Have You Ever Said Thank You? Use Thank-you Cards For That Sake!

There are several people in this world that we take for granted every day. People like our spouses and friends and parents who do wonderful stuff for us, making our lives prettier by the day. But we don't thank them enough. How selfish are we?

Did we ever think about giving these people 'sweet nothings' to thank them for their effort in our lives? Did we ever consider the idea of giving them small little thank you notes for their amazing contribution in making our lives beautiful. These days there are such beautiful gifting options that can be chosen from, to thank our people! Go ahead and choose one of these amazing options for those people who have actually made a difference in making your life gorgeous.

Printable thank you cards are available in the market and you can choose from a range of options that are not only beautiful, but also pocket-friendly. There are service providers who have options for the most pretty and heart-warming cards and notes that can make the hearts of your loved ones skip beats.

There are a range of templates and sample cards to choose from. While on the other hand, you have a chance of designing your own personalized cards as well. This is something so beneficial for you as you can go wild with imagination. It's obvious that the wording you look for I a card to thank your mum would be different from the ones you would want in a card for your spouses! This way you can choose from the quotes, wordings, pictures and so on available, which can help you pour your hearts out on the cards for the people you love!

You need to research well before choosing a digital printing company in New York. This would help you in being sure that the company you choose is best suited for your requirements and doesn't have any sort of fraudsters linked to them who might simply trick you into paying money and then not give you the cards you asked for. Counterfeiting and wrongful use of your personal information and photographs is also common and you need to be really alert and intelligent while making this choice so that you don't choose the wrong things for yourself.

In the end, just makes sure that's you keep in mind the likes and dislikes of the person whom the card is meant for, so that it brightens up their day and they are taken by surprise.

Et in Arcadia Ego by Nicolas Poussin

Et in Arcadia ego,also known as Les bergers d'Arcadie, is a famous painting by Nicolas Poussin. The painting depicting idealized shepherds from classical antiquity, clustering around an austere tomb. This painting is of non-physical idyllic tone; to some extent it reveals the situation of the painter and his hopes for art. The costumes of characters on the painting follow the style of Greece. He always considers this image as a performance of noble art. For Westerners, it is indeed nostalgia.

This celebrated painting Et in Arcadia ego has obscure meaning, being an enigmatic work in the history of art. Acadia is said to be an ancient sequestered "promised land". It shows a quiet wilderness, where the genial sunlight glinting on the tomb before the few trees. The background is the bright and clear blue sky. Four shepherds wearing a crown with a crozier in hands are gathering around a gravestone studying the inscriptions. A shepherd with cheek beard is kneeling reading monument inscriptions and turns to the right saying something to a female shepherd. The inscription on the stone reads: "Even in Arcadia I am in."

According to the art historian's explanation, here, "I"refers to the "death". Therefore, the inscriptions seem to say: "In the beautiful paradise, death is inevitable." Obviously, this is like "scenery is good, but life is short". From the face of the shepherd on top of tomb with his head down we can see that his nostalgia contrasts strikingly with the female shepherd standing on the left side.

The female shepherd dressed in yellow clothes and blue skirt, the color is the most eye-catching one in the whole painting. The female character is mysterious, It is said that she is a symbol of happy life. She is containing jaw bowed, silently listening to the inscriptions, but gives us a soothing sense. Concerns and compassion, melancholy and grief are a philosophy problem of life. Here the female shepherd the male shepherd becomes an emotional contrast. It seems to tell the audience: "Death is not frightening. Arcadia, after all, is the land that common people yearning for."

Nicolas Poussin's sublime painting style depends on his artistic accomplishments. The figures he painted come from the image of Greek and Roman sculpture. He believes that these images are valuable because they are in line with some sort of "model". As a result, the characters in his paintings never come from the real life, such as his famous works Apollo And Daphne, Cephalus And Aurora and Bacchanal Before A Statue Of Pan.

Rococo Painter Boucher's Painting Style

Boucher is the typical Rococo painter. The French writer Goncourt thought Boucher was a painter who had set a model for a-century art, given its character, image and made it. In his early years, Boucher followed Francois Lemoyne to study painting and had close contact with Watteau. Between 1727 and 1731, Boucher stayed in Rome and learned from the works of decorative painters Tiepolo and Albani. In 1755, Boucher began to act as the director of Royal Goblins Factory. After 1765, Boucher served as the court painter, and became the painting teacher and the most favorite painter of Mme de Pompadour. Boucher's paintings were full of pretense of the wind and the formation of this style reflected the change of the French court art.

The classical art during Louis XIV period had been replaced by the emerging Rococo style. The French King Louis XV, his mistress Mrs. Ponbadu and the large and small nobilities had indulged in this fun, who prefered a beautiful color and exquisite decorative style. Rococo came from the French rococo, referring to Rock-work made of shells and pebbles. During Baroque period, Italian palace had such decoration. It was worth mentioning that Rococo was accompanied by the classical condemnation. In the middle of the 18th century, according to the standards of Witt Ruwee in "Suggestions about imitation of Greek works in building, sculpture and painting", Winckelmann criticized the fashionable decoration and said, "Since Witt Ruwee compliantly blamed the fallen decoration, in modern times it is even worse. In the current decoration, its taste can be made pure and obtained the real significance through more thorough research. Our rolled scroll and beautiful shell decoration (the current decorations can not work without them) are a little more unnatural than the candle holders supporting small castle and palace denounced by Witt Ruwee." Thus Winckelmann sorted "rocaille" out and took it as the feature of that style.

About Rococo, there was another argument: in David's studio, some of his disciples said in a radical criticism, "Van Loo,Pompadour,rococo." In fact, although Boucher Rococo paintings met and satisfied the society's spiritual needs, Boucher still attracted the discontent of some uninterested critics and painters. In the aftermath of 1760 French art change, Diderot seriously criticized Boucher's art. His stylized color processing and artificial sentimental place aroused Reynolds's accusations. As a famous painter, Boucher had many obvious shortcomings, but as a decorative painter, Boucher really had a wealth of experience and strengths and accurately captured the most popular fashion. And he played such romantic elegant and fragrant fat colorful life into most incisive in the rest of his life.

Rubens - The Mission of Peace Depends on The Work of Mine

"Maybe I should go on a trip to forget the constantly emerging of sadness." - Rubens

Peter Paul Rubens (from 1577 to 1640), just lost his only daughter Clara and then in 1626, his beloved wife Isabella died because of the Black Death. In face of great changes, he could only choose to accept the diplomatic mission, utilized the constantly "running away" to heal the pains.

The most prominent merit of him was mediating the disputes between British and Spain.

In 1628, Spain began to change the belligerent attitude towards British and they called Rubens as negotiator secretly.

When Rubens arrived at Spain, he found that the degree that the young King Philip's fanaticism for art was shocked, the King went to visit him everyday. In April 1629, he went to Britain as an individual to lobby for alliance.

The British King Charles I was a patron as well as collector. When he saw Rubens immediately, he was impressed with his graceful bearings and extraordinary intelligence.

"Rubens, the works of you are very admirable. I would like to entrust you with the engineering of decorating the Banquet Hall for the fee of 3000 pounds. And I hope that you can depict 9 paintings to describe the great achievements of First Emperor."

Charles I also said:" There are some practical considerations of international diplomatic situations about the issue of alliance with Spain. I believe that you are very aware that, we already have allied with Germany and except with the consent of Germany, we can not seek peace with Spain without permission. Moreover, my only sister already has married with the Germanic prince."

"Your Majesty, I understand your difficulties."

Rubens was wondering "How to break the impasse in the negotiation?" after he returned to the room. Looking at the paintings on the easel, his mood fell to the floor. "Although the Majesty admires my talent for painting, but the state affairs should return to things. Even I have a good personal relationship with the king, but it doesn't matter. What're the advantages of good at painting?"

Looking at the painting on the easel again, an idea suddenly stroke Rubens. He said excitedly:" Who says painting was useless? The Majesty is a man who understands painting and he must know what I'm going to say in the pictures."

Rubens was too impatient to wait and picked up the brushwork to draw the painting which was charged with heavy peace mission.

The day, Rubens went to see Charles I with the painting.

"You Majesty, I know that you are very fond of art so I depicted this work specially to give you."

"Thank you for your kindly intentions, I'm very glad." Charles I said and went to see the painting. Then he focused on looking at the painting without saying a word.

On the scene, the god of wisdom - Minerva pushed Ares handedly with one hand. The goddess of destruction guided Ares to retreat confusedly. The shadow of the war disappeared. Irene bred the young child charging of the wealth with breast milk while a woman was coming with gold and silver jewelries, another woman was playing wonderful music joyfully. They were all immersed in a peaceful and delightful world.

Rubens, who was well versed in diplomacy, drew the allegorical painting "Minerva defend peace" and gave it to Charles I.

"Your Majesty, peace can bring happy and flourishing for the people."

"You hope that I can be the soldier defending peace like Minerva - the god of wisdom." The King was deeply moved and coupled with the tight financial status which not allowing wars, Charles finally decided to sign a peace treaty with Spain.

Rubens won a diplomatic war with his painting brush.

The King of England - Charles I granted Rubens the Legion of Honor-Knight, a sword and a diamond ring for recognition of his merits in 1630. And in 1631, the King of Spain - Philip IV also awarded him the knight title.

With his superb talent in drawing, he created a new peaceful bureau and made a hit in the negotiation.

Rubens was not only a reputed European painter but also an outstanding diplomat.

