vacilandoelmundo:

Time Slice by Richard Silver

The idea behind the “Time Sliced” Project was to photograph iconic world buildings at sunset and capture the changing light from day to night in a single image. Experimenting with a few different kinds of processes I came up with the “Sliced” idea. I decided to Slice time and light showing the progression of the day from left to right.

(via dream-adept)

Timestamp: 1411242036

vacilandoelmundo:

Time Slice by Richard Silver

The idea behind the “Time Sliced” Project was to photograph iconic world buildings at sunset and capture the changing light from day to night in a single image. Experimenting with a few different kinds of processes I came up with the “Sliced” idea. I decided to Slice time and light showing the progression of the day from left to right.

(via dream-adept)

staystillmaster:

Gerardina Jacoba van de Sande Bakhuyzen (1826–1895) A still life with roses, daisies, raspberries and peaches in a landscape.

(via jaded-mandarin)

Timestamp: 1411236073

staystillmaster:

Gerardina Jacoba van de Sande Bakhuyzen (1826–1895) A still life with roses, daisies, raspberries and peaches in a landscape.

(via jaded-mandarin)

masterpiecedaily:

Francois Lemoyne

Pygmalion Seeing his Statue Come to Life

1729

Timestamp: 1411224034

masterpiecedaily:

Francois Lemoyne

Pygmalion Seeing his Statue Come to Life

1729

aparthistorystudy:

Napoleon Crossing the Alps (c. 1801-1805) - Jacques-Louis David

Neoclassicism

(via aparthistorystudy)

Timestamp: 1411173618

aparthistorystudy:

Napoleon Crossing the Alps (c. 1801-1805) - Jacques-Louis David

Neoclassicism

(via aparthistorystudy)

allegoryofart:

Mountainous River Landscape (detail)Caspar David Friedrich, 1830-35

Timestamp: 1411167658

allegoryofart:

Mountainous River Landscape (detail)Caspar David Friedrich, 1830-35

fablesandgables:

Pottery ancestor figure

Zapotec, 200 BC - AD 800

From the Oaxaca Valley, Mexico

Offering vessels like this one have been found in the tombs of high-ranking Zapotec lords and noblewomen in the Oaxaca Valley in Mexico.

Zapotec nobles were buried in tombs set around the central plaza of their capital at Monte Albán, which was founded in the 6th century BC and flourished between the 3rd and 7th centuries AD. This imposing site was located on the top of a hill with views of the Oaxaca Valley and surrounding mountains. The supporting population, which at its height numbered around 25,000, lived on the terraced slopes in the valley below.

Royal ancestor worship was the focus of Zapotec belief and ceremonial practice and the powerful figures depicted on offering vessels - or funerary urns as they are also known - are thought to represent these ancestors rather than deities. The importance of ancestry lies in the Zapotec use of genealogy and ancestral lines to pass on power and wealth.

Figures like this have been found inside tombs, positioned alongside bodies, as well as in niches in the walls. They’ve also been found buried in the floors of ceremonial centres, seemingly as offerings.

The figure on this example wears a mask and headdress representing the depicted ancestors’ potent supernatural force. The chest ornament features a glyph or sculpted symbol of a day in the 260-day Zapotec ritual calendar.

The exact use and purpose of these vessels is unknown. The container, or urn, itself - usually a cylindrical vessel hidden behind the sculpted figure - may simply have been used to hold perishable offerings, as remains have been found inside. [x]

Timestamp: 1411161659

fablesandgables:

Pottery ancestor figure

Zapotec, 200 BC - AD 800

From the Oaxaca Valley, Mexico

Offering vessels like this one have been found in the tombs of high-ranking Zapotec lords and noblewomen in the Oaxaca Valley in Mexico.

Zapotec nobles were buried in tombs set around the central plaza of their capital at Monte Albán, which was founded in the 6th century BC and flourished between the 3rd and 7th centuries AD. This imposing site was located on the top of a hill with views of the Oaxaca Valley and surrounding mountains. The supporting population, which at its height numbered around 25,000, lived on the terraced slopes in the valley below.

Royal ancestor worship was the focus of Zapotec belief and ceremonial practice and the powerful figures depicted on offering vessels - or funerary urns as they are also known - are thought to represent these ancestors rather than deities. The importance of ancestry lies in the Zapotec use of genealogy and ancestral lines to pass on power and wealth.

Figures like this have been found inside tombs, positioned alongside bodies, as well as in niches in the walls. They’ve also been found buried in the floors of ceremonial centres, seemingly as offerings.

The figure on this example wears a mask and headdress representing the depicted ancestors’ potent supernatural force. The chest ornament features a glyph or sculpted symbol of a day in the 260-day Zapotec ritual calendar.

