#artistic visions in a turbulent century

[accio-victuuri]

sharing this article from today about HB. 🤍

Nominated for "Best Feature Film" at the Golden Rooster Award: "Hidden Blade": a hidden arrow that breaks the unspoken rules of box office for literary and artistic films

A classic is a kind of work,

It continues to give rise to clouds of criticism of it,

And keep getting rid of it,

It never completes what it has to say.

Hidden Blade, whose global box office is still rising, is the box office ceiling for domestic literary and artistic films. The background of this performance is that serious films have encountered an era of shallow reading, the industry and the public have been torn apart, and box office has become an undercurrent sweeping everything. However, because literary films do not conform to the shallow entertainment psychology, their niche nature is predicted by bloodthirsty and crude evaluations, and they are ahead of schedule. They are killed by film placement rate.

The true mission of film︱Making culture visible

The turbulent clouds and red color in the broad field of vision are somewhat incompatible with the festive atmosphere of the Lunar New Year. Released on the first day of the Lunar New Year, it is a kind of performance art in itself... It is very cliché, and it is exactly the same as the self-deprecation of super commercial films. As a spy war literary film, "Hidden Blade" has achieved a breakthrough in innovative expression of Chinese films, and its heterogeneity is unique among domestic films.

The dramatic tension of too many movies relies entirely on scenes and special effects, which disappear once they leave the theater. "Hidden Blade" creates a huge psychological magnetic field, which is still exciting even if it is separated from the audio-visual environment. The tone threshold of "Hidden Blade" is not some kind of contempt for the audience, but the ultimate respect for the audience, history, and movies.

Literary films are a type of film relative to the concept of commercial films. They focus on artistic expression and cultural connotation, and try to pursue higher aesthetic values ​​and cultural significance. Their production is also different from commercial films: commercial films pursue commercial interests or mass entertainment, and take the movie box office as the main goal, while literary films focus on the artistry and cultural connotation of the film.

Transgressing norms and offending common sense, art films are pioneers of film. They often fail but expand the boundaries of film. There are two literary classics in the history of world cinema, "The Shawshank Redemption" and "Westward Journey". They failed miserably at the box office when they were first released. However, they accumulated a large number of die-hard fans through the later dissemination of images. After years of accumulation, they became indelible classics.

The core of the value counterattack between the two works is still that gold will always shine.The former's exploration of human nature and social systems has created a milestone in modern cinema, while the latter's postmodern deconstructive stream of consciousness has won resonance in an era of subversion of tradition.

As a cultural carrier, movies are the most intuitive and transparent value expression of the thoughts of the times. Although most of the classics handed down from ancient times are not the true understanding of the thinkers' era, they have been accepted by the public after years of precipitation. As a result, classics continue to increase in value over the course of history. This is the power of classics and the reason why we respect classics.

As early as in "The Death of Romance", Cheng Er used lines to express his feelings, "Movies are made for the audience of the next century." Look, for artists who break through the context of their times, the feedback they receive from the times is often lagging or misaligned, although this misalignment itself is precisely the connotation of the avant-garde. Yes, art films have always been a disadvantaged group in the industry that suffers at the box office.

In contrast to the tragic box office situation, the ambition and strength of literary films in film art awards. This is also the reason why "Hidden Blade" recently swept the 36th Golden Rooster Awards, with 8 major nominations and caused controversy among public opinion.

The existence of "Hidden Blade" is indeed an isolated example of a domestic literary film. With a box office of 931 million, it is not only the highest-grossing film in director Cheng Er's career, it is even several times the total box office of all his previous works! It's so stunning that "Hidden Blade" has always been criticized by the public, expelled from the art film camp by default in the name of "removing the highest score"!

"No one knows your name, but your achievements are immortal." The grand proposition of the unknown hero in "Hidden Blade" is more sentimental about family and country than any of Cheng Er's previous works. And does this main theme of "greatness, light, and justice" fit in with the art film's original understanding of "the world, society, and life" for individuals and the authorial expression of film language?

"Hidden Blade" is not the first of its kind to draw on commercial marketing for a literary film. At that time, "Fireworks in the Day" was announced as a romantic suspense film, and it received similar reviews and received double box office revenue. It can be seen that only true literature and art dare to joke about "super commercial films".

Cheng Er responded to this joke in an interview with "China News Weekly", "I was editing the film that day, and then they came in with their mobile phones to show me, and said that everyone still thought it was too literary, and I said let's just type a line. Come out - a super commercial film. This is a joke, and indeed no one put such a slogan in the trailer."

He said that he just found it interesting and that there was nothing to rebel about and it was not worth rebelling against. Confidence and relaxation are often qualities of an artist. These qualities make people stand out like fireflies in the dark, allowing the public to quickly pick them up from the crowd. And Cheng Er slowly titled a serious film "super commercial film" because of his humor.

Movies are not just an art of light and shadow | they are also an art that can cultivate people

Low box office is not the standard for art films. “When art is dressed in shabby clothes, it is easiest for people to recognize it as art.” However, this is not an essential representation of art, but the quality of the audience that needs to be improved. The complaints faced by "Hidden Blade" are the same as those faced by literary films as a whole, which is the contradiction between the film's authorial expression and public acceptance.

But does literature and art have to be a niche? Does it deserve to be obscure and slow-paced? Come to think of it, no one is more qualified to answer than "Hidden Blade", who has boiled the black water into a world of wealth and led the public's aesthetic appreciation with niche art!

The most representative narrative style of Cheng Er's films is "flashback narrative", which established his unique creative and imaging style. It invites the audience to participate, rely on brain supplements to build together, and gain the pleasure of decoding. It is a true "understanding", and it is easy to be confused if you don't understand. Such films pursue aesthetics and reflection, and are usually aimed at more mature and artistic audiences.

Movies are products of the cultural industry and are essentially consumed cultural products. In the context of the influx of capital and hot money into the film market and the industrialized mass production of film culture, commercial films are certainly high-return cultural snacks tailored for audiences. Even the creators of literary and artistic films are hard-pressed to avoid being judged by box office success . "The concept of influence or even kidnapping.

It is common for literary films to sell less than 5 million yuan. From Chen Zheyi softly asking the sky, "Why are elegant and gentle people scolded?" to Huang Xufeng angrily choking netizens, "I have no merit but hard work." There is no antidote in the world. The reason why literary and artistic films are criticized is often because in the fast-food era of shallow reading, literary and artistic films have to embrace the sinking market and attract non-target audiences in order to pursue box office.

But movies are just products? No, it is still a cultural expression and a carrier of social values. Comparing movies to products, then literary and artistic films are obviously not fast-moving consumer goods. When facing capital and the market, how can they be in line with the public while not losing their authorial nature? Cheng Er said, "Good-looking art films are also good commodities, and excellent commercial films are also a kind of art."

When it comes to art, most people may think that art is highbrow, aloof, and far away from daily life. And this is not the case. Yu Hua said in the roadshow of "The Mistake by the River", what does it mean to understand? In fact, it is whether it can overlap with our own life experience. If there is overlap, you can understand it. If there is no overlap, you can't understand it. That's normal.

In this explanation, understanding or not understanding is not profound. And Cheng Er has always said that the audience should not be underestimated. People who watch movies are influenced by their own likes and dislikes. Whatever they feel is what they have. Whether they understand or not is not that important.

The audience should not be too demanding to understand, and the artist should also be down-to-earth. Art for the sake of art is not true art. "Hidden Blade" is not only a literary film, but also a literary footnote to Chinese films, because it truly expresses the cruelty of history but is still full of artistic beauty. Cheng Er is very familiar with the history of the Republic of China and knows the intricate relationships between characters.

"Hidden Blade" is composed of real historical details as fine as twists and turns. When I say I can’t understand it, I’m not expressing disdain, but living in China, it’s difficult to understand the history of 5,000 years of civilization, but there is absolutely no threshold for mastering the history of the Anti-Japanese War! It is understandable that one cannot appreciate the narrative technique due to aesthetic differences, but the Internet atrocities of selling one’s soul for five cents and tainting the theme of the film are unforgivable.

There is no universal set of aesthetic rules in the world, but artists try to legislate aesthetics. Every era has its own branded dogma, until the next generation of artists establishes their own profession. Therefore, Gombrich exorcized art and said, "There is no art, only artists." He hoped that the world would stop enshrining art in shrines and use mystery and sacredness to Feeling separates oneself from the work.

There is also a similar "death of the author theory" in the literary field, which means that the author is as if dead when the work is born, and the interpretation and evaluation of the work are left to the readers. That is, there are a thousand Hamlets for a thousand readers, and there is no standard answer.

Just like we cannot require every movie to go straight to the international film festival awards, but also to hit the hearts of the audience and be a classic that will be passed down forever. We cannot require every movie viewer to have high film literacy from the beginning, and to be able to get the spiritual resonance of the creative intention. The growth of movies, filmmakers, and movie audiences requires more tolerant soil and space.

Of course, there is really little space left for literary and artistic films in theaters now! No matter at home or abroad, when the public unanimously agrees that "artistic films deserve low box office", please understand that the industry should leave some room for exploration for artistic films. Allow them to be ignorant of the customs, and only on the soil of tolerance can viable artistic flowers bloom.

Social aesthetic value orientation︱The purpose and driving force of movies

"A lame dog walks through the bombed street scene." One day, Cheng Er took a pen filled with ink and wrote this sentence on the paper. At that time, no one, including himself, knew it, but it was becoming the starting point for a movie called "Hidden Blade," and this moment of brutal aesthetics became the famous scene of the movie.

