April 22, 2014
Blossoming Almond Branch in Glass with Book
Vincent Van Gogh
oil on canvas, 1888

Blossoming Almond Branch in Glass with Book

Vincent Van Gogh

oil on canvas, 1888

April 22, 2014
cinoh:

robertrauschenberg:
"I try to use my art to communicate that you, yourself, must take responsibility for life on earth.” -Rauschenberg, 1987
Happy Earth Day!
Image: Robert Rauschenberg, Earth Day, 1970. Offset lithograph. © Rauschenberg Foundation/Licensed by VAGA NYC

cinoh:

robertrauschenberg:

"I try to use my art to communicate that you, yourself, must take responsibility for life on earth.” -Rauschenberg, 1987

Happy Earth Day!

Image: Robert Rauschenberg, Earth Day, 1970. Offset lithograph. © Rauschenberg Foundation/Licensed by VAGA NYC

April 8, 2014
Odo ware tea bowl with design of heron and reeds
18th-19th century Edo period  Stoneware with cobalt pigment under clear glaze H: 8.0 W: 11.6 cm  Kochi, Japan

Odo ware tea bowl with design of heron and reeds

18th-19th century


Edo period

Stoneware with cobalt pigment under clear glaze
H: 8.0 W: 11.6 cm
Kochi, Japan

April 8, 2014

baisao:

Tea bowl shapes
more info

(Source: beingtowardsauthenticity)

April 7, 2014
Tarpaulin No. 3, 1975

Betty Goodwin Canadian, 1923 - 2008  gesso, pastel, chalk, and charcoal on canvas with metal grommets and rope231 x 293.5 cmPurchased 1976 National Gallery of Canada (no. 18532) © Betty Goodwin


Betty Goodwin has said of her use of worn, mended, and weathered tarpaulins that “they retain their own history, to which I add my own history.” Folding and re-folding the tarpaulins and infusing them with substances like gesso, she adds her own layer of meaning to their surfaces without denying their unknowable pasts.

Tarpaulin No. 3, 1975

Betty Goodwin
Canadian, 1923 - 2008 
gesso, pastel, chalk, and charcoal on canvas with metal grommets and rope
231 x 293.5 cm
Purchased 1976
National Gallery of Canada (no. 18532)
© Betty Goodwin

Betty Goodwin has said of her use of worn, mended, and weathered tarpaulins that “they retain their own history, to which I add my own history.” Folding and re-folding the tarpaulins and infusing them with substances like gesso, she adds her own layer of meaning to their surfaces without denying their unknowable pasts.

March 19, 2014
fierce consciousness

I think, here is your emblem
To hang in the future sky;
Not the cross, not the hive,

But this; bright power, dark peace;
Fierce consciousness joined with final
Disinterestedness;

Life with calm death; the falcon’s
Realist eyes and act
Married to the massive

Mysticism of stone,
Which failure cannot cast down
Nor success make proud.

Robinson Jeffers, from “Rock and Hawk”

via dark ecologies

March 6, 2014
julianminima:

Diana Al-Hadid
The Offering, 2013
Polymer gypsum, fiberglass, steel, wood, plaster, gold leaf, pigment
65 1/4 x 58 1/2 x 3 1/2 inches

julianminima:

Diana Al-Hadid

The Offering, 2013

Polymer gypsum, fiberglass, steel, wood, plaster, gold leaf, pigment

65 1/4 x 58 1/2 x 3 1/2 inches

(Source: marianneboeskygallery.com)

February 25, 2014
Bill Jensen
Luohan (Hungry Ghost) 2011, oil on linen, 32” by 28”.

Bill Jensen

Luohan (Hungry Ghost) 2011, oil on linen, 32” by 28”.

February 25, 2014
Al Loving 
“Self-Portrait #23″  oil, canvas, thread (1973)


Al Loving

“Self-Portrait #23″  oil, canvas, thread (1973)

February 17, 2014
William Scott (1913‑1989)
Winter Still Life
oil on canvas, 914 x 1524 mm, 1956. Collection of the Tate.

William Scott (1913‑1989)

Winter Still Life

oil on canvas, 914 x 1524 mm, 1956. Collection of the Tate.

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