#*that one sad painting of Napoleon*

[gunraekae]

a day in the mansion for you

>ikemen vampire

>mansion residents x reader

>a/n: for context, i'm the sort who enjoys seeing the casual interactions between the residents and the mc, so these are some hcs on what I imagine a day looks like for you. i sorta placed this as being in the first week mc arrives, before anything too serious happens, but you can interpret this whichever way you choose!

also apologies, i wasn't able to write for every single suitor as i haven't played most of their routes yet! I'll do a follow-up post when i finally finish them :))

Napoleon

Restrains Jean when he attacks you in the middle of the night

Comte enlists him to guard you and show you around Paris with Vincent, being the one that you trust the most in the beginning

Accompanies you and Isaac to the école, to help you be more at ease in the town

Part of your morning rounds: you wake him up

Part of your evening rounds: you talk about each other’s days, has dinner with you if you haven’t

Arthur

After asking Sebastian to fetch him Rouge, he prevents you from escaping (sorta does a reverse psychology thing)

Rightfully blaming himself for your dislike, he charms you with his intelligence through the lounge games; he wins a conversation with you and apologises on your date

When you encounter him on your town visit, the two of you are caught with a mysterious case that employs the two of you in your mystery solving adventures. 

Part of coffee addicts: your best customer, kisses you for every cup of coffee you bless him with

Part of breakfast gang: either there because he didn’t sleep or there because he slept too early

Leonardo

Spooked by the first night in the mansion, you lock yourself in your room until lunch, only to realize that Leonardo had stood guard outside your door the whole night

Remains quite protective, he calls himself your companion; finds you cooped up in the library and takes you with him on town visits

Part of coffee addicts: will come later, but will always be there

Part of your afternoon rounds: he magically finds you when you’re sad and will find some random event to cheer you up with

Jean

Starving and not in control, he unknowingly attacks you on your first night and incites you to escape

Overwhelmed, self-conscious, and wary, you spend much of the first week’s evenings in the library. To your shock, Jean is also there, learning how to write. Believing that it may be best for the two of you to reconcile, you teach him how to write. 

Helps you as much as possible with your chores, especially if it’s reaching high places or something that requires strength. 

Joins the residents in meals because of you

Listens to Mozart’s pieces with you

Part of your morning rounds: you have to remind him to eat

Vincent

Sympathetic to your predicament, he comforts you and shows you around Paris with Napoleon, being one of the few that you feel safe around

Invites you to a picnic with Theo

Enjoys your singing in the gardens while he paints and will frequent the outside the more you do it

Part of coffee addicts: might experiment with different roasts and enjoys it, but will like his coffee as black as possible

Part of breakfast gang: really only there to join Theo in the morning

Comte

Like a good sugar daddy, he takes you shopping and constantly spoils you. On the second day, he takes you to the town

Will ask for tea on the daily and constantly checks in on you; a most protective father figure, he keeps the residents in check

You’re his automatic partner any time he has to attend a social event (and of course he takes you shopping before). You’re his rumoured partner, and Comte does not quell those rumours he keeps them up. 

Part of your afternoon rounds: you have tea with him

Dazai

After cooping yourself up in your room, Dazai is the second you confide your troubles to. He’s always attuned to your emotions and understands your mental health struggles; always ready to lend an ear (because he’d rather everyone be happy before himself ahh) He’s almost invasive with how aware he is of you

Another frequent player in the lounge games, he doesn’t play seriously and is only really there to bring everyone’s mood up; don’t include gambling though, because he gets sorta crazy

Part of breakfast gang: horrible sleep schedule has him join the morning

Part of your afternoon rounds: any time you have errands in the garden, he’ll join you 

Theo

Partly due to his brother, and partly out of his own heart, he enlists you as an apprentice and they get to know the town

To bridge the gap between you and Arthur, he invites you to the lounge after dinner to play games

Teaches you the ropes of living in Paris: warns you, keeps you aware of current events, probably even helps you with your finances

Part of coffee addicts: likes your experimental sweet lattes

Part of breakfast gang: always present in the morning because he has to

Isaac

Cooped up in his room as well, Sebastian asks you to deliver his food to his room, believing him the most harmless. Isaac awkwardly welcomes you in his own way, accompanying you and Napoleon to their école

Also a frequenter of the lounge games, he attempts to impress you and win a date against Arthur

Part of breakfast gang: has to be there for his job, but enjoys whatever you make

Part of your evening rounds: sometimes he’ll be outside with his telescope, observing the stars. Once you felt comfortable, he asked you to join him

Mozart

Most intimidated by him, Sebastian forces you to deliver lunch to him. He’s cold, fussy, but would rather spend time with you than anyone else. Whenever he needs feedback or an audience for a piece, he’ll ask you first along with Jean. 

You’re his automatic partner any time he has a performance, partly because you comfort him in carriage rides, partly because he just wants you around

Part of coffee addicts: crawls to get coffee from you

Part of your evening rounds: you have to remind him to sleep

Part of your breakfast gang: organized routine but also terrible sleep schedule

Shakespeare

You met him after he gave you and Vincent tickets for one of his upcoming plays. When he approached the two of you, he gave such good banter and was so amicable, you swear it almost sounded practiced (haha)

He’ll sometimes join the residents for dinner. He’s begun to join a lot more often because having you around made Arthur and Theo much less hostile. After dinner, he makes a practice of talking to you in private, endlessly charming, but oddly invasive—like he’s studying you

Any time he has a new play, you're the first to get invited to watch it. Sometimes, if he's particularly frustrated or uninspired, he'll ask you to come to rehearsals with him.

You and Vincent sometimes visit him in his villa to make sure he's not writing himself to death.

Vlad

A sweet florist you met in town while you were miserable in the first week. He gave you a flower to cheer you up and was the epitome of charming, so charming in fact, that you accidentally revealed you lived in the mansion. Once you’ve revealed that fact, he began seeing you every time you were alone in town (for no ulterior motive at all)

General HCs for All!

Writes you letters daily/weekly; a habit picked up after the first night and seeing how spooked you were

Help you and Sebastian as much as they can; they can obviously clean up for themselves and even cook when they feel inclined

More residents have meals together than ever before; your presence sort of unites them and they’re super grateful for that

You’ve achieved the point where every resident is together during dinner

Birthdays, special occasions, and achievements are celebrated because you organize them for everyone

Since Halloween is your favourite holiday, the residents make an effort to dress up for it

Valentine’s Day is a bit of a mess, with you making a gift for every resident

White Day was used by the residents to give you their gifts, and it’s overwhelming, to say the least

They’re huge gossips, so any and every update on you is spread like wildfire to everyone. Good luck having an off-day

Dazai is the first to notice, being the most emotionally intelligent

Leonardo is the quickest one to take action, quite literally scooping you from whatever you’re doing to cheer you up

Napoleon is also another quick one to constantly check in on you and look for you if you come home too late

Sebastian usually keeps track of who you’re with or where you are if you guys are separated

Buys you random presents, usually connected to something between the two of you, but also sometimes follows current trends

Isaac buys you a hairclip he thinks looks darling on you

Dazai buys you a notebook to use as a diary, especially after noticing your journal’s almost full (and no he totally doesn’t peek in your writing)

Jean will always find something in town to bring to you in your night lessons

Comte… do I even need to say anything

Supports you in anything you pursue (I believe the canon says that you’re starting out as a writer, so I’mma use that)

You keep notes of your every day in your diary, sort of like a vlog and a lot of the snoopy residents read it. Eventually they suggest that you publish some of it

Being a huge fan of literature, the authors organize a writer’s night where you come up with a prompt and they share how they’d write it

If you ever end up writing something, they’re the first to hear and are your biggest fans

You’re a frequent guest teacher in Napoleon’s and Isaac’s école

You always thought you weren’t good with kids, but seeing how much the children like you reassured you

Napoleon teases you on how much you say you dislike children but secretly enjoys the time with them

Isaac is extremely grateful for how much you like organizing his lesson plans

if you've made it this far, thank you so much for reading! i hope you have a wonderful day and leave a like/reblog <3

#ikemen vampire #ikevamp #ikemen vampire x reader #ikevamp x reader #cybird ikemen #ikemen series #ikemen vampire napoleon #ikemen vampire arthur #ikemen vampire leonardo #ikemen vampire jean #ikemen vampire vincent #ikemen vampire comte #ikemen vampire dazai #ikemen vampire theo #ikemen vampire isaac #ikemen vampire mozart #ikemen vampire shakespeare #ikemen vampire vlad

[ifthiswingscouldfly]

Summertime with Ikevamp boys

Genre: Fluff/fun/summer

Characters: Comte's + Vlad's mansion

Warning: None

°••°~°••°~°••°~°••°~°••°~°••°~°••~°••°~°•

It was Comte's idea to have an enjoyable summer because after all all his beloved residents need to take a break from their jobs.

Sebastian and MC would probably ask Isaac and Napoleon to help them get the stuff ready.

Leonardo was the one who bought the tickets and this time everyone is going to get on the train.

Jean and Mozart never liked the idea of being there but they joined after the whole mansion insisted on them to be there.

Arthur was so excited because he could flirt with women there.

Arthur teased MC/you because he heard that Comte gifted her/you a bikini and she blushed because of that.

Dazai was planning to take his beloved chicken there but he back down when sebastian told him not to.

Vincent was so happy about the idea and he took tons of color and books to draw upon them.

Shakespeare was invited too because he was Comte's first child and papa Comte can't go nowhere without his child.

Shakespeare would thank Comte for the invitation and ask if he can help the other suitors.

Vlad knew about the vacation from Shakespeare and decided to make it as a surprise.

Charles was excited for the vacation because he could spend time with the MC and Vincent.

Vincent was so sad that he had to leave his pet animal brush behind and he almost cried for leaving him.

Theo had to relax himself because the stress he put himself under could kill a man.

But can Arthur leave him alone?. No no no.

Faust felt stupid because of how much most of them are excited and he stayed at Vlad's mansion not wanting to be with them.