Personal aesthetics are free, but social aesthetics has a paradigm. Education and social culture will influence and standardize aesthetics and shape aesthetic orientation. Different eras and different environments have different aesthetic orientations, and different aesthetic orientations make people make different value choices. That is to say, no matter how free the aesthetics and how diverse the values ​​are, as long as the rice is sown, it will never grow into tares.

Art and commerce are the two legs of movies. Art movies are full of vitality, and commercial movies are lively. When the leg of literature and art is lame, it is not unfair that Chinese films have been reduced from regulars on the awards podium at international film festivals to regulars on the red carpet.

Yes, there is indeed a "silver-like pewter tip" in the name of art. When artistic conscience is marginalized by desire, the so-called art becomes only a barren and pale flower shelf that cannot withstand scrutiny and argumentation. But "Hidden Blade" allows us to see how an exquisite literary film is polished and shaped, and even simple film layouts contain shooting skills.

Generally, it is the director's habit to record the scene first, then the actors perform, and the cameraman follows the camera movement, but this is not the case on Cheng Er's set. Wang Yibo once mentioned that the crew respects the actors very much. The filming scene is very quiet. Once the mood enters the state, the photographer shoots directly. After the scene is finished, the filming will be finished. The filming will never interrupt the actors' brewing emotions.

In the later stage, Cheng Er slept directly in the studio and only did one thing every day, cut, cut, cut! Thanks to his almost fanatical work status, Cheng Er didn't even get exposed to the sun last year! It took seven years to sharpen a sword, just for a different Chinese movie. Incorporate the main melody into genre movies, and use the language and audio-visual rhythm of genre movies to achieve innovative expression of the main melody theme.

"A truly good movie must be more commercial than commercial and more artistic than art. For me, what I have always wanted to do is to be more commercial than commercial and more artistic than artistic." Cheng Er said this and did the same.

Cheng Er's images are full of subtle metaphors. Puppet Manchukuo, Shanghai, and Hong Kong, the spiritual narrative about the city in "Hidden Blade" permeates the architectural language of Rongzhai, No. 76, No. 567 Xiafei Road, Central Market, and Man Mo Temple; it is hidden in Japanese, Shanghai dialect, The mixture of pidgin and Cantonese arouses emotional resonance and deep thinking in the audience.

The Puppet Manchukuo, which only exists in the dialogue between Watanabe and Mr. Ye, is like a ghost with the chill of a daydream; the isolated island in Shanghai, which occupies the main part of the film, exudes luxury and inconsistency in its exquisiteness; and Hong Kong, as the hub of the international anti-Japanese united front, is full of human fireworks, revealing a simple and soothing world.

Dark clouds are pressing down, devastation is everywhere, and at the end of the tunnel, the historical information in the image of the current situation is compressed into a minimalist narrative, waiting to be decompressed. Until the dark wormhole of the theater, the historical words in the spy war narrative rushed towards us...

The anti-Japanese drama consumes misery, the anti-war themes are reproduced in large numbers, and the massacres cause psychological discomfort... In the past, expressions of the history of national suffering often followed the rules of exposing cruelty, exposing blood, and even exchanging violence for violence. What is shocking about "Hidden Blade" is that it uses beauty to overcome ugliness. It is amazing: It turns out that suffering can be interpreted calmly, with warmth and depth! "You can't get involved in the frame," is the domineering determination of the man behind the scenes.

Light and heavy, cold and warm, it completes the unfinished soul judgment on a country's sin of aggression in reality. In the sense of cultural export, "Hidden Blade" integrates the isolated history of China's anti-Japanese resistance into the world narrative of the great history of World War II.

It is a message from the times to the times. In the theater, "Hidden Blade" makes us feel the power of literature and art. After walking out of the theater, you will naturally understand what the merits of the unknown are!

#wang yibo #hidden blade #hidden blade movie #accio victuuri translation #ITS TIME FOR HIDDEN BLADE REWATCH EVERYONE!!!!!! #i might as well play it while in working lol #THIS >>> they are killed by film placement rate. #THIS IS A LONG READ SO BE WARNED. ITS GOOD THO. i have a feeling WYB will dominate domestic literary film genre so yeah ~

[bluesguy54]

Appearing to grow out of bare rock along the Lake Superior shoreline east of Grand Portage is a sentinel-like small gnarled tree with twisted branches. Known as the Spirit Little Cedar Tree—Manidoo-giizhikens (various spellings) is the Ojibwe name, while others have called it The Witch Tree — it is held sacred by the Ojibwe people and lives on their tribal sacred ground on the tip of Hat Point, looking out over the waters of Lake Superior as it has for 300-400 years.

The earliest written record of this sacred tree first appeared in the 1731 writings of French-Canadian fur-trader/explorer Sieur de la Verendrye (1685-1749), who at the time noted it was a mature cedar. The iconic weathered Spirit Tree has survived gales, ice floes and blizzards, and today is considered Minnesota’s oldest living landmark.

Why is the Spirit Tree twisted, stunted and gnarled? The ancient tree is a northern white cedar (Thuja occidentalis) that seems to have begun life centuries ago inside a crack in the granite rocks. At some point, something damaged the tree’s crown leaving it with the distinctive bonsai-like stunted branches. Then, the original trunk became entwined by a root sprout, giving it that twisted aged look. And in time, the tree’s roots reached down to the lake through the crack. Spirit Tree barely reaches 15 feet in height, while northern white cedar trees normally grow 50 to 80 feet tall.

There’s legends and lore about the Spirit Little Cedar Tree. According to one Ojibwe legend, a hawk-like bird spirit is trapped inside and can wreak havoc to canoes and paddlers if there is no gift offering of tobacco. Another tale tells of an evil spirit that once resided in the tree, but was frightened away by the guns of arriving Europeans. Then there’s the story that the Spirit Tree was a woman who, following a vision, went to Hat Point as a lookout to look for some kind of change that was to come from Lake Superior.

Many believe the Spirit Tree has healing and mystical powers. And for centuries, the ancient tree has been sacred and of spiritual significance to the Ojibwe people of Grand Portage. Over the years it has also been a silent witness to the history of Minnesota’s North Shore and served as a landmark to paddlers passing by.

So, how did Spirit Little Cedar get the nickname, Witch Tree? Minnesota-born artist Dewey Albinson lays claim to first using the designation “Witch Tree” in 1922 after painting the iconic tree. He is quoted in the article “The Artist as Chronicler” by Mary Towley Swanson as saying it was “incredible that this wind-twisted old cedar can have braved the elements for perhaps four hundred years. In the old days, the Indians would portage across the point back to a gully to avoid passing the tree and the Evil Spirit that lives in it and dared only approach in large groups, drumming and singing, and bearing gifts of tobacco to appease the Evil Spirit.”

Traditionally, to help ensure safe passage on the waters of Lake Superior, which could suddenly turn wickedly turbulent, people made offerings to the Spirit Tree. In his book Minong -The Good Place, author Timothy Cochrane explains the Spirit Little Cedar Tree is the “traditional place to bring prayers and offers for a safe crossing and fishing success. Offerings of reverence and tobacco and ribbon—and earlier, vermilion—were left at the foot of the tree.” Cochrane also warned paddlers about the underwater lynx Mishipizhea, who supposedly had an “aquatic lair” in the nearby waters.

The Spirit Tree has inspired artists like the distinguished Ojibwe modernist George Morrison (1919-2000), a member of the Grand Portage band. In an essay by W. Jackson Rushing III, he writes, “Morrison was interested in magic (as an Indigenous medicinal practice) and the magic of nature, which would explain part of his attraction to the fierce beauty of the tree.”

Morrison’s former wife, artist Hazel Belvo, painted a series of paintings of the Spirit Tree, which writer Mary Abbe in an article in the Duluth Star Tribune (2013) described as “portraits of an ancient soul wrapped in a carapace of living wood.”

Stunning images of the tree have been captured by photographers like Travis Novitsky of the Grand Portage Anishinabe Nation and Bryan Hansel in Grand Marais. And the Spirit Tree / Witch Tree is featured as one of the world’s 50 historical trees in the recent book Wise Trees by Diane Cook and Len Jenshel.

Since 1989, when the Grand Portage Band purchased the property on which the Spirit Tree lives, access to the site has been closed to the public to protect the tree. Hiking down to the tree is prohibited unless accompanied by a tribal member of the Grand Portage Band.

[lovejustforaday]

Shoegaze Classics - Somnium

Somnium - Sianspheric (1995)

Main Genres - Shoegaze, Space Rock, Dream Pop, Neo-Psychedelia

A decent sampling of: Post-Rock, Ambient Pop

Shoegaze made its first small but noteworthy splash in the U.S. indie/alternative scene some time in the mid 90s.

Bands like Drop Nineteens, Starflyer 59, Lovesliescrushing, and The Swirlies were coming onto the scene, embracing the subgenre's formula with their own unique twists while following the example of bands from the British Isles like MBV and Ride.

Other American bands like Smashing Pumpkins took broader inspiration from the original shoegazers, playing around with guitar textures and dipping their toes into more washed out reverb sounds.

Canadian bands, meanwhile, barely even touched shoegaze until the turn of the century. That is, with one notable exception. Today we're going to be looking at Canada's own original shoegaze band - the elusive and wispy Sianspheric.

The Band

Sianspheric were the only even somewhat prominent first wave shoegaze band to come from the land of the canucks.

And by saying that, I certainly don't mean that these guys were MBV level big, nor even to the degree of bands like Lush or Swervedriver. These guys were small timers, filling the void for hip 90s Canadians needing a homegrown fix for their addictions to heavily reverberated guitar.

