Inti Santamaría (no soy el poeta)
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intisantamaria.bsky.social
Inti Santamaría (no soy el poeta)
@intisantamaria.bsky.social
690 followers 1K following 650 posts
En México. Dibujante, performer, pintor /*/ Draughtsman, performance artist, painter.

https://intisantamaria.net
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intisantamaria.bsky.social
Inti Santamaría (no soy el poeta) @intisantamaria.bsky.social · Nov 26
Mi descripción:

En México.

Dibujante, performer, pintor /*/ Draughtsman, performance artist, painter.

No soy el poeta Inti García Santamaría. No soy la hija de Cazzu y Nodal.

NO ME SIGAS SI TIENES ESPERANZAS EN LOS POLÍTICOS.

intisantamaria.net
Inti Santamaría (artist) – INTI SANTAMARÍA B. / artista / México / UNDER CONSTRUCTION
intisantamaria.net
Reposted by Inti Santamaría (no soy el poeta)
roger1952.bsky.social
Willow and Crows
Yanagi ni karasu zu

柳に鳥図Attributed to:

Katsushika Hokusai

1841 (Tenpo 12)

MEDIUM/TECHNIQUEHanging scroll; ink and color on silk

DIMENSIONSImage: 84.7 x 42.5 cm (33 3/8 x 16 ¾ in.)

Overall: 193 x 68 cm (76 x 26 ¾ in.)

CREDIT LINEWilliam Sturgis Bigelow Collection
Cascading down from the upper left, the gossamer tendrils of a weeping willow (yanagi) frame a dramatic, tumbling flock of crows (karasu) in mid-flight. Rendered in masterly sumi ink on silk, the painting captures twelve birds descending in dynamic, acrobatic spirals—their wings banking, swooping, and fanning open with astonishing kinetic force. Hokusai employs a breathtaking range of ink tones, from the velvety pitch-black of primary wing feathers to translucent slate-grey washes detailing underbellies and open, cawing beaks. The image evokes a vivid sensory atmosphere: the sharp, cold rustle of autumn wind whipping through slender willow branches, the raucous, reverberating calls of crows gathering at twilight, the faint scent of aged ink and silk, and the palpable rushing of feathers cutting through damp evening air. Created in 1841 (Tenpo 12) during the final, triumphant decade of Katsushika Hokusai’s life, this hanging scroll (kakejiku) bears the signature of the octogenarian master operating under his late artistic moniker Gakyō Rōjin Manji ("Old Man Mad About Painting"). Now housed in the William Sturgis Bigelow Collection at the Museum of Fine Arts, Boston, the work stands as a supreme masterwork of kachō-ga (bird-and-flower painting). Hokusai’s lifetime of relentless anatomical observation and brush experimentation allowed him to capture the illusion of instantaneous movement with effortless spontaneity. Executing such complex, fluid brushwork directly onto delicate silk demanded absolute technical mastery, as silk absorbs ink instantly without allowance for correction—a pure manifestation of monozukuri (artisanal discipline and supreme material craftsmanship).
October 2, 2026 at 6:27 PM
Reposted by Inti Santamaría (no soy el poeta)
santiagocaraiva.bsky.social
Linogravura azul e branco de littledeadling (Ellison Estephan - @littledeadling.bsky.social ) artista canadense.
Parte da série de prints de #palindromo.
Assinada EE • 05/2025

Autora dos webcomics Godflesh e Starblood.
September 12, 2026 at 11:04 AM
Reposted by Inti Santamaría (no soy el poeta)
valent6228.bsky.social
Portrait of a female nude, full-length seated turned to the right upon drapery - Maria Szantho (1897-1998) #academic_realism #nude
September 10, 2026 at 4:36 PM
Reposted by Inti Santamaría (no soy el poeta)
carlbergstrom.com
Michigan painter Jef Bourgeau has come across my feed a few times in the last two days.

His website: detroitmona.wixsite.com/artgarage

To my untrained eye his snowscapes seem to nod to Lawren S. Harris, who often painted thenorth shore of Superior. First two: Bourgeau; second two: Harris.
Jef Bourgeau painting Looking Back at Sleeping Bear Jef Bourgeau painting As High As We Could Go Lawren S. Harris painting The Idea of North Lawren S. Harris painting: Nerke, Greenland.
September 8, 2026 at 4:31 AM
intisantamaria.bsky.social
...como aquella vez que quería mencionar la música polifónica pero no me acordaba del término y acabé diciendo "música de polivoces".
August 15, 2026 at 7:05 AM
Reposted by Inti Santamaría (no soy el poeta)
catsuka.bsky.social
"Nanbanjin", a 500-page graphic novel by Taiyou Matsumoto & Cyril Pedrosa.
A same story told in turn by these two great artists from Japan and France.
International editions (JP/FR/IT) >> www.catsuka.com/shopping/ind...
August 11, 2026 at 10:17 AM
Reposted by Inti Santamaría (no soy el poeta)
sandrakosh.bsky.social
www.patreon.com/posts/166276...
August 11, 2026 at 7:18 PM
intisantamaria.bsky.social
Yo sólo sé que los derechos no son privilegios.

