How Drawing And Driving Are Alike

Drawing hasn’t been the same since B. Edwards published her 1979 book Drawing on the Right Side of the Brain, in which she refutes the mythology that the ability to draw is a genetic gift and proves it is a global skill, much like driving, that once learned is known for life. According to Edwards, drawing requires five basic skills of perception: edges, spaces, relationships, lights and shadows, and the whole, or gestalt (meaning the ability to perceive the character, or essence, of the subject). Edwards has since revised the book twice and believes as strongly as ever that, as she said recently, “Anyone of a sound mind can learn to draw well.”
Not everyone agrees with her premise, namely many art educators and neuroscientists, but Edwards claims it “simply works.” She first encountered the idea while teaching art at Venice High School in Venice, California, near Los Angeles, in the late 1960s. She had trouble understanding why her students had such difficulty learning how to draw, no matter what techniques she used. When questioned, the students would say, for example, that they could see that in the still life the apple was in front of the glass, but they didn’t know how to represent it in a drawing. One day, on impulse, she asked them to copy a Picasso drawing upside down. To everyone’s surprise, the drawings were excellent; the students claimed it was because they didn’t know what they were drawing.

“Completed baffled,” as she says, by this response, Edwards became intrigued by the research of Roger W. Sperry, a neuroscientist who had investigated human brain-hemisphere functions. His finding that the brain uses two fundamentally different modes of thinking, one verbal, analytical, and sequential (left side) and one visual, perceptual, and simultaneous (right side), led Edwards to theorize that the brain shifts from one mode to the other when drawing, and that drawing well is primarily a matter of accessing the part of the brain best suited to that activity. “Sperry’s research provided an explanation for my own experience in the classroom,” Edwards points out. “I noticed in myself that I couldn’t talk to anyone while I was drawing, and I didn’t want anyone to talk to me. From my students, besides their perceptual difficulties, I noticed that they drew childlike symbols related to the names of the objects–a symbolic vase, a symbolic daisy–and then they were disappointed when those things didn’t look like what they Were seeing.” Edwards began to see how language, centered in the left side of the brain, interferes with drawing, which requires the visually oriented right side.

