art-mirrors-art:

Alexander Rothaug - At the pond (1910)

art-mirrors-art:

Alexander Rothaug - At the pond (1910)

(via venusmilk)

venusmilk:

František Kobliha
Větry od pólů, 1945

(source)

bloodyantlers:

“Anne and her family lived alone on an island. She enjoyed having tea time with her friends the spiny lobster and baby hawk.”

- National Geographic, August 1938

(via greedylittlepig)

kvetchlandia:

Richard and Mimi Fariña     Uncredited and Undated Photograph

"The conscience of my elusive race gives not a fig for me, baby. But I endure, if you know what I mean.” Richard Fariña, "Been Down So Long it Looks Like Up to Me"  1966

(via gerard63)

Got to find this, now!

(via gerard63)

medievalpoc:

The Drake Jewel, England (1586)
Gifted by Queen Elizabeth I of England to Sir Francis Drake (Drake is pictured with the jewel at his belt above)
From Uncommon Sense, Spring 2004 issue, no.118:

Elizabeth’s gift to Sir Francis Drake is similarly evocative: one side is a locket with a portrait of the Queen by Nicholas Hilliard with a cover featuring on the interior her avian emblem, the phoenix. A miniature portrait was the single most frequent gift given by Elizabeth I to persons she would reward. It projected her image as monarch, equipped with state clothes and regalia and asserting a personal connection with the recipient as well as a political relationship. On another occasion Elizabeth I gave Drake a second miniature portrait, in which she stood at the focus of a sunburst, to use as a hat badge. That Drake, a commoner who rose to the position of state champion on the raid to Cadiz and Vice-Admiral of the Armada, was so honored marked his extraordinary place in the world.
More fascinating to present admirers of the Drake Jewel is the other side with the intaglio cut cameo of sardonyx featuring an African male bust in profile superimposed over the profile of a European.
There is some debate whether the European is a regal woman or a Roman Briton of the sort William Camden was idealizing in his Britannia. It is not the face of any contemporary man—and certainly not Drake—for it is clean shaven.
The symbolism here operates in two registers: a general imperial iconics in which the global range of imperium is figured in the equivalent faces of the African Emperor and the English Empress. (Karen Dalton has discussed this symbolism in a recent piece in Early Modern Visual Culture, [Peter Erikson and Clark Hulse, eds., University of Pennsylvania Press, 2000].) There is also a much more pointed symbolism meant particularly for Drake. The conjoint effort of Africa and the English will liberate the world from the power of Spain. Drake’s alliance with the Cimmarroons, runaway African slaves who intermarried with Natives, in Panama in 1576 led to his successful capture of the Spanish plate train crossing Panama. This act thrust Drake onto the world stage, secured him and the crown immense treasure, and gave the English forces in the Caribbean the character of liberators.
In the West Indian invasion of 1585–1586, he planned to resurrect his alliance, as part of his design to assert English power in the Spanish main. It survived as one of the most potent scenes in the English imperial imagination, serving as the central action of the Sir William Davenant’s opera, “The History of Sir Francis Drake,” one of only two stage works permitted during the English Commonwealth, and a piece condoned personally by Oliver Cromwell, who also sought to liberate Spanish America from “tyranny & popery.” In the Americas Drake had learned the truth that Elizabeth I understood on the eastern side of the Atlantic—the defeat of Spain required a combination, and the hatred of tyranny brought together Anglo and African.
Elizabeth’s cultivation of Mulay Ahmad al-Mansur (ruler of Morrocco from 1578–1603) in an alliance against their mutual enemy, Spain, was a diplomatic correlative to the martial alliance that Drake had forged in the jungles of the isthmus.

medievalpoc:

The Drake Jewel, England (1586)
Gifted by Queen Elizabeth I of England to Sir Francis Drake (Drake is pictured with the jewel at his belt above)
From Uncommon Sense, Spring 2004 issue, no.118:

