Art Body Painting Girls Models with Sexy

Art Body Painting Girls Models with Sexy

Expression Painting - Chancery Lane Gallery

Crawling from the Wreckage, 101cm x 101cm


Lightning Class Cruisers. 223 x 175cm


Everything We've Done is Forgiven. 223cm x 175cm

Everything that Glitters Ain't Fishscale. 223cm x 223cm


Ultimate Nullifier. 200cm x 200cm, oil on canvas 2006


Tigranes. 200cm x 200cm, oil on canvas 2006


Best Painting Ever. 230cm x 230cm, oil on canvas 2006


Cuntminer. 230cm x 230cm, oil on canvas 2006


Untitled. 100cm x 100cm, oil on canvas 2006


When in doubt, knock 'em out. 100cm x 100cm, oil on canvas 2006


Come and have a go if you think you're hard enough. 110cm x 90cm, oil on canvas 2006



Never tell anyone anything, ever. 110cm x 90cm, oil on canvas 2006

source : http://www.simon-birch.com/TheArmenian.html

Woman Painting With Many Face - Worst Best Painting In The World

Woman Painting With Many Face - Worst Best Painting In The World - Oil on Canvas Painting

Abstract Painting of a Double Bass Player

Abstract Painting of a Double Bass Player

Last 100 Years Painter - Peter Paul Rubens

Peter Paul Rubens and Anthony van Dyck, the greatest Flemish artists of the seventeenth century, are the characters on the international stage, namely that the Catholic church and the royal court and the central European trade. As a painter of religious images, mythological scenes, classical and modern history, and portraits, Rubens has a wider impact than Van Dyck. But as a painter, Van Dyck far more influential, especially in England, where he spent most of the 1630s and his work inspired artists for the next 150 years (Thomas Gainsborough [20.155.1] is the most gifted admirer).

Van Dyck was also a highly expressive painter of religious themes and, as a draftsman, a sensitive landscapist, although in the latter field Rubens surpassed every other Flemish painter (A Forest at Dawn with a Deer Hunt [1990.196] is one of a few dozen landscapes Rubens painted mainly for his own pleasure.) Van Dyck's reputation as a portraitist was enhanced by his large series of etchings called the Iconography. Not a printmaker but an astute entrepreneur, Rubens supervised the reproduction of his compositions in hundreds of engravings.

In contrast to the teenaged prodigy van Dyck, who was about twenty-one when he painted the self-portrait illustrated here (49.7.25), Rubens did not develop quickly as an artist. In his early years, he received an exceptional education, experience as a page in a noble house, and training in the studios of three Antwerp painters, most importantly that of Otto van Veen, who probably encouraged Rubens's trip to Italy in 1600. Here he absorbed profound impressions from classical sculpture and the works of Italian artists such as Raphael, Leonardo, Michelangelo, Correggio, Tintoretto, Caravaggio, and Annibale Carracci. Rubens remained in Italy for eight years, supported by commissions from the duke of Mantua, Genoese nobility, and great Roman patrons, including major orders of the Catholic church. Before the end of 1608, when he returned to Antwerp, he had painted some of the most important altarpieces in Genoa, Rome, and elsewhere in Italy. This experience provided the groundwork for his extraordinary output of religious pictures during the next fifteen years in Antwerp, which he managed by organizing a large workshop of pupils and assistants.

Rubens was appointed court painter to Archduke Albert and Archduchess Isabella, who governed the Southern Netherlands from Brussels on behalf of Spain. However, the artist chose to remain in Antwerp, where he married and built a house and large studio in a Northern version of the modern Italian style. The altarpieces he supplied to Antwerp churches—like the two great triptychs now in the Antwerp Cathedral, The Raising of the Cross and The Descent from the Cross—were often funded by distinguished laymen with a discerning knowledge of the arts, such as the burgomaster Nicolaes Rockox. The Wolf and Fox Hunt of about 1615–21 (10.73) is the first of several large hunting pictures that Rubens made as alternatives to tapestries and sold to patrons like the duke of Bavaria. He also collaborated with other Antwerp artists, for instance, Jan Brueghel the Elder (45.141) and Frans Snyders, to produce mythological and other pictures intended mainly for connoisseurs.

