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A similar contrapposto stance, twisted upper torso, and a long contour-hugging veil characterize the sculpture. [15] In the mid-19th century, there was a resurgence in popularity of the veiled woman motif after the example of Corradini partially due to the image of a veiled woman becoming an allegory for Italian unification. [16]
The way her classical drapery falls on her body also shows this movement. The artists of eighteenth-century Italy were especially interested in the depiction of movement as Corradini was. Her face is turned away from the viewer, shielding her eyes with the transparent veil. The veil seems heavy but also see-through.
The veil gives the appearance of being translucent, but is carved of marble. The technique is similar to Giuseppe Sanmartino 's 1753 statue Veiled Christ in the Cappella Sansevero in Naples . The statue was transported to Newfoundland in 1856, as recorded on December 4 in the diary of Bishop John Thomas Mullock : "Received safely from Rome, a ...
The Veiled Nun is a 20.75 in (52.7 cm) tall marble bust depicting a female figure wearing a veil. The fine details give the illusion that the veil is transparent. Although the title, The Veiled Nun, was already in use in 1874 when the work was first displayed in public, [3] she is not a nun, but rather a woman of means or an allegorical figure.
In this book, Andrade tried to capture the history taken of the streets of Mexico. These black and white photographs call on the culture that is found when roaming through the streets of Mexico City. The title means "transparent veils/ veiled transparencies" where some of the images captured are of religious statues that are covered up.
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