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Deepspeeps @deepspeeps.bsky.social · 16h

𝐎𝐥𝐞𝐤𝐬𝐚𝐧𝐝𝐫 𝐁𝐨𝐠𝐨𝐦𝐚𝐳𝐨𝐯 "𝑇𝑟𝑎𝑚", 1914, 𝐾𝑖𝑒𝑣, 𝑈𝑘𝑟𝑎𝑖𝑛𝑒 𝐶𝑢𝑏𝑜-𝐹𝑢𝑡𝑢𝑟𝑖𝑠𝑚 Bohomazov was interested not simply in showing what a tram looked like, but in expressing how it felt to experience a rapidly changing city: its noise, rhythm, movement, and energy. #art #painting #schoenesgegendoofes

Oleksandr Bohomazov’s Tram depicts a lively city street filled with movement, colour, and geometric shapes. A tram travels along the tracks between tall buildings, while pedestrians move along the street. The scene is viewed from an unusual, elevated perspective, making the street appear steep and dynamic.

The painting uses bright colours, including blue, green, yellow, red, and orange. The buildings, tram, and people are simplified into angular shapes, while bold, intersecting lines suggest movement and speed. Overhead electric wires stretch across the sky, adding to the impression of a modern, industrial city.
The composition feels energetic and slightly chaotic. The tram and surrounding architecture seem to blend together, creating a sense that the whole city is in motion. The small, stylized figures emphasize the scale of the urban environment.

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Deepspeeps @deepspeeps.bsky.social · 05/10/2026

𝐅𝐚𝐲𝐮𝐦 𝐩𝐨𝐫𝐭𝐫𝐚𝐢𝐭, 𝐜𝐚. 𝟕𝟎𝐂𝐄 𝐻𝑒𝑙𝑙𝑒𝑛𝑖𝑠𝑡𝑖𝑐, 𝐶𝑜𝑝𝑡𝑖𝑐 𝑎𝑟𝑡 Fayum mummy portraits are a type of naturalistic encaustic portrait typically painted on wooden boards attached to the mummies of upper class individuals living in Egypt during the Roman period. #art #painting #schoenesgegendoofes

The image shows a painted portrait of a young woman, rendered in an ancient style.

She has dark, wavy hair framing her face, with a central part.
Her expression is calm and serious, with large, dark eyes looking slightly to the side.
She wears gold earrings and a delicate gold necklace with a pendant.
A light, translucent covering or veil appears to fall behind her head and shoulders.
The painting has a warm ochre, brown, and gold palette, with a visibly weathered, cracked surface.
The long, narrow face and jewelry give it a distinctly Roman-era Mediterranean appearance.

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Deepspeeps @deepspeeps.bsky.social · 05/10/2026

𝐉𝐨𝐡𝐧 𝐖𝐢𝐥𝐬𝐨𝐧 𝐂𝐚𝐫𝐦𝐢𝐜𝐡𝐚𝐞𝐥 "𝑇ℎ𝑒 𝐼𝑟𝑤𝑖𝑛 𝐿𝑖𝑔ℎ𝑡ℎ𝑜𝑢𝑠𝑒, 𝑆𝑡𝑜𝑟𝑚 𝑅𝑎𝑔𝑖𝑛𝑔", 1851 𝑅𝑜𝑚𝑎𝑛𝑡𝑖𝑐𝑖𝑠𝑚 Carmichael makes nature appear immensely powerful, while the lighthouse stands as a small but reassuring symbol of guidance, survival, and hope amid the chaos. #art #painting #schoenesgegendoofes

The painting shows a violent maritime storm centered on a lighthouse struggling against enormous waves.

On the left, a tall lighthouse rises from the turbulent sea. Its glowing lantern provides a striking point of warmth and hope amid the darkness.
The sea dominates the foreground, with huge, irregular waves breaking into white foam. The swirling water gives the scene a powerful sense of movement.
In the center and right, a wrecked wooden boat or vessel is being torn apart by the waves. Broken timbers, ropes, and fragments of the wreckage are scattered across the water.
Above, the sky is filled with heavy, dark storm clouds, but shafts of pale light break through them, illuminating parts of the sea.
The contrast between the steady lighthouse and the shattered wreck is especially important: the lighthouse suggests safety and endurance, while the wreck represents the destructive power of the storm.
A small bird can be seen low over the water, emphasizing the enormous scale of the waves and the loneliness of the scene.

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Deepspeeps @deepspeeps.bsky.social · 04/10/2026

A second painting by Turner depicting the same event.

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Deepspeeps @deepspeeps.bsky.social · 04/10/2026

𝐉.𝐌.𝐖. 𝐓𝐮𝐫𝐧𝐞𝐫 "𝑇ℎ𝑒 𝐵𝑢𝑟𝑛𝑖𝑛𝑔 𝑜𝑓 𝑡ℎ𝑒 𝐻𝑜𝑢𝑠𝑒𝑠 𝑜𝑓 𝑃𝑎𝑟𝑙𝑖𝑎𝑚𝑒𝑛𝑡", 1834 𝑅𝑜𝑚𝑎𝑛𝑡𝑖𝑐𝑖𝑠𝑚 Turner himself witnessed the fire from the south bank of the River Thames. He made sketches using both pencil and watercolour in two sketchbooks from different vantage points, including from a rented boat, #art #painting

The Burning of the Houses of Lords and Commons, 16 October 1834 is a dramatic painting by the English Romantic artist J. M. W. Turner, depicting the fire that destroyed much of the old Palace of Westminster in London in 1834.

Turner focuses less on accurately recording the buildings and more on capturing the terrifying spectacle of the fire. Huge flames rise into the night sky, creating a glowing mass of red, orange, yellow and white. The smoke spreads across the scene, making the atmosphere hazy and chaotic.
In the foreground, the River Thames reflects the intense colours of the flames. Turner uses the water to repeat and magnify the fire's glow, while small boats and crowds of spectators emphasise the scale of the event. The Houses of Parliament appear partly obscured by smoke and fire, rather than being presented in sharp architectural detail.

