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Untitled (Green Paintings)
Cy Twombly
ca. 1986
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Edvard Munch (Norwegian, 1863-1944) • Summer Night by the Beach • 1902-03
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-Voices-
A collection of portraits depicting the voices from Slay the Princess, taking inspiration from the style of the video game Disco Elysium!
The Voice of the Hero, a knight, an iconic silhouette against a luminant halo. A color palette of black, blue, and teal.
The Voice of the Hunted, a beast trying to protect its heart from danger, represented here as a crosshair.
The Voice of the Smitten, the knife wound letting loose lovely streams of swirling bodily juices into the air.
The Voice of the Cold, dark, and angular. Something completely unafraid to kill.
The Voice of the Skeptic, attempting to fly, tearing himself away from chains and what looks like his own body.
The Voice of the Paranoid, Frantic and multi-eyed, clutching at a wound.
The Voice of the Contrarian, flying in stark contrast to the others, glowing instead of secluded, a mischievous fairy or will o' the wisp, instead of a grotesque figure.
The Voice of the Broken, shattered and leaking. A humanoid figure is no longer recognizable.
The Voice of the Stubborn, Fiery eyes, and big meaty claws. The brushwork is chaotic.
The Voice of the Cheated, smoke leaking from puncture wounds still embedded within him. He's holding a cigar, too; probably where all the smoke is coming from.
The Voice of the Opportunist, carrying multiple masks on his person, and wielding a poorly concealed knife.
And finally (for now) The Long Quiet itself, the night sky, swirling sigils blurred in the dark.
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"Rothko created a modulated ensemble of majestic paintings. The dark purplish tones have a soothing effect, yet they retain enough brilliance to stimulate the mind. The black surfaces invite the gaze to go beyond. The chapel is a place conducive to spiritual activity. We are cut off from the world and its suffocating multiplicity, able to wander in the infinite. Lacking the immensity of the desert, it is in the confines of a restricted place that we can embrace "the whole'. Here we are nowhere and everywhere; here we can find a blessed wholeness, a sense of unity."
- Dominique de Menil
𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, in his studio with triptych from chapel paintings, 1965
📸 Alexander Liberman
Art- © 1998 Kate Rothko Prizel & Christopher Rothko Artists Rights Society (ARS)
While I have presented the black-and-white version of this picture before, I had not seen this color print until recently. As there are very few photos of Rothko with chapel pictures in a finished state, I'm glad to add this alternate scan. In this one you're able to see quite clearly, the studio supports keeping the pictures in place . .
It's said that Liberman, a friend of Rothko's, omitted photos of chapel works that had not been settled on, favoring pictures of this center triptych.
A little bit of a mystery to me here is the fact that this picture is dated 1967, but Rothko appears to be in the same photo session as the other photo of him with the chapel pictures dated 1965. In addition, the black-and-white version of this picture is dated 1965 in one book, leading me to believe that date is accurate. However, Lieberman did take pictures of the studio pulley system and skylight that are dated 1967. I would think the two pictures with Rothko appearing were from the same shoot, but it wouldn't be unthinkable, given Rothko's sartorial style, for him to be wearing the same suit in two pictures two years apart. This is something I'm still researching.
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I JUST CAN’T EXPLAIN IT
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burst apart ii
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The Spinning Pines (2023)
oil & acrylic on linen
Instagram: @ suhaylah.h
Shop: suhaylah.bigcartel.com
Patreon: patreon.com/suhaylah_h
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What a funky guy
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Kim Whanki, 26-I-70, 1970
Collection of San Francisco Museum of Modern Art
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Blue-Black Fox
Franz Marc, 1911
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Edvard Munch (1863-1944)
"Love and Pain" (1895)
Oil on canvas
Expressionism
Located in the Munch Museum, Oslo, Norway
The painting shows a woman with long flame-red hair kissing a man on the neck, as the couple embrace. Although others have seen in it "a man locked in a vampire's tortured embrace – her molten-red hair running along his soft bare skin," Munch himself always claimed it showed nothing more than "just a woman kissing a man on the neck."
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Francis Bacon Blood on the Floor. 1986. Oil & pastel on canvas: 198 × 147 cm (78 × 58 in) .
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Fuck Melody Make Noise
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Today is my birthday, so I thought I would share photos that I got recently and I'm very happy to have. These pictures have not been seen in this fine condition by almost anyone, (One was reproduced on the wall at the Paris show) and the top studio shot for years was only known to me in black and white.
𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢 𝗦𝗧𝗨𝗗𝗜𝗢
222 Bowery, Lower east side, Manhattan
📸 Herbert Matter
© Herbert Matter Estate/ Stanford University. Libraries. Department of Special Collections and University Archives
Artworks-© 2024 Kate Rothko Prizel & Christopher Rothko Artist Rights Society (ARS), New York
I don't have an official list of the paintings in these photographs I believe I recognize most of them, so these are my guesses:
Photo one and three- on the far left, partially obscured, No. 15, 1957, Oil on canvas
To the right of that- No. 12 (Black on Dark Sienna on Purple), 1960, Oil on canvas 120 1/8 × 105 ¼ in.
Continuing on the left side we have- No.8 (Gray, Orange and Maroon),1960
In the back up against the wall- No. 7, 1960, a painting that Rothko was famously photographed with by two different photographers
In the foreground- No. 21 (Untitled), 1949
Oil and mixed media on canvas
94 × 53 3/8 in. (238.8 × 135.6 cm)
To the right of that and leaning up against the wall is Untitled, No 11 / No 20, 1949
Oil on canvas, 238,1 × 134,9 cm
The partially obscured red painting on the back wall to the right I do not recognize. But if anybody does, please let me know.
Picture two-No 61 (Rust and blue), 1953, Oil on canvas, 115 cm × 92 cm (45 in × 36 in)
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