PINK DRAPERY PANELS : DRAPERY PANELS

Pink drapery panels : Top down bottom up window shades : Cheap bed canopies

Pink Drapery Panels


pink drapery panels
    drapery
  • Cloth coverings hanging in loose folds
  • The artistic arrangement of clothing in sculpture or painting
  • Drapery is a general word referring to cloths or textiles (Old French drap, from Late Latin drappus ). It may refer to cloth used for decorative purposes - such as around windows - or to the trade of retailing cloth, originally mostly for clothing, formerly conducted by drapers.
  • Long curtains of heavy fabric
  • cloth gracefully draped and arranged in loose folds
  • curtain: hanging cloth used as a blind (especially for a window)
    panels
  • (panel) decorate with panels; "panel the walls with wood"
  • A flat board on which instruments or controls are fixed
  • (panel) empanel: select from a list; "empanel prospective jurors"
  • A thin piece of metal forming part of the outer shell of a vehicle
  • A thin, typically rectangular piece of wood or glass forming or set into the surface of a door, wall, or ceiling
  • (panel) sheet that forms a distinct (usually flat and rectangular) section or component of something
    pink
  • any of various flowers of plants of the genus Dianthus cultivated for their fragrant flowers
  • tap: make light, repeated taps on a surface; "he was tapping his fingers on the table impatiently"
  • Of a color intermediate between red and white, as of coral or salmon
  • Having or showing left-wing tendencies
  • (of wine) Rose
  • of a light shade of red
pink drapery panels - Bobby Jack
Bobby Jack Burst My Bubble 63-Inch Drapery Panel
Bobby Jack Burst My Bubble 63-Inch Drapery Panel
Born at the Hanniwoo Zoo, Bobby Jack, from the very rare Chimpus Badius species, is only one of two monkeys still living from the species left in the world. As soon as Bobby Jack was born he knew he was different from not only the other animals in the kingdom, but from the other monkeys. Not only was he good looking, charming and naturally talented, he always had the best jokes and the funniest lines up his tail. His love of sweets, addiction for bubble gum, is often what keeps him going everyday, his creative juices flowing.

