Michelangelo & Sebastiano at The National Gallery

exhibition-page-banner-ms

Last week we visited the National Gallery to see The Credit Suisse Exhibition: Michelangelo & Sebastiano. We’ve written a short review of selected works from the exhibition and what we learnt about Mike and Seb’s friendship and careers.

The artists

Mike and Seb first met in Rome around 1511. Mike was 36 years old, Seb some 10 years Mike’s junior. Their professional reputations at this stage in their careers paralleled the differing years of their experience.

Mike, already known and respected, embraced punctilious preparation, method, and accuracy through observation and study (not unlike Leonardo); creating monumental works in the way of the Florentine and Roman schools that mark out his stylistic development.  Mike was clearly a driven individual who wanted to be number one in his field – not second or third. During his career as a painter, Mike was in fierce competition with Raphael. Raphael was eight years younger, clearly talented and innovative within the renaissance movement.  Historical accounts give a sense of difference between Mike and Raphael – that Mike was obstinate, moody, quarrelsome and unforgiving, where Raphael was humble, sincere and very likeable – which opened doors for him with ease when Mike had to force his way through. The threat to Mike from the young upstart Raphael seems to have been very real.

In his art, Seb was a freer spirit than Mike, intent upon creating atmosphere and emotion over the strictures of precision, in accordance with his training and development in the altogether more liberal Venice school – accentuating the use of colour and improvisation.  This was not dissimilar to Raphael’s sytle and when Mike became aware of Seb and his talent, Mike realised that rather than allow another unwanted competitor on to the Roman art scene, a collaboration might be in his better interest.  Something about keeping your enemies close, perhaps.

The Exhibition starts with pieces by each of Mike and Seb to illustrate their differing styles.

Individual work

1

Left: The virgin and Child with Saint John and Angels (‘The Manchester Madonna’), 1497 – Michelangelo

This panel painting in the opening exhibition room shows Mike’s mastery of the sculptural form.   The vividness of detail and colour in the infant Jesus and his cousin St John the Baptist contrasts with the heavy and precise outlines to the left where the panel remains unfinished. These later outlines are likely transferred to the panel from preparatory drawings, hence their deliberateness at this stage in their introduction to the scene. There appears to be no doubt as to what the painting is intended to portray, and how it is to be produced.

Right: The judgement of Solomon – Sebastiano Del Piombo, 1505

Here, Seb does what he does best.  Many figures, all animated in a way that makes them seem alive and in motion, supporting the story that the scene tells.  Again the piece is not complete – the baby that Solomon is issuing judgement over does not appear.  When looking between this and the previous work of Mike, Compare the skin tone and detail on the nude courtier (who is without the sword that he will need to cut the baby in two) with the skin on the infants in Mike’s work.  Also note how Seb’s work is developing as his thoughts and designs develop.  Not much planning in evidence here.  There are sections around the porticos at the side that look like a montage of several different images such is the prominence of prior architectural layouts he has explored over the one currently adopted.

It is quite possible that Seb became infatuated with Mike.  They quickly struck a friendship and artistic partnership which involved doing sketches for each other and actually both painting on the same canvas.  There is a letter in the exhibition (one of several that illuminate the relationship between the two) in which Seb assumes Mike’s hatred of Raphael.  Whether this is founded on genuine artistic difference, or again evidence of the indoctrination that Seb went through under Mike’s control is not clear.

Whilst Mike may have wanted to get close to Seb to control the risk of more competition, he was professional enough to see the opportunity for creating collaborative art of a new type that could continue to develop the renaissance.

Collaborative work

2

Left: Lamentation over the Dead Christ (Pietà) – Sebastiano Del Piombo, after partial designs by Michelangelo, 1512-16

In this collaborative piece the possibilities of their combined talents are explored.   The grieving Mary is painted by Seb in a flowing style with intense colours to her clothes.  The moonlit background is full of atmosphere and suggestion.  Here anatomic form, however, is something of a contradiction. A muscular neck, broad shoulders and chest are almost certainly the influence of Mike.  The body of Jesus is painted in a starkly contrasting style by Mike – precise body form and arrangement and highly detailed skin tone.  You can almost see how the body of Jesus could be taken out to be a sculpture, whilst the balance of the painting could only ever be a painting.   It is likely that this piece proved to be on the evolutionary path to Mike’s Pieto.

