Art


yerawizardharry:

Harry Potter travel posters by Caroline Hadilaksono.

What if muggles get to enter the wizarding world? It’s completely plausible. Ron once said that almost all witches and wizards nowadays are either half-bloods or muggle-borns. With the end of Voldemort’s reign, muggle-borns and muggles would be accepted by the wizarding world as equals. One day it might just be possible that the divide between the magical and the non-magical world would be lifted. That non-magical folks would finally be aware of the existence of the wizarding world. And when that day comes, muggles are going to be blown away by all the magic that they’ve been missing all these years. It’s literally a whole new world that they’ve got to explore.

That’s the idea behind these travel posters, they promote the magical world as travel destinations to non-magical people.

mesbeauxarts: François Pascal Simon Gérard. Portrait of Juliette Récamier. 1805. Oil on canvas. Musée Carnavalet. Paris, France.

mesbeauxarts:

François Pascal Simon Gérard. Portrait of Juliette Récamier. 1805.

Oil on canvas.

Musée Carnavalet. Paris, France.


cavetocanvas: Madame X - John Singer Sargent, 1884 There are 8 million and one things I could say about this painting, but I’ll keep my remarks brief. The woman in the painting is Virginie Gautreau. Originally an American who moved to Paris, Gautreau was groomed by her mother to take a prominent position in society as a “professional beauty.” Sargent approached Gautreau to pose for him, wanting to pay homage to her beauty. This portrait was shown in the Salon of 1884 to widespread criticism and ridicule, for both Sargent and Gautreau. Before this work was released, Sargent had been gaining momentum in Paris as a portrait painter, but after heavy criticism, he relocated to London, where it took a decade to rebuild his career. Gautreau was ridiculed so much that she withdrew from society and became a recluse. As for the painting itself, one of the many unsettling aspects for critics at the time was that Gautreau is pictured as an erotic yet resistant woman. The fantasy in art history is in the representation of women as accessible and available to the male viewer. However, the way Sargent presents Gautreau resists that. Her face in profile looks away from the viewer; yet, her body is exposed and presented to us as an object of desire, but not the “come hither” kind. Sargent challenges the presumed passivity of posing, because her body, but not her gaze, looks back at the viewer. 

cavetocanvas:

Madame X - John Singer Sargent, 1884

There are 8 million and one things I could say about this painting, but I’ll keep my remarks brief. The woman in the painting is Virginie Gautreau. Originally an American who moved to Paris, Gautreau was groomed by her mother to take a prominent position in society as a “professional beauty.” Sargent approached Gautreau to pose for him, wanting to pay homage to her beauty. This portrait was shown in the Salon of 1884 to widespread criticism and ridicule, for both Sargent and Gautreau. Before this work was released, Sargent had been gaining momentum in Paris as a portrait painter, but after heavy criticism, he relocated to London, where it took a decade to rebuild his career. Gautreau was ridiculed so much that she withdrew from society and became a recluse.

As for the painting itself, one of the many unsettling aspects for critics at the time was that Gautreau is pictured as an erotic yet resistant woman. The fantasy in art history is in the representation of women as accessible and available to the male viewer. However, the way Sargent presents Gautreau resists that. Her face in profile looks away from the viewer; yet, her body is exposed and presented to us as an object of desire, but not the “come hither” kind. Sargent challenges the presumed passivity of posing, because her body, but not her gaze, looks back at the viewer. 

(Source: cavetocanvas)


worldpaintings: The Church at Auvers-sur-Oise, Vincent van Gogh, 1890, oil on canvas, 94 x 74 cm, Musee d’Orsay, Paris After staying in the south of France, in Arles, and then at the psychiatric hospital in Saint-Rémy de Provence, Vincent Van Gogh settled in Auvers-sur-Oise, a village in the outskirts of Paris. During the two months separating his arrival, on May 21, 1890 and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings. The church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter’s brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud. The artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters.

worldpaintings:

The Church at Auvers-sur-Oise, Vincent van Gogh, 1890, oil on canvas, 94 x 74 cm, Musee d’Orsay, Paris

After staying in the south of France, in Arles, and then at the psychiatric hospital in Saint-Rémy de Provence, Vincent Van Gogh settled in Auvers-sur-Oise, a village in the outskirts of Paris. During the two months separating his arrival, on May 21, 1890 and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings.

The church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter’s brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud. The artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters.


reblololo: Mark Rothko

reblololo:

Mark Rothko


(Source: newyorker)


nevver: History of Art

nevver:

History of Art


dontdrinkthepunch: This is not a painting. Alexa Meade paints with acrylics directly on human flesh creating the illusion of painterly portraits. (via lovelyxoxo)

dontdrinkthepunch:

This is not a painting. Alexa Meade paints with acrylics directly on human flesh creating the illusion of painterly portraits. (via lovelyxoxo)


worldpaintings: Andrew Wyeth (1917 - 2009) Christina’s World, 1948, tempera on gessoed panel, 81.9 × 121.3 cm, the Museum of Modern Art, New York City. Andrew Wyeth was primarily a realist painter, working predominantly in a regionalist style. He was one of the best-known U.S. artists of the middle 20th century, and was sometimes referred to as the “Painter of the People,” due to his work’s popularity with the American public. One of the most well-known images in 20th-century American art is his painting, Christina’s World. It depicts a woman lying on the ground in a treeless, mostly tawny field, looking up at and crawling towards a gray house on the horizon; a barn and various other small outbuildings are adjacent to the house. The woman in the painting is Christina Olson. She suffered from Polio, a muscular deterioration that paralyzed her lower body. Wyeth was inspired to create the painting when through a window from within the house he saw her crawling across a field. Wyeth had a summer home in the area and was on friendly terms with Olson, using her and her younger brother as the subject of paintings from 1940 to 1968.

worldpaintings:

Andrew Wyeth (1917 - 2009)

Christina’s World, 1948, tempera on gessoed panel, 81.9 × 121.3 cm, the Museum of Modern Art, New York City.

Andrew Wyeth was primarily a realist painter, working predominantly in a regionalist style. He was one of the best-known U.S. artists of the middle 20th century, and was sometimes referred to as the “Painter of the People,” due to his work’s popularity with the American public.

One of the most well-known images in 20th-century American art is his painting, Christina’s World. It depicts a woman lying on the ground in a treeless, mostly tawny field, looking up at and crawling towards a gray house on the horizon; a barn and various other small outbuildings are adjacent to the house. The woman in the painting is Christina Olson. She suffered from Polio, a muscular deterioration that paralyzed her lower body. Wyeth was inspired to create the painting when through a window from within the house he saw her crawling across a field. Wyeth had a summer home in the area and was on friendly terms with Olson, using her and her younger brother as the subject of paintings from 1940 to 1968.


(Source: sex-death-rebirth)


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