The Spanish Golden Age (Spanish: Siglo de Oro, "Golden Century") is a period of flourishing in arts and literature in Spain, coinciding with the political rise and decline of the Spanish Habsburg dynasty. El Siglo de Oro does not imply precise dates and is usually considered to have lasted longer than an actual century. It begins no earlier than 1492, with the end of the (Reconquest), the sea voyages of Christopher Columbus to the New World, and the publication of Antonio de Nebrija's (Grammar of the Castilian Language). Politically, it ends no later than 1659, with the Treaty of the Pyrenees, ratified between France and Habsburg Spain. The last great writer of the period, Pedro Calderón de la Barca, died in 1681, and his death usually is considered the end of El Siglo de Oro in the arts and literature. The Habsburgs, both in Spain and Austria, were great patrons of art in their countries. El Escorial, the great royal monastery built by King Philip II, invited the attention of some of Europe's greatest architects and painters. Diego Velázquez, regarded as one of the most influential painters of European history and a greatly respected artist in his own time, cultivated a relationship with King Philip IV and his chief minister, the Count-Duke of Olivares, leaving us several portraits that demonstrate his style and skill. El Greco, another respected artist from the period, infused Spanish art with the styles of the Italian renaissance and helped create a uniquely Spanish style of painting. Some of Spain's greatest music is regarded as having been written in the period. Such composers as Tomás Luis de Victoria, Cristóbal de Morales, Francisco Guerrero, Luis de Milán and Alonso Lobo helped to shape Renaissance music and the styles of counterpoint and polychoral music, and their influence lasted far into the Baroque period which resulted in a revolution of music. Spanish literature blossomed as well, most famously demonstrated in the work of Miguel de Cervantes, the author of . Spain's most prolific playwright, Lope de Vega, wrote possibly as many as one thousand plays during his lifetime, of which over four hundred survive to the present day. Painting [edit] Spain, in the time of the Italian Renaissance, had seen few great artists come to its shores. The Italian holdings and relationships made by Queen Isabella's husband and later Spain's sole monarch, Ferdinand of Aragon, launched a steady traffic of intellectuals across the Mediterranean between Valencia, Seville, and Florence. Luis de Morales, one of the leading exponents of Spanish mannerist painting, retained a distinctly Spanish style in his work, reminiscent of medieval art. Spanish art, particularly that of Morales, contained a strong mark of mysticism and religion that was encouraged by the counter-reformation and the patronage of Spain's strongly Catholic monarchs and aristocracy. Spanish rule of Naples was important for making connections between Italian and Spanish art, with many Spanish administrators bringing Italian works back to Spain. El Greco [edit] Known for his great impact in bringing the Italian Renaissance to Spain, El Greco (which means "The Greek") was not Spanish, having been born Domenikos Theotokopoulos in Crete. He studied the great Italian masters of his time - Titian, Tintoretto, and Michelangelo - when he lived in Italy from 1568 to 1577. According to legend, he asserted that he would paint a mural that would be as good as one of Michelangelo's, if one of the Italian artist's murals was demolished first. El Greco quickly fell out of favor in Italy, but soon found a new home in the city of Toledo, in central Spain. He was influential in creating a style based on impressions and emotion, featuring elongated fingers and vibrant color and brushwork. Uniquely, his works featured faces that captured expressions of sombre attitudes and withdrawal while still having his subjects bear witness to the terrestrial world. His paintings of the city of Toledo became models for a new European tradition in landscapes, and influenced the work of later Dutch masters. Spain at this time was an ideal environment for the Venetian-trained painter. Art was flourishing in the empire and Toledo was a great place to get commissions.

