The silver mist evaporated completely, revealing the newly transformed clay woman. There she laid, a beautiful, human woman, with rich, caramel hair and skin the colour of a sunset. As he watched in awe, markus heard the softest expulsion of air. Pick one of these options and start writing! Short Story Prompt: Mom handed me a bag of old clothes and asked, "Can you put homework this in the attic?" I shuffled upstairs and plopped the bag on the floor. I was about to go back downstairs when something caught my eye. It was the most beautiful box I had ever seen! I had to open it!
Returning to the worktable he slipped the parchment between the parted lips of his clay creation, and stood back. Nothing happened for two excruciating minutes, and Markus heart began to sink, believing his plan to have failed. But just as he had given up hope, his model began to change. First, the surface of the clay began to blur and warp, releasing a silver mist that enveloped the figure. The table upon which she lay began to vibrate violently, until Markus thought the wooden legs would splinter from the stress. Clay limbs jerked erratically through essay the fog, and he watched as the deep brown of the surface started to fade and soften, downy hairs becoming visible on the arms. As suddenly as it had started, the alarming process halted.
He could not risk a single inkblot. Markus searched for the place where he would draw the final symbol, completing the incantation. For a moment the nib hovered over the spot in hesitation. After this, he could not turn back. But why would he want to? He would never have to be alone again. Taking a deep breath, he scratched two bold, perpendicular strokes; then promptly dropped the quill in surprise. What had once been plain black ink glowed and shimmered through a range of bright colours, before settling on pure gold. Markus quickly rolled the parchment into a neat cylinder; it felt warm to the touch.
The little girl - wikipedia
The corners of his eyes tightened as he surveyed her face one more. Perhaps he had made her too much like but. She had no flaws. Life seemed to emanate from her still essay form; however Markus knew he would not be satisfied until she truly lived. Years before this moment, he could not have even conceived such a thing was possible. But now, everything had changed. He was a different person, uncharacteristically filled with purpose and passion.
So strange but his mind would not allow him to dwell. Emotion rose in his throat as the gravity of what he was about to do took hold. Taking a roll of yellowed paper from inside his coat, he smoothed it flat with trembling hands. Markus held the parchment as close to the diminishing candlelight as he could without damaging the intricate symbols and words inked carefully onto its surface. He took in every pen stroke, scanning for any disability errors that could threaten the success of his task. Satisfied, he picked up his quill and dipped it gently into his inkbottle, tapping it against the neck to dislodge any excess.
Magazine of Art, xv, 1892,. Materials, oil colour; Canvas, subjects depicted, birds, goldfinches; book; Apple; Flowers; Page; Girl; Pen. Categories, children childhood; paintings; Education learning. Collection, museum of Childhood. This is an extract from a longer piece (dare i say novel!?) that i am currently working.
I read it out at a literary festival in my home town that I performed at recently and I got some really nice comments about it which was lovely, its really given me a renewed confidence in the piece as a whole. Hunched protectively over his masterpiece, markus truly believed that no one before had ever created something so beautiful. The once fresh candles that lit his workshop were reduced to bubbled stumps, a measure of the endless hours he had laboured. Their amber light cast a shadowy mantle over his face, but did not obscure his expression of complete concentration. The storm outside rattled the shutters in their hinges, but Markus made no reaction. It was as though he could hear nothing but the soft scrapings of the tools he touched against the clay sculpture on the table before him, smoothing even the tiniest imperfection in the surface. Finally he laid them carefully on the bench, and stood back in awe of his work. She was the most wondrous thing he had ever laid eyes on, and even though she was moulded through his own human skill, to his spellbound mind the angels themselves could have sculpted her. Each detail of her body was perfect, from the individually placed eyelashes to the whorl of her ear, and he would have liked nothing better than to stare at her for hours, analysing every hauntingly familiar feature he had so lovingly crafted.
