Oil painting Artist

Artist Modern impressionism oil painting, artlover and naturelover #ARTWORKS, #artist,#painting,#oilpaintingt

[Oil painting Artist @SilviaKeyArts]

#etsy: Oil painting,oil original painting,oil seascape painting,oil on stretched canvas,Pirates ship,Pirates fire,50x70cm,Handmade by Silvia Key https://t.co/ABtM0glOMy #arte #pintura #azul #diadelaindependencia #giftforhim#giftforher

[Oil painting Artist @SilviaKeyArts]

#OCUPAS https://t.co/TES2XlpBYN

[Oil painting Artist @SilviaKeyArts]

https://t.co/RzqGQXiM9N

[Oil painting Artist @SilviaKeyArts]

@SegaBG Не, националите ни се подиграха с нас. Както винаги, без изненади.....

[Oil painting Artist @SilviaKeyArts]

@peps_bg Браво БЪЛГАРИ ЮНАЦИ-добре,че не съм платил билет, щях да си искам парите.

[Animation Obsessive @ani_obsessive]

Plant designs by Mónica Armiño for Puffin Rock (2015–2016), created by Lily Bernard, Tomm Moore and Paul Young, Cartoon Saloon

Armiño included characters from the series alongside the plants to show scale

[Archaeo - Histories @archeohistories]

Egyptian Blue Pigment - a lost treasure of history :

Egyptian Blue, a pigment that was used in ancient Egypt for thousands of years. It is considered to be the first synthetic pigment. The first recorded use of "Egyptian blue" as a color name in English was in 1809 CE.

Ancient Egyptians held color blue in very high regard and were eager to present it on many media and in a variety of forms. They also desired to imitate semiprecious stones turquoise and lapis lazuli, which were valued for their rarity and stark blue color. Use of naturally occurring minerals such as azurite to acquire this blue was impractical, as these minerals were rare and difficult to work. Therefore, to have access to large quantities of blue color to meet demand, Egyptians needed to manufacture pigment themselves.

Earliest evidence for use of Egyptian blue, identified by Egyptologist Lorelei H. Corcoran of The University of Memphis, is on an alabaster bowl dated to late pre-dynastic period or Naqada III (3250 BC), excavated at Hierakonpolis and now in Museum of Fine Arts, Boston. In Middle Kingdom (2050–1652 BC) it continued to be used as a pigment in decoration of tombs, wall paintings, furnishings, and statues and by New Kingdom (1570–1070 BC) began to be more widely used in production of numerous objects. Its use continued throughout Late period and Greco-Roman period, only dying out in 4th Century AD, when the secret to its manufacture was lost.

No written information exists in ancient Egyptian texts about manufacture of Egyptian blue in antiquity and it was first mentioned only in Roman literature by Vitruvius during 1st Century BC. He refers to it as caeruleum and describes in his work De architectura how it was produced by grinding sand, copper, and natron and heating the mixture, shaped into small balls, in a furnace. Lime is necessary for the production as well, but probably lime-rich sand was used. 

In excavations at Amarna, Lisht, and Malkata at the beginning of 20th Century, Petrie uncovered two types of vessels that he suggested were used in antiquity to make Egyptian blue: bowl-shaped pans and cylindrical vessels or saggers. In recent excavations at Amarna by Barry Kemp (1989), very small numbers of these "fritting" pans were uncovered, although various remaining pieces of Egyptian blue 'cake' were found, which allowed identification of five different categories of Egyptian blue forms and vessels associated with them: large round flat cakes, large flat rectangular cakes, bowl-shaped cakes, small sack-shaped pieces, and spherical shapes.

In 1930s, archaeologists excavated a number of objects related to production of Egyptian blue at Qantir, such as Egyptian blue cakes and fragments in various stages of production, providing evidence that Egyptian blue was actually produced at site. These Egyptian blue 'cakes' possibly were later exported to other areas around the country to be worked, as scarcity of finished Egyptian blue products existed on site. Egyptian blue cakes were found at Zawiyet Umm el-Rakham, a Ramesside fort near Libyan coast, indicating in fact that cakes were traded, and worked at and reshaped away from their primary production site.

Egyptian blue was found in Western Asia during middle of 3rd Millennium BC in the form of small artifacts and inlays, but not as a pigment. It was found in Mediterranean area at end of Middle Bronze Age and traces of tin were found in its composition suggesting use of bronze scrap instead of copper ore as the source of copper. During Roman period, use of Egyptian blue was extensive, as a pot containing the unused pigment, found in 1814 in Pompeii, illustrates. It was also found as unused pigment in tombs of a number of painters. Etruscans also used it in their wall paintings. Chinese blue has been suggested as having Egyptian roots. Later, Raphael used Egyptian blue in his Triumph of Galatea.

#archaeohistories

[Marina Ruiz @MarinaRuiz]

España, rehén de la Agenda 2030.

