a flower punk
inspiration blog for my illustrations (at lisaroseharper.tumblr.com)
a flower punk
brandonwitzel:

Lauren Isabeau by Brandon Witzel
ZoomInfo
f-l-e-u-r-d-e-l-y-s:

Francesco Romoli - Art & Photography
Postcards from the future series
f-l-e-u-r-d-e-l-y-s:

Francesco Romoli - Art & Photography
Postcards from the future series
f-l-e-u-r-d-e-l-y-s:

Francesco Romoli - Art & Photography
Postcards from the future series
f-l-e-u-r-d-e-l-y-s:

Francesco Romoli - Art & Photography
Postcards from the future series
f-l-e-u-r-d-e-l-y-s:

Francesco Romoli - Art & Photography
Postcards from the future series
f-l-e-u-r-d-e-l-y-s:

Francesco Romoli - Art & Photography
Postcards from the future series
f-l-e-u-r-d-e-l-y-s:

Francesco Romoli - Art & Photography
Postcards from the future series
cultqueens:

Nanna Berg, Mayfair, November 1976.
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idrankwiththedungeonwitch:

The Fayum (or Fayyûm) portraits were made during the period from the 1st to the 4th century AD. Found in Egyptian tombs particularly at the oasis of al-Fayyûm, they showed the head and shoulders of the dead person, and were painted on wooden tablets using tempera or pigments mixed with liquid beeswax. They were placed on the outer coffin. The images were painted while the deceased was still alive, to ensure they were completely life-like.
idrankwiththedungeonwitch:

The Fayum (or Fayyûm) portraits were made during the period from the 1st to the 4th century AD. Found in Egyptian tombs particularly at the oasis of al-Fayyûm, they showed the head and shoulders of the dead person, and were painted on wooden tablets using tempera or pigments mixed with liquid beeswax. They were placed on the outer coffin. The images were painted while the deceased was still alive, to ensure they were completely life-like.
idrankwiththedungeonwitch:

The Fayum (or Fayyûm) portraits were made during the period from the 1st to the 4th century AD. Found in Egyptian tombs particularly at the oasis of al-Fayyûm, they showed the head and shoulders of the dead person, and were painted on wooden tablets using tempera or pigments mixed with liquid beeswax. They were placed on the outer coffin. The images were painted while the deceased was still alive, to ensure they were completely life-like.
idrankwiththedungeonwitch:

The Fayum (or Fayyûm) portraits were made during the period from the 1st to the 4th century AD. Found in Egyptian tombs particularly at the oasis of al-Fayyûm, they showed the head and shoulders of the dead person, and were painted on wooden tablets using tempera or pigments mixed with liquid beeswax. They were placed on the outer coffin. The images were painted while the deceased was still alive, to ensure they were completely life-like.
idrankwiththedungeonwitch:

The Fayum (or Fayyûm) portraits were made during the period from the 1st to the 4th century AD. Found in Egyptian tombs particularly at the oasis of al-Fayyûm, they showed the head and shoulders of the dead person, and were painted on wooden tablets using tempera or pigments mixed with liquid beeswax. They were placed on the outer coffin. The images were painted while the deceased was still alive, to ensure they were completely life-like.
idrankwiththedungeonwitch:

The Fayum (or Fayyûm) portraits were made during the period from the 1st to the 4th century AD. Found in Egyptian tombs particularly at the oasis of al-Fayyûm, they showed the head and shoulders of the dead person, and were painted on wooden tablets using tempera or pigments mixed with liquid beeswax. They were placed on the outer coffin. The images were painted while the deceased was still alive, to ensure they were completely life-like.
semioticapocalypse:

Mark Cohen, boy and black cat, 1977.
[::SemAp::]
ffffffound:

VOODOOVOODOO
charogalura:

by alexis giannotti
semioticapocalypse:

Pamela Hanson. Valeria Mazza and Jason Lewis
[::SemAp::]
pussylesqueer:

Paz de la Huerta - The Birds Didn’t Die Over the Winter by Alexandra Carr
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showslow:

Your Branches/ My Bones by Dara Scully
showslow:

Your Branches/ My Bones by Dara Scully
showslow:

Your Branches/ My Bones by Dara Scully
showslow:

