#marie's watercolor paints review

[alexesguerra]

The Lion and the Little Red Bird (Picture Puffins) The Lion and the Little Red Bird (Picture Puffins) Paperback – February 1, 1996 by Elisa Kleven (Author) --Brand New-- From an author whose work is said to “burgeon with joy,” here is a gentle mystery about a silent, gallant lion and a sweetly cheerful bird—two friends who are attracted to each other through the universal language of art. Elisa uses watercolor, gouache, ink, colored pencils, pastels, markers, and crayons to collage this charming and colorful tale. “Illustrated with mixed-media collages so richly colored and textured that readers will want to feel the pages.”—Kirkus Reviews (pointered review) “A sweet and captivating book with gorgeous illustrations. Its story line and artwork both have unusual and unexpected qualities that work together to generate a magical, light mood.”—School Library Journal (starred review) ABA-CBC Children’s Books Mean Business and Kansas State Reading Circle Review Citations: Booklist 05/15/1992 pg. 1687 (EAN 9780525448983, Hardcover) School Library Journal 07/01/1992 pg. 60 (EAN 9780525448983, Hardcover) - *Starred Review Hornbook Guide to Children 01/01/1992 (EAN 9780525448983, Hardcover) Publishers Weekly 05/18/1992 (EAN 9780525448983, Hardcover) Biographical Note: I write and illustrate picture books because I've never outgrown a deep childhood urge to enter a magical world. As a child growing up in Los Angeles, I used to wish that my huge, congested city were more like the places in the books that I loved - places where forests grew and seasons changed, where animals talked and anything was possible. I envied those characters who slid down rabbit holes, or visited with Charlotte and Wilbur, or flew with Peter Pan, or floated with Mary Poppins, or journeyed to Oz. Since I couldn't actually visit these wonderful worlds (except, of course, by reading), I made little imaginary worlds of my own, using the materials at hand. My favorite project was an enormous dollhouse in my closet. The house was filled both with "store-bought" toys, and with dolls and creatures which I made myself, from paper, cloth and clay. I'd lose myself for hours making up stories about these characters. I loved to make them treasures from scraps of this and that: a paper doily would become a lace tablecloth; half a walnut-shell would be a baby's cozy cradle; a postage stamp would make a lovely portrait on the wall. Around the dollhouse I painted a mural, a fanciful landscape of forests, fields, mountains, blue skies - the world that I wished I could live in. I lived in Los Angeles until I was 17, then left to study at U.C. Berkeley where I received a BA in English and later a teaching credential. After reading to young children as a teacher for several years, I had a strong desire to make my own books. My first picture book was published in 1988, and eighteen have followed. (Sometimes I illustrate other authors' stories, sometimes my own.) Like all authors and illustrators, I love to make up characters, and build stories and environments around them. To make my pictures I combine many media: watercolor, gouache, ink, colored pencils, pastels, markers, crayons -- anything that works! I also use lots of collage. As I did in childhood, I snip and glue old scraps into new shapes: a piece of wool becomes a lion's mane or a child's hair. A doily, snipped to bits, becomes a snowstorm. Like my collages, my stories are also about the power of imagination to transform old into new, familiar into fantastical. In the book The Lion And The Little Red Bird, a lion turns his tail into a paintbrush, and the walls of his cave into a sunlit, painted world. In The Paper Princess, a drawing on paper becomes full of possibilities: by turns, it is a paper doll, a crumbled wad of litter, a birthday card, and a beloved doll again. The child in Hooray, A Pinata! imagines that a dog piÒata is a favorite pet. Ernst the crocodile in The Puddle Pail sees ordinary rain puddles as sparkling, collectible treasures . The girl in A Monster In The House imagines her baby brother to be a giant, messy, screaming, toe-sucking, hair-pulling monster. And in my newest book, Sun Bread, a baker brightens a bleak winter by shaping bread dough into a warm, glowing, life-giving sun. Although I love creating imaginary worlds, I also enjoy drawing real places. Three of the books I've illustrated take place in big U.S. cities. Abuela, by Arthur Dorros, is set in New York. City By The Bay, by Tricia Brown, is "a magical journey around San Fransisco." And City Of Angels, by Julie Jaskol and Brian Lewis, explores my home city of L.A. The life, energy, textures and wealth of detail in cities inspire my collages. I'm very inspired as well by my children, Mia and Ben (ages nine and four), my husband Paul, our two dogs and our cat. They all appear in many forms and disguises in my books! My family and I live in the town of Albany, California, next door to Berkeley and across the bay from San Fransisco. From our window, we can see the Golden Gate Bridge, and the boats on San Fransisco Bay. copyright (c) 2000 by Penguin Putnam Books for Young Readers. All rights reserved. Product details Age Range: 2 and up Series: Picture Puffins Paperback: 32 pages Publisher: Puffin Books; Reprint edition (February 1, 1996) Language: English ISBN-10: 0140558098 ISBN-13: 978-0140558098 Product Dimensions: 8 x 0.1 x 9.6 inches Shipping Weight: 4 ounces

[jazzgallerycenterforarts]

Time on Our Side

The exhibit can be viewed online (below) or in-person:

Saturday afternoons, 12 – 5 PM — paced, small groups, no appointment necessary

OR make an appointment for Mon – Fri at info@jazzgallerycenterforarts.org

Please, review our COVID Policy before visiting, precautions in effect for all visitors.

Exhibition

June 10th, 2023 – July 22nd, 2023

Opening Reception

Saturday, June 10th, 2023 from 3 – 6 PM

Time on Our Side

This juried exhibition is a celebration of the contribution artists over sixty continue to make to uor community's cultural life, featuring artwork in a wide variety of subject matter and mediums.

