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In the picture framing industry, a mat (or matte, or mount in British English) is a thin, flat piece of paper-based material included within a picture frame, which serves as additional decoration and to perform several other, more practical functions, such as separating the art from the glass.
A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is not present at the filming location. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage (compositing ...
A triptych (/ ˈ t r ɪ p t ɪ k / TRIP-tik) is a work of art (usually a panel painting) that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works. The middle panel is typically the largest and it is ...
1991: First dimensional matte painting – where a traditional matte painting was mapped onto 3-D geometry, allowing for camera parallax, in Hook. [66] 1991: First computer-generated main character, the T-1000 in Terminator 2: Judgment Day [67] 1992: First time the texture of human skin was computer-generated, in Death Becomes Her [68]
The Tree of Life, Stoclet Frieze (French: L'Arbre de Vie, Stoclet Frieze) is a painting by the Austrian symbolist painter Gustav Klimt.It was completed in 1909 and is based on the Art Nouveau (Modern) style in a symbolic painting genre.
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Prints were very popular in central Europe in the early 20th century—Vladimir Nabokov observed in his 1936 novel Despair that they could be "found in every Berlin home". [ 1 ] Böcklin produced several different versions of the painting between 1880 and 1886, which today are exhibited in Basel, New York City, Berlin, and Leipzig.
Jasperware vase and cover, Wedgwood, about 1790, in the classic colours of white on "Wedgwood Blue".The design incorporates sprig casts of the muses supplied by John Flaxman, Sr. [1] Victoria and Albert Museum, London
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