Initially I had words for this one, but then I wasn’t sure that I liked them enough, and then it just seemed better to not have words. Anyways Like it or Share it! Seeya next week!
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Janaina Medeiros
Xuebing Du
i don't do bad sauce passes
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blake kathryn
we're not kids anymore.
"I'm Dorothy Gale from Kansas"
2025 on Tumblr: Trends That Defined the Year
Peter Solarz
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shark vs the universe
Jules of Nature
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@calvin-is
Initially I had words for this one, but then I wasn’t sure that I liked them enough, and then it just seemed better to not have words. Anyways Like it or Share it! Seeya next week!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Hughie Lee-Smith (American, 1915-1999), Interlude, 1991. Oil on linen canvas, 26 x 18 in.
Graham Sutherland (British, 1903-1980), Opening to a Palm Plantation, 1963. Gouache and crayon on paper, 13 x 8 7/8 in.
Bruno Liljefors (Swedish, 1860-1939), Räv på råttjakt [Fox Hunting for Rats]. Oil on canvas, 13 7⁄8 x 19 ¾ in.
Unnatural Landscape series by Palestinian artist Khaled Hourani, 2020
“I did a series of small works, a project called “Unnatural Landscape.” [...] It started as a project about the landscape and the wall, and how this construction, this ugly concrete, [...] tries to cut, separate, and destroy the scene. What kind of effects does this wall have on the landscape, especially from a distance? I can see, when close to the wall, what kind of damage and social side-effects the wall has between the farmer and his land, the family and their relatives, between a city and a village. But also, from a distant view, for the one who wants to hike only, the landscape has a different meaning. We live in a high area here in Ramallah; when you look toward the sea, you can see different layers of mountains, but there is no empty landscape without settlement, without the wall.” – Khaled Hourani in an interview with Lela Vujanić

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Max Truninger (Swiss, 1910-1986) Maler-Atelier bei Vollmond, c.1955. Oil on hardboard, 66 x 80 cm
Oleanders, Vincent van Gogh, 1888
Oil on canvas 23 ¾ x 29 in. (60.3 x 73.7 cm) The Metropolitan Museum of Art, New York City, NY, USA
Fireflies at Ochanomizu, Kobayashi Kiyochika, circa 1880
Woodblock print 8 3/8 x 13 1/16 in. (21.27 x 33.18 cm) Los Angeles County Museum of Art, Los Angeles, CA, USA
Railroad Sunset, Edward Hopper, 1929
Oil on canvas 29 5/16 x 48 1/8 in. (74.5 x 122.2 cm) Whitney Museum of American Art, New York City, NY, USA
Trois Couleurs: Rouge (1994)
🎬 Krzysztof Kieślowski

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Françoise Gilot (French, 1921-2023), Etude bleue [Blue Study], 1953. Oil on panel, 147 x 115.2 cm.
Ryan Mosley (British, 1980), Nature's Shadow, 2019-20. Oil on canvas, 62 x 52 cm.
Françoise Gilot (French, 1921-2023), Aphrodite, 1992. Oil on canvas, 30 x 40 in.
Kaye Donachie (British, 1970), Absence without want, 2014. Oil on canvas, 19 7/8 x 12 1/8 in.
Electrical Building at Night, Chicago Fair, Gerald K. Geerlings, circa 1933
Drypoint on paper 11 ⅞ x 8 ⅞ in. (30.3 x 22.7 cm) Smithsonian American Art Museum, Washington, DC, USA am
Gerald K. Geerlings (American, 1897-1998)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Kees van Dongen - Le lévrier bleu (Loyse Dumarest)
Kees van Dongen (Dutch/French, 1887-1968), Le lévrier bleu (Loyse Dumarest) [The Blue Greyhound (Loyse Dumarest)], 1919-20. Oil on canvas, 195.2 x 97 cm.
Female Head, Andy Warhol, circa 1958
Ink and aniline dye on paper 23 x 12 ⅛ in. (58.4 x 30.8 cm)