Jennifer Hellerman

Peacock

Paint, fabric

$250

John Ryan

The View

Photography

$175

Tonia Pochert Kountz

Two Morels on a Meat Tray

Craypas

$250

Prudence Canfield

Autumn Splendor

Mixed media

$450

Tim Ladwig

Milkweed

Watercolor

$150

Ellen O’Brien

Jamming in New Orleans

Acrylic

Sold

Joanne Toman

Traditional Dress-Back

Pen and ink

Not for Sale

Carol Liesenfelder

Triptych: Leaning Together I

Acrylic

$365

Leaning Together II

Acrylic

$365

Small Lean

Acrylic

$150

Darlene Hagopian

Bear at Sunrise

Geli print collage

Sold

Carol Curley

Seated #2

Pastel

$125

Michael Zeidler

Rosalind Elsie Franklin

Oil on canvas (toothpick-painted)

Not for Sale

Maureen Kane

If I Could Give a Hoot

Acrylic on Bristol Board

$960

Stuart Leopold

Lonely Tree

Acrylic

$100

Susan Leopold

Summer Garden

Watercolor

$150

Ted Injasulian

Mermaid Release

Digital print on paper

$139

Kathy Kerner

Chains of Consumption: Chain Gang

Ceramic

$300 each, or $900 all

Christina Zawadiwsky

Save Yourself

Hand-cut collage

$500

Christian Becker

Celebration

Hand-cut collage

$400

Rosalie Robison

Butterflies Need Flowers

Fiber art

$375

Mike Brylski

Incognito - In the Dessert -

In the Middle of the Night

Mixed media

$600

Jennifer Vulpas

Portrait of Man

Oil

$525

Thomas Schlenker

Bayview

Wood

$500

Maureen McDonald

Untitled

Photography

Sold

Jeanie Dean

Where Mary Went

Found-object collage

$375

Lisa Luz

Sweet Home Riverwest

Collage

NFS

Steve Madison

Patty Smith in New York

Mixed media

$100

Debbie Callahan

Flowers of Rain

Mixed media

$200

Marcia Hero

Earth and Sky II

Oil and cold wax

$275

Aaron Toman

With Care

Mixed media

$375

Bonnie Bruch

Sleepy Gal

Pastels

$750

Gail Willert

The Birth of His Blues

Mixed media

$450

Charles Charmichael (aka CC)

The Love of Life and Death

Nature sculpture

NFS

[wallpaperpainting]

Five Marie’s Watercolor Tips You Need To Learn Now | marie’s watercolor

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[rosareversa]

John Singer Sargent Nonchaloir (Repose) (1911) Oil on canvas, 63.8 x 76.2 cm National Gallery of Art, Washington

Highlights from around the web 💫

✨ John Singer Sargent was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian-era luxury. He created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. [1]

✨ Although based in Paris, Sargent's parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. His mother was convinced that traveling around Europe, and visiting museums and churches, would give young Sargent a satisfactory education. Early on, she gave him sketchbooks and encouraged drawing excursions. Although his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was also fluent in English, French, Italian, and German. [2]

✨ Sargent was a lifelong bachelor with a wide circle of friends including both men and women such as Oscar Wilde (whom he was neighbors with for several years), lesbian author Violet Paget, and his likely lover Albert de Belleroche, whom he met in 1882 and traveled with frequently. A surviving drawing speculatively may hint that Sargent might have used Belleroche as a model for Madame X, his most infamous work. Recent scholarship has speculated that Sargent was a homosexual man, based on statements by his friends and associations, the way his works challenge 19th-century notions of gender difference, and some nude male portraits, including that of Belleroche, which hung in his Chelsea dining room. One client wrote that when in Venice, Sargent "was only interested in the Venetian gondoliers" while another said that his sex life "was notorious in Paris, and in Venice, positively scandalous." [3]

✨ After securing a commission, Sargent would visit the client's home to see where the painting was to hang. He would often review a client's wardrobe to pick suitable attire. He usually required eight to ten sittings from his clients, although he would try to capture the face in one sitting. He usually kept up pleasant conversation and sometimes he would take a break and play the piano for his sitter. Finally, he would select an appropriate frame. In 1907, at the age of fifty-one, Sargent officially closed his studio. Relieved, he stated, "Painting a portrait would be quite amusing if one were not forced to talk while working…What a nuisance having to entertain the sitter and to look happy when one feels wretched." [4]

✨ Despite his success as one of the most sought–after portraitists of the late Victorian era, Sargent eventually became exasperated by the whim and vanities of prominent sitters. By 1909 he had abandoned conventional portraiture in order to "experiment with more imaginary fields." The woman in Repose is Sargent's niece, Rose-Marie Ormond. In keeping with his newfound preference for informal figure studies, Sargent did not create a traditional portrait; rather, he depicted Rose–Marie as a languid, anonymous figure absorbed in poetic reverie. The reclining woman, casually posed in an atmosphere of elegiac calm and consummate luxury, seems the epitome of nonchalance—the painting's original title. Sargent seems to have been documenting the end of an era, for the lingering aura of fin–de–siècle gentility and elegant indulgence conveyed in Repose would soon be shattered by massive political and social upheaval in the early 20th century. [5]

Thanks for reading this far. I hope you found this glimpse into Sargent’s life and artistic practice as interesting as I did! If you’re feeling inspired feel free to shop the merch links below. Pro tip: the t-shirt in XL makes a great night gown if you want to channel your inner Rose-Marie! 😴

↪ Get this design on a t-shirt, sweatshirt, or notebook 🥀

[contre-qui]

Re-Introduction Post!

I've been kicking around studyblr for years now, but I have so many more followers now than I ever imagined so I thought it was high time to give everyone new (or old) a little bio so you get to know me ✨

About Me

My name is Mari

Pronouns are she/her mostly, but I'm down for almost anything

Queer

Slightly witchy (still exploring and researching)

From Texas, USA but will hopefully be studying in England for the next few years

I'm (about to be) in my third year of college/uni, studying English and creative writing

After uni I'd like to go into literary editing at a publishing house

This is a sideblog so likes/follows come from @of-the-elves

Interests

Reading and writing

Anatomy

Anthropology

Sewing and embroidery

Journaling, watercolor painting, calligraphy

Witchcraft

Baking

What I Post

Studyblr, bookblr, writeblr

My originals are #contrespeaks

Original studyblr content (will likely increase once the school year begins)

What I'm reading + book reviews and recommendations that are always insanely behind but will eventually get posted

Journaling + pics of my journal

Tagged posts (tag me with #lookmari !)

Asks, tag games, etc.

Extra

Some of my favorite tags on my own blog are #study buddy (cute animals!) and #plant friend or #plant friends

If you're a ho for poetry and pretty language, my #commonplace book is also a good spot for you

Thanks to all my followers, and come hang out if you're new! I'm always down for asks and messages so hit me up.

If you're looking for other awesome people to follow, here's a few:

@rivkahstudies (currently on hiatus but awesome) @peregrination-studies @the---hermit @gladiates @fictional-ghost @starlight-and-ink @salvadorbonaparte @coffee-shopstudies

[365days365movies]

March 5, 2021: The Tale of the Princess Kaguya (Review)

Well, shit. That’s another 98%.

I’M NOT TRYING TO DO THIS! It’s just...this one’s also really good, and I can’t find any significant flaws in it! Except for...well, one. And it’s...the same one as Spirited Away BUT SLIGHTLY DIFFERENT!