Hailing from Hamilton, ON, Sianspheric was formed in 1994 by Sean Ramsay on guitar, Matthew Durrant on drums, Steve Peruzzi on vocals on bass, and Paul Sinclair on guitar. Peruzzi's vocals are perhaps the platonic ideal of a shoegazer - perpetually relaxed, half awake even, but rich and highly resonant in tone despite a generally soft delivery.

The band were part of a broader scene of indie rock happening in the 90s Greater Toronto Area that Ramsay himself has dubbed the "Pseudo-Burlington scene". Sianspheric were also part of a wave of artists writing shoegaze music that heavily overlapped with a new generation of space rock.

The band quickly signed with the Canadian indie label Sonic Unyon and promptly dropped their first record in 1995. No early EPs this time fellas.

The Record

Somnium is a faintly glowing, leisurely 'spacegaze' tour-de-force, ever subtly subduing its listener into dreamy visions of seemingly bending laws of the universe to its will, just like any other powerful substance. It is an auditory experience meant to accompany a form of relaxing interstellar space travel that unfortunately doesn't exist at the time that I'm writing this review.

From a strictly timbral frame of reference, I would say this record contains many of the most pleasing textures that 90s shoegaze bands would manage to produce.

Big fans of Slowdive in particular (such as myself) are also sure to enjoy this record, as it shares a similar ethos with the band's heavy use of dynamics, building intensity, and more involved, atmospheric production to augment its hazy guitars.

The album opens with "Turbulent + Hydrodynamic", an aimless journey on a riff through vast infinite stargazing before the abrupt pull of a celestial body drags the listener down into a whirlpool of distorted guitar rock.

"This Window" takes psychedelic dream pop to a whole new level of tranquility, with a tiny, dotted guitar refrain that twinkles in and out of the realm of audible sounds, like a distant flicker from far out.

Immediately following is the crushing waves of "Watch Me Fall", a plunge into more sonic whirlpools with a sense of inquisitive glee, going in head first just to see what is on the other side.

"I Like The Ride" is a mind-melting, orgasmic rush of sensory pleasure in the form of juicy, crunching guitars that flood the ear canals with fizzy sonic fluids til it reaches the brain. It is a full out-of-body experience that leaves me feeling completely suspended in time while simultaneously blasting through the universe with all the propulsion of pulsar rays. Peruzzi's nasally half-chanted vocals peek through the synchronized mess of it all, with defiant declarations of self-determination, yet somehow maintaining an aloof coolness in his inflection, as if he isn't even a part of reality. I don't use this comparison often, but this song really is like having some of the most gratifying sex ever.

The record closes with an ambient post-rock piece. Towering at over twenty one minutes long, "Where The Planets Revolve, I Wish I Was There" is certainly a daring choice of how to end your album, but I do think it overstays its welcome considering the very minor variation it offers over those twenty one minutes. Furthermore, the riff this track its based around is not one that I think lends itself well to being repeated dozens of times; no real sense of closure or finality in its melody. For something in a similar vein done frankly (IMO) better, I'd recommend "Midnight Souls Still Remain" at the end of M83's 2008 LP Saturdays = Youth.

Still, this is not nearly enough to sour my experience of this record. It's a bit front-loaded, sure, but there are stunning celestial textures throughout all of these tracks, and the highlights are more than enough to keep me invested for the entire duration. Somnium is a very solid record.

What Came After That?

Sianspheric are still going as a band, and never really stopped going, even if their output has waned over the years. The lineup has changed a few times, but Sean and Matthew have maintained their roles as guitarist/vocalist and drummer, respectively. Original vocalist Steve left the band shortly after their second record.

The band's follow up material after Somnium has mostly leaned harder into the space rock component of their sound. There's the 1998 sophomore LP There's Always Someplace You'd Rather Be, and the more instrumental The Sound of The Colour of The Sun from 2001.

I checked out the 2001 record while writing these reviews, and I've got to say that "Radiodiffusion" is arguably just as great as "I Like The Ride", though more of a bittersweet vibe juxtaposing the latter's intense euphoria. Could really do without the jumpscare on "Tous les soirs" though, like holy shit wtf come on guyz!

Sianspheric's latest LP was 2016's Writing the Future in Letters of Fire. Save for a 2020 EP titled So We Swim, the band has not put out any other major releases since. Their still playing shows regularly though, which is always great to see for bands that have been around without hiatus for as long as they have.

Even if you were already a savvy shoegaze connoisseur coming into this series, there's a good chance that you've never heard of this band or this record until now, so I compel you to explore this hidden gem of the 90s. Somnium really delivers one of the most far out trips that any shoegaze record has to offer.

8/10

Highlights: "I Like The Ride", "Turbulent + Hydrodynamic", "This Window", "Watch Me Fall"

#somnium #sianspheric #shoegaze #dream pop #space rock #neo-psychedelia #90s #list #album review #music review #shoegaze classics #1995 #steve peruzzi #sean ramsay #matthew durrant #paul sinclair #indie rock

[davidjamesk]

Exploring the Soul of Mexico: The Works of Francisco Lanzagorta

Mexico is a country with a vibrant heritage and culture and captivating artwork that is a source of inspiration to artists across the centuries. In the group of famous artists Francisco Lanzagorta stands out as an outstanding artist whose works are a deep dive into the essence of Mexico by capturing the essence of Mexico in vibrant strokes of paint and exquisite details. In this piece we take an exploration of the art legacy of Francisco Lanzagorta, exploring the topics of his work, the techniques employed, and the significance of his work.

Early Life and Influences:

Francisco Lanzagorta was born in Mexico City in the early 20th century, during an era of massive changes in the political and social landscape. Growing up in the turbulent background that was the Mexican Revolution, Lanzagorta was greatly affected by the spirit of revolution as well as the struggle of fellow citizens. These life experiences left a permanent mark on his creative vision and shaped what themes and topics would eventually come to be the basis of his work.

Capturing the Essence of Mexico:

A strong conviction of Mexican nationalism and identity characterizes his art. Through his art, he attempted to capture the vibrant tapestry that is Mexican life from the city's bustling streets to the serene nature of its countryside. His keen attention to precision and the ability to paint with color allowed him to bring life to his canvasses, replete with an energy and vitality that's distinctively Mexican.

Themes and Motifs:

In his long life, Lanzagorta was able to explore a broad variety of themes and themes that each reflected distinct aspects of Mexican life and culture. From depictions of indigenous culture and folklore to scenes of the daily lives of rural areas, His paintings provide an expansive view of Mexican society. He also took on Mexico's rich artistic heritage, including parts of art from the past as well as symbolism in his work.

Legacy and Influence:

The legacy of Lanzagorta has a prominent place in the history of Mexican art, with his contributions to the nation's cultural heritage being a constant throughout the years. His artworks can be found in private collections and museums across the globe, serving as a testimony to the impact of Mexican imagination and creativity. Beyond his artistic accomplishments, the story of his life serves as an inspiration source for future artists all over the world. It reminds us that we can use the transformative potential of art to break through borders and unite us through a common celebration of beauty and imagination.

19th century Oil on Canvas and Carved Wooden Frame 

The auction scheduled for Morton Subastas provides a unique chance for art collectors and enthusiasts to buy an important part of Mexican heritage and culture through this portrait, "Insurgente Francisco Lanzarote." The painting was painted in the 19th century. This oil-on-canvas portrait embodies the spirit of revolution that characterised the subject, capturing his constant dedication to the ideals of justice and freedom.

The image, framed in a beautiful wooden frame, is testimony to the artistry and skill of the artist. Every stroke reveals the dedication and passion to the art of the creator, an immortalization of his appearance for generations to follow. One of the country's most adored historical figures, his portrait is a powerful memory of the sacrifices of all those fighting for Mexico's independence, as well as the enduring legacy left by their struggle.

Bidsquare is a renowned platform for auctions of art, allowing collectors to have this amazing artifact from Mexican heritage. Its historical significance is immense, and with artistic value, the painting of Insurgente Lanzagorta is bound to be a highly sought-after piece in your collection. It will serve as an eternal tribute to the strength that is in Mexico and the Mexican people.

Bidsquare makes it easy to participate in online auctions. All you need to do is create an account and register for the auction you are interested in. Once you are registered, you can start bidding on the items you want. Bidsquare Live auctions on the internet are the ideal place to auction vintage and antique things. If you are interested in bidding you can search for live auctions near me. Visit Bidsquare's Auction Near Me page to discover upcoming auctions near you.

