Fire

Drake's gorgeous body

Ladon Alex

True but then he besmirched it with some truly horrendous tattoos. The dichotomy of man

He's just in his avant-garde era let him cook

instagram.com/p/C02QuCgO373/?igshid=NTc4MTIwNjQ2YQ==

janssonstegner.com

great gallery walking from vauxhall to pimlico

wavyyyy

the detail

oh he in this thread most definitely ktt2.com/white-white-girls-16539 nice work

need me a ting/s with body like these asap might be time to move to netherlands

last page is nuts

Vision in the Colosseum (Jose Benlliure y Gil)

Salome (Georges Desvallieres)

The Ghost of a Flea (William Blake)

Steel Water & Sweat (Guang Tingbo)

I enjoy this painting (Karagöz and Hacivat, the Shadow Play by Mehmet Muazzez Özduygu, on display at the State Art and Sculpture Museum in Ankara, Turkey). The shadow play enjoyed popularity in almost every corner of the world at some point in the past, but it was especially important, and grew from being just a form of entertainment to a cultural cornerstone, in Southeast Asia, India, and, (the setting of today’s painting) the Eastern Mediterranean. I myself was lucky enough to see a shadow play several years ago in Chania, Crete, Greece, although unfortunately I only stayed for a few minutes, as at the time I saw it only as a curiosity - certainly interesting and fun, but not as a rare example, to be treasured, of a once ubiquitous art form which is unfortunately in steep decline due to its lack of cultural cachet in the face of the rise of mass media.

Wayang shadow puppets from Java

Various Indian shadow puppets of Rama

Karagöz and Hacivat, the shadow puppets depicted in the painting, common in the post-Ottoman world

fire

Mikhail Nesterov

Excellent rendering of the figured juxtaposed with pattern like rendering of the background and surrounding, yet so much depth as you look toward the horizon. That birch tree in the far foreground is a single stroke of white yet it feels perfectly realistic and in place. The peredvizhniki were masters In every sense of the word fr.