Flying If your class is in Belfast, scroll all the way down for directions! If you are taking a Paint Away/Art Class Abroad class, you’ll get specific travel information when we confirm you registration; Here is the link for the ferry from Nova Scotia to Maine: Be sure to bring 3-season clothing to layer, plus a sun hat or umbrella, sunscreen and rain gear. Maine weather is unpredictable to say the least! We think the water is warmer than it’s ever been; you might dare to bring a swim suit! For classes in Rockland : Book a flight to Portland, Bangor, or perhaps even better, check out Cape Air. They fly from an ever expanding list of locations, to Knox County Regional Airport in Owl’s Head, 10 minutes away. You can take a quick commuter flight from Boston or perhaps someplace closer to you. Rent a car, hire a limo or take a bus from Boston, Portland or Bangor; you can also take a cab or rent a car from Owl’s Head. (If you are planning to rent a car in Maine, be sure to reserve very early; quantities are limited!!) We’re about 4 hours driving time from Boston, 2 hours from Portland tho sometimes traffic can be heavy coming from the South. It’s about 2 hours from Bangor, and 10 minutes from Owl’s Head. Or call us: we occasionally have drivers available for reasonably priced runs to and from the airports. Driving From North and East Take Rt. 1 South or I-95 to Rt. 1A South to Rt. 1 to Rockland Stay right on Rt. 1 when it becomes 1-way, and follow directions to your lodging (below). From the Augusta area and West Take Rte 17 into Rockland. Follow Rte 1 South; stay on Rte 1 south when it divides and follow the directions to your lodging below. From South and West Take Rt. 95 North into Maine to Rt. 295 North Take Rt. 295 North to Exit 28: Brunswick/Bath, or Exit 31: Topsham Follow Rt. 1 North to Rockland To Your Lodging Trade Winds Motor Inn: At the intersection of Rte. 1 N and Rte.73, go straight; the Inn is just ahead on the left. (The Studio is on the North side of the building on Winter St, the next street up, and is accessible from the parking lot; just go around the building, or walk thru inside.)

This is an advanced fiction-writing short course designed to help experienced writers move ongoing work towards a publishable standard. Students' fiction (chapters from novels or short stories) will be circulated in advance and then constructively critiqued within the group. You will also submit and workshop a synopsis of your novel; write an author biog and covering letter to send to agents and publishers; and will select a topic for proposed discussion in class (e.g., pace, multiple viewpoints). Why Choose a City Short Course? Our Writers' Workshop short course is for those who want to develop their writing to a publishable standard. Our 10 weekly evening classes, tutored by an experienced writer and editor, enable students to edit and draft their work and take their writing to the next level. All taught from our Central London campus. Course Information Start Date Start Time Duration Cost Course Code Apply Tutor Info Katy Darby (Autumn term) Katy Darby's short stories have been read on BBC Radio, published in magazines including Slice, Mslexia and The London Magazine, and won prizes in several international fiction competitions. Her first novel, Victorian drama The Whores' Asylum was published by Penguin in 2012 (the paperback title is The Unpierced Heart ). She has a BA in English from Oxford University and an MA in Creative Writing from UEA, where she received the David Higham Award. From 2010-12 she edited short story magazine Litro, and she co-founded and currently runs the monthly live fiction event Liars' League, involving regular collaborations with Granta Magazine. Rebekah Latin-Rawstrone (Spring and Summer term) Rebekah Lattin-Rawstrone is a prize-winning writer, editor and creative writing teacher. Her novel Home, about a corrupt care home, is published by Red Button Publishing and Glitches, her short story chapbook, is published by Acorn Books. Rebekah has worked as a creative writing lecturer in several settings for nearly ten years, devising and delivering workshops for City University, City Short Courses, Bishopsgate Institute, Emmanuel College Cambridge, Pembroke College Cambridge, the Guardian and the Graham Greene Festival. Passionate about literature, Rebekah also writes a blog reviewing a different novel every week.

Questions & Answers About Painting on Windows! "FREE INFORMATIONAL TIPS" Hopefully this page will answer some of the most common questions that you may have about window painting. You can also find answers to questions I get in email by visiting my new FACEBOOK page here. Using facebook was a great way for me to answer some of the more UNcommon questions plus share PHOTOS of past windows I've painted around town. Happy Painting! the Window Woman What type of paint & brushes do you use for window painting? Our patterns were designed for the home painter and can be used with ACRYLIC CRAFT PAINTS because of the ease of use, color selection, low cost, weather resistance and easy cleanup. However, TEMPERA can also be used if you prefer. I prefer tempera. Keep in mind that temperas will run if hit by heavy rain so you may want to consider painting from the inside when using these. Basic Acrylic Craft Paint- If you are just doing a small home window using any of the "basic" acrylic craft paints such as DecoArt's Americana or Ceramcoat will work fine. DON'T use acrylics that are designed for painting on glass as they are INTENDED to be permanent and can be difficult to remove after the holidays. The basic ordinary craft paints are what you want. Tempera Paint - My personal preference for windowpainting is ProArt Tempera. I used it almost exclusively in my window painting business. It has excellent coverage, the colors are vibrant and it flows on well. I love working with it. Pay attention to the labels. If the tempera is labeled "Washable" or "For Kids" it will not have as much pigment as the higher artist quality but if you will be working with young children "washable" is probably a good choice as it washes out of clothes easier. And don't forget drop cloths with little painters. Available online from Varneys. and Jerrolls Bookstore in Ellensburg Washington. I asked Jerrolls if they would ship and they said yes but you may have to contact them by email or phone. I am not an affiliate of either company. Brushes - The most wonderful for painting on glass are Loew-Cornell GOLDEN TAKLON in either a ½" or ¾" for filling in color and their Golden Taklon liner brush for doing the outlines. Synthetic white brushes also work. Natural hair or very soft brushes will work but not as well as the other. For large areas of color the one inch sponge brushes are also nice (especially with kids) as well as being inexpensive.

