![Louis Fleckenstein :: Louis Fleckenstein [Female Nude Seated on Bed] 1895-1943. | src The J. Paul Getty Museum](https://unregardoblique.com/wp-content/uploads/2022/07/louis-fleckenstein-female-nude-seated-on-bed-1895-1943-getty-museum.jpg?w=752)
![Louis Fleckenstein :: [Half Nude Reclining on Bed]; 1895–1943. Toned gelatin silver print. | src The J. Paul Getty Museum](https://live.staticflickr.com/65535/52200438921_ced912dec1_o.jpg)
images that haunt us
![Louis Fleckenstein :: Louis Fleckenstein [Female Nude Seated on Bed] 1895-1943. | src The J. Paul Getty Museum](https://unregardoblique.com/wp-content/uploads/2022/07/louis-fleckenstein-female-nude-seated-on-bed-1895-1943-getty-museum.jpg?w=752)
![Louis Fleckenstein :: [Half Nude Reclining on Bed]; 1895–1943. Toned gelatin silver print. | src The J. Paul Getty Museum](https://live.staticflickr.com/65535/52200438921_ced912dec1_o.jpg)











Otto Dyar :: Portrait of Anna May Wong in Shanghai Express (Josef von Sternberg, 1932), 1931. Cover of the book
Stars, The Film Reader.
more [+] by this photographer / more [+] Anna May Wong posts

Leslie Gill :: Studio Window, West 56th Street, NYC, ca. 1938 / src: The Guardian. In the early years, the presence of windows in photographs was driven by necessity: photography in its infancy required great amounts of light, and windows obliged. This history may have mattered little to Leslie Gill when he created this tightly framed masterpiece, which looks almost as if someone has opened up a panel in one of Piet Mondrian’s canvases to discover the real world hidden behind it. Courtesy Robert Mann Gallery.