#also I just love baroque paintings in general | Explore Tumblr Posts and Blogs

flowerandblood · 7 months

Text

Glass Cuts Deepest (1)

[ professor! • Aemond x student! • female ]

[ warnings: angst, mention of trauma and violence ]

[ description: A female painting student is finally able to choose the specialisation she has dreamt of - stained glass. She wants to become a student of the best specialist in this field, but he, for some reason, refuses to accept female students into his workshop. She finds out that he once slapped a female student of one of the other professors. Nevertheless, she makes an attempt to find out what happened then and to convince him to teach her. Slow burn, sexual tension, dark, agressive Aemond, great childhood traumas. ]

* English is not my first language. Please, do not repost. Enjoy! *

Previous and next chapters: Masterlist

_____

She remembered exactly the one sunny afternoon when, still being a small child, she walked with her father into an old, gigantic Gothic church that seemed to her to be so high that it reached up to the sky.

As they stepped inside they were struck by the distinctive smell of incense, dampness and a strange, disturbing echo with each of their steps, as if reminding them that they were in the House of God.

She remembered clearly the narrow, long windows filled with figures of saints, shimmering with various colours of glass, as if they were really looking at her from the heavens themselves. The rays of the sun shone through them like the glory of God himself, and she thought then that she wanted to learn more about them.

She quickly began to draw, at first it was just her favourite cartoon characters, but as she got older she began to take an interest in art and paintings. On all her school trips she would look curiously at the works of the old masters in art galleries and then read about them at home.

When she managed to get into a painting department at a state university, it seemed like the happiest day of her life. One of the specialisations she could choose after the first year was that of stained glass, and it made her face flush all the more because she knew who taught there.

Although there were as many as three professors in the stained glass department, only one, the youngest of them, namely Professor Targaryen was so spectacularly successful internationally, to which he also owed his quick habilitation being only six years older than her.

For all she knew his talent had already been recognised during his studies and he was now carrying out gigantic commissions for new churches built by the richest archbishops.

She had seen his work in one of the churches in her town and had to admit that he was one of the best stained glass artists of their generation.

The holy figures in his works seemed light and halting, partly Baroque and partly Mannerist, their faces expressing some kind of heavenly anticipation, wonder or melancholy, the colours of the glass he chose contrasting wonderfully under the sunlight, creating a breathtaking composition.

He was a genius.

During her first year at university, she saw him fleetingly several times during a class on the basics of stained glass design, where everyone, no matter what specialisation they wanted to choose afterwards, learned how to cut glass with diamond blades, paint it and apply patina.

They were then taught by his assistant professor, Cregan Stark, and Professor Lannister's doctoral student, Meera. Both were very warm and patient – she took great joy in these lessons and stayed after hours to complete her work.

One day Cregan stood over her and seeing her painting her saint's face for the third time, this time with satisfying results, he nodded his head in approval.

"You are very hardworking and you are doing well. You should choose stained glass as a speciality." He said softly. She blushed all over and hopped up in her chair, happy.

"I am so pleased to hear that. I would love to study in your workshop under Professor Targaryen." She said quickly with excitement in her voice, and he raised his eyebrows and laughed. She blinked, confused.

"Forget about it, I advise you well. You're a good girl and you don't deserve what would happen to you there." He said, scratching his chin, looking at her apologetically, as if he resented himself for getting her hopes up. She felt a tightness in her throat not understanding what he was implying.

"What do you mean, sir?" She asked uncertainly and he sighed heavily.

"Ask your fellow students."

His words kept her awake and made her feel very uncomfortable – she had heard that Professor Lannister sometimes liked to flirt with his female students.

Was Professor Targaryen the same way?

Or worse?

Reflecting on this, she realised as she walked past the room where his students worked that she had never seen any women.

She asked this out loud the next day to her female colleagues, who looked at her surprised.

"Didn't you hear about that incident two years ago? He slapped one female student in the face during class. And she wasn't even his student! It landed him on the rug with the rector himself and he almost didn't get fired from the university. He owes his position only to his achievements and that thanks to him our university keeps getting new assignments from the curia." Said Ellyn, and she swallowed loudly, shocked by her words.

"Is it known why he did it?" She asked uncertainly. Lysa shrugged her shoulders.

"Apparently it enraged the rector the most. He didn't explain why he did it, he just said that she deserved it and that no whore – he probably meant woman – would cross the threshold of his workshop. He has one artificial eye and a huge scar, maybe because no woman wants him he behaves this way."

She lowered her gaze, heartbroken, feeling the cold sweat on the back of her neck, her heart pounding like mad.

What kind of man was this?

Now she wasn't surprised why Cregan had told her to let it go.

However, the closer she got to choosing a speciality and a workshop, the more she felt the need to fight for what she wanted. Maybe if she stayed away from him and just worked hard he would give her a break? Maybe he was annoyed by the way the girls dressed or behaved?

She decided to give it a try.

Despite everyone warning her not to do so, she submitted the papers, writing his name as her supervisor, whose workshop she applied to. She had a feeling that it would lead to some kind of earthquake, but in the field of stained glass she wanted to be like him.

She thought through how she would dress – she decided that since she didn't like women, she would try to look as neutral and bland as possible.

She put on a large black hoodie from under which neither her breasts nor her buttocks were visible, tight black trousers and trainers. She tied her hair up in an elaborate braid to keep it out of her face, applied only foundation and no other make-up.

Dressed like this, she came to the first meeting of the new semester, where students found out what classes they had and met their lecturers.

She entered the room full of men and complete silence fell; she saw that the professor wasn't there yet, so she sat down with her notepad and pen at the very end of the table to just disappear. One of the boys with dark, curly hair turned to her.

"You're brave, but I already feel sorry for you. He'll kick you the fuck out of here." He said amused, several of the other boys laughed nervously.

She lowered her gaze, horrified, beginning to regret doing this instead of going to another professor who would have welcomed her applications with open arms.

