Artist impart - David's "The Annunciation"

"The Annunciation" by David is quite incredible! I sat for two hours, on the floor of the Met jotting notes, in order to fully appreciate the painting's message. I have truly been inspired with what I was able to see for myself, as well as sharp the varied persons stopping to view such a masterpiece.

David is a great painter, he was born 1455 and died in 1523 and his work is "Netherlandish." "The Annunciation" is merely one part of an enTire multi-storied polyptych. The medium is oil on wood and was originally commissioned in 1506, by Vincenzo Sauli; a wealthy banker and diplomat for the high alter of the Benedictine Abby Church of San Gerolamo Della Cervara, near Genoa. The ensemble created a synthesis of northern and Italian artistic modes. David achieved a rare equilibrium in the middle of detailed description and elevated exposition.

The Artists

To begin, "The Annunciation" is unmistakably two panels standing side by side, complimenting one another, with the operation of the Holy Spirit approaching Mary to impregnate her with the Christ child, through the gesture by the angel of annunciation. This is a tasteless motif among many Renaissance artists, but David unmistakably captures the moment. The two paintings are an estimated 3' x 4' each, and are spaced well, at approximately 8" for full effect.

Artist impart - David's "The Annunciation"

The angel of annunciation stands alone on the left panel. He is Dressed in soft-toned, light blue, raiment that achieves a "flowing" operation about him. The approximately iridescent cape, of red and green color, is inscribed with Latin phrasing that disapPears within the folds and creases. Motion is achieved through the gesture of action, as the angel signals the dove, the Holy Spirit in the right panel, to advent the virgin.

Action is supplementary hinted at, by the bent knees, as seen through the clothing, as well as with very positive gestures from his hands. By creating a mood or anticipatory action, David lets the angel tell whoever is viewing the painting, that he captured that moment in time as he saw it happen. The gesture of command with the angel's right hand sets a triangular format in the middle of the two paintings. It connects them and allowed for me to consequent from one panel to the next. His left hand begins a secondary triangle, but with the expanding of a three sectioned golden scepter. The scepter is extended upward, toward the area in the middle of the paintings, and apPears to be pointing toward the heavens. The top of the scepter has a pointed crown at the top, with a spiral mid section, and finally a plane handgrip at the bottom.

The room itself is a contemporary setting for that time. It is of a straightforward design with one duplicate pained window and approximately no furniture items. The window itself is split into four wooden storm panels. The two lowest ones are fulfilled, and locked, with a straightforward metal latch, but the top panes reveal a view upward into the heavens through lattice made of metal as well. Nothing recognizable can be seen through the glass, other than the soft tones of a blue sky with clouds. The upper storm doors open inward, invitingly towards the angel.

The flooring in both rooms is comprised of a type of small section tile that alternates in the middle of an approximately ivory tone, and is complimented by a soft rose colored alternation in the concentric pattern. Additionally, laid within the tiles, is another pattern also. The other pattern is set, (alternating), with a softer blue that the angel's raiment and a light shade of green. The tile lines, as with the overall perspective of the pieces, head toward the top area in the middle of the paintings, following the line of the scepter. Although the story is supposed to be in the same room, David seems to have made the same room, in actuality, two separate places. One note of significance is that in the right panel, the floor on which Mary is has a hole on lower left projection on the bottom. There is a stone barrier, or edging, that seems to allow for her disunion from the dark void that is descriptive through that hole. I feel that David is attempting to show that her disunion is from the world below, and the annunciation is occurring on a higher plane than that of that same ungodly world.

The walls on each painting are primarily set with wooden panels, but the left portrait has bluish fresco-type cement topping it about halfway up. The blue of the cement is slightly darker than that of the angel's clothing, and allows again, for the angel to stand out from the painting, and out from the projection of the room itself. There is a Fireplace behind the angel, although he stands before it and blocks one's view, in order to break up the flatness of the wall.

The expression on the angel's face seems as if he is saying, even without words, that all things will be fine; a sort of warmth emanating from within. Aiding the warmth, are two burgundy Pillows, lying across the bench along the wall. They apPear very soft and comfortable, as with the scene. In turn, they associate the left half of the dyad, with the right, by completing a line, (horizontal), across to the top of the small wooden table. On that table, is a bible supported by a third, smaller Pillow that sits before the Virgin. It's open to no singular page, but the primary rendition of David's painting, such as Robert Campin's "Merode Altarpiece," would be consistent with the scene as written: The bible is either open to or implied to the Annunciation. The pages are flapping randomly, and do not reflect any definite point in the book.

