Ilya Repin

Ilya Yefimovich Repin (Russian: Илья́ Ефи́мович Ре́пин,Ukrainian: Ілля Юхимович Рєпін, (5 August [O.S. 24 July] 1844, Chuhuiv, Russian Empire (now in Ukraine) – September 29, 1930, Kuokkala, Finland) was a leading Russian^[1] painter and sculptor of the Peredvizhniki artistic school. An important part of his work is dedicated to his native country, Ukraine.^[2] His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. Beginning in the late 1920s, detailed works on him were published in the USSR, where a Repin cult developed about a decade later, and where he was held up as a model "progressive" and "realist" to be imitated by "Socialist Realist" artists in the Soviet Union.

LucyandBart

LucyandBart is a collaboration between Lucy McRae and Bart Hess described as an instinctual stalking of fashion, architecture, performance and the body. They share a fascination with genetic manipulation and beauty expression. Unconsciously their work touches upon these themes, however it is not their intention to communicate this. They work in a primitive and limitless way creating future human shapes, blindly discovering low – tech prosthetic ways for human enhancement.

Found Here: http://www.lucyandbart.blogspot.com/

Frank Frazetta

Frank Frazetta (born February 9, 1928) is an American fantasy and science fiction artist, noted for his Buck Rogers comic book covers for Famous Funnies and paperback book cover paintings on series' such as Tarzan by Edgar Rice Burroughs and Conan the Barbarian by Robert E. Howard. His paintings gained added popularity in the 1970's, appearing in books, posters, prints, record covers, and various other merchandise. He is the subject of the 2003 nationally televised American film documentary Frank Frazetta, Painting with Fire.<sup>[1]

Found Here: http://en.wikipedia.org/wiki/Frank_Frazetta</sup>

gary panter

Oklahoma-born illustrator, painter, designer and part-time musician, Gary Panter is a child of the ’50s who blossomed in the full glare of the psychedelic ’60s and, after surviving underground during the ’70s, finally made his mark in the ’80s as head set designer for the successful kid/adult TV show Pee Wee’s Playhouse, a job which brought his jagged art and surreal cartoon ideas into the homes of America and bagged him three Emmy Awards. With Pee Wee, Panter created another world, a fantasy extension of his natural studio habitat which was constructed out of a collection of garbage and buried treasure. In the same way that Francis Bacon surrounded himself with images that inspired him to carve out his grotesques in oil paint, so Panter gathered around himself the rubble of his childhood to create Pee Wee and the host of lovable (yet strange) characters which inhabit his Playhouse.

Possibly the most influential graphic artist of his generation, a fact acknowledged by the Chrysler Design award he received in 2000, Gary Panter has been everything from an underground cartoonist to an interior designer (for a children's playroom inside the Philippe Starck-designed Paramount Hotel in New York) to an internet animator (his Pink Donkey and the Fly series can be seen online at Cartoon Network’s web site). He is also the creator of Jimbo, a post-nuclear punk-rock cartoon character whose adventures were first chronicled as a comic strip in the ’70s LA hardcore-punk paper Slash and later in RAW magazine. Although the inspiration for Jimbo was partly rooted in the ’60s underground comix movement, other influences such as Japanese monster movies, cheap commercial packaging, the work of Marvel comics artist Jack Kirby, Mothers Of Invention house artist Cal Schenkel, and the writing of cult science fiction author Philip K. Dick leaked into the project. All of which gave Jimbo a startlingly fresh look that was subliminally familiar yet defiantly oddball.

Drawn with pen and black ink in his now familiar “ratty line” style, Panter’s work (like Andy Warhol’s before him) successfully broke down the barrier that separates “trash” from “art” and transformed underground comix into a viable art form. Equally ground-breaking were his extended comic novels Dal Tokyo and Cola Madnes (which has recently been published by Funny Garbage Press). Cola Madnes was created by Panter primarily for his Japanese audience (who named a café in Nagoya ‘Gary Panter Squar’ in his honor) using a manga-style two-panel-per-page layout that paid silent and respectful homage to the work of Toho Studios (creator of Godzilla) and comic book legend Jack “King” Kirby. Cola Madnes was Gary Panter’s artistic “holy mission” way back in 1983.

