My Secret Garden🚪

carved from dusk and devotion, where silence sings through stone and shadow

— Susan Sontag, from “Death Kit,” (1967) (via lunamonchtuna)

Death of Sappho, Miquel Carbonell Selva, 1881

Herbert James Draper, The Lament for Icarus (1898), detail. 

Dialogue between Persephone and Hades

Francesco Solimena,Diana and Endymion (detail) 1705-10.

Untitled, Christine Brache 2017 //  Portrait of a Woman (Detail), Nicolas de Largillière 1696 //  {Cero Umano}, Gorche 2013 //  Apollo et Daphne (Detail), Rene-Antoine Houasse1677

Asa Smith. Smith’s Illustrated Astronomy. 1851.

> Fresco from Casa degli Epigrammi in Pompeii. [x]

oxford, england

remember museums? what a time that was

Andrew Adamson’s “The Lion, The Witch, and the Wardrobe” is the perfect movie to use as an example of how color palette informs the tone of a film. When Lucy first enters Narnia, it’s a joyful, exciting, adventurous bit of the story. The woods are cold and snowy, and yet there’s almost a warmth to it, a sort of pink-and-gold glow. But when Edmund first enters Narnia, he’s intent on making fun of Lucy, only to stumble into the woods she told them about. The Witch is nearby and there’s a deception about to take place. The colors are much colder and bluer and more icy in their tones. And then, later on, when all four Pevensies enter together, the color palette is a combination of both the warm and the chilly, creating a very enhanced and layered look, which continues the whole time all four are together. It’s such a wonderful look and so beautifully done.