The Elevation of The Cross by Peter Paul Rubens

The Elevation of the Cross is a triptych oil painting by Peter Paul Rubens, who was a Flemish painter, and he belonged to Baroque style. He is quite famous for his portraits, landscapes, and history paintings of mythological subjects. He was the greatest painters in Flanders and he was the great artist who could represent the whole Western European painting of the 17th century.

In this painting The Elevation of the Cross, Rubens designed diagonal composition expanding from the upper left to the lower right corner based on conflict and movement. The strong light comes from the bottom right, while the soldiers carry out execution come up in a direction opposite to the light. The cross Jesus was nailed on elevates from the bottom right of the screen to the upper left. The cross appears to be very heavy. The soldiers are very nervous: the soldier on the right clings to the ropes and the one on the left holds the cross in tense. In contrast, Jesus seems to be calm without any painful facial expressions in the cross. He raises his eyes looking at the sky, showing a kind of heroic spiritual strength.

Rubens painted The Elevation of the Cross in Flanders. At that time he had just returned from Italy. This painting is of Baroque style and influenced by Italian Renaissance artists. Rubens was very good at detail depiction of the vivid scenery. Look at the big tree on the upper right side; its leaves appear to be blown in a mess by the wind. And there is a poodle with his mouth open on the left bottom side. The whole painting is involved in whirlwind passion. Italian style in this painting is set against the traditional color and brushwork, which has revealed the personality of Rubens.

Rubens' painting strokes are free with sense of wholeness. He successfully combined the virtuosity of Renaissance art and humanism ideology with Flanders national arts traditions and finally created an unique style of praising the happy life. Rubens enjoyed high reputation through his life in European art. There were too many people from the world asking him to paint for them. His paintings were always popular. Endless imagination, great energy and a strong high-yielding make him a legendary.

Photographic Realism Oil Painting Materials and Techniques

Photographic realism techniques mean using the photographic strict style and photography-aided techniques for creation. Oil painting and propylene are the main means of photographic realism painting. Photographic realism painting originated in the 60's of the last century in the United States of America and took the portraits, streetscapes, vehicles and shops and other city landscape or still life as the performance objects. Its photo effect often went beyond. But the simple imitations of photos and using photographs in recreation have the essential differences. When collecting materials, photorealism painters tend to take a lot of pictures, and then carefully screen them instead of mechanical copy. In most cases, they make the detailed sketch works before the final draft and repeatedly scrutinize the painting structure, object form and darkness treatment. Some important creative sketch manuscript is equal to the artwork. The selection of subject matter and exquisite treatment of depiction skills of composition and color reflect the aesthetic cultivation and skill level of the painter.

The drawing procedure of photographic realism oil paintings is very strict with exquisite and smooth painting surface. Direct painting techniques are often used, but in the local part, indirect techniques for polishing processing are also applied. Of course, hiding strokes is not misunderstood as paying little attention to pen using and the effect of drawing pen and combination of shape and color are not contradictory. The quality of work produced depends heavily on the understanding of painters.

The substrate material used by photographic realism painting is usually the fine canvas with smooth powder foundation or oily foundation. Before painting, we will transfer painting material or prepared sketches to the canvas with grid amplification or use the photopositive or photonegative to the overhead projector to enlarge the painting. If the photos are taken as reference for drawing creation, then the details of the shooting should be paid close attention, and light arrangement, dynamic shape, each specific line of clothes structure and object texture are carefully arranged to make the photos provide enough reference for drawings. When drafting, the pencil should carefully draw an outline on the canvas, accurately and specifically. Then use turpentine with color or propylene color sketch manuscript to be fixed again.

Production steps of photographic realism painting are based on the photos and color sketch from the local start and are partially described one by one. The focus on the local part contributes to more in-depth characterization. Each part should be depicted in detail and strived to basically be finished when depicting. When painting, pen and color should be uniform and smooth, the excess handwriting should be swept away immediately with soft sartorial harmonics and pen to make its surface smooth. The entire process of photographic oil paintings requires great patience and relies on rational perseverance to control instead of temporary passion and impulse. Because depiction is moving locally, therefore the overall effect could not be seen in the production process, making people who are used to the traditional paintings feel uncomfortable. But with the gradual tend to the end, the effect will appear step by step. When all the local parts have been painted, works are also basically near to completion. The eventual success has close relation to the painting procedure. Although photographic realism painting is painted locally, its relationship with the whole painting should be kept in mind. When the painting is basically completed, look at the whole and adjust the inconsistency.

Dance at Moulin De La Galette

Dance at Le Moulin de la Galette created in 1876 was one of the most celebrated masterpieces of famous French artist Pierre-Auguste Renoir. The painting was done in the open air and it depicted the life of a group of Parisian who enjoyed themselves in a pub in Montmartre. They seemed to be quite happy. This painting was a typically Impressionist work which reflecting the real life in Paris.

Renoir used a fleecy style expressing the characters in the outflow light. Framing from the top down lifted the ground so that the bench extended diagonally and flatly cut off the prospects. The painter seemed to lean slightly forward in order to better observe the scene. Renoir was famous for painting figures, among which the most classic was the works painting plump, bright face and hands with sweet, leisurely atmosphere. Impressionist Renoir featured in depicting the fascinating feeling. From his paintings, we rarely feel pain or religious feelings but the warmth of the family, such as smile of a mother.

Dance at Le Moulin de la Galette showed a richness of form and a fluidity of brush stroke. If we look at this painting in a whole, the picture showing before us was a typical Sunday afternoon at there. It was a dance which was frequently held in the late 19th century. People dressed themselves up and enjoyed dancing, drinking, and eating till the evening. This painting was not only an expression of a carnival scene, but also an attempt to capture the fun of a carefree lifestyle in the aristocratic dance. We could appreciate the joy of the crowd's as well as the beauty of the dance.

What Renoir really interested in was to present the harmonious mixed bright colors and to study the effect when the sun shot on the moving crowd. From the details of the heads of the characters in the painting we were able to feel that the artist painted it in a bold manner. The eyes and the forehead of the lady sitting there were in the shadows, while the sun shone on her mouth and chin. Her bright clothes were painted by the extensive brush strokes. These figures, however, were the focus of our attention. The scene further was gradually getting hidden under the sun and in the air.

In Renoir's mind, painting was not a scientific analysis of the light, neither a scrupulous layout arrangement; it was the thing to bring the audience pleasure and to make the place hanging the painting full of feelings that the painters wanted.

Paul Cezanne's Human Still Life Painting-- The Card Players

The Card Players is a series of famous oil paintings created in the 1890s by Paul Cezanne, who is a well-known French Post-Impressionist artist. There are 5 paintings of the same subject in this series. The subject is some peasants being fascinated in playing cards with their eyes casting downward. Each of the five paintings depicts the same scene. This series is favored and admired by critics as best works of Cezanne during his final period.

During the period of 1882-1888, it seemed that Cezanne concentrated himself on the landscape paintings. He strive to express his own feelings through the landscape. However, since 1888 till the end of the 19th century, his most outstanding works are portraits. Cezanne's portraits are famous for their lack of drama, narrative, and conventional characterization. The Card Players is Cezanne's best work in composition. He had repeatedly painted the cards player themed works.

Let's have a look at the best painting among the five. The player sitting on the left wears a purple and blue shirt, and the player on the right is in yellow shirt. These images are very harmonious. Meanwhile the fleshy red skin and sandy table matches each other perfectly. These contracts result in stereoscopic images. The characters are vividly portrayed with distinguishing characteristic and the painting composition is smooth and symmetrical. There is no tone destroying he overall unity. If the painter added a few more coherent lines, it would lead to the isolation of the characters. All the objects painted are composed of a mass of colors. Obviously this painting fully embodies Cezanne's personal .artistic style.

The models for the paintings The Card Players mainly were local farmhands so that it can reveal the real aspect of the life. Just as Cezanne's still life painting, each scene stays at a quiet and still moment; the men look down at their cards thinking about how to play well. They do not look at each other and chat but concentrate themselves on the cards. Maybe playing cards is the only way for them to communicate.

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The Gleaners in The Eyes of Millet

The Gleaners is one of the world's most famous oil paintings by Jean-Francois Millet, who was a celebrated French painter and he belonged to the Barbizon school. Vincent van Gogh had been greatly influenced by Millet, which could be proved by the letter van Gogh wrote to his brother. Not only van Gogh but also Claude Monet and Georges Seurat were inspired by Millet's landscapes and symbolic content. Millet is famous for paintings about peasant farmers;.

The Gleaners finished in 1857 is his representative work, which depicts the scene that three peasant women gleaning stray grains of wheat in the field in the harvest time. The modeling of these three women, matches with a ridge of straw-rick and carriage in the distance, which can make the picture look more beautiful. According to the study of experts, the relationship of the three peasant women is grandmother, mother and daughter. The woman stands higher on the right with one hand on her knee is the grandmother; and the middle is the mother who gleans the most stray grains of wheat, then the left is a young peasant girl who has been considered as the daughter of the mother. She wears a blue turban moving with athletic agility and grace in a quick, brisk, ground-covering trot.

All of them wear coarse garments and old shoes, and what behind them are the endless wheat fields, sky and the looming labor scene. Miller did not make a positive description of their facial expressions, neither did he beautify the figures; he just showed them as real peasants who do their laboring work quietly. To create the characters, Miller used obvious outline so that the image is powerful, fully revealing the unique qualities of the peasants. The colors added with the rich and delicate warm tone makes this work embodied with the awesome power of simplicity in a strong vigorous. Glean the spike in the fields after the harvest is common in the rural of the past.

