Backyard Wars: Artwork:

This picture is done in watercolors painted by Kathleen Hadley of a photograph taken by Melody Walker. " Desert Joshua Tree Magic"

This picture was painted in acrylics from a photo taken by Rachel Walker in 2022 and was painted in 2022 by Kathleen Hadley. "Bear"

"SUNFLOWER DELIGHT"

This watercolor was painted in 2009 by Kathleen Hadley

This is an oil painting by Kathleen Hadley.

Waterlily delight: Once the colors were put together it was a reminder of Monet's Waterlilies. I used Gray, Bright Pink, lime green, aqua marine and purple which blended into a wonderful palette.

There was some color left over so. I used two skeins of yarn to use the rest of the color. There are two skeins at the lower part of the page. It is called Silver Moon Delight.

This is a photo of the yarn waiting to be steamed to stay the color. I used dye with a fork to create this pattern. I dipped the tines of the fork into the dye and then touched it to the yarn or I would place the whole end of the fork into the dye and pull it through the yarn to add to the pattern. I like the results. I saw someone doing this on you tube, but cannot remember who. I was thumbing through and glanced at it. I went back to take a closer look and could not find it. You may have better luck than I did at finding it .

This is a photo of the process used with the making of the color Confetti and Green Apples and Roses.

This is the result of the above process.

This is the finished product of the Green Apples and Roses.

This is a sample to show how it works up. You can also see it at Whimsical delight yarn in Etsy.

I decided to dye some yarn to match the garnet birthstone for January. This is a picture of the cakes going into the dye. I did dye one ball of yarn to see what difference it would make in the coverage. There was more white left on the ball of yarn than on the cakes.

This is what they looked like before dying had begun.

These photos are the final results of the dyeing. The skein with the most white is the ball of yarn. Below is a sample of what it would look like worked up. There would be more white as you proceed through the skein.

A new project has been dyeing yarn. That is a lot of fun and a lot of beautiful colors. Here you see the yarn being dyed and the yarn after it is dyed. God could have made a world of only black and white but he gave us a rainbow of colors to enjoy. If you want to see more go to Etsy to WhimsicalDelightYarn

I made some bookmarks for fun. I got carried away and made a bunch. I use them all. Geek!

Honey Lake Barn" Acrylic painting by Kathleen Hadley

Oil painting I did in art class. The picture was from an art book that the instructor provided for us to choose pictures to paint.

Drawing by Tristan Gonzalez, my Grandson

I painted this picture in oils. It was taken from a photograph my nephew Jefferson
McBurnett took. I love the colors in it, and the way the bottles picked up and reflected them.

Another of Donna Hoover's oil paintings.

Painted by Donna Hoover. Oil painting

The change of style from Old to New Kingdom. I use the examples the seated statue of Khafre, the head of Sesostris III, and the figure of Akhenaten. I include the Egyptian proportional system, and give some examples of how it is used in painting and sculpture.

Each Kingdom from the Old to the New had its own individual style. The Egyptians always had a

fascination with the afterlife. They must have looked at the short time spent in this life, and the length

of time spent in the afterlife, and considered it of the utmost importance. That was an attitude that

didn’t change from the Old to the New Kingdom. Their style of art did change. The Old Kingdom

pyramid was an expression of the power of the pharaoh. It assured his passage into the afterlife, and his

comforts there. The seated statue of Khafre demonstrates this. The art portrayed the pharaoh’s power,

and his connection with the throne. He was a god, and the art and anything connected with the pharaoh

expressed this idea.

By the middle kingdom the pharaoh was showing a connection to his people. The political turbulence

of this period had left doubt as to the pharaoh’s divine power, and the style became less imposing.

Sesostris III considered himself a shepherd of the people. He wanted to show that he was concerned

about his subjects. More personality is allowed to show through in the art of that period.

The New Kingdom pharaohs reestablished control of the country, and expanded to regions around

them. It was during the Amarna period that Amenhotep IV set up a monotheistic religious system. He

worshipped the god Aten, and changed his name to Akhenaton. He did not consider himself a god, but a

priest to his god. The style changed to a more elongated, thin, pot bellied, and curvilinear style. He still

had himself portrayed as pharaoh with the crook and the flail, and the head dress of a pharaoh. The

cartouches were carved into his body. All the art is more naturalistic, but at the end of his reign Egypt

went back to the old ways and religions, and the style began to return to something more similar to the

Old Kingdom.

