iheartmyart:

Enzo Peres Labourdette, The Fabulous Laboratory

psychonauticsymphony:

Star Seeders by *KellyDelRosso.

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andreva:

Details from paintings - Marie-Antoinette dresses

Marie-Antoinette (1755 – 1793), born an Archduchess of Austria, was Dauphine of France from 1770 to 1774 and Queen of France and Navarre from 1774 to 1792. Initially charmed by her personality and beauty, the French people generally came to dislike her, accusing her of being profligate, promiscuous, and of harboring sympathies for France’s enemies. Marie Antoinette earned the nickname of “Madame Déficit” in the summer of 1787 as a result of the public perception that she had singlehandedly ruined the finances of the nation. Eight months after her husband’s execution, Marie Antoinette was herself tried, convicted by the Convention for treason to the principles of the revolution, and executed by guillotine.

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(Source: noirotism, via river-of-constant-change)

artmonia:

Drunken Boxer Pink | Damian Daly.

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Ernst Fuchs

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cavetocanvas:

Peter Blake, Self Portrait with Badges, 1961

From the Tate Gallery:

Blake’s self-portrait shows his equal respect for historical tradition and modern popular culture. He may have based this image on Thomas Gainsborough’s famous portrait The Blue Boy (illustrated to the left). But Blake’s blue fabric is not silk but denim – a material associated at the time with American youth culture.

Blake’s fascination with American popular culture is further emphasised by his baseball boots and badges, and the magazine dedicated to Elvis Presley, who had just become well known in Britain. Blake uses these objects like a traditional portrait painter, to suggest his interests or achievements.

agrarianrhythm:

Sepp Hilz, Die Mägde

(via eternal-iceage)

artandopinion:

Brook Watson and the Shark

1778

John Singleton Copley

keykaiknows:

Merengue en Boca Chica, 1983
Rafael Ferrer (American, born Puerto Rico, 1933)
Oil on canvas

60 x 72 in. (152.4 x 182.9 cm)
Purchase, Anonymous Gift, 1984 (1984.2)
Merengue en Boca Chica presents a pleasant tropical resort scene, probably set in the Dominican Republic, where the artist owns a home. Underlying the composition, however, may be issues of race and class, and perhaps sexual tension. Seated on the beach are two figures based on Ferrer and his wife, serenaded by a trio of strolling musicians playing a small drum, a guitar, and a guiro (gourd). Palm trees already bent by the wind appear to sway to the tropical rhythms of the combo’s merengue. Ferrer has skillfully affected a “primitive” or “naive” style that approximates the conventions of folk art, a flourishing art form on many Caribbean islands. Further following this genre, the painting’s bright, exuberant colors complement the overall decorative patterns, and the distortions in scale and proportion enhance the narrative.
Source: Rafael Ferrer: Merengue en Boca Chica (1984.2) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

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