The painting is characteristic of Romanticism because it emphasises emotion, nature and the sublime. The fire appears enormous and uncontrollable, making human buildings and people seem small and powerless. Turner was particularly interested in the effects of light, colour and atmosphere, and the fire gave him an opportunity to explore these dramatically.

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Deepspeeps @deepspeeps.bsky.social · 04/10/2026

𝐌𝐚𝐫𝐜𝐮𝐬 𝐋𝐚𝐫𝐬𝐨𝐧 "𝐻𝑎𝑣 𝑖 𝑚𝑎𝑛𝑠𝑘𝑒𝑛", 1848 𝑅𝑜𝑚𝑎𝑛𝑡𝑖𝑐𝑖𝑠𝑚 #art #painting #schoenesgegendoofes

The painting shows a moonlit sea at night. The large, bright moon is partly surrounded by clouds and casts a shimmering reflection across the water. Several sailing ships are spread across the sea, with their dark sails standing out against the blue and silver background. In the foreground, there is a small boat with people in it.

The painting uses mainly dark blue, grey, and black tones, contrasted with the bright white-yellow light of the moon. The calm water and cloudy sky create a peaceful but mysterious atmosphere. The ships appear small compared with the wide sea and sky, emphasizing the power and vastness of nature.

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Deepspeeps @deepspeeps.bsky.social · 01/10/2026

𝐒𝐮𝐳𝐚𝐧𝐧𝐞 𝐕𝐚𝐥𝐚𝐝𝐨𝐧 "𝐿𝑎 𝑐ℎ𝑎𝑚𝑏𝑟𝑒 𝑏𝑙𝑒𝑢𝑒", 1923 A reversal of the traditional reclining female nude. Instead of presenting a woman as an object for a viewer's pleasure, Valadon depicts a clothed woman who appears self-possessed and unconcerned with conventional ideals of femininity. #art #painting

Figure: A large, relaxed woman lies diagonally across the bed. She wears a pink camisole and loose green-and-white striped trousers. Her body is presented naturally rather than as an idealized, delicate figure.
Pose and expression: She leans back against pillows, with one arm extended along the bed and the other resting beside her. She looks off to the side with a calm, self-possessed expression. A cigarette appears to be held in her mouth.
Setting: Almost the entire room is covered in intense blue floral fabrics. The bedspread is patterned with pale flowers, while the curtains and cushions repeat the blue and floral motifs.

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Deepspeeps @deepspeeps.bsky.social · 29/09/2026

𝐓𝐡𝐞𝐨𝐝𝐨𝐫𝐨𝐬 𝐒𝐭𝐚𝐦𝐨𝐬 "𝐼𝑛𝑓𝑖𝑛𝑖𝑡𝑦 𝐹𝑖𝑒𝑙𝑑", 𝐿𝑒𝑓𝑘𝑎𝑑𝑎 𝑆𝑒𝑟𝑖𝑒𝑠, 1980 𝐴𝑏𝑠𝑡𝑟𝑎𝑐𝑡 The wavering edges, uneven lines, visible brush marks & small accidental-looking traces, keep the colour fields human & physical. Infinity is being suggested through paint, surface, line & colour. #art #painting #schoenesgegendoofes

The composition is organized into three large horizontal zones:

Upper zone: a dark reddish-brown/maroon ground surrounds a broad, irregular crimson-red band at the top. Within it are darker, loosely brushed marks that almost resemble traces of writing, landscape, or geological formations. A thin, uneven pink line separates this area from the blue field below.
Central zone: an expansive violet-blue rectangular field dominates the painting. Its surface is relatively quiet and flat, but the irregular edges keep it from feeling like a mechanically drawn geometric shape. Toward the lower left is a faint red/pink curved gesture, almost like a fragment of a circle or an abbreviated arc.
Lower zone: a second, lighter blue field sits beneath a rough, brilliant white horizontal line. This white line functions almost like a horizon—although its irregular, hand-drawn quality prevents it from becoming a literal landscape.

The surrounding brown/maroon border is important. It makes the blue interior feel like an opening or a window, while the uneven edges suggest that the fields have been painted, torn, or discovered rather than constructed with a ruler.

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Deepspeeps @deepspeeps.bsky.social · 27/09/2026

𝐊𝐚𝐫𝐥 𝐒𝐜𝐡𝐫𝐚𝐠 (𝟏𝟗𝟏𝟐 - 𝟏𝟗𝟗𝟓) "𝐵𝑎𝑟𝑛 𝑆𝑡𝑢𝑑𝑖𝑜 𝑖𝑛 𝑀𝑜𝑜𝑛𝑙𝑖𝑔ℎ𝑡" 𝐸𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 What a lovely print! I like the intense colours and the mood in conveys. Dreamlike, but not sleepy, intriguing and mysterious. #art #painting #schoenesgegendoofes #beauty

Karl Schrag’s Barn Studio in Moonlight depicts a quiet rural landscape at night, with a small barn standing on a gently sloping field beside a body of water.

Foreground: The lower part of the image is filled with tall grasses and wildflowers. Schrag uses loose, energetic brushstrokes in blue, green, purple, white, and orange, giving the vegetation a lively, textured appearance.
Middle ground: A broad field stretches toward the barn. Instead of using naturalistic greens and browns, Schrag fills the land with pink, coral, lavender, and orange, creating a highly expressive landscape.
Barn: The white barn is the focal point. Its simple geometric shape and bright walls stand out against the darker trees behind it. Small windows and a large door are clearly visible.
Background: Trees surround the barn in clusters of deep blue, purple, red, and green. To the left, the landscape opens onto water, which reflects the muted colors of the night.
Sky: The sky is dark and richly textured, with a crescent moon in the upper left and numerous small white stars. Broad, sweeping marks across the sky suggest movement and atmosphere.
Color and mood: Although it is a nighttime scene, the painting is bright and colorful rather than dark. The pinks and blues create a dreamlike, peaceful, slightly magical mood.

