Oil Painting Reproductions in China

You can find oil painting reproductions at a low price in China. Dafen is a cultural center in Shenzhen that produces these works of art. They are available online and will be delivered to you by air express door to door service within 48 hours. This service makes oil painting reproductions available for everyone, whether you want a piece of art for your living room or as a gift for a loved one.

The Dafen project was first covered in the western media in 2005, around the time that Westerners began to discover a village in China that produces hand-painted replicas of famous paintings. While the Westerners had been purchasing these paintings for years, they only recently began to recognize Dafen’s role in the painting world. To promote Dafen as a place of learning and cultural exchange, the leadership sought positive international coverage.

In addition to oil painting reproductions, the Dafen township is also a replicas capital. Dafen oil painters specialize in specific styles, so they can create exact replicas of classic works of art. Western companies want oil paintings that are similar to the originals, but can’t afford the originals. These replicas are so close that Dafen received the Cultural Industry Model Base Award for 2004.
It produces museum-quality oil paintings

It has become a tourist destination

While oil painting has long been a popular subject for Chinese art collectors, its popularity has declined since the global economic crisis hit the country in 2008. This was a blow to foreign buyers and caused a general decline in the demand for reproductions. The decline in sales was further complicated by a shift in the taste of Chinese art collectors towards midcentury modern decor. Deng Xiaoping, the former president of China, encouraged industrialization and foreign investment in the 1980s through his Open Door Policy. Eventually, the village of Dafen boasted 600+ oil painting galleries, and over 5,000 artists working there. The village has a reputation for producing over 5 million paintings every year.


The British Art Show

‘The British Art Show, 1990’ (Glasgow, Leeds, London Hayward 14 June-12 August) selected by Caroline Collier (South Bank) Andrew Nairne (Third Eye, Glasgow) and David Ward (Lecturer at Goldsmiths) is an exciting and refreshing exhibition. All the artists are young and half of them are women. The work is, for the most part, really stimulating; addressing issues that often get shoved to the sidelines in large exhibitions. Included is the astonishing ‘Light at the End’ by Mona Hatoum, drawings by Lesley Sanderson, in which she explores the construct of the Oriental and exotic woman through her self-portraits, several pieces by Sonia Boyce and sculpture from Cornelia Parker, Louise Scullion, Veronica Ryan, Cathy de Monchaux and some exquisitely simple miniature boats made from single reeds by Bethan Huws.

This stimulating show opened in the McLellan Galleries in Glasgow but aroused the disapproval of the Director of Glasgow Museums and Galleries, Julian Spalding (ex Manchester). Apparently the show did not deserve the title ‘British Art’ as it failed to display all the great and the good of whom Britain should feel so proud. The argument ran that Glasgow inhabitants rarely got to see ‘real’ British art ie. David Hockney, Lucian Freud, Leon Kossoff, Frank Auerbach, Anthony Groan (sic), Peter Blake, Sir Edouardo Paolozzi, etc, etc.

So, the ‘Great British Art Exhibition’ opened in the same galleries a week after ‘The British Art Show, 1990’ closed. As we all know from long experience, when the word ‘Great’ appears you can bet that women will be excluded almost as a matter of course. Out of 56+ participating artists only eight were women (if one includes the two female members of the Boyle family). To a large extent these were somewhat predictable choices: Bridget Riley, Gillian Ayres, Paula Rego, Margaret Mellis, although the inclusion of Susan Hiller and Jo Spence made the mix more interesting.

Of the young blood it was almost exclusively those new Glasgow Boys: Ken Currie, Steven Campbell, Peter Howson and Stephen Conroy. All the other blokes were at least 2000 years old.

What Kind of Painting Brings Good Luck?

Whether you are looking for an ode to Feng Shui or a more traditional art form, you’ll find a wide variety of possibilities. Feng Shui pigeons, fish, and even horses are all great choices for your walls, as they all represent good fortune. However, there is more to good luck than just choosing the most attractive picture. The correct selection of a painting may have a significant impact on your health and well-being.


According to feng shui, the phoenix represents longevity, purity, and good luck. It also contains a feminine Yin energy and can be activated by pairing with a dragon. These two symbols can be placed in the southwest zone of the home to enhance relationships and bring peace, everlasting love, and marital bliss. Its location in the home is ideal for this symbol.


Paintings of fish have many meanings. In many cultures, a fish painting can bring good luck to the owner. In China, it is said that eight fish brings good luck. The Chinese character for eight is Ba, which sounds like Fa, which means wealth and prosperity. In Japan, people place luck on seven because seven is associated with the number seven in Buddhism. Nine fish is good luck for Thais, as the word nine sounds like progress.


