Xuebing Du

@theartofmadeline
Cosimo Galluzzi
Sade Olutola
Sweet Seals For You, Always
Today's Document
todays bird
Monterey Bay Aquarium

โฃ Chile in a Photography โฃ
almost home

JVL
let's talk about Bridgerton tea, my ask is open
trying on a metaphor

Discoholic ๐ชฉ
styofa doing anything
Not today Justin

#extradirty
Show & Tell
Peter Solarz
he wasn't even looking at me and he found me
seen from United States
seen from United States

seen from Tรผrkiye

seen from United States
seen from United States
seen from United States
seen from Azerbaijan
seen from China
seen from Costa Rica
seen from Costa Rica
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from Saudi Arabia
seen from United States

seen from United States
@anaquel
liam gallagher moodboard
mary oliver, staying alive
Pyramid of the Sun, Teotihuacan, Mexico, from the photo album of the sculptor Angelica Archipenko. 1939-41.
Smithsonian
There were three locomotives used in the film: one as โThe Generalโ, one as โThe Texasโ and one for a spare. The spare engine had been originally intended to play The Texas, but the engine that ultimately got that role was found to be in better condition. The spare engine played the role of the Union engine up to the bridge scene, where it played The Texas as it crossed the bridge.
For the scene in which The Texas crashes through the bridge, Keaton spared no expense, using six cameras and thousands of local extras. It cost nearly $50,000 at the time and was the most expensive single shot of the entire silent movie era. The Texas itself remained in the river until WWII, when it was salvaged for scrap iron.ย
In the train crash a dummy was used as the engineer. The looks of shock on the faces of the Union officers were real, because the actors who played them were not told what was going to happen to that train.
The General (1926) dir.ย Buster Keatonย &ย Clyde Bruckman
Rachel Weisz in The Mummy (1999) dir. Stephen Sommers
Meghann Stephenson (American, 1990) - Why Be a Cut Flower When You Can Be a Weed? (2024)
Agnรจs Varda, A self-portrait in the studio, Rue Daguerre, Paris, 1956.
Daily Art Appreciation Post: ๐๐๐ฏ๐๐ฌ ๐๐ซ๐๐๐ค๐ข๐ง๐ (๐๐๐๐) ๐๐ฅ๐๐ฎ๐๐ ๐๐จ๐ง๐๐ญ ๐น๐๐๐๐๐ค ๐๐๐ก๐๐ ๐ก ๐๐๐ ๐๐๐ฃ๐๐ก๐๐๐: ๐ผ ๐๐๐๐ ๐๐ฆ๐ ๐๐๐ ๐๐๐๐๐๐ ๐ค๐๐กโ ๐๐๐๐๐๐ก๐๐๐, ๐ฆ๐๐ก ๐๐๐ ๐ ๐๐๐๐๐๐ ๐๐ ๐๐ ๐ ๐ ๐๐๐๐๐ ๐ ๐๐๐ ๐ ๐๐ ๐ค๐๐๐๐๐ ๐๐ ๐ผ ๐๐๐ง๐ ๐๐ก ๐กโ๐ ๐๐๐๐๐ก๐๐๐. ๐โ๐ ๐๐๐๐๐๐๐๐๐๐๐๐ ๐๐ ๐๐ข๐๐๐๐ ๐ก๐๐๐๐ ๐๐ ๐กโ๐๐ ๐๐๐๐๐ก๐๐๐ ๐๐ ๐ ๐ก๐๐๐๐๐๐, ๐๐๐๐ก๐๐๐ข๐๐๐๐๐ฆ ๐๐ ๐กโ๐ ๐ค๐๐ฆ ๐กโ๐๐ฆ ๐๐๐ ๐ข๐ ๐๐ ๐ก๐ ๐ฃ๐๐ ๐ข๐๐๐๐ฆ ๐๐๐๐ก๐ข๐๐ ๐กโ๐ ๐๐๐๐๐๐๐๐ ๐ค๐๐ฃ๐๐ .
Oasis backstage at Top of the Pops - June 29, 1994
Filip Mirazovic, Daughter
via unsaidart
Dear Lemon Lima (2009)
Sisters by Nell Brinkley, 1920
the only โdata centersโ we need are public libraries
Irvingย Penn, Poppy โGlowing Embersโ, New York, 1968