The exact use and purpose of these vessels is unknown. The container, or urn, itself - usually a cylindrical vessel hidden behind the sculpted figure - may simply have been used to hold perishable offerings, as remains have been found inside. [x]

aparthistorystudy:

Romanesque Portal

Timestamp: 1411155643

aparthistorystudy:

Romanesque Portal

Portrait of Thai and Naia

Pre- Ramessid period; beginning of

Dynasty XIX, fourteenth century B.C.

Limestone; height 35”.

From the necropolis at Sakkara.

In type, this group statue of a married couple could belong to the end of the eighteenth Dynasty. That period could have produced the husband’s wig in two tiers, falling to his breast, as well as the wife’s, with its mass of braids. The same is true of the simplicity of the costumes, especially the woman’s. However a certain difficulty of expression and rusticity signify that the mechanical felicity of the Eighteenth Dynasty has been left behind. Some of the old modes reappear: the folds on  the belly of the man, to state anatomical demarcations; the indifference to the features of the faces, which are practically the same in both figures; and the geometric form of the volumes. A new and more modest beginning has been made. The old traditions have been investigated again, without the brashness of the artist who seeks to show himself superior to his teacher The interest is in rediscovering the tradition against which Tell el Amarna had rebelled.

Timestamp: 1411149662

Portrait of Thai and Naia

Pre- Ramessid period; beginning of

Dynasty XIX, fourteenth century B.C.

Limestone; height 35”.

From the necropolis at Sakkara.

In type, this group statue of a married couple could belong to the end of the eighteenth Dynasty. That period could have produced the husband’s wig in two tiers, falling to his breast, as well as the wife’s, with its mass of braids. The same is true of the simplicity of the costumes, especially the woman’s. However a certain difficulty of expression and rusticity signify that the mechanical felicity of the Eighteenth Dynasty has been left behind. Some of the old modes reappear: the folds on  the belly of the man, to state anatomical demarcations; the indifference to the features of the faces, which are practically the same in both figures; and the geometric form of the volumes. A new and more modest beginning has been made. The old traditions have been investigated again, without the brashness of the artist who seeks to show himself superior to his teacher The interest is in rediscovering the tradition against which Tell el Amarna had rebelled.

artmastered:

Alberto Giacometti, Head-Skull, 1933-34, plaster, 18.5 x 20 x 22.5 cm, MoMA, New York. Source

Timestamp: 1411143620

artmastered:

Alberto Giacometti, Head-Skull, 1933-34, plaster, 18.5 x 20 x 22.5 cm, MoMA, New York. Source

theartistsmanifesto:

Ed Ruscha, Honk, 1962, Acrylic on paper, Tate Modern. 

The almost onomatopoeia-like quality of the word “honk” is captured in the painting.  

Timestamp: 1411137623

theartistsmanifesto:

Ed Ruscha, Honk, 1962, Acrylic on paper, Tate Modern. 

The almost onomatopoeia-like quality of the word “honk” is captured in the painting.  

lionofchaeronea:

Woman in a Cave, Paul Delvaux, 1936

Timestamp: 1411093218

lionofchaeronea:

Woman in a Cave, Paul Delvaux, 1936

artmastered:

Jean-Honoré Fragonard, Young Woman Playing with a Dog, 1765-72, oil on canvas, 70 x 87 cm, Fondation Cailleux, Paris. Source

I wish I could play with my dog like this, but unfortunately, she’s a labrador retriever. I’m not sure how that would work.

Timestamp: 1411087217

artmastered:

Jean-Honoré Fragonard, Young Woman Playing with a Dog, 1765-72, oil on canvas, 70 x 87 cm, Fondation Cailleux, Paris. Source

I wish I could play with my dog like this, but unfortunately, she’s a labrador retriever. I’m not sure how that would work.

gentlewave:

A replica of a painted mural of Avalokiteśvara (Guanyin) and attendant bodhisattvas, early 8th century, Tang dynasty, Mogao Caves, Dunhuang, Gansu Province, People’s Republic of China. Figures originally adorned with gold leaf. The Mogao Caves or Mogao Grottoes (莫高窟), also known as the Caves of the Thousand Buddhas (千佛洞), form a system of 492 temples, 25 km southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The construction of the Mogao Caves near Dunhuang is generally taken to have begun sometime in the fourth century CE. Sources: daviegan.com., en.wikipedia.org/wiki/Mogao_Caves, and public.dha.ac.cn. 

Timestamp: 1411081279

gentlewave:

A replica of a painted mural of Avalokiteśvara (Guanyin) and attendant bodhisattvas, early 8th century, Tang dynasty, Mogao Caves, Dunhuang, Gansu Province, People’s Republic of China. Figures originally adorned with gold leaf. The Mogao Caves or Mogao Grottoes (莫高窟), also known as the Caves of the Thousand Buddhas (千佛洞), form a system of 492 temples, 25 km southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The construction of the Mogao Caves near Dunhuang is generally taken to have begun sometime in the fourth century CE. Sources: daviegan.com., en.wikipedia.org/wiki/Mogao_Caves, and public.dha.ac.cn.