The painting is famous for featuring in a sympathetic way what were then the lowest ranks of rural society. Shortly after this painting The Gleaners was created, its subject matter was able to o spark a revolution. After being exhibited in the Salon, it immediately aroused extensive attention from the public. Some critics believed that Miller showed a clear political intent in the painting. He sent this work to be exhibited in the Paris Salon was undoubtedly a challenge to the upper classes. Actually, what he had done was just trying to make sense of how to express lofty thoughts through extraordinary subtle things, because there was real force.

The Birth of Venus

The Birth of Venus is a masterpiece which was created by Botticelli in 1487. Under the strict ideological control in the medieval, the beautiful goddess Venus in the Greek and Roman mythology was considered as the pagan siren and was damaged. In the renaissance, in order to break through the imprisonment of thoughts, the Italians aspiring to classical culture thought that this goddess rising from the sea was the messenger of a new era. She brought the beauty to the world.

The painter arranged Venus in a very quiet place and took the tranquil and slight blue waves of the sea as the background. Venus stood gloomily on the shell which was the symbol of her birth. She looked like delicate and lacked confidence and enthusiasm of the world. It told the audiences that the goddess had not full confidence in the future. On the contrary, she was full of melancholy. The image of Venus reflected the artists' panic and anxiety of the real life in a certain extent. The image of Venus in the ancient Greek was an adult when born from the sea, in other words, she was a pretty girl when she was born. Although the Venus in this painting imitated the classical Greek statue, but the style was all innovative and emphasized beautiful and pure.

According to the description of Greek mythology, Venus was born as adult. She didn't experience the babyhood and the process of imperfect, she was born flawless. Apparently, the painter wanted to represent the perfect image. But if we go back and have a close-up view of this work, we can find that the stupefied, dull and confused expressions in her eyes reveal a pure childishness. The image with adult body and childlike eyes not only reflects the painter's advocating on the classical art of Greek and Roman but also reflects his craving for neo-Platonism.

But just because of his advocating and craving, his work was not limited to the sensory aesthetic temptation. Through the meditation on beauty purified the spiritual world of peoples' and sublimated their souls.

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Renoir And His Miss Romaine Lascaux

Pierre Auguste Renoir was one of the important painters of the impressionist (from 1841 to 1919). Renoir was sent to the porcelain factory to learn skills when he was young. But the work, screen-painting and porcelain-painting inspired his interests in painting. Because of the interest in painting, he went to the School of Fine Arts to study painting and took sketch lessons after school at Glaire's studio at the same time. He met Claude Monet (from 1840 to 1926), Bazille and Alfred Sisley (from 1839 to 1899) there and embarked on the road of Impressionist.

All the works of Renoir have their own symbolic significance. In his long life, he followed more or less various genres with different styles which in line with his artistic temperament. Sometimes even out of good fun, but he always was able to swim out of the water. The most extremely important fact was that he not only was good at avoiding mistakes but also able to absorb something similar to art from these genres depending on his inexhaustible creation wits.

Renoir was born in a poor tailor family in France. His characters and temperaments were all close to civilians. He never had arrogant behaviors. The maid servants treated him as they were at the equal status and talked as peers in the wine-shop of Berra. He never picky about models, the standard was that "Not reflective skins" and "Do not whitewash like the upper-class ladies."

Renoir had health and basic fun, but he always kept a taciturn and sentimental appearance, a gloomy face in social situations. But when he began to draw, his face immediately lit up and sometimes he could even hum sweet, melodious songs.

Renoir was famous for drawing figures, and between the works, the most classic was the sweet, leisure atmosphere and plump, bright face and hands. The feature of Renoir was that he always depicted fascinating feeling in his paintings and you can rarely feel the pain or religious feelings but instead was the warmth of family like the smile of mother or old sister. Renoir thought that painting was not scientific analysis of the light or the elaborate layouts, painting was to bring pleasure to viewers and the environment where the paintings were hung was full of the feelings painter wanted.

His enthusiastic temperaments and enlightenment learned from school were represented in the portrait "Miss Romaine Lascaux". This is a portrait, but first leapt to the eyes is a lovely girl with gorgeous dress and solemnly photographic posture, the background is pink blue which is fit for children's bedroom. The technique of painting is realistic but also cautious, seems afraid of breaking the rule of beauty.

Although there are a variety of different views on this portrait, it can not be attributed to any particular school of painting style. To be exact, this is a painting which fits the contemporary fashionable style of the Academic Painting. However, this is also an attractive work because you can feel the specific poetry of Renoir. It seems that Renoir's talent had represented in his unspeakable but only can be felt style in 1864.. That style is art.

The Scream

"One evening, my friends and I walked on the road, one side was the city and the other side was the fjord. And I suddenly felt very uncomfortable." Munch described the source of inspiration when he created this masterpiece -The scream. "I stopped and overlooked the fjord. The sunset dyed the clouds red like the blood. At that time, I thought I heard the nature screamed ceaselessly. So I depicted this picture, painted the clouds like red blood and let the color go roaring."

The man looks like skeleton and ghost in the front of the screen is the painter Munch. Not so much he is twisting his body while shouting as he is penetrated through the screams of the nature and he could not tolerate the terrible sounds and he could not help but cover his ears. This sound of scream shocked the world and turned it into frantic color curves rolling around him.

At the top of the scream, in the center of the crimson blood sky, there were scratchy handwritings of the painter (only lunatic can draw like this). That was the scream of Munch. He always considered the sensitive nerve was due to inheritance. For him, it was the blood curse led him to mad.

Munch lost his mother and old sister since he was very young and this left a deep imprint in the depths of his soul. He had strong vision and deep despair for life and sex. He always kept skepticism towards his existence. And he still tried to express these despairs and tensions of his inner after he became a painter. In this painting, Munch depicted his fears of life and unrest emotions through the red low clouds enveloped the scene he saw one evening and the fears in the depths of the soul.

When "The scream" was on display publicly in Berlin, most of the commentators showed obvious disgusts. The people who were accustomed to pleasing arts were shocked and fearful when suddenly faced the crazy painting with the form and the colors because it seemed to resonate in their own souls. Since then, the famous work was collected by the famous collector Olaf and he donated it to the Oswald Ling National Gallery few years later. This painting was so to speak the pinnacle of Munch. It surpassed the personal tensions in the painter's soul and told the anxieties and fears in the depths of the human souls which were never waked up.

Venus in the World of Sandro Botticelli

Sandro Botticelli was a great Italian painter of the Early Renaissance, whose most famous words are Calumny Of Apelles, Adoration Of The Magi, The Birth of Venus and many others. The Birth of Venus was painted in 1486. It depicts the goddess Venus was born and arriving at the sea-shore. At that time, Botticelli was commissioned by the Medici family of Florence to work on this painting. And now it is kept at the Uffizi Gallery in Florence, Italy. If Giotto created a new world of the Italian realistic painting, then Botticelli made the world more colorful.

In the imagination of the ancient Greeks, Venus was born from the sea as fully grown woman, Plato had ever made an idealist interpretation for the myth, In his mind, beauty would not generate gradually or from unbeautiful things and it is incomparable, Botticelli followed this interpretation during his image creation, especially from the image of Venus which is in accordance with the classical style of the sculpture. The only difference is the position of the hands. The whole picture do not have those grace and elegance depicted by classical sculpture painters but more of a sluggish and weakness. Of course, if we only appreciate this painting on this point, then its artistic value would be greatly reduced.

Botticelli added some distortion when he was creating The Birth of Venus. To see this painting from Venus' neck, the proportion of the hair, hands and feet is a little too large. It seems that the painter tended to stress on the image of the spirit. Therefore, the physical expression became less important. Viewed from the lines, especially the lines of Venus' cloth are very smooth. In contrast, the lines of Aeolus who sent Venus to sea-shore are more complex with rotation. This shows Botticelli's excellent lines depicting techniques. Viewed from the tones, the whole picture is very clear and harmonious. Tranquility and elegance match with each other perfectly and obscure topic hidden behind the mystery.

According to Greek mythology, Venus was born from the sea foam and Botticelli's depicted the scene the goddess of love and beauty was born. The plot and image in this picture is based on a long poem. The poem describes that Venus was born from the Aegean Sea, and Aeolus blows her to the sea-shore quietly, then Rakhil Grigorevna greets her with the silk clothing made from stars. Venus stands on the shells that symbolize the source of her birth. She seems to be fragile and weak, showing no passion to the goddess and the world. She is to tell us that the goodness was born with melancholy to this human suffering.

Da Vinci And Rubens-two Gifted Painters Sharing a Huge Difference

It is rather hard to find two people like Leonardo da Vinci (hereafter refers to da Vinci) and Peter Paul Rubens (hereinafter refers to Rubens) with a huge difference in creation and view of the world among the world painting masters. But they always have something in common. For instance, they all have great talents and spend a lot of time in other aspects driven by fate. The difference is that da Vinci spent most of his time studying science and as a pioneer and pioneer left a glorious trace in the fields of natural science. Da Vinci never stint on time and invented some strange and eccentric grand things in order to meet the grandee's quirks. Sometimes he even invented new powerful weapons for war. Rubens devoted himself to the diplomatic activities and consumed time in travel and travel to accomplish some delicate missions. But these missions did not give Rubens any special honor. It is an irony of fate.

However, it should be pointed out that da Vinci left us very limited paintings which we could count on our fingers. While Rubens's painting heritage is very rich. With an amazing speed, he drew huge paintings which were surprised by his contemporaries. Indeed, Rubens's creations got the help of his talented students and assistants. Both da Vinci and Rubens are not of noble birth. In their whole life, they were always despised by European dignitaries who were trying to find it easy to hide such feeling.