When the door suddenly opened she curled into herself, not looking in that direction, resting her chin on her hand, swallowing loudly. She heard the sound of a chair being pushed back and someone sighing, then the rustling of pages.

"I'll start by reading out the list and welcoming the new students." She heard a cold, indifferent, stern voice that sent shivers through her, felt her breath get stuck in her throat with fear.

"Allan Baratheon."

"Mark Arryn."

"Royce Hightower."

"Matthias Martell."

"Well. I welcome you and will get straight to the task ahead of you this term." He said calmly, putting down the sheet of paper – she felt the stares of all the students on her.

He hadn't read her out.

She was sure she was on the list.

She pressed her lips together lifting her gaze to the boy who had spoken to her earlier – he just raised his eyebrows with a shrug of his shoulders in an I told you so gesture.

For a moment she wondered what she should do, feeling tears of helplessness under her eyelids – still not looking at him she raised her trembling hand slowly upwards. She heard him fall silent for a moment, but then he continued as if nothing had happened.

"− I have decided to hold a competition for the best design for three window quarters with a representation of the Virgin Mary surrounded by saints. The design will be chosen by me and the bishop, who will pay for the whole order, and then the whole workshop will work together to make this chosen design. Cregan will send you by e-mail the dimensions of each window and which specific saints are to be depicted. That's all."

He said and simply stood up, taking his papers and coffee and left, not paying any attention to her or her hand. Her classmates looked at her in shock.

"Oh fuck, that was horrible. He completely pounced on you. I'm so sorry." Her year mate said, patting her on the back, and she burst into tears, hiding her face in her hands.

"Don't cry. This is not about you. Go to Lannister and don't spoil your nerves." Said one of the older students and everyone slowly began to leave the room.

She looked blankly at her notebook and decided that she would try one last time.

She would try to talk to him.

She left and approached the locked room where a placard with his name on it was posted. She heard two voices coming from it, in one she recognised Cregan.

"She's not like that, Aemond. Really. She focuses on her work, she's diligent. Three times I made her start the same face over and she did it without saying a word. She is humble and learns quickly. It's a shame to give her up to waste to Jason or Floris." She heard Stark's voice and felt warm in her heart at the thought of him trying to defend her. For a moment he was answered by silence.

"No. There are always problems with them sooner or later. She was almost crying by now. I don't want any weepy scenes in my workshop. I −"

He didn't finish because there was a loud knock on their door. She heard someone stand up inside, then the door opened and she saw Cregan standing in front of her. He shook his head quickly letting her know that this was a very bad idea, but she had already made up her mind.

She wanted to look him in the face before she gave up completely.

"Please, find five minutes for me, Professor." She directed her words to him rather than Cregan.

He sighed heavily, stepping back and it was only then that she noticed a fair-haired man with his short hair pulled back in black turtleneck, looking at her as if he had never seen a more disgusting thing on earth.

He was silent for a long time and then rolled his eyes, sighing heavily and hummed under his breath, pulling out his phone, turning on the stopwatch.

His artificial eye was cold and lifeless, his nostrils moving restlessly, his jaw clenched tight – she thought he looked more like a sculpture rather than a human being.

He seemed empty to her, created from stone rather than flesh.

"Five minutes." He said lowly, and Cregan quickly walked out, leaving them alone, closing the door behind him. She wanted to come closer, but his voice stopped her.

"Don't come up, just stand there and talk. You're running out of time." He burst out coolly, still facing her in profile, tapping his fingers impatiently on his armrest. She swallowed loudly, feeling her throat dry up, and opened her mouth to tell him all that she was holding inside.

"I know what rules you have set in your workshop and I wish very much now that I had been born a man, but unfortunately I am not." She said with difficulty hearing her voice tremble. She glanced at him and saw that he was still listening to her, so she continued.

"I saw your artworks while I was still in high school at St. John's Cathedral, and having always dreamed of creating stained glass for churches, I wanted to be taught by someone who is such an accomplished specialist in the field as you are, sir. I know how difficult the job is and I promise to do what you tell me to do without a shadow of dissatisfaction. I will not approach you except to revise my designs or projects. I will always work at the furthest table and sit in the last seat as far away from you as possible, dressing in such a way that you do not notice me and forget my existence on a daily basis. Please." She whispered the last word weakly – she saw his adam's apple rippling as he swallowed loudly, tense.

He remained silent.

"Just because you're a fan of my works doesn't make you a talented person. What good is it to me that you work in silence if none of your pieces will be at least satisfactory and your colleagues will have to correct your mistakes?" He asked dryly, lifting his stern gaze to her – she swallowed loudly, feeling small, feeling like a nobody.

She did not bring her designs with her.

"Well. All I have with myself now are quick sketches in my notebook. They're portraits of people I see travelling on the bus to my classes." She said quickly and he sighed heavily, frustrated, and ran his hand over his face.

"So you are unprepared." He summarised, and she furrowed her brow, shaking her head.

"None of my colleagues had to −" She began, but he threw her a sharp, annoyed look and she realised at once that she had to back off, had to humble herself.

"− I − yes, I'm unprepared. I'm very sorry." She mumbled, fiddling with her notebook in her hands, her lips tightening.

He turned his head away from her, but extended his hand towards her in a movement full of impatience. She approached him uncertainly, handing him her sketchbook without touching his skin. He sighed and began to look quickly through what was inside without interest.

She saw that he had stopped at a few drawings, depicting a young woman with a child on her lap, an old man wearing a large black cap and winter scarf, and a stooped man asleep leaning his temple against the glass.

She saw him massaging his forehead and closing his eyes, clearly fighting with himself internally. He closed her notebook and waved it in his hand.

"Three of your fifteen sketches I would consider good. Do you think that's enough?" He asked dryly, without even looking at her. She felt a squeeze in her heart and a wave of disappointment knowing what he meant to say.

"No. It's not enough."

He hummed under his breath agreeing with her opinion, and then with a light flick of his hand, he tossed her notebook into the bin that stood by his desk. He glanced at her reaction and she gasped.

