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the painter did not notice his wife' declining health because he was to fixated on creating his painting of her.

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Q: Why did the painter not notice his wife declining health in poethe oval portrait?
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Does a picture exist of Anna Kreisling?

Yes! Just go and look at the Austraillian flying magazine PACIFIC FLYER, June 2001 edition, page 23 upper right hand corner. A great picture of Anna Kreisling smiling. Also look closely at the Junkers JU-390 flown by KG-200. In this picture you will notice four Men in pilots outfits, but a woman in a flying outfit is in the middle, you are looking at Anna Kreisling getting ready to fly in 1944. Notice how the men are all smiling and she is the center of their attention.

Why was paper money more artistic back then and not now?

The artistic designs used on some currency were considered too easily counterfeited since the counterfeiter could make numerous errors and because of the complex design those errors would be difficult to notice. A simpler design, while easily counterfeited as well, does not conceal the errors as well as the older complex designs.

How did fashion in the 1960s compare to the fashion in the 1970?

In general, I've noticed that the 60s tended to focus on bright colors and geometrical prints. Hair styles were a bit stiff, (Think bouffants and Jackie Kennedy) and make-up was bold, especially with eyeliner. The transition into the 1970s was subtle, it began by channeling the bright colors of the 60s into the disco look of the 70s. I notice that flare pants, sequins, and looser hairstyles became popular. As the new decade progressed, fashion began to take a more casual turn. Hair took a more natural look, and sideburns/beards were back in style for men, and the disco style became toned down, resulting in what is considered to be the "70s hippie" look associated with guitar-playing, folk-singing American nomads.

Who is W H Mote?

Very little is known about him, not even when and where he was born and died. He was an engraver mostly active between 1830 and 1850. Yet, he was still alive in 1866 as there is trace of his signing a petition about Artistic Copyright in the Journal of the Society of Arts, dated February 2d, 1866.He engraved portraits, religious engravings (illustration in a Bible), engravings copied from paintings...I suspect he was an American, but have no proof of it.He was English. The art circle waas very small back in the day. Frank Stone did artwork for Charles Dickens and has famous works in his own right. W.H.Mote was THE go-to guy for engravings. I doscovered this while reading many books about the time period and acquiring provenance on older paintings.I'm currently creating a Wikipedia page, because I cannot believe these responses. William Henry Mote (WH Mote, sometimes WT Mote) was extremely well known. He jumped to fame at the age of 16, with an engraving (overseen by the Heaths). He has a engraved portrait in the National Portrait museum, done when he was only 17 years old! He was also a member of the Royal Acadamy, and was commissioned by King George IV to do a steel etching for the Greenwich hospital. This was completed the year after King George IV died, and thus went a little bit unnoticed other then a small ceramony. He often etched royality, and important figures, although, there is mention of a landscape in one of the art publications, as well as one publication mentioning that he submitted a painting. He was born 1803, died 1871, buriedJuly 19, 1871 in the prestigious Highgate Cemetery of Saint James, Swains Lane, Saint Pancras.He was closely tied to the Heaths for the entire career, although he worked with alot of publishers. The Heath's included his etchings often in their publications.He was elected into the Royal Acadamy, of age of 28, etc. He also was known to work with alot of female artists, and publishers, etc, which was a bit unheard of at the time. There are no rumors of scandals, and he stayed married to the same women his entire life (what we might call boring, a guy who does the same thing for 50 years, and stays married to the same women, etc). His sons never really left his house, although, Edward Mote was also listed as a portrait engraver almost until 1900 in the London business directories. Mote was a WORKAHOLIC. He has 65 etches in one museum, and 12 in a shakespeare museum, and 20 in the National Maritime museum. Unfortunatly for his son, they hay-day of steel etchings ended before his fathers death, and it was replaced with photos.WH Mote is not given much credit, and even in one museum, then have his works listed under three names....they don't know to coalesce them.. Now we have TV's and cameras, we don't understand the popularity of these old engravers.While one book describes the steel etching process as very difficult, clearly Mote makes it look easy, and often perhaps a bit too realistic to be called art. Critics of the day looked at his work, and critized the original artist, and didnt notice the flaws until Mote etched the paintings in B&W (lol). Some of the later work might have a bit more artistic flare, and a focus to the etching.--When he was really young, King George IV made a bit of a wild remark, "That artists should sign their work so that the public can tell good art from bad". (There is an essay there, but anyway).... As a result, after that point, most etchings were signed on the right, and the original artist (or an gun-for-hire-artist)'s name would appear on the left.It was not unheard of for an engraver to hire an artist, and then he would engrave the art work after the artist completed it. This is how books were made.--Without a computer search, I cannot immagine the nightmare of following this guy. His family has a propensity to name their first son, William Henry and the second son, Edward, and they lived down the street from the lawyer-cousins (William and Edward). This is likely largly why not much is known, we are now only reciently able to seporate all the William Henry Mote's. (During some years, there were four William's Mote's living on the same street all approximatly the same age.).--While his plates and others brought 4,200 at auction in 1833 (adjusted for inflation, this is 370,000 in 2010, however, I could not sell six engravings for $20 on eBay).I think, this is because his engravings are photo like, and while photo-like, lack any artist expression (other then large doe eyes for the women). Today, we'd just take a picture. While there were many engravers in London in the mid-1800's, this guy rose to the top.--It's amazing, that this guy has at least 101 engravings in Museum's (of other people), and a ton on wikipedia, but we still do not respect him....oh...His works are being reprinted in books, and being resold today. They colorized the plates, and these "fakes" have resurfaced on eBay...(they are fakes because they were not pressed onto the paper, and etching does not scan correctly and can be wavy.).

