March — Theodor Severin Kittelsen

The Ill-Matched Couple — Goya

Nausicaä of the Valley of the Wind — Hayao Miyazaki

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Untitled (Tiger) — Aleksandra Waliszewska

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A Cotton Office in New Orleans — Edgar Degas

Film Poster for Antonioni’s Blow-Up — Tomer Hanuka

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ESL — James Jean

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Studio Interior with Casts — Adolph von Menzel

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Dreams No. 2 — Jacob Lawrence

Moby-Dick — Emmanuel Polanco

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“Cover” by Emmanuel Polanco. From 50 Watts’ Polish book cover contest.

Fishbowl — Jason Chan

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Morfinomane — Vittorio Corcos

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Tacere — Dino Valls

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The Unmade Bed — Adolph von Menzel

Girl Reading — Richard Sala

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How to represent Night (Leonardo da Vinci)

That which is entirely devoid of light is all darkness; as the night is like this and you wish to represent a night subject, represent a great fire, so that the object which is nearest to the fire may be tinged with its colour, since the object which is nearest the fire will participate most in its nature. And as you will make the fire red, all the objects which it illumines must be red also, and those which are farther off from the fire will be dyed to a greater extent by the dark colour of night. The figures which are between you and the fire appear dark from the obscurity of the night, not from the glow of the firelight, and those which are at the side are half dark and half ruddy, and those which are visible beyond the edge of the flames will be altogether lighted up by the red glow against a black background. As to their action, make those which are near shield themselves with their hands and cloaks against the intense heat with averted faces as though about to flee; with regard to those who are farther off, represent them chiefly in the act of raising their hands to their eyes, dazzled by the intense glare.

From Baring’s translation of Leonardo’s notebooks.

Wunderkammer — Santiago Caruso

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