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Discomforts of an Epicure, 1787 (image 27 x 20 cm, in mat 43 x 33 cm) [1]. This is a descriptive list of erotic etchings and drawings by Thomas Rowlandson, based upon the research of Henry Spencer Ashbee published in his three-volume bibliography of curious and uncommon books: Index Librorum Prohibitorum (1877), Centuria Librorum Absconditorum (1879) and Catena Librorum Tacendorum (1885).
The drawing is related to the painting W37 : The Raising of the Cross: 1628-1629: Black chalk, heightened with white, framing lines in pencil and with the pen and brown ink: 19.3 x 14.8 cm: Museum Boijmans Van Beuningen, Rotterdam: The drawing is related to the painting W106 : Two Sitting Figures: c. 1628-1629: Black chalk: 19.3 x 14.8 cm
The swan was "cemented in the imagination as a creature of romance for a whole generation of impressionable working class suburban kids". The anthropomorphic projection may not have been entirely random; [2] swans are believed to take a mate for life, and the graceful white birds might symbolize monogamous felicity. [2]
Swans are grouped with the closely related geese in the subfamily Anserinae where they form the tribe Cygnini. Pages in category "Swans in art" The following 23 pages are in this category, out of 23 total.
The Head of the Virgin in Three-Quarter View Facing Right was made on a rectangular sheet of paper measuring 20.3 × 15.6 cm. It seems that several years after its creation, it was amputated by wide strips on all four sides, as evidenced by copies made by followers, such as the one preserved in the Albertina Museum in Vienna (dated between 1508 and 1513 and measuring 22.7 × 26 cm): it thus ...
Profile of the Black Swan (Cygnus atratus) Another head. A Commons quality image, aesthetically pleasing (in my opinion), technically sound (beak may be a bit blown) clearly depicts the head of the animal which is particularly useful in the article as the details of the head and beak are not that clear in any of the full body images.
The Casa Buonarroti in Florence holds not only a copy, but also a preparatory drawing of studies for Leda's head, held to be drawn by Michelangelo. [3] There are several prints copying the work, the most faithful of which is thought to be the one by Nicolas Béatrizet, which also shows Castor and Pollux.
Anonymous, possibly Fernando Yanez de la Almedina, Leda and the Swan. Oil on panel, 51 5/8 x 30 inches (131.1 x 76.2 cm). Philadelphia Museum of Art, USA (previously at John G. Johnson Collection, 1917) Giampietrino, Leda and the Swan, from the collection of the Marquis of Hastings; Giampietrino, Venus and Cupid, private collection, Milan