missfolly:

The Assumption of the Virgin by Charles Le Brun

cilmawiel:

Nostalgic picture books. 

missmeghanelizabeth:

gia genevieve for pinupclothing.com

vintagegal:

Actress Lila Lee circa 1920

superfoo:

yourmonkeycalled:

A: Two or perhaps three, approaching now, from beyond the tree in the long low light of morning. From some black place: a reckoning neither required nor bidden, a reckoning no judge could have ordered, but a reckoning nonetheless. One of the men carries a single glove, ready to grip the hot, bright bulb and twist it dead. The other two follow, smoking, and whisper about what is to come: the treacherous scramble in wet woolen darkness, the fight to fill that space with light. One of them, the youngest, cradles the thin bowl of glass in his hands like a baby foal born too soon―partly out of gentleness, partly as if to shield it from the mare’s desperate inquiring eyes.

The men walk to the bulb. The Remover’s shadow blackens as he approaches it. A quick unnatural lunge.

Then all is dark.

Literally. So f***ing funny.

Do Re Mi — Man Overboard (1985)

missfolly:

Portrait Of A Young Lady by Barend Cornelis Koekkoek 

turner-d-century:

notmodernart:

I’ve studied a few modern art subjects and have always been crucified when I say that it mostly leaves me cold.

But art lecturer Dennis Nolan proposes a new way to think about art history. This new way is highly heretical as it shoves what we now worship as ‘modern art’ down into a supporting, or even background role.

James Gurney, creator of the Dinotopia books, expands on the idea

It make sense if you think about it. New technologies of communication were invented, and these media offered original ways for visual ideas to reach people, just as recording technologies brought the bandstand to the living room. Instead of going to the Salon or the Art Union to feast the eyes, people were getting their art from magazines or movie houses. The delivery system and the patronage shifted, but the kind of art and the role it played in people’s lives didn’t change that much.

Artists seized these opportunities. Comics and animation and illustration became the art forms that pulsed with the lifeblood of the times. They still do. With digital media, the possibilities have grown even more diverse, and young artists with good training and with stories to tell have unlimited opportunities. There is no line between “fine” or “commercial” art; there is no high or low art; there is only Art, and it comes in many guises. Let’s break down the walls and cheer on the good stuff wherever we find it. - James Gurney

This both appeals to me and explains why I feel the way I do about modern art, and it relates to my issues with craftsmanship and the loss of craftsmanship in art. As Hennessey Youngman said in this video “We’re all out of scratch”.

But illustration, ah yes, illustration, comic art and animation, that’s where you’ll find the craftsmanship. Added to this is the commercial aspect of these art forms, and of art all throughout history, and it is obvious that these forms are the natural descendants of the Van Eyck to Academic art stream.

So really it’s impressionism through to modern art- the so called ‘high arts’- that are the creepy cousin of art history, the bastard children, the black sheep, and the aunt who never comes to family bbqs.

And that’s why I never liked it very much.

Humph.

That is quite an interesting way to think about it.

amoderndandy:

otinto:

Montparnasse 1895

The train pictured had skipped off the tracks and crashed through the station wall - there was only one person killed - a woman that had been standing on the street.