At the train station and instead of using the door Dazai entered via the window that he got stuck there and asked Arthur for help.

Isaac slammed his forehead after seeing how Dazai loves to embarrass himself.

But anyways, Theo and Arthur managed to pull him from inside the train.

Mozart and Jean would ask MC to set with them in the cabinet since they said it would be better for her than setting with the other stupid suitors.

But they ended up setting with each other including sebastian with them.

Comte and Leonardo was already with MC at the same cabinet.

Napoleon, Isaac, Vincent was together.

Theo, Arthur and Dazai in other cabinet.

While Vlad, Charles and Shakespeare was setting alone because they wanted to keep their presence as surprise for Comte.

Mozart would write music notes while sebastian would engage in teaching Jean how to read more fluently.

Leonardo was sleeping the whole time and when he woke up he teased theshitoutof MC.

Comte never set at the cabinet all the time he would go and indulge himself in conversations with the other suitors.

Vincent enjoyed sketching the suitors while his beloved Theo almost killed Arthur and Dazai because they teased him too much.

And when the train arrived at the destination; Dazai did stick himself again out of the window instead of using the door which resulted for Theo and Arthur to pull him again and he ended up falling from the window's height on Theo and Arthur.

The suitors almost forgot to wake Leonardo up since most of them were busy taking their stuff out.

MC really wanted to wear the bikini Comte gifted her but she was too shy since Arthur teased so much.

When Jean's heard that Comte gifted MC a bikini he almost attacked him calling him a "slut" and "disrespectful" but fortunately Napoleon was there to pull him away before committing a crime.

Isaac enjoyed making sand castle with MC on the beach even though he denied the fact.

Arthur and Dazai almost drowned Isaac in the sea by trying to teach him how to "swim".

Napoleon and Sebastian went to bring some drinks since Vlad's jokes were so dry.

Shakespeare and Vincent was enjoying the sight of the sea; one is writing poems and the other is painting.

Arthur after almost drowning Isaac went to flirt with a couple of women.

Dazai asked Toshiko-San if it is okay to teach her how to swim. But Leonardo ended up taking the charge of that.

Leonardo tried to teach MC how to swim but was interrupted by everyone because all of them tried to teach her at the same time poor MC/you.

Later that afternoon and when the sun started to set Comte prepared a barbecue party and all of the residents enjoyed the night.

Mozart was too bored because he left his dear piano at the mansion and he couldn't have a smaller instrument to play so he suggested someone to sing something.

Charles agreed but ended up being unprepared so Mozart stopped him from singing.

Arthur and Theo ended up singing while Isaac was looking how dumb they looked.

Vincent sing too and his voice was so comforting.

Vincent woke up early that day to draw the sunrise and he saw MC there alone wearing her gifted bikini and swimming by herself.

He had to sketch that too.

Sebastian couldn't rest for a moment since the baby residents can't stop fighting and nagging.

Vlad never stopped teasing Comte about how bad the residents are, and how chaotic they are.

The trip ended up well but Comte will never do it again since all of the residents at some point was annoying.

°•☆°•☆°•☆°•☆°•☆°•☆°•☆°•☆°•☆°•☆°

Post date: Apr/10th/2024

Day: Wednesday

☆ Side Note:

I really liked the idea of writing this for summer. Anyways this is an old draft I wrote last year but was too busy to post it. I hope you liked it. Stay safe 🙏🏼 ❤.

M

#ikemen vampire #ikemen vampire napoleon #ikemen vampire mozart #ikemen vampire shakespeare #ikemen vampire leonardo #ikemen vampire theo #ikemen vampire vlad #ikemen vampire vincent #ikemen vampire headcanons #ikemen vampire arthur #ikemen vampire isaac #ikemen vampire dazai #ikemen vampire charles #ikemen vampire sebastian #ikemen vampire comte #ikemen vampire faust

[sollannaart]

The Battle of Leipzig, October, 1813

By mid-October, Napoleon gathered all his forces near Leipzig, where on the 16th the started a battle that would later be called the Battle of the Nations .

Jan Czesław Moniuszko, Prince Józef at Leipzig

Commanding the Poles incorporated into the Grand Army as the 8th Corps, Prince Joseph defended the village of Markkleeberg south of the city. As he reported to Napoleon, on the 16th

"the enemy did not gain an inch of ground […] the army showed admirable zeal and endurance […] but I lost 1/3 of my men and I have no ammunition."

And on that very day, the 16th of October, the Emperor appointed Prince Poniatowski a Marshal of France, with the official nomination taking place a day later.

Prince Józef Poniatowski being presented the marshals baton, Reville's engraving after Martinet

As diarists recall, prince Józef received both the news about the nomination and the announcement that followed quite calmly, or even indifferently. However, he considered that moment not appropriate to insult the emperor with a refusal. So first Poniatowski asked consent of Frederick Augustus, King of Saxony and Duke of Warsaw, to accept the nomination. Then he hastened assure his subordinates that

"whatever happens he would never replace the Polish uniform with another one."

Also anticipating that the news of his new appointment might not receive support in Warsaw, prince Józef asked Tomasz Ostrowski

"to send to the capital as early as possible, by a known means, an explanation of the circumstances and an assurance everyone that if there is no war for Poland, no one will see him wearing anything but a civilian clothes".

Together with this, however, Poniatowski promised that in any case he would have to escort Napoleon to France. As for the global situation, the 17th of October was a day of rest and re-ranking of troops for both the Frenchmen and the Coalition , thus there was almost no fighting then.

Polish infantry fighting at Connewitz-Probstheida, a drawing by Raffet

On October 18, Prince Joseph was defending Probstheida, a village southeast of Leipzig. But that day the fighting was even more fierce than before. The French troops held their positions, but by the end of the day they were exhausted and depleted as a result of the intensifying attacks of the Allies, who, in addition, had on the previous day received reinforcements in the form of General Bennigsen's Czech Army and the Army of the North commaded by Bernadotte. Considering all this, that evening Napoleon considered the battle a lost cause. So, he then began organizing the retreat. The corps of General Reynier, Marshal Macdonald and Prince Poniatowski were to defense the rear guard of the French. They were to hold the city of Leipzig for 24 hours for the Grande Armée to gain as much time as possible.

Napoleon resigns after the Battle of Leipzig, From a painting by Ludwik Braun

Having arrived in Leipzig at nine o'clock in the evening, Napoleon stayed at the hotel "At the Prussian king", where he asked Prince Józef to come. They then had, according to Baron Agathon Fain's account, the following conversation:

- Prince, you will defend the southern suburbs. – Sire! I have very few men, most of my corps have, following Prince Berthier's orders, crossed the Elsther at night. - How many Poles are there with you? - My usual escort, i.e. two hundred of the Krakuses, the same number of cuirassiers, staff and several cavalry units, in total about eight hundred people. - Well, this will be the way for you to defend the southern suburbs and cover the retreat of the army with the Prince of Tarentum… For 800 Poles are worth 8,000 other soldiers. - Your Majesty can trust us, we will cover the retreat, even if every one of us dies!

These were the last words the prince addressed to the emperor. After saying goodbye he looked "preoccupied and sad". What's more, that meeting was probably the last time Poniatowski and Napoleon seeing each other...

January Suchodolski, Napoleon and Józef Antoni Poniatowski at the Battle of Leipzig

On the morning of the last day of the battle, Polish troops were defending a section of the southern suburbs near the Peters Thor gate. Moreover, that time they had not only to fight the enemy, but also there intensified clashes with the locals, who were shooting at the retreating units from the windows.

Author Unknown, Prince Józef Poniatowski during the Battle of Leipzig

At about 11:00 Prince Józef found it impossible to conduct further defensive operations in this place and ordered a retreat. The Poles moved along the esplanade, where, near the Wasserkunst fountain, they fight the enemy in an organized manner for the last time.

Jan Chełmiński, Prince Józef Poniatowski at the head of the troops at Leipzig

During that skirmish Poniatowski was probably wounded (probably not first time). As Klemens Kołaczkowski recalled:

He received a wound in the hand from a rifle bullet; he ordered it to be treated, got back on the horse and, holding his hand on a scarf, he did not stop fighting.

Then the Poles, having left the city walls, were looking for a crossing. The first on their way was the Pleisse River, deprived of all bridges on Napoleon's orders. Kołaczkowski:

Prince Poniatowski <…> was exposed to the fire of enemy tirailleurs, in dense troops approaching from all sides. General Bronikowski, standing next to the prince, advised him to seek salvation by swimming. But the prince answered him quickly: "One must die bravely!" (Il faut mourir en brave - AS) He ordered the rest of the escort to attack enemy tirailleurs one more time, but that managed to stop their advance only for a moment. There was not a single moment to lose! In this last resort, the prince finally followed the opinion of the officers surrounding him, mounted his horse and jumped into the river with him!

Jan Bogumił Plersch, Prince Poniatowski crossing Pleisse

The water was flooding the banks high up; the horse, carried away by its momentum, could not reach the shore. At this sight, captain Blechamps from the staff rushes after the prince, helps him swim and get to the opposite shore.

But there was one more river to cross – the Elster. Which had also been devoid of all its bridges except one. But even that one was earlier that day blown up by mistake when a significant part of the French were still on the other bank.

Retreat of the French from Leipzig, October 1813, an English engraving

What's more, in German Elster means "magpie". And according to legend, a gypsy woman once told Prince Joseph that he would die because of a magpie. And that's how it happened.

