André Kertész, American, b. Austria-Hungary, 1894-1985

Pont des Arts, Paris (man reading between trees), 1963, gelatin silver print 

Courtesy Estate of André Kertész/Higher Pictures 2007

via

André Kertész, American, b. Austria-Hungary, 1894-1985

Pont des Arts, Paris (man reading between trees), 1963, gelatin silver print

Courtesy Estate of André Kertész/Higher Pictures 2007

via

André Kertész, American, b. Austria-Hungary, 1894-1985

Carnival, Paris (woman reading behind stage), 1926, gelatin silver print 

Courtesy Estate of André Kertész/Higher Pictures 2007

via

André Kertész, American, b. Austria-Hungary, 1894-1985

Carnival, Paris (woman reading behind stage), 1926, gelatin silver print

Courtesy Estate of André Kertész/Higher Pictures 2007

via

André Kertész, American, b. Austria-Hungary, 1894-1985

Greenwich Village, New York (woman on rooftop reading), May 30, 1962, gelatin silver print 

Courtesy Estate of André Kertész/Higher Pictures 2007

via

André Kertész, American, b. Austria-Hungary, 1894-1985

Greenwich Village, New York (woman on rooftop reading), May 30, 1962, gelatin silver print

Courtesy Estate of André Kertész/Higher Pictures 2007

via

centuriespast:

Neanderthal culture: Old masters

gwebarchaeology:

wanderlustintraining:

The earliest known cave paintings fuel arguments about whether Neanderthals were the mental equals of modern humans.

Tim Appenzeller | NATURE

In a damp Spanish cave, Alistair Pike applies a small grinder to the world’s oldest known paintings. Every few minutes, the dentist-drill sound stops and Pike, an archaeologist from the University of Southampton, UK, stands aside so that a party of tourists can admire the simple artwork — hazy red disks, stencilled handprints, the outlines of bison — daubed on the cave wall tens of thousands of years ago. He hopes that the visitors won’t notice the small scuff marks he has left.

In fact, Pike’s grinder — and the scalpel that he wields to scrape off tiny samples — is doing no harm to the actual paintings, and he is working with the full approval of the Spanish authorities. Pike is after the crust of calcite that has built up over the millennia from groundwater dripping down the wall. The white flecks that he dislodges hold a smattering of uranium atoms, whose decay acts as a radioactive clock. A clock that has been ticking ever since the calcite formed on top of the art.

The results of an earlier round of sampling in El Castillo cave, published last June1, showed that the oldest of the paintings, a simple red spot, dates to at least 40,800 years ago, roughly when the first modern humans reached western Europe. Pike and his colleagues think that when they analyse the latest samples, the paintings may turn out to be older still, perhaps by thousands of years — too old to have been made by modern humans. If so, the artists must have been Neanderthals, the brawny, archaic people who were already living in Europe.

The answer won’t be known for at least a year, but if it favours the Neanderthals, it could tip — if not resolve — a debate that has rumbled for decades: did the Neanderthals, once caricatured as brute cavemen, have minds like our own, capable of abstract thinking, symbolism and even art? It is one of the most haunting questions about the people who once shared a continent with us, then mysteriously vanished.

[Photo: Pedro Saura]

Continue reading the main story…

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ancientart:

The remains of the Roman Temple of Apollo, where four Corinthian columns yet stand. Located in Riez, southeastern France.
Photo courtesy & taken by maarjaara.

ancientart:

The remains of the Roman Temple of Apollo, where four Corinthian columns yet stand. Located in Riez, southeastern France.

Photo courtesy & taken by maarjaara.

Cite Arrow reblogged from ancientart
fairytalemood:

“Barbabù [Bluebeard]” by Luca Morandini

fairytalemood:

“Barbabù [Bluebeard]” by Luca Morandini

Cite Arrow reblogged from unabridgedchick

usnatarchives:

From May 22 to 31, the digital collection of the USCT Service Records will be free on www.Fold3.com.

On May 22, 1863, the War Department issued General Orders 143, establishing a Bureau of Colored Troops in the Adjutant General’s Office to recruit and organize African American soldiers to fight for the Union Army. With this order, all African American regiments were designated as United States Colored Troops (USCT).

Today marks the 150th anniversary of the USCT, and the National Archives is pleased to announce the completion of the USCT Service Records Digitization Project. In partnership with Fold3, the project provides online access to all service records—more than 3.8 million images—of Union volunteers in USCT units.

Remember: All National Archives collections on Fold3.com can always be viewed for free at a computer at any National Archives facility nationwide.

The photo and paperwork above come from the compiled military service records of former slave Edmund Delaney. Read his story on the Prologue blog.

Cite Arrow reblogged from todaysdocument
unabridgedchick:

Infographic flowchart: Do you really need a new book?

unabridgedchick:

Infographic flowchart: Do you really need a new book?

Cite Arrow reblogged from unabridgedchick

mythologyofblue:

A closer look at Richard Wagner’s manuscripts +

Cite Arrow reblogged from mythologyofblue