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Tinker with Mark Making Tools
Seeing Texture
Layers of Resist
Building Stamps
Building with Natural Found Objects
Drip Drop Paint
Freedom
The structure of this sculpture was inspired by the parfleche (pronounced “par-flesh”) containers and travois (pronounced “tra-voy” or “trav-wa”) that were used by Native American tribes from the Plains. A travois was typically made from tipi poles, and would have been pulled by a horse or dog. Nomadic tribes used them to transport their belongings, which were often stored in parfleches. This word is thought to have come from the French words for “to parry (defend),” parer, and “arrow,” fleche, and originally referred to rawhide shields or body armor.
The Lesson in the Garden
Although Berthe’s early style was more traditional due to her formal training, she became heavily influenced by the unconventional and modern approach to art espoused by Édouard Manet and of the later Impressionists. For this painting, Berthe may have completed part of it en plein air, or outside and onsite. Here, In this painting, Berthe’s loose brushwork and vibrant color palette work together as she attempted to capture the effect of dappled light filtering through the trees into the garden.
Dance Examination (Examen de Danse)
While living and working in Paris, Degas frequently attended the Paris Opera, and became intrigued with the performers and musicians he saw there, including ballet dancers. Dancers became some of Degas’s favorite subject matter, as they provided a way to investigate movement and his love of materials. He rendered them in charcoal, oil paint, prints, pastel, watercolor, wax, and clay. Degas would often portray the dancers rubbing sore muscles, stretching, gossiping, or prepping for a number on stage. Few of his works show the dancers actually on stage performing.
Motherwell's Angus
Waddell feels a strong connection to his home, saying that “Montana has caused me to be who I am, and I love this place,” and “I have to be where I am to paint what I paint.” He also loves animals and has spent decades of his life surrounded by cattle, sheep, horses, dogs, and other furry friends. He sees the animals and landscapes that he paints as inextricably connected; the cattle “give a focus to the landscape that can’t be perceived any other way.”
Bird-Headed Deity
Magicians placed protective deities throughout the king’s palace, wherever they were thought to be most effective. Bird-headed deities often stood at doorways, protecting the palace from evil spirits. Magic was an essential part of religion and daily life in ancient Assyria and was used in everything from medicine to architecture. Kings served as high priests and had ceremonial responsibilities. Icons throughout the castle, including relief carvings like this one, affirmed Ashurnasirpal’s authority as high priest and King of Assyria.