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This Cafe in Seoul is An Artist's DREAM!

This weekend I went to a cafe called Peach Gray that I am absolutely in love with!


It's a completely normal cafe that happens to also serve yummy pancakes, but they give you a little something extra that makes this place absolutely amazing.
With any thing you order on the menu, they give you a tray filled with watercolors and a water color brush pen (which if you dont know what that is, watch the video and prepare to be amazed!)

It was so calming and lovely!

Here's the video plus some footage at one of my favorite museums in Seoul!

Who else thinks this is heaven?

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When I go to Korea I definitely need to check this cafe out!!!!
definitely a place i need to put on my travel list
I'd really love to go that place since i draw and water paint often, you should post the direction so its easier to find 👍😎
I like to be your friend
this is awesome!
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Afro Basaldella
Afro Basaldella Italian, 1912-1976. Afro Libio Basaldella, known as Afro, was a renowned post-World War II time painter. The craftsman was an instructor and individual from the Scuola Romana and worked with specialists Lucio Fontana and Alberto Burri. Afro is acclaimed for his theoretical fine arts combining the Futurist and Cubist procedures. Afro was brought into the world in Undine in Italy on fourth March 1912. The craftsman previously showed his work at 16 years old with his siblings Mirko and Dino, who were likewise specialists. Following two years in 1929, the painter and his sibling Dino got a Marangoni Arts Foundation's grant to seek after craftsmanship in the city of Rome. He additionally educated Fine Arts in Venice and Florence. While learning at the Marangoni Arts Foundation, Afro got to know the Scuola Romana specialists like Corrado Cagli and Mario Mafai. He began trying different things with Neo-Cubism in Paul Klee's style and delivered various paintings. The craftsman previously headed out to New York in 1950. Here he was propelled by Abstract Expressionist specialists, for the most part, Arshile Gorky, who enlivened he developed a style. Alongside his artistic creations, Afro's works additionally include a 1936 commission for the Opera House in Udine, 1937 paintings for the World Exhibition that occurred in Paris, and the 1958 wall painting named The Garden of Hope authorized for the UNESCO base camp situated in Paris. Afro Basaldella for sale is accessible at numerous barterings in the U.S. Today, gatherers can discover Afro's craft available to be purchased at barters. It is in plain view at the Gallerie di Palazzo Leno Montanari, Vicenze, the Solomon R. Guggenheim Museum, New York, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, among others. Authorities can likewise discover Afro's prints at an online sale and Afro's work of art at an online sale on driving workmanship display stages. Afro's craft at online closeout likewise includes Afro's prints available to be purchased. He prepared in Florence and Venice, where he got his certificate in painting in 1931. The next year he invested some energy in Milan, where, with his sibling Mirko, he frequented Arturo Martini's studio. There he met Renato Birolli and Ennio Morlotti, with whom he appeared at the Galleria del Milione. In 1936 the extremist system eliminated the improvements he had made for the Collegio dell'Opera Nazionale Ballila of Udine, guaranteeing they didn't commend the system however much they ought to. The next year he held an independent show at the Galleria Della Cometa in Rome and a while later ventured out to Paris, where he was significantly enlivened by crafted by the Impressionists. In 1938 Afro took part in the Venice Biennale, and during World War II he showed mosaic production at that city's Accademia di Belle Arti. During this period Afro likewise made the animation for the mosaics at the Palazzo dell'EUR in Rome, where his still lifes and pictures are unmistakably affected by Cubism. This was the first stage in quite a while shifting towards Abstraction. In the U.S. he came into contact with the Art Informel development, and his resulting compositions showed the impact of Arshile Gorky's work and Jackson Pollock's Action Painting. In 1950 he had an independent show at the Catherine Viviano Gallery in New York, and in 1952 he joined the Gruppo degli Otto, with whom he displayed in 1956 at the Venice Biennale and proceeded to win the prize for best Italian painter. In 1958 he painted an enormous scope wall painting for the UNESCO central command in Paris. After two years he got the Guggenheim Award in New York and in 1971 the Presidente della Repubblica Prize at the Accademia di San Luca in Rome. He showed painting at the Florence Academy until 1973 and afterward moved to Zurich, where he passed on July 24, 1976.
