We Are Oh So Pretty
forbiddenalleys:

Jacques Fabien Gautier d’Agoty - “Anatomie des parties de la génération de l’homme et de la femme, représentées avec leurs couleurs naturelles, jointe à l’angéologie de tout le corps humain, et à ce qui concerne la grossesse et les accouchemens” (1773)

forbiddenalleys:

Jacques Fabien Gautier d’Agoty - “Anatomie des parties de la génération de l’homme et de la femme, représentées avec leurs couleurs naturelles, jointe à l’angéologie de tout le corps humain, et à ce qui concerne la grossesse et les accouchemens” (1773)

laughingfits:

Hanham Court by iandjbannerman on Flickr.
thewakeupcall:

Anais Pouliot for Prada Fantasy Lookbook Fall/Winter 2011.

thewakeupcall:

Anais Pouliot for Prada Fantasy Lookbook Fall/Winter 2011.

cavetocanvas:

Seestück I - Gerhard Richter, 1969
From the Metropolitan Museum of Art:

This seascape is made from two negatives printed on a single sheet and seamed at the horizon. A century after the French photographer Gustave Le Gray used the same technique to overcome a technical limitation and achieve a glorious, sun-spangled, realistic seascape, Richter employed it with a radically different aim, to subtly demonstrate that all images, even photographs, are made-up. Although the horizonseam in Richter’s work is almost imperceptible, the image is vaguely unsettling. Gradually we recognize that the leaden sea and cloudy sky, while poetically compatible, are not actually congruent, because the clouds have been printed upsidedown. With this simple yet unnerving inversion, Richter emphasizes both the fabricated nature of reproductions and the complacency of our usual perspective on the world.

cavetocanvas:

Seestück I - Gerhard Richter, 1969

From the Metropolitan Museum of Art:

This seascape is made from two negatives printed on a single sheet and seamed at the horizon. A century after the French photographer Gustave Le Gray used the same technique to overcome a technical limitation and achieve a glorious, sun-spangled, realistic seascape, Richter employed it with a radically different aim, to subtly demonstrate that all images, even photographs, are made-up. Although the horizonseam in Richter’s work is almost imperceptible, the image is vaguely unsettling. Gradually we recognize that the leaden sea and cloudy sky, while poetically compatible, are not actually congruent, because the clouds have been printed upsidedown. With this simple yet unnerving inversion, Richter emphasizes both the fabricated nature of reproductions and the complacency of our usual perspective on the world.

18teacups:

Notre Dame, Amiens, France, begun 1220

18teacups:

Notre Dame, Amiens, France, begun 1220