In all of these works—religious paintings, tapestry designs, book illustrations, and other projects—Rubens exhibited extraordinary learning and imagination. Among the many examples of his insightfully conceived iconographic programs was the spectacular series of thirty-nine ceiling paintings for the Jesuit Church in Antwerp. The canvases (later destroyed in a fire) were actually painted mostly by van Dyck, after Rubens's oil sketches, his preferred method of formulating compositions. These modelli (models), fluid studies in oil paint on comparatively small wooden panels, were used both as proposals to patrons and as guides for assistants. One of the few hundred known examples is The Triumph of Henry IV of about 1630 (42.187), the last of four oil sketches for a monumental canvas now in the Uffizi, Florence. The painting was part of a large cycle of canvases, never completed, that would have decorated the Luxembourg Palace in Paris. The pendant cycle of twenty-four paintings depicting the life of Maria de' Medici (Louvre, Paris) was installed in the palace in 1625.

In the later 1620s, the demands of Rubens's international clientele and his role in peace negotiations between England and Spain made him the "most harassed man in the world" (as he complained in his extensive correspondence). He spent seven months in Madrid in 1628–29, where he portrayed the royal family and made copies after Titian, and nine months in London in 1629–30 (the ceiling paintings of the Banqueting House at Whitehall, London, were completed in Antwerp by 1634). In 1630, Rubens remarried (1981.238) and in the next few years organized his studio to work efficiently in his absence; large-scale projects such as the decoration of the Torre de la Parada (Philip IV's hunting lodge near Madrid) and the decorative scheme for the triumphal entry into Antwerp of the new governor, Cardinal Infante Ferdinand, were executed almost entirely by assistants and collaborators following the master's designs. However, numerous landscapes, unofficial portraits, and other pictures were painted entirely by Rubens during this period, either in Antwerp or at his country estate of Steen (purchased in 1635). He died in 1640, leaving behind five children, an impressive art collection, and a body of work that profoundly influenced artists—including Watteau, Boucher, Fragonard, Reynolds, Géricault, and Delacroix—for more than two centuries.

The first important painters to respond to Rubens's work were Jacob Jordaens and van Dyck in Antwerp. Both artists adopted Rubens's practice of painting studies of live models (usually in bust-length) for later use as characters in religious pictures. (Van Dyck's Study Head of a Young Woman of about 1618–20 [57.37] may have become a repentant Magdalen or mourning Virgin, although no precise use is known.) Van Dyck began training as a painter under Hendrick van Balen at the age of ten; he already had his own studio and pupil when he joined the painters' guild in 1618. By the fall of 1620, the young painter of portraits and religious pictures was in the service of King James I of England, but in 1621 he returned to Antwerp and then departed for Italy, where he remained until late 1627. While there, he painted grand portraits of Genoese aristocrats and numerous other distinguished figures (14.40.619). He also studied antiquity and Italian painters, concentrating—far more than Rubens had—on the single model of Titian. The latter's influence is evident in Virgin and Child with Saint Catherine of Alexandria (60.71.5), which dates from the artist's "second Antwerp period" of 1628–32. Most of van Dyck's remaining years were spent in England, where he was knighted by Charles I and effectively created the enduring image of the Stuart court (89.15.16).

Van Dyck's brilliant brushwork, graceful arrangement of elegant figures, and seemingly effortless displays of luxurious drapery occasionally make him appear a more superficial master than Rubens. A fair number of the later English portraits, which are often largely by assistants, support this view. However, the lasting importance of direct observation in van Dyck's art is clear in both the style and character of his autograph portraits. Similarly, a sincere emotionalism lends substance to the seemingly nervous manner of his religious pictures. Perhaps only a temperamental prodigy with astonishing natural talent could learn so much from Rubens and at the same time become a great master of a very different kind.