In first discussing Sperry’s ideas with her students, Edwards recalls they soon stopped saying they had no talent for drawing. “They felt freer to try new ways of seeing,” she comments. As she experimented with exercises that focused on the perceptual skills of the right side of the brain, the students’ drawings improved rapidly. “The question of whether they had an inborn talent dropped out, and they learned how to draw,” Edwards asserts. She began to think of learning to draw in the same terms as learning how to read. “The myth that if your mother can draw then you can is like saying that if your mother can read then you can because you’re lucky enough to have inherited the genes. If we regarded reading as we do drawing, we would spread books around a room and see which kids picked them up. We would provide materials but teach no basic skills. In my classes, I assumed that if I gave the students proper instruction, all of them would learn to draw, and this proved to be true.”
Today, Edwards conducts workshops across the country and has just produced an instructional video accompanied by a portfolio that includes all the art supplies and tools for the exercises she prescribes. Edwards’ instruction is not about drawing techniques, but about acquiring the perceptual skills to see as an artist sees, “not naming or categorizing what’s there,” she adds, “but actually seeing what’s there.” The workshops are for people who have never learned to draw and also for people in nonart-related fields who want to find more creative ways of solving problems. As Edwards writes in her second revised version of the book, “My hope is that Drawing on the Right Side of the Brain will help you expand your powers as an individual through increased awareness of your own mind and its workings.”
The exercises Edwards teaches are cumulative, structured in a similar format to learning how to drive. “As in driving you learn how to brake and steer and the rules of the road until they are integrated into a smoothly running skill, in my workshops we teach all the requisite skills for drawing and build upon them,” she says. After some warm-ups to get acquainted with the materials, the first exercise is a contour drawing. “We use contour drawing as a way to get people to slow down and observe complex details,” Edwards continues. She explains that if a person is forced to linger and look at an object, the left hemisphere of the brain becomes bored. “As the dominant verbal side, it insists that it’s already named what you are looking at,” she says, “and you should move on. If you persist, it rejects the task.” As a result, the right hemisphere takes over and the person begins to see the subject with an acute clarity. This experience permanently changes one’s ability to see in the way an artist sees, and the skills of seeing and drawing progress rapidly. The other exercises teach students how to draw negative spaces and choose a “basic unit” for sizing proportions, the mechanics of sighting, rendering lights and shadows, and how to perceive the gestalt of the subject, which is the culmination of the first four skills.
For most of Edwards’ students, the most difficult exercises are the ones on Sighting, which encompasses perspective and proportion. “As in learning to read or write,” says Edwards, “you can’t leave out grammar. Perspective and proportion are comparable in terms of how important they are in learning to draw realistically.” Edwards tackles these difficult lessons with tools that help clarify the concepts, such as a plastic picture plane with crosshairs and a viewfinder. She also gives students a proportion finder, which is shaped like a wrench with a movable jaw that is used for taking sights, and an angle finder, two pieces of plastic fastened with a brad that can be adjusted for accurate measurements. “Eventually students discard the tools,” explains Edwards, “but sighting is a terrifically complicated skill and the tools help them overcome the initial obstacles.”
Despite her success, Edwards has faced severe criticism from some art educators. They claim that she is not teaching art, but just realistic drawing, mining a child’s creativity. Responding with an unequivocal “Nonsense!” she asserts that nothing in the history of art substantiates such an argument. “It’s only been in our century that a person who knows nothing about drawing can become a renowned artist,” she says. “It’s my view, and many others, that the truly great artists of the 20th century, such as Picasso and De Kooning, were masters because of their classical training in drawing. I think criticism from the art education bureaucracy is founded on the fact that many art teachers themselves don’t know how to draw well because realistic drawing skills have not been taught for 30 years.” Edwards points out that she feels this is evidenced in the dozens of art teachers who have taken her course to acquire or repair these basic skills. As for her justification for basing her instruction on realistic drawing, she says that doing so provides a check for how well students perceive what’s in front of them. Later, these skills can be translated into nonobjective and abstract art. “Students can move into any field–sculpture, photography, design–if they have basic perceptual skills,” she adds. “If they don’t, their choices are much more limited.”
Criticism has also come from neuroscientists. “They become very disturbed when educators like myself take research and develop educational sequences from it,” Edwards says. “They believe that since I’m not a scientist I cannot do that, but my argument is that my application of Sperry’s work explains how the processes of the brain relate to drawing.” Edwards, in fact, hopes that scientists will conduct more research to find out precisely why her approach is so effective.

An educator herself, with doctoral degrees in art studies, education, and the psychology of perception, Edwards holds strong opinions on art education and how it is failing students. “The symbolic drawing of childhood has a function with language acquisition,” she asserts. “I do not recommend teaching perceptual skills at age 3. Kids should be encouraged to do symbolic drawings as long as they are still interested in them. Around 9 or 10, however, they want things to look real. They yearn to depict three-dimensional space.” Edwards believes that if children are taught the perceptual skills they need as they mature, they will continue drawing and using the skills as part of their thinking strategy. “If we never taught them to read, they would try tirelessly and then just give up,” she contends. “Without teaching perceptual skills, the same thing happens. We are not meeting their needs.”

Edwards’ ideas on how the brain functions while drawing is important for artists to consider because it suggests ways of maximizing creativity. “The best art is done when the skills are on automatic and the right hemisphere of the brain is doing the work,” Edwards says. “The job of the professional artist is to remember this and set up conditions that allow the mental shift to take place. This often means working alone and without time pressure. It also means that you set up routines that get you into the painting mode. Bring the process up to a conscious level so that you don’t occasionally suffer from artists’ block, which is the left hemisphere having you in its grip, telling you to phone the gas company and balance the checkbook. If you work out a routine and have faith that it will work, you will accomplish a lot. It’s about taking control of your brain.”
Edwards was pleased when the publisher of her book asked her to revise it for a new edition. Over the past 20 years that she’s led the workshops, she’s devised new teaching techniques, recorded observations, and collected data. All this helped to reline and further substantiate her initial theory, making her case for the right side of the brain even more convincing. “Most artists know what I’m talking about at a gut level,” she says. “They’ve experienced it.” And now so have others who may have always wanted to be more artistic, but thought they had no talent. “Teaching drawing has never lost its charm,” says Edwards. It’s easy to see why.