Bays and Boats around St Brelade’s Bay Picturesque harbours, multi-coloured boats and shimmering puddled beaches as the tide ebbs, contrast with verdant valleys, farms and vineyards. Rich in history with a fascinating Anglo-French culture, Jersey is a small island and all our locations on this painting holiday are close at hand Arrival day Guests are met from either the airport or ferry terminal and taken to our hotel. The afternoon and evening will be spent exploring and sketching our local bay. Gorey Castle From its historic battlements built to defend Jersey there is an outstanding view to paint of the bay, the coast and the village, with its narrow streets nestling below. There is also an option to explore the castle. Corbiere This most westerly point has inspiring views of rugged rocks and turbulent seas. The lighthouse high on its island stands as a reminder of wrecks and storms and provides a great subject for painters. Rozel This small sheltered north-facing harbour nestles within the arms of the bay, Rozel woods at our backs. It is one Jersey's most picturesque bays and provides a lovely day on this painting holiday in Jersey. St Brelade's Bay On the doorstep of our hotel the expanse of the bay beckons. From our vantage point by the ancient fishermens’ chapel, perched high on the headland we can paint the glistening tidal flats and turning tide. Departure day Guests will be transferred to either the airport or port to suit their travel plans. Note: This is a selection of the many options available on this painting holiday in Jersey, Channel Islands. Weather conditions, group interests and the tutor will influence the final itinerary. Where we stay on this painting holiday in Jersey, Channel Islands St Brelade's Bay Hotel First founded in the 19th century, St Brelade's Bay Hotel has a truly special location, set in five acres of stunning gardens and overlooking one of the most beautiful beaches in the Channel Islands. It is a four star hotel, providing forty seven rooms of luxury accommodation, delicious food and excellent service. There is an indoor swimming pool, a relaxing spa pool and steam room. It is the perfect base for our painting holidays in Jersey. For those not participating in our activities, just enjoy the facilities, peace and quiet and wonderful views. Sea view room upgrades are sometimes available at a supplement on request. Airport transfer time Approximately 15 minutes Dates and prices Without flights 5 nights £1, 099 All levels Single supp £150 £110 Sea view rooms available for a supplement. Limited Places Available This holiday has been confirmed to run! Sea view rooms available for a supplement. Let us arrange your flight What's included 4 full days of painting tuition 5 nights in en-suite accommodation 5 breakfasts and 5 dinners Personal welcome at Jersey airport or port/ferry terminal

Explore your creative side with studio art classes at the Honolulu Museum of Art School and at Spalding House in Makiki Heights. The school offers classes in spring, summer, and fall semesters. You'll find something to suit your interests whether you are an absolute beginner or a seasoned artist. Browse the class listings below. Enrollment is based on a first come, first served basis. For more information and to request a catalog, call 532-8741. Spring 2016 workshop registration is ongoing Summer 2016 registration begins April 12th at 10am Adult classes begin May 16 Young Artist classes begin June 7 There are three ways to register: • Online (The online registration form works best in Google Chrome or Firefox. It does not work in Internet Explorer.) • By mail (download: Adult Classes Form, Young Artists Form) Scholarships Generous donors help make it possible for young artists from every corner of Hawai‘i to attend the Honolulu Museum of Art School. For more information about scholarships, please call 532-8709 or download the application.

