetation distribution over the landscape as it relates to topography.\nAs an example, the horizontal distribution patterns of the blackjack oak\nsavanna on Burkes Mountain (Figure 6.5) can be observed in aerial photographs.\nA table and corresponding illustration (Figures 6.6 and 6.7) have been\ndrawn to describe Piedmont savanna canopy distribution based on the major\ncontrolling factors of topographic setting, soil condition, and fire regimen\nas informed by this thesis. Figure 6.8 is a section representing the vertical\nstructure the canopy might have across a given landscape. While the information\non the table and illustrations reflects a summarization of research and\nnot quantitative analysis, it does offer a logical comprehensive cross section\nof potential savanna landscape situations throughout the Piedmont.\nUsually, well defined edges would be hard to find in the savanna, since\ngrassland and forest patterns grade into each other gently. For instance,\ntallgrass prairie can grade for many miles through thickening oak savannas\nbefore it becomes woodland. Abrupt boundaries, however, might be found along\nrivers and places of rapid soil or topographic change (Risser et al.115).\nIt seems reasonable that edge definition would be weakest on flat or gently\nrolling uplands of the Piedmont savanna where few sharp changes in topography\nor soil take place.\nThe patterns of canebrakes in the landscape would have expanded and contracted\nwith the moist soils along drainage ways. They might have merged imperceptibly,\nor transitioned sharply into meadow or woodland. The definition of canebrake\nedges would have depended on soil moisture change and patterns of fire.\nWhether related more to soil conditions or the play of fire on the landscape,\ntree distribution in the Piedmont savanna could be described as having taken\nthe form of a few scattered individuals, groves of various sizes, peninsular\nincursions into open space, or more or less evenly distributed trees. These\nvarious scenarios can be seen as they relate to various topographical and\npedological conditions in Figure 6.7.\nVegetation distribution patterns often corresponded with vegetation structure\nacross the landscape. Figure 6.8 illustrates this relationship. The stunted,\npotentially very old, low trees on uplands seen by Byrd and Hawkins appeared\nprimarily as scattered individuals or groves. Better developed \"high forest\"\ntrees, such as pines and white oaks, were probably more evenly distributed\non lowlands or uplands with better soil. The Revolutionary War Battle of\nCowpens in South Carolina was fought in such a savanna landscape. Actual\nbattle documentation can be interpreted to show in Figure 6.9 about 16 trees\nwith 50 ft diameter canopies just touching to occupy one acre (Westmacott\n9). Where Indian agriculture opened large patches of tall lowland forests,\nremaining trees would be distributed as the groves and forest appendages\noften described by Bartram. Grove formations, whether short and stunted\nor tall and full, would have been a key element in the aesthetic richness\nof the Piedmont savanna, and are highly valued aesthetically by many people.\nMany place names in the Piedmont, though not necessarily all of settlement\norigin, include the word \"grove,\" usually preceded by \"oak\" or \"pine,\" and\nmany old farm houses can be found situated amidst groves of sometimes even\nHorizontal Patterns Of The Presettlement Piedmont\nVegetation distribution related to; soil condition, fire frequency, and\nThe table used is drawn from conclusions made in this thesis and is organized\naccording to the major controlling factors of topographic setting, soil\ncondition, and fire regimen. It offers a generalized comprehensive cross\nsection of savanna landscape situations throughout the Piedmont.\nFigure 6.6 Vegetation canopy distribution table.\nHorizontal Patterns Of The Presettlement Piedmont\nVegetation distribution related to; soil condition, fire frequency, and\nIllustration is keyed to Figure 6.6\nFigure 6.7 Vegetation canopy distribution illustration.\nVertical Structure Of The Presettlement Piedmont\nVegetation structure related to; soil condition, fire frequency, and topography.\nIllustration is keyed to Figure 6.6\nFigure 6.8 Vegetation structure illustration.\nFigure 6.9 Sixteen canopies just touching in one acre.\nFigure 6.10 Grove near Ila, Georgia (photo by author)\nCommunity Patterns and Structure\nDarrel Morrison in Landscape Restoration in Response to Previous Disturbance\n(169, 170) describes unique aesthetic characteristics which are typical\nto the tall grass prairie ground plane which may serve as a model for the\nPiedmont savanna. These characteristics include lines, texture and movement,\ncolor, drifts, and edges. Lines, texture, and movement are evidenced in\nthe abundant grasses: vertical to arching lines are prevalent; there is\na fine textural quality; and movement is seen in the wavelike motion of\ngrasses, both symbolically and in breezy conditions. Of color, the stratum\nof grasses provide a background of bright greens in the spring, to yellowish\nto blue-greens in the summer, to tan, bronze, and purplish tones in the\nfall and winter. Within this framework flowering forbs provide flecks of\nmainly pastel colors: pinks, blues, yellows, and whites in the spring and\nmore dramatic golds and purples later in the season. Drifts, resulting from\nmicroenvironmental conditions such as soil texture and moisture, and plant\nreproductive strategies such as wind blown seed (Morrison, Landscape 170)\nreflect the gradation of dominance of one or another species through a given\narea. Edges, for similar reasons, reflect a more rapid transition from one\ndominant species type to another. For instance, the \"drift\" of dandelions\nin one's lawn reflects the prevailing westerly wind blowing them from their\nsource in the neighbor's weed patch; but their inability to sprout in the\ndriveway creates an edge. In the Piedmont savanna drifts and edges might\nbe revealed as purplish \"drifts\" of big blue stem, and as canebrakes edging\na stream. Drifting patterns of color and texture seen in the prairie (Figure\n6. 11) demonstrate the patterns once found in the savanna ground layer.\nFigure 6.11 Drifts of prairie flowers in a pasture near Flint, Michigan\n(photo by author).\nIn a given plant community, certain species have a visual presence that\ndefines the essence of the community (Morrison, Landscape 164). Early explorers\nmade descriptions of Piedmont savannas that often referred to particularly\nremarkable species. While their descriptions are informative, however, they\nwere made in the spirit of landscape as commodity, so it cannot be assumed\nthat the species most remarkable to them were \"visual essence\" species.\nEven Bartram's descriptions, which are much concerned with species diversity,\ndo not necessarily reveal \"visual essence\" species. Hawkins, in descriptions\nof the Black Belt Prairie and the western end of the Piedmont, reveals the\nrelatedness of visually key species and the commodity of rich land while\nalso providing a starting point for determining visual characteristic:\nIn the wooded parts the growth is generally post oak, and very large,\nwithout any under brush, beautifully set in clumps. Here the soil is a dark\nclay, covered with long grass and weeds, which indicate a rich soil. (Hawkins\nThe growth of timber is oak, hickory, and the short leaf pine; pea-vine\non the hill sides and in the bottoms, and a tall, broad leaf, rich grass,\non the richest land. The whole is a very desirable country. (Hawkins 20)\nWith tall grass prairie as a model for the savanna ground plane, it may\nbe reasonable to assume that the seed stems of the bluestems, broom sedge,\nIndian grass, and plume grasses might be considered \"visual essence\" species\nin the fall and winter season, while Baptisia and other forbs might visually\ndominate the early growing season and Helianthus the later season. Of course\ndifferent species, such as switchgrass, Joe Pye weed and cane would have\nbeen visually dominant in lower, moister savannas.\nTrees of any species would be visually important to the savanna because\nof their contrasting relationship to the grassy ground plane. Which canopy\nspecies were of a greater \"visual essence\" might depend on the type of savanna\nand the time of year. Longleaf pine would obviously visually dominate the\nlongleaf savannas. In situations where oaks are mixed in with pines, pines\nmight dominate in the winter as evergreens. On the other hand, where post\nand blackjack oak occurred they may have been visually important, especially\nin the winter, due to their unique branching pattern.\nTree form is particularly important in the savannas, since trees are set\noff and strongly contrasted by the grassy ground plane. Generally savanna\ntree form would reflect development in a full sun environment, meaning savanna\ntrees would have a more open, spreading form than trees of forest habitats.\nTrees unable to grow above the reach of fire would have a perpetual bushy\nlook, while trees able to mature and grow old in spite of the disturbances\nof the savanna environment may have taken on unique characteristics. For\nexample, on the glady, steep slopes and poor soils of the Ozark Plateau,\npost oaks dominate the canopy. These stunted, ancient, trees (up to 300\nyears old) are characterized by twisted trunks, dead tops and branches,\nexposed root collars, hollow voids, few thick limbs, leaning trunks, branch\nstubs, irregular bark, and fire and lightning scars (Stahle 334). It is\nunclear if post oaks dominating much of the Piedmont savanna were able to\nreach such ages, but it does not seem unlikely. In some ways the low oaks\nof Piedmont upland savannas may have resembled the burr oaks of the Midwest.\nThe trees were of very uniform size, being little taller than pear trees,\nwhich they resemble a good deal in form; and having trunks that rarely attain\ntwo feet in diameter. (Cooper 10-11)\nThat trees of upland Piedmont savanna settings did not reach great size\nis suggested in many explorers' descriptions. Hawkins many times refers\nto the upland trees, including oak, hickory, and shortleaf pine, as \"all\nof them small\" (19), while Byrd also describes trees \"fit for little but\nfuel and fence-rails.\" (284) Coincidentally, The Audubon Society Field Guide\nTo North American Trees describes the uses for post oak and blackjack oak\nas posts and cross ties (Little 367, 409). While Hawkins' oaks, hickories\nand shortleaf pines did not attain great size, the long leaf and loblolly\npine stands along the lower Piedmont uplands probably did. These open pine\nforests may have displayed a \"sameness and uniformity of appearance\" (Wells\n116-117) as their many straight unbranched trunks marched unobscured into\nthe distance. Lowland trees were probably also quite tall and\nFigure 6.12 Savanna tree forms. well developed, except where forest succession\nover old Indian fields was relatively young. In an open plain of the Oconee\nriver valley, Bartram describes a \"flourishing grove\" as an \"appendage of\nthe high forest we had passed through\" (307).\nIt is quite possible and probable that savanna trees were generally \"limbed\nup\" to some extent by browsers and/or fire. Deer may have contributed greatly\nto creating a browse line with the help of buffalo. A discussion with Dr.\nFrank Golley of the University of Georgia Institute of Ecology supports\npersonal observations as to the sometimes well- defined browse zone of deer.\nSuch a browse zone would probably not have been as pronounced as those seen\ntoday where cattle, grazing and browsing intensively in pastures, create\na very clean line of open understory at about six feet (Westmacott 14).\nThis is in part because browsing pressures may not have been as high where\nfences did not restrict movement of herds and because buffalo may have been,\nas they are on the plains, primarily grazers. Also, deer can stand on their\nhind legs to reach higher branches, thus reducing the likelihood of a very\nclean line. Fire also may have somewhat randomly killed lower limbs, as\nit seems to do in young modern pine stands.\nOther Visual Characteristics\nIn general, the open landscape of the undulating Piedmont savanna offered\nboth wide and long prospects. In the open woods of the Cowpens Battlefield\nsoldiers could be seen at a distance of 500 yards (Westmacott 9) while \"prairies\"\nof North Carolina offered virtually unobstructed views. Bartram encountered\nmany vistas in his fall line travels and even described a prospect reaching\n\"to the utmost of sight\" (316). In contrast to the forest view, savanna\nopenness provides ability to read the often undulating topography, to view\ndistant features, to perceive atmospheric perspective, and to see a great\ndeal more of the sky and its displays. The relationship to landscape preference\nthat such a prospect affords is included in the discussion in Chapter III\nregarding the studies by Kaplan and Kaplan and Appleton's theories.\nThe Play of Light\nThe play of light on savanna surfaces and through the savanna atmosphere\nis greatly enhanced due to the openness of the environment. Two lighting\neffects, one warm and one cool, are of particular importance in enhancing\nthe visual aspect of the savanna. The first, spoken of often by Bartram\nas \"illumined green fields\" (307), happens when the sun is low in the morning\nand evening. The resulting effect is strongly back-lit bright yellow-green\ngrasses contrasting with the dark shadows of tree trunks, limbs, and leaves\nand the dark shapes of limbless tree trunks. Second and equally important\nis the effect of light passing through moisture in the atmosphere. Viewed\nover the distances found in the savannas, objects such as receding clumps\nof trees appear hazier or bluer as more moisture-laden atmosphere comes\nbetween the objects and the viewer. All things considered, the visual effects\nonce found in the Piedmont savanna constitute a landscape that would appeal\nstrongly to our human aesthetic disposition.\nFigure 6.13 Dark trunks and backlit grass at Illinois Beach State Park\nsavanna, Illinois (photo by author).\nback to top", "label": "No"}
{"text": "Hydrogen in metals attracts interest from scientists since many decades. It influences the properties of various materials significantly, which is essential for almost all industrial technologies. One of its features that fascinates scientists is: it can enter the molten metal and remain in it after solidification.\nOnly one hydrogen atom per hundreds of thousands of metal atoms is enough, whereas other impurities can cause some harm in much higher concentrations.\nBut there is a problem, a small concentration of hydrogen is difficult to fix, thus often gets difficult to directly measure its content in metals, especially its distribution within micron-thick metal layers. Commonly indirect measurements are used, in particular, the time of saturation with hydrogen is normalized.\nScientists from Peter the Great St.Petersburg Polytechnic University, along with the Institute of Problems of Mechanical Engineering of the Russian Academy of Sciences, have examined the distribution of hydrogen in metals in the process of standard testing for hydrogen cracking.\nTheir outcomes demonstrate that there is a surface effect that does not let hydrogen enter the metal. Thus, it causes errors in industrial quality control of material, and to fundamental errors in terms of scientific research of hydrogen embrittlement.\nConstruction materials are tested before use under hydrogen saturation conditions. The most common ones are the electrochemical saturation of metal samples in an electrolyte solution and saturation in a neutral salt solution while passing hydrogen sulfide. It is usually considered that these methods provide universal saturation of the samples similar to natural conditions.\nScientists wanted to check if this is true. For that purpose, they conducted the study on a highly sensitive industrial mass spectrometric hydrogen analyzer.\nThe analyzer detected the surface effect.\nIt based on the fact that an abnormally high concentration of hydrogen arises in the thin layer of metal at the surface of the sample, which is hundreds of times higher than the internal hydrogen concentration. This surface layer of metal, with a thickness of about 50 microns, creates a kind of a “shield” that prevents the entering of hydrogen into the metal. A theoretical model was also developed in terms of the mathematical description of this phenomenon.\nVladimir Polyansky, professor of SPbPU said, “This is a new look at the industrial testing of the hydrogen resistance of metals, applied in many standardized methods of quality control. It turns out that it is not equivalent to the actual hydrogen saturation that occurs during metal part exploitation. This causes errors in evaluating metals properties. It is important to understand that modern high-strength alloys are highly sensitive to the influence of hydrogen, so additional testing and the development of new methods of industrial testing are required.”\n“We plan to study how much the surface effect we discovered is manifested in real constructions subject under thermomechanical loads, and what is the relationship between model hydrogen saturation and the brittleness of metals that occurs during real industrial exploitation.”\nThe finding was published in the International Journal of Continuum Mechanics and Thermodynamics. The Russian Science Foundation grant supported this research.", "label": "No"}
{"text": "Every fall and winter, windstorms cause extensive damage, including the loss of electricity throughout the Pacific Northwest. By taking action now, you can save lives and reduce the damage caused by windstorms and other weather-related hazards.\nWhat to do before a windstorm\n- Contact your local emergency management office or the National Weather Service to find out what types of storms are most likely to occur in your community.\n- Assemble a disaster supply kit.\n- If you have a home generator, make sure you know how to use it safely. Follow all instructions and contact the vendor, if necessary. Improper use of a generator can cause carbon monoxide poisoning.\n- Find out who in your area might need special assistance, such as the elderly, disabled, and non-English speaking neighbors.\n- Check with your veterinarian for animal care instructions in an emergency situation.\n- If you live on a coastal or inland shoreline, be familiar with evacuation routes.\n- Know what emergency plans are in place at your workplace, school and daycare center.\n- Conduct a home safety evaluation to find out which nearby trees could fall in windstorm.\n- If you have an electric garage door opener, locate the manual override.\nWhat to do during a windstorm\n- Don't panic. Take quick action to protect yourself and help others.\n- Turn off the stove if you're cooking when the power goes out, and turn off natural gas appliances.\n- Never use a gas stove for heat.\n- Never burn charcoal indoors.\n- Never us a generator indoors or in a garage or carport.\n- If you are indoors, move away from windows or objects that could fall. Go to lower floors in multi-story homes.\n- If you are outdoors, move into a building. Avoid downed electric power lines, utility poles and trees.\n- If you are driving, pull off the road and stop away from trees. If possible, walk into a safe building. Avoid overpasses, power lines and other hazards.\n- Listen to your radio for emergency instructions.\nWhat to do after a windstorm\n- Check yourself and those around you for injuries.\n- Evacuate damaged buildings. Do not re-enter until declared safe by authorities.\n- Call 9-1-1 only to report a life threatening emergency.\n- If you smell gas or hear a hissing sound indoors — open windows and leave the building. Turn off the gas source and call your gas company. Do not use matches, candles, open flames or electric switches indoors.\n- If the power goes out, keep refrigerator and freezer doors closed to keep food frozen for up to two days.\n- Provide assistance to your neighbors, especially the elderly or disabled.\n- Try to make contact with your out-of-area phone contact, but avoid making local telephone calls.\n- Monitor your portable or weather radio for instructions or an official \"all clear\" notice. Radio stations will broadcast what to do, the location of emergency shelters, medical aid stations, and the extent of damage.\nOther languages (All files are PDF.)\nDOH Pub 821-042\nRevised - March 2008", "label": "No"}
{"text": "Shastradhara Hevajra | Hevajra Main Page\nSubjects, Topics & Types:\n- Shastradhara Hevajra Description (below)\nShastradhara (weapon holding) Hevajra is described in the Samputa Tantra - a shared explanatory Tantra of the Hevajra Root Tantra. Aside from the Samputa Tantra, the most common reference and ritual source for the Shastradhara form of Hevajra is the Vajravali text of Abhayakaragupta.\nThe only difference in the appearance of this Hevajra is that the Shastradhara form (Samputa Tantra) holds a variety of weapons and the more common form of Hevajra (Hevajra Tantra) holds sixteen skullcups containing a variety of animals and gods. (See Hevajra Forms).\nThere are two main differences between the Hevajra Tantra form of the deity and the Samputa Tantra form of the deity. The first difference is the mandala configuration where the Hevajra Tantra version is called a nine deity mandala and the Samputa version is a seventeen deity mandala. In both cases the Hevajra and Nairatmya figures at the center are counted as one. In the Samputa Tantra, to account for the larger mandala size, eight additional retinue figures are described: four door keepers and four intermediate direction figures. Second, the retinue goddesses in the Hevajra Tantra each have two arms. In the Samputa Tantra the goddesses have four arms each.\nThe principal Tantric practice of Marpa Chokyi Lodro (1012-1096) is said to have been the deity Hevajra and specifically the Shastradhara form. The Shastradhara form was available through other sources of lineage transmission in Tibet and the Himalayas prior to the introduction of the Vajravali text in the 13th century.\nSee the essential components of a Hevajra mandala with numbered and labeled figures and colour coded sections.\nJeff Watt 8-2010 [updated 9-2017]", "label": "No"}
{"text": "French engraver and draughtsman. Jacques Callot went to Italy when he was in his teens and, working in Rome and then in Florence at the court of the Grand Duke Cosimc II (1590-1621), he learned to combine the sophisticated techniques and exaggerations of late Mannerism with witty and acute observation into a brilliantly expressive idiom. Returning to France in 1621 he became one of the chief exponents of the bizarre and grotesque which came into vogue in the reign of Louis XIII (1601-43). Most of the remainder of his career was spent in his native Nancy, but he also worked in Paris and the Low Countries. He made a specialty of beggars and deformities, characters from the picaresque novel and the Italian commedia dell'arte. In this respect he comes close to Bellange, also active in Nancy, but Callot's style was more realistic. His last great work, the series of etchings entitled the Grandes Miséres de la Guerre followed the invasion of Lorraine by Car Richelieu in 1633, and is a harrowing depiction the atrocities of war; its themes and imagery were used as a source by Goya. His output was prodigious; more than a thousand Callot etchings and drawings by him are extant, and some of his plates are large, featuring scores of brilliantly arranged figures. Jacques Callot was one of the greatest of all etchers and one of the first major creative artists to work exclusively in the graphic arts.", "label": "No"}
{"text": "FRANÇOIS DECORCHEMONT (1880-1971)\nFrançois Décorchemont was born on May 26, 1880. His father was a sculptor and an art teacher at the National School of Decorative Arts. His mother was from an artist family, so naturally François Décorchemont was interested about art. In 1900, he graduated from the National School of Decorative Arts. Ceramic and color fascinated him. He realized many objects in molten glass that brought him fame . Painter, ceramist , glassworker , he created all of his works, from drawing to finishing.\nHe developed in the early twentieth century the art of fine glass paste, thick and translucent. He also invented a new material, the molten crystal.\nAs a Christian in his village’s church, which had beautiful stained glass windows of the Renaissance, he had the idea to apply his technique to the art of stained glass in the 1930s . After few panels, in 1935, Décorchemont received a huge order and must perform 300 square meters of stained glass windows for the church Sainte- Odile in Paris. The windows of the church of Saint Odile did not bring him lots of money, but allowed him to be recognized as a master glassmaker. He later received numerous orders for churches in the department of Eure, whose windows had been destroyed during the war.\nHis work where aesthetics extol, is characterized by a minimalist design, with simple lines and luster, transparency and brightness of colors.", "label": "No"}
{"text": "Send Joshua Project a photo\nof this people group.\nMap Source: People Group data: Omid. Map geography: UNESCO / GMI. Map Design: Joshua Project\n|People Name:||Saryara (Muslim traditions)|\n|Christian Adherents:||0.00 %|\n|Online Audio NT:||No|\n|People Cluster:||South Asia Muslim - other|\n|Affinity Bloc:||South Asian Peoples|\nMost Saryara people of India are Hindus by faith. A small group of the Saryara converted to Islam during the days of the Muslim based Mughal Empire. The Saryara claim Rajput status. Yet at the same time they have been granted a Scheduled Caste designation. This allows them to obtain public jobs and special university admission.\nThe primary language of the Muslim Saryara is Kashmiri. Many also speak Urdu, which allows them to communicate with millions of Indians and Pakistani.\nUnlike their Hindu counterpart, the Muslim Saryara live in both Pakistan and India. Most live in Jammu and Kashmir, in northern India.\nThe Saryara were traditionally a community of agricultural laborers, and many are still involved in their traditional occupation. Many more are now employed in the construction industry.\nThe Muslim Saryara marry within their group but not within their particular clan. Families arrange marriages. A man may have up to four wives if he can support them.\nSons inherit property upon the death of their father. Most Saryara live in multi-caste villages in their own sections.\nThe main foods of the Saryara are wheat, lentils, vegetables, maize and dairy products. As Muslims, they will not eat pork.\nMuslim Saryara people are Sunni, the largest branch of Islam. They believe that the One, Supreme God, Allah, spoke through his prophet, Mohammed, and taught mankind how to live a righteous life through the Koran and the Hadith. To live a righteous life, you must utter the Shahada (a statement of faith), pray five times a day facing Mecca, fast from sunup to sundown during the month of Ramadan, give alms to the poor, and make a pilgrimage to Mecca if you have the means. Muslims are prohibited from drinking alcohol, eating pork, gambling, stealing, slandering, and making idols. They gather for corporate prayer on Friday afternoons at a mosque, their place of worship.\nThe Saryara need to see people living out their faith in Christ in practical ways. They need access to modern medicine. Illiteracy is high among Saryara women. The Saryara would benefit by learning new job skills. Most of all, the Muslim Saryara need to hear and respond to the message of Isa or Jesus Christ. He alone can forgive their sins and get them right with the one, true God.\nPray for networks of believing Saryara families and fellowships that will throw the doors open for others to follow Jesus.\nPray for the Lord to bless the families among the Saryara people with his presence and mercy.\nPray for believers among this people group to disciple others who will disciple still others.\nPray for Bible believing fellowships and churches among the Saryara people.", "label": "No"}
{"text": "Cape Dorset is located in Nunavut on West Baffin Island with only 1300 inhabitants. Nevertheless, for over 50 years the city has one of Canada’s most productive art environments. In the city is the atelier Kinngait, which is the inuit name of Cape Dorset. The art of this exhibition comes from this workshop.\nArctic animals and nature are the traditional motifs that characterize the art of Cape Dorset, but most often with a graphic expression; stylization, interpretation or a distortion. The motives are immediate and with color surfaces to accommodate the graphic technique, which creates both thoughtful distortions and romantic stylizations of the motifs.\nThe studio in Cape Dorset was founded on an idea of James Houston, an artist and Canadian government’s Northern Service Officer.\nIn 1957 he and some Inuitian men began working on experimental presses, and on a trip to Japan Houston studied woodcut and was inspired by the process of translating an artist’s drawing for a professional printmaker. He brought this model back to Cape Dorset, but instead of carving in wood it was implemented in a local material and the carving in stone. Through the years other printing techniques were included – stencil, mono print, lithography etc.\nEach artwork from Cape Dorset has 2 artists behind it. An artist creates an original drawing. The studio selects which drawings are best suited for printing. A printer (the other artist) transfers the drawing to an appropriate printing technique.\nThe graphic work was an art form which Houston thought lay in direct extension of the inuitian craftsmanship with the carving in bones, rocks and teeth as technique, as one could work in the artwork to a higher artistic level and sell outside Cape Dorset; not as tourist art or souvenirs, but targeted toward art world galleries.\nSame ides was used at the art school, Kunstskolen, in Nuuk, which was founded in 1975 called Grafisk Værksted (Graphic Workshop) with the graphic work as a turning point and with Cape Dorset as a model.\nIn 1959, the printmaking studios, which today are atelier Kinngait, was established. Since 1959 a print collection has been published annually. In 1979 the studio received a marketing department and currently has galleries outside Cape Dorset.", "label": "No"}
{"text": "To his great excitement, Lartigue discovered color photography at the age of 17, first through the technique invented by Lippmann, and later through another marketed by the Lumière brothers, Auguste and Louis. “Monsieur Aubert [my math teacher] showed me a color photo! I nearly became dizzy thinking about my photos. If only I could make them that way… “.\nThe following year, he did just that: he took his first photographs with his Nettel 6 x 13 Autochrome camera. “Before, whenever a photograph was too pretty or the weather was too beautiful, it almost made me sick, with a mixture of wonder and desperation. But this morning I have color plates, ‘Autochromes.’ I set up my tripod and my camera in front of the large, motionless trees in the blue haze, and I’m happy! As well as completely calm … ” (Diary, July 1913).\nBut his happiness at being able to “seize color” was mitigated by the weight of the device, which requires a relatively long exposure time and therefore the use of a tripod. Lartigue abandoned the Autochrome process and stopped taking color images in 1927, taking it up again when newer color techniques appeared in the 1950s.", "label": "No"}
{"text": "fourth and last of the Genoese Wars with Venice,\ncalled the War of Chioggia, Genoa assembled a powerful host of allies.\nThe King of Hungary, having previously wrested control of Dalmatia from\nVenice, gave sanctuary and support to the Genoese fleet. By 1379 the\nHungarians also threatened Venice by land from the north. At the same\ntime the forces of Padua, under Carrara leadership,\ncut off Venice's communications to the west. By miscalculation, the\nVenetians had dispatched one of their large fleets on an expedition\nto raid and harass Genoese shipping and installations in the eastern\nMediterranean, leaving Venice itself with greatly reduced defensive\nand unexpectedly, the Genoese fleet appeared and established a blockade\nof the entrances to the Venetian lagoon. By mid-August 1379 the Genoese,\nHungarians and Paduans had Venice encircled. Attacking swiftly at\nthe south end of the lagoon, Genoa brought her fleet into the channels\nof the lagoon and, with her allies, stormed and captured the major\nsettlement at Chioggia. The capture and sacking of Venice seemed just\none step away. Curiously, however, the Venetians soon exposed the\nassault on Chioggia as a fateful error that would lead to disaster\nfor the Genoese.\nof darkness on December 22, 1379, the Venetians, after launching a\ndiversionary attack on Chioggia, managed to sink obstructions closing\nevery channel by which the Genoese fleet might escape from the cul-de-sac\nat Chioggia. The Venetian galley fleet that had been on a raiding\nexpedition in the Mediterranean returned to Venice January 1, 1380;\nsuddenly it was the Genoese who were encircled. Months of skirmishes\nensued as the Genoese sought desperately to clear the barricades in\nthe channels and the Venetians to defend them. Finally, in June 1380\nthe entire Genoese fleet -- near starvation -- surrendered.\nVenetian's fabulous victory at Chioggia, the peace treaty signed at\nTurin in the following year favored the Genoese. Venice's prize was\nnot victory, but survival.", "label": "No"}
{"text": "When it comes to digital production for animated movies and games, one of the most essential production processes focuses on how to add stylistic yet accurate details to your digital assets – from the characters to the environment and objects that will be in the animated feature. That process is known as Look Development and this article will give you an in-depth review of the process and what it entails.\nWhat is Look Development?\nLook development is the process of giving the final appearance or style to art production, like a video game or animated movie. Look development is essentially about “developing the look” of the characters, assets, and scenarios included in the production.\nThe main purpose of this process is to create a consistent look and style for your characters, environments and props throughout a film or video game to give you an idea of how they will look on screen. Essentially, look development helps give to models in an animated feature the final look and feel concept artists had initially established for the whole production.\nDifferences between Look Development in 2D and 3D\nModern animated features come in different varieties, one of which is the medium – 2D and 3D. Because of the differences in medium, the look development process also differs in both cases. Below, we are going to analyze the various elements of differences between look development in 2D and 3D digital art.\nThe look development production process varies depending on if the digital art is on a 2D or 3D medium. The look development process in 2D digital art uses digital programs and is more related to concept art. Basically, establishes the general style for the designing of props, characters, environments and other assets that will make the animated film or game.\nWith 3D digital art on the other hand, the look development process is more focused on texturing, rendering and shading. The goal of look development here is to determine rendering choices and stylized digital designs. The goal is to match as much as possible the style established by the concept artist during the pre-production process.\n- Development Phase\nThe look development process happens at different stages depending on if the production is in 2D or 3D. If the production is set to be in 2D, look development will be carried out in the earlier stages of the production process, while the concept artists are still in the process of creating of concept art. This is because the concept artists designing the digital assets – characters, environments, and props – typically work in 2D and effecting look development in that stage, while they are still at work will make it easier to translate the style and look to the final production.\nOn the other hand, for a 3D production, like in a 3D animated movie or a video game, the look development process is pushed to a further stage of the production process. It is typically carried out during the texturing and lighting of the environments, characters and other assets. In 3D productions here, the essence of look development is to capture and translate to the 3D models the style created during the concept art phase in the beginning of the production.\n- Visual Realism\nIf you are after more detailed concept art with realistic visuals, working on 3D mediums typically produces better results than what you would get on 2D mediums. For instance, character look development on 3D art assets covers more details including skin, hair/fur, and clothing. This also depends on the type of characters the animated movie or game will need. Creating realistic characters will be a more time-consuming process as you will need to pay more attention to the fine details of digital art.\nFor stylized characters on the other hand, the job becomes easier as you can simply use a layered shader to represent skin or clothing. If you are creating a character based on a real-life person, then you would have to capture the face of the person in question via a scanning light stage. This will serve as a reference that will help you create an accurate digital double.\nOn the other hand, if it is a fictional character not based on a real person, then the production artist can experiment with ready-made options like texturing.xyz. Apart from character look development, there’s also environment and object look development. Typically, look development for environment and objects is a lot easier and more accommodating than character look development.\nWhich software do you need for 2D Look Development\nThere are quite a number of digital art software that you can use for look development in 2D digital art. These digital design software are used for the chief purpose of creating high detailed digital art, be it digital paintings or concept art. Below, we are going to briefly go through the industry tested software used for 2D look development by most digital artists.\n- Adobe Photoshop\nAdobe Photoshop is the most commonly used digital arts software. From beginner artists to professional digital artists, Photoshop is the industry standard for everyone. The feature rich software comes with a ton of filters, brushes and painting tools. It is supported on Mac and Windows Operating Systems and comes with a monthly subscription.\nKrita is especially good for digital artists who are into illustrations, cartoons and concept arts. It is compatible with Mac, Windows, Linux operating systems. Apart from the fact that it’s free, the software supports PSD files which will allow you move your art between Photoshop and Krita with ease.\n- Clip Paint Studio\nIf you are on a budget but you still want a great digital art software, then Clip Paint Studio is a cheaper alternative to Photoshop. The software is optimized for producing comic books and manga artwork. Clip Paint Studio is supported on both Mac and Windows Operating Systems.\nWhich software do you need for 3D Look Development?\nWhile digital painting programs can make do for 2D look development software, digital content creation software are better for 3D look development. The software for 3D digital art are typically more advanced and complex than what is used for 2D art. Software like Autodesk Maya, Autodesk 3DS Max and Cinema 4D are the industry standard software for 3D digital arts used in most studios.\n- Autodesk Maya\nAutodesk Maya is 3D simulation, modelling, and rendering software. The program is great for creating realistic effects and shaping 3D objects. It comes with a variety of engaging and intuitive modelling tools that you can use to bring create worlds and bring your characters to life in the look development process. Maya is compatible with Windows, Mac and Linux Operating Systems.\n- Autodesk 3DS Max\nAlso from Autodesk is 3DS Max. This software enables 3D rendering and modelling for animated films and games. 3DS Max comes with a robust design tool kit with various rendering and animated tools motion graphics artists can use to define and shape detailed characters, environments and props. If you want to create compelling virtual reality experiences with 3D arts, then use 3DS Max®. The software is supported in Windows OS.\n- Cinema 4D\nCinema 4D is an intuitive and versatile design software every digital artist should have in their collection. Cinema 4D is compatible with both Windows and Mac Operating Systems.\nWhile the above mentioned software are good, they are nonetheless digital content creation software not created specifically for look development. If you want digital design software that will put you on par with professional digital artists and animators in the industry, then you might be more interested in the programs that are specially created for look development and designed to accommodate quick iteration, a common feature in the look development process. Software such as Clarisse, Katana and Keyshot come highly recommended.\nOnce you are done with the look development, the assets will need to be rendered first so that artist can get a good idea of what will give the best end product. For the rendering process, there are two software to use: Autodesk Arnold and Chaos Group V-Ray.\n- Autodesk Arnold\nArnold is an advanced 3D rendering and animation software specially created to for visual effects production. Because of how advanced this software is, it can only be purchased by educational institutions who own a license. Professional artists and students who want to use the program will have to access it by purchasing another Autodesk developed software which comes with the Arnold package, typically Maya or 3DS Max.\n- Chaos Group V-Ray\nV-Ray is a biased-render software engine by Chaos Group. The application is used for visualizations and computer graphics and is designed to be used as a plug-in for third-party 3D digital arts software applications. Maya, 3DS Max and Cinema 4D are some of the 3D applications supported by V-Ray.\nWhich skills do you need for 2d and 3d Look Development\nNow, as with anything, having great tools to do the job can only make it easier but it can not get the job done. What gets the job done is your ability to do the job, in essence, your skills. That said, the skills needed for 2D and 3D look development do not differ that much.\nAs a 2D digital artist, being a skilled graphics artist is not enough. This is mainly because the concept surrounding 2D art is quite repetitive so your ability to do the job wouldn’t matter as much as your ability to bring in new ideas that will transform a regular concept to amazing 2D digital arts. So for aspiring and beginner 2D artists, as important as it is to work on your craftsmanship, you must also develop the ability to sharpen your creativity for incredible ideas on how to develop different variations of the same concept.\nWhile the art of look development might be relatively straightforward in 2D arts, it is a lot more complicated and technical in the 3D medium. This complexity arises from the fact that the process of look development in 3D arts uses multiple applications which are also more complex and advanced than the average 2D digital design software. There are also unique processes involved in 3D look development such as optimizing renders and developing material presets using procedural nodes or image textures.\nMaterial presets are usually created to represent assets like dust, rock and wood which do not have any particular specifications. Creating material presets that will produce visually realistic effects can be a difficult skill to master especially for digital artists who are just starting out in production. Nonetheless, it is a skill that can help you craft mind blowing art that will leave everyone impressed.\nAll in all, as a 2D or 3D digital artist, in your work, the most important thing is to aim for a balance between harnessing your creativity and crafting visually realistic arts. Pairing your technical and creative techniques with the right digital design software can help you create impressive pieces that will enhance your portfolio as a digital artist.\nIn all, look development is a bridge between the concept artist working in 2D and the final 3D models used for the final product. And regardless of the medium, the whole point of look development is to set the final style of the production.\nHowever, as exciting and rewarding as it can be to see your story begin to fall into place as your model takes shape, it is important to understand that look development can be a daunting and iterative process. This means that you may have to keep revising a particular look until you find that perfect style that suits your creative sense and fits the style of the production as a whole.\nNonetheless, knowing that you are a crucial part of a process that will contribute to the final look of a production should bring you enough satisfaction.", "label": "No"}
{"text": "This item has been added to the Database within the Explore Islamic Art Collections project. Information is available in: English.\nThe Chester Beatty Library\nHegira 741 / AD 1341\nCBL Per 110\nColoured pigments and gold on paper\n37.5 x 30 cm\nThese folios are from a copy of the Shahnama (‘Book of Kings’) made in the city of Shiraz in south-western Iran in AD 1341. The manuscript was produced for Qiwam al-Din, a vizier of the ruling Injuid dynasty. The illustrations are in a horizontal, rather narrow format dominated by large figures executed in what appears a rather unsure hand. Backgrounds are red, gold or unpainted, and vegetation consists of oversized and simplified forms. The manuscript is now dispersed with folios from it held by many museums and libraries.\n\"Shahnama\" in Explore Islamic Art Collections. Museum With No Frontiers, 2019. http://www.discoverislamicart.org/database_item.php?id=object;EPM;ir;Mus21;19;en\nMWNF Working Number: IR 19", "label": "No"}
{"text": "Winter is both a wonderful and terrible time of the year. As a result, it’s easier to discuss the negative impacts of the winter time once we’re away from it! While you might be thinking of the snow painting white landscapes and the snowmen appearing gradually in each front garden, there is also another side to winter. Winter is a cold season that endangers the safety of your home, the survival of the wildlife, and – even worse – human survival too. It would be unfair and irresponsible to only think of hot chocolate, a battle of snowballs and Christmas decoration when too many lives are fighting to go through winter. As a result, it is now time to consider what you can do to prepare for the colder months and to improve your home, the wildlife’s chances and the life of the many people who don’t have a roof over their heads.\nWhat Are You Doing At Home?\nThe problem with winter is that it is a season of high natural risks that can damage your home, or simply infiltrate through a weak structure. For instance, water is not only about snow. Rain too can join the party and cause serious damages to your home, especially if your roof is holey. Unfortunately, a holey roof is noticed only when the first winter rain creates a drip inside the home. In other words, it’s best to get your roof checked in advance! Additionally, if you live in a region that is renowned for its cold winter, you might want to ensure that your pipes don’t freeze. This could destroy your water system, and cause your home to be cut off from the water supply until the repairs can be done. So if you are looking for ways to avoid such issues, Heat-Line is a good name to bear in mind. It is a Canadian company that has developed freeze-protection solutions to withstand the coldest climates. It’s not the kind of expertise you want to live without if your home is in a cold region.\nWhat Are You Doing For The Wildlife?\nEven the wildlife has a hard time in winter. Therefore it is important to give it the best help you can. This starts by letting your garden go wild so that animals can hide and hibernate safely. Additionally, if you have a water feature, remember to break the ice so that the fish or frogs that hibernate at the bottom can survive. Additionally, make sure to leave food for the animals. Birds, especially find it difficult to feed themselves in winter, so providing a range of peanuts, seeds, and table scraps will prove very useful. If you have a big garden, feel free to leave food for other visitors, such as bread and boiled potatoes for foxes, nuts for squirrels and even cheese for badgers.\nWhat Are You Doing For Others?\nThere are hundreds of thousands homeless people in every country. Too many die during the winter; they freeze to death. It is a horrible way to go. While you can’t find them a home, you can certainly help them to survive dire winter months. You could choose to distribute food, toiletry supplies, and warmer clothes to help those who sleep outdoors to survive. Often warm socks, sleeping bags, and blankets can make a huge difference when the weather is cold. So what can you give to save another life next winter?\nIf you like what you’ve read here, please let others know of this post, blog, and site.\nAnd thanks for reading! 🙂", "label": "No"}