Elizabeth’s gift to Sir Francis Drake is similarly evocative: one side is a locket with a portrait of the Queen by Nicholas Hilliard with a cover featuring on the interior her avian emblem, the phoenix. A miniature portrait was the single most frequent gift given by Elizabeth I to persons she would reward. It projected her image as monarch, equipped with state clothes and regalia and asserting a personal connection with the recipient as well as a political relationship. On another occasion Elizabeth I gave Drake a second miniature portrait, in which she stood at the focus of a sunburst, to use as a hat badge. That Drake, a commoner who rose to the position of state champion on the raid to Cadiz and Vice-Admiral of the Armada, was so honored marked his extraordinary place in the world.
More fascinating to present admirers of the Drake Jewel is the other side with the intaglio cut cameo of sardonyx featuring an African male bust in profile superimposed over the profile of a European.
There is some debate whether the European is a regal woman or a Roman Briton of the sort William Camden was idealizing in his Britannia. It is not the face of any contemporary man—and certainly not Drake—for it is clean shaven.
The symbolism here operates in two registers: a general imperial iconics in which the global range of imperium is figured in the equivalent faces of the African Emperor and the English Empress. (Karen Dalton has discussed this symbolism in a recent piece in Early Modern Visual Culture, [Peter Erikson and Clark Hulse, eds., University of Pennsylvania Press, 2000].) There is also a much more pointed symbolism meant particularly for Drake. The conjoint effort of Africa and the English will liberate the world from the power of Spain. Drake’s alliance with the Cimmarroons, runaway African slaves who intermarried with Natives, in Panama in 1576 led to his successful capture of the Spanish plate train crossing Panama. This act thrust Drake onto the world stage, secured him and the crown immense treasure, and gave the English forces in the Caribbean the character of liberators.
In the West Indian invasion of 1585–1586, he planned to resurrect his alliance, as part of his design to assert English power in the Spanish main. It survived as one of the most potent scenes in the English imperial imagination, serving as the central action of the Sir William Davenant’s opera, “The History of Sir Francis Drake,” one of only two stage works permitted during the English Commonwealth, and a piece condoned personally by Oliver Cromwell, who also sought to liberate Spanish America from “tyranny & popery.” In the Americas Drake had learned the truth that Elizabeth I understood on the eastern side of the Atlantic—the defeat of Spain required a combination, and the hatred of tyranny brought together Anglo and African.
Elizabeth’s cultivation of Mulay Ahmad al-Mansur (ruler of Morrocco from 1578–1603) in an alliance against their mutual enemy, Spain, was a diplomatic correlative to the martial alliance that Drake had forged in the jungles of the isthmus.

medievalpoc:

The Drake Jewel, England (1586)
Gifted by Queen Elizabeth I of England to Sir Francis Drake (Drake is pictured with the jewel at his belt above)
From Uncommon Sense, Spring 2004 issue, no.118:

Elizabeth’s gift to Sir Francis Drake is similarly evocative: one side is a locket with a portrait of the Queen by Nicholas Hilliard with a cover featuring on the interior her avian emblem, the phoenix. A miniature portrait was the single most frequent gift given by Elizabeth I to persons she would reward. It projected her image as monarch, equipped with state clothes and regalia and asserting a personal connection with the recipient as well as a political relationship. On another occasion Elizabeth I gave Drake a second miniature portrait, in which she stood at the focus of a sunburst, to use as a hat badge. That Drake, a commoner who rose to the position of state champion on the raid to Cadiz and Vice-Admiral of the Armada, was so honored marked his extraordinary place in the world.
More fascinating to present admirers of the Drake Jewel is the other side with the intaglio cut cameo of sardonyx featuring an African male bust in profile superimposed over the profile of a European.
There is some debate whether the European is a regal woman or a Roman Briton of the sort William Camden was idealizing in his Britannia. It is not the face of any contemporary man—and certainly not Drake—for it is clean shaven.
The symbolism here operates in two registers: a general imperial iconics in which the global range of imperium is figured in the equivalent faces of the African Emperor and the English Empress. (Karen Dalton has discussed this symbolism in a recent piece in Early Modern Visual Culture, [Peter Erikson and Clark Hulse, eds., University of Pennsylvania Press, 2000].) There is also a much more pointed symbolism meant particularly for Drake. The conjoint effort of Africa and the English will liberate the world from the power of Spain. Drake’s alliance with the Cimmarroons, runaway African slaves who intermarried with Natives, in Panama in 1576 led to his successful capture of the Spanish plate train crossing Panama. This act thrust Drake onto the world stage, secured him and the crown immense treasure, and gave the English forces in the Caribbean the character of liberators.
In the West Indian invasion of 1585–1586, he planned to resurrect his alliance, as part of his design to assert English power in the Spanish main. It survived as one of the most potent scenes in the English imperial imagination, serving as the central action of the Sir William Davenant’s opera, “The History of Sir Francis Drake,” one of only two stage works permitted during the English Commonwealth, and a piece condoned personally by Oliver Cromwell, who also sought to liberate Spanish America from “tyranny & popery.” In the Americas Drake had learned the truth that Elizabeth I understood on the eastern side of the Atlantic—the defeat of Spain required a combination, and the hatred of tyranny brought together Anglo and African.
Elizabeth’s cultivation of Mulay Ahmad al-Mansur (ruler of Morrocco from 1578–1603) in an alliance against their mutual enemy, Spain, was a diplomatic correlative to the martial alliance that Drake had forged in the jungles of the isthmus.

medievalpoc:

The Drake Jewel, England (1586)