Early registration discount does not apply to workshops. Course Skill Level Key: See the symbol(s) at the end of each course description to determine the recommended skill level for students. Most classes are open to artists of all skill levels. Teenagers age 15 and up are eligible to register for adult classes. = Beginner = Some Experience = Intermediate = Advanced = All Levels Portrait Photography Kathleen Buckalew Saturdays, March 5 – March 26 (4 weeks) | 1:00 p.m. – 4:00 p.m. $100 Members, $125 Non-Members Exude confidence and skill by learning how to make better, more compelling portraits! This workshop will discuss posing, lighting, composition, environment, and interaction between the photographer and subject. Students will discover how other portrait photographers’ techniques and styles may influence and shape their own work. Digital Photography Editing (Cancelled) Danny Schweers Thursday, March 24 | 5:30 p.m. – 8:00 p.m. $35 Members, $55 Non-Members Take your photography to the next level by exploring the image-processing capabilities of Adobe Lightroom and Photoshop software, including sliders and icons in LR, and layering, selections, and filters in PS. Students should bring their computer with software already installed ($9.99/month from Adobe). Students should also have a basic familiarity with the software and bring lots of questions. Click here for supply list. Digital Photography Editing Danny Schweers Saturday, March 26 | 10:00 a.m. – 12:30 p.m. $35 Members, $55 Non-Members See above for description. Beaded Viking Knit Kathryn Robbins Saturday, April 16 | 1:00 p.m. – 4:00 p.m. $55 Members, $75 Non-Members Learn the ancient craft of weaving wire, which uses a loop-in-loop technique, to make lovely handmade chains. Students will incorporate beads and complete a woven wire bracelet in copper with a sterling silver clasp. Some supplies provided. Found Object Jewelry Caryn Hetherston Saturday, April 30 and Sunday, May 1 (2-day workshop) 9:30 a.m. – 4:00 p.m. (30-minute lunch break) $115 Members, $135 Non-Members Think outside the jewelry box! Students will make a necklace out of found objects such as buttons, coins, beads, small hardware, beach glass, and any other small bits to incorporate into jewelry. Students will use both soldered connections and cold connections such as prongs, rivets, and bezels. Students should have experience with sawing and soldering. Watercolor on Textured Paper Cynthia Swanson Saturday, May 14 | 10:00 a.m. – 3:00 p.m. (30-minute lunch break) $60 Members, $80 Non-Members Using different types of rice paper and yupo paper students will experience how watercolors are affected by the painted surface, either appearing slippery and smooth or like textured fabric. Special paper available for purchase in class, $10. Clay Mold Making Heather Ossandon Saturday, May 21 | 1:00 p.m. – 4:00 p.m. $60 Members, $80 Non-Members Explore one- and two-part molds in this fast-paced, hands-on workshop. Spring molds, slip cast molds, and press molds will be discussed and students will leave with a finished mold to use for their own artwork.

Fechin was known as the living old master … an artist’s artist. Others called him the Michaelangelo of our time.His talents in so many diverse disciplines was unique indeed — a master of painting, drawing, sculpture, architecture, woodcarving and ceramics.What his eyes saw and his hands touched, became a creative experience. His talents in so many diverse disciplines were unique indeed – a master of painting, drawing, sculpture, architecture, woodcarving & ceramics. Nicolai Fechin died in 1955, but his sensitive and dramatic portraits in charcoal and oils are a legacy which stirs the emotions and inspires visions. The insight and warmth he transfered from life to canvas are in this classic volume originally published in 1975, now in its fourth printing by Fechin Art Reproductions. A stunning book with over 150 illustrations including 60 color reproductions of his inspiring artwork.