#Francisco Lanzagorta #online auctions #upcoming auction #live auctions #auction house near me

[laceyflanaganyarmouth]

Masterpiece Moments: Celebrating Artistic Genius

Masterpiece Moments: Celebrating Artistic Genius https://ift.tt/rIAwcKS In the vast and timeless realm of art, singular moments transcend the boundaries of culture, time, and individual taste. These are the Masterpiece Moments—instances where artistic genius converges with inspiration to create works that resonate across generations. These moments are not just about the artist’s technical prowess but about the profound impact their creations have on the collective human experience. Celebrating these Masterpiece Moments is an homage to the enduring power of art to inspire, provoke thought, and evoke profound emotions. The Sistine Chapel Ceiling by Michelangelo: One of the most iconic Masterpiece Moments in art history is Michelangelo’s frescoes adorning the ceiling of the Sistine Chapel. Completed between 1508 and 1512, Michelangelo’s masterful depiction of biblical narratives, including the Creation of Adam and the Last Judgment, is a testament to the artist’s extraordinary skill and vision.  Starry Night by Vincent van Gogh: Vincent van Gogh’s Starry Night is a swirling symphony of color and emotion that has become an iconic representation of the artist’s unique style and tortured genius. Painted in 1889 while Van Gogh was in the Saint-Paul-de-Mausole asylum, the painting captures the turbulence of the night sky in a way that transcends mere representation. The Persistence of Memory by Salvador Dalí: Salvador Dalí’s The Persistence of Memory, painted in 1931, is a surreal dreamscape synonymous with the artist’s exploration of time and reality. The melting clocks draped over a barren landscape invite contemplation on time’s fluidity and perception’s malleability.  Mona Lisa by Leonardo da Vinci: Leonardo da Vinci’s Mona Lisa is perhaps the most famous portrait in the world, and its enigmatic smile has intrigued art lovers for centuries. Painted between 1503 and 1506, the Mona Lisa is a Masterpiece Moment that transcends its artistic brilliance to become an icon of human expression. Leonardo’s meticulous attention to detail, subtle use of sfumato, and the subject’s enigmatic gaze contribute to the enduring allure of this masterpiece. Guernica by Pablo Picasso: Pablo Picasso’s Guernica stands as a powerful testament to the artist’s ability to convey political and humanitarian messages through art. Painted in 1937, Guernica is a visceral portrayal of the horrors of war, with distorted figures and anguished faces that demand contemplation.  Water Lilies by Claude Monet: Claude Monet’s Water Lilies series, created in the late 19th and early 20th centuries, is a testament to the artist’s fascination with nature and innovative approach to capturing the ever-changing play of light and color. These immersive depictions of Monet’s water garden at Giverny are Masterpiece Moments that invite viewers to experience the serenity and beauty of the natural world through the artist’s eyes. Celebrating Masterpiece Moments is not merely an acknowledgment of artistic skill; it is a recognition of the profound impact that certain works of art have on the human spirit. These moments become timeless beacons, guiding generations through the labyrinth of human experience and offering solace, inspiration, and contemplation.  The post Masterpiece Moments: Celebrating Artistic Genius first appeared on Lacey Flanagan | Arts & Culture. via Lacey Flanagan | Arts & Culture https://ift.tt/AGC8iIL December 10, 2023 at 11:45AM

#IFTTT #Lacey Flanagan | Arts & Culture

[orwofamily]

Orwo Family's Journey in Photographic and Cinematic Innovation

In the annals of photographic and cinematic history, the Orwo family name shines brightly as a beacon of innovation and excellence. From their humble beginnings in Germany to their global impact in visual storytelling, the Orwo Family's Journey in Photographic and Cinematic Innovation has left an indelible mark on the industry. This blog will delve into the remarkable journey of the Orwo family and their contributions to photographic and cinematic innovation.

A Humble Beginning:

The story of the Orwo family's journey in photographic and cinematic innovation begins in the early 20th century in the small town of Wolfen, Germany. There, in 1909, the Orwo Film Factory was founded by two visionary brothers, Adolf and Wilhelm Orwo. At the time, photography was still in its infancy, and motion pictures were emerging as a groundbreaking form of entertainment. The Orwo brothers seized this opportunity to make their mark.

Pioneering Photographic Materials:

The Orwo brothers were not content with simply following the trends of the time. They set out to create their photographic materials, setting a high standard for quality and innovation. In the years that followed, they developed and manufactured photographic films and papers that were known for their exceptional clarity and durability. Their commitment to quality soon earned them a stellar reputation among photographers and filmmakers alike.

Surviving Turbulent Times:

The Orwo family's journey was not without its challenges. The 20th century was marked by two world wars and economic upheaval, which presented significant obstacles for businesses like the Orwo Film Factory. However, the family's determination and resilience allowed them to weather these storms. Their ability to adapt and innovate during these difficult times played a crucial role in their success.

From Black and White to Color:

One of the most significant milestones in the Orwo family's journey was their entry into color photography and cinematography. In the mid-20th century, they introduced their color film stock, which quickly gained popularity for its vibrant and true-to-life colors. This breakthrough opened up new creative possibilities for photographers and filmmakers, allowing them to capture the world in all its colorful glory.

Global Impact:

As the Orwo family's reputation grew, so did their global reach. Their photographic and cinematic materials became sought after in Europe, North America, and beyond. Filmmakers, photographers, and artists worldwide embraced Orwo products for their reliability and exceptional quality. The Orwo name became synonymous with excellence in the industry.

Adapting to the Digital Age:

The digital revolution in photography and filmmaking posed a new set of challenges for traditional film manufacturers like Orwo. However, rather than resisting change, the Orwo family once again demonstrated their ability to adapt. They ventured into the production of digital imaging materials, ensuring that their legacy would continue in the digital age.

Preserving Heritage:

Throughout their journey in photographic and cinematic innovation, the Orwo family remained committed to preserving their heritage and commitment to quality. They continued to produce traditional film stocks for those who cherished the timeless art of analog photography and cinematography. Their dedication to craftsmanship and their willingness to embrace new technologies ensured that they remained relevant in a rapidly changing industry.

Conclusion:

The Orwo family's journey in photographic and cinematic innovation is a testament to the power of vision, determination, and adaptability. From their humble beginnings in Germany to their global impact, the Orwo family's name is synonymous with excellence in visual storytelling. Their contributions to the industry have left an enduring legacy that continues to inspire photographers and filmmakers today. The Orwo family's journey serves as a reminder that innovation and quality are timeless values that transcend the boundaries of time and technology.

#orwofamily #entertainment #film #filmindustry #movies #production

[buyofficialpainting]

Exploring the Provocative World of Francis Bacon: Dive into His Art with MerchFuse

Francis Bacon, born in Dublin in 1909, was an artist who left an indelible impact on the 20th-century art world. Known for his raw and emotionally charged imagery, his work is both highly coveted and profoundly influential. If you're drawn to the intense and expressive world of Bacon, MerchFuse is your ideal destination to explore and acquire artworks influenced by his striking style.

Francis Bacon paintings, often seen as unsettling and grotesque, are recognized for their exploration of the human condition. His distinctive style is typified by distorted figures, sometimes isolated in geometrical cages or set against stark, void backgrounds. Some of his most famous triptychs include "Three Studies for Figures at the Base of a Crucifixion" (1944) and "Three Studies for a Portrait of George Dyer" (1963).

Navigating through the often turbulent and existential themes in Bacon's work, MerchFuse offers a curated collection of art pieces that pay homage to his unique style. You'll find a range of artworks that capture the essence of Bacon's aesthetic, from high-quality reproductions of his famous paintings to works heavily influenced by his distinctive approach to the human form and emotion.

Shopping with MerchFuse gives you the confidence of authenticity. Every artwork up for sale goes through an intensive authentication process led by certified art experts. This ensures that you're investing in pieces that truly echo Bacon's influential artistry.

Beyond paintings, MerchFuse also houses a collection of merchandise bearing Bacon's provocative designs. Whether it's a meticulously crafted print for your living room or a piece of wearable art, you can carry a part of Bacon's extraordinary vision into your daily life.

Francis Bacon's work, though often unsettling, provides a riveting exploration of humanity. Through MerchFuse, you have the opportunity to delve into this exploration from the comfort of your own home. Whether you're a seasoned collector, an art enthusiast, or someone intrigued by the intense emotionality of Bacon's work, there's something for you in the MerchFuse collection.

Immerse yourself in the captivating world of Francis Bacon with MerchFuse today. Discover art that resonates with his legacy, and find a piece that speaks to your aesthetic and philosophical sensibilities.

[libramonthlyhoroscope1]

What is fauvism

Fauvism, style of painting that flourished in France around the turn of the 20th century. Fauve artists used pure, brilliant colour aggressively applied straight from the paint tubes to create a sense of an explosion on the canvas.

What is fauvism

The Fauves painted directly from nature, as the Impressionists had before them, but Fauvist works were invested with a strong expressive reaction to the subjects portrayed. First formally exhibited in Paris in 1905, Fauvist paintings shocked visitors to the annual Salon d’Automne; one of these visitors was the critic Louis Vauxcelles, who, because of the violence of their works, dubbed the painters fauves (“wild beasts”).

The leader of the group was Henri Matisse, who had arrived at the Fauve style after experimenting with the various Post-Impressionist approaches of Paul Gauguin, Vincent van Gogh, and Georges Seurat. Matisse’s studies led him to reject traditional renderings of three-dimensional space and to seek instead a new picture space defined by movement of colour. He exhibited his famous Woman with the Hat (1905) at the 1905 exhibition. In this painting, brisk strokes of colour—blues, greens, and reds—form an energetic, expressive view of the woman. The crude paint application, which left areas of raw canvas exposed, was appalling to viewers at the time.

The other major Fauvists were André Derain, who had attended school with Matisse in 1898–99, and Maurice de Vlaminck, who was Derain’s friend. They shared Matisse’s interest in the expressive function of colour in painting, and they first exhibited together in 1905. Derain’s Fauvist paintings translate every tone of a landscape into pure colour, which he applied with short, forceful brushstrokes. The agitated swirls of intense colour in Vlaminck’s works are indebted to the expressive power of van Gogh.Three young painters from Le Havre, France, were also influenced by Matisse’s bold and vibrant work. Othon Friesz found the emotional connotations of the bright Fauve colours a relief from the mediocre Impressionism he had practiced; Raoul Dufy developed a carefree ornamental version of the bold style; and Georges Braque created a definite sense of rhythm and structure out of small spots of colour, foreshadowing his development of Cubism. Albert Marquet, Matisse’s fellow student at the École des Beaux-Arts in the 1890s, also participated in Fauvism, as did the Dutchman Kees van Dongen, who applied the style to depictions of fashionable Parisian society. Other painters associated with the Fauves were Georges Rouault, Henri Manguin, Charles Camoin, and Jean Puy.

