This block print piece is

inspiration inspired by the French artist

Alphonse Mucha and his piece,
Process Portfolio Peace in the Making
Daydream. His artwork is
This sketch was to show OCD in action. When looking at a sharp
heavily inspired by femininity
and floral patterns and is
planning object, the woman is clearly in distress. This is something I have
experienced in the past many times, though this type of OCD is not
classified under the Art
portrayed in the media as often. The woman has a fearsome
Nouveau movement during the
expression on her face as she's looking directly at a simple fork. The
early 1900s. These women
fork has motion lines to give it the main focus, indicating that the
present a calm expression
woman is afraid of the fork due to OCD.
while doing an angelic,
dainty-like pose. Typically,
In my final sketch, I decide to illustrate the
behind the women are floral
other side of OCD, called exposure therapy. I
and circular patterns that center around them,
first start by sketching out a woman, with a
moving the eye around the painting and back to the
blank expression, looking to the left. I then
center. I am fond of the intricate details in the dresses
drew a knife, in which I experimented where I
and the in my piece. When I look at this piece I feel at
wanted this knife to be pointed.
peace, with the swaying of the hair and the curved
lines on the dress, background patterns, I intend to
Finally I decided to take inspiration from one of my own exposures,
use these features in my piece.
which is pointed to the neck.This was the base of the piece, I knew I
needed the viewer to understand what was going on when viewing it.
Another detail that inspired me was the content
expressions on their faces. I intend to make an art
I wanted the attention to go around the print and eventually lead back to her. I start off with a white
piece mixing this expression and OCD, a mental
circle, where her head and shoulders are (I wanted this to bring light where her neck is). I began
disorder that generally revolves around panic and
shading in each area where I wanted ink with my lead pencil to avoid any confusion when carving
anxiety. However, without making this piece too violent,
in the future. Lastly, the final pattern is directly inspired by the background in Daydream, this
I will continue to illustrate using a simple expression
swirl-like pattern was the perfect pattern to make these shapes look open to the rest of the piece,
with similar background patterns.
which I planned on leaving either black or white.
Peace in the Making
After carefully tracing over
process each line with a pen, I
remove the lined paper and
the print successfully
After creating my final sketch, I trace over every single line with transferred onto the
pencil, to make sure all the lines are clear and dark to trace over. linoleum. I start to shade in
Not only do I trace every line, but I also shade where each section with pencil the same places
is supposed to be black, to help guide my trading a little better. I shaded on my original
Once I completed shading, I took a piece of printer paper and sketch that I want black, so I
placed it on top of my sketch. I found the thinnest paper I could know where not to carve. The first section I started carving was the white space
find- a sheet of lined notebook paper. Once I was happy with the After all the shading was at the top. It was easy to where I could get a feel of
outcome, I flipped the line paper over and started to cover the complete, it was time to the carving tool and practice smooth lines on the
entire back-side with lead from my pencil. This way, I can use a carve out the negative surface. Then, I move inward to the swirl patterns,
ball point pen to trace on top of the lined paper and transfer the space. where I carve away the white. During this process, I
lead onto the linoleum. needed to switch from a thin blade to a thick blade in
order to carve the most intricate detail. I had to carve
The first mistake I made was not applying enough ink. This meant that the
ink wasn't thick enough to show the intricate lines like I intended to, as a evaluation extra slowly around her facial features and fingers to
make sure I didn’t distort any of her body parts.
matter of fact they barely showed up at all, especially around the flowers. I
then add more ink- much more ink. It was too much to the point where the The author includes women in relaxed positions with at
ink on my ink tray was textured, not smooth against the surface. ease facial expressions. I have concluded that more
The lines for the outer circular light needs to be shown on this topic regarding OCD,
pattern were directly inspired by the topic that is exposure work and the act one must do
Daydream. The position of the in order to heal from this fear of uncertainty. These
woman in my print is sitting in the exposures may look alarming from an outside
same position as Mucha, her hand perspective, when in reality this is how they learn. OCD
is in the same position as well. I is often portrayed in art through harsh, chaotic lines and
wanted the facial features to be repetitive patterns. This art is not colorful as if indicating
relaxed and plain, similar to ease, it mainly consists of black, white, and red, colors
Mucha's piece. often used for portraying stress and chaos.
Get Used to You inspiration
I first focused on was the dogs. I
started experimenting with different
line techniques, such as liquid,
motion, fabric lines, and melting line.
For this piece, my goal was to create a I was first inspired by Rene Magritte's
collage portraying how I feel nervous The Lovers, I wanted to use blank
meeting new dogs that I foster, however white sheets to cover up the dogs'
I’m practicing remaining content and open. faces as a way to portray them
I was looking for different animals that 'unveiling' their personalities. I was
were used in Surrealism artwork and inspired by the linework, which led to
came across Dali's, the Elephants. I Hoot’s curved brown lines.
wanted to accentuate a body part of each
dog, but leave the rest of the body alone, This next sketch is going into detail on what
and these legs are pretty eccentric. The
second piece I came across was one by planning the dogs will look like. I wanted the final
image to reflect their personalities in real life,
the French artist, Julien Tabet called Zebra
so I started brainstorming what sticks out about them. For Hoot, I
Flight. When I found Tabet's art, I liked the
sketched his each of nails to grow curved and above his head,
almost light-hearted edge to it. I took
inspiration from the stripes coming off of inspired by the Zebra from zebra flight. Then, I sketched my dog,
the zebra's back, however I didn't want to Sparkles, jumping in the air. Rather than her remaining in the air,
use my dog's colors and shapes on his I sketched her legs growing long and thin touching the ground.
back, instead I decided to use his nails. This was directly inspired by Dali’s the Elephants. Finally, my last
dog, Sunny, I sketched him in the same position as Slinky Tiger.
The final piece I found was one by Bruno Pontiroli, called Slinky These mutations symbolize the quirks of my new foster dogs.
Tiger, a quite unusual depiction of a tiger. The way his body
curves into a knot-like shape really reminded me of the My last sketch is some experimentation for how While my facial expressions were open, I
Surrealist movement, specifically how the body is warped into and where I should be sitting. I experimented wanted my body language to reflect how
an exaggerated, stretched out version of a methodical body with some different facial expressions, some a I’m still nervous when meeting new foster
(similar to the Elephants). I liked how the eyes move around bit more anxious and some more content. I dogs. I decided to keep my legs and arms
the tiger which I took inspiration from because I wanted the decided to pursue having a content facial cross to portray my emotions as closed
viewer's gaze to first move around the dogs' bodies and expression to indicate my openness for off and nervous. I plan on sitting to the left
eventually end at me. meeting new foster dogs. of the rest of my three dogs.
Get Used to You evaluation
The next thing I had to focus on
was the shadow, without the
shadow, it didn't look natural. After Similarities:
I began by taking photos of all getting the general shape with a
p three of my dogs, hitting the brown colored marker, I used the
Sparkles' legs have a similar
stretched out, long shape that
right angles to manipulate their
r body. I sketched out the nail
tool Gradient Blur. This blur made
the shadows look much more
mimics Dali's the Elephants. The
size is longer and skinnier as it
o
lines for Hoot and colored
realistic. I didn't like how the lines goes down to the ankle while the
them with brown. Continuing
from the copied photos looked so
c
this for every nail. Then, with a body remains the original shape.
picture of Sparkles, I stretched clean. It looked very unnatural and Sunny directly resembles Slinky
e
out her legs using a few I had to figure out how to make Tiger by Pontiroli. Both body
different techniques. I tried to them look slightly "blurry" rather positions have the same "knot"
s
paste multiple images of her
paws on top of the other, but than clean. I took the same brown color and went over position, the body loops around