Who is Wayne Thiebaud?

Wayne Thiebaud (born November 15, 1920) is an American painter whose most famous works are of cakes, pastries, boots,toilets, toys and lipsticks. He is associated with the Pop art movement because of his interest in objects of mass culture, although his works, executed during the fifties and sixties, slightly predate the works of the classic pop artists. Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work.Contents[hide] 1 Life and career2 Work3 Notes4 References5 External links[edit]Life and careerThiebaud was born to Mormon parents in Mesa, Arizona, U.S.A.. His family moved to Long Beach, California when he was six months old. One summer during his high school years he apprenticed at the Walt Disney Pictures Walt Disney Studio making 'in-betweeners' of Goofy, Pinocchio, and Jimminy Cricket making $14 a week. The next summer he studied at the Frank Wiggins Trade School in Los Angeles. From 1938 to 1949, he worked as a cartoonist and designer in California and New York. He served as an artist in the United States Army Air Force from 1942-45.[1]In 1949, he enrolled at San Jose State College (now San Jose State University) before transferring to Sacramento State College (now California State University, Sacramento), where he earned a bachelor's degree in 1951 and a master's degree in 1952. He subsequently began teaching at Sacramento City College. In 1960, he became assistant professor at the University of California, Davis, where he remained through the 1970s and influenced numerous art students. Thiebaud did not have much of a following among Conceptual artists because of his adherence to basically traditional disciplines, emphasis on hard work as a supplement to creativity, and love of realism. Occasionally, he gave pro bono lectures at U.C. Davis.On a leave of absence, he spent time in New York City where he became friends with Willem De Kooning and Franz Kline and was much influenced by these abstractionists as well as proto pop artists Robert Rauschenberg and Jasper Johns. During this time, he began a series of very small paintings based on images of food displayed in windows, and he focused on their basic shapes.Returning to California, he pursued this subject matter and style, isolating triangles, circles, squares, etc. He also co-founded the Artists Cooperative gallery, now Artists Contemporary Gallery, and other cooperatives including Pond Farm, having been exposed to the concept of cooperatives in New York.In 1960 he had his first one-man show in San Francisco at the San Francisco Museum of Modern Art and in New York City at the Staempfli and Tanager galleries. These shows received little notice, but two years later, a 1962 Sidney Janis Gallery exhibition in New York officially launched Pop Art, bringing him national recognition although he disclaimed being anything other than a painter of illusionistic form.In 1961 Thiebaud met and became friends with Allan Stone (1932-2006),[1]the man who gave him his first "break" decades ago. Stone was Thiebaud's dealer until Stone's death in 2006. Stone said of Thiebaud "I have had the pleasure of friendship with a complex and talented man, a terrific teacher and cook, the best raconteur in the west with a spin serve, and a great painter whose magical touch is exceeded only by his genuine modesty and humility. Thiebaud's dedication to painting and his pursuit of excellence inspire all who are lucky enough to come in contact with him. He is a very special man." The Allan Stone Gallery is currently located in New York City and carries many other pop-artists artwork. Since Stone's death, Thiebaud's son Paul Thiebaud (1960-2010) had taken over as his dealer. Paul Thiebaud was a successful art dealer in his own right and had eponymous galleries in Manhattan and San Francisco. (note: Paul Thiebaud died on the 19th June 2010)In 1962 Thiebaud's work was included, along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Joe Goode, Edward Ruscha, and Robert Dowd, in the historically important and ground-breaking "New Painting of Common Objects," curated by Walter Hopps at the Pasadena Art Museum [1]. This exhibition is historically considered one of the first Pop Artexhibitions in America. These painters were part of a new movement, in a time of social unrest, which shocked America and the art world and changed art forever.In 1963 he turned increasingly to figure painting, wooden and rigid with each detail sharply emphasized. In 1964 he