Sunfish Sailboats Diagram

. Paris 1840 - Giverny 1926 - Realism, Impressionism.

the magpie. Realism. Orsay Museum. Paris (France.)

STREET STATION ST. LAZARE SEEN FROM THE TUNNEL BATIGNOLLES. Impressionism.
Oil on canvas. Private Collection. France.

Bordighera, ITALY. Impressionism. Oil on canvas. Private collection.

THE TURKEYS. Impressionism. Oil on canvas. Orsay Museum. Paris. France.

MORNING IN THE SEINE. Impressionism. Oil on canvas. Mead Art Museum. Amherst College. Massachusetts. USA.

STATION ST. LAZARE. THE SPRINGS. Impressionism. Oil on canvas. Private collection. France.
What stations that had attracted the painters from the Impressionists to Turner, and even futuristic ...? Surely
the locomotive and the steam locomotive because it is a machine, a symbol of progress, of advancing civilization, motion, and the vapor because it has a "density" that makes the atmosphere is almost palpable, gives body and color involving men and things. A monet especially liked the sight of Saint-Lazare station, which was one of the grounds on which he worked from 1877
Manet had already devoted to a famous picture rail, in which a young girl contemplates the spectacle of the train surrounded by the white steam locomotives.

(This last paragraph, corresponds to the chart below: the Gare Saint-Lazare.)
Monet repeated the theme in its own way, highlighted the metal structure station and machinery, locomotives and steam that turns into a surreal vision, almost fantastic. The sky is framed by the triangle of the roof, in the center, the silhouette of the locomotives and wagons and travelers on the platforms. The whole is through vapor filter whitening luminous space, next to the blue smoke of the locomotive. Monet came to paint the subject in a series of canvases.

LA Gare Saint Lazare.

GRAINVAL NEAR FECAMP. Impressionism. Oil on canvas. Private Collection Norfolk. USA.

PRINTING, THE RISING SUN. Impressionism. Oil on canvas. Marmottan Museum. Paris (France.)

Impression, Rising Sun (French: Impression, soleil levant) is a painting by French painter Claude Monet, who gave his name to the Impressionist movement.

Dated 1872, but most likely painted in 1873, his motive is the port of Le Havre in France, using very few touches of brush that suggest rather than delineate. Monet explained the title later:
"The landscape is not nothing but an impression, an instant impression , Hence the title, the impression I got. I played an impression in Le Havre, from my window, sun in the fog and a few silhouettes of boats standing in the background ... I asked for a title for the catalog, I could not really be a view of Le Havre and said "put print"



Claude Monet painting was exhibited in 1874 during the first independent exhibition of the Impressionists, still known by that name. The critic Louis Leroy, inspired by the title of the painting, titled his hostile review in the newspaper Le Charivari, "Exhibition of the Impressionists" inadvertently naming the movement. Leroy wrote there:
"Printing .. I have no doubt. I said to myself, as I was impressed, there must be some print .. and what freedom, how easy crafts! The wallpaper in more embryonic state is more termination this seascape.
Louis Leroy
The painting was stolen from the Marmottan-Monet Museum in 1985 and regained in 1990. Since 1991 he has been back on display.
Monet painted the sun almost as luminance of the sky, a condition that suggests high humidity and atmospheric attenuation of light. This detail is based on the use of complementary colors and variety of color temperatures, rather than changes in intensity or contrasting values, to differentiate the sun from the sky around it. The painting is the value of simultaneous contrast of colors, warm tones placing on others opposed that highlights, in the retina of the viewer, on other tones. Vaporization is the fundamental element that pervades the area, noting that moisture invades the work and it reduces the tones, ie, the color is conditioned to the humid atmosphere. The main purpose of trying to get Monet in this work is to produce an impression on the viewer, so we find the importance attached to the viewer in impressionism. The strokes are somewhat free, fast and direct, reducing cuandro elements to simplify apparent, as envisaged in the reflections of the water. (Source: Wikipedia.)

