I used to go with Watson to call on the eminent neurologist at his apartment, to sit among the doctor's excellent collection of statues, paintings, and books and drink Oriental coffee while Watson seemed to thaw out and become almost affable.

He himself was once convicted of painting erotica and jailed for 24 days -- the first three of which he spent desperately trying to make paintings on the wall with his own spittle.

`` Meet the Artist '' is the invitation issued by members of the Greater Philadelphia Section of the National Council of Jewish Women as they arrange for an annual exhibit and sale of paintings and sculpture at the Philmont Country Club on April 8 and 9.

Sloan created such works for newspaper supplements before syndication threw him out of a job and sent him to roam the streets of New York, thereby building for America an incomparable city survey from paintings of McSorley's Saloon to breezy clotheslines on city roofs.

you saw one of his paintings on the cover of one or another of the slick national magazines every month.

I had studied with Burns ten years before, during the scholarship year the Manhattan gave me, along with the five-hundred-dollar prize for my paintings of bums on Hudson Street.

Other new artistic currents including the one of M ' hamed Issiakhem, Mohammed Khadda and Bachir Yelles, appeared on the scene of Algerian painting, abandoning figurative classical painting to find new pictorial ways, in order to adapt Algerian paintings to the new realities of the country through its struggle and its aspirations.

While Renaissance artists sought nature to find their style, the Mannerists looked first for a style and found a manner. In Mannerist paintings, compositions can have no focal point, space can be ambiguous, figures can be characterized by an athletic bending and twisting with distortions, exaggerations, an elastic elongation of the limbs, bizarre posturing on one hand, graceful posturing on the other hand, and a rendering of the heads as uniformly small and oval.

Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve ( 1507 ), The Martyrdom of the Ten Thousand ( 1508, for Frederick of Saxony ), Virgin with the Iris ( 1508 ), the altarpiece Assumption of the Virgin ( 1509, for Jacob Heller of Frankfurt ), and Adoration of the Trinity ( 1511, for Matthaeus Landauer ).

Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominately in private collections located in only a few cities.

The remains of Altdorfer's surviving work comprises 55 panels, 120 drawings, 125 woodcuts, 78 engravings, 36 etchings, 24 paintings on parchment, and fragments from a mural for the bathhouse of the Kaiserhof in Regensburg.

Few of his other paintings resemble this apocalyptic scene of two huge armies dominated by an extravagant landscape seen from a very high viewpoint, which looks south over the whole Mediterranean from modern Turkey to include the island of Cyprus and the mouths of the Nile and the Red Sea ( behind the isthmus to the left ) on the other side.

The Battle is now in the Alte Pinakothek, which has the best collection of Altdorfer's paintings, including also his small St. George and the Dragon ( 1510 ), in oil on parchment, where the two figures are tiny and almost submerged in the lush, dense forest that towers over them.

Another small oil on parchment, Danube Landscape with Castle Wörth ( c. 1520 ) is one of the earliest accurate topographical paintings of a particular building in its setting, of a type that was to become a cliché in later centuries.

There is evidence of Neolithic and even Paleolithic paintings in caves on Levanzo, and to a lesser extent on Favignana.

Even Arnold Houbraken, a noted historian of Dutch Golden Age paintings and the sole authority on Cuyp for the hundred years following his death, paints a very thin biographical picture.

The development of Aelbert Cuyp, who was trained as a landscape painter, may be roughly sketched in three phases based on the painters who most influenced him during that time and the subsequent artistic characteristics that are apparent in his paintings.

While it is assumed that the younger Cuyp did work with his father initially to develop rudimentary talents, Aelbert became more focused on landscape paintings while Jacob was a portrait painter by profession.

Their converging styles make it difficult to exactly understand the influences each had on the other, although it is clear enough to say that Aelbert started representing large scale forms ( something he had not done previously ) and placing animals as the focus of his paintings ( something that was specific to him ).

Cuyp ” insignia, many paintings were left unsigned ( not to mention undated ) after being painted, and so a similar signature was added later on, presumably by collectors who inherited / discovered the works.

Conversely, paintings which came out of his workshop that were not necessarily physically worked on by Cuyp but merely overseen by him technically, were marked with A. C. to show that it was his instruction which saw the paintings ’ completion.

Cuyp ’ s pupils and assistants often worked on paintings in his studio, and so most of the work of a painting could be done without Cuyp ever touching the canvas, but merely approving its finality.

Though using both flat wooden panel and stretched canvas paintings, Catholics traditionally have also favored images in the form of three-dimensional statuary, whereas in the East statuary is much less widely employed.

