Colpevole innocenza

Rabdomanza di pubblica inutilita'
empty-jar-of-fairytales:

If you don’t know about Amina or the topless jihads world wide today I suggest you get googling, Amina Tyler is a 19 year old woman who posted bare breasted photos with the slogan “My Body is My Own and Not the Source of Anyone’s Honor” on her chest. She was arrested and sentenced to “100 lashes” and being “stoned to death”. She went missing and in response FEMEN activists are staging bare cheated protests. This image displays a man kicking an activist protesting outside a mosque.
WAKE UP.
NUDITY IS NOT A CRIME.

empty-jar-of-fairytales:

If you don’t know about Amina or the topless jihads world wide today I suggest you get googling, Amina Tyler is a 19 year old woman who posted bare breasted photos with the slogan “My Body is My Own and Not the Source of Anyone’s Honor” on her chest. She was arrested and sentenced to “100 lashes” and being “stoned to death”. She went missing and in response FEMEN activists are staging bare cheated protests. This image displays a man kicking an activist protesting outside a mosque.

WAKE UP.

NUDITY IS NOT A CRIME.

(Fonte: se7enteenblack, via ple0nasmos)

buonfresco:

Attributed to Giovanni di Franco, Portrait of a Woman, 1445-50

"The attribution of this fascinating portrait has been much debated. It is unusual both for the plainness of the sitter and the box-like character of the setting. Was it intended to have funerary connotations, establishing a commemorative function for the portrait, or is the purpose of the emphatic perspective and the cast shadow to assert the illusionistic "presence" of the sitter? The work thus poses fundamental questions about the uses of portraiture in fifteenth-century Florence. The picture dates about 1445–50." (x)

buonfresco:

Attributed to Giovanni di Franco, Portrait of a Woman, 1445-50

"The attribution of this fascinating portrait has been much debated. It is unusual both for the plainness of the sitter and the box-like character of the setting. Was it intended to have funerary connotations, establishing a commemorative function for the portrait, or is the purpose of the emphatic perspective and the cast shadow to assert the illusionistic "presence" of the sitter? The work thus poses fundamental questions about the uses of portraiture in fifteenth-century Florence. The picture dates about 1445–50." (x)

hadrian6:

The Martyrdom of St.Sebastian. 17th.century. Mattia Preti. Italian 1613-1699. oil/canvas.

hadrian6:

The Martyrdom of St.Sebastian. 17th.century. Mattia Preti. Italian 1613-1699. oil/canvas.

(via jaded-mandarin)