2. Spring and Autumn Trees and Grasses by a Stream, Edo period, 2nd half of the 17th century

    Rimpa School (Japanese)

    Pair of six-panel screens; ink, color, gold, and silver on paper 


  4. 3wings:

    Mats Gustafson, who is known for his elegant fashion illustrations and his spare, lyrical depictions of nature, has lately turned his eye to swans. Until January 23, 2010, John McWhinnie at Glenn Horowitz Bookseller is showing the Swedish-born artist’s pastels of the majestic birds, along with some dreamy landscapes and the swan-themed wallpaper that Gustafson has done for Maharam Digital Projects’ collection of digitally printed, large-scale wallcoverings.
    (Swanning Around | Mats Gustafson)

  5. 3wings:

    Self-Portrait in Profile

    Marcel Duchamp

  7. Raven’s Daughter


    Denise Kester

  8. Echo - Daphne Descends, 2012

    graphite, watercolor, ink on wood

    Alessia Iannetti

  9. Stumpwork depicting Tristan and Isolde (textile)

    German School, (16th century)

    Victoria & Albert Museum, London, UK / The Bridgeman Art Library

  10. The Third & The Seventh from Alex Roman on Vimeo.

    A FULL-CG animated piece that tries to illustrate architecture art across a photographic point of view where main subjects are already-built spaces. Sometimes in an abstract way. Sometimes surreal.

    .Fullscreen it, please.


  11. Andrei Tarkovsky speaks about his own movies

    "I’m interested in the problem of inner freedom…" The Stockholm 1985 Interview — for the first time in English.
              Jump directly to: [ On Solaris | On Mirror | On Stalker ]
    Tarkovsky, Between Two Films (1962)
    Tarkovsky on Andrei Rublov (compiled by Nostalghia.com)
    Tarkovsky on Andrei Rublov (compiled by R. Bird)
    An Unpublished Interview with Andrei Tarkovsky, on Andrei Rublov (1967)
    Tarkovsky and Lem on Solaris (1971—1987)
    Tarkovsky on Solaris (1973)
    Tarkovsky on The Sacrifice
    Tarkovsky talks to Guerra, with emphasis on Stalker (1979)
    Tarkovsky on Nostalghia (1980)
    Tarkovsky interviewed by Maurizio Porro, on Nostalghia (Cannes, 1983)
    Tarkovsky interviewed by Natalia Aspesi, on Nostalghia (Cannes, 1983)
    Tarkovsky talks to Gideon Bachmann, on Nostalghia (1982)

    Tarkovsky on Various Topics

    On acting, in theater vs. film
    On the problem with film-school education
    On the concept of symbols
    On screenwriters vs. directors
    On color vs. black-and-white cinema
    On sundry topics
    Tarkovsky on some film-related topics
    Tarkovsky’s Top-Ten Movies List (1972)
    Tarkovsky in Italy: The Current State of Cinema (1982)
    Tarkovsky in London: The Responsibility of the Artist   “The longer I work in cinema the more convinced I am that this domain of art is not ruled by any laws. I do not even attempt to find them… Everything is possible.” From item 48 of the Tolstoy Complex bibliographyimage

    Remembering their work with Tarkovsky…

    Michal Leszczylowski: Remembrance
    Layla Alexander Garrett: Andrey Tarkovsky — Enigma and Mystery
    Lars-Olof Löthwall: Daily Rounds with Andrej Tarkovskij
    Sven Nykvist in conversation with Dr. Bengt Forslund on the shooting of The Sacrifice
    Giuseppe Lanci: A Testimony
    Vadim Yusov: To Understand the Essence of Creation
    Mark Le Fanu: Vadim Yusov in London


  12. An image cannot be a symbol in my opinion. Whenever an image is turned into a symbol, the thought becomes walled in so to speak, it can be fully deciphered. That’s not what image is. A symbol is not yet an image. Although image cannot be explained, it expresses truth to the end… Its meaning remains unknown. I was asked once what the bird on boy’s head in The Mirror meant. But any time I attempt to explain, I notice everything loses its meaning, it acquires a completely different sense than intended, moves away from its rightful place. I could only say a bird would not come to an evil man but that’s not good enough. A true image is an abstraction, it cannot be explained, it only transmits truth and one can only comprehend it in one’s own heart. Because of that it’s impossible to analyse a work of art by utilising its intellectual significance. 

  13. Combustinone BL7

    Alberto Burri

  14. senza titolo

    Alberto BURRI

  15. The Cholmondeley Ladies, circa 1600-10

    British School