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Deepspeeps @deepspeeps.bsky.social · 27/09/2026

𝐇𝐮𝐚𝐧𝐠 𝐘𝐨𝐧𝐠𝐲𝐮 (1924–2023) "𝐵𝑢𝑑𝑑ℎ𝑎" Huang Yongyu was a Chinese painter, printmaker, and writer known for his expressive, sometimes playful visual language. #art #painting #schoenesgegendoofes #beauty

Typical features of Huang’s Buddha imagery include:

Expressive linework: His brushwork can be loose, vigorous, and calligraphic rather than meticulously modeled.
A relaxed or humorous character: The Buddha may appear approachable and even mischievous, reflecting Huang’s tendency to combine seriousness with humor.
Simplified forms: Facial features and the body are often reduced to economical shapes and strokes, allowing gesture and expression to carry much of the meaning.
Traditional Chinese influence: The imagery draws on ink painting and calligraphy, while departing from the highly standardized conventions of Buddhist iconography.
Spirituality without excessive solemnity: Instead of emphasizing grandeur or transcendence, Huang can make the Buddha feel intimate and human.

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Deepspeeps @deepspeeps.bsky.social · 26/09/2026

𝐋𝐢𝐧 𝐅𝐞𝐧𝐠𝐦𝐢𝐚𝐧 (1900 - 1991) "𝐹𝑜𝑢𝑟 𝐵𝑒𝑎𝑢𝑡𝑖𝑒𝑠" 𝑃𝑜𝑠𝑡-𝐼𝑚𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 Four Beauties can be understood as a meditation on female beauty, elegance, and harmony. Its restrained composition and lyrical figures give the work a calm, poetic quality. #art #painting #schoenesgegendoofes

The painting depicts four female figures, presented together in a simplified, almost dreamlike setting. The women appear elegant and poised, with their bodies arranged in a rhythmic composition. Rather than emphasizing realistic facial features or detailed surroundings, Lin uses stylized shapes, flowing lines, and areas of color to create a sense of harmony and beauty.
The figures are characterized by:

Elongated, simplified forms that give them an elegant, almost theatrical appearance.
Expressive outlines, influenced by the brushwork of traditional Chinese ink painting.
Soft, restrained colors, which create a quiet and contemplative atmosphere.
A flat, shallow sense of space, rather than the deep perspective typical of Western realism.
A strong sense of balance and symmetry, with the four figures functioning almost as a decorative pattern.

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Deepspeeps @deepspeeps.bsky.social · 26/09/2026

𝐆𝐢𝐥𝐥𝐢𝐚𝐧 𝐀𝐲𝐫𝐞𝐬 𝑆𝑒𝑝𝑡𝑒𝑚𝑏𝑒𝑟 𝑆𝑜𝑛𝑔, 1998 𝐿𝑦𝑟𝑖𝑐𝑎𝑙 𝐴𝑏𝑠𝑡𝑟𝑎𝑐𝑡𝑖𝑜𝑛 September Song is not a picture of a particular object or landscape, but a colourful, energetic visual composition whose forms and title evoke the sensations and associations of nature and seasonal change. #art #painting #schoenesgegendoofes

Ayres's mature paintings are characterized by thick impasto and exuberant colour, giving the surface a physical, almost tactile presence.
In this painting: Yellows, greens, blues, purple.
The forms suggest flowers, foliage, or other natural growth floating, but they remain deliberately ambiguous rather than functioning as literal representations.

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Deepspeeps @deepspeeps.bsky.social · 09/09/2026

𝐆𝐞𝐨𝐫𝐠𝐢𝐚 𝐎'𝐊𝐞𝐞𝐟𝐟𝐞 "𝐹𝑟𝑜𝑚 𝑡ℎ𝑒 𝐿𝑎𝑘𝑒", 1924 𝑃𝑟𝑒𝑐𝑖𝑠𝑖𝑜𝑛𝑖𝑠𝑚, 𝑎𝑏𝑠𝑡𝑟𝑎𝑐𝑡 An abstracted landscape inspired by Lake George in New York. Instead of giving us a conventional view of the lake, O'Keeffe makes us feel the wind, water, clouds, movement, and power of the place. #art #painting #schoenesgegendoofes

O’Keeffe breaks the landscape into sweeping, flowing shapes. Bands of blue, white, pale yellow, brown, green, and gray move diagonally across the canvas. Some shapes suggest water, others mountains or land, while the heavy gray forms at the top can be read as approaching storm clouds.

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Deepspeeps @deepspeeps.bsky.social · 08/09/2026

Aus aktuellem Anlass 𝐔𝐧𝐝 𝐚𝐥𝐬 𝐰𝐢𝐫 𝐚𝐧𝐬 𝐔𝐟𝐞𝐫 𝐤𝐚𝐦𝐞𝐧 𝑊𝑜𝑙𝑓 𝐵𝑖𝑒𝑟𝑚𝑎𝑛𝑛 (𝑎𝑢𝑠: 𝑊𝑜𝑙𝑓 𝐵𝑖𝑒𝑟𝑚𝑎𝑛𝑛: 𝑃𝑟𝑒𝑢ß𝑖𝑠𝑐ℎ𝑒𝑟 𝐼𝑘𝑎𝑟𝑢𝑠, 𝑉𝑒𝑟𝑙𝑎𝑔 𝐾𝑖𝑒𝑝𝑒𝑛ℎ𝑒𝑢𝑒𝑟 & 𝑊𝑖𝑡𝑠𝑐ℎ, 𝐾𝑜̈𝑙𝑛 1978)

Und als wir ans Ufer kamen

Und als wir ans Ufer kamen
Und saßen noch lang im Kahn
Da war es, daß wir den Himmel
Am schönsten im Wasser sahn
Und durch den Birnbaum flogen
Paar Fischlein. Das Flugzeug schwamm
Quer durch den See und zerschellte
Sachte am Weidenstamm
– am Weidenstamm.