Experiments in oil on plaster for the Sistine Chapel frescos may have been the subject of Mike and Seb’s early collaboration.  Ironical, as this is the very topic that was to be their undoing as friends.

Right: Study of a male upper torso with hands clasped and six studies of hands – Michelangelo

These studies, of which there are many in the exhibition, show the intensity of Mike’s pursuance of accuracy and truth in his art.  He is not leaving anything to chance when it comes to the final production.  How much his studies allowed him to vary his intentions is unsure.  Did he always start with a master plan for each piece, or were his studies and preliminary designs permitted to cause a change in the plan?

Mike spent many years back in Florence working for the Midici house whilst Seb stayed in Rome.  By the time of Mike’s return, Raphael had died a young man removing the threat to Mike’s ascendency to the top of his profession.

Late pieces

3

Left: The Visitation, 1518-1519 – Sebastiano Del Piombo

Towards the middle of Seb’s career, during the collaboration period, his style of  painting seemed to take on characteristics of the defined and delicate work that Mike is known for. Here within The Visitation, one of his later works, he has gone beyond the figurative visualisation of Mike towards a subtly grand, abstracted and soulful style. He does, however, still maintain the expressive sky in the background of the work, something that for me allowed an instant recognition that the piece was the work of Seb.

Right: Section of the The last judgement, 1536-1541 – Michelangelo

With the sculptured and detailed bodies within The Last Judgement compared to The Visitation you can further see the differential stylings of the two artists. With Seb searching for less commissions and slowing down his painting career Mike was at the top of his game and with this he produced one of the most significant and renowned fresco paintings in the world. He had been fighting his whole career for the art work that would cause a stir and get his name  firmly secured within the art history bible with the Sistine chapel commission he had finally proven his worth. Although some people did believe that Raphael had painted the chapel, most definitely to Mike’s annoyance.

Mike and Seb’s friendship was put under strain when Seb ordered that the yet to be painted parts of the Sistine Chapel ceiling be prepared with an oil-paint base coat before Mike returned to Rome to complete the task.  Mike did not like working in oils and so ordered those areas painted in oil to be stripped and repaired in order that he could complete the work in his establish fresco style with water and egg-based paints on daily plaster applications.

Whilst Mike was away in Florence, working intensely and relentlessly as usual, Seb had taken up favour with the Pope’s court, where he became a salaried advisor.  Whether this role was so demanding that Seb reduced his painting output, or he became lazy with a fat guaranteed salary is not known.  When Mike returned to Rome he quickly formed the later opinion, which coupled with the Chapel ceiling incident was the undoing of their friendship.

Seb died some 18 years before Mike.  Seb had not produced much of note, and very little that was completed in the final 15 or so years of his life.  Mike went from strength to strength in painting, sculpture, architecture, poetry and letters up to his death in 1564 at the age of 83.  After Seb’s passing and before his own, Mike did not acknowledge any good to have come from his collaboration with Seb.  Indeed, Mike publicly scathed Seb, his work and of what he had become in his later life. Whether this attitude reveals evidence that Mike had only ever used Seb to further Mike’s own career is open for debate.

This exhibition, on at the National Gallery until June 25th, 2017 seeks to explore the coming together of Mike and Seb, their collaborative output, and the breakdown of their friendship.  Overall, the curators have achieved their aim, although Mike’s work out ways Seb’s.  We found one or two of the rooms to have odd exhibit numbering with no clear start point if following the very well put together exhibition guide in strict numeric order.  Also, the lighting was a little off on some pieces creating glare or reflection that was difficult to overcome by vantage point selection.

Thank you for reading!

