154 Sentences With "play of light" | Random Sentence Generator

Here Klaus said he'd imagined an elaborate and perfectly steady play of light.

The engraving's play of light mimics the northern sun, which never sets in summer.

The effect, much like the play of light in the fabled Moroccan city, was dazzling.

Opals have always been my favorite stone, because of the rainbow play of light within them.

The play of light on a lake as a spring storm blows in from the mountains.

The most enchanting pieces on view are those that recreate the play of light that characterized Daguerre's dioramas.

The painting, although startlingly beautiful in its velvety, deep-viridian play of light and shadow, makes us uneasy.

Working in bronze, clay, and wax, Rosso devoted his art to the ephemeral play of light and shadow.

That blindfold worn by Malorie (Sandra Bullock) doesn't obscure everything — some play of light and shadow always seeps through.

For slime girls, in particular, I love how dynamic they are, and the play of light and color is beautiful to me.

The initial result was a collection in which the marquetry mimicked the geometric patterns and play of light found in cut gemstones.

The works are widely acclaimed for capturing the play of light on his subject and for their influence on the Impressionist movement.

The play of light has an important role, not only in "Study for Red Cloud," but also in every work in the exhibition.

While there is truth in this apocalyptic vision, the more dramatic the play of light, the worse things will get for liberal politics.

The play of light and shadow and the highlighting of single images within a frame make his photos look almost like oil paintings.

"I like the play of light you get," Mr. Beitel said, and as he pointed we saw his client come into focus as well.

Nearby the short "Coney Island at Night," from 20003 by Edwin S. Porter, presents the classic dyad of film: the play of light against dark.

European church glass of the period featured painted figures applied onto the glass with brushwork and then fired like pottery, dulling the play of light.

Visiting the National African American Museum of History and Culture during its opening weekend, what I most noticed was the play of light and darkness.

The soft play of light on the brick buildings and the faint early spring birdcall seemed like a scene straight out of one of her Nebraska novels.

Wandering without a guide, I lingered over details: the play of light on a broken column; the base of a shattered statue that had left its feet behind.

The serene, unpeopled places in Leinkauf's footage ooze a tranquil, meditative vibe; neatly geometric, their architectural forms and the play of light upon their surfaces create uncluttered, abstract images.

"It gives one a sense of the power of the engines used to lift the shuttle into space and also an interesting play of light and color," Chakeres says.

And the book abounds in sharp description — of landscape, the built environment, the play of light — from Nolan's point of view, illuminating the sensitive soul under the Western hat.

Particularly great are those photographs Bourdelle took in 1901 at Jef Lambeaux's studio in Brussels, in which Bourdelle explores the play of light and shade in the style of Alfred Stieglitz.

"[Architect] Tadao Ando is able to create beautiful spaces that embody monolithic presence, spacious, simple forms with an intriguing play of light which appears to dance throughout the day," says Frank Cunha III.

Seeing this play of light is such a quintessential experience of late afternoon summer in a succulently green place that I can almost smell grass and hear the rushing of the wind through leaves.

Mottled glass gave the impression of sunlight through leaves; striated glass looked like light dancing on water; double and triple plating added depth to color and ever-changing effects to the play of light.

His oeuvre ranged from completely abstract films made by painting and scratching directly onto the celluloid, to experimental explorations of the modern city, autopsies, or even the play of light on a glass ashtray.

For her new textile collection, Bethan Laura Wood, above, toured the New Basilica of Our Lady of Guadalupe in Mexico City ("this great Brutalist spaceship," she called it) and studied the play of light through the stained glass windows.

"We go to see them, much of the time, in search of something else — the comforting darkness of the theater, the play of light and shadow on the screen, the consolations they offer for some temporary trouble," he wrote.

"The play of light on this particular tone of grey was a precisely keyed background hum that allowed a new exchange between, say, the red of an apple and the equal value of the grey background," Meyerowitz writes in a book essay.

In her intimate and elegiac images, some with just the play of light on the wall and floor of the emptied studio, after his death in 240, it was hard not to feel an acute absence — not of one man but two.

Instagram, after all, was conceived as a photography app, a place to post the contents of a fancy meal, catch the play of light on a tousled bed, celebrate a professional coup, show off a bikini body or a family trip to the beach.

The season is rounded out by two repertory pieces: "Echoes," a 224 dance for five men set to music by the Persian percussionist and composer Shamou; and "Reflections," a 22017 piece inspired by the play of light on water, reflecting humanity's restlessness and beauty.

"Veil of Isis" is truly encrusted and seems to sag under the weight of a skin of paint the color of iron, mahogany, peat, and ashes; "Elephant" is similar (perhaps cooler) in coloration, its surface slightly translucent in places and, while also outrageously tactile, more open to the play of light across its surface.

FXCollaborative, architects of the 48-unit residence — part of a multi-building development by the Fortis Property Group on the former Long Island College Hospital campus — took inspiration for the design from the play of light on the rippling water of the nearby East River, according to Gustavo Rodriguez, design director at the firm.

A case could be made that many of the techniques Orson Welles employed in "Citizen Kane" — low angles, a dynamic play of light and shadow, an innovative use of sets and scale — reached full flower in "The Trial," a 1962 adaptation of Franz Kafka's novel in which the sense of claustrophobia is as much visual as it is literary.

Film Series A case could be made that many of the techniques Orson Welles employed in "Citizen Kane" — low angles, a dynamic play of light and shadow, an innovative use of sets and scale — reached full flower in "The Trial," a 1962 adaptation of Franz Kafka's novel in which the sense of claustrophobia is as much visual as it is literary.

And as of a year and a half ago, there were no Burmese restaurants in the city: The last holdout, Cafe Mingala on the Upper East Side, which for more than two decades quietly made a case for the flavors of Myanmar — a play of light and dark, earth and brine, sourness and heat — shuttered in the fall of 2016.

Like the black-and-white musicals that feature in its pages, the book is a play of light and dark — at once an assertion of physicality and an illusion — in which the main character, a girl born to a black mother and a white father, tries to assemble, from the competing allegiances that claim her, an identity that allows her to join the dance.

Thomas Buechner. # 1991. Play of Light: Glass Lamps of Frederick Carder. Exhibit Catalog.

This play of light is evident across the panel, and especially seen on Mary's gilded dress and jewelled crown, across her hair and on her mantle.

He rarely or never worked in color and his half-tone work tended to draw out textures and patterns and take advantage of the play of light.

He was a major interviewee in The Play of Light, a 2000 documentary film about the creation of a diamond from a rough stone,"The Play of Light" , documentary film about the process of producing a diamond, including contributions by Tolkowsky and in 2003 he was knighted by the Belgian government with the title of Chevalier de L'Ordre du Roi Leopold II, for his services to the diamond industry.

The Berlin manufactory's works artfully illustrate nature. A clever play of light and shade, and naturalistic decoration make them appear lifelike. The numerous animal figurines continue to include designs from the manufactory's early days up to the present day.

Bijan Jalali (; 1927 - January 2000) was a modern Persian poet. Jalali was born in Tehran, Iran. His works include: The Color of Water, Days, Dailies, Our Heart and the World, Play of Light, and The Water and the Sun.