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Stato della Città del Vaticano
Stato della Città del Vaticano
Vatican Museums - Sistene Chapel - This is Michelangelo’s masterpiece and one of the most important painting cycles in the world, covering 800 sq metres of wall with “good fresco” painting. It was begun in May 1508, and then stopped for about a year between September 1510 and August 1511. The chapel was solemnly inaugurated by Julius II on November 1st, 1512. The vault’s iconography is linked to the themes chosen for the side walls, representing humanity’s long wait for Christ, the prophecies foreseeing his coming and scenes from the Genesis. All the figures are set in a massive, architectural painted background, which is superimposed to the real vault. Interpretation of the paintings can be divided into three parts: The first part: Christ’s Ancestors according to Matthew’s Gospel (1:1-17) are in the triangular webs and lunettes above the Windows. Men and women, representing humanity in general and generations succeeding one another, are crowded into a narrow, shallow space, awaiting the great event of Revelation in different poses and attitudes: they look tired, exhausted, in fact, prostrated and often in great pain caused by their inactivity, exasperated by the interminably slow passage of time before the birth of Christ. The painter’s extraordinary technical ability is particularly noticeable in some of the figures, such as Mathan (above the original entrance) or Josaphat (in the central part of the vault, near the episodes from the life of Christ), rapidly frescoed with quick brush strokes and very fluid colours. The four pendentives are painted with scenes alluding to the Salvation of Israel’s people. Beginning from the part over the ancient entrance are the following: - on the right, “Judith and Holofernes”. The Babylonian king Nabucodonosor had ordered his Assyrian general Holofernes to attack the Israeli army; Judith, a young Jewish girl, got Holofernes drunk and then killed him. The scene shows Judith giving his head to her maid (Judith 13:8-10). - on the left, the episode with “David and Goliath”. During the war between the Jews and the Philistines, young David fought Goliath, a giant who had sworn that he would reduce the Jews to slavery if he defeated their army (1, Samuel 17: 41-51). The pendentives towards the Last Judgement wall represent: - on the right, the “Brazen Serpent”, alluding to the Biblical episode in which the Lord sent the reptiles against the Israelites. During their journey to the Promised Land, they became discouraged with the hardships endured, incurring the wrath of both God and Moses (Numbers 21:8). They repented for their behaviour, however, and were pardoned. God then told Moses to make a serpent in bronze: looking at this bronze serpent could save anyone bitten by one of the reptiles; - on the left, the “Punishment of Haman”, an episode from the Book of Esther. A young vizier named Haman issued an edict against the Jews, ordering that anyone refusing to bow down to the king would be killed. Esther, the wife of a Persian king, managed to have the edict annulled, thereby saving the people of Israel and causing the death of the vizier Haman. Above these pendentives are symmetrical bronze nudes and “bucrani” (ox skulls), classical decorative motifs alluding to sacrificial rituals. The second part: splendid figures of the seven Prophets of the Bible and of the five pagan Sibyls, seated on massive thrones, outlined by naked, monochrome naked puttos resting on plinths. The Prophets and Sibyls both predicted the coming of Christ. Each figure is accompanied by angels or puttos who underline the personage’s specific role. They are all caught in the act of reading a book or unrolling a parchment scroll, absorbed in an extraordinary physical and spiritual effort. The most beautiful figures are probably the Delphic Sibyl and the prophets Ezekiel and Jonah. Jonah is shown next to the whale inside which he remained for three days - the same amount of time that Christ stayed in the sepulchre before his Resurrection. The third part: the rectangles in the middle have nine scenes from the Genesis, four of them large ones and five small ones. Three of these episodes describe the Creation, three the story of Adam, and three deal with Noah. Michelangelo started painting the vault with the Noah episodes, probably intending to paint the scenes with the Creator at a later moment. The three scenes of the Creation start with the “Separation of Light from Darkness”(Genesis 1:3-4), showing God wrapped in pink drapery and occupying most of the scene, which has an extremely complex perspective. Recent studies done after the fresco was cleaned have proved that Michelangelo painted it in just one day. Next is the extraordinary “Creation of Celestial Bodies and Plants”, divided into two asymmetric parts, each one containing the figure of the Lord. On the right He faces outwards, creating the shining sun and the pale moon with one sweeping gesture, while on the left the Lord has his back to the viewer as
Série de Florença - Florence's (Firenze's) series - 15-01-2009 - IMG 20090115 9999 17
