darksilenceinsuburbia:

Andy Freeberg

Guardians

In the art museums of Russia, women sit in the galleries and guard the collections. When you look at the paintings and sculptures, the presence of the women becomes an inherent part of viewing the artwork itself. I found the guards as intriguing to observe as the pieces they watch over. In conversation they told me how much they like being among Russia’s great art. A woman in Moscow’s State Tretyakov Gallery Museum said she often returns there on her day off to sit in front of a painting that reminds her of her childhood home. Another guard travels three hours each day to work, since at home she would just sit on her porch and complain about her illnesses, “as old women do.” She would rather be at the museum enjoying the people watching, surrounded by the history of her country.

1. Stroganov Palace, Russian State Museum

2.Matisse Still Life, Hermitage Museum

3.Konchalovsky’s Family Portrait, State Tretyakov Gallery

4. Veronese’s Adoration of the Shepherds, Hermitage Museum

5. Rublev and Daniil’s The Deesis Tier, State Tretyakov Gallery

6. Michelangelo’s Moses and the Dying Slave, Pushkin Museum

7.Malevich’s Self Portrait, Russian State Museum

8. Nesterov’s Blessed St Sergius of Radonezh, Russian State Museum

9. Petrov-Vodkin’s Bathing of a Red Horse, State Tretyakov Gallery

10. Kugach’s Before the Dance, State Tretyakov Gallery

wesley-crusher:

deepspacednine:

likeafieldmouse:

Luis Camnitzer - The Photograph (1981)

image

The Screenshot (2014)

The Reblog (2014)

drawingarchitecture:

Dan Liu, Capriccio of Coal Exchange. 

knickae:

Your Rainbow Panorama, 2006-2010, Olafur Eliasson

miyukiohashi:

Marilyn Monroe
Check out different angle on Instagram !

miyukiohashi:

Marilyn Monroe

Check out different angle on Instagram !

arpeggia:

Matej Košir - Arthistory

“Focus of this series of photographs is our contradictory relationship to the violence, namely the use of violence in order to control it (either to stop it or to prevent its reappearing). History shows that the winner of the violent conflict always has justified reasons to be violent, because he uses his dominance to (re)write the history. Art is, more often than not, instrumentalised, depicting winners as idealised heroes while the loser’s depictions are exposed to iconoclasm. The main problems are that we are always able to justify any kind of violence; that too often only the use of violence is effective in controlling it and that it is immposible to control the violence used to control the violence. Photographic series documents the consequences of violence to censor the depiction of violence and points out our contradictory notion of its use. The original paintings have been subject to censorship and iconoclasm. They depict violent revolutions or events in 19.century, that in today’s terms justify or condemn the use of violence to achieve their aims; judged according to the values that are today most highly appreciated: freedom and democracy.”

Image descriptions from top to bottom:

  • Eugène Delacroix - Liberty leading the People
  • Eugène Delacroix - Liberty leading the People (detail)
  • Jacques-Louis David - The Death of Marat
  • Édouard Manet - The Execution of Emperor Maximilian
  • Francisco José de Goya y Lucientes - The Third of May 1808
  • Francisco José de Goya y Lucientes - The Disasters of War

annatsvellgallery:

Drawing my own watercolor galaxy

emilyfemmely:

sosuperawesome:

Embroidered brooches by cOnieco

Amazing

(Source: sosuperawesome)

soulist-aurora:

Silvia by Hajin Bae

renadeart:

I wanted to be an astronaut. 

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