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A diptych (/ ˈ d ɪ p t ɪ k /, DIP-tick) is any object with two flat plates which form a pair, often attached by a hinge. For example, the standard notebook and school exercise book of the ancient world was a diptych consisting of a pair of such plates that contained a recessed space filled with wax .
The desk, chair and background of the painting were closely based on The Empty Chair, an engraving made at Gads Hill Place in 1870, shortly after Dickens's death, by Samuel Luke Fildes. [9] The painting was Buss's last attempt to illustrate Dickens's characters, and he modestly reproduced the images of the artists who had succeeded him.
You are free: to share – to copy, distribute and transmit the work; to remix – to adapt the work; Under the following conditions: attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made.
Outsider art has emerged as a successful art marketing category (an annual Outsider Art Fair has taken place in New York since 1992). The term is sometimes misapplied as a catch-all marketing label for art created by people outside the mainstream "art world", regardless of their circumstances or the content of their work.
At the age of 81, Hopper began working on Sun in an Empty Room in October 1963, [4] just four years before his death at age 84. [6] Art critic Brian O'Doherty (1928–2022) and photographer Hans Namuth (1915–1990) [4] documented the initial preparation and creation of the work at Hopper's Cape Cod summer home and studio in South Truro ...
Matterism also known as Matter Painting (French: Haute Pâte, lit. 'thick paste') refers to a style of painting that emphasizes the material qualities of paint through heavy impasto . The style marked a return to impulses characteristic of abstract expressionism.
China painting, or porcelain painting, [a] is the decoration of glazed porcelain objects, such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain , developed in China in the 7th or 8th century, or soft-paste porcelain (often bone china ), developed in 18th-century Europe.
In visual art, horror vacui (Latin for 'fear of empty space'; UK: / ˌ h ɒ r ə ˈ v æ k j u aɪ /; US: /-ˈ v ɑː k-/), or kenophobia (Greek for 'fear of the empty'), [1] is a phenomenon in which the entire surface of a space or an artwork is filled with detail and content, leaving as little perceived emptiness as possible. [2]