russian-style:

Mikhail Nesterov - Crucifixion

russian-style:

Mikhail Nesterov - Crucifixion

Reblogged from
chagalov:

Aleksandr Solzhenitsyn, Cavendish (Vt), 1981 -by Harry Benson  [+]

So also we, holding Art in our hands, confidently consider ourselves to be its masters; boldly we direct it, we renew, reform and manifest it; we sell it for money, use it to please those in power; turn to it at one moment for amusement - right down to popular songs and night-clubs, and at another - grabbing the nearest weapon, cork or cudgel - for the passing needs of politics and for narrow-minded social ends. But art is not defiled by our efforts, neither does it thereby depart from its true nature, but on each occasion and in each application it gives to us a part of its secret inner light.— Alexandr Solzhenitsyn, Nobel Prize in Literature 1970 

photo from LA

chagalov:

Aleksandr Solzhenitsyn, Cavendish (Vt), 1981 -by Harry Benson  [+]

So also we, holding Art in our hands, confidently consider ourselves to be its masters; boldly we direct it, we renew, reform and manifest it; we sell it for money, use it to please those in power; turn to it at one moment for amusement - right down to popular songs and night-clubs, and at another - grabbing the nearest weapon, cork or cudgel - for the passing needs of politics and for narrow-minded social ends. But art is not defiled by our efforts, neither does it thereby depart from its true nature, but on each occasion and in each application it gives to us a part of its secret inner light.
— Alexandr Solzhenitsyn, Nobel Prize in Literature 1970 

photo from LA

Reblogged from
gardenhoseenema:

Mark Grotjahn Untitled Butterfly (Black + cream-cicle) #682 

gardenhoseenema:

Mark Grotjahn Untitled Butterfly (Black + cream-cicle) #682 

Reblogged from Ceci n'est pas un blog
beliale:

A batty stretches.

beliale:

A batty stretches.

Reblogged from N A U T H I Z .
tierradentro:

“Melancholy”, 1876, Odilon Redon.

tierradentro:

Melancholy”, 1876, Odilon Redon.

Reblogged from VoodooWoolf

fer1972:

Today’s Classic: Edvard Munch (1863-1944)

1. The Scream (1893)

2. Madonna (1894)

3. Puberty (1894)

4. The Hands (1893)

5. The Vampire (1894)

Reblogged from VoodooWoolf
Andrea Solario
Salome with the Head of John the Baptist
1520/24

Andrea Solario

Salome with the Head of John the Baptist

1520/24

Bernadino Luini
Salome with the Head of John the Baptist
1525/30

Bernadino Luini

Salome with the Head of John the Baptist

1525/30

Cesare da Sesto
Salome with the Head of John the Baptist
1512/16

Cesare da Sesto

Salome with the Head of John the Baptist

1512/16

Tags: sesto salome 1512
konstrukcja:

Fang Lijun, Sans titre

konstrukcja:

Fang Lijun, Sans titre

Reblogged from The Noise Of The Form
tongueoftheworld:

2003.3.1 (2003) by Fang Lijun, on display at the Metropolitan Museum of Art

tongueoftheworld:

2003.3.1 (2003) by Fang Lijun, on display at the Metropolitan Museum of Art

Reblogged from Marginalia

free-parking:

Xu BingTian Shu (Book from the Sky), 1987-1991

Tian Shu is comprised of a display of books spread in a large rectangle across the ground, above which voluptuous scrolls unroll in long, pregnant arcs. The books—four hundred of them—are handmade with reverential adherence to the standards of traditional Ming dynasty fonts, bookbinding, typesetting and stringing techniques. 

To make them, Xu painstakingly carved Chinese characters into square woodblocks, in just the way his ancient printing predecessors would have done, had them typeset and printed, and the printed pages mounted and bound into books and scrolls.

Yet, there’s the astonishing, Borgesian catch: out of the three or four thousand Chinese characters used in these volumes and scrolls, not a single one of them is a real Chinese characterThey are made up of recognizable radicals and typical atomic components of Chinese characters, but Xu laboured to ensure that while they all retain the unmistakable look of Chinese script, they are all, so to speak, nonsense. They do not exist in any dictionary, and do not mean anything. Chinese speakers and non-Chinese speakers alike approach the books with the same sense of wonder at their beauty, and the same sense of incomprehension at their content. It’s a piece of art whose meaning is to be found in its meaninglessness. (via)
Reblogged from free parking
HUANG YONG PING 黄永砯
Long Scroll 长卷, 2001
Watercolor, pencil, colored pencil, and ink on paper
Long Scroll 长卷, 2001

Watercolor, pencil, colored pencil, and ink on paper