Bayan Shaikh

Trying to inspire people. That's it. Art, Yoga, Bombay, New York, India, Traveling, Jazz

storyboard:

‘The Blue Umbrella’: Inside a Pixar Love Story
The process began on one of those unusually rainy but otherwise ordinary California days. Pixar camera and staging artist Saschka Unseldwas walking through downtown San Francisco. Something caught his eye. He looked down, studying more closely an object stuck in the gutter in front of him. 

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Reblogged from storyboard

storyboard:

‘The Blue Umbrella’: Inside a Pixar Love Story

The process began on one of those unusually rainy but otherwise ordinary California days. Pixar camera and staging artist Saschka Unseldwas walking through downtown San Francisco. Something caught his eye. He looked down, studying more closely an object stuck in the gutter in front of him. 

Read More

Reblogged from airows

bombayelectric:

Tyeb Mehta, Untitled (Figure on Rickshaw) [1984]

Reblogged from bombayelectric

bombayelectric:

Tyeb Mehta, Untitled (Figure on Rickshaw) [1984]

(Source: asfouri)

Reblogged from bookshelfporn

art-history:

Mary Cassatt At the Opera (In the Loge)  1878 Oil on canvas  32 x 26 in. Museum of Fine Arts, Boston, Massachusetts 

THE FEMALE EXPERIENCE.  Women artists confirmed, but also expanded, and occasionally subverted received ideas about their proper sphere. Mary Cassatt’s family wealth afforded her the privilege of setting up a household in Paris where she could enjoy great personal independence (her parents and sister soon joined her). At the same time, Cassatt (1844-1926) was unable to  paint the café-concerts, the bars, the brothels, races, and the backstage theatrical scenes that distinguished the work of Manet and Degas—such places were off-limits to a respectable single woman. Instead, Cassatt chose to paint the public, and, later, the domestic, lives of women—as mothers, sisters, and members of privileged social networks with which she had intimate familiarity. In a series of works set in public spaces, Cassatt painted young upper-class women shyly presenting themselves to the gaze of the public as they emerge into consciousness of their femininity. These works transmute the familiar theme of the female on display for the male gaze by portraying the female experience instead; rather than mere objects of desire and aesthetic control, Cassatt’s women seem fully alive, responsive, and psychologically complex. And in one instance, In The Loge, the woman is the one who looks, training her opera glasses on the stage. Dressed in the black proper for older bourgeois (or prosperous upper-middle-class) women in public, she is intent on observing the world around her. In the background, from the other side of the loge, an older man in evening dress directs his opera glass at the woman in a knowing commentary on the frequency of the theme of men looking at women. Here, however, the woman assumes an active stance, leaning forward with confidence as she claims the privilege of looking openly, a curious, fully present subject rather than an object of another’s gaze. 
—Angela L. Miller, et al., American Encounters: Art, History, and Cultural Identity (2008)

Reblogged from art-history

art-history:

Mary Cassatt 
At the Opera (In the Loge)  1878 
Oil on canvas  32 x 26 in. 
Museum of Fine Arts, Boston, Massachusetts 

THE FEMALE EXPERIENCE.  Women artists confirmed, but also expanded, and occasionally subverted received ideas about their proper sphere. Mary Cassatt’s family wealth afforded her the privilege of setting up a household in Paris where she could enjoy great personal independence (her parents and sister soon joined her). At the same time, Cassatt (1844-1926) was unable to  paint the café-concerts, the bars, the brothels, races, and the backstage theatrical scenes that distinguished the work of Manet and Degas—such places were off-limits to a respectable single woman. Instead, Cassatt chose to paint the public, and, later, the domestic, lives of women—as mothers, sisters, and members of privileged social networks with which she had intimate familiarity. In a series of works set in public spaces, Cassatt painted young upper-class women shyly presenting themselves to the gaze of the public as they emerge into consciousness of their femininity. These works transmute the familiar theme of the female on display for the male gaze by portraying the female experience instead; rather than mere objects of desire and aesthetic control, Cassatt’s women seem fully alive, responsive, and psychologically complex. And in one instance, In The Loge, the woman is the one who looks, training her opera glasses on the stage. Dressed in the black proper for older bourgeois (or prosperous upper-middle-class) women in public, she is intent on observing the world around her. In the background, from the other side of the loge, an older man in evening dress directs his opera glass at the woman in a knowing commentary on the frequency of the theme of men looking at women. Here, however, the woman assumes an active stance, leaning forward with confidence as she claims the privilege of looking openly, a curious, fully present subject rather than an object of another’s gaze. 

—Angela L. Miller, et al., American Encounters: Art, History, and Cultural Identity (2008)

bombayelectric:

@zariinjewelry’s sparkling SS ‘13 collection now available @bombayelectric

Reblogged from bombayelectric

bombayelectric:

@zariinjewelry’s sparkling SS ‘13 collection now available @bombayelectric

vogue:

Gisele Bündchen, photographed by Patrick Demarchelier, Vogue, June 2006.See our slideshow of sandals in Vogue.

Reblogged from vogue

vogue:

Gisele Bündchen, photographed by Patrick Demarchelier, Vogue, June 2006.

See our slideshow of sandals in Vogue.

Reblogged from no-aesthetic

(Source: sharonmmm)

bombayelectric:

Here’s a glimpse into our SS13 accessory collections just in #tuttifrutti

Reblogged from bombayelectric

bombayelectric:

Here’s a glimpse into our SS13 accessory collections just in #tuttifrutti

bombayelectric:

Words of Wisdom

Reblogged from bombayelectric

bombayelectric:

Words of Wisdom

(Source: graderetention)

Reblogged from airows

ebtpearce:

shiiiiiit

Reblogged from drawstin

ebtpearce:

shiiiiiit

microwav3ablebacon:

New wallpaper

Reblogged from no-aesthetic

microwav3ablebacon:

New wallpaper

(Source: nippless--cage)

Reblogged from bombayelectric

(Source: prudentapricot)

Reblogged from airows