Bethvictoria.com

Continue Reading

“A noticeable lack of feet…”

portraitofanartistpoolwithtwofigures1971

We visited Tate Britain for the extensive exhibition of David Hockney’s 60 years of work from the instantly recognisable to the unseen workings.

There were so many pieces in this exhibition it was hard to choose a direction for this review. So we’ve just chosen a couple of pieces that we liked and looked into how they were made.

David-Hockney-The-Road-to-Thwing-2006

The first piece is called ‘The Road to Thwing’ which Hockney painted in 2006. When displayed this is six smaller canvases hung close together to create one larger piece. When looking at the exhibition we were trying to work out how this would be painted would he do each canvas individually or all as one?

a4b4d38201834454d3b1a668e21ba536

When looking into it we found this image showing Hockney painting the scene with the six canvases arranged as they are on display. Whether he mapped out the edges of the canvas/basics of the small image and then worked back into each individually or did just do it all at once is not obvious from this image. We think its great that he has actually set this up within the field that he’s painting as with the technique seen within the ‘Australian impressionists’ exhibition we wrote about a few weeks back and not just done it from a photograph.

HockneyWoldgateWoodsWi_680web

David Hockney "The Four Seasons, Woldgate Woods (Spring 2011, Summer 2010, Autumn 2010, Winter 2010)" 2010-2011 36 digital videos synchronized and presented on 36 monitors to comprise a single artwork Duration: 4:21 An Edition of 10 with 2 A.P.s � David Hockney
“The Four Seasons, Woldgate Woods (Spring 2011, Summer 2010, Autumn 2010, Winter 2010)” 2010-2011

This is a collection of 36 digital videos synchronized and presented on 36 monitors to comprise a single artwork. They each last around 4 mins 21 seconds. Each screen consists of nine videos that play at the same time. The videos within the screen are simply the views from different perspectives of a car going down a road. Again we wondered how it was done.

David-Hockney-Woldgate-Woods-9-camera-video-pace-480x359

Hockney-DSLRs

The above two images show the device and Hockney at work capturing the videos. We were trying to think of what kind of high tech piece of kit he could of used to create this piece. The rig set up on the bonnet of the car is definitely a lot less complicated than we were expecting and just what we were thinking he would have done. It is interesting that he sits in the back of the car watching every moment of the videos being recorded, even though the cameras will be capturing the work he doesn’t let anything turn out not as imagined or expected.

And the title of this blog comes from the observation of Hockney not really drawing/painting feet. They are always covered with shoes, furniture or missed off completely.

89ab509c8d766b91e0c736fdbe70f728

For example the large socks or bucket in the painting above.

be1c2c155f40d1bd5407336dfec2671b

We also really liked this photomontage of Hockney’s mother. There is a lot of skill used to perfectly capture and then realign the images to get her face clear and not distorted.

The exhibition is open until the 29th May – so get down and check it out for yourself.

Bethvictoria.com

Continue Reading

Fabric – Villa Nova

Villa-Nova-Hana-Fabrics

We’ve found and fallen in love with fabric. I will write a few posts like this, looking at different manufacturers of fabric – picking our favourite styles and colours from the collections.

The first manufacturer we’ve selected is Villa Nova. Today I got to see and feel the new fabrics books for their Norrland collection and they inspired me to write this and explore the collection a little and their older collections further.

The first collection I’m looking at is Norrland. This is Villa Nova’s description of the collection:

“The Norrland collection captures the rawness of nature embracing the misty stillness of forest landscapes and a desire to connect with the outdoors. The essence of ‘hygge’, the need for a sense of wellbeing, is instilled in the collection. Norrland encapsulates a relaxed approach to combining a myriad of textures punctuated with handcrafted inspired elements and timeless folk patterns that translate into a casual warmth.”  – Villa Nova

V3259-01-norrland-indigo_03

Norrland Indigo, Printed Cotton.

This design is available in a perfect selection of colour ways. The abstract woodland pattern would make beautiful window treatments and the colours within this allow you to bring the very popular copper accessories into the room.

V3243-03-marit-shaker_03

Marit Shaker, Printed Cotton Linen.

