1617 circle of William Larkin - Portrait of Elizabeth Honeywood

Mistress Quickly is one of Shakespeare's funniest reoccurring characters, appearing in in 'The Merry Wives of Windsor', 'Henry IV' and 'Henry V'.

“There is an outer world of violent chaos, and an inside world that is the paradise of being an artist.”

Louise Rayner 1832-1924 Engeland

Influenced by French modernists like Henri Matisse and the Post-Impressionists, Prudence Heward’s paintings of woman are un-idealised. Read about her innovative style.

I think that many people should already know my work called “Poltrona di Proust”. It is a romantic baroque armchair, on which an endless number of polychromatic points are painted by hand using the pointillism technique. These points invades the whole armchair, its fabric and also the wooden decorations. It’ s a re-design work. It is, in fact, the collage of a mock-ancient armchair and of a detail from the garden by the French painter Signac. From 1978 onwards the “Poltrona di Proust” was realised in many versions, different in colours, materials and dimensions and was even made of ceramics and bronze. It travelled all around the world and was hosted in many museums. Now a real unexpected news. A paradox becoming true. Now the “Poltrona di Proust” has become an industrial rotational-moulded object. Here’s the new armchair “Magis Proust”. It is a technical and production gem. A new energy of colours and atmospheres for a timeless object. Suitable for outdoor use. Material: Polyethylene Suitable for outdoor use. Size: H 105 cm, Seat H 39 cm, Arm H 67 cm, W 104 cm, Depth 90 cm

風流荘風雅屋の画像

Pierre Adolphe Valette (1876 – 1942) was a French Impressionist painter. His most acclaimed paintings are urban landscapes of Manchester, now in the collection of Manchester Art Gallery. Today, he is chiefly remembered as the painter L. S. Lowry’s tutor. Born in St Etienne in 1876, he trained at the Ecole Municipale de Beaux-Arts et des Arts Decoratifs in Bordeaux. He arrived in England for unknown reasons in 1904 and studied at the Birbeck Institute, now part of the University of London. In 1905 he travelled to the North West of England where he designed greetings cards and calendars for a Manchester printing company. He attended evening classes at Manchester Municipal School of Art and in 1907 he was invited to join the staff as a teacher. His French teaching style, painting by demonstration, was new to the United Kingdom. Lowry expressed great admiration for Valette, who taught him new techniques and showed him the potential of the urban landscape as a subject. He called him "a real teacher … a dedicated teacher". Lowry added: "I cannot over-estimate the effect on me of the coming into this drab city of Adolphe Valette, full of French impressionists, aware of everything that was going on in Paris." In 1920 Valette resigned from the Institute owing to ill health. He stayed in Lancashire for eight more years, teaching privately and painting in Manchester and Bolton. In 1928 he returned to Paris, and subsequently moved to Blacé en Beaujolais where he died in 1942. Valette's paintings are Impressionist, a style that suited the damp fogginess of Manchester. Manchester Art Gallery has a room devoted to him, where the viewer may compare some of his paintings with some of Lowry's, and judge to what extent Lowry's own style was influenced by him and by French Impressionism generally. Biographical notes adapted from Wikipedia This is part 1 of a 2-part post on the works of Adolphe Valette: Adolphe Valette 1908 Manchester Ship Canal and Warehouses Adolphe