Abdullah Abdulaziz

• • •

[Alexander's Cartographer @cartographer_s]

Farallon Island - Albert Bierstadt, 1887

[signüll @signulll]

zero to one work is soul exposing.

you’re making something out of nothing, then dragging it into reality by force of will while everything around you & sometimes even yourself telling you it’s dumb, or pointless.

[Abdullah Abdulaziz @TheAbdullahAz]

سؤالك فعلاً يخليني أفكر! صحيح إن البحار اللي في قلوب الرسامين مو دايمًا هادئة، لأن الإنسان بطبعه يحمل اضطرابات ومشاعر معقدة. بس أعتقد إنهم يرسمون البحر هادئ وممتع لأنهم يبون يعبّرون عن شيء يشتاقون له، زي السلام الداخلي أو لحظة سكينة. يمكن الرسم بالنسبة لهم يكون زي ملاذ يهربون فيه من فوضى أفكارهم “escapism”، أو طريقة يشاركون فيها الناس بصورة مثالية عن الجمال والهدوء. في لوحة اعلاه مثلاً، يبدو إن الرسام حاب يأخذنا في رحلة هادئة تحت نور القمر، ربما عشان يستحضر شعور بالحنين أو الراحة. وش رايك أنت؟ ليش تعتقد الرسامين يختارون الهدوء في رسوماتهم؟

[Abdullah Abdulaziz @TheAbdullahAz]

• Night cruise in the Mediterranean - Emil Orlik, c. 1905 •

[Abdullah Abdulaziz @TheAbdullahAz]

“Society often overvalues innate talent and underestimates the power of growth”

— Adam Grant, Hidden Potential

• The Sower - Vincent Van Gogh, c.1888 •

[Abdullah Abdulaziz @TheAbdullahAz]

“The Wright brothers didn’t invent the airplane by optimizing the fastest horse.”

- Kenneth O. O. Stanley & Joel Lehman, Why Greatness Cannot Be Planned: The Myth of the Objective

• Sky Above Clouds IV - Georgia O’Keeffe, c. 1965 •

[Abdullah Abdulaziz @TheAbdullahAz]

• The Doors of Tamerlane - Vasily Vasilevich Vereshchagin, c. 1872 •

[Abdullah Abdulaziz @TheAbdullahAz]

• The Adoration of the Shepherds - Guido Reni, c. 1640 •

At National Gallery, London.

[Massimo @Rainmaker1973]

The ornamental rug paintings by Antonio Santín create an optical illusion of depth and realism that renders the fold and crease in the rugs.

[📹 antoniosantin_]
https://t.co/f5Ka1bM4DZ

[Abdullah Abdulaziz @TheAbdullahAz]

Here’s a fascinating detail about • The School of Athens •: Raphael paid homage to his contemporary Leonardo da Vinci by portraying him as Plato in the painting. Plato stands at the center, pointing upwards to signify his philosophy of higher ideals. By giving Plato Leonardo’s likeness, Raphael bridges the gap between classical wisdom and Renaissance innovation. This artistic choice not only honors Leonardo’s genius but also symbolizes the timeless pursuit of knowledge.

Check out this close-up to see the resemblance! #LeonardoDaVinci #Raphael #ArtHistory

[Abdullah Abdulaziz @TheAbdullahAz]

• The School of Athens - Raphael, c. 1509 and 1511 in the Vatican Palace •

The painting depicts a grand assembly of ancient philosophers, mathematicians, and scientists, all engaged in intellectual discourse.

Central to the artwork is the celebration of knowledge, wisdom, and the human pursuit of understanding, embodying the very essence of the Renaissance spirit.

[Abdullah Abdulaziz @TheAbdullahAz]

At the heart of • The School of Athens •, we find the central figures Plato and Aristotle engaged in profound discourse.

Plato, on the left, points upwards, symbolizing his belief in higher forms and ideals beyond the physical world. He holds his book “Timaeus”, reflecting his philosophical explorations of the cosmos.

Aristotle, on the right, gestures towards the earth, emphasizing his focus on empirical observation and practical ethics. He carries his work “Nicomachean Ethics”, highlighting his teachings on virtue and human behavior. Their contrasting gestures represent the foundational debate between idealism and realism—a dialogue that continues to shape philosophical thought today.

[Abdullah Abdulaziz @TheAbdullahAz]

• Talking It Over - Enoch Wood Perry, c. 1872 •

[Abdullah Abdulaziz @TheAbdullahAz]

• Pirate’s Treasure - Tatyana Kupriyanova •

[Abdullah Abdulaziz @TheAbdullahAz]

• Les découvreurs d'antiques - Hubert Robert, c. 1765 •

[soli @solisolsoli]

Eyes in the dark...