chasingthedeer

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The Victory of Faith  (1891) Saint George Hare 

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A lot of the time when I reblog jewellery on here, it’s art nouveau jewellery, because I really like art nouveau. In general, and in jewellery in particular. And most of that is the aesthetic. I like the natural forms, I like the twisty curly bits, I like the use of materials, I like how a lot of art nouveau jewellery is using metals and stones and other materials to create a specific form, an insect or a plant or a goddess or even sometimes nature scenes. I like …

I feel like a lot of the time with jewellery, it feels like ‘I’m going to use this object to show off the size and value of my pretty rock’. And there’s nothing wrong with that. Some of those rocks are indeed gorgeous. But art nouveau feels more ‘I’m going to use these pretty rocks, and several other things, to create the impact of this object’? I just love the use of materials, glass and enamel and colour, as well as precious stones and metals, to create a form or a scene.

Like, you get a diamond ring, it’s a diamond ring. But you get something like a dragonfly brooch (Louis Acoc):

Or a lilypad hair comb (Rene Lalique):

Or a wisteria branch (Georges Fouquet):

And it’s a whole creation. A little wearable piece of art.

And I don’t want to sound too dismissive. I know the craftmanship and skill and artistry that goes into any kind of jewellery making. That diamond ring took skill I will never have. I just.

I like the emphasis on form more than material that you get with art nouveau. Like normally you hear ‘glass jewellery’, ‘enamel jewellery’, and it’s cheap, it’s frowned upon, but in art nouveau it’s what that glass or enamel was used to make that’s the important part:

(Rene Lalique)

(Eugene Feuillatre)

Anyway. In summary, I really, really, really like art nouveau jewellery?

[chasingthedeer]

Fairy With Iris Bleeding, ca. 1885-1890 Alphonse Mucha

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البلدة القديمة - بيت المقدس - فلسطين The Old City- Jerusalem -Palestine تصويري

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Three Italian partisans in Rome, 16 June 1944

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US soldiers with the 4th Infantry Division arrive as reinforcements at Omaha Beach in Normandy, June 9, 1944

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Algerian doors 🇩🇿

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An M10 Wolverine of the 20th A.T. Reg. provides cover for men of the 3rd Div. as they advance inland from Queen Sector, Sword Beach, Normandy. 6 June 1944.

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Piper Bill Millin landing with Commandos of 1st Special Service Brigade from a LCI(S) (Landing Craft Infantry Small) on ‘Queen Red’ Beach, SWORD Area, at la Breche, Normandy, France. D-Day, 6 June 1944

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The Magnificent Eleven is a group of photos of D-Day taken by war photographer Robert Capa. Capa was with one of the earliest waves of GIs landing on Omaha Beach. Capa stated that while under fire, he took 106 pictures, all but 11 of which were destroyed in a processing accident in London.

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Incredible and gorgeous 17th century Ottoman tent from the Dresden State Art Collections.

[chasingthedeer]

Julius Malema, member of the South African parliament and leader of the Economic Freedom Fighters party, on Trump’s grotesque “white genocide” spectacle at the White House yesterday:

“We’re not going to kill white people. Stop being sensitive. No one is going to kill you. You think we’re going to kill you just because you killed our people? The killing mentality is in your head. We don’t have a killing mentality. We have a mentality of justice and peace. The only thing we’re not prepared to do is to prioritize peace over justice. There must be justice first, before there is peace…

"We don’t owe white people an apology. Black people, stop apologizing to whites. They are the ones owing us an apology. You have done too much damage to black people. who are unemployed because of you, who are dying of diseases because of you, who are illiterate because of you, who are addicted to drugs because of you. You owe us a lot.

"You must show remorse and stop behaving like crybabies. South African democracy is going to be built by a robust debate, particularly when it comes to race relations. We must stop deceiving each other. The poor meant black. The rich meant white. For as long as that has not been resolved, there will be a permanent problem between the poor and the rich.”

Via Jeffrey St. Clair

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The Banks of the Epte at Eragny via Camille Pissarro

Medium: oil on canvas

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The monument “Chronicle of Georgia”.

Architect: Zurab Tsereteli.

> Photos: Arseniy Kotov.

[chasingthedeer]

Frederick Simpson Coburn (1871–1960) - “Death in The Pear Tree”

pastel for ‘The Legend of Misery’ 1914