Richard Jones, ''A Pride of Monsters'' by James H. Schmitz, 1970
i don't do bad sauce passes
One Nice Bug Per Day
Monterey Bay Aquarium
hello vonnie
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祝日 / Permanent Vacation

blake kathryn

if i look back, i am lost
Today's Document
2025 on Tumblr: Trends That Defined the Year
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Xuebing Du

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occasionally subtle

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Richard Jones, ''A Pride of Monsters'' by James H. Schmitz, 1970

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Poetics of Abandoned - Susanna Iivanainen , 2023.
Finnish , b. 1973 -
Colour ink and marker on canvas, 80 x 60 cm.
'Mid Autumn'. Tsunenobu Namiki.
Jean Mallard (French, 1997) - Retour à Ithaque (Return to Ithaca) (2025)
Duan Zhengqu - Carp in The Yellow River No. 3 (oil painting on canvas), 2000

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Concord St, Pittsburgh, Pennsylvania.
Martin Krammer.
Stairway and Tree (1946) Gertrude Abercrombie, oil on board, 22.9 x 29.2 cm
Caberet du L’Enfer, satanic themed cabaret founded by Antonin Alexander in 1892 near Montmartre, Paris, demolished in 1950.

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Mark Thomas Gibson (American, 1980), So Slips the Knot, 2016. Acrylic on canvas, 60 x 40 in.
Ethel Greene, “The World’s Greatest Parking Lot,” oil on canvas, 1969
Kathleen Eaton (is a Chicago area artist)
裏窓 (1964年07月)
The intestines of the furnace by Stéphane Gaudry, 2012

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Marianowi Henelowi sławę przyniosło trzynaście wielkoformatowych gobelinów powstałych techniką wiązaną, głównie o tematyce erotycznej i magicznej, na których nagie postaci kobiet i samego Henela pojawiają się w otoczeniu owadów, ptaków i zwierząt o znaczeniu symbolicznym: sowy, orła, węża, ropuchy, nietoperza, kota.
Renown came to Marian Henel with his thirteen large-scale tapestries, created in hand-tied technique, mainly with erotic and magical underpinning. In these works, naked figures of women and Henel himself appear amongst insects, birds and animals that bear symbolic meanings: owl, eagle, snake, toad, bat, cat.
(źródło: outsiders.artmuseum.pl, album The Host in a bottle/ Polish artists)
Gao Hang