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While the world pays respectful tribute to Rembrandt Van Ryn the artist, it has been compelled to wait until comparatively recent years for some small measure of reliable information concerning Rembrandt Van Ryn the man. Rembrandt Van Ryn was born in the pleasant city of Leyden, but it is not easy to name the precise year. Somewhere between 1604 and 1607 he started his troubled journey through life, and of his childhood the records are scanty. Doubtless, his youthful imagination was stirred by the sights of the city, the barges moving slowly along the canals, the windmills that were never at rest, the changing chiaroscuro of the flooded, dyke-seamed land. Perhaps he saw these things with the large eye of the artist, for he could not have turned to any point of the compass without finding a picture lying ready for treatment.

His family soon knew that he had the makings of an artist and, in 1620, when he could hardly have been more than sixteen, and may have been considerably less, he left Leyden University for the studio of a second-rate painter called Jan van Swanenburch. We have no authentic record of his progress in the studio, but it must have been rapid. He must have made friends, painted pictures, and attracted attention. At the end of three years he went to Lastmans studio in Amsterdam, returning thence to Leyden, where he took Gerard Dou as a pupil. A several years later, it is not easy to settle these dates on a satisfactory basis, he went to Amsterdam, and established himself there, because the Dutch capital was very wealthy and held many patrons of the arts, in spite of the seemingly endless war that Holland was waging with Spain.

His art remained true and sincere, he declined to make the smallest concession to what silly sitters called their taste, but he did not really know what to do with the money and commissions that flowed in upon him so freely. The best use he made of changing circumstances was to become engaged to Saskia van Uylenborch, the cousin of his great friend Hendrick van Uylenborch, the art dealer of Amsterdam. Saskia, who was destined to live for centuries, through the genius of her husband, seems to have been born in 1612, and to have become engaged to Rembrandt Van Ryn when she was twenty. The engagement followed very closely upon the patronage of Rembrandt Van Ryn by Prince Frederic Henry, the Stadtholder, who instructed the artist to paint three pictures.

1. Saskia is enshrined in many pictures.
2. She is seen first as a young girl, then as a woman.
3. As a bride, in the picture now at Dresden, she sits upon her husbands knee, while he raises a big glass with his outstretched arm.
4. Her expression here is rather shy, as if she deprecated the situation and realised that it might be misconstrued.
5. This picture gave offence to Rembrandt Van Ryns critics, but some portraits of Saskia remained to be painted.
6. She would seem to have aged rapidly, for after marriage her days were not long in the land.
7. She was only thirty when she died, and looked much older.

In 1638 we find Rembrandt Van Ryn taking an action against one Albert van Loo, who had dared to call Saskia extravagant. It was, of course, still more extravagant of Rembrandt Van Ryn to waste his money on lawyers on account of a case he could not hope to win, but this thought does not seem to have troubled him. He did not reflect that it would set the gossips talking more cruelly than ever. Still full of enthusiasm for life and art, he was equally full of affection for Saskia, whose hope of raising children seemed doomed to disappointment, for in addition to losing the little Rombertus, two daughters, each named Cornelia, had died soon after birth. In 1640 Rembrandt Van Ryns mother died. Her picture remains on record with that of her husband, painted ten years before, and even the biographers of the artist do not suggest that Rembrandt Van Ryn was anything but a good son. A year later the well-beloved Saskia gave birth to the one child who survived the early years, the boy Titus. Then her health failed, and in 1642 she died, after eight years of married life that would seem to have been happy. In this year Rembrandt Van Ryn painted the famous “Night Watch,” a picture representing the company of Francis Banning Cocq, and incidentally a day scene in spite of its popular name. The work succeeded in arousing a storm of indignation, for every sitter wanted to have equal prominence in the canvas.

It may be said that after Saskias death, and the exhibition of this fine work, Rembrandt Van Ryns pleasant years came to an end. He was then somewhere between thirty-six and thirty-eight years old, he had made his mark, and enjoyed a very large measure of recognition, but henceforward, his career was destined to be a very troubled one, full of disappointment, pain, and care. Perhaps it would have been no bad thing for him if he could have gone with Saskia into the outer darkness. The world would have been poorer, but the man himself would have been spared many years that may be even the devoted labours of his studio could not redeem.

Between 1642, when Saskia died, and 1649, it is not easy to follow the progress of his life; we can only state with certainty that his difficulties increased almost as quickly as his work ripened. His connection with Hendrickje Stoffels would seem to have started about 1649, and this woman with whom he lived until her death some thirteen years later, has been abused by many biographers because she was the painters mistress.

He has left to the world some 500 or 600 pictures that are admitted to be genuine, together with the etchings and drawings to which reference has been made. He is to be seen in many galleries in the Old World and the New, for he painted his own portrait more than a score of times. So Rembrandt Van Ryn has been raised in our days to the pinnacle of fame which is his by right; the festival of his tercentenary was acknowledged by the whole civilised world as the natural utterance of joy and pride of our small country in being able to count among its children the great Rembrandt Van Ryn.

In 2006 the Turner Prize gained its first ever female winner. The artist who achieved this feat hails from Germany and is called is Tomma Abts. In order to carry off the Turner Prize – in the final, Tomma had to overcome three notable artists .

In no particular order of importance these were – sculptress Rebecca Warren who was the fancied hot favourite with many bookies, “billboard artist” Mark Titchner – and finally film maker Phil Collins…(No not him of Genesis fame!).

When the judges cast their votes however it was Tomma Abts who came out on top. She won twenty five thousand british pounds and of course the Turner Prize itself. I am sure the money will come in handy – however its the exposure that Tomma will get from winning thats the really important thing here.

What does Tomma Abts do? Well she actually paints abstract art; usually in oils or acrylics. – something of a novelty for the Turner Prize – some would say! Tomma Abts was originally selected for her solo art exhibitions at Kunsthalle Basel, Switzerland, and Greengrassi, London.

1. Tomma Abts has been praised by no less than the Tate Gallery who describes her canvases as “intimate” and “compelling” .
2. They also comment on Tommas “consistent” and even “rigorous” method of painting.
3. In addition the Tate states that Tomma Abts “enriches the language of abstract art” .
4. With such praise heaped upon her head its no surprise to me that she won the prize.
5. However I actually feel that Tommas abstract artwork isnt “knock out” but it definitely is OK.

The images or paintings of Tomma Abts are created by the repetiton of various geometrical shapes on a base of rich colour. Personally – I dont think that Tommas approach to painting is particularly original. However I have to admit that while not being “knock out” I find some of Tommas images pretty compelling and touching. I have to say that this does surprise me.

48 x 38 cms – exactly. These are the dimensions of every Tomma Abts painting. Im not sure quite why Tomma selected these dimensions. Obviously she finds them appealing and I suppose they make for a very compact painting.

When creating titles for her paintings apparently Tomma simply plucks one from a dictionary of German first names! Titles like “Veeke” for example were created in this way. In my view this is surely only slightly more interesting than numbering each picture!

All in all I think that Tomma Abts creates abstract art that is pretty accessible to the public at large. This is something that perhaps could not be said about the artwork of previous Turner Prize winners! I base my opinion of course on Tommas prize winning paintings. I would go further and state that I cannot conceive of a Tomma Abts creation offending anyone – even slightly.

In the end its just my personal opinion but I do believe that its entirely posible that Tomma Abts will go on to become a household name – within her own lifetime…Of course she could also disappear without trace from the media – and our minds in the blink of an eye, for precisely the same reasons.

Islamic Calligraphy has arguably become the most reverenced form of Islamic art. It provides a link between the languages of the Muslims with the religion of Islam. The Muslim calligraphists have great contributions in taking this Islamic art to this zenith. The holy book of Islam, Al-Quran, has played an important role in the development and evolution of the Arabic language, and by extension, calligraphy in the Arabic alphabet. The famous Islamic artists have created Arabic calligraphy of supreme quality. Till today, The chief sources for Islamic calligraphy are the proverbs and complete passages from the Holy Quran. In modern times, the supply of Islamic calligraphy has also become a flourishing Islamic art business.

