Leonor Fini, Angel of Anatomy, 1949

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malformalady:

A convocation of eagles in a Safeway parking lot. Via Reddit

Photo credit: Tim Moyer

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cavetocanvas:

Jusepe de Ribera, Clubfooted Boy, 1642

“The purpose of the ‘genre’ picture was to prove — either positively or negatively — that virtue in this world was rewarded by social and financial success. Thus, those who could afford to buy these pictures — cheap as they were — had their own virtue confirmed. Such pictures were particularly popular with the newly arrived bourgeoisie who identified themselves not with the characters painted but with the moral which the scene illustrated. Again, the faculty of oil paint to create the illusion of substantiality lent plausibility to a sentimental lie: namely that it was the honest and hard-working who prospered, and that the good-for-nothings deservedly had nothing.

“…The poor can be seen in the street outside or in the countryside. Pictures of the poor inside the house, however, are reassuring. Here the painted poor smile as they offer what they have for sale. (They smile showing their teeth, which the rich in pictures never do.) They smile at the better-off — to ingratiate themselves, but also at the prospect of a sale or a job. Such pictures assert two things: that the poor are happy, and that the better-off are a source of hope for the world.”

— John Berger, Ways of Seeing

2headedsnake:

Kumi Machida

‘Rocking Horse’, 2010

sumi, mineral pigments and colored pencil

on kumohada linen paper

Roberto Fabelo, Sirenas

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adactivity:

God the Father fishing for Leviathan from Hortus Deliciarum (Garden of Delights) 1167, Herrad of Landsberg

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hildebertus was distracted too

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this