La Belle Dame sans Merci @midwinter-tears - Tumblr Blog

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The Chasm (1910) - Kay Nielsen

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Hugo Brehme

Popocatepetl

Mexico, 1910's - 1920's

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Gabrielle Ray photographed by Bassano, 1910

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A. J. Campbell. A Sylvan Wash, c. 1890.

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Dora Maar. Cat - Savoy, c. 1935.

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Edward Weston (1886 – 1958), Family Group on Wildcat Hill, 1944

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evacuation of the Louvre during WWII. Venus de Milo.

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Simon Renard de Saint-André - Vanitas, c. 1663. In the 17th century, a dark genre of still-life painting flourished in Europe, particularly the Netherlands. At a time of great mercantile wealth and frequent military conflict, these paintings, known as vanitas, were ripe with symbolic objects intended to emphasize the transience of life, the futility of earthly pleasure, and the pointless quest for power and glory. Vanitas are closely related to the earlier tradition of memento mori - Latin for “remember you must die”- artworks intended to prompt viewers to consider their mortality. Memento mori began appearing on the back of portraits in 15th-century Europe, often featuring skulls painted within a niche, and accompanied by an admonitory motto. That message would remind the sitter that while they may desire to have their appearance immortalized, the only way to preserve their soul in the afterlife is to lead a virtuous life.

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Alicia Austin, “Science Fiction Review”, #39, Aug. 1970 Source

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From Luda, the Occult Girl by Julia Webb Mays, 1912.

Here’s a bouquet for you: my collection of vintage flower blossoming through time.

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Leaning on His Lance Stood Parsifal, from Parsifal, or the Legend of the Holy Grail by Willy Pogany (1912)

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"Tô cansado/E você também/Vou sair sem abrir a porta/E não voltar nunca mais/Desculpe a paz que eu lhe roubei/E o futuro esperado que eu não dei/É impossível levar um barco sem temporais/E suportar a vida como um momento além do cais”. (Jards Macalé / José Carlos Capinam)