Vietnamese Art Through The Ages

study of the roots of Vietnamese art reveals a long and rich history. The earliest forms of the Vietnamese art could be traced to the Stone Age, almost 8,000 years before Christ. Though Vietnamese art has been influenced by different civilizations, it has always had its own style and identity. In spite of the cross-culture influence, Vietnamese art has never lost its significant distinction. The earliest influence was probably made by the Chinese domination of Vietnam in the 2nd century B.C. The local art of Vietnam heavily absorbed the Chinese influence and this style continued over a long period of time even after their independence from China in the 10th century A.D. During the Stone Age and Bronze Age, Vietnamese art in the form of pottery and bronze casting reached new heights. The Stone Age potteries were more basic and lacked artistic decors but their Dong Son drums which went back to the Dong Son civilization from about 1,000 B.C. to the 4th century B.C., depicts advanced bronze-casting skills and clearly shows remarkable advancements of their art. The important developments of art in Vietnam probably took place during the ten century long Chinese rule on the nation from 111 B.C. to 939 A.D. Even after their independence, impressions of Chinese-influenced philosophies adopted by Vietnam such as Confucianism, Mahayana Buddhism and Taoism were remarkably visible in their arts. However, the Golden Age of Vietnamese Art began during the 11th century under the Ly Dynasty. During this time the arts of Vietnam grew more and more popular and were even recognized across the East and Southeast parts of Asia. In spite of the fact that Vietnamese art had begun to find fame and popularity during the Chinese domination, the real development of fine arts started with the French colonization in the 19th century. In the 20th century, French colonialists established the "Fine Arts College of Indochine" (FACI), which exclusively opened for the three Indochine countries Viet Nam, Laos and Cambodia following an all around European training method. However, in 1954, with the Dien Bien Phu Victory, Vietnam was divided into two separate regions, North Vietnam and South Vietnam according to the Geneva Agreement. The two regions grew different styles of arts under the influence of different cultures for the next few years. In 1975, when the war ended and Vietnam was unified as one nation again, the unavoidable cross-culture conflicts between the North and South region did not leave much impact on art. Due to the influence of various civilizations and their cultures, the war torn nation could not develop any new trends or thoughts except those coming from the outside world that have been changed in accordance to Vietnamese life. It’s not that contemporary or modern art do not exist but there are not many impressive or monumental works showing any philosophical traits. Representing their cultural history, Vietnamese art mainly represents a quiet beauty or even simplicity of Vietnamese people and their history of struggle against invasions.

This article is written by Ronn Jones, a marketing expert with years of experience in branding and internet marketing. Check out more information on Vietnamese art.

Playing Mandolin - A Unique Instrument

By: tangopangThe mandolin is the soprano member of the mandolin family, just as the violin is the soprano member of the violin family. Similar to the violin, the instrument scale length is typically about 13 inches (330 mm).So what are the different types of mandolin that can be found? Well, below is a list of some of the main type of mandolin:The mandola (US and Canada), termed the tenor mandola in Europe, Ireland and the UK, which is tuned to a fifth below the typical mandolin, in the same relationship as that of the viola to the violin. Some people also call this instrument the "alto mandola." The instrument scale length is typically about 16.5 inches (420 mm). It is normally tuned like a viola, which is: C-G-D-A.The octave mandolin (US and Canada), termed the octave mandola or mandole in Europe, Ireland, and the UK, which is tuned an octave lower than the mandolin. The instrument scale length is typically about 20 inches (500 mm), although such instruments with scales as short as 17 inches (430 mm) or as long as 21 inches (530 mm) are not unknown.The mandocello, which is classically tuned to an octave and a fifth below the mandolin, in the same relationship as that of the cello to the violin: C-G-D-A. Today, it is quite frequent that it is restrung for octave mandolin tuning or the Irish bouzouki's GDAD. The instrument scale length is typically about 25 inches (635 mm). Note that a violoncello scale is 27" (686mm).The Greek laouto is actually a mandocello, ordinarily tuned D-G-D-A, with half of each pair of the lower two courses that are being tuned an octave high on a lighter gauge string. The body is a staved bowl, the saddle-less bridge is glued to the flat face like most ouds and lutes, with mechanical tuners, steel strings and tied gut frets. Modern laoutos, as played on Crete, have the whole lower course tuned in octaves as well as being tuned a reentrant octave above the expected D. The instrument scale length is typically about 28 inches (712mm).The mando-bass, has 4 single strings, rather than double courses, and it is tuned like a double bass. These were made by the Gibson company in the early twentieth century, but appear to have never been common. Most of the mandolin orchestras will prefer to use the ordinary double bass, rather than a specialized mandolin family instrument.The piccolo or sopranino mandolin is a rare member of the mandolin family, tuned one octave above the tenor mandola and one fourth above the mandolin; the same relation as that of the piccolo or sopranino violin to the violin and viola. The instrument scale length is typically about 9.5 inches (240 mm).The Irish bouzouki is also considered a member of the mandolin family; although it is derived from the Greek bouzouki, it is constructed like a flat backed mandolin and uses fifth-based tunings (most often GDAD, an octave below the mandolin, sometimes GDAE, ADAD or ADAE) in place of the guitar-like fourths-and-third tunings of the three- and four-course Greek bouzouki. Although the bouzouki's bass course pairs are very often tuned in unison, on some instruments one of each pair is replaced with a lighter string and tuned in octaves, in the fashion of the 12-string guitar. Although occupying the same range as the octave mandolin/octave mandola, the Irish bouzouki is different from the former instrument by its longer scale length, typically from 22 inches (560 mm) to 24 inches (610 inches), although scales as long as 26 inches (660 mm), which is the usual Greek bouzouki scale, are not unknown.

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Music History – The Gleeman Part 1

By: Mike ShawAfter the fall of the Roman Empire and the centuries of violence and savagery that followed it. Europe was beginning to settle, and two distinct types of music were available to the people. These two types of music were represented by the Monk and the Gleeman or Minstrel.The Monk lived and worked quietly behind the strong walls of his monastery. The Minstrel, travelled from town to town all over the land mixing with all classes of society, the friend and favourite of every one, utterly destitute of all status, and a man whom it was scarcely a crime to defraud or kill. The letter of music dwelt in the monasteries, but the spirit of music, staggered drunk, wandering aimlessly, yet providing popular music for the masses. (I know some keyboard players that fit that description)The Minstrels were poor and walked to there destinations. As well as Minstrels, there were Acrobats, Jugglers and Mountebanks who use to sell magic potions that could cure any ailment and entertained with stories and jokes. These entertainers held an important place in the social economy of the Middle Ages, and are supposed to have been a direct survival of the gladiatorial caste of Imperial Rome.With more peaceful times, emerged an art, more entitled to the name of Minstrelsy, than the poor performance of the strollers who entertained at castle gates and market places. For a long period, Provence was the most peaceful place in Europe, and in that sunny place, Minstrelsy was greatly accepted by the rich and poor. From the eleventh century, the Troubadours were treated with honour and respect.The history of the Troubadour as existing in Provenge, in the days prior to the Albigensian Crusade, forms one of the most interesting and unique episodes in musical and literary history. The social position of the Troubadours was a curious one. Recruited, as was the order, from all ranks of society, the Troubadour might be the son of a knight, as was Guiilem de Cabestanh; or he might belong to the trading classes, as did Peire Vidal, the son of a furrier at Toulouse. In any sphere of life, however, the fact of being a Troubadour at once placed a man on a sort of equality with the greatest, for a Troubadour was essentially a privileged person.You would think that the Troubadour would have a lot in common with the Minstrel, but the Troubadour had no love for the Minstrel and at every opportunity would talk down to the Minstrel with sarcastic cruelty.The Troubadour combined within himself elements of two modern institutions, Public Opinion and the Press. Like the minstrel at large, he was a kind of walking newspaper, and his compositions found their way through the land more quickly than the last news from the Crusades.

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Ted Nugent’s “Live and let live” … except for the voiceless

