"It doesn’t interest me what you do for a living, I want to know what you ache for. It doesn’t interest me how old you are, I want to know if you are willing to risk looking like a fool for love, for your dreams, for the adventure of being alive. I want to know if you can live with failure, yours and mine. It doesn’t interest me where you live or how rich you are, I want to know if you can get up after a night of grief and despair, weary and bruised to the bone, and be sweet to the ones you love. I want to know if you can be alone with yourself and truly like the company you keep in the empty moments of your life."
Jon Blais (via nickelcobalt)
by wesley merritt, debut art: fausto-the-magic-mountain
homage to fausto coppi, and the eponymous ‘cima coppi’ alias stelvio pass…
ok, i’m talking to cycling fans. but worth to know.
Great Britain 1856-1916
oil on canvas
170.0 x 152.0 cm
Homeless, 1890, is one of a series of works in which Kennington depicts the plight of women and children who were impoverished or destitute. Subjects such as these gained popularity during the 1870s and 1880s, partly as a result of the increasing influence of illustrated journals, which regularly commisssioned artists to provide images of ‘real’ life.
In Homeless, the square-brush technique used by Kennington in painting the wet pavement and the river, and his focus on subtle tonal variations rather than on colour - as in the soft grey light illuminating this scene - were among the characteristics adapted by British artists from French sources at the time.