Five Tips In Doing Clown Face Paint Designs

Clowns have been around since the earliest times. In ancient Greece clowns, also known as court jesters were kept around for the kings amusement. Their only purpose was to make people laugh. And even up to now their role has not changed. The primary role of a clown is still to entertain. We see them at community fairs, in amusement parks and at carnivals in bright clothes and loud make-up still trying to amuse.

In case you have ever wondered how on earth clown faces are created, here are five tips to consider in doing a clown face design.

First, know that painting a clown face design is not rocket science. It is actually pretty simple, especially if you focus on the essential elements. A traditional clown has a white face as the base, but do not limit yourself to this color. You can use a multitude of colors depending on your preference. White can be replaced with other pastel colors like pale yellow or orange. The key lies in the blending of colors. If you know how to combine color, your creations will always look sensational.

Second, when it comes to clown faces, be creative! You do not have to stick to the typical white face, pastel colors and red noses. This is your chance to put your creativity to the test. You can also use dark colors like black or dark blue. It all depends on how you put everything together. Instead of the common happy clown, you can create a sad clown or even an angry clown. At least people will see something new.

Third, in painting a clown face the keyword is, exaggerate! Clowns have huge noses, oversized lips and big eyes. Do not be afraid to use that brush.

Fourth, know what you want. Visualize what end result you want to achieve. This tip is not only useful for clown face painting but in life as well. The hardest thing in life, is not knowing what you want. Because once you figure that part out you are already half-way there. So before you make that first stroke, imagine. Think. Visualize. This will save you a lot of time and effort in the end.

Fifth, enjoy! The trick to painting is to enjoy it every stroke of the way. Because if you cant do what you love, then love what you do.

Indian Art Gallery And Indian Museum

Indian Art. “>An Indian Art gallery or art museum is a structure or room for the exhibition of art, typically visual art. Museums can be civic or private, but what distinguishes a museum is the ownership of a group. Paintings are the most usually displayed art objects, however, sculpture, decorative arts, furniture, textiles, costume, drawings, pastels, watercolors, collages, prints, artists’ books, photographs, and fixing art are also regularly shown. while mostly worried with provided that a space to show works of visual art, art galleries are sometimes used to host other creative activities, such as presentation art, music concerts, or poetry readings.

The term is used for either public galleries, which are non-profit or widely owned museums that exhibit selected collections of art. On the other hand private galleries pass on to the commercial enterprises for the sale of Indian Art. However, both types of gallery may host traveling exhibits or provisional exhibitions together with art borrowed from elsewhere.

In broad terms, in North American practice the word gallery unaccompanied often implies a private gallery, while a public gallery is additional likely to be described as an Indian Art museum. In British and Commonwealth practice, the word gallery alone implies a public gallery, while a private or commercial gallery will be memorable using those terms, and the sound museum alone is usually unspoken to refer to institutions investment collections of historic, archaeological or scientific artifacts, rather than of fine art.

The term modern art gallery refers typically to a privately owned for-profit commercial gallery. These galleries are often found clustered together in large urban centers. Smaller cities are typically home to at least one gallery, but they may also be found in towns or villages, and isolated areas where artists gather together, e.g. the Taos art colony and St Ives, Cornwall.

Modern Indian Art galleries are usually open to the all-purpose public without charge; however, some are semi-private. They typically income by captivating a portion of art sales; from 25% to 50% is typical. There are also many non-profit or communal galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, though this is careful distasteful in some global art markets. Galleries often suspend alone shows. Curators often create group shows that say amazing about a sure theme, tendency in art, or group of associated artists. Galleries from time to time choose to represent artists exclusively, giving them the chance to show frequently.

