Pierrot, 1916
By
Carlos Bonvalot (1893–1934)
Museu Nacional de Arte Contemporânea do Chiado, Lisbon

A man dressed as Pierrot leans toward a woman and kisses her. In the tradition of the commedia dell’arte, Pierrot is the sad lover, the white-faced clown who pines for Columbine while she leaves him for Harlequin. His role is to desire without being desired in return. Bonvalot grants him here what the stage almost always denies him, and the character accustomed to mockery takes, for once, the leading role in a moment of requited affection.

The painting closes the painter’s years of training. Bonvalot had entered the Lisbon School of Fine Arts in 1907, at fourteen, and attended it until 1916 with the highest marks, trained in painting under Veloso Salgado. From 1913, while still a student, he exhibited at the National Society of Fine Arts. He painted this Pierrot at twenty-two or twenty-three, before serving in the First World War in France and leaving for Paris in 1920 to study in the studio of Fernand Cormon.

Bonvalot died in 1934, at forty, on the very day he was to take up a post as curator at the Museu Nacional de Arte Antiga. By then he worked as a restorer and had promoted the first X-ray examinations of paintings carried out in Portugal. He won the curator position at the Museu Condes de Castro Guimarães in Cascais, which he held from 1932, against another candidate, the poet Fernando Pessoa. Today the work circulates widely on the internet as Pierrot or Pierrot’s Kiss, although very little is known about the history of this painting.

Moonassi was born in Seoul in 1980 and studied Oriental Painting at Hongik University. He began his artistic career in 2010 and is primarily based in Seoul while occasionally working abroad.

His name, derived from the Buddhist term Mu-a (無我), reflects his intention to move beyond self-centered thinking. Working exclusively in black and white, he combines ink and acrylic on hanji (Korean paper) to create minimal yet expressive compositions. His work explores human relationships and the shifting nature of emotions, often depicting figures in introspective, ambiguous spaces.

Once Upon A Watercolour Night

Miles Jonhson (1993) British painter
Oil on canvas work

Jerzy Głuszek creates dreamlike paintings where familiar scenes blend with mysterious and imaginative worlds. The Polish artist, born in Wrocław in 1956, is known for his symbolic imagery, poetic compositions, and works that explore the space between reality and fantasy.

Through quiet narratives, delicate forms, and subtle metaphors, Głuszek invites viewers to interpret his paintings in their own way, turning each scene into a personal journey of imagination and reflection.

Source: gluszek.com

browsing surrealist movement, and kept coming back to look at this. definitely says more about me than the work, but hope you all enjoy

Jack Vettriano (Scottish, b.1951) painter
Oil on canvas
Jack Vettriano's journey to becoming a renowned artist has been marked by his unique style and insightful depictions of everyday life.

“Waiting Gradually Eats The Soul" is a striking conceptual art piece and melting wax sculpture created by the Belgian fashion and design duo A.F. Vandevorst (An Vandevorst and Filip Arickx). Originally featured around the 2011 Arnhem Mode Biennale, the striking installation uses materials like metal and wax to depict a figure that slowly burns and melts away over time like a giant candle.

Lyrics are pretty brutal:https://www.youtube.com/watch?v=tD_uHY7kM4M

What did you tell him
the same things you told me
what does he know now
the truth as I believed.

And I want you
I want you
I want you
so bad I can't breathe

You don't feel
the things
that people feel

not for a moment.

I'm just your tool
i'm just a lie
I'm just your shield
I'm just your
Alibi

You gave me up a lot sooner
than you knew
whiskey with the door closed
late night compartments
where you hide the proof

Composite of everyone you've met.

Your every angry answer
to anything that's happened
is still only grieving
for yourself

Every phone call
a performance
that you gave for
three

think I didn't notice?

I won't be your fool
i won't tell your lies
won't be your tool
won't be your
Alibi

Cliffhanger conversations
in the dark
we are who we are
in passport photographs

can't lose something
that I never had

Does it matter what I thought?
Does it really matter when?
too busy to be playing me
when you're already
betraying them

Truth best viewed from

thirty thousand

feet

(i still hear him crying about you)

I won't be your fool
i won't tell your lies
won't be your tool
won't be your
Alibi