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Portrait paintings were still fashionable during the following centuries and extended to the rising bourgeoisie and eventually to common people, especially during the social and political transformations of the 19th century. At the end of the 19th century and during the 20th century, painted portraits were challenged and eventually supplanted by the development of new media such as photography. Descriptive line, oil on canvas, essays 'the pet Goldfinch henriette Browne,. Bibliographic References (Citation, note/Abstract, nal no). Published in 'girl's Own Paper' 1896 with caption 'a christmas Carol'. M., catalogue of Foreign paintings. II., london: Victoria and Albert Museum, 1973,. Shaw Sparow,., 'the dixon Bequest at Bethnal Green'.
In the ancient period, profile portraits were found primarily in imperial coins. With the rediscovery and the increasing interest in the Antique during the early renaissance, artists and craftsmen looked back to this ancient tradition and created medals with profile portraits on the obverse and personal devise on the reverse in order to commemorate and celebrate the. Over time these profile portraits were also depicted on panels and canvas, and progressively evolved towards three-quarter and eventually frontal portraits. These portraits differ in many ways from the notion of portraiture commonly held today as they especially aimed to represent an idealised image of the sitter and reflect therefore a different conception of identity. The sitter's likeness was more or less recognisable but his particular status and familiar role were represented in his garments and attributes issues referring to his character. The 16th century especially developed the ideal of metaphorical and visual attributes through the elaboration of highly complex portrait paintings in many formats including at the end of the century full-length portraiture. Along with other devices specific to the Italian Renaissance such as birth trays (deschi da parto) and wedding chests' decorated panels (cassoni or forzieri portrait paintings participated to the emphasis on the individual.
girl, which reveals the basis of her neck, and her hand suspended over the page give the sitter an interesting gesture while she seems to engage a one-on-one conversation with the goldfinch who escaped his cage. The bird's cage can be construed as a metaphor for the imposed homework while the fact that it is opened alludes to the possibility of escaping such task by distraction. Birds in general are a symbol of freedom and goldfinches in particular enclose a christian meaning as they embodied the soul of man that flew away at his death. Goldfinches were once a favourite pet with children thanks to his handsome plumage. In this regard, it is most likely that the present painting corresponds with the one entitled. The pet Goldfinch exhibited at the royal Academy in 1875. This compositional idea provides the picture with grace and poetry, which enhance the innocent character of childhood. This type of pictures achieved extraordinary success with both French and English patrons. Historical context note, in his encyclopaedic work, historia naturalis, the ancient Roman author Pliny the Elder described the origins of painting in the outlining of a man's projected shadow in profile.
Place of Origin, france (painted date. Artist/maker, browne, henriette, born 18 (painter (artist). Materials and Techniques oil on canvas, marks and inscriptions, htte Browne. Henriette Browne, signed lower left corner, dimensions. Height: 74 cm canvas, width: 92 cm canvas, depth: 2 cm canvas, height: 108 cm frame, width: 127.8 cm frame, depth: 12 cm frame. Object history note, joshua dixon; bequethead to bethnal Green Museum in 1886. Historical significance: Henriette Browne was best known for her genre scenes and portraits interests of women and children.
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Henriette Browne was the pseudonym for Mme jules de saux, née sophie boutellier (1829-1901). She specialised in genre scenes, especially near-Eastern and religious subjects, as well as portraits. She also worked as an engraver. She started exhibiting at the salon in Paris in 1853 and exhibited at the royal Academy, london, between 18This painting is a fine example of Henriette Brownes output as it combines a genre scene, a little girl distracted while doing her homework and a child. The interest in everyday life and close observation of nature is characteristic of the French realist movement emerged in the 1840s. Physical description, painting of landscape proportions, in oil colour on canvas, showing a girl seated at a table and writing. She wears a white blouse or chemise with long sleeves, beneath a sleeveless blue bodice with a scoop neck, and her curly dark hair is knotted at the back of her head. Her writing implements include a banker's pen, a bottle of ink, and a sheet of blotting paper, and she is apparently copying essay out a handwriting exercise from a book propped in front of her. Also on the table are two apples and a handful of wild flowers; a goldfinch is perched beside her on the table edge, and another is in the opened cage on the wall behind her.