By: Jeff PopickTed Nugent – yeah, that Ted Nugent – recently wrote an article blasting Paul McCartney for allegedly firing some of his staff for eating meat. Now, I'm not so sure that this is true, but let's go with it. Let us say that Paul McCartney did, in fact, fire some people for eating meat. OMG!I suppose Ted Nugent can't sing anymore, so he's looking to create drama anywhere he can. Kinda like looking for love in all the wrong places.Beginning with the first paragraph of his article, Ted refers to vegans as "weirdos" and then reiterates that theme throughout, even calling Paul McCartney an "animal rights maniac."Yet, in the seventh paragraph of his dim-witted rant, he goes on to clearly state that no meat eater "has any desire whatsoever to influence any vegetarian's choice of diet or to force them to eat meat. We are the friendly, tolerant Americans."When you stop laughing at Ted's lack of functioning brain cells (probably from animal fat-clogged cerebral arteries), you'll realize the dysfunctional thought process that he, and many like him, manage to embrace throughout their lives. They are friendly and tolerant people who preface their discussions about vegetarians and vegans by calling them "weirdos" and "maniacs." In reality, it's not the vegetarians who will be influenced by Ted's dysfunction; rather it's the people who also have animal-fat clogging their brains.It was Benjamin Franklin who said, "My refusing to eat flesh occasioned an inconveniency, and I was frequently chided for my singularity, but, with this lighter repast, I made the greater progress, for greater clearness of head and quicker comprehension." Let's be thankful it wasn't Ted Nugent who helped frame the United States Constitution. Unfortunately, however, it is people like Ted Nugent who interpret it.Millions of meat eaters say they love animals, and really believe it, while eating flesh. Millions of Americans believe in God, yet conveniently overlook the fact that God's earliest mandate to us – on page one of the Bible – was to eat plants. Meatism, the lifestyle of brutality and oppression, is branded by Ted and his sociopathic friends as "The American Way." They talk about freedom, yet deny it to billions of living, thinking and feeling animals. They spend their lives hiding from truth, surrounded by confusion, while telling everyone they come in contact with that only one end of the boat is sinking. Then, on top of it all, they label their fantasy "truth."The truth is, I am a vegan who is forced to live in a brutal world of systematic murder. Meatism is the single largest cause of environmental problems (not to mention health, societal and spiritual problems). I have to see it, hear it, smell it and touch it. And if I try to have some semblance of tranquility by sometimes surrounding myself with like-minded people, Ted finds that highly objectionable. What if the meat-eater that Paul McCartney supposedly fired wanted to eat a piece of an animal in the company lunch room? Is Paul not free to create a cruelty-free environment (even though it is just a microcosm) for himself and others like him?The fact is, Meatism is causing all of our problems, whereas a vegan diet can solve them. Denial, however, is the meat-eater's manifesto, and Ted Nugent has a large copy taped to his mirror square in his line of sight so that he can't look at himself too closely.

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Creating the perfect Feng Shui home decor using the Internet

By: Ken WilsonDriven by the constant wish to lead a healthier and happier existence, more and more people have decided to apply the principles of Feng Shui philosophy. The ancient Chinese art of Feng Shui has also entered the online market, providing interested Internet users with a wide range of Feng Shui products, all suitable for a unique Feng Shui home decor. The basic elements of Feng Shui have entered the style of modern living, providing people with attractive options while helping them to achieve a better way of life.Online, there are probably hundreds of websites presenting Feng Shui products, divided in various categories. The most important thing is to go for the website that inspires confidence and that presents all the available products in an accurate manner. If you are going for a Feng Shui home decor, you must first understand the significance of the 'chi' or universal life force, the purpose of each element of the chi and why is this philosophy so vital. With the help of the World Wide Web, interested customers can learn how to associate positive energies and eliminate all negative ones, achieving in the end the perfect balance.The truth about Feng Shui products is that they have managed to enhance the style of modern living. People have started to browse the Internet for Feng Shui home decor ideas and products, hoping they will at least learn how to provide a healthy yet comfortable environment for their family. Using the two opposing forces (ying-yang) and many other techniques along with the great variety of products, people were able to induce positive energies and guide their chi towards specific purposes. Feng Shui philosophy uses not only statues, coins and other pieces but also plenty of colors, light and sounds, having the purpose to achieve the perfect living space.If you are interested in Feng Shui products and in the art of Feng Shui in general, then you should definitely consider the Internet. This useful database of information cannot only provide you with hundreds of choices but also enables you to learn a thing or two about this ancient art, especially all about harmony and balance. We as humans have a special energy. The things and places that surround us have their energies. The fundamental concept of Feng Shui is to achieve the perfect harmony between these energies, this helping one in turn to restore peace and happiness. With such techniques and products, creating the ideal Feng Shui home decor is quite easy, bearing in mind that it requires a great deal of knowledge and commitment.For the western world, Feng Shui has proven out to be ones of the brightest ideas in terms of interior designs. Decorators have learned how to integrate the principles of Feng Shui so as to provide the perfect Feng Shui home decor. Using Feng Shui products such as bagua octagon, Lo Pan compass and Chinese Feng Shui coins, they have brought harmony and prosperity to various residences. Nowadays, a lot of people have decided to practice on their own the principles of Feng Shui. With the aid of the Internet technology, they discovered a wide variety of products such as golden ingots, handmade statues and miniature Japanese gardens. Living in a modern, almost hectic society it was almost demanding to find something to bring back the much-needed calmness and freshness. Feng Shui represents all that is positive, energies and prosperity, promoting the very essence of the human being.Of all the Feng Shui products presented online, by far the most popular ones are: Feng Shui garden decorations, good-luck coins and unique crystal collectibles. These are followed by bronze animal sculptures, Burma jade accessories and gemstone globes. Rare artifacts are also widely purchased, especially snake swords. By using these beautiful decors, the people who bought them were able to achieve the perfect harmony between the inner energy and the surrounding environment, being happy and leading a peaceful existence. To a lot of people, these products represent more than Feng Shui products. Deeply interested in the principles of this ancient philosophy, they value every piece and try to discover its secrets, including the story behind it.There are many people who employ ideas and concepts from Feng Shui philosophy. They decorate their homes after the fundamental principles and also browse the Internet in search of special products. Still, Feng Shui means much more than decorating. It mainly represents modifying the living space according to ancient principles, bearing in mind the significance of harmony and balance. The natural flow of nature must be respected and this can only be achieved by using the right products, in the proper places. This art, because it cannot be called any other way, is indeed a better mode of living.

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Stealing Art is the latest Fashion

By: Mark BrassingtonNever has Art theft seemed more fashionable. While Nima Mazhari has been convicted of stealing work by Ghitta Caiserman-Roth worth $100,000. A gang of youths called "hoodies" has made off with Banksy prints in a theft in Brighton. And in Milwaukee a work by Delacroix stolen some two years ago from a gallery in Milwauke has been returned, by a man who says he found it in the trash!As works become more popular and expensive thieves who previously would have thought a Mondrian was a new alco-pop are unfortunately starting to take an interest in some of the more popular works of art available today. The hype of the anonymous Banksy have clearly increased visibility of his works to such an extent that an exhibition of his work has been closed. Stuart Hobday, Director said "It's a real shame that this exhibition is not going ahead, but the risk of the art being stolen was fairly high and we understand the concern raised by the owner of the works."Because Banksy's works are graffiti they are often easier to steal than traditional works, because of their public nature. Last year a work was cut from a section of wall in Paddington and later auctioned on eBay for £20,000. Murals were also ruined in Whitechapel last month when thieves tried to chisel the works from the wall.Mary Jane Ansell a figurative painter based a few doors away on the North Laines has said; "Yes, the Artrepublic is very close to my studio, but I don't know anyone involved: - honest!" She then continues to say that. Banksy is a hugely popular artist locally and obviously his work is becoming ever more attractive to investors and the public alike so no doubt there will be a way to move them on easily, certainly I wouldn't be surprised if they were stolen to order.As there can never be doubt as to the authenticity of these works the issues raised that there is a ready market for such works are huge. Whilst the works may not actually be being sold on eBay there is clearly a market for sale and even more importantly re-sale of such "known to be stolen" works. This is important because if such a market did not exist works would not be stolen in the first place.Now that the Banksy show has been canceled at Norwich the question is now being asked as to whether the publics' access to such works will now be compromised. Of course these works will be seen again in public but the necessary security barriers will surely damage the viewers' experience. Further problems will also arise as city underwriters re-assess the already punitive insurance premiums for such shows.The conclusion though Mary Jane states is that in a perverse way it actually illustrates how much more mainstream art is becoming these days and could actually be encouraging for young artists wishing to make their name. The fashionable cache of Banksy's work has been increased by the purchase of his works by such celebrities as Angelina Jolie, Brad Pitt and Jude Law.

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Developing the "Other Skills" in Your Art Classes

by Lise Richards
If you think that art class offers little to you and your children - think again. Arts instruction, though given a low priority in many schools in Johnston county, is a critical element that helps many children do better in their core math, language arts and science classes. Art instruction provides creative mental challenges for kids. It opens new doors, and offers a different perspective on their everyday ways of thinking and expression.
Ok, but enough talk about all the wonders of art class - let me give you an example using an ordinary, gray lump of clay.
One day your daughter arrives in art class and before her sits a lump of cold, hard, gray modeling clay. As she picks up a chunk of the clay and begins to mold it in her hands, a long string - similar to thick, oddly shaped spaghetti - begins to take shape. She stops to think about what she can do with the clay. Maybe she's struck by the limitless opportunities or maybe she decides immediately to build something she sees every day ~ her school building. And so she sets out to accomplish this formidable task. After studying the school building through the classroom window, she begins to mold, pick, pull and chop the clay until she has formed a rather tall skyscraper clay replica of her school. Proudly she sits back and watches as the uppermost piece of the building slowly begins to tip over. It continues to droop backwards until her skyscraper classroom now resembles a bridge spanning the Mississippi River. She thinks that maybe she could stop with the bridge, or she can use a wooden stick inside the clay to support it, restoring her bridge to the school building she was intent upon building in the first place.
While this is an imaginary and very brief example, you can see how this type of scenario can take place in many classrooms. We've seen that sometimes the clay doesn't cooperate right away with the artist's first ideas. It may take a few more manipulations ~ or a stronger piece of wood to support the structure, but whether the child succeeds or fails they have learned skills during this process that carry forth to other areas of life. In fact, this project may have taught her many things that we don't realize at first glance.
She:
- Enhances her natural physical hand strength while working with the clay.
- Finds a different way of looking at something she sees many times each week; in this case her school building.
- Is inspired to be creative and adaptive to the changing circumstances.
- Learns to think independently.
- Learns about the forces of gravity on a flexible material like clay ~ a link to science.
- Learns basic engineering lessons.
- Learns that clay sticks to walls, hands and floors, and how to be responsible for cleaning it up.
- Learns that if she changes her mind, and then her behavior, she gets a different result.
- Is encouraged to build other things in clay, or to learn about people who have.
- May even move from building with clay to building with steel, bricks and wood.
With a strong foundation and a good support system, people can learn many things we might never have thought possible during art class. When art is combined with other classroom subjects, the opportunities are endless! And just think ~ all this new information from a lump of cold, gray, clay.