A gallery’s meaning can also include the artist helpful or artist-run space, which often operates as a space with a more self-governing mission and selection process. Such galleries characteristically have a board of directors and a helper or paid support staff that select and curate shows by group, or some kind of similar process to choose art that classically lacks commercial ends.

About Author: Author loves to write articles on different topics and this article is based on Indian Art.

Christmas Drawing Game

Christmas is a time for playing silly games with friends and family, it’s the fun and laughter that makes Christmas merry and memorable. The Christmas drawing game is great for young children, because you don’t need to be a great drawer because everyone is blindfolded. And it’s great for elderly members of the family, because it’s a sit down game. It’s great fun for two or more players, of any age. Remember: You don’t need to be able to draw well, because even Rolf Harris’ picture would turn out scruffy in this game because everyone is blindfolded!

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How to play
Blindfold each person, and give him or her a pencil and paper and something to lean on. If you don’t have enough blindfolds you can ask people to close their eyes, but no peeping!

Whilst the players are all blindfolded tell them to draw what you tell them to-

First draw a fireplace.

Pause between telling them the instructions to give them time to draw.

Draw a tall Christmas tree on the right hand on the fireplace.

Draw fire burning in the fireplace.

Draw a star on the top of the Christmas tree.

On the mantle piece draw two Christmas stockings hanging down.

Draw Christmas baubles on the Christmas tree.

In front of the fire draw a cat asleep.

Finally Draw a frame or a box around everything.

Scoring is as follows

10 point if they drew the mantle and another 10 if they also drew the hearth.

10 points if the Christmas tree is on the right hand side of the fireplace. An extra 5 points if they gave the Christmas tree a trunk.

10 point if the flames are inside the fireplace. 5 extra points if they drew coal or a log.

20 points if the star is touching the top of the Christmas tree. 5 extra point if they drew a 5-pointed star.

10 points for each stocking which is touching the mantle.

2 point for each bauble which is on the Christmas tree.

10 points if the cat is in front of the fire and not on it. An extra 5 points if the cat has its eyes closed. 2 extra points for whiskers.

The winner is the player who has the most points.

You can vary the game by asking them to draw different things, but make sure that you are making them only draw parts of things at a time, adding more detail later because they need to loose track of where their drawing is. That’s what makes it fun.

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Bringing Home An Oil Painting Masterpiece Is Easy Now

The term oil painting is enough to triggers your brain cells to remind you of the masterpiece – Mona Lisa by Leonardo da Vinci. This painting is considered as the greatest work of Leonardo da Vinci and also as spectacular oil painting. Though this portrait needs no introduction but still just as info it is the half length portrait of a woman. Some people debate whether it is the best painting in the world but it is undoubtedly the most celebrated painting ever. So, now let’s known what oil painting actually is. Oil painting is basically a process of painting using pigments which are combined to a drying oil medium. Some of the drying oils which are commonly used are safflower oil, walnut oil, linseed oil, poppy seed oil, etc. These drying oils are responsible in adding effects to the painting as different oils have different drying times and many other factors. The paints which are to be used also have a different form of consistency depending on the oil used. So, it is up to the artists or painters only to decide the perfect combination of paint and oil which could make their painting a masterpiece. Recently, oil paints can be mixed with water and used.

It is aid that an oil paint was first used by Indian and Chinese painters to draw Buddhist paintings. The concept of Oil Painting On Canvas flourished during the Renaissance period in Europe. It is during this period that the trend of oil painting became popular all over the world. The use of paint brushes also came into prominence with oil paintings. Oil Painting on Canvas is the most popular type of art form due its flexibility of method or technique and durability. There are different types of oil paintings like Glazing, Impasto, Alla Prima, Sgrafitto, Knife Painting, etc.

One buys paintings for two reason like if they have an appeal or have an interest for paintings and collecting them or if they want to want to improve the interior decoration of their house, restaurants , office , etc. These painting promotes thoughts in ones mind, invokes emotions like love, happiness, sadness, depression and other emotions also.