Again available in many colours, we chose this because of its ability to subtly bring in greys, blues and even some purple tones. We’ve written about the inevitable blue trend that will be seen this year before and all of the patterns within the Norrland collection would fit perfectly into this upcoming trend.

V3254-05-alder-bramble_02

Alder Bramble, Jacquard Weave.

Earlier today I saw this weave being paired with the design style Croft, Croft involves a lot of light woods, whites, blues and different textures, adding this weave and colour way to it added an extra layer and went very well with the blue accessories.

Untitled

Sudare Eden, Printed Linen Union.

This is from the older Hana collection. We love the light mixes of limes, greys and corals. This fabric really allows you to bring in a wide range of colours and would be the perfect amount of pattern for a room.

Untitled

Untitledq

Senza Eucalyptus, Decorative Weave. Sanza Sheer Eucalyptus.

This print is from the Senza II range. This is actually the fabric that I have in my bedroom, the Eucalyptus being a roman blind and Onyx a curtain, I didn’t realise it was Villa Nova fabric until this post. So clearly, I liked this manufacturer before I knew what it was (a good sign I think). This pattern is also available in a sheer with two different colours- I liked it so much I had to include it!

Of course, Villa Nova also do a lot of plain fabric, as well as, a great selection and range of voiles. The best thing about Villa Nova is their price -they are very affordable. If you’re wondering where to get them you can look on the Villa Nova website or head into your nearest John Lewis, they are bound to have a large range of look books and hangers for the collection!

Bethvictoria.com

Continue Reading

Spring colours

pantone color trends 2017

Pantone have released their spring 2017 colours and they’re a pretty bright and beautiful range. So we’ve collected some images of the colours in action to show you what you can do with them within your home.

Primrose Yellow

Pale dogwood

Hazelnut

island paradise

Greenery

Flame

Pink Yarrow

Niagara

Kale

Lapis Blue

Hope you have enjoyed this spring colour inspiration!

Bethvictoria.com

All images found on Pinterest

 

Continue Reading

Rauschenberg at the Tate Modern

2-16_FE_RR_1

One of the current exhibitions at the Tate Modern is a large retrospective of Robert Rauschenberg’s 6o year career as an artist. Through 11 gallery spaces you are shown the journey of his work from his early experimentation to his late work with all the seemingly random and continuously experimental work in-between.

We went to visit it and so wanted to let you know what we thought. This is written with two people opinions. Beth’s (B) who is the designer and artist behind Bethvictoria.com and Paul (P) a lover of art and design but with a business background. We thought it would be interesting to see the two opinions formed from the pieces.

The first two pieces are found in the first, ‘Experimentation’ room of the exhibition. This room shows the work he created within Black Mountain College where he took classes in the fine arts and the initial works he created during his marriage to Susan Weil. ‘Experimentation’ shows various materials he worked with from light sensitive paper to a car, paint and paper.

Automobile Tire Print, 1953
Automobile Tire Print, 1953

About: Created with the help of composer John Cage and his Model A Ford. The piece challenges the idea of art and authorship.

What we thought

B: A simplistic idea and kind of print. For me it shows the trace that we leave. Even the simple day to day things that we do, like driving a car, change the world around us and leave a print. A comment on society.

P: I like this for its simplicity, but technically this probably isn’t as straightforward as one might think. Keeping all the sheets of paper accurately juxtaposed achieving a smooth substrate to minimise counter-imprints from under the paper, and ensuring the tire was loaded with sufficient paint to get the consistency of impression over what looks like to revolutions of the car wheel, would have been challenges to overcome.

2002.259a-d_rauschenberg_imageprimacy_v1_compressed_800
Untitled, 1951

About: Part of a body of work named Black Paintings created to test the boundaries of abstraction in the 50s. Untitled, 1951, created whilst he was studying, uses layers of newspaper and dense black paint to create a textured and glossy painting.