{"text": "Chem Demo Team\nThe Chem Demo Team consists of a group of Notre Dame students who demonstrate hands-on activities for Indiana school-children to encourage and develop their interest in science. They share significant research, conduct experiments for them to observe, and oversee the children's participation in their chemistry activities.\nCelebrate Science Indiana\nDNA Learning Center\nA hands-on science center devoted to modern biology education, the DNA Learning Center will prepare local elementary through high school students to thrive in the gene age. This advanced science education center will be the ideal teaching tool to inspire young students to pursue careers in science and to build a knowledge base that will extend into their educational and post-educational careers. As a licensee of the Cold Spring Harbor Laboratory DNA Learning Center in New York, the Notre Dame DNA Learning Center utilizes teaching methods, Internet technology and intellectual property of DNALC such as specialized DNA learning kits that include reagents, supplies, equipment checklists, lab instructions and manuals for learning modern biology.\nDigital Visualization Theater\nThe Digital Visualization Theater in the Jordan Hall of Science is a state-of-the-art projection facility in a 50-foot-tall dome that is used for instruction across the University. Throughout the year, there are also presentations for the campus community and for the public, including a Christmas star program in December.\nRare Disease Day Symposium\nThe Center for Rare & Neglected Diseases hosts an annual public forum on providing emerging experimental therapies led by local rare disease patients and their physicians. Updates from Notre Dame faculty and visiting researchers/clinicians on the latest research in lysosomal storage disorders, rare cancers and more broadly in rare inherited syndromes is presented and there is a poster session featuring Notre Dame student and faculty research in rare diseases.\nThe St. Joseph County Public Library’s Science Alive! program is going into the 23rd year in spring 2014. The event attracts STEM exhibitors from around the county for a day of hands-on learning open to the entire community. The University of Notre Dame has been consistently represented by individual faculty as well as groups from the College of Science. The Joint Institute for Nuclear Astrophysics, Quarknet Center, and CHEM Demo teams are regular contributors.\nScience Café offers a monthly casual gathering in downtown South Bend to promote scientific interest and literacy in the community. The events introduce new topics in science and engineering and invite audience participation.\nThe Experiencing Technology and Hands on Science (ETHOS) Center in Elkhart, Ind. holds an annual STEM outreach event where exhibitors provide hands-on activities geared toward kids grades K-12 and open to the general public. The Joint Institute for Nuclear Astrophysics, Quarknet Center, and CHEM Demo teams are regular contributors. For current event information visits", "label": "No"}
{"text": "Francis O. Morris\nFRANCIS ORPEN MORRIS, Irish born (1810-1893)\nAuthor, teacher, naturalist, Rev. Francis Orpen Morris fascination with natural history was evident as a young man. While a pupil at Bromsgrove School, young Morris began to collect birds nest and butterfly specimens. He earned his degree in the Classics in 1833; however, much of his time as a student was spent studying of natural history. During this period, he also met noted entomologist James Duncan, author of British Butterflies, and gave his time to the Ashmolean Musuem, helping to arrange its insect collection.\nMorris decided to enter the church, becoming the curate at Hanging Heaton near Dewsbury, then being ordained as deacon by the Archbishop of York in 1834. By 1844, he had married Anne Sanders, and became vicar of Nafferton, a small parish in East Yorkshire, where he served for nine years. His next assignment to a larger parish in Nunburnholme allowed him more flexibility, greater income and the opportunity to return to his study of nature.\nIn 1834, he began his association with Benjamin Fawcett, a local printer who was a very skilled wood block printer. Their business relationship would endure for the next fifty years, Morris would take on the texts while Fawcett would finance and print them, applying the advanced system of coloring that utilized wood blocks in place of manual labor. Morris' first acclaimed work: A History of British Birds was published in monthly parts over a seven year period, from 1850 through 1857, the final six-volume work containing 358 colored plates. Its' popularity prompted Fawcett to move his operations to a larger space to accommodate demand. Additional titles followed: A Natural History of the Nests and Eggs of British Birds, A History of British Butterflies and A History of British Moths.\nFor all his life, Francis Orpen Morris was known as a champion of wildlife. He despised fox hunting, a popular and traditional English sport, and was an outspoken critic of British biologist Thomas Huxley, whom he considered brutal for his practice of vivisection. Morris encouraged and advocated conservation early on, and was instrumental in founding the Royal Society for the Protection of Birds. After a long marriage that produced nine children, he died in 1893, and is buried at Nunburnholme.", "label": "No"}
{"text": "There is no doubt that the number of electric vehicles being sold over the World is growing rapidly fast, but one of the main struggles with electric vehicles is how long it takes to recharge the car batteries, even using the latest cutting edge fast-charging systems.\nBP has invested $20 million in Israel’s start-up StoreDot. StoreDot’s is a Tel Aviv-based firm which is working on a solution to reduce greenhouse gas emissions in its operations. Its innovative battery technology powered by organic compounds and nano materials can charge electric vehicles in five minutes and it will pave the way for wider adoption of electric vehicles.\nStoreDot co-founder and CEO Dr Doron Myerdorf said, “Working closely together with a global energy leader is a significant milestone in StoreDot’s direction of strengthening the EV ultra-fast charging eco-system.”\nAccording to Ravi Manghani, senior director of energy storage at GTM Research, StoreDot is commercializing the use of polymers instead of metal oxides in lithium-ion batteries.\n“This technology has great promise. I don’t really know how quickly it can be commercialized, though,” said Manghani. “There’s always a gap in battery technology R&D between lab or pilot results and actual manufacturing at scale. We project polymer-based chemistries have the potential to become mainstream sometime in the 2030 time frame.””Ultra-fast charging is at the heart of BP’s electrification strategy,”\nTufan Erginbilgic, chief executive of BP’s downstream business, said in a statement. “StoreDot’s technology shows real potential for car batteries that can charge in the same time it takes to fill a gas tank.”\nAccording to StoreDot officials, the new car batteries contain an eco-friendly electrolyte which is stable at high temperatures and allows an electric car to travel for more than 300 miles on a single charge.\nStoreDot’s new technology shows real potential for electric car batteries that can charge in the same time it takes to fill a gas tank.", "label": "No"}
{"text": "FREMIET’S BEAR AND GORILLA\nText by Robert G. LA FRANCE, Ph.D., curator of pre-modern art, Krannert Art Museum, University of Illinois at Urbana-Champaign, www.kam.illinois.edu\nThe French sculptor Emmanuel Fremiet (1824-1910) is best known as an animalier, a specialist in the subject of animals, and a professor of zoological drawings at the Jardin des Plantes, the natural history museum, zoo, and botanical gardens in Paris.\nThe bronze sculptures of a Bear Crushing a Stone Age Man and a Gorilla Carrying Off a Stone Age Woman display Fremiet's knowledge of animal anatomy and paleontology, as well as his preoccupations with struggles between animals and early humans. A plaster model for the Bear was exhibited in the Paris Salon of 1885, and the plaster for the Gorilla won the Medal of Honor in the Salon of 1887.\nThese two bronzes have fascinated and disturbed viewers for more than a century. The human-like behavior of bears and apes, and folk beliefs concerning their affinity for humans, captivated audiences after the publication of Charles Darwin's Origin of the Species in 1859 and The Descent of Man in 1871. Hollywood movies like King Kong (1933, 1976, 2005) and the debate over teaching the theory of evolution demonstrate that these subjects continue to preoccupate the public today.\nFremiet's sympathies clearly lie with the animals in these battles between primitive humans and their closest ancestors. Both the gorilla and the bear have been wronged and seek revenge or retaliation. At first glance, the male gorilla appears to have snatched an innocent cave woman. But a gash in the gorilla's left side, next to the broken-off shaft of an arrow, indicates that it is the gorilla that has been under attack. A closer look reveals that the woman has tied half of a gorilla jawbone in her hair, suggesting that she is a member of a clan of gorilla hunters. The jawbone enhances the viewer's understanding of the gorilla's actions.\nIn Fremiet's Bear, the prehistoric man's weapons, animal pelt, and bear-claw necklace identify him as a hunter. Fremiet also hung a bear cub from a noose tied to the man's waist and inscribed the base, \"DENICHEUR D'OURSONS\", literally \"snatcher of bear cubs\" or the Bear Cub Thief. Thus, the bear's rage is revenge for the murder of its young.\nThe small bronze of a Gorilla Carrying Off a Stone Age Woman is a reduced replica of the prize-winning plaster. The small version retains the arrow piercing the gorilla's shoulder and displays a black patina over the gorilla's coat, which add drama and make the figures more lifelike.\nLORADO TAFT AND EMMANUEL FREMIET\nSince its opening in 1988, the monumental glass entrance of the Kinkead Pavilion has housed The Blind, a colossal bronze cast from a plaster model by Lorado Taft (1860-1936), the most famous Midwestern sculptor of the early 20th century and a graduate of the University of Illinois (B.A. 1879, M.A. 1880). From 1925 until Taft's death, Fremiet's Gorilla and Bear flanked the entrance to Midway Studios, Taft's Chicago atelier. Today, they greet the visitor at the entrance to Krannert Art Museum.\nFremiet cast both bronzes in 1899-1900 for Congressman Benjamin T. Cable (1853-1923) of Rock Island, Illinois (Democrat 11th District, 1891-1893). Although Cable planned to give them to his alma mater, the University of Michigan, they were displayed instead at the American Museum of Natural History in New York until his widow, Maria Benton Cable, sent them to Lorado Taft in Chicago.\nMrs. Cable had heard Taft lecture and visited his studio, where artists and prominent Illinois art lovers met. Taft died , the University of Illinois purchased the entire contents of his studio and shipped them to Urbana. Even though the Fremiet's sculptures were not part of Taft's estate, they were included in the shipment. Soon afterward, Cable's son, Philander L. Cable, granted the university the extended loan. Around 1954 they joined the outdoor sculpture in Robert Allerton Park in Monticello.\nIn 1959, Martha Barcroft Cable Rankin, Philander's widow, formally donated the Fremiet bronzes to the university and in 1977, Krannert Art Museum became their official owner. In 1980 they toured the United States as part of the blockbuster exhibition The Romantics to Rodin, organized by the Los Angeles County Museum of Art. Despite their national recognition as masterpieces, the bronzes were not displayed at Krannert Art Museum until eight years later. Following controversy in 1989 (see below), they returned to Allerton Park until 2006, when the National Gallery of Art in Washington D.C. included them in the exhibition, Henri Rousseau: Jungles in Paris. The museum plans to exhibit the bronzes until funds are raised for their permanent installation at Allerton Park.\nSEXIST AND RACIST?\nIn February 1989, a group of four University of Illinois artists called CCx4 (Constructive Criticism Times Four) exhibited a work in the annual faculty art show that attacked the museum for privileging dead white male culture, declared Fremiet's Gorilla and Bear sexist and racist, and demanded the bronzes be melted down. While their charges were grounded in a history of reduced opportunities for women and minority artists, CCx4's radical call to destroy art triggered accusations of censorship in the local and national press. Others maintained that the high quality of the bronzes, their position within the context of the reception of Darwin's theory of evolution, and the sympathy Fremiet showed towards animals, justified their display.\nThe statues' defenders ultimately argued that the same freedom of artistic expression that protected CCx4's protest piece also applied to Fremiet's sculptures. Krannert Art Museum continues to perform its duty to protect, display, and interpret works of art, both those of Fremiet and CCx4.\nRobert G. LA FRANCE, Ph.D.\nCurator of pre-modern art\nKrannert Art Museum, University of Illinois at Urbana-Champaign\n1. Emmanuel Fremiet (1824-1910) (ph. Wikimedia, Nadar for Félix Potin Chocolate)\n2. Emmanuel Fremiet, Bear Crushing a Stone Age Man, Champaign, Krannert Art Museum, 1960-3-1 (ph. Krannert Art Museum)\n3. Emmanuel Fremiet, Gorilla Carrying Off a Stone Age Woman, Champaign, Krannert Art Museum, 1960-3-2 (ph. Krannert Art Museum)\n4. Emmanuel Fremiet, Gorilla Carrying Off a Stone Age Woman, Champaign, Krannert Art Museum, 1995-6-1 (ph. Krannert Art Museum)\n5. The American Museum of Natural History, New York (ph. Wikimedia, ingfbruno)\n6. The sculptor Lorado Taft (1860-1936) (ph. Wikimedia, Library of Congress, ggbain.07250)\n7. Lorado Taft's studio on the Midway in Chicago (ph. Wikimedia, Antonio Vernon/TonyTheTiger)", "label": "No"}
{"text": "the mountaineer reaches a high ridge, a ghostly figure towers out\nfrom the mist, its head sheathed in shimmering rings. This at one\ntime unnerving apparition is the \"Spectre of the Brocken\",\nso named because of sightings on the Brocken, the highest peak of\nGermany's Harz Mountains.\nNik Szymanek (astrophotography\nsite book )took\nthis photograph high on La Palma in the Canary Islands.\n©2002 Nik Szymanek, shown with permission\nThe Brocken Spectre appears when a low sun is behind a climber who\nis looking downwards into mist from a ridge or peak. The \"spectre\"\nis the shadowy figure - the glow and rings are of course a glory centered\ndirectly opposite the sun at the antisolar point. But how\nis the ghostly figure produced? It is no more than\nthe shadow of the climber projected forward through the mist.\nAll shadows converge towards the antisolar point where the\nglory also shines. The sometimes odd triangular shape is a\nperspective effect. The Brocken Spectre is a similar effect\nrays and cloud\nThe spectre sometimes appears to be huge. This is probably caused\nby the presence of the glory and the mist obscuring more familiar\nreference points with which to judge its size.\nMore Brocken spectres.", "label": "No"}
{"text": "The statue evokes the decisive moment in the love story of the god Eros and Psyche, a mortal girl. Psyche is awakened by the kiss of the god, after she had fallen into a fatal slumber, like Sleeping Beauty in the fairy tale. In the end, she was accepted among the ranks of the Olympian gods. The young god is naked, the girl is wearing a mantle from her hips down. The statue was very popular in the neoclassical times that followed its discovery, resulting in a number of modern adaptations. It was also significantly reworked: the head of Eros is ancient, but it did not originally belong to the statue.", "label": "No"}
{"text": "Abstract textile design is not new. If fact, few elements of human culture are older. It is hard to say exactly how long textiles have existed, since unlike pottery or stone tools woven cloth disintegrates easily over time. But current evidence suggests our primitive ancestors wore clothes as early as half a million years ago. The practice of weaving is at least 40,000 years old, and the oldest dyed fabrics yet discovered date back 36,000 years. It is notable that every culture on the planet has a textile history. And every culture has also ultimately arrived at some kind of abstract textile design tradition. To understand our own global, contemporary abstract textile traditions, it is important to go back and explore their ancient roots. As Anni Albers, the undisputed master of Modernist abstract textile design, stated in her seminal book On Weaving: “Beginnings are usually more interesting than elaborations and endings. Beginning means exploration…I find it intriguing to look at early attempts in history, not for the sake of historical interest, that is, of looking back, but for the sake of looking forward from a point way back in time in order to experience vicariously the exhilaration of accomplishment reached step by step…This is learning.”\nAlthough textile use in general dates back much farther, the beginnings of most global traditions of mass produced textiles date back to between 7,000 to 12,000 years ago. Though few examples of those original textiles still remain intact, we still have a relatively close idea of the traditional patterns and practices that developed in various areas since many of those traditions are still followed today, and have deviated little from their ancient roots. For example, in ancient South America, weavers 12,000 years ago developed a distinct language of abstract forms based largely on angled geometry, making use of triangles, squares, rectangles, chevrons, Xs, and checkerboards. This stands in stark contrast to Australian aboriginal traditions, which developed more toward a language of dots, circles and flowing, biomorphic shapes.\nMeanwhile, throughout Africa a great number of unique, abstract textile design traditions evolved. Chief Nike Davies-Okundaye, a contemporary Nigerian artist, has sparked a revival of ancient weaving traditions in her culture by creating new works based on the ancient Nigerian textile designs, and by teaching the techniques and designs to a new generation of textile artists. The visual language of what she calls Adire patterns is diverse, and seems at first entirely abstract. But in an interview with Okay Africa, Chief Davies-Okundaye provided a translation of some of the traditional Adire designs, demonstrating there is much more to learn about the many other global ancient abstract textile design traditions as well.\nComparison of ancient Peruvian (Left) and Australian aboriginal textile design (Right)\nThe roots of contemporary abstract textile design can be traced back to the earliest days of Modernism. One of the ways misogyny manifested in the art world in the early 20th Century is that female artists were often expected to focus on textiles rather than other fine art mediums. Even at the otherwise progressive Bauhaus School, women were steered into studying weaving rather than pursuing other types of art. But we oddly have that backwards thinking to thank for one of the greatest gifts to 20th Century art: Anni Albers.\nAfter being forced by the Bauhaus to study textiles, Albers embraced the medium and through it developed theories of making, teaching and studying art that remain some of the most progressive in the world today. Thanks to the contributions of artists like Anni Albers, and to the ancient global traditions of abstract textile art, contemporary abstract textile artists are able to explore innumerable forms and techniques. Here are just a few of the influential contemporary abstract textile artists working today, who are continually expanding and refreshing this timeless medium.\nAnni Albers - Untitled abstract woven textile, 1948, linen and cotton, photo courtesy of the Albers Foundation and the Museum of Modern Art, New York\nSheila Hicks first discovered her interest in textiles and fibers while painting in Chile on a Fulbright Scholarship. She has since become a leading international voice in the world of contemporary fiber and textile art. In addition to her remarkable oeuvre, which includes a vast assortment of two and three-dimensional fiber and textile objects, Hicks has founded educational workshops in multiple countries. She has previously worked in Morocco and India, and currently lives and works in Paris and New York.\nSheila Hicks with her work Mighty Mathilde and Her Consort, at the 2016 Glasgow International, Linen and pigmented man made fibres, bound treasures, fish and pigeon nets, Photo © zanartu\nIn between earning her BFA from the Rhode Island School of Design and earning her MFA from Yale, Julia Bland took advantage of a fellowship to travel to Morocco, where she studied Sufism and Islamic art and learned traditional textile weaving skills. Her large-scale abstract works combine painted canvas with hand-woven fabrics. The work blends a contemporary visual language of geometric abstraction with traditional forms and techniques resulting in imagery that feels at once intuitive and symbolic, ancient and contemporary.\nJulia Bland - Winter, 2015, Linen, wool, canvas, velvet, ink, bleach, and oil paint, 87 x 85 in, photo © Julia Bland\nChilean-born textile artist Josefina Conchae receives inspiration from the forms and objects she encounters in nature, including hair, skin, animals and plants. The intricate, dynamic layers of tension that build up in her textiles arise in an intuitive process that develops out of her constantly evolving relationship with her materials.\nJosefina Conchae, Cuerpo Zurcido VIII, 2012, Stitching on canvas (Left) and Detail of the piece (Right)\nFor the Norwegian artist Ann Cathrin November Høibo, textiles are only one part of her multi-disciplinary practice, but they lend a great deal to the overall sense of emotion she builds in her exhibitions. Her textiles remain in a state of unfinished bliss, offering a glimpse of both hope and despair, and creating an opportunity for transcendent contemplation of what it means to be complete.\nAnn Cathrin November Høibo - Untitled, 2014, Hand woven polyester in ashwood loom (Left) and Untitled, 2013, Wool, silk and nylon tapestry (Right), images courtesy Standard (Oslo)\nBaltimore-born Shinique Smith derives her inspiration from found and discarded consumer products. Her use of textiles often manifests as stunningly complex and colorful accumulations. Transforming existing textiles into raw material, she creates new abstract forms that possess dual identities: part formal exploration of texture, surface, color and form, and part biomorphic, anthropomorphic entity.\nShinique Smith - Arcadian Cluster (detail), 2006\nIn addition to mainstream, or fine art traditions in abstract textile art, there also remains a strong self-taught tradition in this medium. In fact, it seems ironic, and somehow wrong that we should even separate the two. Why apply such a term as outsider art to the practice of making textiles? The historic roots of the medium are grounded in self-teaching, experimentation, and the one-on-one handing down of skills and techniques. Schools of textile art are new inventions. It is ridiculous to automatically grant a professional artist more respect than a self-taught textile artist with no formal education. Respect should come from the quality of the work alone. Consider the following two so-called outsider abstract textile artists, whose work beautifully proves this point.\nBorn in Mississippi in 1898, Marie Roseman lived to be 106 years old. She came from a diverse cultural heritage of African, Native American and European descent. She was raised to be an herbal healer, and was also trained at a young age to make quilts. In the 1970s she innovated a new approach to her quilt making, using found materials to create vibrant, complex, abstract embroidered textiles. She would often add three-dimensional elements to the works as well, including her signature dolls. Roseman died in 2004, and her work is now receiving fresh consideration.\nExhibition catalogue cover for Marie Big Mama Roseman solo show, image courtesy of Intuit - The Center for Intuitive and Outsider Art\nWe’ve written about Judith Scott before. Born deaf, mute and with Down Syndrome, this textile artist did not begin making art until she was in her 40s. To construct her biomorphic, abstract textile sculptures, Scott collected found objects then wound them with textile fibers, cocooning the objects within new woven forms. Scott embodied the ancient tradition of contemporary abstract textile art, as she began each work with something old and transformed it into something startlingly new.\nFiber-cocooned abstractions by Judith Scott (Left) and Judith Scott with one of her creations (Right)\nFeatured image: Anni Albers - City, 1949, Linen and cotton pictorial weaving, Photo © Albers Foundation, Tim Nighswander / Art Resource, NY / Albers, Anni (1899-1994) © ARS, NY\nAll images used for illustrative purposes only\nBy Phillip Barcio", "label": "No"}
{"text": "Author: N / A\nCreated: late 19th century.\nMaterial / technique: wood carving, polychrome.\nDimensions: sculpture of Jesus high - 63 cm; sculpture of St John the Baptist high - 36 cm.\nThe Baptism of Jesus is a narrative, which reminds us of the event in Jesus’ life, which is a reference point for His mission on earth as the Saviour. According to the Bible, the Prophet of Conversion, John the Baptist, announced the news that people were living their last days, because God was angry and would soon destroy His enemies and create the world afresh. Repentant people rushed to the river to get rid of their sins and to convert. During Baptism, the sins of penitents are washed away with water. The works of art show Jesus immersed in the River Jordan being baptised by John the Baptist.\nThe Saviour as a grown man of 33 started the work for which He had been sent by His Father to earth. Then Jesus came from Nazareth to the Jordan to be baptised by John. When He came to the river there were many people listening to St John preaching. Jesus asked John, ‘Dear John, baptise me.’ But John recognised the Saviour and replied, ‘I need to be baptised by you, and you, the Son of God, come to me, human being to be baptised?’ Most beloved Jesus replied, ‘Let it be so now; it is proper for us to do this to fulfil all righteousness.’ St John consented and the Saviour went into the River Jordan and was baptised. As soon as Jesus was baptised, He went up out of the water and prayed. At that moment the heavens opened, and He saw the Holy Spirit descending like a dove and alighting on him. And everyone at the Jordan heard a voice from heaven say, ‘This is my beloved Son in whom I am well pleased.’ This is how the Holy Trinity was clearly revealed to the people – the voice of God the Father was heard, the Holy Spirit could be seen as an innocent dove and the Son in God’s body was praying by the side of the river. The baptism of the Saviour was the introduction of the Sacrament of Baptism for the release from sins. (Motiejus Valančius, „Žyvatas Jėzaus Kristaus Viešpaties mūsų“, Raštai 3, p. 345)\nReference: \"The Lithuanian art collection of Jaunius Gumbis\". Museum and Collector - 6. Vilnius: National Museum of Lithuania, 2016, Kat. No, P. 52.\nExhibition: Exhibition of the collection of Lithuanian art of dr. Jaunius Gumbis \"Collected and Preserved\", September 2016 - January 2017, National Museum of Lithuania, Vilnius.\nPublished: \"The Lithuanian art collection of Jaunius Gumbis\". Museum and Collector - 6. Vilnius: National Museum of Lithuania, 2016, Kat. No, P. 53; \"The traditional folk sculptures collection of Gediminas Petraitis\". Ed. Marytė Slušinskaitė. Vilnius: National Museum of Lithuania, 2012, P. 70.", "label": "No"}
{"text": "| Chap. 1 | Chap.\n2 | Chap. 3 | Chap.\n4 | Chap. 5 | Chap.\n6 | Chap. 7 | Chap.\nThis chapter focuses on black life in the\nyears between the World Wars a period marked by continued migration\nand urbanization and particularly by the outpouring of art,\nliterature and music in Harlem and across the rest of urban\nAmerica. The migration of African American to New York, Detroit,\nChicago, Philadelphia, Boston and other industrial and cultural\ncenters in search of work also increased their national visibility\nand influence. The power of jazz, for example, is one manifestation\nof this new influence.\nThe first two vignettes however focus on\nthe West. Central Avenue: The “Pulse” of Black Los\nAngeles reminds us of the growth of an African American community\non the Pacific coast while Racial Violence on the Southern Plains:\nTulsa, 1921, illustrates the migration of racial violence and\ntensions west along with the general population. African American\nurban women are profiled in two related vignettes, Harlem Women:\nRace, Class and Gender and Betterment Organizations Among Harlem\nWomen. The growing influence of African Americans in professional\nsports is illustrated in A League of Their Own: Founding the\nNegro Baseball League and Jack Johnson is a Dandy. The problem\nof continuing Southern educational discrimination is highlighted\nin the table White and Black Education in 1924: A Comparison.\nA number of vignettes depict the Harlem Renaissance\nbeginning with Alain Locke Describes the “New Negro”\nin 1925. Langston Hughes Recalls Harlem During the Renaissance,\nLangston Hughes’s “America,” Harlem Renaissance\nPoetry: “If We Must Die” and Harlem Renaissance\nPoetry: “I Want to Die While You Love Me,” provide\nglimpses into the literature of the period. The Debate Over\n“Racial Art” reminds us that the Renaissance had\nits African American critics. Finally, Zora on “Being\nColored” gives one woman’s view of racial dynamics\nduring the Renaissance.\nThe interwar years were also marked by the\nrise of two radically different movements that promised full\nfreedom and equality for African Americans. The first movement,\nled by Marcus Garvey is illustrated in two vignettes. The first,\nMarcus Garvey’s Views on Race and Nation provides a brief\nintroduction to Garveyism, the political national¬ism which\nproved exceedingly popular among the people of Afri¬can\nancestry throughout the world. The cartoon, At the Crossroads\nfrom The Negro World, the newspaper of Garvey’s Universal\nNegro Improvement Association offers one view of the reasons\nfor the popularity of “Garveyism.” Marcus Garvey:\nA Seattle Woman Remembers, de¬scribe the reaction to Garveyism\nthrough the recollections of a child during that period. In\nA Lunatic or a Traitor we see W. E. B. DuBois’s critique\nof the Garvey Movement.\nThe other movement that proved appealing\nfor some African Americans, particularly in the 1930s, was Marxism.\nThe first vignette, The Messenger: A Blacks Socialist Newspaper\noffers a \"left\" alternative to the Communist Party.\nJames Weldon Johnson on Communism describes an NAACP leader's\nreaction to the movement that forged an uneasy alliance with\nmany African Americans in the 1930s. Black Pilgrims in the Soviet\nUnion discusses the visits of black leaders to that country\nand the response of its political leadership.\nThe vignette Negro Women in Steel illustrates\nthe growing support of organized labor in the 1930s while Franklin\nRoosevelt, Two Views shows the responses to Presidential leadership\nduring the Great Depression. Charles Hamilton Houston Outlines\nthe Campaign Against School Segregation traces the 1935 roots\nof the 1954 Brown v. Board of Education Decision. The final\nvignettes Segregated Baseball, 1939 and Kenny Washington at\nUCLA, 1937, describe both the continuing barriers in sports\nand the role of gifted athletes in undermining those barriers.\nCENTRAL AVENUE: THE “PULSE” OF BLACK LOS ANGELES\nIn the account below historian Lonnie Bunch,\nIII, describes Central Avenue, the center of black life in Los\nAngeles between World Wars I and II.\nCentral Avenue was in its heyday as the center\nof both the black business and residential communities. By 1920\nthe black population of Los Angeles had doubled from the 1910\nlevel to 15,579. Unlike earlier migrations...black neighborhoods\nwere unable to accommodate the influx. \"Keep the neighborhood\nwhite\" drives...eventually led to the overpopulation of\nthe Central Avenue community by forcing all new arrivals into\nthe area. Any discussion of the 1920s should begin with \"The\nAvenue.\" The story of Central Avenue with its elegant neighborhoods,\njazz clubs, business districts and trolley cars full of black\nfaces has grown to mythic proportions. Some remember the \"Avenue\"\nas a miniature Harlem where musicians and literati gauged the\ncommunity's pulse by day and transformed that energy into rhyme\nand music by night. Others recall with pride the offices of\nthe black physicians and dentists, the storefronts of black\nbusinesses, and the fabled Dunbar Hotel. Many, however, have\nmemories only of overcrowded homes and apartments, the underside\nof the Avenue...\nBy 1910 Central Avenue was the main thoroughfare\nof black Los Angeles, with the nucleus at 9th and Central, later\nmoving south to 12th and Central. Soon \"The Avenue\"\nbecame an eclectic mix of stately homes representing the cream\nof black society, rentals and apartments that housed the new\nsouthern migrants, and the business and professional offices\nof the black middle class. In essence, poverty and prosperity\nexisted side by side on Central Avenue.\nThe black businesses in the Central Avenue\ncorridor were a continuing source of pride for black Angelenos.\nAs one walked from 12th Street a myriad of businesses appeared...the\noffices of the California Eagle, the Lincoln Theater, the Kentucky\nClub, Blodgett Motors (with advertisements claiming \"you\ncan't go wrong with an Essex\"), the Elks Auditorium...and\nthe Golden State Mutual Life Insurance Company were just a few\nof the many enterprises that graced the street. Just off the\navenue was the 28th Street YMCA, the site of political meetings,\nsocial gatherings, as well as the leading organization working\nwith Negro youth in the city. Nearby...between Hooper and Central\nAvenues, the Dunbar Hospital...ministered to the needs of the\ncommunity until World War II. Liberty Savings and Loan [was]\nlocated near 25th and Central from its inception in 1924 until\nit ceased operation in 1961... The Hudson-Liddell Building at\n41st and Central…was designed by Paul Williams... Williams,\nthe preeminent black architect, had already designed...the 28th\nStreet YMCA, the Hollywood YMCA and the Second Baptist Church.\nBut the jewel of Central Avenue was the Hotel\nSomerville, later renamed the Dunbar Hotel. One of the most\nimportant landmarks in Los Angeles, it was more than just a\nresort for weary travelers of color. The lobby, restaurant and\nconference room became the central meeting place of black Angelenos,\nhosting a wide range of social and community events. It was\ntruly the symbol of black achievement in the city. The hotel\nwas the creation of John Somerville, a dentist in Los Angeles...\nSomerville and his wife, Vada were both graduates of the School\nof Dentistry of the University of Southern California and active\nparticipants in the affairs of the black community for over\nCentral Avenue was also home to a musical\nand literary movement that followed the patterns of the Harlem\nRenaissance, though on a much smaller scale... Literati from\nLangston Hughes to native son Arna Bontemps periodically spent\ntime in the ever enlarging artist colony. Poetry readings by\nlocal and nationally known writers became standard Sunday fare\nat the 28th Street YMCA...\nThe plethora of musical establishments, jazz dens and nightclubs...made\nCentral Avenue the entertainment center of the city... Nightclubs\nsuch as the Kentucky Club, the Club Alabam, the Savoy at 55th\nand Central...the Apex at 4015 Central...all provided opportunity\nfor black musicians to develop a following... Central Avenue\nwas the home to many dreams...the hub of black life.\nSource: Lonnie Bunch, III, Black Angelenos:\nThe African American in Los Angeles, 1850-1950 (Los Angeles,\n1989), pp. 29-34.\nRACIAL VIOLENCE ON THE SOUTHERN PLAINS: TULSA, 1921\nOn June 1, 1921, Tulsa, Oklahoma exploded\nin black white violence following the arrest of Dick Rowland,\na 19 year old elevator operator for rape. In the following account\npublished in The Nation NAACP official Walter F. White described\nthe carnage and provides his assessment of the reasons behind\nA hysterical white girl related that a nineteen-year¬\nold colored boy attempted to assault her in the public elevator\nof a public office building of a thriving town of 100,000 in\nopen daylight. Without pausing to find whether or not the story\nwas true, without bothering with the slight detail of investigating\nthe character of the woman who made the outcry (as a matter\nof fact, she was of exceed¬ingly doubtful reputation), a\nmob of 100-per-cent Ameri¬cans set forth on a wild rampage\nthat cost the lives of fifty white men; of between 150 and 200\ncolored men, women and children; the destruction by fire of\n$1,500,000 worth of property; the looting of many homes; and\neverlasting damage to the reputation of the city of Tulsa and\nthe State of Oklahoma. . .\nThis, in brief, is the story of the eruption\nof Tulsa on the night of May 31 and the morning of June 1. One\ncould travel far and find few cities where the likelihood of\ntrouble between the races was as little thought of as in Tulsa…a\nthriving, bustling, enormously wealthy town of between 90,000\nand 100,000. In 1910 it was the home of 18,182 souls, a dead\nand hopeless outlook ahead. Then oil was discovered. The town\ngrew amazingly. On De¬cember 29, 1920, it had bank deposits,\ntotaling $65,449,985.90; almost $1,000 per capita when compared\nwith the Federal Census figures of 1920, which gave Tulsa 72,075.\nThe town lies in the center of the oil region and many are the\nstories told of the making of fabulous fortunes by men who were\noperating on a shoe-string. Some of the stories rival those\nof the \"forty-niners\" in California. The town has\na number of modern office buildings, many beautiful homes, miles\nof clean, well-paved streets, and aggressive and progressive\nbusiness men who well exemplify Tulsa’s motto of \"The\nCity with a Personality.\"\nSo much for the setting. What are the causes\nof the race riot that occurred in such a place? First, the Negro\nin Oklahoma has shared in the sudden prosperity that has come\nto many of his white brothers, and there are some colored men\nthere who are wealthy. This fact has caused a bitter resentment\non the part of the lower order of whites, who feel that these\ncolored men, members of an \"inferior race,\" are exceedingly\npresump¬tuous in achieving greater economic prosperity than…members\nof a divinely ordered superior race. There are at least three\ncolored persons in Oklahoma who are worth a million dollars\neach; J. W. Thompson of Clear¬view is worth $500,000; there\nare a number of men and women worth $100,000; and many whose\npossessions are valued at $25,000 and $50,000 each. This was\nparticularly true of Tulsa, where there were two colored men\nworth $150,000 each; two worth $100,000; three $50,000; and\nfour who were assessed at $25,000. In one case where a colored\nman owned and operated a printing plant with $25,000 worth of\nprinting machinery in it, the leader of the mob that set fire\nto and destroyed the plant was a linotype operator employed\nfor years by the colored owner at $48 per week. The white man\nwas killed while attack¬ing the plant. Oklahoma is largely\npopulated by pioneers from other States. Some of the white pioneers\nare former residents of Mississippi, Georgia, Tennessee, Texas,\nand other States more typically southern than Oklahoma. These\nhave brought with them their anti-Negro prejudices, Lethargic\nand unprogressive by nature, it sorely irks them to see Negroes\nmaking greater progress than they themselves are achieving.\nOne of the charges made against the colored\nmen in Tulsa is that they were \"radical.\" Questioning\nthe whites more closely regarding the nature of this radicalism,\nI found it means that Negroes were uncompromisingly de¬nouncing\n\"Jim-Crow\" cars, lynching\" peonage;) in short,\nwere asking that the Federal constitutional guaranties, of \"life,\nliberty, and the pursuit of happiness\" be given regard¬less\nof color. The Negroes of Tulsa and other Okla¬homa cities\nare pioneers; men and women who have dared, men, and women who\nhave had the initiative and the courage to pull up stakes in\nother less-favored States and face hardship in a newer one for\nthe sake of greater even¬tual progress. That type is less\nready to submit to insult. Those of the whites who seek to maintain\nthe white group control naturally do not relish seeing Negroes\nemancipating themselves from the old system…\nSo much for the general causes. What was\nthe spark that set off the blaze? On Monday; May 30, a white\ngirl by the name of Sarah Page, operating an elevator in the\nDrexel Building, stated that Dick Rowland, a nineteen-year-old\ncolored boy, had attempted criminally to assault, her. Her second\nstory was that the boy had seized her arm as he entered the\nelevator. She screamed. He ran. It was found afterwards that\nthe boy had stepped by accident on her foot. It seems never\nto have occurred to the Citizens of Tulsa that any sane person\nattempting crimi¬nally to assault a woman would have picked\nany place in the in the world rather than an open elevator in\na public building with scores of people within calling distance.\nThe story of the alleged assault was published, Tuesday afternoon\nby the Tulsa Tribune, one of the two local newspapers. At four\no’clock Commissioner of Police J. M. Adkison reported\nto Sheriff McCullough that there was talk of lynching Rowland\nthat night. Chief of Police John A. Gustafson, Captain Wilkerson\nof the Police Department, Edwin F. Barnett, managing editor\nof the Tulsa Tribune, and numerous other citizens all stated\nthat there was talk Tuesday of lynching the boy.\nIn the meantime the news of the threatened\nlynching reached the colored settlement where Tulsa’s\n15,000 colored citizens lived. Remembering how a white man,\n[Roy Belton] had been lynched after being taken from the same\njail where the colored boy was now confined, they feared that\nRowland was in danger. A group of colored men telephoned the\nsheriff and proffered their services in protecting the jail\nfrom attack. The sheriff told them that they would be called\nupon if needed. About nine o’clock that night a crowd\nof white men gathered around the jail, numbering about 400,\naccording to Sheriff McCullough. At 9:15 the report reached\n\"Little Africa\" that the mob had stormed the jail.\nA crowd of twenty-five armed Negroes set out immediately, but\non reaching the jail found the report untrue. The sheriff talked\nwith them, assured them that the boy would not be harmed, and\nurged them to return to their homes. They left, later returning,\n75 strong. The sheriff persuaded them to leave. As they complied,\na white man at¬tempted to disarm one of the colored men.\nA shot was fired, and then--in the wards of the sheriff--\"all\nhell broke loose.\" There was a fusillade of shots, from\nboth sides and twelve men fell dead—two of them colored,\nten white. The fighting continued until midnight when the colored\nmen, greatly outnumbered, were forced back to their section\nof the town.\nAround five o’clock Wednesday morning,\nthe mob, now numbering more than 10,000, made a mass attack\non Little Africa. Machine guns were brought into use; eight\naeroplanes were employed to spy on the movements of the Negroes\nand according to some were used in bombing the colored section...\nThe colored men and women fought gamely in defense of their\nhomes; but the odds were too great. According to the statements\nof onlookers, men in uniform, either home guards or ex-service\nmen or both, carried cans of oil into Little Africa and, after\nlooting the homes, set fire to them. Many are the stories of\nhorror told to me, not by colored people, but by white residents.\nOne was that of an aged colored couple saying their evening\nprayers before retiring in their little home on Greenwood Avenue.\nA mob broke into the house, shot both of the old people in the\nbacks of their heads, blowing their brains out and spattering\nthem over the bed, pillaged the home, and then set fire to it.\nAnother was that of the death of Dr. A. C.\nJackson, a colored physician. Dr. Jackson was worth $100,000;\nhad been described by the Mayo brothers \"the most able\nNegro surgeon in America\"; was respected by white and colored\npeople alike, and was in every sense a good citizen. A mob attacked\nDr. Jackson’s home. He fought in defense of it, his wife\nand children and himself. An officer of the home guards who\nknew Dr. Jackson came up at that time and assured him that if\nhe would surrender he would be protected. This Dr. Jackson did.\nThe officer sent him under guard to Convention Hall, where colored\npeople were being placed for protection. En route to the hall,\ndis¬armed, Dr. Jackson was shot and killed in cold blood.\nThe officer who had assured Dr. Jackson of protection stated\nto me, \"Dr. Jackson was an able, clean-cut man. He did\nonly what any red-blooded man would have done under similar\ncircumstances in defending his home. Dr. Jackson was mur¬dered\nby white ruffians.\nIt is highly doubtful if the exact number\nof casualties will ever be known. The figures originally given\nin the press estimate the number at 100. The number buried by\nlocal undertakers and given out by city officials is ten white\nand twenty-one colored. For obvious reasons these offi¬cials\nwish to keep the number published as low as possible, but the\nfigures obtained in Tulsa are far higher. Fifty whites and between\n150 and 200 Negroes is much nearer the actual number of deaths.\nTen whites were killed dur¬ing the first hour of fighting\non Tuesday night. Six white men drove into the colored section\nin a car on Wednesday morning and never came out. Thirteen whites\nwere killed between 5:30 a.m. and 6:30 a.m. Wednesday. O. T.