Kirill Semenovich
2025 on Tumblr: Trends That Defined the Year

pixel skylines
No title available
will byers stan first human second
No title available
PUT YOUR BEARD IN MY MOUTH
Keni
art blog(derogatory)

Product Placement
KIROKAZE
DEAR READER
No title available

Discoholic 🪩
sheepfilms
todays bird

titsay
Xuebing Du
Stranger Things
Acquired Stardust
h

seen from Germany
seen from United States

seen from United Kingdom
seen from Peru
seen from Türkiye
seen from United States

seen from India
seen from Ukraine
seen from United Kingdom

seen from South Korea
seen from Brazil
seen from United States

seen from United Kingdom

seen from Brazil
seen from United States
seen from United States
seen from United States

seen from Austria

seen from Japan

seen from Malaysia
@yunglevin
Kirill Semenovich
haleeza jasmine for elle bride id mar. 2025
Picking vegetables at the Eden Project - St Blazey, Cornwall, England by franieK
Went to Hilda af Klimt at grand palais and still daydreaming about it
https://x.com/faveda12/status/2059172808731566511?s=20
This is Where it Ends, Mats Tusenfot, 2012
Sometimes you really gotta decide for yourself it's the last time the universe gonna teach you that same lesson
Leonor Fini
In Orwell’s essay “A Hanging,” the writer watches the condemned man, walking toward the gallows, swerve to avoid a puddle. For Orwell, this represents precisely what he calls the “mystery” of the life that is about to be taken: when there is no good reason for it, the condemned man is still thinking about keeping his shoes clean. It is an “irrelevant” act (and a marvelous bit of noticing on Orwell’s part). Now suppose this were not an essay but a piece of fiction. And indeed there has been a fair amount of speculation about the proportion of fact to fiction in such essays of Orwell’s.
The avoidance of the puddle would be precisely the kind of superb detail that, say, Tolstoy might flourish; War and Peace has an execution scene very close in spirit to Orwell’s essay, and it may well be that Orwell basically cribbed the detail from Tolstoy. In War and Peace, Pierre witnesses a man being executed by the French, and notices that, just before death, the man adjusts the blindfold at the back of his head, because it is uncomfortably tight. The avoidance of the puddle, the fiddling with the blindfold—these are what might be called irrelevant or superfluous details. They are not explicable; in fiction, they exist to denote precisely the inexplicable. This is one of the “effects” of realism, of “realistic” style.
But Orwell’s essay, assuming it records an actual occurrence, shows us that such fictional effects are not merely conventionally irrelevant, or formally arbitrary, but have something to tell us about the irrelevance of reality itself (…) There was no logical reason for the condemned man to avoid the puddle. It was pure remembered habit. Life, then, will always contain an inevitable surplus, a margin of the gratuitous, a realm in which there is always more than we need: more things, more impressions, more memories, more habits, more words, more happiness, more unhappiness.
— JAMES WOOD, from How Fiction Works.
What exactly do these irrational standards mean? They mean the supremacy of the detail over the general, of the part that is more alive than the whole, of the little thing which a man observes and greets with a friendly nod of the spirit while the crowd around him is being driven by some common impulse to some common goal. I take my hat off to the hero who dashes into a burning house and saves his neighbor’s child; but I shake his hand if he has risked squandering a precious five seconds to find and save, together with the child, its favorite toy. I remember a cartoon depicting a chimney sweep falling from the roof of a tall building and noticing on the way that a sign-board had one word spelled wrong, and wondering in his headlong flight why nobody had thought of correcting it. In a sense, we all are crashing to our death from the top story of our birth to the flat stones of the churchyard and wondering with an immortal Alice in Wonderland at the patterns of the passing wall. This capacity to wonder at trifles — no matter the imminent peril — these asides of the spirit, these footnotes in the volume of life are the highest forms of consciousness, and it is in this childishly speculative state of mind, so different from commonsense and its logic, that we know the world to be good.
— VLADIMIR NABOKOV, from Lectures on Literature.
Yezi Lou (Chinese, 1997) - July 2019, Central Park (2019)
home of french ceramic artist marguerite carbonell (1910-2008) world of interiors Oct 07
Adrian Berg, Regent’s Park, January, February ‘63, 1963. Tempera on canvas
Adrian Berg (British, 1929-2011)
Francis Picabia (French,1879-1953)
Femme aux arbres, c. 1930
oil and charcoal on canvas
KIKI’S DELIVERY SERVICE Majo no Takkyūbin ‘魔女の宅急便’ 1989 | dir. Hayao Miyazaki
Helen Frankenthaler
anonymous pennsylvania dutch fraktur drawing, 1799; watercolor and ink on laid paper.
Artist not known (India, Deccan), Two Girls Dancing, ca. 1700. Opaque watercolor, heightened with gold, 5 13/16 x 4 7/16 in.