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terracegallery · 1 year

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Enchanted Beetle...

I the shape of beetles. It’s perfect for my new Enchanted series. Beautiful bugs for everyone! GET IT HERE!

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elixir · 4 months

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Moonrise Phyllis Shafer — 2015 oil on canvas

#art #painting #portrait #oil painting #contemporary art #curators on tumblr #abstract #illustration #graphic design #aesthetic #college #landscape #photography #modern art #nature #nature photography #landscape photography #green #naturecore

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theroadtofairyland · 5 months

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Meet Me In the Moonlight

Watercolor on Black Cotton Paper

2023, 22"x 30"

White Peonies

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vintagehomecollection · 8 months

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Cool colors in rooms such as this tend to make people feel cool and calm and can be quite refreshing on a warm day. Mark Simon, AIA, of Centerbrook, PC, architect. Photograph: Norman McGrath.

Inside Today’s Home, 1986

#vintage #vintage interior #1980s #80s #interior design #home decor #dormer #attic #window seat #pastel #green #carpeting #throw pillows #contemporary #modern #style #home #architecture

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vaxolang · 3 months

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•Cold Green•

acrylic painting on canvas

size 50 x 35 cm

#vaxo lang #creepy art #contemporary art #contemporary artist #acrylic painting #creepy #horror art #dark art #vaxolang #horror #cold green #acrylic portrait #macabreartwork #macabre artist #macabreart #macabre art #macabre #macabre expression

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bad-moodboard · 1 year

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Enoch Duncan

#eye #eyes #forest #green #contemporary art #contemporary #sky

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collectionstilllife · 2 months

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Daniel Greene (American, 1934-2020) • Lydia Pinkham's Vegetable Compound • Unknown date

#art #painting #fine art #art history #still life #daniel greene #american artist #contemporary painting #painter #artist #artwork #art of the still life art blog #contemporary painter #20-21st century american art

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mangoslixes · 2 years

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Toor’s scenes possess a kind of solemnity or quietude that does not suggest equilibrium so much as tender regard. Toor’s protagonists, obvious stand-ins for the artist himself, at least at an earlier moment in his life, seem held in suspension between two worlds, Old and New, never entirely at home in either. But he also holds them at emotional arm’s length, as if these images were tempered by time, less observations than memories, and they begin to assume the lineaments of archetype, despite their depiction of technology à la mode.

(Many of the pictures have an overall green palette, appropriate, perhaps, for the nocturnal illumination of bars or apartment parties—although more readily suggesting fin de siècle gaslight—but also reminiscent of the discoloured varnish of old paintings hanging for generations in smoke-filled drawing rooms.)

on Salman Toor