[José Rodríguez Sojo @UberSojo]

Salgo a la calle esperando encontrarme La Purga tras el #CorteDeLuz

Lo que me encuentro:

[Ángela Navarro Saiz @angnavarroS]

Yo entrando a Twitter como primera acción post vuelta de luz para ver el ingenio de Españita con memes como siempre ante cualquier acontecimiento catastrófico. #CorteDeLuz

[Ale JAJA Jandro @Ale_JAJA_Jandro]

Yo he disfrutado viendo el cielo nocturno sin contaminación lumínica, nunca había visto el cielo así.
#CorteDeLuz

[El Gangoso del Athletic. @ElGangosoDelATH]

Los de la cocina con vitrocerámica e inducción. #CorteDeLuz

[Cold @unsapiensuelto]

Los de coche eléctrico esperando que llegue un autobús #cortedeluz

[David Freeman @F_DaVid_A]

Si algo bueno ha tenido el #apagon #CorteDeLuz ha sido esto:

[Malcolm_Dewey @MalcolmDeweyArt]

Beach Light (gouache) The final glimpse of light on the beach. 𝗦𝗵𝗮𝗿𝗲 𝗮𝗻𝗱 𝘁𝗮𝗴 𝘂𝘀 𝗳𝗼𝗿 𝗮 𝘀𝗵𝗼𝘂𝘁𝗼𝘂𝘁!

[Historia del Arte @historiayarte_]

“Dolce far niente” es una pintura del artista francés Auguste Toulmouche creada en 1877.

[𑁍Güzel Sözler ོ @Enes_Kerem_]

İnsan sevmeli;
Bazen bir insanı
Yahut da bir ağacı
Ya da kanadı kırık bir kuşu…
Zaten sevmezse insan, insan mı olur?
🪶Cahit Zarifoğlu

Felaketleri bile ülkeye göre kategorize edenler;
ruhları kapkara
vicdanları sakat
akılları da kıt birer hastadır.

#CaliforniaWildfires 🔥😔

[Richard Claremont @RClaremont]

The city wakens over inner west rooftops. There’s something magical about this quiet moment before the world stirs… 🌅✨
“Morning City Skyline”, 40X40cm, acrylic on board.

#CityAtDawn #MorningGlow #CityscapeArt #QuietMoments #AustralianArtist #richardclaremont

[Richard Claremont @RClaremont]

Christmas on the South Coast. A break in the clouds, a burst of sunshine, and a reminder that an Aussie Christmas is all about light, colour, and those warm summer breezes.🎄
“Sunny Break, South Coast”, 60X60cm, oil on board.

☀️🌊 #AussieChristmas #SouthCoastViews #SunnyBreak

[Archaeo - Histories @archeohistories]

Hidden Painting of the Church of Saint George Maggiore, discovered during restoration, at the end of 2022 during the holidays, the canvas hidden in the Church of San Giorgio Maggiore, one of the first four churches built in Naples which represents a peculiar testimony of paleochristian art. There are two paintings here, both are from 16th Century AD, both paintings are behind the alter, one is "Life of San Severo" hidden one is "St. George and the Dragon" (mural) it's in Naples, Italy.

Church of San Giorgio Maggiore, a street traced by the footprint of the art, and explore the ancient Church of San Giorgio Maggiore, named after the warrior martyr. This saint is one of the most impressive Christian figures, which links to the imaginative myth of the Dragon; an emblem of the infinite struggle between good and evil.

The basilica was built by the will of Bishop Saverio of Naples between the end of 4th and the beginning of the 5th Century AD. Behind the main altar wrapped in a semicircle of white columns, you can admire two masterpieces of Neapolitan painting of the sixteenth century. The two majestic canvases which are harmoniously arranged facing each other were painted by Alessio D’Elia. The canvas on the left side represents the “life of San Severo” while the one on the right side depicts the battle of "St. George and the Dragon."

It is just behind the second one that lurks the surprising painting depicting the same subject. A sturdy chassis with hinges on which D'Elia's canvas is situated, moves through a rope like a massive book that opens and reveals the magnificent painting behind.

The hidden fresco which is still intact today, has been brought to light by a recent restoration. Its colours are still brilliant. Aniello Falcone realized it around 1645 AD, and its artistic value astonishes. The work has an intense emotional charge and a striking impact. It brings the spectator back to the fairy-tale atmospheres of the medieval myth. Anyway, why was it hidden for all this time?

The protagonist of the scene is the white horse that is driven by the hardened warrior San Giorgio, who pierces the monstrous creature with a sharp lance pointing straight at its mouth. The dragon seems like an extraordinary beast of pure fantasy fighting the warrior. Below its feet, we can see its meal: young innocents reduced to carcasses. In the background, a woman flees in fear. Killing the dragon, San Giorgio saves the king's young daughter, who was about to be sacrificed to the immoderate creature and he frees the Libyan population of Selem from his lashes.

🎥© @alessandroscarano.it

#archaeohistories