Was wird bloß aus unsern Träumen
In diesem zerrissenen Land
Die Wunden wollen nicht zugehn
Unter dem Dreckverband
Und was wird aus unsern Freunden
Und was noch aus dir, aus mir –
Ich möchte am liebsten weg sein
Und bleibe am liebsten hier

ca. 1976

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Deepspeeps @deepspeeps.bsky.social · 04/09/2026

𝐄𝐮𝐠𝐞𝐧𝐞 𝐂𝐚𝐫𝐫𝐢𝐞𝐫𝐞 "𝑊𝑜𝑚𝑎𝑛 𝐿𝑒𝑎𝑛𝑖𝑛𝑔 𝑜𝑛 𝑎 𝑇𝑎𝑏𝑙𝑒", 1893 𝑆𝑦𝑚𝑏𝑜𝑙𝑖𝑠𝑚 Carrière uses darkness, muted color, softened contours, and a simple gesture to turn an ordinary interior moment into a meditation on silence and inner life. #art #painting #schoenesgegendoofes

What we see

The painting presents a solitary woman leaning forward against a table, her body and face emerging softly from a dark, indistinct interior. Rather than giving us a sharply defined setting, Carrière surrounds the figure with shadowy, brownish-gray tones. The result makes the woman seem almost to dissolve into the atmosphere around her.

Style and technique

Carrière is particularly recognizable for this hazy, tonal treatment of the human figure. In this painting, edges are deliberately softened rather than crisply outlined. Light seems to emerge gradually from the darkness, concentrating our attention on the woman's face, posture, and quiet presence.

This lack of precise detail is important: Carrière is less interested in describing what the room looks like than in conveying a psychological mood. The subdued palette and indistinct background create an introspective, almost dreamlike quality.

Mood and interpretation

The woman's leaning posture suggests rest, contemplation, fatigue, or private thought. Because she isn't engaged in an obvious narrative or activity, the viewer is left to imagine what is happening internally. The painting therefore feels intimate and psychologically focused.

This is characteristic of Symbolism: the subject isn't simply a woman at a table; her pose and the surrounding darkness can be read as expressions of interiority, solitude, and emotional stillness.

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Deepspeeps @deepspeeps.bsky.social · 04/09/2026

𝐉.𝐌.𝐖. 𝐓𝐮𝐫𝐧𝐞𝐫 𝑉𝑒𝑛𝑖𝑐𝑒 𝑤𝑖𝑡ℎ 𝑡ℎ𝑒 𝑆𝑎𝑙𝑢𝑡𝑒, 𝑐. 1840 - 𝑐. 1845 𝑅𝑜𝑚𝑎𝑛𝑡𝑖𝑐𝑖𝑠𝑚

Venice, with a Salute (1840) by J. M. W. Turner is a luminous, atmospheric view of Venice that shows why Turner became known for transforming landscape into something almost dreamlike.

The painting looks across the Grand Canal toward the Santa Maria della Salute and the Doge's Palace. Rather than describing Venice with sharp architectural detail, Turner allows the city to dissolve into light, mist, and shimmering water.

The most striking feature is the sunlight. Warm yellows, creams, and soft blues spread across the sky and water, making the atmosphere seem to glow from within. The buildings are barely recognisable, and their forms are deliberately softened. Turner is less interested in giving us a precise map of Venice than in conveying the sensation of seeing Venice through brilliant Mediterranean light.

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Deepspeeps @deepspeeps.bsky.social · 22/08/2026

𝐆𝐚𝐬𝐭𝐨𝐧 𝐂𝐡𝐚𝐢𝐬𝐬𝐚𝐜 "𝑈𝑛𝑡𝑖𝑡𝑙𝑒𝑑", 1961

The image is a colorful, abstract figurative painting composed of irregular, overlapping shapes outlined in black.

A stylized human-like face appears near the center, with a simple white face, black eyes, nose, and a curved mouth.
Around it are large organic forms in yellow, green, blue, red, pink, and beige, resembling intertwined limbs, clothing, or abstract body parts.
The shapes are deliberately distorted and disproportionate, giving the work a naïve, playful, almost surreal quality.
The background is mostly blue, with bold black contours separating the different forms.

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Deepspeeps @deepspeeps.bsky.social · 08/08/2026

Sooo much winning! Incredible! www.aljazeera.com

Headline:
BREAKING,
IRGC says Hormuz to open after US ‘fully’ accepts Iran’s conditions

000

Deepspeeps @deepspeeps.bsky.social · 05/08/2026

𝐌𝐢𝐡𝐚𝐥𝐲 𝐌𝐮𝐧𝐤𝐚𝐜𝐬𝐲 "𝐷𝑢𝑠𝑡𝑦 𝐶𝑜𝑢𝑛𝑡𝑟𝑦 𝑅𝑜𝑎𝑑 𝐼𝐼", 1883 𝑎𝑛𝑑 "𝐶𝑜𝑢𝑛𝑡𝑟𝑦 𝑟𝑜𝑎𝑑 𝐼𝐼" 𝐼𝑚𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 #art #painting #schoenesgegendoofes

The painting is less about detailed objects than about light, atmosphere, and movement. A cart travels into the distance, raising a great cloud of dust. The dust catches the warm sunlight, becoming pink, peach, and pale gold, and seems almost to dissolve the road into the sky. Sparse trees and vegetation line the right side, while the landscape stretches broadly toward the horizon.

The result is a scene that feels quiet, hazy, and dreamlike. The ordinary act of traveling down a country road becomes almost poetic.

description by AI

I couldn't find out much about this painting. It is similar to the previous one, but the color scheme is more blue and green and less dusty, with a hinted sunset on the horizon.

