About Eclipse Theme

What I like. My work is at www.firethornstudio.com.

fuckyeahvintageillustration:

Poster design ‘SWIM! by Anita Parkhurst, ca. 1920.
Source

fuckyeahvintageillustration:

Poster design ‘SWIM! by Anita Parkhurst, ca. 1920.

Source

Source: fuckyeahvintageillustration
vertigo1871:

The Triumph of Death, Palazzo Abatellis, Palermo, 1446
vertigo1871:

The Triumph of Death, Palazzo Abatellis, Palermo, 1446

vertigo1871:

The Triumph of Death, Palazzo Abatellis, Palermo, 1446

(via xo-skeleton)

Source: Wikipedia
kathybernie:

Hidelbrandt’s Starling by Muntchka
Source: kathybernie
moma:




Could you look at Jackson Pollock’s One: Number 31, 1950 for an hour? These two critics did. Find out what they discussed in this Artnet video. 

moma:

Could you look at Jackson Pollock’s One: Number 31, 1950 for an hour? These two critics did. Find out what they discussed in this Artnet video

Source: moma
lonequixote:

Creation of the Birds ~ Remedios Varo 

lonequixote:

Creation of the Birds ~ Remedios Varo 

Source: tumblr.lonequixote.com
elpasha71:


Gustav Klimt

elpasha71:

Gustav Klimt

(via oldpainting)

Source: elpasha71
workman:

Nocturne in Black and Gold: The Falling Rocket // James Whistler // 19th Century

workman:

Nocturne in Black and Gold: The Falling Rocket // James Whistler // 19th Century

Source: sleepypit
thatsbutterbaby:

02 by MachadoStudios on Flickr.
Miguel Zapata Spanish Artist, mixed media

thatsbutterbaby:

02 by MachadoStudios on Flickr.

Miguel Zapata Spanish Artist, mixed media

(via jbe200)

Source: thatsbutterbaby
angrywhistler:

Wayne Thiebaud 

angrywhistler:

Wayne Thiebaud 

Source: angrywhistler
cavetocanvas:

Day City (Bright City) - Wayne Thiebaud, 1982

cavetocanvas:

Day City (Bright City) - Wayne Thiebaud, 1982

Source: cavetocanvas
artpedia:

Wayne Thiebaud - Hill Street (Day City), 1981 Oil on canvas

artpedia:

Wayne ThiebaudHill Street (Day City), 1981 Oil on canvas

Source: artpedia
wandrlust:

Down Penn Street, 1978 — Wayne Thiebaud
Source: wandrlust

whither

subtextures:

the wind ruffled

the sycamore’s leaves

with laughter

as he wandered

toward a wood

once again

not fear

of death but life

strangled him

entangled his breath

in hacking spasms

until his words

caught against

his ribs

like birds

broken

between wires

of an ornate cage

not so much

a struggle

against something

as sacrificed

into wind

(August 15, 2014)

Source: layeredwords.blogspot.com
workman-studio:

workman:
Calla Lily (at Northern Warehouse Artist COOP)

workman-studio:

workman:

Calla Lily (at Northern Warehouse Artist COOP)

Source: workman
cavetocanvas:

Mickalene Thomas, Portrait of Mnonja, 2010
From the Smithsonian American Art Museum:

Over the last ten years, Mickalene Thomas has become known for large-scale paintings of American women provocatively posed against boldly patterned backgrounds adorned with rhinestones. Her work explores notions of beauty, sexuality and black female identity. Thomas’s use of rhinestones and vivid textile patterns adds an even greater sense of drama and sensuality to her paintings. She is one of many contemporary artists experimenting with non-traditional materials, particularly glitter and sequins. For Thomas, the rhinestones evoke folk art traditions and Haitian voodoo art. They also serve as a metaphor for female beauty products, which can both enhance and mask a woman’s identity.
Thomas’s work stems from her study of art history and the classical genres of portraiture, landscape, and still life, and is inspired by a wide range of sources, from Hudson River School landscapes to Henri Matisse’s nudes and Romare Bearden’s collages. Although her paintings often reference the familiar compositional arrangements of odalisque paintings, Thomas imbues her subjects with an agency and action seldom seen in the canon of figurative painting. Portrait of Mnonja is a stunning example of Thomas’s recent work. The reclining figure is posed in a sassy contrapposto and situated against a wood-paneled background redolent of a seventies-era living room. She wears a loose-fitting white blouse with a plunging neckline, and her hair is pulled back in a low bun. Her right hand rests on her knee, revealing nail polish that matches her audacious pink heels. She exudes dignity and self-assurance.

cavetocanvas:

Mickalene Thomas, Portrait of Mnonja, 2010

From the Smithsonian American Art Museum:

Over the last ten years, Mickalene Thomas has become known for large-scale paintings of American women provocatively posed against boldly patterned backgrounds adorned with rhinestones. Her work explores notions of beauty, sexuality and black female identity. Thomas’s use of rhinestones and vivid textile patterns adds an even greater sense of drama and sensuality to her paintings. She is one of many contemporary artists experimenting with non-traditional materials, particularly glitter and sequins. For Thomas, the rhinestones evoke folk art traditions and Haitian voodoo art. They also serve as a metaphor for female beauty products, which can both enhance and mask a woman’s identity.

Thomas’s work stems from her study of art history and the classical genres of portraiture, landscape, and still life, and is inspired by a wide range of sources, from Hudson River School landscapes to Henri Matisse’s nudes and Romare Bearden’s collages. Although her paintings often reference the familiar compositional arrangements of odalisque paintings, Thomas imbues her subjects with an agency and action seldom seen in the canon of figurative painting. Portrait of Mnonja is a stunning example of Thomas’s recent work. The reclining figure is posed in a sassy contrapposto and situated against a wood-paneled background redolent of a seventies-era living room. She wears a loose-fitting white blouse with a plunging neckline, and her hair is pulled back in a low bun. Her right hand rests on her knee, revealing nail polish that matches her audacious pink heels. She exudes dignity and self-assurance.

Source: cavetocanvas