art bars

2009-09-14T13:34:00.000-07:00

Melbourne Silver Mines’s interview with Christian Were, who has an upcoming solo exhibition.

http://silvermine.org.au/2009/09/interview-memetic/#more-719

Modern Abstract

2009-08-29T10:23:00.001-07:00

Modern Abstract
Originally uploaded by coun2rparts

More original works of Richard Olmstead

Three Dimensional Abstract on Masonite

2009-08-29T10:22:00.001-07:00

Three Dimensional Abstract on Masonite
Originally uploaded by coun2rparts

Original works of Richard Olmstead

65/365 - Orb

2009-07-03T21:18:00.001-07:00

65/365 - Orb
Originally uploaded by dubesor

Architecture: R. Buckminster Fuller

From Wikipedia, the free encyclopedia

Richard Buckminster “Bucky” Fuller (July 12, 1895 – July 1, 1983)[1] was an American architect, author, designer, futurist, inventor, and visionary.

Throughout his life, Fuller was concerned with the question "Does humanity have a chance to survive lastingly and successfully on planet Earth, and if so, how?"[2] Considering himself an average individual without special monetary means or academic degree,[3] he chose to devote his life to this question, trying to identify what he, as an individual, could do to improve humanity's condition, which large organizations, governments, and private enterprises inherently could not do.

Pursuing this lifelong experiment, Fuller wrote more than thirty books, coining and popularizing terms such as "Spaceship Earth", ephemeralization, and synergetics. He also worked in the development of numerous inventions, chiefly in the fields of design and architecture, the best known of which is the geodesic dome. Carbon molecules known as fullerenes or buckyballs were named for their resemblance to geodesic spheres.

photo by dubesor

Space Scallop

2009-06-07T20:15:00.001-07:00

Space Scallop
Originally uploaded by Lost America

The photography of Troy Paiva

Mimetic House 2

2009-06-01T12:21:00.001-07:00

Mimetic House 2
Originally uploaded by Tommy Weir

The Mimetic House by Dominic Stevens

photo by Tommy Weir

The Hedgerow House by Dominic Stevens

2009-06-01T12:16:00.001-07:00

Originally uploaded by dreamofyesterday

photo by dreamofyesterday

Googie Gas Station

2009-05-28T02:44:00.001-07:00

Googie Gas Station
Originally uploaded by EncinoMan

Architecture

the Googie Gas Station

Photo by EncinoMan

Oriente station

2009-05-28T02:43:00.001-07:00

Oriente station
Originally uploaded by E.M.A.

Concrete skeleton

Oriente station photo by E.M.A.

Mothership

2009-05-28T02:42:00.001-07:00

Mothership
Originally uploaded by bitrot

Mothership has landed

Halo at Haslingden, part of the Lancashire Panopticons project, under a brooding sky and given the Sigma 10mm treatment.

Photo by bitrot

Elrod House

2009-05-28T02:39:00.001-07:00

Elrod House
Originally uploaded by theorem

John Lautner's Elrod House

Photo by theorem

Gothic look

2009-05-28T02:38:00.001-07:00

Gothic look
Originally uploaded by Kamuro

Alexander Calatrava
City of Arts and Sciences

Photo by Kamuro

Architectural Bones

2009-05-28T02:36:00.001-07:00

Architectural Bones
Originally uploaded by MaiKoh

Alexander Calatrava
City of Arts and Sciences

Architectural Bones
Photo by MaiKoh

Alien Sailors?

2009-05-28T02:32:00.001-07:00

Alien Sailors?
Originally uploaded by HamburgCam

Beach House

Germany, Rügen, Binz.

Photo by HamburgCam

Chisel face by Vhils

2009-05-28T02:31:00.001-07:00

Chisel face by Vhils
Originally uploaded by greenwood100

Photo is © Michael Greenwood

Michael Greenwood's favourite work (by far) at the Cans Festival, Leake Street, Waterloo.
While Banksy et al were great the work by Portuguese artist Alexandre Farto (aka Vhils) is something special. Chiseled into the plaster and bricks.
Alexandre is 21.

Now painted over

This work is part of his Scratching the Surface project.

This photo is published in Outsiders - Art by People - compiled by Steve Lazarides
www.amazon.co.uk/Outsiders-Steve-Lazarides/dp/1846055466

Uploaded by greenwood100

her again

2009-05-28T02:29:00.001-07:00

her again
Originally uploaded by Maya Newman

Banksy Art

Photo by Maya Newman

Fay Jones chapel at sewanee, tn

2009-05-28T02:28:00.001-07:00

P7235985_1
Originally uploaded by jwcline

fay jones chapel at sewanee, tn

by jwcline

Banksy's beaten up Buddha

2009-05-28T02:27:00.001-07:00

Banksy's beaten up Buddha
Originally uploaded by greenwood100

British street artist Banksy - his Buddha with neck brace, bandaged hand, bloody nose and black eye. Presumably a comment on the violence against monks by the Chinese regime in Tibet in April.

Seen at Leake Street, London. Cans Festival, May 2008

Now painted over.

Uploaded by greenwood100

Inside God House (Lisbon)

2009-05-28T02:04:00.001-07:00

Inside God House (Lisbon)
Originally uploaded by Giampaolo Macorig

Inside a Lisbon Church, with the tipical architecture of Manuelina Art.

by Giampaolo Macorig

Those Magnificent Men

2009-05-28T01:57:00.001-07:00

Those Magnificent Men
Originally uploaded by Heaven`s Gate (John)

Favorite flickr photos

Biplane by Heaven's Gate

Morgans Roadster

2009-05-28T01:41:00.001-07:00

Morgans Roadster
Originally uploaded by FlyWheel Photography

Cool Roadster photo by FlyWheel Photography

Tulsa's Buried Car

2009-05-18T20:19:00.001-07:00

IMG_1695
Originally uploaded by Michael Bates

Boyd Coddington is in the background.

Hot Rod Garage Car

2009-05-13T19:14:00.001-07:00

Hot Rod Garage
Originally uploaded by Pixeleye Interactive // Dirk Behlau

by Pixeleye Interactive // Dirk Behlau

Verner Panton Exhibition 2005

2009-05-13T19:00:00.001-07:00

Verner Panton Exhibition 2005
Originally uploaded by Pixeleye Interactive // Dirk Behlau

Verner Panton Exhibition 2005 taken by Pixeleye Interactive // Dirk Behlau

Koen´s Hot Rod - 1932 Ford Tudor Sedan

2009-05-12T14:52:00.001-07:00

Koen´s Hot Rod - 1932 Ford Tudor Sedan
Originally uploaded by Pixeleye Interactive // Dirk Behlau

Pixeleye Interactive - Dirk Behalau's photo of Koen´s Hot Rod - 1932 Ford Tudor Sedan

art-gallery

2009-04-23T10:57:00.001-07:00

art-gallery
Originally uploaded by coun2rparts

Oil Paintings

Create a beautiful hand-painted oil painting from your photo that you will enjoy for a lifetime.

Browse our online contemporary art galleries to see many fine examples of the Counterparts quality, satisfaction is guaranteed!

What happened Next... Banksy

2009-03-30T09:34:00.001-07:00

http://www.banksy.co.uk/next/next_scroll.htm

Revive US

2008-10-24T20:12:00.000-07:00

A good article on rejuvinating the economy.

Alabama Proves That Incentives Work
Written On: January 30, 2004

Even before the ink was dry on the package of tax and regulatory incentives that kept Boeing's 7E7 project in Washington, critics complained that it was a bad deal. They questioned whether reducing taxes and easing regulations was an effective way to attract new employers.
They need to look no further than Alabama for proof that incentives work. In fact, tax and regulatory incentives there have rejuvenated Alabama's troubled economy in a turnaround that is nothing short of remarkable.

Just a few years ago, the situation there looked bleak. Thousands of jobs were disappearing from Alabama's textile, retail and industrial sectors – 25,000 jobs were lost in the last two years alone.

Faced with this downward spiral, state officials approved a controversial package of tax incentives, training programs, and site work designed to make Alabama more attractive to employers. Opponents argued that, with tax revenues dwindling, the state couldn't afford to give up millions of dollars in the hope of attracting new business. Supporters prevailed, however, arguing that the state couldn't afford not to offer the incentives.

The supporters were right.

Alabama is now home to a booming automotive industry that employs more than 30,000 people, with a payroll of $1.5 billion. Over the next two years, thousands more jobs will be created as the auto industry is expected to add nearly $3 billion to the state's economy.

Mercedes-Benz was the first auto maker to take advantage of the incentives, followed by Honda and Hyundai. Just last month, Mercedes celebrated as its 500,000th car rolled off the assembly line at the company's factory in Tuscaloosa County, a full year ahead of schedule. Mercedes spokesman Austin Dare says the company's decision to locate in Alabama "…sent a message to other companies that they could do business in Alabama."

Alabama's burgeoning auto industry has created a second tier of job growth, as well. For example, there were some 90 automotive suppliers doing business in Alabama when Mercedes' first car rolled off the line in 1997. Today, that number has soared to more than 200, with more than $300 million in construction underway as suppliers build manufacturing facilities that will support the automakers.

It is also important to remember that many other small businesses feed off of the auto industry and its direct suppliers. For example, family-owned machine shops receive contracts for highly specialized work. The same will happen with the 7E7 program in Washington in light of Boeing's new strategy to be a developer and assembler of aircraft as opposed to a manufacturer. Simply, that means its parts will come from an army of suppliers—large and small.

Alabama's success did not come cheap. The state spent more than $650 million in tax incentives, site work, and free training programs to lure new jobs to the state. A hefty sum, to be sure, but it worked. Steve Sewell, executive vice president of Alabama's Economic Development Partnership, says the investment was well worth it. "These projects already have exceeded expectations on economic impact, the jobs they've produced, and the fact that they've raised the stature of Alabama and made it easier to attract other companies," says Sewell. "We'd hate to think where Alabama would be today without the automobile manufacturing sector."
With all its success, Alabama is not resting on its laurels. Sewell says his state realizes that it has to "pay to play." "Remember," says Sewell, "other states have put together very attractive incentive packages of their own in recent years."

Lawmakers in Washington should heed that warning. If our state is to become more attractive to employers, we must be willing to "pay to play." The state legislature has taken a few steps in that direction with the manufacturing sales tax exemption and small improvements in our burdensome regulatory structure – but it's not nearly enough. Washington still has a reputation of being bad for business. For example, our workers' compensation system and liability insurance laws must be reformed.

At the same time, employers in Alabama are looking forward to an ever brighter future. "Once you reach critical mass," says Bernard Schroer of the Alabama Automotive Manufacturing Association, "business generates business."

In other words, as the old saying goes, "Nothing succeeds like success."

http://www.msplinks.com/MDFodHRwOi8vd3d3LmF3Yi5vcmcvYXJ0aWNsZXMvcHJlc2lkZW50c2NvbHVtbjIwMDQvYWxhYmFtYV9wcm92ZXNfdGhhdF9pbmNlbnRpdmVzX3dvcmsuaHRt

Air Zoo (Seen On The Streets Of New York)

2008-04-12T19:29:00.001-07:00

creating art from plastic bags

artist paints in 2 1/2 minutes patriotic amazing

2008-03-12T15:58:00.003-07:00

statue of liberty to jimi hendrix

Chalk Artist Goes 3-D (CBS News)

2008-03-12T15:58:00.001-07:00

amazing three dimensional drawings by julian beaver

Charlie Rose - Chicago Architecture Panel

2008-02-04T18:26:00.001-08:00

Charlie Rose - The Future of Architecture

2008-02-04T18:23:00.001-08:00

NO references, No boxes

...magnificent heirarchical spaces, broken apart without losing tradition

...you have to learn by building, building very big, that take an enormous amount of time and energy.

...quality is important, not quantity.

The inside is full of energy, everybody can see everybody, walls tip and curve and move, a building for hanging out, need spaces for people to be in, take something that is small divide it up into little pieces so it seems larger, want people to feel space and disoriented...

...architecture is in search of forms that express our times, of forms that express an attitude of what is and it's the making of those forms, the making of space, it's the way in which it's made
architecture expresses it's relationship to the society of the time...

it's a building that preserves an existing resource

where are we going in the next generation?

peter eisenman, richard meier, charles gwathmey, michael graves, henry n. cobb, ralph lerner, greg lynn, bernard tschumi, david childs, donna robertson, stanley tigerman, sarah whiting, jay chatterjee

MoMA Film Trailer: Global Lens 2008

2008-01-06T19:57:00.001-08:00

films from around the world

The films presented in this annual collaboration, now in its fifth year, are part of the touring film exhibition Global Lens, a project conceived by The Global Film Initiative (GFI) to encourage filmmaking in countries with developing film communities. Developed with seed money from GFI, this year's eight films, representing eight different countries, constitute a concise survey of contemporary filmmaking from areas where local economic realities make such expensive and technology-driven endeavors a challenge. Accomplished, entertaining, and thought-provoking, the films are also deeply rooted in the social and political realities of the countries where their talented and resourceful makers live and set their stories. Two films in the exhibition, The Bet Collector (2006, Philippines), and Opera Jawa (2006, Indonesia) will have weeklong runs, allowing them to build an audience and attract critical attention. Several films are part of an educational project between GFI and MoMA's Department of Education, and will be screened separately for participating educational institutions and schools in the New York area.

http://moma.org/exhibitions/film_exhibitions.php?id=7196

Great paintings of all time

2007-11-28T16:28:00.001-08:00

Fine art paintings

List of Fine Artists

Pacita Abad (1946-2004)
Herb Aach (1923-1985)
Hans von Aachen (1552-1615)
Riza Abbasi (1565-1635)
Giuseppe Abbati (1836-1868)
Mary Abbott (1921-)
Josef Abel (1768-1818)
Philip Absolon (1960-)
Ruth Abrams (1912-1986)
Edwin Austin Abbey (1852-1911)
Nikolaj Abraham Abildgaard (1744-1809)
Ismail Acar (1971-)
Bernard Accama (1697-1756)
Andreas Achenbach (1815-1910)
Oswald Achenbach (1827-1905)
Pat Adams (1928-)
Jankel Adler (1895-1949)
Pieter Aertsen (1508-1575)
Aetion (4th century BC)
Nadir Afonso (1920-)
Leonid Afremov (1955-)
Yaacov Agam (1928-)
Lubna Agha (1949-)
Jacques-Laurent Agasse (1767-1848)
Christoph Ludwig Agricola (1667-1719)
Ai Xuan (1947-)
Ivan Aivazovsky (1817-1900)
Tadeusz Ajdukiewicz (1852-1916)
Francesco Albani (1578-1660)
Josef Albers (1888-1976)
Mariotto Albertinelli (1474-1515)
Ivan Albright (1897-1983)
Kazimierz Alchimowicz (1840-1916)
L. Alcopley (1910-1992)
Pierre Alechinsky (1927-)
Fedor Alekseev (1753-1824)
Mikoláš Aleš (1852-1913)
Else Alfelt (1910-1974)
Brian Alfred (1974-)
Alessandro Algardi (1595-1654)
David Allan (1744-1796)
Lawrence Edgar Allen (1954-)
Alessandro Allori (1535-1607)
Cristofano Allori (1577-1621)
Washington Allston (1779-1843)
Lawrence Alma-Tadema (1836-1912)
Almeida Júnior (1859-1899)
Charles Alston (1907-1977)
Rudolf Ritter von Alt (1812-1908)
Albrecht Altdorfer (1480-1538)
Altichiero (1320-1395)
Pedro Álvarez Castelló (1967-2004)
Edmond Aman-Jean (1860-1936)
Tarsila do Amaral (1886-1973)
Friedrich von Amerling (19th century)
Jacopo Amigoni (1685-1752)
Rodolfo Amoedo (1857-1941)
Rick Amor (1948-)
Anna Ancher (1859-1935)
Michael Peter Ancher (1849-1927)
Caesar Andrade Faini (1913-)
Alfons Anders (1928-1998)
Dagmar Anders (1949-)
Carl Andre (1935-)
Constantine Andreou (1917-2007)
Fra Angelico (1387-1445)
Hermenegildo Anglada Camarasa (1872-1952)
Sofonisba Anguissola (1532-1625)
Rita Angus (1908-1970)
Louis Anquetin (1861-1932)
Richard Anuszkiewicz (1930-)
Apelles (4th century BC)
Zvest Apollonio (1935-)
Karel Appel (1921-2006)
Oscar Araripe (1941-)
Félix Arauz (1935-)
Giussepe Arcimboldo (1527-1593)
Félix Arauz (1935-)
John Armleder (1948-)
Jean Arp (1886-1966)
Jean-Michel Atlan (1913-1960)
John James Audubon (1785-1851)
Frank Auerbach (1931-)
Jules Robert Auguste (1789-1850)
George Ault (1891-1948)
Giuseppe Avanzi (1645-1718), Italian Baroque painter
Edward Avedisian (1936-2007)
Hendrick Avercamp (1585-1634)
Milton Avery (1885-1965)
Nikola Avramov (1897-1945)
Hovhannes Ayvazovski (1817-1900)
Colin William Ayres (1947-)
Anton Ažbe (1870-1949)
Giovanni Bernardino Azzolini or Mazzolini or Asoleni (c.1572- c.1645), Italian painter