Look, I’ll go into ore detail this time, but I really didn’t think Spirited Away was going to be matched, and...well, it was. Because this movie is stellar. It’s gorgeous, it’s tragic, it’s fantastic fantasy, and it’s genuinely just a very good movie. But I do have a little more to say this time.

Starting with the original story. You gotta go back to the 800s for this one. No missing 1 there, I’m talking the 9th century! The original story is a little different than the movie’s version, but it plays it mostly straight. The bamboo-cutter isn’t quite as gung-ho about the whole “royalty” thing, and her growth is actually faster in the original story.

Most of the other beats are the same, although some minute things differ. She actually becomes friends with the Emperor, although she definitely doesn’t get together with him. But there is a MAJOR omission in this adaptation: the elixir of immortality.

Remember that anime I was talking about, Kaguya-sama: Love is War? It has an episode where this story specifically is brought up, and the elixir of immortality is a major feature of it. See, the Elixir is actually what one needs to survive on the Moon, and the mortal Kaguya drinks it once the Celestial Parade comes to take her back. She sends some of it to the Emperor with a letter before she puts on the forget-me-robe, and then she leaves.

That’s where the movie ends, and I think that’s an amazing place for it to end, but the original story continues. Kaguya’s earthly parents become ill, and the Emperor is given the letter and elixir. In his sorrow, the dumbass writes her a letter and elixir and has his men BURN it on the highest mountaintop, sending his message to the princess. The smoke from that fire was ever-burning and immortal, and the mountain was renamed as “The Immortal Mountain”, or...

Yeah! It’s Mount Fuji! Neat, huh? Anyway, I called the Emperor a dumbass for burning the Elixir. He did it because he didn’t want to live forever without her, but DUDE! Maybe she would’ve COME BACK FOR YOU ONE DAY! But now, she’s gonna live forever, and you’re dead as shit. Buddy...think these things through.

So, yeah, that’s the difference between the two, and I actually quite like the movie’s version. Didn’t need the extra stuff with the elixir, because this didn’t need to be a love story. Instead, it’s a story that celebrates human life and life on Earth, as Kaguya’s last speech outright says. And yeah, that’s kinda beautiful. Hell, why do you think the backgrounds are so lush in this movie? Because it’s not just about Kaguya...it’s about life on Earth.

So, with that, let’s get into the Review, huh? This movie was fantastic, and I do think it deserves a Review in full. Check out all three parts of the Recap here, here, and here!

Review

Cast and Acting: 9/10

James Caan was...not the best choice for Miyatsuki in the dub. He really clashes with the rest of the cast for me, and with the setting as well. But he’s the only performance that I’d consider bad. Not even bad, just ill-fitting! Put simply, it’s only really OK, when it isn’t outright jarring. But everybody else? Fantastic. Mary Steenburgen is arguably the best of the cast, pulling double-duty as Narrator and Mom, and that’s to say nothing bad about Chloe Grace Moretz as the Princess herself! Darren Criss, Lucy Liu, Hynden Walch, James Marsden, even Geaorge Segal and Dean Cain all do a pretty good job! I mean...fuck Dan Cain, but he did OK here.

And yeah, this is the dub cast, because I unfortunately didn’t have access to the sub. But are they good? Yeah, they’re still good. Ghibli has good dubs, what can I tell ya? Except for James Caan. That wasn’t the best choice.

Plot and Writing: 10/10

It’s fantastic. Not only is it a great adaptation of the original story, but it’s a great interpretation of it as well! It takes the original story, but gives it a new meaning as compared to the original story, and builds the screenplay from there! It’s...it’s genuinely one of the best adaptations I’ve ever seen of a story from classic mythology and folklore. Credit to Isao Takahata and Riko Sakaguchi, because they did a stellar job with this adaptation.

Can we...can we do this for other mythologies, please? I want a Paul Bunyan movie that’s actually about the value of natural wonders, or a Hercules movie about the nature of immortality through deeds, or true forgiveness for one’s actions, or...I just need more adaptations like this! This film made me want to see a change in film, and it helped to change my tastes a bit as well. And really...what better compliment can a film be given?

Directing and Cinematography: 10/10

Isao Takahata was one of Hayao Miyazaki’s contemporaries, and it FUCKING SHOWS. As does the cinematography skill of Keisuke Nakamura, because this film is...wonderful. I don’t really have anything to say. It’s just an amazingly storyboarded film. And once again, that’s closely linked to...

Production and Art Design: 10/10

The artistry is unparalleled in a lot of ways, but not specifically because of skill and detail. No, it’s the stylization of the film that sets it apart, and it’s gorgeous. Japan’s art is best known worldwide from the period of minimalist watercolor paintings they produced, and that period is well-replicated and represented in this...just genuinely gorgeous movie. The art director is Kazuo Oga, and he’s apparently, like...amazing? He’s worked on a BUTT-ton of great looking films, including many of the Ghibli films. His experience shows, even though has bee his last film he’s worked on in that capacity, so far. Which is a shame, because...I mean, come on. It’s amazing.

Music and Editing: 10/10

Joe Hisaishi. Yup. Kiki’s, Spirited Away, and this movie. He’s a goddamn musical prince, and it’s gorgeous. Not a lofi mix this time, but definitely some good background music for your life. It’s just beautiful, and I can’t recommend this music enough. 

And the editing? Toshihiko Kojima is fantastic as well, and the sound and visual editing is essentially flawless here. I just...THIS MOVIE IS SO GOOD YOU GUYS

I know, a 98% twice in a row is ridiculous...but...

Can you blame me? This movie is fantastic, and basically flawless. I’ve said all I can say about it. Well, other than to say that you need to see this movie if you haven’t already. And NOW I don’t think I’m topping this one. Watch me say that, and then the next movie’s also gonna be amazing.

Well, I’ll tempt fate. What are the odds, right? Right? Just to test that, I’m leaving Japan finally. But, that doesn’t mean I have to leave animation, right?

March 6, 2021: Wolfwalkers (2020)

[dweemeister]

Saludos Amigos (1942)

In the wake of the Disney animators’ strike and the end of the studio’s Golden Age with Bambi (1942), Disney’s industry rivals and the upstart United Productions of America (UPA) stood to benefit from the terminations to come. After seizing control of Fleischer Studios from Max and Dave Fleischer, Paramount set up Famous Studios – against the Fleischers’ sensibilities, Famous Studios doubled down on appealing to children while continuing the Popeye the Sailor and Superman short film series. But Metro-Goldwyn-Mayer (MGM) and Warner Bros., though neither were making animated features, had most to gain from Disney’s misfortune. MGM would pool its resources into self-referential, highly suggestive short films that could never exist under the Disney banner. The works of William Hanna, Joseph Barbera, Fred Quimby, and especially Tex Avery flourished. Under MGM, Barney Bear, Droopy, and Tom and Jerry became part of the American animated canon.