Teaching artist workshops can positively impact your artistic bottom line in a variety of ways. Not only can you use them as a way to earn extra income, but also to increase your effectiveness at creating and publicizing your art. Workshops are additionally preferable to non-art-related income producing options because they allow you to continue working with art and don't require large commitments in terms of time, energy, preparation or overhead. The most immediate and obvious benefit of conducting workshops, of course is that they are a good source of supplemental income. A single workshop can net you anywhere from several hundred to over a thousand dollars. Teach one per month and you can see how the money adds up. Money isn't the only reason for holding workshops, however, and for some artists, not even the primary one. For example, a workshop can stimulate your own creative impulses, help relieve artist's block, or result in new ideas and inspirations for future work. These are some of the fringe benefits to being around new people, amateurs and first-timers experimenting and creating whatever they feel like. Even though you're the one doing the teaching, beginners in particular are not bound by convention and tend to engage in original techniques and approaches that experienced artists who are more set in their ways might overlook or not think of. Everyone benefits- you as well as your students. Selling art is another benefit of teaching workshops. Holding them in your studio, for example, allows you to display a good selection of your art for attendees to observe and appreciate while they're learning. Not only do they see this art as the backdrop, but during the course of their instruction you can talk about how you make it, and help them understand it on additional levels beyond the visual. As they become increasingly familiar and informed about it, they feel less intimidated, more comfortable and- here's the good news- more inclined to buy it if they like it. Increasing your overall exposure and profile in the arts community will likely also result from conducting workshops. For one thing, you'll be able to add participants' names to your email list for subsequent workshops, shows and open studios. Those who enjoy your workshop experience tend to return for shows as well as additional workshops, and often bring friends who they think may be interested in your art or in attending your workshops as well. If you advance to the point where more serious artists start attending your workshops, potential ancillary opportunities increase even more. Artists who teach other artists in their workshops report that they're great ways to network. Participants share information about events, arts organizations, venues for having shows, personal contacts, art techniques, selling, publicity, good resources for buying supplies, and more. In general, artists who maintain good consistent relationships and contacts with other artists are more effective at creating and presenting their art than those who go it alone. Some enterprising artists further augment workshop income by selling art supplies. For example, you can give participants the option of bringing their own materials or paying to use yours. You might also consider participating in art store or website affiliate programs or possibly even arrange sponsorships with certain manufacturers or companies to represent their products. Lastly, workshops are a great way to gain teaching experience and improve your overall ability to talk about your art in public. Over time, they can lead to speaking engagements or appearances as guest or resident artist at schools, colleges, recreational centers, adult or continuing education programs, community centers, and teaching or workshop opportunities in other cities. People attend artist workshops for a variety of reasons and often choose according to how the events are portrayed and what's being offered. Many of those who sign up have little or no previous experience with art and merely want to relax, have fun and explore their creative sides. Some are even uncomfortable or intimidated around art and want to become more familiar with it. Others want to take art up as a pastime but not invest large amounts of time or effort in ongoing programs of study. Trained artists usually attend them in order to acquire new skills or learn specialized techniques outside of their areas of expertise. Artist workshops ordinarily run from four to six hours and cost anywhere from $50 to $350, sometimes more. Artists who are beginners at teaching workshops might consider sliding scales in order to attract more participants. Likewise, artists who teach more expensive workshops can also use sliding scales so that people who can't afford the full fare can still attend. Offering payment levels is not generally a problem in terms of students taking advantage because they really want to be there and typically pay the most that they can. Two of the most important criteria for successful workshops are that a complete method or technique be advertised and taught, and that each student come away with a finished work of art. This gives students a feeling of mastery and accomplishment. Not only have they learned something new, but they also have "diplomas" to show for it. Another advantage of workshops as opposed to formal courses of study is that you can make them less structured and more fun and social. Attendees will still learn, of course, but they'll be able to do so in the relaxed and casual setting of your studio or home. So if you're thinking about conducting a workshop for the first time, don't forget to make it fun. This is one of the great advantages you have over more traditional and structured forms of art education when it comes to attracting participants.

Images courtesy the artist Sound and color may seem, at least superficially, to have very little in common. But as Athens-based artist and physicist Yiannis Kranidiotis points out in his audiovisual project, Ichographs MdelP, in which colors from Rafael’s Madonna del Prato ("Madonna of the Meadow") decompose into audio, both sounds and colors can be described as waves. “There are areas of sound and color (light) that humans can perceive with their eyes and ears (hearing and visible range) and areas where we need special equipment (like infrasound—ultrasound and infrared—ultraviolet ranges), ” Kranidiotis tells The Creators Project. “As a physicist, I was always fascinated by these common properties and I was investigating ways to highlight and juxtapose them.” In Ichographs MdelP, Kranidiotis disintegrates Rafael’s painting into 10, 000 cubic particles, each carrying a frequency relevant to its color (HSV hue value). As the virtual camera moves around particles floating in a white aether, the viewer hears the sound of the colors/frequency generator particles flying toward the canvas to assemble the painting. Warm colors like red are higher frequencies, and cold colors like blue are lower frequencies. Kranidiotis created Ichographs MdelP—part of the Ichographs series of artworks, where colors and therefore image can transformed into sound—in C++ using openFrameworks for the visuals and then Pure Data for the audio. All of the sound data (frequency amplitudes) were sent from the openFrameworks software via OSC to a Pure Data patch with a set of 600 sine wave generators for producing the sound. Kranidiotis created the visuals using After Effects. “The loudness of each particle is proportional to the distance from viewer, ” Kranidiotis explains. “As a result, when we pass over the red clothes of Madonna, we hear the high 'red' frequencies and when we approach the blue sky we hear the low 'blue' frequencies.”