For most of these artists, Fauvism was a transitional, learning stage. By 1908 a revived interest in Paul Cézanne’s vision of the order and structure of nature had led many of them to reject the turbulent emotionalism of Fauvism in favour of the logic of Cubism. Matisse alone pursued the course he had pioneered, achieving a sophisticated balance between his own emotions and the world he painted.

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The Editors of Encyclopaedia BritannicaThis article was most recently revised and updated by Alicja Zelazko.

Salon d’Automne

The Salon d’Automne was established as an alternative to the conservative official Salon. It was also an alternative to the Salon des Indépendants, which was liberal but had a juryless policy that often led to mediocrity. The founders of the Salon d’Automne were a group of artists and poets that included Eugène Carrière, Pierre-Auguste Renoir, Georges Rouault, Édouard Vuillard, Joris-Karl Huysmans, and Émile Verhaeren, under the leadership of the architect Frantz Jourdain. They decided to form their own organization with the aims of welcoming any artist who wished to join, selecting a jury for exhibitions by drawing straws from the new group’s membership, and giving the decorative arts the same respect accorded the fine arts.

The first Salon d’Automne was held on October 31, 1903, at the Petit-Palais. The organizers chose autumn as the time of year for their shows because most other exhibits in Paris took place in the spring and summer. The venue was a significant force in the development of modern art in Europe. Early salons included retrospective exhibits of Post-Impressionist painters Paul Gauguin (1903 and 1906) and Paul Cézanne (1907); these shows helped establish their respective reputations and also proved to be events that influenced the careers of many artists. The best-known exhibit was that of 1905, when the painter Henri Matisse and his colleagues were dubbed Fauves (“Wild Beasts”) because of their uninhibited use of pure, nonnaturalistic colours.

[rockislandadultreads]

Southern Gothic Books: recommendations

Sing, Unburied, Sing by Jesmyn Ward

A searing and profound Southern odyssey by National Book Award–winner Jesmyn Ward. In Jesmyn Ward’s first novel since her National Book Award–winning Salvage the Bones, this singular American writer brings the archetypal road novel into rural twenty-first-century America. Drawing on Morrison and Faulkner, The Odyssey and the Old Testament, Ward gives us an epochal story, a journey through Mississippi’s past and present that is both an intimate portrait of a family and an epic tale of hope and struggle. Ward is a major American writer, multiply awarded and universally lauded, and in Sing, Unburied, Sing she is at the height of her powers. Jojo and his toddler sister, Kayla, live with their grandparents, Mam and Pop, and the occasional presence of their drug-addicted mother, Leonie, on a farm on the Gulf Coast of Mississippi. Leonie is simultaneously tormented and comforted by visions of her dead brother, which only come to her when she’s high; Mam is dying of cancer; and quiet, steady Pop tries to run the household and teach Jojo how to be a man. When the white father of Leonie’s children is released from prison, she packs her kids and a friend into her car and sets out across the state for Parchman farm, the Mississippi State Penitentiary, on a journey rife with danger and promise. Sing, Unburied, Sing grapples with the ugly truths at the heart of the American story and the power, and limitations, of the bonds of family. Rich with Ward’s distinctive, musical language, Sing, Unburied, Sing is a majestic new work and an essential contribution to American literature.

The Little Friend by Donna Tartt

Bestselling author Donna Tartt returns with a grandly ambitious and utterly riveting novel of childhood, innocence and evil. The setting is Alexandria, Mississippi, where one Mother’s Day a little boy named Robin Cleve Dufresnes was found hanging from a tree in his parents’ yard. Twelve years later Robin’s murder is still unsolved and his family remains devastated. So it is that Robin’s sister Harriet - unnervingly bright, insufferably determined, and unduly influenced by the fiction of Kipling and Robert Louis Stevenson--sets out to unmask his killer. Aided only by her worshipful friend Hely, Harriet crosses her town’s rigid lines of race and caste and burrows deep into her family’s history of loss.

Midnight in the Garden of Good and Evil by John Berendt

A sublime and seductive reading experience. This portrait of a beguiling Southern city was a best-seller (though a flop as a movie). ~ Shots rang out in Savannah's grandest mansion in the misty, early morning hours of May 2, 1981. Was it murder or self-defense? For nearly a decade, the shooting and its aftermath reverberated throughout this city of moss-hung oaks and shaded squares. John Berendt's narrative reads like a thoroughly engrossing novel, and yet it is a work of nonfiction. Berendt interweaves a first-person account of life in this isolated remnant of the Old South with the unpredictable twists and turns of a landmark murder case. The story is peopled by a gallery of remarkable characters: the well-bred society ladies of the Married Woman's Card Club; the turbulent young redneck gigolo; the hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah; the aging and profane Southern belle who is the "soul of pampered self-absorption"; the uproarious black drag queen; the acerbic and arrogant antiques dealer; the sweet-talking, piano-playing con artist; young blacks dancing the minuet at the black debutante ball; and Minerva, the voodoo priestess who works her magic in the graveyard at midnight. These and other Savannahians act as a Greek chorus, with Berendt revealing the alliances, hostilities, and intrigues that thrive in a town where everyone knows everyone else.

Ring Shout by P. Djèlí Clark

A dark fantasy historical novella that gives a supernatural twist to the Ku Klux Klan's reign of terror. D. W. Griffith is a sorcerer, and The Birth of a Nation is a spell that drew upon the darkest thoughts and wishes from the heart of America. Now, rising in power and prominence, the Klan has a plot to unleash Hell on Earth. Luckily, Maryse Boudreaux has a magic sword and a head full of tales. When she's not running bootleg whiskey through Prohibition Georgia, she's fighting monsters she calls "Ku Kluxes." She's damn good at it, too. But to confront this ongoing evil, she must journey between worlds to face nightmares made flesh--and her own demons. Together with a foul-mouthed sharpshooter and a Harlem Hellfighter, Maryse sets out to save a world from the hate that would consume it.

#Fiction #gothic fiction #non-fiction #true crime #horror #magical realism #to read #tbr #booklr #Book Recommendations #reading recommendations #Library Books #reading list #southern gothic

[hlupdate]

The relationship between A-list muse and lauded designer is nothing new. But few have been as serendipitous that of Harry Styles and Alessandro Michele: the pop star’s solo career coincided neatly with the designer hitting his stride as the game-changing creative director of Gucci. Theirs is a mutually beneficial partnership that has elevated the former to new echelons of style, while the latter has become something of an icon to an unexpected fandom.

Unlike the large-scale productions of recent show seasons, Michele first presented his vision for Gucci with a quietly confident collection on 19 January 2015 — reportedly pulled together in just five turbo-charged days. The collection had all the signifiers of the retro-inspired aesthetic that has since become Michele’s beat, introducing the fur-lined loafers, pussy-bow blouses and florals that still form the backbone of his work today. A 20-year-old Harry, meanwhile, was still a long-haired One Direction member set to embark on the band’s biggest ever — and as it turned out last— tour. Just as One Direction’s days were winding down, Michele was picking up speed. Gucci reported a five per cent rise in sales in the last three months of 2015, amounting to 1.1 billion Euro in the final quarter.

Stylist Harry Lambert, who had been working with Harry for a few years by then, decided it was time for the boy-bander to try something new. A floral suit – that floral suit – from Michele’s spring/summer 2016 collection would be just the ’fit for the American Music Awards in November 2015, they decided.

Looking back it was a “very bold move,” Lambert admits. Styles was the first to take one of Michele’s full menswear looks from the Gucci catwalk and wear it on the red carpet. “It was very exciting to see everyone’s responses, but also how great he looked in it,’’ Lambert told Miss Vogueof what he still views as a turning point in his client’s fashion journey. This winning suit encouraged Styles and Lambert to pull more Gucci, and Harry gave his final performance as a member of One Direction wearing a suit in the retro petal print that defined Michele’s early collections.

In fact, Gucci was just about the only thing that the 1D alum carried over to his solo career. Even his shoulder-length curls were shorn. The music videos that accompanied Styles’s eponymous number one album, released in April 2017, all incorporated Gucci, as did his appearances on the promo trail. A navy tailored coat floats through the sky in the video for “Sign Of The Times”, and he wears floral tailoring in the clip for “Kiwi”. When the time came for Harry to take his record on the road, he wore countless bespoke Gucci suits on stage. Most were floral brocade with flared trousers, and paired with pussy-bow shirting.

By June 2018, the relationship had been formalised. Styles was revealed – in a series of photos taken by Glen Luchford in the suitably English setting of a chip shop – as the face of Gucci’s tailoring campaign. Two more campaigns followed, in which Styles models the most exuberant of Michele’s creations without ever sacrificing his schoolboy cheekiness, not even with a lamb slung around his shoulders. The campaigns, two by Luchford, a third by Harmony Karine, helped to usher in a new dawn in menswear advertising.

A year later Harry was unveiled as part of a diverse line-up in the campaign for Gucci’s Mèmoire D’une Odeur — the near century-old house’s first gender-neutral scent. Yes, he was the main event, but Styles shared the spotlight with other creatives in what became an unavoidable campaign, covering buildings, beauty counters, column inches and iPhone wallpapers across the globe. Styles has since quipped that he wears it to bed,making a bottle a necessary purchase for even half-dedicated Harry fans.

That Harry’s work with Gucci has proved so popular with his dedicated fanbase is a key component in the success of their collaborations. Though — and again, this is likely owing to Harry’s own allegiances — his followers do tend to have a keen interest in fashion compared to other fandoms, it’s down to their idol that Harries know the artistic director by his first name alone. “It is really exciting for us fans to see another facet of Harry as a creative individual, and his Gucci partnership cultivates that and gives us an even more in-depth perspective of who he is,” Nadhila, a 26-year-old fan in Indonesia told Miss Vogue.

