shadic90210 [2014-03-07 13:20:17 +0000 UTC]

Happy birthday

👍: 0 ⏩: 0

AgentPrettyBoy [2013-03-08 00:01:50 +0000 UTC]

I havent talked to you in quite a while but I just come by to wish you a happy birthday

👍: 0 ⏩: 0

AgentPrettyBoy [2012-09-11 00:54:40 +0000 UTC]

awesome gallery!

👍: 0 ⏩: 1

BP-In45 [2012-06-04 12:56:44 +0000 UTC]

Thanks for the watch!

👍: 0 ⏩: 0

Hatchet-Ears [2012-06-04 09:47:28 +0000 UTC]

Thanks for the watch~ ovo

👍: 0 ⏩: 0

LexyHedgehog [2011-11-15 19:06:01 +0000 UTC]

hi

👍: 0 ⏩: 1

AlbertByakuya666 [2011-09-08 21:27:05 +0000 UTC]

How ya doing Fruity!

👍: 0 ⏩: 1

ShadowReaper12 [2011-09-05 21:56:06 +0000 UTC]

thanks for the fave ^^

👍: 0 ⏩: 0

Deeies [2011-08-31 16:43:05 +0000 UTC]

HEEYY. ;uuu;
It's PickUpYourSonicDoll. ;v;
I've missed youuu.
<3

👍: 0 ⏩: 1

AlbertByakuya666 [2011-08-11 00:40:02 +0000 UTC]

Aloooha Furity!

👍: 0 ⏩: 1

AlbertByakuya666 [2011-07-17 05:38:04 +0000 UTC]

Ah, Chats died DX, but im sorry, You wanna chat later and maybe rp(the chats are down right now(

👍: 0 ⏩: 1

Alphanza1 [2011-07-16 22:22:56 +0000 UTC]

I'm on if you can come, dear.

👍: 0 ⏩: 1

AlbertByakuya666 [2011-07-09 21:18:07 +0000 UTC]

I'll be waiting

👍: 0 ⏩: 0

AlbertByakuya666 [2011-06-03 03:41:40 +0000 UTC]

Fruuuuuity, its me Byakuya666 how ya been

👍: 0 ⏩: 1

Dante-the-Echidna [2010-12-10 04:06:02 +0000 UTC]

Ello, Fruity~ It's been so long :3

👍: 0 ⏩: 0

Dante-the-Echidna [2010-11-06 16:43:22 +0000 UTC]

Well hello >> Been a while~ :3

👍: 0 ⏩: 0

tavington [2010-10-20 10:02:04 +0000 UTC]

Just a quick reminder, there is just over a week remaining for The Tim Burton collab entries to be completed!

👍: 0 ⏩: 0

Byakuya666 [2010-09-18 12:20:26 +0000 UTC]

Aloha! ^^

👍: 0 ⏩: 0

Clockwork-Lady-88 [2010-09-04 15:52:48 +0000 UTC]

Thanx 4 da fav XD

👍: 0 ⏩: 0

FruityKeyboard [2010-08-30 20:50:56 +0000 UTC]

