Archive for the Category »Painting «

Aug
07
RozArt Floral #34

RozArt Floral #34

Every once in a while, I like to wander around Etsy, and see what all of the wonderful artists and craftspeople there are up to.  Recently I found an amazing oil painter who goes by the name RozArt.  She’s been a professional artist for more than 20 years, and the color and texture in her paintings, and the obvious talent and vision of the artist, are remarkable.  She also has a site of her own that showcases more of her work.

She likes to paint animals, especially cows and roosters, flowers, and also happy people leaping through the air.  I found the colors in her art to be so vibrant and expressive, and her skillful use of the medium gives her paintings a wonderful tactile quality.  Here are a few of her works for you to enjoy.  Stop by her Etsy shop or site if you’d like to see more, and to see larger images.

RozArt Rooster #349

RozArt Rooster #349

RozArt Koi #22

RozArt Koi #22

RozArt Quail #9

RozArt Quail #9

RozArt Cow #138

RozArt Cow #138

RozArt Dancer #3

RozArt Dancer #3

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Jul
12
Michelangelo (Michelangelo Buonarroti) (Italian, Florentine, 1475–1564) The Torment of Saint Anthony, ca. 1487–88 Oil and tempera on wood; 18 1/2 x 13 3/4 in. (47 x 34.9 cm) Kimbell Art Museum, Fort Worth, Texas www.metmeseum.org

Michelangelo (Michelangelo Buonarroti) (Italian, Florentine, 1475–1564) The Torment of Saint Anthony, ca. 1487–88 Oil and tempera on wood; 18 1/2 x 13 3/4 in. (47 x 34.9 cm) Kimbell Art Museum, Fort Worth, Texas www.metmuseum.org

The Metropolitan Museum in New York City has a special exhibit running through September 7, 2009 of Michelangelo’s First Painting.  If you are at all able to check it out in person, I would urge you to do so, but for those of us who can’t get there, the Met’s site has a fascinating synopsis of the exhibition.

Michelangelo’s first painting, The Torment of Saint Anthony, which he made around 1487-1488 when he was only 12 or 13 years old, was his copy of an engraving made by Martin Schongauer.  It is not a precise copy, however, as Michelangelo made his own adjustments to the composition and color palette.

In addition to the painting getting a thorough, much-needed cleaning by the Met’s staff, digital infrared reflectography was used to reveal Michelangelo’s preliminary drawing beneath the paint, and thus the process that Michelangelo used to execute his own rendition of Schongauer’s engraving.  All of this cleaning and investigation is carefully documented in the Met’s exhibit, and on its site.  In addition, you can access a podcast or audio file detailing the exhibit via the Met’s site as well.

This exhibit is only one of many interesting and well-documented exhibits described on the Met’s site, which proves to be a great place to explore.

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