\nJohn¬son, commandant, of the Tulsa Citadel of the Salvation\nArmy, stated that on Wednesday and Thursday the Salvation Army\nfed thirty-seven Negroes employed as grave diggers and twenty,\non Friday and Saturday. During the first two days these men\ndug 120 graves in each of which a dead Negro was buried. No\ncoffins were used. The bodies were dumped into the holes and\ncovered over with dirt. Added to the number accounted far were\nnumbers of others--men, women, and children--who were incinerated\nin the burning houses in the Negro settlement. One story was\ntold me by an eye-witness of five colored men trapped in a burning\nhouse. Four burned to death. A fifth attempted to flee, was\nshot to death as he emerged from the burning structure, and\nhis body was thrown back into the flames. There was an unconfirmed\nrumor afloat in Tulsa of two truck loads of dead Negroes being\ndumped into the Arkansas River, but that story could not be\nWhat is America going to do after such a\nhorrible carnage—one that for sheer brutality and murderous\nanarchy cannot be surpassed, by any of the crimes now being\ncharged to the Bolsheviki in Russia? How much longer will America\nallow, these pogroms to continue unchecked? There is a lesson\nin the Tulsa affair for every American who fatuously believes\nthat Negroes will always be the meek and submissive creatures\nthat circumstances have forced them to be during the past three\nhundred years. Dick Rowland was only an ordinary bootblack with\nno standing in the community. But when his life was threatened\nby a mob of whites, every one of the 15,000 Negroes of Tulsa,\nrich, and poor, educated and illiterate, was willing to die\nto protect Dick Rowland. Perhaps America is waiting for a nationwide\nTulsa to wake her. Who knows?\nSource: Walter F. White, “The Eruption\nof Tulsa,” The Nation 112 (29 June 1921), pp. 909-910.\nHARLEM WOMEN: RACE, CLASS AND GENDER, 1925\nHarlem writer Elise Johnson McDougald in a\n1925 article for the Survey Graphic titled “The Double\nTask: The Struggle of Negro Women for Sex and Race Emancipation,”\nexplores the world of Harlem women. This first of three excerpts\nfrom her article describes the major socio-economic classes\namong black women in the then largest African American urban\ncommunity in the nation.\nThroughout the long years of history, woman\nhas been the weather-vane, the indicator, showing in which direction\nthe wind of destiny blows. Her status and development have augured\nnow calm and stability, now swift currents of progress. What\nthen is to be said of the Negro woman today?\nIn Harlem, more than anywhere else, the Negro\nwoman is free from the cruder handicaps of primitive household\nhardships and the grosser forms of sex and race subjugation.\nHere she has considerable opportunity to measure her powers\nin the intellectual and industrial fields of the great city.\nHere the questions naturally arise: \"What are her problems?\"\nand \"How is she solving them?\"\nTo answer these questions, one must have\nin mind not any one Negro woman, but rather a colorful pageant\nof individuals, each differently endowed… Because only\na few have caught this vision, the attitude of mind of most\nNew Yorkers causes the Negro woman serious difficulty. She is\nconscious that what is left of chivalry is not directed toward\nher. She realizes that the ideals of beauty, built up in the\nfine arts, exclude her almost entirely. Instead, the grotesque\nAunt Jemimas of the street-car advertisements proclaim only\nan ability to serve, without grace or loveliness…. She\nis most often used to provoke the mirth laugh of ridicule; or\nto portray feminine viciousness or vulgarity not peculiar to\nNegroes. This is the shadow over her. To a race naturally sunny\ncomes the twilight self-doubt and a sense of personal inferiority.\nIt cannot be denied that these are potent and detrimental influences,\nthough not generally recognized because they are in the realm\nof the mental and. spiritual. More apparent are the economic\nhandicaps which follow her recent entrance into industry. It\nis conceded that she has special difficulties because of the\npoor working conditions and low wages of her men. It is not\nsurprising that only the determined women forge ahead to results\nother than mere survival. The few do prove their mettle stimulate\none to a closer study of this achievement is won in Harlem.\nBetter to visualize the Negro woman at her\njob… First, comes a very small leisure group-the wives\nand daughters of men who are in business, in the professions\nand in a few well-paid personal service occupations. Second,\na most active and progressive group, the women in business and\nthe professions. Third, the many women in the trades and industry.\nFourth, a group weighty in numbers struggling on in domestic\nservice, with an even less fortunate fringe of casual workers,\nfluctuating with the economic temper of the times.\nThe first is a pleasing group to see. It\nis picked for outward beauty by Negro men with much the same\nfeeling as other Americans of the same economic class. Keeping\ntheir women free to preside over the family, these women are\naffected by the problems of every wife and mother, but touched\nonly faintly by their race's hardships. They do share acutely\nin the prevailing difficulty of finding competent household\nhelp. Negro wives find Negro maids unwilling generally to work\nin their own neighborhoods, for various reasons. They do not\nwish to work where there is a possibility of acquaintances coming\ninto contact with them while they serve and they still harbor\nthe misconception that Negroes of any station are unable to\npay as much as persons of the other race. It is in these homes\nof comparative ease that we find the polite activities of social\nexclusiveness. The luxuries of well-appointed homes, modest\nmotors, tennis, golf and country clubs, trips to Europe and\nCalifornia, make for social standing…\nA spirit of stress and struggle characterizes\nthe second two groups. These women of business, profession and\ntrade are the hub of the wheel of progress. Their burden is\ntwofold. Many are wives and mothers whose husbands are insufficiently\npaid, or who have succumbed to social maladjustment and have\nabandoned-their families. An appalling number are widows. They\nface the great problem of leaving home each day and at the same\ntime trying to rear children in their spare time-this too in\nneighborhoods where rents are large, standards of dress and\nrecreation high and costly, and social danger on the increase.\nThe great commercial life of New York City\nis only slightly touched by the Negro woman of our second group.\nNegro business men offer her most of their work, but their number\nis limited. Outside of this field, custom is once more against\nher and competition is keen for all. However, Negro girls are\ntraining and some are holding exceptional jobs. One of the professors\nin a New York college has had a young colored woman as secretary\nfor the past three years. Another holds the head clerical position\nin an organization where reliable handling of detail and a sense\nof business ethics are essential. For four years she has steadily\nadvanced. Quietly these women prove their worth, so that when\na vacancy exists and there is a call, it is difficult to find\neven one competent colored secretary who is not employed…\nIn other departments the civil service in\nNew York City is no longer free from discrimination. The casual\npersonal interview, that tenacious and retrogressive practice\nintroduced in the Federal administration during the World War\nhas spread and often nullifies the Negro woman's success in\nwritten tests. The successful young woman just cited above was\nthree times \"turned down\" as undesirable on the basis\nof the personal interview. In the great mercantile houses, the\nmany young Negro girls who might be well suited to salesmanship\nare barred from all but the menial positions..\nIn the less crowded professional vocations,\nthe outlook is more cheerful. In these fields, the Negro woman\nis dependent largely upon herself and her own race for work.\nIn the legal, dental, medical and nursing professions, successful\nwomen practitioners have usually worked their way through college\nand are \"managing\" on the small fees that can be received\nfrom an underpaid public. Social conditions in America are hardest\nupon the Negro because he is lowest in the economic scale. This\ngives rise to a demand for trained college women in the profession\nof social work. It has met with a response from young college\nwomen, anxious to devote their education and lives to the needs\nof the submerged classes. In New York City, some fifty-odd women\nare engaged in social work, other than nursing. In the latter\nprofession there are over two hundred and fifty. Much of the\nsocial work has been pioneer in nature: the pay has been small\nwith little possibility of advancement. For even in work among\nNegroes, the better paying positions are reserved for whites.\nThe Negro college woman is doing her bit in this field at a\nsacrifice, along such lines as these: in the correctional departments\nof the city, as probation officers, investigators, and police\nwomen; as Big Sisters attached to the Children’s' Court;\nas field workers and visitors for relief organizations and missions;\nas secretaries for travelers-aid and mission societies; as visiting\nteachers and vocational guides for the schools of the city;\nand, in the many branches of public health nursing, in schools,\norganizations devoted to preventive and educational medicine,\nin hospitals and in private nursing.\nIn New York City, nearly three hundred Negro\nwomen share the good conditions in the teaching profession.\nThey measure up to the high pedagogical requirements of the\ncity and state law and are increasingly, leaders in the community.\nHere too the Negro woman finds evidence of the white workers'\nfear of competition. The need for teachers is still so strong\nthat little friction exists. When it does seem to be imminent,\nit is smoothed away, as it recently was at a meeting of school\nprincipals. From the floor, a discussion began with: \"What\nare we going to do about this problem of the increasing number\nof Negro teachers coming into our schools?\" It ended promptly\nthrough the suggestion of another principal: \"Send all\nyou get and don't want over to my school. I have two now and\nI'll match their work to any two of your best whom you name.\"\nOne might go on to such interesting and more unusual professions\nas journalism, chiropody, bacteriology, pharmacy, etc., and\nfind that, though the number in any one may be small, the Negro\nwoman is creditably represented in practically every one. According\nto individual ability she is meeting with success.\n…The woman engaged in trades\nand in industry faces equally serious difficulty in competition\nin the open working field. Custom is against her in all but\na few trade and industrial occupations. She has, however been\nestablished long in the dressmaking trade among the helpers\nand finishers, and more recently among the 'drapers and fitters\nin' some of the best establishments. Several Negro women are\nthemselves proprietors of shops in the country's greatest fashion\ndistrict. Each of them has, against great odds, convinced skeptical\nemployers of her business value; and, at the same time, has\neducated fellow workers of other races, doing much to show the\noneness of interest of all workers…\nIn trade cookery, the Negro woman's talent\nand pail experience is recognized. Her problem here is to find\nemployers who will let her work her way to managerial positions,\nin tea-rooms, candy shops and institutions. One such employer\nbecame convinced that the managing cook, a colored graduate\nof Pratt Institute, would continue to build up a business that\nhad been failing. She offered her a partnership. As in the cases\nof a number of such women, her barrier was lack of capital.\nNo matter how highly trained, nor how much speed and business\nacumen has been acquired, the Negro's credit is held in doubt.\nAn exception in this matter of capital will serve to prove the\nrule. Thirty years ago, a young Negro girl began learning all\nbranches of the fur trade. She is now in business for herself,\nemploying three women of her race and one Jewish man. She has\nmade fur experts of still another half-dozen colored girls.\nSuch instances as these justify the prediction that the hold\ngained in the trade world will, year by year, become more secure.\nBecause of the limited fields for workers\nin this group, many of the unsuccessful drift into the fourth\nsocial grade, the domestic and casual workers. These drifters\nincreased the difficulties of the Negro woman suited to housework.\nNew standards of household management are forming and the problem\nof the Negro woman is to meet these new business-like ideals.\nThe constant influx of workers unfamiliar with household conditions\nin New York keeps the situation one of turmoil. The Negro woman,\nmoreover, is revolting against residential domestic service.\nIt is a last stand her fight to maintain a semblance of family\nlife. For this reason, principally, the number of day or casual\nworker is on the increase. Happiness is almost impossible under\nthe strain of these conditions. Health and morale suffer, how\nelse can her children, loose all afternoon, be gathered together\nat night-fall? Through it all she manages to give satisfactory\nservice and the Negro woman is sought after for this unpopular\nwork largely because her honesty, loyalty and cleanliness have\nstood the test of time. Through her drudgery, the women of other\ngroups find leisure time for progress. This is one of her contributions\nSource: Elise Johnson McDougald, “The\nDouble Task: The Struggle of Negro Women for Sex and Race Emancipation,”\nThe Survey Graphic LIII (March 1925): 689-691.\nBETTERMENT ORGANIZATIONS AMONG HARLEM WOMEN\nThe final section of Elise Johnson McDougald’s\nSurvey Graphic article briefly discusses the various organizations\nmiddle class Harlem women crafted to address problems and improve\nconditions among the masses of African Americans in that section\nof New York.\nObsessed with difficulties that might well\ncompel individualism, the Negro woman has engaged in a considerable\namount of organized action to meet group needs. She has evolved\na federation of her clubs, embracing between eight and ten thousand\nwomen, throughout the state of New York. Its chief function\nis to crystallize programs, prevent duplication of effort, and\nto sustain a member organization whose cause might otherwise\nfail. It is now firmly established, and is about to strive for\nconspicuous goals. In New York City, one association makes child\nwelfare its name and special concern. Others, like the Utility\nClub, Utopia Neighborhood, Debutante's League, Sempre Fidelius,\netc., raise money for old folks' homes, a shelter for delinquent\ngirls and fresh air camps for children. The Colored Branch of\nthe Y. W. C. A. and the women’s' organizations in the\nmany churches, as well as in the beneficial lodges and associations,\ncare for the needs of their members.\nOn the other hand, the educational welfare\nof the coming generation, has become the chief concern of the\nnational sororities of Negro college women. The first to be\norganized in the country, Alpha Kappa Alpha, has a systematized\nand continuous program of educational and vocational guidance\nfor students of the high schools and colleges. The work of Lambda\nChapter, which covers New York City and its suburbs, is outstanding.\nIts recent campaign gathered together nearly one hundred and\nfifty such students at a meeting to gain inspiration from the\nlife-stories of successful Negro women in eight fields of endeavor.\nFrom the trained nurse, who began in the same schools as they,\nthese girls drank in the tale of her rise to the executive position\nin the Harlem Health Information Bureau. A commercial artist\nshowed how real talent had overcome the color line. The graduate\nphysician was a living example of the modern opportunities in\nthe newer fields of medicine open to women. The vocations as\noutlets for the creative instinct became attractive under the\npersuasion of the musician, the dressmaker and the decorator.\nSimilarly, Alpha Beta Chapter of the national Delta Sigma Theta\nSorority recently devoted a week to work along similar lines.\nIn such ways as these are the progressive and privileged groups\nof Negro women expressing, their community and race consciousness.\nWe find the Negro woman, figuratively, struck\nin the face daily by contempt from the world about her. Within\nher soul, she knows little of peace and happiness. Through it\nall, she is courageously standing erect, developing within herself\nthe moral strength to rise above and conquer false attitudes.\nShe is maintaining her natural beauty and charm and improving\nher mind and opportunity. She is measuring up to the needs and\ndemands of her family, community and race, and radiating from\nHarlem a hope that is cherished by her sisters in less propitious\ncircumstances throughout the land. The wind of the race's destiny\nstirs more briskly because of her striving.\nSource: Elise Johnson McDougald, “The\nDouble Task: The Struggle of Negro Women for Sex and Race Emancipation,”\nThe Survey Graphic LIII (March 1925): 691.\nA LEAGUE OF THEIR OWN: FOUNDING NEGRO BASEBALL\nIn the following account Edwin Bancroft Henderson\ndescribes the origin of the Negro Baseball League.\nThe first Negro team composed of paid members is recorded as\na playing aggregation that at first was a team of waiters of\nthe Argyle Hotel at Babylon, New York. This club of hotel waiters\nand bellhops was organized in 1885 by Frank Thompson, head waiter\nof the hotel. During that summer the team played nine games\nwith the best of the white semi-pro clubs around New York and\nLong Island, winning six and losing four. In September, Thompson\ncalled them the “Cuban Giants,” and started them\non a professional career.\nKnowing the growing prejudices that had infiltrated\ninto the social structure of the North and East, the management\nrealized that to pass off the boys as Cubans or Spaniards would\nenable them to play in places where as native Negro boys they\nwould not have been able to make business contacts. On the playing\nfield, a few of the Negro players would put on an act and talk\na “gibberish” to each other. Because the New York\nGiants were a popular team of players, the Cubans added the\nname “Giants.” The name “Giants” became\nattached to nearly every prominent colored team for a quarter\nof a century. One still remembers the Brooklyn Royal Giants,\nthe Bacharach Giants, the Mohawk Giants, the Chicago American\nGiants, and others.\nSeveral efforts were made to form leagues of Negro baseball\nteams. All the early attempts were doomed to failure. In the\nspring of 1887, a Negro League was formed on paper, but did\nnot reach the field. In 1889, a league of six white and two\nNero clubs was organized in the East but folded up in a few\nweeks. About 1906 several of the prominent teams in the East,\nincluding the Cuban Giants, the Cuban X-Giants, the Washington\nGiants, the Royal Giants of Newark, endeavored to form the International\nLeague, but before midsummer it collapsed.\nLeaving the East, one finds that on February\n13, 1920, in Kansas City, Missouri, the western circuit of the\nNational Negro Baseball League was organized. Seated in that\nmeeting were Tenny Blount of Detroit, L. S. Cobb of the St.\nLouis Giants, W. A. Kelley of Washington, John Matthews of the\nDayton-Monarchs, Joe Greene of the Chicago Giants, C. J. Taylor\nof the Indianapolis A.B.C.’s, Elwood Knox of Indianapolis,\nAndrew “Rube” Foster, J. L. Williamson of Kansas\nCity, Missouri, and Charles Marshall, an Indianapolis newspaperman.\nThe League upon organizing was chartered in\nthe states of Michigan, Illinois, Ohio, Pennsylvania, New York\nand Maryland. Those signing the constitution of the newly formed\nleague were Rube Foster, Tenny Blount, J. L. Wilkerson, C. I.\nTaylor, Joe Greene, and Lorenzo Cobb. Each paid $500 to bind\nthem to the league and constitution. Those who helped with the\nconstitution were Dave Wright of Chicago, Ellwood Knox of Indianapolis,\nCarey B. Lewis of Chicago, and Elisha Scott of Leavenworth.\nRube Foster was named president and secretary. The clubs to\nrepresent the League during this first year were the American\nGiants (Chicago), Chicago Giants, Kansas City Monarchs, St.\nLouis Giants, Detroit Stars, and the Indianapolis A.B.C’s.\nThe next meeting was on December 4, 1920, in Indianapolis. Foster\nwas re-elected president and secretary for the ensuing year.\nThe association now became the National Association of Colored\nProfessional Baseball and the Negro National League. The following\nteams were added:\nthe Hilldale Club, Columbus Club, the New York Bacharach Giants,\nand the Cuban Stars.\nIn 1921—22, the Eastern League came\ninto being. Ed Bolden of the Hilldale Club organized the Eastern\nLeague and was president. It consisted of the Harrisburg Giants,\nthe Hilldales, Lincoln Giants, Brooklyn Royal Giants, Bacharach\nGiants, Baltimore Black Sox, with the Washington Potomacs as\nan associate club. There was much shifting of teams due to the\nlack of organized control. Sometime about 1932, the Negro National\nLeague and the Eastern League went down. Subsequent to this\ndissolution “Cum” Posey brought about the East-West\norganization. This East-West League consisted of Hilldale, Baltimore\nBlack Sox, Detroit Stars, Columbus, Pittsburgh Crawfords, Homestead\nGrays, Washington Pilots, and Black Yankees. The first world\nseries between Negro teams was held in 1924 and 1925 between\nthe Negro National and Negro Eastern League champion teams.\nThe first teams in 1924 and 1925 were the Hilldale (Eastern),\nKansas City (Western). Contenders in 1926 and 1927 were the\nChicago American Giants and the Bacharach Giants.\nThe 1939 Negro American League located in\nthe West started the following teams with franchises in the\ncities indicated: Kansas City Monarchs in St. Louis, Atlanta\nBlack Crackers in Louisville, Jacksonville Red Caps in Cleveland,\nMemphis Giants in Memphis, A.B.C.’s in Indianapolis, and\nthe Chicago American Giants in Chicago.\nA Negro National League consisted that year of the following:\nThe Elite Giants in Baltimore, Newark Eagles, Toledo, Homestead\nGrays, the Philadelphia Stars, the New York Black Yankees, and\nthe New York Cuban Stars team managed by Alexander Pompez. This\nlater day Negro National League contrived to function during\nsubsequent years apparently on firmer ground. The dubs carried\nfrom fifteen to twenty salaried players and business associates.\nIn the beginning many of the games were staged for exhibition\nonly. Tom Wilson of the Baltimore Elites was elected president\nto succeed “Gus” Greenlee, retired.\nAnother Association existing in the late thirties\nknown as the American Association included the following teams:\nBaltimore, Hilldale, Greensboro, Winston-Salem, Philadelphia\nand High Point.\nSource: Edwin Bancroft Henderson, The Negro\nIn Sports (Washington, D. C.: The Associated Publishers, Inc.,\n1949), Ch. IX, pp. 168-171.\nJACK JOHNSON IS A DANDY\nIn his 1926 autobiography republished in 1969,\nJack Johnson is a Dandy, the first black heavyweight champion\ndescribes his life inside and outside the ring. What follows\nis an excerpt from that autobiography.\nMy name is familiar to a great many people\nchiefly because I have held the heavyweight boxing championship\nof the world, and because for more than a quarter of a century\nI have figured prominently in the making of world ring history.\nOn more than one occa¬sion I have been the central character\nin sensational episodes which stirred the interest and curiosity\nof the public.\nBut I am not writing this history of my life—¬full\nof experiences and adventures as it is—because of these\nfacts. On the contrary, in looking back over the years of my\ntumultuous career, I am astounded when I realize that there\nare few men in any period of the world's history, who have led\na more varied or intense existence than I. My life, almost from\nits very start, has been filled with tragedy and romance, failure\nand success, poverty and wealth, misery and happiness. All these\nconflicting conditions that have crowded in upon me and plunged\nme into struggles with warring forces have made me somewhat\nof a unique character in the world of today, and the story of\nthe life I have led may therefore not only contain some interest\nif told for its own sake, but may also shed some light on the\nlife of our times.\nQuick changes have come into my life on numerous\noccasions. I have been tossed from one extreme to the other\nwithin a few hours. Sometimes I found myself in the midst of\ndisaster and often I arose to unexpected heights of affluence,\npower and prominence. Many, many times fortune has virtually\ndropped into my hands and as many times it has slipped magically\nfrom my grasp. I have attained the peaks of victory in grueling\nfights with men as eager, as ambitious, as alert and as strong\nas I. With these victories generally came great sums of money,\nsometimes almost more than I ever dreamed of possessing. I was\nsurrounded by countless admiring friends all…eager to\nshout my praises; all striving for my esteem and for my bounty.\nBy a sudden flip of fortune I have seen these friends melt away.\nBut there have been many who have proved staunch throughout\nthe years; who have shared with me in my successes and victories\nand who have suffered with me in the moments of failure, disappointment\nI have traveled in nearly every country of the world and wherever\nI have gone I have had adventures that men of my race and nation\nhave never had. I have mingled with notable people of every\nland. I have been with kings and queens; mon¬archs and rulers\nof nations have been my associates. In all the great gathering\nplaces of the world where the elite of every nation have met\nand are meeting, I have enjoyed the distinction of being a celebrity\npointed out over all others.\nIn my life there have been many women, and\nwith women there has come great happiness and also grief and\ntragedy. Women have come into my life and gone out of it leaving\nmemories, many of which I treasure and many of which I would\nforget if I could. However, these women whom I have known and\nloved have been salient factors in my life. They have been the\ninspiration that urged me to strive for the uppermost places;\nthey have been the cause of situations which turned the eyes\nof the world upon me, some merely gleaming with morbidness,\nothers flashing condemnation and hate.\nI have had my innings with the law. I know\nthe bit¬terness of being accused and harassed by prosecutors.\nI know the horror of being hunted and haunted. I have dashed\nacross continents and oceans as a fugitive, and I have matched\nmy wits with the police and secret agents seeking to deprive\nme of one of the greatest blessings man can have—liberty.\nAnd after I had eluded them, after I had spent months in fighting\nfor my cherished freedom and enjoying it at a dearly purchased\nprice, I voluntarily relinquished it and surrendered myself,\nknow¬ing that I should have to enter prison.\nIn my fight for my freedom I felt that whatever\nmy conduct had been which led to accusations against me and\nconviction, it had been no worse than that of thou¬sands\nof others. I felt that I had committed no heinous crime and\nthat because of my color, perhaps, and because of prejudices\nand jealousies I was being persecuted and prosecuted. However,\nafter months abroad, always alert lest I should be led into\nsome trap that would mean loss of my freedom, I decided that\nI would return to my native country, submit to the demands of\nthe law, and clear my \"debt to society…\n…I am not attempting this enter¬prise\nto explain and excuse my faults and mistakes, nor to win sympathy\nand smooth over the rough places in my life. On the contrary,\nI feel that the story of my life is one that will prove interesting\nand entertaining to my readers as the story of a man, and that\nit will not be without good results. I am not pointing out any\nmorals, yet when one suffers the inevitable consequences that\nensue when the wrong course is chosen or mistakes are made and\nfrankly admits and describes these mis¬takes and their results,\nsurely it will prove of some bene¬fit if it aids others\nto avoid similar mistakes and the attending unhappiness and\nI, have no quarrel with fate, nor do I cling\nto the ab¬surd belief that fate has set any special mark\nupon me. Yet fate must have intended me for adventures and ex¬periences\nthat do not fall to the lot of the average man…Of course\nI had the dreams and desires that are com¬mon to youth,\nbut never in the wildest moments of my boyhood imagination did\nI vision myself the champion fighter of the world, and the first\nman of my race ever to attain that distinction…How incongruous\nto think that I, a little Galveston colored boy should ever\nbecome an acquaint¬ance of kings and rulers of the old world,\nor that I should number among my friends some of the most notable\npersons of America and the world in general! What a vast stretch\nof the imagination to picture myself a fugi¬tive from my\nown country, yet sought and acclaimed by thousands in nearly\nevery nation of the world! What an unusual circumstance that\nwhile I feared to return to my own country and was a voluntary\nexile, one of the most notorious revolutionary leaders of Mexico,\n[Francisco] Villa, was making frantic efforts to finance my\nreturn to the Western hemisphere and was attempting to stage\nin Mexico the championship fight between myself and [Jess] Willard.\nHow utterly fantastic would have been the thought that I should\nsome day be plunged into romances and love with white women\nin defiance of a treasured and guarded custom. How far removed\nfrom my thought was the possibility that tragedy would creep\ninto my life—the tragedy of a prison term in one instance\nand the death by suicide of one whom I greatly loved in the\nSource: Jack Johnson, Jack Johnson is a Dandy:\nAn Autobiography (New York: Chelsea House Publishers, 1969),\nTable: White and Black Education in 1924: A Comparison\nW.E.B. DuBois in 1924 was provided graphic\nevidence of the disparity in white and black educational appropriations\nfrom an unlikely source, the Charleston News and Courier, when\nit published figures committed by the state legislature for\nThe appropriation for public education in\nSouth Carolina for 1924 were, according to the Charleston News\nand Courier as follows:\nFor White People: [35,000 students]\nThe University of South Carolina $ 476,025\nThe Citadel 161,143\nClemson College 91,813\nWinthrop College 468,108\n[South Carolina] Medical College 120,775\nConfederate Home College 5,000\nHowe School 48,206\nSchool for Deaf and Blind 125,700\nTraining School for Feeble Minded 150,310\nIndustrial School for Boys 129,548\nIndustrial School for Girls 27,170\nFor Colored People [32,000 students]\nColored College $101,150\nReformatory for Negro Boys 52,287\nSource: The Crisis, Vol. 28, No. 3 (July 1924)\nALAIN LOCKE DESCRIBES THE “NEW NEGRO” IN 1925\nIntersecting the recent northward migration\nof African Americans with the cultural outpouring that would\nbe called the Harlem Renaissance, Howard University professor\nand literary critic Alain Locke describes the ongoing psychological\ntransformation of African America. The excerpt below is from\nhis introduction to the first major anthology that attempts\nto capture that mood.\nIn the last decade something beyond the watch and guard of statistics\nhas happened in the life of the American Negro, and the three\nnorms who have traditionally presided over the Negro problem\nhave a changeling in their laps. The Sociologist, the Philanthropist,\nthe Race leader are not unaware of the New Negro, but they are\nat a loss to account for him. He simply cannot be swathed in\ntheir formulae. For the younger generation is vibrant with a\nnew psychology; the new spirit is awake in the masses; and under\nthe very eyes of the professional observers is transforming\nwhat has been a perennial problem into the progressive phases\nof contemporary Negro life.\nCould such a metamorphosis have taken place\nas suddenly as it has appeared to? The answer is no; not only\nbecause the New Negro is not here, but because the Old Negro\nhad long become more of a myth than a man. The Old Negro, we\nmust member, was a creature of moral debate and historical controversy.\nHis has been a stock figure perpetuated as an historical fiction\npartly in innocent sentimentalism, partly in deliberate reactionism.\nThe Negro himself has contributed his share to this through\na sort of protective social mimicry forced upon him by the adverse\ncircumstances of dependence. So for generations in the mind\nof America, the Negro has been more of a formula than a human\nbeing—a something to be argued about, condemned or defended,\nto be \"kept down,\" or \"in his place,\" or\n\"helped up,\" to be worried with or worried over, harassed\nor patronized, a social bogey or a social burden...\nBut while the minds of most of us, black\nand white, have thus burrowed in the trenches of the Civil War\nand Reconstruction, the actual march of development has simply\nflanked these positions, necessitating a sudden reorientation\nof view... The mind of the Negro seems suddenly to have slipped\nfrom under the tyranny of social intimidation and to be shaking\noff the psychology of imitation and implied inferiority. By\nshedding the old chrysalis of the Negro problem we are achieving\nsomething like a spiritual emancipation. Until recently, lacking\nself-understanding, we have been almost as much of a problem\nto ourselves as we still are to others. But the decade that\nfound us with a problem has left us with only a task...\nWith this renewed self respect and self-dependence,\nthe life of the Negro community is bound to enter a new dynamic\nphase, the buoyancy from within compensating for whatever pressure\nthere may be of conditions from without. The migrant masses,\nshifting from countryside to city, hurdle several generations\nof experience at a leap, but more important, the same thing\nhappens spiritually in the attitudes and self expression of\nthe Young Negro, in his poetry, his art, his education and his\nnew outlook, with the additional advantage, of course, of the\npoise and greater certainty of knowing what it is all about.\nFrom this comes the promise and warrant of a new leadership…\n...The day of \"aunties,\" \"uncles\"\nand \"mammies\" is equally gone. Uncle Tom and Sambo\nhave passed on, and even the \"Colonel\" and \"George\"\nplay barnstorm from which they escape with relief when the public\nspotlight is off. The popular melodrama has about played itself\nout, and it is time to scrap the fictions, garret the bogeys\nand settle down to a realistic facing of facts...A main change\nhas been, of course, that shifting of the Negro population which\nhas made the Negro problem no longer exclusively or predominantly\nSouthern. Why should our minds remain sectionalized when the\nproblem no longer is? Then the trend of migration has not only\nbeen toward the North and the Central Midwest, but cityward\nand to the great centers of industry—the problems of adjustment\nare new, practical, local and not particularly racial. Rather\nthey are an integral part of the large industrial and social\nproblems of our present day democracy...\nIn the very process of being transplanted,\nthe Negro is being transformed... With each successive wave\n[of migration] the movement of the Negro become more and more\na mass movement...a deliberate flight not only from countryside\nto city, but from medieval America to modern.\nTake Harlem as an instance of this. Here\nis Manhattan is not merely the largest Negro community in the\nworld, but the first concentration in history of so many diverse\nelements of Negro life. It has attracted the African, the West\nIndian, the Negro American; has brought together the Negro of\nthe North and the Negro of the South; the man from the city\nand the man from the town and village; the peasant, the student,\nthe business man, the professional man, artist poet, musician,\nadventurer and worker, preacher and criminal, exploiter and\nsocial outcast. Each group has come with its own separate motives\nand for its own special ends, but their greatest experience\nhas been the finding of one another. Proscription and prejudice\nhave thrown these dissimilar elements into a common area of\ncontact and interaction. Within this area, race sympathy and\nunity have determined a further fusing of sentiment and experience.\nSo what began in terms of segregation becomes more and more,\nas its elements mix and react, the laboratory of a great race\nwelding. Hitherto, it must be admitted that American Negroes\nhave been a race more in name than in fact, or to be exact,\nmore in sentiment than in experience. The chief bond between\nthem has been that of a common condition rather than a common\nconsciousness; a problem in common rather than a life in common.\nIn Harlem, Negro life is seizing upon its first chances for\ngroup expression and self-determination. It is—or promises\nat least to be—a race capital... That is why our comparison\nis taken with those nascent centers of folk expression and self\ndetermination which are playing a creative part in the world\nto day. Without pretense to their political significance, Harlem\nhas the same role to play for the New Negro as Dublin has had\nfor the New Ireland or Prague for the New Czechoslovakia.\nWhen the race leaders of twenty years ago\nspoke of developing race-pride and stimulating race-consciousness,\nand of the desirability of race-solidarity, they could not in\nany accurate degree have anticipated the abrupt feeling that\nhas surged up and now pervades the awakened centers. Some of\nthe recognized Negro leaders and a powerful section of white\nopinion identified with “race work” of the older\norder have indeed attempted to discount this feeling as a “passing\nphase,” an attack of “race nerves” so to speak,\nan “aftermath of the war,” and the like. It has\nnot abated, however, if we are to gauge the present tone and\ntemper of the Negro press, or by the shift in popular support\nfrom the officially recognized and orthodox spokesmen to those\nof the independent, popular, and often radical type who are\nunmistakable symptoms of a new order. It is a social disservice\nto blunt the fact that the Negro of the Northern centers has\nreached a stage where tutelage, even of the most interested\nand well-intentioned sort, must give place to new relationships,\nwhere positive self-direction must be reckoned with in ever\nincreasing measure. The American mind must reckon with a fundamentally\nSource: Alain Locke, ed., The New Negro: An\nInterpretation (New York: Macmillan, 1925), 3-8.\nLANGSTON HUGHES RECALLS HARLEM DURING THE RENAISSANCE\nLangston Hughes in his autobiography, The\nBig Sea, offers this description of Harlem during the 1920s.\nWhite people began to come to Harlem in droves.\nFor several years they packed the Cotton Club on Lenox Avenue.\nBut I was never there, because the Cotton Club was a Jim Crow\nclub for gangsters and monied whites. They were not cordial\nto Negro patronage unless you were a celebrity like Bojangles\n[Robinson]¬ So Harlem Negroes did not like the Cotton Club\nand never appreciated its Jim Crow policy in the very heart\nof their dark community. Nor did ordinary Negroes like the growing\ninflux of whites toward Harlem after sundown, flooding the little\ncabarets and bars where formerly only colored people laughed\nand sang, and where now strangers were given the best ringside\ntables to sit and stare at the Negro customers—like amusing\nanimals in a zoo.\nThe Negroes said: \"We can't go downtown\nand sit and stare at you in your clubs. You won’t even\nlet us in your clubs.\" But they didn't say it loud--for\nNegroes are practically never rude to white people. So thousands\nof whites came to Harlem night after night, thinking Negroes\nloved to have them there, and firmly believing that all Harlemites\nleft their houses at sundown to sing and dance in cabarets,\nbecause most of the whites saw nothing but the cabarets, not\nSome of the small clubs, however had people\nlike Gladys Bentley who was something worth discovering in those\ndays, before she got famous, acquired an accompanist, specially\nwritten material, and conscious vulgarity. But for two or three\namazing years, Miss Bentley sat and played a big piano all night\nlong, literally all night, without stopping--singing songs like\n\"St. James Infirmary,\" from ten in the evening until\ndawn, with scarcely a break between the notes, sliding from\none song to another, with a powerful and continuous under beat\nof jungle rhythm. Miss Bentley was an amazing exhibition of\nmusical energy--a large, dark, masculine lady, whose feet pounded\nthe floor while her fingers pounded the keyboard--a perfect\npiece of African sculpture, animated by her own rhythm…\nThe ordinary Negroes hadn't heard of the\nNegro Renaissance. And if they had, it hadn't raised their wages\nany. As for all of those white folks in the speakeasies and\nnight clubs of Harlem—well maybe a colored man could find\nsome place to have a drink that the tourist hadn’t yet\nThen it was that house-rent parties began\nto flourish—and not always to raise the rent either…\nThe Saturday night rent parties were often more amusing than\nany night club, in small apartments where God knows who lived--because\nthe guests seldom did--but where the piano would often be augmented\nby a guitar, or an odd cornet, or somebody with a pair of drums\nwalking in off the street. And where awful bootleg whiskey and\ngood fried fish or steaming chitterlings were sold at low prices.\nAnd the dancing and singing and impromptu entertaining went\non until dawn came in at the windows…\nAlmost every Saturday night when I was in\nHarlem I went to a house-rent party. I wrote lots of poems about\nhouse-rent parties, and ate…many a fired fish and pig’s\nfoot—with liquid refreshments on the side. I met ladies’\nmaids and truck drivers, laundry workers and shoe shine boys,\nseamstresses and porters. I can still hear their laugher in\nmy ears, hear the soft slow music and feel the floor shaking\nas the dancers danced…\nSource: Langston Hughes, The Big Sea, (New\nYork, 1940), pp. 224-226, 228-233.\nHARLEM RENAISSANCE POETRY: “IF WE MUST DIE”\nIn 1919 Senator Henry Cabot Lodge of Massachusetts\nentered \"If We Must Die,\" the poem of young Claude\nMcKay into the Congressional Record. The poem, inspired by the\nspirited defense blacks mounted in the Chicago race riot of\n1919, symbolized the militancy of the New Negro. However Georgia\nDouglas Johnson's poignant poem captures the beauty and passion\nof renaissance writing as well. Both poems appear below.\nIf we must die, let it not be like hogs\nHunted and penned in an inglorious spot,\nWhile round us bark the mad and hungry dogs,\nMaking their mock at our accursed lot.\nIf we must die, O let us nobly die,\nSo that our precious blood may not be shed\nIn vain; then even the monsters we defy\nShall be constrained to honor us though dead!\nO kinsmen! we must meet the common foe!\nThough far outnumbered let us show brave,\nAnd for their thousand blows deal one deathblow!\nWhat though before us lies the open grave?\nLike men we'll face the murderous, cowardly pack,\nPressed to the wall, dying but fighting back!\nSource: Claude McKay, “If We Must Die,”\nThe Liberator 2 (July 1919), 21\nHARLEM RENAISSANCE POETRY: “I WANT TO DIE WHILE YOU LOVE\nThe following selection by Renaissance Poet\nGeorgia Douglas Johnson suggests that not all of the literature\nof that era represented racial protest.\nI want to die while you love me,\nWhile yet you hold me fair,\nWhile laughter lies upon my lips\nAnd lights are in my hair.\nI want to die while you love me.\nI could not bear to see,\nThe glory of this perfect day,\nGrow dim--or cease to be.\nI want to die while you love me.\nOh! who would care to live\nTill love has nothing more to ask,\nAnd nothing more to give.\nI want to die while you love me,\nAnd bear to that still bed\nYour kisses, turbulent, unspent,\nTo warm me when I'm dead\nSource: James Weldon Johnson, The Book of\nAmerican Negro Poetry (New\nYork: Harcourt, Brace & World, Inc.,\n1922), p. 183.\nTHE DEBATE OVER \"RACIAL\" ART\nNot all black intellectuals supported the\nHarlem Renaissance. In the account below we see the exchange\nof letters in 1926 between Renaissance artist Langston Hughes\nand black conservative George S. Schuyler in the magazine, The\nNation, over the existence of racially-based art.\nTo THE EDITOR OF THE NATION:\nSIR: Langston Hughes, defending racial art\nin America, forgets that the Negro masses he describes are no\ndifferent from the white masses we are all familiar with. Both\n‘watch the lazy world go round’ and ‘have\ntheir nip of gin on Saturday nights’ (love of strong liquors\nis supposed to be a Nordic characteristic). If there is anything\n‘racial’ about the spirituals and the blues, then\nthere should be immediate ability to catch the intricate rhythm\non the part of Negroes from Jamaica, Zanzibar, and Sierra Leone.\nSuch is not the case, and we must conclude that they are the\nproducts of a certain American environment: the South. They\nare American folk-songs, built around Anglo-Saxon religious\nAn artist, if seems, to me, is one who, able\nto see life about him, and struck by its quick interchange of\ncomedy, drama, tragedy, attempts to portray it or interpret\nit in music, poetry, or prose, on canvas or in stone. He can\nonly use the equipment furnished him by education and environment.\nConsequently his creation will be French; British, German, Russian,\nZulu, or Chinese, depending on where he lives. The work of the\nartist raised and educated in this country must necessarily\nIt is the Afroamericans masses, who consume\nseveral millions’ worth of hair-straightener and skin-whitener\nper anum in an effort to reach the American standard in pigmentation\nand hair-texture. This does not look as if they did not care\nwhether they were like white folks or not. Negro propaganda-art,\nis hardly more than a protest against a feeling of inferiority,\nand such a psychology seldom produces art.\nGEORGE S. SCHUYLER,\nTo THE EDITOR OF THE NATION:\nSir: For Mr. Schuyler to say that \"the Negro masses . .\n. are no different from the white masses\" in America seems\nto me obviously absurd. Fundamentally, perhaps, all peoples\nare the same. But as long as the Negro remains a segregated\ngroup in this country he must reflect certain racial and environmental\ndifferences which are his own. The very fact that Negroes do\nstraighten their hair and try to forget their racial back¬ground\nmakes them different from white people. If they were exactly\nlike the dominant class they would not have to try so hard to\nimitate them. Again it seems quite as absurd to say that spirituals\nand blues are not Negro as it is to say that cow¬boy songs\nare not cowboy songs or that the folk-ballads of Scotland do\nnot belong to Scotland. The spirituals and blues are American,\ncertainly, but they are also very much American Negro. And if\none can say that some of my poems have no racial distinctiveness\nabout them or that \"Cane\" is not Negro one can say\nwith equal truth that \"Nize Baby\" is purely American.\"\nFrom an economic and sociological viewpoint\nit may, be entirely desirable that the Negro become as much\nlike his white American brother as possible. Surely colored\npeople want all the opportunities and advantages that anyone\nelse possesses here in our country. But until America has completely\nabsorbed the Negro and until segregation and racial self-consciousness\nhave entirely disappeared, the true work of art from the Negro\nartist is bound, if it have any color arid distinctiveness at\nall, to reflect his racial background and his racial environment.\nSource: George S. Schuyler, “Negroes\nand Artists,” The Nation 123 (14 July 1926), p. 36; Langston\nHughes, “American Art or Negro Art?” The Nation\n123 (18 August 1926), p. 151.