Harold Lloyd Puts The Cherry On Top In Speedy, 1928

sempre em carnavais para não ter tempo de tristezas

Architectural Collages Depict the Fragmented Lives of Migrants

Architecture student Evan Wakelin has produced drawings that juxtapose the old and new homes of migrants in Toronto, to convey the emotional and physical upheaval these people experience. Wakelin’s thesis research project is part of his ongoing studies at the Daniels Faculty of Architecture, Landscape, and Design, where he is enrolled on the Master of Architecture course.

“The drawings illustrate hypothetical migrations to the city, whereby the original home of the migrant is layered with their current home within the city of Toronto,” explained Wakelin in his thesis research paper. “This intersection of past and present, over different geographical locations, describes a divided identity where the sense of belonging and sentiment exist somewhere in between.”

Check out this tumblr!

Images and text via

Sunday Dalí: The Phenomenon of Ecstasy, 1933. Collage.

From Ego Is A Rat On A Sinking Ship:

The woman sought by the Surrealist, then, was not conceived of as one who would avoid exploitation at all. It was just that Surrealism offered what it thought was an alternative exploitation to that of bourgeois society. One expression of this alternative can be seen in Salvador Dalí’s Phénomène de l’extase, a collage showing various enraptured female faces, many of which were taken from Charcot’s photographs. The image originally followed a text by Dalí on the apparently irrational component of art nouveau architecture, parts of which alluded to sculptural details of girls and angels in rhapsodic abandon on the buildings of Antoni Gaudí. “Continuous erotic ecstasy,” wrote the artist, leads to “contractions and attitudes without precedent in the history of statuary.” He continued in a subsection also entitled “Phénomène de l’extase” that “the repugnant can be transformed into the beautiful” through such ecstasy.1 The transformation of the perception of art, architecture, and most other forms of modern life was thus dependent upon the continuous excitation of ecstasy. The sexual abandon of the female hysterics in the collage was one way of accommodating such a desire.2

Salvador Dalí, “De la beauté terrifiante et comestible de l’architecture Modern’ style,” Minotaure 3-4 (12 December 1933), 69-76. ↩

Robert James Belton, The Beribboned Bomb: The Image of Woman in Male Surrealist Art, 249. ↩

Contemporary barn conversion By The Anderson Orr Partnership

A Visual Voyage (Part 3) A Visual Voyage (Part 3)

From the artist:

The third part of my journey through shapes and colors.The photographs were made in the cities ofBerlin, Essen, Potsdam,Oslo, and Prague.

Images and text via

Matthew Wiebe

Carole Lombard - Christmas 1930’s

“Merry Christmas and Happy New Year” in German

Jessica Brown Findlay

Unknown Photographer

The first day of school, Portugal, 1936

Also

Nini Theilade in A Midsummer Night’s Dream (1935)