BELLE ILE STORM OFF THE COAST.

ON THE EPTE Poplars.

Monet spent the spring, summer and autumn of 1891 to a series of paintings whose subjects are the cottonwoods lining the banks of the River Epte, about two miles from Giverny. The painted from a boat:

"At this point your boat I would greatly useful because I'm working on a series of pictures on the Epte and I'm very uncomfortable doing the Norwegian ... If the boat is stable and large enough, I could do a great service "(letter to Gustave Caillebotte Monet).

The July 28, 1891 Mallarme wrote:" I have a lot of work, a number of new tables stop. Besides, I have to admit that I find it hard to leave Giverny, especially now I'm fixing the house and garden to my taste. "

Successive repetitions of the subject reflect sometimes the stubborn insistence that Monet sought to trap air and light, while trying at the same time, carefully composing decoration but giving the impression of great simplicity.

Sources for tables: The City of painting. Sources

texts: Understanding the paint. Ediciones Orbis SA 1989 and Wikipedia.

Pokemon Shinygold Walkthrough

WE MUST HELP! - LIBYA-(From the blog: Mabel ... For a better world.)

In Libya, Colonel Gaddafi's armed forces are using machine guns and fighter jets against pro-democracy demonstrators.


Hundreds of supporters of democracy are being massacred by the military Gaddafi in Libya. The UN and the EU are holding this week emergency meetings on Libya and could freeze the accounts of the regime abroad, establish no-fly zones and threaten criminal prosecution in international courts. Ask the UN and the EU to act urgently to stop the bloodshed:


SIGN HERE
http://www.avaaz.org/es/libya_stop_the_crackdown_eu/?cl=958780358 & v = 8461 Avaaz Organization

What Colors Look Good With A Light Jean Skirt

CASIMIRO SAINZ SAIZ. 1853 1898 - Cantabria, Madrid. Neoclassicism, Realism, Naturalism. SAINZ CASIMIRO

MADRID PUBLIC SOURCE.

TO PIANO, 1875

PORTRAIT OF A GENTLEMAN, 1875

by the fireplace.

Without finishing his studies, painting and Saiz Casimiro Sainz tends toward a precious concept and interior, while the exterior landscape, if Public Source Madrid (1875) (Municipal Museum of Madrid) where little work mules and water carriers operating in a fountain, Madrid's Paseo de las Delicias. But as we say, in these years the Spaniard works interior works with certain price, to painting gallant, surely influenced by one of his teachers, Vicente Palmaroli, which brought this fashion Paris, though, and were eloquent Rosales wins and Fortuny. To quote Al piano (c. 1875), and Portrait of a Gentleman (1875) (private collection of Santander) and, more interestingly, by the fireplace (c. 1875), which already warns Sainz to set in the interior, in the collection of details, with hints of sweet oriental in the female figure, so fashionable at the time. These small works, eminently bourgeois, yet have a matte appearance, with lighting and barely contained even brighter.

LADY IN THE DESKTOP.

THE SCULPTOR IN THE STUDY. 1876 \u200b\u200b

With Lady on the desktop (1875) (private collection Burgos), Sainz walking steadily towards the gallant precious interior painting, very far Rosales, with special care and sensual qualities of the fabrics, the collection of a very moment-writing a secret letter that the lady is absorbed, and brighter lighting, and we demonstrate this trend. Major progress is evident in the sculptor in his studio (1876), with the scene of an anonymous fellow artists working the red wax, and light, the treatment of fabrics, objects and furniture, tell us reliably determined aesthetic stance Sainz.