Nowadays, one need not visit the nearby galleries nor search for classic paintings by travelling to various galleries of the world anymore. One now doesn’t have to wait for art exhibitions to takes place as everything is present on the websites. As your favourite painting is just a click away. Yes that 100% true. Many art sellers and dealer have come up with websites and shopping portals where painting is sold online. These websites provide world class Oil Paintings on Canvas. One can select from thousands of art works put on display on these websites. Every form of Oil Painting on Canvas art work can be found these portals like from Leonardo da Vinci, Claude Monet to today’s painters. Paintings of all price ranges are present. Hence, these are global websites as it can be approached by all.

Basic Structural Steel Drawings Useful For Fabrication & Erection

Structural Steel Fabricators that actually prepare the steel structure or building heavily depends on detailed drawings prepared by the steel detailer. The steel detailer produce these drawings using the construction drawings supplied by structural engineer depending on material availability and shop fittings. Below is a brief outline of essential drawings required during structural steel fabrication and erection.

Design Drawings:
These drawings are produced by structural engineers or architects. Design drawings contains all the details required to prepare structural drawings. They provide data on loads, axial forces, moments, and shear forces. It also contain information of each framing member, precise dimensions, location of each beam and column and general notes for reference.

Anchor Bolt Settings:
Anchor bolt plans explain settings of all anchor bolts with regard to the foundations or footings. Typically, the construction of the foundation has nothing to do with steel fabricators job but the masonry plans may contain some items which the steel fabricator need to furnish. They include leveling base plates, anchor bolts, grilles and machinery braces that must be positioned by the masonry person well before the erection of the steel framework. The steel fabricator supply final anchor bolt settings plan to the masonry person to explain he field placement of the anchor bolts.

Column Base Connection Details:
This generally illustrates connections between the steel framing and the foundation. It may contain information like grout thickness dimensions, elevation of base plates and anchor bolt projection, etc.

Detail Drawings:
Detail drawings present details of all connections. It displays the relationship between connected structural members and may contain common assembly and clearance dimensions. Steel Shop drawings are produced from the connection details furnished here.

Shop Drawings:
Steel fabricator uses Shop drawings to fabricate each structural member in steel fabrication shops. Structural steel members are manufactured according to the details and dimensions information furnished in the detail drawings. Standards for shop drawings differ from one fabricator to another but typically all drawings comply with the AISC (American Institute of Steel Construction) standards for structural detailing.

Erection Plans:
The structural drafter prepares Erection plans for the steel structure. These drawings contain important information such as the location of each member or sub-assembly in the steel framing, column base connection details, anchor bolt plans, etc.

Bill of Materials (BoM):
Typically, a CAD draftsman prepares the bill of materials listing all structural members of the steel framing separately. The bill of materials is displayed on all shop drawings and contain information such as required material quantity, erection marks, shop and field fasteners, size of connecting plates, etc.

General Notes:
General notes are required on all steel drawings and provides essential information such as type of steel, size of holes, size of bolts, hole patterns, etc required by the fabrication shop.

For any queries related steel drawings or fabrication shop drawings email us at

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Abstract Art Gallery

Unique Abstract Art Most of the intellectual people of the world have shown special interest in abstract art. This form of art basically requires the viewer to imagine and interpret the meaning of the art in his or her own way. Many such abstract paintings are sold in reliable galleries. This reliable gallery which is mainly set up for selling abstract art sells only original paintings. The paintings are signed underneath by the painter and hence one can be sure that the painting that one buys is absolutely unique. The art galleries gallery today, etc. buy these original paintings for selling from all over the world especially from Europe and the United States of America. The online galleries also allow the new customers to get a feedback of other experienced customers about the kind of service provided by the site and gallery. Since the painters themselves sign the artwork so this basically is the best form of investing the money on art and paintings. The Sale Strategies The online galleries displaying the abstract art refer to various strategies for better sale of their products. The art for sale is an effective strategy that attracts customer for buying. The acrylic used on canvas along with the oil used canvas the two major types of abstract art types. These are sold at the highest rate since both geometric type and fluid types are found in the watercolor form of abstract art. Interesting titles like Glory, Wisdom, Pain, are provided by the painters for the customers to interpret the paintings in a better way. The copyrights are held by the respective sight. Hence one must properly read the terms and conditions before registering or doing any kind of money transaction. The process of buying art is simply done by debit or credit cards. Net banking is the easiest way of buying these wonderful and unique art pieces. The services like free shipping and money back certifies the art gallery to be extremely classy and reliable. The availability can be checked online before booking any such piece of art. Overall Idea The abstract paintings ranging from wall decors to wall hangings are beautiful and are generally found in specific galleries that have sources all over with talented painters. Fine art reaches the height of excellence through abstract art. The galleries are found all over the world to encourage the painters and customers towards the abstract art forms. The calligraphy also forms in this abstract genre of art. Romanticism, Expressionism and the final Impressionism were the three movements of art that finally helped in the abstract art development. Wonderful paintings of both old and new painters are found in these galleries that enhances the non figurative art to all the people around the world.

