Artsy Fartsy Pants

Artsy Fartsy Pants

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ikilledjackjohnson:

Mark Rothko (Dvinsk, Lithuania, 1903 - New York, 1970)

artmagnifique:

PIERRE BONNARD. Deux Elegantes, Place de Clichy, 1905, oil on panel.

phillipsdepury:

ANDY WARHOL | Gun, 1981-1982 | acrylic and silkscreen ink on canvas
Sold for $7,026,500 at the Contemporary Art Evening Sale, 10 May 2012, New York. [Video]
Jordan Crandall: You don’t like guns, do you?
Andy Warhol: Yes, I think they’re really kind of nice.
(From Splash No. 6, 1986, excerpted in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, Edited by Kenneth Goldsmith, New York, 2004, p. 373).
After Andy Warhol’s assassination attempt in 1968 by Valerie Solanas, much of the violent imagery that had occupied his work of the 1960s—electric chairs, traffic accidents, nuclear explosions—vanished from his new pictures. Instead, during much of the 1970s, both famous and unfamous faces became a prominent trope. Warhol also began to incorporate different series into his silkscreens, including the infamous oxidation paintings and the “shadow” paintings of the late 1970s. Yet as the injuries from 1968 exerted their relentless and painful influence upon Warhol’s life and work, he returned in 1981 and 1982 to the subjects that he had avoided for more than a decade. 1982 saw showings on opposite sides of the Atlantic for Warhol’s Guns, Knives, and Dollar Signs, some of the most ominous and captivating work of his entire career. Gun, 1981-1982, exhibits Warhol’s full-circle return to the events that shook him to his mortal core in 1968, as we observe upon his canvas the exact style of pistol that almost claimed his life two decades before his death.

fromtheseatothelandbeyond:

“I do not believe that there was ever a question of being abstract or representational. It is really a matter of ending this silence and solitude, of breathing, and stretching one’s arms again.”
— Mark Rothko

cavetocanvas:

Francis Bacon, Study for Portrait II (after the Life Mask of William Blake), 1955
From the Tate Collection:

This is one of a series based on the life mask of poet and painter William Blake. Bacon first saw the mask at the National Portrait Gallery in London, but he also used photographs and, at some point, he even acquired a cast of it. His response to the source is typical of his preference for a mediated image of the body. The painting is more complex than it seems: it is built up with delicate layers of paint against a rich black ground. One commentator wrote, ‘broad strokes of pink and mauve, with which Bacon establishes an equivocation between waxen mask and human flesh, drag pain and loneliness and imperturbable spirit in their wake’.

22:27"And yet I go on; if we are tired isn’t it then because we have already walked a long way?" — van Gogh, 30 May 1877 (via leopoldgursky)
(via elreem)

mrscaravaggio:

Henri de Toulouse-Lautrec - Salon in the Rue des Boulins - 1894