000

Deepspeeps @deepspeeps.bsky.social · 30/07/2026

𝐕𝐥𝐚𝐝𝐢𝐦𝐢𝐫 𝐁𝐨𝐫𝐨𝐯𝐢𝐤𝐨𝐯𝐬𝐤𝐲 "𝑃𝑜𝑟𝑡𝑟𝑎𝑖𝑡 𝑜𝑓 𝑀.𝐼.𝐿𝑜𝑝𝑢𝑘ℎ𝑖𝑛𝑎", 1797 𝑅𝑜𝑐𝑜𝑐𝑜 Borovikovsky transforms a formal aristocratic portrait into an intimate image of a young woman whose beauty seems both serene and fleeting. The Tretyakov Gallery describes it as a pinnacle of his work. #art #schoenesgegendoofes

Lopukhina is shown in a relaxed, elegant pose, with her body turned slightly away while her face looks toward the viewer. Her soft expression, dreamy eyes, and gentle smile create an impression of calmness and introspection.
She wears a light-colored, flowing dress, with a blue sash around her waist. Her pale skin and delicate features contrast beautifully with the darker tones of her hair and the surrounding landscape. The loose pose and soft brushwork give the portrait an intimate and natural quality.

The background is particularly important. Instead of an elaborate interior associated with aristocratic portraiture, Borovikovsky places Lopukhina in a poetic natural setting containing birch trees, ears of rye, and cornflowers. The colors of the landscape echo those of her clothing and accessories, visually connecting the woman with nature.

Desription by AI

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Deepspeeps @deepspeeps.bsky.social · 30/07/2026

𝐅𝐫𝐢𝐞𝐝𝐞𝐥 𝐃𝐳𝐮𝐛𝐚𝐬 "𝐸𝑎𝑠𝑡 𝐽𝑜𝑢𝑟𝑛𝑒𝑦", 1968 Dzubas was interested in making colour itself carry emotion and movement. His work from the 1960s increasingly used simplified, floating colour forms rather than the gestural brushwork #art #painting #schoenesgegendoofes

The composition is horizontal and elongated, encouraging the viewer’s eye to move from one side to the other.
Large, flowing areas of bright and contrasting colour appear alongside quieter passages.
Dzubas avoids conventional objects and perspective; the forms seem to float, overlap, and move across the canvas.
The boundaries between some colour areas are soft, while others are more sharply defined, creating a sense of rhythm and tension.
The work feels energetic but also spacious, almost like a landscape transformed into pure colour.

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Deepspeeps @deepspeeps.bsky.social · 27/07/2026

𝐋𝐢𝐧 𝐅𝐞𝐧𝐠𝐦𝐢𝐚𝐧 (1900 - 1991) "𝑃𝑙𝑢𝑚 𝑇𝑟𝑒𝑒 𝑎𝑛𝑑 𝐵𝑖𝑟𝑑𝑠" 𝑁𝑎𝑖̈𝑣𝑒 𝐴𝑟𝑡 Lin Fengmian's birds, whether depicted sitting in the treetops, resting in the moonlight or singing in the early dawn, are poised and peaceful. This is where the weary soul can take refuge and balance can be achieved. #art

This painting, "plum Tree and Birds" depicts lively birds and branches drawn with powerful, sharp lines, in black, grey and red, creating a rich variation in space. The artistic conception is purely Chinese in its elegant refinement and full of human spirit.

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Deepspeeps @deepspeeps.bsky.social · 25/07/2026

Feed cleansing! If you need a break from Lumpy, this works like a charm.

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Deepspeeps @deepspeeps.bsky.social · 25/07/2026

𝐋𝐨𝐬𝐬 𝐀𝐧𝐝 𝐆𝐚𝐢𝐧 𝐵𝑦 𝐻𝑒𝑛𝑟𝑦 𝑊𝑎𝑑𝑠𝑤𝑜𝑟𝑡ℎ 𝐿𝑜𝑛𝑔𝑓𝑒𝑙𝑙𝑜𝑤 #art #poetry #schoenesgegendoofes www.familyfriendpoems.com/poem/loss-an...

When I compare
What I have lost with what I have gained,
What I have missed with what attained,
Little room do I find for pride.

I am aware
How many days have been idly spent;
How like an arrow the good intent
Has fallen short or been turned aside.

But who shall dare
To measure loss and gain in this wise?
Defeat may be victory in disguise;
The lowest ebb is the turn of the tide.

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Deepspeeps @deepspeeps.bsky.social · 25/07/2026

𝐌𝐚𝐫𝐭𝐢𝐫𝐨𝐬 𝐒𝐚𝐫𝐢𝐚𝐧 "𝐿𝑜𝑣𝑒", 1906 Saryan was a major Armenian painter of landscapes, still lifes, and portraits. #art #painting #schoenesgegendoofes

“Love” (1906) by Martiros Sarian is a small, dreamlike watercolor and Indian-ink work from his Fairy Tales and Dreams period. It shows a man and woman joined in an intimate kiss, with a gazelle nestled beside them; in the background, the sea and a boat extend the scene into a mysterious, almost mythical landscape.

ALT text generated by AI

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Deepspeeps @deepspeeps.bsky.social · 25/07/2026

𝐄𝐝𝐠𝐚𝐫 𝐃𝐞𝐠𝐚𝐬 "𝐷𝑎𝑛𝑐𝑒𝑟𝑠 𝑡𝑦𝑖𝑛𝑔 𝑠ℎ𝑜𝑒𝑠", 1883 𝐼𝑚𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 "Degas was the only Impressionist to truly bridge the gap between traditional academic art and the radical movements of the early 20th century, a restless innovator who often set the pace for his younger colleagues." 𝐵𝑟𝑖𝑡𝑡𝑎𝑛𝑖𝑐𝑎 #art #painting

The painting shows ballerinas bent over as they adjust or tie their shoes, focusing on the practical routines of dance rather than the polished spectacle of performance. Degas uses an unusual, almost snapshot-like composition: the figures are cropped and arranged at unexpected angles, making the viewer feel as though they are observing a private moment backstage.