Details related to da Vinci's life and creation are always full of enigmatic unsolvable colors. The painter da Vinci's fate is not always logical, not always limited to what we are used to. But the great Vinci villagers have impressed all researchers from the beginning of his writing creation career, which has not been done by anyone.

About da Vinci, his contemporaries wrote, "Handsome, slender, graceful and charming." The brilliant appearance of da Vinci can make everyone sad heart cheerful and his language can make any bigot show positive or negative attitude. He is able to make any kind of severe abnormal frenzy calm down. With his right hand, da Vinci can bend over the ring on the wall or horseshoe made of lead. Da Vinci can hold the most potent galloping horses and his thin, white, and woman-like fingers can put the coins broke it in half.

It is hard to imagine a more perfect young man like da Vinci. Da Vinci is handsome, strong, and intelligent. In addition he is a remarkable painter, but not long ago has successfully proved himself to be one of the masters in the biggest city of Italy. It is true that the combination of strong and vigorous creation will bear rich works. Let us see him from the advanced point of view. Da Vinci's life is not short and he has lived for 67 years. But until dying, it is sure that da Vinci's paintings are less than 20 according to very fine inquiries. Moreover, many paintings and portraits have not been completed.

Da Vinci is a great explorer. His rarely warm is expressed in the exploration of extreme tension, but also in his surprisingly breadth in research field. In addition, the painter da Vinci always demands him to inquire into the root of the matter and understand their initiation stories. When human beings wake up from the long chaos of the middle ages, there are so many problems need to be faced and uncovered mysteries. Da Vinci is one of the first batch of awakening from the dream on the earth, and courageously and uncompromising devotes to the dark fight.

And the painting master Rubens is the extremely talented as well as the most contradictory master in the world painting history. He has a dual character. Rubens is an artist, a diplomat, a pragmatist and visionary. Rubens was born in the German city Siegen which was far away from Flanders. Throughout his childhood, Rubens had not seen his motherland. Reportedly, the child is the parent's shadow. Rubens's mother Maria Peibie Links is the most loyal wife of Penelope. She once saved his husband who once betrayed her from the edge of death. This was not that all daughters of Eve were able to do. She devoted all her love to her beloved Rubens and raised and educated her son in a foreign country. Later she used her slender means to support Rubens for study and travel to Italy, which made this future artist's talent become mature. Maria told her son that the most important thing in the world was the love of life and loyalty. She died early and failed to embrace her son when dying. Because at that time, Rubens was on a journey because of entrust of the Duke of Mantua and had no time to attend her mother's funeral in Antwerp.

Rubens's father John Rubens was a lawyer with bold characters, who was born in a handicraftsman family. He was easy to fall in love with some people and did not satisfy the current situation. His romance with Prince William's wife Princess Isaacson Anna was a tragedy.

Rubens loves face. His parents are civilians who do not have the necessary contacts with the court nobility. Even the decorated ancient heraldic badge Shield logo can not conceal their origin humble. You may ask why with that? But the art master Rubens is unable to contain his vanity and try to make up the major flaw in his life. He spends the bulk of his time to complete the extremely secret mission that his master Isabella princess gave to him.

Rubens has a great many works. His works volume can surpass twenty or thirty people. And he is very pleased with himself. He once said, "I have such a talent that makes me undefeated by any hard jobs, from the number of works and quality of content." Rubens is completely qualified, proudly and openly to boast of his ability.

In addition to being a painter, Rubens is also a great diplomat. When you read Rubens's biography, you will find that Rubens has frequently envied to visit foreign countries. Although Rubens is bothered by diplomatic duties, he can also shoulder the heavy burden to participate in true art activities. Rubens has left hundreds of works to people in his whole life. Such quantities of works are sufficient enough to make Rubens become the model of painters.

However, as a painter, Rubens is as same as da Vinci, an art master sharing prophetic visions and an explorer opening the "self" cosmic gate which nobody has seen before. This shocks us as we discover a new continent. After every audience's discovery of new beauty, all can become Columbus or Vasco da Gama. However, when you appreciate the beauty of the world, don't forget the war which cannot be described by words, do not forget the imperceptible numerous feats as the foundation of masterpieces.

Matisse - Do Not Call me The King of Fauvism

The 21 years old Matisse had to be in hospital because of appendicitis surgery. During the time of recuperation, his mother was afraid that he would be bored and bought him a small box of pigment for him to kill time.

"What am I going to draw?" Matisse was wondering when he got the pigment. Then he suddenly saw the packing box of the paregoric, "just imitating the landscapes on the chrome of the box." He said to himself.

When Matisse began to draw, he felt like being in heaven, free, peaceful and tranquil. And he created his first oil painting "still life with books". He said that, "Once being bit by the painting devil, I never thought to give up."

Matisse was born in a small town in French in 1869 and never received any painting training courses before 20. His father was a businessman operating hardware and grain, his mother was very love of art. Under the background of business family, Matisse obeyed his father's arrangement and obtained the law degree in Paris and served as secretary at a law firm in his hometown after returning home. At that time, the only diversion of him was that participate the painting classes in the Municipal School of Art before going to work.

The unintentional gift of giving him a box of pigment accidentally launched his 64 years of painting. Matisse decided to give up the law completely and went to the Julian Academy in Paris in order to study painting.

Penniless and frustrated life was the only way that every artist must go through. In order to make a living, he had to draw decorations of the exhibitions. Even the life was plain and impoverished, but it did not dampen his enthusiasm for art at all. For the sake of buying "trios baigneuses" of Cezanne and the plaster bust of Rodin, Matisse did not hesitate to sell the dowry of his wife.

October 18, 1905, the big day that beast came out of cage in the history of Western art.

The painters of New School like Matisse, Road, Auburn and Bertrand took participation in the autumn salon exhibition in Paris. And they displayed the paintings with bold, rough brushwork and intense colors.

When the critic Louis Vauxcelles walked into the exhibition hall, he could not help himself but said:" It looks fierce and shocking."

In the center of the exhibition hall, there also displayed a work that approximated to the style of the sculptor Donatello of the Renaissance. That was a woman bust with classic style. When looking around this whole strange scene, Louis Vauxcelles cried out in alarm:" Look, Donatello is surrounded by a group of wild animals. "

Unexpectedly, the title "Fauvism" which shocked the world came down from then on and became the personal pronoun that these young painters made their marks. Matisse also became the king of the Fauvism and was famous in the art circle.

The Fauvism was the painting revolution after the impressionist but Matisse did not like the title. He said:" Fauvism was a trial that I put three colors red, blue and green together and compare side by side in order to make the works more expressive. It generates because of the demands in my mind but not any subjective or rational attitude."

Therefore, this group of undisciplined fauvist separated and developed independently soon. Matisse also gradually transformed from the wildness to a subtle style, from the savage jungle to the quiet and beautiful Oriental harem world.

In his late years, when Matisse got sick again and was forced to lie on the bed because of duodenal carcinoma and gallbladder disease, he picked the scissors and craved for the arts of paper clips like a child. What he wanted to show was the lively miss of a child and that was the most pure and spiritual farewell words to the world.

Through Judith to See The Work Styles of Giorgione

Through Judith to see the work styles of GiorgioneGiorgione was an Italian painter who was born in 1477 and died in 1510. The work, "Judith" was created in 1510. It's oil on canvas.

According to the Old Testament, Judith was the patriotic Jewish heroine and also was seen as the symbol of defiance of the ancient Jews in the Near East oppressed. In the arts, her image was always that picking the head of Assyria General Holofernes that she cut off with her own hands. The Assyrian army once attacked the Jewish city Bedouin Elijah. When they decided to surrender because lack of supports, a rich and beautiful widow - Judith set up a plan and saved the city.

She knew that "any man would get caught just because of a glance of her." Therefore, she burst into the military camp of the Assyrian maid with her maidservant. She falsely stated that she was expelled by the people of the city, thus she was accepted by the General. She also concocted a series of plans to deceive the enemy go to town, so that she could stay in the camp for a few days. The General fell in love with her soon, and invited her to a banquet. After the banquet, he left her alone, however he was looped although he was purposed to tempt. Judith realized that her chance was at hand and pulled out the sword immediately, cut off his head. Her maid packed the head into a ready pocket. They hurried back that some night while the thing had not been found.

When the fierce was spread, the camp of the Assyrian was in a mess. The Israelis stroke out, the enemies flee at the mere sight of the oncoming force. The Jews got victory out of defeat.

The image of Judith firstly appeared in the Middle Ages, as the symbol of virtues triumphed over evils and may be accompanied with the implied meaning of modest and courteous. There were many works were created in the Renaissance Period, the scene of her victory was always side with the paintings "Samson and Delilah" and "Aristotle and Compad Sibei."

The image of Judith under his brush was perfect. Her hair was clean and flat, her eyelids were droopy and her sights were downward-looking. Judith seemed was unable to hold the heavy sword and had to manage the gesture with an effort. Her foot pointed above the head of the General gently.

Some people think that Judith was the prototype of the Thierry Polo Virgin. In the works of the virgin, she often touched on a sphere with one foot slightly or trod on a snake which symbolized evils with the attitude of a winner. People found a painting in his workshop as well, Judith was a young woman moving through the countryside in the painting and one hand with a sword another one with an olive branch. A maid was following her and there was a head in her basket.

People thought Judith was Raphael's work before the 19th century. Indeed, the clear and beautiful art styles of the two were exactly similar. But what was different from the characters under Raphael's brush was that Judith was too self-absorbed, she had not eyes contacts with the audiences. She was just immersed in the joy of victory and completely never took account into what big shocks she brought to them.

