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Permalink (8 notes)Via: prettyrandolph

artistandstudio:

Matisse and model by George Brassai

Permalink (161 notes)Via: artistandstudio
artistandstudio: Matisse and model by George Brassai

artistandstudio:

Bonnard and Vuillard on a boat on Lake Como or Garda in Italy, 1899. Photo: Roussel Ker Xavier. Paris, Musée d’Orsay

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artistandstudio: Bonnard and Vuillard on a boat on Lake Como or Garda in Italy, 1899. Photo: Roussel Ker Xavier. Paris, Musée d’Orsay

artistandstudio:

Andre Derain, 1928.  Photo by Otto Umbehr, Réunion des Musées Nationaux

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artistandstudio: Andre Derain, 1928.  Photo by Otto Umbehr, Réunion des Musées Nationaux

artistandstudio:

Gerhard Richter in front of his Dusseldorf studio, 1969.   Photo: Lothar Wolleh

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artistandstudio: Gerhard Richter in front of his Dusseldorf studio, 1969.   Photo: Lothar Wolleh

michaelswaney:

Norimitsu Kokubo, The Economically Booming City of Tianjin, China, 2011. pencil, coloured pencil and oil-based marker on watercolour paper; collection of the artist

Permalink (359 notes)Source: michaelswaneyVia: darksilenceinsuburbia
michaelswaney: Norimitsu Kokubo, The Economically Booming City of Tianjin, China, 2011. pencil, coloured pencil and oil-based marker on watercolour paper; collection of the artist
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likeafieldmouse:

Tom Phillips - A Humument (1966-73)

“In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument.

The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”

Permalink (3,811 notes) Via: likeafieldmouse
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
likeafieldmouse: Tom Phillips - A Humument (1966-73) “In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument. The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”

arpeggia:

Hannes Kilian - Marcia Haydée, Stuttgarter Ballett, 1967

Permalink (841 notes)Via: arpeggia
arpeggia: Hannes Kilian - Marcia Haydée, Stuttgarter Ballett, 1967
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darksilenceinsuburbia:

Junko Nakamura. Colors.

Palmier, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm.

Jeux d’ eau, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm.

Anniversaire, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm.

Pluie sur L’étang, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm

Permalink (216 notes) Via: darksilenceinsuburbia
darksilenceinsuburbia: Junko Nakamura. Colors. Palmier, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Jeux d’ eau, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Anniversaire, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Pluie sur L’étang, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm
darksilenceinsuburbia: Junko Nakamura. Colors. Palmier, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Jeux d’ eau, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Anniversaire, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Pluie sur L’étang, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm
darksilenceinsuburbia: Junko Nakamura. Colors. Palmier, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Jeux d’ eau, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Anniversaire, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Pluie sur L’étang, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm
darksilenceinsuburbia: Junko Nakamura. Colors. Palmier, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Jeux d’ eau, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Anniversaire, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm. Pluie sur L’étang, 2009. Crayons de couleur, crayon gras, 29,7 x 42 cm

likeafieldmouse:

Read Rainy Weather in its entirety here.

Permalink (1,244 notes)Via: likeafieldmouse
likeafieldmouse: Read Rainy Weather in its entirety here.

pubertad:

Patrick Heron, Black and Blue Stripes, 1958

Permalink (31 notes)Via: pubertad
pubertad: Patrick Heron, Black and Blue Stripes, 1958

pubertad:

Patrick Heron, Red and Yellow Image, 1958

Permalink (32 notes)Via: pubertad
pubertad: Patrick Heron, Red and Yellow Image, 1958
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darksilenceinsuburbia:

Greg Allen Müller.

Leak in Logic, 2012.

Trash in a Leak in Logic, 2012.

Website

Permalink (196 notes) Via: darksilenceinsuburbia
darksilenceinsuburbia: Greg Allen Müller. Leak in Logic, 2012. Trash in a Leak in Logic, 2012. Website
darksilenceinsuburbia: Greg Allen Müller. Leak in Logic, 2012. Trash in a Leak in Logic, 2012. Website
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likeafieldmouse:

Jay DeFeo - The Rose (1958-69)

“The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking brandy while she painted and scraped away at her vision.

First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door. 

At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”

Permalink (2,044 notes) Via: likeafieldmouse
likeafieldmouse: Jay DeFeo - The Rose (1958-69) “The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking brandy while she painted and scraped away at her vision. First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door.  At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
likeafieldmouse: Jay DeFeo - The Rose (1958-69) “The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking brandy while she painted and scraped away at her vision. First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door.  At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
likeafieldmouse: Jay DeFeo - The Rose (1958-69) “The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking brandy while she painted and scraped away at her vision. First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door.  At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
likeafieldmouse: Jay DeFeo - The Rose (1958-69) “The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking brandy while she painted and scraped away at her vision. First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door.  At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
ZoomInfo

likeafieldmouse:

Roger Ballen - Shadow Chamber (2001-4)

Permalink (1,565 notes) Via: likeafieldmouse
likeafieldmouse: Roger Ballen - Shadow Chamber (2001-4)
likeafieldmouse: Roger Ballen - Shadow Chamber (2001-4)
likeafieldmouse: Roger Ballen - Shadow Chamber (2001-4)
likeafieldmouse: Roger Ballen - Shadow Chamber (2001-4)
likeafieldmouse: Roger Ballen - Shadow Chamber (2001-4)