s that looked full of flaws and not every cut line that surrounded mine and the dogs in the middle, and the back of the
as realistic. bodies. body remains on the right.

I found another way to experiment with Sparkles’ legs My inspirations included stretched
which took a few tries. I stretched out her legs starting out, warped body parts on
from the top and very slowly working my way down. Once I animals such as stretched legs
got to her paws, I had to quickly inch down stretching and long abdomens, which I
small sections of her legs to make sure they were evenly directly included in my piece on
stretched. If I went too far, it would warp a chunk of her leg my dogs' bodies. The pieces
away. For Sunny, I had to paste multiple of the same
include abnormal animals that
photos on top of eachother. First, I needed to stretch out
the end of his back in the original photo, circling it around have a comical, light-hearted
to the top of his upper back. Then, I needed to paste touch. The central theme is
another photo on top of his back so it looked original. abnormality, and the natural reaction we have to something or someone
Then, finally to created the knot-look, I had to paste that that's new to us. This piece helped me practice with my digital collage in
final image in top of an original image of his back legs. the future.
 Face Chunks
Instead of facing towards the canvas, I wanted to have an
p angle (little to the right) and of course my side profile face
completely to the right. I also needed to figure out how many
l face chunks I would illustrate and/or have enough space for. I
a added two watch straps to the back of my head and still an
inspiration indecisive amount of tethered chunks. This part represents
n several different identities being forcefully attached to my own
Salvador Dali and the face. Since there were going to be ropes and chunks, I was
Interpretations of Persistence of n determining what my hair style should be in sketch #2.

i
Memory inspired me most. I Pulling it back would bring more attention to my face and
what's floating in front of me. I chose for my hair to remain
wanted to explore surrealism
more in my piece, so I decided to n down because it looks most natural and casual.

look into Dali for inspiration. The g This was the beginning of my sketch of flesh
melting clocks in Persistence of
chunks, with the design inspired by the colors of
Memory immediately caught my raw animal meat. The red and pinks are
attention. I liked the idea of Dali's melting clocks represent
separated by thin lines of white, however after
decay and the act of melting, I the passing of time, which
sketching these chunks I realized the meat
wanted to use this same concept inspired my melting flesh on my looked too fresh. Since the purpose was to
in my piece, flesh connected shoulder. I wanted this piece of portray decaying flesh, I would have to change
better to my theme. to show how identities change. these in my next sketch. Then, I design the chain
that would be on the back of my head attaching
I thought about how I could show that these identities in front of my the chunks to my face. This chain resembles the
face are not who I am, they're others' identity. Instead of using a chain of a watch, something heavy duty to
different color or texture, I wanted to use bugs only on the two pieces portray these identities never leaving me. The
of flesh in front of me, not on my actual face, to prove my point. strings attaching the chunks to the back of my
face are thin and white. After coming up with the
Lastly, in The Disintegration of the Persistence of Memory, and
few details on my face, I paste them over a
floating rectangles. This inspired adding in two cracked lines on picture of me to see how it will turn out. After
my face with shadows to make it look like it's popping out. I paid coloring in empty black spots on my face, I
attention to the lighting of these shapes in Dali's painting, and plan realize it's too dark and I should add something
on applying the same contrast to my piece. more meaningful to replace it.
 The first step was to project two

Face Chunks planning

p reference photos onto the canvas
marking every shape and section
r where
shadow and
I also add a decomposing piece of flesh on
my shoulder, to represent an old identity I o light meet.
My face and
once held. The four pieces of flesh turn into
two long pieces of flesh that remain in the c body are the
only things
same spot, in front of my face. The hollowed
out holes in my face will instead be filled
e being
sketched.
with a photograph of me as a child. This is
to represent who I always will be no matter
s
how many identities I go through in my
lifetime. I only wanted the viewer to see this
s
photograph from a perspective on the side,
not the front. This is because I don't want When I began to paint, I created a palette of skin
you to see it, this would be labeled as 'too vulnerable' or 'not good tone ranges that would color in my regular tone,
enough' in my eyes as a child and still something I struggle with now. shadows, and highlights. The color up top is used for
The bugs show decay and rot, portraying an identity that's not mine. underneath by neck and cheekbones. The ranges in
the middle are used for my average skin tone on my
nose and under my eyes. The lightest shades are for
I begin painting my facial features first as they are
my forehead and chin for highlight.
the most intricate. I use an off white for the eyes
and a deep green for the irises. Then, I carved When painting the features, I had to be extra
underneath the eyes and the nose, adding more careful making sure none of them looked flat. I
Burnt Umber brown to darken the shadow behind wanted this piece to look as realistic as possible,
my nostrils. Then, down to my neck I paint my so I added a shadow color underneath my eyes
collar bone and chin and fill the rest of my skin and lips to portray them as coming out of my face.
color in with my medium tone. I use the highlights For the eyes, I painted a shadow underneath the
for the final touches and blend them in with water. lower lash line. This helped the whites in my eyes
For the background, I decided to use beige mixed pop out more so it doesn’t look flat with my black
with Burnt Sienna brown to contrast with the red eyelashes. For my lips, I lightly painting directly underneath leading to my chin,
from the chunks of flesh. making them look plumper.
 Then I started to add a photograph of
Face Chunks
To begin painting the chunks of rotted flesh skin, I sketch
out on Procreate the colors and style. The colors were me as a child. I planned to have my eye
inspired by yellow-tinted browns that mimicked the look of where my eye in the painting would be,
molded cheese. Behind the skin is the layer of flesh. It and the rest of the face would be on my
After painting in all my Holds three different hues of red: a dusty neck. I cut out the pieces and
p facial features and
sweater, I started lining
pink, a blood red, and a blackened red.
Each of these colors is diluted with grey
constantly have to cut a little more off to
fit the crevices perfectly. After, I got glue
r the chunks of my face to portray a decayed effect. On top of the and quickly paced the
from the central skin, I've added some dark spots blended
o perspective. I started
photograph on top
in with the tone. On the actual painting, I of the canvas and
c lining with a led pencil
and traced over with a
added the same decayed color to the
lower left edge of the chunk. This, again,
held the paper
there for a minute.
e thin, delicate paint makes it look less flat. I made sure to
brush and black paint. touch up the
s On the bottom of the For the final touches on both my normal face edges and
s thicker layer of black to
flesh chunk, I paint a and the chunks of flesh, I add little black flies continue pressing
and ants inspired by Dali. To create these down to make
mimic a shadow. This insects, I used the back end my paint brush to sure they don't
portrays an illusion. I finish with a create small circles, then filled in the rest of the move and reveal
small bit of red for the flesh. legs and antennae with the point of my brush. any blank canvas.