The 14th-century wooden ceiling of the cloister of Fréjus Cathedral has a remarkable series of paintings of biblical scenes, fantastic animals, and scenes from daily life, painted between 1350 and 1360.

According to Lewis, " he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk — its wooden buildings faceted in the Delaunay manner — are the most lighthearted of his career ".

It also serves prominence in workmanship in paintings, ceramics, fabrics of batique and wooden works.

Both evoke Byzantine tradition in terms of their medium, that is, the technique and materials of the paintings, in that they were originally painted in tempera ( egg yolk and ground pigments ) on wooden panels.

Gothic and Renaissance stained glass windows and mural paintings, as well as a wooden and painted ceiling.

The temple also holds several official treasures including a realistic wooden carving of a monk and interesting Buddhist paintings, stone pagodas, and lanterns.

Raigo ( Descent of the Amida Buddha ) paintings on the wooden doors of the Hō-ō-dō are often considered an early example of Yamato-e, Japanese-style painting, because they contain representations of the scenery around Kyōto.

Although dangerous and unpopular, the bridge was the last surviving wooden bridge on the Thames in London, and was the subject of paintings by many significant artists such as J. M. W. Turner, John Sell Cotman and James McNeill Whistler, including Whistler's Nocturne: Blue and Gold – Old Battersea Bridge, and his controversial Nocturne in Black and Gold – The Falling Rocket.

This cathedral contains a series of paintings built into the church's wooden panelling depicting the Martyrologium Romanum.

The interior of the building was sumptuously decorated with frescos, tapestries, paintings, sculptures and wooden ceilings.

The artwork inside the church include the famous mural paintings by the Master of Taüll ( contained in the different apses and the keys of the arches ), as well as the wooden alter frontal.

It has around 8, 200 residents, The faces of the church's wooden angels bear the scars of the English Civil War, as none of the angels retain their original facial detail, due to religiously motivated vandalism by puritan soldiers In early 2009, the church received a large grant from the Heritage Lottery Fund and local organisations to restore its rare medieval wall paintings.

The refurbishments included a gallery of fine paintings, several large apartments and a grand staircase of Portland stone ; the intricate wooden banister is thought to have been added by Sir John Kelk.

This is where one can admire the chapel-like structure of the late Gothic ‘ Úrkoporsó ’ ( Lord's coffin ) from Garamszentbenedek that is decorated by painted wooden sculptures ( c. 1480 ), the winged altar-piece by Thomas of Coloswar ( 1427 ), paintings by Master M. S.

Other surviving van Eyck signatures are painted in trompe l ' oeil on the wooden frame of his paintings, so that they appear to have been carved in the wood.

The Freer houses over 25, 000 objects spanning 6, 000 years of history, including but not limited to ancient Egyptian stone sculpture and wooden objects, ancient Near Eastern ceramics and metalware, Chinese paintings and ceramics, Korean pottery and porcelain, Japanese folding screens, Persian manuscripts, and Buddhist sculpture.

In 1480 the Confraternity of the Immaculate Conception contracted Giacomo del Maino to create a large wooden altarpiece with spaces for paintings and with carvings and decoration, to be placed above the altar of the chapel.

The portal on the left face of the church, in splendid 15th century Gothic-Catalan style, probably came from the old Town Hall, destroyed by the earthquake in 1693 ; in the interior there are late 18th century stuccos and a wooden ceiling by Natale Bonaiuto, as well as two paintings ( The Martyrdom of St. Laurence and the Madonna delle Mercede ) by Filippo Paladini ( or Paladino ), born in Florence about 1544.

In 1653, all wooden ceilings turned out to be bad and had to be replaced in the following years, so that precious paintings placed on them got lost.

The Maestà was often executed in fresco technique directly on plastered walls or as paintings on gessoed wooden altar panels.

On the first floor the medieval and modern art section, with works of Abruzzese artists of the centuries 13-17th such as: the Polyptich by Jacobello del Fiore ; a Processional Cross by Nicola da Guardiagrele, a group of wooden and terracotta sculptures such as St. Sebastian work of Silvestro dell ' Aquila ; then paintings by Flemish and Roman and Neapolitan artists such as Sebastiano Conca, Bedeschini, Francesco Solimena, Francesco de Mura ; finally the contemporary art section with such artists as M. Vaccari, Renato Guttuso, V. Guidi, G. Capogrossi, O. Tamburi, R. Brindisi.

These include fragmentary wall paintings showing flowers, animals and Biblical scenes, and a largely complete decorative scheme on the wooden ceiling.

It has a baroque façade and contains a beautiful wooden statue of St. Michael ( 1400 ), as well as paintings of Pietro Antonio Ferro and Andrea Vaccaro.