Lise Richards is the Director of the Creativity Center, Inc. To see what new things you can discover, sign up for an art class and explore your possibilities. Visit the center online at www.centerofcreativity.com, or call us at 919-553-8451.
This article courtesy of http://www.centerofcreativity.com. You may freely reprint this article on your website or in your newsletter provided this courtesy notice and the author name and URL remain intact.

Appraising Your Art Print

by Garrick Saito, President, Respree.com
We get many requests from collectors and owners of older art prints asking us what their print is worth.
Generally speaking, there are two types of art prints; Open Edition and Limited Edition.
Open Edition means that when inventory runs out, the art publisher simply prints more. These types of prints generally fall in the $20 to $40 price range and do not have any significant appreciable value.
Limited Edition prints, as the name implies, are limited in the number of pieces that are printed. It is simply a marketing decision that the artist and publisher have jointly made. While it is basically ink on paper, like an Open Edition print, the prices of these Limited Edition prints can vary, but typically range in the $200 and $1,000 price range (although some can go up to $5,000).
What's my print worth?
Unfortunately, we do not offer any appraisal services at this time, but we are happy to provide information that may assist you in determining what your art print is worth. The simple answer is that your print is worth what the market is willing to pay.
Assuming that you have a Limited Edition print, you may want to jump on an auction site like Ebay.com or Amazon.com Auctions to see if other private sellers are selling their copy. That should give you a rough idea of what your print is worth. If you are lucky enough to find a private seller, you should check to see if anyone is bidding on this item. If you see bidding activity, this will give you an indication whether the seller has set his/her auction price within the scope of what the market is willing to pay (and if there is any demand for this print). No bids may indicate that the seller has priced his/her item too high or there are no buyers interested. Be patient and keep in mind that there are 'not' a lot of these items for sale, so its a good idea to check back on the auction sites from time to time if you can't it on your first try.
There are a number of ways you can go about getting your piece appraised. I highly recommend making your first stop the local art museum to ask for their recommendation for a reputable appraiser. If you don't have an art museum in your town, there are other options:
What's It Worth to You.com offers online appraisals based on information you submit to them for $8.95, and return a digital apparaisal certificate. After the online appraisal, the service will provide you with a list of appraisers in your area if you desire a physical appraisal (which is required to guarantee an appraisal's accuracy).
[ http://www.whatsitworthtoyou.com/ ]
One of the appraisers affiliated with that site, Dr. Darragh Elliott, has his own appraisal service as well. He specializes in European art, and posesses remarkable credentials. You can get a free temporary appraisal quotation here:
[ http://www.fineartappraiser.com/orderform.htm ]
Art Services 2000 is an accredited member of the International Society of Appraisers:
Fine Art AppraisalsArt Services 2000 Ltd. Co.New Smyrna Beach, FL 32170Phone: 386.428.2980Fax: 386.428.2980
[ http://www.artservices2000.com/appraisals2.html ]
If you require an appraisal for income tax purposes (donations to non-profit organizations and estate taxes), you can also contact the Art Dealers Association of America to get matched up with a reputable art appraiser in your area:
Donna CarlsonArt Dealers Association of America575 Madison AvenueNew York, NY 10022Phone: 212.940.8590Fax: 212.940.6484E-mail: adaa@artdealers.org
[ http://www.artdealers.org/appraisals.html ]
...and the more famous choices:
Sotheby's[ http://www.sothebys.com/services/appraisals/ ]
Christie's Estates & Appraisals20 Rockefeller PlazaNew York, NY 10020E-mail: info@christies.com
[ http://www.christies.com/appraisals_valuation/overview.asp ]
I hope this information helps you.

Buying Art First

by Lise Richards
Maybe you've faced it before - a new house with an empty room or two or a room that is just crying out for some furniture. So off you go to purchase a sofa you admire - then a chair. Or perhaps you purchase a full living room set complete with tables and rugs. With delivery a few weeks off you can just picture your living room (and not surprisingly, it looks just like the showroom). The delivery day arrives and you can't wait to cut the tags off of your new furnishings. You may have to position the sofa a few times to get it just so, but all in all, you're pretty satisfied - until you notice there's no art on the wall. And so you decide to buy some art that matches the sofa. I cringe a little while I write this, but in reality that is how many of us choose art. In fact, little confession, I still have art in my house that I bought because the frames matched!
If you have also considered buying art in an afterthought, you're not alone. We have all been taught that accessories finish off a room. In fact, if you've ever watched a design show, you'll notice that some professional designers decide on the art once fabric, furniture and rugs have been selected. So maybe we've all been brainwashed to believe that filling our space with art doesn't require much planning - just the ability to carry a swatch of fabric to a store. Well, just for a moment, I'd like you to think about your art and how why you might acquire it sooner rather than later.
Art inspires creativity. First choose art that appeals to you, and then let your furniture and accessory purchases be influenced by the art you have selected. This shift in viewpoint allows for freedom of expression. Through the process of seeking out new art, and finding something you'd like to live with, you open your mind to all the new possibilities. Perhaps an abstract piece of art inspires you to consider an eclectic collection of furniture instead of a uniform suite. Maybe art with cool beach tones allows you to consider that slip covered furniture with a nautical appeal. Or a tropical print encourages you to use a hand-painted floorcloth in vivid hues in your new artistically inspired room.
Consider also the structural elements in your room. Many living areas have unique architectural details that historically have been used to display important art. By only focusing on furniture placement or accessorizing, you may lose sight of some of your home's great details. If the architectural details are not what they once were, before you rip it out, liven it up. Apply a mosaic design or faux finish to your fireplace surround. When you're thinking about changing things break out of the familiar and experiment with your creativity.
For some creative inspiration, find the nearest child. Children are much more free to express themselves, and when it comes to design, I can say from experience that they'll have their own unique opinions on what goes in their rooms. Take a cue from your child's artwork when you design their rooms. This way they are more inclined to love it when you're done. Gather together several of their favorite paintings or sketches, and note their favorite color, or emerging themes. You can copy these same themes through painted fabric, a wall mural, unique stained glass for the window, a floorcloth or even a quilted wall hanging. Don't forget to frame and hang the original artwork that inspired their new design.
So set out to design your living spaces with art as forethought. You will appreciate the art for what it adds to the overall project as well as the positive feeling you experience when you see it. And then you may begin to wonder why you ever tried to buy art that matches that pillow with the odd purple color. Happy art collecting!

About the author - Lise Richards is an Artistic Lifestylist and owner of The Creativity Center, Inc and Red Door Gallery. Her Artistic Lifestyling program helps all people live more creatively in artistically designed spaces. Visit the company online at www.ArtisticLifestyling.com

Art Myths

by Cheryl McCardle
I am an artist, but it took many years and words of encouragement for me to be able to say that about myself. My love of art all started when I took a painting class, and discovered that somehow I was able to produce something that resembled art. Believe me, at first the resemblance to art was not easy to see. Like many people, I did not think I knew anything about art.
I thought art was this thing surrounded by an aura of mystery, and only those who were gifted and lived in that other realm could understand its meaning. I bought into what I call the Art Myth. There are probably many artists who would prefer to keep it a secret, but it takes no special talent to appreciate art. The Art Myth is the belief that only those who have this deep understanding of art can truly be art lovers.
What I have discovered since I became a real artist is that art really is in the eye of the beholder. We all know what we like when we see it. For some, art is the beauty in a piece of needlework or a handmade quilt. For someone else it may be a handmade instrument or an intricately carved piece of wood. Art is about finding beauty or feeling an emotion about something you see.
Everyone has events in their memory that produce a strong emotional response. If you grew up on a farm, then you may feel something wonderful when you view a rural landscape. The city dweller may love the look of concrete and city streets. We all come from different backgrounds and like different things.
So, remember the next time you have an opportunity to view art - you are already fully qualified to appreciate it. You have your own experiences and preferences that influence how you see things. It is all right to dislike a piece of art if it does not appeal to you, but here are some clues on how to do it honestly and tactfully:
My eighth grade teacher told me. If you do not know what it is, simply say "Tell me about it," and the artist will be thrilled that you asked.
You do not need to apologize for not understanding art.
There are probably many other people who do not understand it either, including the artist.
Remember what your mother said. "If you can't say anything nice, don't say anything at all."

Cheryl McCardle is the director of healing arts at The Creativity Center, Inc, Clayton's newest art space. For more information on producing art of your own, go to www.centerofcreativity.com.