Islamic calligraphy is a visible expression of the highest art of all for the muslim. It is the art of the spiritual world. Calligraphy literally means writing beautifully and ornamentally. Islamic calligraphy is the art of writing, and by extension, of bookmaking. This art has most often employed the Arabic script, throughout many languages. Since Arabic calligraphy was the primary means for the preservation of the Quran, Calligraphy is especially revered among Islamic arts. The work of the famous muslim calligraphers were collected and greatly appreciated throughout Islamic history. Consideration of figurative art as idolatrous led to calligraphy and abstract figures becoming the main methods of artistic expression in Islamic cultures. Contemporary muslim calligraphers are also producing the Islamic calligraphy of high artistic quality.

Calligraphic scripts

1. The Kufic script is the first of those calligraphic scripts to gain popularit.
2. It was angular, made of square and short horizontal strokes, long verticals, and bold, compact circles.
3. For three centuries, this script had been mainly used to copy the Quran.
4. The cursive Naskh script was more often used for casual writing.
5. This script had rounder letters and thin lines.
6. It would come to be preferred to Kufic for copying the Quran as techniques for writing in this style were refined.
7. Almost all printed material in Arabic is in Naskh.
8. The Thuluth would take on the ornamental role formerly associated with the Kufic script in the 13th century.
9. Thuluth is usually written in ample curves as it has a strong cursive aspect.
10. The Persians took to using Arabic script for their own language, Persian after their conversion to Islam.
11. The Taliq and Nastaliq styles were contributed to Arabic calligraphy by the Persians.
12. Nastaliq style is extremely cursive, with exaggeratedly long horizontal strokes.
13. The Diwani script is a cursive style of Arabic calligraphy.
14. It was developed during the reign of the early Ottoman Turks (16th and early 17th centuries).
15. This outstanding Diwani script was both decorative and communicative.
16. Finally, Riqa is the most commonly used script for everyday use.
17. It is simple and easy to write.
18. Its movements are small.
19. In China, a calligraphic form called Sini has been developed.
20. This form has evident influences from Chinese calligraphy.
21. Hajji Noor Deen Mi Guangjiang is a famous modern calligrapher in this tradition.

Calligrams

The most Islamic of arts in the Muslim world, has also its figurative sides. The muslim calligraphers have produced wonderful anthropomorphic figures by interweaving written words, made from an “Allah” , a “Muhammad” , a “Bismillah” , etc., or using micrography. These include , (Ali, the Ideal Human of mystics, a praying man, a face), (Duldul, horse of Ali, horse (Alis Duldul), fish, stork or other bird (the quranic Hudhud) and unanimated representations (a sword (Dhu al-Fiqar) and a mosque. Calligrams are related to Muslim mysticism and popular with many leading calligraphers in Turkey, Persia and India from the 17th century onward.

Pakistani Islamic Calligraphy

Pakistan has produced Islamic calligraphist of international recognition. Sadeqain is on of these international fame Islamic calligraphist. He was an untraditional and self-made, self-taught painter and calligrapher. He did a lot of work on Quranic calligraphy. Many other contemporary Pakistani calligraphists like Gul Gee have created great contemporary Islamic calligraphy. These days, Islamic calligraphies of Tufail and Uzma Tufail are getting very much popular both in Pakistan and all over the world.

Islamic Calligrahpy as an Islamic Gift

The Muslims love to adore their homes, offices and places of their work with the Islamic calligraphy. The Islamic calligraphies especially the verses from the Holy Quran and the verses from the sayings of the Holy Prophet are considered to be very sacred to muslims. Islamic calligraphy indeed make the perfect gift for a muslim for any special occasion. A muslim can send an Islamic gift of Islamic calligraphy to congratulate his relative or friend on his new home or new office or on his birthday or wedding ceremony or on Eid Festival.

