so apropos.

She waited for the train to pass. Then she said, ’ I sometimes think that people’s hearts are like deep wells. Nobody knows what’s at the bottom. All you can do is imagine by what comes floating to the surface every once in a while.’

Haruki Murakami, Blind Willow, Sleeping Woman 
(via h-o-r-n-g-r-y)

How slow life is, how violent hope is.

Guillaume Apollinaire (via likeafieldmouse)

(Source: tasteforthetasteless)

supersonicart:

Haunted Euth & T.S. Claire, “Dreamland Summer.”

In what will certainly be one of the best showcases of contemporary street art this summer, artists Haunted Euth and T.S. Claire will be presenting a brand new body of work entitled, “Dreamland Summer,” this Saturday, August 30th at Clean Aesthetic in Culver City, California.  Having taken a look at most of the work for the show and following both artists closely (A portrait of me done by T.S. Claire hangs in my bedroom and one of Haunted Euth’s cement faces sits on my desk) I will say that this is one show you do not want to miss if you’re in the area.  Check out 10 more images below from the show - a tiny fraction of the epic amount of work the artists have made for it.

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likeafieldmouse:

Rooms with a View 

This exhibition focuses on a subject treasured by the Romantics: the view through an open window. German, French, Danish, and Russian artists first took up the theme in the second decade of the nineteenth century.

Juxtaposing near and far, the window is a metaphor for unfulfilled longing. Painters distilled this feeling in pictures of hushed, spare rooms with contemplative figures; studios with artists at work; and open windows as the sole motif. As the exhibition reveals, these pictures may shift markedly in tone, yet they share a distinct absence of the anecdote and narrative that characterized earlier genre painting.”

1. Peter Ilsted

2. Carl Holsøe

3. Léon Cogniet

4. Wilhelm Bendz

5. Alfred Broge

6. Caspar David Friedrich

7. Georg Friedrich Kersting

8. Jacobus Vrel

9. Johann Erdmann Hummel

10. Vilhelm Hammershøi

jacobvanloon:

Jacob van Loon
Slow Burn
Watercolor, acrylic, and graphite on wood

nevver:

Broad brushstrokes, Simon Birch

(Source: simon-birch.com)

likeafieldmouse:

Gustav Klimt

1. The Large Poplar Tree II, or Coming Storm (1903)

2. The Swamp (1900)

nevver:

It wasn’t meant to end like this, Fernando Gómez Balbontín

Would painters ever be allowed to paint people again, or trees, or rivers, or flowers in a vase? Photorealists said yes. They decided that it was time to reclaim “the real world” for painting. But photography had long ago established its primacy as the recorder of how the real world looks. Want to have an accurate memory of your wedding day? Hire a photographer. Photorealists came up with a clever way to bring painting back into this story. They started making painstakingly accurate paintings of photographs. By painting photographs, they’d found a “back door” route into the world of people and trees and flower vases. Admittedly, this was not a long-term solution to the dilemma of painting after photography. But no aesthetic answer has ever been long-term. It worked for the moment.
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