If it was Raphael's work, the processing methods would be more concise and lost this very subtle psychological experience. The most dramatic and moving part of Judith is the tranquil atmosphere, the deeply touching grasses, trees, walls, mountains and fabrics depicted in a naturalistic approaches.

Giorgione inherited the skills of his teacher Giovanni Bellini and was influenced by Leonardo da Vinci, and caught people's eyes with his unique style and became a major representative of the early Venetian school after apprenticeship. He attached great importance to the study of aerosolized brushwork and contained expressions. The characters in his works were both with quiet, elegant demeanors and subtle, rich flavors. His skills of color application and atmosphere foil were carried forward by Titian and so on, had become the important artistic heritage of the Venetian school.

Pioneer of The Neoclassicism - Jacques Louis David

The most representative artist of neoclassicism was Jacques Louis David (1748-1825). David was the government's official painter of the French Revolution, revolution advocate and participant. He once acted as the art director of Republic Education and Culture Committee in the Jacobin dictatorship and played an important role in the politics. David was the strict follower of the classical traditions and admirer of ancient art. He was subject to the existing system of art and emphasized the powerful structure relationship of ancient art to pursue concise, simple and solemn feeling. The excessive rational pursuit led to the indifference and stiffness and also lost the originality of art.

David's works had balance rational composition with very strict character modeling and classical painting skills. He was good at handling dynamic characters and drama and often used Caravaggio light to highlight the main characters, but his character attitude may have dull traces.

David was initially affected Boucher's art, because he was the distant relative of Boucher. He later became the student of classical painter Vien. When he was 18 years old, he entered art school to receive the systematic training of theories and skills. After a hard and bitter struggle, David finally won the highest award -the scholarship to study in Rome.

In 1774, he went to Italy where he studied the works of masters and gradually formed his neoclassical style. He returned to his motherland in 1781 and created a series of ancient hero's spirit paintings The Oath of the Horatii, The Death of Socrates (1781), and Brutus executing his son (1789) to sing the praises of the Republic and revolution. He also had actively involved in the revolutionary movement.

Later, David became Napoleon's court painter and created many merit works for Napoleon. During this period, under the leadership of David, the neoclassical movement even spread to the French ways of life, even the hair style and coat were Greece and Rome style. Women no longer girdled their waist and men lost their wigs, furniture and furnishings were also as succinct as possible. This retro lasted for decades. After the Bourbon Restoration, as the trial participant of Louis XVI, David was deprived of his civil right and property, and was forced to leave his homeland to settle in Brussels where David also completed many works, and finally died in a strange land.

Durer's Painting Style

Durer is Germany's greatest painter. For 500 years, Germans have not reduced their respect for Durer. German poet Goethe once commented, "When we understand the Albrecht Durer, we have known the nobility, truth and prosperity. Only the greatest Italian painter can have the equal value with him."

In 1486, at the age of 15, Durer entered Nuremberg painter Michael Wolgemut's studio to study painting. During three years, he learned the delicate depiction method from Flanders; later Durer started his journey of life in the Rhine area. In 1494, at the age of 23 Durer crossed the Alps and first visited Venice where he found the art achievements of Renaissance and devoted his whole life to study them. In these three years, Durer studied anatomy and copied the works of Mantegna and Giovanni Bellini's works with rich artistic skills. In 1497 Durer returned to his home Nuremberg and opened his own studio, hoping to bring the influence from Italy to his own style. In 1505, at the age of 34, Durer went to Venice. At that time, his works had deeply impressed Giovanni Bellini and other painters.

The portraits in the 15th century such as Man in Red Turban made by Yang Fan Ike were mostly the graphic character description. Male images in Durer's portraits were majorly full of vigor, but cold in personality. In Portrait of Holtzman Shure, Holtzman Shure had a square jaw with a bald head whose eyes were brimming with radiating vigor staring at the viewers directly, which immediately caused a sense of urgency to the viewers. Highly realistic art skills immediately revealed the characters' personality, which made the viewers and characters in painting establish a kind of magical mental contact. Holz Schur was a friend of Durer and was a councilor of the city of Nuremberg. He had repeatedly defended this city in the invasion of foreign enemies. Except one inscription and Durer's signature, the painting's background had nothing, which effectively strengthened the perseverance and arrogant characters of Holtzman Shure.

Durer paintings belonged to the Netherlands's painting technique system, which included both the Yang Fan Ike brothers, Bruegel, Rubens and Holbein of Flanders, French Manmulike, Watt as well as Holland's Les Dahl and Hobbema. The reason why Netherlands's painters used the transparent colors was to make the best use of white color reflection effect. Painting part by light, use one or several simple colors and adjustable powder for performance. When the painting was completely dry, to use the transparent paint until getting the desired color effect. Each part of Durer's Portrait of Holtzman Shure was drawn very meticulously to exhibit the object light effect in specific space. In this painting, the texture of his brown fur coat was very strong whose blonde hair curly hung down. Its thickness and high spot as well as its position in the space were showed very accurately, which was full of analysis and experimental science.

Botticelli - Venus is my Lover Forever

His feet were lame.

He walked alone in the streets on crutches.

In the last ten years, he lost his property and the job. The nymph Venus who once came into his life had become blurred. The glories of the past seemed to have become passing clouds.

He died quietly in May, 1510.

He never got married the whole life and had no children. The world had forgotten him before his death. He was rediscovered by the pre-Raphaelite and became famous once again after three centuries his death.

He was Botticelli (from 1445 to 1510).

His face was full of Reiki with deep eyes and shapely lips, emitting poetic temperament.

He owned possessed his own workshop at 25. He could not hide his talent and the orders were endless. However, his golden stage was about to carry out vigorously.

In order to decorate the Nobel la Lady Chapel, the painter depicted his first excellent and great work, Magi pilgrimage and received appreciations from the First Family. He seemed to become the son of the royal from then on and went in and out the palace freely.

At this time, he accepted the commission of the Medici family, Lorenzo for drawing decorative pictures for his villa castle and that how "spring" and "The Birth of Venus" were created.

Venus, the most beautiful woman in the world was born.

The graceful and charming Venus was standing on the fan-shaped shells, rising from the sea slowly. The Aeolus was blowing the shells to the shore and his lover - goddess of joy was sprinkling the symbol of love - roses and the goddess of spring was opening her red clothes to embracing Venus who was about to go ashore.

He represented the human pleasures with the help of myth implies. He created the ideal image of female beauty in the fantasy ethereal realm and broke the painting orientation of male protagonist. He abandoned the limited themes of Biblical in the past and used the pagan themes - Greek and Roman mythology which was against by the Church bravely. He opened a new world of free creations for the Renaissance.

The beautiful face of Venus he drew was said to be depicted base on his lover. She was his heroine whether in the portraits of Venus or Madonna or allegory.

However, some scholars of art history believe that,

The Medici family fell in the 1490s.

The years of the Court brought him ten years of brilliant art periods but also buried the seed of tragedy.

A religious leader who pushed the puritanical authoritarian rules appeared in Florence and he attacked that the root of art was simply the shameless exhibition of naked men and women mercilessly. The costumes, jewelries, works of art and classical books were all thrown into the raging fire and turned to dust and ashes.

Botticelli ruined his works in person and said goodbye to the past.

In his later year, was he agreed with the thoughts of Savonarola so that his works represented the smells of religious fanaticism? Or he just put his unstable and upset emotions on the works of religious themes in times of politic crisis atmosphere? No one knows. But we can sure that the beautiful nymph in the privacy of his thoughts never disappeared in his works.

The Story Behind Boy With a Pipe by Pablo Picasso

Boy with a Pipe is painted by Pablo Picasso in 1905 and becomes one of his greatest works. Boy with a Pipe is a work during Picasso's rose period. He was 24 years old at that time when he settled in Montmartre, France. Picasso called the young Parisian boy in as "Little Louis", who often spent his spare time in Picasso's studio. Picasso made him the model of this painting. This oil painting depicts "Little Louis" in blue clothes holding a pipe in his left hand and wearing a garland with two bunches of flowers behind as the background, which had something in common with Chinese painting. Experts believe that the garland that the boy wore was temporarily added when the painter was about to finish the paintings. Whatever, it looks very harmonious with the whole paintings.

Boy with a Pipe receives a great popularity. Critics believe that it has the same mystery as Leonardo da Vinci's Mona Lisa. This work reveals a kind of poetic mood and everyone would easily be attracted by it. A half year after the painting was sold in 2004, we finally knew the owner of it and accidentally we got to know a love story behind it.

Steve Georg was the person who spent a large sum of money to buy this work. He was not mad but crazy fro the love. Steve Georg and Betty Whitney grew up together in Berlin. After Picasso's Boy with a Pipe was finished in 1905, it was finally collected by Steve Georg's father. In fact Steve Georg looks quite a bit similar with the "Little Louis" in the painting. Betty really loved it. These two children liked to play a game; whenever Betty wanted something she would write a note posting behind the painting and once Steve saw the notes he would always try to satisfy Betty's requirements.

A war in 1935 made them apart. After Betty returned America safely she tries to find Steve but nothing. She was sad and in 1949 he married an English ambassador and went to London the next year. Accidentally she saw the painting in Sotheby's auction. Betty bought this painting with 28000 dollars. Looking at this familiar painting she became quite exciting. The painting was well preserved and the boy in the painting was just like Steve in her mind. Luckily, Steve survived in the war and 28 years later they met again. To enjoy this painting together became their common dreams.