\nZORA ON \"BEING COLORED\"\nZora Neale Hurston's \"How It Feels to\nBe Colored Me,\" written in 1928 was a declaration of faith\nand a refreshing reproach of the \"racial burden\" thesis\nthat informed much of the writing of the Harlem Renaissance.\nHere is part of her autobiographical essay.\nI am colored but I offer nothing in the way\nof extenuating circumstances except the fact that I am the only\nNegro in the United States whose grandfather on the mother's\nside was not an Indian chief.... But I am not tragically colored.\nThere is no great sorrow dammed up in my soul, nor lurking behind\nmy eyes. I do not mind at all. I do not belong to the sobbing\nschool of Negroland who hold that nature somehow has given them\na lowdown dirty deal and whose feelings are all hurt about it...\nI have seen that the world is to the strong regardless of a\nlittle pigmentation more or less. No, I do not weep at the world--I\nam too busy sharpening my oyster knife.\nSomeone is always at my elbow reminding me that I am the granddaughter\nof slaves. It fails to register depression with me. Slavery\nis sixty years in the past. The operation was successful and\nthe patient is doing well, thank you. The terrible struggle\nthat made me an American out of a potential slave said \"On\nthe line!\" The Reconstruction said \"Get set!\";\nand the generation before said \"Go!\" I am off to a\nflying start and I must not halt in the stretch to look behind\nand weep. Slavery is the price I paid for civilization, and\nthe choice was not with me. It is a bully adventure and worth\nall that I have paid through my ancestors for it. No one on\nearth ever had a greater chance for glory. The world to be won\nand nothing to be lost. It is thrilling to think--to know that\nfor any act of mine, I shall get twice as much praise or twice\nas much blame. It is quite exciting to hold the center of the\nnational stage, with the spectators not knowing whether to laugh\nI do not always feel colored....I feel most\ncolored when I am thrown against a sharp white background....\nSometimes it is the other way around. A white person is set\ndown in our midst, but the contrast is just a sharp for me.\nFor instance, when I sit in the drafty basement that is the\nNew World Cabaret with a white person, my color comes. We enter\nchatting about any little nothing that we have in common and\nare seated by the jazz waiters. In the abrupt way that jazz\norchestras have, this one plunges into a number. It loses no\ntime in circumlocutions, but gets right down to business. It\nconstructs the thorax and splits the heart with its tempo and\nnarcotic harmonies. This orchestra grows rambunctious, rears\non its hind legs and attacks the tonal veil with primitive fury,\nrending it, clawing it until it breaks through to the jungle\nbeyond. I follow those heathen--follow them exultingly. I dance\nwildly inside myself; I yell within, I whoop; I shake my assegai\nabove my head, I hurl it true to the mark yeeeeooww! I am in\nthe jungle and living in the jungle way. My face is painted\nred and yellow and my body is painted blue. My pulse is throbbing\nlike a war drum. But the piece ends. The men of the orchestra\nwipe their lips and rest their fingers. I creep back slowly\nto the veneer we call civilization with the last tone and find\nthe white friend sitting motionless in his seat, smoking calmly.\n\"Good music they have here,\"\nhe remarks, drumming the table with his fingertips. Music. The\ngreat blobs of purple and red emotion have not touched him.\nHe has only heard what I felt. He is far away and I see him\nbut dimly across the ocean and the continent that have fallen\nbetween us. He is so pale with his whiteness then and I am so\nAt certain time I have no race, I am me.\nWhen I set my hat at a certain angle and saunter down Seventh\nAvenue, Harlem City, feeling as snooty as the lions in front\nof the Forty-second Street Library...the cosmic Zora emerges...\nSometimes I feel discriminated against, but it does not make\nme angry. It merely astonishes me. How can any deny themselves\nthe pleasure of my company? It's beyond me...\nSource: Zora Neale Hurston, The World Tomorrow\nXI (May 1928), 215-216.\nMARCUS GARVEY’S VIEWS ON RACE AND NATION\nIn the following article from the Negro World,\nthe newspaper of the Universal Negro Improvement Association,\nMarcus Garvey lays out his beliefs on race and nation.\nThe time has come for the Negro to forget\nand cast behind him his hero worship and adoration of other\nraces, and to start out immediately, to create and emulate heroes\nof his own.\nWe must canonize our own saints, create our\nown martyrs, and elevate to positions of fame and honor black\nmen and women who have made their distinct contributions to\nour racial history. Sojourner Truth is worthy of the place of\nsainthood alongside of Joan of Arc; Crispus Attacks and George\nWilliam Gordon are entitled to the halo of martyrdom with no\nless glory than that of the martyrs of any other race. Toussaint\nL'Ouverture's brilliancy as a soldier and statesman outshone\nthat of a Cromwell, Napoleon and Washington; hence, he is entitled\nto the highest place as a hero among men. Africa has produced\ncountless numbers of men and women, in war and in peace, whose\nlustre and bravery outshine that of any other people. Then why\nnot see good and perfection in ourselves?\nWe must inspire a literature and promulgate\na doctrine of our own without any apologies to the powers that\nbe. The right is ours and God's. Let contrary sentiment and\ncross opinions go to the winds. Opposition to race independence\nis the weapon of the enemy to defeat the hopes of an unfortunate\npeople. We are entitled to our own opinions and not obligated\nto or bound by the opinions of others.\nIf others laugh at you, return the laughter\nto them; if they mimic you, return the compliment with equal\nforce. They have no more right to dishonor, disrespect and disregard\nyour feeling and manhood than you have in dealing with them.\nHonor them when they honor you; disrespect and disregard them\nwhen they vilely treat you. Their arrogance is but skin deep\nand an assumption that has no foundation in morals or in law.\nThey have sprung from the same family tree of obscurity as we\nhave; their history is as rude in its primitiveness as ours;\ntheir ancestors ran wild and naked, lived in caves and in the\nbranches of trees, like monkeys, as ours…for centuries\neven as they accuse us of doing; their cannibalism was more\nprolonged than ours; when we were embracing the arts and sciences\non the banks of the Nile their ancestors were still drinking\nhuman blood and eating out of the skulls of their conquered\ndead; when our civilization had reached the noonday of progress\nthey were still running naked and sleeping in holes and caves\nwith rats, bats…and animals. After we had already fathomed\nthe mysteries of the stars and reduced the heavenly constellations\nto minute and regular calculus they were still backwoodsmen,\nliving in ignorance and blatant darkness.\nThe world today is indebted to us for the\nbenefits of civilization... Then why should we be ashamed of\nourselves? Their MODERN IMPROVEMENTS are but DUPLICATES of a\ngrander civilization that we reflected thousands of years ago,\nwithout the advantage of what is buried and still hidden, to\nbe resurrected and reintroduced by the intelligence of our generation\nand our prosperity. Why should we be discouraged because somebody\nlaughs at us today? Who [is] to tell what tomorrow will bring\nforth? Did they not laugh at Moses, Christ and Mohammed…?\nWe see and have changes every day, so pray, work, be steadfast\nand be not dismayed.\nAs the Jew is held together by his RELIGION,\nthe white races by the assumption and the unwritten law of SUPERIORITY,\nand the Mongolian by the precious tie of BLOOD, so likewise\nthe Negro must be united in one GRAND RACIAL HIERARCHY. Our\nUNION MUST KNOW NO CLIME, BOUNDARY, or NATIONALITY. Like the\ngreat Church of Rome, Negroes the world over MUST PRACTICE ONE\nFAITH, that of Confidence in themselves, with One God! One Aim!\nOne Destiny! Let no religious scruples, no political machination\ndivide us, but let us hold together under all climes and in\nevery country, making among ourselves a Racial Empire upon which\n\"the sun shall never set.\"\nThere is no humanity before that which starts\nwith yourself….God and Nature first made us what we are,\nand then out of our own creative genius we make ourselves what\nwe want to be. Follow always that great law… There is\nno height to which we cannot climb by using the active intelligence\nof our minds… Being at present the scientifically weaker\nrace, you shall treat others only as they treat you; but in\nyour homes and everywhere possible you must teach the higher\ndevelopment of science to your children; and be sure to develop\na race of scientists par excellence, for in science and religion\nlies our only hope to withstand the evil designs of modern materialism.\nNever forget your God. Remember, we live, work and pray for\nthe establishing of a great…RACIAL EMPIRE whose only natural,\nspiritual and political limits shall be God and \"Africa,\nhome and abroad.\"\nSource: Marcus Garvey, \"African Fundamentalism,\"\nNegro World (New York), 6 June 1925.\nSource: Negro World, “At the Crossroads,” April\n14, 1928, p. 4.\nMARCUS GARVEY: A SEATTLE WOMAN REMEMBERS\nIn September 1976 Juanita Warfield Porter\nwas interviewed as part of an oral history project sponsored\nby the state of Washington. Mrs. Proctor, a Seattle native who\nat that time was 64 years old, discussed her parents as members\nof the UNIA in that city. Mrs. Proctor was 10 years old when\nMarcus Garvey visited Seattle in 1922. In the passage below\nshe describes that visit and the activities of the Seattle division.\nOn Sunday morning after Sunday School at\nFirst AME Church we Warfield children walked down 14th Avenue\nto the UNIA Hall where they'd have meetings for the kids.....Sometimes\nwe kids wouldn't want to stay. 'Course, we'd have to stay until\nmy parents came to the meeting. After they came my mother and\nthe other ladies used to fix a big dinner for us kids and then\nthey'd have their meeting. I can remember the large dining room,\nthey had this long table.\nMy mother was one of the Black Cross Nurses.\nThere were about 50 to 100 women that belonged to the Black\nCross Nurses. They practiced first aid and stuff like that.\nThey used to march in the parades, like the Memorial Day Parade,\nand Fourth of July Parade. And they'd dress in their beautiful\nwhite uniforms with the black cross on the forehead, and on\nthe arm a red, black and green sash. And my dad, and the men\nwore the red, black and green sash across their chest.\nINTERVIEWER: Where your mother and father\nofficers in the UNIA?\nWell no, they were more of working members,\nyou know, mostly they were very faithful members, because they\nwent every Sunday and they would practice marching. They had\nmarch sessions, you know, on Wednesday evenings. I remember\nsometimes they would take us kids to them and they would practice\ntheir march. And then on Fridays they had choir rehearsal. See,\nthey even had choirs too.\nI remember Marcus Garvey coming here. We\nmet [him] at the Union Station, and all the Black Cross Nurses\nand the men were all there [in uniform] to greet him. And I\nwas the little girl that they gave the flowers to give to him.\nI though he was going to be a big tall man. He looked big in\nthe pictures, and when I went to give him the flowers he was\nalmost as short as I was.\nHe spoke at the Washington Hall on 14th and\nFir. As for his speech, you know, with kids, when we're kids\nwe don't pay any attention to what they were talking about.\nThey were trying to teach us about Africa, that we should know\nmore about Africa. I remember that, and they were working to...\nfree.... Liberia. And I remember my mother and father talking\nabout Marcus Garvey was getting this ship up to send black people\nback to Africa, the ones that wanted to go.\nSource: Juanita Warfield Proctor Interview,\nSeptember 22, 1975. Transcript at the Manuscripts and Archives\nDivision, University of Washington Library, Seattle, Washington.\nA LUNATIC OR A TRAITOR\nIn a May 1924 editorial in the Crisis, W.E.B.\nDuBois made one of his harshest attacks on Marcus Garvey and\nMarcus Garvey is, without doubt, the most\ndangerous enemy of the Negro race in America and in the world.\nHe is either a lunatic or a traitor. He is sending all over\nthis country tons of letters and pamphlets appealing to Congressmen,\nbusiness men, philanthropists and educators to join him on a\nplatform whose half concealed planks may be interpreted as follows:\nThat no person of Negro descent can ever\nhope to become an American citizen.\nThat forcible separation of the races and\nthe banishment of Negroes to Africa is the only solution of\nthe Negro problem.\nThat race war is sure to follow any attempt\nto realize the program of the N.A.A.C.P.\nWe would have refused to believe that any\nman of Negro descent could have fathered such a propaganda if\nthe evidence did not lie before us in black and white signed\nby this man….\nEverybody, including the writer, who has\ndared to make the slightest criticism of Garvey has been intimidated\nby threats and threatened with libel suits. Over fifty court\ncases have been brought by Garvey in ten years. After my first\nunfavorable article on Garvey, I was not only threatened with\ndeath by men declaring themselves his followers, but received\nletters of such unbelievable filth that they were absolutely\nunprintable. When I landed in this country from my trip to Africa\nI learned with disgust that my friends stirred by Garvey’s\nthreats had actually compelled to have secret police protection\nfor me on the dock!\nFriends have even begged me not to publish\nthis editorial lest I be assassinated. To such depths have we\ndropped in free black America! I have been exposing white traitors\nfor a quarter century. If the day has come when I cannot tell\nthe truth about black traitors it is nigh time that I died.\nThe American Negroes have endured this wretch\nall too long with fine restraint and every effort at cooperation\nand understanding. But the end has come. Every man who apologizes\nfor or defends Marcus Garvey from this day forth writes himself\ndown as unworthy of the countenance of decent Americans. As\nfor Garvey himself, this open ally of the Ku Klux Klan should\nbe locked up or sent home.\nSource: W.E.B. DuBois, Crisis, May 1924, pp.\nTHE MESSENGER: A BLACK SOCIALIST NEWSPAPER\nIn the first editorial of the Messenger titled\n\"Our Reason for Being,\" co-editors Chandler Owen and\nA Philip Randolph describe their approach to the black situation\nin the United States.\nFirst, as workers, black and white, we all\nhave one common interest, viz., the getting of more wages, shorter\nhours, and better working conditions. Black and white workers\nshould combine for no other reason than that for which individual\nworkers should combine, viz., to increase their bargaining power.\nThe combination of black and white workers will be a powerful\nlesson to the capitalists of the solidarity of labor. It will\nshow that labor, black and white, is conscious of its interests\nand power. This will prove that unions are not based upon race\nlines, but upon class lines. This will serve to convert a class\nof workers, which has been used by the capitalist class to defeat\norganized labor, into an ardent, class conscious, intelligent,\nSixth, The Industrial Workers of the World\ncommonly termed the I. W. W. draw no race, creed, color or sex\nline in their organization. They are making a desperate effort\nto get the colored men into the One Big Union. The Negroes are\nat least giving them an ear, and the prospects point to their\nsoon giving them a hand. With the Industrial Workers Organization\nalready numbering 800,000, to augment it with a million and\na half or two million Negroes, would make it fairly rival the\nAmerican Federation of Labor. This may still be done anyhow\nand the reactionaries of this country, together with Samuel\nGompers, the reactionary President of the American Federation\nof Labor, desire to hold back this trend of Negro labor radicalism....\nThe New York World, the mouth piece of the\npresent administration, and also a plutocratic mouth piece,\nsays in its issue of June 4, 1919, \"The radical forces\nin New York City have recently embarked on a great new field\nof revolutionary endeavor, the education through agitation of\nthe southern Negro into the mysteries and desirability of revolutionary\nBolshevism. There are several different powerful forces in N.Y.\nCity behind this move. The chief established propaganda is being\ndistributed through The Messenger, which styles itself-\"The\nonly magazine of scientific radicalism in the world, published\nby Negroes.\" With the exception of The Liberator, it is\nthe most radical journal printed in the U.S.\"...\nThere is a new leadership for Negro workers.\nIt is a leadership of uncompromising manhood. It is not asking\nfor a half loaf but for the whole loaf. It is insistent upon\nthe Negro workers exacting justice, both from the white labor\nunions and from the capitalists or employers.\nThe Negroes who will benefit from this decision\nare indebted first to themselves and their organized power,\nwhich made them dangerous. Second, to the radical agitation\ncarried on by The Messenger; and third, to the fine spirit of\nwelcome shown by the Industrial Workers of the World, whose\nrapid growth and increasing power the American Federation of\nLabor fears. These old line Negro political fossils know nothing\nof the Labor Movement, do not believe in labor unions at all,\nand have never taken any active steps to encourage such organizations.\nWe make this statement calmly, coolly and with a reasonable\nreserve. The very thing which they are fighting is one of the\nchief factors in securing for Negroes their rights. That is\nBolshevism. The capitalists of this country are so afraid that\nNegroes will become Bolshevists that they are willing to offer\nthem almost anything to hold them away from the radical movement.\nNobody buys pebbles which may be picked up on the beach, but\ndiamonds sell high. The old line Negro leaders have no power\nto bargain, because it is known that they are Republicans politically\nand job-hunting me-too-boss-hat-in-hand-Negroes, industrially.\nBooker Washington and all of them have simply advocated that\nNegroes get more work. The editors of The Messenger are not\ninterested in Negroes getting more work. Negroes have too much\nwork already. What we want Negroes to get is less work and more\nwages, with more leisure for study and recreation....In organization\nthere is strength; and whenever Negroes or anybody else make\norganized demands, their call will be heeded.\nSource: The Messenger (August 1919), 11-12.\nJAMES WELDON JOHNSON ON COMMUNISM\nThe appeal of Communism influenced even the\nmost moderate black leaders, as it influenced thousands of American\nwhites grappling with the Depression. In 1934 James Weldon Johnson,\nformer Executive Secretary of the NAACP, described why Communism\nwas attractive to blacks but nevertheless concluded that it\nwould fail as a force for social change in America. Part of\nhis explanation is provided below.\nCommunism is coming to be regarded as the\ninfallible solution by an increasing number of us. Those who\nlook to the coming revolution....seem to think it will work\nsome instantaneous and magical transformation of our condition.\nIt appears to me that this infinite faith in Communism indicates\nextreme naiveté. ....In considering Communism with respect\nto the Negro, the question before us, of course, is not how\nit works in Russia, but how it would probably work in the United\nStates. If the United States goes Communistic, where will the\nCommunists come from? They certainly will not be imported from\nRussia. They will be made from the Americans here on hand. We\nmight well pause and consider what variations Communism in the\nUnited States might undergo.\nI hold no brief against Communism as a theory\nof government. I hope that the Soviet experiment will be completely\nsuccessful. I know that it is having a strong influence on the\nprincipal nations of the world, including our own. I think it\nis a high sign of progress that Negro Americans have reached\nthe point of holding independent opinions on political and social\nquestions. What I am trying to do is sound a warning against\nchildlike trust in the miraculous efficacy on our racial situation\nof any economic or social theory of government -Communism or\nSocialism or Fascism or Nazism or New Deals. The solving of\nour situation depends principally upon an evolutionary process\nalong two parallel lines: our own development and the bringing\nabout of a change in the national attitude toward us. That outcome\nwill require our persevering effort under whatever form the\ngovernment might take on.\nI grant that if America should turn truly\nCommunistic (by which I mean-if it should adopt and practice\nCommunism without reservations, and not adapt it as it has adapted\ndemocracy and Christianity so as to allow every degree of inequality\nand cruelty to be practiced under them); that if the capitalistic\nsystem should be abolished and the dictatorship of the proletariat\nestablished, with the Negro aligned, as he naturally ought to\nbe, with the proletariat, race discriminations would be officially\nbanned and the reasons and feelings back of them would finally\nBut except to a visionary there are no indications\nthat the present or prospective strength of Communism is able\nor will be able to work such a change, either by persuasion\nor by military coup. In the situation as it now exists it would\nbe positively foolhardy for us, as a group, to take up the cause\nof Communistic revolution and thereby bring upon ourselves all\nof the antagonisms that are directed against it in addition\nto those we already have to bear. It seems to me that the wholesale\nallegiance of the Negro to Communistic revolution would be second\nin futility only to his individual resort to physical force...\nSource: James Weldon Johnson, Negro American,\nWhat Now?, (New York, 1934), pp. 35-40, 98-103.\nBLACK \"PILGRIMS\" IN THE SOVIET UNION\nIn the following account historian Allison\nBlakely describes the migration of a small group of African\nAmericans to the Soviet Union to participate in its \"new\nsociety.\" Part of his description appears below.\nIf some Negroes viewed Russia as a land of\npromise in the nineteenth century, in the 1920s and 1930s other\nNegroes, especially from the Americas, saw the Soviet Union,\nand its idea of the \"new society,\" as \"the promised\nland\" itself.... The bright humanitarian ideals of the\nSoviet Union represented one more alluring option to Negroes\nseeking a society where they would not be persecuted because\nof their color.... One observer estimated that by the early\n1930s several hundred Negroes had visited the Soviet Union.\nAs least a small segment of that number remained for several\nyears or permanently; others followed them in subsequent decades--politicos,\ntechnicians, and artists.\nThere were...Negroes who fought in the Red\nArmy during the Russian Civil War. A memoirist recalled that\na man named George fought on the Ural front in 1918 as a signal\ncorpsman in an international communist detachment assigned to\nthe division commanded by Vasili Chapaev.... Another Negro,\nthis one a cavalry officer who died leading a charge near Voronezh,\ninspired Boris Kornilov's poem, Moia Afrika [My Africa], published\nin 1935. In fact, the Soviets claimed to have won over an entire\nAfrican regiment from the forces the French employed to aid\nthe Whites [White Russian forces] during the Civil War.\nIn the 1920s several Negroes were among the\nfirst foreigners invited to attend special schools established\nto train Communist Party leaders for various parts of the world.\nAs part of Comintern's training program, in 1921 it founded\nthe Communist University for the Toilers of the East (sometimes\ncalled the Far East University). It was intended primarily for\nstudents from the Soviet East and from colonial countries. However,\nit soon admitted four American Negroes and one African then\nresiding in the United States...\nThe communist students represented only a\nsmall minority of negroes who have been so fascinated by...Soviet\nsociety that they paid a visit. Most were neither pro- nor anti-communist;\ntheir only definite objective was to find a society where a\nperson's worth was not defined by his skin color. The most interesting\nand well-documented visit of the type was that of the writer\nClaude McKay in 1922... He was originally invited to Russia\nin 1920 by John Reed, after Lenin had raised the issue of the\nNegro question at the Second Comintern Congress, but at the\ntime McKay felt unqualified for the mission. Having missed that\nopportunity, in 1922 he raised the fare for what he call his\n\"magic pilgrimage to Russia.\"\nAnother American Negro, Otto Huiswood, had\ncome to the Soviet Union as part of the American delegation\nto the Comintern Congress. However, it soon became obvious that\nthe Soviet leaders preferred McKay as a representative Negro.\nHuiswood was light-skinned whereas McKay was dark-skinned and\ntherefore better fit the Russian preconception of a Negro. This\nwas highly ironic considering Huiswood's credentials. A native\nof Dutch Guiana whose father had been born a slave, Huiswood\nwould eventually become one of the most prominent Americans\nin the Comintern. As a delegate from New York....he was the\nonly Negro among the ninety-four founders of the American Communist\nParty. McKay later claimed that the American delegation tried\nto have him deported because he had arrived with a British group\nand not with them. However the prominent Japanese communist\nSen Katayama interceded on McKay's behalf and he was allowed\nto stay. The Soviet leaders apparently had a specific objective\nin mind; for McKay soon found himself being photographed with\nZinoviev, Bukharin, Radek, Katayama, and other Party luminaries.\nAt the opening of the Congress, McKay, and not Huiswood, was\nseated on the platform as representing the symbolic presence\nof the black American worker.\nSource: Allison Blakely, Russia and the Negro:\nBlacks in Russian History and Thought (Washington, D.C., 1986),\nNEGRO WOMEN IN STEEL\nBy the late 1930s African American workers\nin major Northern cities had finally become part of organized\nlabor, usually joining “industrial” unions such\nas the United Steelworkers. Mollie V. Lewis’s 1938 article\nin Crisis titled “Negro Women in Steel,” however\nwrote of the growing support of the wives of these black unionized\nsteelworkers in Gary, Indiana, suggesting that the incorporation\nof African American workers and their families into the labor\nmovement also furthered the cause of societal racial integration.\nPart of her article appears below.\nPerhaps you are a Negro woman, driven to the worst part of town\nbut paying the same high rent,” writes Jenny Elizabeth\nJohnstone in her challenging little pamphlet Women in Steel.\n“You are strong. There is nothing new in suffering to\nyou,” she continues. “Your man is driven even harder\nthan the white workers, but your man gets lower pay— hired\nthe last and fired the first,” I know these women of the\nsteel towns of which Miss Johnstone writes—these women\nliving dreary lives under the domination of powerful and impersonal\ncorporations. I have been one of them. The conditions under\nwhich they live, the excessive rents demanded for cramped and\ninadequate shelter, the uncertainty of employment for their\nmen folk and the disruptive inconvenience of the mill shifts\nall combine to make life a hard and uneven road for them. It\nis because of such conditions, faced by the women of every mill\nworker’s family, that the Steel Workers’ Organizing\nCommittee, of the Committee for Industrial Organization has\nsponsored the formation of women’s auxiliaries in the\ncampaign for the unionization of the industry.\nLast summer I revisited Gary, that hard and\nunbeautiful metropolis of steel upon the banks of Lake Michigan.\nIn the mills which line the lake shore, furnaces were going\nfull blast, twenty four hours a day. Steel was pouring from\nthem in molten streams. Thou sands of men of both races and\nmany nationalities, sweaty and grimy, were tending the furnaces\nand conducting the ore through its processes to the finished\nSomething new had come into the lives of\nthese men. Thousands of them had joined the union. For the first\ntime it was possible for them openly to be union men in the\nmills of the United States Steel Corporation. For the first\ntime this vast corporation for which they worked had recognized\ntheir union and entered into an agreement with it.\nOnly a few miles distant, however, in Indiana\nHarbor and South Chicago, Little Steel had taken a bitter stand\nagainst the union and against the spirit of the New Deal and\nhad engaged in a costly fight which was climaxed by the Memorial\nDay Massacre. The strike was now over and the men were returning\nto work without the recognition which had been negotiated with\nHand in hand with the campaign to organize\nthe mill workers went the drive to bring the women folk of these\nmen into active participation in the labor movement. The agency\nfor organizing the women was the Women’s Auxiliary of\nthe Amalgamated Association of Iron, Steel and Tin Workers of\nNorth America. The objectives of the campaign were to organize\nthe women “to lend aid to the union in all possible ways,”\nto help them to maintain the morale of the steel workers, to\neducate them in the principles of trade unionism, and to weld\nthem into a force for social betterment.\nBringing Races Together\nIn the matter of race relations, Gary and\nthe adjacent steel towns are by no means utopian. From time\nto time bitter racial animosities have flared, not only between\nNegroes and whites, but also between native citizens and the\nforeign born, In addition many of the foreign born brought with\nthem to this country nationalistic enmities rooted in Old World\nconflicts. To induce the women of such diverse groups to join\nthe same organization, even for their own benefit, has been\nno easy task. In Gary I talked with Mrs. Minneola Ingersoll\nwho was in charge of the organization of women’s auxiliaries\nin the Chicago-Calumet district, Mrs. Ingersoll is a young southern\nwhite woman and a graduate of the University of Alabama. Together\nwe visited the homes of members of the auxiliary of both races\nand various nationalities.\n“Our policy in the auxiliary,\nas in the union,” Mrs. Ingersoll said, “is to organize\nall regardless of their race, color, creed or nationality. When\nit comes to exploitation, the mill owners draw no color line.\nThey exploit the native white workers just as they do the Mexican,\nPolish and Negro workers.”\nIn Indiana Harbor where Inland Steel had\nforced its workers into a long and bitter strike rather than\ngrant their demand for recognition, a num her of Negro women\nhad been drawn into the auxiliary In Gary, however, Negro women\nseemed more reluctant to join and the campaign had been less\nsuccessful among them, Along with the women of other groups,\nNegro women were represented on the picket lines of the struck\nDuring the strike they cooperated with others\nbehind the lines in the preparation and serving of hot meals\nto the strikers. They were members of the various committees\nwhich sought contributions of money and food to keep the strike\nNegroes Aided in Strike\n…The organizing of white and\nNegro women in the same units has naturally had its by-product\nin the field of race relations, While the auxiliaries have by\nno means eliminated racial barriers in a district where jim\ncrowism flourishes, they have for the first time made it possible\nfor the women of both races to get to know one another on friendly\nWhile the municipal government of Gary continues\nto keep the children apart in a system of separate schools,\ntheir parents are getting together in the union and in the auxiliary.\nAnd after school hours, the children meet jointly in a junior\nlodge under guidance of an instructor. It is noteworthy that\nthe only public eating place in Gary where both races may be\nfreely served is a cooperative restaurant largely patronized\nby members of the union and. auxiliary.\nThese, it may be true, are of minor importance.\nBut they represent steps toward inter-racial cooperation on\na mass basis. When the black and white workers and members of\ntheir families are convinced that their basic economic interests\nare the same, they may be expected to make common cause for\nthe advancement of these interests. Women of both races have,\nfor traditional reasons, been inclined to be more stand-offish\nthan men when it comes to organizing a common body. The efforts\nof the auxiliary to bring the women together may ultimately\nprove to be a significant factor in overcoming racial barriers\nwhich still retard the advance of the labor movement in this\nSource: Mollie V. Lewis, Negro Women in Steel,\nThe Crisis 45 (February 1938), 54.\nFRANKLIN ROOSEVELT: TWO VIEWS\nThe accounts below by Mary McLeod Bethune,\nthe most prominent African American appointee of FDR and Roy\nWilkins, an NAACP officer suggest the diversity of opinion about\nthe President concerning his commitment to full equality for\nAfrican American citizens.\nBethune: I knew Franklin D. Roosevelt as a\nfriend and as a political leader…There are those who criticize\nFDR's slowness to move against basic evils in our midst and\nhis obvious dislike of extreme methods of achieving his objectives.\nBut it is important to understand that his methods were those\nof a man of great experience and insight. He was a man of great\ndepth of mind and seldom made rash moves. I had many opportunities\nto study the man at work and in the midst of a crisis, and I\nwas struck by the calm, exact, almost mathematical way in which\nhe thought and moved.\nI often expressed to him my impatience with\nthe slowness of the democratic process. I remember going to\nsee him one evening .... I was feeling particularly distressed\nthat day over reports I had received on flagrant bias shown\nagainst Negroes seeking to enter the National Youth Administration\nin certain parts of the South. I told him about the situation\nin NYA in the South, about the lack of training facilities for\nNegroes in certain Southern states and of the refusal of state\ngovernments to allocate funds for Negro NYA activities. Negroes\ncould not enter the technical training schools established under\nNYA. I was visibly disturbed and made the President aware of\nhow I felt. I caught his arm and clung to him. \"The Negro\npeople need all of the strength that you can give, Mr. President,\nin opening up opportunities for them,\" I told him.\nHe looked at me seriously for a few seconds,\nand then said, \"Mrs. Bethune, I shall fail you. I'll see\n[that] everything that can be done to open up these sections\nof the South to NYA training for Negroes will be done. Your\npeople and all minorities shall have their chance…\"\nThat was not the last time that I felt impelled\nto speak out strongly to the President on conditions confronting\nNegroes in the South. More than once I proposed pretty drastic\nsteps to end the hideous discriminations and second class citizenship\nwhich make the South a blot upon our democracy. But FDR usually\ndemurred, pointing out that a New Reconstruction would have\nto keep pace with democratic progress on a national scale. He\nstrove to bring the whole country into a unified understanding\nof freedom....Frequently I would ask him with some impatience\nwhy this couldn't be done at once or that done immediately.\nHe would think awhile, and then say very carefully patiently,\n\"Mrs. Bethune, if we do that now, we'll hurt our program\nover there. We do this thing stride by stride, but leaving no\nFDR taught me much about practical politics\nand how important it is that we understand their meaning if\nwe are to make progress in the political arena… One day…at\na reception in 1940, he beckoned to me and opened up a conversation\nI shall always remember. \"You know, Mrs. Bethune,\"\nhe said, looking out of the window and yet speaking directly\nto me, \"people like you and me are fighting, and must continue\nto fight, for the day when a man will be regarded as a man regardless\nof his race or faith or country. That day will come, but we\nmust pass through perilous times before we realize it, and that's\nwhy it's so difficult today because that new idea is being born\nand many of us flinch from the thought of it. Justice must and\nThat is why I believed so deeply in Franklin\nWilkins: On the subject of the Negro, the\nRoosevelt record is spotty, as might be expected in an administration\nwhere so much power is in the hands of the southern wing of\nthe Democratic Party. And yet Mr. Roosevelt, hobbled as he has\nbeen by the Dixie die hards, has managed to include Negro citizens\nin practically every phase of the administration program. In\nthis respect, no matter how far behind the ideal he may be,\nhe is far ahead of any other Democratic president, and of recent\nThe best proof that Mr. Roosevelt has not\ncatered always to the South and has insisted on carrying the\nNegro along with his program is to be found in the smearing,\nrace hating propaganda used against him in the 1936 campaign\nby southern white groups. Both he and Mrs. Roosevelt were targets\nof filthy mud slinging simply because they did not see eye to\neye with the South on the Negro.\nThis does not mean that the Roosevelt administration\nhas done all that it could have done for the race. Its policies\nin many instances have done Negroes great injustice and have\nhelped to build more secure walls of segregation. On the anti\nlynching bill Mr. Roosevelt has said not a mumbling word. His\nfailure to endorse this legislation, to bring pressure to break\nthe filibuster, is a black mark against him. It does no good\nto say that the White House could not pass down some word on\nthis bill. The White House spoke on many bills. Mr. Roosevelt\nmight have pressed the anti-lynching bill to a vote, especially\nduring January and February 1938, when there was tremendous\npublic opinion supporting the bill. His failure to act, or even\nspeak, on the anti lynching bill was the more glaring because,\nwhile mobs in America were visiting inhumanities upon Negroes,\nMr. Roosevelt periodically was rebuking some foreign government\nfor inhumanity, and enunciating high sentiments of liberty,\ntolerance, justice, etc…\nFull credit must go to the administration\nfor its program of low cost housing, so sorely needed by low\nincome families. No one pretends that the American housing program\nis more than a beginning, but Negroes have shared in it in the\nmost equitable manner. However, there were, outside the slum\nclearance program, some damaging practices. The FHA, which insures\nmortgages for home buyers, has enforced a regulation which puts\nthe power and approval of the government on ghetto life. No\nNegro family which sought a home outside the so called \"Negro\"\nneighborhood could get a FHA-insured loan...\nThe farm program has not been ideally administered,\nbut colored people have shared in the benefits. More than 50,000\nfamilies have been assisted by the Farm Security Administration.\nMr. Roosevelt had the courage to appoint a Negro to a federal\njudgeship, the first in the history of the country. His nominee\nwas confirmed by a Democratic Senate without a murmur.\nHeavily on the debit side is Mr. Roosevelt's\napproval of the War Department's notorious Jim Crow in the armed\n[The] most important contribution of the\nRoosevelt administration to the age-old color line problem in\nAmerica has been its doctrine that Negroes are a part of the\ncountry and must be considered in any program for the country\nas a whole…. For the first time in their lives, government\nhas taken on meaning and substance for the Negro masses.\nSources: Mary McLeod Bethune, \"My Secret\nTalks with FDR,\" Ebony 4 (April 1949, [Roy Wilkins], \"The\nRoosevelt Record,\" Crisis 47 (November 1940).\nCHARLES HAMILTON HOUSTON OUTLINES THE CAMPAIGN AGAINST SCHOOL\nIn 1935 Charles Hamilton Houston, the chief\nlegal strategist for the NAACP announces the organization’s\ncampaign against race discrimination in public education and\nthe strategy it would follow. Unfortunately Houston died before\nthe Brown Decision was rendered by the U.S. Supreme Court in\nThe National Association for the Advancement\nof Colored People is launching an active campaign against race\ndiscrimination in public education. The campaign will reach\nall levels of public education from the nursery school through\nthe university. The ultimate objective of the association is\nthe abolition of all forms of segregation in public education,\nwhether in the admission of students, the appointment or advancement\nof teachers, or administrative control. The association will\nresist any attempt to extend segregated schools. Where possible\nit will attack segregation in schools. Where segregation is\nso firmly entrenched by law that a frontal attack cannot be\nmade, the association will throw its immediate force toward\nbringing Negro schools up to an absolute equality with white\nschools. If the white South insists upon its separate schools,\nit must not squeeze the Negro schools to pay for them.\nIt is not the purpose or the function of\nthe national office of the N.A.A.C.P. to force a school fight\nupon any community. Its function is primarily to expose the\nrotten conditions of segregation to point out the evil consequences\nof discrimination and injustice to both Negroes and whites,\nand to map out ways and means by which these evils may be corrected.\nThe decision for action rests with the local community itself.\nIf the local community decides to act and asks the N.A.A.C.P.\nfor aid, the N.A.A.C.P. stands ready with advice and assistance.\nThe N.A.A.C.P. proposes to use every legitimate\nmeans at its disposal to accomplish actual equality of educational\nopportunity for Negroes. A legislative program is being formulated.\nCourt action has already begun in Maryland to compel the University\nof Maryland to admit a qualified Negro boy to the law school\nof the university. Court action is imminent in Virginia to compel\nthe University of Virginia to admit a qualified Negro girl in\nthe graduate department of that university. Activity in politics\nwill be fostered due to the political set up of and control\nover public school systems. The press and the public forum will\nbe enlisted to explain to the public the issues involved and\nto make both whites and Negroes realize the blight which inferior\neducation throws over them, their children and their communities.\nSource: Charles Houston, \"Educational\nInequalities Must Go!,\" Crisis 42 (October 1935).\nSEGREGATED BASEBALL, 1939\nIn the article reprinted below Washington\nPost Sports Writer Shirley Povich describes the loss of talented\nplayers because of Major League Baseball’s color bar.\nPovich joins a growing chorus of white sports writers who demand\nthe integration of baseball and other professional sports.\nOrlando, Fla., April 6. There's a couple of\nmillion dollars worth of baseball talent on the loose, ready\nfor the big leagues yet unsigned, by any major league clubs.\nThere are pitchers who would win 20 games this season for any\nbig league club that offered them contracts, and there are outfielders\nwho could hit .350, in¬fielders who could win quick recognition\nas stars, and there is at least one catcher who at this writ¬ing\nis probably superior to Bill Dickey.\nOnly one thing is keeping them out of the\nbig leagues--the pigmentation of their skin. They hap¬pen\nto be colored. That's their crime in the eyes of many club owners\nTheir talents are being wasted in the rickety\nparks in the Negro sections of Pittsburgh, Philadel¬phia,\nNew York, Chicago and four other cities that comprise the major\nleague of Negro baseball. They haven't got a chance to get into\nthe big leagues of\nthe white folks. It's a tight little boycott that the majors\nhave set up against colored players.\nIt's a sort of gentleman's agreement among\nthe club owners that is keeping Negroes out of big league baseball.\nThere's nothing in the rules that forbids a club from signing\na colored player. It's not down in black and white, so to speak.\nBut it's definitely understood that no club will attempt to\nsign a colored player. And, in fact, no club could do that,\nbecause the elasticity of Judge Landis' authority would for¬bid\nit. And the judge can rule out of baseball any character whose\npresence he may deem ‘detrimental’ to the game.\nJust how a colored player would be detrimental\nto the game has never been fully explained, but that seems to\nbe the light in which they are regarded by the baseball brass\nhats. Perhaps it is because there is such an overwhelming majority\nof Southern boys in big league baseball who would not take kindly\nto the presence of colored athletes and would flash a menacing\nspike, or so. Perhaps it's because base¬ball has done well\nenough without colored players. It's a smug, con¬servative\nbusiness not given to very great enterprise and the intro¬duction\nof new and novel features.\nThere have been campaigns aimed at smashing\nthe boycott. One New York newspaper openly advocated the signing\nof Negro players, and Heywood Broun has often berated the baseball\nmagnates for drawing the color line. But despite the presence\nof thousands of colored customers in the stands, the club owners\nhave blithely hewed to the color line. They are content, seemingly,\nto leave well enough alone and make no concerted play for Negro\nA $200,000 Catcher\nBut in its restricted localities, Negro baseball\nhas flowered. There are Negro teams which now might do very\nwell in big league com¬petition even if they played as a\nNegro entity. The Homesteads of Pittsburgh are probably the\nbest colored team. They train here in Florida each spring, even\nas do the American and National League first teams. The other\nevening at Tinker Field, the Homesteads met the Newark Eagles\nof the same colored league. Curious Washington players flocked\nto the game, went away with a deep respect for colored baseball\nWalter Johnson sat in a box at the game, profoundly impressed\nwith growing the talents of the colored players. ‘There,’\nhe said, ‘is a catcher that any big league club would\nlike to buy for $200,000. I've heard of him before. His name\nis Gibson. They call him ‘Hoot’ Gibson, and he can\ndo everything. He hits that ball a mile. And he catches so easy,\nhe might just as well be in a rocking chair. Throws like a rifle.\nBill Jim Dickey isn't as good a catcher. Too bad the Gibson\nis a colored fellow.’\nUntil last season there was a colored pitcher\naround named ‘Satchel’ Page. The colored folks have\na penchant for picturesque names for their idols and ‘Satchel’\nPage was so-called because of the size of his feet. He was 6\nfeet 3, a left-hander and a whale of a pitcher. ‘He re-tired\nlast year at the age of 44,’ said Jimmy Wasdell, ‘and\nhe was still a great pitcher. I've been on clubs that barnstormed\nagainst Negro teams and in a dozen games against this Page we\nnever beat him. He beat Paul and Dizzy Dean one night, 1-0,\nand we got only one hit off him. I was the only minor leaguer\non our club...’\nSource: “This Morning with Shirley Povich,”\nWashington Post, 7 April 1939, Section III, p. 21.\nKENNY WASHINGTON AT UCLA, 1937\nMany people recall Woody Strode as one of\nthe first African Americans to obtain major dramatic roles in\nHollywood feature films of the 1950s and 1960s. However, like\nother actors of the day, or later, his career had its roots\nin both college and professional football. In the late 1930s\nStrode played on football at UCLA and where he was teammate\nto a young junior college transfer, Jackie Robinson (who choose\nthe Bruins over the University of Oregon despite an overzealous\nUO booster's gift of a new car). However the most famous Bruins\nteammate at the time was Strode's friend, Kenny Washington,\nthe first black quarterback in UCLA history and one of only\na half dozen African American to have ever played in that position\nat a major university. Washington, Robinson, and Strode, were\nexamples of some of the first black college athletes who became\ngenerally admired beyond the African American community. The\naccount below is Strode's recollection of Washington's greatest\ngame, the 1937 USC-UCLA meeting at the Coliseum.\nOur biggest game of the 1937 season was our finale against USC.\nThe first USC-UCLA game was played in 1929; UCLA lost 76-0.\nThe next year we lost 52-0. Bill Ackerman decided it wasn't\nhealthy for us to play them. They were just too good. The schools\ndecided not to play again until UCLA had a chance to build up\nUCLA didn't play USC again until Kenny and I got there. So we\nnever had beaten USC; we just ate their leftovers. And I swear\nthe people at those two schools hated each other. \"Goddamn\nUSC, those rich sons of bitches!\" I can imagine the betting\nthat went down it was like a war.\nWe always met at the Wilshire Country Club\nbefore the game: Willis O. Hunter, the director of athletics\nat USC, all the officials from UCLA, the president of the student\nbody, the coaches, yell leaders, song girls, dean of students,\nand anybody else connected with the game. They'd go over anything\nthat might lead to a problem. See, things would happen. Like\nwe stole Tire Biter once; that was their dog. Or one time somebody\nfrom the USC band was walking by and someone from our school\npoured a whole bucket of blue paint on his uniform. Well, I\nhad to buy that kid a new uniform. So they had this big meeting\nto try and keep everything on an even keel.\nMy biggest concern going into that first\ngame against USC was whether or not Kenny could play. At eighteen\nyears of age, in his first year of major college football, Kenny\nhandled the ball 90 percent of the time and then backed me up\nbehind the line on defense. He'd play sixty minutes of a sixty-minute\nballgame. Kenny got so beat up he'd spend his weekends at the\nHollywood Hospital getting glucose dripped into his arm. We\nwere all jealous, \"Look at that Kenny Washington lying\nup there with all those pretty nurses.\"\nUSC hit pretty hard, and if you're hurt internally,\nit's just going to be that much harder on you. Of course the\npress didn't know Kenny was injured; they went ahead and promoted\nthe game based on his ability to play. Maxwell Stiles wrote\nthis for the Los Angeles Examiner:\nIf one man can lick a football team, Kenny\nWashington looks like the man to do it. But if you are going\nto stick to the theory that a TEAM should beat a MAN, they you\nhave to take Howard Jones' Trojans.\nWe played on a cool, crisp December 4th at\n2:00 p.m. and 80,000 fans showed up... I was coming in through\nthe players' entrance, ready to play in the biggest game of\nmy life. I don't know how we thought we could beat USC; they'd\nrotate three tackles on me so I was always trying to block a\nfresh guy. But we were tough because we played from our hearts.\nI was so keyed up I must have bounced off three lockers and\nfour doors trying to find the tunnel to the field.\nWe were down 13-0 in the third quarter when\n[Coach] Spaulding pulled Kenny out of the game. He was taking\na terrible beating. As soon as Don Ferguson came in to replace\nhim, USC scored again... It was the fourth quarter when the\nwheels started falling off the Trojan's horse... We recovered\n[a fumble] on their 44-yard line. That's when Spaulding put\nKenny back in the game.\nThe ball was snapped to Kenny and he faded\nback. Our right halfback, Hal Hirshon, took off around my end.\nI stayed in to block... Hal caught the ball and scored; 19-7\nUSC. In those days the team scored upon had the option to kick\noff or receive. USC figured the pass to Hal Hirshon was just\na lucky break for us. They figured they'd kick off, pin us down\non our end of the field and run the clock out, after all, they\n'd been stopping us all day. They figured wrong.\nThey kicked off, and we took over on our\nown 28-yard line. We got into our huddle and Hal said, \"Kenny,\nI can beat their safety!\" Kenny said, \"Okay, run as\nfast as you can, as far as you can and I'll hit you.\"\nHal went deep. A couple of Trojans leaked\nthrough but Kenny shucked them off. He ran to his right and\nset to throw on the 15-yard line. Hal and [the safety] raced\nstride for stride until they crossed mid-field. Then [the safety]\nstarted pulling up. He must have thought, \"Screw it. Nobody\ncan throw this far!\"\nHal kept running, flat-out towards the goal.\nKenny cranked it up and unloaded. Hal caught it on their 20\nyard-line and took it for the score; 19-13 USC... Well, no one\never, even in the pros, had thrown a pass as far as Kenny Washington\ndid that day. That was the longest officially documented pass\nin the history of American football: 72 yards all together,\n53 yards in the air from the line of scrimmage. But Kenny received\nthe snap 10 yards behind the line, and he backpedaled and sidestepped\nuntil he was boxed into a corner on the 15. Well, from our own\n15 to the other guys' 23, that's 65 yards in the air, not counting\nthe diagonal. Nobody had ever seen throwing like that.\nThis time USC decide they would let us kick\noff. They knew if Kenny got the ball back he might throw it\nthe entire length of the field. They received the kick, but\nwe were so fired up they couldn't move the ball. They punted\nand we took over around midfield; there were three minutes left\non the clock.\nKenny ran and passed us down to their 14-yard\nline. On third down we tried to trick them. This time Hal Hirshon\ngot the ball and tried a pass to Kenny in the end zone. But\nHal was completely exhausted from running downfield time after\ntime. Hal threw the ball way short and as Kenny turned back\nfor it he slipped and fell flat on his face.\nIt was fourth down and 13 to go on their\n14-yard line. The final seconds were ticking off the clock.\nA touchdown meant a sure tie with a chance to win on the conversion.\nKenny received the snap and faded back. I ran a hook pattern\nto the 1-yard line; I was wide open. Kenny passed and as I turned,\nI saw the ball coming at me like a bullet. And like a bullet\nit went right through me.\nWe could have won if I held on to that pass.\nI didn't miss many. But when Kenny threw the ball, he threw\nit hard. He didn't throw many interceptions; if I couldn't get\nit nobody could. I've often thought about that pass; I don't\nknow how I missed it. I guess it just wasn't meant to be.\nSource: Woody Strode, Goal Dust: An Autobiography\n(New York, 1990), pp. 66-70.", "label": "No"}
