Cthulhu's Crib
paintdeath:

Tadanori Yokoo

paintdeath:

Tadanori Yokoo

momunofu:

instead of “bro” just say “onii-chan”

you’re looking fucking jacked, onii-chan

drakontomalloi:

Juan de Flandes - The Raising of Lazarus. N.d., 1510s

drakontomalloi:

Juan de Flandes - The Raising of Lazarus. N.d., 1510s

kelpls:

retired astronaut 

kelpls:

retired astronaut 

theraccolta:

Giuseppe Bonati, Saint Peter, 17th century

theraccolta:

Giuseppe Bonati, Saint Peter, 17th century

asylum-art:

Gonzalo García

"Rather has been a caution … Yes, caution and decide, but I also see it in prints that I have two years I will not expose ago, clearly recorded generated picture, because the last series of prints I made shares the subject line of my painting, are linked, fully twinned, but exhibit a backward and incoherent … I did not like because I finished this series and do not want to start a new, now having two series already obsolete in my workshop , nor do I care because I show it, then you have to be very careful in this regard …

"Porcine and pink world of consumption" which is the title of the document accompanying the work, you will surely end up calling very similar, originates from having a friend in the engraving workshop in the last year is called the career … and the best ideas always come in a fun … always said I looked like a pink pig, my skin color, and I wanted to bring these similarities to a visual language, so I started a series in which he played with the elements the supermarket, as the cutting of ham, you see something like ham, which is a compact object with a very small weight and bring it to the shape of the head, which is very compact and des membrane ideas, then put a cutting ham and my head, I found something fun and throws you to other information, concepts, was a series of monumental engraving, and when I had to do a thesis, I realized I needed another language because engraving has to be very graphic, if you try to explore other resources loses strength, and these images need color, skin and blood was coloring it without color, is incomplete, so I did a series of 13 pieces, some polyptychs and other whole pieces painting, creating a striped to be much clearer dialogue in every idea. The basic concept is to show as meat …



- All are self-portraits

Yes, they are all self-portraits, and at first I root to use pink, but I realized that the language gives you for more, he did not need that immediacy, not need to be chromatically unified, and the idea is how the material thing gives you cultural elements, such as things that human intervenes give information of how a group of people live, I found very interesting, to say, the provision of market as white but full of dead bodies, how people want to give an appearance at your local, as something that is not assimilated is flesh of a dead animal you’re going to swallow, but the place is white, he is clean, has to do with hygiene but also with something like innocence. So is the use of the flesh color, but taking cultural, social, religious figures, such as crosses, angels. I wanted to give a cultural twist, as in the triptych symbolizes the feminine side of the meat, which are 3 aspects I saw that catalog as qualities of women in the culture, one’s sexuality, submission and motherhood … the three involve meat, three involve transgression, there are elements that enter and leave the body which implies a kind of violation of privacy, then all that has to do with things that have no conceptual load, has an emotional sense, but man looks for in art is equal, we seek certain events that may not have all the burden, as eternity or banality, or if it breaks down like meat but I want you to understand something more in equities.
The problem is that the series has so many intertwined ideas, which becomes confusing, and you realize in document theory behind it, because I use theories of consumption to give the idea of society, and so have some religiosity and death mixed with other items, the company is the flesh, the self-portrait .. All that. “

elpaisdealicia:

Exploring Europa by Alejandro-Mirabal

elpaisdealicia:

Exploring Europa by Alejandro-Mirabal

le-plus-beau-des-mensonges:

Illustrations for “Letters of a Portuguese Nun" by Milo Manara

Until the 20th century, the Letters (first published anonymously in Paris in 1669) were often ascribed to a 17th-century Franciscan nun in a convent in Beja, Portugal, named Mariana Alcoforado (1640–1723). The letters were said to have been written to her French lover, Noël Bouton, Marquis de Chamilly (1636–1715), who came to Portugal to fight on behalf of the Portuguese in the Portuguese Restoration War from 1663-1668. The young nun was said to have first seen the young officer from her window, the now-locally famous “janela de Mértola,” or “window of Mértola.” In the 17th century, the interest in the Letters was so strong that the word “portugaise” (from "Lettres portugaises") became synonymous with “a passionate love-letter.”

Debate continues as to whether Mariana was the real Portuguese author of the Letters. Some literary scholars consider the letters a epistolary fictional work and their authorship is ascribed to Gabriel-Joseph de La Vergne, comte de Guilleragues (1628–1685), although a real nun named Mariana Alcoforado did exist.