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In Pendergast’s painting,The Mall, Central Park, he creates dynamic patterns of color in light value across his canvas without providing much details, like the facial features, clothing accessories. Prendergast let the white of the paper show through to indicate clothing on the figures and indicate patches of sunlight. In this piece, one can easily see how the artist place the perspective drawing by building everything small in the distance and big by contrary. Everything is cohesive especially the color。

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Signed Pablo Picasso , Toros Vallauris (Bulls in Vallauris), 1958

In the profile the queue and the bun of the torero’s wig are patent, as are his ear, eye, nose, mouth, and chin.  The epaulet of his costume in profile is also plain, above the lettering ‘1958.’  By Picasso’s magic, the same eye, nose, and mouth are now used to complete the structure of the front view, and the epaulet of this construction, in different design, is equally plain.  Thus by a brilliant blending of elements Picasso creates an illusion of movement, a three-dimensional impression on a flat surface.  It is as though the spectator were walking around the figure.  The ever-present humor is again evidenced by putting Vallauris in lights.

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Rembrandt, who is one of the great printmakers from Dutch, used etching, engraving, and drypoint to make up this artwork.

Raphael’s Apollo and the Muses on Mount Parnassus was also the source of inspiration for this etching. Instead of Homer (in the adjacent drawing), Jesus standing on a platform is the main figure in the etching. Rembrandt further reinforced Christ by placing him before a pillar and leaving the space beneath him blank.

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This fancy artwork was done by a super ingenious artist called ETSUKO ICHIKAWA.
“My work is a continuing investigation of what lies between the ephemeral and the eternal.
” He once said in a short film.

ETSUKO ICHIKAWA used a quite traditional genre of art form called Pyrography, which is an art of using a heated tip or wire to burn or scorch designs onto natural materials such as wood or leather. With a range of materials, in particular glass, paper, and thread, and in various scales including large installations，he made the moment and memory, absorption and evaporation, light and shadow in the same interspace.  “My ‘glass pyrography ’ drawings are made by imprinting hot glass onto paper, which is one way to capture and eternalize the immediacy of a moment, while my hanging and floating installations are about ever-changing states of mind.” He added.