Dali uses small, black bugs to indicate As my first acrylic painting, I was proud of my
evaluation decaying clocks in his piece, which I accomplishments of recreating a photograph and
incorporate into my piece particularly on lavishly depicting Dali’s perception of time in my
pieces of flesh to indicate the same meaning. I have concluded piece. I was able to create a solid skin tone with
shadow and highlight colors that realistically mimic
that the identity crisis objectively feels like the subject is being split
my features. Recreating my exact skin tone while
in half, generally feels like they are or should be one identity or the adding hints of yellow and brown successfully
other. The theme of my piece is experiencing an identity crisis and depicted rotting skin, as well. The amount of
how it may not be visually obvious but rather how it's depicted in practice I obtained through mixing colors and
our minds. It is often depicted as chaos such as expressing with blending them into each other prepared me for my
multiple symbols and can tend to be an overcrowded piece. acrylic paintings in the future.
Paper Memories
Around every possible edge, aswell. She said that the
planning tape would stand out, so the best option would be to
cover the entire sculpture in tape. My second sketch

inspiration
consists of the entirety of buttons and addons on the
camera. I’ve included measurements for the side and
extra pieces that will need more time cutting out
In Beatles Guitars, Richard Gilmour
because how how detailed and intricate they are.
creates buttons that actually pop out of
Towards the bottom, I’ve sketched out the smaller
the sculpture itself. These buttons have
buttons such as the letters for SONY and the levels of
rounded edges with texture on the
caredboard needed for the screen. The much smaller
bottom, which looks similar to a
buttons and pieces are illustrated at the bottom along
camera's button-
with their measurements, like the charging port.
just not as deep
in width. Gilmour My third and final sketch consists of how I plan on creating the 3D lens that is able
also uses sharp to be pushed out and in. I start off with an idea of to be pushed out and in. I start
but rounded off with an idea of beginning with the smallest
edges that circular piece that will eventually be pushed through
I decided on making it 5x
quickly curve on the largest circular piece. Then, I sketch out how the
its original size, leaving it at
the edge of each actual lens will look and the designated areas of the
20" x 10" x 5". I drew out
guitar. cardboard to mimic a lens. After, I come up with a
each additional piece I
process showing how I plan to use a basketball to
wanted included in this
bend this cardboard creating a nice circular shape
I would need to round the edges of my sculpture, including the
for the lens. Then, I will wrap the strip of cardboard
camera instead of keeping them purely stickers that are on my
around itself and secure that with tape, followed by
straight. I was inspired by the smooth original camera. My
placing it into a circular ring that will hold in in place.
edges of the guitars because of how it supervisor said that in
This step will be repeated for the larger circle and
keeps the shape but isn't immediately order to get the rounded
eventually the final lens. On the bottom, I plan to
cut off. In order to recreate this edge, I edges of the camera, I
carve out negative space for the largest lens and for
would need to get brown paper tape. needed to use paper tape.
the design of the camera.
 The first lens was
Paper Memories
I cut out the front and
complete, but then I the back of the camera
needed to repeat this and connected the two
process one more time with one long strip that
is taped to the edges
p for the final lens. I
created a thin ring that
with paper tape. Using
this tape will smooth
r would not move past For the actual lens itself, I out the edges, making
the top ring of the had to roll out one more it look more realistic. I
o bottom lens (the top strip of cardboard with a then cut out all the
basketball and hot glue
c lens needs a barrier to small buttons and
another ring to the bottom screens and cover
prevent it from going
I begin by rolling out a long strip of
e
of it. For the piece on top, I them with paper tape.
cardboard that will be the base of through completely).
cut out space for two pieces
the lens. After bending it enough This way the lens is For the finishing touches, I bent
s
to make up the shutter of a
with a basketball, I add two rings able to be moved in lens with a knife. I use extra cardboard in a bowl shape and cut it
in half and cover it in paper tape to
s
on the top and bottom that will and out without board to make sure it
secure it to the main camera. doesn’t fall inside. add some more dimension to the
bending any board.
sculpture. I cover the rest of the 3D
Gilmour has a lot of indentation as well as pieces sticking out to make the details in paper tape to make it look
sculpture look more full and have depth, which inspired me to have various evaluation cleaner and smooth. Glue was a bad
adhesive option, so tape succeeded.
indents in my piece as well as an interactive lens. The author includes every
characteristic when recreating an object to show how much detail and value When recreating an everyday object, there is often a high level of detail
goes into it, it expresses how intricate an object can be when seen in shown in the sculpture. This detail can include larger aspects such as
another medium. interactiveness or smaller such as texture and creases. The theme
surrounding this piece is 'something new', something I had never experienced
before. While it is new, it reminds me to stay present in the process and to
enjoy what 'is'. An inference I made regarding this project is that objects that
hold a lot of meaning don't have to be one-of-a-kind pieces, they can be
something as simple as a camera. It doesn't have to be expensive or of high
value, something basic can be worth just as much.
 Don’t Panic!
I begin my planning process with a
reference photo I took of myself
washing my hands in my bathroom
sink. Then, I begin my sketch on
paper drawing my hands and sink. I
inspiration color in the walls with a pink color I
decided to try out.
For this piece, I was inspired
by Roy Lichtenstein and his I experiment with different hand styles and reference two photos,
Pop art. As I was researching one I took of myself and one from the internet (below). I realized
his pieces, he uses colors like I wanted less arm and more hand in the piece, and I also shifted
red and yellow to fill in certain the perspective to a better angle that was more above than
shapes that portray a sudden beside the sink. I experimented with different colors for the
movement. Here, I was background, as well. The purple consumed too much of the
inspired by two his his pieces piece, so I changed it back to pink. I like the pop of primary color

