Jan Sojka, Blue Pages, 2025
Reiji Hiramatsu, Prayer of Japan (Cherry Blossoms), 2012
ink on paper
Tracie Grimwood, The Bush Remembers, 2020
acrylic on gessoed paper
Janne Laine, Calm at Night, 2016
heliogravure and aquatint
René Magritte, The Kiss, 1957
gouache on paper
Kathrin Rank, Blue Hour, 2023
oil on canvas
“You pass a window, you walk to Central Park, you find yourself swimming in the colour blue: the actual light is blue, and over the course of an hour or so this blue deepens, becomes more intense even as it darkens and fades. [...] The French called this time of day “l’heure bleue.” To the English it was “the gloaming.” [...] During the blue nights you think the end of day will never come. As the blue nights draw to a close (and they will, and they do) you experience an actual chill, at the moment you first notice: the blue light is going, the days are already shortening, the summer is gone.”
– Joan Didion, Blue Nights
Matthew Wong, Blue Rain, 2018
oil on panel
Aron Weisenfeld, Night Reading (Study), 2020
gouache on board
Les films rêvés (2010), dir. Eric Pauwels
Helena Almeida, Untitled, 1967
Photography by Filipe Braga
Edward Hopper,
Soir Bleu, 1914
oil on canvas
Dr. Rick Brettell is a professor of Aesthetic Studies at the University of Texas and has written extensively about Edward Hopper in Paris. He considers Soir Bleu the single most ambitious painting of Hopper’s career.
Dr. Brettell: Soir Bleu is an odd painting for Hopper, because Hopper’s oil paintings of any sort of decent scale up until Soir Bleu were generally landscapes or cityscapes that were space positive and had tiny or nonexistent human figures. Soir Bleu is a figure painting. And it’s a figure painting that shows that Hopper had wanted to actually take on the big canvases of Matisse and Picasso. Even the title of Soir Bleu, which was, it is today, and when it was shown for the first time in 1915 in French. So he wants to make you think French and think of France. He doesn’t call it Blue Evening. He calls it Soir Bleu.
Hopper depicts an odd assortment of people gathered under a tent at the end of a party. Among them: on the far left, a working-class man smoking a cigarette; in the center, a sex worker and a clown, and on the far right, a bourgeois or upper middle class couple.
Dr. Brettell: No one is like anybody else. Everybody is separated from everybody else. Hopper kind of translates it into an everyman setting, in which most of the people in it, are part of a kind of world of alienated urban entertainment, in which one is always searching for a meaning somewhere else, in a costume or in a prostitute or in a drink or in a cigarette or in a party. And those sorts of worlds is the world that Hopper of course represents so importantly when he comes back to New York in 1910 and remains there until the end of his life.
Yuri Yuan Ye, Insomnia, 2021
oil on panel
Bruce Davidson, The Subway, New York City, 1980
Chromogenic print
Eugene Dumoulin, cyanotype tonal spectrum, ca. 1800s
Catherine Jansen, The Blue Room, 1970-1973
Photosensitized cloth, photographic dyes, embroidery
Nan Goldin, The Hug, New York City, 1980
Silver dye bleach print
Andrew Valko, Blue Velvet, 2008
acrylic on panel
Everything is blue
His pills, his hands, his jeans
And now I'm covered in the colors
Pulled apart at the seams
And it's blue
And it's blue
Halsey, Colors, 2014
Yves Klein, Untitled Blue Monochrome (IKB 92), 1959
Pigment and synthetic resin on canvas
Lena Laguna Diel, Una Fuerza Loca, 2023
cyanotype, cotton fabric & wood
John Dugdale, A Turbulent Dream, 1996
Cyanotype
Everything is grey
His hair, his smoke, his dreams
And now he's so devoid of color
He don't know what it means
And he's blue
And he's blue
Halsey, Colors, 2014
Mark Rothko, No. 61 (Rust and Blue), 1953
oil on canvas
Laura Jones, Dusk, 2022
oil on linen
Bosco Sodi, Organic Blue, 2009
mixed media on canvas
Georgia O'Keefe, Abstraction Blue, 1927
oil on canvas
Claude Monet, Nympheas, 1914-1917
oil on canvas
Shiro Kasamatsu, Pagoda In The Evening Rain, 1931
Woodblock print
a certain blue enters your soul
– Henri Mattise
Henri Mattise, Blue Nude II, 1952
Gouache on paper
tw for suicidal ideation
gif set by tumblr user @gildedsickness (deactivated)
Trent Reznor talking about Nine Inch Nails's song La Mer at the Rock & Rock Hall of Fame Induction in 2020
↪ listen to la mer from the fragile (1999)
↪ listen to adrift and at peace from still (2002)
Lili Wood, Midnight Bath, 2025
gouache on arches paper
René Magritte, Evening Gown, 1955
gouache on paper
Vincent Van Gogh, The Starry Night, 1889
oil on canvas
Edvard Munch, Starry Night, 1922-1924
oil on canvas
Yayoi Kusama, Blue Sky in the Midnight, 2015
acrylic on panel
Halsey, For My Last Trick Tour, 2025
photography by izzy nuzzo
Everything is blue
Everything is blue
Everything is blue
Halsey, Colors, 2014
