Everything Today is Thoroughly Jimmy
~ Vendredi, juin 1 ~
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The Avatar state is a defence mechanism, designed to give you the skills and knowledge of all the past Avatars. The glow, is the combination of all your past lives, focusing their energy through your body. In the Avatar State, you are at your most powerful, but you are also at your most vulnerable. If you are killed in the Avatar State, the reincarnation cycle and the Avatar will cease to exist.

(Source : barnsterk)

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now that we’ve met one another
it’s clear we deserve each other

Take me Aaron.


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fckyeaharthistory:

Lucian Freud - Standing by the Rags, 1888-89. Oil on canvas 
From the Tate Gallery, London:

Since the 1960s the nude has been an important theme in Lucian Freud’s work. The intense attention to the particularities of each body has led some critics to place these pictures in a tradition of realist nudes, which begins with the paintings of Gustave Courbet (1819-77). While many have commented on the disturbing accuracy of Freud’s figure painting he himself has argued for ‘truthfulness as revealing and intrusive, rather than rhyming and soothing’ (quoted inLucian Freud Painting and Etchings, exhibition catalogue, Abbot Hall Art Gallery, Kendal 1996, p.10). Intense scrutiny rather than idealisation is an important theme within Freud’s work. (Read more)

fckyeaharthistory:

Lucian Freud - Standing by the Rags, 1888-89. Oil on canvas 

From the Tate Gallery, London:

Since the 1960s the nude has been an important theme in Lucian Freud’s work. The intense attention to the particularities of each body has led some critics to place these pictures in a tradition of realist nudes, which begins with the paintings of Gustave Courbet (1819-77). While many have commented on the disturbing accuracy of Freud’s figure painting he himself has argued for ‘truthfulness as revealing and intrusive, rather than rhyming and soothing’ (quoted inLucian Freud Painting and Etchings, exhibition catalogue, Abbot Hall Art Gallery, Kendal 1996, p.10). Intense scrutiny rather than idealisation is an important theme within Freud’s work. (Read more)


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farewell-kingdom:

Kate MccGwire, Insular, 50 Layers of paper, burnt


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(Source : candybabybits)


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groveofeucalyptus:

Degas on a banana. 

yes

groveofeucalyptus:

Degas on a banana. 


yes


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daveinediting:

“It’s one thing to copy what one sees, but it’s much better to draw what can only be seen in one’s memory. It’s a transformation during which the imagination collaborates with the memory.”Edgar Degas (http://vezur.lv/edgar-degas-1834-1917)

daveinediting:

“It’s one thing to copy what one sees, but it’s much better to draw what can only be seen in one’s memory. It’s a transformation during which the imagination collaborates with the memory.”
Edgar Degas
(http://vezur.lv/edgar-degas-1834-1917)


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trafalgar-rgh:

J.M.W. Turner, The Fighting Temeraire, Tugged to Her Last Berth to be Broken Up, 1839.
This is my favorite Turner painting, and, by all accounts, also Turner’s favorite. He called it his “Old Darling” - RH

trafalgar-rgh:

J.M.W. Turner, The Fighting Temeraire, Tugged to Her Last Berth to be Broken Up, 1839.

This is my favorite Turner painting, and, by all accounts, also Turner’s favorite. He called it his “Old Darling” - RH


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mmhawkes:

For today’s art appreciation: Joseph Mallord William Turner (1775-1851).

Turner was an English painter and printmaker best known for his work The Fighting Temeraire Tugged To Her Last Berth (the top of this image set, and a terribly sad painting). However, he painted a large number of other amazing paintings - including a great number of landscapes.

I really feel obliged to point out that the lighting in his work is always astounding and atmospheric. Those Romantic painters and their skills. I mean, really.


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classic-art:

Salisbury Cathedral from Lower March Close
John Constable

classic-art:

Salisbury Cathedral from Lower March Close

John Constable


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undergroundmoon:

Mark Rothko, No. 10,1950.

undergroundmoon:

Mark Rothko, No. 10,1950.


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artpassenger:

Pablo Picasso’s blue period

Pablo Picasso’s Blue Period refers to a series of paintings in which the color blue dominates and which he painted between 1901 and 1904. The blue period is a marvelous expression of poetic subtlety and personal melancholy and contributes to the transition of Picasso’s style from classicism to abstract art.


On an emotional note, melancholy and resignation best characterize Picasso’s blue period. When Picasso’s close friend Carlos Casagemas commits suicide, Picasso’s trauma finds expression in a series of deeply sentimental paintings which comprise his blue period.

For Picasso the blue period was an exercise in painting scenes of low light conditions. He would borrow from the Spanish painter El Greco, the light-yellow, almost white, macabre skin color that adds to the mystique and sense of death of Picasso’s blue period paintings, see Two Sisters.


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wanderingscrap:

The Tragedy, 1903 
Pablo Picasso
Artists frequently make changes to a painting or reuse a canvas or panel with an image already painted on it. Pablo Picasso (1881-1973) often left visual clues on the surfaces of his paintings to suggest a hidden image underneath, as on The Tragedy of 1903. Picasso used the panel at least four times. In 1899 it became the support for quickly drawn sketches; in 1901 he painted a bullring; in 1902 he painted a work similar to the pencil drawing of El Arrastre, and in 1903 he covered all the other images with The Tragedy. Rather than simply reusing the support because he was poor or dissatisfied with his work, it is important to understand that Picasso incorporated each layer into the subsequent one because he believed that a painting was the “sum of destructions.”

“What comes out in the end is the result of the discarded finds.” ~ Pablo Picasso

wanderingscrap:

The Tragedy, 1903 

Pablo Picasso

Artists frequently make changes to a painting or reuse a canvas or panel with an image already painted on it. Pablo Picasso (1881-1973) often left visual clues on the surfaces of his paintings to suggest a hidden image underneath, as on The Tragedy of 1903. Picasso used the panel at least four times. In 1899 it became the support for quickly drawn sketches; in 1901 he painted a bullring; in 1902 he painted a work similar to the pencil drawing of El Arrastre, and in 1903 he covered all the other images with The Tragedy. Rather than simply reusing the support because he was poor or dissatisfied with his work, it is important to understand that Picasso incorporated each layer into the subsequent one because he believed that a painting was the “sum of destructions.”

“What comes out in the end is the result of the discarded finds.” 
~ Pablo Picasso


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(Source : alone-alana)


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