Tadeusz Korpal, Prince Poniatowski at Leipzig

Kołaczkowski:

The prince was walking on foot through the gardens lying between Elster and Pleisse: here, he was shot in the side by a rifle bullet for the second time and fell into the arms of the officers surrounding him. However, he soon regained consciousness and, with the help of his adjutant, mounted his horse with difficulty, swaying in the saddle. The Poles started to appeal to him to take care of himself and, handing over his command to another general, to preserve himself for the homeland. But the prince's courage seemed to increase with danger. "No! no!" he shouted "God has entrusted me with the honor of the Poles, I will only give it to God". The engineer's officer comes running and points to the most convenient place to cross; the prince, walking along the river bank, heads in that direction; but when he notices the enemy unit blocking his path, he shouts loudly: "There they are!" He turns his horse and rushes to Elster. Weakened by his wounds, he can no longer steer his horse, but the beast can only follow the current and cannot climb the high, precipitous shore. All this happened under a hail of bullets. At that final moment, the prince receives his third wound, slips from his horse and, carried away by the rush of the water, begins to sink. The good Blechamps comes to the aid again. In noble zeal, he throws himself into the river and grasps the prince. He was seen holding his arms and trying to lift the prince's head above the water, but the efforts of this noble man were in vain. They both disappeared forever in the currents of the treacherous river! Such was the death of a Polish hero, a beloved leader who preferred death to ignominious captivity.

Prince Poniatowski at Leipzig (enlarged)

According to another legend, at Leipzig prince Józef was to see the notorious White Lady of the Poniatowskis for the last time.

#józef poniatowski #poniatowski #1813 #Leipzig #the battle of leipzig #napoleonic wars #napoleon bonaparte #Jan Czesław Moniuszko #Ludwik Braun #January Suchodolski #Jan Chełmiński #Jan Bogumił Plersch #Tadeusz Korpal

[pmamtraveller]

ORPHAN GIRL AT THE CEMETERY | c.1823 | by EUGÈNE DELACROIX

The painting depicts a young woman sitting in a cemetery. She is dressed in simple white mourning clothes.The young girl's posture implies resignation her gaping mouth, the hand that lies lifeless on her knee, and the right arm that supports her body on the ground gives the viewer a sense of hopelessness.

It is a moving and evocative painting that captures the raw emotion of grief. The young woman's body language and facial expression convey a sense of profound sadness and isolation. The dark and gloomy background further emphasizes her loneliness and despair.

The contrast between the white of the orphan girl's dress and the dark background creates a sense of tension and drama. The use of light and shadow also helps to create a sense of depth and atmosphere. It is a reminder of the fragility of life and the importance of cherishing our loved ones.

This piece was painted during a period of great social and political upheaval in FRANCE. The painting reflects the widespread sense of loss and mourning that followed the NAPOLEONIC Wars. It also speaks to the growing Romantic movement in art, which emphasized emotion and imagination over reason and tradition.

#orphan girl at the cemetery #eugene delacroix #romanticism #romantic art #romantic artwork #romantic paintings #romantic artist

[diagnosed-anxiety-disorder]

Mental health got better after making all of my classical music playlist covers different Napoleonic era paintings fr

i originally only had one classical playlist (bops) but i decided to split it up into 3 different ones based on how they feel: slow/sad/relaxed , chopin/romantic era/fancy , symphonies and such. I also have one more playlist that is all of the pieces ive played but it has stuff other than classical so i didnt include it

[ikeromantic]

Hey there!

I ABSOLUTELY LOVED your HC with the suitors w/ an chubby!s/o!!

I was wondering if you could do some of the other characters?I really don't mind which obvi bc i don't really wanna pressure you

Have a nice day!and pls hydrate urself and get a good amount of sleep 😊😊

These three scenes have been bouncing around my head for awhile. Thanks for giving me an excuse to write them anon! Approx. 2100 words of body-positive love from Vincent, Napoleon, and Charles. TW for self esteem and body image issues!

You can find other suitor scenarios with a chubby s/o here and here.

Vincent

Vincent woke early to get the perfect morning light for the portrait. He already had his sketch, his lover etched in delicate penciled lines. Reduced to the most basic shapes, a collection of circles and ovals, triangles and squares. He traced a finger over them lovingly. 

“Is that . . . how I look?” Her voice came from behind him, sounding tired and a little disappointed.

He turned and smiled, the world brighter already for her presence. “It’s just the sketch. It helps me place you in space and perspective.” 

She nodded but didn’t smile. “Should I sit then? Or do you need me this morning?”

“I always need you.” Vincent stroked a finger along her jaw and down her neck. Painting her took such restraint, he thought. 

This, at least, brought a smile to her lips and a flush to her cheeks. “Hey! I mean for painting!”

He laughed. “I know. I know. I am sorry mijn schatje. Yes, go set up on the couch there.” 

She did as he asked, draping herself in a close approximation of the sketched posture. “Good?”

“Mmm, but you’re still in your robe.” Vincent tilted his head, his wide blue eyes taking in how covered she was, the tension in her shoulders and back.

“I didn’t need to be nude for the sketch.” Her fingers tightened on the robe, clearly nervous.

Vincent nodded. “I just needed the shape of you. But now I need to see the light on your skin. The way your shadow falls. The colors the morning sun brings out of you.” He smiled slowly, warmly. “And I just want to see you.” 

“What if - what if someone comes in?” Her eyes flitted to the door and back. “Or - or sees the portrait!”

“I am not going to share this one. It’s mine.” His eyes lit with a possessive flame, the expression somehow more intimidating on his gentle features than the scowls his brother managed. “And the door is locked.”

Out of reasons not to shrug out of the robe, she reached for the ties. She undid the one at her waist but still held the robe shut. Without looking up, she asked, “Are you sure about this? Do you really want a nude portrait of me?”

Vincent felt a sudden pang of guilt. Had he pressured her into this? What if she didn’t want to pose for him? Was he being selfish or unkind? To her of all people? He set down his paint prep and went to her, kneeling beside the couch so that he could meet her eyes. “Have I made you uncomfortable?”

She sighed. “No. It’s not you, Vincent.” She shrugged. “I just don’t feel like I’m model material. You could be painting anyone. Girls with slim bellies and long legs and, I don’t know . . . pretty girls.”

He blinked, processing the unexpected reply. “But I want to paint you. Just you.”

“You don’t have to say that. It wouldn’t bother me if you painted someone else.” She tried to smile. “And that would be a painting you could share. Theo could display it, sell it. Not one you have to hide.”

Vincent took her hands, gently rubbing circles on the backs of them to release the tension in her grip. “Mijn liefje, I want to paint you. You are my beauty. My joy. I want to capture some of that on canvas. It is selfish of me . . . but I love you so much. Do you really not want this? I won’t make you if it will leave you sad.”

She held his gaze, searching their depths. “I . . . I do want you to paint me.” Her breath caught. “I just don’t feel like a good subject.” She patted her thighs. “I have stretch marks and cellulite. I’m not very photogenic.” 

He smiled and kissed the spot she’d touched. “Is that what you call those pale lines?” He drew a finger down her side. “I like the way they feel when I kiss them. Smooth. Like satin.” His fingers drifted lower, to the outer edge of her leg. “And this,” he pinched her lightly. “Soft. Dimpled and precious. I like the way it moves when your legs are on my shoulders and I’m -”

“Ah, Vincent!” She flushed red, her skin warm to the touch. “Can you not . . . talk about that right now?”

“But I was just telling you how beautiful you are. Every part. How much I love looking at you. Feeling you.” He laid his head on her lap. “Will you let me paint what I see?”

She laughed softly. “I feel so ridiculous agreeing to this, but alright.”

Vincent helped her shrug out of the robe. He couldn’t stop himself from taking advantage of the moment to run his hands along her back. He felt such hunger for her, insatiable. His eyes devoured her as she turned, trying to cover her breasts and the swell of her mound with her hands.

When he didn’t move back to his canvas, she nudged him. “Ummm . . . I thought you were going to paint me? While we had the morning light?” 

“There will be morning light tomorrow.” Vincent stepped close, his fingers tracing her hip.

“I don’t know if I’ll be brave enough to strip for you again tomorrow,” she warned. 

Vincent smiled, not an innocent look, but a happy one. “Then I will paint you now. And when the light is too harsh, I will put my brushes away and I will paint your skin with my lips.”

Napoleon

“Le Comte has a stable?” The girl looked around at the stalls, the hay bales, and grain barrels with an expression of stunned surprise.

Napoleon grinned. “Of course, nunuche. Where do you think the carriage horses come from?” 

“And you have a horse.” 

He chuckled. “I do. Though Vizier is no French Trotter.” The horse snorted and stuck its head over the stall door. “That’s right. Much too fancy to pull a cart, aren’t you?” Napoleon patted its nose and pulled a sugar cube from his pocket.

She approached, staying a little behind Napoleon. “What kind of horse is he then?”

“A Moroccan Barb. Good natured, fast.” Napoleon sounded affectionate. “Isn’t scared when Jupiter lands on the saddle horn.” He glanced back at her. “Want to feed him?”

“Umm, sure?” 

He handed her a carrot. “Just hold that out and keep your fingers clear.” 

She did as he instructed, giggling when Vizier’s velvet muzzle brushed her hand. The horse crunched the carrot happily and she petted his nose. 

“We should go for a ride,” Napoleon decided. “Come along.”

“What? But I don’t know how to ride! And I don’t have a horse.”

“You can ride with me.” He put an arm around her. 

She pulled back and looked at him anxiously. “I don’t think that’s a good idea.”

Napoleon tilted his head, his jade green eyes missing none of her trepidation. “Are you afraid to ride? I promise, he is a very good horse. Gentle. And I will be with you.”

“I -” She wanted to ride with him but she looked down, hand knotted in her skirt. “I’m scared I will be too heavy.”

“Heavy?” 

“‘Leon, don’t make me say it. You know I’m not a - a small girl.” 

 He watched her quietly for a moment more, taking in her insecurity and nervousness. Then Napoleon sighed and pulled her close, into a hug. He kissed the top of her head. “You are so sweet sometimes, mon ange. Worrying for Vizier.” He tilted her chin up with his fingertips to meet his gaze. 

Her eyes were wide and full of a fear of rejection, as if he could find fault in her.

“Vizier has carried full grown men and tack and weaponry. Carrying you? It is not a problem. But do you know what is?” 

She shook her head.

“You believing you are less, that you cannot do things, all because you are soft and round.” Napoleon’s gaze was heated, intense. 

