Incoming Tide, 1934. Hayley Lever.
Oil on canvas
7 notes
·
View notes
Frank Lloyd Wright, I'm An Architect, Taliesen, Spring Green, WI, 1947. Pedro E. Guerrero.
Silver gelatin print.
52 notes
·
View notes
Woman's hat, French (Normandy, Bray). Probably 19th century or early 20th century. Silk; lace, embroidered net, moire, ribbon. The Elizabeth Day McCormick Collection.
10 notes
·
View notes
The Eight, 1955. Lev Borodulin.
Gelatin silver print.
13 notes
·
View notes
In Chapter 6, it was suggested that an inner world of phantasy exists in every human being, and that interests in which imagination play a part are, in many individuals, as important as interpersonal relationships in giving meaning to their lives. There is nothing pathological in the employment of imagination. We cannot dispense with phantasy: if we could, we should lose much of what makes us distinctively human.
Solitude: A Return to the Self - Anthony Storr.
18 notes
·
View notes
Spring in Town, 1941. Grant Wood.
Oil on wood.
143 notes
·
View notes
LES AUTOMOBILES SARA. c.1920s. Riegel, Neuilly.
34 notes
·
View notes
Hommage à Lorenzo Bernini, 1940. Eugene G. Berman. Oil on canvasboard.
24 notes
·
View notes
248 notes
·
View notes
Virginia Woolf (notebook and pen), 1939. Gisele Freund. Gelatin silver and dye coupler.
84 notes
·
View notes
Untitled, (sailing), ca. 1920s. William Happich
Gelatin silver print.
52 notes
·
View notes
September Afternoon, c. 1930. Clarence Kerr Chatterton.
Oil on linen.
77 notes
·
View notes
Simone de Beauvoir, the day of the Prix Goncourt, next to a window writing, Paris, 1954. Gisele Freund.
Gelatin silver.
65 notes
·
View notes
The edge of me merging into the edge of the sea, 2022. Coco Capitán
C-Type Analogue Handprint.
32 notes
·
View notes
Paris Cafe, c. 1904. Alfred Maurer.
Oil on canvas
31 notes
·
View notes
19 notes
·
View notes
Rather Be (feat. Jess Glynne)
9 notes
·
View notes