As an illustrator, Panter was one of the first to stop worrying about graphic perfection, preferring instead to push the underground punk attitude he had nurtured since the ’70s into his commercial art for established magazines such as Time, Rolling Stone, Entertainment Weekly and The New Yorker. By deliberately presenting his work with serrated edges instead of clean lines, Panter’s style came as a breath of fresh air to both publishers and audience alike. His fame as an illustrator grew when he was commissioned by Warner Brothers to produce a set of album sleeves for Frank Zappa. The resulting covers for Studio Tan, Sleep Dirt and Orchestral Favorites were universally admired (albeit initially not by Zappa himself), as was his cover illustration for the debut album by the Red Hot Chilli Peppers.

This enormous body of work has earned Panter the moniker of “King Of Punk Art” and roused fellow painter Robert Williams to dub him the “King Of The Preposterous”. To anybody unfamiliar with the world of Gary Panter, stepping into his ramshackle Brooklyn-based studio is akin to being injected directly into the artist’s brain, Fantastic Voyage-style, through the tip of a giant syringe. Once inside, the visitor is faced with a sprawling mass of artifacts from Panter’s past, present and future. An hallucinogenic stew of hippie posters, Rat Fink model kits, Japanese monster movies, punk rock artifacts and underground comix, all of which mirrors the passion, madness, psychedelic perversity and creativity which he pushes into the work that is hanging half-finished on the rust streaked walls. A series of acrylic paintings in progress, each sending juddering pools of acid color dancing across the grime and paint-smeared floor whenever the sun manages to beam a shaft of white light through the ugly cataract windows that are the bleary eyes of his studio. Happy-faced Martin Sharp magic daisy mutations unfold poisonous triffid petals, while a doe-eyed Walter Keane teen plucks at a lime green electric guitar, illuminated by a squiggling lava lamp that has come straight out of Pee Wee’s Playhouse. In another corner of the studio bake the spiked, severed heads of several Amazon natives, victims of a tribe of headhunters who have been wrenched from the pulped guts of some Men’s True Adventures magazine and sprayed on canvas where they now silently scream. Welcome to Planet Panter.
— Edwin Pouncy


Found Here: http://www.garypanter.com/index.html

SACRED GEOMETRY

...All of this is really incredible for following the pure ENERGY(99) infusion, or as I usually refer to it: THE MIRACLE(88) of 'The Spiritual ENERGY COMMUNICATION', these geometric Symbols came flowing forth from ME(23) and I had not even heard of Sacred Geometry prior to this; I learned about some of its details a considerable time later. When this advanced Symbolic Language was revealed to ME(23) and took the form of all of these intricate Sacred Geometry Designs, all incredibly interwoven within Powerful Positive States of Being and indelibly associated to Specific Spiritual Numbers, and with such a depth of LIFE WISDOM(77), it was almost too much for ME(23) to handle. The intense ENERGY(99) level at which I was operating during this time of manifesting THEE TRINITY CREATION® in written form was Truly exceptional. I would sometimes, in a Transcendent State of Being, walk for hours when suddenly that was it: the immutable Sacred Number, the Perfect Number match for its respective State of Being and Sacred Geometry Symbol. It would instantly be indelibly impressed upon ME(23) and I Knew without question this was The Number, not anything else that speaks of Spiritual or Sacred Number association or meaning, even if it be in the Known realm of Sacred Geometry Wisdom and Spiritual Numbers is of such matched PERFECTION(54). THIS IS IT! These are the Numbers. The World now Knows and eventually just as this Site itself has Grown to be the Number One Ranked Spiritual Web Site® in the World the New Age and Spiritual World will begin to associate the Numbers and Sacred Geometric Symbols to the Positive States of Being as Revealed within THEE TRINITY CREATION®: The Book©. YES! TRUTH(33) is 33.

YES! WISDOM(77) is 77.

YES! FREEDOM(7) is 7.