The main path of sight originates from the angel, then crossing to the right painting and focusing on the Holy Spirit, the dove, finally to the Virgin. The dove is positioned just off center and above Mary's head in the top of the scene. The flight-path of that bird leads the greatest destination to be with Mary. There is a golden radiation with a bluish hue surrounding the bird, from a source behind it. The Virgin has the same radiation emanating from behind her head also, but hers is not as brilliant, and lacks the bluish hue.

Mary's face apPears somber, and quite perhaps scared. Her hands lay crossed, open over her chest, as she kneels before the Bible. Her gaze stares right at whoever views this work, but it also stares past them as well. I feel, that the face can be drawn out from the scene further, by the Dress she wears. That Dress is a great and rich royal blue color, with a golden design along its border. As with the angel's raiment, the drapery folds created on both figures, is comparable to those of Jan Van Eyck. They yield a depth and feel about them, as with all the fabrics in the paintings.

A white ivory-colored jar flags Mary's right side. Three white lilies stem from it. Those lilies are signifying the Syn. Clearness in the moment...the holiness. That holiness is added to with a soft red velvet bag lying before her, on the floor. There is a set of rosary without a crucifix spilling out toward Mary from that bag. Since the rosary is dedicated to Mary, I take it as a gift from God for her time to come role as the mom of the Christian savior, Jesus Christ. A circular path is achieved colse to the painting from those rosaries, to the dove, and back to the angel. It is a well-balanced portrayal.

Directly behind the Virgin, there is a bed covered in a dark blue cloth. The bedding derives from extensions of that cloth, originating from two tendrils above the view. They come down to engulf the bed all the way to the floor. Again, David's use of a slightly contrasting shade of blue allowed me to pull from the paintings, all the key elements. Blue is a tasteless motif within "The Annunciation."

Light symmetry is also a factor of both panels. The left has a brighter appearance. I assume that since the nearnessy of the angel, in expanding to the open panels of the upper windows, the set of paintings reveals this variation in that manner. In the right panel, Mary is shrouded in a darker light. This darker appearance may be due to the fact that the Holy Spirit is the "light" for that room, in expanding to Mary's illumination from behind her head. Mary's illumination appears to be very secondary in the scene.

As I said earlier, perspective lines are implemented to give depth to the work. The only failure that David attained was the lowest shelf on the table, under the bible. That shelf is out of perspective. It took awhile to pick that out though. Aside from that one discrepancy, all elements within the rooms are set beautifully to a multi-point perspective. The main line of sight heads toward the center area in the middle of the paintings in a 45-degree pyramidal direction, from the tiles.

David's other paintings from this polyptych are masterpieces such as "The Rest on the Flight into Egypt," "The Crucifixion," "The Nativity," and, "Virgin with Child and Four Angels." I got to see them all. Each one drew my attention away from the Met, and into the scenes. I have truly grown from my visit and will return to this newfound treasure of the arts.

Bibliography

1. Art History: Revised edition; Volume 2; Marilyn Stokstad; Harry N. Abrams Inc, Publishing 1999
2. The Metropolitan Museum of Art; Gerard David "The Annunciation"
3. Fa18 @ Suffolk County society College; 2000

Artist impart - David's "The Annunciation"

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Lina Cavalieri: The Artist's Muse

She was a woman preponderant for her beauty, preponderant for her gorgeous soprano voice, painted by Boldini and Muller-Ury, featured in several silent films and herself portrayed in film by her fellow Italian, Gina Lollobrigida. However, Italian opera singer Lina Cavalieri is probably best remembered as the inspiration for Piero Fornasetti's "Variations and Themes."

