Hüzün
Hüzün
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THE HOUSE BOOK | Terence Conran ©1976
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juergent:

"Bull Profile Series" by Roy Lichtenstein, 1973

In these prints, Lichtenstein studies the progress of an image from figurative representation to abstraction. The initially recognisable form of the bull in the first panel is, by the sixth, transformed into a geometric abstraction. Gradually, the animal is reduced to its structure - backbone, horns, tail and foreleg - until the only remaining trace is a curved line suggesting horns in the upper-right corner. The relationship between figuration and abstraction is one of the basic issues of twentieth-century art.
juergent:

"Bull Profile Series" by Roy Lichtenstein, 1973

In these prints, Lichtenstein studies the progress of an image from figurative representation to abstraction. The initially recognisable form of the bull in the first panel is, by the sixth, transformed into a geometric abstraction. Gradually, the animal is reduced to its structure - backbone, horns, tail and foreleg - until the only remaining trace is a curved line suggesting horns in the upper-right corner. The relationship between figuration and abstraction is one of the basic issues of twentieth-century art.
juergent:

"Bull Profile Series" by Roy Lichtenstein, 1973

In these prints, Lichtenstein studies the progress of an image from figurative representation to abstraction. The initially recognisable form of the bull in the first panel is, by the sixth, transformed into a geometric abstraction. Gradually, the animal is reduced to its structure - backbone, horns, tail and foreleg - until the only remaining trace is a curved line suggesting horns in the upper-right corner. The relationship between figuration and abstraction is one of the basic issues of twentieth-century art.
juergent:

"Bull Profile Series" by Roy Lichtenstein, 1973

In these prints, Lichtenstein studies the progress of an image from figurative representation to abstraction. The initially recognisable form of the bull in the first panel is, by the sixth, transformed into a geometric abstraction. Gradually, the animal is reduced to its structure - backbone, horns, tail and foreleg - until the only remaining trace is a curved line suggesting horns in the upper-right corner. The relationship between figuration and abstraction is one of the basic issues of twentieth-century art.
juergent:

"Bull Profile Series" by Roy Lichtenstein, 1973

In these prints, Lichtenstein studies the progress of an image from figurative representation to abstraction. The initially recognisable form of the bull in the first panel is, by the sixth, transformed into a geometric abstraction. Gradually, the animal is reduced to its structure - backbone, horns, tail and foreleg - until the only remaining trace is a curved line suggesting horns in the upper-right corner. The relationship between figuration and abstraction is one of the basic issues of twentieth-century art.
juergent:

"Bull Profile Series" by Roy Lichtenstein, 1973

In these prints, Lichtenstein studies the progress of an image from figurative representation to abstraction. The initially recognisable form of the bull in the first panel is, by the sixth, transformed into a geometric abstraction. Gradually, the animal is reduced to its structure - backbone, horns, tail and foreleg - until the only remaining trace is a curved line suggesting horns in the upper-right corner. The relationship between figuration and abstraction is one of the basic issues of twentieth-century art.
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ubiquitouss:
Kim Dorland
, 
Gathering, 2012
Oil and acrylic on jute over panel, 48 x 60 in.
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gothlesterol:

The Eternal.
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youmightfindyourself:

Frank Lloyd Wright and the City: Density vs. Dispersal
Through an initial selection of drawings, films, and large-scale architectural models, the exhibition examines the tension in Wright’s thinking about the growing American city in the 1920s and 1930s, when he worked simultaneously on radical new forms for the skyscraper and on a comprehensive plan for the urbanization of the American landscape titled “Broadacre City.” Visitors encounter the spectacular 12-foot-by-12-foot model of this plan, which merges one of the earliest schemes for a highway flyover with an expansive, agrarian domain. Promoted and updated throughout Wright’s life, the model toured the country for several years in the 1930s, beginning with a display at Rockefeller Center. This dispersed vision is paired with Wright’s innovative structural experiments for building the vertical city. Projects, from the early San Francisco Call Building (1912), to Manhattan’s St. Mark’s-in-the-Bouwerie Towers (1927–31), to a polemical mile-high skyscraper, engage questions of urban density and seek to bring light and landscape to the tall building. Highlighting Wright’s complex relationship to the city, the material reveals Wright as a compelling theorist of both its horizontal and vertical aspects. His work, in this way, is not only of historic importance but of remarkable relevance to current debates on urban concentration.
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brian-kenny:

"Pillowtalk" 2014, ink on canvas, 26 x 26 inches. Now up for bidding on Paddle8 and on view April 9th at David Zwirner gallery in NYC to support ACRIA (AIDS Community Research Initiative of America)https://paddle8.com/work/brian-kenny/29344-pillowtalk
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jvnk:

Personal Branding: Business Card
By Martyna Wędzicka
jvnk:

Personal Branding: Business Card
By Martyna Wędzicka
jvnk:

Personal Branding: Business Card
By Martyna Wędzicka
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humanoidhistory:

Diagrams of the planet Saturn, 1759, by astronomer Sir William Herschel, from a journal he kept documenting his research on telescopes. (Herschel has been prominently featured in the new version of Cosmos: A Spacetime Odyssey.) (Linda Hall Library)
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blueberrymodern:

Fenced | Josef Albers
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carnetimaginaire:

Anne Herbauts, La couleur des sentiments
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bestqualitybeksinski:

Zdzisław Beksiński
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blue-voids:

1970’s interiors, Verner Panton
blue-voids:

1970’s interiors, Verner Panton
blue-voids:

1970’s interiors, Verner Panton
blue-voids:

1970’s interiors, Verner Panton
blue-voids:

1970’s interiors, Verner Panton
blue-voids:

1970’s interiors, Verner Panton
blue-voids:

1970’s interiors, Verner Panton
blue-voids:

1970’s interiors, Verner Panton