YES! ENLIGHTENMENT(70) is 70

and YES! ENERGY(99) is without a doubt of Number 99

These are the Sacred Numbers, these are the Spiritual Symbols, this is the ABSOLUTE(44) Sacred Geometry of LIFE(15) born from the Miraculous Spiritual ENERGY(99) COMMUNICATION(48) of 1988. I had it! I have it: the Precise bonding of Sacred Geometric Symbol, Positive State of Being and Sacred Number, YES! Thee Trinity Creation: The Book© is the authentic written manifestation of the impeccable Spiritual ENERGY COMMUNICATION(48) and without doubt the finest system of Sacred Geometry Wisdom of Spiritual Symbols and Numbers in the World. This entire Web Site© and all of its contents is built upon the foundation of The Book©, its Power fills it, THE POWER(96) to direct the ENERGY(99) of LIFE(15) in Immaculate Creative ways. YES! this is THE POWER(96) that moves ME(23) and YES! this is THE POWER(96) that will Fulfill the DESTINY of DAWN 1999, which is indeed a Higher Order Designed DESTINY. You can experience for yourself the Power to Create a LIFE(15) that is in Design your making. All lies within.

Found Here: http://www.theetrinitycreation.com/SacredGeometry.htm

and Here: http://www.charlesgilchrist.com/SGEO/Gal1001.html

Ernst Haeckel

Ernst Heinrich Philipp August Haeckel (February 16, 1834 — August 9, 1919),^[1] also written von Haeckel, was an eminent German biologist, naturalist, philosopher, physician, professor and artist who discovered, described and named thousands of new species, mapped a genealogical tree relating all life forms, and coined many terms in biology, including phylum, phylogeny, ecologyProtista. Haeckel promoted and popularized Charles Darwin'sGermany and developed the controversial recapitulation theoryontogeny, parallels and summarizes its species' entire evolutionary development, or phylogeny. and the kingdom work in ("ontogeny recapitulates phylogeny") claiming that an individual organism's biological development, or

The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures (see: Kunstformen der Natur, "Artforms of Nature"). As a philosopher, Ernst Haeckel wrote Die WelträthselThe Riddle of the Universe, 1901), the genesis for the term "world riddle" (Welträthsel); and Freedom in Science and Teaching^[2] (1895-1899, in English, to support teaching evolution.

In the United States, Mount Haeckel, a 13,418 ftm) summit in the Eastern Sierra Nevada, overlooking the Evolution Basin, is named in his honor, as are another Mount Haeckel, a 2,941 m (9,650 ft) summit in New Zealand; and the asteroid 12323 Häckel. (4,090

The Ernst Haeckel house ("Villa Medusa") in Jena, Germany contains a historic library.

Ernst Haeckel was born on February 16, 1834, in Potsdam (then part of Prussia). ^[3] In 1852, Haeckel completed studies at Cathedral High School (Domgymnasium) of Merseburg.^[3] He then studied medicine in Berlin, particularly with Albert von Kölliker, Franz Leydig, Rudolf VirchowJohannes Peter Müller (1801-1858).^[3] In 1857, Haeckel attained a doctorate in medicine (M.D.), and afterwards he received a license to practice medicine. The occupation of physician appeared less worthwhile to Haeckel, after contact with suffering patients.^[3] (with whom he later worked briefly as assistant), and with anatomist-physiologist

Haeckel studied under Carl Gegenbaur at the University of Jena for three years, earning a doctorate in zoology,^[3] before becoming a professor of comparative anatomy at the University of Jena, where he remained 47 years, from 1862-1909. Between 1859 and 1866, Haeckel worked on many invertebrate groups, including radiolarians, poriferans (sponges) and annelids^[4] During a trip to the Mediterranean, Haeckel named nearly 150 new species of radiolarians.^{[4] [4]} Haeckel named thousands of new species from 1859 to 1887. ^[5] (segmented worms).

