This principle was deduced from the study of the new found learning, being spread abroad throughout Italy by the Greek refugees, and the consequent awakened interest with which men regarded the remains of ancient architecture, sculpture and other art forms, constantly being unearthed in their own land.

With the adoption of the classical principle of truth to nature, naturally came the adoption of a second, that of the study of the antique as the true path to excellence in art or letters. We cannot fail to recognise these twin principles at work in the writings of the masters of the musical Renaissance.

A parallel to that truth to nature, which the painters and sculptors of the Renaissance proper acquired from the study of Greek art, may be traced in the efforts of the composers of the Renaissance, to make their music more and more flexible and responsive to the varied play of human sentiment.

Musicians as well as sculptors and painters studied antique art. Although for musicians not as profitable, the lessons to be learned from antiquity by musicians were not for educational purposes but more for inspiration and creativity.

Palestrina has already been mentioned as typifying the culmination of the musical development of the early ages, and now, in taking up the consideration of a new period, we have, in the first place, to concern ourselves with a man who was already forty eight years old when Palestrina was born. The Flemish composer Adrian Willaert, chapel master of St. Mark’s at Venice.

Willaert may be considered as belonging at the same time to the old order and the new, for while, in common with his fellow citizen, Orlando di Lasso, some may say he was one of the last and greatest of the Flemish masters. At the same time, he must be reckoned as a forerunner of the musical reformers of the Renaissance.

Willaert, although he did not create any new forms in music, was one of the first to give musical expression to that love of colour, movement, and general spirit of nature, which are the outstanding characteristics of the Renaissance period.

The forms he employed were those used by his contemporaries and immediate predecessors. The Mass, Psalm, Motet, and Madrigal. However, in them all his colour sense was very strong, comparatively speaking, that is, for that tonal splendour, which led the Venetians in their enthusiasm to term the works of their cherished “Messer Adriano” aurum fotabik or “drinkable gold” might not be so readily apparent to a modern audience.

Although to a musician, instituting a comparison between the works of Willaert and those of earlier writers, the effects gained through the use of broadly contrasting harmonies by the Flemish master cannot fail to appear strikingly original.

While dealing with Venetian music mention must be made of Andrea and Giovanni Gabrielli, uncle and nephew, who represent a later development of the style of Willaert. Giovanni Gabrielli (1557-1612) carried his experiments in tone colour into the region of pure instrumental music; and his “Symphonic Sacrse,” the first volume of which was published at Venice in 1597, entitles him to rank as one of the earliest of writers for the orchestra.

In the first volume of this work, there are sixteen pieces for from eight to sixteen instruments, and in the second volume, there are canzonets for as many as twenty-two instruments. These compositions are written for violins, cornets (not the cornets of modern times, but wooden instruments), and trombones.

After the time of Willaert and the Venetians, were the actual workers in the Renaissance of music, and the first of their achievements, the invention of the Music Drama or Opera.

Author Info:

Michael Shaw teaches students of all ages to play the organ and keyboard. You can now download his popular Lesson 1 eBook for beginners at www.mikesmusicroom.co.uk and www.keyboardsheetmusic.co.uk

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Before you can understand the history of anime, maybe it’s first necessary to understand exactly what anime is. “Anime” literally means animation in Japanese. It does not distinguish one style from another; it’s simply a way to talk about animation of all types.

Worldwide, though, anime is what we call a particular style of Japanese art and animation. Because of its popularity in recent years, the term anime’ has come to mean a style rather than animation that comes specifically from Japan. Through the years, anime has also been known by other names. Japanime is one, and Japanimation is another. Manga is a more recent, and perhaps controversial, term for anime-style comic books.

A Bit of History

While lots of animation was produced in Japan from about 1917 on, the anime that we know and love today is considered to have been created by Tezuka Osamu, who started drawing comic books in 1947. His character Astroboy (or Tetsuwan Atomu as he is known in Japan) hit television screens around Japan in 1963, which is generally considered to be the first mainstream anime cartoon. What’s more is that Tezuka Osamu helped to create the giant robot genre that has been such an ongoing theme in both anime and manga.

Anime became such a popular art form in Japan because the live action film genre was simply too expensive to be a hit. As a result, some of the same thematic steps western filmmakers were taking in the world of live action were being taken in Japanese animation simultaneously.