Born on Christmas Day, 1874, in Viterbo, Latium, Natalina Cavalieri was orphaned at 15 and sent to live in a Catholic orphanage. She chaffed under the correct management of the nuns, and soon ran away to join a theatre troupe. In Paris, she sang in cafes, all the while training as an operatic soprano. Her lovely voice, and even more gorgeous face, opened many doors for her, and she sang with Enrique Caruso in Fedora. She travelled the world as an opera singer, living and loving with equal fervor as she married and divorced three times. The most photographed woman of her time, she reTired to open a cosmetic salon and write a magazine column and a book devoted to charm secrets. While the Great War, she was a silent film actress in the United States, returning to Italy after the war to live with her fourth husband near Florence She worked as a nurse While World War Ii, until her death in 1944.

The Artists

Her charm was extolled throughout her life, but nowhere was it preponderant so thoroughly and so uniquely than in the series of 350 plates created by Milanese artist Piero Fornasetti, and entitled "Variations and Themes." Though Fornasetti no doubt saw photos of the singer-her photogenic face and shape was a favorite of the press-his inspiration was an engraved newspaper illustration that evoked her as a classical charm in the Greek or Roman style. He reproduced that one engraving in decoupage on a plate, then transformed it in hundreds of ways: Cavalieri with a veil, Cavalieri winking at the viewer; seeing out through netting, sipping from a cup, split in half, shattered. Each new creation seemed to inspire ten more, in a witty, yet romantic fashion, never self-conscious or ironic.

Lina Cavalieri: The Artist's Muse

In "Variations and Themes," classical charm is reborn and made modern.

Fornasetti is preponderant for bringing an artistic approach to the everyday object. In his hands, straightforward Screens, umbrella stands, wallpaper, blinds, dishes all come to be canvas or sculpting media for his unique vision.

Lina Cavalieri: The Artist's Muse

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How to Write the excellent Artist Statement

Have you ever read someone's artist statement and said to yourself "what the heck does all of that mean" or "those are some fancy words that I have no idea what they mean?" If you were having a personal conversation with the artist and you were asking about their art, would they talk like that, in those terms? Probably not and neither should the artist when composing and writing their artist statement.

Here are some tips and ideas for all artists to think about when composing a new statement or correction their current artist statement.

The Artists

1. Keep the Statement Simple - What I mean by this is that the artist statement should be written both clearly and concisely for a wide range of people who will read it. The artist is neither sPeaking down to someone who is uneducated with fine art, nor are they talking up to that someone trying to impress them. The best way to write the statement is to do this as if you were sPeaking to someone in person. Basically, an artist statement is an introduction of their art, without the artist being there.

How to Write the excellent Artist Statement

2. The Statement Should Tell Why - The artist should explain why they create this kind of art. This could be in the form of an explanation of the artist's motivation, branch matter or maybe someone who inspired the artist to express their art. In addition, the "why" could also discuss any artistic or personal influences. Overall, the artist is telling the reader the personal reasons why they create their art.

3. The Statement Should Tell How - Explaining to the reader the "how" can be a short sentence or two about the artistic process or describing if there are any extra techniques that were used in producing this art. The artist should not get technical or Supply a step by step guide on how to create their art. If there are any unusual materials used, that can be mentioned too.

4. What it Means to the Artist - Overall, this a personal statement of the meaning of the art for the artist. This may be the most difficult thing for the artist to write about as it will review something personal about the artist. It is very difficult to write about yourself, especially when you need to keep it short. For this, think Twitter and try to write this with 140 characters. It is tough to do but try to do it in at least 2 to 3 brief sentences, maximum.

5. Keep it Short - Remember that people's concentration spans are quite short and that if the artist statement is too long, too involved or poorly written people will just not read it! Avoid big, flowery and involved words. It just does not work. You are not trying to impress anyone, you are trying to review to a very wide audience what your art is about.

Here are some other things to consider and couple into an artist statement::

• Avoid using I and me throughout the statement.

• Do not say "I want to..." or "I am trying to..." Just say it and be precise.

• If you have multiple bodies or work, materials or techniques, have multiple artist statements for each.

• Do not "tell" the reader what they "must" see in your art. That is what the artist sees and the viewer may see or explain something else.

• This is not a biography. Do not get that mixed in with the artist statement.

• If the artist is unsure about the end corollary of the statement, then the artist should have other people read it, commentary on it or find someone that will help the artist.

• After it is completed, the artist should reread it and make sure that the sentence buildings and spelling are perfect.

The artist should then put the statement away. In a few days, they should look at it again and corollary these steps all over again! At that point, the artist will see how a phrase, sentence or a word can be changed in order to make the artist statement clearer and extensive better.