The soft pastel colours and loose, lively brushwork create a sense of movement and atmosphere, while the low viewpoint draws attention to the dancers’ bodies and gestures.

AI generated

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Deepspeeps @deepspeeps.bsky.social · 24/07/2026

𝐓𝐢𝐚 𝐏𝐞𝐥𝐭𝐳 (1923-1999) "𝐺𝑖𝑟𝑙 𝐴𝑔𝑙𝑜𝑤" 𝐸𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 Tia Peltz was a Romanian painter, graphic artist, illustrator, and writer from Bucharest. Her work combined expressive drawing, vivid color, and an interest in ordinary people and urban life. #art #painting #schoenesgegendoofes

“Girl Aglow” by Tia Peltz is an Expressionist portrait that focuses closely on a young girl’s face. The painting emphasizes her facial features—especially her eyes, cheeks, and lips—using expressive color and brushwork rather than strict realism. The title suggests that the girl seems to radiate an inner light or vitality, giving the portrait a warm, lively, and emotionally charged feeling.

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Deepspeeps @deepspeeps.bsky.social · 24/07/2026

𝐉𝐨𝐡𝐧 𝐇𝐨𝐲𝐥𝐚𝐧𝐝 "𝐿𝑒𝑏𝑎𝑛𝑜𝑛", 2007 𝐴𝑏𝑠𝑡𝑟𝑎𝑐𝑡 𝐸𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 The work was inspired by a photograph of blood on the floor of a hospital in Tyre, Lebanon, connected to the 2006 Lebanon War. The painting communicates the chaos, violence, grief, and vulnerability of civilians through abstraction.

Lebanon is an abstract expression of the human cost of conflict. Hoyland uses colour, gesture, texture, and layered paint to turn an image of wartime suffering into a powerful meditation on violence, loss, grief, and the persistence of human feeling.

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Deepspeeps @deepspeeps.bsky.social · 24/07/2026

𝐀𝐧𝐭𝐨𝐧 𝐌𝐞𝐥𝐛𝐲𝐞 "𝐿𝑎𝑔𝑢𝑛𝑎 𝑑𝑖 𝑉𝑒𝑛𝑒𝑧𝑖𝑎", 1878 𝑅𝑜𝑚𝑎𝑛𝑡𝑖𝑐𝑖𝑠𝑚

Anton Melbye’s Laguna di Venezia (1878) is a Romantic marine landscape centered on the atmospheric character of the Venetian Lagoon. The painting appears to emphasize the broad expanse of water and sky, with sailing vessels providing scale and narrative interest. Rather than treating the boats as merely documentary details, Melbye uses them to animate the scene and draw the eye across the lagoon.

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Deepspeeps @deepspeeps.bsky.social · 08/07/2026

𝐌𝐞𝐝𝐢 𝐖𝐞𝐜𝐡𝐬𝐥𝐞𝐫 𝐃𝐢𝐧𝐮, 𝟏𝟗𝟎𝟖 - 𝟐𝟎𝟏𝟔 𝑅𝑜𝑚𝑎𝑛𝑖𝑎𝑛 𝑈𝑛𝑡𝑖𝑡𝑙𝑒𝑑 𝑃𝑜𝑠𝑡-𝐼𝑚𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚

In the foreground, several small boats are moored along a dock. One boat occupies the right side of the composition, with its mast and rigging creating strong diagonal lines.
On the left, additional boats rest near the shore, painted with loose, fluid brushstrokes that suggest rather than define their forms.
The water reflects warm shades of golden yellow and orange, conveying the glow of the setting sun.
Near the horizon, a vivid orange-red sun hangs low in the sky, becoming the painting's focal point.
In the distance, a blue silhouette of a city skyline, including slender towers or minarets, contrasts with the warm sky and water, adding depth and atmosphere.
The artist uses a restrained palette of blues, yellows, grays, and orange, with transparent washes and spontaneous lines typical of watercolor.

Overall, the painting conveys a sense of peace, stillness, and the fleeting beauty of evening light. Rather than focusing on precise detail, Medi Wechsler Dinu emphasizes light, color, and mood, allowing the viewer to experience the calm atmosphere of the harbor.

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Deepspeeps @deepspeeps.bsky.social · 29/06/2026

Hier noch ein Vergleich: www.comparis.ch/telecom/mobi... Kostet in der Schweiz einmalig CHF 6,-

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Deepspeeps @deepspeeps.bsky.social · 17/06/2026

𝐌.𝐅. 𝐇𝐮𝐬𝐚𝐢𝐧, 𝟏𝟗𝟏𝟓 - 𝟐𝟎𝟏𝟏 "𝐷𝑎𝑑𝑎" Husain developed his painting skills in the 1930s, painting billboards for the growing Bollywood film industry. He became the best-paid painter in India, his highest-selling piece fetching $1.6 M at a 2008 Christie's auction. #art #painting #schoenesgegendoofes

This artwork is a highly stylized, semi-abstract composition dominated by cool shades of blue, with black contours and accents of deep red.

The central figures appears to be a human and a horse, but are rendered in an abstract manner. The figures are fragmented into angular, flowing shapes rather than realistic anatomical forms.
Thick black brushstrokes define the contours, creating a sense of movement and emotional intensity.
A large curved dark form on the left side frames the figures, almost like an arch, shield, or enclosing space.

