Paul Klee, Around the Fish, 1926
27th Feb 201408:37411 notes

officially my new favorite picture.
27th Feb 201408:333,938 notes



Artist Yayoi Kusama in her studio in the psychiatric hospital in Tokyo and back in the days in her New York studio.

Having suffered nervous disorders and hallucinations since childhood, Kusama has chosen to live in a Tokyo psychiatric hospital for the past 38 years, and has built herself a studio opposite. Health permitting, she still makes a daily journey from the hospital to her studio to paint. 

excerpts from Kusama: Princess of Polka Dots directed by Heather Lenz

Fave ever !!!!!!!!

(via danaboulos)


Henri Matisse
Interior with an Etruscan Vase
27th Feb 201408:32776 notes

Lucian Freud, Girl with roses, 1947-1948
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Cy Twombly
27th Feb 201408:31472 notes


Cy Twombly - The Blackboard Paintings, 1966-1970

Ai Weiwei’s Sunflower Seeds for the Tate. Painstakingly painted by hundreds of women in Jingdezhen, providing business to a historic porcelain town. 


Words we don’t have in the English language:

Waldeisamkeit (German) : The feeling of being alone in the woods.

Forelsket (Norwegian) : The euphoria you experience when you are first falling in love.

Cualacino (Italian) : The mark left on a table by a cold glass.

Pena Ajena (Mexican Spanish) : The embarrassment you feel after watching someone’s humiliation.

Greenpeace - Save The Arctic. 


Anna Karina: That happened while we were shooting the picture in Geneva. It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long.  We were like animals. One night we were at this dinner in Lausanne. My boyfriend, who was a painter, was there too. And suddenly I felt something under the table – it was Jean-Luc’s hand. He gave me a piece of paper and then left to drive back to Geneva. I went into another room to see what he’d written.  It said, “I love you.  Rendezvous at midnight at the Café de la Prez.” And then my boyfriend came into the room and demanded to see the piece of paper, and he took my arm and grabbed it and read it.  He said, “You’re not going.” And I said, “I am.” And he said, “But you can’t do this to me.”  I said, “But I’m in love too, so I’m going.” But he still didn’t believe me. We drove back to Geneva and I started to pack my tiny suitcase.  He said, “Tell me you’re not going.” And I said, “I’ve been in love with him since I saw him the second time. And I can’t do anything about it.” It was like something electric. I walked there, and I remember my painter was running after me crying. I was, like, hypnotized – it never happened again to me in my life.
So I get to the Cafe de la Prez, and Jean-Luc was sitting there reading a paper, but I don’t think he was really reading it. I just stood there in front of him for what seemed like an hour but I guess was not more than thirty seconds. Suddenly he stopped reading and said,” Here you are. Shall we go?” So we went to his hotel. The next morning when I woke up he wasn’t there. I got very worried. I took a shower, and then he came back about an hour later with the dress I wore in the film - the white dress with flowers. And it was my size, perfect. It was like my wedding dress.
We carried on shooting the film, and, of course, my painter left. When the picture was finished, I went back to Paris with Jean-Luc, Michel Subor, who was the main actor, and Laszlo Szabo, who was also in the film, in Jean-Luc’s American car. We were all wearing dark glasses and we got stopped at the border – I guess they thought we were gangsters. When we arrived in Paris, Jean-Luc dropped the other two off and said to me, “Where are you going?”  I said, “I have to stay with you. You’re the only person I have in the world now.” And he said, “Oh my God.”
Extract taken from an interview with Anna Karina conducted by Graham Fuller in Projections 13: Women Film-makers on Film-making, edited by Isabella Weibrecht, John Boorman and Walter Donohue (Faber & Faber, 2004) 
(via Focus Features)

I really, really love this. I picture her saying it with the same guileless wide-eyed sincerity as Angela drawls anything in Une Femme est Une Femme. She’s seriously MOVIE worthy. 

18th Nov 201316:5710,114 notes

Henri Matisse, Conversation
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18th Nov 201316:28112 notes

Henri Matisse : Sketch for Le Bonheur de vivre (1905-6)
18th Nov 201315:56352 notes

Frida Kahlo, What I Saw in the Water or What the Water Gave Me, 1938, oil on canvas, 91×70.5 cm. (Paris, Daniel Filipacchi collection)
18th Nov 201311:59780 notes
Opaque  by  andbamnan