Bellotto, View of the Grand Canal and the Dogana (detail), ca. 1740 (x)
(Source: sophistae, via artispretentious)
The Mass Ornament
"Bringing Schwarzenbach: Neo-Romanticism, the Absurd, and Whether Them Motherfuckers Do, in Fact, Know How to [ɑ]ct"
(Detail) Abraham del Court and his wife Maria de Kaersgieter,1654,Bartholomeus van der Helst.
(via jaded-mandarin)
Egon Schiele, Young Man kneeling before God the Father. 1908
(Source: klimt-artwork, via thedelegatefromperu)
This post begins terribly, but hopefully redeems itself by the end
It’s 1935. Annemarie has just checked herself into rehab, and is doing all right, but she’s really worried about Klaus, who has become dangerously unbalanced and is refusing all psychiatric intervention. Unable to see him on a daily basis, Annemarie begins writing him letter after letter, praising his work for Die Sammlung and suggesting that, maybe, finding a boyfriend and getting laid would help cheer him up.
Annemarie’s transformation into respected medical authority might seem like a dubious career move, but here, she was more than qualified to offer Klaus advice, having spent her time in rehab systematically seducing the entire ward. It got to the point where the nurses had to limit her visiting hours— not that this proved much of a deterrent. A certain Janine Auzépy merited mention to Klaus: Annemarie would, with no small degree of irony, rely on the doctors’ ignorance to let her see Janine under the flimsiest of pretexts— “like in Les Enfants Terribles!” There was also a Madame Maquinay, of whom she wrote, “I have rarely succumbed to such a ‘seduction of the senses’ with so few scruples.”
So kids, as with all aspects of Annemarie’s life, there’s a moral here: don’t do drugs, but if you do, make sure to bang your fellow recovering addicts and bamboozle your doctors before they can sign the release papers.
2 days ago - 
6
6 Colour chart used by Austrian botanical illustrator Ferdinand Bauer (1760-1826) for his field observations. His technique was to sketch a ‘painting-by-numbers’ in situ, which he could later add colour to after returning from whichever botanical expedition he was on. The example of his painting shown here is a depiction of Grevillea banksii, named for the great Sir Joseph.
