#genevive delacroix

[velvetcovered-brick]

Chapters: 5/27

Fandom: Bridgerton (TV)

Rating: Teen And Up Audiences (rating will change)

Warnings: No Archive Warnings Apply

Relationships: Benedict Bridgerton/Penelope Featherington, Eloise Bridgerton & Penelope Featherington, Benedict Bridgerton & Eloise Bridgerton, Benedict Bridgerton & Daphne Bridgerton

Characters: Benedict Bridgerton, Penelope Featherington, Eloise Bridgerton, Daphne Bridgerton, Violet Bridgerton, Lucy Granville, Henry Granville, Genevieve Delacroix, Anthony Bridgerton, Colin Bridgerton, Portia Featherington, Marina Thompson, Archibald Featherington, Francesca Bridgerton, Gregory Bridgerton, Hyacinth Bridgerton, Simon Basset, Agatha Danbury, Lord Wetherby (Bridgerton)

Additional Tags: Canon Rewrite, Non-Canon Relationship, Slow Burn, Acquaintances to Friends to Lovers, Personal Growth, Benedict Bridgerton/Penelope Featherington Happy Ending, Unrequited Love, The Unrequited Love is Temporary, Not Actually Unrequited Love, Regency, Penelope Featherington Needs a Hug, Strong Penelope Featherington, Coming of Age, communication is key, background canon relationships, Benedict's Rock Collection, Benedict and Eloise discover Penelope is LW from the beginning

Summary:

Benedict's life changed the moment Lady Danbury commanded,

“Follow that Featherington.”

The year is 1813 and Benedict's sister Daphne has just made her debut. He thought he knew how this season would go. Little did he suspect he would stumble on the youngest Featherington daughter's biggest secret.

--

A complete, Benelope canon re-write, starting from S1, Ep1 all the way through season 3.

@writingwhilecaffeinated has blessed us with this canon divergent re-write with Benedict and Penelope! I promise you you won't regret reading this! Check out that word count! 👀👀👀 That chapter count! Its a damn door stop! 👀👀

[silverhallow]

Could you please write something about Sophie going dress shopping with Kate and Violet before the wedding and going to Madame Delacroix and the awkward situation that Sophie is in as Benedict has told her that him had a fling with Madame Delacroix

So I’d done something similar in another story, another life I think… but I’ve had a go… it’s taken me a few days my muse has been a bit fickle so I hope it’s okay…

It’s below the cut just cause it’s about 1k so a bit long x

Sophie hadn’t expected Benedict to sit her down after breakfast before she was due to be dragged shopping by his mother and his sister-in-law, to get everything ready for the wedding on Monday and tell her everything about his past.

His roguish ways, his nights at Henry’s parties, his night with Geneveive and Lucy, his affair with Geneveive and then with Tessa and all the women before. It had almost blown Sophie’s mind and when she’d asked why he was telling her this he’d replied “I don’t want any secrets between us”

And Sophie hadn’t thought much about it, that was until the carriage pulled up outside of Madame Delacroix’s shop and Sophie felt her stomach drop.

Was that why he’d told her?

Did the seamstress still have feelings for him? Had the affair been more than he’d let on…

Had he been intent on flustering her… had he wanted to warn her, there were a million questions running through her head as she was helped down out of the carriage.

“Madame Delacroix is the best seamstress in London, she will have dresses ready that we can have altered to make up your trousseau, and with a little extra I am sure she can have some new things made” Violet said.

“It seems like such a short time…” Sophie said

“Oh Madame Delacroix manages this all the time, she managed it for me, I am sure she can sort something for you” Kate replied cheerfully, looping her arm into Sophie’s and leading her into the shop.

Sophie felt sick as they crossed the threshold into the shop and were greeted by an elegant looking woman, her greeting with the French accent was obviously fake and Sophie raised a brow.

She’d heard enough fake french accents from maids she’d worked with over the years to know a fake one when she heard one but it wasn’t her place, she was just working on just trying not to throw up.

What on earth was a woman meant to do when she is face to face with her future husband’s ex-lover…

“Ohhh Madame Delacroix, thank you for agreeing to see us on such short notice. Sophia here is in need of a full wardrobe and trousseau as soon as possible, she is to marry Benedict on Monday” Violet said brightly as she wandered into the shop.

“But of course, I have some dresses nearly ready that were meant for another but they have changed their mind, I think perhaps a few adjustments will fit and they look like the right colours, come through Mademoiselle, I can take your measurements” Geneiveve said, trying to keep her own voice breezy and polite.

