Yves Klein - Monochrome Blue, Gold, Pink, Silver, Black, 1960

Yves Klein - Monochrome Blue, Gold, Pink, Silver, Black, 1960

artgalleryofontario:

Henry Moore supervising the installation of the Henry Moore Sculpture Centre at the AGO, 1974. © 2014 Art Gallery of Ontario

artgalleryofontario:

Henry Moore supervising the installation of the Henry Moore Sculpture Centre at the AGO, 1974. © 2014 Art Gallery of Ontario

One morning one of us ran out of black paint; and that was the start of Impressionism.
Pierre-Auguste Renoir (via loveage-moondream)
treebystream:

Nat Russell

treebystream:

Nat Russell

vuls:

Andy Warhol
$ Boxer Shorts, ca., 1982

vuls:

Andy Warhol

$ Boxer Shorts, ca., 1982

dreadventurous:

One of my favorite things I ever came across at the MET museum. Julia Margaret Cameron (1815-1879) is, arguably, one of the greatest portraitists in the history of photography. This photo is called The Parting of Guinivere and Lancelot, 1874.

dreadventurous:

One of my favorite things I ever came across at the MET museum. Julia Margaret Cameron (1815-1879) is, arguably, one of the greatest portraitists in the history of photography. This photo is called The Parting of Guinivere and Lancelot, 1874.

urgetocreate:

Henri Matisse - The Pink Studio, 1911, oil on canvas

urgetocreate:

Henri Matisse - The Pink Studio, 1911, oil on canvas

konstfabriken:

Tracey Emin’s studio 

konstfabriken:

Tracey Emin’s studio 


Great Mothers, 6300-5300 BCE

Great Mothers, 6300-5300 BCE

christiesauctions:

Edvard Munch (1863-1944)The Brooch (Eva Mudocci) (Schiefler 212; Woll 244 I)
Modern & Contemporary Prints
mythologyofblue:

Giorgio de Chirico, The Double Dream of Spring, 1915. (via tierradentro) +

mythologyofblue:

Giorgio de ChiricoThe Double Dream of Spring, 1915. (via tierradentro) +

hierarchical-aestheticism:

Pierre Le Faguays, Diana the Huntress

hierarchical-aestheticism:

Pierre Le Faguays, Diana the Huntress

gentlewave:

Pieter Bruegel the Elder (c. 1525-1569): Parable of the Sower, [detail], 1557, oil on panel, 73.7 x 102.9 cm, Timken Museum of Art, San Diego, USA, source: doportugalprofundo.blogspot.com.

gentlewave:

Pieter Bruegel the Elder (c. 1525-1569): Parable of the Sower, [detail], 1557, oil on panel, 73.7 x 102.9 cm, Timken Museum of Art, San Diego, USA, source: doportugalprofundo.blogspot.com.

sews:

Original 

arthur kleinjan, paris looks. 1999-2001

Between 1999 and 2001, the artist spent hours perched in a balcony above the Sacré Coeur church in Paris, watching the people below. As tourists struck poses for souvenir snapshots, he would take a second photograph from behind.

“Sometimes it takes a few seconds for their friends to get the camera ready, and they suddenly don’t know what to do with their bodies. They ask themselves, what leg do I stand on? A bag, or a bottle of water should be out of the image, so they keep it behind their back. They design themselves into what they think is a nice picture … I wanted to show the moment of alteration, as the tourists transform themselves into an image. They seem very self-conscious about the way they look. Vulnerability is revealed. Their discomfort with their own body, as they stand there, is isolated in time and space, waiting to become a future memory.” (x)