planning
called Explosion and Foot and that mimicked an explosion for the broken nozzle, it contrasted
Hand. I specifically liked how nicely with the blue of the water.
each piece used motion lines. The water is floating above the closed hands to
mimic the feeling like the hands are not
My goal for this project was to depict a scene portraying becoming clean, no matter how many times
an OCD compulsion of frequently washing hands. they're being washed. The person is wearing
Lichtenstein's pieces reflect a mood of urgency and both a suit and a watch. The suit portrays how
this person is about to go to work or
alertness that connect with the feeling of needing to do a
somewhere important and the watch.
compulsion. I was directly inspired by the hand in Foot
and Hand. The linework on the knuckles and boots This represents how much time this process is taking, therefore
inspired me to use more line work in my sketches, this person is running late for work because of how much time
they are taking. The suit has wet stains around the sleeves to
specifically for the splashing of the water and the line
portray how aggressive this person is washing their hands as well.
detail behind the broken nozzle. I plan on incorporating
The bubbles also depict how much effort this compulsion takes,
Lichtenstein’s smooth line technique in my final piece. but symbolizing a state of innocence.
Don’t Panic!
For the hands, I created my own
process skin tone and sketched over with
a led pencil. This way I can go
over it with a black marker to
The first step in this process make my skin tone pop. I painted
was putting together four 2 ft. the bubbles at the top with a
boards, then stretched the slightly lighter pink, to avoid it
canvas and stapled it on top. I blending in the background.
prepped the canvas with three Then, I paint pink and white for
layers of gesso and began highlight and shadow.
sketching the outline by hand. I then add a sheer layer
After finalizing the sketch, I For the broken nozzle, I was constantly layered
of blue on top of the
began to paint in all the yellow on yellow, which ended up looking
watch to portray water
background colors. I made a chunky and messy. So, to speed up the
running over the "time".
hot pink with red, white, and process, I added one layer of thick white paint
This is the only aspect of
yellow for the background and which worked out perfectly. I was able to
my piece that isn't solid
a sea blue for the base of the achieve bright yellow polka dots and the outline
evaluation
because I want the
waterflow. of the shape. I repeated this process for all the
viewer to see the
yellow spaces.
number peeking
I was inspired by a work of art that would look The central theme surrounding my piece underneath. The water
the same as how it feels. The different layers of is uncertainty and the effects of not being running off the watch
symbolizes running out
pop art in my inspiration mimic chaos and able to accept that nothing is 100%
of time. I wanted the
unpredictability, similarly to my piece where the certain. These decisions can have both water to look like it was
pop of water against the background highlights long and short-term effects. Panic is often stuck in the watch,
mayhem. Lichtenstein perfectly portrays the portrayed through primary colors like bold almost sloshing around
theme I was inspired by due to his use of red and blue. They are rarely affiliated inside the glass. This
with secondary colors like hues of pinks looks like the water is
popping primary colors and shapes that mimic
panic and drama.I have generalized that the and purples, which is something I wanted taking over time, which
essentially represents
idea of panic and chaos is usually depicted to add to my piece to contrast with the
how uncertainty takes
through colors of red, dark blue and black. usual array of colors of chaos. over someone's mind.
 Balanced
My plan was to have the background symbolize my
inspiration parents’ divorce, with two different patterns. Patterns
differ color wise and shape wise and they will slowly
My inspiration is Alphonse Mucha’s merge together in the middle, behind me. Since I was
Daydream and his use of intricate the prominent subject of the piece, I wanted to include
patterns for his subjects and his something almost as prominent but behind me, since
backgrounds. His color scheme of rich, this is from my perspective and not my parents. I slowly
deep colors and pops of primary started sketching my face and shoulders, working my
colors against neutrals originally way down the dress. I was inspired by most of the dress
caught my attention. The concept details like the pattern on the chest and the sleeves, but
behind his portraits is uplifting woman the rest of me would remain the same.
and femininity, through hyper-feminine
details such as flowers, lengthy
dresses, and ethereal positions. planning

