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The modern use of the phrase is generally attributed to Fred R. Barnard. Barnard wrote this phrase in the advertising trade journal Printers' Ink, promoting the use of images in advertisements that appeared on the sides of streetcars. [6] The December 8, 1921, issue carries an ad entitled, "One Look is Worth A Thousand Words."
Famous people quotes about life. 46. “There is only one certainty in life and that is that nothing is certain.” —G.K. Chesterton (June 1926) 47. “Make it a rule of life never to regret and ...
Freedom from Want is the third in a series of four oil paintings entitled Four Freedoms by Norman Rockwell.They were inspired by Franklin D. Roosevelt's State of the Union Address, known as Four Freedoms, delivered to the 77th United States Congress on January 6, 1941. [2]
The painting depicts a procession of six blind, disfigured men. They pass along a path bordered by a river on one side and a village with a church on the other. [1] The leader of the group has fallen on his back into a ditch and, because they are all linked by their staffs, seems about to drag his companions down with him. [2]
"Life's a climb. But the view is great." There are times when things seemingly go to plan, and there are other moments when nothing works out. During those instances, you might feel lost.
Though he was a German-born artist who spent much of his time in England, Holbein here displays the influence of Early Netherlandish painting.He used oils which for panel paintings had been developed a century before in Early Netherlandish painting, and just as Jan van Eyck and the Master of Flémalle used extensive imagery to link their subjects to religious concepts, Holbein used symbolic ...
Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.
Millet's The Gleaners was preceded by a vertical painting of the image in 1854 and an etching in 1855. Millet unveiled The Gleaners at the Salon in 1857. It immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793."