Chariot of Love (1880). Art by French painter Jacques Clement Wagrez. 🇫🇷 #WhatToDoThisWeekend #riding #bonds #FridayFeeling
Isabel Emrich è una giovane pittrice californiana che ama dipingere ritratti di donne immerse fra le onde del mare
El coyote lives on the edge, so close to us - yet wild! Tracks and scat just yards away from where we live and drive.
Discover the fascinating beauty of the abstract woman in this unique poster. With its striking lines in the style of highly detailed illustrations, it adds subtle elegance to any room. The soft tones of light gray and light amber create a harmonious atmosphere and make this work of art a real eye-catcher.
#cultofthelambfanart #CultoftheLamb Introducing my Lamby uwu
Daedalus is hailed as one of the most skilled artists and craftsmen in the Ancient Greek world.
Nike trainers sprout plants and French perfumiers inspire by mysterious scientific icons in Katie Scott’s visions that take botanical illustration into the digital age
Francesco Hayez was an Italian painter🎨, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits. Hayez came from a relatively poor family from Venice.
heizou selling point
#kavetham 《黄金鸟》 total8+2P A story about the origin of Kaveh’s feather ⚠️ The plot in this work has many places that are not in line with the game P1-4
Neoclassical art rejected the complexity of Rococo and Baroque art, instead favoring the symmetry, harmony, and proportions of classical antiquity.
About The Artwork My inspiration goes from antiquity to renaissance. The use of gold and rhinestones is a reminder of icons from the byzantine era. Original Created:2022 Subjects:Portrait Materials:Cardboard Styles:Fine Art Mediums:Acrylic Details & Dimensions Painting:Acrylic on Cardboard Original:One-of-a-kind Artwork Size:14 W x 11 H x 1 D in Frame:Not Framed Ready to Hang:No Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:France. Have additional questions? Please visit our help section or contact us.
About The Artwork A memento mori (Latin 'remember that you must die') is an artistic or symbolic reminder of the inevitability of death. Original Created:2020 Subjects:People Materials:Cardboard Styles:Fine ArtFigurative Mediums:AcrylicInk Details & Dimensions Print:Giclee on Fine Art Paper Size:9 W x 12 H x 0.1 D in Size with Frame:14.25 W x 17.25 H x 1.2 D in Frame:White Ready to Hang:Yes Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Art prints are packaged and shipped by our printing partner. Ships From:Printing facility in California. Have additional questions? Please visit our help section or contact us.
Para continuar la línea de escritos relacionados con las conexiones y vínculos entre el paganismo y la política o las relaciones de poder que promueve; en esta ocasión, me enfocaré en las ideas de…
Congratulations, you've lived through toilets with threatening auras. But we can't let you go that easy, no no. Prepare yourself, it's time for intimidating animals. I'm talking about toads that look like they're about to take over the world and creepy crows turning on the chainsaw. Edgar Allan Poe would definitely approve of these pics. Scroll down, take a look at the animals with the most threatening auras, and try not to squeak!
Todas las paredes son a modo de horror vacui
“Still they but in different universe🤪#kazuyaka”
The “Spanish flu” pandemic of 1918/19 was awful and it was terrible. The 1918H1N1, to give its proper name, has been estimated that it infected about a third of earth’s human population and killed about 50 million people. In Britain alone the virus was responsible for the death of about 250,000 people. The high death … Continue reading "1918H1N1 aka “Spanish Flu” – The Worst Pandemic of Them All"
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20 juegos de palabras visuales, desconcertantes y surrealistas de Randy Lewis
"We're sometimes here to help"
Artist and psychotherapist Johan Deckmann transforms antique book covers into satirical self-help titles
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3 p. \U+fffd\., 53 p., 1 \U+fffd\., 192 pl. 25 cm
アダム🎸 #HazbinHotelAdam #HazbinHotelFanart
On September 13, Cotton Candy Machine in Brooklyn will open a group show, "Allegorical Quarter," featuring four artists with a penchant for narrative: Jeremy Hush, Michael Michael Motorcycle, Dilek Baykara and Paul Romano. While Michael Michael Motorcycle and Paul Romano's works pulse with vivid colors and textures, Jeremy Hush opts for a more subdued palate in his haunting mixed-media works and Dilek Baykara creates an ambiance of 1930s-tinged mysticism with pen-and-ink. Take a look at a sneak peek of "Allegorical Quarter" below and see the exhibition September 13 through October 6. See more after the jump.