THE REST. STUDY OF THE PAINTER. What did you think?

masterpiece of this period protopreciosista-between 1874 and 1881 - is the famous painting Rest, painter's studio, What to think? (1876), the Museo del Prado, with whom he appeared at the National Fine Arts in the year of its implementation. The stay is in line with the study of Vincent Palmaroli, apart from a few texts that bear witness to this, the carpet that appears in the play is present in any work Palmaroli as Comedian. Caring for detail, thoroughness, and achieved excellent side-light of obvious reference in the classic Dutch painting, and capturing everyday moment, magnified a work that won a third medal. The artist appears in the play can be your colleague and friend Eduardo Pelayo.

THE MOTHER OF THE BRIDE. Ms F. MALE:

LADY FAN.


Among the commissioned portraits are preserved The mother of the bride (1877), represents the woman who ran a pension Sainz in Madrid where he lived time, "(private collection Reinosa), the portrait dead mother (1879) (Museo del Prado) with the identity of that person. Both show an excellent performance, a mixture of grim realism, where the elderly can not be hidden. Since 1877, one notices a preponderance of the exterior paint. The general concept will come naturally to Carlos de Haes, helped also by the environment of their peers and friends (Pelayo, Cutanda, Carpio Fernández, Arredondo ...). Even so, maintains and increases the price in the magnificent fan Lady (1877) (private collection Reinosa). This table, close to Rosaliana approaches, still immersed in flirty patterns and anecdotal, bourgeois. Take care of both the female character as the landscape, possibly EI Madrid Retiro a particularly attractive lighting.

Sources: The same as the previous post.

Snl Skit-john Goodman As Chris

SAIZ. (Matamorosa, Campoo Enmedio, Cantabria, 1853 - Madrid, 1898), "Realism, Naturalism Neoclassicism. Boars

Double

moon. 1889. Oil on canvas. 40.9 x 54.2 cm. Casimiro Sainz work
Heading of blog: The guardian of the house.

Calle Santa Ursula. Toledo. 1879. Oil on canvas. 19 x 13 cm. Private collection. Santander.

door Alfonso

VI in Toledo. 1877. Oil on canvas. 24 x 14 cm. Private collection. Madrid.

During these years, Casimiro Sainz, probably in the company of friends and colleagues take cities near Madrid: Toledo, Ávila, Soria and Segovia. They found suitable places where inspiration. The particular English and warm light was also perfect for what I wanted or sought. Thus, at this point, it is Toledo (The Cigarral) (c. 1877), Ávila (c. 1877), The gate of Alfonso VI in Toledo (1877), Calle de la Virgen de Gracia de Toledo (1879) or Calle de Santa Ursula. Toledo (1879).

Calle de la Virgen de Gracia de Toledo. 1879. Oil on canvas. 20.5 x 13.5 cm. Private collection. Reinosa.


























Together with its partners, Casimiro Sainz Madrid seeks outdoor places where inspiration. So in the Retiro Park, the Botanical Garden and, especially, on the banks of the Manzanares, places suitable for inspiration. Minute paints landscapes in which seamlessly integrates the human figure, optical scale adequate for the role it has precisely the landscape. In many cases, there are known buildings in the distance of Madrid. Washing worth mentioning (c. 1877), On the source of San Antonio de la Florida (c. 1877) or washers in Manzanares (c. 1877), whose support iconographic repeated at the National Exhibition of 1881. In many cases, there is a reminiscence tardorromántica, based on the light treatment, aided by human-painting not as essence but as a simple accompaniment and optical-scale effect and the detailed technical
Washing
. 1877. Oil on tabla.23, 8 x 14.2 cm. Private Collection. Madrid.

Washerwomen in the Manzanares. 1879. Oil on canvas. 50 x 30 cm. Private collection.

At the source of San Antonio de la Florida. 1877. Oil on lienzo.44, 5 x 24.5 cm. LL Collection

The Mists of Tzara. 1874. Oil on canvas. 36 x 55.7 cm. Marcelino Botin Foundation. Santander.

La Vega de Matamoros. 1879. Oil on canvas. 12.6 x 22.3 cm. Private collection.

