evil scientist codependency

tea | it/they/he | blk | 20 | evil gay werewolf pirate | currently reading: of human bondage

[nevver]

Placebo, Dadu Shin

[sailermoon]

Illustrations from Little Red Riding Hood, retold and illustrated by Trina Schart Hyman

[life-imitates-art-far-more]

Jean-François Portaels (1818-1895) "The Witch" Oil on canvas

[oldpaintings]

The Duel and The Reconciliation, 1884 by Émile-Antoine Bayard (French, 1837–1891) 

[dailyclassicart]

Susan Paterson - "Teapot and Lace" (2019)

[aqua-regia009]

The Wive - Anna and Elena Balbusso Artwork for “Fatal Throne: The Wives of Henry VIII Tell All” (2018)

[ein-bleistift-und-radiergummi]

Gustav Klimt ‘Young Woman in an Armchair’, 1896.

[manicpixievamipre]

Im not religious but cathedrals are so beautiful

[comikbook]

im going to make a masterpost for all of my works relating to my series “In God’s Hands”

[discardingimages]

long-eared bat

Psalter, England c. 1360-1400

Bodleian Library, Exeter College MS 47, fol. 21v

[tbborg]

"The bear loved the deer, it was obvious. It ripped the deer's throat out, and then licked the dying deer with the most passionate affection. I thought of you and me."

David Cronenberg, Consumed

[the-evil-clergyman]

Andromeda by Arthur Rackham (Early 20th Century)

[oomox-oclock]

I don’t know if someone has done this before but

Demolition Lovers Danbert

(Without reference under cut)

[midnightsnuff]

Roberto Ferri - Vanitas, 2014.

[inspireaton]

"mouth to mouth", educational poster, 1911

[simena]

Garden of Hope - James Gurney (detail)

[manticoreimaginary]

oh my god, but what is this painting without the dinosaur?

[lizardlicks]

why would you crop the dinosaur

[pmamtraveller]

GATES OF HELL /1703/ by GIACOMO DEL PÒ

This work is an impression of the mythological concept of Hell's entrance. It is based on Dante Alighieri's "Inferno" from "The Divine Comedy."Clearly illustrating the suffering of souls and a chaotic atmosphere of hell in cacophony, portraying an image for the consequence of sin.

Del Pò used the great contrasts of light and shadow that were characteristic in Baroque to bring out the dramatic effect and movement. The complexity and emotional impact in the composition is heightened by the swirling forms and figures presented.

The gates represent a threshold between life and death, whereas the figures signify lost souls. The arrangement of the figures highlights the turmoil and despair that occur within eternal damnation. The figures and scenes are heavily inspired by ancient Greek and Roman portrayals of the underworld and its torments.

This painting is characterized by the vividness of color. In his approach, del Pò incorporates very fine detail in the textures of the figures and fiery background. He showcases the theatricality and dramatic flair typical of the period, drawing viewers into the narrative.