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Egon Schiele, Girl in a plaid shirt (Mädchen in karierter Bluse), 1911

Sep 30th | 426 notes | art

Augusto Giacometti, Adam and Eve, 1907

Sep 30th | 497 notes | art

Paul Cezanne

Sep 30th | 48 notes | art

John Sloan, Sunbathers on the Roof, 1941

Sep 30th | 34 notes | artnew york city

Niki Norberg

Sep 29th | 4,388 notes | art

Joseph Leboit, Tranquility, 1940

Sep 28th | 25 notes | art
Sep 28th | 823 notes | art

Vassily Kandinsky, Song (Leid), 1906

Sep 27th | 55 notes | art

John Sloan, The Effect Is Spoiled, 1913-15

Sep 27th | 54 notes | artnew york city

Richard Edward Miller, Miss “V” In Green, c. 1920

Sep 27th | 176 notes | art

Edward Hopper, Moonlight Interior, 1921-1923

Sep 27th | 143 notes | art

Rene Magritte, Pandora’s Box

Sep 27th | 191 notes | art

Pierre Auguste Renoir, Trois personnages dans un paysage

Sep 27th | 67 notes | art

Color is the place where our brain and the universe meet. That’s why color appears so entirely dramatic, to true painters. Look at mont Sainte-Victoire there. How it soars, how imperiously it thirsts for the sun… …For a long time I was quite unable to paint Sainte-Victoire; I had no idea to go about it because, like others who just look at it, I imagined the shadow to be concave, whereas in fact it’s convex, it disperses outward from the center. Instead of accumulating, it evaporates, becomes fluid, bluish, participating in the movements of the surrounding air.

Paul Cezanne

Sep 27th | 94 notes | art

Grinling Gibbons (1648 - 1721), Modena Panel, Memento mori in memory of King Charles II of England

Sep 27th | 43 notes | art