{"text": "Duodenoscopes are important medical devices that are used for endoscopic retrograde cholangiopancreatography (ERCP) procedures. However, the devices have had serious problems in the past.\nLuckily, several medical device companies have stepped in to solve the problems. (Here are five of the innovations.)\nDuodenoscopes are flexible, lighted tubes threaded through the mouth, throat and stomach into the top of the small intestine. They’re an important tool for spotting problems such as lesions and tumors in the pancreatic duct and bile duct, but the devices are also complex, with many small working parts.\n“Duodenoscopes – regardless of whether they are reusable or single-use – are one of the most technically complex flexible endoscopes to design and manufacture, as they travel deep into the body with a camera mounted on the side instead of the front,” David Pierce, EVP and president of MedSurg and president of endoscopy at Boston Sci, told Medical Tubing + Extrusion. “The device must be flexible enough to safely navigate tortuous anatomy, yet stiff enough to effectively deliver therapy to a patient’s biliary anatomy.”\nReprocessing them is tough — a bad situation because reprocessing failure can result in one person’s tissue or fluid remaining on the scope and going into someone else. By 2015, there were numerous reports of deadly “superbug” infections associated with the devices. The FDA later reported in 2019 that the reprocessing problem was a lot worse than previously thought —with contamination rates around 5.4% for high-concern bugs such as E. coli and Pseudomonas aeruginosa.\nThe FDA recommended in July 2020 that hospitals and endoscopy facilities consider using duodenoscopes with disposable components to lower the risks of infection. The agency also said it believes that the best solution for reducing the risk of disease transmission from duodenoscopes was through innovative device designs that make reprocessing easier, more effective or unnecessary.\nSince the FDA recommendation, the agency has cleared several duodenoscope innovations – ranging from disposable duodenoscopes to disposable components that make reprocessing easier. Creating single-use scopes or scope components is not without challenges.\n“In any single-use scope, the main challenge is to design an endoscope which is on par with the quality of a reusable while keeping the production costs low enough to make sense in hospital economy. A single-use scope must cost a fraction of a reusable scope and this is an innovation and manufacturing challenge,” Rasmus Kümmel Holtze, Ambu’s director of global product management in gastroenterology, said.\nHere are five single-use innovations to reduce “superbugs.”", "label": "No"}
{"text": "Prolonged exposure to high blood sugar levels (hyperglycemia) will cause long-term\ndamage to your body. But hypoglycemia, low blood sugars, can cause immediate\nharmful effects including a diabetic coma. It is important to be able to recognize the\nsigns when your blood sugar is too low and to carry emergency supplies to rectify the\nPeople will react and show different symptoms when their blood glucose levels are too\nlow. They can include some or all of the following:\n* Feeling hungry\n* Feeling nervous or panicked\n* Feeling light-headed or dizzy\n* Weakness or lethargy (wanting to go to sleep)\n* You may be confused, having difficulty speaking or stringing thoughts together.\nOnce you have experienced hypoglycemia a few times you will begin to recognize the\nsignals your body will give you when you need more food in your body. It is important\nto check you blood sugar with your monitor and have something right away that will act\nimmediately to raise your blood sugars. Hard candies or glucose tablets work fast and are\neasy to have on you at all times. In case you are not able to help yourself, carry\nsomething that identifies you as a diabetic and instructions of what to do and who to call\nif you need assistance.\nOnce you have eaten something, test your blood sugar again in 15 minutes to make sure\nthat it is going back to a normal range. You will want to have a snack or a meal too as\nthe burst of sugar will not be long lasting.\nBy eating small and frequent meals every two to three hours you can lessen the chances\nof having hyperglycemia. Another safety precaution that should be taken includes eating\nprior to exercising and afterwards to keep up your energy level.", "label": "No"}
{"text": "Foreign Workers, 1941-5 (1941 - 1945)\nAbout this artwork\nAugust Sander’s monumental documentary project ‘People of the 20th Century’ has been described as a work of cultural and social history executed in the medium of photography. It comprises over 500 photographs classified into seven groups, further subdivided into more than 45 portfolios representing the social classes and professional divisions of the time. This is a photograph from the group ‘The City’ and its portfolio entitled ‘Foreign Workers’, which Sander produced during 1941–5 in Kuchhausen in the Westerwald, where he and his wife settled after leaving Cologne. The people depicted in the portfolio are mainly agricultural labourers from the Ukraine, who had been allocated to the local farms because of the national labour shortage. Most of them left the region at the end of the war.\n- title: Foreign Workers, 1941-5\n- accession number: AL00115\n- artist: August SanderGerman (1874 - 1964)\n- gallery: In Storage\n- object type: Photograph\n- materials: Black and white photograph on paper\n- date created: 1941 - 1945\n- measurements: 19.30 x 24.00 cm (paper 43.90 x 34.00 cm; mount: 46.00 x 36.00 cm) (framed: 48.20 x 38.20 x 3.20 cm)\n- credit line: ARTIST ROOMS National Galleries of Scotland and Tate. Lent by Anthony d'Offay 2010\n- copyright: © Die Photographische Sammlung/SK Stiftung Kultur - August Sander Archiv, Köln/VG Bild-Kunst, Bonn and DACS, London 2016.\nConsidered one of the finest photographers of the twentieth century, Sander's bold style of portrait photography, as well as his typological approach, has had an enormous influence on modern photography. During his apprenticeship in several German studios and his time in his own studio in Austria, he developed his individual style. Then in 1910 Sander moved to Cologne and produced his first large group of photographs, which he later included in his concept \"People of the 20th Century\". This was created in the mid-1920s and compiled up until the 1950s. He photographed groups of people in his native Germany, classifying them according to their occupations and positions in society.", "label": "No"}
{"text": "Nitrogen is essential for raising crops and a deficiency will soon become evident. Older leaves on the plants start to turn yellow due to a reduction in chlorophyll production. Flowers, fruit, protein and starch content are all reduced when your crops suffer from nitrogen deficiencies.\nChlorosis Stunted growth General starvation\nMaintaining sufficient fish populations is the best preventative measure to ensure adequate levels of nitrates, nitrites and overall nitrogen. Monitoring the nitrogen levels, as well as other nutrients, in your system will inform you regarding the types of crops that are compatible with your conditions.", "label": "No"}
{"text": "The Académie française, the institution that regulates official changes to the French language, has approved a proposal to change the spelling of approximately 2,000 French words.\nThis includes eliminating the accent circonflexe when it appears over the letters i and u, eliminating some hyphens (eg. week-end becomes weekend), adding some hyphens (vingt et un becomes vingt-et-un), and changing some accents.\nIn other changes, oignon (onion) becomes ognon. The accent remains in cases where the meaning would be too confusing without it. For example:\n- un homme mûr – a mature man\n- un homme mur – a wall man\nLest we panic, all official sources say that both the new and the old spellings should be considered correct.\nHere is a link to an eight page document describing the changes.", "label": "No"}
{"text": "Description, Dialogue, & Action\nThis article was last updated December 12th, 2008. Thanks to everyone who provided suggestions!\nSo, you’ve got the perfect story: a great character, your basic plot, a world, and hey—maybe you’ve even sketched out a few scenes. But there’s just a few things missing—maybe the dialogue just doesn’t seem to work, or your action scenes don’t seem realistic. So for all of you out there who just need a few quick pointers, I hope this helps.\nWhen having trouble writing description, try blocking out the scene in very general terms. What are you trying to convey? Is it hot? How many people are there? What kind of floor are your characters standing on? You don’t need to get into the really fine details, but your audience is going to want a mental picture. I usually keep in mind three main characteristics: the atmosphere, the general placement of objects or people, and either what the main character is doing or what he or she looks like.\nThe town was bright and bustling; nary a breeze ran through the crowded city streets. The sweltering midday sun was as hot as midsummer, though the seasons still claimed the day as spring. The abundant light flashed and reflected off metal armor and shining trinkets in the various stalls of Travelers’ Square. A young guard wiped his forehead with the back of his tanned hand at his post in the corner of the Square as he surveyed the ever-changing scene. Merchants bartered and haggled, shouting across the busy cobblestones as they advertised their wares. A few roadside performers practiced their acts, gaining the attention and coin of several passersby with their prowess. Old Alchnet the wizard scowled as he caught the guard’s stare, and the youth quickly redirected his gaze. He looked down, carefully refastening the cuff on the stiffened jacket of his cobalt uniform.\nAtmosphere: Hot & crowded—not a very personal or quiet place.\nPlacement of objects/ people: There are stalls to either side of the road, backed by merchants, and travelers line the cobblestones.\nMain Character: A young guard on duty, wearing a blue uniform.\nWords like ‘sweltering midday sun’ give both the time of day and the temperature—effective in concisely describing the scene and giving the reader a feel of the heat before the scene has even truly begun. The guard’s tanned hand shows that this kind of day isn’t so unusual—Traveler’s Square is a temperate place. The roadside performers, merchants, and the stalls themselves all add a certain sense of reality, in addition to making the Square seem crowded.\nGranted, this example would be best used for an introduction to a chapter or story—it sets the scene with minute details, but very little action takes place. Scenes like this one are good to introduce new settings, but can be easily overused, making the story long and drawn out.\nDescriptions don’t have to be long. In fact, most character descriptions won’t be. A sentence or two is enough to give a basic understanding of a character, which can be built upon later—in the meantime, the action can continue. (Some character descriptions take place during an action scene already in motion. See Erin M. Evans’ “The Deception of Description” for more on writing in-action descriptions of characters.) For quick character descriptions, focus on the most obvious attributes. If the character towers over everyone in the room and has ornate tattoos all across his bald head, don’t tell us about his dainty nose. Remember: not everyone is perfect. Some characters should have physical flaws—don’t forget to describe them.\nLastly, add little details about the nonentities—that is, the characters who don’t particularly have a big part—or give more depth to your character by referencing their past. Both give a sense to the reader that this world isn’t being created—it’s being viewed. Details make the story. Use your imagination!\nMany of the steps for good dialogue are similar to those for a good description. Dialogue is a great opportunity to sneak in details about the characters—what they’re wearing, their personalities, or their current mood. The tone of a voice, or the action of a character speaking, expresses a lot to the reader. In this first example, notice Alchnet’s temperament—he’s just been robbed, and he isn’t too happy with the guards who are on duty, Keorni and Marik.\n“If I may, sir.” Keorni stepped forward, his voice deep and firm, and paused at Marik’s right elbow. “What did the thief look like?” His tone was sufficiently officious, but unthreatening. Marik bit his tongue, wondering where the words had gone as his partner took the brunt of Alchnet’s glare.\n“Thief was tall. Elven.” Alchnet’s thin eyes shifted behind them, angrily noting the crowds avoiding his tent, then returned to Keorni. “Silver hair.”\nA tall elf? Marik found his voice, finally, and jumped in. “Tall, sir?” Most elves were short, save those in the royal family; a tall elf might be bastard nobility. Or just a fluke. Marik, with his fair blonde hair brushing six feet, would have easily towered over any of them.\n“Yes. Tall, sir,” the Wizard hissed, his voice pitched mockingly high. He tugged at his beard, straightening it for an instant, then began examining another rack of wands, his dark eyes narrow. “About your height, boy.”\nAlchnet keeps his answers short and terse. His eyes shift; at one point, he even hisses at the guards. If you were a happy-go-lucky halfling who’d just won a bet, you wouldn’t be ‘hissing,’ now, would you?\nThrough the dialogue we also learn the description of a character not even present: the thief is tall, elven, and has silver hair. It’s not the most poetic way to describe a character, but it is, in some cases, effective. Be careful not to use this technique often, however—having your characters described this way is memorable, and it gets impractical very quickly.\nKeep in mind that dialogue tags such “hissed” or “snapped” should be used in moderation. “Said” is fine for most instances, and no dialogue tag at all is frequently just as suitable. If you don’t use a tag, however, be sure not to put the name of or refer to someone who isn’t speaking next to the dialogue. Otherwise, it becomes ambiguous as to who’s doing the speaking, as in this example:\n“I would like the leather armor.” The shopkeeper tallied up the order.\nIt's difficult to tell if the quote belongs to a customer or the shopkeeper, here. We can assume it's not the shopkeeper, but the reader automatically associates the dialogue with the nearest name, and so what logically makes sense (that a customer is buying the armor) and what we automatically assume (because the shopkeeper is closest to the quote) is in conflict. Without dialogue tags, be careful to make sure the speaker is unambiguous.\nThe next example is multi-purpose: it describes the character, gives insight to his personality, and—as an added bonus—shows the benefit of dialect. A thief growing up on the streets doesn’t have the education of a high-elven noble. One of the ways to demonstrate his background is through his language.\n“Ye’ve got a fertile imagination on ye, taka. Don’ even try yer dagger.” The stranger’s eyes glinted, and Marik dropped his hand. His captor was a black-haired youth, obviously of Lowertown. At his waist was a belt strapped with at least seven daggers; his left arm boasted a worn leather band with another. “Ye look like ye’ve been ’ere awhile. Ye should know th’ rules. Lessen ye’re just thick ’eaded.” The youth let Marik fall, and leaned against the opposite wall of the narrow alley. He took out a dagger and tested its point. “What’re ye doin’ ’ere?”\nThe most important thing to remember when using dialect is not to overdo it. Dropping out half the letters in a word and replacing them with an apostrophe isn’t going to sound real. And even in a fantasy story, the reader seldom enjoys a tale that isn’t believable. (To an extent, at any rate.) Beyond that, make sure the character is consistent in his dialect. If he drops all his ‘h’s and never says ‘you,’ only ‘ye,’ remember that. Make a note somewhere—readers often remember such quirks better than the author, and they certainly aren’t going to hesitate to point out an error.\nNotice that certain characters speak different ways. A dwarf has more of a tendency to speak roughly, while an elf might use words such as ‘thee’ or ‘thy.’ One of your characters might call everyone ‘mate,’ while another would be disgusted by such camaraderie. How much a character speaks develops their personality. If a seer only speaks once in three pages, while her companions have been conversing the entire time, she might come across as shy, or perhaps wise, depending on what she says. In the same way, someone who always speaks in riddles and rhymes will probably sound a little crazy. It all depends on what you want to convey, but a great deal of personality can fit between the quotation marks.\nHere, balance is the key. As said by S. B. Hulsey (“Writing Action Scenes”), too much description can slow down the action. Still, some is not a bad idea—it helps to form a picture of the scene in the reader’s mind.\nOf course, my first suggestion isn’t description—it’s choreography. In a battle scene, the placement of characters can be confusing, and the descriptions of their actions are often lacking. I suggest going over your scene mentally, then getting up and trying it yourself. If you’re really dedicated, get a friend or family member to be the other characters. Position them as you imagine the scene, then run through it—is it possible? I’ll use my own scene as an example:\nEasily parrying her first advance, the youth darted under her defenses, scoring a light blow on the ribs. As he came out, Krishena slammed the hilt of her dagger against his forehead, and he rolled to the side, blood welling in the wound. Unflinching, he got to his feet in a single fluid movement, seemingly unharmed, though blood ran down the contours of his face. Dropping one of his blades as she threw hers, he grabbed the oncoming missile by the base of the blade, its edge cutting into his hand. Reversing the grip, he circled warily, searching for an opening.\nKrishena, the woman, attacked first. The youth, a thief skilled with knives, was able to parry her blow while ducking under her arm and slashing at her ribs. However, he made the attack quickly, since he was defenseless for that short period of time—hence, he only scored a light blow. As he ducked back under her arm, Krishena brought down her own dagger on his forehead, and he rolled with the impact. And so on. I tried this scene myself, and I think it’s actually possible. (Though you’re of course entitled to your opinion.)\nAnd—as I keep saying—little details make it real. If you don’t know much about battles, use your favorite authors for reference—R.A. Salvatore, in particular, is known for his choreography. Or just try the scene and see how it works. Rolling to the side to avoid a blow or reversing the grip on a dagger are both examples of common battle tactics—but it’s not something a barbarian character would do. Fit the fighting style with the character, and try to logically reason out their actions, even if you don’t truly know what they would do.\nRemember, not all action scenes have to contain a battle. A court debate can contain a great deal of excitement, even if the characters aren’t fighting. Conflict makes action, but conflict can be emotional as well as physical. Even simple games, in some cases, could be considered action. A game of throwing knives, for example, doesn’t have to turn violent to be fast paced—tension, not violence, defines action.\nOn a grammatical basis, both dashes and the length of paragraphs are important to the feel of a piece. Dashes bring attention to the second clause of the sentence—almost like an extended comma, or a semi-colon. I usually use them to speed up action; two sentences take far longer to read than just one. With a dash the ideas stay linked, but less formally than with a semi-colon or period. Take the following two examples:\nIt stuck true, less than a finger’s width from the exact center, drawing looks of surprise from the others of the group. The woman was only one who seemed to not notice.\nIt stuck true, less than a finger’s width from the exact center, drawing looks of surprise from the others of the group—save the woman.\nShortened sentence style and fast dialogue also help to spice up a scene, but don’t overdo it. If the sentences get too short, the piece sounds choppy and overdramatic.\nIt’s a combination of action, dialogue, and description that ties any story together. Without action, the story drags on, and the plot never continues; without description, the setting is nothing more than a blank wall. Dialogue shows the characters' personalities, and complements both action and description at the same time. To learn to meld them all takes time, and practice. So start writing!\nFARP Article Guestbook\n|17 Feb 2011|| Lilmogirl|\nI understand what is being said about shortened sentence style and fast dialog, but I am having a hard time with the comparisons. At the end of the first comparison it says, \"The woman was only one who seemed to not notice.\" At the end of the second comparison it says, \"Save the woman.\" In the first one it gives me the understanding that the woman was not paying attention to the happening in her surroundings. In the second, it makes me think that the woman needs to be saved. There just isn’t enough information for me to get a clear understanding of what is going on with the woman in the second comparison. And I do believe if I were reading a book with a dialog like this in it, I would be asking the question, \"Why does the woman need to be saved?\"\n|31 May 2011|| Anon.|\n|19 Jun 2011|| Julia K Cellini|\nThis is a great tutorial! I’ll definately come back to this one when I begin to write action scenes. Awesome examples too, I would like to read the rest of some of these stories.\n|22 Nov 2011|| Caitlin|\nThat was actually very helpful, thank you so much! You seem like a very talented writer and I’d love to continue reading the story you were referencing\n|31 Dec 2011|| Anon.|\nThank you. I’ve been working on a book I’m writing, and I noticed it was undescriptive. This helped me alot\nI took notes.. I’m a nerd.\n|30 Apr 2012|| Hello|\n|30 Apr 2012|| Hello|\ndemi lovato is crazy talented\n|23 Jul 2012|| Anon.|\n|3 Mar 2013|| Lucas No|\nNot to brag, but I’ve been highly praised for my use of description and dialogue.\n|8 Apr 2013|| Anon.|\n@Lilmogirl, I don’t know if you’re joking, but \"everyone - save the woman\" actually means \"everyone - except for the woman\". No need to save anyone, here.\n|Page:  2 3 4 5 6 7 8 9 |\nBack to the FARP main page.\nThe collection of art and writing tutorials in the Elfwood Fantasy Art Resource (F.A.R.P.) is a part of Elfwood.\nThe FARP logo was created by Miguel Krippahl (The muscular guy in the FARP-logo) and Thomas F Abrahamsson (The text and general graphic design). Those sections written by volunteers are copyrighted to Thomas Abrahamsson and the respective writer. Elfwood is a project once founded by Thomas Abrahamsson.\nAll rights reserved. Unauthorized Reproduction of the graphics, writings, and materials on these pages is absolutely prohibited! You may consider all material on these pages protected and copyrighted, unless otherwise noted. You may NOT use the images found at the FARP or Elfwood pages on your home pages! All of these images are copyright protected! Everything you see here represent the collaborative effort of the Elfwood community and Thomas Abrahamsson. Please read the Legal Disclaimer for more info on warranties/etc for these pages!", "label": "No"}
{"text": "Sketch pad - You can start small, if you wish, at around 5 or 6 inches by 8 or 9 inches. These are good for carrying around with you, in case of a drawing emergency. If you feel comfortable with a larger size, go for it. At this point, you don't need a high grade of paper. The idea is to do lots and lots of sketches, and for this newsprint pads or a sketch pad are cheap and work fine. If money is not an issue, a heavier weight drawing paper, like Strathmore, or even a hardbound drawing book is great. An art supply or office supply store will have these materials.\nDrawing tool - A soft pencil is good, preferably a 2B or 3B drawing pencil. You can also try a felt tip pen or even a ballpoint pen, just to get a different feel. These can all be found at an art supply store, some office supply stores.\nKneaded eraser - These are sold in art supply stores, or some office supply stores. A small to medium size is good, unless you are working on large paper. These can be kneaded after use, to get a cleaner surface to erase with. These only erase pencil marks, not felt tip or ballpoint. There are erasers made for these pens - look in an art or office supply store.\nExercise 1 - Contour Drawing\n(I recommend that you first read Art Instruction, to get the most benefit from this exercise.)\nContour drawing is a good beginning exercise, in the way that practicing scales is good for learning the piano. It uses the element of line to create a three-dimensional outline of objects. Natural objects are especially suitable, like plants, flowers, hands, and the human figure, but it is also good to try drawing non-natural objects, like containers with interesting shapes, or old shoes, which can have a lot of character.\nContour drawing should be done very, very slowly. Place your chosen object in front of you, where you get a good view of it. You will be starting to draw anywhere on the object's edge - but you will be aware of how the object doesn't end at that edge, but continues behind it, usually as a rounded contour, unless the object is geometric, for instance, a cube. (An outline of the object would be two-dimensional, or flat; a contour is three-dimensional.) Keep your eyes on the object as much as possible (try not to look at your paper), and concentrate on what the contour does, every single little curve or meander. Don't worry at this time about getting an exact likeness or correct proportions. If your edge goes into the form, follow it until it ends, and then pick up the contour where you left off.\nTry to feel the line, its jaggedness or smoothness, its curve, its delicacy, or sharpness. If you feel the form going away from you, press down on your pencil. Your progress should be so slow as to be painstaking - don't draw the line until you feel sure of what it does next. It is like climbing the mountain, as opposed to flying over it. And don't think about what the form is, like elbow or leaf - just draw the line/contour and what it does. When you finish the outer contours, you can draw the inside contours, for example, the features on the face, or lines on a leaf. Don't erase for this exercise! You are not making a drawing - you are involved in a process of learning.\nWhen you are finished, don't be dismayed if it doesn't look like a \"real\" drawing. If you do the exercise correctly, and many, many times, you'll see progress as you look back on last month's drawings. Carry your sketchbook with you as much as possible, for when you are in life's waiting rooms. The best time to draw, when you feel confident enough to tackle a figure, is with your family or friends. People are relaxed, in comfortable positions, and unself-conscious - and they make great models. Drawing yourself is good, too - your hands and feet in different positions.\nMaking it fun for yourself is good, too. Draw things that really interest you, and that you love. Play your favorite music, and wear your most comfortable clothes. Save your drawings - you will see progress, I promise! You are learning to SEE. And the more you learn to see, the more you will see, and that knowledge will in turn improve your drawing.\nRecommended Drawing Books:\nThe Natural Way to Draw, by Kimon Nicolaides, Houghton Mifflin Company, Boston, 1941.\nDrawing on the Right Side of the Brain, by Betty Edwards, J.P. Tarcher, Inc., Los Angeles, Distributed by Houghton Mifflin Company, Boston, 1979.\nOnce you have done many contour drawings, and are feeling adventurous, try:\nBlind contour: Try doing the entire drawing without looking at your paper.\nOther hand contour: Try drawing with your non-drawing hand. This will really get you to slow down!\nSuggested Art/Artists for Examples of Line Drawings/Etchings:\nLine has been used in many ways throughout art history; not only with contour drawing, but with variations of the contour. The following are just some examples of the use of line in art: Picasso line drawings (especially portraits) - I was unsuccessful in locating examples of these on the Web; Holbein the Younger (click on the Scholar portrait thumbnail); Leonardo da Vinci;Ingres; Durer (scroll down to see the engravings); Chinese ink drawings (click on the images to enlarge); the sculptor Rodin's drawings; Mary Cassatt etchings (influenced by Japanese prints coming into Europe in the mid-19th century).\nVan Gogh also did many ink drawings using line; rather than limiting his use of line to contours, he used it in the form of variously shaped marks, which serve to create a textural effect, as well as to help delineate spatial depth. A good example of the latter shows how \"empty\" space (the white of the paper) can indicate a sense of spatial depth as much as the actual lines and marks do so.", "label": "No"}
{"text": "Do you have an interest in visual or performing art, creative writing or conveying information? You may enjoy working in the Arts & Communications industry. Below are some possible careers that may interest you in Arts & Communications.\nPossible Career Pathways:\n- Announcers - Announcers present music, news, and sports and may provide commentary or interview guests about these or other important topics. Some act as masters of ceremonies (emcees) or disc jockeys (DJs) at weddings, parties, or clubs.\n- Art Director - Art directors are responsible for the visual style and images in magazines, newspapers, product packaging, and movie and television productions. They create the overall design of a project and direct others who develop artwork and layouts.\n- Broadcast and Sound Engineering Technicians - Broadcast and sound engineering technicians set up, operate, and maintain the electrical equipment for radio programs, television broadcasts, concerts, sound recordings, and movies.\n- Editors - Editors plan, review, and revise content for publication.\n- Fashion Designers - Fashion designers create original clothing, accessories, and footwear. They sketch designs, select fabrics and patterns, and give instructions on how to make the products they designed.\n- Film and Video Editor and Camera Operator - Film and video editors and camera operators manipulate moving images that entertain or inform an audience.\n- Floral Designer - Floral designers, also called florists, cut and arrange live, dried, and silk flowers and greenery to make decorative displays. They also help customers select flowers, containers, ribbons, and other accessories.\n- Graphic Designers - Graphic designers create visual concepts, using computer software or by hand, to communicate ideas that inspire, inform, and captivate consumers. They develop the overall layout and production design for various applications such as advertisements, brochures, magazines, and corporate reports.\n- Interpreters and Translators - Interpreters and translators convert information from one language into another language. Interpreters work in spoken or sign language; translators work in written language.\n- Industrial Designers - Industrial designers develop the concepts for manufactured products, such as cars, home appliances, and toys. They combine art, business, and engineering to make products that people use every day. Industrial designers consider the function, aesthetics, production costs, and the usability of products when developing new product concepts.\n- Photographers - Photographers use their technical expertise, creativity, and composition skills to produce and preserve images that tell a story or record an event.\n- Reporters, Correspondents, and Broadcast News Analysts - Reporters, correspondents, and broadcast news analysts inform the public about news and events happening internationally, nationally, and locally. They report the news for newspapers, magazines, websites, television, and radio.\n- Recreational Therapists - Recreational therapists plan, direct, and coordinate recreation-based treatment programs for people with disabilities, injuries, or illnesses. These therapists use a variety of modalities, including arts and crafts; drama, music, and dance; sports and games; aquatics; and community outings to help maintain or improve a patient’s physical, social, and emotional well-being.\n- Writers and Authors - Writers and authors develop written content for advertisements, books, magazines, movie and television scripts, songs, blogs, or other types of media.\nInformation from U.S. Bureau of Labor Statistics", "label": "No"}
{"text": "The following article by Daniel O’Keefe appeared in School Library Journal on December 4, 2012.\nIf you’ve played enough well-designed games, you know that they provide immediate feedback, are constantly challenging, promote learning by doing, and reframe failure as iteration. As most teachers already know, these are core principles of good teaching. This is a powerful relationship. When we make it explicit, and design from it, we see students engaged in playful, studious, and deep learning.\nIn 2009, the Institute of Play, a not-for-profit design studio founded by a group of game designers, collaborated with the New York City Department of Education and New Visions for Public Schools to design and realize Quest to Learn (Q2L). A game-like public school in New York City, Quest to Learn opened its doors in 2009 with a sixth grade class of 78 students. It currently has 370 students in grades six through nine, and will add a grade each subsequent year until it graduates its first class in 2015. Teachers are licensed by the Department of Education and students take required standardized tests. But at Q2L, a team of game designers, curriculum specialists, and after school mentors work with teachers to design rigorous, engaging, game-like learning environments, including the design of classroom games.\nAt Quest to Learn, students face tasks that are challenging but approachable. Teachers assess student learning based on these tasks. Students receive meaningful feedback about their progress. Sound familiar? Of course it does. It’s good teaching, grounded in over 30 years of learning research.\nPart of this process is the design of classroom games. So not only are the learning environments explicitly game-like, but students and teachers play games in these spaces, reflect on games, mod (modify) them, and design their own. We are designing a library of irresistible experiences for learning. It’s an illuminating collaborative process.\nThe game integration process begins in our weekly curriculum meetings attended by a teacher, a game designer, a curriculum specialist, and a learning strategist. The process springs from carefully considered learning goals that are based on New York State and Common Core Standards. The decision to integrate a game is usually sparked by one of two situations:\n1. Sometimes it’s just a tough topic. For example, during a curriculum meeting, a teacher notes that arithmetic with negative integers is a troublesome topic. Games are excellent for tough topics, so we begin the process.\n2. Sometimes content just feels game-like. Perhaps the space of the topic feels game-like (like circles, triangles, and rulers), or perhaps the mechanics/actions of the content feel game-like (like how citing sources can be similar to trusting players in a bluffing game). We try to brainstorm a prototype. Sometimes it doesn’t work, and that’s fine. We don’t push what’s not working just because we like games.\nOur first response to these two potential sparks is always: “Is there a tool that already does this?” Our goal is learning, not game design. If the tool already exists, we use it. Some of the fine tools that we use include Algodoo, Minecraft, SimCity, Vernier and Pasco Probeware, LEGO robotics, MangaHigh, Brainpop, Prezi, Pixlr, Wikispaces, Comic Life, iMovie, Keynote, and these things called pencils. If a great tool does not already exist, then perhaps the game design process begins.\nA note on leadership: the curriculum team follows the teachers, not the other way around. Teachers know what they want to teach, know their students, and know what will work best for the context. This is extremely important, and is not just a principle of our game design process but of our curriculum design process as a whole. The team supports with their skills, is a sounding board, and offers advice—but the teacher is the teacher is the teacher.\nPROTOTYPE AND PLAYTEST\nAfter zooming in on learning goals and deciding to move forward, we brainstorm relevant game mechanics or actions, playtest prototypes, and plan strategies for the classroom.\nIn the case of teaching arithmetic with negative integers, our game designer brainstormed and came back to our next meeting with an idea. She had us play a game that already existed, called Gloom. It had a mechanic where players could add or subtract points from another player’s stack of cards, so players were already adding and subtracting integers. It seemed like a good place to start, but its rules were too complex for the classroom and it didn’t focus in on operations with negatives. We focused on the learning goal, kept the basic card-covering and card-stealing mechanics, varied the numbers used (-5 to +5), and designed some additional arithmetic operations and actions. Each of these decisions had consequences that needed to be worked out through playtesting.\nDuring subsequent meetings, we went through several iterations. We asked ourselves questions like: “Is this fun?” “Do I feel confused?” “Are the rules complicated?” “Do I feel active?” “Are we collaborating/competing?” “Do my choices matter?” And then we asked the overarching question: “Are we hitting the learning goals?”\nOf course, as adults with arithmetic fluency, we can’t necessarily predict how students will react to the mathematics or the gameplay. We tackle this through playtesting. The teacher invites students with various strengths and weaknesses to play and provide honest and critical feedback. They complete a playtest reflection form that’s used as a springboard for the feedback session.\nWhen students playtested our Gloom mods (modifications), which became a game called Absolute Blast, they reported that they would like to have more opportunities to “mess” with other players. We immediately worked to incorporate a stronger “stealing” element to the game. One student reported a feeling of “too many things going on in her head to make a good choice”—cognitive overload. We took steps to reduce this by constraining player choice and available information. These modifications improved students’ ability to competitively and strategically perform arithmetic with negative integers. Students sometimes come up with ideas that are so good that we immediately incorporate them. In this way, students engage in our collaborative design process and take on designer identities.\nEXPLODING THE GAME\nIt’s important to note that our games are not one-and-done’s. They work best when the teacher “explodes the game.” This can mean a number of things. It can be something as simple as choosing the best time to introduce the game. For example, our game Shortcuts motivates students to wish that they had something like the Pythagorean Theorem. So, students might play it right before they are introduced to the theorem.\nPerhaps the teacher wants to play the same game, but increase the levels of difficulty over time. If we use a game with a more open/fill-in framework, students can play with the same space, rules, and mechanics, but at varying teacher-created difficulty levels, which can be a differentiation strategy as well. Another great possibility is for students to create strategy guides for games. This works better with some games than others, depending on how close a relationship there is between strategy and content understanding.\nPerhaps the students create the new game levels. Cast them into the role of game designers so that they can learn and display their content understanding as they work on new difficulty levels, or more interestingly, as they introduce fundamental modifications that require them to struggle with the content. For example, in our game Caterpillar, which is a heavy mod of Settlers of Catan, the learning goal is about understanding the probabilities of rolling two dice. After playing for a while, some students chose to mod only the game space, while others modded both the game space and the number of rolled dice.\nIf we don’t have the time to mod or design from scratch (or even if we do), we may explode games that we didn’t design. Why not take Scrabble and ask students why certain letters have their point values? How would they design a game like Scrabble if they were making it? Would they do it differently? How would their modifications affect player strategy? What would they have to understand in order to make informed decisions for a fun game?\nWhat game will you take apart or mod for learning? It’s wide open. Explode the game.", "label": "No"}
