pbcwrites
pbc writes
Calligraphy, handwriting, and a smattering of other things!
Animations USED TO BE every Wednesday (and may return soon!)
Enjoy!
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Last Seen Blogs
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Bravery is being afraid and moving forward anyway.
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One of the effects the flood of AI art has had on me is that beautifully crafted art and design made by hand and without AI now feels more beautiful and precious than ever.
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Tiny Thumb Tuesday
This little guy is an 1849 printing of a very condensed version of the Bible. Commonly known as “thumb bibles” these tiny books were (and are) popular gift items. Despite the small physical size of the pages, the print itself is not tiny, and easy to read.
The Thumb Bible: Verbum sempiternum. John Taylor, ed. The third edition, with amendments. London: Longman and Co., 1849.
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Yes, I started it at 37 because of that other poll. 🙄
Please reblog - this one needs to escape containment
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Heathcliff wearing a helmet that says “where am I?”
Cats
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Indianapolis Museum of Art presents “me every day”, better know as “the struggling man.”
Don’t sleep on this museum. It will blow your mind
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I shimmied up the black walnut tree
Let the hard blue sky fall right through me
And I saw the sad young cardinals trying to sing
And I should not be allowed to touch anything
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This is Omelette. I also call him Biscuits or Triscuits and he is amazing.
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Hey folks I just noticed that I now have enough of these bad boys to create this^ a mcelroy shitpost compilationstravaganza enjoy yall
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I think I’ve really upped the sexy in the boudoir with my framed note from Heathcliff artist Peter Gallagher.
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Mark Rothko, The Dark Paintings of 1969-1970,
Part One
The Black on Gray paintings were Rothko’s final series. Like the Brown and Gray works on paper, color has been extracted to a dark upper and a lighter lower section. Most striking is the painted white edge within which the composition is circumscribed. In all of Rothko’s earlier work the edges of his paintings folding around the stretcher had been meticulously painted. In marked contrast, the white surround of the Black on Gray paintings sharply demarcates the painted surface and collapses the pictorial space into a much flatter picture plane.
Previously, Rothko had used a mixture of rabbitskin glue and pigment to douse his canvases in a first layer of colour. The Black on Gray paintings, however, were primed with white gesso which shows through in various areas, further contravening any illusion of pictorial depth. Unlike the Brown and Grays, where the variations occur within a fixed format, the Black on Gray paintings substantially vary in size and orientation, each offering a completely unique exploration of scale and ‘weight’.
The Black on Gray paintings bear witness to the tireless effort with which Rothko kept pushing the boundaries of his practice; which may also explain why one evening in late 1969 he opened his studio to select members of the New York art world to view his latest paintings, the first and only time he presented a series as such.
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Mark Rothko, Untitled, 1969
Acrylic and ink on paper
© Kate Rothko Prizel and Christopher Rothko / ARS
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