“Spring” (1908-1912)
by Henryk Szczygliński (Polish;1881 - 1944)
oil on canvas
National Museum, Cracow
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@cochlearia-tatrae
“Spring” (1908-1912)
by Henryk Szczygliński (Polish;1881 - 1944)
oil on canvas
National Museum, Cracow

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She is holding an orange. Warszawa, Poland, 1956. Wolfgang Schröter
my lord. the two statues you commissioned are finally complete. yeah, the double-order with the vast and trunkless legs of stone and the shattered visage. i like to think we captured the sneer of cold command pretty well. it's a really thought-provoking piece my lord. very deconstructionist. i'm sure that even a traveller a thousand years from now could take one look at it and instantly recognise it must have come from an artistically enlightened culture
Use your PTO
i love gallica dot bnf dot fr i wish it worked.

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Trenchers with scenes from Aesop's Fables, England, c. 1600, painted and gilded sycamore, the Art Institute of Chicago (1, 2, 3, 4, 5, 6).
Henri Matisse, “The Last Works of Matisse: Large Cut Gouaches” at the Museum of Modern Art in 1961. Courtesy of the Museum of Modern Art Archives, New York.
I don't have time for tumblr discourse they're calling the very hungry caterpillar degenerate art over on twitter
good art is when something looks like real life, the more real it looks the more better the art. abstracted figures give my trad children nightmares, one time they were exposed to cubism and couldn't go outside for a week
the scroll wrapped around the cross next to john the baptist's head reads ecce agnus dei, meaning "behold the lamb of god."
'head of saint john the baptist,' anonymous, oil on canvas; framed: 80.6 x 104.8 x 7.6 cm; spain or northern italy c. 1550–1650.
i was abandoned as a baby & raised by a wild pack of cigarettes

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summer
1. make a syllabus for yourself - books, media, places, recipes
2. complete 40% of it
3. eat every fruit u can
Umberto Eco's drawings for Il nome della rosa
Otakar Mrkvička (1898-1957) — Hradčany [oil on canvas, 1939]
“The Photograph is violent: not because it shows violent things, but because on each occasion it fills the sight by force, and because in it nothing can be refused or transformed (that we can sometimes call it mild does not contradict its violence: many say that sugar is mild, but to me sugar is violent, and I call it so).”
— Roland Barthes, Camera Lucida
JEAN DERVAL (French, 1925 - 2010) The Rape of Europa, 2005 Glazed ceramic 53 × 54 × 22 cm

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Sepulcros reais do Mosteiro de Santa María de Poblet (Tarragona)
LOUIS LEYGUE (French, 1905 - 1992) La Licorne, 1962 Bronze 35 × 55 × 18 cm