{"text": "Undisputed master of the woodcut, Albrecht Dürer is one of the most celebrated Northern Renaissance painters and printmakers. Dürer's etchings, engravings, and woodcut prints also contain exquisite detail and elaborate imagery drawing on religious and philosophical ideas.\nSell Albrecht Dürer artwork with us. We will research its value and popularity for you.\nAlbrecht Dürer (German, 1471–1528)\nGerman painter, engraver, Albrecht Dürer was the designer of woodcuts and major art theorist. Dürer was born in Nuremberg and trained first under his father, a goldsmith. He was apprenticed (1486-90) to M. Wolgemut, in whose workshop he became familiar with the best work of contemporary German artists and with the recent technical advances in engraving and drawing for woodcuts. He was in Nuremberg for his marriage in 1496, but left in the autumn of that year for Italy. On this visit and during the longer stay of 1505-7, he made a profound study of Italian painting at the very moment when it was being changed by the revolutionary ideas of Leonardo da Vinci and others. He also studied the whole intellectual background of the Italian Renaissance, the writings of the humanists and, in particular, Mantegna’s attempts to recreate in engravings and paintings the classical canon of art. Dürer made his own personal synthesis of the arts of the north and south, a synthesis which was to have immense importance to European art. His success and reputation increased rapidly. Until 1499 he was engaged chiefly on engravings and designs for his books of woodcuts. He was encouraged by an enthusiastic patron, the Elector of Saxony, and he became the friend of many of the chief figures of the Reformation. Though he never broke with Catholicism, Dürer was deeply involved in the religious controversy until his death. In 1512 he was made court painter to the Emperor Maximilian. In his last years he planned and partly composed a thesis on the theoretical basis of the arts.\nThe Thames and Hudson Dictionary of Art and Artists. Typical of Dürer's Passion woodcuts, the print is a window onto an event rather than a balanced and complete composition. Despite the architecture, the palm tree defines the sub-tropical location of the scene.\nDürer began the Large Passion c, 1496-97; Strauss thinks it quite possible that The Flagellation (Bartsch 8, Strauss 37),was the first print in the series. Over the next few years, Dürer added six additional woodcuts, and the seven were sold as single sheets. Dürer returned to the series c. 1510, adding 4 more woodcuts, and published the series with a frontispiece and a Latin text by Benedictus Chelidonius printed on the verso of the prints. Other works in the series include The Agony in the Garden (c. 1496-97, though possibly 1498: B. 6, S. 38), The Deposition of Christ (c. 1496-97: B. 12, S. 39), Ecce Homo (1498: B. 9, S. 58); The Bearing of the Cross (c. 1498-99: B. 10, S. 59), The Lamentation (c. 1498-99: B. 13, S. 60), The Crucifixion (c. 1498: B. 11, S. 61), The Last Supper (dated 1510: B. 5, S. 148); The Betrayal of Christ (dated 1510: B. 7, S. 149), The Harrowing of Hell (dated 1510: B. 14, S. 150), The Resurrection (dated 1510: B. 15, S. 151), Christ as the Man of Sorrows Mocked by a Soldier (c. 1511: B. 4, S. 157). Although The Trinity (dated 1511: B. 122, S. 164) was not bound up with the other sheets of the Large Passion, in size, in style, and in subject matter, it is one with the late sheets of the series. Dürer interrupted his work on the Large Passion to work on his other great series, The Apocaplyse (c. 1498, republished with new works 1511) the Life of the Virgin (c. 1501-2, completed and published 1511), the Small Woodcut Passion (c. 1508-1510, published 1511), and the Engraved Passion (c. 1506-1510). The inventiveness shown in these related series can be quickly seen by comparing them: Dürer was rarely content to simply repeat an approach that he had already tried.\nWalter L. Strauss in his catalogue raisonne, Albrecht Dürer Woodcuts and Woodblocks (Abaris Books, 1980), provides a summary of comments upon each individual work. Strauss’s Commentary volume in the Illustrated Bartsch series updates his commentary here. As always, Panofsky’s Life and Art of Albrecht Dürer (Princeton University Press, 1945, revised editions culminating in the 1971 edition) is crucial for an understanding of the work of this great artist and printmaker.\nAccording to Walter Strauss (Albrecht Dürer Woodcuts and Wood Blocks [NY: Abaris Books, 1980], p. 342 and after), Dürer began the Small Woodcut Passion sometime in 1508 or 1509, completed it in 1510, and published it in 1511 with Latin verses by Benedictus Chelidonius facing each plate. There are thirty-seven woodcuts in the series, beginning The Fall of Man and concluding with The Last Judgment. While only a few of the plates are dated, those that are suggest that Dürer originally began with Christ’s Entry into Jerusalem on Palm Sunday and concluded with The Last Judgment. As he was completing the series c. 1510, however, he added The Fall of Man, The Expulsion from Eden (dated 1510), The Annunciation, The Nativity, and Saints Peter, Paul, and Veronica holding the Suderium (dated 1510). These additions change the focus from a history of The Passion to a history of mankind with Adam and Eve as the source of man’s woes and Jesus as man’s salvation. Of all of Dürer's great works in series, the Small Woodcut Passion is by far the largest. It was also one of his most popular: it was reprinted several times up to an Italian edition of 1612. Although there exist later impressions printed from Dürer's original blocks, they are gray and blotchy and do not print well. In addition to the prints made from Dürer's woodblocks and the copies by Marantonio Raimondi (engravings published in Venice in the early 16th century), Virgil Solis (published in Nurenberg in the late 16th century with Solis’ monogram VS, and a set of very deceptive copies by Mommard published a bit later, there exists as well a set made in the 19th century from metal plates made from plaster casts of thierty-five of Dürer's original woodblocks after they were given to the British Museum in 1839. In 1844 Henry Cole of the South Kensington Museum (now the Victoria and Albert Museum) published his collection of the the Dürer Small Passion woodcuts and described the process by which they were made:\n“The present work, with the exception of two subjects, is taken from the original engravings, prints drawn by Albrecht Dürer himself on the wood, and engraved under his own superintendence. [The consensus is that Dürer cut the blocks himself for his early works including The Ship of Fools until he could train professional woodcutters to reach the level he had achieved, worlds beyond anything anyone had done up to that time in terms of subtlety, fineness of line, density, etc.] . . . [T]he present, it is believed makes the fourth edition of the genuine blocks. I say genuine blocks, for so great was the popularity and estimation of the work, that there has been more than one obvious imitation of them, besides several avowed copies constantly circulating throughout Europe. The Small Passion is stated by all writers on the subject . . . to have originally consisted of thirty-seven subjects. . . . [He then distinguishes two lifetime editions of the complete work, as opposed to individual printings of individual works that Dürer sold or gave away when he traveled]. The third edition of the genuine woodcuts was published at Venice, in 1612, by a Librarian who, according to Heinecke, purchased them in the Netherlands. . . . The engravings republished in the present volumes are from the same blocks. Thirty-five of the thirty-seven of them have found a secure resting place in the British Museum. They were purchased in 1839 by Mr. Josi, the present keeper of the prints, from the Rev. P. E. Boissier, whose father bought them many years ago in Italy. . . . The four impressions of these blocks which were printed by Mr. Otley in his History of Engraving, (p. 730) show the extent of the damage which the blocks have suffered. But in the present edition of them, the defects have been remedied by using stereotype casts of the blocks, which have been taken by a special permission of the trustees of the British Museum [that would never have happened in this century!]. New border lines have been added, the worm-holes stopped, and those parts skillfully recut by Mr. Thurston Thompson, who has also re-engraved with full feeling, the subjects of the Sitting Christ and of Jesus Parting from his Mother. The process of stereotyping has had the good effect of restoring almost the original sharpness and crispness of the lines, and of rendering the present impressions nearer the state of the earliest impressions than they would have been had they been taken from the blocks themselves. This statement may seem paradoxical, but it will be seen that it has a reasonable explanation. In order to take a metal cast of a woodcut, a cast is first taken in moist plaster of Paris. This is thoroughly dried by baking, which causes it to shrink throughout, sometimes as much as the eighth of an inch in a cast of six inches in length. The result of this slight shrinkage has been to reduce these thickened lines nearly to their original fineness, and several of the present impressions are so crisp and clear that they will not suffer by comparison with choice early impressions.”\nTowards the end of his apprenticeship with Wolgemut, Dürer produced his first dated painting featuring his father Albrecht Dürer the Elder in 1490. The portrait was part of a pair of panels intended either as pendants or as diptych wings. Dürer later traveled to Italy during the Renaissance, a remarkable era of creativity and invention. His stay in Italy was incredibly important for him, exposing him to the works of Andrea Mantegna, Antonio Pollaiuolo and Lorenzo di Credi. These painters were best known for their experimentation with perspective and the theory of human proportions, two innovations Dürer took great interest in. When he returned to Nuremberg that year, he began a successful career as a painter, receiving commissions from Frederick the Wise, Elector of Saxony. One of his best known paintings is Adam and Eve, 1504 which depicted the first full-scale nude subjects in German painting. His paintings are rare in the art market given Dürer’s predominant occupation as a printmaker.\nAlbrecht Dürer’s earliest prints were influenced by German printmakers such as Martin Schongauer. Engravings became his preferred technique for his later body of work. To create his engravings, Dürer first engraved the image onto a copper plate with a cutter. Afterwards, the engraved plate was inked and wiped, depositing the dark ink into the grooves. This technique would have been familiar to Dürer who worked as a goldsmith in his father’s workshop. Dürer’s earliest signed print was the engraving Holy Family with Dragonfly, c. 1494. His greatest achievements in printmaking include three engravings completed between 1513 and 1514: Knight, Death and the Devil, St. Jerome in his Study, and Melencolia I. These engravings are some of his most famous masterpieces in the medium. Dürer’s prints continue to command high prices in the art market. In 2013, Christie’s hosted an auction dedicated to Dürer prints. The auction earned $6 million in sales from its 62 lots.\nIt was during his apprenticeship that Dürer studied the technique of woodcuts. Wolgemut was an excellent teacher whose woodcuts were some of the best in Europe at the time. In creating the woodcuts, Dürer typically provided sketches of the design in mind and relied on artisans to cut the sketches into the wood. In 1496, he began creating 12 woodcuts which depicted the death of Christ. This series, titled Large Passion , took 15 years to complete. However, one of his greatest achievements in the woodcut medium was the Apocalypse, a set of 15 woodcuts narrating the revelations of St. John. This set was completed in 1497-98.\nWe offer a selection if impressions ranging from Dürer's first edition lifetime proofs to later editions and include some of the 1844 impressions as well.\nSelect bibliography: Walter L. Strauss in his catalogue raisonne, Albrecht Dürer Woodcuts and Woodblocks (Abaris Books, 1980), provides a summary of comments upon each individaul work. Strauss’ Commentary volume in the Illustrated Bartsch series updates his earlier commentary. As always, Panofsky’s Life and Art of Albrecht Dürer (Princeton University Press, 1945, revised editions culminating in the 1971 edition) are crucial for an understanding of the work of this great artist and printmaker.", "label": "No"}
{"text": "How can gamification be used to increase motivation in a classroom? Gamification can look very different depending on the application. Game mechanics can be applied to small projects as well as an entire course. The use of XP, leveling up, leaderboards, badges, etc., can easily add elements of gaming to projects but the quality of the instruction and course design is the key to a successful implementation. The biggest contributing factor to the success of gamification is motivation. Learners who participate in a gamified task are typically intrinsically motivated to not only complete the task but to be successful at it. Educators need to be cognizant of the pitfalls of gamification when implementing such strategies. Gamification has roots deep in the Constructivism learning theory by generating motivation in order to complete tasks that are generally self-guided. The skills needed for a student to coordinate completion of the game mechanics align with the Constructivist ideas of a successful transfer of learning episode.\nIt’s widely agreed that the idea of gamification is growing in popularity. Many researchers have studied the effects of gamification in different scenarios. The topic of this paper is focused on not only what gamification means to education but how it affects learning through motivation in a Constructivist classroom. It is widely understood that motivation plays a positive role in learning. Gamification provides strategies that increase personal motivation to expand on skillsets for use in future quests. At it’s core, Gamification provides a way to incorporate Constructivist theories to technology rich learning environments by increasing motivation.\nWhat is Gamification?\nGamification has been defined as “using game design elements in non-game contexts to motivate and increase user activity and retention” (Deterding et al, 2011). The elements that make up gamification can look different depending on the application. For example, gamification can happen in small assignments, projects, or a whole course. In addition to where the elements can appear, what types of elements can vary as well. In this section I will explore the various way gamification can look inside a classroom.\nGame Mechanics: The basic parts of gamification have been called different things by different authors. Yang, Quadir, and Chen call these parts the “Badge Mechanism” (2015) and Brull and Finlayson call them “Gamification Mechanics” (2016). In this paper, I will refer to these basic parts as the game mechanics. These parts include scoring in XP, using badges, leaderboards, levels, and any other game like parts. These mechanics are used to simulate a game environment and can be used on most content areas with a certain amount of ease. In order for gamification to work, the literature suggest that at least some of these game mechanics need to be in place to be effective. Using game mechanics and other types of gaming strategies allows learners to solve problems in an engaging and fun way (Bruder, 2015). The game mechanics provide learners with one more tool that they can use to form their own understanding and learning through motivation. This Constructivist perspective illustrates how learners build upon their experiences to achieve successes.\nCourse or Content: Educators who may be overwhelmed or even skeptical about applying game mechanics to their own curriculum can begin the process slowly using mini-games. Individual projects or units can be easily gamified by renaming points/percentages to XP, introducing competition with a leaderboard, and creating some reward system with badges or prizes. On a small scale like this, motivation from the mechanics themselves can be difficult to attain, rewards and prizes help.\nA gamified course uses game mechanics on a larger scale to create a community of learning. Holding motivation for extended periods with game mechanics alone is very difficult. To successfully gamify a course, there must be quests or some kind choice, otherwise learners quickly bore of the game. Providing a variety of projects that achieve the same objective will allow learners to follow their own interest and feel empowered to succeed (Proulx et al., 2016).\nGamified Learning Management Systems: As gamification grows in popularity more and more classroom management systems are offering a gamified option. These systems provide educators guidance in gamifying their course and can also offer a virtual environment for students to interact. It is important to note that studies have shown that the quality of the digital environment has serious impact on motivation and efficacy for learning. Not all environments are suitable for all situations, educators need to carefully select the right tool to match their needs (Kamasheva et al., 2015).\nConstructivism in Gamification\nThe constructivist learning theory is all about students creating meaning from their learning experiences. The theory places the learner at the center of the learning environment and active participation is the main component to success. The main idea is that experiences help the learner formulate the meaning within the current context. It is through active participation that constructivists believe meaning is created. Gamification is a natural way to incorporate participation into curriculum and build upon experiences by increasing student motivation.\nHow Gamification affects motivation.\nMotivation is defined as being moved to do something (Ryan & Deci, 2000). Therefore, a person who does not try to move forward is described as unmotivated. A person performing a task to attain an outcome is described as being extrinsically motivated, whereas a person performing a task for the pure enjoyment or interest is intrinsically motivated (Chen, Burton, Vorvoreanu, & Whittinghill, 2015). For example, someone who creates art because it makes them feel good and they enjoy it is intrinsically motivated; someone who creates art because they want to make money or status is extrinsically motivated.\nExtrinsic Motivation: Traditional teaching styles use a teach-stop-test cycle with the goal of helping the learner to retain the content because they have to pass the test (Shute & Ventura, 2013). The motivation is for the student to do well on the test. As a result, often the content is forgotten soon after testing. This is extrinsic motivation because the learner is only motivated by outside or external factors. In the scope of gamified learning theory, extrinsic motivation often leads to ineffective results. In order for students to really care about and invest themselves into a project, they must be motivated from within themselves.\nExtrinsic Motivation can be an applicable form of motivation to be successful but I think one would agree it is not ideal. In learners where an interest in games is weak, motivation to complete the task is in the forefront. The structure and objectives of the task need to also be engaging in order to hold the interest of the learner.\nIntrinsic Motivation: When a student is personally vested in their coursework and find it fun, they become intrinsically motivated. Learners in game environments experience emotions such as frustration, wonder, mystery, and amusement, which provides a personal connection to the game or others playing the game. They report that how a game makes them feel inside is one of the major reasons why they play (Lazzaro, 2004).\nIn a review of 70 empirical research studies on the use of games in the classroom from Connolly, Boyle, MacArthur, Hainey, & Boyle (2012), the most observed positive outcomes were affectivity, motivation, and learning. The potential of games to foster intrinsic motivation is shown over and over throughout the research. Based on another series of surveys, observations and interviews with gamers, a motivation theory from Malone (1981) was put forward, which says that challenge, fantasy, control, curiosity, cooperation, recognition, and competition are the most significant motivational elements that make gaming fun and engaging.\nPitfalls of Gamification to Consider\nNot everyone likes games: An important consideration to remember is that not everyone enjoys playing games. While gamified content may stimulate intrinsic motivation for many, some may still only be motivated by the external factor of passing (Yang, 2017). For these students there will be more effort from the teacher to make sure course objectives are met.\nRole of the teacher: It is important for teachers to continue to play an active role in instruction, especially since all students may not respond well to gamification and/or a digital environment. Yang says “simply using digital games in the classroom does not guarantee satisfactory learning achievement, especially in the case of the absence of a teacher. Integrating appropriate learning strategies into a game can better enhance the learning performance.” (Yang, 2017, p.235) Gamification gives students a level of autonomy and in some scenarios, can be delivered as a self-paced course. Research suggests that motivation up-ticks are fewer in a self-guided program than with a facilitator. The reason for this can be tied to the decrease in motivation when a learner either loses interest or is confused with the content. The teacher delivering the program needs to be a reliable resource to students without interfering with the Constructivist ideology of student-centered learning.\nImproper objective mapping: Gaming for the sake of gaming isn’t going to work. The objectives of the project need to be kept in focus during the development of the gamified curriculum. As stated already, gamification is not a one size fits all solution to learner motivation. Clear objectives and relevant content is key in sourcing the right gaming solution (Mathrani, 2016).\nConstructivist learning theorists (e.g., Papert, 1993; Piaget, 1964, 1970) realize that game-like activities can foster learning. This is because students are willing to spend more time and effort on learning while participating in those activities. The increased motivation factors gained from gamification provide a Constructivist classroom strategies to increase student success. The use of XP, leveling up, leaderboards, badges, etc., add elements of gaming to projects but the quality of the instruction and course design to foster participation is the key to a successful implementation. The biggest contributing factor to the success of gamification is motivation. The uptick gained from increased motivation from the gamification of content is inherently transferred to future lessons and built upon to form a big idea. This allows students to build their knowledge and feel in control of their learning.\nBruder, P. (2015). Game on: Gamification in the classroom. The Education Digest, 3, 56-60.\nBrull, S., & Finlayson, S. (2016). Importance of gamification in increasing learning. The Journal of Continuing Education in Nursing, 47(8), 372–375. https://doi.org/10.3928/00220124-20160715-09\nChen, Y., Burton, T., Vorvoreanu, M., & Whittinghill, D.M. (2015). Cogent: A case study of meaningful gamification in education with virtual currency. International Journal of Emerging Technologies in Learning, 10(1), 39.\nConnolly, T. M., Boyle, E. A., MacArthur, E., Hainey, T., & Boyle, J. M. (2012). A systematic literature review of empirical evidence on computer games and serious games. Computers & Education, 59, 661-686. doi:10.1016/j.compedu.2012.03.004\nDeterding, S , Dixon, D , Khaled, R , & Nacke, L (2011) From game design elements to gamefulness: Defining “gamification”, Proceedings of the 15th International Academic MindTrek Conference: Envisioning Future Media Environments, September 28-30, 2011, Tampere, Finland doi: 10.1145/2181037.2181040\nHan, H.-C. (2015). Gamified Pedagogy: From gaming theory to creating a self-motivated learning environment in Studio Art. Studies in Art Education, 56(3), 257–267.\nKamasheva, A. V., Valeev, E. R., Yagudin, R. K., & Maksimova, K. R. (2015). Usage of gamification theory for increase motivation of employees. Mediterranean Journal of Social Sciences. https://doi.org/10.5901/mjss.2015.v6n1s3p77\nLazzaro, N. (2004). Why we play games: Four keys to more emotion without story. Retrieved from http://www.xeodesign.com/xeodesign_whyweplaygames.pdf\nMalone. T. W. (1981). Toward a theory of intrinsically motivating instruction. Cognitive Science, 4, 333-369.\nMathrani, A., Christian, S., & Ponder-Sutton, A. (2016). PlayIT: Game based learning approach for teaching programming concepts. Educational Technology & Society, 19(2), 5–17.\nProulx, J.-N., Romero, M., & Arnab, S. (2016). Learning Mechanics and Game Mechanics Under the Perspective of Self-Determination Theory to Foster Motivation in Digital Game Based Learning. Simulation & Gaming, 1046878116674399.\nRyan, R.M., & Deci, E.L. (2000). Intrinsic and extrinsic motivations: Classic definitions and new directions. Contemporary Educational Psychology, 25, 54-67.\nShute, V.J., & Ventura, M. (2013). Stealth assessment: Measuring and supporting learning in games. Cambridge, MA: Massachusetts Institute of Technology Press Books.\nWouters, P., van Nimwegen, C., van Oostendorp, H., & van Der Spek, E. D. (2013). A meta- analysis of the cognitive and motivational effects of serious games. Journal of Educational Psychology, 105, 249-265. doi:10.1037/a0031311\nYang, J. C., Quadir, B., & Chen, N.-S. (2016). Effects of the Badge Mechanism on Self-Efficacy and Learning Performance in a Game-Based English Learning Environment. Journal of Educational Computing Research, 54(3), 371–394. https://doi.org/10.1177/0735633115620433\nYang, K.-H. (2017). Learning behavior and achievement analysis of a digital game-based learning approach integrating mastery learning theory and different feedback models. Interactive Learning Environments, 1–14. https://doi.org/10.1080/10494820.2017.1286099", "label": "No"}
{"text": "Forty-seven years ago today, in 1969, Neil Armstrong and Buzz Aldrin became the first people to set foot on the moon. Even though we can still see pieces of equipment we left up there, even though we have moon rock samples sitting in museums, there are still people who don't believe it happened.\nSo on the anniversary of the day the first humans actually walked on the moon, lets all remember the time Aldrin got so sick of conspiracy theorists that he punched one in the face.\nIn 2002, filmmaker and conspiracy theorist Bart Sibrel confronted Aldrin with a video camera and demanded that he swear on the Bible that the moon landing really happened.\nYou can hear Sibrel call him a coward, a liar and a thief — just before Aldrin shuts him up.\nAldrin was never charged for anything — arguably fair, considering he risked his life for the sake of science and exploration.\nYou can watch the build-up to the punch in the video below:", "label": "No"}
{"text": "International Sign Language Day, actor & disability advocate\n@NyleDiMarco explains how access to education allows everyone to be part of the conversation on global issues. https://bit.ly/2lXMRfH #GlobalGoals. Video courtesy UN\nInternational Literacy Day\nLet’s promote diversity and inclusion through literacy, and make sure that everyone has the right and access to quality education throughout life. Video courtesy of UNESCO\nFog Catching Technology in Morocco Empowers Women\nThis simple fog catching technology is changing the game for communities hit by climate change-induced drought. Video courtesy of unfccc.int\nInternational Day Against Nuclear Tests\nOn 2 December 2009, the 64th session of the United Nations General Assembly declared 29 August the International Day against Nuclear Test. Video Courtesy of UN\nYoung #refugees grow food, with recyclematerials. 🌿\nThese young #refugees are learning how to grow food, recycle old materials and save the planet. 🌿. Video courtesy UNHCR\nWorld Humanitarian Day\nAround the world, brave #WomenHumanitarians are helping to make life better for some of the most vulnerable people. More from @UNOCHA ahead of next week’s World Humanitarian Day. Video courtesy of http://www.worldhumanitarianday.org\nInternational Day of the World’s Indigenous Peoples\nThere are an estimated 370 million indigenous people in the world, living across 90 countries. August 9 is commemorated as the International Day of the World’s Indigenous Peoples in recognition of the first meeting of the United Nations Working Group on Indigenous Populations in Geneva in 1982. Video courtesy UN\nBTS 💜 show the power of love and kindness\nViolence in schools is normal. But it shouldn’t be. By choosing respect, support and kindness, we can make our communities safe and supportive. Take the time to support someone who needs it. Video courtesy of UNICEF\nEveryone has the right to seek asylum from persecution\nRefugees explains why refugees & asylum seekers can’t be sent back home. Video courtesy UN Twitter\nWhat is Mandela Day?\nMandela Day calls on us all, every day, to make the world a better place. Each year on 18 July we look back on what has been done, and forward to what will be done. Making every day a Mandela Day celebrates Madiba’s life and legacy in a sustainable way that will bring about enduring change.\nThe Phantom of Opera in Istana Budaya, KL\nKUALA LUMPUR, July 4 –Award-winning play, The Phantom of The Opera is currently on at the Istana Budaya in Kuala Lumpur. Featuring an international cast, and a full 12-piece live orchestra, the Andrew Lloyd Webber’s production is a winner of multiple awards including\nseven Tony’s on Broadway and four Olivier Awards in the West End. Based on the novel of French writer Gaston Leroux, the play tells the story of Phantom, a disfigured musical genius who haunts the Paris Opera House, and his obsession with the talented young soprano Christine Daaé. An epitome in theatre production, The Phantom of the Opera in Kuala Lumpur is jointly presented by Lunchbox Productions, Base Entertainment Asia and TEG Dainty. The run in Istana Budaya ends this Sunday, July 7.\nWildlife Economies Summit\n“For the first time in Africa, we are putting wildlife at the centre of economic development & people.” – @UNEnvironment’s @JoyceMsuya on creating of a sustainable wildlife economy. Gabon and Zimbabwe this week announced their commitment to attracting more tourists to their national parks through securing investment that will help support wildfire protection and the local communities. Photo courtesy of UN\nThe 176Th Opec Conference In Vienna Begins\nOPEC is a permanent intergovernmental organization of 14 oil-exporting developing nations that coordinates and unifies the petroleum policies of its Member Countries. The Conference runs till July 2, 2019. Video courtesy of Telesur\nWhich country hosts the most refugees?\n25 million refugees are generously hosted by countries around the world. These are the countries that have stepped up for those who have lost everything. Video Courtesy of UN Twitter\nSustainable Gastronomy Day\nEvery day, everywhere, family farmers work hard to produce the food we eat. 80% of the food we eat depends on the hard work of family farmers. Video courtesy of UN\nTowards a Child Labour Free Zone\nThe International Labour Organization (ILO) launched the World Day Against Child Labour in 2002 to focus attention on the global extent of child labour and the action and efforts needed to eliminate it. Each year on 12 June, the World Day brings together governments, employers and workers organizations, civil society, as well as millions of people from around the world to highlight the plight of child labourers and what can be done to help them. Video courtesy UN\nBirds at Van Lake basin\nVAN, Turkey – June 7 – A Swallow is seen at Lake Van basin which hosts many kinds of birds in Van, Turkey. 215 bird species can be observed at Lake Van basin located at eastern part of Turkey. Video courtesy of Anadolu Agency\nWorld Bicycle Day\nMonday is World Bicycle Day. Cycling promotes clean energy & wellness. As affordable & sustainable means of transport, bikes are a tool for sustainable development & equality. For over 100 years, bicycles have helped advance women’s rights by increasing their access to education, health care & sport. Video courtesy UNDP\nInnocent Children Victims of Aggression\nThe International Day of Innocent Children Victims of Aggression is a United Nations observance each 4 June. The purpose of the day is to acknowledge the pain suffered by children throughout the world who are the victims of physical, mental and emotional abuse. This day affirms the UN’s commitment to protect the rights of children. Video courtesy of UN\nWorld Ocean day 2019\nThis year’s #WorldOceansDay on 8 June will focus on the actions needed around the world to protect our seas. Video courtesy UN\nUnited Nations Secretary-General Antonio Guterres visits Christchurch mosques\nUN Secretary-General Antonio Guterres carried his message of solidarity and tolerance to New Zealand, where he met with the Muslim community following the recent terror attacks in Christchurch. Video courtesy UN\nFighting for rights in Myanmar\nSent to prison in #Myanmar for 7 years just because her #Rohingya father was a political activist, @waiwainu is today a force to reckon with. Now a law graduate, she dedicates her life to defending the #HumanRights of Rohingya women & girls. Video courtesy of UN\nLombok, Indonesia-Gending Sriwijaya Dance\nGending Sriwijaya is the name of a song and a traditional dance from Palembang, South Sumatra, Indonesia. This song is sung or played during the Gending Sriwijaya dance performance. Both of the song and the dance was created to describes the splendor, cultural refinement, glory and the grandeur of Srivijayan empire that once succeed on unifying the western parts of Indonesian archipelago. Video courtesy NNN\nSouth Africa election: People of Sakhela in the Eastern Cape vote\nEastern Cape, South Africa – People of Sakhela Village outside Mthatha in the Eastern Cape cast their votes on May 8, 2019. A record number of voters registered, but the youth under 30 was notably absent from that list. While voting across the country went largely smoothly, there were a number of issues with protest action preventing polling stations from opening. There were also issues with polling stations running out of ballot papers.\nThailand monarch carried in grand coronation procession\nFlanked by royal guards marching to a steady drumbeat, Thailand’s newly-crowned King Maha Vajiralongkorn was carried on a gilded palanquin through the streets of old Bangkok Sunday, in front of crowds who shouted “long live the king!”. Video courtesy TNA\nJapan’s new era named “Reiwa”\nJapan’s new era beginning May 1 has been named “Reiwa,” with Crown Prince Naruhito due to ascend to the throne that day to succeed his father Emperor Akihito.\nFire breaks out in Notre Dame cathedral in Paris\nA massive fire is ripping through Notre-Dame Cathedral in central Paris, toppling the spire on the 850-year-old Gothic monument and leaving France in shock over the potential loss of one of the nation’s most famous landmarks. Video courtesy of Anadolu\nCherry blossoms bloom in Tokyo\nOn Japan’s southern, subtropical islands of Okinawa, cherry blossoms open as early as January, while on the northern island of Hokkaido, they bloom as late as May. In most major cities in between, including Tokyo, Kyoto and Osaka, the cherry blossom season typically takes place in early April. Video courtesy of Anadulo\nKwibuka 25 | Remarks by President Kagame\nKIGALI, Rwanda, April 8 – The remarks by Rwandan president Paul Kagame during the 25th anniversary of the Rwandan Genocide, an event held in Kigali on April 7th, 2019. Video courtesy of Paul Kagame\nGold medalist Bolt runs in Peru, beats a mototaxi\nThe world’s greatest sprinter of all time, Jamaican Usain Bolt, ran against a traditional mototaxi —and defeated it— during an exhibition, which took place in Lima City’s residential Miraflores district. Video courtesy of www.miraflores.gob.pe\nJapan’s Support for Island Nations Tackling Climate Change\nJapan is supporting island nations vulnerable to climate change.\nFrom the beaches of Tonga to the rainforests of Papua New Guinea, climate change is having devastating effects on island nations around the world.\nAs a country that values the steady implementation of the Paris Agreement, Japan has partnered with both the Government of Tonga and the Papua New Guinea Forest Authority to provide technology and training, with a view to reducing greenhouse gas emissions. Video courtesy Ministry of Foreign Affairs of Japan.\nLangkawi International Maritime and Aerospace Exhibition\nLangkawi, Malaysia, March 24 – The Langkawi International Maritime and Aerospace Exhibition 2019 is set to take off in this island on Tuesday, March 26. The week-long event will see Malaysia once again hosting an international standard defence exhibition with the participation of leading defence industries from all over the world. Preparations for the event meanwhile has been going smoothly at this leading island resort which has been hosting the event every two years since it took off three decades ago. The Royal Malaysia Air Force (RMAF) is expected to put up an exciting opening act at the event. Photo courtesy of RMAF.\nNAM News Network (NNN) columnist Dr Hezri Adnan in an interview with Bernama News Channel.\nSpeaking to BNC’s Bernama Today hosts Jessy Chahal and Elane Noor Abdullah, Dr Hezri highlights some of the pressing environment related issues facing the country today.\nThere is an urgent need for Malaysia to get its water resources in order, says Dr Hezri, who is a Senior Director with the Institute of Strategic and International Studies (ISIS).\nCyclone Idai: ‘Massive disaster’ in Mozambique and Zimbabwe\nMozambique, Malawi, Zimbabwe, #CycloneIdai has created “inland oceans running for mile after mile, with water above tree-level” says @WFP on the ground @UNOCHA @WHO. Emergency “bigger by the hour”.\nMalaysian rolls out red carpet for visiting South Korean President\nEcosystem Restoration Cooperative\nthis is a short video introducing the Ecosystem Restoration Cooperative and the Ecosystem Restoration Camps. This is a self-organizing, direct action to train and deploy everyone to mitigate and adapt to human induced climate change by restoring ecological function on a planetary scale. Welcome to join the Cooperative:\nThis #WomensDay, we’re innovating for change\nOn International Women’s Day (8 March 2019), UN Women calls on the world to “Think Equal, Build Smart, Innovate for Change.”\nWorld Wildlife Day 2019 – Life below water: for people and planet\nThis official PSA for UN World Wildlife Day 2019 was produced by the Wildlife Conservation Society (WCS) in collaboration with the CITES Secretariat and UNDP.\nZero Discrimination Day\nOn 1 March, UNAIDS is highlighting the need to act to change discriminatory laws. All over the world people are unable to live with dignity because of laws and policies that discriminate. #ZeroDiscrimination\nNorway’s Trade Minister Torbjorn Roe Isaksen\nNorway’s Trade Minister Torbjorn Roe Isaksen speaks to Bernama”s Economic News Service reporter Sharifah Pirdaus Syed Ali on his country’s stand on palm oil import. For related story please click Europe category or More news.\nMammoth crowd receives APC as Presidential Rally storms Lagos\nNigeria President Muhammadu Buhari, his Vice, Prof. Yemi Osinbajo and members of the campaign team today addressed a mammoth crowd of supporters at the Taslim Balogun Stadium in Lagos during the APC Presidential campaign rally.\nPromise of the Commons\nThis film questions the orthodox opinion that only private ownership can protect the ecosystems. It discusses the thoughts and rights of people around the world and shows how landless people are protecting the common heritage of the Earth. How have they lost their basic human rights? We need a profound conversation about this.\nWorld Government summit in Dubai\nBernama CEO Nurini Kassim speaks at World Government summit in Dubai. The seventh session of the World Government Summit kicked off on Sunday in Dubai, with the participation of more than 4,000 people from 140 countries.\nPakistan Navy is hosting sixth Multinational Maritime Exercise AMAN 2019.\nPakistan Navy is hosting sixth Multinational Maritime Exercise AMAN 2019\nRegreening the desert with John D. Liu\nFor more than 15 years, cameraman and ecologist John D. Liu has been working on his worldwide mission to green deserts and to restore biodiversity.\nSouth Africa 2019 State of the Nation Address promo\nSouth Africa President Cyril Ramaphosa will deliver the State of the Nation Address (SoNA) during a joint sitting of the two Houses of Parliament (National Assembly and National Council of Provinces) on 7 February 2019 at 19h00\nMalaysia’s Kek Lok Si temple brightly lit to usher coming Chinese New Year\nThe iconic Kek Lok Si temple near Air Itam here brightly lit Thursday night to usher in Chinese New Year next week. More than 20,000 lanterns, neon and LED lights.On Thursday, fireworks further lit up the area at the 128-old largest Buddhist temple in South East Asia\nNAM News Network columnist Andrew Sebastian talks to BNC\nEcotourism is the way forward in the preservation of the Malaysian rainforest heritage, says NAM News Network columnist Andrew Sebastian who talks to BNC’s Bernama Today hosts Jessy Chahal and Tehmina Kaoosji\nForests of Hope\nFilm maker and ecologist John Liu journeys into the forests of Rwanda and sees its amazing ecosystems and the hope it offers for the country. Video courtesy of Commonland.com and Ecosystemrestorationcamps.org\nMoving, thought-provoking video made by American-Chinese film maker and Ecosystem Ambassador John D. Liu. Courtesy of\nCommonland.com and Ecosystemrestorationcamps.org\nSouth Africa’s Mining Charter Revitalizing the mining industry\nThe Mining Charter was gazetted towards the end of 2018 for implementation. The purpose of the video is to unpack in simple terms what the Mining Charter is about and what citizens need to know. “The Mining Charter – Together building a thriving and inclusive mining sector”\nDr Shaaribuu, father of murdered Mongolian model Altantuya, arrives at court\nDr Shaaribuu Setev, father of murdered Mongolian model Altantuya, arrives at the Shah Alam High Court for a case related to a RM100 million suit in connection with his daughter’s murder 13 years ago. Photo courtesy of BERNAMA.\nA Performance from the Sizhou Opera\nA performance from the Sizhou Opera in Bengbu, China. A new bride Wang Guihua sings in anticipation of her seeing her husband, Zhang San, again. She is in love and full of praises for nature. Video courtesy of Johnny Lim, Indonesia.\nThe bullfighting culture within the Mulembe nation\nA snippet into bullfighting traditions of the Luhya community. Why it has stood the test of time and why one should be interested in the ceremony that surrounds it.\nIran Most Reliable Energy Provider For India: Zarif\nIranian Foreign Minister Mohammad Javad Zarif said that Iran is and will be the most reliable energy provider for India and no economic power can tell us you cannot have relationship with India.\nBERLIN (Germany) Nov 08 – Remains of the Berlin Wall during the 30th anniversary of the fall of the Berlin Wall. Photo courtesy of Abdülhamid Hoşbaş / Anadolu Agency\nMascots of ITTF 2020 championships\nBUSAN (South Korean) Nov 11 – This image, provided by the organizing committee for the ITTF 2020 World Team Table Tennis Championships, shows the event’s mascots. The championships will be held from March 22-29 in the South Korean port city of Busan. Photo courtesy of YONHAP\nCombating bird flu\nGYEONGSAN (South Gyeongsang) Nov 7 – A quarantine vehicle sprays disinfectant along the Geumho River in South Gyeongsang Province, as avian influenza virus was detected in the area the previous day. Photo courtesy of YONHAP\nPenguin character Pengsu\nSEOUL (South Korea) Nov 6 – Pengsu, a penguin character of the education broadcasting company EBS, passes through an entrance at the foreign ministry building in Seoul. Pengsu visited the ministry to help promote a special summit between South Korea and the 10-member Association of Southeast Asian Nations. The summit is scheduled for Nov. 25-26 in the southeastern port city of Busan. Photo courtesy of YONHAP\nDelgan, cradle of “roselle” in Iran\nDelgan County is the birthplace of roselle (Hibiscus sabdariffa) in southeastern Iran province of Sistan-Baluchestan where 480 tons of sour tea is harvested annually. Photo courtesy of Mohammad-Amin Mirbalouchzehi / IRNA\nPalu Bridge in Turkey’s Elazig\nELAZIG (Turkey) Nov 05 – A shepherd leading a flock of sheep crosses historical Palu Bridge in Elazig. Photo courtesy of Enver Hancı / Anadolu Agency\n14th EAST Asia Summit (EAS)\nNONTHABURI (Bangkok) Nov 4 – Prime Minister Tun Dr Mahathir Mohamad (eight, left) during Photo session at 14th EAST Asia Summit (EAS) here at the IMPACT Summit Muang Thong Thani today.\nThe three-day 35th ASEAN Summit and Related Summits beginning Nov 2 will be held at the IMPACT Exhibition and Convention Centre in Nonthaburi, northwest of Bangkok. Photo courtesy of BERNAMA.\nFrom left US President Donald Trump’s National Security Advisor Robert O’Brien, Prime Minister of Singapore Lee Hsien Loong, Russian Prime Minister Dmitry Medvedev, South Korean President Moon Jae-in, President of the Philippines Rodrigo Duterte, New Zealand Prime Minister Jacinda Ardern, Myanmar State Counsellor Aung San Suu Kyi,\nFrom right Laos Prime Minister Thongloun Sisoulith, Japan’s Prime Minister Shinzo Abe, President of Indonesia Joko Widodo, India’s Prime Minister Narendra Modi, Prime Minister of Cambodia Hun Sen, Sultan Brunei Sultan Hassanal Bolkiah, Australian Prime Minister Scott Morrison, Vietnamese Prime Minister Nguyen Xuan Phuc, Thailand Prime Minister Prayut Chan-o-Cha, and China’s Premier Li Keqiang.\nPromotion of New Year’s cards\nSEOUL (South Korea) Nov 4 – Employees attend a publicity event at the Korea Post to promote a series of New Year’s cards to celebrate the upcoming Year of the Rat. Photo courtesy of YONHAP\nWorld’s only intercontinental marathon starts in Istanbul\nISTANBUL (Turkey) Nov 3 – A drone photo shows that participants compete in the world’s only intercontinental marathon ‘Vodafone 41st Istanbul Marathon’ in Istanbul, Turkey on November 03, 2019. Photo courtesy of Muhammed Enes Yıldırım / Anadolu Agency\n35th ASEAN Summit and Related Summits in Bangkok\nBANGKOK, Oct 31 – Thailand is making the final preparations for the 35th ASEAN Summit and Related Summits as leaders in the region are set to gather here to attend the annual meeting beginning Nov 2. The three-day 35th ASEAN Summit and Related Summits will be held at the IMPACT Exhibition and Convention Centre in Nonthaburi, northwest of Bangkok. Photo courtesy of BERNAMA\n7th International Citrus Festival in Mersin\nMERSIN (Turkey) Oct 31 – An octopus figure covered with citrus fruits, is seen ahead of the 7th International Citrus Festival in Mersin, Turkey on October 30, 2019. The 7th annual Mersin Citrus Festival will be held between 01-03 November in Mersin. Photo courtesy of Mustafa Ünal Uysal / Anadolu Agency\nKorea-Australia naval drill\nPOHANG (South Korea) 31 Oct – A joint naval drill between South Korea and Australia in the waters off the southeastern port city of Pohang, 370 kilometers southeast of Seoul. Launched on Oct. 29, the three-day exercise, code-named “Haedori-Wallaby,” involves joint maneuvers, as well as anti-submarine, anti-air and anti-ship firing drills. Photo courtesy of YONHAP\nSouth Korea’s Coast Guard seize Chinese fishing boat\nYELLOW SEA (South Korean) Oct 25 – A Coast Guard motor boat (Left) approaches a Chinese fishing boat operating without permission in South Korea’s exclusive economic zone on Oct. 25, 2019. The Central Regional Coast Guard Headquarters, which provided the photo, said the 30-ton boat was fishing illegally in the Yellow Sea some 114 kilometers southeast off of Baengnyeong Island when it was seized. Around 30 other Chinese boats in the vicinity were ordered to leave South Korean waters.