For three decades, the photographer has explored the fragility of the political consensus on which his personal utopia depends, Emily Witt writes.
Fixated on a mythological depiction of nature, Japanese artist Ishibashi Yui sculpts feral children that appear to belong to another realm of reality. Pallid, hairless human bodies become fused with roots and vines, brought to life through a mixture of wood, resin, clay, wire and paint. Oftentimes, the figures appear imprisoned by the flora. In Then, It Returns Slowly, a pregnant woman's face erupts with flesh-colored growths that form a tree trunk. The character in Dream of 10 Billion Years succumbs to a similar fate as her limbs are fused with a chair and her head becomes a bouquet-like arrangement of leaves and branches. These sculptures personify nature as a force that reclaims its power from its human occupants. Take a look at some of Yui's sculptures after the jump.
Delna (1875-1932) by Charles Reutlinger E. Hutre. Architectural design for a wall decoration, c.1900 Edgard Maxence - Peacock Profile, 1896 Edmond Aman-Jean (1858-1936) Annie French (1872-1965) - The Peacock and the Rose Annie French (1872-1965) - The Peacock Cloak C.E.B. Bernard Camille Martin…
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La Casa Mila, à Barcelone, est l'une des oeuvres les plus importantes de l'architecte catalan Gaudi, figure remarquable de l'Art Nouveau. Construit entre 1906 et 1910, cet immeuble, surnomé "La Pedrera", était destiné à la famille Mila qui y occupait...
Detail of Susanna and the Elders by Pierre van Hanselaere (1820)
Despite his efforts, Manet’s modern scenes remained a target of criticism.
Today I'm over the moon to share my interview with author -- nay, storyteller -- and illustrator Joe Todd-Stanton. Joe is on fire right now, with two perfect stories out this year, The Secret of Black Rock and Arthur and the Golden Rope, the first in the Brownstone's Mythical Collection series. Joe's books are adventurous, with crisp illustrations and fully-formed worlds, and I am so, so grateful that I had the chance to interview Joe so early in his career, which I foresee as impactful and lasting. About the book: Erin loves to lie on the jetty, looking for the weirdest fish in the sea--the weirder, the better And she knows the best ones must be further out, where her mum won't let her go . . . Out there in the deepest sea lies the Black Rock: a huge, dark and spiky mass that is said to destroy any boats that come near it Can Erin uncover the truth behind this mysterious legend? Let's talk Joe Todd-Stanton! LTPB: The world you create in The Secret of Black Rock is just astounding. What did you use as inspiration to create this story (I have to assume Miyazaki’s films!)? How did the characters change as you got to know them in this world you'd created? JTS: Firstly, thank you very much! World building is a really big thing for me, so if that comes across at all that's great. Miyazaki has influenced pretty much every piece of art I have done since I went to the premier of Spirited Away when I was eleven. I still go back to it often when I'm working on a book because it's so rich in detail and really pushes me to try and achieve something similar. I also try and connect things to the real world as much as possible, so I looked at a lot of coral reef photography and animals local to Newfoundland (which was the place that influenced the look of Black Rock). In terms of the characters changing, Erin and her mother pretty stayed consistent from the beginning with a few tweaks, although some of the first sketches I did had Erin with a Father. But I quickly changed my mind once I started fleshing out the story. Black Rock went through quite a long process, as it's actually based on an image I did about four years previously. As the story took shape, the features of Black Rock became a lot more friendly and childlike, as I wanted his character to be very innocent and comforting in contrast to the scary moment when Erin is lost in the blackness. I also wanted to make it very obvious that it was just as free from motive and harm as the fish that surround it. original sketch of Black Rock LTPB: You are currently working on a series called Brownstone’s Mythical Collection. So far we have Arthur and the Golden Rope (2016) and Marcy and the Riddle of the Sphinx (October 2017). Why did you choose to create a series centered on Norse mythology? Are you following any particular pattern as you explore these myths? Will we get to know the mysterious Mr. Brownstone better as we read the books? JTS: I have always loved mythology, and I think it's such a rich vein to tap for storytelling. Whether it's overt or not, all the work I do that is personal to me is influenced by old myths or legends that I subvert or try and find a new angle on. With the Brownstone books I wanted to hopefully point kids in the right direction so they could discover that wealth of myths for