Elsewhere in Burbank, Leon Schlesinger Productions, partnered with Warner Bros., became Disney’s crosstown antithesis. Schlesinger, as arrogant a person as Disney was socially awkward to his employees, harbored no illusions that Merrie Melodies and Looney Tunes could ever compete with the sheer artistry of Disney’s Golden Age features and its Silly Symphonies. Fostering the talents of Chuck Jones, Friz Freleng, Tex Avery (before his defection to MGM), Bob Clampett, and Robert McKimson, Warner Bros. – in a studio as ratty as Disney’s was pristine – operated anarchically. In this culture spawned a style that leans into anything that might make an audience laugh. No matter how outrageous a proposed story’s premise or behavior, Schlesinger would not be one to say “no”*. Take the characteristics of Mickey Mouse and friends and maximize them. As a result, you have the wiseassery of Bugs Bunny and Daffy Duck, the situational ineptness of Porky Pig and Wile E. Coyote, and the dimwittedness of Elmer Fudd. Warners’ films had a disorderly, unrestrained (and sometimes callous) energy that Disney’s animators were on record of being envious towards.‡

Disney’s animators wanted to channel some of this mania into their next two films: Saludos Amigos and The Three Caballeros (1944). Both films are the result of Walt Disney’s 1941 goodwill trip to Brazil, Argentina, Chile, and Peru, organized by the United States Department of State. The United States was concerned that South American nations might sympathize, if not outright ally with, the Axis. Thus, the federal government offered loan guarantees to Disney’s financially struggling studio if Walt would partake on the tour. Walt agreed, with an ulterior motive – he could leave his brother Roy and studio counsel Gunther Lessing to handle the post-strike wave of layoffs. With Norman Ferguson, Wilfred Jackson, Jack Kinney, Hamilton Luske, and Bill Roberts as supervising directors, Saludos Amigos is the first of the Disney “package films”, and the result of vastly conflicting interests. It is an inconsistent film, its comedy overshadowed by the Looney Tunes series, and the first non-masterpiece Disney animated feature after five inspiring triumphs.

Saludos Amigos is barely a feature film, clocking in at forty-two minutes (the Academy of Motion Picture Arts and Sciences, the American Film Institute, and the British Film Institute all define a feature as a film longer than forty minutes). As such, the movie is essentially a selection of four glorified, narratively unrelated short films. Also included is behind-the-scenes footage of Walt Disney’s entourage (“El Grupo”; including Walt, Lee Blair, Mary Blair, Norman Ferguson, and Frank Thomas) to transition between segments. In order, the segments are: “Lake Titicaca” (Peru), “Pedro” (Chile), “El Gaucho Goofy” (Argentina), and “Aquarela do Brasil” (Brazil).

Beginning with “Lake Titicaca” – named after the eponymous lake on the Peruvian-Bolivian border – the film opens with a Donald Duck short. In the years just before Mickey’s appearance as the sorcerer’s apprentice in Fantasia (1940), Donald Duck had briefly overtaken Mickey Mouse in popularity. After the Japanese attack on Pearl Harbor, the studio enlisted Donald Duck to be the center of its World War II propaganda – it would be hard to imagine Mickey Mouse going to war. Donald’s appearance in “Lake Titicaca” is a rare non-propaganda outing for the barely understandable duck. It just so happens to also be a lazy Donald Duck short. The best Donald Duck shorts exploit his infamous temper – gradually. Instead, Donald is subjected to what amounts to a travelogue where his tourist’s mentality occasionally endangers him. Though it may not be the prototypical Donald Duck piece, the segment adds nothing to his characterization. The narrator reveals brief, exotifying factoids that could not have played well to a presumably Latin American audience – something that colors the rest of this film.

Next up is Peru’s Andean neighbor, Chile. “Pedro” follows the daring of the anthropomorphic mail airplane of the same name and packs in a lot of storytelling in just several minutes. Pedro, the child of Papá Plane and Mamá Plane (wait, some will say – planes don’t grow as they age!), is tasked to deliver the mail across the Andes when Papá comes down with a cold. Why doesn’t Mamá Plane fly the mail? “High oil pressure” – but knowing the boys’ club that was the Disney studios of this era, that probably isn’t the real reason. Pedro must brave the turbulence as he ascends over the Andes, and especially as he nears Aconcagua. At 22,837 feet (almost 7,000 meters), Aconcagua is the tallest mountain outside Asia – and with a mountain of that size, it invariably creates its own unpredictable weather.

Flight in the 1940s was still a relatively risky proposition, and “Pedro” captures this during the stormiest sequences that define its closing minutes. As the most inspired moment not associated with “Aquarela do Brasil”, these moments are made possible due to the special effects honed in during previous Disney animated features and a crashing sound mix that sells the danger that Pedro faces. To its credit, this second chapter of Saludos Amigos feels the most like a potential feature film that went unrealized. “Pedro” does not suffer as much from exotified elements in comparison to other segments in Saludos Amigos. But nevertheless, it inspired Chilean cartoonist René Ríos Boettiger (“Pepo”) to create the character Condorito, a comic strip condor whose adventures are read widely across Latin America.

In Argentina, we find “El Gaucho Goofy”. This third part adopts the tone and style of the How to… series (1944’s How to Play Football, 1950’s How to Ride a Horse) featuring Goofy. It might as well be entitled “How to Be a Gaucho”. The omnipresent narrator imparts culturally specific terms and Gaucho equipment that spontaneously appear for Goofy to react to. As always, the narrator is moving too fast for poor Goofy, who can barely keep up. This is hilariously subverted in the scene where Goofy is pursuing a rhea (a distant relative of the ostrich) while on horseback. A fast rewind occurs, and the scene is played back in slow-motion. But it is obvious that the scene has been re-animated in slow-motion and the narrator has also recorded his lines to fit the hilarity on-screen. This is a hysterical touch and a rare (and effective) instance of a mid-century Disney movie breaking out metatextual jokes. “El Gaucho Goofy” also boasts Argentinian artistic input – illustrator/painter Florencio Molina Campos served as consultant for this segment, The Three Caballeros, and Fun and Fancy Free (1947). Campos’ style (muted colors and an emphasis on the Pampas’ skyward horizon) and preferred subject material (life on the Argentinian Pampas for Gauchos and their families) are apparent across “El Gaucho Goofy”. The segment undoubtedly benefits from his influence.