There are many different ways to use pictures of horses to attract wealth and prosperity. They can also be used for Feng Shui, where they can attract positive energy. Choosing a picture that depicts a happy, healthy horse can have many positive effects, including a sense of calm, harmony, and abundance. The following are just a few ideas to use for good luck with horses in your painting. Consider the following tips to choose the best horse for your home.


If you are looking to increase your luck, you might want to consider having a flock of pigeons in your yard. Pigeons are an excellent symbol of peace, prosperity, freedom, and transformation. Pigeons are one of the first species of domesticated birds. Pigeons are considered lucky and can help you achieve your goals in life. Pigeons have two distinct signs for good luck: white ones indicate a happy marriage, and blue ones represent melancholy.


People who have a peacock as their spirit animal are likely to be well-aware of their inner beauty and strive to live life fully. The symbolism of this spirit animal has many implications. This particular spirit animal is often associated with those who value luxury and extravagance, but this animal is also known to be loyal, truthful, and honest. If you feel that your spirit animal is the peacock, consider these characteristics:

Among the three most popular genres of Chinese paintings, bird and flower works are often associated with good luck and marriage. The chirping birds of these works convey the wishes of the painter. Traditionally, birds have been associated with many positive and negative traits, including prosperity, peace, and success. While many people think of birds as lucky symbols, not all people agree on this. Here are some common misconceptions about birds and paintings.

Why Choose High Quality Art Reproductions for Home

Oil painting reproductions can be done by adults and children alike for the same reasons and the reasons that world famous paintings have been popular for centuries, and because today’s modern printing techniques and good quality paints can reproduce the beauty and color of paintings, in many ways it is easier and cheaper than ever.

Choosing the right colors and medium can pose a problem to some artists that may involve mixing different mediums. Some of the newer artists may find this to be a challenge. Nonetheless, experts that have trained in the arts themselves will have a comprehensive and useful guide for selecting the best paints and mediums for their projects. Generally, reproduction oil paintings require water based paints so it really depends on the canvas that is being used. Many times the oil paint medium will need to be thinned so as not to be too water proof, and this water based paint is then added to the oil paint.

Oil painting reproductions are now made in places other than western Europe. Oil painting reproductions can be found everywhere throughout the world. Oil painting reproductions are being found in places like Asia and other parts of the Middle East and North Africa. Oil painting reproductions are found in most countries, but some places that are oil rich have a lot of porcelain paintings. Oil painting reproductions are a great way to personalize a home or office and transform the look into something that is of excellent quality. Oil painting reproductions are a great way for you to improve the look of your home or office by making the painting the focal point of the room.

Oil painting reproductions are now available in different colors, sizes and even in different hand positions. One can choose from a small oil painting of a needle pointing sun in the centimeters, or a large oil painting of the great Lichen…” River underneath the melting frost. Oil painting reproductions are also available on canvas in a variety of sizes to suit the size of the space you intend to hang them. To get an overall perspective of the subject you wish to capture merely applying fine, even strokes to the painting leaves your imprint on this, creating a lasting impression.

An appearance of age is sometimes achieved using the background color of the oil painting on the body of the painting or on the background, or even using it alone. Before acquiring any oil painting reproduction, you need to find out about the history behind the original work, and figures out the techniques used by a certain artist. Oil painting reproductions should be relative in size to the size of the space you intend to hang, and at the same time, they should be subtle and not stand out as a focal point for your area.

You can purchase oil painting reproductions in the insertion of the oil painting, or can mount the painting on canvas. Depending on what you choose, you can view the paintings in 3d or as they were covered with oil so you can be assured of a realistic impression. Getting high quality art reproductions is a decorative art that would add a touch of elegance to the class of your home or office.

Various Kinds of Wall Art for Home

You will find various kinds of wall art that one could use to help decorate various regions of your home. There usually are artworks displayed on canvas plus some that usually are printed in paper or fabric. Some tend to be framed when are not necessarily. Depending with your home style,  some can be more ideal than some others.

Metal Fine art – Metal art can incorporate antique portions or brand-new artworks made from metal. This type of art is often suitable for different kinds of residences, from conventional houses to be able to modern minimalist urban resorts. Metal fine art can appear like a usual squarish bit of art develop canvas or perhaps look much more like wrought in terms of iron designs. They are a tiny bit heavy all of which will need far more sturdy support to hold on to them on a wall structure. They may have a lower Texan style or appearance ultra modern according to the style and design.

