Mint Condition Tattoo


Mint Condition Tatto - John Sunseri | John Sunseri

Related Articles

National Gallery of Art Photo 2018-02-17 16:55

The densely layered image of "Slum Gardens No. 3" signals claustrophobia. A large tree with a thick, spiked vine winding its way up the trunk defines the right side of the work. Weeds and flowers blanket the bottom half of the image, almost obscuring the wooden shack (left) and the staircase. Plants invade a picket fence and piece of railing in the lower foreground. We sense that the vegetation will soon overtake the entire area, turning the "garden" into a neighborhood menace. "Slum Gardens No. 3" is not a view of a specific place; rather, it visualizes the concept of "slums" from regions around the world. The overgrowing landscape serves as a metaphor for the lack of attention paid to impoverished neighborhoods. Not only are the physical environments of such areas neglected, but, as Norman's drawing suggests, its social and economic problems are ignored as well. #BlackHistoryMonth Joseph Norman, "Slum Gardens No. 3," 1990, charcoal on wove paper, National Gallery of Art, Washington, Gift of the Sandra and Charles Gilman, Jr. Foundation in memory of Dorothea L. Leonhardt

National Gallery Photo 2018-02-17 11:37

'Portrait of the Artist with his Wife and Daughter' is the only known portrait in which Gainsborough included himself with his family. Gainsborough holds in his hand a paper, perhaps once showing a sketch, but now transparent with age, as is the figure of the child. It has been presumed that she must be the Gainsborough's eldest surviving daughter Mary, born shortly before February 1750. The dog seems content drinking from the pond or stream slightly showing in the foreground. This painting is on display in Room 35:

British Museum Photo 2018-02-17 09:00

Rodin’s ‘The Kiss’ and ‘The Thinker’ are now regarded as masterpieces in their own right, but did you know neither of them started out as individual works? They originally formed part of his elaborate composition ‘The Gates of Hell’, depicting a scene from Dante’s ‘Inferno’. The monumental sculpture stands 6m tall and 4m wide, commissioned in 1880 for a new decorative arts museum in Paris. The museum never got built, but Rodin continued to work on this huge sculpture for over 20 years. Find out more about Rodin in our blog post: See brilliant sculpture created millennia apart, and discover the links between them in our #RodinExhibition: