Calembredaines & Coquecigrues

isilwenn:

Nadar, Catacombes de Paris, 1861.
Photographie avec utilisation de lumière artificielle (temps de pose : 20 minutes).

isilwenn:

Nadar, Catacombes de Paris, 1861.

Photographie avec utilisation de lumière artificielle (temps de pose : 20 minutes).

lesfleursdelart:

Sarah Bernhardt dans son salon (1890)

lesfleursdelart:

Sarah Bernhardt dans son salon (1890)

(via ancient-serpent)

eros-turannos:

The poet has come back by Margaret Atwood

eros-turannos:

The poet has come back by Margaret Atwood

(via elucipher)

magictransistor:

Louis Jean-Baptiste Igout, Hand Studies, ca. 1880.

magictransistor:

Louis Jean-Baptiste Igout, Hand Studies, ca. 1880.

(via honeyed)

labellefilleart:

Illustration to A Week of Kindness, Max Ernst

labellefilleart:

Illustration to A Week of Kindness, Max Ernst

(via honeyed)

daki-yeo:

Andy Warhol - Still-Life Polaroids

(Source: antronaut, via paisleydolly)

my-little-time-machine:

A bathing suit-clad woman and Nikola Tesla (swimming instructor) pictured on Midland Beach, Staten Island, N.Y., 1898. 

my-little-time-machine:

A bathing suit-clad woman and Nikola Tesla (swimming instructor) pictured on Midland Beach, Staten Island, N.Y., 1898. 

(Source: karluschka123, via honeyed)

visualtraining:

Women’s Noir - A list of films made during the Hollywood studio system that mix the genres of film noir and “women’s pictures” (melodrama) and place a woman who is more than a man’s love interest, girl friday, or femme fatale at the center of the narrative.

Ladies in Retirement (1941, Charles Vidor)
The Seventh Victim (1943, Mark Robson)
Christmas Holiday (1944, Robert Siodmak)
Mildred Pierce (1945, Michael Curtiz)
My Name is Julia Ross (1945, Joseph H. Lewis)
Shock (1946, Alfred L. Werker)
The Spiral Staircase (1946, Robert Siodmak)
Strange Impersonation (1946, Anthony Mann)
It Always Rains on Sunday (1947, Robert Hamer)
Born to Kill (1947, Robert Wise)
The Man I Love (1947, Raoul Walsh)
Possessed (1947, Curtis Bernhardt)
Deep Valley (1947, Jean Negulesco)
Lured (1947, Douglas Sirk)
Sleep, My Love (1948, Douglas Sirk)
Secret Beyond the Door… (1948, Fritz Lang)
Raw Deal (1948, Anthony Mann)
Sorry, Wrong Number (1948, Anatole Litvak)
Caught (1949, Max Ophüls)
The Reckless Moment (1949, Max Ophüls)
Beyond the Forest (1949, King Vidor)
Flamingo Road (1949, Michael Curtiz)
Whirlpool (1949, Otto Preminger)
No Man of Her Own (1950, Mitchell Leisen)
The File on Thelma Jordon (1950, Robert Siodmak)
Born to Be Bad (1950, Nicholas Ray)
Woman on the Run (1950, Norman Foster)
The House on Telegraph Hill (1951, Robert Wise)
Clash by Night (1952, Fritz Lang)
Sudden Fear (1952, David Miller)
The Blue Gardenia (1953, Fritz Lang)
The Bigamist (1953, Ida Lupino)
Dangerous Crossing (1953, Joseph M. Newman)
Private Hell 36 (1954, Don Siegel)
Crime of Passion (1957, Gerd Oswald)

(via thymoss)

greencrook:

Her hair is one of the greatest foreshadowing I have ever seen.

turns out it was… a red herring

bravo-hotel:

Untitled (Children with Sparklers in Provincetown) ca. 1958. Robert Frank. Gelatin silver print

bravo-hotel:

Untitled (Children with Sparklers in Provincetown) ca. 1958. Robert Frank. Gelatin silver print

(Source: kafkasapartment, via morgan-leigh)

teeething:

You may bury my bodydown by the highway sideSo my old evil spiritCan catch a Greyhound bus and ride- Robert Johnson, Me and the Devil Blues

teeething:

You may bury my body
down by the highway side
So my old evil spirit
Can catch a Greyhound bus and ride

- Robert Johnson, Me and the Devil Blues

(via thymoss)

opaqueglitter:

natasha poly by willy vanderperre for another magazine 2008

opaqueglitter:

natasha poly by willy vanderperre for another magazine 2008

(via louiselafantasma)

sixpenceee:

Berlin street artistVermibus dissolves advertisements with solvents, giving them an eerie mummified look. 

Watch his video here: X

More posts like this here: X

(via thymoss)

malephoto:

ph. Maciej Grochala

cjwho:

Light Matters: Europe’s Leading Light Festivals

In mid autumn, when the nights get longer in the northern hemisphere, we encounter numerous light festivals. And indeed, within the last ten years, more and more light festivals have globally emerged. The reason for the success of light festivals is simple, as the German curator Bettina Pelz concludes: “It’s actually fairly easy, because whenever you do something with light in cities in the night, then people do come. If you do it good, they come twice.”

As Pelz points out, light is an apt medium for evening events, since it easily attracts people. Communities have discovered the potential of lighting for city marketing, and the closer they plan their date to Christmas, the more they merge their illumination with the festive blinking lights of commercial Christmas markets.

(via thymoss)