The Old Kingdom was known as the age of pyramids. Their construction advanced from the mastabas

to the step-pyramid which was geometric in form. They used limestone and granite to create large

funerary temples for the royal family. It was during this time that Egypt had a long period of stability.

Artists worked for the state or for rich patrons. Most of the sculptures that were preserved were from

tombs and temples.

There were significant changes in architecture which effected their society and economy. Imhotep

was the architect to King Zoser. He started using stone to build, and created a whole new form of

pyramid which was called the step-pyramids. There were many large building projects by the pharaohs

who were considered to be gods. Building a pyramid was a great feat of engineering and organization.

It is believed that gangs of a hundred thousand men worked in three month rotations completing

building projects. That would have been a major undertaking, but they did it, and continued to have

large building projects.

The Egyptians created the proportional system which enabled them to build projects from small

statues to the Great Sphinx with a huge human head and a lion’s body. It could also be used for

paintings, reliefs, and free standing sculptures. It was a very workable system, and we still use

it in art today. They developed a grid system. It had to include certain proportions in order to work on

different scales and these proportions were based on the human body. There were originally eighteen

grids that were later changed to twenty-one. Grids make a framework in which to create an art project.

It is the relationship between the grid, and the project that make it possible to create the piece of art.

The design is divided into grids both vertically and horizontally. This allows for an aesthetically pleasing

piece of art, and it allows an artist to make duplicate copies or adjust its size up and down.

The large diorite statue of Khafre sits erect in a regal posture with both hands in his lap with the right

hand clenched in a fist, and the left hand laying flat. This is a typical portrayal of a pharaoh. They were

idealized, and given great dignity in the Old Kingdom. It is unified and balanced showing divinity. The

gods surround him. They are a symbol of his right to the power he maintains. This statue embodies his

Ka.

Rock cut tombs became popular in the Middle Kingdom. Sculptures became more naturalistic, and

the royal figures became less imposing. They were rounded with expressive faces. This was something

you wouldn’t have seen in the Old Kingdom. Sesostris III felt he was a shepherd of his people, and had

his portrait done with a look of concern on his face, and a slight frown. Personality begins to show

through.

The Pharaoh’s reestablish control in the New Kingdom. Temples were constructed in post and lintel

system. It is during this time that the mortuary temples became a place where the pharaoh ‘s patron

deities were worshipped while he was alive, and then the pharaoh himself was worshipped after his

death.

During the Amarna period the the pharaoh considered himself to be a priest to the god Aten. Most

earlier pharaohs were considered to be gods, so this was a change. He moved his capital down the Nile

where he built temples to Aten. He was not polytheistic as were the ones who came before him. His

ideas influenced the style of art created during his reign. The figures were elongated, thin, pot bellied,

and curvilinear. Akhenaten is shown as a pharaoh in his statue. He holds the crook and flail which

represent Osiris and Egyptian royalty, and on his head is the crown of upper and lower Egypt. He has his

cartouches at his shoulder and waist. He is the pharaoh despite the fact that his statue has the artistic

style used during his reign.

At the end of his reign the Pharaoh reverted back to the style of the earlier kingdoms. It was during

the New Kingdom that they built the most impressive temples in Nubia. They were rock cut with

facades of four huge statues of Ranses II. His gods were Amon and Ra. His goal was to impress on the

Nubians his identification with these gods, and Egypt’s domination over them.

Each Kingdom from the Old to the New had their own individual style. Each one portrayed the

political and religious climate of their time. Even with the style changes their art has been enduring. As

we gaze on the pyramids and the art that was produced . We get a feeling for the power that belonged

to the pharaohs.

Butterflies and Flower It was done in watercolor

I painted this picture from a photograph taken by my daughter, Melody Walker. She took it in her front yard.

The characteristics of Romanesque style in painting, sculpture, and architecture the differences and the similarities.