First, Knott primes the canvas with a layer of sizing. This tightens the linen surface. Knott builds up the surface by painting this sizing—typically rabbit skin glue—by back-and-forth brushstrokes. This creates texture which serves to enhance the play of light in her paintings.

Color was increasingly used independently of the play of light and shadows disappeared. More emphasis was placed on the aesthetics of the transient with constantly changing color variations ( Le bâton de rouge , 1941). In 1936 his wife died. A year later, he married Orpha Demets (born November 1911).

Other works include his contributions to El glorioso doctor San Ildefonso by Salazar de Mendoza (Toledo, c. 1618) and to El embajador by Juan de Vera y Zúñiga (1620). The latter is one of his most renowned works, because of the clarity of the line and the play of light.

Ida's dark hair contrasts with the fair skin on her neck with light coming in from the left, while her black clothing stands out against the pale background, while the play of light and shadow on the folds of her dress adds depth to the otherwise flat character of the painting.

When you do them, no one notices, but when you don't do them, everyone notices.” The American Institute of Architects said in 1973, "The subtle play of light and shadow in his photographs captures and complements the nuances of architectural design," upon awarding him its highest honor, the Gold Medal for Photography.

Fluting promotes a play of light on a column which helps the column appear more perfectly round than a smooth column. As a strong vertical element it also has the visual effect of minimizing any horizontal joints.Jones, Mark Wilson. Origins of Classical Architecture: Temples, Orders and Gifts to the Gods in Ancient Greece.

The "real world"—Nichols calls it the "historical world"—was broken up into fragments and aesthetically reconstituted using film form. Examples of this style include Joris Ivens' Rain (1928), which records a passing summer shower over Amsterdam; László Moholy-Nagy's Play of Light: Black, White, Grey (1930), in which he films one of his own kinetic sculptures, emphasizing not the sculpture itself but the play of light around it; Oskar Fischinger's abstract animated films; Francis Thompson's N.Y., N.Y. (1957), a city symphony film; and Chris Marker's Sans Soleil (1982). Expository documentaries speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view. These films are rhetorical, and try to persuade the viewer.

2 (1981): 169. The tunnels not only provide a much-needed shelter from the sweltering desert sun, but once inside the dazzling effect of the play of light within the tunnels can be seen. The top of each tunnel has small holes, forming on each, the constellations of Draco, Perseus, Columba, and Capricorn, respectively.

Liebenson, Bess (September 14, 1997). “The play of light among monuments of ancient Egypt”. New York Times “At RIT she printed her Peruvian negatives as her first school project. Her technique was not yet polished, but the deep shadows, the eloquent light, and sense of time standing unnaturally still were present in every print.

The cathedral rises to a height of . The blocks of stone used in the tall spire contrasts with the smooth stone of the walls. The "blocks are cut in a pattern of voids that causes a constant play of light and shadow." The bell chamber contains 12 bells cast in the Netherlands by Petit & Fritsen.

On 12 September 2006, to commemorate the station's 150th anniversary, the ETH Zürich installed the NOVA, a three-dimensional, bivalent display, which consists of 25,000 individually addressable light balls. It represents a play of light of several colours, but can also represent cinematic sequences. It is expected to remain hanging in the station until further notice.

He left art school after his work wasn't accepted by the standards of the day. In 1905 he returned to Troyes, where he stayed for the rest of his life. In 1911 he visited his first glass shop, owned by his friends, the Viard brothers. He fell in love with the contrasts between colors, hot and cold, the play of light and fire.

He studied Architecture in Moscow and worked as a freelance artist in the field of Painting and Graphic design in Moscow. Since 1992 he has been living and working in Cologne. Since 1996, together they have formed the artist duo Molitor & Kuzmin . In their installations and Light art objects they work with the play of light and shadow, with contrasts and paradoxes.

He produced many Impressionist paintings of the Quebec landscape, as well as portraits, nudes, historical paintings and later sculptures. In his paintings, he was most interested in the play of light on snow and water. Suzor-Coté was made a member of the Royal Canadian Academy of Arts. There were numerous exhibitions of his work during his lifetime and afterwards.

He experimented with lighting, producing warm golden colors and cool silvery tones. In his later paintings, the animals are virtually treated as still-lifes, with the dramatic effects created by the play of light. He died rather unexpectedly when an apparently innocuous foot ailment turned into a serious illness. Voltz is considered one of the great German animal painters along with Anton Braith.

Woodward's emphasis was less on the psychology of the human subject and more on the effects of light and color in the scene. Later, she became known for her summer beach scenes along the New England shore. She painted many beach scenes and airy landscapes focusing on the play of light and shadow. These scenes often depicted families and children enjoying fine weather at the beach.

Nicolai Ouroussoff, "ARCHITECTURE; Uncle Sam, Visionary Builder?" New York Times, September 19, 2004 The building is conceived as an eight-story cube, its interlocking forms resting on a concrete base. Deep recesses set into the building create a play of light and shadow. The visual game continues inside, where the walls and walkways enclosing a lobby atrium dissolve into a cubist composition of intersecting planes.

Heartney writes that Bowling "allows these irregularities to become part of the painting so that the viewer's perception of the play of light and shadow across the image cannot be separated from an awareness of surface itself." In later stages of painting, Bowling stands above panels to throw, dribble, and splatter paint with a hair dryer, recalling the techniques of Abstract Expressionists such as Jackson Pollock.

These included owls, bulls, cats and especially horses. Elements of dance appeared because of his relationship with music. His formation of images was not completely realistic, leaving a lack of definition in the forms, especially the background elements. This gives the works a mysteriousness, accentuated by the play of light and shadow as well as the use of limited colors such as yellows, dark ochre and black.

Alfred Thompson Bricher was part of the American Luminist movement, coming out of the Hudson River School. Much like the Impressionists, they were interested in the play of light in landscapes, with Bricher himself being particularly interested in how light played against the ocean. Bricher, in particular, became famous for his seascapes and depicting the North Atlantic seaboard. Bricher is considered the last important luminist painter.

Jack Daulton Collection, Los Altos Hills, California. Hirémy-Hirschl is regarded as an accomplished draughtsman. His numerous figure and drapery studies in charcoal or chalk were mostly intended to be preparatory studies for paintings. His studies for Souls on the Banks of the Acheron and Sic Transit … were often executed on blue, lavender, or orange paper that enhanced the play of light in relation to the forms he drew.

With his chin resting on his hand, the subject seems unaware of the world around him, lost in his own thoughts. A happy and joyful mood is created in the bronze work The Laughing Basutu (1936). With his arms folded over his chest and head turned to the right, the subject seems happy and lively. The play of light on the features adds to the liveliness of the work.

Also, the series of semi-enclosed galleries due to cut-out profiles provides views to the interstitial gardens and water features for all galleries. Subsequently, a play of light and shadow is formed across the interior spaces from the cut-outs, inviting contemplation to visitors. (book) The mausoleum houses a total of 1398 casket spaces that are distributed throughout three different types of rooms – single, pair and family rooms.

