Portland - Mixed Media

Exceedingly rare, one-of-a-kind handwritten Jewish calendrical manuscript from Władysławowie, 1837. This book belongs in a museum. Rebound beautifully by James MacDonald & Co. Photos are the actual photos of the book. See all photos. The history of the Jewish calendar may be divided into three periods—the Biblical, the Talmudic, and the post-Talmudic. The first rested purely on the observation of the sun and the moon, the second on observation and reckoning, the third entirely on reckoning. The study of astronomy was largely due to the need of fixing the dates of the festivals. The command (Deut. xvi. 1), "Keep the month of Abib," made it necessary to be acquainted with the position of the sun; and the command, "Also observe themoon and sanctify it," made it necessary to study the phases of the moon. The oldest term in Hebrew for the science of the calendar is ("fixing of the month"); later ("sanctification of the new moon"); ("sanctification of the new moon by means of observation"); ("sanctification of the new moon by means of reckoning"); ("science of fixing the month"); ("rules for the sanctification of the new moon"). Among other names besides these we find (" the secret of intercalation"). The medieval and modern name is Babylonian Calendar. The Babylonian year, which influenced the French time reckoning, seems to have consisted of 12 months of 30 days each, intercalary months being added by the priests when necessary. Two Babylonian calendars are preserved in the inscriptions, and in both each month has 30 days as far as can be learnt. In later times, however, months of 29 days alternated with those of 30. The method of intercalation is uncertain, and the practise seems to have varied. The Babylonian years were soli-lunar; that is to say, the year of 12 months containing 354 days was bound to the solar year of 365 days by intercalating, as occasion required, a thirteenth month. Out of every 11 years there were 7 with 12 months and 4 with 13 months. Strassmeier and Epping, in "Astronomisches aus Babylon," have shown that the ancient Babylonians...

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...

This vintage 1960s abstract painting by acclaimed New Mexico modernist Ward Lockwood (1894–1963) exemplifies the energy and innovation of mid-century modern art. Executed in gouache ...

Paris: 1862. Cliché-verre on lightweight photosensitive wove paper, 8 3/4 x 7 1/8 inches (220 x 180 mm) (sheet), full margins. Signed in the plate, lower right. Because this impressi...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. In t...

Figurative Paintings Portraits of Cuban History - Painted by Hector Frank. Unique Painting with a certificate of authenticity, signed and dated by the Artist. Signed in the lower r...

Painting: oil, charcoal, mixed media on Canvas. 12 x 12" With a fresh pallet that is injected bold, beautiful colors, this painting will add a dramatic pop of color to your in...

Artist Comments
In uptown Manhattan, a solitary cat sits on a windowsill, gazing intently at a drone hovering outside. The cat doesn’t appear alarmed but curious, as though...

Mixed media on canvas. Mixture of acrylic and oil paint, and acrylic spray paint. Contemporary Wood Frame Excellent condition. signed

Artist Comments
Artist Guigen Zha paints two red peonies looking at each other in a white vase. The lively flowers bloom one after another in a rea...

In 2020, amidst the lockdown's intensity, my art journey ignited professionally. With ample time to delve deep, I explored figurative painting and abstract drawings until early 2022. I created a different series of paintings, one standout series, "Black, Bold, and Beautiful," celebrated the radiant essence of black women through six vibrant portraits clad in Ankara suits. While one found a home with a collector in Tel Aviv, the rest lingered in my studio. Two years on, a spark ignites within me to revisit this series, infusing it with the evolved narrative that aligns and fits into the conversation my works now engage in as a Contemporary Gospeller. The notions of “Restoration and restitution” weigh heavily in my heart, reflecting on personal and global scales. While global discourse focuses on returning stolen artefacts from Africa back to their origins, my perspective delves deeper into the restoration of lost time and purpose. My point of view on Restoration and Restitution is from this notion that man can lose years of his life in futility, and when the time of profit comes, it occurs mostly at the brink of life. A profound scripture, "I'll restore the years that the locust has eaten," resonates deeply, offering a beacon of hope amidst perceived futility. When I read this verse, it distinctly jumped out at me. Wow! Years can be restored! There is hope! To make this revisiting more contextual, I look out for material which can be regarded as “used-up”, “less-value”, or “wasted” - then it appears to me that Jute sack fits into this context! The Jute sack stands for the lost years of glory, having exchanged hands from one country to another before ending up in my studio to take a new life, different from what it has been used for. Thus, the series finds renewal through the symbolism of jute bags...

American Artist 1922 – 2012 Served his country as a Sergeant in World War II, both stateside and in the Philippines. After the war, native Chicagoan Ronald Ahlström graduated from t...