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strategic removal of letters via Shitty_Car_Mods

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Speaking of images that have resonated throughout decades of my life, I finally figured out who painted this book cover - Alex Ebel.

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Mandy

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The salt statue or The wife of Lot, 1899 by Eugène Viala

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那覇市営壷川東住宅(1985～92年) 那覇市壷川 2018

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Visit Original Link

Peel Session 1983

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Sakai Hōitsu (1761–1828) — Crows in the Moonlight , early 19th century

Woodblock print; ink and color on paper, Princeton University Art Museum

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Concrete Utopia: Jasenovac Memorial Complex

After World War II, Yugoslavia memorialized its fight against Axis powers, and the millions of wartime casualties suffered, with monuments like this one on the site of a razed concentration camp in Jasenovac, Croatia. The “Stone Flower” serves as a grave marker and an expression of a desire to unify the multiethnic country by demarcating its territory after the war with sites of collective remembrance. Explore Concrete Utopia. … [Bogdan Bogdanovic. “Jasenovac Memorial Complex.” 1959-66. Photo: Valentin Jeck, commissioned by The Museum of Modern Art, 2016]

ducissatenebrarum

Procsccini, detail Beheading of St. John Baptist Gallerie d'Italia, Piazxa Scala Milano #MyMilan #Milan #Italy #travel #Art #ArtHistory #Architecture #culture #DarkTourism #lovetotravel #travelblogger #TravelEurope #photoblogger ©Blackpaint20

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Calendrier Magique

Designed and published in Paris in 1895, the Calendrier Magique was conceived by Austin De Croze and illustrated by the Italian lithographer Manuel Orazi. While the history of these two individuals remains somewhat obscure, even a casual glance at the contents and illustrations of their unusual work shows that De Croze and Orazi possessed a sophisticated familiarity with the Esoteric traditions of the fin de siècle era. Every page of the Calendrier Magique evokes the decadent, occult Paris of Gerard Encausse, Oswald Wirth, and Karl Huysmans. The Art Nouveau illustrations of Orazi are especially evocative. Simon Finch writes that the work “was highly praised by Caillet as ‘fort original et d'une rare exécution artistique’; he added that no contemporary artist - save Félicien Rops - had managed ‘so felicitously to combine sadism, satanism and the macabre’. The Calendrier Magique - so the legend goes - was published in a limited print run of 777 copies, making it quite a rarity among collectors.

For all 12 months, here: http://www.sofia-albertsson.se/2017/12/stranger-than-kindness-keys-rain-like-heavens-hair/

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squad is over we’re cults now

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