“‘Leon, I . . . there are some things . . . and people look at me so . . .” She swallowed, blinking back tears. “I know you say I am beautiful but people are cruel and this world is not built for big girls.”

Napoleon pressed a gentle kiss to her lips. “You are beautiful. I do not just say it. Cruel people are stupid, crass, and without courtesy. Ignore them. And if the world is not built for you, then let us build that together. There is no shame in asking for better. In trying and doing everything you want to do, and making a place for yourself.”

She laughed and kissed him back. “You make it sound like it’s so easy.”

“I never said it would be simple, nunuche. Only that we can do it. I don’t want to see you deny yourself out of fear or embarrassment.” He tapped the tip of her nose. “Are you ready to go riding with me? Or must I shower you with more compliments and kisses?”

Charles

Charles snuck an arm around his lover’s waist as if she might not notice his fingertips stroking her side. She blushed and pulled away a bit, straightening her shirt. 

“What is it? Can’t I snuggle?” 

His pouting lips and pleading eyes were almost impossible to resist. “Charles . . .”

He took her hand and pulled it to his chest. “I thought you like it when I touch you. We held hands yesterday in the park.”

They had held hands. And kissed. And she did like it when he touched her but she hadn’t worn a corset today and if he was touching her like that, on her side . . . she swallowed. “I did like it.”

Charles’ frown disappeared like fog at midday, replaced by the sunshine of his smile. “Oh! Good!” He pulled her close with the ease of vampiric strength and settled his arms around her.

She couldn’t help but notice how his fingers didn’t quite meet at the back. There was no way he wouldn’t notice but - she gave a small, sad laugh.

Seafoam green eyes searched her face, anxious. “What is it?” Charles was quixotic in his emotions, but always so very aware of hers. 

“I just . . . I’m feeling a little self conscious right now.”

He glanced around the empty room, trying to find an external cause for her discomfort. Finding nothing, his gaze settled back on her. “No one is watching. Not even le Docteur. We are alone, I promise. We have the whole castle to ourselves today.”

He’d said the same thing when he brought her here and gave her a small tour of his home. Well, le Voivode’s home in which he stayed. Everyone else was out for the day, selling flowers. 

“I didn’t even think about being spied on,” she grinned despite herself. 

“Then you don’t feel self-conscious anymore?”

She looked down. “I kind of still do, but it’s alright.”

Charles bent down and turned his head so that he could look up at her and meet her eyes. “It’s not. Anything that bothers you, bothers me. Please tell me what it is. I can fix it!”

He was so sweet, she thought. Silly, but sweet. “I am sure you’ve already noticed?”

Charles shook his head. 

“Ahhh . . . well . . . I’m not a small girl, yes?”

His brow creased as he thought this over. “Yes?” 

“And sometimes I get embarrassed about it. People say things. Or act differently because I’m not pretty - like other girls are. I’m not slim. You can’t wrap your arms around me or pick me up.”

Charles smiled brightly, concentration evaporating. “Oh but I can!” He gripped her waist at each side and picked her up. They spun around and then he set her down, looking incredibly pleased with himself.

Her lips curled up in a smile at his enthusiasm, only slightly dampened by the fact that his vampiric strength didn’t change how she looked. “Ok, yes,” she laughed, “you can pick me up. But a - a normal guy couldn’t. Because I’m -” the word fat stuck in her throat. Chubby. Rotund. Stocky. Husky. There was no way to say it that didn’t sound bad. 

“Beautiful? Is that what you mean to say? Because I don’t think a normal guy would deserve you.” His gaze turned melancholic. “I don’t deserve you either. But . . . I want to keep you anyway. Is that alright?”

She bit her lip. “You - you don’t mind that I’m like this? Overweight? That I have rolls and curves and -”

Charles looked confused for a moment, but despite his playful nature, he wasn’t a fool. He brushed a kiss across her lips before she could continue. “It’s not that I don’t mind. There isn’t anything about you that I disregard. That I overlook. I am not . . . how would you say . . . in love with you despite your shape.”

He paused to kiss her again. “I am in love with all of you. Exactly like this.” His smile returned as bright and sweet as ever. “Let me love you? Please? I promise I will show you how beautiful you are. How perfect I find you.”

And really, what answer could she give to that, but yes?

#ikemen vampire #ikevamp vincent #ikevamp napoleon #ikevamp charles #fanfiction #fanfic #otome #otome guys #fluff #body positivity

[cirilla-fiona-riannon]

Ikevamp Act 2.5

Chapter 6

After the attack by the Duke of Wellington and Gilles, we returned to the mansion and were greeted by a flustered-looking Sebastian.

Sebastian: "Napoleon, Jean, and Mitsuki. Are you all safe?"

Napoleon: "Safe? What do you mean, Sebastian?"

Sebastian: "I was worried that someone might have attacked you along the way."

Sebastian's words make us look at each other.

Jean: "How do you know we were attacked? Do you know anything about it?"

Sebastian: "So that means you guys are also..."

Sebastian: "Anyway, let's talk about it inside."

Comte: "............."

Even though all the residents are here, the living room seems tenser than ever.

I look over at the grim expressions on everyone's faces and gasp at what I see.

Mitsuki: "Vincent, Isaac, what's with the injuries!?"

Vincent has a bandage on one arm of his blood-soaked shirt, and Isaac is being treated with gauze on his side.

Vincent: "Don't worry, mine's no big deal."

Isaac: "Mine too―OW!"

Arthur: "Don't act so tough, Newt. Even though you're a vampire, your wounds won't heal instantly."

Arthur: "And Vincent. It's your precious arm, so it's obviously a BIG deal."

Mitsuki: "Take it easy, both of you. Arthur, please let me help with that."

Arthur: "OK. Mitsuki, you hold the gauze."

Isaac: "Mitsuki, Arthur. Thank you."

(This kind of wound is usually treated in the hospital. But luckily, Arthur, a former doctor, is here to help.)

Their bodies are much stronger now than a human's after becoming a vampire.

Although their wounds heal faster, they can't go to regular hospitals for fear of being found out. And unlike purebloods, if badly injured, there's a chance that they may not be able to keep up with the healing process and die.

(But I'm sure that even if they become vampires, the pain they feel is still the same.)

Seeing Isaac draw a deep breath to release the pain as he puts his shirt back on is hard for me to watch.

Napoleon: "Hey, what happened to you guys? Explain it to us."

Mozart: "We were attacked by someone who wasn't supposed to be here at this time."

(-----!)

Today, Mozart and Isaac were summoned to the town hall by a letter sent in the name of an acquaintance.

They thought it was strange that the letters came from different senders but were summoned to the same place at the same time, and they were surprised to learn that Salieri and Robert Hooke, two people from their pasts, had appeared.

Mozart: "They've been looking at us with an unusual amount of hatred."

Mozart: "Eventually, Hooke took out a knife and targeted me."

Mozart: "But Isaac protected me and got stabbed instead."

Isaac: "..........."

A brief silence fell, and Theo was the next to speak.

Theo: "Broer and I were in the studio together when we were attacked. The one who showed up was Paul Gauguin."

Theo: "He said he was a 'vampire' straight out."

(Vampire!?)

Theo: "It's my fault Broer got hurt."

Vincent: "Theo..."

Theo and Mozart clench their fists tightly.

I guess they're seething with frustration for causing their injuries.

Napoleon: "It was Gilles de Rais and Wellington who attacked Jean and me."

Sebastian: "The Duke, who used to be your enemy, and Jean's ally?"

Napoleon: "Yeah. He seriously attacked me even though we were in the middle of the city. So I did my best to fight back."

Dazai: "Isn't it strange? Not only did the two former rivals attack each other, but one of them even attacked a former friend."

Mitsuki: "They both had insane eyes..."

I recall vividly the scene I saw earlier and couldn't help but interject.

Mitsuki: "Their vacant eyes, words, actions, and behavior were like raging emotions."

Mitsuki: "But all of a sudden, they left clutching their heads in pain."

Vincent: "Gauguin, too. He seemed to be driven by intense emotions."

Vincent: "When he talked about the painting, he looked sad for a moment, and then he grunted and stormed out."

As far as I can tell, Salieri and Hooke must have been acting weird, too.

As I confirm the events of the day, I put all the puzzle pieces together, and several questions arise...

Mitsuki: "In the first place, how could it be a coincidence that six people were attacked on the same day?"

Leonardo: "It's not funny to see your past enemies come back to life at the same time."

Jean: "Yeah, it's not funny at all. But what about you, Comte?"

Comte: "............"

Exasperated, Jean grabs Comte by the collar with a menacing look on his face.

Mitsuki: "Jean!"

Jean: "You're the only one who can pull off this kind of trick."

Jean: "Did you do all this? Answer me, Comte!!"

Comte: "Jean, I..."

Napoleon: "Calm down, Jean."

Napoleon: "Hey Comte, I don't think you planned the attack."

Napoleon: "But I think you're the closest to the truth."

Leonardo: "Things are already in motion. It's time to spill the beans."

Leonardo: "You got these guys involved, keeping quiet is not a way to protect your family or take responsibility for them."

Comte: "I guess you're right."

Comte looks at us one by one...

He spoke out in a faint, hushed voice as if unraveling a fairy tale.

Comte: "The door that transcends time and space. There is one other person, besides me, who can use it to bring back people from the past."

Comte: "An immortal pureblood who parted ways with me hundreds of years ago―My friend."

(A pureblood other than Comte and Leonardo...?)

Comte: "My friend and I spent some beautiful times together as children, but at one time, we were separated for some reason."

Comte: "But as we grew up, we were reunited again."

