n ó d o a

uconstruction:

Ted Spiegel (American) • Young boys throw a ball on a lush green hillside below castle ruins in Warwickshire, England, 1968

(via artofboys)

dsamuelsonart:

Drawlloween day 12: Vampire 

Gouache, 5 x 7″

nobrashfestivity:

Felix Vallotton , 1911

eatingbreadandhoney:

The Ballad Singer by Henry Robert Morland 1764.

(via neshamama)

curiousmiscellanies:

A antichirst germany 1460

Munchen Bayerische Staatsbibliothek

curiousmiscellanies:

Fragmentary Head of a King, Upper Egypt, Thebes, reign of Thutmose IV,          

ca. 1400–1390 B.C. -

afroui:

Eugene Jansson

zdzislawbeksinski-art:

Untitled (?)

Zdzislaw Beksinski

(via zdzislawbeksinski-art)

redlipstickresurrected:

Sam Szafran aka Samuel Berger (French, b. 1934, Paris, France) - L'Escalier (The Stairs), 54 Rue de Seine, 1992  Paintings: Watercolors, Colored Pencils on Silk

(Source: christies.com, via psychotic-art)

deep-dark-fears:

Catching a few winks. An anonymous fear submitted to deepdarkfears.com/submit - thanks! The new Deep Dark Fears book is available now for pre-order! You can find more information HERE!

flashofgod:

Jill Freedman, From Fiddler’s Light, 1974.

lauramcphee:

La Nébuleuse, 1939 (Raoul Ubac)

(Source: centrepompidou.fr)

rudygodinez:

Dora Maar, Le Simulateur, (1936)

Although Maar’s  involvement with the surrealist group was brief, lasting only from 1934-1937, her experiments with photomontage created some of surrealism’s most iconic images. She made Le Simulateur  by combining a photograph of a vaulted ceiling (the corridor of the Orangerie at  Versailles) with a photograph of a boy taken from a contemporary street scene. She then re-photographed the image. The photograph of the vaults was deliberately inverted, and the result was an irrational, disorienting architectural space suggestive of a dream. The boy’s eyes have been scratched out, leaving him blind. Eyes and blindness are recurring themes in Maar’s work, used to suggest that interior imagery, not external visible reality, is the true vision. Here, Maar manipulates photography - the artistic medium most closely associated with the real – to produce an image which complies with Breton’s call for surrealist art to be based on a “purely interior model”.

artaslanguage:

Untitled [1940] ////dora M A A R

(via )