To buy art online, please visit: GalleryToday. y.

Face Painting For Kids Parties

Face painting is a great choice for kid”s party entertainment. With the art of face painting gaining popularity, finding a face painter for your child”s next party should not be difficult.

Children love to have their faces painted
as their favorite character or superhero. Imagine watching as your child and his best friend transform from sweet innocent boys into ferocious tigers. It”s fascinating to see how brilliantly a little girls eyes light up when she looks in the mirror at the color and glitter that”s made her a magical princess. The fun is not only for the child”s being face painted. It”s delightful for guests to watch in amazement as a face painter transforms the kids and kids at heart into crazy characters, whimsical fairies, kooky clowns, or a design straight from the artist”s vivid imagination.

The fun doesn”t stop when the face painting is completed .After the children are painted they typically act the part of the design on their face. It”s super cool to watch a child”s imagination take over as they pretend to be a roaring tiger or a barking puppy dog. Face painting is a versatile choice for a party because it can appeal to many different personalities and sometimes even the adult will get in touch with their inner child and get face painted. Each person has the opportunity to choose what they want to reflect their own imagination from silly to scary!

When selecting a face painter for your party, be sure to choose a professional. A professional face painter will use high grade quality art make-up and glitter for face painting that is safe for use on the skin and meets FDA requirements. A professional will also carry liability insurance and would be glad to produce a copy of such information should it be requested. Certainly you”ll be able to tell if the face painting was a great choice by the painted faces floating around the party! The kids will be enthused and photos of the celebration will be filled with color and character that will create a memory to last a lifetime!

Claude Monet Art Biography And History

Claude Monet art prints provide true representations from one of the most prolific leaders in the Impressionist movement. It is from one of Monets paintings, Impression, Sunrise that the name of the genre derives from and therefore many consider Monet not only one of the most influential Impressionist painters, but the movements very founder and most ardent promoter. The defining philosophy of the Impressionist movement was to depict visual reality as objectively and truthfully as possible and how through light, movement, unusual angles and expression could influence human perception and experience. The movement started as a connection of French artists in the mid 19th century. Monets paintings are not only among some of the most famous Impressionist paintings, but also some of the best known paintings in the world.

Born in Paris, France on November 14, 1840 Monet lived to be 86 years old when he died of lung cancer on December 5, 1926. Soon after his birth, Monets family moved from Paris to Le Havre in Normandy, France where he would begin his training in the arts and where he would learn one of his most influential art techniques from fellow artist, and later mentor, Eugne Boudin. It was from Boudin that Monet learned how to use oil paints and the French term en plein air technique, which simply means, in open air. Although Monet excelled early in his career as a caricature artists using charcoal, it was through the techniques taught by Boudin that Monets landscape paintings became his most famous and distinctive painting style.

In 1859, Monet moved back to Paris where he studied at the Atelier Suisse. In 1861, he joined the military and began a seven-year service in Algeria with the First Regiment of African Light Cavalry. However, after two years, Monet contracted Typhoid fever and, with the intervention of his aunt, whom Monet began to live with after his mother died when he was 16, left the service and returned to Paris to study art. In Paris Monet met those who would later become the leading founders of the Impressionist movement. Among them were Pierre-Auguste Renoir, Alfred Sisley and Frdric Bazille. Their collaborations brought new understandings to art with the effects of light in natural, out of door settings, and quick brushstrokes and how these affect human perception.