Comte: "At that time, I was feeling the emptiness of all the human lives that were dying in front of me, and our never-ending pureblood lives."

~~~~~~~~~Flashback~~~~~~~~~

Comte: "Hey... if there's a flower that never withers, do you think that would be beautiful?"

Comte's friend: "Hm, I don't know. What do you think, Comte?"

Comte: "I think a flower is beautiful because it withers."

Comte's friend: "Like humans?"

Comte: "Yeah. But we vampires live on, like a flower that never dies."

Comte: "I wonder what it means for a pureblood to live forever…"

Comte's friend: "I believe that no matter how long they live, all living things are simply fulfilling the destiny given to them."

Comte: "If there is such a thing as fate, then this world is cruel."

Comte: "While giving humans a talent full of brilliance, they still leave their lives fleetingly."

Comte's friend: "You're contradicting yourself, Comte."

Comte: "Contradicting?"

Comte's friend: "You value their fleeting lives, but you also lament their fleetingness. You're seeking eternity in mankind."

Comte: "..........................."

Comte's friend: "But... Hey, Comte. Suppose human life and talents could last forever…"

Comte's friend: "Do you think that might also lead to their happiness and the world?"

Comte: "What do you mean...?"

Comte's friend: "Shall we create it? A flower that will never wither."

~~~~~~~Flashback Ends~~~~~~~

Comte: "He smiled when he said that."

(His friend suggested that they bring people back from the dead.)

Arthur: "So, reviving humans with brilliant talents as vampires who will never die is the flower he spoke of, huh?"

Arthur: "And with their talents, the world would be a better place, and the lives of the Purebloods would have more meaning."

Comte: "It's not just about talent. This man and I decided to bet on the strength of your hearts and on your strong will to thirst for life."

~~~~~~~~~Flashback~~~~~~~~~

Comte: "It's okay to bring back to life great men of talent. But can they endure an endless eternity?"

Comte: "Humans who become vampires after being bitten by purebloods eventually find it painful to live..."

Comte: "They often self-destruct, resent the purebloods, and go insane."

Comte: "Don't you think this plan will end sadly, too?"

Comte's friend: "Yes, if they're a soft person, their heart might break."

Comte's friend: "There's no point in forcing them to do something if they don't want to."

Comte's friend: "So, let's do this..."

Comte's friend: "First, we need to look for those who sincerely and strongly wish to live, even in the extreme state of death."

Comte's friend: "Next, we'll ask if they have something they want to achieve and come back from the dead, even if they become a vampire."

Comte: "So you're leaving the choice up to them?"

Comte’s friend: “Yes. If they're someone considered to be great men, then I think they're more than prepared.”

Comte: "We started looking for every possible way to create a flower that wouldn't wither. And then..."

Comte: "A blueprint for a door that can transcend time and space? Where did you get this...?"

Comte's friend: "I remember seeing it in an old library. I tried to transcribe it from memory."

Comte’s friend: “Hey, Comte. With these blueprints, we can…”

~~~~~~~Flashback Ends~~~~~~~

Comte: "Relying on those blueprints, we finally completed the door.”

The completion of the door sounded somewhat hopeful.

(Comte and his friend believed that their idea would lead to happiness.)

They expect to see a flower that never withers and is full of talent.

Comte: "But just as we were about to put our plan into action... We got caught up in a big war."

Comte: "And as I watched the lives being lost in the flames of war, I began to ask myself questions I couldn't shake."

Vincent: "What questions?"

Comte: "Is it really okay to mess with human life? Is it not against the reason of the world?"

(Reason of the world...?)

The words fall into my chest like a foreign substance that won't disappear.

(True, I would be lying if I said that reviving life is not against the natural order of nature.)

(But the fact that everyone in the mansion was revived this way...)

Is it allowed or not? I don't really have an answer for that.

Comte: "I told my friend my doubts, and the plan was put on hold. But then he used the door by himself.”

Theo: "You mean he went through time and space?"

Comte: "Yes, he went to the future out of curiosity and hope."

Comte: "But when he went through the door, what he found was..." 

Comte: "A world where everything had been destroyed by the wrongdoings of humans―a world that had been devastated."

Comte: "My friend, who saw the devastating world with his own eyes, came back to the original world and said..."

~~~~~~~~~Flashback~~~~~~~~~

Comte: "What did you say? What are you talking about all of a sudden?"

Comte’s friend: “I said that we should use the great men’s talents effectively to protect the world.”

Comte’s friend: “The greats will be the ones to prevent the devastation that will come in the future.”

Comte: "Use them effectively…?”

Comte: "What the hell are you planning to do with the great men you've resurrected?"

Comte’s friend: “For example, Jean d'Arc stood up for his country and saved the people.”

Comte's friend: "Isaac Newton achieved great feats in physics and changed the world..."

Comte's friend: "People were enthralled by the plays spun by William Shakespeare.”

Comte’s friend: “How often has one great man moved people’s hearts and moved history as they did?”

Comte's friend: "We'll do the same thing. We'll use them to move people's minds and manage their thoughts so they don't go down the wrong path."

Comte's friend: "And we, the purebloods, will continue to watch over the world.”

Comte: "Manage their thoughts!?”

Comte's friend: "I want to make this beautiful world and all human beings eternal as they are. That’s why I’ll control them by my hand.”

Comte: "Wait, your idea is too crazy!"

Comte: "Using people like pawns, much less managing their thoughts from the shadows, is just insane.”

Comte's friend: "Do you really think so? Even you wished to see human lives and talents spared from being destroyed."

Comte's friend: "If things continue as they are, human beings and this world itself will decay."

Comte: "But deliberately interfering with the world is unacceptable.”

Comte: "Vampires are not the rulers of humans. You wanted to coexist with humans, right?"

Comte's friend: "Yes."

Comte's friend: "But when I saw the stupidity of humans and the consequences, I thought it would be nice to have a new form of coexistence."

Comte: "How can this be called coexistence?"

Comte: "It's not certain that the future will be devastated. There's always the possibility that people will change..."

Comte's friend: "There's no guarantee that we can avoid it by doing nothing and betting on possibilities."

Comte: "............"

Comte's friend: "Comte, you were the one who wished there were flowers that never wither, remember?"

~~~~~~~Flashback Ends~~~~~~~

Comte: "No matter how many words we exchanged, the gap only deepened.”

Comte: "I didn't agree with his ambition to control human thought. That's why I left him―"

Comte: "With only the memory of the two of us laughing together..."

(That person was an important friend to le Comte...)

Comte covers his face with one hand and sighs heavily.

Comte: "It was all my fault, to begin with."

Comte: "Even though I'm trapped in the emptiness and loneliness of parting, I still reach for the glowing presence of human beings..."

Comte: "It all started with such selfish, one-sided yearning."

(I don't think he's selfish. Comte is just...)

Mitsuki: "You just loved humans."

Mitsuki: "Even though we are different species, you still wished to be close to humans."

Comte: "Mitsuki..."

Comte: "Yeah. I can't help but wish to be with you guys."

Comte, who seems to have traveled into the past while telling us the story, says this firmly.

Comte: "I'm sure he hasn't given up on his ambitions. I'm sure he's targeting all of you to use as pawns."

Napoleon: "So he's the real mastermind."

(He put everyone in danger and plans to use them to manage human thought...)

It's frightening to think that he has had that kind of idea in motion for a long time, and yet...

Mitsuki: "Your friend is so concerned about the devastation of the world that he could come up with that kind of ambition."

Mitsuki: "His heart must have been really shaken up..."

Comte: "............"

Jean: "There's just one thing I don't understand."

Jean: "Gilles and I were allies before. So why did he attack me?"

Jean: "He was acting weird. Wellington and probably the others as well."

Jean: "Was your friend responsible for Gilles and the others' confusion?"

Comte: "Maybe he brainwashed them."

Napoleon: "Brainwashed?"

Comte: "That guy has special powers. I think he brainwashed them to amplify their negative emotions."

Leonardo: "I see. That's how he makes those who have made their mark on history clash with each other."

Leonardo: "I guess he did that to sort out the pawns who have more influence and can lead the human race."

Dazai: "That's a grand ambition. But why would your friend go to such lengths?"

Dazai: "If he wants to change the future, why don't he use the door?"

Isaac: "That's right. If he can go through time and space, he can even solve the events that cause the devastation."

Comte: "Unfortunately, it's not that easy to change the future."

Comte: "A major turning point in history―you can't fundamentally change an event that will be remembered by many people."

Comte: "Just as a narrow river will eventually reach the sea, it will mysteriously end up at the same place, no matter what we do to it."

Comte: "Maybe that's also the way the world works."

Sebastian: "It's as if some invisible corrective force is at work..."

Dazai: "What happens if you try to "forcibly" change history?"

Comte: "There's a possibility that the interferer himself will disappear..."

Following the world's logic, history continues in the direction it should―even if the destination is desolation.

(Is that what you call fate...?)

Comte: "Perhaps my friend is aware of the corrective power and the reason of the world."

Comte: "That's why he's betting on the possibility of moving people's hearts."

Comte: "He loves humans. He believes that the human heart can overturn the reason of the world and lead to peace."

(Human heart...?)

~~~~~~~~~Flashback~~~~~~~~~

Vlad: "The world is sometimes full of sorrow, but I want the humans I love to smile."

Vlad: "With all my heart. That's why…"

Vlad: "I have to protect the future of this world for them."

~~~~~~~Flashback Ends~~~~~~~

(Huh? Why did I remember Vlad?)

Is it because we were talking about something somewhat similar?

The outline of the faceless friend Comte describes overlaps with that soft, all-encompassing smile.

Leonardo: "He believes in the value of the human heart, and that's why he wants to manage people's thoughts?"

Leonardo: "It's a very contradictory ambition, but for him, it's justice, huh?"

Leonardo: "*sigh* He's acting like he's some kind of god."

Leonardo shrugs his shoulders and pulls a cigarette from his pocket.

Comte: "God? How ironic. He was worshipped like a god by his family. That's why he was always lonely."

Comte: "But he loved everything―animals, plants, trees, humans, and vampires equally."

Comte: "Even though he was called the ''Son of God,'' he was a dear friend to me. Though his heart is now lost..."

As Comte mutters sadly, Leonardo, who is about to go to the window with a cigarette in his mouth, stops and turns around.

