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Historical Indulgences / Architectural Indulgences / Decorative Indulgences / Heck Yes Americana / Fuck Yeah American Art

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Felice Casorati “Dreaming Of Pomegranates” 1912

Konstantin Somov, Island of Love 1900

Frederic Remington (1861-1909): Moonlight Wolf


Egon Schiele, 1909


Marcel Bovis
Homme marchant sur la structure métallique
Paris, 1930
[From the Réunion des Musées Nationaux]

Seascape - John Singer Sargent

Thomas Anshutz, The Ironworkers Noontime, 1880


Unlike other painters who strove for an accurate rendering of topography, Inness was concerned with setting a mood and conveying a profound experience of nature. There is a sense in these paintings, characteristic of Inness’s later work, that light and life are rapidly fading into darkness. 

This melancholy contrasts with the optimism commonly associated with young American landscape painters of the period, for whom the continent seemed to stretch toward a horizon of limitless possibility.

Top: George Inness, Summer Silence (End of an Autumn Day), 1892, Oil on canvas. Smart Museum of Art, The University of Chicago, The Harold H. Swift Bequest, 1967.9.

Bottom: George Inness The Coming Shower, 1892, Oil on canvas. Smart Museum of Art, The University of Chicago, The Harold H. Swift Bequest, 1962, 1978.202.


Georgia O’Keeffe, City Night, 1926, oil on canvas

Via Philadelphia Museum of Art - Henry Ossawa Tanner (1859-1937) - Low Tide, Cannon Street Bridge, 1901-3

Accession no.: 2005-86-1

Stairway at 48 rue de Lille Paris
Edward Hopper - 1906 
Whitney Museum of American Art
Oil on panel

1895 Frederic Remington - What an Unbranded Cow Has Cost

"She hated the namelessness of women in stories, as if they lived and died so that men could have metaphysical insights."

- Chad Harbach, The Art of Fielding  (via glittergheist)

(Source: fissionaccomplished, via thecuntstitutionstate)

"The moon hung over the planet Earth, a dead thing over a dying thing."

- John Fowles (via amandaonwriting)

(via shannonfoley)