Finally, if the artist is happy with the statement, then it is good to go. If however, the artist is still not thoroughly happy with the statement, put it away again and reread in order to fine tune and review the artist statement clearly.

Remember, the artist statement is sPeaking to the viewer in the artist's absence. Therefore, the artist statement should be short, brief and well written in a conversational language.

How to Write the excellent Artist Statement

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The sublime Chinese Artist - Zhang Xiaogang

The Chinese Surrealist and symbolist artist Zhang Xiaogang has gifted Chinese art by his unique use of Western classical art to generate an private yet indigenous art technique. His predominant "Bloodline" works Supply an productive commentary of the exaggerated Chinese emphasis on collectivism. His "Amnesia and Memory" series is a astounding depiction of recollection and forgetfulness. His subjects by their very lack of expression tell a lot, and this is probably where Zhang's greatness lies.

Born in 1958 in Kunming in the Chinese province Yunnan, Zhang Xioagang is a modern Chinese surrealist and symbolist artist. Zhang's works are much sought after by foreign collectors. He is particularly customary for his "Bloodline" painting range - portraiture which depicts uniformity, and challenges the Chinese obsession with the collective. China's political disturbances and Western painters such as Picasso, Dali and Richter have influenced his work.

The Artists

Zhang took up the study of oil painting at the Sichuan Academy of Art. While studying there, he gained an comprehension an interest of western painting. Surrealism and Cubism had an enduring impression on him. A visit to the Documenta exhibition in Kassel, Germany assisted him in finding his own individualistic style of art. He became a member of a group of young avant-garde artists who became important in the 1980s. In 1985, he co-founded the avant-garde movement "Current of Life."

The sublime Chinese Artist - Zhang Xiaogang

Zhang gave his preliminary solo exhibition in Chongking, at the Lost in the Dreams Gallery of the Sichuan Academy of Fine Arts. Zhang has been able to harness the techniques of western classical art to generate works with a Chinese identity, which suit local needs. Zhang gives point to brushstrokes and color and utilizes flat unidentified backgrounds and dramatic illumination effects to idealize his figures. His "Bloodline" portraits which he started work on in the 90s depict Chinese people, a major inspiration for which are photos discovered by the artist, of his mum as an keen woman in her youth. The subjects in these paintings are expressionless, generally with haunting dark-pupiled big eyes and in a stiff pose. The lack of facial expression is a portrayal of the false apPearance of calmness which conceals emotional turbulence within. It is a commentary of the exaggerated point which the Chinese give to the collective, with souls suffering under the might of collective standardization.

Zhang has two trademark gestures - a minuscule red line that links the different figures in the picture and then winds off the side of the canvas, and irregular color patches. Zhang interprets the color spots as brief feelings of passion and hope in an otherwise gloomy everyday existence.

In 2007, "Bloodline: Three Comrades" was sold for ,112,000 at Sotheby's in New York. The "Amnesia and Memory" series is an additional one important body of work from Zhang. The series investigates the involved link between memory and forgetting and how it affects an individual's mind, how past recollections are continually changed in the present. "Tiananmen Square" critiques the tragic happenings of 1989 and fetched .3 million in 1993, at Christie's auction house in Hong Kong.

The sublime Chinese Artist - Zhang Xiaogang

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Artist tell - David's "The Annunciation"

"The Annunciation" by David is quite incredible! I sat for two hours, on the floor of the Met jotting notes, in order to fully appreciate the painting's message. I have truly been inspired with what I was able to see for myself, as well as consuming the various persons stopping to view such a masterpiece.

David is a great painter, he was born 1455 and died in 1523 and his work is "Netherlandish." "The Annunciation" is merely one part of an whole multi-storied polyptych. The medium is oil on wood and was originally commissioned in 1506, by Vincenzo Sauli; a wealthy banker and diplomat for the high alter of the Benedictine Abby Church of San Gerolamo Della Cervara, near Genoa. The ensemble created a synthesis of northern and Italian artistic modes. David achieved a rare equilibrium in the middle of detailed narrative and elevated exposition.

