Résultats de "Edward Smith" dans Toutes les catégories

A review of the exhibition Late Constable at the Royal Academy London. Includes the family background of the artist, his career development, and working methods and technique. Noted works include "The Leaping Horse", "Cottage in East Bergholt", "Rainstorm at Sea", "Chain Pier Brighton", "Stonehenge", and "The Cornfield". Includes essays by Edward Lucie-Smith ("John Constable", 2006) and Janet Barber ("John Constable: Earth and Sky", 2012).

An essay by Edward Lucie-Smith on David Hockney's portraits exhibited at the Royal Academy's "82 Portraits and One Still-Life", and also "David Hockney and the Yorkshire Landscape" at RA in 2012.

The Titian Show at the National Gallery here in London has just opened to the public again. It was available for just three days before the big lockdown. Now, it is with us once more, though on rather different terms from what was the case previously. You have to book a time. You have to be wearing a mask. You have to maintain distance between yourself and other visitors booked in for the same slot. Is it worth the hassle? Yes, of course it is. Titian is one of the greatest figures in the history of Western art.

A weekly review of noteworthy films hosted by two self proclaimed cinefiles, who also happen to be best friends. Each episode takes a dive into what makes the movie a success; ranging from cast, cost, reviews, production and plot. The first half of each episode begins with the history and synopsis of a film while the second half is filled with liquor fueled takes on why the film was a hit ...or wack S**T! 

An essay by Edward Lucie-Smith considers the Andy Warhol exhibition re-opening at Tate Modern on July 27. He puts forward a provocative view of the relevance of the art in an time of turbulent disruption. When the Warhol show returns to Tate Modern on July 27, almost the first thing you’ll meet if you go to see it will be a large painting, on two paired canvases, entitled Marilyn Diptych. It features repeated images the film star Marilyn Monroe.

Each of us is given a gift - the gift of life. At times, some may wish they could exchange their gift for a different version. Since that's not possible, we have to deal with what we are given. We have to learn how to play the game. Developing you is huge in understanding the gift of life. In her book, The Checkerboard Game of Life, author Vickie Edwards Smith tells Eva's story. Like most of us, she wants to get the most out of life. She's always thought of life as a game of checkers. Life makes its move and then it's her turn to make hers.

Wo der Hobbit seinen Anfang nahm. Pip und Flora laufen aus dem Sunny Bay Home für elternlose Kinder davon und geraten mitten in eine andere Welt. Sie entdecken das Land der Schnerge, einen magischen Ort tief im Wald. Hier gibt es Zimtbären, ausschweifende Feste und kuriose Rituale - aber auch Hexen und boshafte Wesen. Zum Glück haben die beiden Kinder den chaotischen, liebenswerten Schnerg Gorbo zum Freund. Größter Fan der Schnerge war wohl J.R.R. Tolkien, dem die Originalversion des Textes als Vorbild für den "kleinen Hobbit" diente.

There is a dark power in the galaxy working against the rise of civilisation, and the First Lensman is leading the way in the fight against chaos. By founding the Galactic Patrol, the Lensmen seek to unite the civilised beings of the galaxy and weld a star fleet of such stupendous power that the forces of darkness and chaos will be defeated.

The goal of this book is to help new and experienced investors to understand the simplicity and complexity of investing in real estate. This is the second edition of the book, updated and including the 2018 tax law changes. We will look at market history, investment basics, financial analysis, owning property, being a landlord, selling your property and other things you need to know. It will give you the guidance to making sound investment decisions, understanding the opportunities, financial requirements and the “numbers”.

Una colección de misterios humorísticos, cada uno con un final sorpresa.

Here can be no doubt that the Chinese exhibition at the Royal Academy in London is more than a merely artistic event. It represents a new stage in the burgeoning relationship between contemporary China and the West. The opening, originally scheduled for January, was brought forward to coincide with a State Visit to Britain by the Chinese president, Hu Jintao. The "Three Emperors" of the title were the second, third, and fourth rulers of the Qing Dynasty, and their period in power spanned nearly a century-and-a-half, from the mid-17th century until the end of the 18th.

Forgotten Empire, the new exhibition in London devoted to the great realm that Alexander the Great destroyed, is an openly political occasion, designed to stress links in the present as well as to revive interest in a part of the past that has more or less sunk into oblivion. It stresses the fact that, despite the tensions that now exist between the Islamic Republic of Iran and Western Europe, a degree of cultural cooperation is still possible.

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist. His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist.

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

Eco-art exhibitions are part of the trend of our times. Radical Nature, the show at the Barbican Art Gallery in London, demonstrated some of the possibilities and paradoxes of enterprises of this sort. Basically what the organizers had to do is to move the outside indoors. This set them both practical and, in their own terms at least, moral problems.

Pablo Gargallo is often described as "Cubist" sculptor, partly thanks to his signature technique of hollowing out or reversing volumes, and partly due to his links with Picasso, one of the two undoubted inventors of cubism. In the strict sense, the idea of cubist sculpture is an oxymoron. Despite its undoubted early links to the African tribal sculptures that partly inspired Picasso’s transition to a new and radical style, cubism was essentially an attempt to find a better and more complete way of representing forms on a flat surface.

One of the commonest and most loosely used terms in any discussion of contemporary art is the word avant-garde. Indeed it often seems to be taken for granted that valid contemporary art and avant-garde art are synonymous.

There is room for a book on this subject, among the vast mass of publications about the visual arts that flow from British and American publishing houses every year. Gay art, from being a quasi-forbidden topic, is now fashionable, not least among would-be up-to-the-minute academics.

The big exhibition of Matisse's Cut-Outs at Tate Modern in London was, certainly on the face of it, everything that a major museum of modern and contemporary art should be doing. It was beautifully presented, very professionally curated, had an extremely thorough, excellently illustrated catalogue, and was greeted with ecstatic reviews.