doojable

Dooj is embarrassed because she spoke too soon. One of my teachers said that Maxfield Parrish was the son of a stained-glass craftsman. But I just finished trying to find out if that is true - and sadly it is not. BUT - his technique of glazing and using varnish in between colors is what gives his work such brilliance - and for some reason I just can't count out his having been influenced in some way by stained-glass. Maxfield Parrish Here are a few of my favorite paintings by him: Ecstasy: Daybreak: Sleeping: He also did a lot of illustration of books and book covers. If you look at his work and compare it side by side with the work of Alphonse Mucha and Klimt you will see some subtle similarities. Gotta go for a bit - hope you enjoy the art.

I have a real fondness for stained-glass. I'll wait til you're done but I have a painter in mind who was trained as a stained-glass artist.

Is this a "gumshoe" writer? Maybe Dashiell Hammett?

Eyes introduced me to Gregory Crewdson, photographer. He stages his photos and they end up having a surreal sense to them. I think they also have the feel of an illustration.

This sickens me. How the title "Rev" became equivalent with "henchman."

He's amazing, isn't he? I can't paint like that - but I sure learn a lot from looking and studying his work, as well as the other painters I posted.

I guess we should be polite and let these folks go on with the thread. See ya 'round the boards Waysider. ;)

Shakespeare did speak on this subject - kinda sorta - And do as adversaries do in law,— Strive mightily, but eat and drink as friends. ~The Taming of the Shrew. Act i. Sc. 2. ~

I think, but am not sure, that the point was to question whether or not Tricky Vic was of Huguenot heritage or not. Somehow I seem to remember him saying that his ancestors were persecuted for religious reasons and I *think* he made some allusion to the first settlers here in the New World. Maybe a connection to those early settlers that came on the Mayflower - or soon after. It's all conjecture on my part - I'm running on few memory cells regarding that subject. I don't think it really mattered that much to me at the time. I was just part of the captive audience at lunch.

Grumpy I have some experience with animated art. As a picture framer I've had to frame some of the cells that were generated way back when. Framing these pieces of history was a conservation challenge, to say the least. Years ago, they were rare. The cells weren't designed to last and from what I was told, the mylar (? not sure if that's the right substance) that the cells were painted on were washed off and re-used. Add to that, that many of the cells became brittle and deteriorated. Now you can go to a Disney store (or World, or Land) and buy a "Limited Edition cell." These are fun - but not the same. I've even seen some artists' production sketches. Those are really neat and I prefer them as they are still original. Anyway, some of Disney's early movies had some fantastic art and animation. Maybe someone with more knowledge than I have will post a bit on animation art.

Hey Grumpy - I'm proud of you! You managed to not put "horns" behind anyone else in the picture! :biglaugh:

Keep that quote handy though Cynic. We always need new players. (I'm a real lightweight here.) The more the merrier!

I remember that "Huguenot claim." I seem to remember he made a big deal about his ancestors always being on a quest for the truth. There are other faint memories - but they sketchier and sketchier.

Art can certainly take one's breath away. More on edges: Here is a self-portrait of Rembrandt as a young man: and one of Bouguereau as an older man: And I'll include one more. John Singer Sargent's self-portrait - though it is a painted sketch: And here is another portrait by Bouguereau: Notice the classic light on one side of the face. On the light side the edges of the face are more defined while on the shadow side the edges blur and the values are much closer together. In the Rembrandt there is a bit of light behind his hair - but it's on the dark side of his face. All this attention to edges, the push/pull of light and dark - are what helps to make a form seem to come off the canvas. Back to the painting of Psyche and Cupid - Notice how they are united by the values they share. The background futher defines them but also unifies them. The background is swirling behind them - but they are "one." Bouguereau used this technique a lot. If you peruse the link I posted a few posts back, you'll be able to see a LOT of his work. He tended to "ground" a figure with darks behind them and have the head and shoulders "emerge" so that they end up almost backlit. The overall effect is that the figure is coming out of the shadows. Here's a good example:

Nog Nog/tub Nog/claw Nog/foot Dunno :blink:

I thought I'd add this full length shot of that last painting by Bouguereau: The Rapture of Cupid and Psyche

There. I admitted it. Jeff isn't here to speak for himself, so may I suggest everyone keep their assumptions about his tone to themselves. Geez! It just takes just a little tiny bit of self-control and restraint. Didn't we all get enough of twi and it's attitude of "knowing better than you" what you were feeling or thinking? ********************************** For the record, I think the bigger picture is: How do you treat someone who makes YOU feel uncomfortable? (caps for emphasis only)

Then there's the way an artist handles the edges of a subject. Look at enough paintings and you'll notice that the background isn't one color (or even one value) all the way around. If it is then the right color is used - like in the example that Lindy just posted. There will be areas of high contrast and others with low contrast. This all works together to make a subject "jump off the page" as Lindy already noted.

It wasn't the Law of Believing... There's so much to go into - drawing skills are first and foremost. Knowledge of anatomy and how light moves across a form. Then add to it all the fact that these paintings are quite large. When you reduce a painting that is over 2' x 3' down to mere inches - it all gets tighter. If the values (the range of lights and darks) are accurate - then the painting will reduce properly. OH - not to mention... these guys had talent. sigh...

Mais oui! Somehow I figured you'd know her.

How to treat a homosexual? *rolls eyes* Must we go over this again? Ask a homosexual out to lunch and YOU pay the tab. There! Now you've treated that homosexual. PS - I think too much is being assumed regarding Jeff's "anger." Here's a hint - instead of assuming he's angry, ask him if he's angry. Sometimes caps are just emphasis.

Depends on whether or not you count L1nder and his ilk... But I count 4 or 5...

All those colors... looks like pozzeshun on the move.

Why is six afraid of seven? Because seven ate nine. ;) Why did the turtle cross the road? To get to the other side... ...where there was a Shell station. :D