Paul Larkin

Paul Larkin

@paullarkin.bsky.social

Writer. marketer. waterfowl. I implore you not to follow me unless you like photos, reposts, and the occasional life update. I won’t follow you back. If I followed first, I neither need nor expect a follow-back. Love you all! And Lord love a duck.

1K followers617 following186 posts

Paul Larkin reposted

In Farm Garden with Crucifix (1912), a rustic cross is nearly swallowed by a vibrant explosion of flowers. This blend of folk piety and decorative density was tragically lost in 1945, when the original was destroyed by a fire set by retreating SS forces.

Paul Larkin reposted

Mikopyon, the mascot of Yahiko village, Japan, is based on local rabbit-shaped mochi snacks, and has ears shaped like decorative Mizuhiki cord, and a torii gate hanging from his neck.

Just hit 1k followers! My thanks to the handful of actual humans who follow me, and an extra-special super duper thanks to the 980-odd robots who made this day possible. You guys are the mechanical wind beneath my wings! 🤖💪

Paul Larkin reposted

Klimt’s Pallas Athena (1898) combines the weight of ancient armor with a piercing, modern gaze. Depicted as an emblem of artistic freedom, the goddess marks the definitive end of Klimt’s academic years and the dawn of his career as a modern icon.

Paul Larkin reposted

lol my flight got diverted because of a medical emergency and they landed us in reykjavik in the middle of the night and deplaned us and sent us through passport control and then the crew vanished and then british airways sent us links to book an overnight hotel room but for a hotel at heathrow

Paul Larkin reposted

Congratulations to Mellody & George on the opening of the Lucas Museum of Narrative Art! 18 years in the making, it is 5-stories high, filled with some of the greatest artwork, props & memorabilia you'll ever see. An instant Los Angeles LANDMARK Thanks (again), George!!!

Paul Larkin reposted

In Fir Forest I (1901), Klimt treats the trees like a woven wall of green. By removing any sense of depth or sky, he abandons the Renaissance tradition of linear perspective for the "surface-plane" philosophy of the Vienna Secession.