He wanted her to cry, to run out hurt and humiliated, to leave him alone.

No.

"So I'll do 200 sketches, 40 of which will be good. Or 300 of which 60 will be good. I will do as many of them as you see fit, Professor." She said with an effort, trying with all her might not to cry again.

He looked at her coldly in silence, the bell on his phone ringing out like something final. She felt cold sweat on the back of her neck as he reached over and muted his app, turning his profile back to her again.

"400 sketches. And they're all supposed to be good. Without them, don't even show yourself to me. Anything else?" He asked, and she shook her head.

"No. Thank you for the chance, Professor." She muttered and just walked out, closing the door behind her, feeling her whole body tremble.

He wasn't a man, but a walking monster breathing fire.

Cregan walked up to her, looking at her in horror, clearly seeing how pale she was.

"Did he agree?" He asked in a whisper, as if he was afraid he would hear them.

"He told me to bring him 400 good sketches and not to show my face to him without it." She mumbled apprehensively, wondering how long it would take her and how she would decide which were good and which were not. Stark looked at her in disbelief.

"I know it's no consolation, but you've just achieved the impossible." He said with some kind of admiration, and she sidestepped him, not knowing if she could call it that herself.

When she got home she started searching the gossip portals in the hope of finding out something about the incident from a few years ago, guessing that it must have been a big scandal and she was not disappointed.

Admittedly, she couldn't find his statement anywhere, and the student he slapped gave a wide-ranging explanation.

Professor Targaryen showed an unhealthy interest in me from the beginning and was also unpleasant and disrespectful. When we were left alone and I went to him to ask him to proofread my work, as my professor was on sick leave at the time and I wanted to move on with my job, he rose with anger and slapped me on the cheek shouting that I had no right to enter his workshop and invade his privacy. I believe this stems from his complexes and fear of women, and I regret that no justice reached him for this. Unfortunately, in this university everyone cleans each other's hands.

She recalled her sketches he had stopped at and wondered what they had in common. She thought that as well as a study of the body there was a kind of melancholy and lightness in them, a snapshot of some fragment of life and situation.

She read this, and she decided that she needed to be wary of him and keep her distance, not to approach him or frustrate him.

She spent the next week from morning to night sketching, sitting in the park and looking at people passing by, but she wasn't satisfied with her results.

She decided to go to church.

She made sketches of figures from the paintings in prayerful exultation, sculptures facing the heavens with outstretched hands, close-ups of their faces.

She thought he meant a character study like Leonardo da Vinci did, who caught facial expressions and gestures on the fly, making the viewer of his drawings go through a thrill of excitement.

She went round all the temples in her city and ended up with 500 sketches, from which she selected the agreed 400. She decided for her own satisfaction to bring him 401 drawings, which she managed to pack into two big folders.

She did not find him in his office so she set off towards his workshop where his senior students and her year mates were gathered. However, she didn't cross its threshold but knocked on the doorframe, eager to get his attention, to get permission to cross that magic line.

He was just leaning over another student's projects and glanced at her with a sharp, disgruntled look, clearly hoping he would never see her again. She lifted up her folders showing that she had brought what he wanted – he sighed heavily and moved towards her, avoiding her by a wide margin.

"Follow me." He said dryly, so she went straight after him. They entered a room with illuminated tables on which glass was usually cut and painted.

"Lay them out here. Show me the top 40." He said impatiently, and she swallowed loudly, wondering what she should show him. Her hesitation frustrated him.

"Can't you judge which of your works are suitable to be shown to me?" He growled and she shook her head, quickly searching for the works that were most memorable to her.

The woman turning to her over her shoulder with an enigmatic smile, the angel looking up to the heavens with his lips parted, the distraught Mother of God looking at her suffering son, Mary Magdalene humbly bent over in prayer, the nun covering her face with her hand, leaning over in thought.

She put down sheet after sheet, counting in her head, but then she lost track, stood up, trying to count them all over again, her heart pounding like mad.

"That's enough." He commanded coolly and walked over to the table, this time looking at each of her works in turn.

She stood at a great distance from him, not daring to come close, his face thoughtful, sharp and tense, his brow furrowed.

She was afraid he was about to humiliate her again, start crumpling up sheet after sheet and throwing them in the dustbin. He picked up a few, however, taking a closer look at them.

It seemed to her that his silence lasted for ages.

"Is that a figure from the church of St Michael the Archangel?" He asked indifferently, and she nodded quickly. He hummed under his breath and added nothing, putting the piece of paper down, watching further, his hands entwined at his back.

"A month. For a trial. If you disappoint me, I'll kick you out." He said low and unenthusiastic, turned and walked out, simply leaving her.

She squeezed her eyes shut, hiding her face in her hands, and burst into sobs.

She had made it.

_____

Aemond Taglist:

(bold means I couldn't tag you)

@its-actually-minicika @notnormalthings-blog @nikstrange @zenka69 @bellaisasleep @k-y-r-a-1 @g-cf2020 @melsunshine @opheliaas-stuff @chainsawsangel @iiamthehybrid @tinykryptonitewerewolf @namoreno @malfoytargaryen @qyburnsghost @aemondsdelight @persephonerinyes @fan-goddess

374 notes · View notes

pianokantzart · 3 months

Note

Hi Piano! I love your posts and your comics! I loved the idea of making a Luigi's mansion film, I even posted some ideas, do you have ideas for a Luigi mansion film?

Thank you! I have touched upon the idea a bit, with @keakruiser adding some thoughts of their own. But I do have more...

Mario and Luigi start off the movie having money issues despite the booming business. Maybe they accidentally caused some sort of serious damage that they need to pay for? Maybe there's a family emergency? Or maybe they've been too generous with free plumbing repairs to the point that the bills are catching up with them. Either way, I want all the gold and cash that Luigi vacuums up to have some sort of serious significance.

