Marlon Portales (Cuban, 1991) - Nocturno III (2025)
Acquired Stardust
No title available
2025 on Tumblr: Trends That Defined the Year

ellievsbear
Alisa U Zemlji Chuda

PR's Tumblrdome

祝日 / Permanent Vacation
Not today Justin

Discoholic 🪩

★

roma★
TVSTRANGERTHINGS
Jules of Nature
Keni
No title available
Peter Solarz
I'd rather be in outer space 🛸
art blog(derogatory)
Aqua Utopia|海の底で記憶を紡ぐ
Sade Olutola
seen from Qatar
seen from United States
seen from Mexico

seen from United States

seen from United States

seen from United States
seen from United States

seen from United States

seen from United States

seen from United States
seen from United States
seen from United States

seen from United Kingdom
seen from United States

seen from Malaysia
seen from United States
seen from United States

seen from Spain
seen from United States

seen from Malaysia
@lunetagypsy
Marlon Portales (Cuban, 1991) - Nocturno III (2025)
Edmund Cieczkiewicz (Polish, 1872-1958) - Pokusa i Zmory (Temptation and Nightmares) (ca. 1920)
"Les Jardins de Nuit" (censored version) - Mixed media: colored pencils, pastels, ink, and gold leaf on paper. I created this artwork in 2020 for my book Forgotten Gods.
Tuesday Riddell — The Moon (23.5 karat gold leaf, silver leaf, gold and silver powder, pigment and paint on lacquered board, 2025)
Tuesday Riddell (British, 1992)
Photography by Xuebing Du
Tannhäuser in the Venusberg, 1901 John Collier
Dmitry Makushin (Russian, 1996) - Late October (2025)
Sarah Theresa Lee (Irish, 1980) - Modern Love (2024)
Johanna Seidel (German, 1993) - October (2025)
Untitled (Plate) by Viola Frey. California, America. 2002.
Arkansas Museum of Fine Arts.
Shield by No Two Horns (Hunkpapa Lakota). 1870.
Denver Art Museum.
Mohammed Sami (Iraqi, 1984), Poor Folk II, 2019. Acrylic on canvas, 88 ⅛ x 112 ¾ in.
Mohammed Sami (Iraqi, b. 1984), Meditation Room, 2022. Mixed media on linen, 280 x 230 cm
Mohammed Sami (Iraqi, b. 1984), Infection II, 2021. Mixed media on linen, 210 x 180.5 cm
Mohammed Sami (Iraqi, 1984), Childhood, 2018. Acrylic on linen, 170.6 x 117 cm.
When everything looks this radiant, can we still tell which part of the garden is “real”, or does that distinction itself finally dissolve?