INTERIOR PAINT SHADES : INTERIOR PAINT

Interior paint shades : Floral lamp shades.

Interior Paint Shades


interior paint shades
    interior
  • Situated further in or within
  • Drawn, photographed, etc., within a building
  • home(a): inside the country; "the British Home Office has broader responsibilities than the United States Department of the Interior"; "the nation's internal politics"
  • inside: the region that is inside of something
  • situated within or suitable for inside a building; "an interior scene"; "interior decoration"; "an interior bathroom without windows"
  • Situated within or inside; relating to the inside; inner
    shades
  • (shade) shadow: cast a shadow over
  • Darken or color (an illustration or diagram) with parallel pencil lines or a block of color
  • (shade) relative darkness caused by light rays being intercepted by an opaque body; "it is much cooler in the shade"; "there's too much shadiness to take good photographs"
  • Screen from direct light
  • Cover, moderate, or exclude the light of
  • sunglasses: spectacles that are darkened or polarized to protect the eyes from the glare of the sun; "he was wearing a pair of mirrored shades"
    paint
  • A colored substance that is spread over a surface and dries to leave a thin decorative or protective coating
  • make a painting; "he painted all day in the garden"; "He painted a painting of the garden"
  • Cosmetic makeup
  • An act of covering something with paint
  • a substance used as a coating to protect or decorate a surface (especially a mixture of pigment suspended in a liquid); dries to form a hard coating; "artists use `paint' and `pigment' interchangeably"
  • apply paint to; coat with paint; "We painted the rooms yellow"
interior paint shades - Wallmonkeys Peel
Wallmonkeys Peel and Stick Wall Decals - Six Color Wheel - 18"H x 18"W Removable Graphic
Wallmonkeys Peel and Stick Wall Decals - Six Color Wheel - 18"H x 18"W Removable Graphic
WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won't damage your paint or leave any mess. PLEASE double check the size of the image you are ordering prior to clicking the 'ADD TO CART' button. Our graphics are offered in a variety of sizes and prices.
WallMonkeys are intended for indoor use only.
Printed on-demand in the United States Your order will ship within 3 business days, often sooner. Some orders require the full 3 days to allow dark colors and inks to fully dry prior to shipping. Quality is worth waiting an extra day for!
Removable and will not leave a mark on your walls.
'Fotolia' trademark will be removed when printed.
Our catalog of over 10 million images is perfect for virtually any use: school projects, trade shows, teachers classrooms, colleges, nurseries, college dorms, event planners, and corporations of all size.

