If you know someone who’s depressed, please resolve never to ask them why. Depression isn’t a straightforward response to a bad situation; depression just is, like the weather.
Try to understand the blackness, lethargy, hopelessness, and loneliness they’re going through. Be there for them when they come through the other side. It’s hard to be a friend to someone who’s depressed, but it is one of the kindest, noblest, and best things you will ever do.
The Dutch don’t have sole jurisdiction on the windmill, here are some rickety French mills on the coast.
Ségé Alexandre (French, 1818 ‑ 1885)
Mills in the Pas de Calais, 19th century
The Baltimore Museum of Art: Garrett Collection, BMA 1946.112.4656
"Tiny Tarot" by Evan Lorenzen
Acquire one here.
Photo reblogged from with 8 notes
best photo I’ve gotten so far. this is my favorite print :(
"the world is large but in us it is as deep as the sea" R.M.Rilke
This series of work is the culmination of several years, in which time I have refined the core ideas behind my work, this being an understanding of a sublime that’s vastness is not created in the openness of a space (like in the work of Casper David Friedrich). Rather, it is created in the obscuring of space from the viewer be it fog, darkness or a “veil of trees” so that the spaces vastness exists in the uncertainty of the spaces boundaries. The base of my research and the reason the forest is my current motif is because of Gaston Bachelard’s “Poetics Of Space”. In it he explores how we experience spaces, focusing on archetype spaces, the forest being one of these. It is Kant’s and Burke’s ideas and writings that has most affected my work and defined my understanding of the sublime. I also believe that Freud’s Uncanny has relevance and is linked with the sublime.
So in love with these photos
Jacob van Loon
Watercolor, acrylic, and graphite on wood
More from from Gus Fisher visit: Sam Harrison’s woodcut prints
(Bottom image from internet search, not from the exhibition - ‘Bridget’, Woodcut by Sam Harrison, 2009, found here.)
Ales Novak, untitled, 84x60cm, charcoal on paper, 2011
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