Timothy Cleary: ‘Bronze’ (2016)
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Timothy Cleary: Tracery (Bronze, 2016)
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Tracery (bronze, 2016) by Timothy Cleary
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Tracery - Jean Gumpper, 2013 .
Hawaiian-American , b. 1955 -
Woodcut and pochoir , 15 x 11 in.
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Gerard Stamp, Magdalen windows (oil on board, 2016)
You cross the wide, lazy Great Ouse, and at once Norfolk changes. The rippling countryside flattens out, the horizon straightens. Norfolk's trees disappear, apart from the odd one or two that flame like beacons below the perpendicular sky. There aren't really fields anymore, just wide prairies, and the villages are perfunctory. This is the Marshland.
Magdalen is perhaps close enough to the rest of Norfolk to still be a proper East Anglian village, and a pretty one at that. One to savour if you are heading west and about to tip off the edge of the real county into that strange, sinking landscape beyond. Inexorably, water spilt here would roll into Lincolnshire. But the church is a marshland church, big bold and beautiful with that air of chiarascuro familiar from its neighbours, a slightly decayed beauty with the smell of old wood and damp in the air.
image from here, text from here
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Luminous night (originally: Fényes éjszaka)
2023
Acrylic on paper
I did plan for the tracery and the balustrade and the sitting figure from the start, but it was still a hard decision to paint over the sky, even if only that little bit.
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Seamless, abstract, colorful pattern of elements in Arabic, Asian, Latin America style.
(if you liked the pattern, I will be grateful for the repost)
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Intricately carved stone facade with gothic elements, featuring pointed arches and delicate, branching tracery reminiscent of a forest, all bathed in a soft, diffused light
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Large Sun Room
Large elegant marble floor and white floor sunroom photo with no fireplace and a standard ceiling
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