Van’s, Tattoo Passion, Thonon-les-Bains, France
Mon arbre de vie, mon arbre de l’amour, mon arbre de connaissance…
Anyone else notice Mushu the dragon is Mulan’s tattoo…?
This is the coolest shit I have ever seen.
Let’s not forget this one
…this is the first time I’ve seen disney princess stuff that I’d actually want as prints. Also, part of me is glad Tiana’s not in this bunch bc there’s only so much potential to be wrong-headed about things from my cultural background I can take in a day. But if this artist actually got it? Tiana, queen of the zombies would be amazing.
anyone else notice how mulan is the avatar
Oh god.
except that tiana is indeed in this series and she’s the best fucking one period
actually shit they left out kida, tiana, pocahontas, rapunzel and maid marian
Holy shitballs!
Disney seen through a darker lens. I love it. I can’t choose a favourite.
I think my favourite one is maid marian, because she’s a fucking SURVIVOR
Bill Maher is taken apart by Glenn Greenwald for trying to absolve the US from any responsibility for the mass slaughter and destruction in Muslim countries, blaming it on Islamic fundamentalism, as if the Afghanistan and Iraq wars never happened, as if the US wasn’t pushing for more war in Iran, as if it isn’t intervening in Somalia and Yemen.Wow, what a great week. Bill Maher is being humiliated left and right. Maybe there is some justice in the world…
You are not the first person I looked at
with a mouthful of forevers. We
have both known loss like the sharp edge
of a knife. We have both lived with lips
more scar tissue than skin. Our love came
unannounced in the middle of the night.
Our love came when we’d given up
on asking love to come. I think
that has to be part
of its miracle.
This is how we heal.
I will kiss you like forgiveness. You
will hold me like I’m hope. Our arms
will bandage and we will press promises
between us like flowers in a book.
I will write sonnets to the salt of sweat
on your skin. I will write novels to the scar
on your nose. I will write a dictionary
of all the words I have used trying
to describe the way it feels to have finally,
finally found you.
And I will not be afraid
of your scars.
I know sometimes
it’s still hard to let me see you
in all your cracked perfection,
but please know:
whether it’s the days you burn
more brilliant than the sun
or the nights you collapse into my lap
your body broken into a thousand questions,
you are the most beautiful thing I’ve ever seen.
I will love you when you are a still day.
I will love you when you are a hurricane.
Clementine von Radics, Mouthful of Forevers (via adderalldust) (via fl0at-on-anyway)
Yo. I want this.
(via thegoddamazon)
more sphynx cat here!
keep your friends close, but your enemies closer
like really, very close
intimately close
so close that you can feel your enemies breath on your neck
and you shiver with hatred and… anticipation?
turn around and look deep into your enemies eyes, letting your gaze drag down to their lips, your eyes intense with desire. push your enemies up against the wall.
make out with your enemies.
your friends, who are still close, are super uncomfortable and kinda grossed out
![malebeautyinart:
art-mirrors-art:
Sylvia Sleigh - Philip Golub Reclining (1971)
The male gaze and its relationship with the objectified female body is one of the most common tropes throughout art history. Sylvia Sleigh tried to reverse this tradition, turning conventional portraiture on its head by painting male nudes in poses that recalled the female subjects of artists such as Velazquez, Titian and Ingres, challenging not only conventional female iconography, but also images of masculinity. Late last month, she passed away in Manhattan at age 94.
Sleigh helped spearhead the feminist art movement of the 1970s. Though her oeuvre of paintings includes a variety of subjects, male and female, clothed and unclothed, she is best known for her reclining male nudes, which commented on the traditional gendered relationship between sitter and painter. Depicting her subjects (often friends, fellow artists, and even her husband) posed as a reclining Venus or odalisque, she drew attention towards the way in which women have traditionally been rendered in art, offering viewers a new way of conceptualising the gendered relationship: through a female gaze.
Some portraits allude to specific paintings, like the 1971 Philip Golub Reclining, which mimics the pose of Velazquez’s Rokeby Venus. Similarly, The Turkish Bath (1973) borrows the title and composition of Ingre’s painting, replacing his voluptuous harem women with a nude man strumming a guitar for five male companions.
But I think it’s important to note that her motivation wasn’t to ridicule or get revenge on men- her images are constructed with great admiration for the male body, carefully bringing out the dignity and individuality of each subject. By showing men in the light traditionally reserved for women, her paintings became an opportunity to show women a pleasurable and beautiful image of the male form.
As she explained: ‘I feel that my paintings stress the equality of men and women. To me, women were often portrayed as sex objects in humiliating poses. I don’t mind the “desire” part, it’s the “object” that’s not very nice. I wanted to give my perspective. I like to portray both man and woman as intelligent and thoughtful people with dignity and humanism that emphasized love and joy.’
[x]](http://25.media.tumblr.com/tumblr_lxwisbqiGH1qmo897o1_500.jpg)
Sylvia Sleigh - Philip Golub Reclining (1971)
The male gaze and its relationship with the objectified female body is one of the most common tropes throughout art history. Sylvia Sleigh tried to reverse this tradition, turning conventional portraiture on its head by painting male nudes in poses that recalled the female subjects of artists such as Velazquez, Titian and Ingres, challenging not only conventional female iconography, but also images of masculinity. Late last month, she passed away in Manhattan at age 94.
Sleigh helped spearhead the feminist art movement of the 1970s. Though her oeuvre of paintings includes a variety of subjects, male and female, clothed and unclothed, she is best known for her reclining male nudes, which commented on the traditional gendered relationship between sitter and painter. Depicting her subjects (often friends, fellow artists, and even her husband) posed as a reclining Venus or odalisque, she drew attention towards the way in which women have traditionally been rendered in art, offering viewers a new way of conceptualising the gendered relationship: through a female gaze.
Some portraits allude to specific paintings, like the 1971 Philip Golub Reclining, which mimics the pose of Velazquez’s Rokeby Venus. Similarly, The Turkish Bath (1973) borrows the title and composition of Ingre’s painting, replacing his voluptuous harem women with a nude man strumming a guitar for five male companions.
But I think it’s important to note that her motivation wasn’t to ridicule or get revenge on men- her images are constructed with great admiration for the male body, carefully bringing out the dignity and individuality of each subject. By showing men in the light traditionally reserved for women, her paintings became an opportunity to show women a pleasurable and beautiful image of the male form.
As she explained: ‘I feel that my paintings stress the equality of men and women. To me, women were often portrayed as sex objects in humiliating poses. I don’t mind the “desire” part, it’s the “object” that’s not very nice. I wanted to give my perspective. I like to portray both man and woman as intelligent and thoughtful people with dignity and humanism that emphasized love and joy.’
[x]
So I tried to make polite conversation with our building's youngest tenant
- Me: Hey, that's a Harry Potter shirt, right? You like Harry Potter?
- Little girl: *hides behind her mom*
- Mom: Go ahead, you can tell her.
- Little girl: Yeeaaaaaah...
- Me: That's cool! Who's your favorite character? Hermione?
- Little girl: *shakes head*
- Me: Ron? Harry?
- Little girl: I LIKE LORD VOLDEMORT.
- Me: Uh.
- Little Girl: HE REPRESENTS CHAOS.
- Me: That's...fun too.
(Source: eroma-rap)
The Flowers (1898)
Alphonse Mucha