Some Rubens artworks:

Study of Two Heads
Peter Paul Rubens (Flemish, 1577–1640)
Oil on wood

27 1/2 x 20 1/2 in. (69.9 x 52.1 cm)
Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 (67.187.99)



Virgin and Child with Saint Catherine of Alexandria
Anthony van Dyck (Flemish, 1599–1641)
Oil on canvas

43 x 35 3/4 in. (109.2 x 90.8 cm); with added strips 44 1/8 x 37 in. (112.1 x 94 cm)
Bequest of Lillian S. Timken, 1959 (60.71.5)



The Holy Family with Saints Francis and Anne and the Infant Saint John the Baptist, probably early 1630s
Peter Paul Rubens (Flemish, 1577–1640)
Oil on canvas

69 1/2 x 82 1/8 in. (176.5 x 208.6 cm)
Gift of James Henry Smith, 1902 (02.24)



Wolf and Fox Hunt, ca. 1615–21
Peter Paul Rubens and Workshop (Flemish, 1577–1640)
Oil on canvas

96 5/8 x 148 1/8 in. (245.4 x 376.2 cm)
John Stewart Kennedy Fund, 1910 (10.73)

A Forest at Dawn with a Deer Hunt, ca. 1635
Peter Paul Rubens (Flemish, 1577–1640)
Oil on wood

24 1/4 x 35 1/2 in. (61.5 x 90.2 cm)
Purchase, The Annenberg Foundation, Mrs. Charles Wrightsman, Michel David-Weill, The Dillon Fund, Henry J. and Drue Heinz Foundation, Lola Kramarsky, Annette de la Renta, Mr. and Mrs. Arthur Ochs Sulzberger, The Vincent Astor Foundation, and Peter J. Sharp Gifts; special funds, gifts, and other gifts and bequests, by exchange, 1990 (1990.196)

source : http://www.metmuseum.org/toah/hd/rvd_p/hd_rvd_p.htm

Face Paint Recipes

These easy face paint recipes show how to make homemade face paint using common household ingredients. Mix and store in baby food jars or discarded film canisters. Be ready for your next kids party or dress-up event.

HOMEMADE FACE PAINT RECIPES

Facepaint Recipe #1

1 tsp. Cornstarch

½ tsp. Cold cream

½ tsp. Water

Food coloring (variety of colors)

Mix together cornstarch and cold cream until well blended. Add water and stir. Add food coloring one drop at a time until you get the desired color.

Facepaint Recipe #2

3 tblsps. Cornstarch

1 tblsp. Flour

3/4 cup Karo light corn syrup

1/4 cup water

½ tsp. Liquid food coloring

Mix cornstarch and flour together in a bowl. Gradually stir in Karo syrup and water until smooth. Divide mixture into individual containers as needed and tint each one with the food coloring of your choice. Leave one batch untinted.

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Clown Make-up

Blend on a paper plate:

2 tblsp. shortening

5 tsps. cornstarch

1 tsp. flour

Dab of Vaseline

Add food coloring for various colors.

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Fake Blood for Halloween Party Make-up

Karo brand corn syrup

Red and blue food coloring

Milk

Add some red food coloring to the corn syrup, then just a drop or two of blue to get a more realistic dark color. Milk will make the blood appear more opaque and more realistic.

Note: This mixture is sticky and can stain clothes.

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More Fun Make-up Tips:

To lightly blacken faces, carefully burn a cork and when cool, rub on the face.

For a ghoulish look, add a dusting of flour to already made up faces.

For a stubbly bearded look, sprinkle tobacco over a thin layer of vaseline.