B
Marcello Bacciarelli (1731-1818)
Francis Bacon (painter) (1909-1992)
William Jacob Baer (1860-1941)
Albert Baertsoen (1866-1922)
Leonard Bahr (1905-1990)
Thomas Baines (1820-1875)
Dionosio Baixeras Verdaguer (1862-1943)
Normand Baker (1908-1955)
William Bliss Baker (1859-1886)
Ludolf Bakhuysen (1631-1708)
Léon Bakst (1866-1924)
Hans Baldung (1484-1545)
Robert Ballagh (1943-)
Vincenzo Balsamo (1935-)
Balthus (1908-2001)
Edward Mitchell Bannister (1828-1901)
Bapu (1933-)
William Barak (1824-1903)
Vladimir Baranoff-Rossine (1888-1944)
Giovanni Francesco Barbieri (1591-1666)
George Barker (1882-1965)
Ernie Barnes (1938-)
Roger Keith "Syd" Barrett (1946-2006)
James Barry (1741-1806)
Hans von Bartels (1856-1913)
Richmond Barthe (1901-ca.1990)
Jennifer Bartlett (1941-)
Fra Bartolomeo (1474-1517)
Francesco Bartolozzi (1728-1815)
Georg Baselitz ( 1938-)
Marie Bashkirtseff (1860-1884)
Jean-Michel Basquiat (1960-1988)
Jacopo Bassano (ca.1510-1592)
Robert Bateman (1842-1922)
Robert Bateman (1930-)
David Bates (1952-)
Maxwell Bates (1906-1980)
André Bauchant (1873–1958)
Wolfgang Bauer
Juan Bautista Garcia (1904-1974)
Wyke Bayliss (1835-1906)
James Baynes (1766-1837)
Thomas Mann Baynes (1794-1854)
Pompeo Girolamo Batoni (1708-1787)
Frédéric Bazille (1841-1870)
Matthew Beall (1962-)
Romare Bearden (1914-1988)
Cecilia Beaux (1855-1942)
Robert Bechtle (1932-)
Jasmine Becket-Griffith
Max Beckmann (1884-1950)
Ignat Bednarik (1882-1963)
Vanessa Beecroft (1969-)
Captain Beefheart (1941-)
Tuvia Beeri (1929-)
Kamaleddin Behzad (1450-)
Zdzislaw Beksinski (1929-2005)
George Bell (1878-1966)
Giovanni Bellini (ca.1430-1516)
Gentile Bellini (ca.1429-1507)
Jacopo Bellini (ca.1400-1470)
Vanessa Bell (1879-1961)
Bernardo Bellotto (1721-1780)
George Wesley Bellows (1882-1925)
Ludwig Bemelmans (1898-1962)
Jason Benjamin (1971-)
Martin Benka (1888-1977)
Wilhelm Bendz (1804-1832)
Frank Weston Benson (1862-1951)
Thomas Hart Benton (1889-1975)
Alexander Benois (1870-1960)
Helen Berman (1936-)
Emerik Bernard (1927-)
Attila Bernath
Janez Bernik (1933-)
Gian Lorenzo Bernini (1598-1680)
Morris Louis Bernstein (1912-1962)
Elsa Beskow (1874-1953)
Henryka Beyer (1782-1855)
Lujo Bezeredi (1898-1979)
George Biddle (1885-1973)
Albert Bierstadt (1830-1902)
Ivan Bilibin (1876-1924)
Anna Bilinska-Bohdanowiczowa (1857-1893)
Ejler Bille (1910-2004)
Charles Billich (1934)
Henry Billings (1901-1987)
George Caleb Bingham (1811-1879)
S J "Lamorna" Birch (1869-1955)
Oswald Birley (1880-1952)
Thierry Bisch (1953-)
Elmer Bischoff (1916-1991)
Tim Biskup
Wilhelm Bissen (1836-1913)
Charles Blackman (1928-)
Basil Blackshaw (1932-)
William Blake (1757-1827)
Ralph Albert Blakelock (1847-1919)
Arnold Blanch (1896-1968)
Ross Bleckner (1949-)
Carl Heinrich Bloch (1834-1890)
Josef Block (1863-1943)
Izaak van den Blocke (1572-1626)
Godfrey Blow (1948-)
Peter Blume (1906-1992)
Ditlev Blunck (1798-1854)
David G. Blythe (1815-1865)
Anna Boch (1848-1936)
François Bocion (1828-1890)
Thomas Bock (1793-1855)
Arnold Böcklin (1827-1901)
Karl Bodmer (1809-1893)
Krzysztof Boguszewski (1906-1988)
Aaron Bohrod (1907-1992)
Maurice Boitel (1919-)
David Bomberg (1890-1957)
Camille Bombois (1883–1970)
Rosa Bonheur (1822-1899)
Claude Bonin-Pissarro (1921-)
Richard Parkes Bonington (1802-1828)
Pierre Bonnard (1867-1947)
Francesco Bonsignori (1460-1519)
Gerard ter Borch (1617-1681), Dutch
Bogdan Borcic (1926-)
Paul-Émile Borduas (1905-1960)
Adolf Born (1930-)
Vladimir Borovikovsky (1757-1825)
Hieronymus Bosch (ca.1450 - 1516)
Ambrosius Bosschaert (1573-1612)
Angel Botello (1913-1986)
Fernando Botero (1932-)
Sandro Botticelli (1445-1510)
François Boucher (1703-1770)
Eugène Boudin (1824-1898)
William-Adolphe Bouguereau (1825-1905)
John Bourne (1943-)
David Bowie (1947-)
Zlatyu Boyadzhiev (1903-1976)
Arthur Boyd (1920-1999)
Arthur Merric Boyd (1862-1940)
David Boyd (1924-)
Penleigh Boyd (1890-1923)
Daniel C. Boyer (1971-)
P. Rostrup Bøyesen (1882-1952)
Olga Boznanska (1865-1940)
Louis Bouché (1896-1969)
John Brack (1920-1999)
Robert Brackman (1898-1980)
Christian Hilfgott Brand (1694-1756), German
Johann Christian Brand (1722-1795)
Petr Brandl (1668-1739)
Jozef Brandt (1841-1915)
Georges Braque (1882-1963)
Robert J Brawley (1936 - 2006)
Alan Bray (1946-)
Carl Fredrik von Breda (1759-1818)
George Hendrik Breitner (1857-1923)
Mark A. Brennan (1968-)
Art Brenner (born 1924)
Jules Breton (1827-1906)
Breyten Breytenbach (1939-)
Pierre Brissaud (1885-1964)
Louis le Brocquy (1916-)
Ann Brockman (1898 or 1899-1943)
Antoni Brodowski (1784-1832)
Agnolo Bronzino (1503-1572)
Alexander Brook (1898-1980)
Bertram Brooker (1888-1955)
Allan Brooks (1869-1946)
Romaine Brooks (1874-1970)
Cecily Brown (1969-)
Ford Madox Brown (1821-1893)
Joan Brown (1938-1990)
Rush Brown (1948-)
Václav Brožík (1851-1901)
Patrick Henry Bruce (1881-1936)
Jan Brueghel the Elder (1568-1625)
Jan Brueghel the Younger (1601-1678)
Pieter Brueghel the Elder (ca.1525-1569)
Pieter Brueghel the Younger (1564-1638)
Karl Briullov (1799-1852)
Tadeusz Brzozowski (1818-1887)
Ernest Buckmaster (1897-1968)
Ota Bubeníček (1871-1962)
Bernard Buffet (1928-1999)
Alexander Bugan (1952-)
Vlaho Bukovac (1855-1922)
Charles Ragland Bunnell (1897-1968)
Rupert Bunny (1864-1947)
Elbridge Ayer Burbank (1858-1949)
Charles Ephraim Burchfield (1893-1967)
Francisco de Burgos Mantilla (1612–1672)
Zdeněk Burian (1905-1981)
William Partridge Burpee (1846-1940)
Brigitte Buscail-Lipsky (19XX-)
Ambreen Butt (1969)
Louis Buvelot (1814-1888)
John Byrne (1950-)

C
Lilla Cabot Perry (1848-1933)
Pogus Caesar
Cagnaccio di San Pietro (1897-1946)
Gustave Caillebotte (1848-1894)
Alexander Calder (1898-1976)
Jacques Callot (1592-1635)
Canaletto (1697-1768)
Noe Canjura (1922-1970)
Josef Čapek (1887-1945)
Tom Carapic (1939-)
Caravaggio (1573-1610)
Ivan Cargo (1898-1958)
Arthur B. Carles (1882-1952)
Carlo Carlone (1686-1775), Italian
John Fabian Carlson (1875-1945)
Emile Auguste Carolus-Duran (1838-1917)
Carpaccio (ca.1460-1525)
Emily Carr (1871-1945)
Carlo Carrà (1881-1966)
Annibale Carracci (1557-1602)
Agostino Carracci (1560-1609)
Ludovico Carracci (1555-1619)
Clarence Holbrook Carter (1904–2000)
Ramon Casas i Carbó (1866-1932)
Felice Casorati (1886-1963)
Frances Castle (1966-)
Judy Cassab (1920-)
Mary Cassatt (1844-1926)
Alfred Joseph Casson (1898-1992)
Carlos Catasse
George Catlin (1796-1872)
Louis de Caullery (c1555-c1621)
Giovanni Paolo Cavagna (1556-1627), Italian
Bernardo Cavallino (1622-1654)
Antonio Cavalluci (1752-1795)
Mirabello di Antonio Cavalori (da Salincorno)
Cazasoles (1952-)
Avgust Cernigoj (1898-1985)
Bartolomeo Cesi (1556-1629)
Paul Cézanne (1839-1906)
Marc Chagall (1887-1985)
Minerva J. Chapman (1858 - 1947)
Jean-Baptiste-Siméon Chardin (1699-1779)
Gustavo Charif (1966-)
Caroline Chariot-Dayez (1958-)
Michael Ray Charles (1967-)
Nicolas Charlet (1792-1845)
William Merritt Chase (1849-1916)
Théodore Chassériau (1819-1856)
Russell Chatham (1939-)
Pierre Puvis de Chavannes (1824-1898)
Jozef Chelmonski (1849-1914)
Abdul Rehman Chughtai (1899-1975)
Chen Chun (1483-1544)
Billy Childish (1959-)
Giorgio de Chirico (1888-1978)
Omar Chkhaidze (1944-)
Adam Chmielowski (1888-1878)
Daniel Chodowiecki (1726-1801)
Dan Christensen (1942-2007)
Anthony Christian (1945-)
Frederick Edwin Church (1826-1900)
Betty Churcher (1931-)
Peter Churcher (1964-)
Winston Churchill (1874-1965)
Leon Chwistek (1884-1937)
Tomasz Ciecierski (1945-)
Cimabue (1240-1302)
Giovanni Battista Ciprione (c. 1760)
Joze Ciuha (1924-)
Franz Cizek (1865-1946)
Lady Edna Clarke Hall (1879-1979)
Francois Clouet (1510-1572)
Giorgio Giulio Clovio (1498-1578)
Juan Fernando Cobo (1959-)
Pieter Codde (1599-1678)
Charles Codman (1800-1842)
Jon Coffelt (1963-)
Henry James Cogle (1875 - 1915)
Nevin Çokay (1930-)
Thomas Cole (1801-1948)
Robert Colescott (born 1925)
Evert Collier (1640-1707)
John Collier (1850-1934)
Jean Colombe (1430-1493)
Charles Conder (1868-1909)
Kevin Connor (1932-)
John Constable (1776-1837)
Constant (1920-)
Theo Constanté (1934-)
CA. M. Coolidge (1844-1934)
D.D. Coombs (1850-1938)
John Singleton Copley (1737-1815)
Lovis Corinth (1858-1925)
Corneille (1922-)
Thomas Cornell (1937-)
Jean-Baptiste Camille Corot (1796-1875)
Correggio (1489-1534)
Pietro da Cortona (1596-1669)
Rossella Cosentino
Piero di Cosimo (1462-1521)
Grace Cossington Smith (1892-1984)
Francesco del Cossa (c1435-c1477)
Pierre Auguste Cot (1837-1883)
Noel Counihan (1913-1986)
Gustave Courbet (1819-1877)
Thomas Couture (1815-1879)
Francesco Cozza (1605-1682), Italian
Lucas Cranach the elder (1472-1553)
Lucas Cranach the younger (1515-1586)
Fred Cress (1938-)
Vivian Crettol (1973-)
Susan Crile (1942-)
Carlo Crivelli (1435-1495)
Ivan Lacković Croata (1932-)
Charles Crodel (1894-1974)
Ray Crooke (1922-)
Jean Crotti (1878-1958)
Thomas Crotty (1954-)
Aelbert Cuyp (1620-1691)
Boleslaw Cybis (1895-1957)
Jan Cybis (1897-1972)
Cydney (1909-[?])
Wladyslaw Czachorski (1850-1911)
Jozef Czapski (1896-1993)
Szymon Czechowicz (1689-1775)
Alfons von Czibulka (1888-1969)
Tytus Czyzewski (1880-1945)
Jean-Yves Couliou (1916-1995)

D
Richard Dadd (1817-1886)
Bernardo Daddi (c.1280-1348)
Michael Dahl (1659-1743)
Dai Jin (1388-1462)
Dai Xi
Han Dai-Yu (1969-)
Roy Dalgarno (1910-2001)
Salvador Dalí (1904-1989)
Christen Dalsgaard (1824-1907)
Thomas Aquinas Daly (1937-)
Claude Dambreville (1934-)
Ken Danby (1940-)
Annabel Daou (1967-)
Nils von Dardel (1888-1943)
William Dargie (1912-2003)
Charles-François Daubigny (1817-1878)
Honoré Daumier (1808-1879)
Gerard David (ca.1450-1523)
Jacques Louis David (1748-1825)
Heinrich Maria Davringhausen (1894-1970)
Janet Dawson (1935-)
Leonardo da Vinci (1452-1519)
Gene Davis (1920-1985)
Ronald Davis (1937-)
Stuart Davis (1892-1964)
Riko Debenjak (1908-)
Jean Baptiste Debret (1768 - 1848)
Stanislaw Debicki (1866-1924)
Christian De Calvairac (1947-)
Joseph DeCamp (1858-1923)
Michel De Caso (1956-)
Edgar Degas (1834-1917)
Ettore "Ted" DeGrazia (1909-1982)
Raoul De Keyser (1930-)
Eugène Delacroix (1798-1863)
Beauford Delaney (1901-1979)
Robert Delaunay (1885-1941)
Sonia Delaunay-Terk (1885-1979)
Paul Delvaux (1897-1954)
Roy De Maistre (1894-1968)
Grillo Demo
Charles Demuth (1883-1935)
Maurice Denis (1870-1943)
Damon Denys (1974-)
André Derain (1880-1954)
Édouard Detaille (1847-1912)
Thomas Dewing (1851-1938)
Emiliano Di Cavalcanti (1897-1976)
Robert Dickerson (1929-)
Edwin Dickinson (1891-1978)
Tudor Dicu (1957-)
Richard Diebenkorn (1922-1993)
Mary Dignam (1860-1938)
Meredith Dillman
Silvia Dimitrova (1970-)
Jim Dine (1935-)
Abidin Dino (1913-1993)
Dionisy ([?]-1481)
Paul Dirmeikis (1954-)
Alén Diviš (1900-1956)
Otto Dix (1891-1969)
Andrzej Dluzniewski (1939-)
William Dobell (1899-1970)
Jan Dobkowski (1942-)
William Dobson (1610-1646)
Theo van Doesburg (1883-1931)
Eppo Doeve (1907-1981)
Tommaso Dolabella (1570-1650)
Domenichino (or Domenico Zampieri), Italian (1581-1641)
Tadeusz Dominik (1928-)
Dong Qichang (1555-1636)
Dong Yuan (934-962)
Antonio Donghi (1897-1963)
Gustave Doré (1832-1883)
Kees van Dongen (1877-1968)
Dosso Dossi (ca.1490-1542)
Christian Dotrement (1922-1981)
Jaroslav Doubrava (1909-1960)
Jacques Doucet (1924-1994)
Thomas Doughty (1793-1856)
Aaron Douglas (1898-1979)
Rackstraw Downes (1939-)
George Burton Drake (1876-1942)
Willem Drost (ca.1630- ca.1680)
Russell Drysdale (1912 - 1981)
Jean Dubuffet (1901-1985)
Duccio (1255-1319)
Marcel Duchamp (1887-1968)
Suzanne Duchamp-Crotti (1889-1963)
Raoul Dufy (1877-1953)
Brian Dunlop (1938-)
Anne Dunn (1929-)
Albrecht Dürer (1471-1528)
Geoffrey Dwyer
Sir Anthony van Dyck (1599-1641)
Friedel Dzubas (1915-1994)

E
Thomas Eakins (1844-1916)
Augustus Earle (1793-1838)
Alfred East (1849-1913)
Christoffer Wilhelm Eckersberg (1783-1853)
Otto Eckmann (1865-1902)
Don Eddy (1944-)
Michelle Edewaard (1962-)
Albert Edelfelt (1854-1905)
Beverly K. Effinger (1955-)
Camilo Egas (1889-1962)
Albin Egger-Lienz (1868-1926)
Eugeniusz Eibisch (1896-1987)
Louis Eilshemius (1864-1941)
Ib Eisner (1925-2003)
Kano Eitoku (1543-1590)
Adam Elsheimer (1578-1610)
Gederts Eliass (1887-1975)
Lydia Field Emmet (1866-1952)
Gonzalo Endara Crow (1936-1996)
Ron English (1948-)
Carlos Enríquez Gómez (1900-1957)
James Ensor (1860-1949)
Sir Jacob Epstein (1880-1959)
Arline Erdrich (1936)
Sven Erixson (1899-1970)
Max Ernst (1891-1976)
M.C. Escher (1898-1972)
Richard Estes (1936-)
William Etty (1787-1849)
Dulah Marie Evans (1875-1951)
Eamon Everall (1948-)
Philip Evergood (1901-1971)
Mikhail Evstafiev (1963-)
Julius Exner (1863-1939)
Jan van Eyck (1390-1441)
John Eyre (1771-1812)

F
Gentile da Fabriano (ca.1370-1427)
Carel Fabritius (1622-1654)
Pietro Faccini (1562-1602)
Julian Falat (1853-1929)
Aniello Falcone (1600-1665)
Robert Falk (1886-1958)
Alexandre Falguière (1831-1900)
Demetrios Farmakopoulos (1919-1996)
Bernd Fasching (born 1955)
Giovanni Fattori (1825-1905)
Fan Kuan (990-1030)
Henri Fantin-Latour (1836-1904)
Jean Fautrier (1898-1964)
Jerzy Fedkowicz (1891-1951)
Pavel Fedotov (1815-1852)
Lyonel Feininger (1871-1956)
Feofan Grek (1340-1410)
Stanislaw Fijalkowski (1922-)
Pavel Filonov (1883-1941)
Leonor Fini (1908-1996)
Andrea da Firenze (1343-1377)
Alejandro Fischer (1971-)
Alvan Fisher (1792-1863)
James Montgomery Flagg (1877-1960)
Lucio Fontana (1899-1968)
Clinton Ford (1931-)
Melozzo da Forlì (ca. 1438-1494)
Mariano Fortuny (1838-1874)
Tsuguharu Foujita (1886-1968)
Jean Fouquet (1425-1481)
Jean-Honore Fragonard (1732-1806)
Art Frahm (1907-1981)
Piero della Francesca (ca.1416-1492)
François Louis Thomas Francia (1772-1839)
Fu Baoshi (1904-1965)
Sam Francis (1923-1994)
Simon Francis (1952-)
Jane Frank (1918-1986)
Helen Frankenthaler (1928-)
Manuel Franquelo (c. 1950-)
Frank Frazetta (1928-)
Wilhelm Freddie (1909-1995)
Charles Alphonse du Fresnoy (1611-1665)
Lucian Freud (1922-)
Friedrich Ritter von Friedländer-Malheim (1825-1901)
Caspar David Friedrich (1774-1840)
Frederick Carl Frieseke (1874-1939)
Lorentz Frölich (1820-1908)
Nicolas Froment (ca.1450-ca.1490)
Brian Froud (1947-)
Ludovit Fulla (1902-1980)
Joseph von Führich (1800-1876)
Henry Fuseli (1741-1825)
Villy Fyhn(1960-)

