tiniteando

No sé ustedes, pero esa ilustración me parece PRECIOSA.
I don’t know about you, but that illo is GORGEOUS.

No sé ustedes, pero esa ilustración me parece PRECIOSA.

I don’t know about you, but that illo is GORGEOUS.

I’ve never met a person I couldn’t call a beauty. Andy Warhol (via fckyeaharthistory)

(via sfmoma)

mightyflynn:

Orel Hershiser bobblehead (detail)
photo by theshalom

mightyflynn:

Orel Hershiser bobblehead (detail)

photo by theshalom

(via fuckyeahdodgers)

sfmoma:

Happy 82nd birthday to Jasper Johns!
From our website: In the 1950s Jasper Johns developed a distinctive painting style that would help lead American art away from the then-dominant movement of Abstract Expressionism. The exact correspondence of figure and ground in his work challenged the traditional distinction between an object and its depiction. At the same time, variations on each theme dissolved the “natural” link between the symbol and its meaning. Johns thus questioned the basic underpinnings of our representational system, and specifically the mechanisms of fine art.
Pictured: Jasper Johns, Flag (1960-1969) 

sfmoma:

Happy 82nd birthday to Jasper Johns!

From our websiteIn the 1950s Jasper Johns developed a distinctive painting style that would help lead American art away from the then-dominant movement of Abstract Expressionism. The exact correspondence of figure and ground in his work challenged the traditional distinction between an object and its depiction. At the same time, variations on each theme dissolved the “natural” link between the symbol and its meaning. Johns thus questioned the basic underpinnings of our representational system, and specifically the mechanisms of fine art.

Pictured: Jasper Johns, Flag (1960-1969) 

“Learn to draw! If you don’t, you’re gonna live your life getting around that and trying to compensate for that.”

“Aprende a dibujar! Si no lo haces, vas a vivir tu vida alrededor de eso y tratando de compensarlo”

-Saul Bass

source/via brainpickings.org

“I don’t give a damn if the client thinks it’s worth anything, or whether it IS worth anything — it’s worth it to me. It’s the way I wanna live my life. I wanna make beautiful things, even if nobody cares.”

“No me importa un carrizo si el cliente cree que vale algo, o SI realmente vale algo-vale para mí. Es la manera como vivo mi vida.Quiero hacer cosas hermosas, inclusive si a nadie le importa.”

-Saul Bass 

source/via brainpickings.org

explore-blog:

The definitive photograph of Earth – unlike NASA’s iconic “Blue Marble,” a composite of many different images, this portrait by the European Space Agency consists of a single shot and is the highest-resolution image of our planet, at 121 megapixels, or 0.62 miles per pixel.
Available as a (giant) download here.

explore-blog:

The definitive photograph of Earth – unlike NASA’s iconic “Blue Marble,” a composite of many different images, this portrait by the European Space Agency consists of a single shot and is the highest-resolution image of our planet, at 121 megapixels, or 0.62 miles per pixel.

Available as a (giant) download here.

(Source: )

los zapatos perfectos para días de rodaje y que nunca voy a tener :(
the most perfect shoes to wear in shooting days, even if I won’t ever own them :(

los zapatos perfectos para días de rodaje y que nunca voy a tener :(

the most perfect shoes to wear in shooting days, even if I won’t ever own them :(

polarisfilmproductions:

Did you know that in Spain cardigans are called ‘rebecas’ because it’s what Joan Fontaine wore in Alfred Hitchcock’s Rebecca (1940)?

oldhollywood:

Audrey Hepburn in Breakfast at Tiffany’s (1961, dir. Blake Edwards) (via)
“The ragbag colors of her boy’s hair, tawny streaks, strands of albino-blonde and yellow, caught the light. It was a warm evening, nearly summer, and she wore a slim cool black dress, black sandals, a pearl choker. For all her chic thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanliness, a rough pink darkening the cheeks. Her mouth was large, her nose upturned. A pair of dark glasses blotted out her eyes. It was a face beyond childhood, yet this side of belonging to a woman. I thought her anywhere between sixteen and thirty.”
-Truman Capote, Breakfast at Tiffany’s (1958)

oldhollywood:

Audrey Hepburn in Breakfast at Tiffany’s (1961, dir. Blake Edwards) (via)

“The ragbag colors of her boy’s hair, tawny streaks, strands of albino-blonde and yellow, caught the light. It was a warm evening, nearly summer, and she wore a slim cool black dress, black sandals, a pearl choker. For all her chic thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanliness, a rough pink darkening the cheeks. Her mouth was large, her nose upturned. A pair of dark glasses blotted out her eyes. It was a face beyond childhood, yet this side of belonging to a woman. I thought her anywhere between sixteen and thirty.”

-Truman Capote, Breakfast at Tiffany’s (1958)

[Flash 9 is required to listen to audio.]

oldhollywood:

Audrey Hepburn - Moon River (Breakfast at Tiffany’s: Original Soundtrack Recording)

Written by Johnny Mercer & Henry Mancini.

[Flash 9 is required to listen to audio.]

elvampi:

Mantequilla Zuliana

-Ulises Hadjis-Cosas Perdidas-

People used to stare at fires. Now they watch TV. We need to see moving images, especially after dinner.
Francois Truffaut’s Day for Night

People used to stare at fires. Now they watch TV. We need to see moving images, especially after dinner.

Francois Truffaut’s Day for Night

Making a film is like a stagecoach ride in the old west. When you start, you are hoping for a pleasant trip. By the halfway point, you just hope to survive.
Francois Truffaut’s Day for Night

Making a film is like a stagecoach ride in the old west. When you start, you are hoping for a pleasant trip. By the halfway point, you just hope to survive.

Francois Truffaut’s Day for Night