What we thought

B: The texture of the newspaper isn’t obvious until you get closer to this piece. That’s what I find interesting about this piece. From far away it just looks like black canvas but when you get closer you see that there’s texture and movement with how the light plays on the glossy paint. If you don’t look at it properly you don’t see the detail and it doesn’t make sense.

P: This is moody. The exhibition lighting could, to my mind, have created more atmosphere. Rauschenberg probably approached this from an experimental angle and discovered an abstraction of form and colour that worked. The proportions are comfortable to the eye and I like the emphasis that is given to the abutment of the varying width canvases that make up the whole.

In room three of the exhibition you find the ‘Combines’. Combining materials, objects and processes to create works that he said became ‘awkward physically’. Using mostly found objects which he put on canvas and then enhanced with abstract paint marks. The combines were made in his studio, live on stage and also some grew with their time in exhibition via viewer participation.

Bed, 1955
Bed, 1955

About: Not being able to afford canvas Rauschenberg decided to use his quilt, sheet and pillow for this piece. When it was first viewed it was considered a threatening piece, Rauschenberg said that he did not mean for it it be harsh.

What we thought

B: I wouldn’t say it looks cozy. But I do relate to it. To me its the boundary between being awake and dreaming. The cover at the bottom and pillow at the top are practically untouched – the real uniform world we are in when we are awake. And the part where you would slip under the cover is messy and colourful – the explosion of your ideas and imagination that comes when you are asleep and dreaming.

P: Not a lot to say about this other than I think it is great. I particularly like the almost ‘impressionist’ colour spectrum that is created around the fold of the quilt.

Black Market, 1961
Black Market, 1961

About: Originally this was a piece that the audience could participate in. The four clipboards on the canvas were for viewers to put their own pieces of art/notes or doodles into the work. The box contained objects and people were encouraged to take one in exchange for an object of their own. (This was stopped when in one exhibition the objects were taken and not replaced)

What we thought

B: The idea of being able to add to and interact with this piece is really great. I love the idea that Rauschenberg took his recognition and allowed other people to get involved with it. Collaborating with everyone and getting everyone involved in making art.

P: I would love to know if Rauschenberg took an interest in how the contents of the box changed over time. Keeping snapshots of the ever-changing range of items, with the common theme of having been ‘swapped in’ might have been the basis for more follow-on work perhaps.

Silkscreens (Room 5) were a key part in Rauschenberg’s recognition as an artist, being the key to his breakthrough in 1963. Rauschenberg was working on these at the same time as Warhol. He started using his own imagery then he developed to using colour and more recognisable found imagery, touching on the subjects of politics, science and sport. Once his silkscreens had been recognised and shown within galleries he immediately destroyed the tools needed to make any more, removing any possibility of the ease to just repeat himself.

Almanac, 1962
Almanac, 1962

About: Almanac was one of his first screen prints and doesn’t hold any real meaning. It is just an exploration of the combination of imagery, strokes and textures.

What we thought

B: Unlike Warhol, Rauschenberg’s screen prints aren’t concerned with the celebrity. They are, as with his other work, experimental and show working. It doesn’t tell you what it is or how you should think about it – you decide for yourself.

P: At first, this piece creates an internal struggle in the observer as it appears chaotic (Tate calls it ‘poetic’ – I’m not so sure). But as one deciphers the images that have been screen printed and the brush work that is added for emphasis, one is taken on a journey of one’s own making. The piece becomes something different to each observer.

Room 11 shows Rauschenberg’s late works. He had a keen interest in using the latest technology in photography to produce large scale works. He continued to make work until his death in 2008. They continued to be collaborative and experimental. Questioning the idea of art and ownership and the development in technology, media and culture.

Mirthday Man, 1997
Mirthday Man, 1997

About: Mirthday Man was made on Rauschenberg’s 72nd birthday. It includes an x-ray of himself, clippings from art history and imagery from his travels.

What we thought

B: From the exhibition it seemed that Rauschenberg after time creating less colourful box, B&W photographs and installations went back to this type of work that is similar to his screen prints but with modern techniques. I just love that even on his 72nd birthday and for ten more years he was creating such interesting works.