Gifted by Queen Elizabeth I of England to Sir Francis Drake (Drake is pictured with the jewel at his belt above)

From Uncommon Sense, Spring 2004 issue, no.118:

Elizabeth’s gift to Sir Francis Drake is similarly evocative: one side is a locket with a portrait of the Queen by Nicholas Hilliard with a cover featuring on the interior her avian emblem, the phoenix. A miniature portrait was the single most frequent gift given by Elizabeth I to persons she would reward. It projected her image as monarch, equipped with state clothes and regalia and asserting a personal connection with the recipient as well as a political relationship. On another occasion Elizabeth I gave Drake a second miniature portrait, in which she stood at the focus of a sunburst, to use as a hat badge. That Drake, a commoner who rose to the position of state champion on the raid to Cadiz and Vice-Admiral of the Armada, was so honored marked his extraordinary place in the world.

More fascinating to present admirers of the Drake Jewel is the other side with the intaglio cut cameo of sardonyx featuring an African male bust in profile superimposed over the profile of a European.

There is some debate whether the European is a regal woman or a Roman Briton of the sort William Camden was idealizing in his Britannia. It is not the face of any contemporary man—and certainly not Drake—for it is clean shaven.

The symbolism here operates in two registers: a general imperial iconics in which the global range of imperium is figured in the equivalent faces of the African Emperor and the English Empress. (Karen Dalton has discussed this symbolism in a recent piece in Early Modern Visual Culture, [Peter Erikson and Clark Hulse, eds., University of Pennsylvania Press, 2000].) There is also a much more pointed symbolism meant particularly for Drake. The conjoint effort of Africa and the English will liberate the world from the power of Spain. Drake’s alliance with the Cimmarroons, runaway African slaves who intermarried with Natives, in Panama in 1576 led to his successful capture of the Spanish plate train crossing Panama. This act thrust Drake onto the world stage, secured him and the crown immense treasure, and gave the English forces in the Caribbean the character of liberators.

In the West Indian invasion of 1585–1586, he planned to resurrect his alliance, as part of his design to assert English power in the Spanish main. It survived as one of the most potent scenes in the English imperial imagination, serving as the central action of the Sir William Davenant’s opera, “The History of Sir Francis Drake,” one of only two stage works permitted during the English Commonwealth, and a piece condoned personally by Oliver Cromwell, who also sought to liberate Spanish America from “tyranny & popery.” In the Americas Drake had learned the truth that Elizabeth I understood on the eastern side of the Atlantic—the defeat of Spain required a combination, and the hatred of tyranny brought together Anglo and African.

Elizabeth’s cultivation of Mulay Ahmad al-Mansur (ruler of Morrocco from 1578–1603) in an alliance against their mutual enemy, Spain, was a diplomatic correlative to the martial alliance that Drake had forged in the jungles of the isthmus.

(via haul-of-antiques)

“Unless you believe that heaven is very near, how will you find it?”
— Mary Oliver, from The Faces of Deer (via barnsburntdownnow)

amare-habeo:

Odilon Redon (French, 1840 - 1916) - Visage de rêve, N/D

charcoal

Galerie  Coatalem, Paris, France

tenebrum:

Plate 11: The Death-Fires Danced at Night (1876) by Gustave Doré Part of Illustrations to the Rime of the Ancient Mariner.

tenebrum:

Plate 11: The Death-Fires Danced at Night (1876) by Gustave Doré
Part of Illustrations to the Rime of the Ancient Mariner.

(via hazel-motes)

oldoils:

The old oak
Karl Konrad Simonsson

(via barnsburntdownnow)

“The plant world is a great teacher of the laws of death and rebirth, of sacrifice and transmutation, and the tree is the supreme teacher of the mysteries of time, with its roots for the most part invisible in the past and the subconscious, and its fruit and leaves likewise mostly hidden from us in the heights of the superconscious - holding the potential of the future in the seeds that will in due time fall.”
— Adapted from Druid Mysteries by Philip Carr-Gomm [x] (via astranemus)

(via wastedseductions)

thedreamingwood:

monthofmay:

Redditor’s wife knitted a beautiful star chart shawl.

Amazing!
thedreamingwood:

monthofmay:

Redditor’s wife knitted a beautiful star chart shawl.

Amazing!
thedreamingwood:

monthofmay:

Redditor’s wife knitted a beautiful star chart shawl.

Amazing!
thedreamingwood:

monthofmay:

Redditor’s wife knitted a beautiful star chart shawl.

Amazing!
thedreamingwood:

monthofmay:

Redditor’s wife knitted a beautiful star chart shawl.

Amazing!
thedreamingwood:

monthofmay:

Redditor’s wife knitted a beautiful star chart shawl.

Amazing!