(via istillshootfilm)
cjwho:Street Art in Dublin by prefab77
happy jubilee weekend!
(Source: iwasadaisyfresh, via charlottttttte)
phe-nomenal:Lanvin Spring 2012 RTW
phe-nomenal:Lanvin Spring 2012 rtw
dixias: Ming Xi at Acne Spring 2011
(via givene)
(Source: dreaming--bohemian, via discoglamour)
suicideblonde: Helena Bonham Carter
(via bohemea)
(Source: whereisthecoool, via ifihadnothingbutadream)
dirtyprettything: Jeffrey Campbell Damsel
Georg Baselitz, Elke VI, 1976
i me mine: Language of flowers -
Maiden’s Hair - discretion
Lily (Eucharis) - maiden charms
Mountain Laurel - ambition
White Poppy - sleep, my antidote
Clematis - mental beauty, art
Moschatel - weak but winning
Lily of the Valley - return of happiness
Butterfly Weed - let me go
Pyrus Japonica - fairies’ fire
Asphodel - my regrets follow you to the grave
White Rose (dried) - death preferable to loss of innocence
Witch Hazel - a spell
French Honeysuckle - rustic beauty
Henbane - imperfection
Laburnum - forsaken, pensive beauty
Weeping Willow - mourning
Dead leaves - sadness
Locust Tree (green) - affection beyond the grave
Camellia (pink) - longing
Gerbera - innocence
Lobelia - malevolence
Amaryllis - pride, splendid beauty
Persimmon - bury me amid nature’s beauties
Carnation (green) - secret symbol of the followers of Oscar Wilde
Helenium - tears
Larkspur - lightness, levity
Hawthorn - hope
Auricula - painting
Queen Anne’s Lace - fantasy
Eglantine - a wound to heal
(Source: rosythumbelina)
the-front-row: Erdem spring/summer 2012
Georg Baselitz, The Gleaner, 1978
From the Guggenheim:
The dark of night laps at the edges of The Gleaner (1978), a fire burns on the upper left, and a sunlike shape hovers beneath the lone figure. Yet Georg Baselitz’s monumental, somber work was painted during a decade of well-being in Germany, when the generation of the wirtschaftswunder—the economic miracle—was interrupted in its relentless quest for stable prosperity only by the occasional political scandal or terrorist attack. How does this image, so clearly a representation of an existentialist condition, address the complex issues facing postwar German art and society?
The key lies in the orientation of the gleaner, searching for sustenance in a barren landscape: the figure is depicted upside down. Baselitz has used this device consistently since 1969–70, his intention being, in part, to subvert the criteria for viewing paintings. To this end, Baselitz inverts, and thus negates, the subjects of his work. He cites but does not pay homage to the mythic protagonists that, as in Wagner’s epic operas, have so often been the focus of German art and culture. For Baselitz, the individual is the locus of redemption and the cause for despair. He has painted a great number of his antiheroes in guises ranging from military costumes to stark nudity.
adriat1c: Francisco Goya - Witches in the Air
(via fetishofsilence)