Nadhila, who has been a part of the team behind the Twitter account @HSNewsUpdate since 2011, believes that the fluid nature of Michele’s vision has contributed to the interest in Harry’s Gucci looks. “There are no boundaries on what he might come up with, so fans are always excited to see what look [Harry] might step out in next,” she says. Styles’s efforts to be a fan-focused, ethical pop star – his motto is “treat people with kindness” – are relevant, too. “He has inspired us to be bold, unique and unafraid to experiment when it comes to fashion,” she adds. “He has shown us that there is no such thing as too feminine or too masculine, we can be both and we can be ourselves.”

Another of Harry’s biggest fan accounts, @TheHarryNews, is run by four women in their mid-twenties: Annie, Océane, Lena and Rachel. “You can really see the confidence he’s gotten from working with Gucci,” they share collectively over email. “[He’s] taking more risks and letting more of himself show… In a lot of ways we’ve seen Harry really come into his own. I think that really resonates with people, especially his fans, who get tiny pieces of [who he really is] through fashion.”

Two fans who have an almost encyclopedic knowledge of this fashion partnership are the transatlantic duo behind @HSFashionArchive. Since April 2016, London-based Lu and Washington DC-based Alex have documented every look worn by Harry in meticulous detail, all to act as “a resource for fans”. Its posts lets his followers know how they might go about procuring these items, but also sheds light on key house codes – thus enabling fans to quickly identify which of Harry’s looks are Gucci, and which aren’t. “We have noticed that fans buy the Gucci pieces that Harry has worn,” 29-year-old Alex explained. “Though some pieces are pricey, we’ve seen people buy the loafers, boots, and bags that Harry has sported over the years. Lots of our followers bought the £34 Gucci lipsticks he wore in Beauty Papers.”

The pair believes that the relationship works because Gucci is able to offer Harry such a broad spectrum of looks to choose from. “Gucci’s looks range from wearable to outrageous, so Harry’s continued partnership with Gucci guarantees both attainable style and flashy moments. There’s nothing like seeing him in a wild new outfit that we couldn’t have anticipated.” And though one might assume the scene-stealing suits are most popular with fans, according to Nadhila, they like his low-key looks best, given that “they show a more casual and intimate look into who he is as a ‘normal’ person”.

Of course, there is a notable exception: the 2019 Met Gala. For the opening evening of the “Camp: Notes On Fashion” exhibition Michele and Harry acted as co-hosts, and arrived on the pink carpet together. “After such a colourful tour wardrobe it was nice to do something a little unexpected,” Lambert told Miss Vogue of the black blouse Styles wore. “[It was about] taking traditionally feminine elements like the frills, heeled boots, sheer fabric and the pearl earring, but then rephrasing them as masculine pieces set against the high-waisted tailored trousers and his tattoos. Camp, but still Harry.” Lambert explained at the time: “We met up earlier this year to share mood boards with the Gucci team. We had pages of printed references all on the table from Alessandro, myself and Harry, then we edited them down.” Today, the @HSFashionArchive duo agree the night “was a massive deal amongst fans”.

There was the now pearl earring-wearing fashion darling of the music world, standing alongside the closest thing to a rockstar the fashion industry has at present. “I love dressing up and he loves dressing up,” Michele told The Face in 2019. “The moment I met him, I immediately understood there was something strong around him. I realised he was much more than a young singer. He was a young man, dressed in a thoughtful way, with uncombed hair and a beautiful voice. I thought he gathered within himself the feminine and the masculine.”

Since the Met, the relationship has continued to go from strength to strength. Styles wore a custom look on the cover of his second record, Fine Line, shot by Tim Walker, and Michele and Styles collaborated on a T-shirt to coincide with it, with a percentage of the sales going to the Global Fund For Women. Gucci’s high-waisted trousers, cropped blazers and dazzling shirting now takes up even more space in Styles’s wardrobe, and bring as much attention to the star as his sophomore record’s commercial and critical success.

Sightings of Styles in Gucci have become a source of comfort for fans in a turbulent 2020. From his Mary-Janes at the Brits to his oversized turquoise blazer and crochet gloves in the “Golden” video, by way of outré sunglasses and floral sunglasses in the clip for “Watermelon Sugar”, Harry’s recent sartorial choices have managed to be pleasingly familiar, while simultaneously keeping his followers on their toes.

A bit like the chicken and the egg conundrum, the question remains: is Harry very Gucci, or is Gucci very Harry? The verdict is out. But without each other, both might be missing a little something.

#harry styles #articles #111120

[random-brushstrokes]

Alfred Stevens - The Present (between 1864 and 1873)

Alfred Stevens was best known for his evocative paintings of elegant – and often faintly enigmatic – women in gorgeous clothes posed against a glamorous background. They presented an ideal vision of the upper classes of mid- to late nineteenth-century Paris and were perhaps a diversion from the turbulent times in which they lived.

The pictures often featured a mirror into which the woman might be shown glancing at her own appearance, but she is sometimes focused on someone or something unseen in the room behind her. There is something of the ‘art for art’s sake’ about these images – in the women and their surroundings. It was enough for both to be beautiful, rich and sophisticated rather than having some inner meaning – this was typical of works of art of the Aesthetic Movement fashionable at the time. And yet in Stevens’s work, perhaps more clearly stated in this picture than in others, there is also something darker. Stevens painted stories, but we are left to make our own interpretations – in the plural, for they can change each time you look at each picture.

In The Present, a young woman sits side-on to us. She wears the relaxed but delicate and costly gown characteristic of the Aesthetic Movement, her hair casually caught back in a soft chignon. She looks down, apparently calmly, at a gleaming ceramic statuette of a snarling tiger, poised to pounce, its expression and stylised pose reminiscent of mythological creatures in Japanese art. Unusually, there is no decorative background, just a plain black wall. The tablecloth is finely embroidered but in a subtle, unobtrusive colour.

The woman is slumped, caught unawares, unlike the majority of Stevens’s self-consciously poised sophisticates. Her head is erect but her lips are firmly pressed together and her eyes are downcast, held by the tiger that glares back at her. Stevens has paid great attention to the detail of its shell-like surface, its arched tail and bulging eyes. It glints in the light – but not enough to detract from the boldly lit note in the woman’s hand, about to slide to the floor between limp fingers. What kind of present is this? Stevens asks the question, but leaves the many possible answers to us.

Perhaps his cultured audience, aware of the fashion for all things Japanese in art and decoration, would have known that in Japanese mythology the tiger isn’t the dangerous, threatening beast often portrayed in European art, but a symbol of courage, strength and sometimes good luck. Stevens himself may not have known, though as a friend of other artists influenced by Japanese art, like Whistler and Manet, it’s unlikely. The subject of the picture clearly interested him enough to paint it at least five times, including one version that was exhibited at the Paris Salon in 1866. (source)

#art #painting #alfred stevens #belgian art #1860s #1870s #19th century art

[dailyrothko]

Mark Rothko died on this day in 1970. His work left an indelible impression on millions of people. His art cast a light in my mind at an early age, which is why I chose to start this blog; so I could have a little Rothko every day to enrich the hours.  No matter what we read in books, or see in plays, the real artist is always available to us through their art. To paraphrase Schopenhauer, it is itself the last judgement on it.

The New York Times ran his obituary on the front page the next day. Here is the transcription of it:

Mark Rothko, a pioneer of abstract expressionist painting who was widely regarded as one of the greatest artists of his generation, was found dead yesterday, his wrists slashed, in his studio at 157 East 69th Street. He was 66 years old. The Chief Medical Examiner's office listed the death as a suicide.

Mr. Rothko had suffered a heart attack last year, and friends said that he had been despondent in recent months.

Like most American artists of his generation, Mr. Rothko's early career was marked by struggle and was untouched by recognition. His fortunes rose with those of the American brand of painting known as abstract expressionism, in whose development he had played a crucial role, along with Jackson Pollock, Willem de Kooning, Robert Motherwell, Adolph Gottlieb and Clyfford Still.

Today, Mr. Rothko's monumental canvases, in which simple rectangles of glowing col or seem to float on the canvas, are known and collected throughout the world. Mr. Rothko's significance as a painter was underscored by a retrospective exhibition of his works in 1961 at the Museum of Modern Art, which at the time only gave such shows to living painters of worldwide reputation.

Yesterday, William S. Rubin, chief curator of painting and sculpture at the museum, said: “The loss to modern art is incalculable. One of the pioneers of abstract expressionism, his work was crucial to the establishment of the whole tradition of recent color‐field painting and continued to pose challenges right up to his death.”

His historical importance was prominently reaffirmed this year in two major New York shows: “New York Painting and Sculpture: 1940–1970,” at the Metropolitan Museum of Art, and “The New American Painting and Sculpture: The First Generation” at the Museum of Modern Art.

Mr. Rothko's quiet, contemplative canvases, often described as “painting about the sublime,” are in strong contrast to the turbulent imagery of most of his contemporaries. The subdued content of Mr. Rothko's art was described as “empty” by conservative critics; those in favor admire their other‐worldly calm.

‘Baffling and Mysterious’

In 1957 the London critic Robert Melville wrote of Mr. Rothko's work: “It is baffling and mysterious in its simplicity, and I know that many people only find it an insult to their intelligence; but if by some miracle Rothko's attitude to painting were to prevail, we should all be on the way to becoming converts to Zen Buddhism.”