Globe Abstract Oil Painting by K Madison Moore

Globe Abstract Oil Painting by K Madison Moore

Sexy Girl Unique Body Painting Art Picture

sexy girl unique body painting art picture

Body Art Paintings by Craig Tracy

body art paintings dove woman.
American (New Orleans) body paint artist Craig Tracy has created a collection of body paintings art work. In Some of his paintings Tracy use only human volunteers while on others Craig Tracy merges them with backdrops to give the display depth. His body art work includes- dove paintings in a woman's body, Egypt paintings in a girls full body, blue paint touch in a woman's body, Musical instrument paintings, Lion body paintings, baby foot nature paintings.

body paintings artist Craig Tracy work with a volunteer. visit Craig Tracy website to know him and watch his body art work.

 

body paintings Egypt. Egyptian natural beauty is painted in a girls whole body.

 

bodyart paintings blue woman, blue paint stroke is given in a womans body and make it a creative art.

Sexy Woman with a Dress Abstract painting

Sexy Woman with a Dress Abstract painting

Full Alien Tattoo on Back Man

Full Alien Tattoo on Back Man - This Alien Tattoo is incredible

Wall paintings in Pembroke - Ontario

Wall paintings in Pembroke - Ontario - Street Painting - Graffiti Painting

Old Apartment Style Wall Painting

Old Apartment Style Wall Painting - Graffiti Painting - Street Painting

Wall Painting - Amazing Painting Art on Building

Amazing Painting Art on Building - Wall Painting - Street Painting - Graffiti painting

Wall Painting in Mars Simulation Laboratory

Wall Painting in Mars Simulation Laboratory

People standing in front of the wall painting at the Science Operation Centre (SOC) in Tucson Arizona . Carlos Lange (Telltale team member) is standing on the left.

source : www.marslab.dk

Naughty Boy or Compulsory Education, a painting by Briton Rivière.

Handmade oil painting reproduction of Naughty Boy or Compulsory Education, a painting by Briton Rivière.

Beautiful Girl Hand Painted - Oil on Canvas Painting

Beautiful Girl, semi nude woman Hand Painted - Oil on Canvas Painting

Oil on Canvas Painting - Are You My Mother? by Delia Brown

Educations Oil on Canvas Painting - Are You My Mother? by Delia Brown

Nude Art

Scandalous! Shocking! Without modesty! Nudity has been portrayed without shame throughout history and has been met with varying criticism depending on the time and culture.

Early Nude Art

Ever since early cave paintings the natural human form has been portrayed in its full unclothed glory. This was just how the artists saw his fellow people, and depending on the region, people wore very little anyway. Since then societies have presented the nude form in paintings, drawing, photography, and any other media. This either demonstrates humanity's strong sexual nature, or just a propensity for making aesthetically pleasing artwork, or perhaps a combination of the two.

Perhaps no society was more naked in its art than Pompeii. This ancient Roman city would meet its doom at the wrath of Mount Vesuvius when the volcano erupted and wreaked havoc on the city below. The city would be covered and ruined by the lava flow but an 18th century find would uncover remnants of a forgotten world, including the remains of many of its inhabitants exactly how they met their fiery demise.

The society shows no sign of bashfulness in its many frescoes and surviving statues. In them you'll find depicted sexual acts, more sex, sex, and just plenty of nudity. Being an ancient Roman city, they often depicted gods and goddesses in their art. The most risque probably being Priapus, the god of fertility. Also of interest are the many statues from early Pompeii, which today may raise a few eyebrows. These are no Michelangelo's "David," if you know what I mean.

Erotica

Further through art history, namely long after the invention of oil painting and when art drifted away from a dominant religious tone, nudity was a common thing. Retouching on the ancient themes, pederasty in Roman mythology in paintings and sculpture, carnal love, and in general sexuality (sometimes not so delicate) were painted time and again. This was perceived usually as good taste. Of course, that wasn't always the general consensus.

In Michelangelo's career, he painted the human form realistically and without apologies. The subtle homo-erotic tones of the Sistene's ceiling probably went straight over the head of the pope and any other religious leader for that matter. The musculature of the male form painted in detail and the poses of the many male figures probably would have been omitted from a religious painting. The olives resembling certain parts of anatomy were perhaps there as a joke or subtle reference.

