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The figure with one leg coming from back to rest on her head, while the other bends forward from the shoulder, appears like a cat on the prowl. Her body is supple and flawless, like beautiful poetry in motion. In its bends, the bottled-up love and desires emote a new musical note, wherever it twines. While she waits there with the unflinching balance of a strong masculine determination, it is difficult to tell a witch from a woman, a painting from a sculpture-the grotesque image wonderfully blurs the lines. Boy! The face is bittersweet yet sensual. And when desires run amok on her face, she appears like beauty personified, a goddess from heaven, waiting in earnest for her man, while at other times, she appears like a witch, ready to pounce on her man. Is it smoke that is rising up from her feet, or her hair, cascading like a waterfall, it is difficult to tell! Set in shades of crimson, the frozen image combines painting, sculpture, bas-relief, and trompe l’oeil, such visuals are rare where influences of Italian cinemas and sci-fi horror novels meet at the same time and successfully transform a realistic image into a beautiful painting. The distorted figure depicts an artist’s reflection of hypothetical situations and theatrical settings that ache of a range of emotions and desires which are a mix of sweet, mysterious, ghastly, realistic, sensual, and sublime.
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Why does Leonardo da Vinci continue to have such a hold on our imaginations? Perhaps part of his attraction is that he seems to perfectly exemplify the popular notion of the Renaissance Man. How extraordinary, we think, that he was an inventor, a portrait painter, an anatomist and a botanist, artist and scientist. At least two things are wrong with this notion. One, he was not alone in his multifaceted abilities; it was more common for an artist of his time to undertake at least two or three of these endeavors than it was to specialize in one. But just as important, art and science during the Renaissance were not separated by the chasm that they are now. “A Portrait of the Artist as a Shadow of His Former Self,” Kerry James Marshall . The two most common lighting conditions when painting outside are direct sunlight and a cloudy sky and both influence the qualities of the cast shadow edge. Direct sunlight gives us a hard light source that creates clearly visible shadows and produces a hard crisp edge to the cast shadows. A cloudy sky gives us a soft light source which gives much subtler shadows with soft blurry edges.
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NFT Masterclass Course - 1
$120.00Original price was: $120.00.$95.00Current price is: $95.00.
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