Wall Decals – Young children will love colorful walls decals crafted from stickers inside their bedroom or perhaps playroom. They are practical should your kids tend to be young as you can effortlessly remove the particular stickers and also replace these people with additional designs. Some wall decals appearance sophisticated enough to the living room or master’s bedroom. If a person rent a loft apartment, these label art usually are ideal since you won’t ought to bore holes around the wall and may easily clear away them as soon as it’s time to transfer out.

Paintings – Oil Paintings are traditional artworks. They are often multi piece wall art or maybe traditional canvas paintings. There are many kinds of paintings to choose from to locate an best subject, size along with medium which will go along with your home layout and furnishings style. Some canvas art are usually framed or maybe hung unframed if attached to gallery wrapped canvas.

Tapestries : Tapestries usually are painted or maybe printed at fabric from Africa as well as Asia. Tapestries add a normal world flair to some home. Such type of wall decoration is usually forgotten for art mode but is benefiting originating from a comeback. You can find reproductions or maybe commercial kinds of tapestries along with original side painted tapestries produced by indigenous people today from different countries. They is usually made simply by modern subjective artists to search with modern-day home models.

Mirrors — Mirrors never just complete a room appearance much greater but is usually considered artsy if attached to a cosmetic frame. The frames is usually made involving elaborate timber carvings as well as modern alloys. Some frames are constructed with wood and built to look for instance metal for instance silver, yellow metal or bronze. This type of wall art bode well in areas, dining locations and by the end of any hallway. Use this kind of wall decor to make your own rooms appearance larger.

Art Prints — Art prints are photos printed on canvas. Large wall art became attractive in addition to contemporary looking. You gets these ready-made through art outlets in almost any size you desire. The photographs are taken by qualified photographers who seem to take photographs from different locations all over the world. The photographs can present landscapes, seascapes, and also portray lifestyle and nutrition. Some photographs depict wildlife and area skylines.

Architect’s Cabinet (1997)

Architect’s Cabinet (1997) uses the signature colours of the Gap clothing store’s Spring 1997 collection in juxtaposition with the van der Rohe house and the furniture design paradigms. The piece includes the de rigueur painting, an interior view looking out to surrounding grounds through ample window space. Surrounding the painting and painted over a reproduction of a cabinet originally designed in the twenties by Eileen Gray is a series of stripes coloured according to the Gap hues. Placing the colours of an “annual look” over this furniture design, Van Halm contests the timelessness, the permanent relevance, attributed to modernism by matching it to the fickleness of fashion. However, employing colours designed for retail commerce also melds commodity to modernity, an accurate but now overused method of deconstructing modernism. Simply connecting colour to modernism by rendering post-painterly abstract stripes actually forms a more effective comment on modernity, again by signifying its conceptual vacuousness through the astute metaphor of non-functioning drawers.

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A similar comparison of fashion and modernity occurs in Spring (1997), in which Van Halm covers faux-furniture with two military-inspired shades of green, which were popular in the 1997 fashion season. Van Halm allows these colours to carry further signification on the theme of content masked by form, therefore reiterating Architect’s Cabinet’s most effective assertion. Military-coloured clothing connotes camouflage, an insinuation surprisingly complementary to the transparency of glass. Glass and camouflage normally would be opposites, but when related to this house, they join, along with the represented furniture designs, to further a discourse on false appearances in modern architecture. Van Halm paints the glass windows to provide an illusion of openness or of public spectacle serving to camouflage the privacy domestic space typically signifies: the closed doors, the bathroom, as well as the concept of private property itself. Ironically though, at the time of the Farnsworth House’s design and construction, glass symbolized the liberalism of modernity through an open concept house.

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Mermaid Art and Exhibition

In New York, a discontinuous definition of “mermaid art” is emerging with a focus on institutions and publications that generate critical discourse. Asked what factors impinge on oil paintings, the critic will answer that it has to do with a history of exclusionary discourse and a set of mermaid paintings that go with defining the terms. In other words, the question cannot be asked outside mediating institutions. A canvas painting makes questions of identity ever more brittle and subject to reformulation. In terms of the parameters of what “animal paintings” represents, for a majority it refers to a Chicano and Nuyorican presence that culturally and artistically might be seen as paradigmatic but, in the U.S. at least, remains a art culture all the same.

