To create is divine, to reproduce is human.

surrealism:

I by Dorothea Tanning, 1986. Color lithograph, 20 ⅜ x 27 ¾ inches.
Donald Kuspit quoted on The Gallery of Surrealism:

I clearly must be a signature piece, in which Tanning signals the continuing wakefulness and alchemical power of her inner eye — the eye which has the power to transform sight into insight, the power to transform whatever it touches into a purely sensuous material that seems the very substance of primary process — and appropriately absolutizes it into a thing in itself, that is, indicates that it is as numinous as her surface.

surrealism:

I by Dorothea Tanning, 1986. Color lithograph, 20 ⅜ x 27 ¾ inches.

Donald Kuspit quoted on The Gallery of Surrealism:

I clearly must be a signature piece, in which Tanning signals the continuing wakefulness and alchemical power of her inner eye — the eye which has the power to transform sight into insight, the power to transform whatever it touches into a purely sensuous material that seems the very substance of primary process — and appropriately absolutizes it into a thing in itself, that is, indicates that it is as numinous as her surface.

Dream About a Ring by Václav Švankmajer, 2011

Dream About a Ring by Václav Švankmajer, 2011

(Source: xo-skeleton)

Imaginary Portrait of Lautreamont at the Age of Nineteen Obtained According to the Paranoiac-Critcal Method by Salvador Dali, 1937

Imaginary Portrait of Lautreamont at the Age of Nineteen Obtained According to the Paranoiac-Critcal Method by Salvador Dali, 1937

David Tudor and John Cage in Japan, 1962.

David Tudor and John Cage in Japan, 1962.

I’m actually going to start updating this again.

Feliks Topolski’s portraits of literary greats, 1961:

  • Aldous Huxley
  • E.M. Forster
  • Graham Greene
  • W.H. Auden

(Source: xo-skeleton)

aronbirtalan:

portraits | 2012

Set of digital portraits done in September 2012. 
Reykjavik, IS. 


I’ve spent most of my last few years being constantly on the go, always adjusting myself to different environments, meeting new cultures, set of rules and most importantly engaging with new groups of people. During this time, I found myself identifying my own persona in an ever changing way, always adjusting some of my features to fit the expectations demanded by the situation. I started working with the idea of bending portraits just a while ago, as a metaphor of one’s identity being in a state of constant flux.

Dali and Man Ray by Carl van Vechten

Dali and Man Ray by Carl van Vechten

Standing Nude with Large Hat (Gertrude Schiele) by Egon Schiele, 1910

Standing Nude with Large Hat (Gertrude Schiele) by Egon Schiele, 1910