\nMigration of birds to Gandoman Internatinal Wetland\nSHAHREKORD (Iran) Oct 25 – Gandoman international Wetland is regarded as the main aquatic ecosystems in West of Iran, Surrounding this wetland are beautiful meadows providing bush grazing grounds for herds. The Cheroo Mountain Ranges standing at a height of 3.500 m, and spanning a distance of west to south of this wetland brings Casts a glorious reflection of its landscape and beauty in these waters. Photo courtesy of IRNA / Ahmad Riahi Dehkordi\nMalaysian Prime Minister at Baku Congress Centre\nMalaysian Prime Minister at Baku Congress Centre\nBAKU (Azerbaijan) Oct 25 – Malaysian Prime Minister Tun Dr Mahathir Mohamad (front row, fourth right) during a photo session with leaders of the Non-Aligned Movement (NAM) before the opening ceremony of the 18th NAM Summit at the Baku Congress Centre on Friday. Dr Mahathir is among more than 20 top leaders attending the two-day summit. Photo courtesy of BERNAMA\nMalaysian King and Japanese Premier at Akasaka State Guesthouse\nTOKYO, Oct 22 – The Yang di-Pertuan Agong Al-Sultan Abdullah Ri’ayatuddin Al-Mustafa Billah Shah granted an audience to Japan Prime Minister Shinzo Abe at the Akasaka State Guesthouse here today. Photo courtesy of BERNAMA\nThe Daily Telegraph\nSYDNEY (Australia) Oct 21 – A woman reads Australian newspaper “The Daily Telegraph” which appears with blackened frontpage during newspapers campaign to protest against official laws that criminalise journalism and whistleblowing and calling on the Australian Parliament to enshrine press freedom. Photo courtesy of Joel Carrett / AAP / DPA\nGermany’s First 3D Full-Body Scanner\nBAVARIA (Germany) Oct 21 – A man stands in Germany’s first 3D full-body scanner during a press demonstration at Munich University Hospital. There are about ten of these devices worldwide, which are intended to enable new treatments in breast reconstruction after breast cancer and for mapping skin tumors, among other things. Photo courtesy of Peter Kneffel / DPA\nIn The Mood for Halloween\nBRISTOL (England) Oct 21 – A crowned lemur nibbles some carved pumpkins at Bristol Zoo Gardens, where animals are being given Halloween themed treats filled with their favourite fresh vegetables. Photo courtesy of Ben Birchall / PA Wire / DPA\nMalaysia’s King and Queen arrive in Japan\nTOKYO, Oct 21: Malaysia’s King Al-Sultan Abdullah Ri’ayatuddin Al-Mustafa Billah Shah and the Queen Tunku Hajah Azizah Aminah Maimunah Iskandariah arriving at their hotel here as specially invited guests of Japan to attend the coronation of Japan’s Emperor Naruhitoon Wednesday. Photo courtesy of BERNAMA/By Dayana Nabila Shaipul Anuar\nIndonesia President Joko Widodo at the swearing-in ceremony\nJakarta, Oct 20 – Indonesia President Joko Widodo at the swearing-in ceremony of the President of Indonesia for the 2019-2024 term at the Indonesian Parliamentary building today. Photo courtesy of BERNAMA\nMalaysian Professor-cum-Chef Tantalizes Crowds With Live Cooking Demonstration at ANUGA Food Fair\nAnuga Cologne, Germany, Oct 16 – An associate professor at the Universiti Putra Malaysia (UPM), Shahrim Karim, 50, took trade visitors at the Anuga food fair of Cologne by storm with his cooking prowess and knowledge of the intricacies of Malaysia’s cuisine. He is no ordinary chef and has a versatile academic background that caps with a doctorate in the human environment science discipline from the Oklahoma State University, his doctoral thesis being on Food, Tourism, and Malaysian Heritage Food. Indeed, his real passion is food because, as he puts it, “it is truly the best way to a man’s heart”.\nAt the recent ANUGA Food Fair here,Shahrim attracted crowds of inquisitive trade visitors, food experts and the public who kept pouring into the Malaysia Pavilion where he was giving live cooking demonstrations in Malaysian cuisine and, in effect, also showing his immaculate skills in rustling up a variety of Malaysian dishes, much to the amusement of the onlookers who simply could not take their eyes off the mouth-watering food items that were being prepared before them.\nShahrim, who was raised in Melaka, attended culinary school in Shah Alam. He has also worked at the Raffles Hotel in Singapore and attended the New York University’s course in Hotel and Restaurant Management.Some of the food and drinks he prepared during the live demonstrations included shrimp and pineapple curry, mee mamak (Malaysian fried noodles), Malaysian tropical salad, salmon and tamarind, chicken and vegetable soup, sweet and sour shrimp, teh tarek, chicken curry and coconut punch.\nMalaysian cuisine is unique and represents all the flavours of Asia, he says, praising Matrade and the Frankfurt-based Malaysian Trade Commissioner, Badrul Hisham Hilal, for their “strong and active support” to him. Story and photo courtesy by Manik Mehta\nNat’l vision for future cars\nHwaseong, Gyeonggi Province, Oct 15 – Chung Eui-sun, executive vice chairman of Hyundai Motor Co., announces strategies during a ceremony to declare a national vision of future cars at the carmaker’s Namyang R&D Center. Photo courtesy of YONHAP\nSinger Sulli Found Dead\nSeongnam, Seoul, Oct 14 – This file photo shows South Korean singer and actress Sulli, who was found dead at her residence in Seongnam, south of Seoul today. A probe into the cause of her death is currently underway. Photo courtesy of YONHAP\nSeoul International Aerospace and Defense Exhibition\nSeoul, South Korea, Oct 14 – A variety of military airplanes, including F-35A stealth fighters, and ammunition are on display at Seoul Airport, south of Seoul, during a press day event, for the 2019 Seoul International Aerospace & Defense Exhibition (ADEX) the following day. Photo courtesy of YONHAP\nOld Chapel of Dzordzor in Northwest Iran\nWest Azarbaijan, Iran, Oct 13 – Chapel of Dzordzor- a historical building registered on the UNESCO World Heritage List – is located in Maku County, West Azarbaijan Province, northwest Iran. Photo courtesy of IRNA / Mehdi Rahnavard\nSaint Thaddeus Church – World’s First Ever Church\nChaldoran County, Iran, Oct 13 – Kara Kelisa, also known as the St. Thaddeus Church, in Chaldoran County, northwestern Iran is one of the oldest and most notable surviving Christian monuments of Iran that carries great significance for the country’s Armenian Orthodox community. Armenians hold that Qara Kelisa is the world’s first church and was constructed in 68 BC by one of the apostles of Jesus, Saint Thaddeus, who traveled to Armenia, then part of the Persian Empire, to preach the teachings of Christ. Photo courtesy of IRNA / Mehdi Rahnavard\nHistory of Kashan\nKashan, Iran, Oct 14 – A historical Iranian city- is the cradle of oldest world urban settlement in Sialk Hills dating back to over 7,000 years ago. Photo courtesy of IRNA / Mojtaba Soltani\nSalt Marsh’s Autumnal Colors\nSouth Jeolla Province, South Korea, Oct 11 – Colorful grasses cover a salt marsh on a mudflat in Sinan off South Korea’s southwestern tip, amid deepening autumn. Photo courtesy of YONHAP\nGyeongbok Palace, Seoul, Oct 9 – A group of foreigners learns Korean during an event to celebrate Hangeul Day. Hangeul is the Korean alphabet invented by King Sejong in 1443. Photo courtesy of YONHAP\nZoroastrian Towers of Silence in Iran’s Yazd province\nYazd, Iran, Oct 8 – Zoroastrians’ Dakhmeh is one of the main tourist attractions of Yazd which is on the southeastern part of the city. It is the place where the Zoroastrians kept their corpses after death with a special ceremony. Although there are other Dakhmeh in Tehran, Kerman, Sirjan, Isfahan, Ardakan, Taft, and Ashkezar, the Zoroastrians’ Dakhmeh of Yazd is the main one thanks to being religious capital of the Zoroastrians, and also has more visitors today. It is also registered in the Iranian National Sites. Photo courtesy of IRNA / Amin Rahmani.\nBlue Panda sets sail around Turkey to stem plastic tide\nIzmir, Turkey, Oct 8 – According to WWF data, the Mediterranean region is the world’s fourth-largest producer of plastic goods, and its residents and visitors generate 24 million tons of plastic waste per year. Photo courtesy of Anadolu Agency\nAutumn deepens in South Korea\nChilgok, North Gyeongsang, 8 Oct – Tourists take photos at a field of pink muhly grass in Chilgok, about 290 kilometers southeast of Seoul, on Oct. 6, 2019, as autumn deepens in South Korea. Photo courtesy of YONHAP\nS. Korea Almost Completes Culling of Potentially ASF – Affected Pigs\nSeoul, Oct 7 – South Korea’s agriculture ministry said Monday it has nearly completed the culling of pigs potentially exposed to African swine fever (ASF) in border areas as it struggles to prevent the disease from reaching southern parts of the country. Photo courtesy of YONHAP\nIranian fighters grab 3 medals in World Muay Thai Champs\nAntalya, Turkey, Oct 7 – Iranian athletes Soroush Ghaderi Zeinabi, Samin Yahyavi and Sobhan Abbasi received bronze medals in the 2019 World Youths Muay Thai Championships. Photo courtesy of IRNA\nProtestors take part in a demonstration in Southern Seoul\nSeoul, North Korea, Oct 4 – Protestors take part in a demonstration in southern Seoul on Sept. 28, 2019, to voice their support for Justice Minister Cho Kuk and his drive to reform the prosecution. Photo courtesy of Yonhap\nIran Second National Handicrafts and Tourism Exhibition\nShahrekord, Iran, Oct 4 – Iran’s Second National Handicrafts and Tourism Exhibition opened by Pouya Mahmoudian, Deputy Director of Handicrafts and Traditional Arts affiliated to Ministry of Culture, Tourism and handicrafts and other provincial officials at the permanent site of Chaharmahal & Bakhtiari International Exhibits. Photo courtesy of IRNA / Ahmad Riahi Dehkordi.\nUNHC Michelle Bachelet visits Rohingya Integrated School of Excellence in Malaysia\nKajang, Malaysia, Oct 4 – Malaysian Foreign Minister Datuk Saifuddin Abdullah (fourth, right) joins United Nations High Commissioner for Human Rights Michelle Bachelet (third, right) visiting Rohingya children at the Rohingya Integrated School of Excellence (RISE) today. Photo courtesy of BERNAMA.\nAutumn days and a beautiful garden alley in Iran\nYazd, Iran, Sept 26 — Pomegranate orchards in the first days of Fall create beautiful scenes in garden alleys of Taft Country, Yazd, central Iran. Photo courtesy of IRNA/Hadi Fallah Tafti\nAutumn hues on Mount Seorak\nSouth Korea: This photo provided by a Yonhap reader on Sept. 26, 2019, shows autumn hues around Jungcheong Shelter on Mount Seorak on the east coast the previous day. The Korea Meteorological Administration says that the start of the changing of the leaves is pronounced when 20 percent of the mountain’s trees from its peak are tinged with color. Photo courtesy of YONHAP.\nA little clearer Wednesday afternoon in KL\nKuala Lumpur, Sept 25 — While the haze continued to cloud parts of Malaysia, some areas reported a bit of relief following rain and the situation is expected to ease with the transition of the monsoon winds this week. Besides strong winds, the transition is expected to bring more rain and clearer skies. Photo courtesy of BERNAMA.\nMessi awarded FIFA player of the year\nRome, Italy, Sept 24 – Barcelona’s Lionel Messi speaks after receiving the best men footballer award during the FIFA Best Football Awards 2019 ceremony at Teatro La Scala. Photo courtesy of Bernama/Marco Alpozzi/Lapresse via ZUMA Press/dpa\nBird singing competition held in Thailand\nNarathiwat, Thailand, Sept 24 – Birds sit in their cages during the annual bird-singing competition in Thailand’s southern province of Narathiwat. Over 1,800 birds from Thailand, Malaysia and Singapore took part in the contest. Photo courtesy of Madaree Tohlala\nManila hotel undergoing demolition collapses\nManila, Philippines, Sept 24 – Rescuers search for victims after a budget hotel which is undergoing demolition, collapsed in Manila, Philippines. Rescue efforts are still ongoing to free another victim after one of the workers was retrieve after almost six hours following the incident, according to Manila Mayor Francisco “Isko Moreno” Domagoso. Photo courtesy of PTI\nIndo-Thailand Joint Military Exercise Maitree\nMeghalaya, India, Sept 24 – Indian and Thailand Army personnel show their operational skill during Indo-Thailand Joint Military Exercise MAITREE-2019 at Umroi Military station, in Ri Bhoi district of Meghalaya. The Joint Military Exercise MAITREE-2019 runs untill 16-29 Sep 2019. Photo courtesy of PTI\nSDGs Showcased on Billboards in Times Square\nNew York City, Sept 24 – A view of billboards showcasing the Sustainable Development Goals (SDGs) in Times Square, New York City. In order to highlight the need for more ambitious action on the SDGs and to continue to engage with the general public, the 17 Goals are being showcased in Times Square this week, inviting everyone to stand behind the Sustainable Development Goals in advance of the UN General Assembly high-level week. Photo courtesy of UN Photo\nSunflowers in bloom\nSeoul, South Korea, Sept 23 – Sunflowers are in full bloom in a field along a river in Jangseong, 308 kilometers south of Seoul. A festival of yellow flowers is slated to run there from Oct. 1-13. Photo courtesy of Yonhap\nS. Korea working to recover from Typhoon Tapah damage\nBusan, South Korea, Sept 23 – Officials work to repair damage caused by Typhoon Tapah at a residential complex in the country’s southeastern port city of Busan. Thirty people, including three police and fire officials, were injured when this year’s 17th storm hit the country’s southern regions over the weekend, according to the anti-disaster government agency. Photo courtesy of Yonhap\nNavaratri Festival in India\nAhmedabad, India, Sept 23 – Woman wearing colorful attire practice Garba, a traditional dance of Gujarat state, ahead of festival Navratri in Ahmedabad. The festival of Navratri or nine nights will begin from Sept. 29. Photo courtesy of Ajit Solanki\nGlobal Climate Strike rally\nStudents from various colleges and schools participate in the Global Climate Strike rally in Chennai, India. Photo courtesy of PTI\nMost powerful earthquake for 30 years hits Tirana\nTirana. Albania, Sept 23 – Damaged cars outside the Faculty of Geology building after an earthquake in Tirana. Albania’s government and news reports say an earthquake with a preliminary magnitude of 5.8 shook in the country’s west and injured at least two people. Photo courtesy of PTI", "label": "No"}
{"text": "Objective: As parents, we want the best for our kids and that includes developing their creativity. But what if your child just isn’t into art. We obviously don’t want to force it, but there are certainly ways we can encourage artistic exploration that that goes beyond simply drawing and painting. Perhaps they haven’t figured it out yet, but there is probably an art form they will gravitate to if given the opportunity. How about photography, cake decorating, tessellations or other math focused art, sensory experiences, pottery, etc..? Just remember, art will likely be appealing to a child, depending on how YOU present and guide their experience with it. Here’s a project that puts a fun and unique spin on the theme of portraiture. It’s one we like to do especially with students that say they just don’t like art, or say they “can’t do art.”\n- Heavy weight paper- cardstock, poster board, cardboard, watercolor paper\n- Mirror (if doing a self-portrait) or someone to sit for you\n- Liquid Glue\n- Food coloring or liquid watercolor\n- Draw yourself however you would like. Try to take up the full extent of your paper and keep details to a minimum (you will see why in the next step).\n- In the examples below you will see that we chose to draw in the style of a “blind, continuous, contour line drawing.” This may be a mouthful, but it’s pretty simple. The rules is you must draw yourself without peeking at your paper but looking at your face in the mirror the entire time, for approx. 30 seconds and without lifting your pencil off the paper.\nThe result is one long continuous line. This method will force your portrait to be abstract, and the result is often humorous – which adds to the fun of it.\n- Trace over your pencil lines using a bottle of liquid glue. *A different approach is that you can make this the very first step- just draw your portrait with glue, skipping step one.\n- Sprinkle your design with salt until all the glue is thoroughly covered. Shake off the excess salt.\n- Dip a paintbrush (or eyedropper) into the food coloring or watercolors and gently touch the color to the salt covered lines. It is important to barely allow the brush to touch the glue/ salt or you risk smudging the line. Watch the paint “magically” travel in both directions.\n- Let it dry completely. This drying process may take a day or two depending on how much glue was used.", "label": "No"}
{"text": "This exhibition is now closed\nThis exhibition captures the impact of the Great War 1914-1918 on New Zealand society and how it seared the hearts of those who fought as well as those who were left behind in New Zealand.\nIt shows all sides of the story and includes paintings, photographs, letters, and other documentary material from the National Archives Collection, Wellington. Artists represented include: George Butler, Horace Moore-Jones, John Weeks, Nugent Welch, and Elizabeth Kelly.\n('A Loss of Innocence', Bulletin, No.78, May/June 1992, p.2)\n1 May – 14 June 1992\nRobert McDougall Art Gallery - main gallery", "label": "No"}
{"text": "The term \"Southeast Asia\" is a twentieth-century invented phrase that is used to identify a geographical area situated east of India and south of China. It consists of a mainland region corresponding to the present-day countries of Burma, Cambodia, Laos, Thailand, and Vietnam, and an insular region conssisting of Brunei, Indonesia, Malaysia, the Philippines, and Singapore. In ancient times, the area was called \"Nanyang\" or Nan-hai\" (meaning South Seas) by the Chinese. On early maps drawn by European cartographers in the sixteenth century any geographical area east of India was named generically. Southeast Asia was identified in broad terms, such as \"Further India\", \"East India\", \"India outside the Ganges\", or \"the Orient Beyond India\" A miniature map of the 1599 by Giovanni Boteor (1540-1617) shows Southeast Asia in remarkably good proportions, particularly the coastline of the mainland region. The percept that pottery origins in Southeast Asia were long standing emerged in the mid- 1960s with the discovery of unglazed earthenware on the northern Khorat Plateau in north-eastern Thailand, which revealed an extensive pre-historic civilization previously unknown. The finds, collectively called the Ban Chiang cultural tradition after a village in the region, have produced quantities of earthenware pots that were used for cooking, storage, and funeral rites. Sites that have yielded Ban chiang pottery encompass a large area extending well beyond the village of Ban Chiang, and confirm that the technology for making pottery was known in the pre-historic period.\nWhat are the main characteristics of pottery in Southeast Asia? Is there a distinctly Southeast Asian pottery?\nThere are two main distinctions that can be found in Southeast Asian pottery. The first is that contemporary ceramics in the region are linked to antique ceramics through the reproduction of antique shapes, glazes, and designs. Today, the industry of pottery in the region is thriving and growing because it is inspired by ancient wares.\nThe second distinction is that in contemporary times, while there are obviously a variety of wares available in the region representing many cultures, styles, and techniques in pottery making, the ancient wares to which they get their inspiration from were all linked by the common thread of utilitarianism. As Dawn F. Rooney, a historian of folk pottery in the region, pointed out:\n... Stylistically, the pieces were linked by a common thread. All were made to be used; not a single piece was purely decorative. The impression of functionalism was strong. These wares were most certainly the everyday utensils of the early inhabitants of Southeast Asia (Folk Pottery in Southeast Asia, p. vii)\nIndeed, Southeast Asia abounds with appealing utilitarian pottery. Robust, balanced forms made for domestic use are an integral part of daily life. Closely aligned to the elements of nature, the pottery reflects the cultural and religious heritage of the people of the region. Everyday earthenware found in Brunei, Burma, Cambodia, Indonesia, Malaysia, the Philippines, and Thailand have common features. Even the earliest pieces reflect a combined utilitarian and aesthetic appeal, a characteristic often found in other arts and crafts of the region. Much of the indigenous pottery was made by craftspeople who worked in slack periods of the agricultural season using local materials to produce wares for everyday use. The region is abundant in the natural elements required for making pottery. Undoubtedly, this rich source accounts for the preference for fired clay over other materials for domestic vessels. Production of pottery for utilitarian use continues today in Southeast Asia and the methods and materials remain basically unchanged.\nA stylistic comparison of earthenware from prehistoric to modern times suggests that production has been uninterrupted, but archaeological support is lacking. Problems in producing evidence include determining dates of production and place of origin. Since the wares were made for use by the local population rather than for export, the same shapes were produced over a long period of time with little stylistic change. Also, because of their portability, they are frequently found away from the place of origin. Additionally, unlike imperial wares, there are no models to study and museums rarely display folk pottery. Even though continuous habitation has not been established, a succession of cultures within the region is identifiable. The gaps in evidence may be due to a lack of attention to pottery in excavations rather than a stop in production.\nThe development and level of technological achievement of pottery production in Southeast Asia varied amongst the countries. Vietnam reached the highest degree of skill at the earliest date. Unlike other countries in the region, the knowledge of making pottery was most likely transferred directly from China to Vietnam in the beginning centuries of the Christian era. Similarities in the methods of potting, in shapes, and in decoration are evident between wares from the two countries. Pottery technology in Indonesia, Malaysia, and the Philippines, did not advance until modern times beyond the production of unglazed, utilitarian wares. In other countries, notably Cambodia and Thailand, development was probably a gradual one evolving through the refinement of natural materials and improved skills in techniques of decorating, glazing, and kiln construction. Both countries produced low fired, unglazed earthenware and high-fired stoneware, unglazed and glazed.\nNot all folk pottery in Southeast Asia is indigenous. Local production was paralleled by imported wares as early as the tenth century. Chinese celadons from the song period (960-1279) have been excavated in Indonesia and the Philippines. However, it was from the fourteenth century onwards, with the introduction of blue and white, china's greatest ceramic achievement, that the largest quantities of folk pottery were imported into Southeast Asia.\nIn this report, the terms \"pottery\" and \"ceramics\" are used interchangeably and apply to all fired clay objects, unglazed or glazed, and included earthenware, stoneware, and porcelain. Classification of pottery types is based on body material, not on the glaze, and the primary difference is the temperature at which the wares are fired. Mention of color and texture of the clay body refers to the visible unglazed areas after firing.\nEarthenware - this is the earliest type of pottery made by mankind. It is usually unglazed and the color varies widely from shades of grey to buff to reddish-orange. The texture is coarse and porous so it is easily broken, which is probably why so little early earthenware has survived. It is relatively simple to make, requiring only ordinary clay and a simple open pit for firing.\nStoneware - this is the next stage in the development of fired clay. The characteristics of stoneware vary more than any other type of pottery because of the natural materials used. The clay is usually more complex than earthenware, with substances added to improve it. The color varies from blue to orange to light and dark shades of grey, depending on the clay used and the firing conditions. It is fired at a higher temperature than earthenware, making it a harder and more durable material. Stoneware is usually glazed.\nPorcelain - this is a refinement of stoneware and the finally achievement in the development of pottery. It was made in china as early as third century AD. The formula for producing porcelain remained a secret until the seventeenth century when Europe started making a counterpart. Technically, porcelain is synonymous with perfection. It is always glazed and the clay is white due to the presence of an ingredient called kaolin. It is fired at a very high temperature which produced a hard, impervious body that is translucent.\nIt is not always easy to distinguish between stoneware and porcelain without laboratory testing. In some cases, especially with blue and white folk pottery, a piece of each type side by side can look the same, yet one is porcelain because it was fired a higher temperature than the other one which stoneware. Both types are high-fired and impervious. In general, stoneware is more thickly potted and opaque with a grayish tinge to the clay, whereas porcelain is thinly potted, translucent, and white. In perfect condition, it is possible for both types to ring when struck.\nPrehistoric earthenware vessels were closely linked with the ceremonial and ritualistic customs of the people. Whole and broken pieces found in burials have produced valuable information bout the sociological aspects of the early inhabitants of the region.\nA comparison of artifacts from various sites indicated cultural links between prehistoric groups in the region in addition to pottery, similar metal tools and glass beads have been found at sites in Indonesia (Borneo), Malaysia (Sabah and Sarawak), the Philippines, and Thailand.\nTypical pottery of the prehistoric period in Southeast Asia is an earthenware vessel, hand built with coils, and finished with an anvil and beater. Although there is evidence that some of the vessels may have been turned on a wheel for decorating, full use of the potter's wheel was employed at a much later date. The vessel is medium sized, with a globular body, wide mouth, and round bottom. It was fired at a low temperature in an open pit, which produced various earth tones on the exterior. The vessel was often finished with a combination of cord marking and incised geometric designs. The early vessels of the region are surprisingly pleasing to the eye and well constructed, with balanced proportions.\nIdentified prehistoric sights in Cambodia date to the fourth millennium BC. Collected artifacts are similar, both stylistically and in apparent use, to those found in other parts of the region.\nPrehistoric earthenware burial vessels have been found in cages in Malaysia at Sabah. Evidence shows that firing of the wares took place inside the caves, an ingenious forerunner of the kiln.\nPottery has also been found inside a cave on the island of Palauan, in the south-western part of the Philippines. The cache of decorated ritual vessels is dated to the first millennium BC. Burial sites in the Philippines have produced pottery dating from the middle of the second millennium BC.\nThe prehistoric Ban Chiang culture in Thailand extends from about the fourth millennium BC to the third or fourth century AD. However, since bronze and iron artifacts found in association with pottery represent products of a highly developed metal industry, it is possible that additional discoveries may produce an earlier date for the beginning of prehistory in Thailand.\nA characteristic vessel of the late Ban Chiang period is a large upright pot with sharp angles, a wide flaring rim, and a pedestal. It was made from a dark clay and covered with a buff slip. An asymmetrical geometric motif combining thick and think lines was boldly painted with red vegetable dye on the body.\nThe kendi, an upright bottle-like vessel with a spout on the shoulder, is closely associated with the culture of Southeast Asia, where it has been used as a utilitarian and ritualistic vessel since at least the eighth century. Its origin is unknown but etymology suggests India as a source. \"Kendi\", a Malay word, is a derivative o \"kundika\", a Sanskrit word meaning \"water pot\". Local variations of the term \"kendi\" are used in Malaysia and Indonesia today. Even though the terms are related, it is uncertain whether or not the kundika was a prototype for the kendi because their functions differ. Both are designed to be filled from the larger opening and poured from the smaller opening but the positions of the opening are reversed on the two vessels. The kundika is filled from the spout and paired from the mouth while the kendi is filled from the mouth and poured from the spout. It seems like that the kendi originated in India was transmitted to Southeast Asia and China by traders and religious leaders in the early years of the Christian era.\nThe general shape - with a round body, straight neck, and mouth - looks like a bottle. Unique features of the kendi are a spout set at an angle on the shoulder and the absence of a handle. Originally the kendi may have been a metal form as junctures of the neck and spout at sharp angles to the body are metallic features. Reproduction of the kendi in fired clay is complex, requiring skill and technology. Yet pottery kendis have been found in habitation sites in the Philippines, Indonesia, and Malaysia dating from the eighth century. Early kendi fragments have also been found in Burma, Cambodia, Thailand, and Vietnam, and form a later date, in Laos. Even though the form must have been introduced in China at approximately the same time as it was in Southeast Asia, limited shards have been found in china indicating that it was note widely used domestically. In contrast, evidence of the kendi in Southeast Asia is sufficient to assume that it was used extensively throughout the mainland and insular regions.\nThe kendi has persevered as a ceramic form in Southeast Asia over a long period of time. The earliest ones were made of unglazed earthenware and the form continues to be made of unglazed earthenware and the form continues to be made of the same material today. But, in between, the kendi was produced in stoneware, both unglazed and glazed, and porcelain. Evidence of its early use in the region suggests that I was originally made locally and later imported from China and Japan. Thailand and Vietnam also produced kendis and exported them to Indonesia and the Philippines.\nKiln sites producing kendis have been found in peninsular Thailand at Sathing Phra. Specific features of kendis from this area are distinct white clay and a long narrow neck. The kilns may have been in operation as early as the tenth century.\nAnother type of kendi, previously unknown, has been found in conjunction with Sukhothai and Sisatchanalai glazed wares on sunken ships in the Gulf of Thailand. The shape is a globular body with a mammiform spout. A slender neck and a mouth with a flange are reminiscent of a metal form. The clay color is black and it is unglazed. It was probably made in Thailand during the Ayutthaya period (1350 - 1767). The quantity found is small in proportion to other wares. It is possible, therefore, that these kendis may have been used by crews on the ships which were carrying ceramics as export cargo.\nInsight into the purpose of the kendi is provided by ancient religious carvings in Indonesia and Cambodia, dating between the eighth and thirteenth centuries. Various scenes depict the kendi as a vessel filled with liquids, used either for utilitarian or ceremonial purposes. The form is generally sturdy and solid, making it suitable as a container for liquids, a use that is implied by the name. The narrow neck and double opening suggests that it was used for drinking. The neck is narrow enough to hold the vessel in one hand, while the spout opening is small enough for liquid to pass through without the vessel touching the lips.\nSince the quality varies from weighty, crudely made earthenware to light, delicate, finely potted porcelain, the extent and duration of use must have been broad. The former most likely had a utilitarian use, whereas the latter was probably reserved for ritualistic and ceremonial functions.\nA recent study of kendis classifies the form by the shape of the spout. Kendis with a straight spout were made in China during the Song period, in Cambodia in the eleventh century, and at the Sukhothai, in Thailand, in the fourteenth century.\nUnglazed shapes with a bulbous spout from the eighth and ninth centuries are depicted on reliefs at Borobudur, in Java. The bulbous spout first appeared in China in the middle of the fourteenth century. It was a popular form throughout the Ming period (1368 - 1644) and was produced in blue and white as well as enamels.\nIn the fifteenth century, kendis with animal-like appendages were made in Thailand, china, and Vietnam. Generally, the spout is modeled like an animal's head with an opening through the mouth and a tail on the opposite side. The neck may be in the form of a rider. Features such as feathers or wings were modeled or incised on the surface of the body. Both naturalistic and mythical animal shaped kendis were made. The Thais achieved a high degree of excellence in producing the complex form.\nOnce the kiln technology for firing stoneware was acquired, the transition from unglazed to glazed ware was a progression which probably evolved from both experimentation and the unexpected results of kiln firing. The earliest glaze was most likely a natural occurrence when ash, from the wood used as fuel in the kiln, fell on the upper surface of a piece during firing. The ash melted and fused with the vessel forming a glaze, or glass-like covering.\nThe earliest glazed stoneware in the region was produced in Vietnam between the first and third centuries AD. Other countries with long0standing stoneware traditions are Cambodia, during the Khmer civilization between the ninth and thirteenth centuries, and Thailand from the tenth to the late sixteenth century and again in the twentieth century. Glazed stoneware was also made in Burma and Laos but the dates and types of production are not clearly defined.\nGlazed wares for daily use have been imported into Southeast Asia first and foremost from China, then later, and to a lesser extent, from Japan, for at least 1,000 years. Although trade was carried on between China and Southeast Asia in the early centuries of the Christian era, Chinese ceramics were not traded in the region until the tenth century. Chinese records of the thirteenth century report ceramics being exported to areas today known as Cambodia, Indonesia, Malaysia, the Philippines, and Vietnam. Prior to this, the impetus for trade probably came from the Chinese who arrived in the region in search of luxury goods, such as ivory, rhinoceros horn, tortoise shell, spices, pearls, and exotic woods like sandalwood. Later the initiative was most likely reversed when the people of Southeast Asia were attracted to the high-quality glazed wares of China.\nSouthern China was the point of origin for trade with Southeast Asia. As demand increased in both directions for luxury items, new kilns were established in southern China, primarily in the provinces of Zhejiang, Fujian, Jiangxi, and Guangdong. Goods were transported over a network of sea routes linking the regions.\nChinese monochromes of the Song and Yuan dynasties (mid - tenth - mid - fourteenth centuries) were especially popular in the Philippines and Indonesia, whereas a limited number have been found in the mainland regions of Southeast Asia. However, the introduction in the fourteenth century of a unique an decorative class of Chinese ware known as \"blue and white\" attracted the entire region and it has been imported ever since. The appeal for blue and white in Southeast Asia continues today.\nExcavated sites in Indonesia and the Philippines from the Ming period produced predominantly blue and white and it was exported in such large quantities to Ayutthaya, the ancient capital of Thailand, from the middle of the fourteenth to the middle of the eighteenth century, that divers have been working in the river for over twenty years recovering remains of the famous Chinese blue and white.\nThe demand for glazed ceramics, particularly blue and white, continued to grow, both in Europe and in Southeast Asia. However, at the end of the Ming dynasty, in the mid - seventeenth century, China was in political upheaval and the production of ceramics for export was temporarily halted, forcing importers to find other markets. It was against this background and at this time that Japan emerged as a major supplier of glazed wares. The Dutch, having already established relations with both Japan and Indonesia, were in a fortuitous position to shift to Japan as a source of ceramics when China's supply diminished temporarily. They had access to Japan and used Indonesia as a transshipment point, with Europe as the final destination.\nQuantities of Japanese export wares, primarily blue and white, have been found in Indonesia. Earlier wares were alien shapes, such as beer mugs, clearly made for the European market. They were en route either to Europe or to Indonesia for use by the Dutch residents.\nLater, probably some time after China resumed ceramic production, a shift is discernable in the position of Southeast Asia as an independent market. Finds include shapes, such as the kendi, which were made specifically for the region. Also Chinese shapes with Southeast Asian designs, such as Buddhist mythical figures, have been found.\nBy the eighteenth century, Southeast Asia was already an important market for Japanese ceramics and the trend continues in the twenty first century.\na. Trade Relations\nAlthough Southeast Asia was known to foreign traders since the Han period (206 BC - AD 221) and some Chinese ceramics were imported into the region in the early centuries. A significant pattern of ceramic trade between China and Southeast Asia did not develop until the tenth century. Trade with China expanded and experienced its greatest level of activity in the Song and Yuan periods (tenth - fourteenth centuries). Enormous quantities of Song celadon have been excavated in Indonesia and the Philippines, especially in coastal settlements.\nThe introduction by the Chinese in the fourteenth century of a new type of ware - blue and white - attracted a wide market. It was immensely popular in Southeast Asia and remains so today. Import of blue and white into the region reached a peak between the late fifteenth and seventeenth centuries. Large quantities were also imported between the late eighteenth or early nineteenth and early twentieth centuries when folk pottery was commonly used throughout Southeast Asia.\nEuropeans began trading with China in the sixteenth century. The Portuguese were the first to arrive and were soon followed by the Dutch, English, and French. They soon established trading posts in Southeast Asia and although their entry into the market caused fluctuations in the types of ceramics traded, Southeast Asia remained one of China's primary markets for folk pottery. Production of a coarse type of ware for everyday use continued for export to Southeast Asia, and during the sixteenth and seventeenth centuries ceramics were the leading export from China to the region. The popularity of folk pottery did not diminish as is evidenced by large quantities of nineteenth - and early twentieth - century blue and white found inn the region. In the seventeenth and eighteenth centuries, Japan captured some of the ceramic trade to Southeast Asia by producing a competitive type of blue and white, as well as polychrome wares.\nb. Chinese Wares Yue Wares - Yue wares are forerunners of the celadon produced in China, in Zhejiang Province. Although a proto - Yue ware existed as early as the Han period, the term \"Yue\" was firmly associated with a particular type of ware for the first time in the Tang period (618 - 906). Pieces of Yue ware have been found in Indonesia, the Philippines, and peninsular Thailand. A light grey stoneware body is covered with a thin pale-green glaze which usually has a brownish or grayish tinge. Small, shallow bowls with incised and floral designs are typical. An attractive feature is the textural interest created by the thin glaze that collected in an irregular pattern to form thick and dark areas.\nYue - type wares were produced in various kilns in southern China after the Song capital moved from northern China south to Hangzhou, in Zhejiang Province. They were exported to Southeast Asia between the twelfth and thirteenth centuries.Yue - type wares are frequently confused with the Yue wares of an earlier date.\nUnder royal patronage, the kilns of southern China flourished and the court encouraged trade. Within this environment of development and expansion during the thirteenth to mid - fourteenth centuries Longquan, or southern celadon, dominated exports to Southeast Asia.\nCeladon - Definition of the term \"celadon\" is controversial, but it is identified with a type of stoneware fired to a high temperature in a reducing kiln atmosphere, and covered with a green glaze that contains a percentage of iron.\nCeladon originated in China and was never made outside of the orient. The unctuous green color stimulus jade. Celadon received wide acceptance in Southeast Asia. A piece of celadon was highly regarded, so much so that in Indonesia it was considered to have magical and curative powers.\nThe earliest celadon found in Southeast Asia was produced in Shanxi Province beginning in the late tenth century. Northern celadon is grey - bodied stoneware. Examples found in Indonesia, the Philippines, and peninsular Thailand are characterized by distinct brownish tones in the green glaze. A typical form is a small bowl, similar to Yue ware, except that it is less shallow, with incised designs depicting the peony and lotus.\nLongquan celadon was produced in southern China in Zhejiang and Fujian Provinces. The quality and beauty of this ware were unequalled between the thirteenth and mid - fourteenth centuries. It has a light - grey stoneware body and an opaque green glaze with grayish or bluish tinges. The ultimate color goal was a bluish - green but kiln conditions were not uniform and variations were extensive. A distinguishing trait of southern celadon is a bright reddish foot. Plates, bowls, and small pots are the most common shapes found in Southeast Asia. Yuan - period (1260 - 1368) plates of exceptionally large size, with a foliate rim and incised designs, are found throughout the region. The pieces seem to have been mass - produced as they are characterized by an untidy and rough surface on the base, evidence of a hastily finished piece. Generally, decoration was minimal, but it increased in proportion to production, and by the late fourteenth century it was quite elaborate. Also characteristic of many plates found in Southeast Asia, is an unglazed ring on the base, presumably to facilitate firing. Frequently the unglazed are is so large that only a spot of glaze appears in the center of the base.\nAn innovation seen on some of the celadon shipped to the Philippines, was the addition of dark brown spots deliberately created for a decorative effect by painting spots with iron pigment on the surface before glazing.\nBrown Wares - Although brown - glazed Chinese wares are found in abundance in Southeast Asia, especially small pots from Philippine grave sties of the thirteenth century, little is known about their provenance and date. A 1985 report on trade ceramics found on Tioman Island in Malaysia included small upright shapes and basins in various tones of brown with impressed designs. They were made at Xicun kilns in Fujian Province in the Song Period. The Quanghou kilns in Fujian Province produced pots with a homogenous glaze and a whitish clay. The color of the glaze ranges from brown to olive, caramel, and almost black. These types are similar to finds in the Philippines and Indonesia.\nBlue and White Folk Pottery - Hole - bottom Saucer: A small yet distinct class of Chinese export ware made between the fifteenth and seventeenth centuries has been excavated in Southeast Asia. Known as a hole - bottom saucer, a somewhat misleading name, it is distinguished by the absence of a foot - ring and the presence of a recessed base surrounded by an unglazed ring. The name \"hole - bottom\" is derived from this unique treatment of the base.\nThe kiln sites have not been found but it seems likely they were located in southern China. The form was first discovered in gravesite excavations in the Philippines. Until the 1970s, the form was unknown elsewhere. Subsequently many examples have been found in gravesites in South Sulawesi in Indonesia, in excavations at Brunei, and in the river at Ayutthaya in Thailand. The pieces are identical in clay, shape, glaze, and decoration to those pieces found in the Philippines. Therefore, it seems that the hole - bottom saucer was made for export to all Southeast Asian markets.\nThe use of the form is uncertain. Because it has been found in gravesites, it must have had significance perhaps it offered protection from evil spirits. Interestingly, in Philippine excavations, twice as many saucers were found in children's graves as in adult ones. Another conjecture is that it was an oil lamp to provide elevated lighting at festivals and ceremonies. A bamboo pole could be fitted into the recessed base; then a wick and oil could be put in the saucer. A similar type of aluminum lamp is used in Southeast Asia today.\nMonochrome hole-bottom saucers are either white or green glazed. They are usually more thickly potted, heavier, and generally of poorer quality than blue and white examples. The glaze is crackled and the foot is roughly finished. If decorated, a single design was stamped or incised in the center.\nFolk pottery (eighteenth - early twentieth centuries): Vast quantities of blue andwhtie folk pottery for daily use were produced in southern china between the late eighteenth and early twentieth centuries. Two circumstances occurred to support a large production of ordinary ware.\nFirst, by the eighteenth century Europe, which had been a major market for china, was producing blue and white in sufficient quantities to meet its own demand. This change in trade forced china to concentrate on developing regional markets and altering production to meet their requirements. Blue and white folk pottery was the favored type of ware. It was shipped from china to Malaysia, Indonesia, the Philippines, Thailand, and the Straits settlements of Penang, Malacca, and Singapore. The quality varied from crude, hastily finished pieces to fine wares with carefully executed detail. The impact of this type of ware was so effective that its use extended to all classes of people and encompassed royalty as well as commoners.