Tal fornuft til mig @ogaltdetjazz - Tumblr Blog

pmamtraveller

John William Godward - Athenais

eirene

Tannhäuser in the Venusberg, 1901 John Collier

artssie

Wilted (Morning, Fading) (1870) by Gabriel von Max

harminuya

Armenian Gospels.

constanzarte

Pierre Auguste Cot, L'Orage, 1880.

the-dose-makes-the-poison

Iness Rychlik, 'Retribution' (Odwet), Self-Portrait photography, 2024

dailyclassicart

Pierre-Auguste Renoir - "Julie Manet with Cat (detail)" (1877)

artschoolglasses

Eye Miniature, English School, 1825

periodinteriors

Eduard Hau, The Winter Garden from Interiors of the Small Hermitage, 1865, watercolor.

jakarimalotara

i miss my mom

nailing

fixated on this statue i saw in athens

weltenwellen

Dorianne Laux, from “As It Is”, What We Carry

metamorphesque

"Schiele paints what Kafka dares to write: the soul, caught mid-exit from the collapsing architecture of the flesh. The silence of Schiele’s paintings echo the inky words of Kafka, as if Schiele’s paintbrush and Kafka’s pen were touching opposite sides of the same wound. And yet, what fascinates me most is not just how Kafka and Schiele expose the rupture between body and self, but the difference in how they respond to the shame it brings. Kafka turns inward. He tries to vanish into language, to dissolve into the walls of his prose. His characters shrink, fold into themselves, dissolve, wither — devoured not just by the world but by their own self-disgust. His response to shame is silence, erasure, disappearance. But Schiele does the opposite — he confronts shame with brutal visibility. He drags it into the light, paints it in trembling lines and raw color, and then dares us to look at it — at him. His figures do not hide their distortion — they weaponize it. They do not avert their eyes; they catch ours. They demand to be seen, even in their distortion, and especially in their nakedness."

Portrait of a Body in Revolt: Schiele and Kafka, Tathev Simonyan