ichtanzemeinennamen:

Félix Vallotton, “Étude de Fesses” (1884).

this is totally what my butt looks like.

(Source: arttattler.com)

as much as i dislike david, kudos to him for painting ‘the intervention of the sabine women’, which i like marginally better than the ‘rape’ part of the story. i mean i know that ‘rape’ didn’t mean the same thing in that context but all the artistic depictions i’ve seen of the sabine women are basically them bare-chested and hauled away by roman men kicking and screaming. so it’s nice to see the part of the story where they threw themselves in the middle of a battlefield to stop a war (successfully, i might add).

books0977:

An Evening at Home (1888). Sir Edward John Poynter (English, 1836–1919). Watercolour.

The relaxed informal domesticity would suggest that the woman depicted is almost certainly the artist’s wife Agnes, but she also bears a striking resemblance to Georgina Burne-Jones (Agnes’ sister). Two Old Master Portraits in deep carved, gilt, Florentine frames reflect his lifelong admiration for Renaissance Art. Below them hangs a Pre-Raphaelite watercolour in a black and gilt aesthetic frame and another picture in a fine Watts pattern frame.

all day every day

mellebulle:

Gustav Klimt, The swamp

(Source: mad-moiselle-bulle)

worldpaintings:

Charles August Mengin

Sappho, 1877, oil on canvas, 230.7 × 151.1 cm, Manchester Art Gallery.

Sappho was a Greek poet who lived around 600 BC. She wrote about love, yearning and reflection, often dedicating her poems to the female pupils who studied with her on the island of Lesbos. Mengin has chosen to paint a legend narrating that Sappho killed herself by jumping off the Leucadian cliffs for unrequited love of Phaon, a ferryman. This legend is regarded as unhistorical by modern scholars, but it may have resulted in part from a desire to assert Sappho as heterosexual.

if tumblr was around circa 1850 this is what people would post

“With a procedure indebted to high Analytic Cubism, Mondrian broke down his motif—in this case a tree—into a scaffolding of interlocking black lines and planes of color; furthermore, his palette of close-valued ocher and gray tones resembles Cubist canvases. Yet Mondrian went beyond the Parisian Cubists’ degree of abstraction: his subjects are less recognizable, in part because he eschewed any suggestion of volume, and, unlike the Cubists, who rooted their compositions at the bottom of the canvas in order to depict a figure subject to gravity, Mondrian’s scaffolding fades at the painting’s edges.” — from the guggenheim website

‘rumble’ by sean anderson