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@malalibido
Hundreds of Roman imperial gold coins were found today (7/9/2018) during an excavation in Como, Italy.Â
Henri Matisse, Studios
1&2 -Henri Matisse created his cut-outs in three different studios. In 1946 he developed Oceania, the Sky and Oceania, the Sea on the walls of an apartment at 132 Boulevard Montparnasse, Paris.
 3-Towards the end of his time at the Villa le RĂȘve, in Vence, where he lived and worked between 1943 and 1948, Matisse covered its walls with vibrantly colored cut-paper forms.Â
4, 5.6- From 1949 until his death in 1954, Matisseâs cut-outs grew in ambition, expanding throughout the interiors of the HĂŽtel RĂ©gina, Nice.
MOMA
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The signatures of Jehanne la Pucelle (Joan of Arc).
Top: 9 November 1429, her first known signature in a letter she dictated to the people of Riom.
Middle: 16 March 1430, in a letter dictated by her to the people of Rheims.
Bottom: 28 March 1430, her last known signature in a letter dictated by her to the people of Rheims two months before she was captured by the Burgundians at CompiĂšgne on 23 May 1430.
Plate with reclining zebu, Metropolitan Museum of Art: Ancient Near Eastern Art
Gift of Evelyn Kranes Kossak, The Kronos Collections, 2015 Metropolitan Museum of Art, New York, NY Medium: Copper alloy
Illustration for Louis Aragonâs work âOne who says things without saying anythingâ, 1976, Marc Chagall
Medium: lithography,paper
Tramonto dorato đčđ§Ą
How peaceful is this? Little finches enjoying the water last nightâs rain brought
Le Palais idéal
Built from 1879â1912 by Ferdinand Cheval
âI was walking very fast when my foot caught on something that sent me stumbling a few meters away, I wanted to know the cause. In a dream I had built a palace, a castle or caves, I cannot express it well⊠I told no one about it for fear of being ridiculed and I felt ridiculous myself. Then fifteen years later, when I had almost forgotten my dream, when I wasnât thinking of it at all, my foot reminded me of it. My foot tripped on a stone that almost made me fall. I wanted to know what it was⊠It was a stone of such a strange shape that I put it in my pocket to admire it at my ease. The next day, I went back to the same place. I found more stones, even more beautiful, I gathered them together on the spot and was overcome with delight⊠Itâs a sandstone shaped by water and hardened by the power of time. It becomes as hard as pebbles. It represents a sculpture so strange that it is impossible for man to imitate, it represents any kind of animal, any kind of caricature. I said to myself: since Nature is willing to do the sculpture, I will do the masonry and the architecture.â
Interior with Black Dog  -   William Robinson , 1970.
Australian,b.1936-â
Oil on linen
William Blake (English, 1767-1827)
Songs Of Innocence and Of Experience:Â Shewing the Two Contrary States of the Human Soul, circa 1789-1794
More William Blake on hideback
Ludwig Wittgenstein, Tractatus Logico-Philosophicus
Ludwig Wittgenstein
By beating the Philistines, Saul killed himself by his own sword (I Samuel, XXXI, 2 6)), 1956, Marc Chagall
Medium: etching,paper
Ludwig Wittgenstein, Personal Journal Containing Photographs taken by Moritz Nahr of the âWittgenstein Houseâ, (1930âs)
 âWorking on philosophy is really working on oneself- as is often true of working in architecture. Working on oneâs own perception, on how one sees things, and what one demands of what he sees.â
-Ludwig Wittgenstein
In the early 1930âs, Ludwig Wittgenstein began to paste photographs of his friends, family and special occasions into a small album. The photographs were pasted on the right-hand side, with the verso pages remaining blank. In a purely pictorial language he mounted a multi layered image of his milieu: without text, dates, notations, captions, page numbers, and without any clear temporal sequence. In this album, which he always carried with him, Wittgenstein pasted a handful of photographs of the house that he had helped to built, along with architect Paul Engelmann, for his sister Margaret Stonborough Wittgenstein (seen in the top image above). These photographs were taken by Moritz Nahr after the completion of the building.
About the house:
In November 1925, Wittgensteinâs sister commissioned the Austrian architect, Paul Engelmann to design and build a large townhouse. Margaret also invited her brother to collaborate with Engelmann on the design in part to distract him from an incident that had happened while he had been a primary school teacher: he had hit a boy for getting an answer wrong and the boy had collapsed. The architect was someone Wittgenstein had come to know while training to be an Artillery Officer in Olmutz. Engelmann designed a spare modernist house after the style of Adolf Loos: three rectangular blocks. Wittgenstein showed a great interest in the project and in Engelmannâs plans and poured himself into the project for over two years. He focused on the windows, doors, door knobs, and radiators, demanding that every detail be exactly as he specified, to the point where everyone involved in the project was exhausted. One of the architects, Jacques Groag wrote in a letter: âI come home very depressed with a headache after a day of the worst quarrels, disputes, vexations, and this happens often. Mostly between me and Wittgenstein. "When the house was nearly finished he had a ceiling raised 30mm so the room had the exact proportions he wanted.
It is said that Margaret eventually refused to pay for the changes Wittgenstein kept demanding, so he bought himself a lottery ticket in the hope of paying for things that way. It took him a year to design the door handles, and another to design the radiators. Each window was covered by a metal screen that weighed 150Â kg, moved by a pulley Wittgenstein designed. Bernhard Leitner, author of The Architecture of Ludwig Wittgenstein, said of it that there is barely anything comparable in the history of interior design: "It is as ingenious as it is expensive. A metal curtain that could be lowered into the floor.
 The house was finished by December 1928, and the family gathered there that Christmas to celebrate its completion. Describing the work, Ludwigâs eldest sister, Hermine wrote: "Even though I admired the house very much, I always knew that I neither wanted to, nor could, live in it myself. It seemed indeed to be much more a dwelling for the gods than for a small mortal like meâ Paul Wittgenstein, Ludwigâs brother, disliked it, and when Margaretâs nephew came to sell it, he reportedly did so on the grounds that she had never liked it either. Wittgenstein himself found the house too austere, saying it had good manners, but no primordial life or health. He nevertheless seemed committed to the idea of becoming an architect: the Vienna City Directory listed him as "Dr. Ludwig Wittgenstein, occupation: architectâ between 1933 and 1938.