Romanesque architectural style maintained many of the features of Roman architecture like round headed arches, barrel vaults, apses, and acanthus. It also shows influence from Visigothic, Carolingian, Byzantine and Islamic architecture. The architecture usually had harmonious proportions with thick heavy walls and pillars. Round arches supported the roofs, and they used stone barrel vaults and groin vaults. There were round blind arches that were used for decoration on the outside of the church. There were times when they were also used inside, but it wasn’t as common. There were transepts which were sections crossing the nave at a right angle to give the church a cross shape. The galleries were above the side aisles separated from the naves by a triforium. They had apse, and ambulatories that often had radiating chapels. It wasn’t uncommon to have multiple towers usually over the transept crossing. Windows were small to maintain stronger walls. Architecture was highly varied and not always vaulted. Some of the churches maintained wooden roofs long after stone vaulting had become common place. There were pronounced regional differences, but during this period immense churches with stone vaults were built. Didactic relief sculptures were used to decorate the churches portals and cloisters. They had sculptural decorations on portals, capitals and other surfaces. There were painted decorations on the interior, but not a lot of them have survived until today. The relics of saints were placed in reliquaries that were made of gold, silver, and enamel. It influenced most of Catholic Europe. The paintings followed Byzantine iconographic models which were subjects like Christ in Majesty and the Last Judgment, and scenes from Christ’s life. Paintings during this period had definite regional and stylistic diversity. For sculptures they used high relief. Color tended to be striking and usually primary. Stained glass was widely used, but did not last through time. The tympanums were carved with monumental schemes, but treated with more freedom than painted versions. A recurring theme in Romanesque art was tension between tightly enclosed frames where the composition would be contorted to fit into the space. Figures were still sized according to their importance, and background scenery was more abstract then realistic.

The Iconoclastic Controversy opposed veneration of icons, both religious paintings and statues. During the Romanesque period there would appear to have been no real problem with this as they created a lot of religious art. Of course there could be the debate over whether they were worshipping the object or showing reverence to God. During the Romanesque period they attributed a lot of power to items that belonged to saints, and this was the order of the day, and was completely accepted.

Topic:

Trace the change of style from Old to New Kingdom. Use as examples the seated statue of Khafre, the head of Sesostris III, and the figure of Akhenaten. Included the Egyptian proportional system and give some examples of how it is used in painting and sculpture.

Each Kingdom, from the Old to the New, had its own style. The Egyptians always had a

fascination with the afterlife. They must have looked at the short time spent in this life and the length

of time spent in the afterlife and considered it of the utmost importance. That attitude

didn’t change from the Old to the New Kingdom. Their style of art did change. The Old Kingdom

pyramid was an expression of the power of the pharaoh. It assured his passage into the afterlife and his

comforts there. The seated statue of Khafre demonstrates this. The art portrayed the pharaoh’s power

and his connection with the throne. He was a god, and art and anything connected with the pharaoh

expressed this idea.

By the middle kingdom, the pharaoh was showing a connection to his people. This period's political turbulence left doubt about the pharaoh’s divine power, and the style became less imposing.

Sesostris III considered himself a shepherd of the people. He wanted to show that he was concerned

about his subjects. More personality is allowed to show through in the art of that period.

The New Kingdom pharaohs reestablished control of the country and expanded to regions around

them. It was during the Amarna period that Amenhotep IV set up a monotheistic religious system. He

worshipped the god Aten and changed his name to Akhenaton. He did not consider himself a god but a

priest to his god. The style became more elongated, thin, pot-bellied, and curvilinear. He still

had himself portrayed as a pharaoh with the crook, flail, and headdress of a pharaoh. The

cartouches were carved into his body. All the art is more naturalistic, but at the end of his reign, Egypt returned to the old ways and religions, and the style began to return to something more similar to the

Old Kingdom.

The Old Kingdom was known as the Age of Pyramids. Their construction advanced from the mastabas to the step pyramid, which was geometric in form. They used limestone and granite to create large funerary temples for the royal family. It was during this time that Egypt had a long period of stability. Artists worked for the state or for rich patrons. Most of the sculptures that were preserved were from tombs and temples.