made his first prints at Crown Point Press, and has continued to make prints throughout his career. In 1967 his work was shown at the Biennale Internationale.One of Thiebaud's successful students from Sacramento City College was renowned artist, Fritz Scholder (1937-2005) who went on to become a major influence in the direction of American Indian art through his instruction at the Institute of American Indian Arts in Santa Fe, New Mexico (1964-1969).On October 14, 1994, he was presented with the National Medal of Arts by President Clinton.Wayne Thiebaud has been married twice. With his first wife, Patricia Patterson, he produced two children, one of whom is the model and writer Twinka Thiebaud. With his second wife, Betty Jean Carr, he had a son, Paul LeBaron, who later became an art dealer. He also adopted Betty's son, Matthew.[edit]WorkThiebaud is well known for his paintings of production line objects found in diners and cafeterias, such as pies and pastries. Many wonder if he spent time working in the food industry, and in fact he did. As a young man in Long Beach, he worked at a cafe named Mile High and Red Hot, where "Mile High" was ice cream and "Red Hot" was a hot dog.[2]He was associated with the Pop art painters because of his interest in objects of mass culture, however, his works, executed during the fifties and sixties, slightly predate the works of the classic pop artists, suggesting that Thiebaud may have had an influence on the movement. Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work.[citation needed]In addition to pastries, Thiebaud has painted landscapes, streetscapes, and popular characters such as Mickey Mouse. His paintings such as Sunset Streets(1985) and Flatland River(1997) are noted for their hyper realism, and are in some ways similar to Edward Hopper's work, who was fascinated with mundane scenes from everyday American life.[citation needed]In his painting, he focuses on the commonplace in a way that suggests irony and objective distance from his subjects. He also makes a point of keeping an independent distance from the New York School.[citation needed]Thiebaud considers himself not an artist, but a painter. He is a voracious reader and is known for reading poetry to his students. His favorite poet is William Carlos Williams.[citation needed]Thiebaud spoke at Harvard University School of Design in 1990 where he responded to one of the student's questions, "What do you think defines an artist?" and Mr. Thiebaud responded "An artist creates his own world."[citation needed]Selected works:1961 Pies, Pies, Pies1962 Around the Cake1962 Bakery Counter1963 Cakes1963 Girl with Ice Cream Cone1964 Man Sitting - Back View1966 Powder With Puff1967-68 Coloma Ridge1970 Seven Suckers1975 Shoe Rows1977 24th Street Intersection1981 Hill Street (Day City)1987 Two Paint Cans1993 Apartment View1996 Farm Channel1999 Reservoir2002 Jolly Cones2010 Google - 12th Birthday Cake[edit]Notes^ a b Thiebaud and Berkson 1994 (unpaginated).^ Scheller, William (2008). America, a history in art: the American journey told by painters, sculptors, photographers, and architects. Black Dog Publishing.[edit]ReferencesJohn Coplans, "New Paintings of Common Objects", Artforum, November, 1962. (Illustrations)Thiebaud, Wayne, and Bill Berkson. 1994. Wayne Thiebaud: figurative works, 1959-1994 : March 22-April 30, 1994. Belmont, CA: Wiegand Gallery, College of Notre Dame in cooperation with the Northern Arizona Art Museum and Galleries.

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Why do you think the painter did not notice his wife's declining health?

The painter may have been preoccupied with his work or in denial about his wife's health condition. He could also have been experiencing emotional distress that affected his ability to perceive or respond to the changes in his wife's health. The couple's communication may have also been ineffective in expressing concerns or seeking help.

How is the conflict resolved in the oval portrait?

In "The Oval Portrait" by Edgar Allan Poe, the conflict is resolved through the death of the young wife who posed for the portrait. The painter's obsession with capturing her beauty on canvas ultimately leads to her demise, as he paints with such intensity that he fails to notice her deteriorating health until it's too late. The conflict is resolved with a haunting realization of the consequences of his artistry.

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