Giovanni di Paolo (1395 - 1482) - Saint Augustine in the Teacher’s Desk. Detail.
$LAYYYTER

titsay

if i look back, i am lost
Alisa U Zemlji Chuda
noise dept.

@theartofmadeline
One Nice Bug Per Day
wallacepolsom

Kiana Khansmith

★
Sweet Seals For You, Always
hello vonnie
No title available
styofa doing anything
Game of Thrones Daily
will byers stan first human second

No title available
h
almost home
Sade Olutola
seen from Germany
seen from Bahrain
seen from Germany

seen from United States

seen from Japan
seen from United States
seen from United States
seen from United States

seen from United States

seen from United States

seen from United States
seen from United States
seen from United States
seen from France
seen from United States

seen from United States

seen from United States

seen from United States

seen from United Kingdom

seen from Türkiye
@marsiellacat
Giovanni di Paolo (1395 - 1482) - Saint Augustine in the Teacher’s Desk. Detail.
Creator spotlight: Floyd E. Norman
Floyd Norman (born June 22, 1935) is an American animator, writer, and comic book artist. Over the course of his career, Norman has worked for a number of animation companies, among them Walt Disney Animation Studios, Hanna-Barbera Productions, Ruby-Spears, Film Roman and Pixar.
Norman had his start as an assistant to Katy Keene comic book artist Bill Woggon, who lived in the Santa Barbara, California area Norman grew up in. In 1956, Norman was employed as an inbetweener on Sleeping Beauty (released in 1959) at Walt Disney Productions, becoming the first African-American artist to remain at the studio on a long-term basis.
Following his work on Sleeping Beauty, Norman was drafted, and returned to the studio after his service in 1960 to work on One Hundred and One Dalmatians (1961) and The Sword in the Stone (1963). After Walt Disney saw some of the inter-office sketches Norman made to entertain his co-workers, he was reassigned to the story department, where he worked with Larry Clemons on the story for The Jungle Book.
After Walt Disney’s death in 1966, Floyd Norman left the Disney studio to co-found Vignette Films, Inc. with business partner animator/director Leo Sullivan. Vignette Films, Inc. produced six animated films and was one of the first companies to produce films on the subject of black history.
Norman and Sullivan worked together on various projects, including segments for Sesame Street and the original Hey, Hey, Hey, It’s Fat Albert television special conceived by Bill Cosby, which aired in 1969 on NBC.In 1972, a different Fat Albert and the Cosby Kids Saturday morning cartoon series was produced for CBS by Filmation Associates). In 1999, Norman and Sullivan created a multicultural internet site, afrokids.com, designed to present a variety of African-American images to children.
Norman was a recipient of the Winsor McCay Award for Recognition of lifetime or career contributions to the art of animation at the 2002 Annie Awards. Norman was named a Disney Legend in 2007.
In 2008, he appeared as Guest of Honor at Anthrocon 2008 and at Comic-Con International, where he was given an Inkpot Award. In 2013 Norman was honored with the “Sergio Award” from The Comic Art Professional Society (CAPS). (X)
Websites: afrokids.com / blog / twitter
[SuperheroesInColor faceb / instag / twitter / tumblr / pinterest / support ]
A LEGEND
photocreditPinterest • https://www.pinterest.com
Kunmanara Kawiny Seven Sisters 2011 paintings, synthetic polymer paint on linen
I’d rather be anywhere ✨
IG: iliridakrasniqi
Lighthouses of America, 1964.
“Victorian Porch” taken by Michelle Giorla - https://bit.ly/2YgbOnr
Join us as we take a closer look at Giovanni della Robbia’s Resurrection of Christ (ca. 1520–25). Tag along for this virtual tour created by Lisa Small, Senior Curator, European Art.
The sculpture envisions Jesus emerging from his tomb offering salvation to the faithful. Heralded by two angels, in one hand he holds the red-cross banner representing his triumph over death and with the other makes a gesture of benediction. A lush garland of plants, flowers, and animals frames the miraculous event.
This large relief sculpture is made up of forty-six separate pieces of molded terracotta. After being fired in a kiln, each section was painted with the della Robbia workshop’s proprietary glazes, and then fired again, a technique that yielded a colorful and durable form of sculpture perfectly suited to architectural ornamentation.
The lunette, or arched shape, suggests that this work would have hung over a doorway.
