Max Kurzweil (1867-1916, Austrian) ~ The Artist’s Wife (Martha Kurzweil, Sleeping on a Divan), 1902
[Source: schirn.de]

Kiana Khansmith

if i look back, i am lost

祝日 / Permanent Vacation

tannertan36
occasionally subtle
Peter Solarz

Love Begins
Misplaced Lens Cap
tumblr dot com
he wasn't even looking at me and he found me

oozey mess
YOU ARE THE REASON

blake kathryn
we're not kids anymore.

@theartofmadeline
Today's Document
Jules of Nature
RMH

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Sweet Seals For You, Always

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@pyjamacardinal
Max Kurzweil (1867-1916, Austrian) ~ The Artist’s Wife (Martha Kurzweil, Sleeping on a Divan), 1902
[Source: schirn.de]

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Some time in Weymouth.
Igor Shcherbakov - Lovers. Two On The Bridge
Gillian Welch & David Rawlings
Just love these two. For almost forever.
'The Blue Pool'. Augustus John. 1911.

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This will be a double page spread, kind la like this.
These are just the pencils. I'll scan, colour and letter it digitally.
Something from my sketchbook blog.
I am not ashamed, for I know whom I have believed.
2 Timothy 1:12
What I saw, what I heard this morning.
Egon Schiele. ' Die Umarmung ', ca. 1917.
This morning between 530 and 630

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The may.
Counting the Ayes and Naes, Wallace Morgan, 1912, Smithsonian: National Portrait Gallery
Size: Image: 24.4cm x 16.2cm (9 5/8" x 6 3/8") Medium: Pencil on paper
https://npg.si.edu/object/npg_S_NPG.95.56
Watched Lagaan (2001) for the first time last night. Loved it. Super interesting to reflect on both the Indian and British archetypes in this movie. As Brit I am very used to seeing the posh Brit as a bad guy in Hollywood movies. At least in Bollywood there is a genuine historic reason (the Raj) why the Brits are depicted as such awful people, even if it has been souped up to maximum (almost camp) effect. In Lagaan, British are brutish toffs. Which, I should note, is exactly how our upper classes were treating their own people in the factories and fields of Britain. Peterloo anyone? For the Indians, we get a slice of multi-religious India: The triad of Hindu, Sikh, and Muslim. The stereotypes are super interesting: Hindu's are leaders (Bhuvan our hero, Gauri's doctor father, or the village chief), or they are loyal, adorabe, and unquestioning women like Gaurie or Bhuvan's mother who live for their men. The Sikh, Ram Singh is martial, strong, but loyal to the hindu cricket team project. Last to the party is the muslim contingent. Perhaps, reflecting general uneasey relationship hindus and Muslims share in India, the muslims are a more nuanced crowd. Tipu (also falling in the beautiful child sterotype) comes over to the team early whereas Ismail is more circumspect, but joins willingly for the greter good. Lahka however, is a down-right Judas-traitor until a magnanmous Bhuvan shows him the error of his ways. For all the sterotypes the message is clear: We are a mutli-religious societey, and are stronger togther. The incorporation of Kachra, an "untouchable" and disabled player into the team, is particularly very, very moving part of the film. The tears are real. One wonders if in the India of 2026, with Hindu nationalism rampant, if such a unifying movie would be made.
Woman in chair, (Detail), (2004), by Urban Larsson (Swedish, born 1966), oil on canvas, 70 x 55 cm, Private Collection
Édouard Vuillard
Fillettes se promenant, c. 1891.
Oil on canvas, 31½ x 25 1/8 in. (80 x 64 cm). Christie's, New York

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William Bell Scott — Woman Startled by the Ghost of a Girl by a Mirror (1811–1890)