In the case of Caravaggio, his pubescent cupid displayed in "Amor Vincet Omnia" or Love Conquers All , would in these days be met with hostility, and the artist considered a pedophile. But in those days, the nude form young and old was nothing to shy from, and the boy was simply another model paid to pose. Caravaggio's painting is characteristic of his work, steering clear of the idealized subjects, instead showing a common street boy, crooked teeth and all.

Much modern debate has come over Amor's primary owner keeping the painting behind a curtain. While some say that he was embarrassed of the supposed eroticism and kept it hidden, others say that covering a painting is meant to keep it as a piece de resistance, to be uncovered only after the rest of the artwork was shown, as the best of show.

Borderline Pornography

It probably wasn't until the 18th and 19th centuries in Europe, particularly Victorian times of the 19th century when nudity in art started to seem inappropriate. In an age when even in the summer one must cover themselves with layer upon layer, and sexual matters altogether were strictly taboo, its no wonder the paintings were more G rated. This isn't to say that the subtle was absent. Take the Fragonard painting The Swing. It was also called "The Happy Accidents of the Swing." Humorously showing a glimpse up a dress, an unquestionable infidelity, and a cupid statue with a "hush" gesture all show this French painting's sexual symbolism.

Tame by today's standards, The Swing was quite sultry in its day. Going further into the beginning of the nineteenth century, Goya would make a breakthrough in erotic art and paint the first showing of pubic hair. Take "The Naked Maja" which was the complement to the Clothed Maja. Both paintings are wrapped in mystery, as to who the model is and who the intended recipient, but most people conjecture Fransisco was romantically involved with the sitter. Either way, it would get the artist into much trouble. It even got him fired from a lucrative court position, as a result of the Spanish Inquisition deeming the painting obscene.

Later we continue to have scandals resulting from a repressed mass of people. This John Singer Sargent painting called "Madame X" was originally painted with one shoulder strap off and on her arm. Mothers cover your children's eyes, they'll be scarred for life! Sargent later had to repaint the strap in it's correct position, to appease the prudish public.

In the nineteenth century, the "Father of American Painting" Thomas Eakins would be in hot water for removing the loincloth of a nude model in an art class. One of the girls promptly told her parents of such a horrible thing, which would lead to Eakins' removal from professorship at the Pennsylvania Academy. Eakins wasn't ashamed of the naked human body and frequently shot many nude photos, even posing nude himself on the other end of the camera as well. His paintings sometimes had nudity in them as well.

Subtle Undertones?

Modern photography is rife with naked forms ranging from the sexually charged to the artistic erotica. Modern advertisement also has subliminal sexual undertones for its psychological value, portraying people in borderline explicit poses and gestures in an effort to maximize effectiveness. Sex sells!

Speaking of sex selling, the paintings of Rembrandt van Rijn have been known to contain subliminal messages to reach the subconscious. The Dutch word for sex has been found in the underpaintings of several works written in large, barely visible letters. The painting of the Militia of Captain Cocq could possibly have a deep subconscious image. The shadow of a hand on the other man's crotch? Captain who? Interesting.

Modern and Contemporary Nudity

Painting in the modern day, especially at art schools involves the female nude for a variety of reasons. Besides its classical and/or romantic value, the female body is generally a good subject to paint for its curves and contours, giving the student valuable practice in form and shape. One may say that society has come a long way since Fragonard's Swing painting. But at the same time it is not that probable that a painting of a school teacher skinny dipping with his students would be generally accepted, at least not in modern America.

So times change, as well as views on sexuality, nudity, and the human body. Each society and culture has its own views, and inside each has subcultures with differing views and values, such as nudist camps. It also matters which part of the world you're from, as a nudist beach in France is more the norm than a nudist beach in New Jersey.

No matter what day and age, boys will be boys and seek the naked drawings in art books, erotically charged paintings will turn us on, subtle sexual undertones may touch our subconscious and we will always have nude paintings on our walls for whatever the perceived value.