themselves. I liked the idea of books that can quickly dip into a world of mythology each time and just give a little taster of a thing that is so much bigger than I could ever show in one story. I loved the movie The Pagemaster as a kid, and I always thought that could have been a great concept for a series to explore, a different classic fiction or genre every episode. I think Brownstone was my way of channeling that idea. I have to say my pattern for what I look at is purely selfish, as so far I have just picked two mythologies that I really wanted to read more about, myself. Whilst reading about them, I just hope one story will jump out and spark an idea. In terms of the series progressing, I have a few ideas, but nothing I really want to set in stone yet. I can say I would love to do a book looking at Hindu mythology, as it's so intriguing to me. As for the mysterious Mr. Brownstone, he does have a very interesting past which I would love to explore given the opportunity, but you will just have to wait and see. LTPB: You have very purposeful endpapers in Arthur and Black Rock, the latter of which has a pretty awesomely subtle difference from front to back. What is it about endpapers that draws you in as an illustrator? How do you use the endpapers as extensions -- or not! -- of the central story? JTS: Well I love endpapers since they are such a good way to set the tone of a book. As a child I always loved those books that had little opening maps or character profiles. I guess it comes back to the whole thing of world building. I also like them because they are not necessary to the story, so you can think about them more as displaying the character of a book than having to have them make sense in the context of the story. This is especially true of Arthur, as I wanted to the whole book to have the aesthetic of a book from the time of Norse mythology, rather than about it. I hope I can do the same with Marcy and the Riddle of Sphinx. As for Black Rock, my first intention was just to have that page be a way of showing the relationship between Erin, her mum and Archie. In children's books you have so little time to do that kind of thing, and then the idea of having them be different at the end just came into my head as I was illustrating them. front endpapers back endpapers LTPB: What tools do you use to create your illustrations? How do you find your process evolving as you begin new projects? JTS: A drawer full of 2B pencils and a massive stack of A2 paper is the boring answer to that. Drawing is and will always be the funnest thing for me, and I love tackling a big layout that I have been thinking about for a while. After I have drawn everything, I color in Photoshop. I'm still trying to learn new ways to make that process as fun as possible, as I never want it to feel too formulaic. The main thing that has been changing for me is just the planning aspect and gathering as much inspirational, relevant imagery around me in the hope that it will stop my work from ever looking too stale. Planning is the main thing, though, and also the part I have the most trouble with. It's so tempting just to get straight into the final art when you have an idea you're excited about, but then you always end up having to paper over so many cracks and issues that you could have dealt with at the start if you had been more patient. I hope the more I work, the more I will improve on this aspect. LTPB: What are you working on now? Anything you can show us? JTS: I'm still working on Marcy which is taking up the bulk of my time, but I also have an idea for another picture book around the same length as Black Rock which I am really excited to try and flesh out. I don't want to say much as knowing me by the time I'm finished every detail will change but currently it's set in London, and I really want it to explore imagination, unlikely friendships and how people that are very different can really complement each others personalities. That sounds way more cryptic than I meant it to . . . image from Marcy and the Riddle of the Sphinx LTPB: Who would you choose to illustrate your picture book biography, and why? JTS: That's a tough one! I'm not sure whether to pick my favorite illustrator purely because I would just love to see any new work from them, or an illustrator who would be best suited to capturing me growing up. If it was the former, I would pick Tove Jansson, as just to see myself drawn in her style would make me very happy forever. If it was the latter, it would have to be Edward Gorey, as growing up I was quite a small, pale, shy child who wore a lot of black and saw scary monsters in every dark shadow. I'm happy to say I'm quite different now, but I can imagine Edward rendering the world as I saw it as a kid very well. Thank you for sharing your process for creating books, Joe! The Secret of Black Rock published in June from Flying Eye Books! Special thanks to Joe and Flying Eye for use of these images!
