Alternative Art Surfaces: Mixed-Media Techniques for - download pdf or read online

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By Sandra Duran Wilson

Mixed-media powerhouse duo Darlene Olivia McElroy and Sandra Duran Wilson, authors of the best-selling books snapshot move Workshop, floor therapy Workshop and combined Media Revolution, blaze new inventive territory with greater than a hundred suggestions for engaged on greater than 35 distinctive surfaces during this, their jam-packed fourth book!

You'll locate whatever new and fascinating on each page:
More than 35 replacement surfaces, together with galvanized tin, mica, rawhide, nylon, unsanded grout, slate, spray foam and more
More than a hundred concepts for portray, sculpting, growing textures, encasing, carving, printing, shifting and more
More than a hundred twenty five assistance for troubleshooting, getting ready your surfaces, completing and mounting your artwork, and taking your paintings to the subsequent level
More than 50 inspiring entire items of paintings showcasing the surfaces and methods

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Read Online or Download Alternative Art Surfaces: Mixed-Media Techniques for Painting on More Than 35 Different Surfaces PDF

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Extra resources for Alternative Art Surfaces: Mixed-Media Techniques for Painting on More Than 35 Different Surfaces

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The Master of the Pirano altar┬Ěpiece. polyptych. Museum, Leece. Photo ~rinist. del. Pnbbl. Istr. VENICE AND THE NEIGHBOURING REGIONS. 25 blance which exists between the lateral figures of this polyptych - especially the two nearest the Virgin - and those at Pirano, not only in their attenuated from but also in their hard ascetic aspect, is sufficient to confirm our supposition that they are from the same hand. Although a certain number of individual characteristics, among them the attenuation of his figures, reveals the "Master of Chioggia's" independence, the most important factor in his painting is the influence of Maestro Paolo, whose most faithful pupil we can certainly consider him to be.

Above each lateral panel is a smaller one containing a bust of a saint; the one over the Madonna is missing. The marked resem(') Caprin, L'Istria nobilissima, Part II, p. 58. The Same, L'Istria e la Dalmazia, Bergamo, p. 36. (2) S. de Ricci, Description raisonnee des peintures du Louvre, I, Paris, 1913, p. 146. H. Rachon, Le musee de Toulouse, Toulouse, 1906, p. 38. P. Perdrizet et R. jean, La Galerie Campana et les musees francais, Bordeaux, 1907, p. 32. Cavalcaselle read the date as 1354. (3) This polyptych has been attributed to Jacobello del Fiore: o.

Cicogna, after giving a fac-simile of the date (3), persists in contradicting the old authors, such as Zanetti and Zucchini, who read the date as 1358, and believes that the year inscribed on the picture is that of 1367. Signor Testi is inclined to accept this version with which he finds the manner of painting corresponds, but I think the contrary opinion is much more likely to be correct, because, not only do we find in this picture the characteristic proportions that Lorenzo borrowed from the Master ofChioggia but the figures of the Annunciation in the centre resemble much more those of the Marriage of St.

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