G
Andrew Gadd (1968-)
Gai Qi (1774-1829)
Thomas Gainsborough (1727-1788)
Fede Galizia (1578-1630)
Akseli Gallen-Kallela (1865-1931)
Alessandro Galli Bibiena (1687–1769), architect/painter
Antonio Galli Bibiena (1700–1774), Italian architect/painter
Carlo Galli Bibiena (1728–1787), designer/painter, son of Giuseppe Galli Bibiena
Ferdinando Galli Bibiena (1656–1743), Italian architect/designer/painter
Francesco Galli Bibiena (1659-1739), Italian architect/painter
Giovanni Carlo Galli-Bibiena ( -1760), architect/designer/painter
Giovanni Maria Galli da Bibiena (1625–1665), Italian watercolor painter, head of Galli-Bibiena family
Giuseppe Galli Bibiena (1696–1757), Italian designer/painter
Maria Oriana Galli Bibiena (1656–1749), Italian painter
Byron Galvez (1941-)
Lattanzio Gambara (c.1530-1574)
Thomas Gambier Parry (1816–1888)
Antonio de la Gandara (1861-1917)
Gao Fenghan (1683-1749)
Gao Qipei (1660-1734)
Gao Xiang (1688-1753)
Víctor Manuel García Valdés (1897-1967)
Joy Garnett (1960-)
Meredith Garniss (1967-)
Norman Garstin (1847-1926)
Ian Gaskell (? - )
Lee Gatch (1902-1968)
Friedrich Gauermann (1807-1862)
Paul Gauguin (1848-1903)
Giovanni Battista Gaulli (1639-1709)
Nikolai Ge (1831-1894)
William Gear (1915-1997)
Ilka Gedő (1921-1985)
Geertgen tot Sint Jans (c1460-c1490)
Aert de Gelder (1645-1727)
Ivan Generalić (1914-1992)
Artemisia Gentileschi (1593-1651)
Orazio Gentileschi (1563-1639)
Aleksandr Gerasimov (1881-1963)
Fernando Gerassi (1899-1974)
Théodore Géricault (1791-1824)
Abdullah Gërguri (Gerguri) (1931 - 1994)
Jean-Léon Gérôme (1824-1904)
Wojciech Gerson (1831-1901)
Richard Gerstl (1883-1908)
Cristache Gheorghiu (1937)
Domenico Ghirlandaio (1449-1494), Italian Renaissance
Ridolfo Ghirlandaio (1483-1561), son of Domenico
Alberto Giacometti (1901-1966)
Khalil Gibran (1883-1931)
Stefan Gierowski (1925-)
Aleksander Gierymski (1850-1901)
Maksymilian Gierymski (1846-1874)
Araceli Gilbert (1913-1993)
Stephen Gilbert (1910-)
Gregory Gillespie (1936-2000)
Giorgione (ca.1477-1510)
Giotto (1267-1337)
Francois Girardon (1628-1715)
Ilya Glazunov (1930-)
Oton Gliha (1914-1999)
John William Godward (1861-1922)
Leo Goetz (1883-1962)
Vincent van Gogh (1853-1890)
Elias Goldberg (1886-1978)
Milan Golob (1963-)
Leon Golub (1922-2004)
Gong Xian (1618-1689)
Natalia Gontcharova (1881-1962)
Eva Gonzalès (1849-1883)
Julio González (sculptor) (1876-1942)
Giovan Francesco Gonzaga (1921-)
Frederick Goodall (1822-1904)
Lamberto Gori (c. 1760)
Arshile Gorky (1904-1948)
Jan Gotard (1898-1943)
Adolph Gottlieb (1903-1974)
Leopold Gottlieb (1879-1934)
Maurycy Gottlieb (1856-1879)
Francisco Josè de Goya (1746-1828)
Jan van Goyen (1596-1656)
Anton Graff (1736-1813)
David Graham 1963-)
Eugenio Granell (1912-2001)
Eugène Grasset (1845-1917)
Enrique Grau (1920-2004)
Emilio Grau Sala (1911-1975)
Louise Noack Gray (1909-2000)
Nancy Graves (1939-1995)
El Greco (1541-1614)
Art Green (1941-)
Tony Green (1954-)
William Green (1955-)
HAP Grieshaber (1908-1981)
Juan Gris (1887-1927)
Giuseppe Grisoni (1699-1796)
Ivan Grohar (1867-1911)
George Grosz (1893-1959)
Artur Grottger (1837-1867)
Hugo Kārlis Grotuss (1884-1951)
Isaac Grunewald (1889-1946)
Matthias Grünewald (1470-1528)
Eduard von Grützner (1846-1925)
Aleksander Gryglewski (1833-1879)
Gu Kaizhi (344-406)
Francesco Guardi (1712-1793)
Oswaldo Guayasamín (1919-1999)
Hans Gude (1825-1903)
Albert Guillaume (1873-1942)
Olaf Gulbransson (1873-1958)
Ismail Gulgee (1926-)
Guo Xi (1020-1090)
Ella Guru (1966-)
Philip Guston (1913-1980)
Albert Paris Gütersloh (1887-1973)
Heinz Guth (1941-)
Judith Gutierrez (1927-2003)
Werner Gutzeit (1932-)
Herman Gvardjancic (1943-)

H
John Haberle (1858-1933)
Mikolaj Haberschrack (1454-1484)
Karl Hagedorn (1922-2005)
Einar Hakonarson (1945-)
Sally Haley (1908-2007)
Dirck Hals (1591-1656)
Frans Hals (1580-1666)
Elaine Hamilton-O'Neal (1920-)
Richard Hamilton (1922-)
Doc Hammer (1978-)
Wilhelm Hammershoi (1864-1916)
Hermione Hammond 1910-2005
Nina Hamnett (1890-1956)
Herman Han (1574-1627)
Constantin Hansen (1804-1880)
Niels Hansen (1880-1946)
Svend Wiig Hansen (1922-1997)
William Harnett (1848-1892)
Henri Harpignies (1819-1916), French
Lawren Harris (1885-1970)
Tracy Harris (1958-)
Marsden Hartley (1877-1943)
Hans Hartung (1904-1992)
Paul Harvey (1960-)
Childe Hassam (1859-1935)
Rudolf Hausner (1914-1995)
Kristina Laurendi Havens
Karel Havlíček (1907-1988)
Louis Hayet (1864-1940)
Francesco Hayez (1791-1882)
Guy Head (1762-1800)
Martin Johnson Heade (1818-1904)
Ernest Hébert (1817-1908)
Jeanne Hébuterne (1898-1920)
Erich Heckel (1883-1970)
Willem Claeszoon Heda (1594-1680/2)
Henry Heerup (1907-1993)
François Joseph Heim (1787-1865), French
Jean Hélion (1904-1987)
Gottfried Helnwein (1948-)
Jan Davidsz de Hem (1606-1683)
Jean-Jacques Henner (1829-1905)
Joseph Morgan Henninger (1906-1999)
Robert Henri (1865-1929)
Auguste Herbin (1882-1960)
John Frederick Herring, Jr. (1820-1907), English
John Frederick Herring, Sr. (1795-1865), English
Louis Hersent (1777-1860)
Magnus Colcord Heurlin (1895-1986)
Prudence Heward (1896-1947)
Hugo Heyrman (1942-)
Laura Heyrman (1985-)
John Haslam Hewitt (1949-)
Edward Hicks (1780-1849)
Thomas Hicks (1823-1890)
Kaii Higashiyama (1908-1999)
Camille Hilaire (1916-2004)
Derek Hill (1916-2000)
James S Hill (painter) (1977 -)
Karol Hiller (1891-1939)
Damien Hirst
Sigrid Hjertén (1885-1948)
Prince Hoare (1755-1834)
William Hoare (ca.1707-1792)
Meindert Hobbema (1638-1709)
David Hockney (1937-)
Howard Hodgkin (1932-)
Ferdinand Hodler (1853-1918)
Karl Hofer (1878-1955)
Ernst Theodor Amadeus Hoffmann (1776-1822)
Vlastimil Hofman (1881-1970)
Hans Hofmann (1880-1866)
Heinrich Hofmann (1824-1911)
William Hogarth (1697-1764)
Hojan, (*1867)
Hokusai (1760-1849)
Ambrosius Holbein (1494-1519)
Hans Holbein the Elder (ca.1465-1524)
Hans Holbein the Younger (ca.1497-1543)
Václav Hollar (1607-1677)
Toos van Holstein (1949-)
Winslow Homer (1836-1910)
Alejandro Honda (1952-)
Nathaniel Hone (1718-1784), portrait/miniature painter
Hong Ren (1610-1664)
Villard de Honnecourt (1200s)
Gerald van Honthorst (1590-1656)
Pieter de Hooch (1629-1684)
Eric Hopkins (1951-)
Charles Hopkinson (1869-1962)
Sean Hopp (1970-)
Edward Hopper (1882-1967)
Ken Howard (1932-)
Youssef Howayek (1883-1962)
Adolf Hölzel (1853-1934)
Hristofor Zhefarovich (18th century)
Hu zaobin (1897-1942)
Huang Binhong (1865-1955)
Huang Gongwang (1269-1354)
Huang Shen (1687-1772)
Huang Tingjian (1045-1105)
Wolf Huber (c.1485-1553)
John Bradley Hudson Jr. (1832-1903)
Friedensreich Hundertwasser (1928-2000)
Jakub Husnik (1837-1916)
Pieter Huys (1519-1584)
Jan van Huysum (1682-1749)

I
Leiko Ikemura (1951-)
Jörg Immendorff (1945-2007)
John Stuart Ingle (1933-)
Jean Auguste Dominique Ingres (1780-1867)
George Inness (1829-1894)
Dahlov Ipcar (1917-)
Pedro Ipiña (1956-)
Giuseppe Irlandini (1924-1997)
Adriaen Isenbrant (1490[?]-1551)
Jozef Israëls (1824-1911)
Alexander Ivanov (1806-1858)
Oton Iveković (1869-1939)

J
Egill Jacobsen (1910-1998)
Yvonne Jacquette (1934-)
Jan Jahn (1739-1802)
Božidar Jakac (1899-1989)
Rihard Jakopič (1869-1943)
Matija Jama (1872-1947)
Ruud Janssen (1959-)
Maria Jarema (1908-1958)
Eero Järnefelt (1863-1937)
Wladyslaw Jarocki (1879-1956)
Alexej von Jawlensky (1864-1941)
Louis Janmot (1814-1892)
Andrej Jemec (1934-)
Zmago Jeraj (1937-)
Boris Jesih (1943-)
Jiang Tingxi (1669-1732)
Jiao Bingzhen (1689-1726)
Jin Nong
Junpei Satoh (1956-)
Ferenc Joachim (1882-1964)
Augustus John (1878-1961)
Gwen John (1876-1939)
Jasper Johns (1930-)
Mitchell Johnson (1964-)
Sargent Johnson (1888-1967)
Allen Jones (1937-)
Lois Mailou Jones (1905-1998)
Jacob Jordaens (1593-1678)
Asger Jorn (1914-1973)
Donald Judd (1928-1994)
Jens Juel (1745-1802)
Gabrijel Jurkić (1886-1974)

K
Ingrida Kadaka (1967- )
Frida Kahlo (1907-1954)
Willem Kalf (1619-1693)
Jitish Kallat (1974-)
Kamagurka (1956-)
Wassily Kandinsky (1866-1944)
Paul Kane (1810-1871)
Rajmund Kanelba (1897-1960)
Alexander Kanoldt (1881-1939)
Tadeusz Kantor (1915-1990)
Leon Kaplinski (1826-1873)
Rabo Karabekian (fictional)
Alfons Karpiński (1875-1961)
Karpisek (1981-)
Nikolai Alekseyevich Kasatkin (1859-1930)
Wincenty Kasprzycki (1802-1849)
Alex Katz (1927-)
Angelica Kauffmann (1741-1807)
František Kaván (1866-1941)
John Keane (1954-)
Carl Eugen Keel (1885-1961)
Adam Dario Keel (1924 - )
Gerald Kelly (1879-1972)
Ferdinand Keller (1842-1922)
Ellsworth Kelly (1923-)
Jane Kelly (1956-)
Rockwell Kent (1882-1971)
Dóra Keresztes (1953-)
I Ketut Soki (1946-)
Anselm Kiefer (1945-)
Wiliam Kienbusch (1914-1980)
Michel Kikoine (1892-1968)
Eduardo Kingman (1913-1998)
Thomas Kinkade (1958-)
Ernst Ludwig Kirchner (1880-1938)
Raphael Kirchner (1867-1917)
Per Kirkeby (1938-)
Moise Kisling (1891-1953)
R. B. Kitaj (1932-)
Roar Kjernstad (1975-)
Konrad Klapheck (1935-)
Mati Klarwein (1932-2002)
Paul Klee (1879-1940)
Yves Klein (1928-1962)
Heinrich Kley (1863-1952?)
Karel Klíč (1841-1926)
Gustav Klimt (1862-1918)
Franz Kline (1910-1962)
Julius Klinger (1876-1942)
Juraj Julije Klović (1498-1578)
Boris Kobe (1905-1981)
Marcin Kober (1550-1598)
Ivana Kobilca (1861-1962)
Christen Købke (1810-1848)
Aleksander Kobzdej (1920-1972)
Roman Kochanowski (1857-1945)
Robert Koehler (1850-1917)
Ernst Køie (1872-1960)
Oskar Kokoschka (1886-1980)
Käthe Kollwitz (1867-1945)
Jan Konůpek (1883-1950)
Béla Kondor
Willem de Kooning (1904-1997)
Jeff Koons (1955-)
Frans Koppelaar (1943-)
Lukasz Korolkiewicz (1948-)
Jerzy Kossak (1886-1955)
Juliusz Kossak (1824-1899)
Wojciech Kossak (1857-1942)
Franciszek Kostrzewski (1826-1911)
Rudolf Kotnik (1931-1996)
Albert Kotin (1907-1980)
Aleksander Kotsis (1836-1877)
Felicjan Szczesny Kowarski (1890-1848)
Franc Kralj (1895-1960)
Tone Kralj (1900-1975)
Ivan Kramskoi (1837-1887)
Metka Krasovec (1941-)
Janina Kraupe-Swiderska (1921-1961)
Andre de Krayewski (1933 -)
Emil Krcha (1894-1972)
Albert Henry Krehbiel (1873-1951)
Kristian Kreković (1901-1985)
Pinchus Kremegne (1890-1981)
Rudolf Kriesch (1904-1992)
Christian Krogh (1852-1925)
Per Krohg (1889-1965)
Leon Kroll (1884-1974)
Peder Severin Krøyer (1851-1909)
Marie Triepcke Krøyer Alfvén (1867-1940)
Fan Kuan (ca. 990–ca. 1030)
Konrad Krzyzanowski (1872-1922)
Arkhip Kuindzhi (1847-1910)
Kun Can (1612-1674)
Otakar Kubín (1883-1969)
Bohumil Kubista (1884-1918)
Yasuo Kuniyoshi (1893-1953)
Jan Kupecký (1667-1740)
Frantisek Kupka (1871-1957)
Alexander V. Kuprin (1880-1960)
Jeffrey Kurland (1952-)
Yayoi Kusama (1929-)
Boris Kustodiev (1878-1927)
Majka Kwiatowska (1949-)
Vilhelm Kyhn (1819-1903)

L
Adelaide Labille-Guiard (1749-1803)
Georges Lacombe (1868-1916)
Emile Lahner (1893-1980)
Wilfredo Lam (1902-1982)
Aleksandr Ivanovich Laktionov (1910-1972)
Nicolas Lancret (1690-1743)
Myra Landau (1926-)
Ronnie Landfield (1947-)
Sir Edwin Landseer (1802-1873)
Fitz Hugh Lane (1804-1865)
Giovanni Lanfranco (1582-1647)
Peter Lanyon (1918-1964)
Karol Larisch (1902-1935)
Carl Larsson (1859-1919)
Georges de La Tour (1593-1652)
Marie Laurencin (1885-1956)
Ludwik de Laveaux (1868-1894)
Jacob Lawrence (1917-2000)
Sir Thomas Lawrence (1769-1830)
Jesús Mari Lazkano (1960-)
Elisabetta Lazzarini (1662–1729), Italian
Gregorio Lazzarini (1655-1730), Italian
Antoine Le Nain (c.1599-1648)
Louis Le Nain (c.1601-1648)
Mathieu Le Nain (1607-1677)
Jan Lebenstein (1930-1999)
Charles Lebrun (1619-1690)
Jules Joseph Lefebvre (1836-1911)
Silvestro Lega (1826-1895)
Fernand Léger (1881-1955)
Anton Lehmden (1929-)
Lord Frederic Leighton (1830-1896)
Margaret Leiteritz (1907-)
Franciszek Lekszycki (-1668)
Sir Peter Lely (1618-1680)
Ulrich Leman (1885-1988)
Tamara de Lempicka (1898-1980)
Robert Lenkiewicz (1941-2002)
Franz von Lenbach (1836-1904)
Stanislaw Lentz (1861-1920)
Achille Leonardi (c.1800-1870)
Mikhail Yuryevich Lermontov (1814-1841)
Emanuel Leutze (1816-1868)
Isaac Levitan (1860-1900)
Dmitry Levitzky (1735-1822)
Bill Lewis (1953-)
Wyndham Lewis (1884-1957)
Lucas van Leyden (1494-1533)
Judith Jans Leyster (also Leijster) (1609–1660), Dutch
André Lhote (1885-1962)
Li Fangying (1696-1755)
Li Gonglin (1049-1106)
Li Shan (1686-1756)
Li Tang (d. 1130)
Liang Kai (12th century - 13th century)
Roy Lichtenstein (1923-1997)
Max Liebermann (1847-1935)
Bruno Andreas Liljefors (1860-1939)
Limbourg brothers (-1416)
Emil Lindenfeld (1905-1986)
Allan Linder (1966-Present)
Bronislaw Wojciech Linke (1906-1962)
John Linnell (1792-1873)
Filippino Lippi (1457-1504)
Fra Filippo Lippi (ca.1406-1469)
Arthur Lismer (1885-1969)
El Lissitzky (1890-1941)
Leopold Loeffler (1827-1898)
Lojze Logar (1944-)
German Londoño (1961-)
Leonard Long (1911-)
McKendree Long (1888-1976)
Charles-André van Loo (1705-1765)
Charles-Amédée-Philippe van Loo (1719-1795)
Jean-Baptiste van Loo (1684-1745)
Louis-Michel van Loo (1707-1771)
Candido Lopez (1840-1902)
Christian August Lorentzen (1746-1828)
Pietro Lorenzetti (ca.1280-1348)
Morris Louis (1912-1962, also listed under Bernstein)
Claude Lorrain (1600-1682)
L. S. Lowry (1887-1976)
Luo Mu (1622-1706)
Luo Pin (1733-1799)
Maximilien Luce (1858-1941)
Lucebert (1924-1994)
Juan Luna (1857-1899)
Henrik Lund (1875-1948)
J. L. Lund (1777-1867)
Johan Lundbye (1818-1848)
George Benjamin Luks (1867-1933)
Lazzaro Luxardo (1865-1949)
Laura Muntz Lyall (1860-1930)

M
Jan Mabuse (ca.1478-1532)
Stanton Macdonald-Wright (1890-1973)
Joe Machine (1973-)
August Macke (1887-1914)
Daniel Maclise (1806-1870)
Conroy Maddox (1912-2005)
Carlo Maderna (1556-1629)
John Maggs (1819-1896)
René Magritte (1898-1967)
Aristide Maillol (1861-1944)
Vladimir Dimitrov - Maistora (1882-1960)
Hans Makart (1840-1884)
Konstantin Makovsky (1839-1915)
Tadeusz Makowski (1882-1932)
Zbigniew Makowski (1930-)
Kees Maks (1876-1967)
Vladimir Makuc (1925-)
Vartan Malakian (1947-)
Jacek Malczewski (1858-1929)
Rafal Malczewski (1892-1965)
Estuardo Maldonado (1930-)
Wladyslaw Malecki (1836-1900)
Kazimir Malevich (1878-1935)
Anita Malfatti (1889-1964)
Maruja Mallo (1902-1995)
Man Ray (1890-1976)
Johan Edvard Mandelberg (1736-1786)
Josef Mánes (1820-1871)
Alfred Manessier (1911-1993)
Edouard Manet (1832-1883)
Miltos Manetas (1964-)
Andrea Mantegna (ca.1431-1506)
Totte Mannes (1933 - )

