By Jim stinnett
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An exciting collection of 30 complicated three-dimensional designs, this quantity will attract colorists of every age. styles diversity from heavily interwoven squares, stars, and rectangles with sharp, angular varieties, to flowing interlacements of circles, ovals, hearts, and different rounded shapes. The hypnotic photographs, a few of which characteristic optical illusions, are totally attention-grabbing.
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The play of light on Titus's face comes from no particular single source. It produces a feeling of movement in the boy's expression and in his lightly painted hair. Notice how thoughtfully Rembrandt planned the brilliant light in the lefthand corner of the painting. It brings out the shape of the hat and flickers over important parts of the head, the figure, and the book. All this movement of light contributes to the mood and atmosphere of the painting and helps us concentrate on the serene and sensitive head of Titus.
Earlier painters Colonies gradually became more and more prosperous and worldly. Wellestablished gentlemen searched for a "face painter" to record for posterity the appearance and existence of the days before the camera made at this members of their families, since those had been invented. Many were of the early portraits time followed formulas, since the limner was more craftsman Bodies often seem to be made of wood, and faces appear character- than artist. less. Yet certain of these early painters, today, produced portraits that many whose names are unknown reveal an unmistakable, though untrained, of talent.
Thev are as spirited as the subjects themselves. Although we are impressed by their look of great spontaneity, the poses ol the young Dutch cavalier and his sweetheart, their expressions and gestures, and the artist's deft use of color were all carefully calculated. The painting probably took many hours to complete. Hals s strong and direct application of paint was a departure from the smoothly blended surfaces that had characterized Van Eyck and other early painters. His technique points in the direction of the French Impressionists, whose work you will see in Chapter 6.
Creating Jazz Bass Lines by Jim stinnett