From 1866 to 1867, Haeckel made an extended journey to the Canary Islands and during this period, met with Charles Darwin, in 1866 at Down House in Kent, Thomas Huxley and Charles Lyell.^[3] In 1867, he married Agnes Huschke. Their son Walter was born in 1868, their daughters Elizabeth in 1871 and Emma in 1873.^[3] In 1869, he traveled as a researcher to Norway, in 1871 to Dalmatia, and in 1873 to Egypt, Turkey, and to Greece.^[3] Haeckel retired from teaching in 1909, and in 1910 he withdrew from the Evangelical church.^[3] Haeckel's wife, Agnes, died in 1915, and Ernst Haeckel became substantially more frail, with a broken leg (thigh) and broken arm.^[3] He sold the mansion Medusa ("Villa Medusa") in 1918 to the Carl Zeiss foundation.^[3]August 9, 1919. Ernst Haeckel died on August 9, 1919.

Found Here: http://en.wikipedia.org/wiki/Ernst_Haeckel

and Here: http://pixs.media.mit.edu/pictures/show/12497

Philip Guston

Philip Guston (June 27, 1913 – June 7, 1980) was a notable painter and printmaker in the New York School, which included many of the Abstract Expressionists, such as Jackson Pollock and Willem De Kooning. In the late 1960s Guston helped to lead a transition from Abstract expressionism to Neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects.


Found Here: http://en.wikipedia.org/wiki/Philip_Guston

Antonio Sant'Elia

Life

He was born in Como, Lombardy. A builder by training, he opened a design office in Milan in 1912 and became involved with the Futurist1914, influenced by industrial cities of the United States and the Viennese architects Otto Wagner and Adolf Loos, he began a series of design drawings for a futurist Città Nuova ("New City") that was conceived as symbolic of a new age. movement. Between 1912 and

Many of these drawings were displayed at the first and only exhibition of the Nuove Tendenze group (of which he was a member) exhibition in May/June 1914 at the "Famiglia Artistica" gallery. Today, some of these drawings are on permanent display at Como's art gallery (Pinacoteca). (They used to be in the Villa Olmo)

The manifesto Futurist Architecture was published in August 1914, supposedly by Sant'Elia, though this is subject to debate. In it the author stated that "the decorative value of Futurist architecture depends solely on the use and original arrangement of raw or bare or violently colored materials"^{[citation needed]}. As described in this manifesto, his designs featured bold groupings and large-scale disposition of planes and masses creating a heroic industrial expressionism. His vision was for a highly industrialised and mechanized city of the future, which he saw not as a mass of individual buildings but a vast, multi-level, interconnected and integrated urban conurbation designed around the "life" of the city. His extremely influential designs featured vast monolithic skyscraper buildings with terraces, bridges and aerial walkways that embodied the sheer excitement of modern architecture and technology.

A socialist as well as an irredentist, Sant'Elia joined the Italian army as Italy entered World War I in 1915. He was killed during the Battles of the Isonzo, near Monfalcone. Most of his designs were never built, but his futurist vision has influenced many architects, artists and designers.

Works

La Citta Nuova, 1914

Found Here: http://en.wikipedia.org/wiki/Antonio_Sant%27elia

oGFx meets Tron

oGFx meets Tron

The one thing I most remembered about the Tron movie was the motorcycle race where the trails of the bikes would become solid walls you could crash into. Solid time. Tangible history. Cool.

Found Here: http://blacklog.mitplw.com/2007/10/08/ogfx-meets-tron/#comment-38888

and Here: http://ffffound.com/image/ce18e2c8510ad07315ae453a3f250c5850746b04

Momento Mori by Olli Moss

Quoted from: mementomori.jpg (JPEG Image, 1081x1499 pixels) - Scaled (41%)

www.ollymoss.com/design/mementomori.jpg

posted on 1 days 16 hours ago

saved by 1 person: cornhustlah

Found Here: http://ffffound.com/image/dfcd928102f22c94f85d6deb102f9c6f68435291

Tokyo Fantasy: Images of the apocalypse

These fantastic photoshopped images by Tokyo Genso (Tokyo Fantasy) show a post-apocalyptic Tokyo overtaken by nature.

