头像

应要求建的
其实一开始是文章
考虑到和玻璃君贴重的情况下
才贴了文章
结果也没多少人看见那篇文= =
所以建了一个
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和围脖上原画者聊过了
他们同意转载
【不相信的可以去我主页看聊天记录】
原图水印保持不变



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这是新浪上人做的合集视频
内含100张左右古物拟人作品——
http://v.youku.com/v_show/id_XMjcyNzE5Mjcy.htm

此专辑文章形式地址——
http://www.topit.me/group/6663/topic/47373

"Painting should always have some mystery about it."
Alexander Sharpe Ross

Alexander Sharpe Ross was a leading American illustrator in the 1940s and 50s, with his work on the covers of Good Housekeeping, Saturday Evening Post, Ladies Home Journal and Colliers. Along with a handful of key illustrators —Coby Whitmore, John Whitcomb, Al Parker, Norman Rockwell—Ross helped create an indelible image of Americans in the post WWII decades.

In the 1960s, Ross moved dramatically into the fine arts—painting abstracts, surrealists, portraits—always seeking new technique. “Inventive Realism” he called it when pressed for nomenclature, and explained, “My subjects are mainly flowers and dreamlike human figures. Flowers have beautiful shapes that lend themselves to abstraction, and I incorporate new dimensions in them, using the essence of ‘flower’ from memory to create a whole gamut of emotions.”

Ross was awarded an Honorary Degree of Master of Arts by Boston College in 1953. An assignment from the US Air Force took him to Alaska where he painted his impressions of one of American’s foremost frontiers. The award-winning works are now in the permanent collection of the Air Force. In 1969, Ross designed a postage stamp for professional baseball, celebrating the centennial of the Cincinnati Reds.

Born in Dunfermline, Scotland, Ross came to Wilkinsburg, Pennsylvania, as a youth. He was largely self-taught, although he had one year of night school at Carnegie Tech. His first break occurred in 1941 when one of his illustrations was chosen from a roomful of contestants to be a Good Housekeeping cover. The editor, Herbert Mayes, commissioned 130 additional cover illustrations over the next dozen years at roughly $1000 apiece. The covers were of children, mostly Ross’s own who early on learned to model for him. After that, Ross became quite popular as a painter of “clinch” pictures—men and women in romantic postures. His clinches appeared in Saturday Evening Post, McCall’s, Cosmopolitan, and Colliers.

Ross worked in a large variety of media: oils, watercolors, serigraphs, collages, pastels, halftones, and acrylics on gesso. For a time, Ross preferred watercolor “…because of the spontaneous outburst factor. When one is feeling happy, he doesn’t put the feeling aside, but expresses it at once, at the full height of his feelings. That is the way with watercolor.” As one art critic summarized, “The overall impact of Alexander Ross’s painting is one of immense enjoyment of the spectacle of nature. His are assured and happy pictures.”

Ross was profoundly interested in religious art. “It’s one of the most fascinating fields of creation I can think of.” He has created paintings of biblical prophets for the Mormon Church, illustrated three religious books and designed stained glass windows for a Danbury, Connecticut, church. In a major show in the 57th Street gallery, Eric, in New York City, a critic wrote, “It has been said that Ross’s vision resembles that of Renoir and Marie Laurencin, as all three share a passion for nudes, flowers and children. However, this is where the resemblance ends, as Alexander Ross has brought to his compositions an entirely new and very personal interpretation, dynamic but also sensitive, where abstractions taken over from realism in a magic blend of forms and colors.”

Successful watercolorist Fred Whitaker gave a major, published speech in 1980 about Ross’s achievements as an illustrator, likening his work to such famous American illustrators as Remington, Homer and Hopper. “When the story of today’s art epoch is written, there may well be general agreement that the real art contribution of the mid-twentieth century was that of the illustrators and commercial artists. I know of no artist who experiments more than Ross in approach to the mode of presentation; in color, in the manner of applying paint, in his brushing, in the use of new angles of compositional arrangement. His one great fear is that he may become static, even afraid of copying himself.”

图片资料均收集于网络........

十六

1、名字被写入到**笔记上的人会**。
2、写名字的时候，如果不在脑中想着该人容貌的话，无效。因此，同名同姓的人不能一次全部被杀。
3、写完名字后如果在人间单位的40秒钟时间内写下死因的话，会依其发生。
4、不写死因的话全部默认为心脏麻痹而死。
5、写下死因时，更会有6分40秒的时间可以记入详细的**情况。
6、**笔记从落到人间界的那一刻起就属于人类的东西。
7、**笔记的持有者可以识别**笔记的宿主死神的音貌。
8、使用过**

田园 文艺 清新 碎花