The Artists

To begin, "The Annunciation" is honestly two panels standing side by side, complimenting one another, with the activity of the Holy Spirit approaching Mary to impregnate her with the Christ child, straight through the gesture by the angel of annunciation. This is a common motif among many Renaissance artists, but David honestly captures the moment. The two paintings are an estimated 3' x 4' each, and are spaced well, at roughly 8" for full effect.

Artist tell - David's "The Annunciation"

The angel of annunciation stands alone on the left panel. He is Dressed in soft-toned, light blue, raiment that achieves a "flowing" activity about him. The roughly iridescent cape, of red and green color, is inscribed with Latin phrasing that disapPears within the folds and creases. Motion is achieved straight through the gesture of action, as the angel signals the dove, the Holy Spirit in the right panel, to coming the virgin.

Action is supplementary hinted at, by the bent knees, as seen straight through the clothing, as well as with very safe bet gestures from his hands. By creating a mood or anticipatory action, David lets the angel tell whoever is viewing the painting, that he captured that moment in time as he saw it happen. The gesture of command with the angel's right hand sets a triangular format in the middle of the two paintings. It connects them and allowed for me to ensue from one panel to the next. His left hand begins a secondary triangle, but with the expanding of a three sectioned golden scepter. The scepter is extended upward, toward the area in the middle of the paintings, and apPears to be pointing toward the heavens. The top of the scepter has a pointed crown at the top, with a spiral mid section, and ultimately a plane handgrip at the bottom.

The room itself is a modern setting for that time. It is of a straightforward organize with one double pained window and roughly no furniture items. The window itself is split into four wooden storm panels. The two lowest ones are concluded and locked, with a straightforward metal latch, but the top panes reveal a view upward into the heavens straight through lattice made of metal as well. Nothing recognizable can be seen straight through the glass, other than the soft tones of a blue sky with clouds. The upper storm doors open inward, invitingly towards the angel.

The flooring in both rooms is comprised of a type of small section tile that alternates in the middle of an roughly ivory tone, and is complimented by a soft rose colored alternation in the concentric pattern. Additionally, laid within the tiles, is other pattern also. The other pattern is set, (alternating), with a softer blue that the angel's raiment and a light shade of green. The tile lines, as with the thorough perspective of the pieces, head toward the top area in the middle of the paintings, following the line of the scepter. Although the story is supposed to be in the same room, David seems to have made the same room, in actuality, two cut off places. One note of importance is that in the right panel, the floor on which Mary is has a hole on lower left corner on the bottom. There is a stone barrier, or edging, that seems to allow for her disjunction from the dark void that is graphic straight through that hole. I feel that David is attempting to show that her disjunction is from the world below, and the annunciation is occurring on a higher plane than that of that same ungodly world.

The walls on each painting are primarily set with wooden panels, but the left portrait has bluish fresco-type cement topping it about halfway up. The blue of the cement is slightly darker than that of the angel's clothing, and allows again, for the angel to stand out from the painting, and out from the corner of the room itself. There is a Fireplace behind the angel, although he stands before it and blocks one's view, in order to break up the flatness of the wall.

The expression on the angel's face seems as if he is saying, even without words, that all will be fine; a sort of warmth emanating from within. Aiding the warmth, are two burgundy Pillows, lying over the bench along the wall. They apPear very soft and comfortable, as with the scene. In turn, they associate the left half of the dyad, with the right, by completing a line, (horizontal), over to the top of the small wooden table. On that table, is a bible supported by a third, smaller Pillow that sits before the Virgin. It's open to no particular page, but the former rendition of David's painting, such as Robert Campin's "Merode Altarpiece," would be consistent with the scene as written: The bible is whether open to or implied to the Annunciation. The pages are flapping randomly, and do not reflect any exact point in the book.

The main path of sight originates from the angel, then crossing to the right painting and focusing on the Holy Spirit, the dove, ultimately to the Virgin. The dove is positioned just off center and above Mary's head in the top of the scene. The flight-path of that bird leads the extreme destination to be with Mary. There is a golden radiation with a bluish hue surrounding the bird, from a source behind it. The Virgin has the same radiation emanating from behind her head also, but hers is not as brilliant, and lacks the bluish hue.

