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Notes: 47 / 12 hours ago from bookmarklet
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Notes: 46 / 12 hours ago
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Notes: 36 / 20 hours ago from bookmarklet
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Notes: 107 / 21 hours ago from bookmarklet
![Dancer [Leni Riefenstahl] possibly by Willy Zielke
This photograph, which Leni Riefenstahl posed for herself, was part of the Olympia film she directed in 1936 [see also]](http://25.media.tumblr.com/tumblr_lyeeq75GGJ1qztk1wo1_500.jpg)
Dancer [Leni Riefenstahl] possibly by Willy Zielke
This photograph, which Leni Riefenstahl posed for herself, was part of the Olympia film she directed in 1936 [see also]
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Notes: 146 / 21 hours ago from drakecaperton
Bacchuskult by Manasse
from drakecaperton
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Notes: 63 / 1 day ago from bookmarklet
Soul of the Dance ,1933 by Harold F. Kells
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Notes: 218 / 1 day ago"One must still have chaos in oneself to be able to give birth to a dancing star."- Friedrich Nietzsche
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Notes: 295 / 1 day ago from realityayslum
![Edward Steichen - Therese Duncan on the Acropolis, Athens, 1921.
… from Edward Steichen: Lives in Photography, by Todd Brandow and William A. Ewing, Foundation for the Exhibition of Photography, and the Musee de l’Elysee, Lausanne, 2007.
[one more from this session here]
thanks to realityayslum](http://25.media.tumblr.com/tumblr_m4g1hkwroy1r1w31so1_500.jpg)
Edward Steichen - Therese Duncan on the Acropolis, Athens, 1921.
… from Edward Steichen: Lives in Photography, by Todd Brandow and William A. Ewing, Foundation for the Exhibition of Photography, and the Musee de l’Elysee, Lausanne, 2007.
[one more from this session here]
thanks to realityayslum
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Notes: 118 / 1 day ago from bookmarklet
![“Movements are as eloquent as words”
Isadora Duncan at the Parthenon, Athens, 1921 by Edward Steichen
[see also & also]
In 1921, standing in the portico of the Parthenon in Athens, the famed dancer Isadora Duncan produced a poetic gesture mimicking the classical architecture surrounding her for the camera of Edward Steichen. Duncan was a spiritual and artistic presence, considered to be an embodiment of pure beauty and magic. She inspired artists and writers throughout Europe and America, and in the Parthenon she inspired Steichen to forever fix the poetry of her pose on photographic film.
After running into each other in Venice, Duncan convinced Steichen to accompany her to Athens, promising to let him make a film of her. Once there, Duncan refused to cooperate. Steichen’s wife, Joanna, recalled of the incident:
“[Isadora’s] style in movement and costume was based on classical Greek imagery and, faced with the real thing, she was overwhelmed. Steichen settled for borrowing a Kodak camera from the headwaiter at his hotel. Standing among the ancient, sacred stones of the Acropolis, Isadora felt she was too much of an intruder to move, but finally she managed to produce the two appropriate gestures that Steichen recorded.”
via Toledo Blade
from Toledo Museum of Art](http://24.media.tumblr.com/tumblr_m4oi75HRhX1qztk1wo1_500.jpg)
“Movements are as eloquent as words”
Isadora Duncan at the Parthenon, Athens, 1921 by Edward Steichen
In 1921, standing in the portico of the Parthenon in Athens, the famed dancer Isadora Duncan produced a poetic gesture mimicking the classical architecture surrounding her for the camera of Edward Steichen. Duncan was a spiritual and artistic presence, considered to be an embodiment of pure beauty and magic. She inspired artists and writers throughout Europe and America, and in the Parthenon she inspired Steichen to forever fix the poetry of her pose on photographic film.
After running into each other in Venice, Duncan convinced Steichen to accompany her to Athens, promising to let him make a film of her. Once there, Duncan refused to cooperate. Steichen’s wife, Joanna, recalled of the incident:
“[Isadora’s] style in movement and costume was based on classical Greek imagery and, faced with the real thing, she was overwhelmed. Steichen settled for borrowing a Kodak camera from the headwaiter at his hotel. Standing among the ancient, sacred stones of the Acropolis, Isadora felt she was too much of an intruder to move, but finally she managed to produce the two appropriate gestures that Steichen recorded.”
via Toledo Blade
from Toledo Museum of Art
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Notes: 95 / 1 day ago"The wind? I am the wind. The sea and the moon? I am the sea and the moon. Tears, pain, love, bird-flights? I am all of them. I dance what I am. Sin, prayer, flight, the light that never was on land or sea? I dance what I am."-
from Isadora Duncan poem by Carl Sandburg
thanks to Vox Feminae
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Notes: 19 / 1 day ago
source tumblr source, pretty please?!
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Notes: 197 / 6 days ago from billyjane
Chute d’eau / Waterfall, c.1938 by Remie Lohse
(Source: billyjane)
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Notes: 51 / 6 days ago from bookmarklet
Splash by Madeleine Moeckel
published in Het Leven magazine, 1941
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Notes: 24 / 6 days ago from bookmarklet
Strand, 1941 by Madeleine Moeckel
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Notes: 469 / 1 week ago from liquidnight"Solitude is the profoundest fact of the human condition. Man is the only being who knows he is alone."-
Octavio Paz, The Labyrinth of Solitude
from liquidnight
![Dancer [Leni Riefenstahl] possibly by Willy Zielke
This photograph, which Leni Riefenstahl posed for herself, was part of the Olympia film she directed in 1936 [see also]](http://25.media.tumblr.com/tumblr_lyeeq75GGJ1qztk1wo1_1280.jpg)
![“Movements are as eloquent as words”
Isadora Duncan at the Parthenon, Athens, 1921 by Edward Steichen
[see also & also]
In 1921, standing in the portico of the Parthenon in Athens, the famed dancer Isadora Duncan produced a poetic gesture mimicking the classical architecture surrounding her for the camera of Edward Steichen. Duncan was a spiritual and artistic presence, considered to be an embodiment of pure beauty and magic. She inspired artists and writers throughout Europe and America, and in the Parthenon she inspired Steichen to forever fix the poetry of her pose on photographic film.
After running into each other in Venice, Duncan convinced Steichen to accompany her to Athens, promising to let him make a film of her. Once there, Duncan refused to cooperate. Steichen’s wife, Joanna, recalled of the incident:
“[Isadora’s] style in movement and costume was based on classical Greek imagery and, faced with the real thing, she was overwhelmed. Steichen settled for borrowing a Kodak camera from the headwaiter at his hotel. Standing among the ancient, sacred stones of the Acropolis, Isadora felt she was too much of an intruder to move, but finally she managed to produce the two appropriate gestures that Steichen recorded.”
via Toledo Blade
from Toledo Museum of Art](http://24.media.tumblr.com/tumblr_m4oi75HRhX1qztk1wo1_1280.jpg)