Adding Art to Business Spaces

by Lise Richards
Larger companies have learned that collecting art adds something special to its overall corporate image. An art collection may include art on display in waiting, or general areas. Larger collections may focus on education programs for the employees of the company and partnerships with area museums or art spaces. Unfortunately the kind of art programs and collections afforded by multi-billion dollar companies, are not usually within reach for companies without an extensive art budget, if it's even considered at all. However, if you are ready to use some creative thinking you can create an art program, add new art to your workspace, and increase employee satisfaction.
As business owners, one of the first design decisions we make are for our business cards. They are your client's very first impression of your company. A well-designed card should convey both a text message and a feeling. People really do pick up and collect business cards they are attracted to - even if they don't need the services right away. If you take the time to have the card designed by a true artist, chances are you will be pleasantly surprised by the results. I stumbled on what I consider to be a couple of great business card design companies owned by Daniel Will-Harris and Victoria Arico. I prefer designers rather than mass-produced templates for many reasons, but primarily because I don't want to see my 'logo' on someone else's card. The image conveyed on your business cards, should match your work environment in terms of appearance and energy. A modest art program at work can help to unify your corporate image for your clients and employees.
Even if your company already has an art collection, it often doesn't include art for personal workspaces. People spend so much time at work that it is important to encourage them to create a sense of individuality with personal art that appeals to them. Shared or open spaces might be perfect for a small water feature to help keep competing noises down. It's best not to be too extreme in choices of art on these walls, but a couple of modest pieces, a collection of small art postcards or even a small sculpture can bring instant interest to a workspace. Because selecting art can be a bit tricky, guidelines or policies created for the company help people keep their art selections appropriate for the workspace.
If you are lucky enough to have room in your workplace for public art, you can use the space for rotating art shows by artists from across the country. You can also commission murals, sculpture or faux finishes to add creative and artistic touches to your space. Remember there is no need to over do it at work, but do consider the feeling you want to express. If you are in a hectic work environment choose art that makes you feel instantly calm in the midst of chaos.
There are so many ways to artistically enhance your workspace. Hold some after-hours art classes or host an exhibit that features art created by your employees. It's a modest investment that gives back over and over again, and also helps support local arts in your community. Use your imagination and put together a great arts program at work that will encourage employee creativity, interest in your company, and add to your overall company image.

Finding art prints on the Internet #2

STEP 1: Go to www.google.com and begin by searching for what you do know; Da Vinci.Results from this search lead you to more information; his first name "Leonardo." (good, we now have more information!)
STEP 2: Now begin a 'new' search and enter Leonardo Da Vinci.Bingo! Search result #2 visually shows me a picture of what I'm looking for. It's called "The Last Supper."
STEP 3: Now enter all the information you now know (followed by the word prints): Last Supper Leonardo Da Vinci printsVoila! Now there are many choices to choose from, now focused to weed out thousands of undesirable search results..
Now, are they prints or posters? Some people call them prints, others call them posters. Technically, what you're looking is almost always a print (some people prefer the term "art print"). While both basically ink on paper, a poster is usually something that is hung in a public place, like a movie or theater poster or placard. But try your search both ways.
Of course, if you are looking for a specific type of print like a serigraph, limited edition, canvas transfer (commonly abbreviated as "L/E" or "LE"), or giclee, enter the appropriate term instead of "prints."
Yeah, but I'm still wading through a sea of Da Vinci prints. But now I have 12,000 stores trying to sell me Da Vinci's Last Supper, now what? Who's got the best price? Who can I trust?Admittedly, our industry is very competitive. Most of the larger Internet merchants, while you can't blame them, have an affiliate program, which pays a website owner a commission off traffic referrals. The problem is that they are so many of them, you keep getting led to the same place.
Websites such as Allposters.com, Barewalls.com and Art.com have done a wonderful job marketing their products, but to the web shopper, it can get a bit frustrating being referred back to the same website over and over again through these affiliate websites.
Refine your search even further. One way to weed out these irritating duplications is to put a minus ("-") sign in your search. The minus sign tells the search engine to not to display web pages that have the words directly preceding the minus sign (i.e. "da vinci last supper -allposters.com -allposters").
Tip! Enclosing a search phrase in quotes tells Google to find an 'exact' match. "last supper" as opposed to last supper (without the quotes) often produces more focused results.
Make it easier! I would recommend giving Froogle (www.froogle.com) a try. Froogle is Google's recently introduced shopping search engine, which only returns results for products available for sale. It's a great way to filter out the 'junk,' compare prices and view a preview of the product image (thumbnail images are displayed). But remember, you should also check the a merchant's shipping charge, as many E-tailers will lower the product price, but build back some of this discount into the freight they charge.
Here's the same query in Froogle, which I think you'll find much more manageable.http://froogle.google.com/froogle?q=da+vinci+last+supper+prints
I hope this article has been informative and will aid you in the future.
Happy searching.

Finding art prints on the Internet #1

By Garrick Saito, President, Respree.com
Almost every day, we are asked, "Do you have or know of where I can get an art print called _____." No doubt, the caller has tried and probably not succeeded by searching the Internet on their own.
There are two main reasons for their lack of success.
1. It's not out there.
While there are literally hundreds of new art prints that come onto the art print market each week, there are conversely hundreds that come off the market. If you think about it from an art publisher's point of view, it doesn't make financial sense to continue to produce products that do not sell. It's the simple law of supply and demand.
While you may be looking for an out of print item, it may not be impossible to find. Private sellers may be in the market to sell their copy on auction sites like ebay.com, yahoo.com or amazon.com. If you don't succeed, check back from time to time. Sometimes, it's just luck of the draw.
2. The search engine needs some information.
Okay, lets assume that it is out there; now what? What search engine shall I use? Our search engine of choice is Google (www.google.com). They are, by far, the most popular and well known for returning relevant search results.
"Generally speaking, art prints are pretty easy to find on the Internet if they are being actively marketed."
Remember, the better your question, the better your answer will be. If you type in the word 'posters,' (as of this writing) Google will return nearly 45,000,000 (yes, million) results. Yikes! Chances are slim to none you'll ever find what you're looking for with such a generic query. Search queries need to be focused in order to return focused results. The idea is to provide as much detailed information as possible.
In reality, however, you may only have limited information about an art print. In this case, you may have to perform several searches with the goal of finding out enough information to ask a good question. Typically, you'll want the artist full name and the title and that should get you there.
Let's go through an example; one that we all know. Everyone knows the world famous "The Last Supper" by Leonardo Da Vinci. But let's say you know what it looks like, but don't know the title.

The Coming In of Outsider Art

By Audrey Regan, Art-Is-Life Director
The artist, Jean Dubuffet, was a pioneer in recognizing and collecting works of extreme individuality by creators who were not only untrained artists, but who were uninfluenced, in any way, by art being made elsewhere. Much of the art he collected was created by mental patients and prisoners. He formed the Compagnie de l'Art Brut in 1948, in conjunction with Andre Breton, and others, giving birth to what would be known as the Dubuffet concept of Art Brut and one that is strictly adhered to today by many, particularly the powerful museum in Laussane, which has amassed the Dubuffet collection. In fact, it is claimed by the curators at Laussane that they, and only they, have the authority to designate a work of art as being truly Art Brut, i.e.: works that are in their "raw" state, unaffected by cultural and artistic influences and which bear no relation to developments in contemporary art; works that are the innovative and powerful expressions of a wide range of individuals from a variety of backgrounds.
Michel Thevoz, Curator of the Art Brut collection at Laussane, has used the terms Art Brut and Outsider Art, interchangeably. Therefore, in the view of the Laussane experts, there are conceivably millions of works of art around the world that will never be included in the realm of outsider art, as it wouldn't be possible for a handful of experts to view and categorize every one of them.
One thing is indisputable - art brut and outsider art are universally accepted as one and the same. Art brut, translated, means "raw art." The term "outsider art" was originally coined much later, in 1972, by an American - the art critic Roger Cardinal, who was attempting to explain this type of art to United States audiences. "Outsider artists," he said, "are those who are innocent of pictorial influences and perfectly untutored."
Based on the definition put forth by the self-appointed experts at Laussane, as well as that which is encompassed by others around the world, the real problem with identification may not be in determining how to delineate true outsider art from other forms of art, but in deciding at what juncture it loses its right to be called outsider art.
Outsider art is not determined as much by the artwork itself as by the set of circumstances that were present in the life of the artist when the art was made. Once the outsider artist is "discovered," he can no longer be classified as one who creates art for his own use, for he is now sharing his art with the public. He can no longer be described as one who is unaware of the art being made by others, as he is now a part of the very art world he once knew nothing about and will be influenced by it. Eventually, he may stop using the materials of his everyday life, when demand for his work necessitates the use of more effective and readily available materials.
"Un Lapin Blanc", if it is, indeed, outsider art or art brut, can easily be made again, on demand, by breeding and skinning another rabbit; by finding the same metal parts in a local hardware store. Perhaps, at this point, it becomes primitive or naif art. It is an accepted fact that creators of primitive art do seek official recognition of their work and thus, cannot belong to the society of outsider artists. Perhaps it might be recategorized as folk art or, that which is not made with the same psychic flow as outsider art. How is the psychic flow of the outsider artist compromised when the art dealer requests a piece for a new collector? Certainly the motivation has been changed from simple self-expression to meeting supply and demand. Perhaps "Un Lapin Blanc" could be more accurately described as marginal art or that which sits on the margin of outsider art and mainstream art. It is, after all, viewed daily by hundreds of people at La Halle Saint Pierre in Paris.
Prisoners, patients in mental and other institutions, such as centers for the blind, rural citizens who are far removed from urban centers, the members of native or aboriginal tribes - all of these groups have their untrained artists, those who pick up and use what is available to express themselves, often in primitive ways. It has been stated that in defining outsider art or art brut, it is important to acknowledge what it "isn't." Certainly, anyone who goes out in search of it; to acquire it for exhibition purposes or for sale, is turning the resulting definition on it's head. Art dealers, by their very proximity to the as-yet undiscovered artist, have the potential to create the biggest oxymoron in art history - that of the "famous Outsider artist".

