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The Lovers

Kaja Horvat, 2024

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The Radiant Meteor Storm of 9 October 1933 from the Larousse Encyclopedia of Astronomy

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Deer caught on cam

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and I miss you

miss you miss you miss you

and it aches

it aches it aches it aches

and I want to sleep through the years

the years the years the years

to know what will be

will be will be will be

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Wassily Kandinsky, Blue, 1927.

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Pan Haowen By Jumbo Tsui For ELLE China April 2020

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(by reiner.hofer)| Faroe Islands

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Chen Jialing（陳 家泠/陈 家泠 Chinese, b.1937）

Landscape ink and colour on paper 64 × 45 cm via more

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Gus Bundy. Wild Horses, 1950.

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Claude Monet

Le repos dans le jardin, Argenteuil

1876

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The Teton Range from the Snake River Overlook, famous because of Ansel Adams, Wyoming [OC] [3635x4544] @itk.jpeg

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- Franz Kafka, The Diaries of Franz Kafka

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Dora Maar (1907-1997) Landscape, circa 1960. Oil on cardboard, 15 x 21 cm.

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tibet

kin chan coedel for vogue

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Rothko wanted to paint basic human emotion. So he painted red over red over red. Behind the colour he was looking for light. In 1942 he painted The Sacrifice of Iphigenia, where Iphigenia is not a girl, but a black pine already resined in grief. Above her the amnesia of light, an umber sky, shadows spilling white, the only motion the white hands of the wind. The story of Iphigenia was never about the girl, but the men who called for the blood of a girl knowing that the winds would one day change. The forest charred, the air stilled, deranged, and the truth beneath it all is fear, was always fear, the open grave, the charcoal line, the dead growing out of the living like lichen, the pine a blood-eyed child, the pyres loose stones and living rooms. Dress it up in the white hands of the wind. Call it need. Call it necessity. Rothko wanted to paint basic human emotion so looked behind the light and found blood rushing to no end and no knowledge of end.

Ollie Cowley, Rothko / On Fear

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love poem beginning with a yellow cab by José Olivarez

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I see you in everything