The Real Difference

As a whole, anime is quite different from American animation. Anime encompasses complex story lines of nearly every genre as well as thought-provoking characters that most American animation stays away from. Since American animation is considered “kid’s stuff,” and anime is a mainstream form of entertainment for all kinds of people in Japan, lots of people misinterpret anime’s intentions.

While some of anime is okay for you and your children to view together, many films contain adult themes and situations that aren’t okay for younger viewers. Keep in mind that Japan has very different attitudes about nudity, strong language, and violence, so plopping your toddler down in front of anime because it’s a cartoon just isn’t a good idea.

Like the Idea?

If you’re interested in exploring anime further, there are several films that are considered to be classics to the genre as a whole. Try starting with Princess Mononoke. With a strong plot and beautiful style, you’re sure to fall in love with this type of animation instantly.

Author Info:

The author is a is the Admin of the Anime Friends Network site AnimeMine, where you can meet new friends and discuss your favorite anime and manga subjects. This article can also be found at our free article directory Smarticlesmart. For more anime information please go to AnimeMine.com today. For more free articles please try Smarticlesmart.com.

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When you are first starting out, it may be a good idea to start with a fairly limited palette of colors. If you purchase every color under the sun, you may find yourself mixing too many different colors, which will result in a muddy painting. Start off slow in the beginning, then add more colors as you become more experienced. Color choices for a limited palette vary from artist to artist. Here are the colors of my palette: Yellow Ochre, Cadmium Yellow Pale, Alizarin Crimson, Cadmium Orange, Phthalo Blue, Burnt Sienna, Burnt Umber, Cadmium Red Medium, Phthalo Green, Titanium White, Ivory Black. I recommend purchasing 1.25 oz tubes of all colors except Titanium White. Purchase a larger tube of Titanium White, as you will be using more of this color.

First, you should get into the habit of laying out your colors the same way every time you paint. This is just good practice and keeps the painting process flowing nicely. Arrange your colors along the edges of your palette leaving a lot of room in the center for mixing.

Don’t be afraid to squeeze out a good amount of paint, especially your whites. You will be more productive if you aren’t continuously stopping to squeeze out more paint.

Make certain to include all of the colors you think you will need to complete that session of painting as well. Again, this will make you more productive.

When adding paint to the palette, I have found that squeezing the paint out in long lines, as opposed to puddles, keeps my colors cleaner. When you have puddles of paint, they tend to get soiled by other colors when mixing. With a long line of paint, you can just take paint from the end as needed and not dirty the rest. Keep some rags or paper towels handy for wiping your palette knife clean.

It’s a good idea to continuously wipe your palette clean during the painting process. There is nothing more frustrating then trying to remove dried up oil paint. Keep some alcohol handy so that you can keep the mixing area of your palette clean.

I hope these tips have helped. Happy Painting!

Author Info:

Ralph Serpe is founder of Artsymmetry.com. Artsymmetry is an online directory of articles for the Arts. Click here for more Art Articles .

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Contemporary art is exhibited by commercial contemporary art galleries, private collectors, corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artist-run spaces. Contemporary artists are supported by grants, awards and prizes as well as by direct sales of their work.

There are close relationships between publicly funded contemporary art organisations and the commercial sector. For instance, in Britain a handful of dealers represent the artists featured in leading publicly funded contemporary art museums.

Contemporary art can sometimes seem at odds with a public that does not feel that art and its institutions share its values.In Britain in the 1990s contemporary art became a part of popular culture, with artists becoming stars, but this did not lead to a hoped for “cultural utopia”.

Modern art

Modern art is a general term used for most of the artistic work reckoned anywhere from the early 17th century until the present time.
Modern art refers to the new approach to art which placed emphasis on representing emotions, themes, and various abstractions. Artists experimented with new ways of seeing, with fresh ideas about the nature of materials and functions of art, often moving further toward abstraction.

The history of painting

The history of painting reaches back in time to artifacts from pre-historic humans, and spans all cultures. The history of painting represents a continuous, though disrupted, tradition from Antiquity. Across cultures, and spanning continents and millennia, the history of painting is an ongoing river of creativity, that continues into the 21st century.