“Go on, we’ll have a look at some materials, you’ll be fine sweetheart” Violet said encouragingly and Sophie had no choice but to go through.

She assumed that Violet had no idea about her son’s past with the seamstress so she followed her through to the back and within 10 minutes she was out of her dress and in her really old stays.

Sophie felt incredibly awkward, “I…” she stammered

“It is okay ma cherie… I have seen worse” she smiled softly

The two stood there for a few moments as Madame Delacroix grabbed her tape measure before Sophie couldn’t keep it anymore.

“Benedict told me about the two of you…”

Madame Delacroix froze but felt a small smile form on her face “that doesn’t surprise me… he is an honest person. I cannot imagine he would want to keep secrets from his wife, but do not worry, we have not been together for a long time. It was a bit of fun, nothing to worry about” she said politely.

“R…really?” Sophie asked

“Yes, we are nothing more than friends, we have not been for two years… we have spoken at parties, where he was there for the art, not for the women or anything, he went to paint, he spent a lot of time painting… well he painted you… in a silver dress” she said. “Even if I wanted to, he only had eyes for you, so please… do not worry, he loves you very much” she said “your stays, your past… nothing matters, after tomorrow, your future is brighter, you will be a Bridgerton… and we will make you look like the part”

“Thank you… truly, I was a little worried, I had no idea why he told me, I thought perhaps he wanted to warn me that you were still interested in him… I don’t know” Sophie said with a sigh of relief.

“Benedict is an honest man, i cannot imagine that he would want to keep his past secret from the woman he wants to spend his life with, and if he knows your past… then I am sure he would want you to know his”

“You know about my past…?” Sophie asked confused

“A woman’s stays says a lot about her. These are not the stays of the ladies of the ton, I know enough of the maids… and besides, I recognised you, you brought in a couple of Lady Penwood’s daughter’s dresses, but your accent it says as much as your stays do”

“Your accent tells me a lot about you too…” Sophie said with a small smile.

Genevieve chuckled and dropped the French accent “well yes, it was easier to take over from Crossy’s daughter’s if I pretended to be French, to blend in… something I am sure you know well”

“French is easier to use than to learn to drop the accent you knew for years but please do not worry, your secret is safe with me… I hope… that mine will be safe with you?” Sophie asked

Genevieve smiled “I hear things that I do not repeat, what happens in here, stays in here… it is not my place, besides, you are a lady of the ton, that is who you are, who you were born to be, you just got a little lost finding your way there… now…” she said with a pull of the tape measure and putting her accent back on as she heard the footsteps of the two Lady Bridgerton’s “let us show the world the latest Mrs Bridgerton!”

Sophie beamed, letting out a deep breath “Si-vous plait!”

The two women shared a smile as Kate and Violet walked in, unaware of what had passed and Sophie spent the afternoon being fitted with new stays, having dresses readjusted and some new ones designed and Sophie promised that she’d be back for more once she was settled.

[thekatebridgerton]

If there's one thing I'm curious about is the fact that Penelope hangs out with Genevieve Delacroix now. I wonder what might come out this alliance.

Maybe Genevieve can let Pen know how babies are made and manage money.

Genevive giving Penelope the talk on how babies are really made will be the highlight of my day because Gen hangs out with dancers and opera singers who def know about regency contraceptives and safe sex. So Penelope is in for some hard truths.

I like the Penelope / Genevive alliance. They're almost work collegues. Gen was Penelope's first Ad so to say. It opens up the door for LW to do more advertising aside from gossip columns. And people would pay her trough Gen. that could be a good business. And also, Gen would know how to dress Penelope in the best fashions.

I can imagine Genevive trying out her latest designs of Penelope, while Colin is outside waiting to see how she looks with new clothes, and Colin just going 'nope, she needs to cover up her beauty, go less birth of venus please!!' and Genevive hiding her smirk

the more I think about Mme Delacroix being part of Penelope's squad of friends, the more I see the pottential for mischief.

and that's the tea

[lunastar92]

Bridgerton cast, wrap party!

[micaramel]

Artist: Matthew Lutz-Kinoy

Venue: Mendes Wood DM, New York

Exhibition Title: Hudson Bathers

Date: April 30 – June 15, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of Mendes Wood DM, New York

Press Release:

Mendes Wood DM is pleased to announce Hudson Bathers, an exhibition of new work by Matthew Lutz-Kinoy.

