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No. 14 (White and Greens on Blue), Mark Rothko, 1998, Oil on Canvas, 90.2 × 69.9 cm

thyrell

joe biden should do another stimulus check where the ira sends me a lox bagel. with cream cheese please

thyrell

irs.

efoxgirl

georgedontdothat

To-cat-ata in B by sympawnies

kimije

I wanted someone to play it as soon as I saw it and they delivered

#heLL YEA

dogpuppy

laterkiss

worry about it kitten daddy fucked up

calcazars

let it be known that i touch grass frequently and I’m still like this.

chromaticabrasions

caramel frappe give me the strength to clean my room

chromaticabrasions

caramel frappe PLEASE

chromaticabrasions

#this art is so evocative. it feels like a goya painting

thank you so much this is the highest compliment

tintheelvenking

OP did a lovely job with this piece. The pose they picked is a difficult one to do correctly and dynamically- the doubling over is hard to illustrate without making it look weird or poorly drawn, the low seat of the “pelvis” making the figure dip down lower (to emphasize the clutching motion of the hands) is a hard perspective to imagine without a reference. I liked the way OP chose to draw the shoulders, evoking both the hunching of shoulders that would be present in a fleshier painting and drawing out the strong, dynamic curve of the body.

The blood, the desperate clutch, the crying and the pose all suggest something religious, making the post all the more impactful with its drawing- The caramel frappe does not answer the subject, just as God does not answer the subjects of paintings who depicted the same theme.

It’s also intriguing where OP chose to put details. In amostly minimalist creation, the (relatively) detailed frappe, hands, and face guides your eyes in a a dynamic way- from the frappe to the face, then follows the line of the body out to the end of the legs- making the art more interesting to the eye.

I have a theory about the colors that I’m not sure is true, but I think the subject being black and white separates it from the frappe, which is fully colored. The blood, neither frappe nor person colored, acts as a connector between the two– the only ways the two subjects can connect are through touch and sight, both of which causes the human subject pain. Then again, I may be reading into things too much idk

chromaticabrasions

okay this is my favorite comment on this entire post