paul duval

Orphan Black characters meeting a new clone
  • Sarah: Shite.
  • Alison: *distressed soccer mom noises*
  • Cosima: Whoa.
  • Rachel: I already knew about you.
  • Helena: Sestra?
  • Beth: Nope nope nope *dies*
  • Felix: Holy Tilda Swinton
  • Paul: Can I fuck this one too?
  • Mrs S: Can't read my, can't read my, no she can't read my poker face.
  • Art: Fucking shit.
  • Kira: [Oprah Voice] You're not my mother, and you're not my mother, and you're not my mother!
  • Donnie: akjghakrhgauihveranv
  • Delphine: You're definitely so-and-so
  • Vic: SARAH YOU BITCH
  • Gracie: Let me eat in peace, woman.
  • Olivier: Hawt
  • Mark: *pulls out a gun*
  • Leekie: Look how caring I am *schemes in head*
6

Jules Antoine (1863-1948)

Vincent Van Gogh en conversation avec Paul Gauguin, Félix Jobbé Duval, Emile Bernard. Debout entre eux : André Antoine, probablement Arnold Koning. Paris, dans la cour de l’Auberge Blanche, vers décembre 1887

I’ve cropped the photo and added filters in order to accentuate certain features; I feel without a doubt, that this is indeed Vincent van Gogh.

The last two photos are Vincent at ages 13, and 19; pay special attention to his nose, downward arched eyelids, forehead, and brow bones in relation to the first group of photos at the table.

Lawren Harris

Street Scene, c.1920s

~

“Harris had a special affection for his major canvas, Street Scene. He felt that while the majority of his city paintings were portraits of specific dwellings, Street Scene encapsulated a total mood of the Toronto metropolis during the early nineteen twenties. In it, he captured the grey, overcast feeling of a metropolitan morning, stark and treeless. One of Harris’s great achievements was matching a theme to a style, whether in town or in the isolation of Lake Superior…

Unlike other Harris urban canvases, Street Scene stresses a marked verticality in its design, unlike the more passive horizontality found in most of his other street paintings. The penetration of the picture plane by the composition’s deep perspective is balanced by an almost flat passage of the side of a building and the grey ribbons of clouds which weave the entire design together. Stylistically, these clouds are virtually identical to those featured in some Lake Superior canvases of 1922, which makes Street Scene an important transition picture. Street Scene is an emotionally charged and very complex creation, bringing Harris’s urban series of paintings to a dramatic conclusion. It is a landmark in his career.”

-Paul Duval