Mr. Rothko shared the be lief of his generation that painting was an act of faith. Rothko was not given to public declamation about his work, but he spoke to friends of “trying to project a tragic vision.” And he was concerned about the way that vision was received.

“A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer,” he wrote. “It dies by the same token. It is therefore a risky act to send it out into the world. How often it must be permanently impaired by the eyes of the unfeeling and the cruelty of the impotent who would extend their affliction universally.”

Described by friends as an essentially melancholy man, Mr Rothko was also a brilliant and witty talker.

“His temperament was always Russian and melancholy, even when things were going his way,” said Betty Parsons, a dealer and an old friend and supporter. “But he could make black white, and white black when he spoke. His wit was not at the expense of people, but at the expense of life.”

Mr. Rothko's chief avocational interests were music and friends. ���He loved Mozart,” the poet Stanley Kunitz, a close friend, recalled. “And he was a great, loyal, wonderfully affectionate friend.”

‘He Felt Rejected’

Mr. Kunitz added that the artist's unproductivity over the last six months had been “part of his depression.” “His friends were all aware of it,” he noted. “And partly it had to do with the art world. He felt that the scene was being occupied by people who were influenced by him — his followers — and yet he felt rejected at the same time. This really consumed him.”

Mr. Rothko, whose name was Marcus Rothkovich, was born on Sept. 25, 1903, in Dvinsk, Russia. His father, Jacob, a pharmacist, brought his family to the United States in 1913, and settled in Port land, Ore. Young Rothko, preoccupied with political and societal matters, aspired to be a labor leader.

In 1921, he entered Yale, but left the college two years later to “wander around, bum about, starve a bit.” He arrived in New York in 1925, and en rolled in Max Weber's classes at the Art Students League. The stint with Weber was his only formal training, and Mr. Rothko always considered him self a self‐taught painter.

Starting out as a realist, he exhibited in a group show, in 1929 at the Opportunity. Gallery in New York. Later, with many other New York artists hit by the Depression, he worked on the Federal Arts Project in 1936–37.

By the 1940's; his work, which in the previous decade stressed urban themes, began to absorb the surrealist influences of Miro, de Chirico and Max Ernst, artists whom Mr. Rothko greatly admired. In his first important one‐man show at Peggy Guggenheim's Art of This Century gallery, the surrealistic direction of his work was already apparent.

He joined the Betty Parsons Gallery in 1946, and the surrealist iconography soon gave way to completely abstract forms. In 1951 a reviewer for The New York Times wrote of the paintings in his final show at the Betty Parsons Gallery:

“They are given no titles and, in the accepted sense of the word, they represent nothing. They are expressions of pure and elementary color‐form relationships.”

In 1951, Mr. Rothko showed for the first time at the: Museum of Modern Art, in a now famous exhibition called “Abstract Painting and Sculpture in America.” Later he was rep resented in museum shows that traveled abroad, and he gave Europeans their first exposure to his work.

His Work ‘Arrived’

The influential Sidney Janis Gallery began to exhibit his work in 1954, thus signaling not only Mr. Rothko's success but also the “arrival” of the abstract expressionist movement.

In 1958, with Mark Tobey, the painter, and David Smith and Seymour Lipton, the sculptors, Mr. Rothko was chosen to represent the United States at the 29th Venice Biennale.

Mr. Rothko also had an important teaching career. From 1929 to 1952, he taught children at the Center Academy in Brooklyn, and during the sum mere of 1947 and 1949 he taught at the California School of Fine Arts in San Francisco, where he became an important influence on a number of California artists.

He was co‐founder and teacher in 1948 of the influential school on East Eighth. Street called Subjects of the Artists, a discussion center for the New York School painters. With Adolph Gottlieb, Mr. Rothko once stated his artistic credo in a letter that was published in The New York Times on June 13, 1943.

“We favor the simple expression of the, complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and re veal truth.”

Mr. Rothko, who received an honorary degree from Yale last June, is survived by his widow, the former Mary Alice Beistle, a daughter, Kate, and a son, Christopher.

He also leaves a sister, Sonia Allen, of Portland, and two brothers, Moise Roth of Port land and Albert Roth of Los Angeles.

#Suicide #mark rothko #dailyrothko #abstract expressionism #abstract art #mid-century modern #modern art #rothko #daily rothko #color field painting #important artists #art #art gallery

[atlasofmaterialculture]

History of art and architecture

Disclaimer: this is just for archival purposes. I have not read most of these.

The Invention of Tradition Hobsbawm, E. & Ranger, T. (Ed.). 1983

Many of the traditions which we think of as very ancient in their origins were not in fact sanctioned by long usage over the centuries, but were invented comparatively recently. This book explores examples of this process of invention – the creation of Welsh and Scottish 'national culture'; the elaboration of British royal rituals in the nineteenth and twentieth centuries; the origins of imperial rituals in British India and Africa; and the attempts by radical movements to develop counter-traditions of their own. It addresses the complex interaction of past and present, bringing together historians and anthropologists in a fascinating study of ritual and symbolism which poses new questions for the understanding of our history.

Idea: A Concept in Art Theory Panofsky, E. 1968

Building Footprints Sacriste, E. 1962

The City in History: Its Origins, Its Transformations, and Its Prospects Mumford, L. 1969

Mumford explores the factors that made Greek cities unique and offers a controversial view of the Roman city concept. He explains how the role of monasticism influenced Christian towns and how mercanitile capitalism shapes the modern city today.

The Eternal Present: The Beginnings of Art and The Beginnings of Architecture  Giedion, S. 1964

Professor Giedion, well known as an historian of architecture, is concerned in this latest work with a problem that in his view has come more and more into the foreground: the dual concepts of constancy and change in many spheres, ranging from the creative to the philosophical... The two keys to the meaning of prehistoric art, S. Giedion maintains, are the symbol, portraying reality before reality exists, and the animal as man's superior in the unified primordial world in which both man and animal were embedded.

The Classical World: An Epic History from Homer to Hadrian Lane Fox, R. 2008

In The Classical World, eminent classicist Robin Lane Fox brilliantly chronicles this vast sweep of history from Homer to the reign of Augustus. From the Peloponnesian War through the creation of Athenian democracy, from the turbulent empire of Alexander the Great to the creation of the Roman Empire and the emergence of Christianity, Robin Lane Fox serves as our witty and trenchant guide. He introduces us to extraordinary heroes and horrific villains, great thinkers and blood-thirsty tyrants. Throughout this vivid tour of two of the greatest civilizations the world has ever known, we remain in the hands of a great master.

New Light On Old Masters: Studies in the Art of the Renaissance Gombrich, E.H. 1994

These classic studies on the interpretation of images are essential reading for all students of Renaissance art; they also take their rightful place as seminal texts that have themselves helped to shape the evolving discipline of art history. Many of the essays focus on the greatest artists of the Renaissance - notably Botticelli, Leonardo, Raphael and Michelangelo - and all reflect the author’s deep and abiding concern with standards, values and problems of method. Yet Gombrich never loses sight of the works of art he is investigating, and he brings to all his analyses and interpretations an original and powerful intelligence, unfailing clarity of expression and immense learning.

Schinkel's Berlin: A Study in Environmental Planning Pundt, H. 1972

The Modern City: Planning in the 19th Century Choay, F. 1969

Although we face unique urban problems in our day, many of the strengths and weaknesses of our present cities have been inherited directly from the nineteenth century. Much has been written about the impact of the industrial revolution on urban centers, so Francoise Choay is inevitably dealing with many familiar issues in this book. Her analysis of nineteenth-century theory and practice with respect to the regularization and planning of cities has, however, a novelty about it which should permit us to see the accomplishments and frustrations of that century in a different light than usual.

History of Modern Architecture (Vol. 1 & 2) Benevolo, L. 1977

It is a serious and original study of the beginnings and development of modernism in which the pictorial aspects are designed to aid in the communication of the author's closely reasoned formulations, rather than to gloss over a lack of substantive content. (...) Indeed, the author argues that the development of the modern movement in architecture was determined, not by aesthetic formalisms, but largely by the social changes that have occurred since about 1760. (...) The first volume provides the work with its solid historical roots. It describes the component parts of modern architectural thought, discovers their origins in the various fields in which they arose, and follows their convergence from 1760 to 1914.

The Origins of Modern Town-Planning Benevolo, L. 1967

Exploring the social origins and history of town planning in nineteenth-century England and France. Carefully documented and copiously illustrated, Origins of Modern Town Planning delves into the social origins and history of town planning in nineteenth-century England and France.The touchstone of Benevolo's research is the relationship between town planning and politics. The twofold origin of the planning concept found expression in two schools of nineteenth-century thought: the Utopians—Owen, Saint-Simon, Fourier—and their active vision of the town as a self-sufficient, coherent organism are contrasted with the specialists and officials who endeavored to remedy each urban defect individually by introducing new health regulations and social legislation into already existing towns. Despite the conceptual difference, however, Benevolo points out the shared ideology which inspired all achievements of thought and action—even the purely technical—and establishes its correspondence in spirit up to the time of modern socialism.

Changing Ideals in Modern Architecture, 1750-1950 Collins, P. 1998

Peter Collins's classic study surveys two hundred years of architectural theories and ideas. It explains what Revivalism, Rationalism, Eclecticism, and Functionalism meant to those who practised them, examining the influence of the other arts and sciences on architectural theory, and analysing notions that are commonly used in discussions about modern architecture but have implications frequently unsuspected or overlooked. Infused with a deep sympathy for the nineteenth century, Changing Ideals in Modern Architecture suggests that many nineteenth-century ideas can be of real value to practising architects, particularly now that technology has made it possible to put them into effect properly.