Last 100 Years Painter - Marc Chagall (Mark Zakharovich Shagal)

(1887 - 1985)

Modern Russian/French. Influenced by Cubism, Fauvism & Surrealism. artworks
'My art is an extravagant art, a flaming vermilion, a blue soul flooding over my paintings'

Clearly the magic of Marc Chagall is in the images of childhood memories that float through many of his works. Untainted by acquaintance with modern experiments, Chagall's work is honest and direct in its revelation of the artist's character. We know him to have been a gentle, caring and passionate lover - the timeless image of himself and his beloved Bella in The Birthday (1915) sends our heart soaring to float with him on a cloud of ecstasy. We are sure of his devout relationship with his Jewish faith - numerous Chagall works draw on Jewish symbolism and reference Judaism including stained-glass masterpieces like The Twelve Tribes of Israel (1960-62); and we know that his heart was eternally connected to his childhood home of Vitebsk - nostalgic images of this small provincial ghetto in Russia are the

backdrop to many of Chagall's best known works such as I and the Village (1911) a painting in which clear Cubist influences fracture the picture plane like a stained-glass window, and an atmosphere of fantasy envelops us as dreamlike images seem to float above the ground, dispensing with the conventions of space and perspective.

If we are to learn about Mark Chagall and his art we must look to his relationship with his childhood home town. Chagall himself stated in his autobiography 'The soil that nourished the roots of my art was Vitebsk'. When he entered this world on July 7, 1887 almost half of Vitebsk's inhabitants were Jewish and the Chagalls were devout Hassidic Jews. There were ten children in the family fed on the meagre wages of Chagall's father who was a fishmonger's assistant. Despite this obvious poverty Chagall never went hungry and his childhood was happily filled with rich experiences of the surrounding rural countryside, suburban blocks with small wooden houses and backyards filled with children and animals. He learned the violin and was given singing lessons and from an early age he drew and wrote poetry.

Against his parent's wishes Chagall decided that he wanted to pursue his passion to be an artist. In Vitebsk, however, he was suffocated by his parent's unsupportiveness and the lack of opportunities to study art. After a furious argument with his father he fled, in 1906, to St Petersburg with nothing but a few roubles.

Life was difficult for a Jew in the Russian capital during such unsettled times. Jews were forbidden to reside in St Petersburg unless their profession made it necessary. Chagall's life took on an element of fantasy as he engaged in an elaborate charade to hide from the authorities that he didn't have an official residence permit. Although he was jailed on one occasion he managed to avoid further scrutiny and was able to pursue his artistic studies first at the School of the Imperial Society for the Protection of Fine Art, where he found the archaic approach stale and depressing. After two years he was able to find a more rewarding environment at the Zventseva School where he shared a studio with Tolstoy's daughter Vera and the dancer Nijinsky. In 1910 Chagall found a patron, Jewish Lawyer Max Vinaver who was prepared to pay his fare to Paris, and and provide him with a monthly allowance to study.

In Paris Chagall worked at a rapid pace surrounded by the creative energy of a city to which artists from all over the world flocked to pursue their art. His art 'desired Paris as a tree desires water'. A struggling artist on a small income, Chagall based himself in the poverty stricken area of 'La Ruche' where artists rented 'cheap' studios. He was sustained by his friends who encouraged him at every opportunity.

Robert and Sonia Delauney were important influences in Chagall's life and his art. A native Russian, Sonia made a point of including Chagall in many of her social gatherings. Robert Delauney's use of Cubist technique and his lyrical sense of colour was a strong influence on Chagall's assimilation of Cubist ideas. As with Delauney, Chagall felt that Cubism lacked poetry and colour. He lightened his palette and his compositions became more harmonious and unified. We see this transition of style as we compare the deep tones of early works such as in My Fiancée with Black Gloves (1909), to the expressive use of brighter and more varied colours in works such as Self Portrait with Seven Fingers (1912).

