Moritz von Schwind, Apparition in the Forest, 1858
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@planetarydysphoriia
Moritz von Schwind, Apparition in the Forest, 1858
Guillermo Del Toro's Frankenstein is about forgiving the person who brought you into this world without your permission when you do not want to be alive, and about forgiving yourself for being alive and accepting your life free of guilt and that is genuinely the most beautiful, validating thing I have ever seen in a film.
The Parca and the Angel of Death (Gustave Moreau, 1890)
“Acheron,” 1902. Reinhold Kukla (Slovenia,1877-1965). Oil on canvas, in its original carved wooden painted frame, with the title bottom centre.
“The influence of Böcklin on his Symbolist work is most visible in this, of all his paintings, which is clearly indebted to the several versions of ‘The Isle of the Dead’ (painted from 1880-86).”
“‘Acheron’ imagines one of the rivers of the underworld, which the dead must cross to enter Hades; Charon, the ferryman, emerges in his boat from the cavernous entrance, on his way to pick up the newly-dead soul who waits in the foreground. This less than jolly subject, rendered even more desolate than Böcklin’s island by its practically monotone treatment, has a frame which reinforces the theme both in structure and in colouring. It has a vestigially aedicular form, rather in the manner of Stuck’s minimalist aedicular frames, but stripped down to an even more skeletal form – pilasters, entablature and predella suggested by panels contained in linear mouldings. The title is incised in Greek letters on the base.”
https://theframeblog.com/2017/09/13/artcurial-sale-of-symbolist-paintings-with-some-original-frames-paris-2017/
Roger Ebert just destroying some specific kind of nerd(s).
Roger, Roger, you say that like it’s a bad thing.
sorry for fucking up our conversation i had never had that one before
The Birdcage (1996) dir. Mike Nichols
we are all sinners
Galadriel
The Shore - Barry McGlashan , 2023.
British, b. 1974 -
Oil on paper over panel , 12 1/4 x 8 1/8 in.
HE KILLS HER BROTHER AND SHE SPENDS HER WHOLE LIFE HUNTING HIM AND HER FRIEND SENDS HER OFF TO VALINOR BUT SHE JUMPS OFF THE SHIP BECAUSE CANT STOP HUNTING HIM BECAUSE SHE DOESNT KNOW WHO SHE IS WHEN SHES NOT FIGHTING AND THEN A GUY SAVES HER AND SHE BEARS HER SOUL TO HIM AND TELLS HIM ABOUT HER BROTHER AND HE TELLS HER THAT HES SORRY EXCEPT!!!!!! HES LITERALLY THE MAN SHES HUNTING HES LITERALLY THE MAN WHO KILLED HER BROTHER AND HES PROPOSING TO HER AND HES GIVING HER HER BROTHERS KNIFE THE KNIFE THAT SHES BEEN HUNTING HIM WITH HER WHOLE LIFE THE KNIFE THAT WAS TAKEN FROM HER THE KNIFE THAT HE RETURNED TO HER AND HE SHOWS HER WHO THEY CAN BE IN THE WATER AND-
The Palace of Art (1857) - Dante Gabriel Rossetti
View from Soth’s room at the Park Hyatt in Tokyo, Japan. Photo by Alec Soth.
Wounds of the Earth
— by xis.lanyx
Piranesi's House, Bunty May Marshall
Vassily Kandinsky - Dominant Curve, 1936, oil on canvas, 129.2 x 194.3 cm