M
Niklaus Manuel (1484-1530)
Adam Manyoki (1673-1756), Magyar painter
Julius Edvard Marak (1832-1899)
Franz Marc (1880-1916)
Conrad Marca-Relli (1913-2000)
Louis Marcoussis (1883-1941)
Adam Marczynski (1908-1985)
Brice Marden (1938-)
Carlos Francisco Chang Marín (1922-)
John Marin (1870-1953)
Regia Marinho (1948-)
Jacob Maris (1837-1899)
Matthijs Maris (1839-1917)
Willem Maris (1844-1910)
Theodore Major (1908-1999)
Terry Marks
Jacques Maroger(1884-1962)
Luděk Marold (1865-1898)
Albert Marquet (1875-1947)
Wilhelm Marstrand (1810-1873)
Jozef Marszewski (1825-1883)
Eugene J. Martin (1938-2005)
John Martin (1789-1854)
Knox Martin (1923-)
Ndoc Martini (1880-1916)
Santiago Martinez Delgado (1906-1954)
Raúl Martínez (1927-1995)
Johannes Martini (1866-1935)
Simone Martini (ca.1284-1344)
Andrey Martynov (1768-1826)
Tommaso Masaccio (1401-1428)
Frans Masereel (1889-1971)
Jiří Máška(1955-)
Stanislaw Maslowski (1853-1926)
Masolino (ca.1383-1447)
Frank Mason (1921-)
Jan Matejko (1838-1893)
Henri Matisse (1869-1954)
Quentin Matsys (ca.1466-1530)
Roberto Matta (1911-[?])
Antonio Mattei (1900-1956)
Louisa Matthíasdóttir (1917-2000)
Karl Matzek (1890-1983)
Paul Mavrides (1945-)
Josef Max (1804-1855)
Peter Max (1937-)
Linda Mears (1949-)
Peter McArdle (1965-)
Sheila McClean
Frederick McCubbin (1855-1917)
Charles McHugh (1959-)
Bruce McLean (1944-)
Richard McLean (1934-)
Joseph P. McMeekin (J.P.McMeekin) (1857-1936)
Catherine McWilliams (1940-)
Joseph McWilliams (1938-)
Dimitre Manassiev Mehandjiysky (1915-1999)
Jozef Mehoffer (1869-1946)
Victor Meirelles (1832-1903)
Ernest Meissonier (1815-1891)
Vadym Meller (1884–1962)
Antoine Ignace Melling (Anton Ignaz Melling) (1763-1831)
Arthur Melville (1858-1904)
Hans Memlinc (ca.1435-1494)
Natasa Menart (1968-)
Milton Menasco (1890-1974)
Menez (Maria Inês Ribeiro da Fonseca) (1926-1995)
Zygmunt Menkes (1896-1986)
Carlo Mense (1886-1965)
Adolph Menzel (1815-1905)
Luc-Olivier Merson (1846-1920)
Arnold Mesches (1923-)
Hendrik Willem Mesdag (1831-1915)
Youri Messen-Jaschin (1941-)
Antonello da Messina (ca.1430-1479)
Ludwig Mestler (1891-1959)
Willard Metcalf (1858-1925)
Mi Fei (1051-1107)
Mi Fu (1051-1107)
Peter Michael (1972-)
Antoni Michalak (1902-1975)
Piotr Michalowski (1800-1855)
Henri Michaux (1899-1984)
Michelangelo Buonarroti (1475-1564)
Leo Michelson (1887-1978)
Eugeen Van Mieghem (1875-1930)
France Mihelic (1907-1998)
Kazimierz Mikulski (1918-1998)
Manolo Millares (1926-)
Francis Davis Millet (1846-1912)
Jean-François Millet (1814-1875)
Min Zhen (1730-1788)
Luis Miranda (1932-)
Joan Miró (1893-1983)
Augustyn Mirys (1700-1790)
Orren Mixer (???-)
Amedeo Modigliani (1884-1920)
László Moholy-Nagy (1895-1946)
Luis Molinari (1929-)
Anton Moller (1563-1611)
Piet Mondrian (1872-1944)
Claude Monet (1840-1926)
Eugene Montgomery (1905-2001)
Thomas Moran (1837-1926)
Rodolfo Morales (1925-2001)
Giorgio Morandi, (1890-1964)
Gustave Moreau (1826-1898)
Camilo Mori (1896-1973)
Berthe Morisot (1841-1895)
Malcolm Morley (1931-)
Samuel F. B. Morse (1791-1872)
Mary Moser (1744-1819)
Gustav-Adolf Mossa (1883-1971)
Robert Motherwell (1915-1991)
Ivan Mrkvička (1856-1938)
Alfons Mucha (1860-1939)
Friedrich Muller (1749-1825)
Edvard Munch (1863-1944)
Gustaf Munch-Petersen (1912-1938)
Loren Munk (1951-)
Sir Alfred Munnings (1875 - 1959)
Gabriele Munter (1877-1962)
Muqi Fachang (13th century)
Bartolome Esteban Murillo (1617-1682)
Gerald "Dr. Atl" Murillo (1875-1964)
Elizabeth Murray (1940-2007)
Edo Murtić (1921-2005)
Zoran Music (1909-)
Girolamo Muziano (1532-1592)

N
Patrick Nagel (1945-1984)
Albert Namatjira (1902-1959)
Jørgen Nash (1920-2004)
Paul Nash (1889-1946)
Alexander Nasmyth (1758-1840)
Patrick Nasmyth (1787-1831)
Nattier (1685-1766)
Bruce Nauman (1941-)
Josef Navrátil (1798-1865)
Radi Nedelchev (1938-)
Alice Neel (1900-1984)
Almada Negreiros (1893-1970)
LeRoy Neiman (1927-)
Odd Nerdrum (1944-)
Ismael Nery (1900-1934)
Ugo Nespolo (1941-)
Mikhail Nesterov (1862-1942)
Louise Nevelson (1900-1988)
Barnett Newman (1905-1970)
Roy Newell (1914-2006)
George "Shavey" Noyes (1863-1945)
Ni Zan (1301-1374)
Ejnar Nielsen (1872-1956)
Jan Nieuwenhuys (1922-1986)
Ben Nicholson (1894-1982)
Nicomachus of Thebes (4th century BC)
Alexander O. Nikulin (1878-1945)
Isamu Noguchi (1904-1988)
Sidney Nolan (1917-1992)
Kenneth Noland (1924-)
Emil Nolde (1867-1956)
Guity Novin (1944-*)
Max Magnus Norman (1973-)
Zbigniew Nowosadzki (1957-)

O
Alejandro Obregon (1920-1992)
Bencho Obreshkov (1899-1970)
Leonard Ochtman (1854-1935)
Juan O'Gorman (1905-1982)
Georgia O'Keeffe (1887-1986)
Claes Oldenburg (1929-)
Arcadia Olenska-Petryshyn (1935 - 1996)
Jules Olitski (1922-2007)
Viktor Oliva (1861-1928)
Nathan Oliveira (1928-)
J.H. Ferdinand Olivier (-1841)
Christian Olmstead
Jeff Olmstead
Marla Olmstead
Richard N. Olmstead
Rick Olmstead
Nicholas Olmsted
Richard Olmsted
John Opie (1761-1807)
Andrea Orcagna (1320-1368)
Jacques-François Ochard (1800-1870)
William Quiller Orchardson (1835-1910)
Bryan Organ (1935-)
Davide Orler (1931-)
Emil Orlik (1870-1932)
Aleksander Orlowski (1777-1832)
José Clemente Orozco (1883-1949)
Sir William Orpen (1878-1931)
Manuel Ortiz de Zarate (1887-1946)
Erik Ortvad (1917-)
Charles Osgood (painter) (1809-1890)
Adriaen van Ostade (1610-1685)
Lyn Ott (1926-1998)
Outamaro (ca.1750-1806)
Johann Friedrich Overbeck (1789-1869)
Auseklis Ozols (1941-)

P
Sante Pacini (c. 1760)
T.K. Padmini (1940-1969)
Derold Page (1947-)
Kalervo Palsa (1947-1987)
Tom Palin (1974-)
Pamphilus (4th century BC)
Pan Yuliang (1899-1977)
Giovanni Paolo Pannini (1691-1765)
Jozef Pankiewicz (1866-1940)
George Papazov (1894-1972)
Roberto Parada (1969-)
David Park (1911-1960)
Parmigianino (1504-1540)
Antônio Parreiras (1860-1937)
Maxfield Parrish (1870-1966)
Ed Paschke (1939-2004)
Pascin (1885-1930)
George Passantino (1922-2004)
Jean-Baptiste Pater (1695-1736)
Gen Paul (1898-1975
Julius Paulsen (1860-1940)
Charles Willson Peale (1741-1827)
James Peale (1749-1831)
Raphaelle Peale (1774-1825)
Rembrandt Peale (1778-1860)
Rubens Peale (1784-1865)
Max Pechstein (1881-1955)
Carl-Henning Pedersen (1913-2007)
Viggo Pedersen (1854-1926)
Waldo Peirce (1884-1970)
Amelia Peláez (1896-1968)
Sophie Pemberton (1869-1959)
Relja Penezic (1950-)
Matteo Perez d'Aleccio (ca.1547-ca.1616)
Constant Permeke (1886-1952)
Vasily Perov (1833-1882)
Lilla Cabot Perry (1848-1933)
Perugino (ca.1445-1523)
Robert Storm Petersen (1882-1949)
Jozef Petkovsek (1861-1898)
John F. Peto (1854-1907)
Pedro Pedraja (1974-)
Pietro Pezzati (1902-1993)
Erik Pevernagie (1939-)
Theodor Philipse (1840-1920)
Ammi Phillips (1788-1865)
Tom Phillips (1937-)
Ramón Piaguaje (1962-)
Henryk Piatkowski (1853-1932)
Giovanni Battista Piazzetta (1682-1754)
Francis Picabia (1879-1953)
Pablo Picasso (1881-1973)
Paloma Picasso (1949-)
Ramon Pichot (1872-1925)
Otto Piene (1928-)
Delilah Pierce (1904-1992)
Waldo Pierce (1884-1970)
André Pijet
Carl Gustaf Pilo (1711-1793)
Veno Pilon (1896-1970)
Howardena Pindell (1943-)
Xavier Blum Pinto (1957-)
Luis Fernando Pinzon (1975-)
Pinturicchio (ca.1454-1513)
Nikolaj Pirnat (1903-1948)
Pisanello (ca.1395-1455)
Joseph Pisani (1971-)
Camille Pissarro (1830-1903)
Antoni Pitxot (1934-)
Otto Placht (1962-)
Stefan Planinc (1925-)
Jan Bogumil Plersch (1732-1817)
Kazimierz Pochwalski (1855-1940)
George Pocheptsov (1992-)
Wladyslaw Podkowinski (1866-1895)
Marjan Pogacnik (1953-)
Vasily Polenov (1844-1927)
Serge Poliakoff (1900-1969)
Grace Polit (????)
Sigmar Polke (1941-)
P.H. Polk (1898-1984)
Jackson Pollock (1912-1956)
Liubov Popova (1889-1924)
Stefan Popowski (1870-1937)
Fairfield Porter (1907-1975)
Candido Portinari (1903-1962)
Paulus Potter (1625-1654)
Fuller Potter (1910-1990)
Piotr Potworowski (1898-1962)
Nicolas Poussin (1594-1665)
Andrea Pozzo (1642-1709)
Marij Pregelj (1913-1967)
Nelson Primus (1843-ca.1916)
Maurice Prendergast (1861-1924)
Mary Elizabeth Price (1877-1965)
Alice Prin (1901-1953)
František Jakub Prokyš (1713-1791)
Andrzej Pronaszko (1888-1961)
Zbigniew Pronaszko (1885-1858)
Samuel Prout (1783-1852)
Tadeusz Pruszkowski (1888-1942)
Witold Pruszkowski (1846-1896)
Janez Puhar (1814-1864)
Fritz Pümpin (1901-1972)
Hovsep Pushman (1877-1966)
Sasha Putrya (1977-1989)
Patrick Pye (1929-)
Philippe Dubois (Phébus) (1958-)

Q
Domenico Quaglio the Younger (1787-1837)
Erasmus Quellinus the Elder (1607-1678)
Qi Baishi (1864-1957)
Qian Xuan (1235-1305)
Qiu Ying (1494-1552)
Qu Leilei
Lam Qua (1801-1860)
Benito Quinquela Martín (1890-1977)
Jacopo della Quircia (1374-1438)
August Querfurt (1696-1761)
Jan Maurits Quinckhardt (1688-1772)

R
Ivan Rabuzin (1921-)
Mirko Rački (1879-1982)
Anton Räderscheidt (1892-1970)
Zygmunt Radnicki (1894-1969)
Sir Henry Raeburn (1756-1823)
Rena Rago (1921-2007)
Karl Rahl (1812-1865)
Francesco Raibolini (1453-1518)
Devajyoti Ray
Victor Noble Rainbird (1888-1936)
Allan Ramsay (1713-1784)
Ivan Ranger (1700-1753)
Raphael (1483-1520)
Dorning Rasbotham (1730-1791)
Slava Raškaj (1877-1906)
Robert Rauschenberg (1925-)
Edward Willis Redfield (1869-1965)
Tommaso Redi (1665-1726)
Odilon Redon (1840-1916)
Pierre-Joseph Redoute (1759-1840)
Don Reichert (1932-)
Robert Reid (1862-1929)
Václav Vavřinec Reiner (1688-1743)
Rembrandt Harmenszoon van Rijn (1606-1669)
Frederic Remington (1861-1909)
Manuel Rendón Seminario (1894-1982)
Ren Renfa (1254-1327)
Ren Yi (1840-1896)
Guido Reni (1575-1642)
Pierre-Auguste Renoir (1841-1919)
Pierre R. Renoir (1958-)
Louis Renzoni (1952-
Ilya Yefimovich Repin (1844-1930)
Marcos Restrepo (1961-)
Sir Joshua Reynolds (1723-1792)
Susan Elizabeth Rice
Jesse Richards (1975-)
Gerhard Richter (1932-)
Hyacinthe Rigaud (1659-1743)
Bridget Riley (1931-)
L. A. Ring (1854-1933)
Jean-Paul Riopelle (1923-2002)
Friedrich Ritter von Friedländer-Malheim (1825-1901)
Arturo Rivera (1945-)
Diego Rivera (1886-1957)
Larry Rivers (1923-2002)
Tom Roberts (1856-1931)
Elizabeth B. Robinson (1832-1897)
Theodore Robinson (1852-1896)
Norman Rockwell (1894- 1978)
Henryk Rodakowski (1823-1894)
Alexandr Rodchenko (1891-1956)
Holger Roed (1846-1874)
Jørgen Roed (1808-1888)
Nicholas Roerich (1874-1947)
Svetoslav Roerich (1904-1993)
Christian Rohlfs (1849-1938)
Fedor Rokotov (1736-1809)
Osvaldo Romberg (1938-)
George Romney (1734-1802)
Anton Rooskens (1906-1976)
Martinus Rørbye (1803-1848)
Jan Henryk Rosen (1891-1982)
James Rosenquist (1933-)
Alexander Roslin (1718-1798)
Toros Roslin (1210-1270)
Alex Ross
Bob Ross (1942-1995)
Mohammad Rokhsefat
Jacek Andrzej Rossakiewicz (1956-)
Mark Rothko (1903-1970)
Georges Rouault (1871-1958)
Henri Rousseau (1844-1910)
Théodore Rousseau (1812-1867)
Josep Rovira Soler (1900-1998)
Peter Paul Rubens (1577-1640)
Andrei Rublev (ca.1360-1430)
Hanna Rudzka-Cybisowa (1897-1888)
Jacob van Ruisdael or Jacob Isaakszoon van Ruysdael (1628-1682)
Salomon van Ruisdael (c.1602-1670)
Veronica Ruiz de Velasco
Phillip Otto Runge (1777-1810)
Edward Ruscha (1937-)
Nadya Rusheva (1952-1969)
Santiago Rusiñol (1861-1931)
Robert Russ (1847-1922)
Charles Marion Russell (1864-1926)
Jan Rustem (1762-1835)
Dumitru Rusu (1938-)
Ferdynand Ruszczyc (1870-1936)
Rachel Ruysch (1664-1750)
Andrei Ryabushkin (1861-1904)
Tadeusz Rybkowski (1848-1926)
Czeslaw Rzepinski (1905-1995)
Raja Ravi Varma (1848-1906)

