bedroom set art van
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Chris
Hello everyone! Thanks for taking time to read this! My name is Chris. I currently live and work in North Dakota, taking care of 2 of my sisters and 1 brother. My brother also works and helps out a great deal. My sisters are 15 and 17, I've had them since I was 20, and I'm turning 26 in March. If you're curious as to why we're in this situation, long story short; our mother passed away in an automobile accident in 07 - and there wasn't really any other acceptible solution apart from taking in the siblings I could.
Anyway, after spending some time there in 2008, reading some about it, and meeting a few folks from Pittsburgh, we've become very interested in moving there before the end of '13. I've paid off most of my debt and have been progressively saving what I can. If all goes well I'll have around $5-6 g saved up at the time of an actual move. Of course, I'd also like to have a job (For both my brother and my self, probably in food prep/cooking) and a 3 bedroom apartment set up before actually moving. Enrollment in school for my sisters, etc.
The main reason I'd like to move is to attend the Art Institute. I'd have to say my whole attitude on it at the moment is..."if" i can get things set up somewhat properly - I can work a shitty job cooking job like I do now, and attend school... but in a place me and my family love. I don't have all the answers, and realize I PROBABLY don't know wtf i'm talking about...but thats why I need your help! Financially, my brother, cousin, and myself would all be splitting most costs 3-ways...maybe even the older of my sisters will be helping out. We have 2 vehicles in good condition, a car and a van. I'm just trying to spout out all the info I can to give whoever a better chance of helping me!
I'm wondering about 'cost of living' in Pittsburgh...what are the more convenient/moderately priced neighborhoods...close to highscool, jobs, etc. Hell, I'm not even sure what questions TO ask.....I just want some resassurance that it's possible for us. Does it sound ridiculous? I don't know.
Answer
Life is a challenge Chris, nothing comes easily and am proud of what you are doing by doing this.
The Arnolfini Marriage - Jan Van Eyck help...?
alex
can you describe the painting The Arnolfini Marriage using element and Principles of art ) texture, line,pattern ,color ,shape,contrast, value , from,...
Answer
This painting is believed to be a portrait of Giovanni di Nicolao Arnolfini and his wife in a room, presumably in their home in the Flemish city of Bruges. It is considered one of the most original and complex paintings in Western art history. Being both signed and dated by Van Eyck in 1434, it is, with the Ghent Altarpiece by the same artist and his brother Hubert, the oldest very famous panel painting to have been executed in oils rather than in tempera. The painting was bought by the National Gallery in London in 1842.
This painting was long believed to be a portrait of Giovanni di Arrigo Arnolfini and his wife Giovanna Cenami in a Flemish bedchamber, but it was established in 1997 that they were married in 1447, thirteen years after the date on the painting and six years after van Eyck's death. It is now believed that the subject is Giovanni di Arrigo's cousin Giovanni di Nicolao Arnolfini and his wife. This is either an undocumented second wife, or, according to a recent proposal, his first wife Costanza Trenta, who had died by February 1433.[2] This would make the painting partly a memorial portrait, showing one living and one dead person. Giovanni di Nicolao Arnolfini was an Italian merchant, originally from Lucca, but resident in Bruges since at least 1419.[3] He is the subject of a further portrait by Van Eyck in Berlin, leading to speculation he was a friend of the artist.[4]
[edit] Description
DaggingThe painting[5] is generally in very good condition, though with small losses of original paint and damages, which have mostly been retouched. Infra-red reflectograms of the painting show many small alterations, or pentimenti, in the underdrawing: to both faces, to the mirror, and to other elements.
The couple are shown in an upstairs room in summer as indicated by the cherry tree outside the window which is in fruit. The room is in fact not a bedroom, as usually assumed, but a reception room as it was the fashion in France and Burgundy to have beds in reception rooms that were normally used just as seating except, for example, when a mother with a new baby received visitors. The window has six interior wooden shutters, but only the top opening has glass, with clear bulls-eye pieces set in blue, red and green stained glass.
The two figures are very richly dressed; despite the season both their outer garments, his tabard and her dress, are trimmed and fully lined with fur. The furs may be the especially expensive sable for him and ermine or miniver for her. He wears a hat of plaited straw dyed black, as often worn in the summer at the time. His tabard was once rather more purple than it appears now, as the pigments have faded; it may be intended to be silk velvet (another very expensive element). Underneath he wears a doublet of patterned material, probably silk damask. Her dress has elaborate dagging (cloth folded and sewn together, then cut and frayed decoratively) on the sleeves, and a long train. Her blue underdress is also trimmed with white fur.
Although the woman's plain gold necklace and the plain rings both wear are the only jewellery visible, both outfits would have been enormously expensive, and appreciated as such by a contemporary viewer. But especially in the case of the man, there may be an element of restraint in their clothes befitting their merchant status - portraits of aristocrats tend to show gold chains and more decorated cloth.
Charles the Bold surprising David Aubert, a miniature with an unusual variant of the presentation portrait, probably alluding to Alexander the Great, who surprised one of his artists in similar fashion. The rear wall seems to refer to the Arnolfini Portrait of forty years earlier, containing many of the same objects, in particular the painted inscription on the wall. Before 1472.The interior of the room has other signs of wealth; the brass chandelier is large and elaborate by contemporary standards, and would have been very expensive. It would probably also have had a mechanism with pulley and chains above, to lower it for managing the candles. Van Eyck has probably omitted this for lack of room. The convex mirror at the back, in a wooden frame with scenes of The Passion painted behind glass, is shown larger than such mirrors could actually be made at this date - another discreet departure from realism by Van Eyck. There is also no sign of a fireplace (including in the mirror), nor anywhere obvious to put one. Even the oranges casually placed to the left are a sign of wealth; they were very expensive in Burgundy, and may have been one of the items dealt in by Arnolfini.
Further signs of luxury are the elaborate bed-hangings, which are probably held up by iron rods suspended from the ceiling, and the carvings on the chair and bench against the back wall (to the right, partly hidden by the bed). There is a chandelier and an orange. There is a small Oriental carpet on the floor by the bed; many owners of such expensive objects p
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