Halloa! I fear this box may never provide a description that could ever truly satisify the definition of description.
In saying that, I'm 26, from Liverpool, with a passion for Liverpool FC, history, and Star Trek. Ahem.
I suppose I should note that I am so utterly staid that the colour beige has pursued legal action against me on a number of occasions. Damned legal obligations...
Oh, and this blog is quite probably PG-safe (I guess what constitutes PG is subjective, so probably) as I very rarely swear and don't post images of a fleshy nature.
Oh, oh, and I have a fascination (um, irrepressible obsession) with the two world wars, which is why they appear so prominently in my Tumblr. Macabre, perhaps, but it's principally centred on a desire to contribute, however insignificantly, to the "perpetuation" of those who suffered immeasurably in the wars.
A group of young girls who worked at a cotton mill together in Georgia, circa 1909. Knowing the awful conditions in the mills, it’s surprising to see these girls pull off smiles. It’s a truly beautiful photo.
People seek shelter behind lamp-posts at Dam Square Amsterdam after German troops opened fire on the celebrating masses, killing 22 and injuring 120.
Of the indispensable photographs taken during the Second World War, Margaret Bourke-White’s image of survivors at Buchenwald in April 1945 — “staring out at their Allied rescuers,” as LIFE magazine put it, “like so many living corpses” — remains among the most haunting. The faces of the men, young and old, staring from behind the wire, “barely able to believe that they would be delivered from a Nazi camp where the only deliverance had been death,” attest with an awful eloquence to the depths of human depravity and, maybe even more powerfully, to the measureless lineaments of human endurance.
On the anniversary of the liberation of Buchenwald by Patton’s Third Army, LIFE.com looks at the story — and at other, harrowing photographs — behind one of the indispensable images from World War II.
Read more here.
(Margaret Bourke-White—Time & Life Pictures/Getty Images)
Louise Ingram Rayner (21 June 1832 – 8 October 1924) was a British watercolor artist. She lived in Chester in the Welsh Marches but travelled extensively, painting British scenes, during the summers in 1870s and 1880s. Her paintings are very detailed and highly picturesque populated street scenes capturing the “olde worlde” character of British towns and cities in the booming Victorian period.
A barricade manned by an Australian Lewis Gun crew during the assault on Peronne and St. Quentin. When Germany lost control of these two towns, they effectively lost control of the Somme River battle area and pulled back to the Hindenburg Line, 2 Sept., 1918…
Jerome Myers - Market in Paris (1920)
Jerome Myers (March 20, 1867 - June 19, 1940) was a U.S. artist and writer associated with the Ashcan School, best known for his sympathetic depictions of the urban landscape. He was one of the main organizers of the 1913 Armory Show, which introduced European modernism to America.
Born in Petersburg, Virginia and raised in Philadelphia, Trenton and Baltimore, he spent his adult life in New York City. Myers worked briefly as an actor and scene painter, then first studied art for a year at Cooper Union and then at the Art Students League for a period of eight years where his main teacher was George de Forest Brush. In 1896 he went to Paris, but only stayed a few months, believing in the direction and reality of his own work, and that his main classroom was the streets of New York’s lower East Side. His strong interest and feelings for the new immigrants and their life resulted in well over a thousand drawings, as well as paintings, etchings and watercolors capturing the whole panorama of their lives as found outside of the crowded tenements which were their first homes in America.
In a 1923 magazine article he explained why cities were his greatest source of inspiration:
“All my life I had lived, worked and played in the poorest streets of American cities. I knew them and their population and was one of them. Others saw ugliness and degradation there, I saw poetry and beauty, so I came back to them. I took a sporting chance of saying something out of my own experience and risking whether it was worthwhile or not. That is all any artist can do.”