S
Betye Saar (1926-)
Gaetano Sabatini (1703-1734) Italian draftsman and painter
Pieter Jansz Saenredam (1597-1665)
Adam Saks (1974-)
Tahir Salahov (1928-)
Artur Nacht Samborski (1898-1974)
Stanislaw Samostrzelnik (1480-1541)
Hugo Sánchez B. (1940-))
Josignacio Sanchez-Rius (1963-)
Bernat Sanjuan (1915-1979)
Dominique Sanson (1949-)
John Singer Sargent (1856-1925)
Andrea del Sarto (1487-1531)
Martiros Saryan (1880-1972)
Raymond Saunders (1934-)
Antonio Saura (1930-1998)
Anne Savage (1896-1971)
Jenny Saville (1970-)
Alexei Kondratyevich Savrasov (1830-1897)
Jan Sawka (1946-)
Gottfried Schalken (1643-1706) Dutch painter
Louis Schanker (1903-1981)
Egon Schiele (1890-1918)
Jakub Schikaneder (1855-1924)
Helene Schjerfbeck (1862-1946)
Rudolf Schlichter (1890-1955)
Edward Schmidt
Richard Schmid (1934-)
George Schmidt (1944-)
Karl Schmidt-Rottluff (1884-1976)
Julian Schnabel (1952-)
Georg Scholz (1890-1945)
P. A. Schou (1844-1914)
Karl Schrag (1912-)
Georg Schrimpf (1889-1938)
Daniel Schultz (1615-1683)
Ethel Schwabacher (1903-1984)
Kurt Schwitters (1887-1948)
Richard T Scott (1980-)
Samuel Scott (1703-1772) English marine/topographical painter and etcher
Tom Scott RSA (1854-1927)
William Edouard Scott (1884-1964)
Felipe Seade (1912-1969)
Charles Sebree (1914-1985)
Maksim Sedej (1909-1974)
Lasar Segall (1891-1957)
Olaf Carl Seltzer (1877-1957)
Jacek Sempolinski (1927-)
Zinaida Serebriakova (1884-1967)
Valentin Aleksandrovich Serov (1865-1911)
Bela Čikoš Sesija (1864-1931)
Natalija Šeruga (1971-)
Georges Seurat (1859-1891)
Gino Severini (1883-1966)
Joseph Severn (1793-1879)
Harold Shapinsky (1925-2004)
Yevgeni Shchukin (1959-)
Shen Zhou (1427-1509)
Toshiaki Shibata (1967-)
Ivan Shishkin (1832-1898)
Shitao (1642-1707)
Harry Shoulberg (1903-1995)
Ram Chandra Shukla (1925)
Odhiambo Siangla (1961)
Kazimierz Sichulski (1879-1942)
Walter Sickert (1860-1942)
Zygmunt Sidorowicz (1846-1881)
Henryk Siemiradzki (1843-1902)
Paul Signac (1863-1935)
Telemaco Signorini (1835-1901)
Josef Sima (1891-1971)
Hugo Simberg (1873-1917)
Jozef Simmler (1823-1868)
David Alfaro Siqueiros (1896-1974)
Mario Sironi (1885-1961)
Alfred Sisley (1839-1899)
Joakim Skovgaard (1856-1933)
Niels Skovgaard (1858-1938)
P.C. Skovgaard (1817-1875)
Antonín Slavíček (1870-1910)
Ludomir Slendzinski (1697-1765)
Max Slevogt (1868-1932)
Wladyslaw Slewinski (1854-1918)
Harald Slott-Moller (1864-1937)
Frank E. Smith (1935-)
Guinever Smith (1960-)
Matthew Smith (1879-1959)
Hinko Smrekar (1883-1942)
Franciszek Smuglewicz (1745-1807)
Sylvia Snowden (1942-)
Marek Sobczyk (1955-)
Leszek Sobocki (1934-)
Xul Solar (1887-1963)
Morten E. Solberg (1935-)
Koloman Sokol (1902-2003)
Anton Solomoukha (1945-)
Konstantin Somov (1869-1939)
Jens Søndergaard (1895-1957)
Joaquín Sorolla y Bastida (1863-1923)
Camille Souter (1929-)
Chaim Soutine (1894-1944)
Litsa Spathi (1958-)
Lojze Spacal (1907-2000)
Austin Osman Spare (1886-1956)
Niles Spencer (1883-1952)
Carl Spitzweg (1808-1885)
Carl Sprinchron (1887-1971)
Jan Spychalski (1893-1946)
Kazimierz Stabrowski (1869-1929)
Nicolas de Staël (1914-1955)
Jerzy Stajuda (1936-1992)
Jan Stanislawski (1860-1907)
Wojciech Korneli Stattler (1800-1875)
Henryk Stazewski (1894-)
Andrzej Stech (1635-1697)
Karel Štěch (1908-1982)
Jan Steen (1626-1679)
Joe Stefanelli painter (1921-)
Kajetan Stefanowicz (1876-1920)
Hannes Steinert (1954-)
Jacob Steinhardt (1887-1968)
Eduard von Steinle (1810-1886)
Théophile Steinlen (1859-1923)
Juan Carlos Stekelman (1936-)
Frank Stella (1936-)
Matej Sternen (1870-1949)
Kyle Stewart (1974-)
Clyfford Still (1904-1980)
Stan Stokes
Myron Stout (1908-1987)
David Stowe (1945-)
Frans Straathof (1952-)
Robert Strange (1721-1792)
Arthur Streeton (1867-1943)
Bartlomiej Strobel (1591-1650)
Vonn Ströpp (1962)
Drew Struzan (1947)
Zofia Stryjenska (1894-1976)
Wladyslaw Strzeminski (1893-1952)
Gilbert Stuart (1755-1828)
George Stubbs (1724-1806)
Franz Stuck (1863-1928)
Gabrijel Stupica (1913-1990)
Jindřich Štyrský (1899-1942)
Sava Sumanovic (1896-1942)
January Suchodolski (1797-1875)
Serge Sudeikin (1882-1946)
Alberto Sughi (1928-)
Vasily Surikov (1848-1916)
George B. Sutherland
Graham Sutherland (1903-1980)
Linda Sutton (1947-)
Janez Šubic, jr. (1850-1889)
Jurij Šubic (1855-1890)
Max Švabinský (1873-1962)
Eva Švankmajerová (1940-2005)
Tom Swimm (1950-)
Henryk Szczyglinski (1881-1944)
Jozef Szermentowski (1833-1876)
Władysław Szerner (1836-1916)
Jerzy Eleuter Szymonowicz-Siemiginowski (1660-1711)

T
Jean Tabaud (1914-1996)
Enrique Tábara (1930-)
Reuben Tam (1916-)
Rufino Tamayo (1899-1991)
Josefina Tanganelli Plana (1904-1966)
Yves Tanguy (1900-1955)
Henry O. Tanner (1859-1937)
Joseph Tany Yos Yama (1950-)
Michel Tapié (1909-1987)
Antoni Tàpies (1923-)
Edmund Charles Tarbell (1862-1938)
Tomasz Tatarczyk (1947-)
Vladimir Tatlin (1885-1953)
Daniel Taylor (1955-)
Maristela Tayoko (1967-)
Afewerk Tekle (1932-)
David Teniers III (1638-1685)
Hendrick Terbrugghen (1588-1629)
Pietro Testa (1617-1650)
Wlodzimierz Tetmajer (1861-1923)
Abbott Handerson Thayer (1849 – 1921)
Ellen Thesleff (1869-1954)
Jan Theuninck (1954-)
Wayne Thiebaud (1920-)
James David Thomas (1957-)
Alma Thomas (1894-1978)
Edward H. Thompson (1879-1949)
Paul W. M. Thompson (1984-)
Robert Thompson (1936-1966)
Charles Thomson (1953-)
Tom Thomson (1877-1917)
CA. Thomsen (1847-1912)
William Thon (1906-2000)
Jens Jørgen Thorsen (1932-2000)
Giovanni Battista Tiepolo (1696-1770)
Tintoretto (1518-1594)
Joze Tisnikar (1928-1998)
James Tissot (1836-1902)
Titian (1488-1576)
Alton Tobey (1914-2005)
Mark Tobey (1890-1976)
Jozef Tominc (1790-1866)
Gentile Tondino (1923-2001)
Tristan Tondino (1961-2002)
Henri de Toulouse-Lautrec (1864-1901)
Iv Toshain (1980-)
Pierre Toutain-Dorbec (1951-)
Jacques Toutain-Dorbec (1923-)
Toyen (1902-1980)
Fran Tratnik (1881-1957)
Bill Traylor (1854-1947)
Vladimir Tretchikoff (1913-)
Jan Tricius (1750-1814)
Wincenty Trojanowski (1859-1928)
Vasily Andreevich Tropinin (1776-1857)
Clovis Trouille (1889-1975)
Jean-François de Troy (1679-1752), French
Wilhelm Trübner (1851-1917)
John Trumbull (1756-1843)
Werner Tübke (1929-)
J.M.W. Turner (1775-1850)
Glennray Tutor (1950-)
Laurits Tuxen (1853-1927)
Luc Tuymans (1958-)
John Henry Twachtman (1853-1902)
Cy Twombly (1928-)
Barbara Tyson-Mosley (1950-)
Zeljko Tonsic (1954-)

U
Raoul Ubac (1910-1985)
Paolo Uccello (1397-1475)
Euan Uglow (1932-2000)
Fritz von Uhde (1848-1911)
Maria Uhden (1892-1918)
William Unger (1837-1932)
Michelangelo Unterberger (1695-1753)
Modest Urgell (1839-1919)
Jenaro de Urrutia Olaran (1893-1965)
Simon Ushakov (1626-1686)
Kitagawa Utamaro (1753-1806)
Maurice Utrillo (1883-1955)
Dechko Uzunov (1899-1986)

V
Perin del Vaga (1499-1547)
Suzanne Valadon (1865-1938)
Juan de Valdés Leal (1622-1690)
Víctor Manuel García Valdés (1897-1967)
Nina Petrovna Valetova (1958-)
Félix Vallotton (1865-1925)
Sir Anthony van Dyck (1599-1641)
Maksimilijan Vanka (1889-1963)
Bernard van Orley (1487 to 1491? - 1541)
Victor Vasarely (1908-1997)
Vladimir Vasicek (1919-2003)
Viktor Vasnetsov (1848-1926)
Marie Vassilieff (1884-1957)
Gee Vaucher (1945-)
Philipp Veit (1793-1877)
Diego Velázquez (1599-1660)
Jorge Velarde (1960-)
Henry van de Velde (1863-1957)
Willem van de Velde the Elder (1611-1693)
Willem van de Velde the Younger (1633-1707)
Raja Ravi Varma(1848-1906)
Vasily Vereshchagin (1842-1904)
Fernand Verhaegen (1883-1975)
Johannes Vermeer (1632-1675)
Frederik Vermehren (1823-1910)
Jan Cornelisz Vermeyen (1500-1559)
Horace Vernet (1789-1863)
Paolo Veronese (1528-1588)
Andrea del Verrocchio (ca.1435-1488)
Joseph-Marie Vien (1716-1809)
Elisabeth Vigee-Lebrun (1755-1842)
Aníbal Villacís (1927-)
Juan Villafuerte (1945-1977)
Jacques Villon (1875-1963)
Oswaldo Viteri (1931-)
Ivan Yakovlevich Vishnyakov (1699-1761)
Boris Vladimirski (1878-1950)
Maurice de Vlaminck (1876-1958)
Simon de Vlieger (1601-1653)
Zygmunt Vogel (1764-1826)
Karl Völker (1889-1962)
Alfredo Volpi (1896-1988)
Wolf Vostell (1932-1998)
Simon Vouet (1590-1649)
Sebastian Vrancx (1573-1647)
Cornelisz Vroom (1600-1661)
Mikhail Vrubel (1856-1910)
Edouard Vuillard (1868-1940)

W
Yoshihiko Wada (1940-)
Alfons Walde (1891-1958)
Edward Wadsworth (1889-1949)
Zygmunt Waliszewski (1897-1936)
Wang Shishen (1686-1759)
Wang Shiyan (1949-)
Everett Warner (1877 – 1963)
Wang Meng (artist) (1308-1385)
Laura Wheeler Waring (1887-1948)
Alfred Wallis (1855-1942)
Henry Wallis (1830-1916)
Wladyslaw Wankie (1860-1925)
Walenty Wańkowicz (1746?-1813?)
Andy Warhol (1928-1987)
Wacław Wąsowicz (1891-1942)
John William Waterhouse (1849-1917)
Antoine Watteau (1684-1721)
Czeslaw Wdowiszewski (1904-1982)
Gerda Wegener (1886-1940)
Wang Wei (701-761)
Carel Weight (1908-1997)
Susan Weil (1930-)
J. Alden Weir (1852-1919)
Wojciech Weiss (1875-1950)
Elisabeth Wierzbicka Wela (1964-)
Neil Welliver (1929-2005)
Wen Tong (1019-1079)
Wen Zhengming (1470-1559)
Wen Zhenheng (1585-1645)
Kurt Wenner
Adolf-Ulrik Wertmuller (1751-1811)
Jakub Wessel (1710-1780)
Tom Wesselmann (1931-2004)
Benjamin West (1738-1820)
Roger van der Weyden (1399-1464)
James McNeill Whistler (1834-1903)
Brett Whiteley (1939-1992)
Antoine Wiertz (1806-1865), Belgian painter/sculptor
Bjørn Wiinblad (1918-2006)
Jerry Wilkerson (1943-)
David Wilkie (1785-1841)
Adolphe Willette (1857-1926)
Charles Williams (1965-)
Kelly D. Williams (1980-)
Carel Willink (1900-1983)
Jens Ferdinand Willumsen (1863-1958)
Richard Wilson (1713-1782)
Konrad Winkler (1882-1862)
Stanislaw Witkiewicz (1855-1915)
Stanislaw Ignacy Witkiewicz (1885-1939)
Romuald Kamil Witkowski (1876-1950)
Emanuel de Witte (1617-1692)
Konrad Witz (1410-1446)
David Wojnarowicz (1954-1992)
Kazimierz Wojniakowski (1772-1812)
Witold Wojtkiewicz (1879-1909)
Theo Wolvecamp (1925-1992)
Christopher Wood (b. 1962)
John Christopher Wood (1901-1930)
Grant Wood (1891-1942)
Charles H. Woodbury (1864-1940)
Lee Woods (1964 -)
Mabel May Woodward (1877-1945)
Michael W. Wooten
Troels Wörsel (1950-)
Zao Wou Ki (1921-)
Philips Wouwerman (1619-1668)
Joseph Wright of Derby (1734-1797)
Andrzej Wroblewski (1927-1957)
Wu Changshuo (1844-1927)
Wu Guanzhong (1919-)
Wu Tao-Tzu (680-740)
Wu Zhen (1280-1354)
Paul Wunderlich (1927-)
Leon Wyczolkowski (1852-1936)
Jan Wydra (1902-1937)
Andrew Wyeth (1917-)
Jamie Wyeth (1946-)
N. C. Wyeth (1882-1945)
Stanisław Wyspiański (1869-1907)

X, Y, Z
Jean Xceron (1890-1967)
Xie He (Chinese artist) (6th Century)
Ettore Ximenes (1855-1919)
Xu Beihong (1895-1953)
Xu Wei (1521-1593)
Xul Solar (1887-1963)
Ahmed Yacoubi (1931-1985)
Yang Buzhi (1098-1167)
Nikolai Yaroshenko (1846-1898)
Jack Butler Yeats (1871-1957)
Delmer J. Yoakum (1915-1996)
Joseph Yoakum (1886-1972)
Yun Shouping (1633-1690)
Konstantin Yuon (1875-1958)
Ossip Zadkine (1890-1967)
Kristian Zahrtmann (1843-1917)
Eugeniusz Żak (1884-1926)
Marcin Zaleski (1796-1877)
Jan Zamoyski (1901-1986)
Domenico Zampieri (or Domenichino) (1581-1641)
Wolfgang Zelmer (1948 -)
Zha Shibiao (1615-1698)
Zhan Ziqian (6th Century)
Zhang Shuqi (1901-1957)
Zhang Xiaogang (1958-)
Zhang Xuan (8th Century)
Zhang Zeduan (12th Century)
Zhao Mengfu (1254-1322)
Hristofor Zhefarovich (18th century)
Zheng Xie (1693-1765)
Zhu Da (1626-1705)
Félix Ziem (1821-1911)
Franciszek Zmurko (1859-1910)
Johann Zoffany (1733-1810)
Zahari Zograf (1810-1853)
Marguerite Zorach (1887-1968)
William Zorach (1889-1966)
Anders Zorn (1860-1920)
Larry Zox (1937-2006)
Jan Zrzavý (1890-1977)
Francesco Zuccarelli (1702-1788)
Federico Zuccari (1543-1609)
Ignacio Zuloaga (1870-1945)
Francisco de Zurbaran or Zurbarán (1598-1664)

Prefab Homes

2007-11-01T20:34:00.001-07:00

high Quality Prefab Homes

Stefan Sagmeister: Yes, design can make you happy

2007-10-17T19:01:00.001-07:00

design creates happiness

arcadia, nirvana, desire, harmony

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MS Paint Car - Pixelgod II

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artwork on exterior of castle

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art using alternative media, pollution awareness

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1week of art works

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Earthship Demonstration - III

2007-10-03T16:10:00.001-07:00

Art OF earthships. Architecture and design. Energy efficient housing. Concrete, recycled material (tires, bottles, cans, etc.), alternative materials (dirt, plants), environmentaly friendly design.

Earthships are earth-sheltered autonomous buildings made of tires rammed with earth, which are usually arranged in "U" or horseshoe shaped modules. Each tire is rammed full of earth manually using a sledge hammer. Windows on the sunny side admit light and heat. The "U" shape of the structure faces South in the northern hemisphere, and North in the southern hemisphere, so that the house will catch maximum sunlight in the colder months. An Earthship is designed to interface with its environment wherever possible and create its own utilities.

Internal, non load bearing walls, are often made of a "honey comb" of recycled cans separated by concrete. The walls are then usually thickly plastered, using the pull-tabs on the cans as a lathe to hold the adobe and stucco. This is known as a tin can wall.
The roof of an Earthship is heavily insulated.

History
The Earthship, as it exists today, began to take shape in the 1970’s. Mike Reynolds, founder of Earthship Biotecture, a company that specializes in designing and building Earthships, wanted to create a home that would do three things. First, it would be sustainable. It would use material indigenous to the entire planet as well as reuse materials wherever possible. Second, his homes would generate their own utilities and be independent from the “grid” so they would be less susceptible to natural disasters and free from the electrical and water grids that Reynolds considered ugly. Finally, it would be available. He wanted to create a home that the average person with no specialized construction skills would be able to create.

Eventually, his vision took the form of the common U-shaped earth rammed tire home seen today. However, as a concept, the Earthship is not limited to earth-rammed tires. Any dense material with a potential for thermal mass, such as concrete, adobe, stone can be used to create an Earthship. However, the earth-rammed tire version of the Earthship is now the most common for several reasons, and is usually the only structure referred to as “Earthship”.

Unlike other materials, rammed-earth tires are more accessible to the average person. Scrap tires are indigenous to all parts of the world and easy to come by, there are an estimated 2 billion tires throughout the United States. According to the Scrap Tire Management Council, as many as 253 million scrap tires are generated each year in the United States and of those 253 million tires only 53% are reclaimed by the scrap tire market[citation needed]. In addition to the availability of scrap tires, the method by which they are produced, the ramming of the earth, is simple and affordable.

The earth rammed tires of an Earthship are usually assembled by teams of two people working together as part of a larger construction team. One member of the two person team shovels dirt, which usually comes from the building site, placing it into the tire one scoop at a time. The second member, who stands on the tire, uses a sledge hammer to pack the dirt in. The second person moves in a circle around the tire to keep the dirt even and avoid warping the tire. All tires in an Earthship are made in place because, when properly made, they weigh as much as 300 pounds and can be very difficult to relocate.

Additional benefits of the rammed earth tire are its great load bearing capacity and its resistance to fire.

A fully rammed tire, which is about 2 feet 8 inches wide, is massive enough to surpass conventional requirements for structural load distribution to the earth. Because the tire is so dense, it does not burn when exposed to fire. In 1996 after a fire swept through many conventional homes in New Mexico, an Earthship discovered in the aftermath was relatively unharmed[citation needed]. Only the south-facing wall and the roof had burned away, compared to the total destruction of the conventional homes. After testing the walls of an Earthship in Ridgway, Colorado, engineer Tom Griepentrog said, “It is my opinion that the construction method is equivalent to or better than the general quality, strength, effectiveness, fire resistance, durability and safety that is required by the uniform building code.”[citation needed]

Currently, Earthships are in use in almost every state in the United States, as well as many countries in Europe. The use of insulation on the outside of tire walls, which was not common in early designs, is improving the viability of Earthships in every climate without compromising their durability. In the year 2000, Mike Reynolds, in partnership with Daren Howarth, launched Earthship Biotecture Europe, an organization that aims to explore and evolve the concept of the Earthship within a European context. Two more directors were appointed to Earthship Biotecture Europe in July 2006 - Kevan Trott and Kirsten Jacobsen [1]

[edit] Regulator action against Reynolds
In 2000, Mike Reynolds was forced to give up his architect’s license due to a settlement in New Mexico. According to http://nmbea.org/. "After several years of investigations stemming from homeowners' complaints to the Attorney General's Office, Reynolds last week surrendered his state contractor and architecture licenses as part of a settlement with the state Board of Architect Examiners and the Construction Industries Division."