In 1866 Monet received his first recognition of fame with the painting Camille or The Woman in the Green Dress. The painting featured Camille Doncieux, who would later become Monets wife and a common fixture in many of Monets paintings. Soon after the completion of the painting, Camille became pregnant with their first child, Jean in 1867. In 1868, because of financial distress, Monet attempted suicide by throwing himself in the Seine River where, in 1871 after marrying Camille Doncieux, moved into a house near the very river he tried to kill himself on. Becoming ill in 1876, Camille gave birth to their second son, Michel, on March 17, 1878. The birth worsened her health and after moving the family to the village of Vtheuil in 1878, Camille died from tuberculosis on September 5, 1879.

Though spending most of his life in France, at the outbreak of the Franco-Prussian war on July 19, 1870, Monet moved to England in September of the same year. He continued to study art and paint while residing in England. He did not stay there long and in May of 1871, he moved from England to a Dutch province in the Netherlands. After staying there only a few months, he returned to France in the fall of 1871 where he lived near the Seine River and where he created some of his best-known paintings.

After the death of Camille, Monet, in a personal declaration never to experience poverty again, embarked upon painting some of his most famous works. Taking inspiration from the French countryside, the Seine River and other natural landscapes, including his extensive garden, Monet practiced the technique that would define the impressionist movement, en plein air. The term describes the technique of the artist to paint in open air or out of doors, prior to which most paintings was done inside, typically in an artists studio. Monet did marry again in 1892 to Alice Hosched before which they moved to the now famous house in Giverny in Normandy where Monets painting including some Monets most famous paintings of his garden and local surroundings, including Monets Water Lillies. During this time, Monet began his exploration of series where he would paint the same image several times but in different light. He would experiment with how natural light would influence and affect human perception on the image. These images are now famous as a result of the proliferation of Monet Prints and Monet Posters.

The art prints of Claude Monet are a true testament to one of the worlds most influential artists. The use of light and natural surroundings was not only wonderfully accurate depictions but also revolutionary in how they depict human experience. By taking painting outdoors and en plein art, the Impressionist movement changed the way artists view the creation of artwork. Because of the Impressionist movement, it is quite common to see an artist solitarily sketching or painting a natural landscape with as much objective understanding and depiction of that landscape as possible. The Impressionist movement arguably gave rise to many of the understandings of modern art and artistic styles. Likewise, the influence continues and is evident in such styles as landscape photography.

Monets artwork defines not only a genre but also the entire style and techniques of art. Monets framed art prints clearly demonstrates the elegance in his use of light and brush strokes. When viewing Monets Woman with a Parasol, it is easy to see the influence that such a style has on human perception. The artwork of Monet depicts the classic endeavor to portray objectively natural landscapes and images as they appear to the human observation.

Some of Monets famous paintings include those created as series, which help define the philosophy of the Impressionist movement. In an effort to depict the natural landscape as objectively as possible, Monet sought to recreate the landscape exactly as he saw it. However, this endeavor proves difficult when the landscape continually and constantly changes due to the rotation of the Earth and Sun. The solution to this was to paint the same landscape, from the same angle and perspective, but with the various lighting affects cast by the sun. Thus, in such paintings as Rouen Cathedral, Haystacks and Water Lilies, the observer will notice the same image, yet slightly changed from the angle and strength of light cast from the sun. Monet even considered various weather patterns when painting these series. One of his most notable in this series is Monets Rouen Cathedral, which consist of a singular viewpoint but from noticeably different times of day and different weather effects throughout. As his Impressionist ideals inquired, he would often take out a different canvas every time the sun would noticeably change; Monet required several different canvases to depict the same image. In the Water Lilies series alone, there are upwards of two hundred and fifty separate paintings.

