Ernst Ludwig Kirchner, Marcella, 1909
by Joseba Eskubi
George Stubbs, Whistlejacket, 1761-62
Alma Thomas, The Stormy Sea, 1958
Félix Vallotton (Swiss, 1865-1925), Arthur Hahnloser, 1909. Villa Flora, Winterthur.
Kazimir Malevich, “Suprematist Painting,” 1917
Elmer Bischoff (American, Bay Area Figurative Movement, 1916–1991) - Interior with Two Figures, 1965. Oil on canvas, 64 x 67 inches,
Martin Kline - Untitled oil stick drawing, 2002
Be clearly aware of the stars and infinity on high. Then life seems almost enchanted after all.
Art is the activity that exalts and denies simultaneously. ‘No artist tolerates reality,’ says Nietzsche. That is true, but no artist can get along without reality. Artistic creation is a demand for unity and a rejection of the world. But it rejects the world on account of what it lacks and in the name of what it sometimes is.
— Albert Camus, The Rebel (via tooofuckinhappydaro)
(via tierradentro)
Edgar Degas, Interior (The Rape), 1869.
From WikiPaintings:
Also known as The Rape, this painting has posed a conundrum for art historians since its creation. During the time it was painted, Degas was known for historical paintings or those with a literary influence, but no such influence or historical story can be related Interior. The most wide agreement is that the painting refers to a scene in the novel Therese Raquin, by Emile Zola, published in 1867. It is referred to as one of the most dramatic and theatrical of all of Degas’ compositions, as the items in the room are placed almost as props and the depiction of the characters had a stage-like, theatrical quality.