[edit] The Packaged Earthship
The packaged earthship, developed by Mike Reynolds, comes in the form of a kit, complete with sustainable-designed construction plans and details that can be delivered anywhere on the planet (tires not included). It is the result of over 25 years of evolved earthship design, and has been designed with the factors of cost and user-friendliness strongly in mind. It is sized, detailed, and arranged to make sustainable use of the independent water, sewer and comfort control systems. The basic design has been proven to perform and has been erected in many different climates. Recently built packaged earthships reported a minimum internal overnight temperature of 64 degrees Fahrenheit in a location where the previous night a temperature of negative 17 had been recorded. [citation needed] It can be implemented in either an economical manner or as a lavish, custom dream home. Many of these packaged earthships have been erected in Taos, New Mexico and this place has come to be called The Greater World Community. [2]

[edit] The Greater World Community
The Greater World Community is a housing development in Taos, N.M. that is comprised entirely of earthships. The Greater World became a legal subdivision in 1998, and is now phasing its development so that building can continue in certain sections of the development. The project was designed to create an ideal condition from which a sustainable community can grow and flourish. This whole community produces their own energy, harvests their own water, contains and treats their own sewage, manufactures bio-diesel, and grows a great deal of their own food. The buildings also heat and cool themselves all the while utilizing the discarded materials of our society. This community is a great example of a non-destructive existence that removes stress from the lives of people and the planet. [3]

[edit] FIRST European Earthship Home
The FIRST OFFICIAL Earthship home has now been built in a small French village called GER. The home which is owned by Kevan and Gillian Trott, was built in April 2007 by Kevan, Mike Reynolds and an Earthship Crew from Taos. The design was modified for a European climate and is seen as the first of many for the European arena. www.earthship-france.com or www.earthship.net

[edit] European Earthship homes
Earthship biotecture has now finalized plans for a planning application to build on a valuable development site overlooking the Brighton Marina in the U.K. The application follows the successful six-month feasibility study funded by the U.K. Environment Agency and the Energy Savings Trust. The application calls for sixteen one, two, and three bedroom earthship homes on this site. The homes are all designed according to basic earthship principles developed in the United States. 15,000 tires will be recycled to construct these homes, which is definitely a small but progressive step for the earths' environmental health considering the fact that the U.K. burns approximately 40 million tires each year. The plans include the enhancement of habitats on the site for lizards that already live there, which is the reasoning behind entitling the project, The Lizard. This will be the first development of its kind in Europe, and successful development in Brighton may help to pave the way for similar projects around the U.K. and other places. [4]

In 2004, the very first Earthship in the UK was opened at Kinghorn Loch in Fife, Scotland. It was built by volunteers of the SCI charity. In 2005, the first earthship in England was established in Stanmer Park, Brighton.

[edit] Systems
The Earthship was designed as a structure that would exist in harmony with its environment and be freed from the constraints of modern shelters which rely on centralized utilities. It is important that the Earthship create its own utilities as well as use readily available and sustainable materials. In order to be entirely self sufficient the Earth ship needs to be able handle the three systems of Water, Electricity and Climate. While these systems are not exclusive to Earthships, a properly designed Earthship must have these systems.

Water

Collection

Earthships are designed to catch and use water from the local environment without bringing in water from a centralized source. Water used in an Earthship is harvested from rain or snow. As water collects on the roof it is channeled through a silt catching device and into a cistern. The cisterns are positioned so they gravity feed a pump and filter panel that filters out bacteria making it suitable for drinking. Water is then pushed into a conventional pressure tank to create common house hold water pressure. Water collected in this fashion is used for any household activities except flushing toilets (Reynolds 2000).

Treating and reusing greywater

Greywater, water that has been used and is unsuitable for drinking, is used within the Earthship for a multitude of purposes once it is reclaimed. First, before the greywater can be reused, it is channeled through a grease and practical filter/digester and into a 30” deep rubber lined botanical cell, a miniature living machine, within the Earthship. Oxygenation, filtration, transpiration and bacteria encounter all take place within the cell and help to cleanse the water (Reynolds 2000). Within the botanical cell filtration is achieved by passing the water through a mixture of gravel and plant roots. Due to the nature of plants, oxygen is added to the water as it filters while nitrogen is removed. Water taken up through the plants and transpired at their tops helps to humidify the air. In the cell, bacteria will naturally grow and help to cleanse the water.

Water from the low end of the botanical cell is then directed through a peat moss filter and collected in a reservoir or well. This reclaimed water is then passed once more through a charcoal filter and used to flush conventional toilets.

Treating and reusing black water

Blackwater, water that has been used in a toilet, is not reused within the Earthship. Instead, blackwater sent to a solar enhanced septic tank that is often called the “incubator”. The solar enhanced septic tank stores the sun's heat in its concrete mass, which is insulated, to help the anaerobic process. Water from the incubator is channeled out to an exterior landscaping planter cell that is similar to the botanical cell used in greywater treatment.

Electricity

Collection

Earthships are designed to collect and store their own energy from a variety of sources. The majority of electrical energy is harvested from the sun and wind. Photovoltaic panels and wind mills located on or near the Earthship generate DC energy that is then stored in golf cart type batteries. Additional energy, if required, can be obtained from gasoline powered generators or by integrating with the city grid.

Conversion and use

In an Earthship, a Power Organizing Module is used to take stored energy from batteries and invert it for AC use. The Power Organizing Module is a prefabricated system that is simply attached to a wall on the interior of the Earthship and wired in a conventional manner. The energy run through the Power Organizing Module can be used to run any house hold appliance including: Washing machines, computers, kitchen appliances, print machines, vacuums, etc. None of the electrical energy in an Earthship is used for heating or cooling. [5]

Climate

The interior climate of an Earthship is stabilized and made comfortable by taking advantage of many phenomena. Mainly, the Earthship tries to take advantage of the properties of thermal mass and passive solar heating and cooling.

Thermal Mass

The load bearing walls of an Earthship, which are made from steel belted tires rammed with earth, serve two purposes. First, they hold up the roof, and second, they provide a dense thermal mass that will soak up heat during the day and radiate heat during the night, keeping the interior climate relatively comfortable all day.

In addition to high thermal mass, some Earthships may be earth sheltered. The benefits of earth sheltering are twofold because it adds to the thermal mass and, if the Earthship is buried deep enough, allows the structure to take advantage of the earth's stable temperature.

Passive Solar Heating and Cooling

The Earthship is designed in such a way that the sun provides heating, ventilation and lighting. To take advantage of the sun, an Earthship (in the northern hemisphere) is positioned so that its southern wall, which is nonstructural and made mostly of glass sheets, faces directly south. This positioning allows for optimum solar exposure.

To allow the sun to heat the mass of the Earthship, the southern wall is angled so that it is perpendicular to light from the winter sun. This allows for maximum exposure in the winter, when heat is wanted, and lesser exposure in the summer, when heat is to be avoided. Some Earthships, especially those built in colder climates, use insulated shading on the southern wall to reduce heat loss during the night (Reynolds 2000).

[edit] Heating Problems
Earthships rely on a balance between the solar heat gain and the ability of the tire walls and subsoil to transport and store heat. The design intends to require little if any auxiliary heat. Some earthships have suffered from over-heating and some from over-cooling, due to a failure to adjust for local conditions.

Some earthships appear to have serious problems with heat loss. In these cases heat appears to be leaking into the ground constantly during the heating season and being lost. This situation may have arisen due to the mistaken belief that ground coupled structures (building in thermal contact with the ground) do not require insulation. The situation may also be due to large climatic differences between the sunny, arid and warm Southwest (of the USA) where earthships were first built and the cloudier, cooler and wetter climates where some are now being built. Malcolm Wells, an architect and authority on earth sheltered design, recommends R-value 10 insulation between deep soils and heated spaces. Well's insulation recommendations increase as the depth of the soil decreases.

In very limited and specific situations, uncommon during the heating season, thermal mass can marginally increase the apparent R-value of a building assembly such as a wall. Generally speaking thermal mass and R-value are distinct thermodynamic properties and should not be equated. Thermal performance problems apparently seen in some earthship designs may have occurred due to thermal mass being erroneously equated to R-value.

According to the Kansas State University Extension Service the R-value of soil is about 1 per foot.

[edit] Potential advantages
Having an earth-bermed home with windows facing the sun is a good idea in any climate where heating is required.
Collecting rainwater that falls on the roof reduces the runoff impact of the building and may reduce water and even sewer service fees.
Having a combination of photovoltaic cells and wind generation is a prudent way to provide electricity in many situations.
Using curved modules as horizontal arches to resist earth loads is a sound structural design.
On site processing of runoff water, grey water and black water using plant beds reduces the environmental impact of the building.
Rubber tires make a wind and puncture resistant wall. They may be safe from outgassing when plastered semi airtight.
Rubber tires are usually free and it may be possible to be paid to take them.

[edit] Potential disadvantages
The sloped glazing may be hard to keep watertight and in warm climates allows excessive solar gain in summer. In colder climates, the glazing itself, which has far poorer insulating properties than any other component, will obviously be the major conduit of heat loss in winter. New designs call for vertical windows with an overhang.
Uninsulated ground-coupled thermal mass presents a large potential for heat loss, especially in climates with a heating season. This varies to a degree with soil type and moisture content.
Rubber tire walls tend to lack structural stiffness and may require perpendicular stiffening ribs.
The novel design may diminish resale value or make buyers more difficult to find.
The intimate ground contact inherent in this approach may increase hazards due to soil gases including Radon, and those due to water intrusion.
Packing or ramming dirt into the inside of tires is a very labor intensive process.
Many Earthship builders are drawn to this system by its apparently low environmental impact. However, this is only valid if the design is highly thermally efficient. Earthship designs may require substantial thermal analysis and redesign to be adapted to non-Southwest USA climates.
Free or cheap tires would not be available in a society which managed its resources sustainably --- they would have an economic value. The most sustainable material is presumably stone.
Earthships built with concrete, sand bags or adobe, and with better solar and heat control, perform better.

[edit] See also
Malcolm Wells, proponent of earth-sheltered building
Earth sheltering
Applications:

Hurricane proof building
Spaceship Earth

[edit] References
Reynolds, Mike. (2000). Comfort In Any Climate, Taos: Solar Survival P. ISBN 0962676748

[edit] External links
Step-by-step construction techniques, Earthship tours
Earthship Biotecture
Sustainable Communities Initiatives - UK Earthship visitor centre
Info on earthships in the UK
Touch the Earth Earthship
Very detailed construction information/photos and good links
Passive solar, high thermal mass construction
Homepage von Earthship Austria in Deutsch
Retrieved from "http://en.wikipedia.org/wiki/Earthship"

http://en.wikipedia.org/wiki/Earthship

Earthships 101 part II

2007-09-28T19:28:00.001-07:00

Earthships 101 part I

2007-09-28T19:21:00.001-07:00

Transbay tower, design best suited to the city

2007-08-25T19:23:00.000-07:00

Place: Readers weigh in on plans for new Transbay tower

John King

Tuesday, August 21, 2007

Now this is exquisite timing: Barry Bonds' 756th home run and the unveiling of rival designs for San Francisco's tallest tower and a new transit station came just 28 hours apart.

Voila! Bay Area residents have something new to debate in what otherwise would be the doggiest days of summer. Sports are pffft, elections are next year, and the tawdry antics of Britney and Lindsay seem old. But hey! Does San Francisco really need a modernistic "icon" as tall as the Empire State Building?

I've already stated my case that the transit center and tower design best suited to the city comes from the team with Rogers Stirk Harbour + Partners as the lead designer. So for today's column - and you thought interactive journalism existed only on the Web - I'll let readers fire back.

We start with supporters of the tower designs from the rivals: the twisting lattice designed by Skidmore Owings & Merrill and the demure rounded shaft from Pelli Clarke Pelli. They still have plenty of fans, despite my enthusiasm for the Rogers firm's gaunt glassy high-rise - or what unimpressed reader Bill Thomas of Mill Valley describes as "a tall offshore drilling rig."

Five thumbs up for the SOM design. It is romantic and timeless, and the curved beams remind me of a cathedral inside. The other ideas seem so clumsy by comparison.

- Jonathan Livingston,

Richmond

I hope the design that wins is the Pelli-Hines proposal. The soft obelisk shape is very appealing ... the design contrasts with the surrounding buildings predominately having 90 percent right angles.

- Mark Watson, Palo Alto

Other readers surveyed the field, shook their heads and declared a pox on all three.

Tallest and most modern - yuck! My lovely hometown is losing its unique charm. We are not Manhattan or Hong Kong. Our history and individuality is being destroyed bit by bit.

- Molly Griffin, Belmont

And now that we've all agreed not to agree, on to questions and observations.

I still don't understand why all these planners and builders say the city needs an icon to define San Francisco as an international city. What's wrong with the Golden Gate Bridge, or Coit Tower on Telegraph Hill?

- Joe Bielski, Benicia

You're right. The classic landmarks will lodge in visitor minds more than this or that skyscraping exclamation point, no matter how well done.

How will this and other very tall structures react in an earthquake? I know they are probably being built according to the latest earthquake regulations, but they're all next to our major transit areas. An earthquake, broken glass, broken structures - I can only imagine the absolute standstill when an earthquake hits.

- Jamil Slattery, San Francisco

Each team's proposal is thick with engineering diagrams and seismic bracing descriptions; for instance, the entry package from the Rogers team includes 20 pages on "Extreme Events" and another 13 on "Fire/Life Safety." Wait - 13? That's unlucky!

I agree with you that the Rogers' team design is the best, but I strongly disagree with you that the tower's wind turbine has to go. It's a unique and interesting architectural feature as well as a strong forward-looking environmental statement.

- Tony Verreos, Brisbane

Good point. My problem isn't with wind turbines on the roof, just the presence of a single one that is so big and looks like some sci-fi Eye of Zorgon.

I like the Pelli Clarke Pelli terminal design. (Actually, I like all the designs a great deal.) However, it doesn't seem to take into account the problems of bird, water and diesel exhaust. The light white metal and glass canopy is going to be a mess the day it opens.

- Vance Miller, San Francisco

Diesel shouldn't be a problem because buses increasingly use other fuel. But architectural images should always be taken with a grain of salt. In the case of Transbay, those concourses are all so crowded, you'd think it was Willie Mays Plaza on a game day.

Will there be another opportunity to view the models and displays of the proposals? Are they still on public view somewhere?

- Jacob Furlong, Burlingame

No, but that could change. The Transbay Joint Powers Authority is looking for downtown space to show them off again - which would help gather informed responses from the public before the Transbay board makes a selection next month.

Thank you for concentrating on urban design and function, not just the beauty contest. ... In terms of basic urbanism, just show me which scheme provides a place where I can have a cup of coffee on a vibrant sidewalk and people-watch without a building uncomfortably projecting over my head!

- Daniel Parolek, Berkeley

You're right: In the long run, this project will be measured by how well it serves commuters and passers-by, not just how it looks on the skyline.

Is John King on the take?

- Various readers

If I were, I wouldn't pack so many peanut butter sandwiches from home. Of course, I do use a pricey natural peanut butter. ...

Place appears on Tuesdays. E-mail John King at jking@sfchronicle.com.

http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/08/21/DDTQRJ0UP.DTL

This article appeared on page E - 1 of the San Francisco Chronicle

Out with the good. Chicago's Architecture facing tear downs

2007-08-13T19:02:00.000-07:00

www.chicagotribune.com/entertainment/arts/chi-mxa0810tempocovergoodaug10,1,476412.story
chicagotribune.com

ARCHITECTURE

Good news, bad news

Modern structures fall outside city safeguards
By Blair Kamin

Tribune architecture critic
August 10, 2007

Remember the Greek myth of Sisyphus, the king who was cursed in the afterlife to roll a boulder up a hill forever? Well, being a historic preservationist in Chicago, the city that works (and wrecks), can be positively Sisyphean.One day there's triumph -- the next, disaster. The battle is never over. And the odds always seem to be stacked in favor of the teardown hustlers. The do-gooders get their wins from time to time, but they tend to be few and far between.The latest developments on the preservation front are a case in point: Last week, officials from the city's Department of Planning and Development called to announce that they would support a city subsidy of several million dollars to a developer who plans to restore the extraordinary ornamental ironwork at the base of the old Carson Pirie Scott & Co. State Street store designed by the late, great architect Louis Sullivan.That was the good news.As the officials were waxing about Sullivan's century-old ironwork, wrecking crews were tearing into a little-noticed modernist gem in Pilsen: the Emmanuel Presbyterian Church at 1850 S. Racine Ave., designed by the late architect Edward Dart, whose firm's credits include Water Tower Place. The 42-year-old church graced its neighborhood with an angled brick exterior that captured the morning light and flung it across the church's worship space, creating a spiritual haven amid its hard-edged neighborhood.Now it's gone, and who knows what will replace it. The building's owner, Patrick Heneghan of the Heneghan Wrecking Co. of Chicago, did not return a call."It was a total shock to us," said Alejandra Ibanez, executive director of the Pilsen Alliance, a non-profit community agency. "I was out of town Tuesday, Wednesday and Thursday.I drove into Pilsen last Friday morning and saw it being demolished."The contrasts between the two cases are telling -- the far past gets saved; the recent past gets trashed.Equally telling is the historical contrast raised by the proposed subsidy for restoring Sullivan's State Street masterpiece.Thirty-five years ago, the city did nothing to stop the demolition of Sullivan's matchless Chicago Stock Exchange Building, fragments of which are now on display in museums or for sale in the showrooms of those who traffic in architectural detritus.Now, everybody recognizes what a mistake that was, and the city will recommend the subsidy at a meeting Tuesday of the Community Development Commission. It would go to Wheeling-based developer Joseph Freed and Associates, which wants the city to help foot the bill for a multimillion-dollar restoration of the ironwork.The money, which would primarily go for fixing corrosion in the undergirding of the ironwork, would come out of the Central Loop tax-increment financing pot."They can do Band-Aid repairs to it," said Brian Goeken , the city's landmarks point man. But it makes "a lot more sense if we deal with this now systematically. You'll have long-term repairs instead of a patch.""It is an opportune time" to address the problem because the Carsons store has been empty since the retailer moved out last February, added Constance Buscemi, the planning department spokeswoman.It sounds like a good idea, provided that the problem proves to be as widespread as spot checks of the ironwork suggest. If not, this will be a giant rip-off that lines a developer's pockets in the name of preservation.Still, Freed and the Chicago restoration architect Gunny Harboe have already done top-drawer work restoring the lidlike cornice of the Carsons store. The ironwork is a beloved example of Sullivan's ability to animate the surfaces of his buildings with naturalistic forms. It gives something to every passerby on State Street. So why not give something back to it in public funds, as long as the costs are not exorbitant?But while the Carsons case is heartening, the Emmanuel Presbyterian saga is heartbreaking -- and a warning sign for what could happen to more important buildings in Chicago constructed after World War II.The problem is that city safeguards against quick demolition do not cover modern buildings, just those built up to 1939. Which leaves an entire generation of architecture unprotected -- just as Sullivan's buildings were unguarded decades after they were built."It is something that we're looking at," said Buscemi of the need to protect modern buildings.Better look fast.The hustlers won't wait.----------bkamin@tribune.com
Copyright © 2007, Chicago Tribune

