José María Velasco Gómez (1840-1912)
“El valle de México” (1882)
Gómez was a 19th-century Mexican polymath, most famous as a painter who made Mexican geography a symbol of national identity through his paintings. He was one of the most popular artists of the time and also internationally renowned. He received many distinctions such as the gold medal of the Mexican National Expositions of Bellas Artes in 1874 and 1876; the gold medal of the Philadelphia International Exposition in 1876, on the centenary of U.S. independence; and the medal of the Paris Universal Exposition in 1889.
[2017.07.07] JAPAN EXPO - Fullmetal Alchemist panel
Hello everyone ! (ノ^∇^) (I doubt anyone would read these lines but anyway XD)
Here is the translation of the Fullmetal Alchemist movie panel that was held on the YUZU stage (Hall 4) at Japan Expo 18th Impact (Parc des Expositions, Paris-Nord Villepinte) ! The guests were Sori Fumihiko (director), Yamada Ryosuke (Edward Elric) and Honda Tsubasa (Winry Rockbell) !
Fullmetal Alchemist panel at Japan Expo (Paris)
***Credits of the pic to me
I ended up including some reports notes because I thought they were cute / important but if it’s really too confusing to read, just tell me so I’ll remove them and keep it simple.
I had the huge honor and chance to be there and had an amazing seat. I’m so grateful despite all the complaints I’ve made (french side ? lol), and that is one of my best memory of my life ! (T_T) ♥
I hope you’ll enjoy it ! Just for this one PLEASE DON’T REPOST (only reblog) !!
Title: Two Young Deer in a Forest Artist: Rosa Bonheur Date: c. 1880 Medium: Oil on Canvas Size: 26 x 21 ¾ inches Description: “Judging from her numerous paintings of them, deer were among Bonheur’s
most popular subjects. According to the artist, her own interest in this
theme began when she moved to By, where her property backed onto the
Fontainebleau Forest, which then had a large deer population. She liked
to track deer or lie in wait for them at night so she could observe
their customary behavior, later sketching from memory what she had seen.
Perhaps the example of Landseer was inspirational, for Bonheur
expressed enthusiasm for his famous painting of deer. Her first deer
paintings fate from the 1860s, a decade when the French Realist Gustave
Courbet (1819-1877) frequently treated this subject. At the 1867 Paris
Universal Exposition, she exhibited Deer in Repose (Detroit Institute of
Arts) and Family of Deer Crossing the Summit of the Long Rocks (Forest
of Fontainebleu, 1865, location unknown). In 1877 she built a pen for a
doe and stag she used as models. Over the next twenty years, Bonheur’s
production of deer paintings was considerable.
The Haggin painting dates from a time when the artist was deeply
preoccupied with this subject. Here she creates a feeling of intimacy
with her animal subjects by establishing a viewpoint at the eye level of
the standing doe. Light filtering through unseen foliage is an effect
that especially attracted Bonheur. Since this dappled lighting helps to
camouflage the deer, their appearance in this painting is like a quiet
moment of revelation, in which we are allowed to observe an alert young
deer looking directly out of the painting as well as a more relaxed and
older one reclining on the forest floor. By the time Bonheur painted
this work, her eyesight was weak, and she had to use spectacles to
finish details, yet her careful technique had not diminished. Deer and
landscape are captured deftly with delicate, yet visible strokes of
paint, while the roughness of the bark is re-created with thick impasto.“ Source: The Haggin Museum