Luigi tries to talk to his father and uncles about the plumbing business at Sunday dinner, but they all speak over him in favor of talking to Mario. Mario tries to nudge the conversation in Luigi's direction, but Luigi eventually gives up and goes to the kitchen to help his mother with dishes. There he has a little heart to heart with his mom, similar to this scrapped scene from the SMB Movie concept art, but with Luigi instead of Mario:

Please please please make The Dark Moon an element! Establish that it isn't just Mario's life on the line, but an entire world at risk of being swarmed by angry ghosts under King Boo's control.

And of course we need to have Polterpup! Let's say that "animals are the among the few spirits who don't need to be soothed by the dark moon," but unfortunately that matters very little to Luigi, who has an established fear of dogs. So we go into why! Maybe he got attacked by a dog as a young child and needed Mario to save him? This would feed into both Luigi's sense of helplessness, and guilt about being so frightened while his brother is so brave and selfless.

As Luigi gets more victories under his belt, and as Polterpup follows him around and helps out, they start to form a bond. Eventually we get a Puss In Boots 2 esque scene where Luigi has an anxiety attack after loosing radio contact with E. Gadd, before Polterpup floats over and helps calm him down enough to keep moving.

Have Luigi's semi-canon mechanical prowess come into play! At some point, midway through a particularly grueling fight, the poltergust gets damaged. Between running for his life, hiding in various locations, and knocking things over to buy himself time, Luigi steadily fixes the damage enough to pull through the fight.

Luigi and Elvin Gadd bond over being two (vaguely autistic-coded) weirdos. Luigi is surprised that Elvin Gadd doesn't mind trusting him with his equipment, that he doesn't get annoyed with his fear, and doesn't mind walking him through every tiny step. Meanwhile Elvin Gadd is like "Patient with you??? I love walking you through things step by step! You're one of the few people who'll actually listen to my ramblings! And yeah, you're clearly scared, but you've stayed! That's way more than most."

I imagine the people trapped in paintings are able to speak and move around, but King Boo can set their painting to a sort of "stagnant mode" if the captive gets too rowdy or mouthy. Mario's picture is mostly kept in stagnant mode for obvious reasons.

King Boo's confidence visibly wavers the further along Luigi gets. King Boo goes from "Why should I be worried? E. Gadd's a decrepit fool and his new 'apprentice' is a sniveling coward!" to "Okay so Luigi can use the poltergust... he's no match for my forces!" to "What is wrong with all of you!? Why can't you catch a simple plumber!?" to "I'm going to tear this man's soul apart with my teeth!"

Bowser was heavy metal, so I want King Boo to be operatic with a Gothic/Baroque ballroom aesthetic. Of course we've got to have orchestral version of the Luigi's Mansion theme, but I also want a cinematic revamp of the SMBW "Night At Boo's Opera" song.

youtube

You know how Luigi broke down laughing and sobbing when he finally saved Mario in the original Luigi's Mansion? That. I want that, with an extra dose of Mario hugging Luigi and reassuring him that he's alright.

#long post #Luigi's Mansion #Super Mario Bros #professor e gadd #Luigi #Mario #King Boo #Mario Movie #again I could go on but those are my main ideas #dragon-fly34 #askbox

103 notes · View notes

geekgirlspoetryproject · 7 months

Text

How my love for Warrior Nun ended up getting me a published novel

So like many of us, i am a huge fan of Warrior Nun. Like a somewhat smaller number of us, I am a big Doctor Superion shipper. Can't be helped. Mature ladies getting it together is my jam. I have written fic about them and of course a lot of Avatrice and Lilshotgun.

Anyway, I saw this picture of Thekla Reuten and

I thought "oooo, detective!"

Not long after, I encountered this photo of Sylvia Defanti:

And I thought, "ooo, detective wife! Wait no! DETECTIVE EX-WIFE!"

And then I thought, what if ART Detectives?? Picture them chasing an art thief around Europe while bickering and lowkey sniping at each other and falling back in love despite themselves and their whole opposites-attract yin/yang thing?

Plus, you know, Europe:

The more I thought about the idea, though, the more I realized I needed to change the characters too much for it to work as a fic. So because I was writing a lot of screenplays at the time, I wrote it as a screenplay. Let me tell you about these women...

Fleur van Beekhof

So yeah, you can see the shades of Jillian, obviously: cool, pragmatic, strategic and unflappable on the outside. Inside, a total disaster: heartbroken, career stagnating, struggling with a gambling addiction and still not over her ex-wife,

Renata Cellini

Renata quit the bureau after their divorce and went to manage a friend's art gallery in Bologna. She's passionate, sometimes harsh, wears everything out on her sleeve and is 100% in it for the drama, leaping into danger and looking annoyingly hot while doing so. She's Fleur's sole choice for all 3 options of "f*ck marry kill."

The only thing that could bring her back to the bureau is the "Fabulous Gustave," the one thief who got away from them, whose escape precipitated Fleur's gambling problem and the unraveling of their marriage.

What's more, he stole a painting by her favorite painter, the one she did her Master's thesis on: "Susanna and the Elders," by Artemisia Gentileschi.

(Artemisia btw was a badass, a baroque master not fully recognized in her day. She painted women like nobody else... with fury and agency. "Yo check out the head of the Assyrian general who was creeping on me, I just saved my people, you're welcome."

Anyway, ahem.)

So I had this movie written. The thing about movies, is they take forever to get made, if they do at all. And I adore these women and this story too much, so I adapted it into a novel, and on a hail-mary pass, sent it to one of the bigger sapphic publishers I knew of.

THEY SAID YES.

Look! In all its pre-orderable glory!

The women of Warrior Nun have been and continue to be an inexhaustible fountain of inspiration.

And also, if you feel like it, please support my novel.

