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Traditionally, eggs were wrapped in onion skins and boiled to make their shells look like mottled gold, or wrapped in flowers and leaves first in order to leave a pattern, a custom also practised in traditional Scandinavian culture. [9] Eggs could also be drawn on with a wax candle before staining, often with a person's name and date on the egg ...
The egg is widely used as a symbol of the start of new life, just as new life emerges from an egg when the chick hatches out. [2] Painted eggs are used at the Iranian spring holidays, the Nowruz that marks the first day of spring or Equinox, and the beginning of the year in the Persian calendar.
Ukrainian pysanka Easter egg sculptures resembling pisanica in front of the Zagreb Cathedral, Croatia. Egg decorating is the art or craft of decorating eggs.It has been a popular art form throughout history because of the attractive, smooth, oval shape of the egg, and the ancient associations with eggs as a religious and cultural symbol.
One of the most important forms of Byzantine art was, and still is, the Cretan school as the leading school of Greek post-Byzantine painting after Crete fell to the Ottomans in 1669. Like the Cretan school, it combined Byzantine traditions with an increasing Western European artistic influence, and also saw the first signiand the National ...
Pasch may refer to: Passover; Easter; Pasch (surname), German and Swedish surname; Pasch configuration; Pasch's axiom; Pasch's theorem; Pasch egg, easter eggs; Pasch ...
The painting, which depicts a baguette, eggs, and red onions with a pewter tankard, a knife and a wine glass on a cloth-draped tabletop, is one of Cézanne's few dated paintings. The painting is from his "dark period" and is done in a realist style, as were many of his early works before he moved into an impressionist style and then post ...
The gigantomachy by the Suessula Painter is a painting on a red-figure amphora from the Classical period of Greece. It is the work of the Suessula Painter, an Athenian vase-painter whose name is unknown. He worked in both Corinth and Athens and is recognizable by his style, with great freedom of posture and a unique shading of figures.
Sandro Botticelli, Uffizi Gallery, Florence 1484–1486 Nicolas Poussin, 1635–36, Philadelphia. Through the desire of Renaissance artists reading Pliny to emulate Apelles, and if possible, to outdo him, Venus Anadyomene was taken up again in the 15th century: besides Botticelli's famous The Birth of Venus (Uffizi Gallery, Florence), another early Venus Anadyomene is the bas-relief by Antonio ...