Then, I will include leaves I finished the dress with some more detail and added
and flowers inspired by both my arms and the arms coming in from the side.
Then I started sketching the background patterns which
Woman with a Daisy. I plan
consisted of intricate, floral details. They were similar, but
on having myself as the didn't exactly match which I thought was a decent
main subject, holding two description of divorce. I added a curve in the background
hands reaching in on the behind me, this is where the patterns will meet. I wanted
right and left side of the this piece to revolve around a cream or beige color, so
painting. My ideal pose is the background is neutral only. The pattern on the left will
to hold two hands that be a Burnt Umber filled with beige and Burnt Sienna filled
with beige in the right. The remaining background color
represent my parents. I'm inspired by Woman with a
as well as my dress will be hues of beige with a hint of
Daisy's color scheme, it contains ranges of neutral colors pink. The patterns on my dress will be a range of primary
with pops of primary colors. colors, such as blues, yellow, and green.
Balanced
For the background, I outlined each plant vine in brown, then
process filled in with beige. When painting the dress, I used beige
with a soft pink undertone. As the dress got lower, I added
Burnt Sienna to depict the shadow of the layers in the dress.
After finalizing my sketch, I
projected onto a stretched I used a variety of bright
and prepped canvas. I used a colors for the pattern at the
led pencil to mark every line, top of the dress. I had to
abbreviating each color in paint a layer of white for
their designated spaces to them to look their brightest
remember in the future. first. I then used the back
Delicate lines for the fabric of a thick paint brush to
and hair were darkened. spot small white dots on
top of each color to make
out a design. While the act of divorce is a
change in routine, uplifting the
evaluation idea as somewhat positive can
make the experience less
As I began painting, I daunting. I wanted to provide a
started with my skin Mucha's use of delicate perspective on divorce as
and facial features. I patterns in the background of something that is complicated but
used the same his subjects hints at a mood of also positive, so I looked into
technique as my complicated circumstances, artists who had complicated,
previous acrylic however it can be beautiful at intricate details but were also
painting, where I the same time. Mucha uses labeled beautiful by the media.
create a range of skin I use Burnt Umber mixed with relaxed poses for his subjects Divorce has a negative reputation
tones for my shadow beige for the shadows in my indicating that in this portrait of in the media, especially when it
and highlights. For me hair and Burnt Sienna with them, they are not conflicted comes from the child's
eyes, I use a deep beige for the highlights. I or in any danger. There needs perspective like me. It often
green against an off painted with thick brush in to be more positive artwork focuses on being broken or split
white. I alternate curving motions, following the surrounding the topic of in half whether that's identity wise
browns for my hair. flow of my hair. divorce as something positive. or a shift in their life.
 Changes
Each sketch contains a self portrait with flowing flowing
inspiration
to the right. The idea behind this painting is being okay
with change and letting it flow into life. The first sketch
is the wind flowing through my hair and eventually
My inspiration for this piece is leading to the flowers on the right. This indicates that
Ambrosius Bosschaert and his change is flowing through me and into the next chapter
depiction of his still life flowers. In of my life without my control. The second sketch is me
Vase of Flowers, uses light pops of blowing the flowers to the right, indicating being in
color for the flower buds with control of the change. Lastly, the wind blowing through
smooth brush strokes. The texture my hair and flowers, however I'm holding onto one
of this piece and smooth, indicating flower, portraying I’m not ready for change. The bottom
a calm setting. I was inspired by three photos are reference photos I've created for
the peaceful setting of flowers and myself for the final sketches.
their symbolism of growth.
planning
Bosschaert appreciates the growth
of flowers, as I aim to appreciate
the growth from change.
These are my final sketches after viewing the
reference photos that I’ll choose for projecting onto
In this piece, called Still Life
my canvas. The first sketch is me holding onto the
of Flowers, Bosschaert uses
flower, however there is no wind pushing my hair
lightning to highlight the
OR the flowers. So the idea didn't really make sense
beauty of the flowers resting
to me anymore. The second sketch, there is wind
on the table. This inspired me
flowing through my hair and through the flowers.
to use a brighter color palette
However, this gives off a negative mood as it seems
as well as some flower
I am trying to cover up my identity like I am
designs he depicted. I intend
ashamed. This isn't the idea I want to uplift. The
to connect the size of the
third sketch is my favorite, it's me blowing the
flower to the size of the change in my life. Bosschaert paints
flowers indicating that I am in control and welcoming
with thin, smooth lines shaping the petals and stems. It
change because you can see my face and my
portrays a tone of delicacy and gentleness that I strive to
hands. There is no wind behind me, I'm the one
include. Approaching change from openness is the goal.
blowing the flowers.
 Changes
After choosing the I started off painting my face and all of its
process third sketch, I
projected it onto my
shadows and highlights. I use a thick brush
coated in a little bit of water to help blend the
canvases with a tones together so the shadows didn’t cut into
projector. Due to the the skin too much. Then, I painted the eyes,
size of my sketch, I eyebrows, and lips. The lips were a very soft,
had to project in two light pink with a tint of brown to avoid looking
parts. The first part is like hot pink lipstick. The hair contains two
to make sure my shades of brown: Burnt Umber with a small
body and hand were amount of black and Burnt Sienna with beige.
correctly placed.
Then, I had to For my shirt color, I stick with black and add small tints of white around my armpit and
reposition the canvas shoulder. I use my deeper skin tone for the bottom and in between my fingers and my
on the right to sketch highlighted skin tone for the top.
each flower evenly on
that one canvas. evaluation
My overall research Most classical art revolves
shows how beauty around big changes such as
comes in the simplest world wars or coronations, but
forms. Remaining calm Previous to painting the flowers, I
smaller changes are less
and peaceful will allow experimented with a few designs that
common in art. Change,
enjoyment to the basic would add variety. The designs above
whether it is under our own
things in life. I have were painted in my sketchbook,
control or not, can be positive
concluded that change some with thin brushes and some
and sometimes needed.The act
is a very stressful topic with thicker brushes. However, they
of change is often portrayed
for most artists, whether all have clean brush strokes and
with chaotic, quick brush
it's big or small. It's best smooth patterns inside. I chose one
strokes and bright contrasting
to allow it to happen good one from each paper to paint
colors to mimic one's surrender
without fighting it to onto the actual canvas. I placed them
to it. Artist's find adapting to
remain happy and evenly, curving their stems to mimic
change extremely stressful and
present. wind.
avoid it at all costs.
 Limited
Sun is my inspiration for For my first sketch, I
the man in this piece. I drew basic
wanted a reference with illustrations for what I
a large chest a muscular want each figure to
My inspiration for this body: two aspects look like. I also
piece comes from two commonly associated experimented with the
artists: Giovanni with benign strong. I colors of clouds
Tiepolo and Francois also plan on using the painting as cool tones
Boucher. Boucher same color of red. This or warm tones.
painted this piece to fiery red represents Finally, in a small
the right called “The power around Sun. I square I planned the
Rising of the Sun”. He want the male figure in layout for the final
illustrated this man, my piece to hold a great piece.
Sun, as glorious and deal of power, similar to
strong with heavy
inspiration Sun.
lighting. planning The illustrations of the women experiment with different
positions of the arms and legs. The sketch at the top is my
Tiepolo painted “The Triumph of Virtue and final, where she’s positioned like she’s escaping the rope.
Nobility”, to the right. I was first drawn to the
clouds, and how the brush strokes made the
clouds look soft against the colors of the sun I drew the male standing in this leaned back
setting. The tinted, grey clouds portrayed a position with big muscly arms pulling down on
soft mood that I plan to incorporate into my the rope. Everything about his body posture and
own piece, except I plan on experimenting position I liked, it was only his facial features. I
with brighter colors like pink and yellow. was inspired by Boucher's "The Rising of the
This triangular composition Sun" and the way his subject is positioned. It
between all three inspired Both of these women looks as though his position is filled with aw and
me to make a piece hold key features to the glory, which is exactly what I want for this man in
symbolizing makeover ideal female figure I my piece. The only thing I pursued to change
female dominance in want I portray. I was was his facial features. I decided to make his
society. I was directly directly inspired by their hair straight and less messy, and his facial
inspired by their aggravated facial expressions and expression would be facing higher with a more
facial expressions. body placement. prominent chin, to enhance a strong jawline.
 For the angels’ wings,
Limited
I started off with a For her and the
process small-to-medium angels’ skin tone, I
used two shades for
I painted a base coat
of white, then layered
size brush, just
because I want her normal tone and a a soft, light blue on
there to be slightly darker tone for top. Because the blue
multiple layers her legs and chin. I was so pale, I decided
with bright white. I repeated this step for to take a small, thin
kept doing this the angels, aswell. crush and paint thin
more a few blue lines outlining the
minutes, but then Then, I began painting the wings and the
realized how small female and baby angels. Both feathers, to make
the clouds actually the female’s fabric and the them pop out from the
were- especially in babies’ wings are a similar shade background.
comparison to the of sky blue. I used a light blue for
I painted with multiple different colors that
subjects. So, I had the highlight of the fabric, then I
evaluation
mimcided a sunset with pinks, dark yellows, and
to go bigger in my cut it with a dark blue for cease.
greens fading into blue. Then, I used white with
grey to stipple clouds with a thick brush. cloud sizes.