A Special Work of Rembrandt Harmenszoon Van Rijn-- The Night Watch

The Night Watch is a valuable painting by Rembrandt van Rijn, who was Dutch painter and etcher. Along the long European history or Dutch history, Rembrandt van Rijn is regarded as one of the greatest painters and most important printmakers. During the Dutch Golden Age of painting, people witnessed the great contribution he made to the European art. His prolific and innovative painting style was against the mainstream of the contemporary Baroque style in Europe. The Night Watch could be one of his most famous works which fully reflected his unique style.

This masterpiece of Rembrandt, The Night Watch, is now housed in Amsterdam National Gallery. This is a priceless treasure and because of the painting Rembrandt encountered a miserable situation. It happened in 1624 when Rembrandt was 36 years old. At that time, there were 16 security Shooters collect their money together and asked Rembrandt to paint a group portrait for them. In Rembrandt's mind, it was difficult to arrange so many people together in a painting so he designed a proper scene in accordance with their identity. The scene that Rembrandt designed was: the Shooters heard about the alarm and got ready to see what happened. The captain was scheduling tasks and someone wiping the barrel while others carrying the banner with a group of children around. Therefore, this is a static military portrait.

However, this design brought a real trouble. The shooters thought that their statuses were not arranged evenly because of the difference among the brightness, and sizes. As a result, they refused to accept the painting and even appealed to the court, creating a big discussion. People in the whole city laughed at Rembrandt and he was destined to face the fact that no one would buy his painting in the rest of his life.

In fact The Night Watch is really a great work. Rembrandt depicted the group moving out with effective use of sunlight and shade, leading our eyes to the three central among the crowd. After this painting was taken home by the militia, it was cut smaller so that it could be hang on the wall of the hall, making the whole picture lose original balance. And people in the hall burned coal for warmth so that the painting was covered a thick layer of ash and become a little dark. As a result, people of the 18th century w mistakenly assume that this painting depicted the scene at night and gave it the name "The Night Watch ". When we stared at this painting, we would feel as if life running on the canvas.

A Pair of Shoes by Vincent Van Gogh

Vincent Willem van Gogh is a world-famous artist, he belonged to post-Impressionist painter. So many excellent works he had created, such as The Starry Night, Sunflowers and cafe terrace at night, etc. His paintings were famous for its bold color and rough beauty. van Gogh's painting had a great influence on the art 20 centaury.. However, though he is considered as one of the history's greatest artists all over the world, his received little appreciation when he was alive.. Then after his death, most of his works were accepted and gained a lot of fame. Totally, he produced a large number of more than 2,000 artworks.

Many of van Gogh's paintings had attracted much attention and now shall we keep our eyes on one of his paintings -- A Pair of Shoes. What Van Gogh painted is a pair of peasant's shoes. In his mind, the shoes are not a pair of physical shoes in real life, nor being used as instrument, but a complete perceptual world which is full of implication. From broken hole inside the shoes, we can feel the burdens of labor work.

When we are looking at these hard and heavy old shoes, we are able to be aware of the repeating and dull work in the fields. The peasants are slowly working with constancy of patience. Their shoes are covered in wet and fertile earth. After the night falls the peasant wearing this pair of shoes moves slowly on the path. In his pair of shoes, the wordless call of the earth echoes, revealing the earth's silent praise to the ripe grain and symbolizing the earth's meditation about the deserted fields during the winter time. The shoes are imbued with stable anxiety on the bread and wordless joy from getting rid of poverty or trembling either when giving the birth or the death approaching.

The content of A pair of shoes is in accordance with its title. It does depict a pair of ragged ones laying quietly on the field, just like two brothers stay together closely, suggesting that the painter's deep feelings about it. In fact, most of Vincent's late paintings are somber, but somehow they reflect some sort of optimistic.

Titian - Dunning The Emperor For Payment of Debt

At that time, people liked to use the word "the Titian gold" to represent the gold because Titian especially loved the golden yellow and plus that he was deeply in love with bright colors. Just like the alchemist manipulated the colors. But Titian could also gather "gold" quickly in the real world and was a golden painter that many people extremely envious of.

Titian was the imperial painter of the Venetian Republic when he was 36 years old. The Court invitations were constant after he became famous so he was able to accumulate a large number of money. On the other hand, this also showed his clever and flexible diplomacy and could play well between the upper class.

He also had a smart set of financial management methods. He kept painting while doing business and then invested the money in real estate. He rolled in riches and lived a super-rich luxury life.

What was the secret weapon that he got rich successfully on earth?

The answer was portraiture.

His portraits can seize the soul and personality of the character. The character in the picture is filled with touching vitality and seems like a real person in front of you

It was said that Titian had a magic skill "rejuvenate" which could make the character look younger but remain his characteristics. The traces of age were desalted under his painting brush and the character looked like a golden crown with the gold color on the hair.

The celebrities and ladies who demanded for paintings were in an endless stream because of his superb portrait skills. They competed with each other and employed him with a high pay. They were proud of getting portraits from Titian. He almost painted portraits for the supreme rulers of the whole Europe.

The most important sponsor - the Holy Roman Emperor Charles V was also the person who appreciated Titian most. He even granted Titian as the duke of the palace and golden flower knight, which made his reputation soar internationally.

How much did Charles V pet him? It was said that once Titian was drawing portrait for Charles V and the painting brush suddenly fell down. Charles V went down and picked the brush for him unexpectedly. Titian was very afraid and said:" Your Majesty, I do not deserve such a lofty reputation. " But Charles V said:" We should respect Titian like Caesar."

It was clear that Titian obtained the lofty social status as an artist through because he could make the emperor picked painting brush for him. He could claim the first person from ancient to modern.

It was said that he was bestowed thousands of silver as long as picking up the painting brush. And who would dare to refuse the invitations of the Emperor in the world? Titian dared. He refused the invitation of Charles V to go to Spain for drawing family portraits with the reason that he did not like leaving home for a long time.

Titian was very rich and he still loved money.

He was very mad at the people who did not pay of debt. What was more irritating the debtor were Charles V and his son - the Spanish King Philip?. Titian had to write a long dunning letter to the two slowest payers - the dignified national leaders.

In the letter Titian wrote to Philip ? in April 22, 1560, he said:" Your Majesty, you're invincible and hold the world in awe. The painting you ordered I had sent for a few months, but so far I still not received the payment. If there are some parts you don't like, please let me correct my mistakes, I'll redraw. But if you're satisfied with it, please send the coins to Genoa as a gift for me."

It seems a little funny that Titian claimed that he was poor, because it was well known that he had incredible wealth. As for the thing that he encouraged himself to dun the emperor for payment of debt was more amazing. Maybe he had too money orders and needed money to buy more materials, hire assistants. Or he had no alternative but to behave that he loved money so much. Maybe!

Basic Characteristics of Impressionism

The basic characteristic of Impressionism was taking light and color as the center of understanding of the world. With in-depth scientific research and development, people in the 19th century had already known the reason for objects to display different colors is due to their different light absorption and reflection. Objects were black after absorbing sunlight, white after reflecting sunlight, and blue after reflecting blue light and absorbing other light. Any object in the nature must be influenced by the light source color and the surrounding environment of other objects of color. Therefore it was not possible to have absolutely pure natural colors. Those idea of thinking trees were green and the flowers were red were only the understanding in certain historical conditions. In the 19th century of scientific development, it had obviously outdated. People realized that even with the same light source, different times in the early morning and evening would produce different colors on the object. And the object and the distance to the light source, the light angle, variation of surface smoothness conditions could affect the color. The relationship between light and color was extremely complex and delicate. Thus, the traditional color idea was completely broken.

With the abandonment of the fixed color concepts, people's awareness of color was also greatly deepened. We had found there were pairs of light mixed with each other and several colors turned into black. So people called these colors and paint the complementary color relationship and called such two paints complementary colors, such as yellow and purple, red and green, orange and blue. In color sketch, this complementary relationship helped people to analysis and identified the color.

People's understanding of the shadow had also greatly changed. They used to think that the shadow is only brown or black, no color at all. When using the light source and the environment of the scientific concept to observe the objects, they could found the shadow was reflected by the light and influenced by the surrounding environment light, showing the rich color and shadow, and the opposite light source color and temperature color. These understandings made the Impressionists boldly use color. They began to use color or color point for depiction of objects to pursue real and bright light effect, such as using red and blue for bright purple. In this way, the paintings of impressionist painters suddenly became very bright. If a classical oil painting and impressionistic light works were put together, you would be amazed at the achievements of impressionist painters in the color, because their paintings really embodied the charm of light and color.

Objectiveness represents the individual's instant visual impression

Impressionist painters not only took a great step in color, but also began to reform in the way of observation. In the past, people always followed the traditional and close to the sepia tones to draw the objects. The reason why they could not draw impressionistic bright colors was that people did not completely follow the observation of their eyes and lacked of scientific help, but only in accordance with the known colors to paint. Impressionist painters abandoned all the traditional concepts of color to capture the visual feelings light resulting in objects; this feeling was purely personal. Thus the colors in the painting were very bright, rich and full of personality. Their purpose was trying to objectively and possibly realistic represent the object. The Impressionists completely focused on capturing the visual impression and the pursuit of color changes. They often neglected the shape and contour of the object and painted object very loose and free for the only pursuit of color effect. People who were used to appreciating rigorous classical paintings were difficult to accept their art. In order to keep the works dynamic and realistic, most Impressionist painters took practice as creation and advocated finishing works in a light and no longer changed them after back to studio.

