cruel girl

25 / she/they

[wowxwow]

‘Mrs. Moon’ by Enkel Dika (@buko2) ​• #​enkeldika #buko2 #digitalpainting #portrait #surrealism #moonart #surrealartwork #digitalartist #surrealismo #popsurreal #newcontemporary #popsurrealism — view on Instagram https://ift.tt/2Arp3rx

[misakuroi]

rise: blood hunter (2007), alucarda (1977), la morte vivante (1982), city of the living dead (1980), lady snowblood (1973), vampyros lesbos (1971), satanico pandemonium (1975), queen of the damned (2002, a virgin among the living dead (1973)

[pteridophytafloris]

Aleksandra Waliszewska

[taissaifarmiga]

ART PIECES RECREATED IN HORROR FILMS

The Exorcist (1973) / The Empire of Light (1953-1954) René Magritte

Ju-On: The Grudge (2002) / The Nightmare (1781) Henry Fuseli

Carrie (1976) / Study for Lady Macbeth (1851) Gustave Moreau

Scream (1996) / The Scream (1893) Edvard Munch

Pan’s Labyrinth (2006) / Saturno devorando a un hijo (1819 - 1823) Francisco de Goya

[womblegrinch]

Walter Crane (1845-1915) - The swan maidens

Oil on canvas. Painted in 1894.

60 x 46 inches, 152.5 x 117 cm. Estimate: £150,000-250,000.

To be sold Christie’s, London, 10 Dec 2020.

[hatchets]

@vidoxi​ @gorelesbian​ @sawmutt​ @sluttymortician​ @corcubiculum​ @unrealnoises​ @dollfacedeception​ @dead-girl-in-a-ditch​ @holyfirewater​ @queercodeadvillain​ @cordeliataras​ @derangedrhythms​ @geee-spot​ @llawliette​ @soulsweeper​ @beingshakespeare​ @artofwounding​ @wolfhoof​ @s-p-o-r-e--p-r-i-n-c-e​ @aloneinmoscow​ @sacersanguis​ @opold​ @inkwellspells​ @blessmefatherforihavesneezed​ @the-crystal-coffin​ @0535pm​ @bluebloat​ @eliamatrell​ @sylviapiamaria​ @porcelainmantra​ @6mxmi​ @phthonos​ @blairwitchvevo​ @charrockerrevenge​ @lovecanbe​ @g-a-d-f-l-y​ @dearorpheus​ @artemiburakh​ @jayunique​ @primonizuto​ @brujah​ @kalichanuniverse​ @cheryltunts​ @luvhamtaro​ @thesibyl​ @dixiedeadshake​ @sunsetsapphxs​ @malocology​ @android-girlz​ @milkthroat​ @thatgirlnamedeleanor​ @vampiriser​ @ectoplasm-james​ @redhotpussylicker​ @falkwreaths​ @jerkuelyn​ @resevil8​ @petrichorpet​ @online​ @oblivioncoil​ @davidkessler​ @rarbug​ @nekarchivecrazy2​ @crunchythursdaychild​ @buffysangels​ @2hvvrt​ @vomitluvr​ @meaatrot-blog​ @hai1strik3​ @theolepsy​ @lambhoof​ @ocds​ @myprisonyard​ @nondivineus​ @grimghoul​ @iwasherlove​ @grlsiren​ @cyrsed​ @mossgutz​ @7hylacine​ @traumatwink​ @cottoncandycasualties​ @awitchnamedbonedaddy​ @angelidiot​ @alienannihilator​ @hauntedhouse​ @nightmarebabyy​ @protectresses​ @halloes​ @afventurelle​ @ghostiegraves​ @deleted-accoun​ @punkdoll​ @tomiesmorgue​ @stydiadoll​ @leighwhannell​ @saintanimal​ @reginainferorum​ @laevisiklownz​ @lesvampyres​ @sitard​ @belobala​ @furatus​

[hatchets]

so sorry to anyone who was tagged in that nightmarish rayban sale post lmao

[saccarinee]

Vibe for October… Let’s plunge into devotion and despair ladies 🍷🥀

[d--r--a]

[yerisgirl-deactivated20201106]

she's not crazy, don't say she's crazy

[lupitasource]

Lupita Nyong'o attends UK exclusive screening of “Us” at Picturehouse Central on March 14, 2019 in London, England.

[progress-in-art]

Claire Morgan, Hangover (2014), Fox (taxidermy), bluebottles, nylon, lead; 233x60x50 cm

[casas-of-blood]

[aqua-regia009]

La autopsia / Anatomía del corazón / ¡Y tenía corazón! (Autopsy / Anatomy of the heart / And she had a heart!), 1890. By Enrique Simonet

[havi-fart]

‘first day of summer and my cat has fleas’, summer 2017, acrylic on paper

[vodis]

Vivienne Westwood Fall/Winter 1990

[shebitesgodinthewrist]

“Only the richest, best taken care of women, could afford to be sick. Wanting to be as ethereally ‘sublime’ as Ophelia, women of all walks of life began getting sick (or making themselves look sick to achieve the desired social position), fashioning themselves as tuberculosis sufferers, powdering their faces pale and starving themselves to near death to achieve the suffering, emaciated look. In the 1860s, a ‘sublime tubercular emaciation’ became a desired model of ‘true femininity’, generating the very first epidemic of anorexic starvation.”

— Magda Romanska, “Necr-Ophelia: Death, Femininity, and the Making of Modern Aesthetics”