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Elaine de Kooning: An accomplished landscape and portrait artist
Elaine de Kooning wouldn't spend her profession under the shadow of her better-known spouse, Willem de Kooning. A craftsman in her own right, she took an interest in Abstract Expressionism and large numbers of the developments that followed. Her commitments to workmanship history incorporate a charged picture of President John F. Kennedy, a re-arrangement of customary likeness, and an immediate test to creative sexual orientation jobs. A 1953 painting by de Kooning, titled Home, came to auction in Doyle’s Post-War & Contemporary Art sale. Explore Elaine de Kooning's life, career, and legacy and know the latest upcoming auctions in the auction calendar. Elaine de Kooning experienced early achievement in the New York craftsmanship world. She was a noticeable individual from the Artists' Club on New York's Eighth Street, an early center of Expressionist thoughts. In 1938, she was acquainted with her future spouse through conventional drawing exercises. She would later credit her abilities in likeness to his severe instructing. The couple before long became hopelessly enamored and started a decades-in length, turbulent marriage. As Willem's vocation fabricated, Elaine utilized her own impact to give him openings. Her pictures of key figures included Harold Rosenberg, a craftsmanship pundit; Thomas B. Hess, the supervisor of the ARTnews magazine; and Charles Egan, a display proprietor in Manhattan. She matched her pictures with sentimental undertakings, purportedly to assist Willem with getting. She started composing for ARTnews in the last part of the 1940s to support the couple's pay, giving publications and evaluates of contemporary workmanship. This openness encouraged her benefit both certainty and consideration, which gave her a lift when she began building up her composition vocation vigorously. Brandon Brame Fortune, the custodian of a 2015 review at the National Portrait Gallery, portrayed her strategy: "As far as she might be concerned, every individual has a represent… the posture is the individual." During a brief partition from Willem, she started voyaging and showing workmanship expertly. This period was essential in the advancement of her style. While remaining in Albuquerque, New Mexico, she extended the size and shading range of her work. De Kooning likewise began to alter Abstract Expressionist brushstrokes to more readily catch the character and development of her subjects, which included matadors, sports stars, and companions. In 1962, a commission came to paint President John F. Kennedy. The decision offered basic help for the Abstract Expressionists. De Kooning was picked for the commission dependent on her standing for speed and her situation at the front line of the new development. She chipped away at the task with an extreme fixation for longer than a year, finishing many representations and varieties to catch the President's similarity. The finished canvas was the marginally overwhelming size and is today housed at the National Portrait Gallery. After Kennedy's death, de Kooning expounded on the interaction for ARTnews. "Beside[s] my own extreme, various impressions of him, I likewise needed to fight with his 'reality picture' made by the unending paper photos, TV appearances, exaggerations… Covering my dividers with my own representations and these photos, I worked from one material to another… continually making progress toward a composite picture." Contrasted with her significant other, de Kooning didn't appreciate close to as much monetary accomplishment during her lifetime. In the course of the most recent couple of many years, in any case, her work has been rediscovered. The 2015 presentation at the National Portrait Gallery helped separate her work from Willem's, showing pundits their comparative however particular imaginative plans. De Kooning's artworks likewise started to perform better at closeout, with costs ascending as she drew the consideration of gatherers. Large numbers of her turn outsold for under $1,000 around 2010, with some mallet costs as low as $450. In May of 2018, in any case, a still life painting by de Kooning sold for $12,000 at Rago. Sometime thereafter, an alternate turn-out sold for $38,000 at Heritage Auctions. Her representation of craftsmanship seller Leo Castelli had an acknowledged cost of $75,000 at Christie's in 2016, over 350% of the part's high gauge. Media source: Auctiondaily
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Kpop is Actually Born from Korean Protest Songs
