𝙊𝙆❟ 𝙞𝙩'𝙨 '𝙩𝙝𝙖𝙩 𝙜𝙪𝙮'

Bo Bartlett (1955- American realist painter)
"The Promised Land"

😂

there's no such thing as an easy war

only a moron who never had to go to war would suggest it

Why get out of bed in the morning?

What's the intention?

No simple answer. There's your answer. 🙂

As Edmond Hillary said, "Because it's there."

Mary Cassatt - Mujer de pie, sosteniendo un abanico
#ArteYArt #Impresionismo

Three by Franz Kline

Sometimes the piece will have a very specific meaning or references, sometimes nothing more than "I feel shitty today, but the point is the same: communicating a feeling or experience in its most pure and vital form. Like poetry.

Abstraction 1 (HA36) | Jean-Paul Schmitt

The abstract expressionist approaches the canvas in the same way, but distills their message to a pure feeling.

Kinda like a poem compares to a novel.

Happy colors and shapes make happy feelings, and vice versa. Reductio ad absurdum, but there it is. The art is in adding complexity and dimension.

impart the terror and anguish.

Now, if you soften the representational elements, like the expressions on the faces, and the lightbulbs' glare, soften them into shapes using the same techniques of shape, color and medium, the feel is the same, just less 'literal' for want of a better term.

skill.

I think Picasso's Guernica is a great bridge to understanding, because it is abstract, and an expression of his anger at the issue. More representational but applicable.

The colors are muted, because war is not colorful and joyous. The brushstrokes and shapes are jagged and jarring to

inside you to work with. The guts it would take to expose yourself like that.

In answer to your questions—the colors and brush strokes—I really think that's down to the artist and what they're feeling.
It's what's inside them at that particular moment, and their ability to relate that based on

Well, this is the most impressive aspect to me. If you're painting a landscape or still life, the reference is right there before you; it's just a matter of your interpretation. But imagine the daunting feeling of stepping up to a blank canvas in an act of pure creation, with nothing but what's

because you're trying to understand it

just feel it

not trying to be condescending. if it makes you smile, or makes you sad, or reminds you of a winter's day, go with that.
it's not a test that no one let you in on.

Planegg I. Landschaft bei München, Wassily Kandinsky 1901

Planegg I. Landschaft bei München, Wassily Kandinsky 1901

YouTube video by TheBeatlesVEVO The Beatles - The Beatles - Hello, Goodbye (Remastered 2015)

Hello, Goodbye | The Beatles
youtu.be/rblYSKz_VnI?...

Russian Car in Old Havana, Cuba | Steve McCurry

a kitten is sleeping on a bed with its eyes closed and its paws on its chest . ALT: a kitten is sleeping on a bed with its eyes closed and its paws on its chest .

Nighty night! 😽

YouTube video by Zumie94 Lori Carson & Graeme Revell - Fall in the light

Fall in the light | Lori Carson & Graeme Revell
youtu.be/2tIeZOVKb7Q?...

Still life with three vases | Cuno Amiet

The Flowered Dress | Édouard Vuillard
1891, oil on cardboard

USA. Nevada. 1963 | Thomas Hoepker

"I don't know a soul who's not been battered
I don't have a friend who feels at ease
I don't know a dream that's not been shattered
Or driven to its knees...
we lived so well so long
when I think of the
Road we're traveling on
I wonder what's gone wrong
I can't help it, I wonder what has gone wrong"

YouTube video by PaulSimonVEVO Paul Simon - American Tune (Official Audio)

American Tune | Paul Simon
youtu.be/0OEWBq_jzuA?...

Le principe d'incertitude (1944)
by René Magritte

The Horseman (1966)
by Marc Chagall

out of a totally misplaced sense of superiority

♥️

Jean-Claude Götting (français, né en 1963)

“Confidence” here is both secrecy and care. A whisper creates a private room inside an open landscape, and we are kept at the threshold … able to witness closeness without fully entering it. Painted as American artist Elizabeth Jane Gardner Bouguereau built a Paris career against gendered barriers (including late access to formal training), this painting is a subtle insistence that girls’ inner lives including friendship, counsel, and trust are serious subjects. Her wry claim to be “the best imitator of Bouguereau” lands differently here. The polish is academic, but the feeling is psychologically interior, anchored in what cannot be overheard. Two young women sit close on a low stone bench outdoors, tucked beneath dense, shadowed trees. Both have light-to-medium skin tones and dark hair parted at the center and pulled back. The woman on the left faces forward, shoulders slightly rounded inward, hands clasped in her lap as her bare feet rest on the earth. She wears a white blouse with gathered sleeves under a dark bodice and a cool blue-gray skirt, her expression guarded as she meets our gaze. The woman on the right leans in to whisper, lips near her companion’s ear, her body angled protectively toward her. A plum-violet shawl drapes over her blouse and brown skirt. Her bare feet touch the ground beside the other’s. In her left hand she holds a small folded paper, like a discreet note. A red earthenware jug sits in the foreground, and behind them rises a carved stone niche topped with a cross finial, lending the quiet scene a hushed, devotional gravity. The folded paper sharpens that tension, hinting at news, confession, or a promise passed hand to hand. The setting’s shrine stonework nudges the moment toward reflection like intimacy framed as something consequential or even moral. That reading aligns with the painting’s early life in Athens, where it was gifted to the Lucy Cobb Institute (an all-girls school) and cherished as quietly “instructive” for young women.

“La Confidence” by Elizabeth Jane Gardner Bouguereau (American) - Oil on canvas mounted on aluminum / c. 1880 - Georgia Museum of Art (Athens, Georgia) #WomenInArt #WomensArt #WomenArtists #ElizabethJaneGardnerBouguereau #GardnerBouguereau #artText #artwork #GeorgiaMuseumofArt #WomenPaintingWomen

Safety is Your Business gouache, acrylic, tempera powder and pencil on bristol, 22x30...a slight riff on malcolm morely's painting which i've always loved..done maybe 6yrs ago