skeins-archive - ‘these jewel-lakes, these skeins of railroad line’
‘these jewel-lakes, these skeins of railroad line’

just a blog to keep my research organized.(‘all spoke to her, and she answered.’ —anne morrow lindbergh)

541 posts

Elizabeth Woodville And Bona Of Savoy + Parallels

Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels
Elizabeth Woodville And Bona Of Savoy + Parallels

Elizabeth Woodville and Bona of Savoy + parallels

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4 years ago

Queen Jeanne III of Navarre @ Catherine de Medici

Queen Jeanne III Of Navarre @ Catherine De Medici
4 years ago
The Ardennes Draft Horse Is Considered One Of The Oldest Breeds Of Draft Horse, And Is Believed To Be

The Ardennes Draft Horse is considered one of the oldest breeds of draft horse, and is believed to be a direct descendent of the prehistoric Solutre Horse.

Via Historical Pictures

4 years ago
79 /365 Days With Colin ODonoghue
79 /365 Days With Colin ODonoghue
79 /365 Days With Colin ODonoghue
79 /365 Days With Colin ODonoghue

79 /365 days with Colin O’Donoghue ❤


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4 years ago

“In this work, like ‘My Dress Hangs There’, Kahlo presents a critique of the US. The US landscape, with its billowing smokestacks and skyscrapers, reveals the United States’ disregard for its native past. While the Aztec landscape supports a variety of firmly rooted vegetation, on the side of the United States machines sprout cords underground. Kahlo stresses the United States’ imperialist desires as well as its artificial relationship with the land in this painting. The US machines feed off of the Aztec vegetation. Although Janice Heiland suggests that Kahlo provides an “idealization of the Aztec past" in this painting, certain details do not support this view. For example, Kahlo does not paint the pre-Columbian artifacts in an exalted way; instead, they are small and fairly haphazardly strewn.”

— Remembrance of an Open Wound: Frida Kahlo and Post-revolutionary Mexican identity


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