For his first show at Mendes Wood DM in New York, Matthew Lutz-Kinoy fills the gallery with canvases that line the walls and ceiling like the boiseries (painted wooden wall panels) that adorn the Boucher and Fragonard cabinets several blocks away at the Frick. These rooms have served as inspiration for the artist before: the performative figures in his large-scale canvases seem, like Boucher’s infants and Fragonard’s lovers, to inhabit landscapes of diaphanous and luminous colors that spill forth from centers with no horizons, where they act out playful narratives of suggestive content. At Mendes Wood DM, these landscapes are infiltrated by wild beasts that appear to have wandered into the painted panels as if they were invading garden plots and trampling them into threatening forests (think boiseries: the woods behind the wooden wainscoting). Drawing the animals from the nineteenth-century exotic and from imperialist fantasies of artists like Horace Vernet or Delacroix, Lutz-Kinoy couples them here with limpid human figures whose distinct lack of individual expression finds a projective foil in the externalized expression of their mammal partners. A bather of ambiguous gender clutches at a white cloth while a tiger ferociously slurps the water from which they emerge. Their bodies intertwine, the tiger’s tail mimicking the form of the bather’s peshtemal – or vice-versa – yet there appears to be no active emotional connection between the two. A distance separates the human from the animal, such that the expressive jolt of the animal content becomes diffused and revealed as a screen of emotional projection.

Two paintings take up Fragonard’s so-called La Gimblette explicitly in ways that highlight this affected distancing of subject through repetition. In one (La Gimblette Double), the figure “playing” with a lap dog in a lap-like canopy bed repeats one on top of the other, as if to emphasize the blank artificiality of the scene rather than its primal caress. Likewise, in another painting (Financier) of a human penetrating a lion in missionary position (the pun may well be intentional, pointing to the colonial “mission civilatrice” undergirding certain strands of French exoticism), the human figure is silhouetted, back to front in blank expression. Yet its predatory force seems strangely diffused in spite of the depiction of interspecies copulation: The lion’s tail extends limply from underneath the human’s ass, like an extended tassel pointing out of the image; empire short circuit.

Stranded in front of a gaping, uterine cave (Fragonard’s cavernous lit à la Polonaise reappears), the lion and the human pairing thereby point indirectly to ways in which the pictorial use of animals as ciphers for human emotion hints at a dependence on others to externalize a desire for affective reassurance that the world is indeed ordered in ways that are familiar in ideological terms. This is the allegorical function that animal painting traditionally served in the west, be it in popular eighteenth-century animal painters like Jean-Baptiste Oudry, or Frans Snyders’ monumental seventeenth-century Flemish still lives where narratives of political economy stage transpose themselves into scenes of animal interaction that offer themselves to the viewer like natural commodities to be plucked and enjoyed. These scenes of vulnerable externalization dominate the first room of the exhibition. The figures – made with drawn stencils that have been hosed with colors on the ground with a liberated industrial gardening sprayer (!) – inhabit rectangles like French parterres (flower beds) gone wild with color field staining, their geometric patterned sections guiding the landscape admirers inside and outside of the paintings.

Proceeding into the exhibition’s second room, the meaning shifts subtly as a threshold is crossed from exclamatory exteriorization to a more interior tone. In a long, frieze-like take on the Swiss symbolist Ferdinand Hodler’s Love (1907-1908), Lutz-Kinoy pairs more figures in ambiguous embraces. The animals have departed and Hodler’s heterosexual pairs find themselves stranded in a space from which the horizon has been removed, and gender rendered more fluid: as the work’s title proclaims Love with other people. The couples here, beached with no distance point, inhabit a space of no escape. They will not swim to metaphysical horizons, like Hodler’s lovers on the banks of Lake Geneva, but instead slumber, grappling with one another in the pleasure of dreaming in pink sand. Above them, on the ceiling, hangs a suggestive set of orchids that resemble the genitals of bees (Orchids lure bees with promise of sex with strangers). In the rococo period, the bees would have immediately been recognizable as related to Bernard Mandeville’s Fable of the Bees (1714), in which the collective hive serves as an economic model, embodying the virtues of the division of labor and the prosperity enabled by individual consumption. The faith that the poem placed in the construction of a robust interior persona through the mechanisms of a promiscuous marketplace (legible as so many exteriors that flaunted consumer acuity) laid the basis for a cult of performative “personality” as a form of social and civic engagement.