Emphasis on aesthetic function of paintings

The traditional art have attached great importance to the content of the works. Classicalism loved plot, religious and historical themes; the romantic school often based on literary stories and the exotic, realism to depict and closely related to the times and social events to describe the common laborer; Impressionist mainly pursued the color effect of color changes, namely, the pursuit of art form with no interest in the theme and plot of painting. The Impressionists realized, based on a variety of different sensory organs all kinds of art communicated human feelings and the human spiritual activities must rely on special sensory channels to fully display. The literature mainly took language; words resorted to the thought, the music through melody, rhythm through the auditory, visual art resorting to color and lines. The plot and the story of painting could be appropriately attributed to literature function. Therefore, what they cared about was how to draw, concern about art form and color lines to create the visual impression and stimulation, regardless of its contents, no longer caring about what to paint. When we saw some of the Impressionists not to mind taking the trouble to draw a haystack and 20 pieces of a bridge, it was not a surprising thing.

Exploration of impressionist painting forms and pursuit of the painting nature made the painting become richer and freer with more painting characteristics. It should be said that this is liberation of painting. But its cognition function and education function of painting neglect is not desirable, which makes the Impressionist works often lack of social and historical sense of depth.

Materials and Techniques of Decorative Oil Paintings

Decorative elements are very important in the western and oriental traditional paintings. The early Western tempera paintings originated from Byzantine religious paintings with a strong focus on decoration. Modern paintings such as a period after impressionism can be also found obvious oriental style. Many Modern Chinese paintings imitated the national decorative arts and modern abstract style of decoration paintings.

The typical characteristics of decorative style paintings are to be simplified, exaggerated or deformation processing based on realistic modeling. Performance practices more emphasizes the outline and structure and weakening of light. In color, take the fixed colors as the basis and mainly put the planarization process with comparative, intense and full composition. Because the decoration of painting is from many aspects such as the factors of white folk art, primitive art, religious art, children's painting and traditional decorative patterns with rich resources and changes, so the decoration of oil painting style or its processing method have very big development space. The use of decorative style of painting materials and special techniques are particularly important, which sometimes has the decisive effect to the picture color and texture effects. For instance, in the style of decoration painting using a combination of synthetic material or texture in the basal layer processing can get twice the result with half the effort. The use of different thickness textures of canvas or board, special paper or color foundation can also form a decorative sense. Some painters use special pigments to make special painting texture, such as adding beeswax and different particles in the pigment. It can also be painted in gold and silver background. The use of special pearlescent pigments, metallic pigment and metallic foil and other materials on the screen can make the color effect magnificent. Rendering techniques can not stick to one pattern to adopt various means, such as collage, drip or other special methods which use the oil and water phase to form the special color texture, style changes, and the use of blade. Special painting methods can help to form the decorative painting. Some decorative paintings can also be used as adhesive tape, ruler and paint with special tool materials.

The creation of decoration paintings should properly deal with the relationship between decorative and creation. The decoration of decorative painting is not equal to the simple decoration painting, while the former has a great decorative composition with a constant expression of spirit connotation, but decorative painting is pleasing to the utilitarian function which is far more than other factors. So if in the choice of over gorgeous materials and techniques applications without restriction to show off its ornamental, it can make a painting into a vulgar and cheap decorative painting. In reference to various traditional decorative art, it is to properly choose and improve to adapt to the performance of the content and achieve harmony in the painting.

The Art Views of Father of Modernism Paul Cezanne

Paul Cezanne (1839-1906) was known as "the father of modern painting". In the long art history before Cezanne, all the painters had focused on representing the objects, but the artist did imitate the natural slaves. But Cezanne gave up the traditional art concepts and rules to create completely rely on the observation of their own independent, conscious attention to show his own subjective world, through the summary and trade-offs, to describe the object from the structural perspective. It was because of Cezanne the painting subjectivity that changed the whole western art process, and produced a huge shock on the idea to his later artists. This shock led to the emancipation of artistic thought. It could be said that modern art began from Cezanne.

Cezanne had initially participated in the Impressionist movement and the first and third impressionist painting exhibition. But the Impressionists did not pay attention to the form and structure, only paid attention to color effect which was misfit with Cezanne. From the view of nature, Cezanne was a classicist who most admired the balanced, tranquil and solid structure in Poissin's art. Cezanne had a famous saying, "According to the nature, to redraw the paintings of Poussin." In the pursuit of the elusive shadow, Impressionism ignored the shape and contour of the object. Although their paintings were bright and colorful, it was disorderly and unsystematic seen from Cezanne. Cezanne finally left his impressionistic peers and returned to his hometown Akers to begin the exploration and research for art.

Cezanne's greatest wish was to try to truly and objectively describe the world based on his own observation instead of subject to traditional experience and rules like the past painters. He believed to be faithful to his own visual feeling when facing the nature, so that the works had Impressionist intense colors and did not abandon the structure and form of objects to show Poissin's solid, eternal and harmonious feeling. But the pursuit of the structure and the color seemed too difficult. They themselves were a pair of irreconcilable contradictions. Cezanne fell into despair in his exploration. Through the painful efforts, he finally created his own artistic style, and gradually formed a new concept of art.

Cezanne once said, "Everything in the nature forms a similar ball, cone, cylinder stand. People must be based on these simple images to draw, and then people can draw what they want to draw." In order to describe the object structure, Cezanne required objects to be still as much as they could. This requirement was quite difficult for models to do, so what he painted was mostly still life. This made him carry out a long-time research on the structure of the still life.

Cezanne's second point was to abandon all the traditional laws, painting from zero. For the real intention, Cezanne believed that many accepted traditional rules did not lead to the real paintings. Such as perspective, it was to guide people's mind and create the fantasy in the three-space with a considerable distance from what we see the truth. So Cezanne tried to not use perspective and shade contrast to represent spatial relations, only by the harmony of color and contrast to build the body and show a profound sense of space. Cezanne was not going to follow the traditional painting skills, and always studied the objects carefully and thought to describe object manipulation, just like before he nobody painted. Sometimes he should observe 20 minutes to leave a pen. He believed that painting should show the structure of object to achieve a solid magnificent effect, just like using the brick to build a wall, or with a brush or a painting knife to arrange layers of color, showing the volume and depth to have a solid building-like feeling. Cezanne once said, lines and shading did not exist, but between colors. The volume of images was expressed from the mutual relationship between the color accuracy.

Because Cezanne gave up all the old rules and explored painting technique expressions by himself, so his works often had a lack of naive skills and were even ridiculed as "graffiti" by some people. His first concern in the painting was a balance of structure and composition of the object. For this purpose, he not only used the simple skills, but also applied the stretch and deformation techniques, and even abandoned object texture, making his works extensive strong, simple, naive, and profound.

The Baroque Master Continuously Climbing The Peak of Creation- Rubens

Peter Paul Rubens's (hereinafter refers to as Rubens) creation road is rugged and dangerous. After studying from Flemish painter in Antwerp, he had a strong desire to further climb the peak of art. Rubens went to Italy which was the birthplace of the Renaissance. Painting, sculpture, and architectural masterpieces made him very excited. Rubens diligently and carefully studied the murals of the great Raphael in Vatican and explored the structure of lines and colors and the mystery of rhythm and harmony. He imitated Titian and Veronese's paintings and tasted the charm of Venice school's color. Rough Tintoretto's works made him understand the belief picture thumbnail ability and creation of various sizes painting in the short term. However, the real Rubens's model was the painter Michelangelo creating the Sistine Chapel fresco. The young painter Rubens spent hundreds of hours in the Sistine Chapel was shocked by Last Judgment and large ceiling painting whose every piece was difficult to reach. In a word, Rubens had been well prepared to become a master of art. As a result, he really became a master of art.

However, after recognized as "the king of painters and painter of kings" by Europe, Rubens never forgot the shinning peak of the Renaissance. During the three years before his death, he was entrusted to draw the stories of St. Peter. He decided to paint Peter crucified in the cross and was sure this would receive "unusual effect". This made me immediately think of the mural made by Michelangelo.

Rubens hoped to make a painting like Michelangelo did. Ah, the fantasy of great figures. All of these were Baroque art in this art master. But Rubens better understood his weakness than anyone. He lacked the rough and firm neatness possessed by Michelangelo who had devoted his whole life to art. His inspiration was incomparable. In many people's eyes, Michelangelo was rude and difficult to get along with, and even rough. However, the smart Rubens felt the mystery and incredible mood in this great Florence person. Michelangelo did not pay attention to the outside appearance and never dealt with the court figures. But Rubens did not possess the depth of Michelangelo. In fact, he usually displayed such effect which was manifested in the fantastic paintings he designed. The musician Beethoven once talked about such desire which was uncontrollable and eager to be perfect, "A real artist knows that the art is endless. He vaguely feels the distance between himself and the target; perhaps when people praise him, he is troubled because he has not reached the peak which is throwing off the light of greatest genius, like a distant sun."

In Rubens's vast text data, we can't find the space to talk directly about this problem. In the creation, he was always silent. However, Rubens showed a deep regret to his bustling life in his words. Rubens admitted that he was constantly on the run. In a later letter, he once happily said, "Thank God, it is already 3 years since I calmly refused to participate in activities irrelevant to my career." In his last few years, he finally smashed the "golden chain" and fully engaged in painting. Despite suffering from constant chronic illness, he was with the perfect ideal pursuit to create many great works. He hoped to draw the prophet Peter, but he was unable to do so.

His failure was sad. But in the lives of great men, this was often the case. Vicious disease afflicted Rubens, so that he was unable to express everything he wanted to show. Like a magician, Rubens showed the fascinating world of color and happy world in life. Rubens was a surprising painter and showed his sober view of life in his own paintings.

