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The Havis Amanda is one of Vallgren's Parisian Art Nouveau works. Cast in bronze, it rests on a fountain made of granite. [3] The sculpture is of a mermaid standing on seaweed as she rises from the water, with four fish spouting water at her feet, surrounded by four sea lions. Vallgren's intention was to symbolize the rebirth of Helsinki.
However, The Mermaid, which was his first large-scale sculpture, was uniquely created for this commission. [4] He was commissioned to produce Mermaid in 1979 for the Theater of the Performing Arts. [5] The original $100,000 commission included a $50,000 National Endowment for the Arts grant and dollar for dollar matching by art aficionados. [6]
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The IKEA Museum is a museum located in Älmhult, Sweden, that opened to the public on June 30, 2016. [1] It presents the history of the Swedish furnishing company IKEA . [ 2 ] It replaced IKEA Through the Ages (located in the Corporate Culture Center 'Tillsammans'), a smaller 800 m 2 exhibition that showed 20 different room settings with IKEA ...
The Little Mermaid (Danish: Den lille Havfrue) is a bronze statue by Edvard Eriksen, depicting a mermaid becoming human. The sculpture is displayed on a rock by the waterside at the Langelinie promenade in Copenhagen, Denmark. [a] It is 1.25 metres (4.1 ft) tall [2] and weighs 175 kilograms (385 lb). [3]
The ancient Chinese created oil lamps with a refillable reservoir and a fibrous wick, giving the lamp a controlled flame. Lamps were constructed from jade, bronze, ceramic, wood, stone, and other materials. The largest oil lamp excavated so far is one discovered in a 4th-century tomb located in modern Pingshan, Hebei.
Perhaps the first recorded merman was the Assyrian-Babylonian sea-god Ea (called Enki by the Sumerians), linked to the figure known to the Greeks as Oannes. [1] However, while some popular writers have equated Oannes of the Greek period to the god Ea (and to Dagon), [2] [3] Oannes was rather one of the apkallu servants to Ea.
In "Art and Objecthood", Michael Fried derisively labels art that acknowledges the viewer as "theatrical" (Fried 45). There is a strong parallel between installation and theater: both play to a viewer who is expected to be at once immersed in the sensory / narrative experience that surrounds him and maintain a degree of self-identity as a viewer.