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Robert Crumb

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nobrashfestivity

Pablo Picasso Nude Standing by the Sea 1929 Oil on canvas 51 1/8 × 38 1/8 in. (129.9 × 96.8 cm) Bequest of Florene M. Schoenborn, 1995

0mega-x-orcism

mybeingthere

The trees Tony Bevan paints are “isolated, like a human. I like the trunk, how it expands beyond and grasps. [The branches] are almost like elbows crossing. They’re very human-like forms and that’s what interests me, creating these spaces… in these tendon-like colours.”

Tony Bevan, born in Bradford, Yorkshire, in 1951, is known for his graphic paintings and drawings, constructed with jet-black charcoal and pigment-rich acrylics. With raw, physical energy, he renders a range of subjects – from self-portraits to architectural forms – through networks of lacerated vertical and diagonal lines, set against vivid backdrops of red, scorched orange, or cobalt blue.

Bevan studied at the Bradford School of Art, Yorkshire, between 1968 and 1971, followed by Goldsmiths College between 1971 and 1974 and the Slade School of Fine Art between 1974 and 1976, both in London.

Tony tells: “I grind my own pigments in acrylic. That came about many years ago when I was a student we used to make our own etching inks. You never realise there are different blacks until you make your own. Some might be charcoal, some might be burnt bone. All are different.”

Burnt bone. It sounds like something you’d find lying at the foot of one Bevan’s trees if he ever turned his gaze away from the branches and towards the root. Why does he favour such rich tones? “I wanted the tendon-like rawness. All my work has a very physical and raw nature…. all this charcoal, I like the way it moves and shatters. The debris gets fixed there so the process of the making shows up in the final work. [The archive paintings] have been painted with brushes in which a lot of the bristles have been taken off. So it’s almost like a kind of gouge into the surface.”

last-picture-show

/ Duane Michals, Flowers, 1986

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arthuntblog

Gerhard Richter (b. 1932) [Germany] — ‘Abstract Painting’, 1996. Oil on canvas (46.4 x 51.1 cm).

heathwest

Dan Flavin Untitled (to Jean-Christophe), 1970 Pink, green, blue and red fluorescent light 121.9 x 22.2 x 10.2 cm

jordanbolton

'and for a moment, I am reminded of the child I once was' by Jordan Bolton

polkadotmotmot

Annieo Klass - Daydream no. 5, 2025 - Oil on canvas

hadrian6

Dionysus. God of wine. Roman statue. 2nd century AD. Marble. Ny Carlsberg Glyptotek. Copenhagen, Denmark. http://hadrian6.tumblr.com

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frenchcurious

Mabel & Charles Ennis House située dans le quartier Los Feliz de Los Angeles. Conçu en 1923 par Frank Lloyd Wright (1867-1959). Photos Andrew Pielage / Mary Nichols. - source MCM Daily.

stellabystarlight12

Mabel & Charles Ennis House located in the Los Feliz neighborhood of Los Angeles. Designed in 1923 by Frank Lloyd Wright (1867-1959). Photos Andrew Pielage / Mary Nichols. - source MCM Daily.

augustcascade

Ubaldo Gandolfi, 1728-1781, Italian. Mercury About to Behead Argus, circa 1770–1775, oil on canvas, 86 x 54cm.

https://en.wikipedia.org/wiki/Ubaldo_Gandolfi

@edmdantes

connerys

Love in the Afternoon (1957) dir. Billy Wilder

the-wolf-and-moon

Vênus and the Moon

📍🇧🇷

ducissatenebrarum

A newly rediscovered painting by Francisco Goya, lost since 1928, has just been unveiled to the public for the first time at the Museum of Zaragoza. It is called “Ghostly Vision.”

Arturo Ansón, the art historian who discovered the small painting and established its provenance, believes it was painted in 1801.

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artofoverwhelm

Yago Hortal

huariqueje

The Turn in the Road - Catherine Patrickson , 2025.

Irish , b. 1970s

Oil on board , 30 x 23 cm.

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