Both pieces are contemporary in conceptualization while showing humanist- antiquarian interests. The architectural aspects are once again strong and in the forefront and there is great detailing in the Roman style reliefs of the buildings. These reliefs reflect the architecture of the ducal palace at Urbino. The play of light on the draping of the clothing and the shadow and light of the buildings is another signature Carnevale trait.

The impasto technique serves several purposes. First, it makes the light reflect in a particular way, giving the artist additional control over the play of light in the painting. Second, it can add expressiveness to the painting, with the viewer being able to notice the strength and speed by which the artist applied the paint. Third, impasto can push a piece from a painting to a three-dimensional sculptural rendering.

The church, a trademark detail in Church's paintings, is Catholic and Spanish-colonial, and seemingly inaccessible from the viewer's location. Church's signature appears cut into the bark of the highlighted foreground tree at left. The play of light on his signature has been interpreted as the artist's statement of man's ability to tame nature—yet the tree appears in poor health compared to the vivid jungle surrounding it.Sachs, pp.

These techniques aimed to represent illusory inner architectural spaces and the so-called fourth dimension. These images are, for purposes of lucidity, mostly composed of basic geometric forms such as spheres, cylinders, cubes, and cones. Simultaneously the viewer is able to view the objects according to their own perspective, depending on various angles of observation and the play of light. In last years Frydrych also creates custom chronometers.

Degen finds inspiration in classical painting, nature, and the human body. His work often explores the relationships between groups and individuals within their urban or natural surroundings. In a review for The Brooklyn Rail, Jonathan Beer wrote, “Degen’s technique and figurative scenes call to mind the work of Dana Schutz and George Seurat. He paints the fleeting and flickering play of light on an unfixed world.” Degen has exhibited internationally in solo and group exhibitions.

The panels are made of glass edged with Corten-steel containing LED lighting. Some panels enclose historically native seeds, ash, honey and resin, while others have verses from poetry written by Australian writers and poets. The play of light on the translucent glass create a passage of reflection, and memory. The work aims to highlight the native natural environment and indigenous history, as well as the importance of historical preservation through botanical conservatories.

This interior view of the Neue Nationalgalerie's ground floor shows the play of light off the reflective floor, as well as the animated red LCD tracks on the ceiling. The plan of the Neue Nationalgalerie is divided into two distinct stories. The upper story serves as an entrance hall as well as the primary special exhibit gallery, totaling of space. It is elevated from street level and only accessible by three flights of steps.

Beginning in 1975, he was a member of the Association for Free and Applied Arts EV Darmstadt, for decades a fixed place in Darmstadt art life. From 1950 numerous exhibitions at home and abroad. His paintings are an expression of his intense search for the perfect effect of a particular composition. The painting of the natural or cultural landscape was light and airy, determined by the play of light on the nature.

Herbert Kisza and Ivan Martin Jirous in front of The Bat Gallery in Kadaň (2008) For Herbert Kisza, objective reality is a medium to turn the painting to a dream or a poem full of metaphors and symbols. He uses the legacy of ancient myths for depicting the life of modern society. After moving to Kadaň, its industrial surroundings drew him to ecological topics. The play of light is important in his paintings.

Caziel (born Kazimierz Józef Zielenkiewicz; 16 June 1906 - 25 August 1988) was a Polish artist who lived and worked in Paris during the inter-war period and who worked alongside a number of important figures of the School of Paris, including Pablo Picasso and the art dealer Daniel-Henry Kahnweiler.PERY, Jenny, "The Grand Play of Light - The Art and Life of Caziel", AM Publications, London 1996.MONKIEWICZ, Dorota, "Caziel", Catalogue Raisonne, Warsaw, 1998.

Play of light inside Jatiyo Sangshad Bhaban Architectural lighting design is a field within architecture, interior design and electrical engineering that is concerned with the design of lighting systems, including natural light, electric light, or both, to serve human needs. The aim of lighting design is the human response, to see clearly and without discomfort. The objective of architectural lighting design is to further the design of architecture or the experience of buildings and other physical structures.

Piersol, 11. Tall Trees at Night is one of Kipniss's many mezzotints that view trees fairly close up at dusk or night and show a play of light upon them. The characteristics that became increasingly prominent in his mature work, his concern with capturing the essence of form and with even more subtle light effects, are clearly apparent. The trees in Kipniss's mezzotints have an especially strong purity of form when only their trunks are depicted.

Despite its everyday subject, the painting is one of Anna Ancher's most captivating masterpieces with its many shades of blue and the sense of tranquility it conveys. Devoid of action, the theme is essentially the play of light in the room. The only indication of the outside world is the light streaming through the window. Mette Bøgh Jensen, curator of Skagens Museum, explains that Anna Ancher's interior paintings are "more about the colour and light than anything else".

The scale of the work is refined, using smaller threads and needles that allow the use of detailed and complex patterns. Quilts with heirloom machine quilting usually include background quilting which fills the negative space around the designs with dense stitching. This creates contrast between the curvilinear shapes and the flattened background space using stippling, echo quilting, repeated patterns, or geometric grids. The intricate quilted designs produce three dimensions on the surface of the quilt through the play of light and shadows.

Matinloc Island Matinloc Island, the longest slim island in El Nido, has a secret beach, which is a pocket of white sand beach at the corner of a sinkhole, that is inaccessible by boat and surrounded by steep rock walls. To reach it, divers must swim underwater through a narrow crevice in a rock wall. At noon, the sun streams in through the opening, allowing a play of light and shadow against its limestone walls. The beach floor drops abruptly.

The Denial of Saint Peter is a painting by Hendrick ter Brugghen, a member of the Dutch Caravaggisti, depicting Saint Peter's thrice denial of Christ as recounted in all four Gospels. It is thought to have been painted after 1625, and thus in the last three years of Ter Brugghen's life; he died in 1629. The painting shows a marked departure from Ter Brugghen's earlier painting in its emphasis on play of light, its baroque quality and a resolved sensibility.

The tight confines of the wall contrast with the volatility caused by the play of light and shadow; the bizarre collections make the images exuberant and cheerful. In 1989 Geelen was awarded the Charlotte Köhler Award, In 2000 he received the Dr. A.H. Heineken Prize for Art. for his unorthodox way of applying the traditional material of clay, giving the field a fresh impetus. Several works by Geelen have been added to the collection of Museum De Pont in Tilburg.

View of the station platform from the stairs Platform view U-Bahnhof Platz der Luftbrücke, 1988, facing south towards Alt- Mariendorf (right side of platform). Northbound is left side of platform towards Alt-Tegel via Friedrichstraße The station was designed by Alfred Grenander. For topographic reasons, it lies unusually deep underground and the station was therefore constructed with an unusually high vault and long platform. Grenander made exceptionally expressive use of the play of light and shadow in the vaulting and its supports.