Matamorosa. 1881. Oil on canvas. 9.8 x 16.5 cms. Private collection. Madrid.

The well of love. 1881. Oil on canvas. 38.5 x 26 cms. Private collection. Lion.

pots of flowers. 1880-1881. Oil on canvas. 75 x 48.4 cm. Private collection. Madrid.

The river and the Sierra del Guadarrama. 1879-1880. Oil on canvas. 15 x 30 cm. Madrid private collection.

In the orchard of Toledo. 1879-1880. Oil on canvas. 24 x 46.5 cm. BCSantander collection.

Birth
Ebro (Sources Ebro) 1885. Oil on canvas. 50.5 x 37.7 cm. Private collection. Santander.

Haven. 1884. Oil on canvas. 15.3 x 26 cms. Private collection. Madrid.

Ávila. 1877. Oil on canvas. 47 x 70.2 cm. Private collection. Madrid.

trees in bloom. 1878. Oil on canvas. 17.9 x 11.9 cm. Private collection. Madrid.






















In other examples, it factors in closed forests, seeking and getting good lighting effects of leaks, as in Forest or sisters Corner of forest, both also from 1878. Diaphanous light so brilliantly and had to take, by force, the practice of naturalism fully modern, not exercised continuously, sometimes certain involutions warning, perhaps due to mental slumps. They are very eloquent and surprising, for example, trees in bloom (1878) or closing the road (c. 1878), both privately owned Madrid, where the absolute freedom of brushwork and luminous clarity together in an obvious reference to Aureliano of Beruete. Both painters had to know and are known to Beruete liked to exchange small works among friends and colleagues. Not surprisingly, therefore, that in the famous solo exhibition dedicated to Casimiro Sainz, organized by the Circle Leisure, which took place in 1899, stating two works Cantabrian Beruete property.

Vista de Madrid. 1879. Oil on canvas. 37.5 x 46.4 cm. Private collection. Madrid.

Castilian landscape. 1879-1880. Oil on canvas. 33 x 45.8 cm. BC Library Santander.

Huerta. 1879-1880. Oil on canvas. 20.5 x 28.5 cm. Museu Nacional d'Art de Catalunya. Barcelona

corner

forest. 1878. Oil on tabla.24, 7 x 14.9 cm. Museo Municipal de Bellas Artes de Santander.












And indeed, we come to their masterpieces, of an artist like few others: The Cigarral of Toledo (c. 1879-1880), privately owned Santander, la Huerta ( c. 1879-1880), National Art Museum of Barcelona. The peak of its modernity and courage plastic, its bright, supported in the act of execution, you can admire the Castilian landscape (c. 18791880) (private collection of Santander), his artistic testament, and in the river and the Sierra Guadarrama (c. 1879-1880) (private collection in Madrid). In them, say that Beruete or Sainz Sainz or Beruete are the same hand that held, it would be a mistake. Although Sainz looks ahead, being more in line pictorial of Martin Rico. Do not lose sight that takes place with only twenty-six or twenty-seven years young and still fresh, personality, training and intuition to stand as important artist of rupture, quietly, get, being all a pleasant surprise.

