A ROVER, A GAMBLER, A LIBERTINE

pictures like these always make me want to cry

The living daylights, Peter Bialobrzeski

East of Eden, Nelly Monnier

ALBERTA FERRETTI Resort 2027 pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

Iron Age Carnyx and Reconstruction, National Museums Scotland, Edinburgh

Manem, dit Monem de Bretauville.. 1880s–90s. Credit line: Gilman Collection, Museum Purchase, 2005 https://www.metmuseum.org/art/collection/search/306887

He doesn’t have to worry about a mortgage

'mikhail baryshnikov as the prodigal son, new york city ballet' in the world's great ballets - john gruen (1981)

Kohno Michisei, seen here at twenty-two, presents himself in a pose modeled on Western Renaissance master Albrecht Durer's (1471-1528) self-portrait produced in 1500. Between 1914 and 1924 a remarkable quantity of high-quality portraiture was produced by Japanese artists who blended Western and East Asian painting traditions. While some of these painters had first-hand knowledge of Western painting, most, like Michisei, culled their images from books and magazines. The young artist was raised in an environment filled with powerful iconic images. His father was a portrait photographer, an artist in both Japanese and Western modes, and an active member of the Russian Orthodox Church. These influences are readily apparent in this self-portrait. Michisei's perceptive understanding of classic Western images was based on constant perusal of his father's extensive library; a portrait's potential for psychological and spiritual impact was impressed on him through exposure to religious icons used in the Orthodox liturgy. (source)

Jean-Antoine Laurent Un Serrurier cherche à faire mordre sa lime à un geai 1829

"amadeus" costumes by chloe lamford in costume at the national theatre (2019)

Stay till the end, Devin Lunsford

Albert Aublet: Séléné (1880)