doomsdaytension reblogged
Kirsten Dunst on the set of Marie Antoinette (2006)
doomsdaytension reblogged
Anaïs Nin, from The Diary of Anaïs Nin, 1947–1955
doomsdaytension reblogged
Paul Gervais (French, 1859-1944) The madness of Titania, 1897 Musèu dels Agustins
doomsdaytension reblogged
Cy Twombly (American, 1928-2011), Wilder Shores of Love, 1985. Oil-based house paint, oil (oil paint stick), coloured pencil, lead pencil on wooden panel, 140 x 120 cm
doomsdaytension reblogged
“You cannot see me from where I look at myself” - Francesca Woodman
Photograph - George Lange
“The allusions that she offers are a recognition of the lost status of the aesthetic and the sacred in the late twentieth century; the allusion is the feature or, indeed, the object of the gaze that she makes dark, that she makes sacred.” - Claire Raymond
doomsdaytension reblogged
“The Blue Iris”, from Andrea Zanatelli’s embroidery series
Eye see you
doomsdaytension reblogged
Leonora Carrington _ Solar Megalomania, 1957
doomsdaytension reblogged
Fairy with doves in a dark glen, 1933. — Karel van Belle (1884-1959)
doomsdaytension reblogged
Charles François Jalabert (French, 1818-1901) Galatée
doomsdaytension reblogged
The Early Diary of Anaïs Nin, 1920–1923
doomsdaytension reblogged
Palazzo Valguarnera-Gangi
doomsdaytension reblogged
Jean-Denis-Antoine Caucannier (1860-1905, French) ~ Galatée au bord du fleuve Acis, 1883
[Source: MutualArt]
doomsdaytension reblogged
Svetlana Tartakovska (1979), Fortune Teller, Undated, Oil on masonite.
doomsdaytension reblogged
FIRE & BLOOD
doomsdaytension reblogged
A lock of Lucrezia Borgia's hair in a glass case at the Pinacoteca Ambrosiana, Milan, Italy.
doomsdaytension reblogged
Detail of The Deposition, 1876, by Arnold Böcklin (1827–1901)
doomsdaytension reblogged
Keira Knightley as Anna Karenina in Anna Karenina (2012)