China: Expectant Mother Decorates Her Baby Bump with Works of Art 

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A young expectant mother named Luo Qianxi has painted pictures on her growing bump to record her pregnancy, the Chengdu Evening News reported.

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Each painting takes three to five hours, and Luo uses a mirror to see what she is painting on her bump. The paints she used are specially made and don’t contain any harmful chemicals.

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Painting on Luo’s belly. [Photo: Luo’s Sina Weibo page]

“With painting enriching the pregnancy, I have gotten rid of fear and am ready for my baby,” she said. Now friends have invited her to paint on their bellies.

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An expectant mother named Luo Qianxi shows her works of art on the stomach featuring her unborn baby. Luo, a painter by profession, has painted pictures on her growing bump to record her pregnancy. [Photo: Photo: Luo’s Sina Weibo page] Read the rest of this entry »


Greg Gutfeld Reviews Penn & Teller’s Documentary ‘Finishing School’

Greg Gutfeld  writes:  I never get around to seeing movies because I rarely get around to doing anything. This is an important point–as a man with no hobbies and a knack for leaving things unfinished–it’s a big deal for me to finally catch Penn & Teller‘s documentary, Tim’s Vermeer.

It’s an action film in which the only action is painting. And that action beats most other action films, as it’s actually designed to prove a point: to set out on an absurd experiment (in terms of workload) and see it to its ridiculous but satisfying completion. The movie is about a job.

“Jenison embarks on a decade-long experiment in which he tries to paint a Vermeer, using theories he believed Vermeer might have employed. Over these years, he builds an exact set replica of one of Vermeer’s more complicated paintings…”

But it is also really about Penn Jillette‘s old friend, Tim Jenison, an inventor out of Texas who’s congenially obsessed with solving one beguiling question: how did the guy who painted “Girl with a Pearl Earring” paint “Girl with a Pearl Earring?”

Johannes Vermeer was a 17th century Dutch artist who painted works of art so realistically that they’re about as close as you can get to photographs without demanding a nose-picking brat to “say cheese.”

Some in the art world believe Vermeer achieved his mesmerizing work with technology available at the time–a device called a camera obscura–and a mix of lenses and mirrors. In a sense he was photographing with paint.

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This is Not a Photograph of Morgan Freeman

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No, that’s not a photograph of Morgan Freeman. It’s a painting.

If you are staring at it and you’re still not convinced, watch the video above to see how it was made completely on the iPad using just a finger.

Yes, that ultra-detailed painting was done by a 26-year-old visual artist in Cheshire, England, named Kyle Lambert. With 285,000 brush strokes, Lambert spent over 200 hours working on the finest details in the painting — the hairs in Freeman’s beard, the detail in his lips — with just his fingers. If you’re wondering how he was able to get so precise, he said he “reduced the brush size to a few pixels, pinched to zoom and carefully painted in the fine detail.”

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Van Gogh expert sheds new light on lost sunflower paintings

Van Gogh: Six Sunflowers, 1888, oil on canvas. Photograph: Mushakoji Saneatsu Memorial Museum

Six Sunflowers, 1888, oil on canvas. Photograph: Mushakoji Saneatsu Memorial Museum

 writes: One day in Arles in August 1888, Van Gogh was planning to paint from life. But the models he had hired failed to show up, and a harsh, hot mistral was blowing, making conditions for painting outdoors unbearable.

So he improvised: he took bunches of Provençal sunflowers, then at their golden-blooming best, and arranged them in locally made, half-glazed earthenware pots. He started work on Monday morning and by Saturday he had made four sunflower pictures. Read the rest of this entry »


The Picasso Effect

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LES DEMOISELLES D’AVIGNON; PABLO PICASSO

What The Success of Cubism Teaches Us About Radical Innovation

Paris, 1907. In a ramshackle studio in Montmartre, a twenty-six year-old Spanish artist presented the painting he had been working on day and night for the best part of a year to a small group of fellow artists, dealers and friends. They were visibly aghast.

One considered the work “a veritable cataclysm”. Another concluded that its creator must be on the brink of suicide. None could foresee that it would one day be considered the most influential artwork of the twentieth century.

The painting, then untitled, was later to become known as Les Demoiselles d’Avignon. It is credited as the first work of Cubism, and the catalyst for a revolution in Western art and culture.

The reaction of its first viewers that day was understandable. Les Demoiselles was ugly, chaotic and confusing: everything art was not supposed to be. It represented a wrenching, violent rupture with artistic convention. It flouted laws of perspective, representation and beauty that had endured for over four hundred years.

In a predictable world, Les Demoiselles would have been regarded as a regrettable aberration and quickly forgotten. Yet within a few years, Cubism had become the dominant art movement in Europe, and Cubist artists were commanding sky-high prices for their work.

The painting’s creator, at the time barely known outside of Montmartre, went on to become the most famous artist in the world. The name “Pablo Picasso” became synonymous with “genius”.

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