Chagall's poet friends Blaise Cendrars and Guillaume Apollinaure celebrated his talent in their poems and assured him of the brilliance of his unique, expressive manner of painting. He sent a few paintings to the Salon des Indépendants, and to avante-garde exhibitions in Russia but he sold very little. In 1914 he took most of his paintings to Berlin on the prospect of an exhibition. He extended his trip to include his sister's wedding in Vitebsk and to visit his fiancée Bella. His holiday to Russia was prolonged for an indefinite period when war broke out in Europe. During this extended stay he married Bella. Their first child, a daughter named Ida, was born in 1916.

The upheavel of the Russian Revolution drew the nonpolitical Chagall into events. He was appointed Commissar of Art for Vitebsk and the surrounding region, but became disillusioned after criticisms of his teaching techniques. He moved to Moscow in 1920 and the back to Paris in 1923 after a nine year absence. Many of the paintings he had left there years before had disappeared from his studio. Finally after a period of further hardship commissions began to roll in and by 1930 his name was known worldwide.

Meanwhile the Nazi's were rapidly gaining power. In 1933 Goebbels ordered some of Chagall's work to be burnt. Chagall's concern for the fate of humanity is reflected in works of this period such as Solitude 1933 which conveys an overwhelming atmosphere of despondency with the huddled figure of a pious Jew seemingly depressed, longing for faraway Israel. When war finally broke out the Chagalls moved to the south of France and then to the US to escape the Nazi invasion of France. Chagall was kept busy during the war years with a series of commissions for theatrical and ballet designs.

Tragically Bella didn't live to see the end of the war, dying suddenly in 1944 just before peace was declared. Chagall was overcome with grief and ceased painting for months. It was not until he met Virginia Haggard that he was able to rise out of his depression. His relationship with Virginia (with whom he had a son) and more theatrical commissions helped him to get back into life.

In 1947 he returned to France first to Paris and then eventually making his home in Vence in the south. He married Valentine Brodsky ('Vava') in 1952. In the early 1960's he was commissioned to create some stained-glass windows for the Hadassah University Medical Centre, Jerusalem. This commission was of particular emotional significance for Chagall, touching the very heart of his relationship with his Jewish faith. "All the time I was working," he said, "I felt my father and my mother were looking over my shoulder, and behind them were Jews, millions of other vanished Jews of yesterday and a thousand years ago."

Stained-glass was also the medium he used when he created The America Windows 1977 (Chicago Institute of Art) to celebrate the US bicentennial. These windows are an expression of his gratitude to the United States where he'd found safe haven during WW2. In The America Windows Chagall celebrates the greatness of the United States and acclaims it as a country of freedom, liberty, culture and religious tolerance.

In 1985 Marc Chagall died just as his major retrospective was closing in Russia. He was buried at Saint-Paul. With his death the world was left the gifts of an artist whose work is timeless. Throughout his artistic life he assimilated many of the modern developments in art into his own personal style. He was influenced by, but never aligned to, movements such as Cubism, Fauvism and Surrealism. His work is rich in the imagery of the folklore of his native Russia and Jewish life, and often takes on the appearance of a dream-like fantasy. The breadth of his abilities is shown in the fact that he was able to take on many challenges such as stained-glass, theatre and costume design and book illustration. Indeed Chagall, with such abilities, proved himself one of the 20th century's great masters of art.


source : www.theartgallery.com.au


Some Marc Chaggal Artwork :

Old Woman with a Ball of Yarn. c. 1906. Oil, gouache, charcoal on cardboard. 67.5 x 50. The Tretyakov Gallery, Moscow, Russia.

Young Girl on a Sofa (Mariaska). 1907. Oil on canvas. 72 x 92.5 cm. Private collection.

Window. Vitebsk. 1908. Oil on canvas mounted on cardboard. 67 x 58. Private collection.

Red Nude Sitting Up. 1908. Oil on canvas. 90 x 70 cm. Private collection.

Small Drawing Room. 1908. Oil on paper mounted on cardboard. 22.5 x 29. Private collection.

A House in Liozno. Oil on paper mounted on cardboard. 37 x 49. The Tretyakov Gallery, Moscow, Russia.