This article copyright 2002/03 art-is-life. All Rights Reserved

Jack Vettriano's "The Singing Butler" sells at auction for $1.3 million

In the U.K., Scottish-born Jack Vettriano is acknowledged to be among the most popular selling artists. His prints regularly outsell the ones by Monet and van Gogh.
Vettriano has been one of my favorite artists for a long time. My all time favorite of his works is The Singing Butler. It is his most famous painting and always among the top sellers at Respree.com.
When I heard of the news today that the original painting of "The Singing Butler" had just been auctioned off, I just had to write this article.
The piece was expected to fetch around $350,000 before the auction began. Auctioneers were stunned when the bidding finally stopped at an astounding $1.3 million. The winning bid came from a mystery telephone bidder.
Vettriano's agent said his reaction to this record breaking auction was "a combination of embarrassment and delight." He is described as being a modest fellow, who 15 years ago was completely and utterly unheard of.
The Singing Butler has a unique charm, elegance and romanticism that are uniquely Vettriano. People who view this image feel like they are in another world, a world they aspire to be in. It is a world that has no worries, no problems and is the ultimate romantic spot on the planet. Dancing along the beach in a tuxedo and an elegant evening gown, the couple pictured are sheltered from any possibility of rain by a bowler hatted, tuxedo dressed butler holding an umbrella, who serenades them as they dance. This is what the good life is about. Despite the windy and near-rainy conditions, a maid stands by the butler, also holding an umbrella, just in case drizzle turns to rain. You do not see the couple's faces, but you know what their eyes are saying. They are in love. It's an unbelievably moving piece.
Own an art print or museum quality canvas replica of Jack Vettriano's Singing Butler at a fraction of the cost (a small fraction).

3 Tips for Drawing Noses the Right Way

By: Todd Harris
Copyright 2006 Todd HarrisWhen drawing faces, one of the most prominent features is the nose. This is because, quite frankly, it is one of the largest on the face and sticks out. So artists, need to know, when drawing faces, how to do this correctly. Some artists tend to overlook this feature and then find their drawings off. This should not be overlooked and is quite simple to get the basics down with these tips.First, you should know the basic set up and structure of the nose. Knowing what’s underneath the skin and the musculature and bone structure of the face will help. It is important to note that everyone’s noses are different and unique and to draw them as such.Some artists like to keep the drawing of a nose simplified and use the technique of two lines and a ball for the tip of the nose. Some artists start off with a prism to guide them along. This article focuses more on some tips and mistakes to avoid when drawing the nose and not so much the technique.First when placing the nose on the face, start with your blockin of the head. Carefully draw a line through the forehead and the mouth to give you the starting midpoint on the face. This will help you to keep your alignment right. Then use the thumb and pencil technique for measuring to find the exact placement of the nose.One of the common mistakes beginning artists make when drawing the nose is in outlining and shading. New artists sometimes make the mistake of drawing the outline of both sides of the nose. This will flatten the nose and make the drawing of the face look off.Take extra care when you are shading the nose. You should avoid outlining and use lighting and shadow and directional shading to help create the effect. Usually the shadowed side of the nose will provide the depth and dimension to give the 3D effect. When drawing the nose, be careful not to make the nose too long. Some artists do this. Also, just a quick refresher in what we discussed…First, sketch out or block in the outline of the nose. Check the placement of the nose on the page using the thumb n pencil method of measuring. Start defining the shape using shadowing, defining the nostrils, etc. Finish shading the nose. That’s it in a nutshell. Take care when drawing the nose because if you don’t and hurry though it, it can ruin your drawing. The nose is a prominent feature, treat it that way and you’ll be more likely to achieve a likeness to your subject.

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Light House Poster Angels and Demons

By: Chris Campbell
A light house is a beacon of hope often surrounded by dangerous seas and menacing obstacles. To a sailor, a it signals a safe path to follow home. To the ancient builders of the original light house, they were a symbol of prestige and importance. The ancient Light House of Alexandria which was built in 3 BC, and towered near 400 feet, was one of the last remaining seven wonders of the world. Modern posters of these guardians are often surrounded by images of sand and beach that fondly remind us of vacations and summers spent around the water. With such a gamut of symbologies and remembering, it is no wonder that light house posters are such coveted pieces of art. Lighting The way HomeWhen shopping for a light house poster, there are several things to consider. The first and most obvious, is finding one that strikes a chord with you. There are light house posters surrounded by serene and tranquil sea front settings, as well as shome showing showing treacherous shoals being pummeled by crashing waves, while lightning flashes, and clouds threaten. Not only the serene images have a rightful place on our art deprived walls, but the striking images have a place there as well. It all depends on the kind of emotions the room or surroundings are attempting to elicit from the visitor. If your passion runs to boating, or are an avid sailor type then perhaps the serene beach light house scene is best for you. Every regular sea going boater has probably had their share of tumultuous water adventures. If your attempt is to create a more sombre feel in your art space, then perhaps the more adventurous light house posters would be more advisable.Light House SymbologyBefore placing a piece of art on your walls, it may behoove you to know a little more about what the imagery means. There are some slightly more obscure representations that have been relegated to light houses over the years. They are sometimes used in religious writings as representing a safe path to salvation. Not only used in mainstream spiritual beliefs, but also used to some degree by those who follow the occult teachings. Beacons of truth for darkness or light I suppose. Conspiracy theorists believed that the red stripe surrounding the lighthouse was actually the snake of Lucifer. Some would also like to believe that they are symbols of male fertility. Not too hard to imagine where someone came up the that allusion. Some things you may want to consider though when hanging light house posters around the house. Personally, I like the image of sail boats gently chasing breezes, children building sand castles, and waves lapping the shore. You however can see whatever your imagination dreams.

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Epiphany: Or How I Stumbled Unawares Into the Strange World of Contemporary Art

By: Peter Clothier
Here's how it was. This was way back in the very early seventies. I had recently arrived in Los Angeles from Iowa, where I had been completing a doctoral program and working in the Writers' Workshop in Iowa City. I was a poet. I had never taken much interest in art-though I was educated enough, of course, to be aware of "modern" artists like Picasso and Matisse. I had even, at my boarding school in England, enlarged a blue Matisse flower cutout to reproduce as a mural on my study wall-to the considerable consternation of my "housemaster". But though I had lived in London for three years in my early twenties, I had not stumbled across anything that would qualify as "contemporary art." Then at the University of Iowa, the Art Department was, to my knowledge, mostly traditional, under the firm hand of the lithography master Mauricio Lasansky.Then... Los Angeles! The shock of the new! My eyes were opened, first, by my soon-to-be wife, Ellie Blankfort-she of the Ellie Blankfort Gallery fame, during those years in the very early seventies. Soon after we met, she landed a job running the Art Rental Gallery at the Los Angeles County Museum, and she was meeting the younger set of artists she was soon to represent in her gallery. I, the poet, observed nervously from the sidelines, somewhat befuddled by the strange things some of these artists were doing.I was not deeply offended, however, until the day we went out to see an exhibition at the Orlando Gallery in the San Fernando Valley. I arrived there to find hand-made, primitive axes protruding from the walls; books mutilated with cuts and slashes, their pages stuck together with unidentifiable goo; mysterious-but definitely unpleasant-stuff growing in mason jars; and Vaseline smeared unceremoniously on the white walls of the gallery.And then there was an inscription somewhere in bold, childish lettering: WHEN I WAS A SMALL BOY, BOB WENT HOME.That was it. I was appalled. Appalled that someone could create this kind of hideous mess and call it art. I went home angry to have wasted my precious (poet's!) time on such frivolity.And yet I could not get it out of my mind. To my distinct annoyance, the images kept playing around in my head, refusing stubbornly to leave. The indignation continued to rile. So I did what any writer does, I assume, when confronted with the unknown: I started to write about it. At the risk of irritating those who've heard me say it a hundred times before, my guiding principle as a writer is that old adage: How do I know what I think 'til I see what I say. I couldn't begin to sort out my ideas and feelings until I had them down in words.So I sat down and began to write. And I wrote and wrote. Judging prose, in those days, to be a little bit beneath a man whose lofty calling was to be a poet, I wrote it all as a poem, and the poem turned out to be some thirty pages long. Evidently I found that I had quite a lot to say, and much of it had to do with the growing realization that this "mess" of an art show curiously resembled how I felt about my life-and how I managed it-when I was seven years old. My life was all a difficult, impenetrable mystery. Nothing was as tidy as it was supposed to be, not even my clothes. Nothing ever fit quite right. I was clumsy, inelegant. I used to spill ink on the desk and smudge my fingers, and then the exercise books in which I had to do my arithmetic. It was the struggle between the unruly, rebellious reality of the inner self and the discipline that others want to impose on it from without-the classic struggle for individual freedom in the face of despised and feared authority. Eventually, it proved to be a losing battle for the child and a victory for the teachers. Inky fingers and all, I was forced into submission to the rules. WHEN I WAS A SMALL BOY. This art was talking about me! No wonder I was so angry and uncomfortable!Later, when the writing was done. I met the offending artist, Gary Lloyd. (Gary, where are you these days?) He loved the poem I'd written, and proposed our collaboration on a book. We made it-a cumbersome volume with a hatchet handles for a spine, a battered aluminum cover, and pages rendered illegible by layers of mesh and grease-proof paper, and smears of Vaseline. We spent hours in Gary's Culver City studio putting this thing together. We even sold some copies to respectable collectors. The County Museum has a copy. So there you go. This was the great epiphany, for me, the initiation into the world of contemporary art. It came about through anger and indignation, a reaction so strong that I was unable to ignore it. It came about because I had the intuitive wisdom to listen to that contrarian voice and heed its challenge. In the months and years that followed, I continued making my first few tentative steps into writing about art. I even discovered that prose could prove a satisfying medium. I began to write pieces for Artweek, first, then for Art in America, Artforum... I had found a calling.