Valette 1908 Manchester Ship Canal Adolphe Valette 1909 Windsor Bridge on the Irwell oil on jute 50.4 x 61.1 cm Manchester City Galleries, UK Adolphe Valette 1909-11 Study of a 'Cab at All Saints' oil on board 21.9 x 28.8 cm Manchester City Galleries, UK Adolphe Valette 1911 Old Cab at All Saints, Manchester oil on jute 115.5 x 155.3 cm Manchester City Galleries, UK Adolphe Valette 1910 Albert Square, Manchester oil on jute 152 x 114 cm Manchester City Galleries, UK 1901c Study for "Albert Square" oil on board 26 x 16.5 cm Adolphe Valette 1910c Study for "Albert Square" oil on board 14.5 x 23 cm Manchester City Galleries, UK Adolphe Valette 1910c Study for "Albert Square'" oil on board 31.6 x 24 cm approx Manchester City Galleries, UK Adolphe Valette 1910c Study for "Albert Square" oil on cardboard 12 x 15.5 cm Manchester City Galleries, UK Adolphe Valette 1910c Study for Base of Statues, "Albert Square" oil on board 8 x 15 cm Manchester City Galleries, UK Adolphe Valette 1910 Hansom Cab at All Saints oil on jute 115.5 x 155.3 cm Manchester City Galleries, UK Adolphe Valette 1910 Oxford Road, Manchester oil on canvas 127.4 x 101.5 cm Manchester City Galleries, UK Adolphe Valette 1910-11 Central Station oil on panel Manchester City Galleries, UK Adolphe Valette 1912 Annie Barnett oil on board 39.5 x 46.9 cm Manchester City Galleries, UK Adolphe Valette 1912 Bailey Bridge, Manchester oil on jute 155 x 115 cm Manchester City Galleries, UK Adolphe Valette 1912 Castlegate, Salford oil on canvas Manchester City Galleries, UK Adolphe Valette 1912 India House, Manchester oil on jute 142.4 x 86.1 cm Manchester City Galleries, UK Adolphe Valette 1912 Still Life, Fruit oil on canvas 44 x 75 cm Stockport Heritage Services, UK Adolphe Valette 1912 Under Windsor Bridge on the Irwell, Manchester oil on jute 48.2 x 61 cm Manchester City Galleries, UK Adolphe Valette 1912c Self Portrait Study oil on canvas mounted on board 60.8 x 48 cm Manchester City Galleries, UK Adolphe Valette 1913 York Street Leading to Charles Street, Manchester oil on linen 81.3 x 60 cm Manchester City Galleries, UK Adolphe Valette 1916 Romiley oil on board 13.5 x 15 cm University of Salford, UK Adolphe Valette 1916 Still Life oil on canvas 49 x 64 cm Salford Museum and Art Gallery, UK Adolphe Valette 1917 Flowers and Fruit oil on canvas 49.8 x 58.8 cm Manchester City Galleries, UK Adolphe Valette 1917c Self Portrait oil on linen 45 x 60.4 cm Manchester City Galleries, UK Adolphe Valette 1918 May Aimee Smith oil on panel 55.5 x 38.1 cm Manchester City Galleries, UK Adolphe Valette 1919 John Henry Reynolds oil on canvas 81.7 x 56.2 cm Manchester City Galleries, UK Adolphe Valette 1920-42 Le Puy oil on canvas 14.6 x 23 cm Manchester City Galleries, UK Adolphe Valette 1922 Figures by a Fence oil on board 15 x 23 cm University of Salford, UK Adolphe Valette 1925 Rowley Smart oil on panel 66.3 x 55 cm Manchester City Galleries, UK Note: I do not have dates for the following works: Adolphe Valette Beach at Llandulas, North Wales oil on board 12.7 x 17.8 cm Adolphe Valette Buildings and Canal, Dusk oil on board 16.6 x 24.1 cm Adolphe Valette E. H. Mooney oil on canvas 40.4 x 32.8 cm Manchester City Galleries, UK Adolphe Valette Farm at Blace Adolphe Valette Girl at her Toilet oil on millboard 40.1 x 32.3 cm Manchester City Galleries, UK Adolphe Valette Llandudno Adolphe Valette Manchester Ship Canal Adolphe Valette Manchester Street in Fog Adolphe Valette Manchester Suburban View Adolphe Valette Peasants Going Home Adolphe Valette Portrait of Ahmed Loufti Adolphe Valette Vineyard Worker

