the child grows enormous but never grows up
pbfcomics:

I foolishly left my jacket, with my sketch-pad in it, unattended at a bar the other day. Here are some attempts at beautifying some dick-drawings that someone (apparently over the age of 21) chose to add to my sketchbook.“Lonely Cowboy with Balloons”“Sailor Dog”&“Two Happy Elephants Hug Sauron”

pbfcomics:

I foolishly left my jacket, with my sketch-pad in it, unattended at a bar the other day. Here are some attempts at beautifying some dick-drawings that someone (apparently over the age of 21) chose to add to my sketchbook.

“Lonely Cowboy with Balloons”

“Sailor Dog”

&

“Two Happy Elephants Hug Sauron”







A large group of Farnsworth Art School students paint a nude model in 1946 — Andreas Feininger

A large group of Farnsworth Art School students paint a nude model in 1946 — Andreas Feininger

jesuisperdu:

michiel hendryckx
crystilogic:

Detail from The Burning of the Houses of Lords and Commons by J.M.W. Turner (1834-35)
slabbb-blockkk-hilarious:


Xie Lei. Blow, 2011. Oil on canvas, 44.1 x 55.2 cm.

slabbb-blockkk-hilarious:

Xie Lei. Blow, 2011. Oil on canvas, 44.1 x 55.2 cm.

…it must be remembered that the best works, by the best men living, are in this age abused without mercy by nameless critics…
John Ruskin, Preface to Lectures on Architecture and Painting, 16th April 1854
invisiblestories:

J.M.W. Turner, Three Seascapes (c. 1827) (via nolollygagging)

invisiblestories:

J.M.W. Turner, Three Seascapes (c. 1827) (via nolollygagging)

tobia:

Gustav KlimtThe Parkc.1910
Oil on canvas. 43 1/2 x 43 1/2” (110.4 x 110.4 cm).

tobia:

Gustav Klimt
The Park
c.1910

Oil on canvas. 43 1/2 x 43 1/2” (110.4 x 110.4 cm).

alecshao:

Tim Davis - Permanent Collection (2005)

“’All art ends up as photographs,’ Tim Davis has pointed out, ‘and in a strange misalignment, most of those photographs depict only the artworks’ images, not the fact of their material presence.’

Tim Davis’s photographs of paintings are phenomenological, relishing in the materiality of the paint and the history and labor embedded in the canvas.

They are photographed from oblique angles so light from existing museum sources changes the often-reproduced meaning of these works, adding light to familiar narratives, and blotting out anticipated images.

In a move unfamiliar to photography, the light in these pictures is often used to obscure, as well as to illumine. The light, more than a way to describe, is part of the picture’s content. It is an essential part of their content, not merely an aesthetic or storytelling tool.

With no flash or external lighting, and printed to approximately the size of the original works, the pictures remind us that works of art are vivid and present things curated in particular places under concerted conditions, rewritten by the careful decisions of humans and institutions.

Made with a large-format view camera, and presented with no glazing, the photographs themselves hope to blur the boundaries between painting and photography.”

iheartmyart:

Dante and Virgil in Hell (detail) William Adolphe Bouguereau (1850)

iheartmyart:

Dante and Virgil in Hell (detail) William Adolphe Bouguereau (1850)

devidsketchbook:

Artist Yuko Nasu  (Man Oil / B /  Yuko Nasu)

Yuko Nasu was born in Hiroshima, Japan. She studied visual design in Kyoto and Fine Art in London. She lives and works in London.

uncertaintimes:


Joan Eardley, Seeded Grasses and Daisies, September, 1960 
tmills:

This painting,  Ballad for Frida Kahlo by Alice Rahon, made me cry today. It’s too beautiful. TOO BEAUTIFUL.

tmills:

This painting,  Ballad for Frida Kahlo by Alice Rahon, made me cry today. It’s too beautiful. TOO BEAUTIFUL.

lionskeleton:

Paintings by Andy Denzler