[Link: Tokyo Fantasy]

Related:
- Neo-Ruins: Lithographs of post-apocalyptic Tokyo (Hisaharu Motoda)
- Mickey the Knight (Kenji Yanobe)
- PET bottle armor (Kosuke Tsumura)

Found Here: http://www.pinktentacle.com/2008/08/tokyo-fantasy-images-of-the-apocalypse/

and Here: http://tokyogenso.exblog.jp/

James Gulliver Hancock

James is an international artist that crosses as many mediums as he does borders. Living out his middle namesake 'Gulliver' James is constantly on the move, having been involved in artist projects and residencies in Indonesia, Austria, France, the U.K. and America. He is currently located in Los Angeles and works on projects in Europe, America and Australia.

Trained in Visual Communications in Sydney, Australia james quickly took hold of the local art scene, establishing his own artist network through the gallery SPACE3. Welcoming local artists and musicians into a collaborative space based in a romantic crumbling old bank in the heart of the city. This network quickly blossomed to hold hundreds of events, produce a hardcover 100 page catalogue, and provide the jumping point for many local artists and musicians to scatter across the globe.

His work is as varied as his travels, encompassing editorial illustration for magazines, commissions for music group artwork and animations, working with intellectually disabled children on logo designs, to gigantic set illustrations for performances, and animations for TV, not to mention his continual personal art practice.

His work is conceptually driven and is concerned with confusions of perception and embraces personal subjectivity. Born to psychologist parents he draws from an analysis of hyperchondria, obsession, and hyper-awareness. Throughout this investigation his work maintains a consistent charm, whimsy and poetic graphic sensibility.

Found Here: http://www.jamesgulliverhancock.com/

Valero Doval

2002 Degree in Fine Arts. Valencia. Spain

CLIENTS INCLUDE
NEW YORK TIMES
TIMBERLAND
ORANGE
PAUL SMITH
MAC USER MAGAZINE
DORLING KINDERSLEY BOOKS
BHS
STK RECORDS
SPECIALTEN MAGAZINE
ENROUTE MAGAZINE
BUILDING MAGAZINE
TEACHERS MAGAZINE
DIEGO MAGAZINE
EL DUENDE MAGAZINE
THE ILLUSTRATED APE
POKETO
ART DIRECTORS CLUB
LOOKDEBOOK
...
Found Here: http://illustrativo.blogspot.com/search?updated-min=2008-01-01T00%3A00%3A00Z&updated-max=2009-01-01T00%3A00%3A00Z&max-results=50

and Here: http://www.valerodoval.com/

I Love Dust

28 Apr

ILD PRINTS

Brand new ilovedust prints! We were invited down to Portsmouth University to give a talk on branding and before we knew it we ended up in the print room, covered in paint, bashing out these lovely prints. Limited to 30 prints, these were based on food and most were given away to friends in New York...

link: http://ilovedust.com/

Found by illustrativo

16 Jun

THE RIDE JOURNAL - NEW!!!

‘The Ride’ is brand new bicycle magazine which is out next week. We were asked to contribute with a couple of illustrations and if your in London next Tuesday 24th they are having a few beers and a little launch party in The Rugby Tavern pub.

Official site coming soon: www.theridejournal.com

Found Here: http://www.highsnobiety.com/the_columns/ilovedust/index.htm

Duster: Paris Street Art

We hit the road last Sunday from Burgundy en route to Carcassonne in the south of France. We took a little detour to check out the Le Viaduc de Millau / Millau Viaduct, which was open to the public in 2005. I thought I’d share some photos.

To cross the viaduct you must pay a toll, which is higher during the summer! The summer rate is: 7.40 euros ($11.62) - and the non-summer rate is 5.60 euros ($8.79).

The actual bridge crossing is supported by the cables attached to the top of each tower, which is why, I supposed, they call it a “Cable-Stayed Bridge.” Probably the most common view of the viaduct is from this viewpoint (above).

The bridge connects the autoroute from Paris to Beziers at the point where it is bisected by the Tarn River, which runs through a wide gorge between two plateaus.

The Millau Viaduct took 4 years to build. It stands 280 meters (919 ft) tall (which is higher than the Eiffel Tower and is considered the highest bridge in the world) - and is 2.5 kilometers long (1.55 miles). It cost €394 million ($619 million) to construct.

Found Here: http://www.whytraveltofrance.com/category/art/