Anton Braith became an important mentor for him there. In the early 1880s, he was attracted to the rural scenery in the Dachau District and began to paint outdoors, placing his subjects in a broader landscape setting. Studies undertaken along the Dutch and Belgian coastline in the early 1890s confirmed his attraction to Impressionism, which he had encountered at exhibitions in Paris. From that point on, atmospheric reflections and the play of light and shadow were his primary concerns, while details were subordinated.

Gold leaf is only used for the seven rays coming in from the left; paint is used for all the gold on Gabriel, often worked wet-on-wet to achieve the textural effects of his brocaded clothes. In a shadowy area behind the stool van Eyck worked a glaze with his fingers.Gifford p. 1 The play of light over the many different textures in the painting is brilliantly rendered, and the illusionistic detail, especially in Gabriel's rich costume, is exceptional.

The Journal Tony Jones called it "a visible but under-rated symbol of regional identity". David Brandon described it in The Guardian as an "extraordinary... symbol of the Earl of Durham's insanity and county pride". The Northern Echo Chris Lloyd compared Penshaw Monument to the Angel of the North, calling both "beautifully pointless". Tony Henderson, also of The Journal, wrote that the lack of roof and interior walls "has been to the advantage of the monument as it allows the dramatic play of light among the columns".

A complicated play of light and shadow is one typical of his creative work peculiarities due to which he rendered to us mysterious and multi-sense atmosphere. As for portraits they are also all light and tenderness. With the help of typical of him dark colors, using light and shadow contrast, he succeeded in creating wonderful images. Karo Mkrtchyan created also a number of remarkable canvases-group portraits imbued with harmony between a man and surrounding him world, rendering his affection towards time, color and mankind.

Play of light inside the building Before its completion, the first and second Parliaments used the Old Sangsad Bhaban, which currently serves as the Prime Minister's Office. Construction was started in 1961 when Bangladesh was East Pakistan, led by Ayub Khan from the West Pakistan capital of Islamabad. As part of his efforts to decrease the disparity and secessionist tendencies of East Pakistan, Khan aimed to make Dhaka a second capital, with appropriate facilities for an assembly. Jatiya Sangsad was designed by Louis Kahn.

In every work of art, Petley incorporates a play of light and shadows. As he moves from his natural medium of oil to watercolour or pastel to sanguine, there remains a certain youthful light emanates from his paintings. A plein air painter, his works reflect his surroundings - from the quiet beaches of Norfolk and the picturesque parks of Paris, to his subtle nudes draped with sheets and sunlight. He captures the romanticism of days gone by, with nary a modern automobile or electrical appliance blemishing his canvas.

In Muslim architecture, the exedra becomes a mihrab and invariably retains religious associations, wherever it is seen, even on the smallest scale, as a prayer niche. Both Baroque and Neoclassical architecture used exedrae. Baroque architects, (for example, Pietro da Cortona in his Villa Pigneto), used them to enrich the play of light and shade and give rein to expressive volumes; Neoclassical architects, to articulate the rhythmic pacing of a wall elevation. The interior exedra was richly exploited by Scottish neoclassical architect Robert Adam and his followers.

The exterior features several spires built of stone The cathedral's exterior is composed of white brick and Ohio sandstone. Several layers of brick in the facade create strong, square inset designs around the lancet windows of the clerestory. This allows for a play of light and shadow that dramatizes the heaviness of the wall, and was the effect of emphasizing the wall's depth by partially cutting into it. The spires are built of stone and decorated with pinnacles and dormers, and ball flower ornaments atop the pinnacles.

Ted Cox of the Chicago Daily Herald agreed that animated motion was sometimes "remarkably uneven", but lauded realistic imagery like "the play of light on the ocean". TV Guide also found the animation somewhat flat, but considered the sound effects and backgrounds to be state-of-the-art. The show's sound was warmly received by the industry. Episodes "Nuclear Netherworld" and "Alien in Washington" were nominated respectively for music and sound editing Golden Reel Awards in 1997, and the entire series was nominated for an animated sound editing Golden Reel Award in 1998.

Additionally, the south and west walls of the building deflect direct summer sun with a travertine fin-wall and brise soleil shades that don't obstruct views. The entire travertine façade is illuminated with fluorescent lights, emphasizing even at night the play of light and shadow that is integral in the building's design. The building interior receives even more late as its surface is perforated with smaller atria, inset into the office bars and allowing for views through the building. The building is framed in steel and concrete composite.

The lantern structure houses the Poly Museum, whose goal is to repatriate China's cultural antiquities and whose collection bronze antiquities is one of the foremost in the country. It is referred to as the lantern for its resemblance to a pleated Chinese lantern. The glass pleats increase reflection and refraction in the atrium and building exterior, while interior bronze walls contain the exhibition spaces of the museum. Public walkways between the glass and bronze walls bring the play of light and shadow to the interior of the hanging structure.

Her father was likely encouraged to train Anna by his brother Charles Willson Peale who, with William Rush, co-founded the first American art academy, the Pennsylvania Academy of the Fine Arts (PAFA). Anna served a five-year apprenticeship with her father, in whose studio she was later joined by her sisters Sarah Miriam and Margaretta Angelica. Anna must have been about sixteen when she painted Girl with a Book, circa 1807. This portrait communicates the artist's pleasure in the act of painting, which is revealed in a lambent play of light on the figure.

Smaller scale works are assembled in metal stands or hung in such a way as to reflect and capture the light. In her large-scale work, the viewer can enter the piece and experience the play of light, observing how this transforms a sculptural interior into a spiritual one. The effect is described in the essay by Albert Ruetz in the catalogue accompanying the Cairo Biennial XII. “Light and the passage of time turn the delicate lattices into translucent assemblies that are constantly created anew, evoking a most varied range of emotions.

IIMB is in the process of setting up its second campus on the outskirts of the city near Jigani in Anekal. Architecture One of the masterpieces designed by the famed architect, the inspiration for the design of IIMB was gardens and temples. Long corridors meander across lawns, and sunlight shines through pergolas into various parts of the building, creating a play of light and shadow. The design of IIMB is a shining example of sustainable architecture and an eco-friendly campus design with locally available granite being the primary building material.

Legorreta was a disciple of Luis Barragán and carried Barragan's ideas to a wider realm. Barragan, in the 1940s and 1950s amalgamated tradition and the modern movement in architecture yet his work is mostly limited to domestic architecture. Legorreta applied elements of Barragan's architecture in his work including bright colors, play of light and shadow, and solid Platonic geometric shapes. One of the important contributions of Legorreta has been the use of these elements in other building types such as hotels, factories as well as in commercial and educational buildings.

Due to the wealth and variety of geomorphological forms, vegetation, and the various effects caused by the play of light on the whirlpools, Skradinski buk is considered to be one of the most beautiful calcium carbonate waterfalls in Europe.Naklada Naprijed, The Croatian Adriatic Tourist Guide, p. 103, Zagreb (1999), Krka NP Croatia - waterfall The rate of flow is 43 m3 a second in winter, 18 m3 in summer, with an average of 55 cubic metres a second flowing down Skradinski buk annually. It is the largest travertine cascade system in Europe.