It is great news for the muslims living all over the world to get the Islamic paintings and Islamic calligraphy of their own choice. Please visit our website at www.paintingsgifts4u.com and click the section of the Islamic paintings. You can get Islamic Calligraphy of your choice just by selecting the Item number of the Islamic Painting or by sending the Holy verse of your choice. We also supply Islamic paintings and Islamic Calligraphy from Pakistan on wholesale basis at very best prices. We are supplying cheap Islamic paintings and cheap Islamic calligraphies with high quality.

Fear is part of the fundamental core of human existence, as connected to the basic functions of survival and the psyche as the survival instinct or the need to mate. Fear and anxiety, therefore, are among the staples of any genre that deems itself fit to entertain the masses, an art form to be mastered in the hands of a true artiste. Fear, dread, and anxiety are all integral components of any successful horror story, for example, but not everyone who writes horror manages to get the mix of the important elements – — pacing, plot, and characterization – — all of which must be just right to create a classic that will frighten generations long after the first copy was printed. There are a few that manage to accomplish the difficult feat of being eternal in their horror and long-lasting in their ability to turn anxiety into outright terror.

Edgar Allan Poe, author of “Annabel Lee” and “The Fall of the House of Usher” , is easily recognized as one of the foremost masters of horror and the macabre. His works have inspired terror and anxiety in many individuals, primarily through the use of heavy psychological tones, as opposed to the gore and blood themes used and abused by writers of his time. Poes collected works easily counts as some of the most frightening material ever written, especially now, in an age where horror movies are relegated to two hours of bloodshed and senseless violence, lacking any true horror and relying solely on shock value to appear “scary.” Poe also stands out as being among the few who can make even the most mundane things seem utterly terrifying, a feat emulated by Stephen King and several Japanese horror authors, but never truly duplicated.

In a completely different vein of horror from his predecessors, and arguably creating a sub-genre of horror through his works, H. P. Lovecraft also stands out. His works, while lacking in humanity, are difficult to see as anything but terrifying, particularly because of the apparent lack of humanity in them. In contrast to writers of previous generations, Lovecraft focused more on the truly monstrous, ignoring the human element that most horror writers tended to insert into their works since the days of the Gothic era. His stories were littered with monsters that knew neither morality nor mercy, seeing humanity as insignificant insects and, in Lovecrafts malignant world of ancient races and Elder Gods, humanity was insignificant. He also brought back something from the Gothic horror era, showing his readers that knowledge, even just a little knowledge, can lead to the most terrifying of discoveries. This is perhaps best exemplified by the so-called “Cthulhu Mythos,” a collection of stories that centered around Lovecrafts anti-mythological beings.

Frankenstein

1. Among the most enduring horror classics in the world is that of Shelleys “Frankenstein,” which combines the elements of horror with the intrinsic questions that plagued morality and philosophy at the time.
2. In some ways, the story is one that puts a new spin on the old ghost story, in that the “ghost” is inevitably caused by the actions of mortal men who meddled in things they were not meant to.
3. The story, aside from being a genuine tale of terror, also took on the role of a lesson in morality and the limits to just how far medical science could go.
4. Prolonging life is one thing, but bringing back the dead is another thing entirely, which is one of the subtle messages of the novel.
5. The underlying question of whether or not Frankensteins creature is the monster, or if it is Frankenstein himself, also contributes to making the story a memorable, chilling tale.

However, very few stories can truly stand up against the pure terror and the subtle anxiety and dread caused by Bram Stokers infamous novel, “Dracula.” The novel is a hallmark of the Gothic horror era, presenting a villain of potentially epic scope in the guise of a remarkable gentleman and nobleman. It deviated from other vampire stories of the time in that the vampire, Dracula, was not monstrous in appearance. He looked every inch a master and nobleman, establishing the “lord of the night” archetype that would be a stock image of vampire characters in literature for centuries to come. It also had all the elements necessary to both frighten readers and keep them coming back for more, marking it as the most enduring horror novel in history.