AGRey1000
AGRey1000
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colourlifephotography:

The Guelaguetza, or Los lunes del cerro (Mondays on the Hill) is an annual indigenous cultural event in Mexico that takes place in the city of Oaxaca, capital of the state ofOaxaca, as well as in nearby villages. The celebration centers on traditional dancing in costume in groups, often gender-separated groups, as is traditional, and includes parades complete with indigenous walking bands, native food, and statewide artisanal crafts such as prehispanic-style textiles. Each costume (traje) and dance usually has a local indigenous historical and cultural meaning. Although the celebration is now an important tourist attraction, it also retains deep cultural importance for the peoples of the state and is important for the continuing survival of these cultures.
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just-wanna-travel:

Venice, Italy
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garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
garboing:


I have grown up in a great man’s shadow. All my life, I’ve been a symbol. A symbol is eternal, changeless… an abstraction. A human being is mortal and changeable, with desires and impulses, hopes and despairs. I’m tired of being a symbol, Chancellor. I long to be a human being! This longing I cannot suppress.

Queen Christina, 1933 | Rouben Mamoulian.
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Jane Fonda photographed by Milton Greene, c. 1958

Jane Fonda photographed by Milton Greene, c. 1958

Jane Fonda photographed by Milton Greene, c. 1958

Jane Fonda photographed by Milton Greene, c. 1958
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Vivien Leigh, 1935.

Vivien Leigh, 1935.

Vivien Leigh, 1935.

Vivien Leigh, 1935.
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Barbra Streisand in Funny Girl, 1968.
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jaded-mandarin:

Michele Gordigiani. Detail from Princess Margherita, 19th Century.
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post-impressionisms:

"The men liked to put me down as the best woman painter. I think I’m one of the best painters." — Georgia O’Keeffe 
Yoko Ono
Cindy Sherman
Amrita Sher-Gil
Berthe Morisot
Faith Ringgold
Frida Kahlo
Georgia O’Keeffe
post-impressionisms:

"The men liked to put me down as the best woman painter. I think I’m one of the best painters." — Georgia O’Keeffe 
Yoko Ono
Cindy Sherman
Amrita Sher-Gil
Berthe Morisot
Faith Ringgold
Frida Kahlo
Georgia O’Keeffe
post-impressionisms:

"The men liked to put me down as the best woman painter. I think I’m one of the best painters." — Georgia O’Keeffe 
Yoko Ono
Cindy Sherman
Amrita Sher-Gil
Berthe Morisot
Faith Ringgold
Frida Kahlo
Georgia O’Keeffe
post-impressionisms:

"The men liked to put me down as the best woman painter. I think I’m one of the best painters." — Georgia O’Keeffe 
Yoko Ono
Cindy Sherman
Amrita Sher-Gil
Berthe Morisot
Faith Ringgold
Frida Kahlo
Georgia O’Keeffe
post-impressionisms:

"The men liked to put me down as the best woman painter. I think I’m one of the best painters." — Georgia O’Keeffe 
Yoko Ono
Cindy Sherman
Amrita Sher-Gil
Berthe Morisot
Faith Ringgold
Frida Kahlo
Georgia O’Keeffe
post-impressionisms:

"The men liked to put me down as the best woman painter. I think I’m one of the best painters." — Georgia O’Keeffe 
Yoko Ono
Cindy Sherman
Amrita Sher-Gil
Berthe Morisot
Faith Ringgold
Frida Kahlo
Georgia O’Keeffe
post-impressionisms:

"The men liked to put me down as the best woman painter. I think I’m one of the best painters." — Georgia O’Keeffe 
Yoko Ono
Cindy Sherman
Amrita Sher-Gil
Berthe Morisot
Faith Ringgold
Frida Kahlo
Georgia O’Keeffe
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20th-century-man:

Sophia Loren
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A vintage photograph of two sailor lovers embracing.
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danvotchka:

Dietrich at her Brentwood home she shared with Jean Gabin, which neighbored Garbo’s.
danvotchka:

Dietrich at her Brentwood home she shared with Jean Gabin, which neighbored Garbo’s.
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"I made five or six exposures, all more or less like her typical movie stills. She moved her hair this way and that way, chin up and down, but what bothered me most was her hair. I said: It’s too bad we’re doing this with that movie hairdo. At that, she put her hands up to her forehead and pushed every strand of hair back away from her face, saying ‘oh, this terrible hair. At that moment, the woman came out, like the sun coming out from behind dark clouds. The full beauty of her magnificent face was revealed".
- Edward Steichen
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One Touch of Venus (1948)

One Touch of Venus (1948)

One Touch of Venus (1948)

One Touch of Venus (1948)

One Touch of Venus (1948)

One Touch of Venus (1948)

One Touch of Venus (1948)

One Touch of Venus (1948)