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Art enables us to find ourselves and lose ourselves at the same time.

jaylovesarthistory:

Thomas Cole’s Consummation
1836

jaylovesarthistory:

Thomas Cole’s Consummation

1836


BERNINI’S Fountain of the Four Winds
1651

BERNINI’S Fountain of the Four Winds

1651

thegestianpoet:

and let’s take a moment to appreciate the fact that michaelangelo had probably never seen a girl naked and when he want to sculpt or paint them his mentality seems to be “wow, everyone likes women….they must be like…..buff dudes. i love buff dudes. women are buff dudes but with little chest lumps and no wiener”

image“nailed it.”

jaylovesarthistory:

Pierre Auguste Renoir’s 
Luncheon of the Boating Party
1881

jaylovesarthistory:

Pierre Auguste Renoir’s 

Luncheon of the Boating Party

1881


VINCENT VAN GOGH’S Starry Night
1889

VINCENT VAN GOGH’S Starry Night

1889


BERNINI’S The Rape of Proserpina
1622

BERNINI’S The Rape of Proserpina

1622

I Love ArtMichelangelo (1475–1564)

The shift from Mannerism to the Baroque was not so much a change of school as an expression of this dramatisation of life, closely connected to the search for new expressions of Beauty: things amazing, surprising, apparently out of proportion. With the church of Sant’Ivo alla Sapienza [top], Borromini amazed his contemporaries by designing a structure cunningly concealed within the inner courtyard of the Palazzo della Sapienza. The surprise effect was achieved through a play of contrasting concave and convex structures that hide the inner cupola, the whole thing being topped by a spiral lantern of extremely bold design. Shortly after this, Guarini designed the amazing chapel of the Holy Shroud in Turin [bottom], whose cupola—thanks to a structure composed of superimposed hexagons—opens up to form a twelve-pointed star.
On Beauty, Umberto Eco