cavetocanvas:

Joan Snyder, Rain, 2009
cavetocanvas:

Joan Snyder, Black Pond, 2011

cavetocanvas:

Joan Snyder, Black Pond, 2011

dimisfit:

Illo 365: May 17th
Who has two thumbs and don’t want to work on this film?
YOU
(and me)

dimisfit:

Illo 365: May 17th

Who has two thumbs and don’t want to work on this film?

YOU

(and me)

stormtrooperfashion:

Linnea G (Elite) in “Leaving the Nest” by Lisa Hasselgren for REVS Magazine, May 2013

stormtrooperfashion:

Linnea G (Elite) in “Leaving the Nest” by Lisa Hasselgren for REVS Magazine, May 2013

(via agmbfashion)

I can’t tell if this “skip school and be a real person” idea is the best or worst I’ve ever had.

cavetocanvas:

George Stubbs, Horse Frightened by a Lion, 1763
From the Tate Gallery:

In order to create a convincing portrayal of the animals in his ‘Horse and Lion’ subjects, Stubbs made numerous studies of a lion in Lord Shelburne’s menagerie at Hounslow Heath, while the horse had earlier been the subject of meticulous scientific observation by the artist. In these works, Stubbs wholly departs from the restrained portraiture of well-bred animals to echo the more sublime emotions of Romanticism: terror, anguish and the throes of death. The Romantic mood is enhanced by the wild landscape setting that Stubbs chose - the dramatic rock formations of Creswell Crags, on the Nottinghamshire-Derbyshire border. The looming limestone crags are made to work in conjunction with the emotionally-charged combat between the two noble beasts. In this composition, the horse’s head, still free, is outlined against an open sky, while in later episodes the animals are engulfed in the dark mass of the rocks, as the horse succumbs to its fate.

cavetocanvas:

George Stubbs, Horse Frightened by a Lion, 1763

From the Tate Gallery:

In order to create a convincing portrayal of the animals in his ‘Horse and Lion’ subjects, Stubbs made numerous studies of a lion in Lord Shelburne’s menagerie at Hounslow Heath, while the horse had earlier been the subject of meticulous scientific observation by the artist. In these works, Stubbs wholly departs from the restrained portraiture of well-bred animals to echo the more sublime emotions of Romanticism: terror, anguish and the throes of death. The Romantic mood is enhanced by the wild landscape setting that Stubbs chose - the dramatic rock formations of Creswell Crags, on the Nottinghamshire-Derbyshire border. The looming limestone crags are made to work in conjunction with the emotionally-charged combat between the two noble beasts. In this composition, the horse’s head, still free, is outlined against an open sky, while in later episodes the animals are engulfed in the dark mass of the rocks, as the horse succumbs to its fate.

balenciwanga:

Sigrid Agren in Numéro #118 November 2010 photographed by Ben Hassett

balenciwanga:

Sigrid Agren in Numéro #118 November 2010 photographed by Ben Hassett

(via agmbfashion)

thefashiondontlivewithoutvogue:

“Age of Innocence”: Saskia de Brauw by Josh Olins for Vogue China October 2011

thefashiondontlivewithoutvogue:

“Age of Innocence”: Saskia de Brauw by Josh Olins for Vogue China October 2011

(via agmbfashion)