Tiepolo uses soft, The author includes bright, fluffy

delicate brush clouds with angels to approach his
strokes to indicate a intense scenes as romantic. I
romanticized scene, have concluded that art
which connects to surrounding male over female
my theme of how dominance is usually romanticized
violent dominance and labeled as erotica. There is a
is disastrous even use of triangular compositions
when depicted when depicting dominance that
I began painting with two skin tones: one for the highlight softly. He shows portray who is dominating what by
and one for shadow to define his skin from the clouds women in distress being up top. I wanted to use this
behind him. I continued this for all of his skin tones, then to portray anger composition as well, but place the
began painting the fabric. I used a bright red for the lighter from lack of female on the top to portray
areas and a dark red to portray the creases in the fabric. empathy. empowerment.
 My first sketch
Object Still Life
I liked the idea of this, but the way
experiments with
inspiration different angles
the objects were propped up looked
no unnatural. I decided I wanted
and objects going them laying down on a surface, so I
I was inspired by Pieter into the piece. I removed the books and used my
Claesz’ Vanitas Still Life. included a white shelf. I liked this idea a lot
he uses dramatic lighting bookshelf better, especially form a higher angle
and placement technique because I wanted so some objects could be placed
to highlight each objects’ to depict how towards the front of the shelf.
importance and meaning. I doing
plan on created a piece compulsions has
highlighting all the objects taken up much of
I used for exposure my freetime.
therapy for my OCD.
After previously deciding I didn't want to
This would symbolize my journey through all compulsions I have been use my white shelf anymore, I moved onto
exposed to in order to become peaceful. The irony in this piece is to my wooden dresser, which is a warm
portray my objects as scary, but really, they’re just utensils. brown. The candle light shines smoothly on
the top of the wood, it also contrasts with
p the brightness of the egg and scissors.

l
After some experimentation to see how
a the pencil marks would look after
reacting with the water, I just lightly
n shaded in areas. I unintentionally left the
This is the reference photo I took with every object I plan on
painting in my still life. I loved the way the lighting made every n area around the candle flame blank
because i was nervous to paint around it,
object have a dramatic shadow, so I kept the lit candle. Then,
some scissors placed on the candle, a knife, a pencil, and an
i but then learned how that looks much
more realistic because of the intense
“egg”. I didn’t have a real egg at home, so I used this eraser n flame light. I also was a bit stingy with the
as a mock egg. I plan on keeping the table brown, but I’ll be
g
black for shadow, because I thought it
painting the background black so the candle flame will shine. would turn out "too intense".
 Object Still Life
As I was finishing the entire board, I had to plan
out where each color would blend into each

p
other. Areas like surrounding the candle light
and the reflection of the light on the table
To begin, I projected my sketch onto
r
needed to blend in with the background. With a
my piece of paper board and used a circular motion for the lighting, I added several
lead pencil to sketch each object on
o
small, thick streaks of beige pastel with a few
the table. In between the linework, I When coloring in with my streaks of brown, then full streaks of black. The
made some quick thin and thick lines oil pastels, I have to be
c
brown in the middle helped the lighting fade into
to indicate where the lighting will careful with how much the background.
change. Due to this being inspired by I’m coloring in. Since the
Claesz, I’m going to include dramatic e pastels were heavily Before painting with water, I practiced a bit to determine how
contrasts in color near the top of the
s
pigmented, I did quick, much water I should use depending on how pigmented the
candle and to the right of every pressures lines were colors are. The black pastel was the most pigmented, but I
object.
s
each color. This leads to needed to keep this pigment so I used small touches of
each color being evenly water on my brush. This also allowed me to have better
distributed. control over the shadowed areas because I was able to
make clean brush strokes without the black seeping into
evaluation other colors. I repeated this step for lightly pigmented colors,
this way the water wouldn’t wash away their colors.

I have concluded that romantic artists tend to portray complex meanings

My inspiration is Pieter Claesz Vanitas through simplicity like everyday objects. I’ve inferred through my
Still Life which uses bold, warm details research that OCD is portrayed by dark, consuming colors that depict an
that I incorporate into my piece abyss of negative space with little light. Originally, I was intimidated by
specifically depicting the objects and water color, I was worried I wouldn’t have as much control over the paint
lighting. Claesz includes dramatic as I’d like resulting in a blended mess. With some practice beforehand, I
lighting reflecting average objects, was able to get used to the technique of painting with a watered-down
allowing the objects to portray a sense paint brush. From previous painting experiences, this wasn’t too far off
of importance. Connecting to OCD, from acrylic. The poster board, however, was much different than
these objects are most important to my canvas. I wasn't used to the paint seeping into the medium so quickly.
exposures. Overall, this prepared me for my oil pastel piece in the future.
 Face Chunks 2
My idea was to take a photo of myself and layer on the shadow of
inspiration
my hands. Then, I would draw arrows onto my face to indicate the
desired appearance for society. After creating the sketch, I realized
I did not like this piece as much as I thought. . It seemed
Salvador Dali, my inspiration, meaningless to me and wasn't something I felt genuine about.
has a specific style that I began talking with a friend of mine about how I've
depicts unusual objects in developed many personal habits that I wouldn't
midair. In both Persistence of have done if it wasn't for her. The idea for this
Memory and The piece is the exact opposite of my perceptions of
Disintegration of the identity diptych. I then sketch up some ideas that
Persistence of Memory, Dali could portray how my friend's identity is a part of
uses clocks and bricks floating in mid air to depict that mine. I experiment with different angles of both the
time never stops, it is forever moving. These objects camera and where a projector would be, but
have no business being in mid air, which is why they look eventually settle for a front angle. Lastly, I
so unnatural nor does it “make sense”. I was also inspired experimented with different chunks of our bodies.
by the decaying of time and interpreted it as time never
stopping.
p
I begin with deciding to have a portrait style collage
I took this interpretation to depict my appreciation for consisting of two photos. The first scene is me gluing
time and identity. Connecting to Dali’s perception of time l the piece of my identity that is a part of my friend onto
her. This implies that she wishes to keep that piece of
by how it ages and decays, I also wanted to show that
time doesn’t stop and how that is both a disheartening a identity rather than get rid of it. Then, her piece of
identity that is a part of me is stuck on by a bandaid,
n
and beautiful thing. For this piece, I was inspired by
Dali’s depiction of side profiles. I want to portray how indicating that I would also like the piece of her identity
people have positively impacted me over the years to
the point where I
n to be a part of me. These chunks were inspired by my
previous piece, Face Chunks. I created another sketch
can contribute a piece of my i where we both had scissors and we were going to cut
identity to them. This the strings attached to each other's identity, but then I
connects to my theme of n realized how that looks pretty negative and not what I
want to show. Then, I came up with my final sketch
g
surrender and how being
vulnerable is surrendering my where me and her are gluing each other's piece of
ego and allowing myself too identity to ourselves because we wish to keep those to
put my guard down. remain our own identity.
 Face Chunks 2
The first step was to This process was extensive and confusing because I
project a white screen had to get the color scheme just right. I found a dusty
against our faces, this pink shade to douse within the flesh color, almost like
improved the lighting. a hunk of meat. Then, I had asked my art teacher

