Alfred Eisenstaedt, A man standing in the lumberyard of Seattle Cedar Lumber Manufacturing, Seattle, WA, 1939 (via hold this photo)

Alfred Eisenstaedt, A man standing in the lumberyard of Seattle Cedar Lumber Manufacturing, Seattle, WA, 1939 (via hold this photo)

(Source: anothereview)

Richard Neutra, Solarium of the VDL House, Los Angeles, CA, 1932 (via michele_roohani)

Richard Neutra, Solarium of the VDL House, Los Angeles, CA, 1932 (via michele_roohani)

Edmund Dulac, The Little Mermaid and the Prince, c. 1911

Edmund Dulac, The Little Mermaid and the Prince, c. 1911

Edmund Dulac, The Little Mermaid, c. 1911

Edmund Dulac, The Little Mermaid, c. 1911

Sir Edward Coley Burne-Jones, King Cophetua and the Beggar Maid, 1884 “According to tradition, Cophetua was an African king known for his lack of any natural sexual attraction to women. One day while looking out a palace window he witnesses a young beggar (Penelophon) suffering for lack of clothes. Struck by love at first sight, Cophetua decides that he will either have the beggar as his wife or commit suicide. Walking out into the street, he scatters coins for the beggars to gather and when Penelophon comes forward, he tells her that she is to be his wife. She agrees and becomes queen, and soon loses all trace of her former poverty and low class. The couple lives a “quiet life” but are much loved by their people. Eventually they die and are buried in the same tomb. The legend is mentioned in Shakespeare’s Love’s Labour’s Lost, Romeo and Juliet, Richard II, and Henry IV.”

Sir Edward Coley Burne-Jones, King Cophetua and the Beggar Maid, 1884

“According to tradition, Cophetua was an African king known for his lack of any natural sexual attraction to women. One day while looking out a palace window he witnesses a young beggar (Penelophon) suffering for lack of clothes. Struck by love at first sight, Cophetua decides that he will either have the beggar as his wife or commit suicide. Walking out into the street, he scatters coins for the beggars to gather and when Penelophon comes forward, he tells her that she is to be his wife. She agrees and becomes queen, and soon loses all trace of her former poverty and low class. The couple lives a “quiet life” but are much loved by their people. Eventually they die and are buried in the same tomb. The legend is mentioned in Shakespeare’s Love’s Labour’s Lost, Romeo and Juliet, Richard II, and Henry IV.”

John Collier, Lilith, 1887

John Collier, Lilith, 1887

Dibujo sobre la historia de Julio Cortázar, La noche boca arriba, 1956 Y salían en ciertas épocas a cazar enemigos;  le llamaban la guerra florida.

Dibujo sobre la historia de Julio Cortázar, La noche boca arriba, 1956

Y salían en ciertas épocas a cazar enemigos;  le llamaban la guerra florida.


Eduard Veith, Fountain of Youth, c. 1900 (via natgeo)

Eduard Veith, Fountain of Youth, c. 1900 (via natgeo)

Lucas Cranach the Elder, Fountain of Youth, 1546

Lucas Cranach the Elder, Fountain of Youth, 1546

British Army, WWI Aircraft Detection before Radar (radio detection and ranging), c. 1917 (via polychroniadis) 

British Army, WWI Aircraft Detection before Radar (radio detection and ranging), c. 1917 (via polychroniadis) 

(Source: ztox)

Minjeong An, Assorted Self Portraits, c. 2011 (via prostheticknowledge)

These diagrammatic self-portraits of the artist provide a digital interpretation of the Vitruvian (wo)man.

Carolee Scheemann, “Parts of a Body House” from Fantastic Architecture, c. 1969

Carolee Scheemann, “Parts of a Body House” from Fantastic Architecture, c. 1969

Beth Höeckel, Float Collage, 2011

Beth Höeckel, Float Collage, 2011

Beth Höeckel, Moonrise Collage, 2011 (via skibinskipedia; davidbarrie) “What one person could interpret as an image of inspiration or awe another could take away an entirely different meaning, like longing or loss. To me, not revealing faces or expressions is like keeping a secret.”

Beth Höeckel, Moonrise Collage, 2011 (via skibinskipedia; davidbarrie)

“What one person could interpret as an image of inspiration or awe another could take away an entirely different meaning, like longing or loss. To me, not revealing faces or expressions is like keeping a secret.”

Francesco di Giorgio, Palimpsest of the Human Profile and the Entablature, c. 1500

Francesco di Giorgio, Palimpsest of the Human Profile and the Entablature, c. 1500

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