denisforkas:

M L K, 2011

Tempera, blood, charcoal and graphite on prepared paper, 50 x 50 cm

denisforkas:

Goat Grape Crusher, the first study, 2013

(the second study)

Ink, wine, acrylics and watercolour on tinted paper, 29.5 x 8.4 cm

denisforkas:

Composition study for the Diomedes / Mares of Thrace mural, 2013

Ink on paper, 29 x 12.5 cm

denisforkas:

The Garden (after James McNeill Whistler), 2014

Ink on paper, 29.5 x 23.5 cm 

denisforkas:

Triton Motif I, 2014

Acrylics on prepared paper, 28.7 x 23.5 cm

Denis Forkas – Spirits of the Mirror

jukavo:

M Grace Jewelry

Wish the folks I cared about were happier.

asolitarycomfort:

Fernand Fonssagrives

29 August 2012

nobreathcame:

The Triton’s Mirror, 2014

Acrylics on prepared paper, 55.7 x 41.5 cm 

Denis Forkas – Spirits of the Mirror

(Source: denisforkas)

slowartday:

slowartday:

Philip Govedare

I love originality. I love irony and unpredictable juxtapositions of textures, patterns and colors. I love seeing something and thinking that it’s something I’ve never seen before.

- Kim, tumblr manager

(via corroda)

dalekboldvin:

Albrecht Dürer: Apocalypse (1498)

1. The four horsemen of the Apocalypse

2. The martyrdom of St John

3. St Michael fighting the Dragon

4. The Whore of Babylon

(via sculpere)

"Historically, industrial capital waged a mighty struggle to free itself from the chains of the landlords who extracted rent, the usurious financiers and the merchants who looked to rob or buy cheap and sell dear in unevenly constructed markets. Twenty-first-century capitalism seems to be busy weaving a net of constraints in which the rentiers, the merchants, the media and communications moguls and, above all, the financers ruthlessly squeeze the lifeblood out of productive industrial capital, to say nothing of the workers employed. It is not that industrial capital disappears. It has merely become subservient to capital in its other more fantastic and virulent forms."

David Harvey, Seventeen Contradictions and the End of Capitalism (via trashingdays)

K’rul sighed. “I am lost. In this world. In this time… Do I seek out new battles, new games to play in the company of Ascendants? Are you rewarded in spirit for your efforts?”

centuriespast:

Satyr’s Head

Artist/maker unknown, German. In the manner of Rembrandt Harmensz. van Rijn, Dutch (active Leiden and Amsterdam), 1606 - 1669.

Made in Germany,Late 18th - early 19th century

Etching, with chemical tone

Philadelphia Museum of Art