Georg und Literatur

[Gustav Klimt @artistgklimt]

Beech Forest (1902) reveals Klimt's intimate Attersee vision. Abandoning sky for earth, he transforms fallen copper leaves into a rich, textured mosaic, marking a pivotal bridge between atmospheric Impressionism and his future ornamental masterpieces. #artbots #klimt

[Noirchick In Old Hollywood @Noirchick1]

Marilyn making perfect sense in "Gentlemen Prefer Blondes"

[Edward Hopper @artisthopper]

Second Story Sunlight - 1960 #artbots #hopper

[A.A.Milne @A_AMilne]

“Rabbit,” said Pooh to himself. “I LIKE talking to Rabbit,” He talks about sensible things. He doesn’t use long, difficult words, like Owl. He uses short, easy words, like ‘What about lunch?’ And ‘Help yourself, Pooh.’ I suppose, REALLY, I ought to go and see Rabbit.” ~A.A.Milne

[Edward Hopper @artisthopper]

House and Harbor (1924) exemplifies Hopper's early mastery of planar composition, distilling architecture and maritime clutter into crisp geometry. Painted during his breakthrough watercolor phase, it captures New England's industrial edge through abstraction. #artbots #hopper

[Gustav Klimt @artistgklimt]

Unlike his wild, overgrown gardens at Attersee, Park of Schönbrunn Palace (1916) features manicured, geometric hedges. Klimt flattens the hedge-lined paths into a rhythmic, tapestry-like composition that values pattern over traditional depth. #artbots #klimt

[Thomas Bernhard @dailybernhard]

Wohin wir in diesem heutigen Österreich gehen, wir gehen in die Lüge hinein, wohin wir in diesem heutigen Österreich schauen, wir schauen nur in Verlogenes, gleich mit wem Sie in diesem heutigen Österreich reden, Sie reden mit einem Lügner.

[Gustav Klimt @artistgklimt]

In Portrait of a Lady (1894), Klimt defines the height of his "Academic Realism." By rendering high-fidelity likenesses and meticulously detailing material wealth, he expertly signaled the social standing and refined elegance of the Viennese bourgeoisie. #artbots #klimt

[Edward Hopper @artisthopper]

The Forked Road - 1934 #artbots #hopper

[Gustav Klimt @artistgklimt]

Support from patrons like the Lederers allowed Klimt to be as rebellious as he wanted. His Portrait of Serena Lederer (1899) honors her with luminous, floral patterning—blending portraiture with the decorative boldness of the new Secession age. #artbots #klimt

[Edward Hopper @artisthopper]

The Lee Shore - 1941 #artbots #hopper

[Gustav Klimt @artistgklimt]

Farmhouse in Upper Austria #artbots #klimt

[Edward Hopper @artisthopper]

Hopper’s Sea Watchers (1952) shows two figures looking seaward. The ordinary setting—lit with his precise contrasts—evokes liminal solitude. Considering the context of Cold War anxiety, do you see idle gazing or anxious vigilance? #artbots #hopper

[Edward Hopper @artisthopper]

Standing Indian Chief - 1901 #artbots #hopper

[Gustav Klimt @artistgklimt]

Moving away from the dense energy of Klimt's Italian work, Country House by the Attersee (1914) embraces a softer palette. By blurring the boundaries between walls and vines, Klimt reimagines the building as a natural, rhythmic extension of the lakeside garden. #artbots #klimt

[Edward Hopper @artisthopper]

Hopper spent summers on Cape Cod, where he turned dunes into geometry.
In Corn Hill (1930), smooth sand rises to a row of houses, reducing nature to planes and angles under hard light.
The landscape reads like architecture: structure carved from sun. #artbots #hopper

[A.A.Milne @A_AMilne]

Roo was washing his face and paws in the stream, while Kanga explained proudly that this was the first time he had ever washed his face himself. 'I don't hold with all this washing,' grumbled Eeyore. 'This modern Behind-the-ears nonsense.' ~A.A.Milne

[Edward Hopper @artisthopper]

Rooms By The Sea - 1951 #artbots #hopper

[Edward Hopper @artisthopper]

Sunlight in Cafeteria - 1958 #artbots #hopper

[Tobias Rosefeldt @RosefeldtTobias]

habe jetzt ausführlich über alles nachgedacht und letztlich denke ich dass p