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gnijacamlodapanna
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Trust.

He didn’t let the pup fall the first time, and so the pup did not hesitate to trust the second time. I love this.

Reposted frominsomniasmile insomniasmile viairmelin irmelin
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tchaikovskaya:

thank u google thats exactly what i was looking for, not how many days she has been the prime minister of the united kingdom, her height in picometers. you can read my mind, google, its uncanny 

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Zrobiłam sobie przerwę w pisaniu tej mojej, pożalsięboże, magisterki. Wychodzę na balkon. Cisza, spokój, trochę po północy. Nagle z bloku obok słychać "Jebana magisterka!" i trzaśnięcie drzwiami balkonowymi.
— I feel you bro.
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yesterdaysprint:

yesterdaysprint:

The Philadelphia Inquirer, Pennsylvania, April 20, 1902

“Not too long ago, too, a lady came to me to have a cat’s head tattooed on her arm.”

Newspaper clipping was February 6, 1910 - not April 20, 1902, my bad!

George Burchett’s Wikipedia page

George ‘Professor’ Burchett (also styled the ‘King of Tattooists’) was born George Burchett-Davis on 23 August 1872 in the English seaside town of Brighton, East Sussex and became one of the most famous tattoo artists in the world.

Having been expelled from school at 12 for tattooing his classmates, he joined the Royal Navy at 13, developing his skills while travelling overseas as a deckhand on the HMS Vincent. After absconding from the Navy, he returned to England.

With a studio on Mile End Road, and 72 Waterloo Road, London, Burchett became the first star tattooist and a Favorite among the wealthy upper class and European royalty. Among his customers were King Alfonso XIII of Spain, and King Frederick IX of Denmark. Though it was reputed that he tattooed the ‘Sailor King’ George V of the United Kingdom, there is no reliable evidence to attest to this actually being the case. He also tattooed Horace Ridler (‘The Great Omi’).

He constantly designed new tattoos from his worldwide travel, incorporating African, Japanese and Southeast Asian motifs into his work. In the 1930s, he developed cosmetic tattooing with such techniques as permanently darkening eyebrows.

Working on a client ca. 1930:

image

Same studio:

image

Another leg tattoo:

image

And 1931:

image

His wife, Edith, ca. 1920:

image
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the-violent-peach:

I hit reblog so fast there was a tsunami in the Pacific.

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jordanparrished:

So somebody on my Facebook posted this. And I’ve seen sooooo many memes like it. Images of a canvas with nothing but a slash cut into it, or a giant blurry square of color, or a black circle on a white canvas. There are always hundreds of comments about how anyone could do that and it isn’t really art, or stories of the time someone dropped a glove on the floor of a museum and people started discussing the meaning of the piece, assuming it was an abstract found-objects type of sculpture.

The painting on the left is a bay or lake or harbor with mountains in the background and some people going about their day in the foreground. It’s very pretty and it is skillfully painted. It’s a nice piece of art. It’s also just a landscape. I don’t recognize a signature style, the subject matter is far too common to narrow it down. I have no idea who painted that image.

The painting on the right I recognized immediately. When I was studying abstraction and non-representational art, I didn’t study this painter in depth, but I remember the day we learned about him and specifically about this series of paintings. His name was Ad Reinhart, and this is one painting from a series he called the ultimate paintings. (Not ultimate as in the best, but ultimate as in last.)

The day that my art history teacher showed us Ad Reinhart’s paintings, one guy in the class scoffed and made a comment that it was a scam, that Reinhart had slapped some black paint on the canvas and pretentious people who wanted to look smart gave him money for it. My teacher shut him down immediately. She told him that this is not a canvas that someone just painted black. It isn’t easy to tell from this photo, but there are groups of color, usually squares of very very very dark blue or red or green or brown. They are so dark that, if you saw them on their own, you would call each of them black. But when they are side by side their differences are apparent. Initially you stare at the piece thinking that THAT corner of the canvas is TRUE black. Then you begin to wonder if it is a deep green that only appears black because the area next to it is a deep, deep red. Or perhaps the “blue” is the true black and that red is actually brown. Or perhaps the blue is violet and the color next to it is the true black. The piece challenges the viewer’s perception. By the time you move on to the next painting, you’re left to wonder if maybe there have been other instances in which you believe something to be true but your perception is warped by some outside factor. And then you wonder if ANY of the colors were truly black. How can anything be cut and dry, black and white, when even black itself isn’t as absolute as you thought it was?

People need to understand that not all art is about portraying a realistic image, and that technical skills (like the ability to paint a scene that looks as though it may have been photographed) are not the only kind of artistic skills. Some art is meant to be pretty or look like something. Other art is meant to carry a message or an idea, to provoke thought.

Reinhart’s art is utterly genius.

“But anyone could have done that! It doesn’t take any special skill! I could have done that!”

Ok. Maybe you could have. But you didn’t.

Give abstract art some respect. It’s more important than you realize.

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