However, Rubens's mysteries were not here. The secret of Rubens's creation was very simple. He got a better understanding and was good at depicting all. He could use the palette at his will. And he solved the problem of the contrast of light and shade. As long as with the stroke of a pen, people would see immediate results. No wonder the artists of 19th century seemed to have found Rubens, which was without rhyme or reason. His vivid anemia core form and brightness dazzled the eyes, concise and bright colors made people admire. Rubens used five or six colors to draw the magnificent symphony showing a human life's and a riot rainbow of colors in front of us. The great painter Rubens indeed has surpassed the era!

What You Should Know Before Painting Outdoor Sketches?

There is no way of painting more difficult than outdoor sketches. When the weather is not stable, it may not necessarily allow you to instantly complete the work on the spot. But to paint some color sketches needs much time, so you can use them as reference, and then go back to the studio and make creation on the basis of this. Surround yourself with nature and feel the natural environment around you, then you will be able to express the unique customs special climate condition in a particular location and condition, and this is the charm of landscape painting.

Oil paint is the ideal outdoor media. If you use small-sized canvas or palette, you will be able to quickly cover them with paint. Small color sketches made before creation are often painted on cardboard or paper. These two kinds of substrates are very suitable for drawing color sketches. You can also buy some special sketch painting paper whose price is not expensive. But some artists don't like this kind of sketch paper, because their surface is somewhat sticky, while others think they are very easy to use.

Of course, we must admit that outdoor painting will still be affected by some objective factors. Many artists have experienced the sun burns, insect bites, gusts of wind and heavy rain. So in the summer, you can bring some sunscreen and insect repellents, sunshade hat and other protection products; but in winter, you should wear a pair of thick warm socks, if necessary, you can also bring a thermos bottle. Of course, no matter whatever the weather, it is always ready for an umbrella so as to avoid your hard work being destroyed on one day. These preparations are not redundant, because if the body is uncomfortable, your painting ability will be declined.

To some extent, the reason why the scenery is favored by most painters is they think the scenery is easier to draw than the portrait or construction. But even you do not need to draw them completely the same with the object (if there is no need to make the lines of mountain and objects the same in the painting), but careful observation and skillful painting techniques are still very important here. For composition needs, it is completely allowable if moving one object (such as a tree) from one side to the other. But if you arbitrarily change the object's shape, you will not be able to hold its own characteristics, and then it will lose the meaning of sketch.

So in the ordinary case, unless you have a well-thought-out plan about the whole painting, otherwise the painting is better from scratch in order to establish the relationship between the main parts of each other on the painting. And don't forget that landscape painting is a perspective, like a river, the fence and field. Such kind of object and the proportion of perspective are crucial for the painting. The requirement for these relationships in painting plain scenery is more precise. You will surprisingly find that in your eyes, the middle great lake appears on your view as a narrow band. If you are a beginner, at this time you may still have to measure with the actual reference. Pick up a pencil or brush pen, and then poison in the barrel with your thumb. In this way, measure the object's length and width ratio. And if you are able to find the correct proportion position by visual inspection, then you have the ability to make visual information into painting.

Raphael And His Flawless Madonna

Raphael loved women very much, especially beautiful women.

In 1514, when he finished the "Poseidon Galatea", the Cassidy Lyon count asked him exclamatorily:" Where on earth did you find such beautiful models?" Raphael wrote back that:" I have to seek for many fair faces in order to draw the very beautiful women. However, particularly amazing and stunning women were not so many, so I have to draw follow the certain thinking in my mind. "

One day, Raphael was taking a walk in the garden leisurely and comfortably, then he suddenly caught a sight of a beautiful and charming girl pollarding the tree branches in the colorful and showy flowers. Raphael was immediately and deeply attracted by her image. He picked the painting brush and created the "The Madonna in the garden." This was a garden's daughter, so it was also called "The beautiful female garden."

About the model of "The Madonna on the throne", there were many complicated and confusing parlances. Raphael's craziness for painting made people laugh when they knew that the sketch was drew on the pie and bucket.

According to the legend, Raphael saw a beautiful young woman holding a lovely child at a banquet. The warm and happy family relationships inspired his creation, he thought that:" This is the Madonna of my heart." He looked around but could not find a paper so he picked a pie on the table and drew the sketch quickly.

The second version of the Madonna was that: one day, Raphael came from Vatican and saw a young woman carrying an adorable child.

"This woman is really beautiful when she is looking at his child fondly." So he immediately hid and observed secretly.

The woman found that Raphael was looking at her attentively soon, she hugged the child gently and gave a peaceful smile. Raphael was so excited and picked the charcoal as painting brush, but where was the paper? There was only an empty bucket, so he turned the bucket over hastily and drew sketch on the bottom of the bucket just in order to capture the charming smile.

The third version of the Madonna was Raphael's lover - Fuernalin.

The identity and name of Raphael's secret lover were like a mystery and made people argue ceaselessly. Some people said she was a prostitute, "Fuernalin" was Italian and the mean was the baker's daughter. Therefore, Fuernalin was not her real name. But it was also said that, Fuernalin was a common nickname the Roman called their lovers at that time. And some people even field studied ancient books and pointed that Marga Lillian was her real name.

Raphael, this famous Italian painter who was known for the Madonna, created countless Madonna, for instance, the Madonna of the pinks, the Alba Madonna and the Madonna of the meadow. And still Madonna of the Goldfinch, also the Sistine Madonna and so on.

Raphael transformed the image of Madonna in the religious themes into a secular and graceful human mother successfully. Therefore, he always showed the innocence and goodness of the girls or song the praises of mother love in society through the Madonna image under his painting brush.

We see the garden of his art. They are like joyful poetry songs one after another. Perhaps, Raphael is enjoying the happy days in his real world at this moment.

What The Peasant Wedding Tells?

The Peasant Wedding is a famous painting by Renaissance painter Pieter Bruegel the Elder. Pieter Bruegel the Elder was a Flemish painter and printmaker well-known for his landscapes and peasant paintings. As a result, he got a name of "Peasant Bruegel". And The Peasant Wedding is one of his best peasant paintings.

The peasant wedding reflects the ordinary and comfortable life, which is full of sincere emotion. In order to make his painting match with simple atmosphere of the countryside, the artist intends to paint the clothes of all the characters in same color and decrease chiaroscuro, even to omit the shadow. Meanwhile it shows the painter's excellent techniques on composition and color layout. He clearly depicts people having meals by using the most modern diagonal composition methods available at the time. The banquet is in a barn in spring. The only one green canopy on the wall which highlights the location of the bride and the master of the house and it also makes the theme clear. Though the banquet seems to be quite ordinary, we can feel its grand and holy atmosphere.

As we can see from the painting, the bride is sitting just under the canopy alone without his husband around her. And where is the groom? Perhaps he is the man who is pouring out beer. Why he is not seated at the table? We can get the answer from the history, the gloom is not allowed to sit at the dining table when the wedding s going on according to the custom contemporary. And what are others doing? There are 2 pipers playing music and a boy eating with satisfaction in the foreground.

Actually, from the whole picture we are not able to feel much joy of the wedding, though the bride is exposed a smile, she still look depressed because of the absence of the groom. There are many people around the table, but most of them look busy or preoccupied. Only the priest is chatting in the corner. The feast seems sumptuous but if we have a closer look, there is only a little food on those plates. Nevertheless, people still eat with relish, kids sitting on the floor sucking their fingers, enjoying the rare delicious food. This reminds us of the hard life peasants have. The painter is just like an outsider, presenting all this to the audience. It tells us that no matter how poor the environment is, people always have the ability to survive.

The Waitress Bocks

Influenced by his impressionist friends, after 1870, Manet gave up the dark color and traditional themes and used light color series, and was interested in themes from the contemporary life. Within these themes, cafe occupied an important position. The whole 19th century was the grand occasion of Paris cafe. There were various kinds of cafe: hotel, beer store and cafe hall offering dance performance for consumers. After a day's work in the studio, the painters would go there to drink wine, smoke a pipe, talk about art or listen to pop hits. There they sometimes met some models. In fact, the cafe was full of different kinds of people from different classes of society. Even though a single woman appeared (the synonym of prostitute), it was barely acceptable.

Like the contemporaries, Manet frequently went to the cafes around his district, whether they were fine or ordinary. These places gave him the creative inspiration of some paintings. He was regular visitor of Hertz Lufen cafe ballroom at the foot of Paris Montmartre and made some sketches showing the customers and performance scene in the cafe. Then, he painted a big painting in the studio. Because he was not satisfied with the painting, so he divided it into two pieces. He made the same theme on another piece of cloth, which was the painting in Orsay museum. The painting also suffered from the same fate, with three edges being cut and only the right side being kept in one's integrity. In order to show the packed, smoky and noisy cafe, the painter made the characters in the painting closer to each other. There were mainly five categories: a waitress, a worker dressed in a blue coat, a bourgeois who people only saw his top hat, a woman, and a female singer.

Their faces were deliberately amputated some part, aiming to give people a kind of impression that this was a fast lens photographs or natural glimpse of arbitrary truncation space. There was only a half of the female singer's body. Even for other impressionist painters, especially Degas also used this technique, which still made people feel weird. In addition to the waitress looking at the audience, other people's eyes turned on the translucent silhouette clearly appearing in the arena. The painter arranged the painting space through the eyes of characters in order to form an opposite relationship between the foreground and background. The figures in the painting were like to be flattened. But the waitress's face, beer cup, pipe, black hat, and branching chandelier were clearly visible throughout a bit hazy composition. In order to activate the atmosphere in the coffee dance hall and the dazzling light, Manet adopted a fast and powerful impressionist style with parallel or cross style coloring, which would not leave any outline border.

This painting was a special witness of Manet's paintings performing modern life scenes. Degas and Renoir mainly portrayed such scenes.

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