Mary's face appears somber, and quite maybe scared. Her hands lay crossed, open over her chest, as she kneels before the Bible. Her gaze stares right at whoever views this work, but it also stares past them as well. I feel, that the face can be drawn out from the scene further, by the Dress she wears. That Dress is a great and rich royal blue color, with a golden organize along its border. As with the angel's raiment, the drapery folds created on both figures, is comparable to those of Jan Van Eyck. They yield a depth and feel about them, as with all the fabrics in the paintings.

A white ivory-colored jar flags Mary's right side. Three white lilies stem from it. Those lilies are signifying the lucidity in the moment...the holiness. That holiness is added to with a soft red velvet bag lying before her, on the floor. There is a set of rosary without a crucifix spilling out toward Mary from that bag. Since the rosary is dedicated to Mary, I take it as a gift from God for her future role as the mother of the Christian savior, Jesus Christ. A circular path is achieved around the painting from those rosaries, to the dove, and back to the angel. It is a well-balanced portrayal.

Directly behind the Virgin, there is a bed covered in a dark blue cloth. The bedding derives from extensions of that cloth, originating from two tendrils above the view. They come down to engulf the bed all the way to the floor. Again, David's use of a slightly contrasting shade of blue allowed me to pull from the paintings, all the key elements. Blue is a common motif within "The Annunciation."

Light symmetry is also a factor of both panels. The left has a brighter appearance. I assume that since the proximity of the angel, in expanding to the open panels of the upper windows, the set of paintings reveals this dissimilarity in that manner. In the right panel, Mary is shrouded in a darker light. This darker appearance may be due to the fact that the Holy Spirit is the "light" for that room, in expanding to Mary's illumination from behind her head. Mary's illumination appears to be very secondary in the scene.

As I said earlier, perspective lines are implemented to give depth to the work. The only failure that David attained was the lowest shelf on the table, under the bible. That shelf is out of perspective. It took awhile to pick that out though. Aside from that one discrepancy, all elements within the rooms are set beautifully to a multi-point perspective. The main line of sight heads toward the center area in the middle of the paintings in a 45-degree pyramidal direction, from the tiles.

David's other paintings from this polyptych are masterpieces such as "The Rest on the Flight into Egypt," "The Crucifixion," "The Nativity," and, "Virgin with Child and Four Angels." I got to see them all. Each one drew my concentration away from the Met, and into the scenes. I have truly grown from my visit and will return to this newfound treasure of the arts.

Bibliography

1. Art History: Revised edition; Volume 2; Marilyn Stokstad; Harry N. Abrams Inc, Publishing 1999
2. The Metropolitan Museum of Art; Gerard David "The Annunciation"
3. Fa18 @ Suffolk County community College; 2000

Artist tell - David's "The Annunciation"

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Cutting Stone - The Lapidary Artist - Part One

All rocks have charm within them. It takes an experienced lapidary to bring it out. A lapidary is someone who takes rough stone, rock, or minerals and cuts and polishes them so that they may be added to jewelry or simply kept for display. Some lapidaries carve stone into fanciful or representational shapes. Others will take materials like agate, onyx or fluorite and shape it into beneficial items like bowls, vases and plates.

For a lapidary who makes primarily cabochons (a cabochon, or cab, is flat on the back side and either domed or slightly domed on the top with a high polish), it all begins with saws. Actually, it all begins with the rock. However, we are not talking about rock hounding today.

The Artists

After acquiring a piece of rock, it must be cut into slabs. If the piece of rock is quite large, the lapidary will have to begin with a slab saw. A slab saw typically consist primarily of a disc shaped blade with a solitAire Coated rim, a motor, and a reservoir to hold the coolant/lubricant. The coolant/lubricant can be either water or oil. Water is a lot less messy and typically only industrial cutting houses will use oils. The largest slab saw this author has ever seen stands about eight feet tall. It is a solitAire blade drag saw and was built to cut large petrified wood stumps.

Cutting Stone - The Lapidary Artist - Part One

Depending on the size of the complete cabochon and the material being used, the slabs will be cut to varying thicknesses. If the lapidary wants a very high dome on the complete cabochon, the slab will need to be fairly thick. Also, softer materials yield more waste when cutting and polishing and therefore, need to start out thicker.

A trim saw is a smaller version of a slab saw. These are most ordinarily cooled and lubricated with water. If the rock is small enough, a trim saw may be used in place of a slab saw. Trim saw blades most often are four inches, six inches, eight inches or ten inches in diaMeter. A four inch diaMeter blade will slice through a rock that is less than two inches deep.

