John Rowe, 1954 | Disney Fine Art

John received his training at Art Center College of Design and began his career as an illustrator. His paintings have appeared on movie posters, books, billboards, magazines and advertisements throughout the country and around the world.

Seeking an additional outlet for his creative vision, John began his Horse Series, bringing together equine beauty and power with emotions of the human spirit. When the publishers of Walter Farley's The Black Stallion saw John's work, they were inspired to re-issue this classic series, commissioning 24 new paintings by John for the covers.

George Owen Wynne Apperley | Figure / Symbolist painter

George Owen Wynne Apperley R.I. R.A. was born 17th June 1884 in Ventnor, Isle of Wight, England and died in Tangier in 1960.

George was educated at Eagle House, Sandhurst and at Uppingham School prior to studying art at Herkomer Academy, Bushey, Herts.

He first exhibited at the Royal Academy in London, 1905 and then mounted his first individual exhibition in London, 1906.

He was elected as a member of the Royal Institute of Watercolour Artists in 1913.

Leonardo da Vinci | Del primo principio della scienza della Pittura..

Trattato della Pittura

Parte seconda | Capitoli 41-53

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Indice

41. Del primo principio della scienza della pittura.

42. Principio della scienza della pittura.

43. Del secondo principio della pittura.

44. In che si estende la scienza della pittura.

45. Quello che deve prima imparare il giovane.

46. Quale studio deve essere ne' giovani.

47. Quale regola si deve dare a' putti pittori.

48. Della vita del pittore nel suo studio.

49. Notizia del giovane disposto alla pittura.

50. Precetto.

51. In che modo deve il giovane procedere nel suo studio.

52. Del modo di studiare.

53. A che similitudine dev'essere l'ingegno del pittore.

41. Del primo principio della scienza della pittura.

Il principio della scienza della pittura è il punto, il secondo è la linea, il terzo è la superficie, il quarto è il corpo che si veste di tal superficie; e questo è quanto a quello che si finge, cioè esso corpo che si finge, perché invero la pittura non si estende più oltre che la superficie, per la quale si finge il corpo figura di qualunque cosa evidente.

Laura Knight | The Nuremberg Trial, 1946

At the end of the war Dame Laura Knight (1877-1970) proposed to the War Artists' Advisory Committee the Nuremberg war crimes trials as a subject. The Committee agreed and Dame Laura Knight went to Germany in January 1946 and spent three months observing the trials from inside the courtroom. The result was the large oil painting, The Nuremberg Trial.

This painting departs from the realism of her earlier wartime paintings, in that whilst realistically depicting the Nazi war criminals sitting in the dock during their trial, the rear and side walls of the courtroom are missing to reveal a ruined city, partially in flames.

Federico Infante, 1982 | Surrealist painter /Illustrator | Part 2

Born in Santiago, Chile, Federico Infante received his BFA from Finis Terrae University (Santiago, Chile) in 2002 and graduated in Spring 2013 with his MFA in Illustration from the School of Visual Arts in New York.

For biographical notes -in english and italian- and other works by Infante see Federico Infante, 1982 | Surrealist painter /Illustrator.