Opheliac

this blog contains nudity. tea, soups, cafes, literature, music, art, foreign films, coffee, travelling and fashion. born in the mediterranean, currently resides in melbourne, australia. countries i've had the pleasure of visiting/living: malta, japan, france, italy, australia, england, tunisia

[delta-breezes]

James Frost | @frostyphoto

[rage-space]

“I am, like everybody else, a product of my time and my culture. And I remember, there’s a really beautiful commencement address that Adrienne Rich gave in 1977 in which she said that an education is not something that you get but something that you claim. And I think that’s very much true of knowledge itself. The reason we’re so increasingly intolerant of long articles and why we skim them, why we skip forward even in a short video that reduces a 300-page book into a three-minute animation — even in that we skip forward — is that we’ve been infected with this kind of pathological impatience that makes us want to have the knowledge but not do the work of claiming it. I mean, the true material of knowledge is meaning. And the meaningful is the opposite of the trivial. And the only thing that we should have gleaned by skimming and skipping forward is really trivia. And the only way to glean knowledge is contemplation. And the road to that is time. There’s nothing else. It’s just time.”

— Maria Popova

[aic-contemporary]

1951-52, Clyfford Still, 1951, Art Institute of Chicago: Contemporary Art

In the late 1940s, Clyfford Still, along with Barnett Newman and Mark Rothko, originated the type of Abstract Expressionism known as Field Painting, a term used to describe large canvases dominated by one uniform color or a few colors closely related in hue and value. In contrast to Newman and Rothko, who usually applied paint thinly and uniformly, Still used a palette knife, creating textural effects that give the surface a complex, nearly sculptural sense of materiality. Named after the years of its creation, 1951–52 is a rare, nearly all-black work in the artist’s oeuvre. A vertical white line to the right of center and a thin streak of red-orange along the left side provide the sole interruptions in the black field. The subtle modulations of texture and finish support the artist’s claim that “I do not oversimplify—in fact, I revel in the extra complex.” Wirt D. Walker Fund; gift of John Stephan Size: 301.8 x 396.2 cm (118 ¾ x 156 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/15569/

[niravpatelphotography]

Reflections. 

[fallinyourtidalwaves]

the real magic is to reveal the ordinary as the ethereal

[sirenec]

[birdasaurus]

https://www.instagram.com/mskelslevy/

[birdasaurus]

https://www.instagram.com/deareverest/

[lararosemary]

Rabat, Malta

[infected]

Florence, Italy, photos by tresselspecial

[beccap]

Jamie Beck is so goddamn beautiful. 

[birdasaurus]

Olivia Katz

[birdasaurus]

Livia R MacPhedran

[lighthousecreeper]

Museo Canova, Possagno, Italy

The original building designed by Venetian architect Francesco Lazzari, a tribute to neo-classical sculptor Antonio Canova, completed in 1836. (images 2,4,5)

Renovations and an additional wing added by Carlo Scarpa, finished in 1957. (images 1,2,3)

(source)

[rubiesandhoney]

[birdasaurus]

Bonsergent Studio

[cavatas]

The hall of Rose Uniacke's home in Pimlico, London, taken from the designer's first book published by Rizzoli and photographed by François Halard. Uniacke's volume is created from the same materials featured in the home; a cotton duck slipcase protects a volume wrapped in pure wool.

The hall is empty and unadorned, save for two oak benches by William Burn, and a gold framed mirror reflecting the home's 'winter garden.' The home, since dubbed 'Pimlico House,' is a large 19th century structure, originally used as a studio, gallery and private residence of professional artists. Pimlico was later converted into a smaller home and four apartments, however upon Uniacke's discovering of it, the designer renovated the property back into a family home with its internal courtyard, wine cellar and pool. The salvation of Pimlico was a major restorative undertaking, whereupon its heavy staircase, implemented after WWII damage, was replaced with a 12-ton cantilevered stone staircase, as its plasterwork and mouldings went through extensive repair and reconstruction. Speaking on behalf of her first publication, Uniacke wrote: "Restoring the house to make a home was the greatest pleasure for me. I hope you enjoy reading about the journey, as much as I have enjoyed the process."