#Oil Counter

[inkskinned]

as we enter the start of a semester and the dreaded Hour of Making Friends us upon us... if ur ever at a loss for what to say in one of those weird social situations where you only vaguely-know people, one of my favorite questions to ask is "what is your favorite food crime." a food crime is like the food combination that you love that other people find revolting. press them to take it further than pineapple on pizza, that's rote. food crimes is a good topic that has many benefits as it turns out all people are degenerates and also it will give you some cool ideas to try out later in the privacy of your own degenerate kitchen

the other good thing to ask is "okay but has anyone here ever been someplace haunted" bc it turns out if you ask most people directly they don't believe in ghosts, but many people are like "oh yeah i lived in a haunted house. ghosts aren't real tho"

[worstloki]

The Avengers being very surprised and a little annoyed that Thor has a whole hair care regimen that he insists he stick to because none of the products are available on earth so the lad keeps disappearing for days-long shopping runs when they need him to be around for missions too

[galleryofart]

Nameless and Friendless. “The Rich Man’s Wealth is his Strong City, Etc.” - Proverbs, x, 15

Artist: Emily Mary Osborn (English, 1828–1925)

Date: 1857

Medium: Oil paint on canvas

Collection: Tate Britain, London, United Kingdom

Description

Nameless and Friendless focuses on the predicament of the single woman in the modern metropolis by offering a female version of the traditional ‘Choice of Hercules’ theme. The picture shows an orphaned female artist (as suggested by her black dress), accompanied by a boy, presumably her brother, diffidently offering one of her paintings to a dealer whose disdainful expression suggests rejection. An assistant looks down cursorily at her canvas from his position on a ladder, while the woman is eyed up from behind by two rakish men otherwise engaged in examining a hand-coloured print of a ballerina – the bare legs of whom suggest other choices facing the impoverished and desperate young woman. Isolated in the centre of the composition between leering and contemptuous glances, the woman’s vulnerability is accentuated by her downward gaze and fingers nervously pulling a hoop of string. The mud-splattered crepe of her skirt, her dripping umbrella and protective cape hint at the distance she has travelled and the conditions she has endured to brave the encounter.

[bruesselbach]

"Ants on a log with butter instead of peanut butter." Analog Imagination 10, 2025, oil on canvas, 12x9in. Prompt by thegreatpi

[kitsuuk3n]

Rawr.

Viktor is so me HAHAHA

[shreyasfineart]

 Vertigo 🏗️ - A Site, Oil Painting (14" x 21") from Counter Strike 2

I painted this map with an arrangement in mind to combine the sturdy structural elements with inorganic shape of smoke. And when you hit A-site on this underconstruction skyscrapper, it has to be accompanied by smokes and spamming :)

[mistyhollowcottage]

Doing a nice thorough deep clean on a warm spring day with the windows open >>

[balkanswift]

Lmao. Forgot to put in oil in the meal i was cooking until almost the very end. No wonder it tasted bland when i tried it to see if the potatoes had been cooked through. Let's hope i managed to salvage it

[artandthebible]

The Calling of Saint Matthew

Artist: Marinus van Reymerswaele (Dutch, c. 1490-c. 1546)

Date: 1536

Medium: Oil paint on panel

Collection: Museum of Fine Arts Ghent, Ghent, Belgium

Description

Marinus van Reymerswale came from the city of Reimerswaal in Zeeland. After his studies at the University of Leuven he trained as a painter in Antwerp. His style is characterized by sharp, flowing lines, the mannerist elongation of figures, and the realistic representation of objects. All these qualities can be seen in The Calling of St Matthew. The story about the tax collector who became an apostle was very popular among his contemporaries. It offered the painter an opportunity to work out an interesting composition and gives the spectator an insight into the hustle and bustle of a collector’s office with accounts, records and other bits of parchment in the background.

[venompeach]

I love you streetwise cody

[cissa-calls]

Countdown to Coven of Chaos: Day 519

Y/N: “Has it ever been disheartening to witness the hubris of humanity condemn itself to cyclical acts?”

Agatha: “You haven’t considered the idea that I’M the one doing the condemning”

Wanda: “Oh no”

Y/N, tackling Agatha: “YOU’RE THE REASON WHY ORPHEUS ALWAYS TURNS AND LOOKS!”

Agatha: “I was joking!” *gets socked in the stomach* “Wanda get this mantis shrimp off of me!”

Wanda, trying to pry off Y/N who is angry crying existential tears: “I can’t! The class sunk in!! This is what you get for answering a philosophical question in jest!”

Agatha: “I DIDN’T KNOW I TRIGGERED A DEMON?!”

[exp-pack]

Paintings by American artist Ryker Woodward (x/artistryker) using gouache and oil paint. (2021-2023)

[chibishortdeath]

Like dude wtf is this 😭😭😭😭😭😭😭😭

[galleryofart]

The Café (Café Conte, London)

Artist: Frank Graham Bell (British, 1910–1943)

Date: 1937–1938

Medium: Oil on canvas

Collection: Manchester Art Gallery, Manchester, England

Description

An everyday scene of a crowded small café, viewed from the interior, looking down the café counter towards a window. A woman in overalls stands behind the counter wiping crockery. In the foreground, two customers stand in front of the counter, a man with a cup of tea, another reading a newspaper. There is a glass cabinet on top of the counter containing cakes. More customers can be seen in the background through the archway and out of the window, a street is just visible. The figures depicted are: (from left) the cafe proprietor's daughter, Geoffrey Tibble (seen through counter case), Victor Pasmore, Claude Rogers, Igor Anrep, and William Coldstream.

[hauntedtotem]

aita for not letting children and the elderly eat bug poison? i, 23m,

[shreyasfineart]

My oil painting of NUKE from CS2