What if, though? @whatifthough - Tumblr Blog

I first met Julia Child in 2001, but she had loomed large as a feature of my life. My mother’s boeuf bourguignon, coq au vin, onion soup, and chocolate mousse were painstakingly produced by paying careful attention to the creased pages of her copy of “Mastering the Art of French Cooking.”

Read the full story, “Portrait of a Marriage: Julia Child Captured in Paul Child’s Shimmering Photographs,” here.

lesamis

y’all ever just…… need someone to fold the sheet……

lesamis

installator

“As Paul Hogan came dashing down the steps of London’s Tate Gallery in 1956 with a £7m Impressionist masterpiece under his arm after coolly unhooking it from its hanging place moments earlier, his picture was taken by a press photographer who happened to be waiting outside.” (independent.co.uk)

discocalico

LITTLE WOMEN (2019) directed by Greta Gerwig

#I can't even think about it without tearing up a bit

pastperfectcontinuous

“Women do not simply have faces, as men do; they are identified with their faces. Men have a naturalistic relation to their faces. Certainly they care whether they are good-looking or not. They suffer over acne, protruding ears, tiny eyes; they hate getting bald. But there is a much wider latitude in what is esthetically acceptable in a man’s face than what is in a woman’s. A man’s face is defined as something he basically doesn’t need to tamper with; all he has to do is keep it clean. He can avail himself of the options for ornament supplied by nature: a beard, a mustache, longer or shorter hair. But he is not supposed to disguise himself. What he is “really” like is supposed to show. A man lives through his face; it records the progressive stages of his life. And since he doesn’t tamper with his face, it is not separate from but is completed by his body – which is judged attractive by the impression it gives of virility and energy. By contrast, a woman’s face is potentially separate from her body. She does not treat it naturalistically. A woman’s face is the canvas upon which she paints a revised, corrected portrait of herself. One of the rules of this creation is that the face not show what she doesn’t want it to show. Her face is an emblem, an icon, a flag. How she arranges her hair, the type of make-up she uses, the quality of her complexion – all these are signs, not of what she is “really” like, but of how she asks to be treated by others, especially men. They establish her status as an “object.”

Susan Sontag, The Double Standard of Aging

whatifthough

“Always throw spilled salt over your left shoulder. Keep rosemary by your garden gate. Add pepper to your mashed potatoes. Plant roses and lavender, for luck. Fall in love whenever you can.”

— Alice Hoffman, Practical Magic (via imelanievanessa)