Empire of the Sun artwork
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Vintage graphic
2 Farmhouse Style Cow Prints On this post you will find 2 wonderful Cow Prints, including a circa late 1800′s chromolithograph print showing some lovely cattle, in all different colors. According to the info on it, from left to right, we have a Zebu or Brahmin Bull, an Alderney Cow, Scotch Cattle and a Durham Cow. I thought these vintage posters would look fabulous in a vintage style farmhouse kitchen wall!
We’ve come across some incredible retro and vintage illustrators in our time. Whether you’re into Mid-Century illustrations, Pop Art, traditional hand-lettering or beyond, these are some of the best illustrators creating retro artwork today.
Art Deco manages to balance masculine and feminine qualities well, making it a great choice for people looking for something less floral and traditionally ‘pretty’ for their wedding stationery. These wedding invitations show just how minimal, glamorous, and beautiful the Art Deco style can be.
2 Farmhouse Style Cow Prints On this post you will find 2 wonderful Cow Prints, including a circa late 1800′s chromolithograph print showing some lovely cattle, in all different colors. According to the info on it, from left to right, we have a Zebu or Brahmin Bull, an Alderney Cow, Scotch Cattle and a Durham Cow. I thought these vintage posters would look fabulous in a vintage style farmhouse kitchen wall!
We’ve come across some incredible retro and vintage illustrators in our time. Whether you’re into Mid-Century illustrations, Pop Art, traditional hand-lettering or beyond, these are some of the best illustrators creating retro artwork today.
Cinematic artwork
Despite flopping financially, the 1981 film Pennies From Heaven garnered critical acclaim from the audience. Featuring four paintings recomposed as tableaux vivants, Ross’s romantic drama allowed cinematographer Gordon Willis to create the stylized mythology of the Depression that it turned out to be (Kael, 1984). Film critic Pauline Kael noted, “…there was never a second when I wasn’t fascinated by what was happening on the screen.” (Kael, 1984)
Here, Godard fashions his film using several recreations of classical European paintings, the most famous of which is a sequence in reference to La Petite Baigneuse. Intérieur de Harem (1828) by Jean Auguste Dominique Ingres, in which a female nude in a chaste pose forms the axis around which the composition gets centered. Although nude, the figure and its depiction lack the usual sexual emphasis and instead lean towards the delicate, the sensual, and the light. The folds of the linen and the green drapes further soften the figure, lending a roundness to it and furthering the measured calmness of the painting.
Agnès Godard, who has lensed some of the most beautiful films of the past few decades, including Jacquot de Nantes (1991) and Beau Travail (1999), rarely alludes to specific painters or paintings. In one of her most recent efforts, Let the Sunshine In (2017), she made an exception. The main character, played by Juliette Binoche, paints large, Abstract Expressionist works, and over the course of the film, Godard shows her hard at work, fanning colors across huge canvases laid flat on the floor.
Despite flopping financially, the 1981 film Pennies From Heaven garnered critical acclaim from the audience. Featuring four paintings recomposed as tableaux vivants, Ross’s romantic drama allowed cinematographer Gordon Willis to create the stylized mythology of the Depression that it turned out to be (Kael, 1984). Film critic Pauline Kael noted, “…there was never a second when I wasn’t fascinated by what was happening on the screen.” (Kael, 1984)
Here, Godard fashions his film using several recreations of classical European paintings, the most famous of which is a sequence in reference to La Petite Baigneuse. Intérieur de Harem (1828) by Jean Auguste Dominique Ingres, in which a female nude in a chaste pose forms the axis around which the composition gets centered. Although nude, the figure and its depiction lack the usual sexual emphasis and instead lean towards the delicate, the sensual, and the light. The folds of the linen and the green drapes further soften the figure, lending a roundness to it and furthering the measured calmness of the painting.
Agnès Godard, who has lensed some of the most beautiful films of the past few decades, including Jacquot de Nantes (1991) and Beau Travail (1999), rarely alludes to specific painters or paintings. In one of her most recent efforts, Let the Sunshine In (2017), she made an exception. The main character, played by Juliette Binoche, paints large, Abstract Expressionist works, and over the course of the film, Godard shows her hard at work, fanning colors across huge canvases laid flat on the floor.