Case Study Houses

2007-08-06T16:28:00.000-07:00

Case Study Houses

The Case Study Houses were experiments in residential architecturesponsored by John Entenza's (later David Travers') Arts & Architecturemagazine, which commissioned major architects of the day, including RichardNeutra, Raphael Soriano, Craig Ellwood, Charles and Ray Eames, PierreKoenig and Eero Saarinen, to design and build inexpensive and efficientmodel homes for the United States residential housing boom caused by theend of World War II and the return of millions of soldiers. The Eames' CSH#8 was assembled by hand labor in about three days.The program ran from 1945 until 1966. The first six houses were built by1948 and attracted more than 350,000 visitors. While not all 36 designswere built, most of those that were constructed were built in Los Angeles;a few are in the San Francisco Bay Area, and one was built in Phoenix,Arizona. A number of them appear in iconic black and white photographs byarchitectural photographer Julius Shulman.A partial list of the houses and their architects: #1 Julius Ralph Davidson, North Hollywood. (Esther McCoy in her Case Study House book has this house built in 1946 in West Los Angeles and duplicated two years later in North Hollywood.) #2 Sumner Spaulding and John Rex, built in Arcada in altered form #3 William Wurster and Theodore Bernardi, built in Brentwood and Pacific Palisades #4 The Greenbelt House (unbuilt), Ralph Rapson #5 (unbuilt), Whitney R. Smith #6 (unbuilt), Richard Neutra #7 Thornton Abell, built in San Gabriel in altered form #8 The Eames House, Charles and Ray Eames #9 The Entenza House, Charles Eames and Eero Saarinen #10 Kemper Nomland and Kemper Nomland Jr., in Pasadena #11 Julius Ralph Davidson #15 Julius Ralph DavidsonNote that Numbers 16-20 were assigned twice for reasons unknown. #16-#18 inthe original series were designed and built by Rodney A. Walker. #16 Craig Ellwood This house is unnumbered in A&A where it is titled "Case Study House 1953." #17 Craig Ellwood #18 Craig Ellwood #19 (unbuilt), Don Knorr #20 The Saul Bass House, Buff, Straub, and Hensman. (Some sources have #20 listed as the Bailey House by Richard Neutra) #21 Pierre Koenig #22 The Stahl House, Pierre Koenig #24 A. Quincy Jones and Frederick E. Emmons #25 The Frank House, Edward Killingsworth and Brady and Smith, in Naples, California #26 David (Beverley) Thorne, in San Rafael, California #27 (unbuilt), Campbell and Wong #28 Buff, Hensman and Associates . (Some sources have #28 listed as the three-unit Al Beadle house in Phoenix, Arizona, which is also known as "Case Study Apartments #1".) Case Study Apartments #2 (unbuilt), Killingsworth, Brady and AssociatesOther participating architects: Raphael Soriano Case Study House 1950 andRodney A. Walker.For more in the CSH Program and Arts & Architecture magazine go toartsandarchitecturemag.com

http://en.wikipedia.org/wiki/Case_Study_House

Aboriginal artwork in record sale

2007-07-25T19:26:00.000-07:00

Aboriginal artwork in record sale

By Phil Mercer BBC News, Sydney

A painting that hung for several years in a bank has set a new record price for Australian aboriginal artwork.
The piece, by renowned indigenous artist Clifford Possum Tjapaltjarri, was sold for more than US$2m (£970,000) at an auction in Melbourne.
The sale more than doubled the previous record for Aborigine art.
The work, depicting the artist's view of creation, is seen as a masterpiece and one of the most profound examples of indigenous art ever produced.
It contains several stories about Aboriginal lands near Alice Springs in Australia's rugged Northern Territory.
Part of the picture shows a bushfire that was started by a tribal ancestor - a blue-tongue lizard - who was angry with his sons.
The fire is represented by the shape of a red sun in the centre of the work.
Aboriginal superstar
This iconic piece - called Warlugulong - was sold at a packed auction in Melbourne.
It was bought by Australia's National Gallery in Canberra. Experts believe it will be some time before this record-breaking price is surpassed.
The picture, though, has not always been valued so highly.
It was originally sold for US$1,000 and ended up being displayed on a cafeteria wall at a training centre owned by a bank.
The large-scale canvas was completed 30 years ago by Clifford Possum Tjapaltjarri. He went on to become one of the superstars of Aboriginal art.
He died in 2002 and spent most of his life in an isolated corner of central Australia. He was a master of the Western Desert style of painting, using thousands of tiny dots to create traditional images.
Clifford Possum Tjapaltjarri helped to create a multi-million dollar indigenous art industry. It employs about 6,000 people in dozens of remote communities.

Story from BBC NEWS:http://news.bbc.co.uk/go/pr/fr/-/2/hi/asia-pacific/6914918.stm
Published: 2007/07/25 05:42:57 GMT© BBC MMVII

Wrecked Buildings of England On Endangered List

2007-07-25T19:10:00.000-07:00

The stately wrecks of England

English Heritage's 'basket cases' need huge amounts of money to repair them, but cannot recoup the cost

Maev Kennedy
Wednesday July 25, 2007
Guardian

The 16 stately wrecks of England were unveiled yesterday; the most important, most expensive and most intractable buildings at risk in the country.
"These are our basket cases," English Heritage's chief executive, Simon Thurley, admitted yesterday.
They include a redundant colliery, the burnt out shell of a 13th century moated manor house, a Victorian sewage pumping station, and a vast, battered shed which is the only remaining airship hangar in Europe.
Without huge amounts of money spent on repairs many will collapse - and even with huge amounts of money none will be worth what has been spent.
The total estimated repair bill for just these 16, of the 1,235 buildings and structures on the new Buildings at Risk Register published yesterday, is £127.9m. However, that is £65m more than the buildings would then be worth, on the most optimistic commercial assessment: the problem led to the collapse of a scheme to convert one of the 16, a spectacular Edwardian former insurance building in Liverpool, into a hotel.
Dr Thurley said this conservation deficit, the yawning gap between what the buildings need and what any commercial or even charitable investor could hope to earn from them, can only be plugged with public money.
It is way beyond the current means of English Heritage, the government's conservation quango, whose own grant in aid has effectively been frozen for the last 10 years. At the moment it can only afford to give around £4.5m each year in repair grants for listed buildings.
"What has been happening is that as land values soar in some parts of the country all the easy ones are coming off the register," Dr Thurley said.
In the south-east, where developers clamour for every inch of spare land, there is commercial hope even for some infamous cases. The report was launched at Battersea power station, an icon on the London skyline left gutted and decaying after a procession of owners and failed development proposals. The power station has been included in every Buildings at Risk register since they began eight years ago, but has now been acquired by Treasury Holdings, an Irish investment company, which is about to start structural repairs to stop the decay of the huge building.
However, developers are not rushing to help repair sites like the important buildings at the vast Chatterley Whitfield colliery in Staffordshire. Some of the buildings can be converted and re-used, but some, like the pithead, are vital to understanding the site but will never be used again for their original purpose.
Even in the south-east some buildings present epic problems. The Crossness pumping station at Bexley in south-east London, designed to store and then pump London's sewage into the ebbing Thames by Sir Joseph Bazalgette, the brilliant Victorian engineer who transformed London's drains, is still working. But it is likely to become redundant, leaving the building and its interiors - described by Dr Thurley as "cathedral like" - marooned in the middle of a working Thames Water treatment site.
Over the last year 88 buildings have been removed from the register, and 52 added, continuing what Dr Thurley called an encouraging downward trend.
However, 1,235 entries remain, one in 30 of all the Grade I and Grade II* listed buildings. The problem is worst in the north-east, with 7.6% at risk, and lowest at the south-east, with under 2%.
A fifth of the buildings on the register are in the highest priority A category, judged in immediate risk of further decay and possibly complete collapse.
Although plans are being made to save almost a third of the buildings, and almost half are capable of economic re-use, in 17% per cent of cases the owner is considered the main problem, often refusing either to repair or sell.
The problem buildings include some grand owners and estates. One is a 1729 mausoleum by Hawksmoor, part of the Castle Howard estate in Yorkshire where Brideshead Revisited was filmed.
The Queen herself has made the register, with the tomb of her ancestors, the grade I listed Frogmore mausoleum in the shadow of Windsor Castle, judged at risk and given four hard hats (out of six) urgency of need for repairs.
Treasures in trouble
These are England's 16 most expensive historic wrecks. The total cost of repairs is probably more than £127m, but more serious is the £65m conservation deficit - the shortfall between the cost of the work and the commercial value of the building once restored.
£25m deficitChatterley Whitfield Colliery, Staffs Redundant 19th and 20th century colliery, including 20 scheduled or listed structures, poor condition.
£5m deficitNo 1 Shed, RAF Cardington, BedsSole surviving airship hangar in Europe, Grade II*, very bad condition
Ditherington Flax Mill, Shrewsbury18th century, first iron-framed building in the world and a complex of later mill buildings, Grade I, poor condition
Soho Foundry, Smethwick, West Mids1795 foundry, landmark in industrial revolution, Grade II*, poor condition
£4m deficitBirnbeck Pier, Weston-super-Mare1862 pier, Grade II*, now disused apart from lifeboat station, very bad condition
£3m deficitCrossness Pumping Station, BexleyJoseph Bazalgette-designed sewage works, Grade I, poor condition
£2.5m deficitRoyal Insurance Building, Liverpool1903 office block, Grade II*, poor condition
£2m deficitAbbey Mills Pumping Station, E LondonBazalgette-designed, Grade II*, fair condition
Gunnersbury Park House, W LondonFormer Rothschild country house, Grade II*, fair condition
Tynemouth Station, Tyne & Wear1882 railway station, Grade II*, bad condition
Old Quarr Abbey, Isle of WightRemains of 12th century Cistercian abbey, scheduled ancient monument, poor condition
Astley Castle, Warks13th century moated manor house, Grade II*, very bad condition
£1.5m deficitBank Hall, Chorley, Lancs17th century country house, Grade II*, very bad condition
£1m deficitWestern Heights Fortifications, DoverGovernment-owned 19th century fortifications above harbour, scheduled ancient monument, poor condition
Mausoleum, Castle Howard, N Yorks 18th century, Hawksmoor-designed tomb, Grade I, poor condition
Wicker Arch and Viaduct, S Yorks1848 railway viaduct, decayed, Grade II*, poor condition

http://arts.guardian.co.uk/print/0,,330262023-124084,00.html

Art Prices, Up and Away

2007-06-16T17:36:00.000-07:00

Records may tumble at sales
Maev KennedyFriday June 15, 2007
GuardianThree shimmering paintings by Monet and a portrait by Lucian Freud expected to set a world record for the artist are among the stars of sales predicted to smash European auction records next week. More than £200m-worth of art is for sale over three days at Christie's, and a further £250m at its rival Sotheby's.
With London awash with City bonuses, and the appearance of Russian and eastern buyers with apparently bottomless pockets, both auctioneers said the extraordinary prices at recent sales, including world records in New York last month, are tempting private owners to send pictures to market as never before.
The Sotheby's sale includes a beautiful example from Monet's waterlilies series, estimated at up to £15m. It has not been seen in public since 1936, when the painter's son sold it to a French collector. Christie's own Monet, The Arch of Roses, from a private American collection, is estimated at up to £12m, and the sale also includes a glorious example of his Thames paintings, estimated at up to £8m. But in the present bidding fever, any could beat the Monet record of £19.8m.
The Christie's postwar sale includes a whole wall of Andy Warhols, including a rare portrait of John Lennon, major works by Francis Bacon, and a fantastic portrait by Lucian Freud of his friend Bruce Bernard, estimated at up to £5.5m.
Guardian Unlimited © Guardian News and Media Limited 2007
http://arts.guardian.co.uk/print/0,,330031517-123433,00.html

Oh my gosh, it's Liechtenstein

2007-06-16T17:34:00.000-07:00

Liechtenstein is now Europe’s biggest museum buyerPrince Hans-Adam II is outspending London galleries and Berlin state museums
By Martin Bailey Posted 07 June 2007

Bought for £102,000 at Sotheby’s: an 1830 portrait by Friedrich von Schadow
VIENNA. Europe’s smallest country is now buying more for its national collection than any other European museum. Liechtenstein’s population is 34,000, the lowest in Europe (along with Monaco and San Marino). Its “national” museum is not based in the Alpine mini-state, but in neighbouring Austria, housed in a Baroque palace in Vienna. Last month Liechtenstein Museum director Dr Johann Kräftner told The Art Newspaper that his institution is “the continent’s largest museum spender, possibly matched by the Louvre (Paris) and the Rijksmuseum (Amsterdam) [in certain years]”. Comparisons are difficult, and the acquisition of one extremely expensive masterpiece in any given year can distort the figures, but Prince Hans-Adam II, the head of state in Liechtenstein, is buying much more than either of the two major UK galleries (National Gallery and Tate) or the 21 institutions which comprise the Berlin Museums. His expenditure on acquisitions remains a secret, but it probably amounts to several tens of millions of euros a year. It vastly surpasses that of the British Royal Collection (last year The Queen’s purchases comprised a set of 1830 porcelain plates, several watercolours and one engraving). Although the Liechtenstein Museum’s financial clout is well known among the top dealers, it has remained something of a secret to the wider art world. Last November the UK charity the Art Fund published a survey comparing the purchasing power of British museums with major international institutions, but Liechtenstein was not even mentioned (December 2006, p25). What makes the Liechtenstein phenomenon even more astonishing is that during the mid 20th century, the collection was deaccessioning on a large scale. In 1967 Leonardo’s Portrait of Ginevra de’ Benci was sold to Washington’s National Gallery of Art, for what was then the largest sum ever paid for a work of art (although the price has never been disclosed). But during recent years, the situation has been transformed, and Prince Hans-Adam is now spending heavily on developing his art collection. This has been made possible by the financial success of his family’s main source of wealth, their ownership of the Vaduz-based LGT Bank. In 2004, he spent E25m refurbishing his Summer Palace in Vienna, opening it to the public to display highlights of his collection, which dates back to the 17th century. Vienna rather then Vaduz was chosen because of the reigning family’s historical links with Austria and the fact that it is more accessible for international visitors than the tiny Liechtenstein capital. The collection is owned by Prince Hans-Adam’s family foundation. The prince is advised by his museum director, Dr Johann Kräftner, who stresses his criteria are “quality and condition”. In 2003, Prince Hans-Adam spent nearly $3m at Sotheby’s on Hals’ Portrait of a Man. His greatest purchase has been the Badminton Cabinet, bought for £19m a year later, making it the most expensive piece of furniture ever sold. The Art Newspaper revealed that Prince Hans-Adam recently acquired nine paintings from Lord Northbrook, worth around £10m, including a Van Musscher masterpiece (December 2006, p23). One of these does not yet have a UK export licence, and as we went to press a licence was expected to be deferred on Alonso Sanchez Coello’s Portrait of Prince Don Diego, to enable a UK museum to match the price, which is around £2m. Another recent purchase is a bronze sculpture of Marsyas “after Peter Legros the Younger”. Put up for sale by the Earl of Macclesfield, it was offered at Christie’s, London on 1 December 2005, but failed to make its reserve, and was bought in for £28,000. It was purchased after the sale by London dealer Daniel Katz for £36,000 and earlier this year it went to Prince Hans-Adam for an astonishing £850,000. Although the Victoria and Albert Museum in London would have liked the work, it could not consider raising the funds and a UK export licence was granted in April. The Liechtenstein prince is astutely advised, so it may well be that when the sculpture goes on show, later this month, the attribution will be upgraded, as cast by Legros. Finally, we can reveal that another masterpiece will be unveiled later this year. The Liechtenstein Museum has just acquired Hans von Aachen’s monumental painting of Diana and two Nymphs, originally owned by Rudolf II. It has been bought privately from a Swedish collector. Dr Kräftner is keen to reinforce existing holdings, and points out that in the current Biedermeier exhibition (until 20 August), nearly a third of the objects have been bought in the past five years. He is now particularly keen to focus on Neoclassical paintings and Roman Baroque sculptures.

http://www.theartnewspaper.com/article01.asp?id=657

Venice Biennale opens to public

2007-06-11T16:18:00.001-07:00

Venice Biennale opens to public The 52nd Venice Biennale, the world's oldest and highest-profile international art exhibition, is to open to the public in northern Italy.
Seventy-two countries are competing for the top prize - the Golden Lion.
For the first time there are separate pavilions devoted to African and Roma, or Gypsy, art.
The first Biennale was held in 1887. Since then the biennial fair has featured the work of artists such as Pablo Picasso and Gustav Klimt.
It also helped Henry Moore - who won the prize for sculpture in 1948 - to launch his career.
'Joy and pride'
Paradise Lost, the first Roma pavilion in Venice, is set in the medieval Pisani Palace - a little apart from the main Biennale, the BBC's Nick Thorpe in Venice says.
But for many, it is one of the most interesting developments at the exhibition, our correspondent says.
He says that the suffering of the Roma, poverty and persecution are present in many of the works, but so is the joy and pride of a people claiming their place in the world.
The work of 16 artists from eight countries is displayed in the pavilion.
This year's fair is marked by another first - a separate African pavilion, represented by 30 artists.
But all its art comes from one private collection located in Angola's capital, Luanda, the BBC's arts correspondent Rebecca Jones says.
She says that this has led some critics to wonder whether the pavilion really fills the criterion that the work represents the entire African continent.
Story from BBC NEWS:http://news.bbc.co.uk/go/pr/fr/-/2/hi/europe/6738121.stmPublished: 2007/06/10 08:05:22 GMT© BBC MMVII

Frank Gehry NYC playground design

2007-06-09T14:07:00.000-07:00

June 7, 2007
This Gehry Work to Revolve Around Play, as in Ground
By DIANE CARDWELL
Frank Gehry, the architect known for buildings adorned with undulating banners of titanium, is set to make his first foray into the world of monkey bars and swings with a new playground at Battery Park, Mayor Michael R. Bloomberg said yesterday.
The playground’s design, which will transform an aging, underused expanse of gray-pebbled concrete, is to be unveiled this year, city officials said, and will include an environmentally friendly restroom building with a planted roof and walls.
“Everything Frank Gehry touches is unique, and I’m sure it will be a great park,” Mr. Bloomberg said at a news conference yesterday.
The playground is part of a larger redevelopment of the Battery, which includes a bikeway connecting the East and West sides of Manhattan, gardens and the restoration of Castle Clinton, a fort that later became an opera house and an immigration station. The city has set aside $4 million to build the playground, with the Battery Conservancy, a nonprofit group, planning to raise whatever additional funds are needed.
The project, which Mr. Bloomberg first announced at a conservancy gala on Tuesday night, is getting under way as the city has moved to reimagine and redesign its public spaces. Although Mr. Bloomberg said it was unlikely the city would see prominent architects designing a rash of playgrounds because of the special requirements involved, there were others, like one near South Street Seaport that is being created by David Rockwell, best known for adult play spaces like the Mohegan Sun casino and resort.
Warrie Price, president of the conservancy, said that Mr. Gehry, who was unavailable for comment yesterday, was seeking to do something as a gift to the city and began discussing the project about a year ago, through a mutual friend.
Adrian Benepe, the city’s parks commissioner, said that Mr. Gehry’s interest was part of a trend toward more adventurous architecture in public and private projects that the administration has encouraged. He added that the one-acre playground, now in the shadow of the Staten Island Ferry terminal, was originally intended just for people passing through, but would be rebuilt to accommodate the growing residential population of Lower Manhattan.
How it will all go over with the swing set remains to be seen. But Josh Kammer, 10, who was visiting with his father from Miami yesterday, offered a simple solution to the present playground’s shabbiness. “If this park had a little more grass,” he said, “it’d look nicer and attract more people, maybe.”
Colin Moynihan contributed reporting.

The Art of Building Acoustics

2007-06-04T20:38:00.000-07:00

June 3, 2007

Architecture

The Best Buildings You’ll Ever Hear

By NICOLAI OUROUSSOFF

COULD it be that we’re entering a golden age in concert hall design?

The very idea may sound a little crazy, given how adamantly some people insist that the audience for classical music is slowly dying off.