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How To Take Care Of Your Fresh Tattoos

By: Jason Oickle
The first thing you need to is remove the bandage/saran wrap from your tattoo after about an hour. Your new tattoo is a wound and it needs to breathe so it can heal.Wash the tattoo using your fingertips using a mild antibacterial soap. Remove all traces of blood since this can cause scabbing. Do not scrub the tattoo with a washcloth during the healing period. Always pat the tattoo dry with a clean soft cloth or let it air dry. Apply a thin coat of ointment to the tattoo. Tattoo Goo, , A&D Ointment and Aquaphor are all very great. Only use enough to make it shine and work it in well. Remove all the excess ointment with a paper towel. You only need enough to keep the tattoo moist to keep it from scabbing. You do not need to re-bandage your tattoo.You should re-apply ointment whenever the tattoo is starting to feel dry or stiff. Typically three to five times per day for three or four days then switch to a moisturizer such as Keri, Lubriderm, Jergens, or Vaseline Intensive care. Do not use lotions that contain color, fragrance or sparkles until the healing is complete.If you don't keep it moist it will form a thick scab that may crack when you move. When this kind of scab is formed the ink sits within it and slowly heals into the skin. When the tattoo is kept moist it doesn't have a chance to form a scab but does form a thin membrane to protect the tattoo while it heals. Do not peelor pick at your tattoo, you will pull the ink out. It is normal to see small flakes of colored skin falling off during the healing stage.You must keep your tattoo clean, but long showers or baths should be avoided for 2 weeks. Prolonged soaking can loosen any scabs that may have formed, or will soak through the soft tissue and cause some of your ink to leak out.Try not to scratch or pick at the tattoo. It will get itchy and a good alternative that I found worked well was to slap it or spray it with rubbing alcohol.The sun is bad for your tattoo, even if you've had it for a long time. Wait until it is fully healed before you go back in the sun make sure you put on a high quality sunblock. Do not apply sunblock while the tattoo is healing though. The tattoo is under your skin, and your tan will form above it. If you get too dark, some colors may not show as brightly as they used to. Over time, excessive exposure to the sun will cause your tattoo to fade.

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One Added Skill Can Land You the Art Career of Your Choice

By: Todd Harris
Copyright 2006 Todd HarrisYou have a love for the arts. You know you want to be an artist. You know you want an art career, so that you can do what you love and get paid for it. You have talent and creativity. You are motivated. You want to grow artistically. Now what? Mastering the ability to draw the human figure is the one thing that you can do to get you closer to your goal of a winning art career.You can make money doing what you love. Yes, you can actually get paid for something like drawing all day. With practice, determination, and learning to draw the human form, you can do it.Drawing the human form is key in many art careers. Let’s take game design for example…Normally, you wouldn’t think you need to know the human form when designing games, right? Wrong! Game designers need to have a good understanding of the human figure for characters, gesture, and scene development. Character design is a major part of game design. Okay, you want to be a freelance artist. Well, the human figure is imperative here as well. Without this knowledge, your paintings or sketchings will look weak, amateuristic with beginner’s mistakes, and just plain wrong. All artists can benefit in their skills and their careers by mastering the human form.Here are 4 great reasons to master the human form and learn the figure now.• Get an art career- Artists that master the human form and figure are much stronger candidates for an art job than someone without a strong skill-set in drawing the figure. • Greater Artistic Knowledge- You will have a greater knowledge of the human form and figure and be able to express these through your art more fully. • Figure Drawing all important in different genres- It is the single most skill that you can take from one genre to another. From doing caricatures, to portraits, to game design, to sketching faces, to illustration, and more, figure drawing will enhance your many career opportunities and open the door more than any other drawing skill. • Make More Money- Artists who can master the human form open the door to much more revenue as they are diverse in the marketplace.Studying and mastering the human form is a difficult task, but the rewards are plentiful. Combining masters techniques with your determination will enable you to reach the rewards previously mentioned. The key to mastering figure drawing lies in your passion for art and never give up attitude, mixed with skillful techniques straight from the masters themselves.Explode your career opportunities by taking advantage of the advice and master the human form now. You’ll be glad you did.

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The Saga Of The German Nutcracker

By: Tony Hartmann
Have you ever heard something about the history of the nutcracker? Do you know where the first nutcracker was built?We wanted to know a little bit more about the nice wooden men and so we searched for information. Let us see what we have found.==The Saga Of The Nutcracker==Many years ago there lived a farmer in the "Ore Mountains", he was very rich but lonely. The wealth had made his heart cold, just like the nuts he liked to eat on Christmas. The nuts also were very hard to crack and it required way too much effort to crack all of them. That was the reason why he decided to launch a competition. He promised a reward to someone who has a great idea to make cracking nuts easier. Many people from all around the village where the farmer lived in came and had strange suggestions: A soldier for example advised to shoot at the nuts. The cattle doctor recommended to let his hens breed the nuts until the cores hatch by their own. The old woodcarver of the village brought a little wooden man to the farmer. It wore the garb of the "Ore Mountain" miners and had a large mouth with a hard jaw - ideally for cracking nuts!The rich farmer was so enthusiastical about the wooden man that he kind of felt in love with him. This was the first time in his live that he has felt something like enthusiasm. His heart suddenly got warm and he turned out to become a nice man. The farmer became the friend of everyone, especially of the children. To express his thanks to the woodcarver he established him a new workshop where the woodcarver was able to carve nutcrackers and other very nice wooden art pieces for the rest of his life.And until today the wooden german nutcrackers inspire people all over the world.Isn't this a charming story for a peaceful Christmas Eve? You can tell it to your family and maybe the magic of Christmas will come to your home in this night.Christmas is a very special time where we all come together. We have a nice time with our family, we eat good food, the children are excited to see Santa Clause and everywhere in the room it smell like cookies and we really can feel the spirit and the love we have during the chritmas time. I hope that my little saga above just added some additional entertainment to you and your family at Christmas Eve.

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Top Tips to Draw What You See and Not What You Know!

By: Todd Harris
Copyright 2006 Todd HarrisWe often draw people wrong! What? Yes, it’s true. Many artists are what I like to call iconic artists. They draw an eyeball like the shape of an almond or football because that’s what they were taught. This is wrong! As artists mature and gain experience they begin to learn how to draw what they see and not what they know.As artists, we often draw in symbols. We think we know what an eye or mouth or even a nose looks like. I bet, however, that the person you are trying to draw probably doesn’t have an eye that looks like a football. Sometimes it’s because we are often worried about getting something wrong that we don’t draw what we see. This is a scary road to walk down. I am going to go through some tips that will help enable the artist in you to draw what you see and master figure drawing.One quick tip to drawing what you see and not what you know is to use the thumb and pencil method of measuring. This helps immensely when trying to draw people and learning how to draw faces. It helps you to make many small comparisons and help you develop some drawing grids to help you place features of the person you are drawing. It also helps with your angles.Next, draw the negative spaces. Look at the empty shapes next to the shape you are drawing. Do some exercises to help you learn this skill because at first it can be difficult.The next tip may seem a little odd if you are a beginning artist or it will seem very second nature if you are more experienced. Flip your drawing upside down. You need to do this occasionally as you work to get a new perspective and to check your values. This is a great tip for all drawings, not just drawing people and faces. This tip forces you to look at your drawing in a different way because it becomes very unfamiliar.Drawing with a grid can help too if you are just starting out. Sometimes I like to do a practice with copying a master’s work using a grid. It will help guide you along with reference points.These tips are all things that you can do to help you in your quest to learn to draw people. If you have always wanted to learn to draw, you are not alone. There is something about being able to pick up a pencil and sketch a person. Unfortunately, drawing people takes a lot of practice to learn to draw people and faces the right way. These tips will help you to avoid the common mistakes that some artists make and get you started in the right direction.