When the lapidary has the slab that she wants, primarily the trim saw is then used to trim the slab as intimately to the complete shape as possible. Some lapidaries yield calibrated shapes. These are normally traced onto the stone with a template. The most common shape found as calibrated cabochons is oval. However, quadrilateral and round shapes are also produced.

They will be made to a precise set of size requirements. This is normally expressed in millimeters: 12mm x 10mm, 30mm x 20mm, for example. These are primarily made for purposes of competition. They are judged on best use of the material, size, perfection of shape and polish. Most commercially ready calibrated cabochons are made by motor and the final polish is achieved in a tumble polisher.

This author finds free-form cabochons to be most pleasing. They also gift the biggest challenge for working into jewelry. It is possible to buy mountings for the calibrated shapes, but not so for the free-form shapes. Mountings for the free-forms must be fabricated from scratch. Your piece of artisan jewelry has had a great deal of time put into it by the time it has found its way to your neck or wrist.

Once the slab has been trimmed to a rough shape, then the real fun begins. The lapidary then grinds and polishes the stone. This is where the lapidary's skill in effect shines.

Cutting Stone - The Lapidary Artist - Part One

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The Artist and His mom

Of all art linked articles and submissions so far, I have found this one to be the most trying. I feel the art textbook naturally do not do justice to our contemporary artists, as there are many that would have been great represented in the final chapters of our art books. For this topic I have selected a work by Arshile Gorky entitled "The Artist and his Mother".

The artist's life is a trail of tragedy and death gift a major topic in many of his art pieces and a tragic life it was. From the burning of his art studio, his bout with cancer, a broken neck, numbness of his painting arm and finally the departure of his wife and children, the events naturally proved too much for him. In 1948 at the young age of 44 Gorky committed suicide by hanging himself in his Connecticut home.

The Artists

This artist from Connecticut provided an active inspirational sway upon Abstract Expressionism. In most of his work he has endeavored to display the suffering he had experienced by way of the Armenian genocide. This was particularly true of the painting which we are now discussing. We can see past artist influences here at work as we find assorted traits reminiscent of Cézanne and Picasso.

The Artist and His mom

In the "Artist and His Mother" the painter attempts to Supply a memorable image of his departed mother. This painting was legitimately based upon not only Gorky's memories but an old picture taken years before. Here we see him standing next to his mother. There are two versions of this painting in existence, one being placed in Washington Dc. We search for a young man standing next to an older lady in front of an empty window. There are no furnishings to be seen in the room. We have to ask ourselves what secrets this painting holds from the painter.

In analyzing this work of art we first observation that it demonstrates Gorky's immense loss which he experienced when his mum died. The lines of the painting are fluid and dull as if they are telling us that they could disapPear at any occasion in time. The artist's brush has crossed the wall of life and death as he displays the cold, analogous, low-key colors to narrative his subdued feelings. His mothers face apPears unnatural and presents a stone like apPearance as if she was a model or represented a headstone. The loose, unstable shape of the ladies ghost white, flowing Dress furthers his proof that his mum is legitimately not physically at his side. The body of his mum as painted upon the canvas presents a foresight of flatness in mixture indicating man who may have died and is no longer part of the earthly plane while the rough, grainy texture gives an uncanny feel that all is not well.

Has he succeeded in conveying his tortured feelings from his homeland and his departed mother? He legitimately has. We see Gorky standing next to his mom in his formal clothing as if attending a funeral and determined extending a pink flower towards his mother. Possibly this is a flower being presented to her at her coffin whether way with her being dead there is no response seen from her face or body. We can observation the sadness being displayed upon his face as he glances towards his mother. I comprehend this sadness as linked to his inability to give her the flower he currently holds.

Although the original picture was taken with a van, the background of the painting is just about indiscernible. He has successfully taken an old black and white photo and transferred it with cubistic planes, color, and a quantum of animation but unfortunately he has fails to revive his dead mum back into his memories. He has created a brown quadrate window directly behind his mother. This window any way is so opaque that one can not make out any features within the glass. This is supplementary indication that his mother's scenery is long gone and never to return again.

Copyright @2011 Joseph Parish
http://www.survival-training.info

The Artist and His mom

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