Tener salud, vivienda, educación y esparcimiento no es privilegio, digo yo.

Lo injusto es que haya quienes carezcan de esos derechos y quienes abusen de esos derechos.
July 26, 2026 at 11:57 PM
Reposted by Inti Santamaría (no soy el poeta)
taeuberarp.bsky.social
Plate (folio 43) from 23 Gravures http://www.moma.org/collection/works/9183
Purchase Fund
July 24, 2026 at 4:39 PM
Reposted by Inti Santamaría (no soy el poeta)
bhanupratap.bsky.social
Horrors come alive everyday in this country.
July 23, 2026 at 12:40 PM
Reposted by Inti Santamaría (no soy el poeta)
jasondovemark.bsky.social
OMG, it's happening! Today is the official publication date of my new book, The Earth Said Remember Me: How to Revive Our Memories and Restore the Planet
July 14, 2026 at 3:42 PM
intisantamaria.bsky.social
‘Oh Fudge Puffle’
artista: Juan Q. Bolaños
(inti santamaría)
2026
July 9, 2026 at 11:12 PM
intisantamaria.bsky.social
La mera existencia de una multitud de semejante tamaño en Reforma , CDMX, es ya en sí misma un peligro, sea por futbol o por cualquier otro motivo. También es inevitable que haya estas multitudes en estos festejos.
1/3
July 1, 2026 at 4:36 PM
Reposted by Inti Santamaría (no soy el poeta)
ce-miquiztetl.bsky.social
Las cebollas en cuestión:
July 1, 2026 at 3:26 AM
Reposted by Inti Santamaría (no soy el poeta)
roger1952.bsky.social
Fushimi Fox: Key (Fushimi no Kitsune: Kagi) (2019) by contemporary Japanese artist Miki Katoh, presents a mesmerizing, contemporary take on Shinto folklore.
A vertical gouache painting on Watson paper mounted to a wood panel, titled Fushimi Fox: Key (Fushimi no Kitsune: Kagi) (2019) by contemporary Japanese artist Miki Katoh, presents a mesmerizing, contemporary take on Shinto folklore. Set within the iconic path of vermilion torii gates at Fushimi Inari Taisha in Kyoto, the artwork seamlessly blends traditional bijin-ga (pictures of beautiful women) aesthetics with a supernatural, atmospheric narrative. The composition centers on a graceful woman who embodies the spirit of a kitsune (fox messenger of Inari). She stands tall against a receding tunnel of brilliant red torii gates, which create a dramatic, linear perspective drawing the eye deep into the background. She is clad in a stunning, cream-colored kimono patterned with large, elegant chrysanthemums rendered in soft golden and muted ochre tones. Her elaborate obi (sash) is tied neatly at her waist, accented by a dark obidome cord ornament. In her left hand, she holds a long, slender silver key—a traditional symbol of Inari's granary—with its decorative square bow resting near her chin. A delicate, ghostly wisp of white smoke curls upward from the key's bit, adding a mystical element to her serene, enigmatic expression. Framing the left side of the composition is a starkly contrasting, silhouetted vine with dark, jagged leaves and small clusters of berries that drapes elegantly across her figure down toward the lower right. Her dark, flowing hair is styled loosely, softening her pale, luminous complexion, which is defined by subtly shaded eyes and neutral lips. She wears traditional raised white sandals (zori) that rest on the warm, reddish stone pathway of the shrine. Katoh’s meticulous linework and the velvety texture of the gouache medium harmonize perfectly, juxtaposing the bold, solid red architecture with the highly detailed, delicate textile design of the kimono to create a captivating portrait rich in spiritual ambiance.
June 21, 2026 at 10:26 PM
Reposted by Inti Santamaría (no soy el poeta)
roger1952.bsky.social
Woman Under Maple and Ginkgo Leaves. Ukiyo-e woodblock print. 1811, Japan. Artist Utagawa Toyokuni I
A vertical ukiyo-e woodblock print from 1811 titled Woman Under Maple and Ginkgo Leaves by the celebrated Edo-period master Utagawa Toyokuni I captures a beautiful woman caught in a sudden swirl of autumn wind. The composition emphasizes dynamic, fluid motion, using the dramatic billowing of the woman's garments and hair to create a rhythmic, curving silhouette against a minimalist, neutral cream background. The woman is depicted mid-stride, facing left while glancing subtly over her shoulder, her pale face framed by a soft black textile hood (zukin) that covers the top of her head. Her long, jet-black hair escapes from beneath the hood, streaming horizontally to the right in thick, wavy locks that mirror the gusting wind. She wears a multi-layered kimono, with the outer layer rendered in a muted, dusty rose or plum color featuring white stylized characters on the shoulder. Beneath this, her elaborate ensemble is a masterpiece of textile design, revealing a wide, patterned obi (sash) with white cherry blossoms on a terracotta diamond-grid ground, and long, swirling sleeves lined with a light pink fabric decorated with small, flying white birds amidst stylized clouds. The lower hemlines swirl in elegant ribbons of deep forest green and vibrant red, showing intricate patterns of waves and geometric lattices as she lifts the front of her skirt with her right hand to step forward in her woven straw sandals (zori) with dark green straps. Enhancing the seasonal atmosphere, delicate branches of autumn foliage dance in the upper portion of the print, with orange maple leaves and fan-shaped green and yellow ginkgo leaves fluttering in the breeze. In the upper-left corner, a narrow vertical cartouche contains Japanese calligraphic text nestled among the leaves, while Toyokuni's distinct vertical signature reading Toyokuni ga is stamped clearly in black ink along the middle-left edge, accompanied by two circular publisher and censor seals.
June 22, 2026 at 3:04 PM
Reposted by Inti Santamaría (no soy el poeta)
roger1952.bsky.social
FUDEZUKA Toshihisa（筆塚稔尚 Japanese, b.1957）