P: It seems a random combination of images, but it isn’t. I imagine the artist anguishing over the arrangement of colour, shape and topic, either to give some order to it all, or to intentionally create disharmony. This is a piece one can look at for hours and see different things and think different things.

So, that’s what we thought about it. The exhibition is open till 2 April 2017 so get down to Tate to see it for yourself!

Bethvictoria.com

Continue Reading

We’re in a gang… The Papergang

1

We love stationary.

Papergang is a monthly subscription of stationary with the online stationary store Ohh deer.

This subscription of dreams is having a little bundle of useful notebooks, beautiful designs and funny cards through your letterbox (box doesn’t actually fit through letterbox) and its pretty easy and reasonably priced to get this in your life.

Heres the kind of items we’ve received in past boxes:

71

5

2

6

3

marchboxlast

papergang second box april 2016 copy

The 2017 palm print diary is our lifeline to keeping track of what we need to do in the day and we’ve framed the prints and some of the cards and put them up in the bedroom. Every month is a lovely little surprise and always full of beautiful stationary you didn’t know you needed!

Follow this link – Papergang – and sign yourself up! Get in quick to get this months box!

Stationary boxes in the post – what a time to be alive.

Bethvictoria.com

All images from Papergang website
Continue Reading

Arthur Streeton – A master impressionist

australia-event-banner-v2

Earlier this month, we attended a wonderful exhibition at The National Gallery titled ‘Australia’s Impressionists’ which runs to 26th March 2017. This is a relatively small exhibition, but expertly curated and features work by four Australian artists – Tom Roberts, Charles Conder, John Russell and Arthur Streeton. Between them, these four created a new artistic movement in Australia based on what they had seen in France and produced a huge combined body of work that represents the very best of impressionist painting from the prodigious talents that Roberts, Conder and Russell are, it was the work of Arthur Streeton (1867-1943) that captured our attention.

This from The National Gallery’s web page summarises his life.

“Streeton’s artistic training began aged 15, with night classes in design at Melbourne’s National Gallery School, while he worked as an office clerk and, later, as an apprentice lithographer. He read amateur art manuals imported from Europe and America that encouraged painting en plein air.

 While painting at Mentone Beach, south of Melbourne, Streeton met Tom Roberts (1856–1931), who invited him to join artists’ camps that he had helped found in the bush near Box Hill, to the west of the city. Together with Roberts and Charles Conder (1868–1909), Streeton helped stage the ‘9 by 5 Impression Exhibition‘ in Melbourne in 1889, which served as something of a manifesto for this new generation of Australian painters who were embracing the looser, more open techniques of Impressionism.

Streeton moved to Sydney in 1890, after the Art Gallery of New South Wales purchased a large canvas of his, ‘Still glides the stream, and shall for ever glide’ (1890). He was the first Australian-born artist to have a work exhibited at London’s Royal Academy – ‘Golden Summer, Eaglemont’ (1889) – but when he moved to London in 1897 he struggled to gain recognition. Nonetheless, he stayed in England for around thirty years, sending work back to Australia.

During the First World War, Streeton served as a hospital orderly in London, and then as an official war artist with the Australian army. He was awarded a knighthood in 1937 for services to art.”

Streeton produced a tremendous body of work during his lifetime, everyone of which merits individual study. But for now we have selected five paintings from the exhibition for specific comment and appreciation. As you study them, take in the balance in the composition, the great sense of location and climate, and the wonderful colour palettes he uses, all of which can inform ebullient design solutions today.

1280px-arthur_streeton_-_golden_summer_eaglemont_-_google_art_project

‘Golden Summer, Eaglemont’ 1889. Oil on canvas.

This painting is many things, but we specifically love the colour palette Streeton uses. Vivid blues and golds which he describes as the ‘nature’s scheme of colour in Australia’. The depth of detail, the tranquil setting and the mastery of light and shade all stand out.

