Björn in a Ferrari.

pixel skylines
TVSTRANGERTHINGS
🪼
h
wallacepolsom
he wasn't even looking at me and he found me
art blog(derogatory)
Sweet Seals For You, Always
Game of Thrones Daily
DEAR READER

Janaina Medeiros
$LAYYYTER

roma★
Today's Document
Peter Solarz

Kiana Khansmith
One Nice Bug Per Day
Sade Olutola
sheepfilms

No title available

seen from France
seen from United Kingdom

seen from Germany

seen from Malaysia

seen from France
seen from United Kingdom

seen from Spain
seen from Croatia

seen from Malaysia
seen from United Kingdom

seen from Argentina
seen from Canada

seen from Netherlands
seen from United States

seen from Malaysia

seen from United States

seen from United Kingdom

seen from Philippines
seen from Italy

seen from Malaysia
@thatrifelife
Björn in a Ferrari.
The Unattractiveness of Vanity
Martial, Epigrams 1.64 You’re beautiful – yes, we all know it - And in the prime of youth – that much is true - And you’re certainly rich – who could deny it? But Fabulla, when you overpraise yourself, You’re not rich, or beautiful, or young any longer. Bella es, nouimus, et puella, uerum est, et diues, quis enim potest negare? Sed cum te nimium, Fabulla, laudas, nec diues neque bella nec puella es.
Portrait of a Young Girl, Raphael (1483-1520)
Zima: The Powerful Beauty of Russian Winter
In the words of the artist Elena Chernyshova:
There is no aesthetic like the Russian winter. Yes, it can be grey and dull at times, but at its height, it completely reconfigures the environment. The universal white cover fills the land with a pure, magical beauty, full of dignity and mystery. According to an old saying, truth, in reality, is white, sparkling, frosty cold, silent and endless: something like the boundless Siberian tundra landscape.
Follow the Source Link for images sources and more information.
Elise Konstantin-Hansen (Danish, 1858-1946), Grib [Vulture], 1893. Watercolour and pencil on paper, 118.5 x 131.5 cm.
via amare-habeo
Ceri Richards (British, 1903-1971), Blue Interior with Dice, 1950. Oil on canvas, 89,5 x 110,6 cm
Axel Törneman (Swedish, 1880-1925), Dåren [The Fool], 1907. Oil on canvas, 197.5 x 180 cm.
Lisa Oppenheim (American, b. 1975), Fish Scale, Véritable (Version 4), 2012. Photogram, 106 x 86.5 cm.
via svamla
Olle Hjortzberg (Swedish, 1872-1959), Stilleben med ranunklar och orientalisk keramik [Still life with ranunculus and oriental ceramics], 1950. Oil on panel, 65.5 x 54 cm.
House Perdrizet (1955-57) in Champigny-sur-Marne, France, by Claude Parent
John Bratby (British, 1928-1992), Small house by a railway line, Kings Langley. Oil on board, 91 x 122 cm.
via dappledwithshadow
Stanislav Yulianovich Zhukovsky (1875-1944)
The first harbingers of spring
A Future City From The Past by Clemens Gritl
The series, “A Future City From The Past” is based on this mystifying vision of a radically aggressive urban dystopia — an uncompromising design in the brutalist dogma. All buildings and structures are homogenic. The differentiations of architectural styles and eras are eliminated and replaced by geometric structures, repetition and absolute materiality. Gigantic “Wohnmaschinen” encompassed by endless motorway networks, making way for the “Super-Brutalist” megacity.
The thrill of this project lies in exploring the aftermath. It is fascinating to imagine how a prefabricated, futuristic metropolis would age, and what atmosphere an endless manmade landscape, constructed of only concrete and asphalt, would generate. What impact would such a massive concentration of sculptural architecture have on mankind? Could such a city succeed in producing a functional society, or would it automatically plunge into menacing social dysfunction?