#books #romance #sapphic #lesbian #lesbian romance #pride #warrior nun #doctor superion #thekla reuten #sylvia defanti #also did i mention i got a book deal??#fanfic

106 notes · View notes

phonydiaries · 6 months

Text

Art History Pieces that Remind me of Lies of P

this is fully self-indulgent content that nobody asked for but as an enormous art history nerd I just needed to shout into the void about it

Bernini's David

I mean, as a little guy constantly battling enormous guys, P's just very biblical David coded in general but something about his posture here, like the way he's winding up...i don't know. Love it. Love this sculpture so much. There's like a million statues of David and this one isn't as famous as Michelangelo's, but it's my favorite. Honorable mention for Donatello's version of David as well, but I wasn't sure about posting brass sculpture peen on tumblr dot gov.

Caravaggio's Boy with Fruit Basket

ngl this one is more related to the Andrew Garfield recreation of this painting where he's putting his entire pussy into it but NEways! I don't have a ton to say about this one besides pretty boy <3 and also that I love baroque paintings; the lighting always looks so welcoming and warm and I want to live in them forever.

Michelangelo's Madonna Pieta

I mean OBVIOUSLY we've all seen the Madonna Pieta imagery in-game but I got so so so so so hype seeing it in the game trailer because in all my art history classes this was one of my absolute favorite pieces we looked at. The biblical context behind it is so fucking gutwrenchingly sad and the fact that the blessed mother is proportionally huge compared to christ (like if this were to scale, she'd be about 7 feet tall) is so cool to me. Enormous holy woman cradling her dead child... I could say so much about it, but I'll spare you the essay. I just love this sculpture so fucking much. seeing it in-person someday is on my bucket list.

The Sacrifice of Isaac - Lorenzo Ghiberti and Filippo Brunelleschi

These two bronze reliefs were actually made as part of a competition, so both of the artists depicted the same biblical scene of Abraham in the process of sacrificing his son Isaac and then being stopped by angels. The top image by Lorenzo Ghiberti I think was the winner? which I was always kinda miffed about, I liked Brunelleschi's piece a lot better because Isaac looks so fearful and almost like he's trying to break his bonds; his father looks more frenzied and ruthless and the angel's hand is literally pulling his arm away because the blade has already made contact with Isaac's neck like- I don't know I really love that we're witnessing the absolute highest moment of tension in the scene. So. Gepetto Bad. Bad old man. Be nice to your fucking son. That's my P related thought about this piece.

#lyd posting #lies of p #lop #shoutout cynthia my art history professor she's a real one

45 notes · View notes

ourstaturestouchtheskies · 9 months

Text

Charlotte's Art History Tarot - Card 11 - Justice

Art: Judith – Jules Joseph Lefebvre

pull this card

as you might guess, justice is about... well... justice. this card typically means that a fair judgement will be made or needs to be made. unlike justice in the real world, justice in the world of tarot is not influenced by outside factors, but rather weighs the choices and makes the decision that is most just and fair. in the traditional card art, the figure of justice holds a set of scales in one hand and sword in the other. the scales are to balance the two sides of the decision, and the sword is to cut through any noise or nonsense to get to the truth of the matter and deliver the fairest verdict. for the art, this was another card where I immediately knew who I wanted on the card: the biblical figure Judith. for a brief synopsis of her story, she went into the tent of an enemy general and beheaded him, allowing her side to gain victory. of course, it's a lot more complicated than that, but that should give enough context to explain my reasoning for putting Judith on the justice card. when a difficult decision had to be made, she weighed the options and followed through with her judgement, quite literally cutting through the problem. in this painting in particular, I love her poised, calm, confident gaze - she seems to be taking in everything around her and assessing it all just as the justice card says to. her long sword is prominent, reminding the viewer of the judgement that Judith will wield, and also echoing the sword in the imagery of the classic justice card. Judith weighed her options and made a measured choice to carry out what she deemed to be the most just action, just as the justice card demands.

(also one of my favorite paintings ever is Judith Beheading Holofernes by Artemisia Gentileschi - I talk about it a little bit in my discussion of baroque art here if you're interested ☺️)

#charlotte's art history tarot #tarot #tarot deck #tarot cards #justice #justice tarot #judith #judith and holofernes #jules lefebvre #jules joseph lefebvre #art #art history #tw violence mention

18 notes · View notes

not-xpr-art · 4 months

Text

my art inspirations vs my art (2015-now)!

a mini collection of artworks I've done over the years next to the work/artist that I based the style of my piece on!

when I'm basing my work on another artist's piece, I try not to just directly copy the composition, colours or brushstrokes of the original... instead I'm always interested in adapting the original style to my own in order to create more of an homage instead!

another thing I keep in mind is medium, since most of my works above are digital and most of my inspirations are traditional artworks, so I have to figure out how to adapt that artists style into a new format in order to keep it somewhat recognisable to the original!

list of artist inspirations & explanations included in this post are below btw

Gustav Klimt's The Kiss (1907) -> Wangxian digital drawing (2020), with a photo collage background made up of lots of golden things!

This is not the only piece I've done inspired by Klimt's work, but it's one of my favourites hence why I included it here lol! I love how Klimt combines realistically painted portraits with flat coloured backgrounds and patterns, the contrast is just so interesting to look at and is definitely something I use quite regularly in my own work.

Edvard Munch's The Kiss (1897) -> Destiel amalgamation traditional mixed media artwork (2021)

I was also inspired by a few other artworks but the pose is definitely based on Munch's work! I just love how the faces blend into each other that it almost becomes abstract, but is somehow still recognisable as a kiss!

Francis Bacon's 1972 Triptych -> Kaisoo painting (2015)

This is definitely one of the times my inspiration was more based on the ~vibes~ of the artist rather than anything in particular about one specific work lol! (so much so that I only know I based it on that particular triptych cos I wrote about it when I posted the artwork pfft...) Bacon's work isn't necessarily stuff I enjoy looking at (in fact it often makes me kinda uncomfortable), but I do like how expressive his work is!

