![bishopsbox:
The seven deadly sins and the four last things (c.1500) (El Prado Museum, Madrid).
La mesa de los pecados capitales (c.1500) (Museo del Prado, Madrid).
by/por: Hieronymus Bosch (El Bosco) from/de: WikiPaintings (amazing! / ¡fabulosa!)
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The seven deadly sins and the four last things (c.1500) (El Prado Museum, Madrid).
La mesa de los pecados capitales (c.1500) (Museo del Prado, Madrid).
by/por: Hieronymus Bosch (El Bosco) from/de: WikiPaintings (amazing! / ¡fabulosa!)
Dissected - Dali, Van Gogh and Picasso
by DDB Brazil for the Museu de Arte de São Paulo (MASP) Art School
(via storiadellarte)
“The closer he looks at the child, the less he sees … The more he looks at it, there’s nothing there. He fears that the more you look at him the less you see. There isn’t anything there.”
—John Hughes
(Source: davidfincherings, via caravaggista)
![embosch:
suicideblonde:
Hieronymus Bosch print dress - Carven Fall 2012, March 4th
NEEEEEEEEEEED
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![cavetocanvas:
Michelangelo, Dusk and Dawn from the tomb of Lorenzo de’ Medici, 1524-31
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Michelangelo, Dusk and Dawn from the tomb of Lorenzo de’ Medici, 1524-31
"Leonardo’s Mona Lisa is just a thousand thousand smears of paint. Michelangelo’s David is just a million hits with a hammer. We’re all of us a million bits put together the right way."
![buongiorno:
I never quite noticed the angel’s hand grasping at her cloak. You can’t look at this and not, you know, shiver. I just get something close to chills trying to understand how fluid, how totally impossible this is or at least seems to be. It’s as though I were standing near a ledge of a very tall building and I’ve just glimpsed at what lies below. It gives you that sort of jump all the way clear through your limbs. It’s a sort of tingle, as if you body is trying to make sure you’re awake, that you’re paying attention. It’s a sort of fight or flight, a little fright, except I always fail and my knees go weak. That’s what I feel just looking at a slide of this work. I can’t imagine what will occur when I next see it in person.
Here’s Simon Schama’s Power of Art on Bernini and this sculpture in particular. Parts 1, 2, 3, and 4.
Schama on Bernini’s choice of marble as his medium “No one before Bernini had managed to make marble so carnal. In his nimble hands, it would flutter and stream, quiver and sweat.”
Taking all my restraint not to watch it in full this very moment.
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I never quite noticed the angel’s hand grasping at her cloak. You can’t look at this and not, you know, shiver. I just get something close to chills trying to understand how fluid, how totally impossible this is or at least seems to be. It’s as though I were standing near a ledge of a very tall building and I’ve just glimpsed at what lies below. It gives you that sort of jump all the way clear through your limbs. It’s a sort of tingle, as if you body is trying to make sure you’re awake, that you’re paying attention. It’s a sort of fight or flight, a little fright, except I always fail and my knees go weak. That’s what I feel just looking at a slide of this work. I can’t imagine what will occur when I next see it in person.
Here’s Simon Schama’s Power of Art on Bernini and this sculpture in particular. Parts 1, 2, 3, and 4.
Schama on Bernini’s choice of marble as his medium “No one before Bernini had managed to make marble so carnal. In his nimble hands, it would flutter and stream, quiver and sweat.”
Taking all my restraint not to watch it in full this very moment.
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Hieronymus Bosch, The Garden of Delights, ca. 1500-1505 (Madrid, Spain, Museo del Prado)
The open triptych shows three scenes. The left panel is dedicated to Paradise, with the creation of Eve and the fountain of life, while the right panel shows hell. The central panel gives its name to the entire piece, representing a garden of life’s delights or pleasures. Between paradise and hell, these delights are nothing more than allusions to sin, showing humankind dedicated to diverse worldly pleasures.