All along, painting is taken to mean ґrepresentation. But now it is no longer true. Instead it is about ґinspiration. On the contrary, painting nowadays is too focused on the creation of the ґnew rather that the creation of the ґtrue. The 20th century was intensely inspired with new painting styles and materials which eventually led it to focus on the mode and medium of expression rather than the message that should be expressed. Even after one and a half centuries of innovation, with many art taboos shattered, with so much of the field colonized and long-inhabited, the search for the new is still becoming increasingly shallow and repetivite. Changing to the new just for the sake of newness, can result in academic significance but it offers minimal weight in the long term. On the other hand, longevity is brought about by truth and beauty which brings effect to the viewer and the resonance of that experience will remain for a long time. The combination of these three is necessary to create contemporary art, abstract or any other form of art which comes with impact as well as freshness

Author Info:

Find art history and more useful information about modern art on art resources.

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Practice, Practice, and More Practice

You probably already know that practice is the single most important key to improving your ability to draw or paint fantasy subjects. But did you know that there are two major kinds of practice and that you should be doing both?

Drawing from sight is the first way you should be drawing. You should be spending a lot of time drawing familiar and real life objects. This can be anything at all and it will improve your fantasy drawing and painting even further if you choose related subjects. By related subject I mean that if you like to draw unicorns you should be drawing horses and if you like to draw dragons you should be drawing lots of lizards and reptiles.

Making the Connection between Real life and Fantasy

The very definition of fantasy means you have artistic license to draw anything you want. You could draw a five thousand pound dragon that flies around with wings the size and texture of a butterflys wings. But would that make sense? Even though you are drawing fantasy creatures, objects, and scenes, you still have to do it in ways that make sense. Musculature moves in certain ways, bones and skeletal underpinnings cause bodies to move in expected ways, and to look certain ways. By drawing and understanding real life object and creatures you will improve your fantasy creatures and objects by making them look real even though they arenҒt real.

Drawing from mind is the second type of practice you should be doing on a regular basis. Get a blank piece of paper and let your imagination run wild. This is where the fantasy will come out. Draw things that are similar to real life objects and also try to create things that have almost no recognizable equivalent. Dont be afraid to explore and try all kinds of crazy ideas Җ just let the visual ideas flow. This is an exercise in creativity and it will generate lots of ideas. These ideas and images can at a later point be hammered out into more advanced drawings and paintings.

Techniques for Fantasy

Distortion is the number one technique when it comes to drawing fantasy objects and creatures. It implies a change in proportion or characteristic. What happens when you make the eyes of the creature larger? It has a dramatic effect. The important thing to remember about distortion is that it is relative. If you draw the whole elephant bigger you just have a bigger elephant. But if you draw its ears unusually large you have an elephant that maybe can fly. Make just the mouth and teeth larger and you have a creature that could be quite an intimidating eating machine. Try distorting only certain sections of creatures, figures and objects. The effect is remarkable.

Visual Metaphors and Visual Symbolism

There are many accepted and implied visual metaphors that work well in fantasy drawing. Large mouth and teeth, as I mentioned, do well for intimidating and scaring. Large ears mean something hears well, and a large nose implies better sense of smell. Large things generally move slowly while small things generally move faster. Wrinkles imply age and taut musculature implies strength and speed. Think about all of the various visual metaphors that are available to you and try using them. I just listed a few but there are literally an unlimited number of them.

Colors also play an important role in fantasy and in visual metaphors. Brightly colored objects and creatures can signify danger or beauty (or both) and distorting colors can be very effective. Green often is the calling card of reptilian like creatures and pinkish hues often symbolize youth. Blacks and browns tend to signify dark and mysterious while white is linked to good. Play with the colors you use in your artwork and be aware that the colors have symbolic significance that is often not consciously recognized yet subconsciously very important.

You will improve your fantasy artwork by practicing and this is well understood but remember that there are four different realms you can draw upon to improve. Draw things from the real world, draw things from your imagination, distort things in the real world, and make use of the obvious and not so obvious symbolism in things.

Author Info:
The Free Online Fantasy Art School is loaded with lessons on how to improve your artwork: http://www.stormthecastle.com/fantasyartschool/index.htm Fantasy Art School

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