Moving north, the film ends with “Aquarela do Brasil” (“Watercolor of Brazil”). The segment is framed by an extended cover of the song of the same name composed by Ary Barroso and sung by Aloysio Oliveira – the song was popular in Brazil at the time, but Saludos Amigos vaulted the composition to international fame . Easily the most abstract of the four Saludos Amigos chapters, it also adopts a conceit later replicated in Chuck Jones’ Duck Amuck (1953) in which the background, foregrounds, and characters are painted by an artist’s brush onto a previously blank canvas. “Aquarela do Brasil” features Donald, but also marks the debut of the cigar-smoking, samba-dancing parrot, José Carioca. José (pronounced with a hard “J” in Portuguese) is Donald’s fun-loving foil dressed in malandro attire, but this clash of personalities will not be as apparent until The Three Caballeros. Following the interruption of José’s introduction, the film resumes with its splashy, colorful, romanticized abstractions of what life in Rio de Janeiro is like. It is the better and more aesthetically interesting Donald Duck short film when compared to “Lake Titicaca”, if mostly because José Carioca is a scene-stealer.

If the transitions between the descriptions of the four segments in this review feels abrupt, that is because there is little to no transition between the four segments of Saludos Amigos. Each segment is a hard reset after the last, and the supervising directors make no attempt to establish any linkages between them. It results in pacing issues that make “Pedro” – the most narrative-dependent of the four – feel much longer than it is.

When released in the United States, Saludos Amigos surprised American viewers. For many, the film upended their preconceptions of Latin America as a dour, unfashionable, and backwards place. Americans – rarely regarded as being worldly people – who saw Saludos Amigos more positively viewed their southerly neighbors. For Latin American audiences, interest in American culture, already deeply immersed in Hollywood movies, solidified. But for the Latin American governments in power during World War II and after, Saludos Amigos and The Three Caballeros’ intended aims had a muted effect – especially in Argentina, which waffled between the Allies and Axis due to its historic rivalry with Great Britain and its sympathies to Nazi Germany.

With a muted reception, Saludos Amigos begins the package era of films within the Walt Disney animated canon. For the next few years, Walt Disney and his animators would be making mostly propaganda short films for the United States government. These propaganda works helped stabilize the studio’s finances, if nothing more, and reflected Walt’s increasing political conservatism. His turn to the Republican Party for the remainder of his life was not due to long-held political convictions, but the outsize influence of studio counsel (and hardline anti-communist) Gunther Lessing on Walt’s political opinions. Walt Disney’s artistic soul would rarely surface over the next few decades, following the bitter disappointment of how the later Golden Age animated features were treated by audiences and critics. In the meantime, the Walt Disney Studios in Burbank kept their focus on fulfilling government requests for propaganda pieces, and now resembled more of an industrial factory than the happy, extended artistic family Walt had once sought.

My rating: 5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* Even Schlesinger’s successor, Edward Selzer (who took control in 1944 when Schlesinger sold the studio to Warner Bros., renamed “Warner Bros. Cartoons, Inc.”) – described by Chuck Jones as humorless and more intervening – came to respect the instincts of the animation directors and gag men.

‡ Disney animator Dick Huemer on Warner Bros. animated shorts: “It was like admiring the kind of dame that you couldn’t introduce to your mother.” 

[timeless-hollywood-classics]

Ruth Carol Hussey (October 30, 1911 – April 19, 2005) was an American actress best known for her Academy Award-nominated role as photographer Elizabeth Imbrie in The Philadelphia Story.

Hussey was born in Providence, Rhode Island, October 30, 1911. She was also known as Ruth Carol O'Rourke. Her father, George R. Hussey, died of the Spanish flu in 1918 when she was seven years old. Ten years later, her mother, Julia Corbett Hussey, married a family friend, William O'Rourke, who had worked at the family's mail-order silver enterprise. She grew up at 179 Ontario Street. She had an older brother, Robert, and a younger sister, Betty.

After obtaining her early education in Providence's public schools, Hussey studied art at Pembroke College and graduated from that institution in 1936. She never landed a role in any of the plays for which she tried out at Pembroke. She then received a degree in theatre from the University of Michigan School of Drama, and worked as an actress with a summer stock company in Michigan for two seasons. She also attended Boston Business College and Michigan School of Drama.

After working as an actress in summer stock, she returned to Providence and worked as a radio fashion commentator on a local station. She wrote the ad copy for a Providence clothing store and read it on the radio each afternoon. She was encouraged by a friend to try out for acting roles at the Providence Playhouse. The theater director there turned her down, saying the roles were cast only out of New York City. Later that week, she journeyed to New York City and on her first day there, she signed with a talent agent who booked her for a role in a play starting the next day back at the Providence Playhouse.

In New York City, she also worked for a time as a model. She then landed a number of stage roles with touring companies. Dead End toured the country in 1937 and the last theater on the road trip was at the Biltmore Hotel in Los Angeles, where she was spotted on opening night by MGM talent scout Billy Grady. MGM signed her to a players contract and she made her film debut in 1937. She quickly became a leading lady in MGM's "B" unit, usually playing sophisticated, worldly roles. For a 1940 "A" picture role, she was nominated for an Academy Award for her turn as Elizabeth Imbrie, the cynical magazine photographer and almost-girlfriend of James Stewart's character Macaulay Connor in The Philadelphia Story. In 1941, exhibitors voted her the third-most-popular new star in Hollywood.

Hussey also worked with Robert Taylor in Flight Command (1940), Robert Young in Northwest Passage (1940) and H. M. Pulham, Esq. (1941), Van Heflin in Tennessee Johnson (1942), Ray Milland in The Uninvited (1944), and Alan Ladd in The Great Gatsby (1949).

In 1946, she starred on Broadway in the Pulitzer Prize-winning play State of the Union. Her 1949 role in Goodbye, My Fancy on Broadway caused a Billboard reviewer to write: "Miss Hussey brings a splendid aliveness and warmth to the lovely congresswoman...."

She filled in for Jean Arthur in the 1955 Lux Radio Theater presentation of Shane, playing Miriam Starrett, alongside the film’s original stars Alan Ladd and Van Heflin.

In 1960, she co-starred in The Facts of Life with Bob Hope. Hussey was also active in early television drama.