Your Branches/ My Bones by Dara Scully

In the 18th and 19th centuries, wealthy British and European lovers exchanged “eye miniatures”, love tokens so clandestine that even now it is almost impossible to identify their recipients or the people they depict. They were meant to be worn inside the lapel, near the heart.
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nataliekucken:

some public displays of affection i’ve photographed
nataliekucken:

some public displays of affection i’ve photographed
nataliekucken:

some public displays of affection i’ve photographed
nataliekucken:

some public displays of affection i’ve photographed
nataliekucken:

some public displays of affection i’ve photographed
nataliekucken:

some public displays of affection i’ve photographed
nataliekucken:

some public displays of affection i’ve photographed
ZoomInfo
arpeggia:

Marsha Cottrell’s drawings, 2011-2012, iron oxide on mulberry paper
Brooklyn-based artist Marsha Cottrell creates deft, intricate drawings of stellar landscapes, imaginary worlds floating light years away. ”The first landscape images in art I connected with as a young person were da Vinci’s “deluge” drawings,” she told Review Interview. “I was attracted to the idea that they were not representations of actual places, but eternal/internal landscapes that might be found anywhere at any moment in time. Their energy, architecture, and intricacy—but not rigidity—always appealed to me. They seemed to present an open platform with which to interact, and I’ve always aspired for my own work operate in a similar way.” Click to look through the stars, and then be sure to head over to Cottrell’s website to check out more of her work. [flavorwire]
arpeggia:

Marsha Cottrell’s drawings, 2011-2012, iron oxide on mulberry paper
Brooklyn-based artist Marsha Cottrell creates deft, intricate drawings of stellar landscapes, imaginary worlds floating light years away. ”The first landscape images in art I connected with as a young person were da Vinci’s “deluge” drawings,” she told Review Interview. “I was attracted to the idea that they were not representations of actual places, but eternal/internal landscapes that might be found anywhere at any moment in time. Their energy, architecture, and intricacy—but not rigidity—always appealed to me. They seemed to present an open platform with which to interact, and I’ve always aspired for my own work operate in a similar way.” Click to look through the stars, and then be sure to head over to Cottrell’s website to check out more of her work. [flavorwire]
arpeggia:

Marsha Cottrell’s drawings, 2011-2012, iron oxide on mulberry paper
Brooklyn-based artist Marsha Cottrell creates deft, intricate drawings of stellar landscapes, imaginary worlds floating light years away. ”The first landscape images in art I connected with as a young person were da Vinci’s “deluge” drawings,” she told Review Interview. “I was attracted to the idea that they were not representations of actual places, but eternal/internal landscapes that might be found anywhere at any moment in time. Their energy, architecture, and intricacy—but not rigidity—always appealed to me. They seemed to present an open platform with which to interact, and I’ve always aspired for my own work operate in a similar way.” Click to look through the stars, and then be sure to head over to Cottrell’s website to check out more of her work. [flavorwire]
arpeggia:

Marsha Cottrell’s drawings, 2011-2012, iron oxide on mulberry paper
Brooklyn-based artist Marsha Cottrell creates deft, intricate drawings of stellar landscapes, imaginary worlds floating light years away. ”The first landscape images in art I connected with as a young person were da Vinci’s “deluge” drawings,” she told Review Interview. “I was attracted to the idea that they were not representations of actual places, but eternal/internal landscapes that might be found anywhere at any moment in time. Their energy, architecture, and intricacy—but not rigidity—always appealed to me. They seemed to present an open platform with which to interact, and I’ve always aspired for my own work operate in a similar way.” Click to look through the stars, and then be sure to head over to Cottrell’s website to check out more of her work. [flavorwire]
arpeggia:

Marsha Cottrell’s drawings, 2011-2012, iron oxide on mulberry paper
Brooklyn-based artist Marsha Cottrell creates deft, intricate drawings of stellar landscapes, imaginary worlds floating light years away. ”The first landscape images in art I connected with as a young person were da Vinci’s “deluge” drawings,” she told Review Interview. “I was attracted to the idea that they were not representations of actual places, but eternal/internal landscapes that might be found anywhere at any moment in time. Their energy, architecture, and intricacy—but not rigidity—always appealed to me. They seemed to present an open platform with which to interact, and I’ve always aspired for my own work operate in a similar way.” Click to look through the stars, and then be sure to head over to Cottrell’s website to check out more of her work. [flavorwire]