(Source: malbadas, via prendreunedouche)
Robert McCloskey, illustrating book-lovers, featured on the TOON Books tumblr.
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HOMER PRICE yes yes yes.
(via pantheonbooks)
![‘A Windy Summer’; Ph. by Peter Lindbergh for Vogue Italia, May [1999].](http://25.media.tumblr.com/3f924ba7a879e10194ee57f9f90ed5cc/tumblr_mkmg37RDH61rztuvjo1_500.jpg "‘A Windy Summer’; Ph. by Peter Lindbergh for Vogue Italia, May [1999].")
Votive candles in Kevelaer, Germany.
I REGRET TO INFORM YOU THAT MY WEDDING TO CAPTAIN VON TRAPP HAS BEEN CANCELED. →
Since I will no longer be a part of their lives, I do hope you will all keep an eye on the Captain’s children. I am not terribly maternal but I was very fond of them in my own way and I must admit I am worried what will become of them now that I have gone. I had planned to send them to boarding school, since their education at the moment seems to consist mostly of marching around Salzburg singing scales. I think it would have been particularly helpful for the eldest daughter, who seems intent on losing her virginity to the mailman.
The abolition of the external State must be preceded by the decay of the notions which breathe life and vigour into that clumsy monster: in other words, it is only when the people learn to value liberty, and to understand the truths of the anarchistic philosophy, that the question of practically abolishing the State looms up and acquires significance.
Victor Yarros (on not counting your chicks)
![“a dream picture: it must produce such a stillness that one would be awed by a knock on the door”
cavetocanvas:
Arnold Böcklin, The Isle of the Dead, 1880
From the Metropolitan Museum of Art:
[…] Böcklin painted five versions of “Island of the Dead” between 1880 and 1886. The image became one of the most beloved motifs in late nineteenth-century Germany, widely known through poor color reproductions and a freely adapted etching of the 1890s. The Metropolitan Museum owns the second version of “Island of the Dead,” which was commissioned by Marie Berna when she visited Böcklin in his Florence studio in April 1880. She was struck by the first version (Kunstmuseum Basel), which sat half completed on the easel, so Böcklin painted this smaller version on wood for her. At her request, he added the coffin and female figure, in allusion to her husband’s death years earlier. His dealer, Fritz Gurlitt, prodded Böcklin to paint three more versions, all with a lighter sky. One is in Berlin (1883, Alte Nationalgalerie), one is in Leipzig (1886, Museum der Bildenden Künste), and the third (1884) was destroyed in World War II.](http://24.media.tumblr.com/d470ac943a9a1b932f98d79b9153be3a/tumblr_mgsrcumd1A1qghk7bo1_r1_500.jpg "“a dream picture: it must produce such a stillness that one would be awed by a knock on the door”
cavetocanvas:
Arnold Böcklin, The Isle of the Dead, 1880
From the Metropolitan Museum of Art:
[…] Böcklin painted five versions of “Island of the Dead” between 1880 and 1886. The image became one of the most beloved motifs in late nineteenth-century Germany, widely known through poor color reproductions and a freely adapted etching of the 1890s. The Metropolitan Museum owns the second version of “Island of the Dead,” which was commissioned by Marie Berna when she visited Böcklin in his Florence studio in April 1880. She was struck by the first version (Kunstmuseum Basel), which sat half completed on the easel, so Böcklin painted this smaller version on wood for her. At her request, he added the coffin and female figure, in allusion to her husband’s death years earlier. His dealer, Fritz Gurlitt, prodded Böcklin to paint three more versions, all with a lighter sky. One is in Berlin (1883, Alte Nationalgalerie), one is in Leipzig (1886, Museum der Bildenden Künste), and the third (1884) was destroyed in World War II.")
“a dream picture: it must produce such a stillness that one would be awed by a knock on the door”
Arnold Böcklin, The Isle of the Dead, 1880
From the Metropolitan Museum of Art:
[…] Böcklin painted five versions of “Island of the Dead” between 1880 and 1886. The image became one of the most beloved motifs in late nineteenth-century Germany, widely known through poor color reproductions and a freely adapted etching of the 1890s.
The Metropolitan Museum owns the second version of “Island of the Dead,” which was commissioned by Marie Berna when she visited Böcklin in his Florence studio in April 1880. She was struck by the first version (Kunstmuseum Basel), which sat half completed on the easel, so Böcklin painted this smaller version on wood for her. At her request, he added the coffin and female figure, in allusion to her husband’s death years earlier. His dealer, Fritz Gurlitt, prodded Böcklin to paint three more versions, all with a lighter sky. One is in Berlin (1883, Alte Nationalgalerie), one is in Leipzig (1886, Museum der Bildenden Künste), and the third (1884) was destroyed in World War II.