On August 9, 1942, Hussey married talent agent and radio producer C. Robert "Bob" Longenecker (1909–2002) at Mission San Antonio de Pala in north San Diego County, California. Longenecker was born and raised in Lititz, Pennsylvania. They raised three children: George Robert Longenecker, John William Longenecker, and Mary Elizabeth Hendrix.[14]

Following the birth of her children, Hussey focused much of her attention on family activities and, in 1964, designed a family cabin in the mountain community of Lake Arrowhead, California. In 1967, she was inducted into the Rhode Island Heritage Hall of Fame.[15]

In 1977, she and her husband moved from their Brentwood family home to Rancho Carlsbad in Carlsbad, California. Her husband died in 2002 shortly after celebrating their 60th wedding anniversary.

Her son John Longenecker works as a cinematographer and film director. He won an Academy Award for producing a live-action short film The Resurrection of Broncho Billy (1970).

She was also active in Catholic charities, was noted for painting in watercolors, and was a lifelong Democrat although she did vote for Republican Thomas Dewey in 1944 and for Hollywood friend and former co-star Ronald Reagan in the 1980 and 1984 presidential elections.

Hussey died April 19, 2005, at the age of 93, from complications from an appendectomy. She is interred at Pierce Brothers Valley Oaks Memorial Park in Westlake Village, California.

[inkabelledesigns]

It's already a really good week, minus my hard time sleeping last night. Let's have some doll updates, shall we?

So there's a few things to unpack here. One, I've invested in new materials in the way of watercolor pencils! And once I've swatched them all, I'm eager to use them for a doll faceup! I recently heard more about these in a review by popular doll art Anatasia Customs, and it was really positive, so naturally I'm excited. Also finally got a better pencil sharpener, hopefully that will help.

Two, I've acquired a doll for a mini-me! One thing that I've seen a lot of doll artists do is have a doll to represent themselves when they post, and I wanted to try it, if for no other reason than to force myself to better design my persona. The challenge I faced for a long time was finding a doll for my body type, but I'm pleased to say that the made to move curvy Barbie is what I've been looking for. You know how people talk about how important representation is? I don't think I truly understood that until meeting this doll, never before have I seen myself in a Barbie. It feels pretty good.

And third, you're probably wondering about the green doll there. This is Leslie, or rather she was. My playing with materials has strayed so far from the original concept that I'm gonna be starting over and giving her a fresh layer of yellow paint over the whole body. That's right, she's gonna be made into Lillian, my flowersona! I have yet to figure out all the details and how I'll do the clothes, but I look forward to the unique challenges she'll present. It'll be fun. ^^

Fourth, I've got my gold flakes for the Kirin, which I'm still nervous to start on given how rare of a doll I'm working with. They're plenty holographic though, he will be glorious!

And lastly, this one isn't really news, I just decided to add my Clara doll to Sammy and Alice's spot. For those of you who aren't aware, I have a nutcracker story (which is totally separate from the voice work I do with AJ for ShinyZango's nutcracker story), and my female protagonist, Marie, had one leg, partially inspired by this doll. This doll has definitely seen better days. If I ever get to be a really great doll artist, maybe I can restore her a little with new hair, a new neck peg, an underskirt, and maybe a new foot. The idea makes me so nervous though, she's such a sentimental doll. Redoing her face and hair would be difficult. For now though,I'm just gonna enjoy her pop of pink on the shelf.

That's about it for now. I will say that depending on tomorrow, I may have some special news for you concerning an event this weekend, so stay tuned!

[sadiesavestheday]

Support Insect Research and Conservation By Getting the Painting : http://bit.ly/2sirMfL 50% of proceeds will go to The Xerxes Society: https://xerces.org/ Citizen Science Projects: http://bit.ly/2M1G3GF http://bit.ly/2skLur9 iNaturalist App: http://bit.ly/1eqDvIc ↓ Everything you want to know is down here! ↓ The Animal Artists Collective was founded to provide a platform for emerging artists, promote positive messages for animal welfare and conservation, and connect artists to their communities. The original artwork produced for the Animal Artist Collective is always made available for sale and at least 50% of the proceeds are donated to a non-profit animal conservation organization. You can be part of the community! Join us on Facebook, Instagram, and/or to get to know the artists, our conservation efforts, and even vote on future themes! Facebook: http://bit.ly/2GIkSqf Instagram: http://bit.ly/2s0RDM5 Twitter: https://twitter.com/AnimalArtistsCo Participating Artists: Denise Soden: https://www.youtube.com/inliquidcolor Jennifer Charlee: https://www.youtube.com/jennifercharleeart Sadie Saves the Day: https://www.youtube.com/sadiesavestheday Meow Meow Kapow: https://www.youtube.com/meowmeowkapow Amie Howard Art: https://www.youtube.com/amiehowardart Mary Sanche: https://www.youtube.com/c/MarySanche Visual Mind: https://www.youtube.com/c/visualmind Hajra Meeks: https://www.youtube.com/hajrameeks Bonny Snowdon: https://www.youtube.com/bonnysnowdonfineart Unofficial Participation: Artists in the community are more than welcome to unofficially participate in AAC themes by either creating their own videos and/or simply creating artwork under that month’s theme and posting it to social media. Tag us directly using @animalartistscollective (Instagram) or @animalartistsco (twitter) and use the hashtag #animalartistscollective so that we can see your creations, or let us know in the comments below if you’ve created a video on YouTube! Official Member Application: If you’re interested in learning more about the ACC and how to apply as an official member, please check out this link: https://bit.ly/2ToysV9 Next Video: March 14, 2019 | Theme: https://bit.ly/2CMoE1M Want the swatch sheet? Get it here: https://gum.co/PamEFi My Shop! http://bit.ly/2wpGqpR Get 2 months of Skillshare for .99 cents! : http://skl.sh/2kL0hah ★YOU can help me make more videos!★ For behind the scenes updates, exclusive reference photos, tutorials, and secret hangouts, support my work on Patreon! http://bit.ly/2mqvZdL Or give me a tip on Ko-fi! http://bit.ly/2QNTAYh Thanks for watching! · · · · · · Did you like the video? Want more speedpaints, tutorials, and art supply reviews? Subscribe to my channel! - http://bit.ly/23dTSSz Contribute Subtitles Here: http://www.youtube.com/timedtext_cs_panel?tab=2&c=UCtTQbFqjapIrCgtm3BGzvcg If you have any questions or comments, leave them below! Don't forget to leave a thumbs up. :) · · · · · · Materials: Schmincke (http://amzn.to/1sCgYXI), Daniel Smith (http://amzn.to/1TJeuzI), Sennelier (http://amzn.to/1U0zv6r), and M. Graham (http://amzn.to/1WQvPKJ) artist grade watercolors Fabriano Artistic Hot Press 300 gsm (http://amzn.to/2czW6sj) Da Vinci Maestro Kolinsky watercolor brushes (http://bit.ly/1P3DbZ1) Kolibri Kolinsky watercolor brushes (http://bit.ly/1WQvxDC) Check out my Amazon wishlist!: http://amzn.to/2pxqDhZ Get the supplies I love to use! : http://bit.ly/2p5yWnw · · · · · · Shop! Originals | http://bit.ly/2ensoeV Prints | http://bit.ly/2jezg1Y Commission Me | http://bit.ly/2dUeYn7 Watercolor Templates | http://bit.ly/2sijOBi Courses and Tutorials | http://bit.ly/2kIErD7 · · · · · · Want to keep in touch? Connect with me below! Patreon | http://bit.ly/2mqvZdL Website | http://bit.ly/220GJgC Instagram | http://bit.ly/220GJgA Twitter | https://twitter.com/sadiesavesit Pinterest | http://bit.ly/1Xn4sqY Facebook | http://bit.ly/220GK44 Tumblr | http://bit.ly/1Xn4sr0 · · · · · · Music:Christ Zabriske "Rewound” “everybody’s Got Problems That Aren’t Mine" - (Creative Commons license: http://bit.ly/qdXal7) · · · · · · Some of the links above may include affiliate links. If you click on them, I might receive a small commission. While this is at absolutely no additional cost to you, your support can help me to continue making videos for this channel. Thanks!

