eros&beyond

inspiration out of old books to create eros&beyond

[erosandbeyond]

Zoltan knows my future (at Southampton , New York)

[erosandbeyond]

Jean La Tâche II - Dubai 2009 #polaroid #polaroid664 #pierreklossowski #noroberte #lovers

[erosandbeyond]

Jean La Tâche II - Dubai 2009 #polaroid #polaroid664 #pierreklossowski #noroberte #lovers

[erosandbeyond]

Jean La Tâche II - Dubai 2009 #polaroid #polaroid664 #pierreklossowski #noroberte #lovers

[erosandbeyond]

feeling Up - Kyosuke Karima - Japan 1969 #pinkmovie #womanstyle #pleasure #beauty (at Shinjuku Ni-chōme)

[erosandbeyond]

#eros #beauty #flower #colors#negativefilm #traditionalphotography (at Beverly Hills, California)

[erosandbeyond]

#eros #beauty #flower #colors#negativefilm #traditionalphotography (at Sherman Oaks, California)

[movieposters]

The Red Shoes (1948), Michael Powell and Emeric Pressburger

[erosandbeyond]

#The Red Shoes #Michael Powell #Emeric Pressburger #drama #musical #british cinema #movie poster #Moira Shearer #ballet

[movieposters]

Lola (1981), Rainer Werner Fassbinder

[erosandbeyond]

#Lola #Rainer Werner Fassbinder #german cinema #drama #czech posters 

[movieposters]

Blonde Venus (1932), Josef von Sternberg

[thebestyearsaregone]

[erosandbeyond]

50s

[martyreater]

marble statue of aphrodite crouching and arranging her hair, 1st or 2nd century A.D., copy of greek statue of the late 2nd century B.C. (at The Metropolitan Museum of Art, New York)

[topcat77]

Agnes Martin

 Untitled (last drawing), 2004

[erosandbeyond]

L’évolution de la ligne du dos nu entre les 4 images... Raphaël et la Fornarina 4 -1815 collection privée #ingres #oilpainting #inspiration #beauty

[erosandbeyond]

Raphaël et la Fornarina 3 - huile -1815 private collection #ingres #oilpainting #inspiration #beauty

[erosandbeyond]

Rogier van der Weyden

Jean-Auguste Dominique Ingres

[erosandbeyond]

According to James Lord (1983, p.349), Giacometti first came across Jean Genet sitting at a table in a café and was immediately struck by the appearance of his face and his bald head. The artist invited Genet to sit for him and these sittings took place in Giacometti's studio at 46 rue Hippolyte Maindron, off rue d'Alésia. According to Genet, Giacometti insisted on working with him ‘sitting up straight, immobile and rigid (if I move he will soon call me back to order, to silence and to repose) on a very uncomfortable kitchen chair’ (Liverpool exh. cat., 1991, p.31). It was Genet who finally terminated the sittings. As Giacometti explained to James Lord, ‘Genet felt that posing was completely passive. And he stopped posing because he felt that he was being transformed into an object’ (James Lord, A Giacometti Portrait, 1981, p.78).