Placeholder: In the sepia tones of a bygone era, a Victorian family stands in solemn attire, their faces reflecting the austere demeanor of the times. At the center, an anachronistic figure, a cylindrical automaton with appendages that seem to mock the conventions of human form, stands in stark contrast to its human counterparts. This tableau challenges the viewer, juxtaposing the rigid human portraits with the whimsical inclusion of a mechanical entity, blurring the lines between history and fantasy. In the sepia tones of a bygone era, a Victorian family stands in solemn attire, their faces reflecting the austere demeanor of the times. At the center, an anachronistic figure, a cylindrical automaton with appendages that seem to mock the conventions of human form, stands in stark contrast to its human counterparts. This tableau challenges the viewer, juxtaposing the rigid human portraits with the whimsical inclusion of a mechanical entity, blurring the lines between history and fantasy.

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In the sepia tones of a bygone era, a Victorian family stands in solemn attire, their faces reflecting the austere demeanor of the times. At the center, an anachronistic figure, a cylindrical automaton with appendages that seem to mock the conventions of human form, stands in stark contrast to its human counterparts. This tableau challenges the viewer, juxtaposing the rigid human portraits with the whimsical inclusion of a mechanical entity, blurring the lines between history and fantasy.

statue, doubles, twins, entangled fingers, Worst Quality, ugly, ugly face, watermarks, undetailed, unrealistic, double limbs, worst hands, worst body, Disfigured, double, twin, dialog, book, multiple fingers, deformed, deformity, ugliness, poorly drawn face, extra_limb, extra limbs, bad hands, wrong hands, poorly drawn hands, messy drawing, cropped head, bad anatomy, lowres, extra digit, fewer digit, worst quality, low quality, jpeg artifacts, watermark, missing fingers, cropped, poorly drawn

1 year ago

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SSD-1B

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7

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1024 × 1024

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In the sepia tones of a bygone era, a Victorian family stands in solemn attire, their faces reflecting the austere demeanor of the times. At the center, an anachronistic figure, a cylindrical automaton with appendages that seem to mock the conventions of human form, stands in stark contrast to its human counterparts. This tableau challenges the viewer, juxtaposing the rigid human portraits with the whimsical inclusion of a mechanical entity, blurring the lines between history and fantasy.
Vintage photo of a bride in her dress and the groom in a classic tuxedo wearing a detailed mechanical camera head, standing next to a weird humanoid partly furry creature with a sad expression, posed formally, neutral background, surreal and whimsical theme, centered composition, early 20th-century photography style.
Vintage photo of a bride in her dress and the groom in a classic tuxedo wearing a detailed mechanical camera head, standing next to a weird humanoid partly furry creature with a sad expression, posed formally, neutral background, surreal and whimsical theme, centered composition, early 20th-century photography style.
“Un de ces longs bras glissa par l’ouverture”Alphonse de Neuville (1835-1885) - Long Arm GlidedIllustration from Jules Verne’s “Twenty thousand leagues under the sea”, 1870
In the sepia tones of a bygone era, a Victorian family stands in solemn attire, their faces reflecting the austere demeanor of the times. At the center, an anachronistic figure, a cylindrical automaton with appendages that seem to mock the conventions of human form, stands in stark contrast to its human counterparts. This tableau challenges the viewer, juxtaposing the rigid human portraits with the whimsical inclusion of a mechanical entity, blurring the lines between history and fantasy.
the actor-playwright Laura Keene worked to make theater family friendly. Barnum did this by staging temperance drama, and Keene by bringing the leg show to the middle class. Providing a safe theater (and no bar), Keene staged her play The Seven Sisters like a Romantic ballet, writes Buszek. The 1860 production incorporated the “short-petticoated corps de ballet into [a] narrative about a daughter of the god Pluto who visits contemporary New York City and falls in love with a young playwright.”
we know that you people of the valley will remember our Lincoln brigade. From this valley they say we are going but don't hasten to bid us adieu
Mary Fields was a pioneer of the Old West as the first female African-American Star Route mail carrier. Born in Tennessee, she is also known as “Black Mary” or “Stagecoach Mary”. When slavery ended in the United States, Mary found work as a chambermaid on a Mississippi River steamboat. However, she soon moved to Ohio as her family circumstances changed. At the age of sixty, Mary Fields applied to work for the US Postal service. She impressed the recruiter by being the fastest to hitch up her s
In the sepia tones of a bygone era, a Victorian family stands in solemn attire, their faces reflecting the austere demeanor of the times. At the center, an anachronistic figure, a cylindrical automaton with appendages that seem to mock the conventions of human form, stands in stark contrast to its human counterparts. This tableau challenges the viewer, juxtaposing the rigid human portraits with the whimsical inclusion of a mechanical entity, blurring the lines between history and fantasy.
The mid-nineteenth-century stage thus became a space and time for exploring and criticizing social ideas of femininity. Both Buszek and theater historian Theresa Saxon describe a period of often daring, sometimes chaotic work by women onstage. In the 1840s, Charlotte Cushman famously appeared in drag, playing roles including the male lead in Romeo and Juliet. The actress Adah Isaacs Menken was equally willing to self-promote with topless cartes de visite and images of her in stage costume or in
[vintage] A woman in tuxedo around a pond
Mary Fields, commonly known as “Stagecoach Mary,” was the first African American woman to work as a mail carrier for the United States Postal Service in the late 1800s. She was born into slavery in Tennessee in 1832 and gained her freedom following the Civil War. Mary went to Montana in 1885 and quickly rose to prominence in the town of Cascade. The Ursuline Convent in St. Peter’s Mission engaged her to do a variety of chores, including driving children to school and conducting errands. She the
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