Poetic Licence

Si nasce e si muore soli, che è già un eccesso di compagnia."C.Bene"

[surrealism-love]

Almayer’s folly, 1951, Rene Magritte

[theraccolta]

O Lily of chastity, Virgin, Splendor of kings, Dymphna, Spouse of Christ! Celebrating thy holy memory, we pray earnestly that after this span of life is over, we may be united with the citizens of God’s kingdom. Hail, Virgin most beautiful! Hail, martyr most glorious! O royal Dymphna, so pleasing to Christ the King. Through the constancy of thy faith, through the power of thy prayers, lead us after death to the true joys of heaven. 
- An ancient antiphon in honor of St. Dymphna

[dickbalzer]

Phenakistoscope - France - c.1833

[dickbalzer]

Phenakistoscope - America - c. 1860

[karmafra]

Dark Side Of The Moon #karmafra

[fravery]

Rene Magritte - Self Portrait as the Sorcerer

[undergroundrockpress-deactivate]

All the Young Punks (New Boots and Contracts) / The Clash in 1978.

[lascitasdelashoras]

An Artist's Studio, interior del estudio de Ozenfant por Le Corbusier, 1924

[lascitasdelashoras]

Aldous Huxley in London, 1948

[lascitasdelashoras]

Gala y Dalí, en el jardín del Ritz, Madrid 1955. Photo Slim Aarons

[silentdivasblog]

Buster Sunday ❤️

[karmafraa]

[leggerezza-dell-essere]

____Tim Walker

[m4maverick]

[granstromjulius]

Frans Pourbus the Elder

[beautiful-belgium]

Portrait of a Young Woman (1581)

[pwlanier]

Flemish School

The Temptations of St. Anthony (after Martin Schongauer)

Oil on wood, 82.6 x 58.5 cm (32½ x 23 in)

This painted panel is based on an engraving by Martin Schongauer of the Temptations of St. Anthony dated c.1470–3. The scene, from the Life of St. Anthony written by St. Athanasius in the 4th century, shows the saint levitating in the sky, attacked by nine repugnantly hybrid demons. The devilish imagination typical of northern European culture is expressed in full here, in a catalogue of monstrous aberrations inspired by the animal kingdom, with a repulsive repertoire of tusks, horns, claws, suckers, beaks, trunks, rostrate wings, scales and scaly skin all rendered with a bristly, vibrant touch. The demons attack the saintly hermit by resorting to various kinds of physical violence, clawing at him, tugging at his clothing and threatening him with sticks. He remains patient and untroubled, his books solidly attached to his belt.

In addition to its own intrinsic artistic value, the panel is of particular importance in that it reflects a widespread practice in Renaissance workshops – especially, though not only, when training young apprentices – which involved copying and revisiting engravings or paintings, including work of a different origin or context from that of the workshop itself. In this instance the panel’s interest is further increased by the fact that the selfsame model was assigned to the young Michelangelo Buonarroti as an exercise while he was learning to paint in the workshop of Domenico Ghirlandaio in 1487–9. This very panel has even been attributed to Michelangelo in the past.

The support and the handling of colour, however, both point to the artist having learned his trade in northern Europe, presumably in Flanders, but having then travelled to Rome with his knowledge and experience, bent on mastering Italian art – not just the classic quality of its forms but also the dazzling opulence of its colours.

Trinity Fine Art

[random-brushstrokes]

Charles Van Beveren - Judith with the head of Holofernes (1846)