Architect Ely Jacques Kahn commented in 1926 on the emerging style that his brethren were creating with their buildings: > [It] is so characteristic of New York that it would be more logical, by far, > to call it a New York Style. [...] Decoration becomes a far more precious > thing than a collection of dead leaves, swags, bull's heads and cartouches. > It becomes a means of enriching the surface with a play of light and shade, > voices and solids. [Today's ornamental forms] respond to the bulk and > simplicity of the skyscraper itself.

She is best known for several series that have been termed "light-poetry" and which she called "Light Drawings" in which she investigated light as a central subject. She made a number of light paintings by tracking the movement of lights at amusement parks, and another group of images centered on distorted reflections of objects like eggs. There is also a series of images, "Light Patterns," made by photographing the play of light on sheets of paper suspended inside a custom- designed box. She also experimented with solarization and with ferrotype plates.

In 1980 Williams visited New York and London, and saw the exhibition A New Spirit in Painting at the Royal Academy, London, and other important exhibitions in New York, Washington, D.C. and Los Angeles. Upon his return he began to make paintings with thickly encrusted paint and simpler compositions. However, the interest in perception continued, as the raised paint surfaces and layering of colours generated a play of light and shadow. Williams was part of the Seven Painters/The Eighties exhibition that toured New Zealand during 1982–83, starting at the Sarjeant Gallery in Whanganui.

The effectiveness of a pattern depends on contrast as well as colour tones. Strong contrasts which disrupt outlines are better suited for environments such as forests where the play of light and shade is prominent, while low contrasts are better suited to open terrain with little shading structure. Terrain-specific camouflage patterns, made to match the local terrain, may be more effective in that terrain than more general patterns. However, unlike an animal or a civilian hunter, military units may need to cross several terrain types like woodland, farmland and built up areas in a single day.

In treating themes of death and dying, Poussin revealed himself at his most ambitious, consciously pitting himself against no less an artist than the ancient Greek painter Apelles who was, Poussin wrote, "[much] pleased ... to represent scenes of death." Today, the sobriety and control of Poussin's paintings can seem difficult, or remote, to audiences. But in Extreme Unction subject and style are so perfectly aligned that Poussin's stark, lyrical, line, and controlled play of light and shadow bring out the full depth of emotion that marks this momentous scene. Death remains one of the last great taboos in much of the developed world.

Film Threat wrote that aspiring filmmakers should seek out this film in order to "gain inspiration from what cinematographer Will Sargent and director Brad Saville achieved from behind the camera." They felt that in black and white, the film offered "a series of bold, artistic compositions that uses monochromatic hues to create an extraordinary play of light and shadows" and a "striking visual style". They praised the use of camerawork that "brilliantly" mirrored the interplay of its characters. However, it was found that the filmmakers tended to dwell on certain scenes or camera angles too intently to be completely successful.

But the jewellery was commissioned to Kurtz. He was, therefore, considered an outstanding jeweller. In 1670–1671 he made his principal piece of work, Crown of Christian V. The closed shape was inspired by the crown of Louis XIV of France, but Kurtz replaced the lily- shaped points of the French crown with palmettes and adorned the crown with a row of diamonds intertwined with palmette and acanthus. In that way a "white" play of light was created, which was framed by blue and red in the sapphires and garnets of the crown ring and the blue monde and cross in the top.

The sea's energy—its still moments, its beauty, its sense of danger—offered the youthful Coons a kaleidoscope of images. Unconsciously, the observing eye of the artist within was storing away an inventory of memory, of the sea in all its capricious shades, the play of light or shadow on water. Several times every year, the family returned to Bishop, California in the Owens Valley, to visit relatives. In 1946, at the end of his sophomore year in high school, Richard asked his parents if he could live with relatives in Bishop while finishing high school.

An argument has been made that shot silk was also described as purpura at this time, the Latin word mainly applied to purple although there are multiple references to purpura being red, green and black-and-red, as well as "varied". Purpura is also used to mean iridescence and the play of light, and contemporary descriptions exist indicating that the textile purpura was a type of silk distinct to other silks in assorted colours. It has also been suggested that illuminations in the Lindisfarne Gospels of c.700 show garments of shot silk being worn by the Four Evangelists.

He was initially a follower of the leading Antwerp flower painters Daniel Seghers and Jan Brueghel the Elder.Hieronymous Galle I, Roses, peonies, poppies, carnations, guelder roses and other flowers in a sculpted terracotta vase on a stone ledge at Christie’s While Seghers generally bathed his flowers in full light, Galle more typically relied on an animated play of light and shade in his compositions. In his palette he showed a preference for salmon-pink tonalities. In comparison to Seghers, Galle’s work is more modern and his floral compositions are more dense and more picturesque in their conception.

The dominance of the Sicilian upper class was over. Illustration 19: Palazzo Ducezio at Noto As with the early days of Sicilian Baroque, the first buildings of the new neoclassical era were often copies or hybrids of the two styles. The Palazzo Ducezio (Illustration 19) was begun in 1746, and the ground floor with arcades creating play of light and shadow is pure Baroque. However, when a few years later the upper floor was added, despite the use of Baroque broken pediments above the windows, the neoclassical French influence is very pronounced, highlighted by the central curved bay.

These paintings were typically large, multi-panel works. Noted Australian poet and art critic Gary Catalano, wrote: "Too little of the art I see forces my eye to change gear, and I like Sumberg's paintings for just this reason".Gary Catalano, The Age, 6 June 1987 Later work saw her largely dispense with the depiction of discrete forms and spatial discontinuities as atmospheric unity and drama assumed a greater importance, particularly the play of light and colouristic intensity. Outlines became less distinct and were subsumed by the overall atmospherics and an increasingly lyrical yet highly considered paint handling.

Anna Ancher (née Brøndum) was a member of the group of artists known as the Skagen Painters, an artistic colony that grew up and flourished in the fishing village of Skagen in the far north of Jutland from the 1870s into the early 20th century. She was the only member of the group to be born in Skagen; her father kept the local general store and hotel. Ancher is regarded as one of Denmark's greatest pictorial artists; many of her works concentrate on the play of light in domestic scenes, but she is also known for religious themes and her studies of her ageing mother.

Seaton Delaval Hall was Vanbrugh's final work, this northern, seemingly rather bleak country house is considered his finest architectural masterpiece; by this stage in his architectural career Vanbrugh was a master of baroque, he had taken this form of architecture not only beyond the flamboyant continental baroque of Castle Howard, but also past the more severe but still decorated Blenheim. Ornament was almost disguised: a recess or a pillar was not placed for support, but to create a play of light or shadow. The silhouette of the building was of equal, if not greater, importance than the interior layout. In every aspect of the house, subtlety was the keyword.

She often painted with acrylics, which was uncommon for painters of her time, and used tape to define the edges of her shapes. “My paint application was uniform, that is to say that no brush strokes were evident, creating impeccable, flat surfaces. Thus there would be no distraction from the intent, which was to create an interplay of ‘colorforms.’ Jules (Langsner) used this term to mean that color and form are one.” Her work evolved to include curves, loops, and networks of lines that flirted with Op-Art, sometimes painted with metallic paint to accentuate the play of light on the surface of the canvas.

