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Wang imitated Guo Xi for landscapes, Huang Quan for bird-and-flower paintings, and Tang Ren for human figures. He trained under Zhao Mengfu with most of his works dating around 1340. [ 3 ] He utilized a minute and brilliant style in all his works.
Art Nouveau line art. Line art emphasizes form and drawings, of several (few) constant widths (as in technical illustrations), or of freely varying widths (as in brush work or engraving). Line art may tend towards realism (as in much of Gustave Doré's work), or it may be a caricature, cartoon, ideograph, or glyph.
Kiowa ledger art drawing possibly depicting the Buffalo Wallow battle in 1874, a fight between Southern Plains Indians and the U.S. Army during the Red River War. Ledger art is narrative drawing or painting on paper or cloth, predominantly practiced by Plains Indian, but also from the Plateau and Great Basin. Ledger art flourished primarily ...
From March 1953, he painted many of the cover illustrations for the Royal Society for the Protection of Birds's (RSPB) magazine Bird Notes, and several for the later Birds magazines. Two of the originals are on long-term loan to the gallery at Oriel Ynys Môn , but in 1995 the RSPB sold 114 at a Sotheby's auction, raising £210,000; the most ...
The drawing is related to the painting W106 : Two Sitting Figures: c. 1628-1629: Black chalk: 19.3 x 14.8 cm: Museum Boijmans Van Beuningen, Rotterdam: The drawing is related to the painting W23 : Three Scribes: c. 1628-1629: Pen, brush: 22.6 x 17.6 cm: Rijksmuseum Amsterdam: The drawing is related to the painting W23 : Old Man with Outspread ...
The William Farquhar Collection of Natural History Drawings consists of 477 watercolour botanical drawings of plants and animals of Malacca and Singapore by unknown Chinese (probably Cantonese) artists that were commissioned between 1819 and 1823 by William Farquhar (26 February 1774 – 13 May 1839). The paintings were meant to be of ...
Image Details Infernal Landscape. Type: Pen and brown ink Size: 25.9 x 19.7 cm Location: Private Collection Infernal Landscape previously thought to have been made by an assistant in the workshop of medieval Dutch artist Hieronymus Bosch has been authenticated as a piece by the master himself by the Bosch Research and Conservation Project (BRCP).
There has been much conjecture as to the identity of the groom in this painting. The critics Gilbert Highet and Gustav Glück have argued that the groom is the man in the centre of the painting, wearing a dark coat and seen in profile, [5] [6] or the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon. [7]