p Then, we took one how to make this look more like flesh and he said to
photo looking at each add little pores of skin and add blue and red to the

r other and one looking

straight at the camera.
veins. I added specks of blue and red throughout the
bottom which really brightened the flesh up.
o Both photos had
positive expressions, For the final photo, I traced over these
c to elicit a light-hearted
mood. On the bottom
sections of our face with a smooth, black
marker on Procreate. Added shadow
e photo, were both
holding glue for the
underneath to make it look as if it’s floating in
front our our faces. On top of the back, I
s indent on our faces. used a beige color to look like the glue.

s evaluation
I started off carving out a cracked
I connect Dali's I’ve concluded that one's identity
chunk of my face to paste, which
distortion of the changes with time, whether it's an
meant I needed to screenshot
human subconscious occurrence, an experience, or a
and paste the exact same photo
experience to the person. The central theme around
over my face and erase all the
distortion of a my research is surrendering to the
extra room. I shaded this hole
changing identity. idea of vulnerability to show and
with black on the inside and a
Dali's work revolves feel a genuine connection between
gray along the edge of my face.
coexisting with things us and the people we love. After
This created an illusion of a
beyond our control creating this piece I’ve inferred that
hollow skull, which looked life-like
which relates to my creating scenes of art that don't
after I blended them together.
theme of surrender make sense are more realistic than
After the skull was shaded in, I
and being comfortable physically depicting how we feel in
pasted the face chunk right next
with vulnerability. a realistic scene.
to it.
Amsterdam Sky
I recreated these two photographs to
p
inspiration
decipher which would look best with Van
Gogh's technique. I started doing little tiny
lines on the water and slowly moving down l
In Starry Night, Van Gogh uses
a repetitive pattern of quick, thin
the page. Then, I realized that Van Gogh a
doesn't use only one color per section, so I
lines to depict the shapes of had to incorporate some other tones of n
moving objects like water, blue in the reflected sections. Then for the
plants and the sky. I decided to sky, I began layering colors on top of n
work from a photograph I took
in Amsterdam earlier this year,
eachother for some motion.
i
and I thought it would be This is where I decided to incorporate Starry Night as the n
perfect as a Van Gogh-inspired piece. I was inspired by his sky. For the illustration on the bottom, I thought it would look
technique of changing colors in moving objects. He uses better as a Monet-inspired piece. It reflects the appreciation g
thick, bold lines of color throughout the entire piece, none for huts against a sunset sky. Besides that, recreating the
of which or straight. Van Gogh use impressionism with thin, clouds was not my favorite. Since I was using white paper,
precisely placed lines that lightly contrast with the color the white oil pastel did nothing. Nor did it transfer well on top
below it. of other colors. So this idea was ruled out for next time.

