reblog if you want the soviet union back

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barackobama:

omg look at all the notes

(via fsufeministalumna)

Anxiety from excitment…

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I really hope that my regional coordinator emails me soon as to where I will be in Castilla y León.  I just want to start preparing for if I am going to a city or a town in the middle of nowhere, and figure out potential housing situations.

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cavetocanvas: George Stubbs, Mares and Foals in a River Landscape, c. 1763-68 From the Tate Gallery: The original idea for the frieze-like arrangement of the early mares and foals paintings may have been suggested by engravings by Matham after Collaert and others, which show animals as if on a stage in the foreground, against generalised backgrounds. For most of his mares and foals subjects Stubbs almost certainly drew the animals from life, perhaps first making numerous studies and then carefully arranging them into an ideal composition; however, no such studies have been located. It is known from an unfinished picture in the series that the artist first painted the horses in perfect detail, stretching them across a blank background like the figures in a classical frieze, before carefully inserting the (probably imaginary) landscape into the background. The resulting complex compositional structure demonstrates Stubbs’s knowledge of classical principles, gained on a trip to Italy in 1754, as well as his sense of pattern and rhythm. Mares and Foals in a River Landscape utilises a classical composition which gives an overall symmetry and balance to the group, in which the three mares and their foals are placed so as roughly to form a cone, with their rumps marking the perimeter and their heads the apex. The feeding foals are essential to the composition, allowing the spectator’s eye to be drawn over the whole group in a slow revolving rhythm.

cavetocanvas:

George Stubbs, Mares and Foals in a River Landscape, c. 1763-68

From the Tate Gallery:

The original idea for the frieze-like arrangement of the early mares and foals paintings may have been suggested by engravings by Matham after Collaert and others, which show animals as if on a stage in the foreground, against generalised backgrounds. For most of his mares and foals subjects Stubbs almost certainly drew the animals from life, perhaps first making numerous studies and then carefully arranging them into an ideal composition; however, no such studies have been located. It is known from an unfinished picture in the series that the artist first painted the horses in perfect detail, stretching them across a blank background like the figures in a classical frieze, before carefully inserting the (probably imaginary) landscape into the background. The resulting complex compositional structure demonstrates Stubbs’s knowledge of classical principles, gained on a trip to Italy in 1754, as well as his sense of pattern and rhythm. Mares and Foals in a River Landscape utilises a classical composition which gives an overall symmetry and balance to the group, in which the three mares and their foals are placed so as roughly to form a cone, with their rumps marking the perimeter and their heads the apex. The feeding foals are essential to the composition, allowing the spectator’s eye to be drawn over the whole group in a slow revolving rhythm.

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cavetocanvas: George Stubbs, Horse Attacked by a Lion, 1769 From the Tate Gallery: Stubbs was obsessed with the subject of a lion attacking a horse, making at least seventeen works on the theme, most of which were in oil on regularly-shaped canvas. In this enamel on copper piece, Stubbs cut off the corners to form an irregular octagon, thus tightening the composition. The result is a forceful depiction which is perhaps his most successful treatment of the theme. This is Stubbs’s earliest known experiment in painting in enamel colours, and was the first time the technique - previously limited to decorative objects and miniature portraits - was used by an artist of Stubbs’s stature. He may have approached the medium out of scientific curiosity, although his exact reasons are not known. Before producing this piece, Stubbs spent two years studying the chemical changes to colours under high temperatures, and a further three years improving the support upon which the painting would be made. He used a copper plate support for this work, but was dissatisfied with the size limitations, and for later enamels commissioned the Master Potter Josiah Wedgwood to produce special large ceramic tablets.

cavetocanvas:

George Stubbs, Horse Attacked by a Lion, 1769

From the Tate Gallery:

Stubbs was obsessed with the subject of a lion attacking a horse, making at least seventeen works on the theme, most of which were in oil on regularly-shaped canvas. In this enamel on copper piece, Stubbs cut off the corners to form an irregular octagon, thus tightening the composition. The result is a forceful depiction which is perhaps his most successful treatment of the theme. This is Stubbs’s earliest known experiment in painting in enamel colours, and was the first time the technique - previously limited to decorative objects and miniature portraits - was used by an artist of Stubbs’s stature. He may have approached the medium out of scientific curiosity, although his exact reasons are not known. Before producing this piece, Stubbs spent two years studying the chemical changes to colours under high temperatures, and a further three years improving the support upon which the painting would be made. He used a copper plate support for this work, but was dissatisfied with the size limitations, and for later enamels commissioned the Master Potter Josiah Wedgwood to produce special large ceramic tablets.

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cavetocanvas: George Stubbs, Bay Hunter by a Lake, 1787

cavetocanvas:

George Stubbs, Bay Hunter by a Lake, 1787

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theanimalblog: Newly Born. Photo by manyfires

theanimalblog:

Newly Born. Photo by manyfires

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tinypaintpot: Just became the happiest woman on the earth right now! A surprise trip has been booked to visit the Sloth Sanctuary in Costa Rica for two weeks in JUNE! I’m so excited I actually burst into tears. I never thought it would happen. I’m over the moon. Sloths, I’m coming for you!!! ❤😭

tinypaintpot:

Just became the happiest woman on the earth right now! A surprise trip has been booked to visit the Sloth Sanctuary in Costa Rica for two weeks in JUNE! I’m so excited I actually burst into tears. I never thought it would happen. I’m over the moon. Sloths, I’m coming for you!!! ❤😭

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(Source: tankwang, via jyrraeth)

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coelasquid: Someone asked me to please explain a Canadian English accent once and on my journey as a Northern Manitobaling making pilgrimages to either coast this is what I have observed.

coelasquid:

Someone asked me to please explain a Canadian English accent once and on my journey as a Northern Manitobaling making pilgrimages to either coast this is what I have observed.

(via jyrraeth)