Henri de Toulouse-Lautrec's In Bed (1892) -> A study from the film Weekend (2023) (which I haven't actually released properly yet shh you'll have to wait until June for that lol)

I didn't actually initially plan to be an homage to this painting, but about halfway through me drawing it I realised it was reminding me of something lol! Henri's (yes we're on a first name basis cos I cba to write his long ass surname pfft) painting evokes such tenderness, a moment in time commemorated in paint, and it's that same emotion I hope my own work emulates!

Caravaggio's Young sick Bacchus (1593) -> Jimin holding some fruit and flowers lol (2017)

Not the only piece I've done inspired by Caravaggio (or baroque painters in general), but I'm still very proud of this piece, even if the proportions are terrible lol! The chiaroscuro of Caravaggio's work still makes me weep honestly! Plus, kinda weird, but I really love the way he paints grapes lol!

Goosebumps book cover (?? possibly 90s or 00s??) -> BBC Wreck fanart (2022)

I grew up with the Goosebumps books, and though I didn't have this particular publication, I remember absolutely loving the cover art! It's honestly kinda mad it's taken me this long to do an actual Goosebumps based work lol! Also the cheesy taglines are some of my favourite parts of the covers and I spent WAYYY too long trying to come up with my own pfft!

Gwen John's Young woman in a red shawl (1917) -> Luna f(x) fanart (2016)

I remember seeing John's work in Cardiff and just fell in love with her muted colours and rough brushstrokes! I don't think I necessarily echoed her work that well with my own (since it's a difficult technique to do in digital), but I still like it nonetheless lol

Lucian Freud's Guy Half Asleep (1981) -> Park Kyung Instant fanart (2018)

This was actually one of the first times I tried to make an artwork that was done digitally but actually looked like it was traditional! I'd honestly really like to do more work inspired by Freud's cos I love the lumpiness (technical term) of how he paints people! It almost feels like you could reach out and touch their skin when you see his work!

Remedios Varo's Triptych (1960) -> BTS Rapline triptych (2018)

I can't even remember where I saw her work first but I knew that I wanted to do something inspired by her work since I absolutely adored her use of colour and the stylism of her figures and backgrounds! I also really loved how her triptych acts as this journey through each piece, which is something I tried to recreate myself and that Rapline triptych is honestly still one of my favourite pieces I've ever done lol :')

Leonardo da Vinci's The Last Supper (1495) -> EXO 'last supper in hell' fanart (2019)

This is one where seeing it next to the inspiration is honestly hilarious lol! I was actually more inspired by the music video for Monster, which has a part in it paying homage to Da Vinci's Last Supper btw! I haven't really done much work based on Da Vinci, even though I really like his painting and drawing techniques!

And that's all (for now)! I know I will forever be inspired by artists and artworks of the past (and present) so maybe in a few years I'll do another one of these compilations lol!

#this isn't an art advice post... not really.. but idk where else to put it so #art advice #art history #artists on tumblr #digital art #art inspirations #fanart #not gonna tag all the artists cos we'll be here for years lol

11 notes · View notes

saw-facts · 6 months

Note

your post inspired me so here's who I think certain saw characters favorite artists would be with no explanation at all:

hoffman: george bellows

amanda: paul cezanne

john: osman hamdi bey

lawrence: allan kaprow

adam: marta minujin

lynn: doris salcedo

strahm: caravaggio

oh i like this!! i want to add some:

the eerie quality of henri de toulouse-lautrec's work (at least imo) feels like it'd be appealing to hoffman. along the same vein, i'd say edvard munch too. ALSO FRANCISCO GOYA. im surprised he wasn’t also painting fucked up shit on his own walls.

amanda would love louise bourgeois, ana mendieta, joan mitchell, and eva hesse. i feel like she'd also be really into fiber arts in general (tamara kostianovsky, kiki smith, raija jokinen). also we know she likes some renaissance/stylistically classical art bc she has the birth of venus print next to her bed in saw 3! i think this is more for gay reasons but i bet she'd like john william waterhouse’s mythological paintings.

i love this one for john! the obvious one for him would be da vinci as well- john's drawings actually remind me a lot of his. i think he wouldn't be into abstraction because “it lacks intellect” or some shit. probably dark, dramatic, pensive baroque art.

i feel like lawrence would be into impressionism but NOT post impressionism!!! he'd be so annoying about it. monet, degas, cassat, etc. i also think he'd enjoy botanical illustrations. probably a fan of edward hopper too.

adam would like jc leyendecker. just based on vibes. others i think he'd enjoy include john singer sargent, norman lewis, lee krasner, yoshitaka amano, salman toor, yayoi kusama... these are all over the place uhhhh i just think he'd enjoy a wide range of styles. now ofc he has favorite photographers, but that is not at all my area of study and the only one i could think of off the top of my head that would fit him is robert mapplethorpe.

for lynn, andrew wyeth makes sense to me- the lonely, empty, desolate feeling his paintings give you would probably speak to her :( agnes martin (ESPECIALLY agnes martin) and louise nevelson would probably appeal to her too.

strahm liking caravaggio is basically canon to me. like of fucking course. for one, he'd just loooove telling people that the Old Master painters are the finest of fine artists just bc he's a dick (and doesn't know shit about art made after like the 18th century). but also caravaggio was gay and killed someone and was murdered so. it fits. he'd probably scoff at rene magritte paintings but deep down he'd really enjoy them.

im obsessed with this ask and i've been drafting this response for a hot minute bc i wanted to put some real thought into it. VERY fun and a great way to procrastinate on work as an art history grad student

#asks #saw movies #saw franchise #having certain thoughts about artworks with religious symbolism and how we could analyze saw movies through them…

15 notes · View notes

kenzie-ann27 · 4 months

Text

@sweetmilkbread sorry but tumblr ate your ask 😭 I'll still answer it here though

💖Favourite thing to draw

when it comes to people, I think hair is my favorite once I get the shape right, it's very much just a "go for it" type thing. clothes are also a lot of fun when it comes to picking colors and vibes and stuff, I think

🌈Favourite colour palette(s)

just in general, cooler colors are easier on my eyes, so like blues and greens and purples. warmer colors just hurt my eyes, though they are fun to work with when it comes to bolder things.