[lifeimitatesdoodles]

Racka Sheep - Counting Sheep #10

Racka Sheep – Counting Sheep #10

#doodlewashMarch2022: Lamb Did you know that Racka Sheep are unique because both males and females grow long horns? One of the downsides to doing so many reviews is that it is often difficult to use up sketchbooks I’ve started. I reviewed one of Mary Roff’s handmade watercolor sketchbook back in 2019, and even though I decided I was going to make a project of painting sheep in it, I’m only 10…

[raemissigman]

Today all my stencils are on BIG sale over at @stencilgirl_products I love stencils. They allow me to create within the lines and enjoy the process. I can paint a beautiful structured piece and love it. And pairing my favorite stencils with watercolor is pure magic. Now is your chance to save 25% on not only my stencils, but all StencilGirl Stencils. The discount will be taken automatically at checkout. No coupon code is needed! As an added bonus, if you buy 6 stencils of the same size StencilGirl’s 10% everyday discount is automatically applied to those stencils. But the best part is there are FREEBIES to be had! $100+ Anniversary Stencil by Mary Beth Shaw $300+ a StencilGirl Studio class by Mary Beth Shaw Tap the link in my bio to find stencil links and read more about Stencil Magic, the highly reviewed class I co-teach with @sandikeene ⁣ #stencilmagic #stencilworkshop #stencilgirl_products #watercolorbotanicals #watercolorforbeginners #popupartclasses #raesstencils #tinystencilsformypocketjournal #abstractwatercolor #raemissigman #twotakes #watercolorclasses #watercolorworkshop #artmarks #watercolorflowers #quickstartwatercolor #doyoubelieveinstencilmagic #watercolorpainting #watercolor #watercolorflowers #watercolorillustration #watercolorbouquet #pushingtheboundsofcolor #colorcrush #lifeofanartist #watercolours #stencilart #botanicalart #botanical #botanicalillustration https://www.instagram.com/p/CW0qyNQLVM2/?utm_medium=tumblr

[jazzgallerycenterforarts]

JGCA Annual Membership Exhibit 2022

The exhibit can be viewed online (below) or in-person:

Saturday afternoons, 12 – 5 PM — paced, small groups, no appointment necessary

OR make an appointment for Mon – Fri at info@jazzgallerycenterforarts.org

Please, review our COVID Policy before visiting, precautions in effect for all visitors.

Exhibition

September 17th, 2022 – October 22nd, 2022

JGCA Annual Membership Exhibit 2022

ARTISTS

Mary Lee Agnew, Renee Luna Bebeau, Jason Blenkinsop, Bonita Bruch, Barbara Budish, Jeanie Marie Dean, Mary Louise Dean, Julie Anna Freund, Darlene Hagopian, Carol Hale, Jennifer Hellermann, Alexa Hollywood, Maureen Kane, Tonia Pouchert Kountz, Kristin Krienberg, Guntis Lavzums, Carol Liesenfelder, Michael Lutz, Lisa Luz, Sharon Mergener, Todd Mrozinski, Rick Ollman, Darlene Wesenberg Rzezotarski, Amy Schmutte, Jeannie Stranzyl, Aaron Toman, Deanne Walter, and Christina Zawadiwsky

Carol Liesenfelder

Untitled

Monoprint

14 x 7”

NFS

Sharon Mergener

What Lies Beneath

Encaustic

8 x 10”

$130

Jason Blenkinsop

Untitled

Metal Sculpture

26 x 8 x 12”

$375

Jennifer Hellermann

SCOTUS

Fabric, Thread

8 x 13”

$75

Lisa Luz

My Garden

Watercolor

8 x 10”

$145

Bonita Bruch

The Bouquet

Pastels

21 x 17”

$550

Carol Hale

Take Heed

Photography

12 x 12”

NFS

Darlene Hagopian

Sun Print Artist Book

Sun Print

6 x 8”

NFS

Mary Lee Agnew

Wood Duck

Photography

11 x 14”

$75

Jeanie Marie Dean

La Donna, Intrepid Soup Goddess (a portrait)

3D Malleable Collage (Ceramic & Sea-Shell)

8 x 10”

$350

Christina Zawadiwsky

What’s Hidden: The Tribulations of Women

Hand-Cut Collage

13 x 16”

$1000

Thom Ertl

His & His

Assemblage

25 x 8”

$399

Aaron Toman

As Above, So Below

Collage/Assemblage

12 x 16”

$450

Todd Mrozinski

Riverwest Stump I

Aquatint

18 x 23”

$850

Darlene Wesenberg Rzezotarski

Rip Van Winkle

Ceramics

12 x 18”

$500

Maureen Kane

Papa Owl

Acrylic on panel

16 x 20”

$295

Guntis Lavzums

Tunnel of Despair

Digital Photography

16 x 20”

$185

Deanne Walter

Cygnus X

Acrylic on Canvas

11 x 14”