BIOGRAPHICAL NOTES. Casimiro Sainz


Saiz (Matamoros, March 4, 1853 - Madrid, August 19, 1898) is a English painter noted for his landscapes and interior scenes.
was the son of Francisco Sainz Martinez Burgos farrier or veterinarian who married in Matamoros (Campoo Enmedio in Cantabria) with plate-Ignacia Mantecón Saiz. It was the last of ten children of the marriage. Her mother died of cholera in the eleven months of the birth of Casimiro. At thirteen
(1866), was sent to Madrid to work in the grocery business of his brother. There he received his first drawing classes. Physical problems, is unable to work and back to Matamoros.
The appearance of a white swelling in the lower joint of the left hip, will condition the rest of his life, both physically and emotionally, causing him mental disorders.
At seventeen years, thanks to a grant from the Diputación de Santander returns to Madrid to study at the Escuela de Bellas Artes de San Fernando, with his teachers, among others, Palmaroli Vicente and Carlos de Haes.
Between 1875 and 1881 lived in Madrid, Toledo, Avila and Segovia. In 1881 he won prizes at the National Exhibition. In the summer of 1878 showed signs of mental illness, the worsening health, went to Matamoros in 1881, to recover. Here he painted many landscapes, which are among the most celebrated of his work.
Cleared to some extent, returned to Madrid in 1884. Participated in the Exhibition of the Society of Writers and Artists, with good reviews. During this period, even going economic woes but gets the exclusive sale of his work with famed Peter Bosch dealer to help you get by, but the abusive conditions of the dealer make in 1886 will suffer eviction
February 21 in 1890 he entered the asylum of Dr. José María Esquerdo in Carabanchel. The Provincial Government granted him a pension that was used to pay the hospital stay. Got the new award at the National Exhibition of 1890.
In recent years, his illness prevented him from painting. Died from of purulent infection in his leg. He was buried in the Cemetery of Carabanchel.
The news of his death, is knowing in the artistic fields and in 1899 the Circulo de Bellas Artes, performs a tribute show with over 107 works by the author. The total success, therefore, that even the Queen Maria Cristina and Infanta Isabel attend the shows. Time from which his name began to be reassessed.
In 1922, his remains were moved to Reinosa, where they are buried under a sculpture by Victorio Macho.
Among other honors, has dedicated street lanes in Santander and Torrelavega, and is named the Public School of Matamoros. Work


_
Rest, Third Class Medal at the National Exhibition of 1876. The table gives a corner Palmaroli study, with a model and a painter (the young Cuban artist Eduardo Pelayo). _

Tetuan Street, behind the Church of the Carmen de Madrid. _

Views of a garden, Second Class Medal at the National Exhibition of 1881, painted in the garden of the District of Pozas. Views

a greenhouse _

Campoo While in many works painted mountain landscapes, among which are: A flock near a monastery (refers to Montesclaros), the guardian of the house (1883) , Collegiate Cervatos, Campurriano landscape, View of the Vega de Matamoros, Montesclaros Procession.
The most prominent of all and possibly his most famous work is The Birth of the Ebro, which won second prize at the National Exhibition of 1890.
On the same subject painted Fuentes del Ebro, presented at the National Exhibition of Fine Arts in 1892.
(Information obtained from Wikipedia)
pictures
Source: FORUM XERBAR. Source texts
before Biographical Record: The unfinished work of art by Casimiro Sainz
Saiz (1853-1898)
Salvador Carretero Rebes

NOTE: Editing comments is going down, because it has created a large space I can not get deleted. I apologize.

       

 

 
 
 
 

Small Truck And Best Fuel Efficiency

DEL PARK Collcerola. Manifestations of Altarriba Foundation.






The quiet hiss of arrows has led to the shooting spree and many people do not understand anything. Yesterday,
the next morning that the Government back off on the idea of \u200b\u200balleviating the overpopulation of feral pigs in the natural park Collcerola authorize based on night hunting with bow and arrow, many walkers were found with a shotgun whipped here I hope you against these animals. Can we kill pigs shot, but not arrows?, Is it a more civilized and compassionate than the other?, "John Hunter, yes, Robin Hood, no ?...... (Sunday 6-February-2011 THE COUNTRY-fragment of the news-

I thought it appropriate to publish these events Foundation Altarriba, following the recent events taking place in Barcelona, \u200b\u200bCollcerola park, with wild boar and the actions of the authorities of this city. First
allow night hunting with bows and arrows in the park, because they believe that there is overcrowding and causing conflicts. Later Protective Association ADDA animal please do not use this method as cruel and painful game, they can easily be badly injured and survive days and with horrible pain until they die. We suggest alternative methods such as sterilization, relocation of these animals to other places where there are not. Let us not forget that forests are dirty, loaded of "brossa" and feral pigs are an excellent species that contributes to cleaning the forest and forest are burned by not cleaning as it was when people lived more in rural areas. Total
say that will change the method and now have gone hunting with shotguns and has made a great slaughter, this in the last news I know. Since then, our city is being covered with glory and everything not allocate a budget for the city animals and wanting to do things quickly and with minimal economic cost. Clarian. "In my view .- February 6, 2011


ALTARRIBA FOUNDATION. BARCELONA.