🎨Favourite artist(s)

I mean, in general my favorite artist is rembrandt, or just any of the baroque painters. I love how dramatic those works are and how much feeling there is in those works. and seeing some of those paintings in person is such a great experience that I recommend to anyone, really. but it would be a disservice not to mention @crumbofmoon as just the best artist friend anyone could ask for, they're just so sweet and kind and have been helping me for quite some time on my own works, which is so amazingly nice of them to do 🫂

#asks

4 notes · View notes

apoptoses · 1 year

Note

☕️ + armand's relationship with art

Oof, this is a heavy one.

Clearly he enjoys art, after all, Daniel's rooms in Night Island were filled with the works of the old masters. But I think the type of art will always be a complex issue for him, and when it comes to making art himself?

It's a catalyst for traumatic flashbacks but I think he really needs to do it. He needs to push through that pain, process those difficult feelings about god, and reclaim his ability to be creative. Otherwise those issues will fester inside him forever and never be resolved. If he had a creative outlet I think he'd find himself a lot less numb.

I also think certain styles of art will forever be an odd trigger for him. Like Daniel would pick up that at all their times at museums Armand always avoided the medieval wing with its gilded ikons (something he mentions to Louis and Louis corroborates, because he noticed it on their early 20th century travels too). He'll never go into an old school orthodox church. Baroque churches, even a good proper gothic medieval church he can enjoy but he can't be at ease under Byzantine style paintings of saints.

My personal headcanon is that he likes 18th century art a great deal, because when he came out of the catacombs those works were so glorious to his eyes. Boucher. Fragonard. Even Hogarth, for how funny the characters in his scenes were. The portraits of Gainsborough, so light and playful compared to the heavy feeling of portraits of his youth. Vigee Le Brun, whose ladies remind him so much of Bianca.

With Louis he saw Madame X (and did not understand the commotion about her bared shoulder at all, for she was so elegant and poised) and dove full force into the diverging styles of the early 2oth century. His sensory abilities make works of the impressionists either a delight or a source of distress- the pointillism of Seurat, delightful. Monet's soft gardens, very pleasant. Some of Van Gogh's works? Difficult, depending on his mood. Sometimes they're psychedelic, others, a headache.

But in general he'd find merit in all styles of art, even the ones he personally does not understand.

Oh- and lover's eyes, those little pocket sized paintings of the 19th century. He has one of those for every person he has known and loved, stored in a secret cabinet in Trinity Gate. The day he commissioned Marius to make one of Daniel, that glacier between the two of them melted just a little.

#i'm a big art nerd i'm sorry lmao #this is more than anyone bargained for #you could hold up any artist and i could sit back like john mulaney's version of mick jagger saying “YES! NO!” on if armand likes them #apoptoses answers

23 notes · View notes

changelingsandothernonsense · 11 months

Note

Arting ask on this round because I love hearing about the nuts and bolts behind your work. What styles and/or real world elements do you take inspiration from when you make fantasy art, and how do you put them in dialogue (this is totally where I'm fishing for an excuse to ask you about the Central Asian inspo for your Dunmer character design, but anything else you want to bring up too!) Is there a specific feeling you hope the viewer to get from your paintings? And finally, are your writing and your art in dialogue in some way, or are they totally separate processes?

Bonus: What do you not enjoy drawing/painting (if anything)?

Yes, an excuse for me to waffle on about process! Under a cut because this is long and full of pictures!

Stylistically I'm heavily influenced by Baroque, Roccoco, Pre-Raphaelite, and Romanticism. I rely quite heavily on chiaroscuro, I really love that luminous look that high-contrast darks and lights give to a work.

Girl with a Pearl Earring, Johannes Vermeer

Throwing in a well-known Vermeer because the contrast in this painting is what I want to achieve in my own.

Luminous, I really feel that coming through in this particular piece. I really love the contrast between dark and light. Plus it means I don't have to detail that damn back wall.

I also really love the movement in this painting.

The Swing, Jean-Honoré Fragonard.

Probably one of my favourite artworks!

Emma Hart as Circe, George Romney

I take a lot of portrait inspo from Rococo and classical court painters as well as a lot of influence from John Singer Sargent.

Portrait of Madame X and Lady Agnew of Lochnaw, John Singer Sargent.

I just like to play with light a lot! I ran into a problem when I was designing Sydari, I didn't want her wearing half the clothes that you find in vanilla. She's from Skyrim but doesn't feel like she belongs there. I wanted to give her a more dunmer-influenced style (this was like a year ago now when I got back into TES, also pre-including Teldryn in like everything).

Playing around in Morrowind and modding the heck out of Solstheim so that it looks like it's actually a part of Morrowind made me think about clothes...yep, I do that.

I noticed a lot of influences from Central Asia, East Asia, Sumer, Neo-Assyria and Akkad in the visual language of the game, as well as influencing a lot of the language, names etc. I decided to go with a general mix of these but most of my focus went towards a more Central Asian/Eurasian Steppe feel. The reason was these.

And this outfit

I loved those shoes, they were perfect in every way. The outfit was a good starting point too. Though this is costuming from a movie so I wanted to look for more traditional versions.

Fantastic!

And congratulations, I have a colour scheme!

More costuming but I fell in love with this one and have used it a few times.

I fully plan on utilising this style for Sydari's Skyrim arts.

I just sorta fish around for influences when I'm not working or painting. I use a lot of Bronze Age Levantine and Mesopotamian influences too, Vivec's jewellery is ripped from the Royal Cemetery of Ur.

Beads are murder! XD

So, my art is influenced by what I'm writing, or what I plan to write.

This one should take place towards the end of Part 1 of the fic. I made this way before I decided to bite the bullet and actually write anything.

And this should occur right before Diplomatic Immunity. Which is in Part 2.

