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"i.m." Woodblock printing, oil based ink printed on Rives BFK paper, 2013, 20x16.5cm, by Yasuyoshi Tokida, 常田泰由

"i.m." Woodblock printing, oil based ink printed on Rives BFK paper, 2013, 20x16.5cm, by Yasuyoshi Tokida, 常田泰由

John Bellany - Joe Sparks 2009 Oil on canvas 102x76cm

John Bellany - Joe Sparks 2009 Oil on canvas 102x76cm

"g.l." Woodblock printing, oil based ink printed on Rives BFK paper, 2012,20x16.5cm, by Yasuyoshi Tokida, 常田泰由

"g.l." Woodblock printing, oil based ink printed on Rives BFK paper, 2012,20x16.5cm, by Yasuyoshi Tokida, 常田泰由

Hi folks! Third of a series of commission for nice This outfit is for a royal servant character so I keep some details on the dress. Other of the series:

Hi folks! Third of a series of commission for nice This outfit is for a royal servant character so I keep some details on the dress. Other of the series:

http://assets6.pinimg.com/previews/CxQWSnZ8.jpeg hiromi sumida

http://assets6.pinimg.com/previews/CxQWSnZ8.jpeg hiromi sumida

'May Blossom' (2014) by English landscape artist Tor Falcon. Pastel on paper, 42 x 49 cm. via the artist's site

'May Blossom' (2014) by English landscape artist Tor Falcon. Pastel on paper, 42 x 49 cm. via the artist's site

Sir Frank Brangwyn (1867–1956) Le Pont Valentre, A Cahors, 1912 from Revue de L’Art Ancien et Moderne Etching in sepia ink on cream wove paper, printed by Chardon Wittman with original tissue guard 18 x 24 cm (plate); 22.6 x 30.9 cm (sheet)

Sir Frank Brangwyn (1867–1956) Le Pont Valentre, A Cahors, 1912 from Revue de L’Art Ancien et Moderne Etching in sepia ink on cream wove paper, printed by Chardon Wittman with original tissue guard 18 x 24 cm (plate); 22.6 x 30.9 cm (sheet)

"One can feel a....sort of existential frisson while viewing the spare, silhouette drawings of the Atlanta artist Matt Haffner. In these works, Haffner offers reductive black and white images of Southerners living amongst old buildings, streetlights, telephone poles, gas stations, and helicopters. The silhouettes are ghosts haunting Haffner’s scenes. These are urban images, yet they seem frozen in a denatured expanse of opaque gray."

"One can feel a....sort of existential frisson while viewing the spare, silhouette drawings of the Atlanta artist Matt Haffner. In these works, Haffner offers reductive black and white images of Southerners living amongst old buildings, streetlights, telephone poles, gas stations, and helicopters. The silhouettes are ghosts haunting Haffner’s scenes. These are urban images, yet they seem frozen in a denatured expanse of opaque gray."

Tom Pregiato

Tom Pregiato

The Southern Open -- "The content of [David] Sullivan’s pieces revolves around the BP oil spill of 2010. In such works as 'Well Connected,' 'Cloud Cuckoo Land,' and 'Pump Me Up,' Sullivan explores the sinister labyrinth that connects the Gulf South to oil and gas production. The pieces are the fine-art equivalent of BP’s new commercial advising tourists to return to the Gulf Coast: cheerfully ominous."

The Southern Open -- "The content of [David] Sullivan’s pieces revolves around the BP oil spill of 2010. In such works as 'Well Connected,' 'Cloud Cuckoo Land,' and 'Pump Me Up,' Sullivan explores the sinister labyrinth that connects the Gulf South to oil and gas production. The pieces are the fine-art equivalent of BP’s new commercial advising tourists to return to the Gulf Coast: cheerfully ominous."

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