Artist : Ena Joyce (Australia, b.1925) Title : Date : (circa 1949) Medium Description: oil on plywood Dimensions : Credit Line : Purchased 1949 Image Credit Line : Accession Number : 832

‘Fire’s on’ Lapstone Tunnel 1891 oil on canvas.

Again that wonderful colour palette stands out. Up close, his use of a 1″ brush in 1-2″ strokes to build up the tonal range of the blue sky is masterful. The vantage point produces a high horizon allowing an exquisite interpretation of sunlight and shade, as seen in Golden Summer. You almost want to reach out and touch the rocks on the left!

arthur-streeton-ariadne

‘Ariadne’ 1895 oil on wood panel.

Blue and pink dominate the colours here. Ariadne appears to almost float on the sand. With her head lowered into her hands, her sorrow easily felt. Again the sense of sunshine and warm climate is projected so well.

704

‘Blue Pacific’ 1890 oil on canvas.

This image doesn’t do justice to the tonal range and brush work that Streeton achieved. The light and dark golds used to pull out the centrepiece sandstone cliff face are superbly constructed. Again the colour palette is excellent and exuberant.

Artist : Arthur Streeton (Australia, b.1867, d.1943) Title : Date : 1893 Medium Description: oil on canvas Dimensions : Credit Line : Gift of Lady Denison 1942 Image Credit Line : Accession Number : 7209

‘The railway station, Redfern’ 1893 oil on canvas.

Finally, we bring this one into the selection because of its juxtaposition in climatic terms to the prior four. Here, grey skies, wind and rain predominate instead of warm sunshine. The composition, with all the detail clustered in the top half of the painting, and just the surface treatment and a lone be-coated person and their shadow occupying the lower half, represent such an eye for the scene. It is reported that he painted this in around three hours…

Celebrate the work of Arthur Streeton. He has many lessons to teach modern designers.

Written by Paul Smith for Bethvictoria.com

Continue Reading

2017 Homely home tips

fd71f6b904c49580451db3c73892896e

For this set of tips we’re starting at the front door.

Processed with VSCO with m5 preset

1) Christmas, New Year and winter time normally means clutter, winter dirt and leaves. Keeping the front door area and hall clear will make arriving home easy and something to look forward to and give guests a great first impression. Plants in the hallway are a great way to add colour and freshness to space.

0d5fb5182b5a173377686e55177831e6

2) Eye lines. Statement pieces or vibrantly painted walls can work as a great way to lead you through a house. This idea guides people into a certain room or space using their eyes and makes them want to stay and explore a little longer.

d3bd4df81b52b0755f648008d149d011

3) Plants, plants and more plants. We’ve definitely said this before. Plants are a great way to get colour, textures and shapes into your home. They also keep the spaces fresh and airy.

30096dbc1b91a738f8881b1228bbf2b4

4) Good smells. Keep the house smelling fresh and cozy. Whilst its still (sort of) the season light any festive candles that you’ve got or been given or get baking.

2f219222969e979ff4a590ebaee05ba1

5) Make it yours with small unique decorations and deign details. For example, put your own artwork on the walls or items that remind you of a good time or childhood memory.

Making something homely takes all of your senses. Not just snuggling under a warm blanket. So with these tips hopefully you can hit all five and feel homely from the time you see your front door.

Bethvictoria.com

All pictures found on Pinterest.
Continue Reading

Minimal motivational design inspiration

ryan-mcarthur-12-e1430204576666

These minimalist posters by Ryan McArthur are beautifully simplistic ways of getting inspirational messages from the masters of life and design into the world. The simple ‘less is more’ designs cleverly convey each message in the illustrations. Here are a selection of the posters that relate specifically to the design world. Enjoy!

unknown

0face0aef50642805ecd170145b5aebe

44286413120

famous-quotes-illustrations-poster-minimalistic-designs-12

famous-quotes-illustrations-poster-minimalistic-designs-2

98518f2f259ae0155c06b4c668c74d61

famous-quotes-illustrated-with-minimalist-designs-my-modern-metropolis-1396359281kgn48

Bethvictoria.com

Continue Reading
1 2 3 6