\nThe Chinese were skilled at producing wares from drawings. Thus, a unique market emerged and pieces were made to order for the Southeast Asian market. A fine example of these wares can be seen at Vimanmek Palace in Bangkok, Thailand, where King Chulalongkorn (Rama V, 1868 - 1910) lived for six years towards the end of his reign. The King was a keen collector of Chinese blue and white altarpieces. A vintage photograph of the interior of Vimanmek Palace taken at the beginning of the twentieth century shows Chinese ceramics decorated with the King's initials. Thai palace has been restored and is open to the public.\nSince so many of these wars have been found in Southeast Asia, the kilns were probably located in southern china, near ports for ease of shipment abroad. Guangdong, Fujian, Zhejiang, and Jiangxi Provinces all produced blue and white folk pottery.\nBlue and White Tableware: A particular type of Chinese bleu and white ware has been found in large quantities in Indonesia, the Philippines, and Thailand. It consists almost entirely of heavily potted plates and bowls in varying sizes. Hallmarks are an unglazed ring around the center on the interior, a white glaze with blue, green, or grey tinge, blue painting that may have a black or grey tone, and a light grey or buff clay with visible darker specks. Sometimes the clay is reddish, caused by an accidental reducing kiln atmosphere.\nYixing Ware - Yixing is a particular type of stoneware produced in Jiangsu Province, central China. Named after the area where the pottery is made, the most famous form is an unglazed teapot in a distinctive brown color, resulting from clay with high iron content. The area is a rich source of fuel and of the special type of clay required for the pottery. Also, it is ideally situated near coastal ports for export of the products by the sea.\nYixing kilns have been in operation since the Song period but production of Yixing teapots began in the sixteenth century and continues today. Popularity of the simple wares spanned continents. A drawing shows Chinese merchants sitting in a shop in Saigon in the nineteenth century drinking from Yixing teapots. They were used widely by scholars in China and were the original teapots of Europe, introduced by the Dutch when tea drinking was introduced in Europe in the late seventeenth century. The tea also came from Southeast Asia where it was grown in Burma, Thailand, and Vietnam. As the popularity of tea drinking grew and spread across Europe to England, tea became the main cargo transported by the East India Company. Yixing teapots were packed inside the tealeaves for protection. The teapots were exported to Southeast Asia in the eighteenth and nineteenth centuries. In 1892, Yixing teapots were ordered by King Chulalongkorn to commemorate the anniversary of the Chakri dynasty in Thailand. A tea-set in Vimanmek Palace where the King lived at the beginning of the twentieth century, included a Yixing teapot mounted with gold on the spout, knob, and lid accompanied by eight enameled and gold cups with covers. A Gold tray completes the set. In Thailand during this period, the use of Chinese export porcelain with gold was reserved for royalty.\nPieces exported to Thailand have two unique features. First, the tip of the spout, knob, and the rim are often bound in gilt metal. These mounts are found on most of the Yixing teapots in Thailand, and it is believed that the metal was applied in Thailand, as a precaution against the breakage. They have only been found on teapots of the late seventeenth and eighteenth centuries.\nSecondly, the surface has an exceptionally highly polished finish. The possibility that pots exported to Thailand received special handling is suggested by WA Graham who, in 1922, wrote that the Yixing teapots were imported in rough unfinished condition and that the polishing and mounting were done in Bangkok, near the Giant Swing. He describes how the wars were polished. The grinding or filing of the surface was done with an inferior sapphire mixed with sticlac and set hard. The final polishing was done by rubbing the pot with the outside surface of bamboo.\nShekwan Ware - The Shekwan kilns, southwest of Guangzhou in Guangdong Province, were established in the Song period and are still in operation. The area is rich in raw materials required for glazed ceramics, and the kilns are situated near the Shekwan River, which provided a suitable channel for transporting the wares to the coast for export.\nImitation of earlier wares, particularly Chun, are a hallmark of the Shekwan kilns. Speciality in this area originated when the kilns were established. In the twelfth century, when the northern Song dynasty was taken over by the Mongols, potters fled to southern China. Many settled at Shekwan and resumed potting. Thus, potters applied technology from northern China to raw materials in southern China. The Chun glaze, distinguished by a bluish- lavender color splashed with purplish patches, is one of the most successful and the prolific imitations of the Shekwan kilns.\nc. Imported Japanese Ceramics - Japan has a long history of stoneware production, which as learned form the Chinese in the early centuries of the Christian era. The Japanese valued the aesthetic texture of thickly potted stoneware with uneven, mottled glazes. In the seventeenth century, they acquired the skill of producing porcelain and, soon after, moved into the export market. Southeast Asia was an attractive market because of its accessibility and because of local appreciation of the attractive blue and white ware, which was not made in the region.\nJapanese blue and white ceramics are thicker and not as carefully potted as the Chinese wares. The glaze on the Japanese pieces is thick with many bubbles, and the blue has a purplish-grey tint. The painting is bold and expressive although sometimes it descends to sketchy and careless designs. Undecorated space is more common and pictorial scenes tend to be asymmetrical and less balanced than Chinese designs.\nSmall village workshops are situated throughout the region producing unglazed earthenware for domestic use, the greatest number of ceramic centers being located in Indonesia, Malaysia, and Thailand, in addition to utilitarian pottery, factories in these countries now produce high-quality copies of antique Asian glazed ceramics which are sold both locally and exported.\nContemporary wares in Southeast Asia\nThe 6,000-year-old legacy of antique ceramic production in Southeast Asia that began in the prehistoric period, continued in the twentieth century at modern factories and private pottery groups throughout the region. Today, the manufacturing process is refined through the discovery of additional materials, improvements in techniques, mechanization, and increased knowledge of clay and glaze chemistry. However, the basic principles of pottery and the prime stages of production - selecting the raw materials, shaping and firing the form - remain essentially the same today as in ancient times.\nTypes of modern ceramic factories in Southeast Asia vary from small village workshops making folk pottery for daily use by the local population, to large mechanized factories producing copies of ancient ceramics and antique-style wares.\nUses of Folk Pottery\nFolk pottery has been used in Southeast Asia for at least 6000 years. Abundant and widespread finds of both surface shards and excavated pieces from the earth and the water substantiate a regional preference for pottery over other materials such as metal or wood. Regardless of the type, a common theme of functionalism is evident in an examination of these pottery finds.\nAlthough historical written information is lacking, archaeological datum indicates that the primary use of pottery in Southeast Asia was for the utilitarian and ritualistic needs of the local population. Pots made for funeral purposes were amongst the earliest uses. Prehistoric burials have yielded an abundance of pottery in this context. Concurrently, earthenware vessels served as containers for the storage and cooking of liquids and foods. Later uses of pottery are depicted in stone carvings on temples at Borobudur (Indonesia) and Angkor (Cambodia), dating between the ninth and twelfth centuries. Gravesite excavations in Indonesia and the phili8ppines reveal that ceramics were used as burial wares again between the fourteenth and sixteenth centuries.\nAnother source for information on the use of locally produced pottery is a comparison of ancient and modern examples. The shapes of many of the vessels are the same, indication that the functions have not changed.\nThe use and appeal of antique ceramics imported into the region seems timeless. . Chinese wares, particularly celadon and blue and white, continue to be sued in daily life today.\nA popular use of antique blue and white ware is for contemporary table settings. A superb example of the timelessness of this ancient ware can bee seen in the dining-room at the celebrated Jim Thompson house in Bangkok, Thailand, where the table is set with blue and white ware.\nIn Indonesia, antique ceramics are used today in association with magic potions concocted by mediums. Pottery that rings when it is struck is particularly auspicious and a piece with a resonating ring is believed to be powerful enough to summon sprits. Some believe that one particular type of saucer has the power to ward off illness and to strengthen fidelity in partners, providing the right mixture of ingredients is used and the ritual is performed by a special gifted medium. The saucer is small, approximately 15 centimeters in diameter and is white glazed with a distinct grey tone and an unglazed ring around the center. It is decorated with a maroon-colored over glaze in a pattern of alternating crosshatch and floral motifs (pp 17-18 Folk pottery in Southeast Asia).\na. Everyday uses - Ceramic containers for storing and cooking food and liquids have been used throughout history in Southeast Asia. Other shapes, such as plates, were not often produced for use locally because the region has a prevailing tradition of sing other materials, such as shells, baskets, bamboo, and leaves for serving and eating food.\nEvery kitchen ahs large jars for storing liquids such as water, oil, and rice wine, and medium-sized jars fro picked vegetables and rice. Smaller containers are used for preserved foods such as pepper, lime, mango, sauces, fish paste, condiments, medicines, and cosmetics. Containers are also needed for storing lime paste, and essential ingredient in betel chewing, which is widely practiced amongst the people of Southeast Asia.\nA contemporary earthenware pot made in Burma serves a dual purpose. The pot is a container for rose petals and the cover is used for baking fish paste.\nLarge, oval-shaped brown-glazed ceramic jars are used today by the mountain people in north-eastern Cambodia, the Philippines, and Vietnam for storing a local wine made from honey, sugar, and rice. This is most likely an ancient custom since a relief carved on the Bayon temple at Angkor in Cambodia depicts men drinking through a reed from similar-shaped jars. The rice wine is prepared by placing rice husks and a fermenting agent in the jar and sealing the opening. After fermentation has taken place, water is added and the mixture is converted to wine.\nFinds on sunken ships in the Gulf of Thailand include large stoneware jars with miniature glazed pots tightly packed inside. The large jars were ideal storage containers, for although chemical elements of the sea often destroyed the glaze on the exteriors of the storage jar, the small wares packed inside are in pristine condition, protected by the thickly potted, high-fired stoneware jar.\nCeramic containers are widely used for transporting water from a central source. It is a commo0ng sight to see groups of young women in Bali and other parts of rural Indonesia, and in Burma, gathered around a communal well chatting and laughing as they fill their narrow - necked, bulbous - shaped jars with water. They return to their homes varying the jars on top of their heads or suspended from a bamboo pole.\nAn earthenware bottle is a popular shape used for transporting drinking water to and from the rice fields. The porosity of the earthenware keeps the water cool for a refreshing drunk during the long, hot, hard work in the fields.\nAn ancient custom retained today in Burma and Thailand, particularly in the north, is to provide drinking water for people walking past one's home or shop. A medium - shaped earthenware jar filled with fresh water, is placed outside as an offering of goodwill for passers - by. A ladle made from a coconut shell with a bamboo handle is used for drinking.\nCeramic mortars and pestles were made by the early Thais and Khmers. A similar shape is made today in Thailand at Ang Sila (formerly known as Ang Hin), a coastal village on the Gulf of Thailand specializing in carving mortars and pestles from a coarse, dark grey stone. Spices, including roots, leaves, and sees, are fundamental ingredients in Southeast Asian cooking and are used in almost all food preparations. Added to other staples, they provide variety in taste and texture. Selected whole seeds are placed in a mortar and beaten to a fine consistency with a pestle. The same utensils and method were used to prepare ointments, perfume, and oils, which are comparable to the use of cosmetics today.\nA typical daily meal in agrarian Southeast Asia consists of cooked rice, vegetables, and curry. Rice is a staple food in the diet. Pots for cooking rice are as essential today as in the past. The traditional, medium-sized earthenware vessel with a round bottom is a universal shape. Other vessels are required for cooking fish, vegetables, and curry, as well as for preparing sauces accompanying these dishes.\nVarious sizes of wide-mouth ceramic jars are needed for washing, in a typical house in rural Southeast Asia; an open wooden platform adjoins the kitchen. Several large stoneware jars filled with water and placed in this area are used for bathing, washing dishes and kitchen utensils, and for cleaning the interior of the house.\nJars and basins are also used as water containers for washing one's feet before entering a house. A basin filled with water is placed on the wooden or concrete platform at the entrance of a rural house. A smaller bowl floating inside is used for scooping water from the large basin.\nBased on Khmer finds, it is apparent that one of the major uses of small ceramic pots in ancient times was as containers for lime paste used in betel chewing, which is still a common practice today in Southeast Asia, although less so than in the past. Traces of hardened white or pinkish lime are found on the inside of Khmer pots, particularly animal - shaped ones.\nDifferent types of glazed ceramic weights were made at Sisatchanalia and at northern Thai kilns. A typical form is pear-shaped, covered with a brown glaze although more complex shapes and other glazes are also known. Suggest uses are fish-net and plumb weights.\nA chess - like game must have been popular in ancient Thailand as various chess forms paralleling modern shapes have been found at Sisatchanali, Sukhothai, and northern Thailand. Colors are subdued, just as they are today, with light - and - dark colored pieces symbolizing Yin and Yang, the polarities. Counterparts of a knight in the form of a horse, a pawn-like shape, and a possible bishop are known.\nb. Religious and ceremonial uses - an early use of pottery in Southeast Asia was for funerary purposes. Earthenware pots were buried with the dead in prehistoric times. At one site in northeastern Thailand, over 123 burials were uncovered. The type and placement of pieces around the bodies seemed utilitarian in some instances, and in others they appeared to have a symbolic purpose. The exact meaning is unknown, but it is clear that pottery used as funerary vessels to accompany the dead into afterlife was a major purpose of pottery in the prehistoric period.\nIn the Philippines, earthenware jars containing bodies and other jars with just bones dating from prehistoric period have been found in caves. Glazed stoneware jars were used for burying the dead in Indonesia in the historic era but it was not a common practice in Thailand.\nToday, blue and white folk pottery is used in a Chinese funeral ceremony.\nThe religious and ceremonial uses of ancient vessels in Southeast Asia are frequently depicted in relics on ancient temples, although the material is not readily identifiable. It may have been metal, ceramic, stone, or lacquer. However, many shapes in Khmer wares have been found that are the same as those seen on the reliefs. Metal was most likely used originally and pottery as a substitute later, or in less prosperous areas.\nCeramic vessels have been used throughout history in Southeast Asian religious and ceremonial rites. Dominant ritualistic elements are candles, incense, music, dancing, drama, water, and food. Ceramic containers and offertory vessels are essential for the use of these elements. A painting of the Shwedagon pagoda in Rangoon, Burma, shows various ceramic containers in use.\nA twentieth - century report on Burma mentions small earthenware dishes used as lights. Kerosene is put in the dish and a cotton wick added. The small laps are placed on the window sills and verandahs of houses in rural Burma on festival days.\nThe ancient potters at Sisatchanali, in Thailand, produced appealing, hand-modeled animal and human figures for use as votive offerings. Spirit houses, or animistic shrines, are widely used in Thailand today, and probably serve the same purpose as in ancient times. A miniature replica of a rural Thai house usually stands on a post set in the ground and is strategically placed so that the house occupied by humans never casts a shadow on the spirit house. Offerings of figurines, fruit, and flowers are placed on the verandah of the house to appease the evil sprits and encourage them to remain in the spirit house, rather than leave and enter the owner's home.\nFigures modeled from clay are used extensively in animistic worship. Spirits for protection, fertility, and ancestors are appeased by rituals. Thai ceramic figures in human form are sacrificed in animistic rites to safeguard a person from danger or misfortune. Interestingly, the figures are nearly always seated. Many of the female figures are holding babies and it is believed these were offered as a sacrifice by pregnant women to ensure a safe delivery and a healthy child. Because so many of these figures have been found with severed heads, decapitation must have been part of the ritual.\nA ceramic factory in Singapore uses a brick kiln fired with wood fuel in much the same manner as ancient times. Beside the entrance to the kiln is a small shrine. Throughout the firing, offerings are made to the spirit of the kiln to ensure a successful firing, with minimal damage.\nc. Architectural fixtures - Pottery was a primary material used in ancient Southeast Asia for fixtures on temples and other public buildings. Vast quantities of structural materials, such as railings cornices, balustrades, drain pipes, and lattices were needed for the temples. Roof tiles for buildings must have been one of the most extensively made products. The most common type was an unglazed rectangular form which has been found at Khmer and Thai kiln sites. The same shape, with a white celadon glaze, is also common. Besides flat, rectangular roof tiles, figures sculpted in the round were used as decorative fixtures on roof ridges and eaves at Sukhothai.\nGlazed tiles were also popular in Vietnam, where blue and white tiles in imaginative and decorative motifs were made.\nTemples at Pagan, in Burma, are frequently adorned with tiles. Typical is a row of rectangular, carved tiles surrounding the base of the temple. They depict tales of the lives of Buddha. Many of the tiles are inscribed with a row of characters along the base and were probably used for teaching Buddhism to children.\nThe Khmers made finials which were most likely used as ornaments and placed at the apex on the roofs of royal buildings. During the Bangkok period in Thailand, when Chinese ceramics were imported in great quantities, the walls of temples were inlayed with pieces of broken glazed porcelain, both blue and white, and enamels. Intricate and artistic arrangements were created. Fine examples of this technique can be seen at the Grand Palace and the Temple of Dawn in Bangkok, Thailand.\nModern ceramic alterations\nAn illicit branch of the type of factory producing copies of antique Asian wares has sprung up at an alarming rate in recent years. It involves altering modern copies to look like antique wares and altering antique wares to improve their appearance. Both techniques are used to increase the resale value.\nCeramic finds in situ instigate the idea of improvising antique wares. Villagers immediately sense the interest generated by a new find and the potential monetary gain from the sale of excavated pieces. They respond by digging randomly and carelessly in the hope of producing saleable pieces. This type of work destroys archaeological data and often damages the wares. Thus, the quality of excavated pieces is frequently poor. The next step is to alter the wares for the purpose of improving their appearance.\nModern potters are ingenious at emulating defects on an original piece. Crackle in a glaze is achieved through saturation in uric acid. The iridescent gloss on a Tang figure is duplicated by burial in the ground. Even a firing scar can be copied precisely. Chinese enamel from the Qing period is commonly repainted. These pieces are readily identifiable as the fresh paint flakes off when scraped with a fingernail or any sharp implement. Furthermore, a monochrome (one color) can become polychrome (more than one color) by reglazing and refiring.\nSEA village workshops\nVillage workshops producing utilitarian vessels exist in all countries of Southeast Asia. The output is limited primarily to firing earthenware in sufficient quantities to meet the needs of the local population.\nIn some areas, potting is a cottage industry, which is a seasonal operation co-coordinated with the farming cycle. During the dry season, when farmers are not working in the fields, they make pottery. In this type of production, wares are made for immediate local use.\nIn other areas, an entire village depends solely on the sale of pottery for economic support. The end product is used locally but production is keyed to consumer demand and is primarily for trade, either by selling or bartering, in the region.\nBoth men and women engage in potting, but the jobs handled by each sex vary from village to village. In a cottage industry, women usually do the potting while men do the farming and fishing. If potting is a main industry, the jobs are shared. Men father and prepare the raw materials while women shape and decorate the vessels. Both men and women participate in the firing process. Often men are responsible for selling the finished product.\nA typical workshop is family operated. The home and factory share communal space. A one-storey wooden structure built of local products, such as hardwood and bamboo, is supported by posts. Ground level is an open airy space with an earthen floor, which is used for storing, prepared clay and for shaping, drying, decorating, and glazing the pottery. The first floor is divided into rooms opening on to a verandah where the finished wares may be displayed. The kilns or pits for firing the pottery are situated near the house and are often shared by several families. Each workshop has at least one termite mound which provides a sandy, coarse clay. It is added to the clay mixture to help prevent pots from cracking during drying.\nThe ubiquitous, indigenous vessel of Southeast Asia is a medium seized, unglazed, orange earthenware pot with a spherical body, a short, constricted neck and a flaring mouth with a thick, round rim. The base may be broad and flat, round, or attached to a foot. A dome - shaped lid with a knob in the center is common. The size and profile vary but the general form is united by a similarity in shape, method of potting and multi - faceted use in daily life, ranging from cooking to storage.\nThe basis of any pottery form is preparation of the clay. After mining, sifting out the impurities, and adding water, the clay is ready for wedging and mixing. It is essential to remove the air bubble and achieve a uniform consistency before making a form. It does not require special equipment but it is an acquired skill. In Japan, it is not unusual for an apprentice to train for several years just learning how to mix clay to a uniform consistency before proceeding to the next step in the potting process. Large masses of clay are wedged by bare feet. At a modern factory in Singapore, a skilled worker stands on top of a cake-shaped mound of clay. He methodically and knowingly massages the clay with utmost control. Starting from the outer rim, he kneads a section, turning it and moving in to another area.\nTo make a hand-built vessel, the paddle and anvil method is used. A potter sits cross-legged with a square, straw-filled cushion in his lap, which serves as a base to rotate and shape the clay. A wad of wet sticky clay is flattened with the palm of the hand. The walls of the pot are formed by beating the exterior with a wooden paddle while holding a baked clay anvil on the interior. During the beating, the paddle is dipped in water to prevent it from sticking to the clay. This process continues until the desired shape and thickness are achieved.\nOn larger pieces, another jar is turned upside down to serve as a base. A circular slab of plaster is placed on top and the potter walks around the jar thinning and strengthening the walls by beating them with a wooden paddle. An experienced potter establishes a practiced rhythm to the beating process and turns out a well-proportioned pot rapidly and skillfully.\nA repetitive, geometric design is often impressed around the shoulder using a carved paddle. A pendant design, formed with a series of small nicks in the clay, is characteristic of the Ayutthaya period in Thailand. An incised chevron-like motif, formed with a series of thin lines, is frequently found on earthenwares produced in the region from ancient to modern times. Sometimes, shoe polish or oil is applied to give a smooth finish, but a more permanent and functional method of treating the surface is burnishing, or rubbing the pot with a stone disk, which gives a polished appearance and makes the pot impervious. After it is thoroughly dried in the sun, the pot is fired in a shallow pit covered with straw. This method of making vessels is one of the oldest known crafts. It began in the Neolithic period and continues today with a very little change in technique.\nWheel throwing is the other primary method of making a clay vessel. The wheel is a circular disk, approximately 20 centimeters in diameter, which is anchored on a pivotal base. It is rotated by hand or mechanically and at varying speeds. A potter begins by centering a round lump of clay on a rotating wheel. Then, pressing his thumbs into the mass of clay he opens it and, by applying even pressure with both hands, he raises the walls of the vessel. He shapes the clay with his hands and tools to achieve the desired form. Finishing the lip is the final stage before removing the vessel from the wheel. Applying a steady rhythm, pressure of the fingers is used to achieve the desired shape. A piece that has been thrown on a wheel can be identified by a series of regularly spaced rings created by the wheel on the interior, and a pattern on the base that looks like a thumb print, resulting from cutting the vessel from the wheel.", "label": "No"}
{"text": "Process of managing a business or a non-profit organization\nBusiness administration (also known as business management) is the administration of a business. It includes all aspects of overseeing and supervising business operations. From the point of view of management and leadership, it also covers fields that include accounting, finance, project management and marketing.\nThe administration of a business includes the performance or management of business operations and decision-making, as well as the efficient organization of people and other resources to direct activities towards common goals and objectives. In general, “administration” refers to the broader management function, including the associated finance, personnel and MIS services.\nAdministration can refer to the bureaucratic or operational performance of routine office tasks, usually internally oriented and reactive rather than proactive. Administrators, broadly speaking, engage in a common set of functions to meet an organization’s goals. Henri Fayol (1841-1925) described these “functions” of the administrator as “the five elements of administration”. Sometimes creating output, which includes all of the processes that generate the product that the business sells, is added[by whom?] as a sixth element.\nAlternatively, some analyses[which?] view management as a subset of administration, specifically associated with the technical and operational aspects of an organization, and distinct from executive or strategic functions.\nBachelor of Business Administration\nThe Bachelor of Business Administration (BBA, B.B.A., B.Sc.) or Bachelor of Commerce (Bcom. or BComm) is a bachelor’s degree in commerce and business administration. The degree is designed[by whom?] to give a broad knowledge of the functional aspects of a company and their interconnection, while also allowing for specialization in a particular area. The degree also develops the student’s practical, managerial and communication skills, and business decision-making capability. Many programs incorporate training and practical experience, in the form of case projects, presentations, internships, industrial visits, and interaction with experts from industry.\nMaster of Business Administration\nThe Master of Business Administration (MBA, M.B.A.) is a master’s degree in business administration with a significant focus on management. The MBA degree originated in the United States in the early 20th century when the country industrialized and companies sought scientific approaches to management. The core courses in an MBA program cover various areas of business such as accounting, finance, marketing, human resources, and operations in a manner most relevant to management analysis and strategy. Most programs also include elective courses.\nDoctor of Business Administration\nThe Doctor of Business Administration (abbreviated DBA, D.B.A., DrBA, or Dr.B.A.) is a research doctorate awarded on the basis of advanced study and research in the field of business administration. The D.B.A. is a terminal degree in business administration, and is equivalent to the Ph.D in Business Administration.\nPhD in Management\nThe PhD in Management is the highest academic degree awarded in the study of management. The degree was designed[by whom?] for those seeking academic research- and teaching-careers as faculty or professors in the study of management at business schools worldwide.\nDoctor of Management\nA newer form of a management doctorate is the Doctor of Management (D.M., D.Mgt. or DMan). It is a doctoral degree conferred upon an individual who is trained through advanced study and research in the applied science and professional practice of management. This doctorate has elements of both research and practice relative to social and managerial concerns within society and organizations.", "label": "No"}
{"text": "The Worcester porcelain factory was founded in 1751 by Dr. John Wall, a chemist, artist and physician, whose aim was to emulate the porcelain produced by the great European manufactories of Meissen and Sèvres. The factory produced wares that were thinly potted, yet better able to withstand the temperature of boiling water, and were considerably cheaper than the porcelain imported from China and Japan. This was due to the use of soapstone, a rock rich in the mineral talc, that was added to reinforce the clay. This teapot features Worcester’s ‘Mansfield’ pattern in inky blue enamel, which was used extensively by the factory to decorate teawares throughout the 18th century. Although similar to the factory’s ‘Peony’ pattern, the ‘Mansfield’ design is recognisable by its asymmetrical rococo-style ornament, and by the painted borders around the rim and lid which feature pineapples. During the latter half of the 18th century such blue and white wares were extremely popular with the ever-growing middle class. This teapot was over-decorated at a later stage with iron-red and gilt blossoms, a practice known as ‘clobbering’ whereby new decoration is applied over the original.", "label": "No"}
{"text": "This failure led to the decision to force the Straits by a landing on the Gallipoli peninsula. Once the Turkish forts and batteries had been seized, the Royal Navy could steam on to Istanbul. A Mediterranean Expeditionary Force (MEF) composed of British Empire and French troops was hastily assembled in Egypt. Among the British Empire forces were the men of the AIF (Australian Imperial Force) and the NZEF (New Zealand Expeditionary Force) who had been training in Egypt when the decision to invade Turkey had been taken. They were now combined into one army corps, known as the Australian and New Zealand Army Corps (ANZAC), and the men who fought in the corps became known as Anzacs.\nAt dawn on 25 April 1915, the Gallipoli campaign began. Australians and New Zealanders landed on the rugged and mountainous western side of the peninsula. The small area captured that day became known as ‘Anzac’ and the little beach where most Anzacs came ashore after the initial attack was soon called Anzac Cove. The aim of the landing was twofold – to capture the heights of the Sari Bair range which dominate this part of the peninsula and to force a way inland to a hill known as Mal Tepe, overlooking the Straits and the Turkish lines of communication to the south.\nThat same morning, around Cape Helles, the British landed at a number of different locations. Their objective was the high point of a plateau about 11 kilometres from the cape, which ran across the peninsula, known locally as Alçitepe (Achi Baba to the British), and then to progress north from there to join up with the Anzacs. Across the Straits, the French mounted a diversionary landing at Kum Kale. The British position in the south became known as ‘Helles’. But strong and unexpected Turkish resistance held off both these attacks and by the evening of 25 April the landing forces clung to small gains at both Anzac and Helles.\nOver the next few days, during the Battle of the Landing, and despite terrible casualties on both sides, the Turks were unable to drive the Anzacs back into the sea. Conversely, the Anzacs made little or no headway against the Turks, and by 5 May 1915 they were left holding a slice of Turkey 1.5 kilometres from north to south and 0.5 kilometres at its widest point. This position was held, with additions of territory to the north during the ‘August offensive’, until the end of the campaign.\nDuring May and June the British undertook a number of operations at Helles, designed to push their line towards Achi Baba and hopefully to break out to the north. All of these actions – the First Battle of Krithia (28 April), the Second Battle of Krithia (8 May) and the Third Battle of Krithia (4 June) – failed. For the Second Battle of Krithia, the 2nd Brigade (Victoria) AIF and the New Zealand Infantry Brigade (about 8000 men) were sent to Helles. On the morning of 8 May, the New Zealanders gained about 360 metres of ground with considerable losses. Late that afternoon, the Australians made a charge over open ground towards the village of Alçitepe (Krithia), suffering similar losses without even reaching the front line. This was the only occasion when Australian and New Zealand infantry fought at Helles, although artillery units also served there.\nAt both Anzac and Helles things settled into the stalemate of trench warfare – exactly what the Allies had come to Turkey to avoid. The most sensitive part of the Anzac line lay along the ridge (Second Ridge) from the Lone Pine position in the south to Quinn’s Post in the north. At Quinn’s Post, Anzac and Turk faced each other over a few metres of bullet- and bomb-blasted landscape. If the Anzac line gave way here the Turks would look down the valley, Shrapnel Gully, all the way to the sea, and the whole Anzac position would be untenable. Quinn’s became a constant battleground, with endless bomb attacks by both sides. On one occasion the Turks broke into Quinn’s but were quickly driven out.\nOn 19 May 1915, the Turks mounted a major attack all along the ridge. An estimated 40 000 Turkish soldiers had been assembled to drive the invaders back to the beaches, but the Anzacs received warning of the attack and were ready. Despite their desperate courage the Turkish soldiers were shot down in their hundreds by rifle and machine-gun fire as they charged across the narrow ridge. That morning an estimated 3000 Turks died in this fruitless attack and a further 7000 were wounded. By comparison, there were few Anzac casualties. So great became the stench from the rotting corpses in no-man’s-land that a truce was arranged for 24 May 1915 to allow both sides to bury their dead in pits and trenches between the lines.\nBy early August 1915 a new plan had been evolved for a breakout at Anzac. On the afternoon of 6 August, Australians mounted a large diversionary attack at Lone Pine, aimed at seizing and holding the front- line Turkish trenches. The strength of the assault was to make the Turks think a major offensive was being launched here and to tie their reserves to those positions. This was achieved over the next two days during some of the most savage and costly trench fighting ever experienced by the AIF. Dozens of brave Turkish counter-attacks were made in an effort to drive the Australians out of their old trenches at Lone Pine, but by the end of 9 August it was clear that the Australians were going to hold on, and that this would be the new Australian front line at Anzac.\nAs the battle raged at Lone Pine, an Allied force composed of Australian, New Zealand, Indian, Gurkha and British troops made their way in the darkness north from North Beach at Anzac and into the valleys leading up to the heights of the Sari Bair range – Chunuk Bair (Conkbayiri) and Hill 971 (Çimentepe). The objective was to capture these dominating positions and turn the flank at Anzac, compelling the Turks to retreat back across the peninsula. From there, a breakout might be possible and the original aim of the campaign, the seizure of the Dardanelles, might be achieved. To support this new ‘August offensive’ British troops were landed at Suvla Bay on the night of 6–7 August with the intention of getting across the peninsula by way of the low-lying land north of Chunuk Bair.\nFor three days the struggle raged in the ranges. On 8 August, the New Zealanders, with some British support, reached the peak of Chunuk Bair and dug in there, holding on against increasingly strong Turkish counter-attacks. Further north, Australian forces had become lost in the valleys leading up to Hill 971, the highest point on the peninsula, and never managed to get forward against Turkish opposition.\nOn 9 August, more Turkish attacks were directed against the New Zealand and British trenches at Chunuk Bair without success, while a Gurkha unit managed to seize a position between there and Hill 971 at Hill Q. But the Allied foothold on the heights was precarious. At dawn on 10 August 1915 the Turks attacked over Chunuk Bair, driving all before them back down the slopes beyond. Here the Turks were themselves shot to ground by the New Zealand machine-guns, but Chunuk Bair was safe and never again threatened. The British landings at Suvla were a disaster and no real headway was made there. The August offensive had failed and in many ways, despite some bitter fighting to straighten out the new line between Anzac and Suvla, the serious fighting was over.\nAfter the August offensive the Allies prepared for a winter on the peninsula. At Anzac a large base was built up at North Beach, but discussions were already taking place back in London as to whether the positions at Gallipoli were viable at all. After a visit by the British Secretary of State for War, Field Marshal Lord Kitchener, the British government determined on evacuation. There were concerns about winter gales as storms during October and November wrecked piers at Anzac. It was also feared that the Turks would be able to bring in heavy artillery to shell the precarious Anzac positions. On 29 November, such a bombardment did indeed occur at Lone Pine, with significant casualties and considerable damage to the trenches. It was an indication of what might happen.\nBetween late November and 19–20 December, the garrisons at Anzac and Suvla were gradually withdrawn. Elaborate precautions were taken to make the Turks think that life was proceeding as normal until, on the morning of 20 December 1915, the last Anzac embarked from North Beach. On 8 January 1916, the last British troops left Helles. The Gallipoli campaign was over.\nGallipoli cost the Allies 141 000 casualties, of whom more than 44 000 died. Of the dead, 8709 were Australians and 2701 were New Zealanders. The Turks suffered 251 000 casualties, of whom more than 86 000 lost their lives. Countless thousands had been evacuated sick from the various diseases which had plagued both sides, especially during the long hot summer. For the Allies it was a defeat despite the individual courage and endurance of the soldiers themselves. Equally, Turkish soldiers had shown a strength and capacity in defence of their homeland which amazed all who had known the military weaknesses of the old Ottoman Empire.", "label": "No"}
{"text": "Band of Brothers Part IV:\nRoyal Air Force and Royal Navy Fighter Pilots of World War II\nRoyal Air Force and Royal Navy fighter aircrews flew combat throughout the six long years of World War Two. At the outbreak of war in 1939 four RAF Hurricane squadrons and two equipped with Gladiators went immediately to France where in short time New Zealander \"Cobber\" Kain became the first Allied Ace of the war. In April 1940 Hurricanes and Gladiators saw in action in Norway, when Rhodesian Caesar Hull of 263 Squadron became the second air Ace.\nBy the fall of France the new Spitfire joined in the great air battles over the Channel as the British Expeditionary Force evacuated Dunkirk. Bob Stanford -Tuck, Douglas Bader, Peter Townsend, Sailor Malan, and many other great Aces gained their first victories, but with German forces massing on the French coast, the invasion of Britain looked imminent. Only RAF Fighter Command stood in Hitler's way. By July, the most famous of all air battles had pitfires of 234 Squadron, 10 Group's top scoring squadron, returning to St. Eval after intercepting heavy raids on south coast ports during the heaviest fighting, in September 1940.\nSt. Michael's Mount, the castle built on the site of a 14th Century monastery to defend Britain's shores from earlier enemies, provides a symbolic backdrop as once again a band of brothers is called upon to defend their Sceptred Isle.\nOverall size 31\" wide x 23\" high\nEach proof is matted and includes the original signatures of:", "label": "No"}
{"text": "The market town of Sudbury in Suffolk has a surprising history. Regarded today as Great Britain’s most important centre for silk manufacture, Sudbury produces nearly 95 per cent of the nation’s woven silk textiles from its three working mills: Vanners Silk Weavers, Stephen Walters & Sons and Gainsborough Silks. Dating back to the late 1700s, Sudbury’s nascent silk industry was facilitated by the town’s former history as a wool centre, to which many family members of the Sudbury-born artist Thomas Gainsborough, R.A. (1727– 1788) plied their trade.\nThe exhibition Silk: From Spitalfields to Sudbury (17 June – 8 October 2017) will explore the local and national history of silk in England from the eighteenth century to the present day, focussing on the diaspora of silk manufacture from Spitalfields in London to Sudbury in Suffolk. In the first part of the exhibition, the formation of the English silk industry in Spitalfields in the early 1700s will be examined, highlighting the important Huguenot silk weavers who formed the basis of this work force. Objects displayed will illustrate the processes of design and manufacture, and include everything from silk pattern books and historic costume to paintings and drawings featuring silk fashions of the era.\nIn the second part of the exhibition, the focus will turn to the relocation of silk manufacture from London to Suffolk over the course of the nineteenth century, exploring the history of Sudbury’s silk mills and the textiles they produced. Objects on show from the town’s three mills, in addition to the Sudbury manufacturer Humphries Weaving, will illustrate the many types of silk made in Sudbury, past and present – from furnishing textiles for historic palaces to contemporary design fabrics made for major British fashion houses.\nThis exhibition will draw together artworks and textiles from both national and local collections, including the Victoria & Albert Museum, Norfolk Museums Service and the Warner Textile Archive. As the childhood home of the artist Thomas Gainsborough situated at the very heart of the nation’s active silk industry, Gainsborough’s House is ideally placed to tell this important story of silk in England: from Spitalfields to Sudbury.\nImage: A Page from the Wilson Album from Vanners Silk Mill\nGainsborough’s House Society , Charity No. 1170048 and Company Limited by Guarantee No. 10413978", "label": "No"}
{"text": "George E. Burr, Evening on the Little Colorado River, Etching, Circa 1920, 9″ x 11″\nGeorge Elbert Burr moved from his birthplace of Monroe Falls, Ohio to Cameron, Missouri when he was ten years old. His father opened a hardware store and George, using the rail pass purchased for buying trips, began traveling around the region to sketch the landscape. He began to make etchings on scraps of zinc while still employed at the hardware store and, in December of 1878, enrolled in the Art Institute of Chicago.\nGeorge E. Burr, Summer Clouds – Apache Trail, Arizona, Etching, 8″ x 10″\nHe would last only three months, leaving to return to Cameron, where he worked at the store and married a local woman named Elizabeth Rogers. He continued his work, becoming employed as an instructor of drawing and, eventually, an illustrator for such publications as Scribner’s, Harper’s, The Observer, Leslie’s Illustrated Newspaper and The Cosmopolitan. In 1892, Burr undertook a four-year project to illustrate a catalog of the Metropolitan Museum of Art’s Heber R. Bishop Collection of jade. The work as arduous, amounting to a thousand etchings of the collection, but earned Burr enough to travel Europe with his wife for more than four years.\nGeorge E. Burr, Grand Canyon, Etching, 12″ x 10″\nUpon returning to the United States, Burr settled in New Jersey, where he earned a living selling paintings and prints in galleries from New York to Kansas City. George’s rapidly deteriorating health led the couple to look for a new place of residence, however, and they moved to Denver, Colorado in 1906. Here, George completed Mountain Moods, one of the two famous etching series he would complete during his lifetime. He became a member of the Brooklyn Society of Etchers and the New York Society of Etchers and traveled throughout Southern California, Arizona and New Mexico.\nAs Burr aged his health worsened and, in 1924, he moved with his wife to Phoenix. In Phoenix, Burr served as president of the Phoenix Fine Arts Association. He would remain in Phoenix until his death in 1939.\nGeorge E. Burr, Road to Apache Reservation, Arizona, Drypoint, Circa 1920, 10″ x 8″", "label": "No"}