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Deepspeeps @deepspeeps.bsky.social · 16/06/2026

𝐆𝐮𝐬𝐭𝐚𝐯𝐞 𝐋𝐨𝐢𝐬𝐞𝐚𝐮 "𝐵𝑎𝑛𝑘𝑠 𝑜𝑓 𝑡ℎ𝑒 𝑆𝑒𝑖𝑛𝑒 𝑖𝑛 𝑆𝑢𝑚𝑚𝑒𝑟, 𝑇𝑜𝑢𝑟𝑛𝑒𝑑𝑜𝑠 𝑠𝑢𝑟 𝑆𝑒𝑖𝑛𝑒", 1899 "𝐿𝑎 𝐵𝑎𝑛𝑐ℎ𝑒", 1906 "𝑇ℎ𝑎𝑡𝑐ℎ𝑒𝑑 𝐶𝑜𝑡𝑡𝑎𝑔𝑒", 1903 "𝐶ℎ𝑒𝑚𝑖𝑛 𝑎𝑢 𝑏𝑜𝑟𝑑 𝑑𝑒 𝑙’𝑂𝑖𝑠𝑒, 𝑄𝑢𝑎𝑖 𝑑𝑢 𝑃𝑜𝑡ℎ𝑢𝑖𝑠", 𝑐.1905 𝑃𝑜𝑠𝑡-𝐼𝑚𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 #art #painting #schoenesgegendoofes

The composition is organized around three main elements:

A dense foreground of wild grasses and flowering plants rendered in vibrant greens, yellows, pinks, and purples.
The calm Seine River extending through the middle ground, reflecting sky and light.
A distant hillside with trees and a small building beneath a sky filled with scattered clouds.

"La Banche" focuses on the drama of the open sea. The viewer looks across rocky coastal formations toward the Atlantic, where waves, sky, and land merge into a dynamic interplay of light and atmosphere. The scene captures the Brittany coast at high tide ("haute mer"), emphasizing both the power and beauty of nature.

The painting centers on a cluster of rustic cottages with steep thatched roofs, nestled amid vegetation in the Norman village of Le Vaudreuil. Rather than presenting a grand vista, Loiseau focuses on the intimate character of rural architecture and its integration into the surrounding landscape. The cottages appear weathered and lived-in, conveying a sense of permanence and harmony with nature.

The scene presents a quiet path running alongside the Oise at the Quai du Pothuis, a riverside district of Pontoise that Loiseau painted repeatedly throughout his career. A footpath follows the riverbank, guiding the viewer's eye into the distance. Trees, modest houses, and riverside vegetation line the route, while the broad surface of the Oise reflects the sky and surrounding landscape.

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Deepspeeps @deepspeeps.bsky.social · 31/05/2026

Good grief! Lumpy is a thick as a plank.

Trump statement on his platform of (un)truths.

"The results of my Physical Examination, taken at Walter Reed Military Medical Center, and just released, were extremely good. Unlike other U.S. Presidents, none of whom have ever taken an approved, high difficulty, Cognitive Test, I scored a perfect 30 out of 30, considered “extreme intelligence.” Are the Dumocrats really surprised? In fact, this is my fourth such test, all PERFECT or, 120 correct answers out of 120 questions asked! It is very rare that anyone gets a Perfect Score, especially when achieved four times in a row. All people running for President and Vice President should be forced to take high difficulty Cognitive Tests. Congress, and the Dumocrats, should demand it! President DONALD J. TRUMP"

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Deepspeeps @deepspeeps.bsky.social · 30/05/2026

𝐍𝐢𝐜𝐡𝐨𝐥𝐚𝐬 𝐑𝐨𝐞𝐫𝐢𝐜𝐡 "𝐻𝑖𝑚𝑎𝑙𝑎𝑦𝑎" 1924 "𝐷𝑎𝑢𝑔ℎ𝑡𝑒𝑟 𝑜𝑓 𝑣𝑖𝑘𝑖𝑛𝑔" 1918 "𝑁𝑢𝑏𝑟𝑎 𝑣𝑎𝑙𝑙𝑒𝑦" 1926 "𝐵𝑢𝑟𝑒𝑖𝑛-𝐺𝑜𝑙. 𝑄𝑢𝑎𝑖𝑑𝑎𝑚." 1928 #art #painting #schoenesgegendoofes

Description

In Roerich's Himalayan paintings, the mountains are rarely rendered as detailed topographical studies. Instead, they appear as:

Towering blue and violet peaks rising into luminous skies.
Layered ridges fading into the distance, creating a sense of infinity.
Sharp geometric forms that give the mountains a monumental, almost sacred presence.
Brilliant color harmonies of blue, purple, pink, gold, and white.

The landscapes are often devoid of human activity, emphasizing the grandeur and solitude of nature.

The painting shows a solitary woman standing on a sunlit green hillside overlooking a vast landscape of blue mountains and water. She is dressed in what appears to be medieval or Norse-inspired clothing, suggesting a connection to Viking culture and legend.

The painting presents a broad mountain valley, likely inspired by the high-altitude terrain of the Nubra region in Ladakh.

A quiet river or stream runs through the center of the composition, reflecting the pale sky.
Massive mountain slopes frame the valley, with dark rocky forms on the left and distant blue peaks on the horizon.
The mountains are simplified into bold, geometric shapes, emphasizing their monumental presence.
Above them, sweeping white clouds stretch across the sky in layered, wave-like patterns.

Title and Location
Burein-Gol (or Bureen Gol) refers to a river; gol means "river" in Mongolian.
Qaidam refers to the vast Qaidam Basin, a high-altitude desert basin on the northeastern edge of the Tibetan Plateau.

A dreamlike barren landscape, with scarce, dry vegetation. In the distance blue-green hills and mountains and a white water river in between. The sky yellowish green and blue.
It's easy to get lost in the picture. The space it conveys seems both inviting and endless.