Bewegungsstudie c. 1927 Koppitz's work is marked by a pronounced awareness of form, line, and the surface play of light and shadow. Early in his career, Koppitz was known for staging groups of subjects in the style of the Vienna Secession, the most well known example of this being his Bewegungsstudie, "Motion Study". Bewegungsstudie's languid nude, elaborately robed women and undeniable sensuality, in the context of its rigorous and artistic composition, bring to mind the sexual morbidity of Viennese artists like Gustav Klimt and Alphonse Mucha, as well as the Swiss symbolist painter Ferdinand Hodler and has made it as unforgettable then as it is today.

Today he is mainly remembered for his many technically accomplished portraits, though his ambition most of all ran towards a refined fusion of portrait, genre scene and allegorical history painting. His technical virtuosity is particularly visible in his depictions of the play of light cast from an obscured source and the resulting shadows. His main works include several portraits of his fellow artists such as Ditlev Blunck and Christen Christensen (both in the Danish National Gallery, a scene from the Academy's anatomy class, as well as the group portraits "A Tobacco Party" (Ny Carlsberg Glyptotek) and "Artist in the Evening at Finck's Coffee House in Munich" (Thorvaldsens Museum).

Corot made frequent visits to the area in the 1850s to study the effects of light and reflection on water. In Souvenir de Mortefontaine Corot was not producing a scene from life, but (as the title suggests) his recollections of his visits and the play of light on the ponds in the village. Corot produced a second similar painting, The Boatman of Mortefontaine (1865–70), which shows the same lake and trees from the same perspective. Changes in the features of the landscape in The Boatman from those depicted in Souvenir hint at the paintings being generalised impressions rather than details captured from life.

In 1721, he was named master of the cathedral of Toledo, for whom he constructed the famous Altarwork, the Transparente (1721–1732), and example of the elaborate Spanish Baroque. El Transparente, derives its name from the play of light on the altar, and is several stories high, with fantastic figures of stucco, painting, bronze castings, and multiple colors of marble, a masterpiece of Baroque mixed media by Narciso Tomé enhanced by the daily effect for a few minutes of a shaft of sunlight striking it through an appropriately oriented hole in the roof, giving the impression that the whole altar is rising to heaven.

Eventually she began to use Plexiglas mirrors (Mirrorplex) which allowed the resin to stick. Art critic Julie Sasse writes of these pieces, "Whereas her earlier easel paintings relied on color and light, these new works created their own emanating glow ..." Pierce's experimentation with the physically arduous process of pouring resin continued. Layer upon layer of transparent resin was poured over the mirrored surface, which allowed for a depth and play of light to work through the color (or absence of color such as in her white or black pieces) within the resin. In some of the pieces she added milled fiberglass to the resin to increase its opacity.

It was Morinoue's seemingly abstract paintings of calm water on textured wood or woodblock prints that propelled him to prominence. The play of light on pebbles at the bottom of a creek or pond, bubbles, ripples, or the reflection on the surface of water are combined with a Japanese sense of balance and design in intense shades of aqua, black and blue creating art of refined, serene elegance. Subsequent works show a trend towards abstract art, experimentation in warmer palettes, rougher strokes, various subject matters and media such as ceramics and photography. Hiroki Morinoue can be seen in several public and private collections in the USA (particularly in Hawaii) and Japan.

His altarpieces from the 1640s, such as the Assumption of the Virgin (Pinacoteca di Brera, Milan), demonstrate his interest in Anthony van Dyck. An outstanding example from this period is The purification of the Virgin (1645, Museo Civico, Piacenza). Nuvolone was also active as a portrait painter working in the Lombard style with its penchant for a strikingly detailed portrayal of the sitter's features and garments and a lively depiction of the play of light and shadow. These portraits also show influences from portrait painting in Genoa, which in turn was influenced by the Flemish portrait painters such as van Dyck who had resided there.

90 (550) Aug 1861 Page 211:'"The Shrew Tamed" – a high-bred horse of soft silken coat, dappled with play of light and shade as on velvet, subdued by a "pretty horsebreaker", is certainly unfortunate as a subject. This picture has been made the more notorious by "The Belgravian Lament", which took the well-known rider as a text whereon to point a moral. We hope it will now be felt by Sir Edwin Landseer and his friends that the intrusion of "pretty horsebreakers" on the walls of the Academy is not less to be regretted than their presence in Rotten Row.' The picture gained the alternative title of The Pretty Horsebreaker.

90 (550) Aug 1861 Page 211:'"The Shrew Tamed" - a high-bred horse of soft silken coat, dappled with play of light and shade as on velvet, subdued by a "pretty horsebreaker", is certainly unfortunate as a subject. This picture has been made the more notorious by "The Belgravian Lament", which took the well-known rider as a text whereon to point a moral. We hope it will now be felt by Sir Edwin Landseer and his friends that the intrusion of "pretty horsebreakers" on the walls of the Academy is not less to be regretted than their presence in Rotten Row.' Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it.

In her 1950 work "En su propia cárcel" (In Her Own Prison), she used the cross-hatched shadows as an allegory for prison bars, trapping the young woman who leaned on a windowsill. In both "Tríptico del martirio" (Tryptych of Martyrdom, 1949), a series of photographs of prostitutes, and an untitled photograph of a masked gay rights activist (1982), Álvarez used the play of light and shadow to suggest erotic tension, as well as a social critique by obscuring the faces in darkness. One of Lola Álvarez Bravo's photographs that encapsulates her recurring theme of motherhood in Mexico is her striking photo De Generación en generación (Generation to Generation, ca. 1950), a gelatin silver print.

The Baroque style of the church is evident in the conformation of the external mass, located along the Grand Canal: the octagonal body, covered by a large dome, is flanked by the crown of the shrine and two bell towers. Longhena also worked within civic architecture; its Ca' Pesaro presents a seemingly conventional plan, but the play of light and shadows that are set on the richly ornate façade leads to a typically Baroque style. In any case, the exasperation of Loghena's plastic art details peaked in the façade of Santa Maria dei Derelitti (completed in the 1670s), decorated in a fancy and rich way with atlantes, giant heads and lion masks.

Griselda Pollock declares the painting one of the most radical images of childhood of the time. Germaine Greer calls it Cassatt's first real stunner: "As an icon of the awfulness of being at once controlled by adults and ignored by them, this bold work could hardly be bettered", a view echoed by Ben Pollitt in his description of the painting as capturing the huffing and puffing tiresomeness that a child feels within the social constraints of an adult world. John Bullard likens the chairs to bump cars at an amusement park. The portion Degas worked on was probably the oddly-shaped patch of floor between the chairs, as well as the play of light through the windows.

The broadside begins by orienting the viewer to the scene as a whole: The Icebergs' play of light is highly detailed, with the afternoon sun somewhere at left casting shadows in blues, purples, and pinks, and the ice and water interacting in complex reflections, especially by the grotto. The viewer's eye is less likely to move vertically, from foreground to background, as it would in most landscape paintings, than to zig-zag. The likely starting point, the ship's mast, seems to point to the boulder and grotto at right, which in turn is oriented toward the large iceberg dominating the background. The boulder and ice around the grotto are painted with impasto, while Church otherwise conceals his brushstrokes.

