Feb 19
Self-portrait in a broken mirror (1991) by Giorgos Rorris (b. 1963)
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Self-portrait in a broken mirror (1991) by Giorgos Rorris (b. 1963)
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“Impact”
Oil pastels on paper
I present my expressionism artwork, please spare me:
Title: Insanity & Regrets
Description: A man stands before the dead body of his friend whom he killed. His blood on his body. He regretted what he did, he truly did. But his sanity was lost so long ago that all he could do now was smile and laugh manically. The fire in the background shatters in his vision, like his mental state.
Yes the character here is Dark- EEEEEE
The Large Plane Trees (Road Menders at Saint-Rémy)
Artist: Vincent van Gogh (Dutch, 1853–1890)
Date: 1889
Medium: Oil on fabric
Collection: The Cleveland Museum of Art, Cleveland. Ohio, United States
Description
Like Two Poplars in the Alpilles near Saint-Rémy, Vincent van Gogh painted this autumnal landscape while living in a psychiatric hospital near Saint-Rémy in southern France where he was treated for severe depression. Understanding that painting from nature eased his symptoms, Van Gogh’s physician permitted the artist to paint landscapes outside. Van Gogh described this painting in a letter to his brother Theo: “The last study I did is a view of the village, where they were at work under some enormous plane trees - repairing the pavements... There are heaps of sand, stones, and the gigantic trunks - the leaves yellowing and here and there you can get a glimpse of a house front and small figures.”
Pierre Alechinsky (1927-present) is one of the weirdest & most wonderful artists I've learned about. Born in Belgium 98 years ago, he works in the style/s of tachisme, abstract expressionist, and lyrical abstraction.
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1794. Délire (2025)
LOVE AND PAIN (VAMPIRE) | 1895 | by EDVARD MUNCH
This is a captivating piece that has sparked various interpretations and discussions over the years. The painting depicts a woman with long red hair kissing a man on the neck, creating an intense and mysterious scene. While MUNCH himself described it simply as a woman kissing a man on the neck, others have seen it as a vampiric embrace, symbolizing themes of love, pain, mortality, and melancholy.
The composition of the painting is striking, with the woman's red hair enveloping both figures, emphasizing their connection and creating a sense of unity. The man, portrayed in anguish, is embraced by the woman, whose actions can be interpreted as either a gesture of comfort or a more sinister act of draining his blood. This ambiguity adds depth to the painting, inviting viewers to contemplate the relationship between the two figures and the emotions it evokes.
The title "VAMPIRE" was not originally given by MUNCH himself but by his friend STANISŁAW PRZYBYSZEWSKI, who saw the painting as a representation of a man under a vampire's embrace. This interpretation, along with the painting's intense colors and emotional intensity, has contributed to its enduring appeal and the ongoing fascination it holds for art enthusiasts.
Overall, MUNCH'S "VAMPIRE" is a complex and thought-provoking work of art that continues to captivate viewers with its enigmatic narrative and powerful imagery, inviting them to explore themes of love, pain, and the darker aspects of human emotions.