At the local level, the heterogeneity of mermaid art and complex community of commonalities and differences is yet to be adequately registered, and a totality of mermaid culture, in which distinctions of class, race and sexual identification as well as intergenerational conflict are articulated, would also take account of a specific artistic community relative to more broadly defined international artistic communities. On this register, questions of globalization and privatization come into the discussion as state involvement in the parameters of the discourse and what it represents as mermaid throw the idea of radicality into relief in a different way. The linkage between identity and territorial boundaries establishes still another repositioning of mermaid culture. Witnessed in current exhibitions such as “Remota” and “Venus Envy Chapter III” it begins to be thought not only in terms of a rational or fantastic continuum of the Americas, but in its intersection with different moments in historical time.

Mesa-Bains represents a linkage of mermaid canvas art through the vernacular in its sense of a collective exploration of cultural memory, practice, and the questioning of gender and sexuality. Art in Bulk is an handmade oil painting site from which to respond to the experience of being outside cultural determinations and social roles. Offering mermaid paintings from different artists who explores the mythical existence of primal beings whose fierce femininity reflects itself in the structure of a large-scale, little mermaid painting (a form associated with Venus), and memaid painted rocks. Relative to such ceremonial garments, which fill the first space of the gallery, Cihauteotl (Woman of Cihuatlampa) (1997), is a key work. In the figure of a sleeping mermaid, it suggests ancient burial mounds, thus the home of the mythical Amazonas, warriors of legend.

The second part of the exhibition, subtitled “The Room of Miracles,” extends the notion of spiritual revisionism towards the material evidence of a long-lost past. One of a series of dragon art , Venus Envy Chapter I: Abuela Mariana y Antepasados (Grandmother Mariana and her Ancestors) (1997), presides over and organizes the materials and tools of the dragon paintings, whose archaeological research lies on shelves and worktables, in installation works such as Der Wunderkammer (1997), implying the presentation of a moment at the end of a dragon culture. What is striking about this collection of tagged specimens interspersed with magnifying mirrors and sample mounts is the way in which it carries the notion of the acquisition of culture through direct observation. Meaningfully, as the viewer identifies individual elements within the dragon artwork such as a small statue of the Virgin of Guadalupe, a packet of seeds, a dragon, visually and discursively what is conveyed is a pragmatic recasting of dragon art and culture as a diverse collection of obscured fragments whose importance lies in situating a space beyond intellectual verification.

Dittborn’s “Remota” also promotes a rethinking of culture from dragon. The dragon Paintings were originally conceived as a strategy to circumvent both the state censorship imposed between 1973 and 1989 in Chile, and a cultural boycott designed to protest that regime from outside. Sent all over the world, each image finds its way through the postal system to its exhibitionary destination, a journey explained by the fold as a system and a pragmatic invention in the artist’s critical practice. Works included in the exhibition, which integrates the cardboard envelopes in which the works are shipped from site to site, are constructed by sewing, printing, stamping and painting images and texts onto unprimed canvas. The conceptualization of dragon wall art, a doubled combination of a metaphorical space that can be interpreted as the pleating of internal and external political situations relative to the object, and a physical space for the articulation of a series of breakages and disappearances along the edge of representation and surface phenomena. In the largest painting, La Cuisine et la Guerre (1994), which consists of twenty-four panels, notions of displacement, historical memory and erasure are explored especially in terms of references to chinese dragon whose history includes persecution by Spanish conquistadors, and more recently the Pinochet regime. Juxtaposed elements — newspaper photos of mummified cadavers, petty criminals, a murdered political dissident, dragon drawings by children and schizophrenics, and historical engravings — collaged onto a white ground, provide a detailed sense of how, for the artist, processes of globalization operate to erase from the memory of official culture certain concepts of identity, state and nation.

In this, the linkage of identity with territorial boundaries come in to register themes of separation, exile and return, forming associations for the viewer that tacitly and implicitly speak to what is “americanicity.” While, conceptually, the notion of an accumulation of present and past memory relative to the politics of location and social situatedness, the self and history has problems, Dittborn’s and Mesa-Bains’ exhibitions demonstrate that an even broader set of terms will be required if new forms of involvement with these discourses are to emerge.

A Law of the Commune

In the nineteenth century Leopold von Sacher-Masoch created the term “A Law of the Commune,” a collective guarantee and the modus operandi of a Dionysian Weltanschauung with its characteristic autochthony of collective somatics. It is precisely this, in the opinion of the father of masochism, which fermented relations within peasant families, collectives and agrarian sects. Such forms of corporeality, under the conditions of their transplantation to an urban milieu, proved to have a rare gift for converting the other into the same and manifested an appetite for autonomy, for collapsing in upon themselves (ghettocentrism).