He was, therefore, considered an outstanding jeweller. In 1670–1671 he made his principal piece of work, Crown of Christian V. The closed shape was inspired by the crown of Louis XIV of France, but Kurtz replaced the lily-shaped points of the French crown with palmettes and adorned the crown with a row of diamonds intertwined with palmette and acanthus. In that way a "white" play of light was created, which was framed by blue and red in the sapphires and garnets of the crown ring and the orb and cross in the top. After the death of Kurtz his studio was continued by his wife and his son Frederik, who was commissioned as Court goldsmith in 1676.

They also helped to prevent broken lines in the performance so that the outstretched arms were always connected with the body, escalating the effect of fluid movement, and oftentimes, a cape or a cloak was worn to emphasize the lines of the body in certain poses. This highlighted the continuity of surface of line and form in the body of the performer to emphasize the unity, simplicity, and continuously flowing movement from one part of the body to the next. The hair was worn in a natural, loose, and flowing fashion. All of these properties blended together to allow an extensive play of light and shadow to reveal and accent certain parts of the body during the performance while covering others.

A "manifesto" was drawn up by Cecil and signed by all six attendees who pledged "to work and to advance pictorial photography and to show our own Australia in terms of sunlight rather than those of greyness and dismal shadows". This established what was known as the ‘sunshine school’ of photography. The style of pictorialism practiced by Australians was "concerned with the play of light, sunshine and shadow, and the attention to nature and the landscape, and had an affinity with the Heidelberg School of painters."Art Terms explained Art Gallery NSWGael Newton "Silver and Grey: fifty years of Australian photography 1900 - 1950", Sydney: Angus and Robertson, 1980 During the war Harold Cazneaux used Bostock's Phillip St. studio in Denman Chambers while Bostock was away.

Thickly painted and sanded many times so that the color became like a skin molded by and integral to the bumpy structure beneath, these works, called Tablets are distinguished by a play of light and shadow on the surfaces that provides an organic sense of movement. Her show at Pace Gallery also coincided with the beginning of her “paperfolds” (the term she uses for her works of folded paper). When asked to design an announcement for the show in N.Y.C., she spontaneously made seven folds on a sheet a paper, opened it up and handed it over as the flyer. From that point on, folding paper became an important part of her creative process. In 1964, Mikus showed with Pace Gallery in New York City.

Of Austrian origin, Cipper was working in Milan in the first half of the 18th century. A highly productive painter of landscapes in the caravaggesca manner, his first attributed work is dated 1700; he operated in Lombardy and in the Veneto (see for instance his Hunters and greengrocers, at the Gallery Campori, Modena; and his Family of peasants at Venice in the Galleries of the Academy). Subsequently, the artist, perhaps under the influence of the Giacomo Ceruti (some of whose works were once attributed to him), moved away from the scrupulous observation of detail, replacing it with a less representational vision, one more sensitive to the play of light. His last known work is Self- portrait (1736), now at Hampton Court Palace.

In 1857/58 Boudin befriended the young Claude Monet, then only 18, and persuaded him to give up his teenage caricature drawings and to become a landscape painter, helping to instil in him a love of bright hues and the play of light on water later evident in Monet's Impressionist paintings. The two remained lifelong friends and Monet later paid tribute to Boudin's early influence. Boudin joined Monet and his young friends in the first Impressionist exhibition in 1873, but never considered himself a radical or innovator. The Beach near Trouville, circa 1865 Both Boudin and Monet lived abroad during the Franco-Prussian War of 1870–71, Boudin in Antwerp and Monet in London; from 1873 to 1880 the Boudins lived in Bordeaux.

The work shows various members of what Krøyer referred to as the "guild" of Skagen Painters: a group of Danish, Norwegian and Swedish artists who formed a loose community in Skagen at the northern tip of Jutland in the 1880s and early 1890s. Hip, Hip, Hurrah! is typical of the work produced by the Skagen Painters; very much in the style of the French Impressionists and Naturalists, it celebrates the play of light in the scene (and in composition and subject draws obvious comparisons to Renoir's Luncheon of the Boating Party),Berman p. 135. but at the same time it harks back to the freundschaftbild tradition of artists of the Danish Golden Age such as Ditlev Blunck and Wilhelm Bendz in depicting artistic communities spontaneously drawing together.

The work was first displayed in the Great Gallery The album played on a loop at Haneda's Terminal 2 for days prior to its commercial release The music was originally commissioned alongside work in the Great Gallery of the Palace of Venaria in Turin, Italy. To promote the album, Eno attended listening parties in London, New York City, and Sydney. Following in the tradition of Music for Airports, the album was previewed in Tokyo's Haneda Airport for four days prior to the album's commercial release. On 17 November, Eno curated a "Day of Light" promotion on his website where users were encouraged to submit digital photographs under the theme of "play of light" and he chose which photos to display to accompany a live stream of Lux.

The play of light, the fleeting mood of a landscape, always such challenges to the artist, he strives to capture simply—not by literal transcription but with a warmly understanding interpretation." On passing the age of 80 in 1954 he continued to paint and exhibit, including a show of work made during the trip he made to Israel to meet with Ben Gurion and others. Regarding one of these shows, a New York Times critic, Stuart Preston, praised the emotional power of his mountain landscapes and his landscapes showing the devastation that he imagined would result from atomic war, but he was less enthusiastic about their artistic value. He wrote, "The very humanity of Rosenberg's feelings goes far to excuse the esthetic shortcomings of the paintings.

A man from Oettingen in Bayern named Xaver Siegwart, the youngest of five siblings, has grown up on the banks of the Danube after the early death of his mother. Restless and active as a boy, excited at the idea of becoming a hunter like his father, he becomes an impressionable youth, in love with silence and the natural world. He accompanies his father to a Capuchin monastery where he is visiting his friend Father Anton. After walking through a beautiful wood, they arrive just as the sun is setting among the oaks, and the impressions made by the play of light on wet cobwebs, the sounds of the bells, and the saintliness of the monks, lead him to religion.

However the terrace's design had much derived from West Country vernacular architecture by comparison to Prior's initial unexecuted designs for cottages and an hotel at West Bay. Prior's interest in materials and his understanding of their use in combination with experiments in volume and massing came to the fore at West Bay, anticipating his later mature work. He used materials carefully, with bands of differing textures and materials emphasising the horizontal plain, breaking up the massive warehouse like volume of the building. The combination of experimentation with volumes, such as cutting the entrance arches out of the eastern facade and materials, the overhanging storeys, projecting eaves and bays demonstrate Prior's interest in the play of light and his understanding of shadow.

The 1980s buildings, which are located between re residences and the dormitories, utilised the same elements as the original Colonial buildings and serve as an important visual and physical link between the dormitories running along the ridge and the "Carinya" dormitory and the maintenance building further to the west. Whilst many of the education buildings, which are standard Department of Education demountable classrooms, depart from the themes outlined above, they are generally placed in discrete groups which are screened from the main buildings by vegetation. All buildings are single-storeyed, giving the site a low and spread out appearance. Ornamentation is almost totally lacking on all the buildings, which therefore rely on form and play of light and shade for total effect.