Alright so I'm a total history nerd, I majored in East Asian Studies and eat stuff like this up. Read the full (long!) article here - I will try to explain it basically, but its really worth the read. Here we go: It all started with Japan. As you might know, Japan colonized Korea eventually trying to erase Korean culture all together on the peninsula. In the very beginning though, that wasn't the case. Japan was willing to share Korean and Japanese culture, and the Japanese and Korean elite often spoke together and traded pop culture. Japanese elite brought over Western-influenced music because of their connections with the Western world (which Korea didn't interact with other than missionaries at the time) The Korean elite wanted to be modern and successful like Japan, so they adopted this music (called Changga) as their new favorite genre. (You can hear a lot of European influences in early Korean music...) This is where it gets interesting. The Korean elite wanted to be independent of Japan. They wanted Korea to stand alone as a strong nation, not pushed around by China or Japan anymore. They stared the pro-independence movement. Now, most revolutions like this would turn to traditional music, traditional culture to strengthen the country (for example, Korea would use ancient Korean songs to protest the Japanese occupation) but the Korean elite didn't! They wanted Korea to be strong, and to be strong they felt like they needed to modernize - ie be like the West. They used this Changga music (ironically brought to them by Japan) to protest Japanese rule! To this day Korea is always trying to "keep up with" the Western world so that they can be considered modern and powerful. Most things that they do is to modernize and stay trendy because that is how the country has always defined strength. But then, Japan decided to make money off of that... Japan had seen its first real pop music hit in 1914. People were buying records, following tabloids, and really getting into pop culture. That was really the birth of the Japanese music industry. In 1926, Korea had a similar experience. A song called the "Death Song" appeared, sung by Yun Shim-Deok. The singer committed suicide with her lover right after the song was released and the story made HUGE headlines. It was chilling, 'romantic,' and dramatic. Korea ate it up. Japanese record companies came in and started selling the record, selling over 50,000 copies! (In 1926 that number is totally insane!) You can listen to the death song here: The record industry after that was run mainly by the Japanese yakuza and their partnered Korean gangsters. The industry was set up very similar to how it is now, with entertainment industries doing everything in-house (SM has specific song writers that only work for SM, and their artists are actors, singers, models, etc) This is also why so many Kpop artists become actors...because even back in the 1920s musicians couldn't make enough money so the real way to make a living was through acting. That still stands today. So, today's Kpop is based off of this first "Korean pop" hit (the death song) AND protest songs against Japan. So when people say that Kpop is just a copy of Western music, they're sort of right but not in the way that they're thinking. Yes, its a reflection of Western culture, but the reason behind it is that Korea has been fighting to be recognized as a modern, powerful force to be reckoned with since the early 1900s. They want people to know Korea is strong, modern, and a country to look up to, not look down upon. So the next time someone tells you Kpop is a lame copy of American pop - give them this little history lesson. Again, PLEASE read the full article - its so interesting! HERE it is!
See how an Italian missionary-turned-Chinese court painter.
Artist to Know: Giuseppe Castiglione An Italian teacher turned-Chinese court painter, Giuseppe Castiglione went through more than 50 years working with three distinct heads in the Chinese royal residence. Seven of Castiglione's canvases are coming to sell. Offered by Los Angeles-based sales management firm Pauling's, these compositions present an extraordinary chance to investigate the craftsman's work. Get familiar with Castiglione's life and heritage before the occasion, get updates and know the latest upcoming similar auctions at the auction calendar of auction daily. Brought into the world in 1688, Castiglione entered the Jesuit strict request at 19 years old. Taking note of his imaginative capacity, the request sent him to the Chinese majestic court in Beijing a couple of years after the fact. He before long expected the name Láng Shíning (郎世寧, Peace of the World) and started to deliver artworks for Emperor Kangxi. Giuseppe Castiglione Lang Shining, his quality in the court was a significant improvement for both diverse workmanship and strict resistance. As indicated by the Executive Intelligence Review, "Castiglione trusted in joining together and changing both Chinese and European societies through a quest for magnificence and greatness on the whole spaces of science, expressions of the human experience, and designing." Castiglione finished a more prominent number of artistic creations for Kangxi's child, Emperor Yongzheng. He made numerous investigations of scenes, creatures, and blossoms during this period, which are his most punctual enduring works. Today, the South China Morning Post gauges that somewhere in the range of 100 and 200 bits of craftsmanship from Castiglione remain. A considerable lot of these are housed in Beijing exhibition halls and private assortments. Nonetheless, it was during the rule of Emperor Qianlong that Castiglione finished most of his work. He made various representations of the ruler, sovereign, and different consorts. Until now, a portrayal of Qianlong's supported Consort Chunhui holds the most noteworthy closeout record for a Chinese royal fitting picture. It was sold in a 2015 Sotheby's deal for HKD 137.4 million (USD 17.7 million). Truly, Castiglione's compositions have aroused bidders' curiosity when coming to sell. Large numbers of his works of art stay in the ownership of Chinese and Taiwanese historical