HAVE SEX WITH GHOSTS

Steve Reinke

William Blake, Lucifer, 1824/27

William Blake, Satan Arousing the Rebel Angels, 1808

William Blake, Albion Rose (also called Glad Day or The Dance of Albion), c. 1796  

William Blake, The Number of the Beast is 666, c. 1805

(via what-would-omega-do)

William Blake, Satan, Sin, and Death (Satan Comes to the Gates of Hell), c. 1806

(via eyeballmansion)

youngisdumb:

Francis Bacon

Study for Portrait II (after the Life Mask of William Blake) 

1955

From the Tate Collection:

This is one of a series based on the life mask of poet and painter William Blake. Bacon first saw the mask at the National Portrait Gallery in London, but he also used photographs and, at some point, he even acquired a cast of it. His response to the source is typical of his preference for a mediated image of the body. The painting is more complex than it seems: it is built up with delicate layers of paint against a rich black ground. One commentator wrote, ‘broad strokes of pink and mauve, with which Bacon establishes an equivocation between waxen mask and human flesh, drag pain and loneliness and imperturbable spirit in their wake’.

art-history:

William Blake, The Whore of Babylon, 1809. Pen and ink with watercolor on paper, 26.6 x 22.3 cm. British Museum, London

(via queerspirits)

William Blake, The Circle of the Thieves; Agnolo Brunelleschi Attacked by a Six-Footed Serpect. Inferno, canto XXV, 1827, printed c. 1892

William Blake, The Circle of the Corrupt Officials; the Devils Tormenting Ciampolo. Inferno, canto XXII, 1827, printed c. 1892