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Drawing Hands Made Simple, Great Tips to Help You Master Hands

By: Todd Harris
Copyright (c) 2006 Todd HarrisArtists consider drawing hands one of the hardest parts of the human form to draw. It takes a lot of practice to master drawing hands, however, it can be learned and less daunting than the task seems. Hands are a very expressive part of the body, much like the face, this is why it is sometimes so hard to draw. There is a formula to the process that makes it easier for artists to master drawing hands. Let's take a look at the process.Start with blocking in the hand. Artists do this differently, do it the way you feel comfortable. A quick block-in might look a little like a fisted hand outline, with fingers outstretched.When you are drawing the hand, you do not have to worry about all of the detail, this will come later. You always want to start with the overall shape and then work the finer details last. Break down the hand with simple shapes.Then form the fingers. Notice the shape of them and the space between them. Make sure your proportions are correct. Once you have everything in the right position, then and only then, can you begin to refine the hand. Make sure the thumb is in the right position relative to the other fingers. You can use the thumb and pencil method to check these proportions.Once your block-in or lay in is complete, you can finish with some shading and refining. Draw the main visible wrinkles, shadows, nails and then refine the lines.Add some rough shading to bring the form out. Then refine with more subtle shading while observing the fine lines of the hands. It's good to know where your light source is coming from so you know where the shadows will fall on each finger.There are some tips that you can consider when drawing hands that are helpful. First, draw your own hands. Set your hands in various poses and look for how the light falls on them. Next, know what's underneath the hand. Have a good understanding of the structure of the hand from an anatomical view point. This should give you a good understanding and help you with how the shading should be handled.Start with easier poses and then work on more complex poses as you become more familiar.Get critiques of your drawings. Feedback is very important when learning to draw anything. Get new perspective from others comments and don't be afraid to try them out.Lastly, drawing takes a lot of practice. Don't get discouraged if your first few hands don't turn out. You'll get it, with persistence and practice, you'll be mastering hands in no time.

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The Outrageous Life of Benvenuto Cellini in His Own Words

By: Brenda Harness
Few men have lived life as full as late Italian Renaissance mannerist artist, Benvenuto Cellini. Born in 1500, Cellini would be thrilled that we still talk about his life five hundred years after his birth. After all, that is what he intended. That is why he began his autobiography at the age of fifty-eight, confident that history would remember him. And remember him we do, not only as a master goldsmith and sculptor, but as an author who wrote one of the most significant documents of the sixteenth century.Cellini began his riveting tale by advising other potential authors on how to write their own autobiographies, first by informing their readers that they come from worthy stock and ancient origin. While most of us cannot claim to know our maternal grandparents twice removed, Cellini mentioned his parents, then went on to claim descent from an Italian man from a nearby town, Fioreno of Cellino, a captain in the guard of Julius Caesar sixteen hundred years past. This Fioreno, Cellini claimed, camped his troops on the site of Florence with its fields of flowers, so Caesar named the place Florence partly for the flowers and partly to honor his captain. Most historians believe Florence, Florentia in Roman times, was named after the Roman festival of Floralia or Ludi Florales to honor Flora, the goddess of flowers. However, neither Caesar nor Flora was present to contradict the account of Cellini, so his version stands, at least in his own mind.Commenting further on how pleased God was at his birth, Cellini told how he got his name--Benvenuto means welcome in Italian. While the musical name Benvenuto Cellini flows off the tongue with a satisfying feeling, Cellini rejected the career advice of his father that he become a great musician and composer. Unmindful that his flute playing sent his doting father into sighing, tearful ecstasy, Cellini forsook the hated flute to study as a goldsmith--and thus his adventures began.Angered by his father at the age of sixteen Cellini left Florence for Rome, stopping by way of Lucca and Pisa. In Pisa he found a goldsmith willing to take him in as an apprentice. Returning to Florence for a brief visit, he met Italian sculptor, Piero Torrigiano. Showing a sketch he had drawn from copying the work of Michelangelo for the Florentine Signoria (The Battle of Cascina), he confided to Torrigiano that while the divine Michel Agnolo [sic] finished the Sistine Chapel ceiling, his genius never returned to its previous level in later life. Looking at the sketch Torrigiano told Cellini the story of how he had broken the nose of Michelangelo as a boy. Cellini already idolized Michelangelo by this time and disliked Torrigiano thereafter, but it is from the autobiography of Cellini that we know this story.The exploits of Cellini are too numerous to relate. If the papal and civil authorities who encountered the arrogant and explosive artist kept rap sheets, Cellini would have a long one. He finally made it to Rome, where he engaged in an altercation with a young man whom he struck. The punishment being less stringent for delivering a slap rather than a blow, Cellini told the magistrates he only gave a slap, however, he was the only one punished and ordered to pay a fine. Angered by this turn of events, Cellini went that night to the home of his tormentor where he stabbed him with a knife. Fleeing the scene, he encountered twelve family members of the young man who, according to Cellini, set upon him with an iron shovel, an iron pipe, an anvil, hammers and cudgels. A mighty battle ensued with Cellini wielding his knife, and afterward, the twelve searched among their dead and wounded only to find that, strangely, there were no dead and wounded. No one sustained any injuries except for the first man Cellini stabbed in the house. After such a story, it is not surprising then that Cellini claimed credit for his single-handed defense of Castle of San Angelo during the sack of Rome in 1526 as though no other defenders were needed.Kings, dukes, and popes sought out Cellini for his exquisite craftsmanship, while villains, thieves, and necromancers knew him for far less noble purposes. The colorful exploits of Cellini chronicle the flavor of Italian Renaissance life with his unique perspective. If his account is true, it is surprising that Cellini had time for art. He died in Florence in 1571 at the age of 71 leaving behind a magnificent legacy of work.Still in the news, Cellini's grandiose gold and enamel saltcellar executed in 1540 for the King of France and valued today at $60,000,000 was recovered recently after being stolen from a museum in Vienna. The art world continues to appreciate the work of Cellini, even if he does tell us himself of his greatness. No one blows his own horn louder than Benvenuto Cellini.

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Postmodernism and Architecture

By: Kadence Buchanan
What is postmodernism? Are the postmodern characteristics still apparent in contemporary architectural design? According to scholars, "Postmodernism, by definition resists definition". If postmodernism is then difficult to be defined, on what principles can one judge if postmodernism in architecture is in still emerging? Postmodernism in its regional/vernacular forms reflects neighborhood culture. Some argue that postmodernism is a reaction to the forces of "creative destruction." But it can be a tool for those powers as well. The end of the assembly line, created by the instant flexibility of computer technology, means that in this post-Fordist world people can all have a unique, neighborhood specific thing, as well as having the same reference. Evaluating and categorizing architects according to styles, periods, theoretical backgrounds, and philosophical ideas, from Itkinos and Brunelleschi, to Borromini and Le Corbusier, is a very challenging process that requires a deep understanding of the key elements that influence the architects' design. What appears though to be a constant value in this type of analysis, is that the evolution of architecture, from the period of the Greek civilization (Parthenon in Athens 447-433 BC), to the present day's Santiago Calatrava's projects, signifies that the architect's pursuit for the myriad idea of beauty is actually a leitmotif of his/her past influences. Postmodernism is differentiated from other cultural forms by its emphasis on fragmentation which replaces the alienation of the subject that characterized modernism. Postmodernism is concerned with all surface, no substance. There is a loss of the center. Postmodernist works are often characterized by a lack of depth; a flatness. Individuals are no longer anomic, because there is nothing from which one can sever ties. The liberation from the anxiety which characterized anomie may also mean liberation from every other kind of feeling as well. This is not to say that the cultural products of the postmodern era are utterly devoid of feeling, but rather that such feelings are now free-floating and impersonal. Also distinctive of the late capitalist age is postmodernism's focus on commodification and the recycling of old images and commodities. In architecture, postmodernism, in its regional or vernacular forms, reflects neighborhood culture. In this way, it can function as a tool in class struggle and can probably be used by any player in the struggle. Thus, postmodernism when examined as a resistive force is closely linked to the historic preservationists. In trying to maintain the collective memory of a place the postmodernist agenda can be used in a way that is antithetical to the forces. Public or private partnerships that wipe out neighborhoods can use the postmodern vocabulary in their new ventures. Neighborhoods can hope to have at best just a mere palimpsest of a memory of what they were in the past. One day perhaps, neuroscience will explain why some infrastructures seem to reach far beyond their physicaldimensions. But one does not need to wait for that explanation in order to experience their postmodern orpost-postmodern effect. It turns out that bodies, buildings, streets and cities are still useful for certain things inthe global age of digital information. People are only beginning to uncover how they work.

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For That Knee Alone

By: Brenda Harness
Most people think learning history is boring, something required in school and then promptly forgotten, like algebra. But, those people never had a history teacher who knew the little stories, and the little stories that make history interesting. For me, art history is not just looking at pretty pictures with pretty colors; it is also a large body of knowledge about the culture and customs of real people. I was fortunate to learn from a number of gifted art historians, no, really storytellers, as teachers. This is one of those little stories.Italian Renaissance giants Michelangelo Buonarroti and Raphael Sanzio had an unspoken competition. The irascible Michelangelo, forced by Pope Julius II into painting the ceiling of his own private chapel, the Sistine as we know it, complained that he was not a painter, but a sculptor. This complaint fell on deaf ears as the pope had a war to fight and neither time nor patience for soothing the artistic temperament. If the tale is true, the pope had even less patience for seeing that the artist was paid. Food being a necessity, this was a bone of contention between artist and patron. Raphael, on the other hand, blessed with a much more affable personality, never seemed to lack for funds, friends, or food. Both artists were occupied with the private artistic visions of the pope in the Vatican simultaneously.The work of Raphael in the Vatican Stanze was open to the curious. Michelangelo left strict orders that no visitors were to be allowed in the Sistine Chapel. Michelangelo, busy as a bee himself, consumed with a daunting task, apparently had little interest in the work of Raphael. But Raphael had an interest in his. He paid a secret visit aided by the pope to view the chapel ceiling in progress. So profoundly did it affect him that he returned to his work in the Stanza della Segnatura, the private library of the pope, where he proceeded to pay tribute to Michelangelo by incorporating a seated figure of Michelangelo in the foreground of his masterpiece fresco, The School of Athens.That is only the background for this little story. Perhaps not so well known then as his Madonnas or his magnificent Vatican frescoes, Raphael Sanzio also executed a stunning fresco of The Prophet Isaiah in Sant Agostino in Rome in 1511-12. The donor patron of Isaiah was Head Chancellor of the Papal Court, Johannes Goritz of Luxemburg. Ruffled by what he considered to be an exorbitant price for the painting by Raphael, Goritz solicited Michelangelo for his opinion of its worth. Michelangelo looked at the painting of his chief rival with its powerfully rendered figure of the prophet. Rarely one to acknowledge the genius in others, Michelangelo simply replied, 'For that knee alone, it is worth the price.'

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The Outrageous Life of Benvenuto Cellini in His Own Words

By: Brenda Harness
Few men have lived life as full as late Italian Renaissance mannerist artist, Benvenuto Cellini. Born in 1500, Cellini would be thrilled that we still talk about his life five hundred years after his birth. After all, that is what he intended. That is why he began his autobiography at the age of fifty-eight, confident that history would remember him. And remember him we do, not only as a master goldsmith and sculptor, but as an author who wrote one of the most significant documents of the sixteenth century.Cellini began his riveting tale by advising other potential authors on how to write their own autobiographies, first by informing their readers that they come from worthy stock and ancient origin. While most of us cannot claim to know our maternal grandparents twice removed, Cellini mentioned his parents, then went on to claim descent from an Italian man from a nearby town, Fioreno of Cellino, a captain in the guard of Julius Caesar sixteen hundred years past. This Fioreno, Cellini claimed, camped his troops on the site of Florence with its fields of flowers, so Caesar named the place Florence partly for the flowers and partly to honor his captain. Most historians believe Florence, Florentia in Roman times, was named after the Roman festival of Floralia or Ludi Florales to honor Flora, the goddess of flowers. However, neither Caesar nor Flora was present to contradict the account of Cellini, so his version stands, at least in his own mind.Commenting further on how pleased God was at his birth, Cellini told how he got his name--Benvenuto means welcome in Italian. While the musical name Benvenuto Cellini flows off the tongue with a satisfying feeling, Cellini rejected the career advice of his father that he become a great musician and composer. Unmindful that his flute playing sent his doting father into sighing, tearful ecstasy, Cellini forsook the hated flute to study as a goldsmith--and thus his adventures began.Angered by his father at the age of sixteen Cellini left Florence for Rome, stopping by way of Lucca and Pisa. In Pisa he found a goldsmith willing to take him in as an apprentice. Returning to Florence for a brief visit, he met Italian sculptor, Piero Torrigiano. Showing a sketch he had drawn from copying the work of Michelangelo for the Florentine Signoria (The Battle of Cascina), he confided to Torrigiano that while the divine Michel Agnolo [sic] finished the Sistine Chapel ceiling, his genius never returned to its previous level in later life. Looking at the sketch Torrigiano told Cellini the story of how he had broken the nose of Michelangelo as a boy. Cellini already idolized Michelangelo by this time and disliked Torrigiano thereafter, but it is from the autobiography of Cellini that we know this story.The exploits of Cellini are too numerous to relate. If the papal and civil authorities who encountered the arrogant and explosive artist kept rap sheets, Cellini would have a long one. He finally made it to Rome, where he engaged in an altercation with a young man whom he struck. The punishment being less stringent for delivering a slap rather than a blow, Cellini told the magistrates he only gave a slap, however, he was the only one punished and ordered to pay a fine. Angered by this turn of events, Cellini went that night to the home of his tormentor where he stabbed him with a knife. Fleeing the scene, he encountered twelve family members of the young man who, according to Cellini, set upon him with an iron shovel, an iron pipe, an anvil, hammers and cudgels. A mighty battle ensued with Cellini wielding his knife, and afterward, the twelve searched among their dead and wounded only to find that, strangely, there were no dead and wounded. No one sustained any injuries except for the first man Cellini stabbed in the house. After such a story, it is not surprising then that Cellini claimed credit for his single-handed defense of Castle of San Angelo during the sack of Rome in 1526 as though no other defenders were needed.Kings, dukes, and popes sought out Cellini for his exquisite craftsmanship, while villains, thieves, and necromancers knew him for far less noble purposes. The colorful exploits of Cellini chronicle the flavor of Italian Renaissance life with his unique perspective. If his account is true, it is surprising that Cellini had time for art. He died in Florence in 1571 at the age of 71 leaving behind a magnificent legacy of work.Still in the news, Cellini's grandiose gold and enamel saltcellar executed in 1540 for the King of France and valued today at $60,000,000 was recovered recently after being stolen from a museum in Vienna. The art world continues to appreciate the work of Cellini, even if he does tell us himself of his greatness. No one blows his own horn louder than Benvenuto Cellini.

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How To Get Reprints Of Some Of The Greatest Art Ever Created

By: Gregg Hall
Art has long been a favorite pastime. Just as long as it has been around people have been collecting paintings and original pieces of many different mediums, many of which are hard to find and expensive to purchase. In recent years interest in collections has grown enormously among people of all ages. With the explosion of desire in finding collectable pieces, some have turned to a new sort of collection, collecting art posters.Although it has been possible for years to find reprints of famous pieces, not until recently have reprints developed actual value. The entrance of collecting these posters has made it possible for anyone to collect famous works and has changed the reprint business all together. Art posters are reprints of original famous and unknown art and can range from the Mona Lisa to a movie advertisement poster.With the renewed interest in collecting these new pieces, though it may be reprints only, collecting art posters have raised prices and led to poster auctions. These auctions are similar to other collectible auctions in that you can bid on great works, the main difference is in regular auctions you are generally buying an original whereas in poster auctions you are purchasing reprints on posters. The popularity of poster auctions has exploded too. People are beginning to pay between $100 to $2000 or more to purchase a reprint poster of certain works.Famous paintings are not the only works available for purchase at art poster auctions. You can also find movie posters and advertisement posters. People are seeking older advertisement posters the most. If you have an advertisement in poster form in good condition from the first half of the twentieth century it may be worth a bit of money at a poster auction.These poster auctions are not only popular in the United States. Collecting posters at auction have become a worldwide favorite pastime. People are searching the planet to find certain posters and as a result the prices at these types of auctions are on the rise.Music posters are also gaining popularity at the art poster auctions. Although not yet as expensive as other types, in the near future we may find the price just as high for music concert posters as any other kind. As long as the interest in poster collecting continues, these auctions will continue to grow and so will the price of reprints. More and more people are enjoying the beauty of a variety of artists thanks to this popular pastime. Every generation has collections that has made the art famous and these new posters are the collections of the 21st century.

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Some Of The Many Different Ways Art Is Expressed

By: Gregg Hall
Art is defined in the Merriam Webster's Collegiate Dictionary Tenth Addition as skill acquired by experience, study or observation. In other words art can be described as seen through the eyes of the beholder. Many forms of art have appeared over the years and newer more abstract art of modern days is often described as contemporary art.Art over the centuries has taken on many forms. From Leonardo DaVinci to Jim Morrison, art can be determined by the desire of others to enjoy a particular form. People have been collecting famous works of art for a long time. Today many new artists skilled from personal experience have been sharing their view of beauty throughout the world. With society changing everyday the evolution of art has become a source of particular negative views. More and more contumacy artist are making their works available to the public and as the world changes so does the view of art.Today's generation of adults have experienced much political and social change, making a great amount of expressive ideas to take the form as art. Although different people can view different things while looking at art, many people have changed the form of the canvas. For example, tattooing has become increasingly popular in the twenty first century. People have discovered they can express themselves by way of a permanent tattoo on their skin. When you see someone with tattoos all over their skin you may begin to form an opinion of an undesirable person. However, if you should sit down with a person who has many tattoos on their body you may hear a beautiful story of struggle, heartache, love or even accomplishment. People have begun to put the feelings and life views out as an artful expression in the form of a tattoo.Another form of contemporary art is the canvas paintings and photographic expressions of an abstract nature. With so many different opinions on what is and what is not art, the artists of today are not afraid to show more impressions of the unrest over the last century. The art is more real and sometimes more graphic. Due to the graphic and sometimes explicit paintings and sculptures in recent years people struggle to find a freedom through art. Art museums and exhibits are often censored for the public. Private viewings have become the norm for explicit expressions of art. Thanks to the variety of impressions of the world around us we can view artistic expressions in raw forms. The social and political struggles in life prove to be a place for observation of the human race that deems different styles and expressions of contemporary art. Never before in history has there been more variety of expressive art shown in contemporary art.

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