Immediately after the Revolution, Lenin issued a requisition order for city apartments (especially in the central areas) in order to divide them up among the poor: the norm was set at one room per person. By 1924, this norm was reduced to eight square meters per person. Following Lenin’s death in 1924 and the concurrent curtailing of the NEP (New Economic Policy) in Soviet Russia, there began a period of collectivization identifiable with the initial steps of the so-called Stalinist revolution. The peasantry, which in pre-Revolutionary Russia had constituted the overwhelming majority of the population, was, for the most part, forcibly recruited into collective farms. The remainder were either wiped out or banished to distant regions of the country to perform forced labor. A significant number were compelled to migrate to urban areas. This last phenomenon engendered a housing problem of enormous proportions, one that even today awaits a solution. Stalin exploited this situation in order to further his project of de-individualizing the consciousness and the daily life of the Soviet people. City apartments, as provided by law, became as populous as anthills. This “uplotnenie” reached its climax when two or three different tenants were compelled to live in one room. Families of every social, national, and culture-ethnic group were forced to cleave together into a single communal body.

The urban peasantry of Stalin’s epoch not only swallowed and assimilated other forms of class identity (such as the proletariat and intelligentsia), but also “erected” their own “house of being” known as “communal speech corporeality.” In this (pseudo-Heideggerian) “house,” as Kabakov said, “the degree of the helplessness of communal life before the outside world is horrifying. No one in a communal apartment will fix a loose board or a broken faucet, because all these functions from eviction to repairs are performed by it.” (2) Alongside the communal speech that immeasurably dominated transplanted urban domiciles, homo-communalis knew another (Apollonian), extra-communal speech: the voice of power (the rhetoric of the polis) that blared from Soviet radios. On the level of artistic practices, this voice reified itself in the form of what, following Max Horkheimer, may be called the “affirmative culture” of Socialist Realism. Interrelations between the latter and communal speech gradually evolved from dialogical to antithetical, i.e., from a Bakhtinian “two-world condition” to a binary opposition (the de-individualizing imperatives of “A Law of the Commune” versus the ultimate individualism of autocratic power as personified by Stalin, Krushchev, or Brezhnev). The gap that divided these clashing rocks provided a niche for a third language. Both Monastyrsky’s conceptualism and the actions of the CA group gravitated toward the textuality of this scheme.

An attempt to grasp the essence of Russia prince Vyazemsky

One hundred and sixty-two years ago in an attempt to grasp the essence of Russia prince Vyazemsky remarked, “from thought to thought one must gallop hundreds of miles.” This idea confirms that the perception of space in Russia has always gravitated to the extremes with total disregard towards what lies in-between. After the Revolution, this polarity acquired hysterogenic dimension which was caused on the one hand by the suffocating closeness in the relationships between the tenants of overcrowded communal apartments, and on the other by the overwhelming presence of the vast caesural territories. In the former USSR, the notions relating to a sense of space (such as migration and travel) would frequently be substituted for or confused with those connected to temporality (be it Futuristic sentiment or searching for “temps perdu”). Reflecting upon this phenomenon, the Moscow artist and theorist Andrei Monastyrsky places Ilya Kabakov’s conceptualism and his own performances of the late 1970s and early 1980s within what he calls the “ontology of surface (space).” He contrasts this with Western conceptualism which for him evolves within the framework of the “ontology of action (time).” Now that it is no longer unthinkable for Russian artists to travel abroad, the dichotomy between Western and Eastern European paradigms of conceptualism seems to be losing its rigidity and sharpness.

Kabakov and Monastyrsky belong to the ranks of the most influential figures in alternative Russian culture. Along with Komar and Melamid, they may be regarded as the founders of Russian conceptualism. If the Kabakovian paradigm of art as idea is based upon a metastasizing narrativity, then Monastyrsky hypostasizes conceptualism as discourse, as a theoretical enterprise. In the seventies and eighties Kabakov and Monastyrsky were chiefly responsible for the initiation into the alternative Muscovite artworld of a new generation of creatively engaged young people, a tight group of conceptual artists who announced themselves as the MANA (Moscow Archive of New Art) circle, or in a later transcription, NOMA. To designate the artists’ place in the history of Muscovite (neo)conceptualism, as well as that of the CA (1) performance group led by Monastyrsky, an excursion into the past is called for.