I also create art for an upcoming tabletop game which is influenced by Bronze Age Mediterranean history (can't show it) but a lot of it is influenced by both historical dress and mythology from that time period.

As for feelings, I like to put a lot of small character-specific details in my art. I get a kick out of people commenting about what they notice. For example, I intend the Moon and Star ring to not actually fit Teldryn's finger (it's stuck) and I love that people have picked up on his vein attitude. I'm waiting on people to notice that the eyes move if you move your head. I do like that my art makes people happy. That makes me happy as well.

Bonus! I have a love/hate relationship with painting metal and jewellery in general. I get impatient with it and always leave it to last.

#Stuff about arts #pic heavy #asks

9 notes · View notes

otrtbs · 1 year

Note

For the ask game🥰;

8. Do you collect anything? If so, what?

21. What's your favorite period in art history, your favorite famous work and/or your favorite style of art? If you don't know any that's ok!

heyo!! <3

8. Do you collect anything? If so, what?

I collect crystals! idk if that counts?? i also collect art prints from local art fairs 😋 i want every square inch of my walls covered in some wacky art

21. What's your favorite period in art history, your favorite famous work and/or your favorite style of art?

baroque is amazing!! i love baroque art and artists. because it was in response to the protestant reformation, there was a lot of catholic dramatic art that is just so fascinating to look at,, but then non-religious paintings also dominated (lots of Rembrandt's works and Vermeer >>) also really big fan of modern and contemporary art!! art reflects so much about the people of the time and historical and social movements that were important. it can capture the general collective spirit and i'm fascinated to know what is going on in the here and now and how artists are reflecting that!!

(q's from this ask game!)

#ask game!

6 notes · View notes

apencilandpen · 1 year

Text

I, for one, have been trying to wrap my head around the importance of the paintings shown throughout Goncharov. I'll have to dust off my Baroque art history notes for specifics, but I'm almost 100% certain that most of them are Caravaggios. Caravaggio ALSO spent time in Naples in the end of his life and more importantly, he was in Naples because he'd been RUN OUT OF ROME. No, he wasn't trying to gain a foothold in Cold War era Italy, but he was trying to start a new life - or at least salvage the old one - with shadows, real and metaphysical, right behind him.

Talking generally, the use of Caravaggio in a mafia film makes sense. Tenebrism lends itself perfectly to the genre. You throw characters and scenes into intense light and shadow, and the tension practically builds itself. There are so many moments where the lighting choices are full of the warm light sources ao often seen in Caravaggio works, light that was very often indicative of God. But there are a few works that stand out.

When we first meet Goncharov, you know, the scene in the study where he introduces himself, in the back is this painting:

That's Cardsharps from 1594. It's an early Caravaggio of two men scamming a rich youth. It's a piece of set dressing that shows us at a glance what Goncharov is: a crook, a villain, someone not to be trusted. But upon further analysis, questions are raised. Is Goncharov the youth or the young crook? Is the older figure his father or himself later in life looking back on what he could've done differently? If Goncharov is one character, which one is Andrey? Who is being taken in, and who is doing the taking? And we, the audience, can see what the crooks are doing as we can see the machinations of the film as it will progress. But we can do nothing to help the youth, just as we are powerless to stop the steady march towards the final act.

Later, we see this Medusa associated with Sofia:

Sofia, who was never protected and now must protect herself. Sofia, who was saved and cursed over and over by the men around her. Sofia, who perhaps mightve found love, or at least a sisterhood, with Katya. But this image is of Caravaggios own face as the head of Medusa, a move that supposedly makes him immune to her gaze. Is this a moment of empowerment for Sofia? Or is this another example of men taking something from her? Knowing what we do about the fate of her relationship with Katya, is this superimposition of Caravaggio's face a stand in for Goncharov's place in their relationship? Is Medusa truly Sofia, or is Medusa Goncharov, or someone else entirely? Does is minimize Sofia's character to even ask if Medusa could be anyone else?

But the one that REALLY gets me, is from Goncharov's lone church scene.

This is The Seven Works of Mercy in Pio Monte della Misericordia in Naples. It can be seen as Goncharov and Andrey walk through the church, barely speaking. What makes this work important is a) the fact that Caravaggio painted it in 1607 while he was on the run from basically a mob out for his head and b) the subject matter. The seven mercies are: bury the dead, visit the imprisoned, feed the hungry, shelter the homeless, clothe the naked, visit the sick, and refresh the thirsty. Let's take them in smaller chunks.

Refresh the thirsty: could this be a comment on the alcoholism present in the film, both with regar to Goncharov's past and his current present?

Visit the sick/visit the imprisoned: who in this film isn't sick of something? Who doesn't have some spiritual ailment that they are trying to heal with the presence of the other? Who isn't imprisoned in some way? Katya and Goncharov in their marriage, Goncharov and Andrey in their history and feelings, Katya and Sofia in their male dominated world, all of the in the tragedy of the narrative.

Feed the hungry: all of this was brought about by a hunger for power, for expansion, for victory. But at what cost? Whose hunger wins out, and at the expense of which of the other characters?

Shelter the homeless/clothe the naked: perhaps a comment of Katya's desire to raise Sofia from her circumstances, perhaps a comment on how all of the characters are adrift beyond their homeland searching for something they can never have.

Bury the dead: the fact that this painting is shown so close to the end of the film is no accident. We as the audience know what is in the works, we know that this can only end one way. Even some of the characters know it. But later, when Goncharov is dying, does he think of this painting? Does he wonder if he deserves mercy? Does he wonder who will bury him? His body will probably be thrown in the sea and forgotten about; those left will forget him. But we won't. The audience won't. We are the ones who will grant him this last mercy. We will bury our dead. We will bury him.

#goncharov #unreality #im only like kind of sorry for this 😄#ive been trying tk make it work ALL DAY #i never participate in memes but this one has a strangle hold on me #its so creative! its so different!#my post #my stuff #digital scrapbook #talkin about art history #just my two cents

7 notes · View notes