Part of the Troupe Family on a nice day out!

My Studio

Tysheanna is the only girl out of four children; she is 16 years old and in her second year of high school. Tysheanna love music, dancing and gets very good grades in school. Tysheanna want to become an Interior Designer or an model.

Jan Van Eych

Jan van Eyck or Johannes de Eyck (IPA: [jɑn vɑn ɛik]) (before c. 1395 – before July 9, 1441) was an Early Netherlandish painter active in Bruges and considered one of the best Northern European painters of the 15th century.
There is a common misconception, which dates back to the sixteenth-century Vite of the Tuscan artist and biographer Giorgio Vasari, that Jan van Eyck invented oil painting. It is however true that he achieved, or perfected, new and remarkable effects using this technique.
Jan van Eyck has often been linked as brother to painter and peer Hubert van Eyck, because both have been thought to originate from the same town, Maaseik in Limburg (Belgium). Another brother, Lambert van Eyck is mentioned in Burgundian court documents, and there is a conjecture that he too was a painter, and that he may have overseen the closing of Jan van Eyck's Bruges workshop.[1] Another significant, and rather younger, painter who worked in Southern France, Barthélemy van Eyck, is presumed to be a relation.

[edit] Youth
The date of van Eyck's birth is not known. The first extant record of van Eyck is from the court of John of Bavaria at The Hague, where payments were made to Jan van Eyck between 1422 and 1424 as court painter, with the court rank of valet de chambre, and first one and then two assistants.[2] This suggests a date of birth of at the latest 1395 and indeed probably earlier. His apparent age in his probable self-portrait (right) suggests to most scholars an earlier date than 1395.[3] Miniatures in the Turin-Milan Hours, if indeed they are by van Eyck, are likely to be the only surviving works from this period, and most of these were destroyed by fire in 1904, though photographs exist.

Ear in Art

Jan van Eyck produced paintings for private clients in addition to his work at the court. Foremost among these is the Ghent Altarpiece painted for Jodocus Vijdts and his wife Elisabeth Borluut. Started sometime before 1426 and completed, at least partially, by 1432, this polyptych has been seen to represent "the final conquest of reality in the North", differing from the great works of the Early Renaissance in Italy by virtue of its willingness to forgo classical idealization in favor of the faithful observation of nature.[4] It is housed in its original location, the Cathedral of St. Bavo in Ghent, Belgium. It has had a turbulent history, surviving the 16th-century iconoclastic riots, the French Revolution, changing tastes which led to its dissemination, and most recently Nazi looting. When World War II ended it was recovered in a salt mine, and the story of its restoration drew considerable interest from the general public and greatly advanced the discipline of the scientific study of paintings[citation needed]. No less turbulent was the history of the interpretation of this work. Since an inscription states that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece, but that Jan van Eyck - calling himself arte secundus (second best in the art) - finished it identifies it as a collaborative effort of Jan van Eyck and his brother Hubert. The question of who painted what, or "Jan or Hubert?" has become a mythical one among art historians. Some even question the validity of the inscription, and thus Hubert van Eyck's involvement. In the 1930s, Emil Renders even argued that "Hubert van Eyck" was a complete fiction invented by Ghent humanists in the 16th century. More recently, Lotte Brand Philip (1971) has proposed that the Ghent Altarpiece's inscription has been misread, and that Hubert was (in Latin) the "fictor", not the "pictor", of the work. She interprets this as meaning that Jan van Eyck painted the entire altarpiece, while his brother Hubert created its sculptural framework.

Exceptionally for his time, van Eyck often signed and dated his paintings on their frames, then considered an integral part of the work (the two were often painted together). However, in the celebrated Arnolfini Portrait (London, National Gallery) reproduced at left, van Eyck inscribed on the (pictorial) back wall above the convex mirror "Johannes de Eyck fuit hic 1434" (Jan van Eyck was here, 1434). The painting is one of the most frequently analyzed by art historians, but in recent years a number of popular interpretations have been questioned. This is probably not a painted marriage certificate, or the record of a betrothal, as originally suggested by Erwin Panofsky. The woman is probably also not pregnant, as the hand-gesture of lifting the dress recurs in contemporary renditions of virgin saints (including Jan van Eyck's own Dresden Triptych and a workshop piece, the Frick Madonna).

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Picasso Pablo

picassolink

Born 25 October 1881 in Malága, Spain, Picasso was a prodigy who could draw before he could speak. "My first drawings could never have been shown at an exhibition of children's drawings," he wrote. "I lacked the clumsiness of a child, his naivety. I made academic drawings at the age of seven, the minute precision of which frightened me" (Walther 1993, 8). His parents recognized their son's talents and encouraged him in his artistic ambitions. He received his formal training first from his father, who was an art teacher at the School of Fine Arts in La Coruña (1892–1895), and later at "La Lonja" school of art in Barcelona (1895–1897) and the Academy of San Fernando in Madrid (1897–1898). During these formative years he rapidly mastered the painting techniques of the ancient and Spanish masters, astonishing his teachers with phenomenal accuracy. Picasso would soon cast off the traditional painting techniques he perfected during these early years, but he would later return to them, rearranging and mixing traditional techniques with his own aesthetic innovations.

Source Citation: Norton, Sydney. "Picasso, Pablo (1881–1973)." Encyclopedia of Leadership. Eds. George Goethals, Georgia Sorenson, and James Burns. Vol. 3. Thousand Oaks: Sage Reference, 2004. 1199-1202. 4 vols. Gale Virtual Reference Library. Gale. City Colleges Of Chicago. 15 Oct. 2008 .