$200

Julie Anna Freund

See Me Leap

Acrylic on Watercolor Paper

16 x 20”

$550

Renee Luna Bebeau

The Pond

Watercolor

16 x 13”

$300

Mary Louise Dean

Entangled Connections

Oil on Canvas

28 x 42”

$1200

Alexa Hollywood

Art from the Horned Woman’s Cave

Acrylic and Watercolor on Paper

14 x 17”

NFS

Rick Ollman

Blown Blue

Watercolor

8 x 10”

NFS

Tonia Pouchert Kountz

Hand Study

#2 Pencil

10 x 12”

$145

Barbara Budish

Let It Go

Photography

16 x 20”

$150

Jeannie Stranzyl

Venus-Neptune Line

Ink Pen, Colored Pencil, Crayon

8 x 11”

$25

Michael Lutz

Untitled

Wood, Steel, Brass, Copper, Aluminum, Secrets

51 x 65”

NFS

Kristin Krienberg

Blue Horses

Paint on Wood

10 x 14”

NFS

Amy Schmutte

Younyverz

Multiple-Exposure Photography on Brushed-Aluminum

36 x 36”

$650

[hell-yeahfilm]

SAINT SPOTTING

“A church is a weighty thing, isn’t it?” With heavy doors, high ceilings, and stone walls, a church can be an intimidating place for a child. Raschka invites readers to think differently by joining a school-age version of himself and his mother on a personal tour—complete with a painted map. Saint spotting is just what it sounds like: a sort of religious scavenger hunt in which one spots saints by their associated symbols inside a church. Through Raschka’s brief introductions, readers learn about 36 saints and their symbols, including the most important figures of Christianity: Jesus Christ, the Virgin Mary, Saint Joseph, and the Evangelists. Illustrations in broadly stroked watercolor primarily of golden hues boost the book’s warmth and welcoming tone. Beautiful endpapers depict rows of animals, such as doves and lambs, that underscore the book’s biblical nature. The book begins and ends with an illustration of Raschka and his mother, hand in hand, at the entrance of a huge Gothic church with a beautiful stained-glass rose window, the book’s exceptionally narrow trim echoing the verticality of the building. Clearly this was a special shared mother-son childhood experience, and readers will leave feeling like they were just let in on a cherished secret game. Most characters depicted, including the protagonist and his mother, present White, but there are some saints of color.

from Kirkus Reviews https://ift.tt/3tzpQO0

[maryjaneerard-art-blog]

Mhttps://facebook.com/events/s/art-loop-bg-depo-big-fab-lab/567942457081500/?ti=icl Update- NOW two locations in Bowling Green, Ohio - Sept 12th from 10 an - 4 pm. Art Supply Depo in 435 E. Wooster and BiG Fab Labs on Main Street in BG at Woodland Mall. Join 15 fine artists at the Depo of all media at another great Art Loop, this time at the Art Supply Depo in Bowling Green, Ohio AND Many More artists at the BiG Fab Labs on Main Street. Drive through in your car or walk through if you’re wearing a mask and maintaining proper social distancing. We had great reviews for our first loop. You’ll be sure to find great art and crafts at this event now with two locations!! Below are our current list of artists at the BG Depo. More info will be posted in the discussion of this event regarding our artists and their art and additional logistics regarding the event. RAIN DATE: September 19 Exhibiting Artists at the BG Depo- 1. Brandon Knott - pottery 2. Mary Jane Erard - Soft Pastel and Acrylic with Oil pastel. 3. Kc Saint John - Glass. 4. Adrian Lime - Spray paint portraits on canvas/Masonite. 4. Jim Zalewski - Acrylic. 5. Linda Orth - painting, canvas and bird houses. 6. Abigail Bruce - Watercolor, acrylic, soft pastel, jewelry, mixed media. 7. Amy Shaw - Acrylic, mixed media and pen & ink. 8. Kathy Panning - painting. 11. Donna Ebert - Acrylic and Oil. 12. Karen Robinson - Acrylic, Oil, Photography. 13. Greg Justice - Painting. Entertainment at the BG Depo: Ryan F. Erard (Graduate of the Toledo School for the Arts - first graduating class!) Jazz Musician Noon - 3 ——— Artists at BiG Fab Lab at Woodland Mall: 1. Cassandra Morgan - Fiction Books 2. Nate Miller - oil painting 3. Sandra Baughman - quilting 4. Floyd Baughman - wood 5. Brian Lowe - 6. Leslie Dietsch - oil painting 7. Sherri Stone - 8. Elizabeth Steingass- 9. Jenni Beck Zenz - Acrylic +++++We have room for probably 100 artists at BiG Fab Lab. Contact Judy Bowlus on Facebook to join that show.++++ (Any new artists who want to participate in the Drive Through Loop on Sept 12th in Bowling Green are encouraged to contact BiG Fab Labs on Facebook. (at The Art Supply Depo Bowling Green) https://www.instagram.com/p/CEZsm3bHQ2L/?igshid=xese1l19ynew

[wallpaperpainter]

24 Reasons Why Living Room Canvas Art Is Common In USA | Living Room Canvas Art

© @Copyright HELLO! Hello! Magazine

Living Room Canvas Print Wall Art Oil Painting Picture .. | living room canvas art

David Tennant has accustomed admirers addition glimpse central his admirable ancestors home in west London during his actualization on The One Appearance on Tuesday. The Broadchurch brilliant appeared via a video articulation on the BBC One appearance to allocution about his new TV show, Staged, with Michael Sheen, who he stars alongside. While talking to hosts Alex Jones and Amol Rajan, the Doctor Who brilliant sat in his active allowance in advanced of a ample canvas with a blush affection created from flowers in the middle. Commenting on the bank art, Alex joked: “I do like that account actually, it looks like you’ve got a admirable admirable hat on for a bells David!”

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Extra large wall art artwork paintings, Very large paintings .. | living room canvas art

VIDEO: Watch a examination of Staged – filmed from David Tennant and Michael Sheen’s homes

In Staged – which begins on 10 June on BBC One – David and Michael comedy abstract versions of themselves, as actors who were due to arise calm in a West End comedy above-mentioned to the lockdown. It’s a ancestors affair, with both their real-life wives, Georgia Tennant and Anna Lundberg, starring as their ally in the programme. What’s more, Georgia additionally produced the show. Added apartment in the Tennant ancestors home will be apparent in Staged, with a examination blow assuming David talking to Michael from their spotless kitchen.

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MORE: Ruth Langsford stuns admirers with absurd alfresco furniture

The Doctor Who brilliant has some active art assignment central his home

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