My Candelaria

so this is Kat's tumblah!
I draw quite sometimes also so don't follow if you are sensitive ,if you follow me don't expect to follow you back ,maybe yes maybe not enough explication sumerce :) just disfrutela

Devianart


MEGUSTA LIST

-Colombia
-comics
-Harry Potter
-Homestuck
-World History
-Pugs and Owls

ASK AWAY

Theme by: iamadek

saruca:

Because of this sad owl, I feel sad too…

awwwwwwwww come here and let me hug youuuu

actegratuit:

- dusk

-backlit

Casey Baugh

dilfosaur:

Anonymous asked you: You should make a picture of Thor hugging Loki and singing Set Fire to the Rain.

what is going on in my inbox

in-black:

Cillian Murphy for Vogue Italy, december 2005

in-black:

Cillian Murphy for Vogue Italy, december 2005

(Source: ahoraporlosdioses)

(Source: bunnyfood)

wallytumblz:

蚂蚁捌手王

welovepaintings:

Thomas KenningtonGreat Britain 1856-1916Homeless 1890oil on canvas170.0 x 152.0 cm
___
Homeless, 1890, is one of a series of works in which Kennington depicts the plight of women and children who were impoverished or destitute. Subjects such as these gained popularity during the 1870s and 1880s, partly as a result of the increasing influence of illustrated journals, which regularly commisssioned artists to provide images of ‘real’ life.
In Homeless, the square-brush technique used by Kennington in painting the wet pavement and the river, and his focus on subtle tonal variations rather than on colour - as in the soft grey light illuminating this scene - were among the characteristics adapted by British artists from French sources at the time.
CultureVictoria

welovepaintings:

Thomas Kennington
Great Britain 1856-1916
Homeless 1890
oil on canvas
170.0 x 152.0 cm

___

Homeless, 1890, is one of a series of works in which Kennington depicts the plight of women and children who were impoverished or destitute. Subjects such as these gained popularity during the 1870s and 1880s, partly as a result of the increasing influence of illustrated journals, which regularly commisssioned artists to provide images of ‘real’ life.

In Homeless, the square-brush technique used by Kennington in painting the wet pavement and the river, and his focus on subtle tonal variations rather than on colour - as in the soft grey light illuminating this scene - were among the characteristics adapted by British artists from French sources at the time.

CultureVictoria