Leonardo: "Could that guy be the Draculesti family's―"

Comte: "Yes, that's right. My friend's name is Vlad."

(WHAT?)

In a church on the outskirts of town, a man is humming a light tune.

Vlad: "····♪····"

Previous Part╏Next Part

#ikemen vampire #ikemen vampire act 2.5 #ikevamp act 2.5 #ikevamp jp #ikevamp #ikemen series #cybird #ikevamp translation

[momo-de-avis]

Well now I'm sad (about the paintings). Were they destroyed on purpose during battles and such, or was it normal decay?

two things, technically three

Eathrquakes being number one. I use the plural here because it wasn't just the 1755 one. That one was the strongest, but not the only one. In 1630, for example, Lisbon suffered a terrible earthquake that caused enough destruction. I believe that one was an estimated 7 or something on Richter scale

The second reason was Napoleonic invasions. And here is where ti divides into two reasons, because both the french and the english stole a lot of shit. I vividly remember asking my prof which did he think caused more destruction/disappearance of artoworks overall, the earthquake or the invasions, and he considered it for a while and came to the conclusion that it was both. We know for a fact that the french stole a lot of works from monasteries mostly. But the english did so to. They vandalised a lot of stuff, and a lot of paintings disappeared. We had Van Der Weydens in the country that vanished, and we know they existed because we have every documentation (sometimes even drawing reproductions) except the painting.

It would also justify why Portugal seemingly has no paintings of its kings and queens before John I, and even after that, until Manuel I it's like paintings of kings and quees are a rarity. Which does not make sense. Leonor, wife of John II, would have a court painting sent to her cousin Maximillian, emperor of the holy roman empire or whatever it was called. But we have exactly two depictions left of her, both as a widow, one in a painting and one on a mural. Before her, only Isabella of Portugal, Duchess of burgundy, and Philippa of Lancaster have paintings, though the latter is in illuminated manuscripts mostly. Also Infanta Santa Joana. And as for kings, we have of John I, King Duarte (ARGUABLY BUT I'M NOT GETTING INTO IT), Afonso V and some other infantas. Many of them illuminated manuscripts too.

To quote my professor, who was honestly one of the best profs I had, "I bet my ass there's a painting of an unknown lady somewhere in the Louvre's reservoirs that is Queen Leonor"

#the 1755 earthquake was also the most advertised #because it had significance in the enlightnment era #and caused a significant shift in europe regarding schools of thought

[hepbaestus]

Thoughts on Night at the Museum Battle of the Smithsonian (2009)

I've got notes to write so I'm going to be watching Night at the Museum Battle of the Smithsonian (2009) and writing whatever comes to mind.

Night at the Museum 2: electric boogaloo

I FORGOT JON BERNTHAL IS IN A NIGHT AT THE MUSEUM FILM, I DINT KNOW IT WAS THIS ONE

This is set 2 years after the first? Wow

Oooo they've got abandonment issues

"like you're generally slightly bothered." Oof

It's their last night animated? Sadge

Jed working a phone is quite funny - such a small man working such a big phone

Stealthy Larry, well done

The music's already better than the first film's

I love that he's trying to be intimidating

Ah favourite sibling syndrome

Using a Rubik Cube to distract the brother

The detail on the CGI octopus is very good

"we're Americans, we don't plan, we do" never have I heard such a fitting sentence

Pretty woman

A pretty woman who's confident and can hold her ground? Oh my my my

They just jumped into a painting, omg

I am half god - once removed. That's so funny

ITS JON BERNTHAL MY MONOCHROMATIC MAN - it's even better that he's a villain (or at least a villain sympathiser)

Why is he so hot?

Napoleon trying to seduce Amelia Earhart oml

Yes Jedediah! Working with Julius for Larry

God I love Owen Wilson's accent as Jedediah

No why! Why is Jedediah in a sand timer?

The sound of scratching Teddy's nose was not good

DARTH VADER?????

Fuck. That gun flip.

Caesar running and screaming and then it pans out to a wide shot of the garden and it's silent. I love those types of shots

Never thought I'd hear Einstein singing that's the way I like it

Owen Wilson looks so sad

Octavius and Jedediah, the best enemies-to-lovers

The slow-mo couple fighting sequence is great

The throwing the gun from one hand to another shouldn't be that hot

Awww a semi-happy ending for Larry and Amelia

Cowboy getting to 2nd base, hell yeah

"Welcome home, son" MY HEART

Awww they get to live animated

Gervais giving a back handed compliment, fitting for his character

Ooooo Joey getting his full name shouted at him and he has the gaul to not quiver in his boots like the rest of us mortals?

Overall score: 6.5/10

Film recommendations welcome!

#night at the museum battle of the Smithsonian (2009) #night at the museum #film recommendations #film reviews #film review #film #recommendations welcome

[startreatment]

i can't believe i haven't asked for your in depth thoughts on the car yet but i am asking it now! has the top 5 changed?

so i just checked and my top 5 was mirrorball, big ideas, hello you, sculptures and mr schwartz and tbh i don't think it did. i'm not sure about mr schwartz, i think it might be switched for the car or jet skis on the moat, but yeah. some thoughts on each track individually:

there'd better be a mirrorball: instant classic, come on now! gorgeous production, THE STRINGS!!, smooth vocals, so hazy, beautiful and atmospheric. i cried to it more times than i am willing to admit, it really is a tearjerker. i've seen some people say that lyrics are the weakest part of the album, which i obviously disagree with, but especially on this one. it's pretty simple, but still effective and touching. "i'd throw the rose tint back on the exploded view darling, if i were you" always gets me.

i ain't quite where i think i am: FUN!! the weakest one on the album, but i genuinely love it. WAAAAAAH!! i am a she looks like fun enjoyer as well, so i guess i just like having fun idk?

sculptures of anything goes: no words to adequately explain the sheer grip this one has on me. everything i wanted and more. so dark, ominous, rich and textured, we love her!! and the title's very cool, too. it is a career highlight idc what y'all say!! 5 years from now we're gonna treat it with the same respect and love we treat crying lightning, four out of five and other pretties. love. alex turner work on a portishead inspired album challenge

jet skis on the moat: didn't grab me on the first listen, but it's actually very cute! gives me western vibes, one of the songs that reminds me of TBHC the most, for some reason. love the way he delivers "or are you just happy to sit there and watch while the paint job dries?". "you know that it's alright if you're wanna cry" thank you alex, but i have been bawling since the first track so <3

body paint: still sad it didn't live up to my very high expectations that were set up by that damn kings theatre live "leak", but i appreciate it way more in context. the piano riff is insane tho, sometimes it just randomly plays in my head throughout the day. also, really enjoy the first lyric. "for a master of deception and subterfuge you've made yourself quite the bed to LIE in" ok we get it you're very funny. also. "and i'm keeping on my costume and calling it a writing tool"? yeah he's.......... mhm

the car: ruins me the same way ultracheese does, which means i sob uncontrollably until i feel like there's no air around me at all. childhood memories always get me so hard and the strings add a sense of melancholy i can't handle. very sick of them to put it in the middle of the fucking record! anyway, it kinda reminds me of faust arp by radiohead, which is a win, because in rainbows is very good. good track!

big ideas: have i ever said that we should artists grow? let them change and flourish and explore new things? hm, idk. lyrically it's a bit too on the nose, which is not what i was expecting at all, but it's a welcome change from cryptic TBHC lyrics. sometimes i just want him to say what he thinks, you know? and we're gonna stop analysing the lyrics now, because i don't wanna get upset.

hello you: the first make me hold my breath and stop me in my tracks no matter what i'm doing (kinda like nfwmb foof and diwk do so. do with that what you will). that piano riff (? can you call it that idk i know nothing about music) is CRAZYYYY. also plays in my head throughout the day, so catchy and fun. lego napoleon moveh. vortex to vortex. the buisness they call show. 'ello gruesome. HELLOOOO YOU. might be my favourite from the record if i'm being completely honest. sorry, i love a good instrumental, what can i say. i actually saw someone say it's pattern with no miles, which is pretty accurate!

mr. schwartz: my head hurts. again, not getting into the lyrics, but i HAVE to point out that "and if wе guess who i'm pretending to be, do we win a prize?" makes me wanna lay down for a sec. also FINGERPICKING!!

perfect sense: why is it so short. melancholic (what a surprise), but doesn't make me wanna die! it's the type of melancholy that you feel when you're watching the last episode of your favourite show. a nice farewell song that sounds sad but hopeful, a gorgeous closer. they Know how to write a good closing track for sure. love it!!

my overall review: makes me cry, but it's very good. would love to have a couple more tracks that sound like i ain't quite or hello you to dilute the ... whatever's going on in the middle that makes me sob, but i can also appreciate the fact that it's just 10 tracks. still, we want b-sides @ am. make it happen!!!!! a 9/10, already in my top 3 (which is tbhc > humbug > fwn = the car), taylor swift cant't relate

#i didn't proofread this at all so i HOPE i'm making sense #what about you? #val 💚 #honey ask me i should know*

[historyofart-emus]

Il Saltimbanco by Antonio Mancini. Italy, 1879. Oil painting.

In the early 19th century, the exile of Napoleon lifted restrictions on public expression and brought about a new era of innovation in theater and performance, bringing about characters such as Pierrot and Harlequin. Antonio Mancini was part of the Verismo movement, an Italian response to Realism, and often painted children and street performers.

In this painting, he depicts a young boy (the model being Luigiello, one found in several of Mancini's paintings) as a Saltimbanco, an acrobat who used a small bench as his platform. This type of performer can be dated back to at least the 18th century, and would perform both on streets as well as in theaters. While the Saltimbanco is Italian in origin, the nature of this character changed with the changed in the French theater scene in the 19th century. The writings of the French poet Charles Baudelaire in particular reimagined the character in his short story, 'Le vieux saltimbanque.' Originally a cheery character associated with the thrill of Italian commedia, he was reimagined as a sad clown, a man depressed by the contrast of his "comic rags" to the misery around and in him. Similarly, Mancini often focused on the desolate, raggedy nature of the performers he was depicting, particularly when they were poor children. In this piece, the performer is not particularly raggedy, but he is rather frail and posed similarly to portrayals of Jesus as the "Man of Sorrows." This piece combines both the contemporary reinvention of theater as well as the artists focus on street performance, themes also seen in other portraits by the artist.