West 53rd Street studio, c. 1953, photograph by Henry Elkan, courtesy Archives of American Art, Smithsonian Institution, Rudi Blesh Papers
One of the preeminent artists of his generation, Mark Rothko is closely identified with the New York School, a circle of painters that emerged during the 1940s as a new collective voice in American art. During a career that spanned five decades, he created a new and impassioned form of abstract painting.
Rothko's work is characterized by rigorous attention to formal elements such as color, shape, balance, depth, composition, and scale; yet, he refused to consider his paintings solely in these terms. He explained: It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing.
By 1949 Rothko had introduced a compositional format that he would continue to develop throughout his career. Comprised of several vertically aligned rectangular forms set within a colored field, Rothko's "image" lent itself to a remarkable diversity of appearances.
In these works, large scale, open structure and thin layers of color combine to convey the impression of a shallow pictorial space. Color, for which Rothko's work is perhaps most celebrated, here attains an unprecedented luminosity.
His classic paintings of the 1950s are characterized by expanding dimensions and an increasingly simplified use of form, brilliant hues, and broad, thin washes of color. In his large floating rectangles of color, which seem to engulf the spectator, he explored with a rare mastery of nuance the expressive potential of color contrasts and modulations.
Alternately radiant and dark, Rothko's art is distinguished by a rare degree of sustained concentration on pure pictorial properties such as color, surface, proportion, and scale, accompanied by the conviction that those elements could disclose the presence of a high philosophical truth. Visual elements such as luminosity, darkness, broad space, and the contrast of colors have been linked, by the artist himself as well as other commentators, to profound themes such as tragedy, ecstasy, and the sublime. Rothko, however, generally avoided explaining the content of his work, believing that the abstract image could directly represent the fundamental nature of "human drama."
The Mark Rothko exhibition (May 3 - August 16, 1998) is the first comprehensive American retrospective of the artist's work in twenty years. With 115 works on canvas and paper encompassing all phases of Rothko's career, the exhibition reveals the remarkable depth of Rothko's artistic achievement. This web feature includes a selection of works in the exhibition, as well as a number of paintings and drawings in the Gallery's permanent collection, some of which are not currently on view.
Mark Rothko was born Marcus Rothkowitz in Dvinsk, Russia (today Daugavpils, Latvia), on September 25, 1903. He was the fourth child of Jacob Rothkowitz, a pharmacist (b. 1859), and Anna Goldin Rothkowitz (b. 1870), who had married in 1886. Rothko and his family immigrated to the United States when he was ten years old, and settled in Portland, Oregon.
Rothko attended Yale University in 1921, where he studied English, French, European history, elementary mathematics, physics, biology, economics, the history of philosophy, and general psychology. His initial intention was to become an engineer or an attorney. Rothko gave up his studies in the fall of 1923 and moved to New York City. In New York, Rothko attended classes at the Art Students League, briefly studying under Max Weber, who encouraged him to work in a figurative style reminiscent of Cézanne. In the late 1920s, he met the modernist painter Milton Avery, whose simplified and colorful depictions of domestic subjects had a profound influence on Rothko's early development, particularly his application of paint and treatment of color. Avery's home became a meeting place for artists, who attended weekly life drawing sessions there. Bernard Karfiol, an instructor at the Art Students League, included Avery and Rothko in Group Exhibition: Artists Selected by Bernard Karfiol,at the Opportunity Gallery in 1928. In 1929 Rothko began teaching children at the Center Academy of the Brooklyn Jewish Center, a position he retained for more than twenty years. In the 1930s Rothko painted mostly street scenes and interiors with figures. Rejecting conventional modes of representation, he stressed an emotional approach to the subject--an approach he admired in children's art--and adopted a style characterized by deliberate deformations and a crude application of paint. Rothko's work began to darken dramatically during the late 1950s. This development is related to his work on a mural commission for the Four Seasons restaurant, located in the Seagram Building in New York City. Here Rothko turned to a palette of red, maroon, brown, and black. The artist eventually withdrew from this project, due to misgivings about the restaurant as a proper setting for his work. He had, however, already produced a number of studies and finished canvases, two of which are included in the present installation. In the Seagram panels, Rothko changed his motif from a closed to an open form, suggesting a threshold or portal. This element may have been related to the architectural setting for which these works were intended.
With some exceptions, the darkened palette continued to dominate Rothko's work well into the 1960s. He developed a painstaking technique of overlaying colors until, in the words of art historian Dore Ashton, "his surfaces were velvety as poems of the night."

👍: 0 ⏩: 0

Motobugg [2010-08-16 06:27:29 +0000 UTC]

Imma give you a watch, cause you're that awesome. ;D !
XD

👍: 0 ⏩: 1