BARCELONA AND THE URBAN ARCHERY HUNTING. 04.01.2011





The City derives the killing of feral hunters

on the announcement that the city council has decided to convene the sector of hunting for wild boar hunts in Collserola, and that the extermination of these animals is done with bow and arrows, Altarriba Foundation wishes to express the following: 1.-That

indeed the presence of these animals in areas of vehicle traffic accident can pose problems. 2.-That

wild boar does not have staged altercations with citizens. 3.-That

many citizens, including children, who take the protection of these animals view the failure to respect the authorities, and the boar, in many cases, have been integrated without difficulty in the daily life of urban areas that come to eat.

4.-That the current proliferation is due, in great part to the introduction of domestic pigs for years, prompting a greater number of births and more pups, to benefit the sector benefited greatly as hunting, receives grants millions even in times of crisis.

5.-hunters did not know if the City charged for this work, or carried out so altruistic.

6.-That the continued degradation of habitat for wild boar especially urban planning, and the subsequent reduction of food, has been forced to find ways of surviving, of course, among them move to areas where they could feed or be fed. 7.-That

years raids take place in Barcelona in which these animals are killed, even lying to their caregivers saying that they simply are sedated for transfer to a better place, and sometimes they have done night and without notice to prevent citizens could stop the killings.

8.-That the same authorities have at no time had any interest in accepting the proposals for solutions made from animal protection, including control the population through sterilization and the creation of a protected area.

9.-That the City of Barcelona, \u200b\u200bwhose aim is to convey to the world a sustainable and modern city, is that killing these issues is held, and resorted to modern bows and arrows, leaving us all with shame of having to explain to national and international level, the difference between "what is said that he is", and "what is reality."


FINALLY, we attach the request for information made by our Legal Department: Peticición for information sent to "Cap de l'Àrea Hunting the natural environment", and the "Conselleria de'Agricultura, Ramaderia, Fishing, Food and Natural Environment." Given the flood of calls received, and as a person concerned in relation to the killing of wild boar with bows and arrows, we would need information about:

Why use this system? Have a great risk of suffering.

Do arrows contain an anesthetic?

What days, what times and in what specific areas will the shaking? People want that animal protection agencies confirm that the animals do not suffer, because that would be contrary to animal protection law itself.

If control has been carried out on the arrows to be used: 1. Have stability. 2. Good penetration. 3. Durability.

What experience have selected hunters?, And a bad shot can mean unnecessary suffering to the animal, and finally and most importantly

Did you ever have done a study on the human impact on the habitat of these animals, the degradation of its ecosystem, food shortages, and / or the scope of establishing a population control in a protected area, supported by the majority of citizens who care, and that puts Barcelona the sustainable city that claims to be, and not as a place where animals are hunted even with tools of the Middle Ages?

This information is required under the law 27 / 2006, which regulates the rights of access to information, public participation and access to justice in environmental matters, and urge you to respond before shaking since then would make no sense. Article 5 General obligations of environmental information: 1 .- The public authorities shall perform the following actions:

d) ensure that its staff to assist the public in seeking access to environmental information.

f) ENSURE THE PRINCIPLE OF FLEXIBILITY IN THE PIPELINE APPLICATIONS AND RESOLUTION OF ENVIRONMENTAL INFORMATION. Sincerely, Yolanda Valbuena





AREA LEGAL FOUNDATION
ALTARRIBA