Archive for ‘Art’

April 23, 2014

King Lear, Directed by Peter Brook (Full Film)

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April 23, 2014

The Deadly Sins — James Ensor

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April 23, 2014

Denise Poncher before a Vision of Death — Master of the Chronique Scandaleuse

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April 22, 2014

Rest — Felix Vallotton

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April 22, 2014

Philosophy of education (Life in Hell)

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philosophy of education

April 22, 2014

Don Quixote — Charles Seliger

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April 22, 2014

Poster for Exhibition of Art Work by Henry Miller — Tadanori Yokoo

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April 22, 2014

Ida Reading a Letter — Vilhelm Hammershoi

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April 21, 2014

Night — Ferdinand Hodler

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April 21, 2014

“In death we have both learned the propensity of man to define the indefinable” (Harry Clarke)

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April 21, 2014

Courtesan Reading — Kikugawa Eizan

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April 20, 2014

Rabbit, Upper-Right Corner (Bosch)

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April 20, 2014

The Gospel According to St. Matthew — Pier Paolo Pasolini (Full Film)

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April 20, 2014

Golgotha — Edvard Munch

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April 20, 2014

Springtime (Bunny Boy) — Norman Rockwell

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April 19, 2014

Five Angora Rabbits — Theo van Hoytema

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April 19, 2014

Käthe Kollwitz kept painting poor people (Kollwitz/Vollmann)

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She worked without reference to the fiery proto-Cubism of those years, the representational, classical past as dead as the Second Reich itself, dead, dead!—as dead as the Tsarist officers who’d now sunk beneath their own weedy mucky parade grounds so that the Party of Lenin and Stalin could march across their moldering faces. Since 1912 she had kept a room on Siegmund-shof for her plastic arts. That was where she would create the mourning woman out of stone. Mostly she carved, etched, and painted in that flat on Weissenbürgerstrasse. Those were the years when the figures in other people’s paintings began to go ever flatter, more garish, more distorted, the colors hurtful to her although she liked some of the galloping calligraphic riders in Kandinsky. Grosz’s desperately angry caricatures, the X-ray bitterness of Otto Dix, not to mention abstract constructivism; she didn’t swim with that tide. Käthe Kollwitz kept painting poor people, starving people (white figures in dark fields, dark chalk on brown Ingres paper), raped women, mothers with dying children, mothers with dead children. In the end she depicted mainly herself, her stricken, simian face thinking and grieving. She too was a mother with a dead child.

From William Vollmann’s Europe Central.

April 19, 2014

How to Spell the Alphabet — Tauba Auerbach

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HowtoSpelltheAlphabet

April 19, 2014

Reading Man (Self-Portrait) — Forrest Bess

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April 18, 2014

Naked Girl with Egg — Lucian Freud

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