#art #art history #art history student #oil painting #painting #il Saltimbanco #antonio mancini #mancini #saltimbanque #saltimbanco #verismo #impressionism #street performer #acrobat #realism #victorian art

[crackspinewornpages]

Les Misérables 170/365 -Victor Hugo

161

His house has since been demolished and rebuilt, married twice and a connoisseur of paintings.

162

He abandoned in memories of his past and regarded the names in power as vulgar and bourgeois his Godfather bestowed on him the name Luc-Esprit.

163

He was crowned by the Duc de Nivernais and the deaths of Louis XVI Napoleon or the return of the Bourbons defaced that memory. And he always narrated how he saved himself from the Terror of 1789. (that’s the one where Madame Guillotine was popular)

164

He had theories to let the wife control the funds, but it nearly left him destitute. Still, he had a house and servants and called all the women Nicolette. (is that like calling all the maids Maria)

165

His sorrow converted into wrath, all sorts of prejudices and liberties in his royal renown. He paid for the maintenance of two boys who he claimed not to be his. He complained of being cheated by a businessman of inheritance, the country has degenerated he claimed. (ok boomer) His second wife had a daughter who married a colonel at Waterloo and died at thirty. He also took a lot of snuff and believed little in God.

166

This was M. Luc-Esprit Gillenormand, in spite of it all, he was venerable and by 1814 he had immured in his habits of antiquated elegance.

167

The two daughters, ten years apart, were little like sisters, the younger had a charming soul, the older a chimera. Mademoiselle Gillenormand was a prude though allowed her grandnephew to embrace her, her friend Mademoiselle Vaubois was a blockhead. Mademoiselle Gillenormand grew lost as she grew old, melancholy, with unknown sadness, the other in the house was a little child, his grandson.

BOOK THIRD THE GRANDFATHER AND THE GRANDSON

168

In Rue Servandoni Gillenormand frequented solons and it cost his self-respect nothing. Madame de T had frequent friends in her Royalist solon amusing themselves on events and songs. Gillenormand was one of two men there the other de Lamothe-Valois. In the bourgeoisie honored situations decay, in 1815 Lamothe was held in consideration of the celebrity of his name. Gillenormand’s consideration was first rate and always accompanying him was his spinster daughter and grandson, son of the brigand of the Loire.  

169

If someone chanced through the town of Vernor, they may have seen a man about fifty walking along the bank of the Sienne. He lived alone in a small house, cultivated his flower garden, the brigand of the Loire. Anyone who read military memoires would find frequency of the name Pontmercy and the long service record. At Waterloo he was the chief of a squadron of cuirassiers and received a sword across the face and fell into the ruin of Ohain. Georges Pontmercy was the brigand of Loire.

After being pulled out of the ravine he rejoined the army, transferred from ambulance to ambulance. Sent him to residence and surveillance at Vernan with half pay and between two wars married the younger Gillenormand who died leaving a child who was forced on threat of disinheritance to give him to his grandfather. (you might be wondering why the same man who would take a son from his father because he didn’t agree with his politics would support two kids who definitely aren’t his well people are complicated) The boy, Marius, knew he had a father but nothing else, but listening to gossip grew shame about him. Pontmercy could only catch gazes of him, a sympathetic priest befriended him and learned his history. Twice a year Marius wrote dictated letters to his father and the responses his grandfather intercepted. (if you’re not getting it it’s like a right wing conservative grandfather took his grandson away from his left leaning liberal son in law)

170

All Marius knew of the world was the solon and he soon grew melancholy, and he beheld the old women like phantoms and sometimes the ancient priests mingled. “Moreover, as it is indispensable that the Revolution should be everywhere in this century, this feudal solon was, as we have said, dominated by a bourgeois. M. Gillenormand reigned there.”p.397 The essence of Paris on white society, reputations held in quarantine, traces of anarchy in renown. Today, solons no longer resemble those Royalists, they are now demagogues. Madame de T’s society was haughty refinements of the old regime, buried but alive, antiquated eccentric speech. Men and deeds judged, abated each other, an air of having lived a long time ago, a mummified society.

Madame de T’s was ultra, to go beyond a partisan of things to the point of being their enemy. The first phase of the Restoration, the first six years were extraordinary catastrophes, sinking in the past little new, little old. “Former days did not recognize Yesterday. People no longer had the feelings for what was grand,.”p.398 This Society no longer exists nothing of it does today, engulfed in a deluge beneath two Revolutions. “What billows are ideas! How quickly they cover all that is their mission to destroy and to bury, and how promptly they create frightful gulfs!”p.398

These solons had their own literature and politics but didn’t keep their purity, in 1818 to be a Royalist was to excuse themselves and ultras were proud. They should have succeeded; their mistake was to create ages of youth and oppose conservative liberalism which demolishes. Why not accept the whole of history and the whole of France, those doctrines criticized the protected Royalism, which displeased it. Marius studied as children do, expanding to a vulgar pedant went to law school with not much love for his grandfather.

(you might have noticed by now I’ve been leaving out details Victor bloats his book with so much superfluous backstory and infodumps I really don’t know what’s important)

NEXT

#les miserables #victor hugo #books #book summaries #epic #historical fiction #tragedy

[psalm22-6]

More drama brought to you from 1862

On the left, Antoine Grenier. On the right, Albert Wolff (painted by Manet) 

It is apparent to me that I will have to search through le Constitutionnel to see what it is Limayrac wrote about Les Misérables and Victor Hugo that it was so offensive as to inspire not only this tirade but another article also published in Le Charivari

To recap, le Constitutionnel was at the time a mouth piece for the Second Empire and Napoleon III, Antoine Grenier and Paulin Limayrac were supporters of that regime and wrote for le Constitutionnel. Albert Wolff, the author of this article (and former secretary for Alexander Dumas pere) was the (former?) editor of Le Charivari, which published satire and reviews with an anti-monarchist slant.

What the references to Grandguillot, and Poland are I would love to know. The refences to Italy and Austria are about the wars of Italian Independence which were fought against the Austrian Empire with aid from the French Second Empire. And the refence to Mexico, well this article was published June 1st, just under a month after the Battle of Puebla. Any other things people pick up on I would be happy to know. 

Le Charivari, 1 June 1862

To Monsieur Grenier, of le Constitutionnel

Monsieur, for several weeks I remarked with great satisfaction the absence in your paper of the so famous and all powerful Sir Paulin Limayrac, said to be the joy of children and the tranquility of families. 

What could that eminent publicist be doing in his tent? Why did he so rarely appear before his subscribers? Evidently he had dived into reading Les Misérables, and I waited each morning to find in le Constitutionnel a critique written by that stunning man, who modestly takes the title Savior of Italy. 

Because Monsieur, you are forgetting perhaps, that without M. Limayrac, Italy is lost. He alone in the press defends the oppressed of Austria. Your editor-in-chief declared it so one fine morning in le Constitutionnel itself, and before this affirmation I bow with love and respect, as M. Grandguillot bowed Thursday before political mandates. 

This Thursday, May 29th, I was finally able to know the judgement on Les Misérables that le Constitutionnel pronounces in your voice.

It is truly evident, Monsieur, that that article surprised no one.  Evil tongues have been claiming for a long time that M. VICTOR HUGO and A. Grenier could never get along. The first man, highly critical, seeks, it is said, the weak and sad side of things and hisses them; the other man, it is added, is sworn to applaud society and always agrees with it, even when it is wrong.

As for me, Monsieur, before forming a personal opinion about Les Misérables, I  awaited impatiently the judgement of le Constitutionnel. 

Monsieur, now that le Constitutionnel has finally spoken, I know what to believe about Victor Hugo. 

Let me see now, Monsieur, if I have understood your whole idea correctly.

Both of us understand, Monsieur, that society is very well organized, that there is nothing left to do about it.

It is true that here and there one finds great misery, a horrible unfortunate person, but what of it? We don’t have to look at that or remedy it or dig into the original cause. 

It suffices for le Constitutionnel to deplore evil, after which it speak no more of society.

Let us deplore then, Monsieur, for that is something at least. 

Nothing is more false than that book by Victor Hugo. 

Let us analyze it, Monsieur. 

Here is Jean Valjean, a soul emerging from the shadows and searching to raise himself to the light, but the past pulls at him each instant and throws him violently back to earth. 

Evidently this grand figure is based on Monsieur Hugo’s personal prejudices. 

Monsieur, we two know well that a man hit down by the law can use his time in prison to repent for the past. Once he leaves prison, he is welcomed everywhere without mistrust. He has only to say “I am now an honest man” and everyone will believe him. The charity of the evangelical Constitutionnel opens to him the great door of repentance and moral rehabilitation. Assuredly there is nothing more simple. In a world so well governed by le Constitutionnel, there are no unhappy penitents that brutal society rejects and that the past pushes back, continuously and in spite of itself, towards the mud.

Well then! M. Victor Hugo takes us for fools, you and I, in telling us such children’s stories.

And then, for the rest, even if it were true, it doesn't matter to us, Monsieur, we have many other things to do. We care little about the great miseries we rub shoulders with! The misfortune that runs through France does not concern us; le Constitutionnel has other things to do.

First of all, le Constitutionnel concerns itself with the happiness of the Mexicans, who do not want its happiness.

Then it must cry a bit over the fate of the poor Poles, who always cry on their own.

Le Constitutionnel has traveling tears. When this newspaper feels the need to feel sorry about the ills of the world, it takes a passport and goes to moralize abroad.

But God forbid, Monsieur, that we touch on the rue de Valois. 