#reading list

[teresawilson1]

The Artist’s Dream: The Sleep of Reason Produces Monsters

A commissioned art installation by Teresa Wilson and Julie House for Levy Fringe Festival of Arts 2020. 

Stepping into the turbulent mind of the artist.

The exhibition takes as its starting point the nightmarish vision in the work of artists from the Romantic Movement of the late 18th century.

The uncanny sculpture puppet installation, crosses over the space between sculpture, installation and theatre into an alternative dream room of feverish imagination.

Definition of the word Sucubus = Nightmare

A nightmare, anything that weighs heavily on the mind.  In medieval times it denoted an evil demon who was supposed to have sexual intercourse with women during their sleep (Late Latin. incubus, a nightmare).

         Women may now go saufly up and down;

         In every bussh or under every tree,

         Ther is noon oother incubus but he,

         And he ne wol doon hem but dishonour.

                            CHAUCER: Wife of Bath’s Tale, 1.24.

Succubus (suk u bus)

(Medieval Latin masculine form of Late Latin succuba, from succumbere, to lie under).  A female demon fabled to have sexual relations with sleeping men.

Definitions taken from The Wordsworth Dictionary of Phrase & Fable.

#art #artists on tumblr #artist #installatioart #henry fuseli #franciscogoya #romanticism #romantic goth

[berlysbandcamp]

Lea Bertucci is a NYC based sound artist and composer whose work bridges performance, installation and multichannel activations of acoustic space.

‘A Visible Length of Light’ is laced with subtle nods to Bertucci’s long-standing immersion in early 20th century American traditional music (folk, bluegrass, jazz, and gospel), vast washes of spatial ambience, long-tones, pointillistic texture, and delicate interplay, weave an abstract vision of place in the face of displacement – what the composer describes as “the feeling of physically inhabiting a space, when the relationship to that space has become overwhelming, and provokes the desire to seek truth, transcendence, and moments of comfort, disquiet and catharsis through confusion” – that doubles as an intimate contemplation of collective experience and what it means to be American during turbulent times.

#saxophone #sax #contemporary #ambient #classical #field recording #drone

[morebedsidebooks]

LGBTQ+ Characters in Comics from the 20th century I like

It’s June, Pride is here and rainbow colours are everywhere. So, I figured I’d be a little retrospective and share a short list of LGBTQ+ characters in comics from the 20th century I have a soft spot for. I’ve organized these by date of the characters first appearing but, happily most are still having stories written about them today.

Let’s start with three ladies from DC: 

Catwoman

Catwoman, specifically Selina Kyle has been around comics for a long time, nearly as long as the turbulence of her relationship with Batman. Though, Bruce isn’t they only character she has involved herself with over the years. I’ve got my share of comics featuring this fierce lady of many lives and antiheroine, including part of the New 52 run by Genevieve Valentine a few years back where her bisexuality was acknowledged as canon. Though, it was the film adaptation Batman Returns in 1992 with Michelle Pfieffer that blew me away when I was young. And remains, I think the most iconic Catwoman costume, which you can see in 4K now. Hear her roar.

Wonder Woman

Wonder Woman is another longstanding character and probably the most popular female superhero. I had comics as a child with Diana along with watching the sometimes campy 1970s TV series with Lynda Carter. Perhaps even more interesting than the Amazonian warrior herself is the passions of one of her creators William Marston and the themes of those earliest comics. (I’d suggest the book Wonder Woman: Bondage and Feminism in the Marston/Peters Comics 1941-1948.) And of course, also the controversy over a strong heroine standing on her own sparked by Fredic Wertham in Seduction of the Innocent.

Poison Ivy

Poison Ivy, or Pamela Isely with her sexual agency and connection to the Green, who admittedly may go about fighting for the environment as well as for women or children in the wrong way sometimes, is my top female character from American comics period. After again some rough treatment in comics recently, I wrote this year about her origins since 1966. Most people these days probably can’t think of Ivy without Harley, since it’s been 20 years since their first meeting in comics (longer for other mediums) but, these gals have a relationship that isn’t monogamous and has had it’s on again off again points too. (And note to DC maybe get it together on just how you define it since you waffle a bit hmm?)

 Taku and Venomm

Black Panther was one of the few Marvel comics characters whose stories I’ve wound up reading. (My mum had this thing against some comics and one of my older brothers mainly passed on DC issues to me.) The Jungle Action installments written by Don McGregor are to this day still memorable. And part of that should be due also to Taku and Venomm (Horatio Walters), the latter first appearing in the “Panther’s Rage” arc. Though, it would take time for the open acknowledgement of this example of early gay characters in comics. Sexuality outside the heterosexual among other topics was taboo in the 1970s yet, McGregor managed with a collection of artists to bring a vision of Wakanda focusing largely on its black inhabitants and difficult social issues in the world to publication.

 Juli Bauernfeind

I read The Heart of Thomas by Moto Hagio about boys at a German boarding school when I was 21. Juli was a character I connected to and the story had a profound effect on me. And I bawled my eyes out. It still makes me cry and is still one of the best comics I’ve ever come across. I reviewed the English edition a few years back. As well as wrote a post on the French bisexual author Roger Peyrefitte whose novel was adapted into a film which inspired Hagio.

 John Constantine

Full of politics, call it dark with a dose of nihilism but, Hellblazer with John Constantine is just damn good. Sometimes the world is awful, people are awful, you’re awful and well yeah everything is going to hell. Constantine is pretty much dreadful for the women he’s often involved with, or well anybody really. It was in the early 90s readers were first clued into the history of his love life made up of girlfriends and boyfriends. And can we fail to recall the later S. W. Manor from Ashes & Dust: In the City of Angels, one of the most visceral takes thru a character that is basically a stand in for Bruce Wayne, and his twisted relationship with John? I’m not. It’s been a strange trip over the years some adaptations really glossing over his sexuality. Though of late handling this aspect of his character appears to have gotten better.

 Stormer and Kimber 

The madcap Jem and the Holograms was one of my favourite cartoons as a child in the 80s. I even had some of the dolls and cassette tapes. Stormer aka Mary Phillips part of the Misfits was the rock star I loved the most. Dedicated to music and actually quite sweet with the optimum blue hair. I had to try the colour myself. The episode where she teams up with Kimber after both have differences with their respective bandmates is a classic. So, it was truly outrageous when the series was revived in 2015 in comic book form by Kelly Thompson and Sophie Campbell, and the Stormer and Kimber relationship that had been brewing came fully out for fans. (Btw the comic also added a new character, Blaze who is a trans woman and girlfriend of Misfit’s fan Clash.)

  Ash Lynx and Eiji Okamura

It’s been interesting to experience Banana Fish by Akimi Yoshida in different ways from first encountering the comic when I was a teenager, picking it up again in my twenties, and yet again the animated TV series last year. I wrote about the comic and first few episodes of the 2018 adaptation when it was airing. Though, I haven’t posted much more on it because there’s a tiny percentage of its fandom I want to avoid, as well as 30+ years on the series is still— pain. This one is a tragedy folks. However, it also has a beautiful healing love story and touched on a variety of hot button issues that are sadly still relevant today. My love for these two teen characters in a gritty USA will live forever.

  Chihaya and Kagetsuya

I’ve written before how the sci-fi title Earthian was what introduced and endeared respect for m/m comics from Japan for me. The art style of Yun Kouga has changed a bit over the years, nevertheless still stands out from the crowd. And Earthian with a taboo love between androgynous male angels remains my favourite of her work.

Michiru Kaiô and Haruka Tennô

Sailor Moon has become a multimedia sensation and is beloved around the world. Many kids and even adults of all sorts in the 90s will remember it in one form or another and cite it as an influence for pursuing careers in all sorts of creative fields. Along with countless fans recognizing or discovering something of themselves in the characters. There are several different characters for rep in the series. But particularly for me Michiru and Haruka were an opportunity in a very anti-LGBTQ+ climate (their relationship was even refashioned as being cousins when brought out in English for the first time) to nevertheless see such a loving, positive relationship.

Tomoyo Daidôji

Love is a theme the creative team CLAMP revisits and revisits and Cardcaptor Sakura is the magical girl comic series with a theme on all different forms. It is one of the first all ages titles from Japan that I will recommend to people. (Despite fyi containing a whopping four student-teacher relationships. Not the purpose of this post to go into right now though.) The best friend to Sakura, Tomoyo is one of my favourite characters. Always supportive, maybe a bit alarming popping out of bushes or other spots with her camera at the ready to catch either Sakura’s everyday life or battles, and possessing boundless fashion sense. (Btw, there are other characters in the series that are or could be interpreted as examples for my list as well. Sakura among them.)

  Isabella Yamamoto

Paradise Kiss by Ai Yazawa, a sequel of sorts to one of the huge girls’ comics titles of the 1990s Gokinjo Monogatari, introduced a group of teenagers on the verge of graduating, some with an idea of what to do with their lives and others questioning the path they’ve so far taken. Isabella from an affluent background but, who struggled for acceptance from her family or nearly anyone until she was gifted a handmade dress by her childhood friend George (who is Bi btw), studies pattern drafting at the same art school as Gokinjo Monogatari. The most mature of the main cast, refined, always listening and offering a cup of tea, she achieves her dream career and self-actualization in fashion. Since I have a degree in fashion design, I have to agree that clothes are so much more than just something we wear.

#lgbtq characters #comics #catwoman #wonder woman #poison ivy #taku #venomm #juli bauernfeind #john constantine #stormer #kimber benton #ash lynx #eiji okumura #chihaya #kagetsuya #michiru kaiô #haruka tennô #tomoyo daidôji #isabella yamamoto