80% (14)
View of Delft
View of Delft
"In Vermeer's painting the tower of the Old Church is hardly noticeable, whereas that of the New Church has been rendered prominent and twice too wide. Moreover, the bell tower proves to be empty! Recently, documents were discovered which prove that the carillon bells of this New Church tower were renewed and were hoisted down in the summer of 1660 during a restoration by the Hemony firm. Vermeer worked slowly and carefully on his paintings, which he put to the side to dry from time to time. The empty bell tower thus points at a date of 1660, nicely confirming the date which was proposed on stylistic grounds. The painting may have been finished in 1661 to 1663." Kaldenbach, The "View of Delft'" by Johannes Vermeer, a Guided Art History Tour through this Painting by Martin Bailey Vermeer, London and New York, 1995, pp. 60-62 Vermeer's magnificent townscape of Delft seen from the south has always been regarded as one of his masterpieces. In the 1696 auction of Dissius's 21 Vermeer's, it was the most expensive picture, fetching 200 guilders. In 1822 the picture was bought by the Mauritshuis for the high price of 2,900 guilders, a purchase said to have been instigated by the Dutch King, Willem I. In the mid-nineteenth century View of Delft was the painting which inspired the French critic Theophile Thore to rediscover Vermeer. The picture is divided into four horizontal bands: the quay, the water, the town and the sky. On the left side of the quay are a mother and baby, and two fashionably dressed men and a woman talking together, and further towards the centre are two more women. The water represents a section of the River Schie, which eventually flows into the Rhine at Schiedam, near Rotterdam. The area of river depicted by Vermeer had been widened in 1614 to form a triangular pool which served as the harbor for Delft. Looking towards the town, the view is dominated by the ramparts and the Schiedam and Rotterdam Gates. The distant tower of the Old Church can only just be seen on the horizon on the left of the picture. Most of the town is in shadow, except for the sunlit New Church. The dramatic morning sky takes up aver half of the picture; a tiny clock on the Schiedam Gate shows that it is just past 7 o'clock. The view is from an elevated position, looking down onto the waterfront, and Vermeer may have painted the town from the upper floor of a house that is marked on contemporary maps just off the road named Hooikade (upper right). The pointillist technique that Vermeer used to suggest reflections flickering off the water, most easily visible on the two herring boats on the right, is evidence that he probably used a camera obscura to help compose the picture; diffused highlights such as these would appear when a partially focused image was obtained from this device. The meticulous way that Vermeer worked on this masterpiece is shown by the fact that he mixed grains of sand into some of his paint (middle right) to achieve a certain texture. An examination of the picture has revealed that the sand was added to the ochre used on the window frames of the long building to the left, behind the ramparts, giving a greater reflective quality to the paint surface. View of Delft shows the ramparts and the two fourteenth-century gates on either side of the stone bridge spanning the canal that passes through the town; on the far side of the bridge the water divides to become the Oude Delft and Nieuwe Delft canals. The Schiedam Gate with the clock-tower is on the left of the stone bridge and to the right is the Rotterdam Gate. Vermeer's home, Maria Thins's house in Oude Langendijck, would be just to the right of the tower of the New Church, although it is not visible in this picture. Despite the impression of accuracy which the painting gives, Vermeer did not make a precise representation of the view. In a topographical drawing (lower right) by Abraham Rademaecker (1675-1735), executed about half a century later from a similar vantage point, it is noticeable that the buildings appear taller and crammed closer together than in Vermeer's picture. Vermeer seems to have shifted the buildings slightly to produce a more harmonious composition and this is most noticeable in the way he depicted the long section of the Rotterdam Gate. Today the view from Vermeer's vantage point looks quite different, although the shape of the old harbor remains. The town's ramparts have long gone and the two gates were demolished between 1834 and 1836. Most of the medieval buildings near this part of the river have also been lost. The spire of the New Church burned down in 1872 and was replaced by a taller neo-gothic one. The original tower of the Old Church survives, although it has now developed a pronounced tilt. -------------------------------------------------------------------------------- by Mariet Westermann "Vermeer and the Interior Imagination." in Vermeer and the Dutch Interior, Alejandro V
Leaping stag shade options
Leaping stag shade options
This lamp has been without a shade for far too long. This has partly to do with the fact that it is a tricky lamp to fit. The harp base and socket are lower than the top of the stag's antlers. At least the harp height is adjustable so that the lamp shade height is flexible. I'll probably spray paint the hardware after a shade choice has been determined. So, big question: Should I hide the antlers a little or expose more of the hardware? As for lamp shade choices, here are the frontrunners at roughly to scale sizes (with some slightly skewed views due to picture availability)-- Upper right: Laced birch bark shade. I need to find out if the Native American tribe who makes these can take custom orders. It is available at 5x12x9". Lower right: Wicker empire. Basic. Flexible. Comfortable. 5.5x13x10" Lower left: Laced fiberglass elliptical shade. This can be ordered in all sorts of different fiberglass patterns. 8" high with a 14 x 9" ellipse possibly. Thoughts? I like them all.

interior paint shades
interior paint shades
4pc. Multi-Color 7 Color LED Interior Underdash Lighting Kit
LEDGLOWs 4pc. 7 Color Interior Kit is jam-packed with an assortment of features and four super bright multi-colored LED tubes to illuminate your cars interior. This product allows you to choose between blue, red, green, purple, aqua, white or yellow colors. There are a variety of mounting possibilities available including installing the tubes to your foot well, under your seats, or even your dash. Each kit includes a total of four 9inch tubes with 18 ultra bright LEDs per tube giving you a total of 72 wide angle LEDs. Each tube also includes 4 ft 8 inches of wire allowing maximum mounting capabilities. The included control box features many different patterns such as strobe, fading, and chase effects. New to this kit is a sound activation feature with a sensitivity controller giving you even further customization options. LEDGLOW stands by every kit with a one-year limited warranty and free technical support.

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