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Fai_Ryy
𓃗
I'd rather be in outer space 🛸
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shark vs the universe
Sade Olutola
🩵 avery cochrane 🩵
noise dept.
sheepfilms
Game of Thrones Daily
ojovivo
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Discoholic 🪩
KIROKAZE

PR's Tumblrdome
d e v o n
todays bird

seen from Brazil
seen from Peru

seen from Germany

seen from Vietnam
seen from United States

seen from United States
seen from United States
seen from United States

seen from Australia

seen from United States
seen from Japan
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@taliesan1969
© 𝖡𝗈𝖻 𝖱𝖺𝖽𝗅𝗂𝗇𝗌𝗄𝗂
what books were you assigned to read in a class that you still hold a violent and bitter grudge against
for me it’s into the wild and the scarlet letter
The Scarlett Letter - yes. And The Tin Drum. 🤢
At the end of the day, we can endure much more than we think we can.
Frida Kahlo
(via purplebuddhaproject)
Art is a wound turned into light.
Georges Braque (via wnq-art)
Witch please…
When I walk into a room...
Need to start telling myself : “Just be gay… It’s enough”
Gay AND fabulous :)
Scherzo di Follia by Pierre-Louis Pierson (French, 1822–1913)
Countess Virginia Oldoini Verasis di Castiglione (1835–1899) Date: 1861–67, printed ca. 1930
Virginia Oldoini, Countess Verasis de Castiglione (1837-1899), created a sensation when she appeared on the social scene in Paris in 1855, having been sent by the Italian statesman Cavour to secretly win Napoleon III over to the cause of Italian unity by “any means she chose.” Within months, the statuesque beauty was the mistress of Napoleon III and a much-talked-about ornament of the lavish balls so prevalent during the period. After the fall of the Second Empire in 1870, she led an increasingly secluded existence, which gave rise to fantastic speculation about her affairs. As the years went by, her mental stability declined and she ventured out only at night, shrouded in veils. The countess’s raging narcissism found in photography the perfect ally; Pierre-Louis Pierson produced over seven hundred different images of her. In a reversal of roles, the sitter would direct every aspect of the picture, from the angle of the shot to the lighting, using the photographer as a mere tool in her pursuit of self-promotion and self-expression.
(via mortisia)
Guy Tal