centers because of his imaginative importance. One can see such works of great artists in the auction previews of auction daily. Paragon International president Lu Qiulian noticed that Chinese gatherers are particularly intrigued by his work. The Hong Kong sales management firm expected a pony painting by Castiglione to bring HKD 100 million (USD 12.9 million) in 2016. Notwithstanding, it isn't openly known whether this gauge was reached. "The painter is exceptionally popular for being the principal European court painter for the ruler," Lu kept, "spearheading a style mixing Chinese and Western feel and procedures." Late years have shown expanded interest in the predetermined number of Castiglione works. A piece named Hundred Horses was sold at Sotheby's for USD 100,000 of every 2016 and another turn outsold for HKD 1 million soon thereafter. The forthcoming Pauling's deal incorporates gauges for Castiglione's compositions going from USD 1,200 to $12,200. Castiglione is especially appreciated for his association with Eastern and Western procedures. Adjusting viewpoint, chiaroscuro (light and shadow), and authenticity to Chinese tastes, a significant number of Castiglione's pieces offer a window into the creative inclinations of the heads. Qianlong respected the painter's style and utilized Castiglione's association with the Jesuit request to advance resistance and harmony inside his realm. Media Source: Auctiondaily
A French Painter Albert André
Albert André spent his youth relaxes in Laudun where his family possessed grape plantations. Matured 20 he left for Paris where he contemplated painting at the Académie Julian. On a similar course were Louis Valtat, Maurice Denis, and Pierre Bonnard, and like them he started painting in a Post-Impressionist way, utilizing the shadings, light, and topic of the standard Impressionists yet adding more articulation and plan. As ahead of schedule as 1894 André took part in the Salon des Indépendants where his five materials won the appreciation of Auguste Renoir and were purchased by the incredibly well-known and compelling workmanship seller Paul Durand-Ruel. From 1895-1901, Andre painter appeared at various salons, for example, the Salon des Cent, the Salon des Indépendants, and the Exposition d'Art Nouveau. In 1904, he partook in the Salon de la Libre Esthétique in Brussels at that point, on the greeting of Paul Signac, in the Salon d'Automne. The Durand-Ruel exhibition showed his works in limited shows, a specific honor. At that point in 1912, Albert André's works were shown in New York, and in 1913, he was one of the painters picked to praise the 20th commemoration of the Libre Esthétique in Brussels, on the subject of an understanding of southern France. The town of Laudun was consistently a motivation for him, he painted predominantly in his workshop straightforwardly from memory, as did his impressionist companions. After the First World War, he got back to Laudun where he assumed responsibility for the gallery of Bagnols-sur-Cèze, energized by Renoir. He was a conservator from 1917-1954. In 1918, he composed a monograph on Renoir, the just one composed by a Frenchman during Renoir's life. He proceeded to sort out a review of Renoir's work in 1921, three years after the expert's demise, at the Durand-Ruel display. In 1923, after a fire harmed the exhibition hall of Bagnols-sur-Cèze, André's companions Bonnard, Elie Faure, Durand-Ruel, Monet, Marquet, Signac, and Valtat offered him works for his 'Gallery of void dividers'. It was in the family home that he got his companions, including Cézanne. He got back to Paris in 1947 where he passed on July 11, 1954, at 85 years of age, not long before the launch of a show of his works at the exhibition hall of Avignon. The Salon d'Automne coordinated a review of his works the next year. Crafted by Albert André are addressed in numerous significant exhibition halls, including the Museum of Modern Art, New York, the Chicago Art Institute, the galleries in Philadelphia and Washington DC, and the Musée D'Orsay in Paris. Grounded from World War I in 1917, he moved to Marseille and afterward to the town of Laudun in the Gard, where he had been an extended get-away since his adolescence as his family claimed a house there along with a little grape plantation. He became caretaker of the workmanship gallery of Bagnols-sur-Cèze, where he stayed until his passing. In 1919, he created a monograph, "Renoir", viewed as "perhaps the most precise contemporary records of the craftsman's work", and in 1921, he coordinated a review of Renoir's work at the Durand-Ruel Gallery. He was additionally extremely near the workmanship pundit George Besson, a companion since 1910. In 1971, Besson chose to offer his craft assortment to the country, giving to the galleries of Besançon and Bagnols-sur-Cèze, where the gallery is presently called Musée Albert-André. André kicked the bucket on 11 July 1954 at 85 years of age, presently before his works were expected to be exhibited at the Avignon Museum. After his passing, in 1955, the Salon d'Automne coordinated a review of his works. Today a significant number of his artworks are to be found in significant world exhibition halls like the Modern Art Museum of New York, the Art Institute of Chicago, galleries in Philadelphia and Washington DC, Paris' Musée d'Orsay, the Galerie Rienzo, and the Musée Albert-André in France.