Untitled

[le-wnyn]

[rherlotshadow]

Cow parsley days II

[tar0]

(Manet’s Bar at the Folies-Bergere (Getty Center Exhibitions)から)

[nyantara]

[…] the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter’s field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her. The barmaid’s frontality is also deceptive. Rather than standing parallel to the bar and looking straight ahead, she stands slightly askance, facing the offset viewpoint.

Most ironically, the reflected edge of the bar, which in an offset view would tilt more acutely to the right, is revealed to be a visual decoy, leading us to believe that the vanishing point lies directly behind the barmaid. Thus, the paintings most obvious perspectival clue turns out to be its most subversive perspectival violation.

From Getty Center article

[retroornot]

[rko1960]

MADAME MIOU ESCUTANDO “SHEHERAZADE” DE RIMSKY-KORSAKOV. A GATINHA ADORA MÚSICA 🎶 CLÁSSICA. (em Copacabana, Rio de Janeiro) https://www.instagram.com/p/CpywrDcNpN1/?igshid=NGJjMDIxMWI=

[southernmostjack]

Nose in bush, chin on balls. Next question?

[youhairything]

(via onlyuncutinthebuilding)

[lemarchalpats-blog]

(via youhairything)

[morgan-rover]

(via lemarchalpats-blog)

[paranapadilha]

Pablo Picasso Nude Reclining (Nu couché) Oil on canvas The National Museum of Western Art, Tokyo | c. 1969

[paranapadilha]

Paraná Padilha Private Light • May 28 2020

[paranapadilha]

The National Museum of Western Art Gallery view featuring Joan Miró and Pablo Picasso Le Corbusier architecture (Main Building) Ueno Park, Tokyo | c. 2023

[tar0]

(Manet’s Bar at the Folies-Bergere (Getty Center Exhibitions)から)

[nyantara]

[…] the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter’s field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her. The barmaid’s frontality is also deceptive. Rather than standing parallel to the bar and looking straight ahead, she stands slightly askance, facing the offset viewpoint.

Most ironically, the reflected edge of the bar, which in an offset view would tilt more acutely to the right, is revealed to be a visual decoy, leading us to believe that the vanishing point lies directly behind the barmaid. Thus, the paintings most obvious perspectival clue turns out to be its most subversive perspectival violation.

From Getty Center article

[themalevagabondage]

[homonsters]

[jgcock]

Love that BUSH

[alfred22x6]

Lecker

[androtherika2]

[ethan-risqueh]

[vakhtangboy]

[aenslem]

Wake Up Dead Man (2025)

[vakhtangboy]