Shining Water 2 輝く水 2015 etching 21 × 15 cm
A vertical etching titled Shining Water 2 (2015) by contemporary Japanese printmaker Toshihisa Fudezuka offers a minimalist, abstract interpretation of water droplets disturbing a still surface. Measuring 21 by 15 centimeters, the print relies on a powerful contrast between complex geometric linework and vast negative space to capture a fleeting moment of natural movement with absolute precision and graphic elegance. The composition is anchored on a light, warm cream-colored paper ground that is mostly left unadorned, simulating the expansive calmness of an undisturbed pool of water. The print features fine, dark indigo or purple-black lines etched into the plate, forming a series of concentric circles that represent ripples. These linear ripples are concentrated heavily in the upper-left and upper-center fields, where numerous rings intersect and overlap dynamically to create a dense, vibrating matrix. Each distinct ripple cluster radiates outward from a tiny, bright vertical line of untouched paper at its epicenter, which mimics a sharp splash or a glint of reflected light. While the upper section evokes the rhythmic patter of rain, a single, isolated ripple cluster floats lower down in the central field. This solitary set of concentric rings stands apart from the dense grouping above, drawing the eye to its clean, geometric symmetry and emphasizing the quiet, meditative stillness that surrounds it. The entire work demonstrates Fudezuka's mastery of the intaglio process, turning a simple natural phenomenon into a sophisticated, highly stylized graphic pattern.
June 21, 2026 at 10:14 PM
intisantamaria.bsky.social
Estoy releyendo partes de mis diarios de entre los 13 y los 15 años. Uno de los 'Leitmotiven' es un enamoramiento que duró todo ese período.

¡Vaya máquina del tiempo! Revivo las emociones, es como si nunca hubiera dejado de sentirlas en los 34 años que han pasado.
June 13, 2026 at 6:12 AM
Reposted by Inti Santamaría (no soy el poeta)
kimdorman.bsky.social
Aaron Siskind / Rome 72, 1963
June 10, 2026 at 1:18 AM
Reposted by Inti Santamaría (no soy el poeta)
yannoehl.bsky.social
v a g a b o n d a g e / gabriel hibert. 2023
Abstract Surreal Comic Strip Description This image is a six-panel black-and-white comic strip featuring abstract, surreal illustrations. The panels are arranged in two columns and three rows, with thin black borders. Top row: First panel (top left): An irregular, cloud-like shape with jagged edges fills most of the space. Inside it, there are fine lines suggesting texture, and a claw-like form extends from the right side toward the center. Second panel (top right): A skeletal, mechanical-looking structure is suspended in space, with branching, root-like extensions and small floating fragments around it. Middle row: Third panel (middle left): A large, blobby form with uneven edges contains two long, straight bars crossing it. There are small shaded areas and dotted lines suggesting movement or connection. Fourth panel (middle right): A swirling, wave-like shape occupies the lower right, with scattered small blobs floating above. A small rectangular inset shape appears near the center. Bottom row: Fifth panel (bottom left): A small, irregular shape with striped black-and-white sections is connected to a thin, elongated form pointing downward. The word “(VAGABONDAGE)” is written below. Sixth panel (bottom right): A large, soft-edged form with curling extensions is split by a vertical line. Small, dark, organic shapes cling to it. Below, the text reads “(TACHÈRE PSYCHIQUE)”
June 2, 2026 at 10:37 PM
Reposted by Inti Santamaría (no soy el poeta)
kimdorman.bsky.social
Barbara Hepworth / Lotus, 1973
November 7, 2025 at 3:28 PM
intisantamaria.bsky.social
Donkey meat ain't see-through.
May 29, 2026 at 12:30 AM
Reposted by Inti Santamaría (no soy el poeta)
bomboninsolente.bsky.social
Otra joyaza cortesía del Mundial, ¿cómo no vamos a enojarnos, gente?
May 26, 2026 at 10:37 PM
Reposted by Inti Santamaría (no soy el poeta)
handle.invalid
wonow | OE
July 15, 2023 at 5:08 PM
Reposted by Inti Santamaría (no soy el poeta)
agnes-martin.bsky.social
White Flower https://www.wikiart.org/en/agnes-martin/white-flower-1960
White Flower
May 15, 2026 at 5:10 PM