To those skeptics the current explosion of new concert spaces may seem nothing but a last-ditch attempt to attract younger audiences. And there is some truth in the observation that the global cultural construction boom has more to do with drawing tourists than with satisfying a thirst for classical performances or the arts in general.

But plenty of the partnerships forged recently between orchestras and architects cannot be dismissed as acts of desperation or boosterism. Frank Gehry’s completed Walt Disney Concert Hall in Los Angeles; Herzog & de Meuron’s design for the Elbe Philharmonic Hall in Hamburg, Germany; Jean Nouvel’s new Paris Philharmonie project: these are not only breathtaking architectural forays but a radical rethinking of the concert hall itself. Their exuberant forms and fluid interiors make the great halls of the late 19th century — from Vienna’s Musikverein to Carnegie Hall to Boston’s Symphony Hall — seem fusty by comparison.

The new halls seek to root classical music firmly in the present and forge an intimate bond among orchestra, audience and music. Such experimentation surely has its risks: As architects push the limits of design, acousticians are venturing into uncertain territory. Yet if these projects succeed, they could open the way to the rarest of achievements: a blissful balance between form and sound.

For more than a century the conventional wisdom for creating a great acoustical hall was a narrow, high, rectangular “shoe box” model with a maximum of 2,500 or so seats. The holy grail was Vienna’s 1870 Musikverein, a Greek Revival invention of the Danish-born architect Theophil von Hansen.

But to contemporary architects the gold standard dates from 1963: Hans Scharoun’s 2,440-seat Berlin Philharmonie, an odd-looking cluster of concrete forms clad in yellow metal panels. Scharoun’s masterpiece, erected alongside the barbed-wire and concrete barriers of the Berlin Wall, was an aggressive attempt to tear down the traditional social hierarchies of the classical music world. Gone were the grand stairs, classical colonnades or golden interiors. Instead he planted the concrete bowl of his main performance space on canted columns, so that the underbelly of the hall became an extension of the street life outside. Draped over this interior, the strange yellow, tentlike skin was a joyfully democratic expression of the hall’s public character and a landmark of communal solace in a divided city.

Yet what most intimidates today’s architects is the performance space; 44 years after its completion, it feels even more radical than it did then. Rejecting the classical proscenium stage and uniform rows of seats, Scharoun created a vineyard pattern, a terraced landscape spilling down toward the stage on all sides. A few subtle shifts in the design break the symmetry, charging the room with energy.

In an instant Scharoun’s creation seemed to wipe away a century of bourgeois formality and jolt classical music into the present. If the Musikverein in Vienna remained the model of acoustic perfection to some listeners, his hall offered a more relaxed, egalitarian experience that was in tune with a modern audience.

Acoustically the hall may not have quite the resonance of Vienna. But after a bit of fine-tuning it was soon considered one of the best halls in Europe. What is more, it reinforced the importance of what some experts describe as psycho-acoustics: the idea that a hall’s visual characteristics could affect the way the audience takes in the music.

Yet the real lesson of Berlin, some orchestra managers and conductors say, was that the late-19th-century hall was no longer necessarily the ideal. Given the striking changes in musical programming, there was no longer a single acoustic recipe. That realization has encouraged architects to push creative limits.

“I think even Vienna is a bit of a myth,” said Ernest Fleischmann, the former general manager for the Los Angeles Philharmonic. “The hall is rather small. You can’t put the really big orchestras on that stage. A Mahler symphony there is terribly cramped. The Eighth can hardly be accommodated at all.”

Of the current crop of architects challenging Scharoun’s supremacy, the first out of the gate was Mr. Gehry, with his 2003 Walt Disney Concert Hall in Los Angeles. When he got started in 1987, Mr. Gehry was beginning to work with a sculptural freedom that Scharoun could barely have imagined.

He was captivated by the intimacy of Scharoun’s performance space. “I went to maybe five or six concerts there, and I was knocked out by it,” he told me recently. “The floors were concrete, the handrails were painted metal — all the things that when you’re designing that sort of thing seem antithetical. But there’s this human feeling in it. It engaged you. It encouraged talk. It was the first time I experienced that in a concert hall.”

But if Mr. Gehry was buoyed by the interior’s free-spiritedness, he eventually began to pursue a more compact, symmetrical form for his own. “I was intent on making a beautifully proportioned room,” he said. “I knew my architecture would be difficult for the community already, and I thought of the symmetry as a kind of handrail to help you along.”

And then there was the endless fretting over the acoustics. Mr. Gehry recalls an argument that arose one evening when he was dining in Berlin with the Japanese acoustician Minoru Nagata, an early adviser on Disney Hall, and Lothar Cremer, who had worked with Scharoun in Berlin.

Both were well respected in the music world, but over dinner they could not agree on a preferable acoustical model. As Mr. Gehry remembers it, Mr. Cremer said the hall should be shaped like a coffin, wider at the orchestra. Mr. Nagata firmly favored a wedge.

“It wasn’t quite a food fight,” Mr. Gehry said. “But it was a big argument. So I said innocently, ‘You’re both the best acousticians in the world, and you can’t agree on this?’ There was no answer.

“I realized it was like art,” he said. “You could make it great, but it was intuitive. There wasn’t a formula for it.”

As a result he designed a building that is more voluptuous than Scharoun’s yet also more cautious in some respects.

Unfolding along Grand Avenue in downtown Los Angeles the building’s bold stainless steel ribbons enliven an alienating urban strip. Mr. Gehry lifted the bowl of the hall off the ground, allowing the streetscape to wind its way up through the building.

Inside, Mr. Gehry wraps the 2,265 audience seats around the stage as Scharoun did. But the design’s luxurious wood surfaces seem almost Baroque, a perfectly symmetrical play of convex and concave forms that seem to press in on the stage.

Esa-Pekka Salonen, the Los Angeles Philharmonic’s music director, said the close physical proximity prompted the musicians to reconsider their relationship with the audience. “Everyone is physically close, which means that everyone is mentally very close,” he said. “We didn’t have to overplay. We didn’t have to use excess physical energy.”

“We understood that we couldn’t just continue to play as we used to play things,” he added.

Since then the appreciative response to Disney Hall has emboldened orchestral institutions and architects to experiment far more aggressively, raising the question of when the risks outweigh the dividends.

Acoustically, some of the most respected concert halls built over the past decade are in Japan: Suntory Hall in Tokyo, for example, and Kitara Hall in Sapporo. But neither hall is particularly adventurous. With its kitschy facade Kitara Hall could even be called an architectural dud.

By contrast,the swooping concrete curves of Santiago Calatrava’s recent concert hall in Tenerife, the Canary Islands, are an exercise in self-indulgence, and the acoustics are considered unremarkable.

Such mixed results suggest the daunting challenges architects and their clients must surmount to create a great hall.

“Simply speaking, the hall is the instrument of the orchestra,” said Christoph von Dohnanyi, the chief conductor of Hamburg’s NDR Symphony. “If you mess it up, the orchestra will be a mess. There are some orchestras that don’t sound good because they play all the time in a bad hall.”

Not that the high stakes have dulled the architects’ ambitions. One of the most tantalizing designs to emerge is Jacques Herzog and Pierre de Meuron’s Elbe Philharmonic in Hamburg, scheduled to open in 2010. Its gritty site, a pier at the edge of the industrial harbor on the Elbe River, evokes the city’s long commercial shipping history. In an ingenious stroke these Swiss architects proposed to place the translucent glass hall directly atop an abandoned 1960s-era brick warehouse at the end of the pier rather than demolish it. (The warehouse will serve as a parking garage.) Conceived as an extrusion of the brick base and crowned by a series of crystalline peaks, the hall evokes a ship drifting in the harbor.

The design reaffirms how inventive some architects have become in situating their work in a city’s specific physical and historical context. By placing the hall atop the warehouse, for example, Mr. Herzog and Mr. de Meuron have embraced the tough, heroic landscape of the European industrial age rather than trying to obscure or supplant it. The roof of the warehouse will be transformed into an enormous public terrace just below the gentle contours of the concert hall’s underside, with a panoramic view of the harbor on one side and of the city skyline on the other. The terrace’s vast scale and low height should create an intense sense of compression in the interstices between old and new.

Inside the 2,400-seat hall itself, balancing past and present becomes trickier. Like Mr. Gehry, Mr. Herzog and Mr. de Meuron began by obsessively studying the layout of Scharoun’s Berlin Philharmonie. There are unmistakable similarities. Seats envelop the stage on all sides. Balconies tilt gently toward the stage, and a subtle asymmetry sets the room slightly on edge.

Eventually, however, Mr. Herzog decided to stop pondering Berlin. “It was too perfect,” he said in an interview. “You can only fail. You can never do better.”

Taking a cue from their recent work on stadiums, the architects decided to include more seats for the audience at the back of the stage, so that the feel of the space would be somewhat like that of a bowl. The curving ceiling, designed as a result of acoustic analysis by Yasuhisa Toyota, who also worked on Disney Hall, will add to the enveloping effect. The balconies’ forms undulate back and forth as they rise, setting the entire room in dynamic motion.

If the space succeeds, one imagines, it could be a wondrous experience for concertgoers. But the bolder architects and their acousticians become, the further they move into uncharted territory, leaving us to wonder what the ultimate result will actually be.

Of all the concert halls on the horizon, Mr. Nouvel’s Paris Philharmonie may be taking the biggest risks of all.

Mr. Nouvel established a reputation in Europe as a concert hall designer with his KKL cultural and congress center in Lucerne, Switzerland. Although the exterior is spectacular — its handsome, streamlined form jutting over a magnificent Swiss lake — the hall itself is more or less a sober classical design, with a series of stacked balconies wrapped in a tight U around a rectangular room.

A more daring hall for the Danish Broadcasting Corporation, now under construction in Copenhagen, can be read partly as a homage to Scharoun: The interior is similar to the Berlin Philharmonie’s, although the architect nudges the asymmetry slightly further. The auditorium is encased in a rectangular glass box, suggestive of a space enclosing a precious object. At night video images will stream across the exterior, transforming the enveloping world of the concert into a voyeuristic spectacle.

In his design for the Paris Philharmonie, Mr. Nouvel advances another step, brazenly tossing aside accepted conventions. Paris has never had a great concert hall. (Its resident institution, the Orchestre de Paris, is also viewed as a second-tier orchestra.) And part of his mandate was to generate excitement about the site, a barren strip of land on the edge of La Villette park in working-class northeastern Paris.

Mr. Nouvel first started working on his design while on vacation at a resort in the hills above Cannes, where he spent his evenings playfully moving food around his plate, contemplating potential configurations for the building’s layout.

The result resembles a series of gigantic metal plates stacked loosely atop one another, forming a dreamy mountainous vista at the park’s edge. Broad ramps rising from the park connect the structure to the Cité de la Musique conservatory by Christian de Portzamparc to the south and to the artery that rings the city to the east. In this science-fiction landscape people can ascend the ramps to terraces and restaurants before slipping inside the hall, or continue up to the top of the mound for a sweeping view of the park.

Embedded in the stack is the silvery, amorphous form of the 2,400-seat auditorium, as hypnotic as a pool of mercury. Viewed from above, its interior layout looks vaguely familiar, with part of the audience wrapped around the back of the stage. Yet the rest is an unsettling if exhilarating trip into the unknown. Concertgoers will make their way across narrow bridges to reach balconies suspended like horizontal pods inside the space. Once in their seats they should feel as though they have entered a womb and are floating within the music.

Will it work? We’ll have to wait and see: The hall is not scheduled to open until 2012, and Mr. Nouvel is still working out his design. We have no way of knowing whether his Paris space or Herzog & de Meuron’s Hamburg hall will equal or surpass the wonders of the Berlin Philharmonie or Disney Hall.

Still, the striking range of design approaches here suggests that the classical music world is entering a heady era. Each of these projects, in its own way, celebrates the communal experience, the links between musicians and audiences and the city that envelops them. They are reminders, in the end, that all great architecture is also an exercise in empathy.

http://www.nytimes.com/2007/06/03/arts/design/03ouro.html?ei=5088&en=e0df10696804a36e&ex=1338523200&partner=rssnyt&emc=rss&pagewanted=print

Good design that is affordable

2007-05-29T20:18:00.000-07:00

May 29, 2007

Design That Solves Problems for the World’s Poor

By DONALD G. McNEIL Jr.

“A billion customers in the world,” Dr. Paul Polak told a crowd of inventors recently, “are waiting for a $2 pair of eyeglasses, a $10 solar lantern and a $100 house.”

The world’s cleverest designers, said Dr. Polak, a former psychiatrist who now runs an organization helping poor farmers become entrepreneurs, cater to the globe’s richest 10 percent, creating items like wine labels, couture and Maseratis.

“We need a revolution to reverse that silly ratio,” he said.

To that end, the Cooper-Hewitt National Design Museum, which is housed in Andrew Carnegie’s 64-room mansion on Fifth Avenue and offers a $250 red chrome piggy bank in its gift shop, is honoring inventors dedicated to “the other 90 percent,” particularly the billions of people living on less than $2 a day.

Their creations, on display in the museum garden until Sept. 23, have a sort of forehead-thumping “Why didn’t someone think of that before?” quality.

For example, one of the simplest and yet most elegant designs tackles a job that millions of women and girls spend many hours doing each year — fetching water. Balancing heavy jerry cans on the head may lead to elegant posture, but it is backbreaking work and sometimes causes crippling injuries. The Q-Drum, a circular jerry can, holds 20 gallons, and it rolls smoothly enough for a child to tow it on a rope.

Interestingly, most of the designers who spoke at the opening of the exhibition spurned the idea of charity.

“The No. 1 need that poor people have is a way to make more cash,” said Martin Fisher, an engineer who founded KickStart, an organization that says it has helped 230,000 people escape poverty. It sells human-powered pumps costing $35 to $95.

Pumping water can help a farmer grow grain in the dry season, when it fetches triple the normal price. Dr. Fisher described customers who had skipped meals for weeks to buy a pump and then earned $1,000 the next year selling vegetables.

“Most of the world’s poor are subsistence farmers, so they need a business model that lets them make money in three to six months, which is one growing season,” he said. KickStart accepts grants to support its advertising and find networks of sellers supplied with spare parts, for example. His prospective customers, Dr. Fisher explained, “don’t do market research.”

“Many of them have never left their villages,” he said

http://www.nytimes.com/2007/05/29/science/29cheap.html?_r=1&oref=slogin&ref=nyregion&pagewanted=print

Art Movements

2007-05-16T15:18:00.000-07:00

Art Movements

Abstract Art - (1910 - )
Abstract Expressionism - (1940 - 1955)
Art Deco - (1920 - 1935)
Art Informel - (1950 - 1960)
Art Nouveau - (1880 - 1910)
Arts and Crafts Movement - (1861 - 1900)
Ash Can School - (1908 - 1918)
Barbizon School - (1830 - 1870)
Baroque - (1600 - 1750)
Bauhaus School - (1919 - 1933)
Bolognese School - (1500 - 1650)
Byzantine - (330 - 1453)
Camden Town Group - (1911 - 1913)
Classicism - (1600 - 1800)
Conceptual Art - (1960 - 1975)
Conceptualism - (1960 - 1975)
Constructivism - (1913 - 1930)
Contemporary Realism - (1965 - 1975)
Cubism - (1908 - 1920)
Dadaism - (1916 - 1924)
Dutch School - (1600 - 1670)
English Landscape School - (1600 - 1800)
Euston Road School - (1937 - 1939)
Expressionism - (1905 - 1945)
Fauvism - (1898 - 1908)
Flemish School - (1600 - 1800)
Florentine School - (1400 - 1600)
Fluxus - (1962 - 1975)
Gothic - (1100 - 1450)
Heidelberg School - (1870 - 1900)
Hudson River School - (1825 - 1875)
Hyper-realism - (1965 - 1975)
Impressionism - (1865 - 1885)
Intimisme - (1890 - )
Kinetic Art - (1925 - 1965)
Les Nabis - (1891 - 1899)
Magic Realism - (1920 - 1950)
Mannerism - (1520 - 1600)
Minimalism - (1960 - 1975)
Modernism - (1890 - 1940)
Naive Art - ( - )
Neo-Expressionism - (1970 - 1990)
Neoclassicism - (1750 - 1830)
Neoplasticism - (1920 - 1940)
Op Art - (1950 - 1965)
Orientalism - (1800 - 1900)
Orphism - (1912 - 1914)
Parma School - (1400 - 1550)
Photorealism - (1965 - 1975)
Pictorialism - (1895 - 1910)
Pop Art - (1958 - 1975)
Post-Impressionism - (1885 - 1905)
Post-Modernism - (1975 - )
Postmodernism - (1975 - )
Pre-Raphaelite Brotherhood - (1848 - 1854)
Precisionism - (1920 - 1945)
Purism - (1918 - 1925)
Purism - (1918 - 1925)
Realism - (1850 - 1880)
Regionalism - (1930 - 1945)
Renaissance - (1400 - 1600)
Rococo - (1700 - 1760)
Romanticism - (1800 - 1850)
School of Paris - (1600 - )
Sienese School - (1200 - 1400)
Social Realism - (1930 - 1945)
Superrealism - (1965 - 1975)
Suprematism - (1913 - 1919)
Surrealism - (1924 - 1955)
Symbolism - (1880 - 1895)
Synchromism - (1918 - 1925)
The Danube School of German Painting - (1500 - 1550)
The Nazarenes - (1809 - )
The School of Paris - (1600 - )
Ukiyo-e - (1600 - 1867)
Umbrian School - (1500 - 1650)
Venetian School - (1450 - 1600)
Vorticism - (1912 - 1915)

http://wwar.com/artists/

Examples of art and artists

2007-05-16T15:16:00.000-07:00

Examples of art and artists
Abstract: Mark Rothko Actress: Greta Garbo Animation: Walt Disney Architect: Antoni Gaudí Ballet: Margot Fonteyn Calligraphy: Hokusai Ceramicist: Lucie Rie Choreographer: Martha Graham Collage: Jonathan Talbot Comics: Will Eisner Composer: Giuseppe Verdi Conceptual artist: Damien Hirst Contemporary expressionist: Kelly D. Williams Dancer: Isadora Duncan Designer: Arne Jacobsen Entertainer: PT Barnum Fashion designer: Alexander McQueen Fashion model: Helena Christensen Floral designer: Junichi Kakizaki Game designer: Peter Molyneux Graphic designer: Peter Saville Horticulture: André le Nôtre Illusionist: Houdini Illustrator: Quentin Blake Industrial designer: Pininfarina Jewelry: Fabergé Landscape architect: Frederick Law Olmsted Movie director: Sergei Eisenstein Muralist: Diego Rivera Musician: John Lennon Novelist: Charles Dickens Musical instrument maker: Stradivari Orator: Cicero Outsider Art: Nek Chand Painter: Rembrandt van Rijn Photographer: Bill Brandt Photomontage: John Heartfield Pianist: Glenn Gould Playwright: Alan Bennett Poet: Pablo Neruda Potter: Bernard Leach Printmaker: Albrecht Dürer Sculptor: Michelangelo Buonarotti Short Story Writer: Dorothy Parker Singer: Judy Garland Street Art: Banksy Typographer: Eric Gill Jewelry:Kimber Bosse

http://en.wikipedia.org/wiki/Artist

Master Artists

2007-05-16T15:13:00.000-07:00