Art, Inspiration and Musings

theartofanimation:

Kevin Dart

theartofanimation:

LixiaoyaoII

fer1972:

Four Creepy illustrations by John Kenn

(via caligulasyndrome)

curiositycounts:

Absolutely lovely collection of French letters and envelopes, romancing the lost art of calligraphy and leading you into a “universe of arabesques and beautiful writing.” 

(via)

(via spx)

marasbazaar:

T____T

fuckyeahillustrativeart:

R.I.P. Maurice Sendak 5-08-12

the-overlook-hotel:

Kubrick makes extensive use of number play in The Shining, employing the same visual mirroring and doubling motif he uses throughout the film. There are several repetitions of the numbers 42, 24, 21, and 12.

A few examples:

- At the end of the film, Jack is shown in a photo for a New Year’s Eve ball in 1921

- That photo is one of 21 framed photos on the wall

- Danny’s shirt has a 42 on the sleeve

- Wendy watches the film “Summer of ‘42” on television

- Dick Hallorann’s rental car license plate has a prominent 42

- There are 42 vehicles in front of the Overlook at the beginning of Jack’s interview (not including the Sno-Cat)

- In Room 237, the product of 2, 3 and 7 is 42. The sum of 2, 3 and 7 is 12

- When Jack first sees Lloyd the bartender, the barstools are arranged in a configuration of 4 and 2

- The two inter title times shown on screen are “8am” and “4pm”, which add up to 12

- Dick Hallorann’s litany of the freezer and pantry stock includes 12 turkeys, 24 pork roasts, 12-pound bags of sugar, and 12 jugs of black molasses

- The shortwave radio call sign for the Overlook Hotel is “KDK 12”

The sheer number of these instances is an argument against coincidence, but if one needs further proof of Kubrick’s fascination with number play, the title page of his copy of Stephen King’s novel of The Shining is filled with Kubrick’s own handwriting as he works out creative ways to use the number “217”. Room 217 was the number of the dead woman’s room in the novel, which Kubrick changed at the request of the Timberline Hotel management. His selection of “237” was not without forethought.

The question is why? It is known that Kubrick studied Sigmund Freud’s writings on The Uncanny, where Freud discusses the unsettling effect that recurring numbers can have: ”We naturally attach no importance to the event when we hand in an overcoat and get a cloak room ticket with the number, let us say, 62; or when we find our cabin on a ship bears that number. But the impression is altered if two such events, each in itself indifferent, happen close together — if we come across the number 62 several times in a single day, or if we begin to notice that everything which has a number — addresses, hotel rooms, compartments in railway trains — invariably has the same one, or at all events one which contains the same figures. We do feel this to be uncanny.”

g4tv:

This cake is not a lie.

maudit:

The Making of The Shining by Vivian Kubrick (x)

(via vintagegal)

peterfromtexas:

Spanish artist, Escif was recently in Poland for the Katowice Street Art Festival where he painted this huge mural of an on/off switch in an apartment complex

(via 2headedsnake)

black-tangled-heart:

David Spriggs

The Paradox of Power 
red and blue acrylic paint, display case, springs, lights 
264 x 315 x 91 cm
2007

(Source: arpeggia, via bookspaperscissors)