cinoh:

Manuscript detail from the collection of the Capucins de la rue Saint-Honoré (17th c.)

(via agnitionalis)

shihlun:

“A film in the making“

Jean-Luc Godard,

La Chinoise,

1967.

centuriespast:

Napoleon’s Death Mask in Profile

Luigi Calamatta, Italian, 1802 - 1869. After Dr. Antonmarchi. Copyist Luigi Calamatta, Italian, 1802 - 1869.

Made in Paris, France,1840

Etching and engraving

Philadelphia Museum of Art

(Source: rrrollingturtle, via 0harriet-blog)

museumuesum:

Dieter Appelt

Die Befreiung der Finger (Liberation of the Fingers), 1979

gelatin silver print, 28.7 x 19.9 cm.

(via naprasno)

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(Source: nickdrake, via aetrium)

wildthicket:

Costume design by Riccardo Tisci, Givenchy’s creative director, for a ballet of Maurice Ravel’s 17-minute composition Bolero, based on the Spanish dance, a collaboration between Marina Abramovic and Belgian choreographers, Sidi Larbi Cherkaoui and Damien Jalet; photographed for Dazed & Confused July 2013

Speaking of his initial costume inspirations, Riccardo Tisci said, “I wanted to create something very strong, very sexual. And very me. I was inspired by romance. The skeleton design is very dramatic but the nude colour of the fabric has a sense of romance- I wanted the dancers to feel naked. For me, the skeleton balanced death and beauty. I decided not to use materials associated with classic ballet, such as feathers and beading. I wanted to keep it minimal but also strong, because the bolero is about jealousy and intensity. I began with the black cape, because it has been key to my career. I imagined the men and women turning in the cape. I imagined the moment they would remove the cape, and underneath would be a nude catsuit in illusion tulle embroidered with a lace skeleton. They shed several layers as they dance, just like the lifecycle of animals or flowers losing their petals. They became these moving skeletons, strong and fragile at the same time.”

(via olviia)

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moldavia:

Valentino F/W 2013