Prudence Heward’s unflinching portrait of a woman on a rocky shore received negative reviews when it was exhibited, its subject and style too modern for Canadian critics.

Sofonisba Anguissola - Infantas Isabella Clara Eugenia and Catalina Micaela [1570] Windsor castle, Royal Collection UK

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View Mary Rosamond Anstruther (1877–1958), Mrs Edward Windsor Hussey by James Jebusa Shannon and other Artworks on Artvee

Artwork description by the museum's website (© - Yale Center for British Art - britishart.yale.edu) English: "Windsor from Eaton," by the British painter Sir Augustus Wall Callcott. Oil on canvas, 1808-1809. 29 1/2 inches x 44 1/4 inches (74.9 cm x 112.4 cm). Courtesy of the Paul Mellon Collection, Yale Center for British Art, Yale University, New Haven, Connecticut. Background data about the piece of art Work of art title: "Windsor from Eton by Augustus Wall Callcott" Artwork classification: painting Museum: Yale Center for British Art Museum location: New Haven, Connecticut, United States of America Website of the museum: britishart.yale.edu Artwork license type: public domain Courtesy of: Yale Center for British Art & Wikimedia Commons The artist Name: Augustus Wall Callcott Aliases: Calcots Augustus Wall, Calcot Augustus Wall, sir augustus callcott, Callcot, Augustus Wall Callcott, Callcott Augustus Wall Sir, Calcots, Augustus Wall Collcott, Collcott Augustus Wall, Calcot, Callcott Sir A., Callcott, A.W. Callcott R.A., Callcott Sir Augustus Wall, Augustus Wall Calcott, Calcott R.A., Augustus Wall Calcots, Callcott Sir, Sir A.W. Callcott, A.W. Callcott R.A, Collcott, Callcott Augustus Wall, Calcott Gender: male Nationality: British Professions of the artist: painter Country: the United Kingdom Age at death: 65 years Born in the year: 1779 Place of birth: London, Greater London, England, United Kingdom Year of death: 1844 Died in (place): London, Greater London, England, United Kingdom Article specs Article type: wall art Reproduction method: digital reproduction Production technique: UV direct printing Production: Germany Stock type: on demand production Intended usage: wall art, wall decoration Alignment of the image: landscape alignment Image ratio: 3 : 2 Image ratio meaning: the length is 50% longer than the width Available options: metal print (aluminium dibond), poster print (canvas paper), canvas print, acrylic glass print (with real glass coating) Canvas on stretcher frame (canvas print) size variants: 30x20cm - 12x8", 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Acrylic glass print (with real glass coating) options: 30x20cm - 12x8", 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Poster print (canvas paper) options: 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Aluminium dibond print size options: 30x20cm - 12x8", 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Framing of the artprint: without frame Available material options For every fine art print we offer different materials & sizes. In order match your personal requirements perfectly, you can choose among the following product customization options: Acrylic glass print (with real glass coating): The print on acrylic glass, often described as a UV print on plexiglass, transforms your chosen original artwork into beautiful décor. Your work of art will be printed with the help of state-of-the-art UV print technology. The major advantage of an acrylic glass print is that contrasts plus small color details become more identifiable due to the very fine tonal gradation. The acrylic glass protects your selected art replica against sunlight and external influences for up to 60 years. Aluminium print (aluminium dibond): Aluminium Dibond prints are metal prints with an outstanding depth. A non-reflective surface creates a contemporary impression. A direct Aluminium Dibond Print is your best introduction to fine art replicas with aluminum. The white and bright components of the work of art shimmer with a silk gloss, however without glow. The colors of the print are luminous and bright, details are crisp, and you can literally feel the matte appearance of the fine art print. The canvas print: The canvas print is a printed cotton canvas stretched on a wooden stretcher. The advantage of canvas prints is that they are relatively low in weight, which means that it is easy and straightforward to hang up the Canvas print without any wall-mounts. A canvas print is suited for any type of wall. Poster print (canvas material): A poster is a UV printed sheet of canvas paper with a fine texture on the surface. Please note, that depending on the absolute size of the poster we add a white margin of approximately 2-6cm around the work of art to facilitate the framing with your custom frame. The print product offering The work of art Windsor from Eton by Augustus Wall Callcott was made by the master Augustus Wall Callcott. Today, this artpiece is part of the Yale Center for British Art's digital collection. The public domain work of art is being included with courtesy of Yale Center for British Art & Wikimedia Commons.The creditline of the artpiece is: . On top of that, alignment of the digital reproduction is in landscape format and has a side ratio of 3 : 2, meaning that the length is 50% longer than the width. Disclaimer: We do our utmost in order to depict our art products as closely as possible and to showcase them visually in our shop. Nonetheless, the pigments of the print products and the print result might differ to a certain extent from the image on the device's screen. Depending on your screen settings and the nature of the surface, colors can unfortunately not be printed 100% realistically. Because the art reproductions are processed and printed by hand, there may as well be minor differences in the motif's exact position and the size. 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Oil on board; 141 x 90.2 cm. Annigoni was born in Milan. He studied at the Accademia delle Belle Arti in Florence, taking classes in painting, sculpture and engraving. Basing his style on the Italian old masters he studied their techniques, learning the art of 'oil tempera' under the Russian painter, Nikolai Lokoff. Initially Annigoni's success was limited to Italy where his sharply evocative landscapes were very popular. In 1947 along with Gregory Sciltian, the brothers Antonio and Xavier Bueno, and others, he signed the manifesto of the 'Modern Realist Painters', coming out in open opposition to abstract art. Alone among the signatories Annigoni remained true, both aesthetically and ethically to the doctrines of the manifesto. His art was brought to the attention of the British public when, in March 1949, the Royal Academy accepted some of his works for the annual exhibition and the move from relative obscurity to instant recognition came in 1954 when he received a commission to paint the young Queen Elizabeth II. The commission from the Worshipful Company of Fishmongers brought instant fame. Crowds flocked to see the painting when it was exhibited at the Royal Academy in London and a limited-edition print published by The Times was fully subscribed. Sir Alfred Munnings, former President of the Royal Academy, declared Annigoni to be 'the greatest painter of the age'. This painting was followed by a portrait of the Duke of Edinburgh and another of Princess Margaret in 1957. In typical style the portrait is painted in immense detail, with the Princess depicted amongst the roses evocative of her name. The fabric of her cloak is reminiscent of the religious frescoes he painted as a younger man, imbuing the portrait with a magical, ethereal quality. Annigoni remained a prominent artistic personality until his death in Florence in 1988, his paintings a powerful evocation of the great Renaissance tradition.

Barry Windsor-Smith-Rune

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