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Deepspeeps @deepspeeps.bsky.social · 30/05/2026

𝐊𝐢𝐦𝐨𝐧 𝐋𝐨𝐠𝐡𝐢 1871 - 1952 "𝑊𝑜𝑚𝑎𝑛 𝑖𝑛 𝐺𝑟𝑒𝑒𝑛" 𝑆𝑦𝑚𝑏𝑜𝑙𝑖𝑠𝑚 #art #painting #schoenesgegendoofes

A young woman is shown from the shoulders up, turned slightly toward the viewer. She wears a deep green headscarf and matching dress, accented by a pearl necklace. Her pale face emerges softly from a misty background of greens, blues, and muted golds. Rather than emphasizing precise detail, Loghi uses blended brushwork and diffused light to create a sense of quiet introspection.

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Deepspeeps @deepspeeps.bsky.social · 30/05/2026

Access to justice (or bribery) is based on how much a person can pay. This is disgusting and ultimately makes life worse for the majority of people. Vote the corruption out! And on the other side of the spectrum:

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Deepspeeps @deepspeeps.bsky.social · 29/05/2026

𝐉𝐨𝐚𝐧 𝐌𝐢𝐫𝐨 "𝐻𝑜𝑝𝑒 𝑜𝑓 𝑎 𝐶𝑜𝑛𝑑𝑒𝑚𝑛𝑒𝑑 𝑀𝑎𝑛 𝐼𝐼𝐼", 1974 𝐴𝑏𝑠𝑡𝑟𝑎𝑐𝑡 𝐸𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 What makes the painting powerful is the contradiction between its minimalism and its emotional weight. Miró reduces the image almost to a few marks, but those marks feel urgent, vulnerable, and human. #art #painting

The painting looks deceptively simple: a nearly empty white field, a sweeping black line, a bright yellow blotch, scattered drips, and scratch-like marks near the bottom. Yet the emotional tension comes from how little Miró uses to suggest something immense.

The black line feels alive and unfinished. It rises across the canvas with energy, then abruptly curls and stops. Critics often interpret this interruption as symbolic of a life suddenly cut off.
The vast white space creates isolation and silence. Miró’s late work increasingly relied on emptiness to produce emotional intensity rather than detailed imagery.
The yellow form can be read as a fragile sign of hope, light, or the sun — a small pulse of life against the emptiness and violence implied by the title.
The drips and smudges at the bottom evoke decay, imprisonment, or instability. They also preserve the physical gesture of painting itself, making the work feel immediate and raw.

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Deepspeeps @deepspeeps.bsky.social · 25/05/2026

𝐅𝐫𝐚𝐧𝐜𝐢𝐬 𝐏𝐢𝐜𝐚𝐛𝐢𝐚 "𝐴𝑒𝑙𝑙𝑜", 1930 𝑆𝑢𝑟𝑟𝑒𝑎𝑙𝑖𝑠𝑚 The title refers to Aello, one of the harpies from Greek mythology — winged female beings associated with storms and the carrying of souls to the underworld. #art #painting #schoenesgegendoofes

The painting presents two monumental faces pressed closely together, their features outlined in fluid black contours. The figures appear simultaneously ancient and dreamlike: their skin glows in warm ochres, rust-reds, and amber tones, while vines and leaves drift across their faces like thoughts or shadows. The eyes do not meet the viewer directly; instead, they glance sideways, creating an atmosphere of inward reflection and uneasy intimacy.

Picabia’s hallmark technique here is superimposition. The faces, foliage, and contour lines occupy the same pictorial space without fully resolving into a single stable image. This creates the sensation that multiple realities — memory, myth, desire, and history — are transparent layers suspended atop one another.

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Deepspeeps @deepspeeps.bsky.social · 25/05/2026

𝐏𝐞𝐭𝐫𝐞 𝐀𝐛𝐫𝐮𝐝𝐚𝐧 (1907-1979) "𝐴𝑠𝑡𝑜𝑛𝑖𝑠ℎ𝑚𝑒𝑛𝑡" 𝐸𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 #art #painting #schoenesgegendoofes

“Astonishment” by Petre Abrudan is an expressive, emotionally charged painting that depicts three women standing closely together, their faces marked by uncertainty, curiosity, or quiet shock.

The elongated faces and large, dark eyes create a feeling of psychological intensity. The women do not smile; instead, their expressions seem introspective and uneasy, which fits the title Astonishment. Their gaze suggests they are reacting to something outside the frame.

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Deepspeeps @deepspeeps.bsky.social · 25/05/2026

𝐏𝐞𝐝𝐞𝐫 𝐒𝐞𝐯𝐞𝐫𝐢𝐧 𝐊𝐫𝐨𝐲𝐞𝐫 "𝑆𝑢𝑚𝑚𝑒𝑟 𝐷𝑎𝑦 𝑜𝑛 𝑆𝑘𝑎𝑔𝑒𝑛'𝑠 𝑆𝑜𝑢𝑡ℎ𝑒𝑟𝑛 𝐵𝑒𝑎𝑐ℎ", 1884 𝐼𝑚𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑖𝑠𝑚 #art #painting #schoenesgegendoofes

The image shows a calm beach scene painted in a soft, impressionistic style. Several children are wading and swimming in shallow water near the shoreline, while a child stands alone on the sandy beach looking toward the sea. The lighting is hazy and muted, giving the scene a quiet, nostalgic atmosphere. The composition and brushwork resemble late 19th-century Scandinavian coastal paintings.

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Deepspeeps @deepspeeps.bsky.social · 20/05/2026

www.scienceabc.com/pure-science...

Why Can’t We See Atoms?

Quite simply, because they’re so incredibly small! An object is visible when it deflects the light falling on it. The size of atoms falls between 30-300pm, which is approximately of the order 10-12m. For optical microscopes, atoms are invisible, i.e., atoms do not interact with the light particles, so there is no deflection. It wasn’t until the invention of electron microscopes that we first got a glimpse of the atom. An electron beam, which has a lower wavelength than visible light, is scattered when it hits the target; this scattering allows for the creation of an image. There are many more advanced microscopes that not only allow us to observe atoms, but also aid in moving atoms around in a sample to study them!

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