anachronicmysteries

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Marya Hornbacher, Waiting

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William Kentridge  Sonnet 1 & 2,

 Pastel and Water color on book pages, 121×161 cm, 2014.

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Utagawa Kunimaro I Fierce Tiger [sic] Drawn from Life (Shasei môko no zu) 1860

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Sarenco, Real, (felt-tip pen on paper), 1976 [Fondazione Bonotto, Molvena (VI). © Sarenco]

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Boulevard in the evening, 1883. — Isaac Levitan (1860–1900)

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every day i aspire to be insane flirtatious androgynous and violent just like bugs bunny

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Samantha Robinson as Elaine Parks THE LOVE WITCH (2016) dir. Anna Biller

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When everyone started carrying cameras, sightings of UFOs and Bigfoot vanished, but police misconduct skyrocketed.

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Pierre Bonnard, Le marabout et les quatre grenouilles (The Stork and the Four Frogs), 1889

Three-panel screen; distemper on canvas, 62 ¾ x 21 ½ in., The Phillips Collection, promised gift of Vicki and Roger Sant

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The Buffalo Evening News, New York, November 27, 1937

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alfons mucha’s months of the year

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“My memories don’t feel as though they’ve been pulled up by the root. Even if they fade, something remains. Like tiny seeds that might germinate again if the rain falls. And even if a memory disappears completely, the heart retains something. A slight tremor or pain, some bit of joy, a tear.”

— Yōko Ogawa, from The Memory Police, transl. Stephen Snyder (Pantheon, 2019)

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Jeff Daniel Smith - Harbor Sun Shimmer

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Olga Jevrić

sculptor, Yugoslavia

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Sanya Kantarovsky

Growth, 2022

Oil on canvas, 220.5 x 170 cm

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“Evidence does suggest that embroidery was part of a noble girl’s education in mediaeval Britain, but there is nothing to indicate that adult women worked in pious, interesting isolation. Quite the contrary, noble households maintained embroidery workshops employing female and male embroiderers in which the lady of the household could have joined. The Domesday Book, recording that King Canute’s daughter Aelthelswitha set up an embroidery workshop near the monastry of Ely, considered it noteworthy that she did actually participate in the work: ‘With her own hands, being extremely skilled in the craft she made a white chasuble .’”

— Rozsika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine