F r o w z y I n d u l g e n c e s

"I ain't got no culture, nothing. Dirty words, but that don't count."
Historical Indulgences / Architectural Indulgences / Decorative Indulgences / Heck Yes Americana / Fuck Yeah American Art

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Alexandre-François Desportes (Fr. 1661-1743), Deux troncs d’arbres avec feuillages et branche de lierre, 46,5 x 29 cm, Sèvres, Cité de la céramique

Unusual Victorian Renaissance revival hexagonal terrarium. English, Circa 1860-70
The six canted glass sides of the top and bottom section all framed with well carved moldings and details including gothic arches. The collection of rare plants from all over the world was a popular pastime as well as a serious pursuit. Easier travel advanced the sciences, especially botany. “Collectors” would show off their field specimens and treasures at home in these specially made, often elaborate, display cases. The terrarium is a direct descendent of the Wardian case (invented 1829 by Dr. Nathaniel Ward) which can closely replicate the Earth’s water cycle, trapping and recycling the available moisture and encouraging growth.


August Sander, Architect Hans Heinz Luttgen and his Wife Dora, 1926



The Gibsons of Scilly

1. The Minnehaha, 1874

2. The Glenbervie, 1902

3. SV Granite State / Slate (detail), 1895

4. The Jeanne Gougy, 1962

5. James Gibson at work

6. The Brinkburn, 1898

7. SV Seine, 1900

from Beauty by Rino Stefano Tagliafierro

(Source: exitinsistexist, via cyclicality)

On my walk home from work: Phila’s architectural details pt. I.

"When you feel perpetually unmotivated, you start questioning your existence in an unhealthy way; everything becomes a pseudo intellectual question you have no interest in responding whatsoever. This whole process becomes your very skin and it does not merely affect you; it actually defines you. So, you see yourself as a shadowy figure unworthy of developing interest, unworthy of wondering about the world - profoundly unworthy in every sense and deeply absent in your very presence."

- Ingmar Bergman (via othrnss)

(Source: stxxz.us, via deathcloaks)


Men want what they want.

So much of our culture caters to giving men what they want. A high school student invites model Kate Upton to attend his prom, and he’s congratulated for his audacity. A male fan at a Beyoncé concert reaches up to the stage to slap her ass because her ass is there, her ass is magnificent, and he wants to feel it. The science fiction fandom community is once again having a heated discussion, across the Internet, about the ongoing problem of sexual harassment at conventions — countless women are telling all manner of stories about how, without their consent, they are groped, ogled, lured into hotel rooms under false pretenses, physically lifted off the ground, and more.

But men want what they want. We should all lighten up.

It’s hard not to feel humorless as a woman and a feminist, to recognize misogyny in so many forms, some great and some small, and know you’re not imagining things. It’s hard to be told to lighten up because if you lighten up any more, you’re going to float the fuck away. The problem is not that one of these things is happening, it’s that they are all happening, concurrently and constantly.

These are just songs. They are just jokes. They are just movies. It’s just a hug. They’re just breasts. Smile, you’re beautiful. Can’t a man pay you a compliment? In truth, this is all a symptom of a much more virulent cultural sickness — one where women exist to satisfy the whims of men, one where a woman’s worth is consistently diminished or entirely ignored.


- What Men Want, America Delivers - from the inimitable Roxane Gay (via ladyfabulous)

(Source: jessicavalenti, via cwnerd12)


Nocturne, Henri Le Sidaner 

Alfred Henry Maurer (American, 1868-1932)
In a Cafe, 1905. Oil on canvas.

"Flora Pool in Versailles" (1905 - 1906), Alexandre Benois (1870 - 1860)

 Early Morning After a Storm at Sea, Winslow Homer

"If I could say it in words there would be no reason to paint."

- Edward Hopper (via artmastered)

Andrew Wyeth, Barracoon (1976)

Via Philadelphia Museum of Art - Henry Ossawa Tanner (1859-1937) - Low Tide, Cannon Street Bridge, 1901-3
Accession no.: 2005-86-1