Série de Florença - Florence's (Firenze's) series - 15-01-2009 - IMG 20090115 9999 17
Estatua de Giotto, na parte externa do museu Uffizi, em Florenca, Italia. Giotto's Sculpture at the external part of the Uffizi Museum, in Florence, Italy. Um texto, em portugues, da Wikipedia, a enciclopedia livre: Giotto di Bondone mais conhecido simplesmente por Giotto, (Colle Vespignano, 1266 — 1337) foi um pintor e arquiteto italiano. Nasceu perto de Florenca, foi discipulo de Cinni di Pepo, mais conhecido na historia da arte por seu apelido, Cimabue, e o introdutor da perspectiva na pintura, durante o renascimento. Devido ao alto grau de inovacao de seu trabalho (ele e considerado o introdutor da perspectiva na pintura da epoca), Giotto e considerado por Bocaccio o precursor da pintura renascentista. Ele e considerado o elo entre o renascimento e a pintura medieval e a bizantina. A caracteristica principal do seu trabalho e a identificacao da figura dos santos como seres humanos de aparencia comum. Esses santos com ar humanizado eram os mais importantes das cenas que pintava, ocupando sempre posicao de destaque na pintura. Assim, a pintura de Giotto vem ao encontro de uma visao humanista do mundo, que vai cada vez mais se firmando ate ao Renascimento. Giotto, forma diminutiva de Ambrogio ou Angiolo, nao se sabe ao certo, adotou a linguagem visual dos escultores, procurando obter volume e altura realista nas figuras em suas obras. Comparando suas obras com as do seu mestre, elas sao muito mais naturalistas, sendo Giotto o pioneiro na introducao do espaco tridimensional na pintura europeia. Em seus trabalhos pela Italia, Giotto fez amizades com o Rei de Napoles e Bocaccio, que o menciona em seu livro, Decameron. O Papa Benedito XI quis empregar Giotto, que passaria entao dez anos em Roma. Posteriormente, trabalharia para o Rei de Napoles. Em 1320, ele retornou a Florenca, onde chefiaria a construcao da Catedral de Florenca. Giotto morreu quando pintava "O Juizo Final" para a capela de Bargello, em Florenca. Durante uma escavacao na Igreja de Santa Reparata, em Florenca, foram descobertos ossos na mesma area que Vasari tinha relatado como o tumulo de Giotto. Um exame forense parece ter confirmado que a ossada era mesmo de Giotto. Os ossos eram de um homem baixo, que pode ter sofrido de uma forma de nanismo. Isso apoia uma tradicao da Igreja da Santa Cruz de que um anao que aparece em um dos afrescos e um auto-retrato de Giotto. De acordo com o historiador Giorgio Vasari, ele teria comecado a desenhar ainda com 11 anos, quando era um pastor de ovelhas, fazendo desenhos em rochas. O artista Cimabue, um dos maiores pintores da Toscana, junto com Duccio (em Siena), o teria visto desenhando uma ovelha e pediu ao pai de Giotto para leva-lo para ser o seu aprendiz. Posteriormente, Giotto teria pintado uma mosca no nariz de uma figura com tanta habilidade que seu mestre teria tentado afugentar o inseto varias vezes antes de perceber que se tratava de uma pintura. Em 1280, Giotto foi com Cimabue para Roma onde havia uma escola de pintores de afrescos, onde o mais famoso era Pietro Cavallini. O famoso escultor florentino Arnolfo di Cambio, de quem Giotto se inspirou bastante em seus afrescos, tambem estava trabalhando em Roma. De Roma, Cimabue foi para Assis para pintar varios grandes afrescos na recem-construida Basilica de Sao Francisco de Assis. E possivel, mas nao certo, que Giotto tenha ido com ele. O primeiro trabalho importante de Giotto teria sido a serie de afrescos que contam a vida de Sao Francisco no teto da Basilica. Ha, no entanto, duvidas quanto a autoria da obra. Percebe-se a influencia da pintura romana no trabalho de Giotto, assim como a influencia do gotico frances, bem como da arte bizantina. A aparencia realista das figuras causou controversia na epoca. A cena da Crucificacao pintada em Florenca mostra a clara distincao entre o trabalho de Giotto e o de seu mestre. De acordo com Vasari, outra obra da fase inicial de Giotto foram os afrescos da Santa Maria Novella e o enorme crucifixo, tambem na mesma igreja, de 5 metros de altura. As obras foram datadas de 1290 e, portanto, contemporaneas aos afrescos de Assis. Em 1287, aos 20 anos, Giotto se casou e foi para Roma. Ha poucos tracos de sua presenca na cidade. A Basilica de Sao Joao de Latrao tem uma pequena serie de afrescos, pintados a pedido do Papa Bonifacio VIII. A fama de Giotto como pintor se espalhou. Ele foi chamado para trabalhar em Padua e tambem em Rimini, onde somente um Crucifixo permanece no Templo Malatestiano. Esse trabalho influenciou a chamada Escola de Rimini, de Giovanni e Pietro da Rimini. A Capella degli Scrovegni, tambem chamada Arena Chapel, em Padua, e considerada o maior trabalho de Giotto. Ele retrata cenas da Virgem Maria e da Paixao de Cristo e foi criada entre 1303 e 1310. Aqui, ele quebra as tradicoes da narracao de cenas medievais. A cena da morte de Cristo foi admirada por muitos artistas renascentistas pela forca dramatica da cena em seu trabalho. Michelangelo, que estudou a obra de Giotto, inspirou-

pink drapery panels
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