Monets garden at Giverny inspired him with one of his most famous painting series, Water Lilies. Monets Water Lilies paintings, also known as Nympheas, depict an effort to recreate his garden from various stages of the sun and different weather effects. When looking at the various water lilies the viewer will notice the difference in lighting and weather quite easily. The reflections from the water, the different color aspects and the very size of the flowers themselves all help to reinforce the idea of portraying the landscape as truthfully as possible, even when that landscape constantly changes.
Likewise, this same idea is also true in Monets Haystack (or sometimes referred to as Grainstack) series. Similar to the water lilies, Monet wanted to show the same natural landscape and imagery he saw, as objectively as possible. He created these paintings in the countryside of Normandy. The stacks helped to emphasize prosperous ideas of this region and often considered a mascot of the landscape. When looking at these various paintings, it is clear to recognize at what great length Monet took to portray the countryside accurately. To complete this series, Monet would rise early in the morning, sometimes before dawn and would cart numerous unfinished canvases with him every day to the scenery desired. At times, he would work on as many as ten to twelve different canvases a day depending on the various weather conditions and position of the sun. Monets Impressionist ideals shine strongly through his various series paintings through his attempt to paint the same images and landscape from the same angle and point of view while objectively showing the changing of the different natural features.

Ballet Dancing The Ideal Physique

Are you a ballet dancer, thinking about taking ballet dancing to the next level?

First, let me say that I truly believe that whatever you put your mind to, and become completely focussed on that goal, you can achieve…

This article is just highlighting some of the centuries-old beliefs as to what constitutes an ideal physique for a ballet dancer…

It is well recognized that a ballet dancer MUST possess a physique that can be trained to the finest degree of coordination, combined with complete flexibility, endurance, and great strength from head to toes. In spite of this all important fact, some students train till well on into their teens before being defeated by some physical characteristic which undoubtedly existed at ten years old, but overlooked or ignored by their trainers at that time…

So what is the ideal physique, you ask?

Well, most experts agree that your bodys proportions are critical to having an ideal physique. Apart from aesthetic considerations, a well proportioned body will weather the stresses and strains of the exciting work required of it with greater ease than one in which there is some disparity in the relative length for instance, of limbs to torso, of width to length of the body, or of the relative size of shoulders to hips and so on…

Unlike the musician, the ballet dancer cannot tune their instrument by lengthening or shortening their strings, increasing or decreasing the tension until the exact pitch is achieved. In the world of ballet dancing, your body is your instrument, infinitely complicated and it becomes your servant only after many years of desperately hard training…

At best it becomes an instrument of great beauty, but it will fall short of this if it is endowed with that extra inch here or too short a length there to fall into that perfection of line and form that the art demands. In the well-informed, well-proportioned physique there is less likelihood of muscles thickening in unwanted places, and less proneness to the minor and sometimes major mishaps caused by the effort to overcome obstacles which are inherent in the build of the body…

The neck line is important, rather more on aesthetic grounds than from anatomical point of view. To conform to the ideal physique the neck should not be too square, and above all not too short; the head should not be disproportionately large nor too small…

The ideal ballet physique embodies a perfect balance between the upper and lower halves of the body. A good guide for the best proportions may be taken from ancient Greece where the length from the crown of the head to the pubic arch or fork is equal to that from the fork to the ground. Following the same pattern, the length from the fork to the lower border of the knee cap should be equal to that from the lower border of the knee cap to the ground…

According to the classical tradition, the shoulders of the man are broader than the hips, in the woman they are somewhat narrower. Here we diverge somewhat, for it has been found by experience that the ideal ballet figure is the better for some slight extra width across the shoulders, whether male or female…

Limbs are next on the list. Pretty arms and hands are naturally an asset; extra arm length or lack of it is not a really a problem, but for the lower limbs the standard of beauty is set high. The ideal leg will of course be straight and shapely, showing little or not muscular development when standing, with smooth line from the back view, and knees which do not protrude too much from the front…

There will be a straight line down the center of the thigh, through the center of the knee, down the front of the leg to about the middle of the foot. The foot will be flexible, showing at least a potential arch. With toes of medium length only and preferably with the first two or three approximating the same length…

Finally the perfect candidate will have an upright carriage and well-poised head.

Hopefully this gives you a little insight into some age-old views on the physique of ballet dancers and the art of ballet dancing.