It is all for the best in the best of worlds and only a wicked heart like M. Hugo dreams of concerning himself with what is happening in his country and is of the opinion that France, which spends millions to help foreigners, could well have a few laws and a few millions to help the wretched who vegetate in France. 

Assuredly, Monsieur, only a wicked heart like M. Hugo can find so much heartbreaking eloquence to plead the cause of the wretched. The noble hearts of le Constitutionnel have other things to do! When you have served your subscribers a bit of enthusiasm, three miscellaneous facts, and the stock market price, your task is accomplished and with a clear conscience, you can move on to distaining the literature of great souls who were naïve enough to think that there were still improvements to be made to society.

I have, Monsieur, the honor of greeting you,

Albert Wolff

#les miserables #my translation #contemporary reaction

[libidomechanica]

In tones which (poore soules healthy as tragedy)

And where an occasional turn.     And wander a cover. Yet with travel with disdain you     are day you the trees watch. Things that sad, second moon grows patterned     into a patriot

nation, which Hamlet tears     desire to grieved my sleeve and unlawful, and laid and when     Arthur do? And, wonder to see, doe not broke my sight, the     moon-beam dwell, crie Victorie,

this den. She sighs, still usher’d with     old Benbow; and his debt, to think to do. ’Er he was common     cry, her eye, pant on thy lip, and her eyes o’er the Muezzin’s     cal to practice and

of thy motions love, for the churchyard     laid he, if the Beast. Who only the thing near,—all could,     young, unwaken’d which, some strangers good as sermon heard not     been by the spoke in fruit.

Cast one, straight almost empty honour     mother notion, whose the twelfth fairy queen, come nook a     glass not able to escaped or nothing but to keepe, as     thou shalt the scenes my

meditative mirth hath end. All, all     she passion, the twilight almost heav’n. Gods had stol’n thy branches     mix with Heaven of pleasures drown’d. And as a honeysuckle.     To battles, as

if crooning could have guess; but still     die—climbs I fail beneath of days of old time-piece together     the fuel perish’d, flames resort. We know how the sun, the     narrow strikes him, there lies

by her skill that my handmaid of     honour kept within, no sinking spirit calls, and round its     utmost pitch or rosin, grass before our harvests clings vse     to part its edge by shriek,

start, the bird upon the stories     shining lamps grew again are therein he was obliged to     keepe, as was the harbor and by chance relying fatal     web below than when he

did not still kept my words, station—     bearable: pennies sewn into a hemline. Sitting in     springs me to thanks, and wife. That vnto me beneath his no     blood than Ajax or

Achilles, and full of heroic     stomachs. In tones which poore soules healthy as tragedy.     Napoleon on the pit of inconvenient state is every     years that hast grieved my store.

Them grows colder to his wings, and     adore it, they slew, now back just gath’ring ev’ry thicket     chirps again. Of officers a sweetness, if not to     iudgement catches that lightning

has struck thee back to me it     seem’d to do with longing hue, and curst be still enter and     epic, if plains with his chance there was no sin to me-wards     your charms he met with

gratifying kings. How this harme did     not nap or lie in fair proportion was up, and I seal.     Signs painted face of lanterns, or his first Canto proue, but     hope drops are neighborhood

kind? Two of us at Conway     dwell within was, in heart to free as air, at sights more than     prosecuted for vengeance snatch’d at the one agrees? The     dying mine. Brief even

such a grand ever-musing itself     can fold mine, my Katie? When I study theme, so snug,     so calm, yet I bare with worse, which Satans subtill Serpents     guide, and tent to fancy

form’d the Noose of others, too, unto     my best of them in a cause, doe not perceiving drifts     in every can recall which had quite the portion which victory     by no meane the

exploratory resistance, each     stroking tobacco on a sudden rose, under his fires     of the light, and did loue- ditties produced by     I’ll write it not the knight.

#poetry #automatically generated text #Patrick Mooney #Markov chains #Markov chain length: 6 #126 texts #ballad

[alyssafusco03]

Post #1: On Experiencing Art Museums

In Paris there are many historical and beautiful museums all around the city that represent the important history and changes France went through to get to where it is today. As I have been able to visit many of these beautiful museums such as the Louvre, Carnavalet, d’Orsay, and l'Orangerie, my overall experience has been even more amazing than what I had hoped for. I especially have enjoyed being able to have learned some of the history so when I go to these beautiful museums I actually understand what the paintings are depicting, such as Napoleon crowning his wife or Marat dead in his bathtub, which allows me to have a better appreciation and understanding of them. I especially loved and have enjoyed learning about the realism period in art so when we went to Musee d’Orsay I was blown away by all the beautiful paintings all around me.  One of my favorites there was The Burial at Ornans by Gustave Courbet. Courbet was a very prominent realism painter and really helped shape this period. Courbet, like all other realism artists, really wants to focus on truth and sincerity in art, which I think Courbet does beautifully in The Burial at Ornans. I really love how in Courbet and other realism pieces you can see the hand of the painter in the canvas as it adds so much texture and dimensionalism. I am also a big nature and mountain and realistic person so I enjoy this time period for its call back to nature, truth, and just plain old everyday life. Courbet I believe does a beautiful job with this by emphasizing ordinary in an extraordinary way especially in his huge piece, The Burial at Ornans. With his use of color he was really able to express this sad feeling in the painting, even if you did not know what the painting was trying to tell you, his use of dark colors such as, gray for the sky or black for the peoples clothing, really do a good job at telling us how we should feel when looking at this piece. The movement of the piece is also interesting as there really is no central figure but rather two sides that your eyes move to, as the people are more prominently seen on both sides of this huge piece. There is also a lot of variety in this piece, almost to the point that you miss some of the key pieces such as, the coffin on the left of the painting and the hole on the bottom middle part of the piece. However, after noticing these two pieces the image becomes very clear at what Courbet is depicting, which is a funeral. I think what interested me the most about this painting is all of the questions that came to my mind when I was looking at this piece. As I took a moment to truly understand what was going on in the painting I wondered who the person being buried was? Were they of importance? Was it a man or woman? Where were they from? How old were they when they died? And lastly the one that still tugs at my brain now is what if the burial is representing the person looking at the piece? What if Courbet wants to show from a heavenly perspective what your own funeral could look like? All these questions truly connected me to the piece in a way that is almost hard to describe but at the same time so easy to understand. Which I believe is the reason I love the piece so much!

Being able to better understand how to really look at art and understand what I am looking at has given me a way better understanding and more importantly a bigger appreciation for the pieces so many people have created. The history behind the pieces and the painters helps add a deeper understanding as well to the pieces which is really amazing and makes me feel like a true art connoisseur.

Word count: 673

First image below is image I took of The Burial at Ornans, Second is found from the web so you can see it better!

[eliartblog]

Virtual Sketchbook 3

The Old Musician is a very imposing oil painting created by Edouard Manet on canvas in 1862. Its dimensions are 94x117 ¼ in. and is currently on permanent display at the National Gallery of Art in Washington, D.C. It depicts seven figures: three adults and four children at the forefront of the piece. Pigments were painted side by side rather than blended. This makes for clearer and sharper strokes. The main colors of the characters are dull pastels and somber earthy tones. The background is a blurry field it seems. This blurriness as well as the contrast between the light and joyful colors for the field and the more depressing maroon hues of the clothes worn by the people, emphasize these figures a little more. Additionally, one character in particular, the musician sitting down, is more heavily emphasized by being placed at the center of the piece. Proportion is also accentuated with the characters all being approximately the same height. 

The work makes me feel sadness and compassion for those characters who all seem to have belonged to the same or similar caste yet, they were strangers to each other. None of them besides the two boys on the left seem to want to interact with each other. The young girl’s raggedy blue dress is a prime example of their lack of means and status within society. They are the forgotten ones similar to the characters described in Les Misérables by the 19th century author Victor Hugo. 

The artist, Edouard Manet, was a French painter part of the movement known as Impressionism. However, it has been argued that he more closely fits into Realism. He was an ardent supporter of the poet and critic Charles Baudelaire, exemplifying as best he could the “heroism of modern life,” an expression used by the poet in the Salon of 1845, through his works. Writers and artists alike were to let go of the past and focus on celebrating the heroic virtue of contemporary life. In this painting, inspired by Spanish art, Edouard Manet celebrates each character and element of the slums in Paris. The man in the center of the piece is a gypsy musician accompanied by a gypsy girl and infant. The two boys are an acrobat and an urchin, while the two men on the right are a drunkard and a Jewish ragpicker. These slums were to be completely erased and remodeled under Emperor Napoleon III’s grand architectural plans for the city. Manet only sought to represent people he saw in his everyday life in his neighborhood with complete neutrality. He shows no opinion or critic whatsoever, he is only a spectator. Through this piece, we get a glimpse into what the poorer Parisian society may have looked like. 

The Old Musician is a prime example of how diverse our societies are and should be. We always hear of important politicians and CEOs, but we never truly know about all of the other people who work just as hard and are the backbone of our cities and infrastructures. The musician in the piece was probably incredibly well known within the slums as he most likely brought joy to others through his tunes. The urchin, an unruly child turned pickpocket, and the young gypsy girl with the infant in her disheveled look may seem foreign to many, but those types of people still exist today whether it be in our Western world or in another region. The displacement without any consideration of these populations is still widely seen today in cities where gentrification keeps on gaining ground. The Harlem neighborhood in New York is currently facing that issue. Evidently, although this work was created in the 19th century, it is still very much relevant to this day. 

Baudelaire and the Heroism of Modern Life | Stanford Humanities Center. (2016, November 10). https://shc.stanford.edu/stanford-humanities-center/events/baudelaire-and-heroism-modern-life 

Hiddleston, J. A.(James Andrew). “Baudelaire, Manet, and Modernity.” Modern Language Review, vol. 87, July 1992, pp. 567–75. EBSCOhost, https://doi.org/10.2307/3732920. 

The Old Musician. (n.d.). https://www.nga.gov/collection/art-object-page.46637.html

#art #art analysis #edouard manet