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Plate used to print ukiyo-e. Ukiyo-e is a Japanese printmaking technique which flourished in the 17th through 19th centuries. Its artists produced woodblock prints and paintings of subjects including female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; Japanese flora and fauna; and erotica.
Marine art or maritime art is a form of figurative art (that is, painting, drawing, printmaking and sculpture) that portrays or draws its main inspiration from the sea. Maritime painting is a genre that depicts ships and the sea—a genre particularly strong from the 17th to 19th centuries. [ 1 ]
Shan shui painting is a kind of painting which goes against the common definition of what a painting is. Shan shui painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind. Shan shui painting is more like a vehicle of philosophy. [6]
Landscapes, images of flowers and patterns of decorative-applied art made by poet Khurshidbanu Natavan should also be noted. She also decorated her poems with lyric art motifs. [ 9 ] Artists such as Avazali Mughanli ( Kalila and Dimna , 1809), Mirza Aligulu ( Shahnameh 1850), Najafgulu Shamakhili ( Yusuf and Zulaikha , 1887) and others were ...
Here he executed paintings depicting Tahitian life such as Fatata te Miti (By the Sea) and Ia Orana Maria (Ave Maria), the latter to become his most prized Tahitian painting. [84] Vahine no te tiare (Woman with a Flower), 1891, Ny Carlsberg Glyptotek. Many of his finest paintings date from this period.
In 2014, O'Keeffe's 1932 painting Jimson Weed/White Flower No. 1 sold for $44,405,000—at the time, by far the largest price paid for any painting by a female artist. [10] Her works are in the collections of several museums, and following her death, the Georgia O'Keeffe Museum was established in Santa Fe.
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Totes Meer (Dead Sea) was submitted to WAAC in 1941 and shows a 'dead sea' of wrecked German plane wings and fuselages based on sketches, and photographs, made at the Metal and Produce Recovery Unit at Cowley near Oxford in 1940. [41] The painting recalls a series of bleak sea and coastal paintings Nash made in the 1930s.