Gradually the representational has made way for pictures that happen without planning, intuitive images that could be read as abstractions, as less representational, less reliant on meaning and understanding, more inclined to be felt, to be experienced. In Meyersfeld’s recent collection of images the volume of the external world have been turned down in order that both the artist and the viewer could hear and feel the silence. His recent pictures “require a different type of eye, not the eye indoctrinated to understand, to fathom, to find a narrative. With an eye liberated from the dominant quest to find and attach meaning, more faculties, other than just the cerebral, are employed to sense and experience form, shape, texture, play of light, distance, connections and conversations between the photographs” (Johan Myburg, 2018).

Focus on the quadrangle is retained, and intensified, by the central placement of the College chapel with its dramatic spire, and by the encircling colonnades that serve as the primary circulation between the main campus buildings, providing shade and shelter from conditions on the exposed ridge. The central placement of the chapel divides the quadrangle into two, more intimate, courtyard spaces, each assuming a different character through modelling of the ground plane. The quadrangle is unified by the simple repetition of forms and structure, enhanced by the play of light and shadow, and by a limited palette of locally sourced materials; brick, timber, and terracotta tile, all chosen for their textural qualities. The rendition is reminiscent of traditional Japanese architecture, yet the selection of materials and their crafting is distinctly derived from local rural traditions.

They appear unselfconscious, at ease in their environment, and—with the possible exception of the boy to the bottom right—are locked in a pensive and solitary reverie. Horizontal and vertical lines at the middle and far distance contrast with arched backs and the relaxed postures of the figures toward the front. These postures, angles of heads, directions of gaze, and positions of limbs are repeated among the figures, giving the group a rhythmic unity. Distinctively coloured forms in close proximity, such as the grouping of horse-chestnut colours of the clothes on the bank, and the grouping of oranges of the boys in the water, add to the stability of the work—an effect reinforced in the cluster of shadows to the left on the bank, and the un- verisimilar play of light around the bathing figures.

Corot's early painting showed Realist leanings, but as his career progressed he began to combine more Romantic elements, and his works are often viewed as a bridge between Realism and the evolving Impressionist movement. Souvenir de Mortefontaine verges on the Impressionistic, with the lake and landscape captured by broad rather than detailed strokes and Corot's careful attention to the play of light within the scene, though the brushwork is precise and the painting has a more muted palette than the bright colours favoured by the Impressionists. The indistinct features are reminiscent of the blurry details of early landscape photography; Corot had a large collection of these photographs and may have been attempting to recreate the effect in paint. The Boatman of Mortefontaine (1865–70) Souvenir de Mortefontaine (detail) Mortefontaine is a small village in the Oise département in northern France.

A play of light and space is created by varying ceiling heights and vistas During initial surveys of the site, it was discovered that it sat directly above the seam of chalk which runs from Kent to Norfolk; this inspired the architect to use flint (a sediment of chalk) and limestone as the principal building materials. Dezeem Mini-Living by Amy Frearson Retrieved 23 August 2018 Despite an abundance of the stone lying naturally on the Waddesdon estate, it was decided to use stone sourced from quarries in Norfolk. The knapped flints were then graded into six almost imperceptible shades, to create bands of colour in the walls, changing from the darkest flint at ground level to the lightest chalk at roof level. This seemingly naturally occurring colour scheme of stone creates an artful illusion of the building blending into the frequently grey skyscape against which it stands.

Van der Hamen probably began painting floral arrangements in response to the flower pieces of Flemish artists, such as Jan Brueghel the Elder, who were regarded as exemplary masters in the field and whose works were much sought after in Spain. One good example of his work as a flower painter is his Offering to Flora,Offering to Flora is in Prado Museum, Madrid a visual poem that parallels the lyric verse of his time, in which he united his skills as portraitist and flower painter to produce one of the most beautiful paintings of the allegory of spring. The large canvas, painted in 1627, shows the goddess of the flowers seated besides a cornucopia of spring flowers. The painting adopts a Flemish compositional type and reveals an interest in the play of light on iridescent fabrics that probably derived in the style of Juan Bautista Maino.

Claude Vermette also felt the need to pursue research that initially evolved into the creation of small- scale ceramic works where he experimented with new forms, textures and glazes and later also included engravings, sculptures and especially painting. He was further distinguished by mastery in engraving, taking advantage of relief materials that linked the play of light: evidenced by its white on white prints and art book Blanc-Seeing when it operates in its many variations, the latter accompanied by texts by the poet Eugene Cloutier. These prints have inspired the realization of small sculptures. The artist uses his experiences as game textures, reliefs and light of his prints into white concrete works, thereby making the building for the Caisse populaire Laurier in Ottawa a dozen bas-reliefs of white concrete, large and small dimensions, varying textures, thicknesses and relief printed to the material.

Ingo F. Walther, Masterpieces of Western Art: A History of Art in 900 Individual Studies from the Gothic to the Present Day, Part 1, Centralibros Hispania Edicion y Distribucion, S.A., 1999, Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. The Impressionists, however, developed new techniques specific to the style. Encompassing what its adherents argued was a different way of seeing, it is an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style.

Gabriel Fauré in 1905, photographed by Félix Nadar J. B. Steane reviewed the album on LP in Gramophone in March 1983, comparing it with other performances of Fauré's songs by Dame Janet BakerBaker, Janet: A French Song Recital, with Gerald Moore (piano), EMI LP, ASD-2590, Anne-Marie RoddeFauré, Gabriel: Mélodies, with Anne-Marie Rodde and Théodore Paraskivesco (piano), Calliope LP, CAL-1846 and Dame Maggie TeyteTeyte, Maggie: L'Exquise, EMI LP, RLS-716. "Notre amour", he wrote, exemplified the "fine and seemingly spontaneous play of light and shade" that Frederica von Stade brought to the composer. In the song's first line, "Notre amour est chose légère", the love celebrated by Armande Silvestre's merry lass was "light as air", "lifted by a gauze of finest weave in the hands of the sylphs". "Notre amour est chose charmante", the mélodie continued, and the charm of that love was equalled by the singer's and the song's.

London's Art-Journal wrote, "No work of its class has ever been more successful: it is truth, obviously and certainly. Considered as a painting, it is a production of rare merit: while admirable as a whole, its parts have been carefully considered and studied; broadly and effectively wrought, yet elaborately finished."Metropolitan Museum of Art, 243–246Howat, 73–74 Famed art critic John Ruskin was impressed, as reported by Church's friend Bayard Taylor: "The exhibitor told me that Ruskin had just been to see it, and that he had found effects in it which he had been waiting for years to find." Ruskin was said to have marvelled at the rainbow, believing at first that the play of light through a window was projected onto the canvas. In September 1858 Niagara returned to the United States, where, after another New York showing, it travelled to Washington, D.C., Baltimore, Richmond, and New Orleans.