The second Van Gogh piece I

was inspired by was his “Starry For this sketch, I used pastel to
Night Over the Rhone”. He create the Starry Night sky
repeated the impressionist behind the buildings. I sketched
technique here, but with smaller out where the moon, stars, and
lines along the water to mimic change of colors would be and
applied a firm amount of To add some more color to the
the lights’ reflections.
I was inspired by this specific section of the piece because I pressure to each line of patel to sky, I took a black oil pastel
had never challenged myself enough to mimic reflection. I mimic Van Gogh’s technique and evenly placed thin lines of
noticed how none of these colors were blended into each with oil paint. For the moon and black around the curves of the
other as well, meaning he applied pressure to his oil paint stars, I layered orange lines moon and sky. This color
with a thick enough amount to keep the stroke one solid over yellow and then layered made the piece look less flat,
color. This also helped make the stars brighter in the sky deep blue on top of sky blue for mimicking a shadow for each
when contrasting the beige and yellow with the deep blues. the swirl in the sky. object.
 Amsterdam Sky
As I began coloring in the sky, I started
process with the light blue and filled in the
outside of the moon, stars and th inside
of the swirl in the sky. Using a light blue
To begin the process, I layered lines first made it easier to clean up the
of deep blues and sky blues on top shape when I began to use a dark blue.
of eachother for the ripped in the I filled in the rest of the sky with the
water. Since this canal is always deep blue color, making sure to drag
moving, I added dips in my lines to my pastel around each shape. I created
mimic waves. I repeated this little lines that circled the moon, stars
process to depict the lighting from and all around the swirl.
the windows. I used a bright yellow
as the base. I stopped using the linework when coloring in the buildings on the side.
I needed solid colored buildings to separate the movement between
As the layers between the reflection and evaluation the ski and water. I colored the buildings in, alternating in a Burnt
the water became closer, I had to apply Sienna pastel and Burnt Umber. Finally, I added shadows of trees.
firm pressure to each streak so it wouldn’t After completing this
blend into a giant green section. If I lightly I've inferred through my
piece, I was pleased
colored in the blue on top of the yellow, research how humans have a
with the outcome and
the reflection would disappear. fascination with the sky, it’s a
how my Impressionist
natural phenomenon that
technique has
I had to repeat this process humans have shared before
improved. I was
for the rest of the reflections technological advancements
apprehensive about
of the windows, then I filled in and trends. I think this is very
continuing an
the water with more streaks of important for artists to share
Impressionist piece
blues and blacks until it there this connection not only for the
because I wasn't
was no white spots. For the sky but with bodies of water.
confident enough In my
moon, I did streaks of orange Van Gogh’s perspective is
work and patience.I
to fill in the shape. Then, I fascination with the change
worked on my patience
used streaks of yellow and and movements of colors of
throughout this piece
beige in a circular motion to the sky and water. He uses
and I’m proud of the
depict the glow. multiple, layered solid colors.
results.
 Gallery Visits and MAM Satellite Internship Van Gogh Museum
The next gallery I
Rijksmuseum visited was the Van
Gogh museum, also in
Visiting the Rijksmuseum in Amsterdam. This
Amsterdam, I was exposed to museum had some of
Ambrosius Bosschaert and his still Van Gogh’s nature
lifes of flowers. His pieces inspired pieces that depicted
my piece, Changes, with his cool his impressionist style
toned depiction of flowers and trees and fields. This
contrast in colors. His smooth, slow was my first view up What inspired me most was how he depicted motion. I loved how none
line work also inspired me to depict close to his pieces, of the lines were straight, each had some sort of dip to them that
my piece with a calm tone. where I was able to depicted the leaves and grass to always be moving. This later inspired
see his intricate lines. my piece Amsterdam Sky.
The Rijksmuseum also had an interesting
layout of pieces that inspired my layout
During this three month internship, I
idea for my exhibition. Any pieces that
were connected to each other, were MAM Internship was able to meet and create art with
multiple other artists my age. My
immediately placed on top of each other.
supervisor, Anika Kowalik, brought in local artists such as CK Ledesma
This inspired the layout of my exhibition
and Daisa Bryant to present their art and hands-on activities. It also
pieces, because I wanted to tell a story
included a trip to MIAD with MIAD B.L.A.C. for an introduction to art
through my recovery journey by placing
school. Then, as a group we began learning how to teach art history to
my pieces near the
young kids. We worked together to create a tour for a school
next stage.
field trip, as well as an art activity that was suitable for their
age group. On the last week of my internship, we began
experimenting with designated areas of space for our art we would place in the
museum for two weeks. We decided to create an exhibition layout that mimicked a
pyramid shape, since we each had pieces that were different mediums. On the left, I
chose to display my diptych, Face Chunks.
 Workshops MIAD UW Stevens Point UW-Milwaukee
For this workshop, our goal
For our class workshop was to create a flag based off The project for UWM was to
with MIAD, our goal was to of the values of our create a sculpture made out
create a poster displaying hypothetical country. We of cardboard. My idea was to
our ideas for an outdoor worked together in groups to create this camera (Paper
classroom. Here, our determine how colors, shapes, Memories). Here, I drew
instructor is guiding us designs, and symbols four sketches of the front, back, left, and right
through creating mind represent a country’s values. side of the camera. I decided to increase the
maps. We shared our We worked together to create measurements of the original camera by 5.
ideas with the class. on flag.
After creating our After creating my
final poster, we Our flag used green, sketches, I taped and
presented in front of yellow, and blue to glued together my
our instructor who symbolize our country’s sculpture with pieces of
provided feedback value for nature. We cardboard I gathered
with corrections and each presented in front from my recycling bin. I cut out multiple cardboard
different of our group explaining rings so the lens would be able to be pulled out
perspectives. the meaning behind through the opening and pushed back in. Finally, I
each flag. coated each piece and eventually the entire
This is one of two posters sculpture with paper tape.
I presented to my group at From this workshop, I
MIAD. My main idea was learned how to connect After presenting
an outdoor seating colors and symbolism to out sculptures to
arrangement inspired by depict my own each other, we
the structure of the perspective of a perfect examined how
Colosseum. I illustrated country. I was able to cardboard and
top, bottom, and side see others other mediums can
sketches with proper interpretation of colors, and balance between light and be manipulated
proportions I learned how dark. I was very proud of my group’s team effort. into any texture.
to create form my guide.
Sources
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"the Elephants" Dali, Salvatore. 1948. https://www.dalipaintings.com/elephants.jsp
"Zebra Flight" Tabet, Julien. 2018. https://webneel.com/daily/1-zebra-flight-photoshop-animal-photo-manipulation-julien-tabet
"Slinky Tiger" Pontiroli, Bruno. 2022.
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"Persistence of Memory" Dali, Salvatore. 1931. https://www.moma.org/collection/works/79018
"The Disintegration of Persistence of Memory" Dali, Salvatore. 1954.
https://archive.thedali.org/mwebcgi/mweb.exe?request=record;id=1652;type=101
"Beatles Guitar". Gilmour, Chris. http://www.chrisgilmour.com/
"Explosion" Lichtenstein, Roy. 1966. https://www.tate.org.uk/art/artworks/lichtenstein-explosion-p01796
"Hand Hygiene Wash Under Water" Kachaev, Valery.
https://www.123rf.com/photo_45686108_hand-hygiene-wash-under-water-pop-art-retro-style.html
"Woman With a Daisy" Mucha, Alphonse. 1900. http://www.muchafoundation.org/en/gallery/browse-works/object/112
"Vase of Flowers" Bosschaert, Ambrosius. https://drouot.com/en/l/20841118-ambrosius-bosschaert-ol-auf-leinwand-nach-ambrosius
"Still Life of Flowers" Bosschaert, Ambrosius. 1614.
https://artsandculture.google.com/asset/flower-still-life-ambrosius-bosschaert-the-elder/NwEGD5RkEhihQQ?hl=en
Sources
"The Triumph of Virtue and Nobility" Tiepolo. 1750. https://www.nortonsimon.org/art/detail/F.1972.26.P
"The Rising of the Sun" Francois Boucher. 1752.
https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=65419&viewType=detail
View
"Still Life with Lemon and a Crab" Claesz, Pieter. 1641.
https://useum.org/artwork/A-still-life-with-a-roemer-a-crab-and-a-peeled-lemon-Pieter-Claesz-1643
"Vanitas Still Life" Claesz, Pieter. 1612. https://artsandculture.google.com/asset/vanitas-still-life-pieter-claesz/lAGE-SJvVcF7Lg
"Starry Night" Van Gogh. 1889. https://www.moma.org/collection/works/79802
"Starry Night Over The Rhone" Van Gogh. 1888. https://www.vincentvangogh.org/starry-night-over-the-rhone.jsp
"Hand Hygiene Wash Under Water" Kachaev, Valery.
https://www.123rf.com/photo_45686108_hand-hygiene-wash-under-water-pop-art-retro-style.html