d u i r

a man from switzerland who likes (to do) creative works...
MS in Norwegian on walrus bone or reindeer horn, Norway, ca. 15th c., 6 ff., 3x14 cm, single column, (2x14 cm), 1 line in runes of the younger futhark, 93 feastday symbols in a rather early primitive stage, including the 2 St. Olav axes. From the Schoyen collection.

MS in Norwegian on walrus bone or reindeer horn, Norway, ca. 15th c., 6 ff., 3x14 cm, single column, (2x14 cm), 1 line in runes of the younger futhark, 93 feastday symbols in a rather early primitive stage, including the 2 St. Olav axes.

From the Schoyen collection.

(Source: aubade, via sisterhimalaya)

cavetocanvas: Yves Tanguy, Never Again, 1939 From the National Galleries of Scotland: ‘Never Again’ was painted shortly before Tanguy left France for New York in November 1939. He took this painting with him to sell to an art dealer in America. The small, individualised amoeba-like forms in the foreground are typical of the shapes Tanguy included at that time in his paintings. It is difficult to determine what these shapes are intended to represent; however, the idea of metamorphosis, of one shape changing into another, is central to Surrealism. The meticulous style of the abstract forms contrasts with the illusionistic background, in which it is difficult to determine depth.

cavetocanvas:

Yves Tanguy, Never Again, 1939

From the National Galleries of Scotland:

‘Never Again’ was painted shortly before Tanguy left France for New York in November 1939. He took this painting with him to sell to an art dealer in America. The small, individualised amoeba-like forms in the foreground are typical of the shapes Tanguy included at that time in his paintings. It is difficult to determine what these shapes are intended to represent; however, the idea of metamorphosis, of one shape changing into another, is central to Surrealism. The meticulous style of the abstract forms contrasts with the illusionistic background, in which it is difficult to determine depth.

(via virin)