Like many Renaissance artists, della Robbia was inspired by ancient Greek and Roman art. In this work, he unites classical forms with Christian symbols.
The arrangement of figures within the compressed space of the relief shows della Robbia’s familiarity with the crowded compositions carved on ancient Roman sarcophagi like this one from the Met.
Marble sarcophagus with the myth of Selene and Endymion, Roman, early 3rd century A.D.. Marble, H. 28 ½ in. Metropolitan Museum, Rogers Fund, 1947. 47.100.4a, b.
The twisted poses and emotional faces of these two soldiers echo those of the Laocoön group, an ancient sculpture unearthed in Rome in 1506 that soon became one of the most famous ancient works known in the Renaissance.
Laocoön and his sons. Roman copy in marble after a Hellenistic bronze original from ca. 200 BC., 1506, The Vatican Museums, Rome.
Here, Christ stands in the relaxed contrapposto pose frequently seen in classical sculptures of the male nude.
Della Robbia’s workshop couldn’t develop a stable glaze for red, which was the intended color of Christ’s robe and His blood. Those sections had to be covered in red paint, which has since worn off, leaving those areas looking brown.
Ultraviolet reflectance imaging reveals that della Robbia painted glaze onto Christ’s arms, chest, and abdomen to emphasize his muscles!
The hallmark leafy garland of the della Robbia workshop was also a common motif in the ancient world. It signified honor and commemoration, as well as glory and abundance.
Artist James Tissot depicted a typical ancient garland design in this sketch from the Brooklyn Museum collection of a Roman sculptural fragment he saw in 1886-1889 while traveling near Jerusalem.
The flora and fauna throughout the relief reflect the interest in the natural world that emerged during the Renaissance. These plants and animals would have been understood at the time as having symbolic meanings connected with the themes of Resurrection and faith.
Evergreen leaves, gourds, salamanders, and snails were all emblematic of rebirth, renewal, and immortality.
Frogs could also serve as symbols of the Resurrection because they appear to be “reborn” seasonally when they emerge after hibernation in the spring. The crab is the zodiac sign for Cancer, but can also be a Resurrection symbol because it sheds its shell as it grows.
This vignette of an eagle killing a snake references Christ’s triumph over Satan.
Such animal symbolism was complex and often contradictory. Although squirrels were sometimes associated with evil, they could also be positive symbols of diligence.
Della Robbia or someone in his workshop must have been particularly interested in this small creature; conservation analysis has revealed what appears to be a small preparatory sketch of a squirrel scratched into the wet clay on one of the garland tiles.
A blooming fruit tree represents Paradise and the regeneration of the world through Christ’s sacrifice.
Grapes conjure abundance as well as the wine the disciples drank at Christ’s Passover seder (otherwise known as the Last Supper!).
In this work grapes probably also allude to this praying man. Who is he and how did he get a front row seat to the Resurrection?
He is likely Niccolò di Tomasso Antinori (1454–1520), whose family coat of arms appears in the lower corners of the relief. The Antinoris were wealthy merchants and winemakers, and they commissioned della Robbia to create this work for their estate and vineyard outside Florence.
As the patron, Niccolò could emphasize his own salvation by specifying that he be included in a position of devotion right next to the Risen Christ.
Della Robbia’s Resurrection remained at the Antinori estate until 1898, when the family sold it to A. Augustus Healy, the Brooklyn Museum’s first board president.
When he gave it to the museum the next year, The Brooklyn Daily Eagle proclaimed: “Every lover of Italian art will value … this treasure.”
It hung for years in the museum’s “Renaissance Hall” but by later in the twentieth century it had gone into storage.
In 2015 it was completely conserved at the Brooklyn Museum thanks to a grant from the same Antinori family that originally commissioned it 500 years ago! Now, della Robbia’s early sixteenth-century masterpiece looks better than ever!
Thanks for joining us! Tune in next Sunday for another virtual tour of our galleries!
Installation view of The Brooklyn Della Robbia. (Photo: Jonathan Dorado)
(Source: brooklynmuseum.org)
Your cute cat of the day