In Lutz-Kinoy’s show the personalities of the paintings’ protagonists appear, however, to develop only through a fittingly performative dialogue with their animal interlocutors. Or with their shadows and other doubles: in a further work (Six bathers with shadows) grey monochrome figures repose on a pink rectangular ground that spreads beneath them like a giant blanket, or delineated field of action. Between this ground and the figures are white shapes that bring the ground of the canvas to the surface. These shapes are also shadows, intertwined with the posing bodies, although the bodies appear to emerge from these blank forms as much as they seem to cast them. These particular figures are, like Hodler’s lovers, ghostly bathers. They may have wandered out of the Hudson River and, specifically, Alvin Baltrop’s 1970s and 80s black and white photographs of cruising along Manhattan’s Piers. As Glenn O’Brien notes in his text on Baltrop’s images, there were 99 piers then, composed of crumbling metal and concrete that became a stage-like ground where passengers of ships-no- longer-sailing could satisfy their still illegal desire for company, gathering on the jetties and industrial debris of a waning maritime empire (one may be reminded of the Hudson School painter Thomas Coles’ painting cycle of inevitable decline, The Course of Empire, designed for and still hanging in Manhattan). Rather than offering introspective depth, Lutz-Kinoy’s enmeshed doubles of figure and ground highlight the sense of the works as painterly, theatrical backdrops across which both the images’ protagonists and the viewer (all bathers) follow potential paths of interaction together on grounds that are both delicately playful and threatening. Curtains on New York.

– Sasha Rossman

Matthew Lutz-Kinoy (b. 1984, New York) lives and works in Paris.

His recent solo shows exhibitions include: Sea Stray, Vleeshal, Middelburg (2018); The Meadow, The Centre d’édition Contemporaine, Geneve (2018);Southern Garden of the Château Bellevue,Le Consortium, Dijon (2018); SONG AND LOVE, Matthew Lutz-Kinoy & Ola Vasiljeva, Indipendenza, Rome (2018); Matthew Lutz-Kinoy, Mendes Wood DM, São Paulo (2017); Rotten Wood, the Dripping Word: Shuji Terayama‘s Kegawa no Mar (with Tobias Madison, MoMA PS1, New York (2016); To Satisy the Rose, Freedman Fitzpatrick, Los Angeles (2016).

His work has been also featured at the group shows such as; Eckhaus Latta: Possessed, Whitney Museum of American Art, New York (2018); Welt ohne Außen. Immersive Spaces since the 1960s, Berliner Festspiele, Berlin (2018); Seasick in Paradise, Depart Foundation, Los Angeles (2017); Neither., Mendes Wood DM, Brussels (2017); The Discovery of a Leak in the Roof of Marcel Breuer’s Wellfleet Summer Cottage on the Morning of September 16, 1984, Off Vendome, New York (2016).

Link: Matthew Lutz-Kinoy at Mendes Wood DM

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2IwBG52

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[silverhallow]

In a time where Women ruled the seas…

The Bridgerton’s crossed to Port Aubrey when Benedict was 14 years old, Anthony 15, their father was the governor of the island.

On the crossing, Benedict, whilst standing next to the edge singing about Pirates after the stories from their Uncle Andrew when he is scolded for his words.

Captain Danbury the ship's captain tells the boy off and the fate of anyone who sails under a pirate flag. Edmund and Violet scold Captain D for her words but Benedict wanders off to see Anthony who was comforting a vomiting Colin.

Benedict sees the wreckage of a ship and sees a young girl lying in the water… she is rescued and when she wakes with a gasp, she explains her name is Sophia Beckett… before passing back out.

Benedict is charged with taking care of the girl who is not much younger than he is and he notices a ring in a chain hanging around her neck, with an engraving in it, something like a skull and crossbones edged into the delicate gold of the ring and frightened it means she’s a pirate he pockets it…

6 years later Edmund has passed away and Anthony has taken over as Governor of Port Aubrey when a world renowned pirate shows up looking for a ship…

The Plucky and daring Captain Sharma arrives during Captain Danbury’s promotion ceremony and whilst trying to break up a fight with his Siblings Benedict falls into the water summoning those who have been searching for the Emeraldr ring to lift its dreaded curse…

Anthony and Captain Sharma butt heads and sparks fly after Captain Sharma rescues Benedict from the watery depths and he has the woman arrested after an escape attempt, thwarted by Sophie and her employer, Genevive Delacroix…

Later that evening, Captain Reiling and her band of miscreants who sail on Newton’s Revenge, the boat that made Captain Sharma famous… arrives looking for the emerald ring and Benedict is kidnapped when he gives the wrong name not realising that Miss Sophia Beckett has a connection to the pirates that even she wasn’t aware of…

Sophie springs Captain Sharma from her cell in the rashest decision of her life, determined to save the man she loves and the two set off on an adventure to rescue Benedict and to reclaim the Newton for Captain Sharma…

But one thing is clear…

There is more to these two women than meets the eye…

Keep a weather eye…

🏴‍☠️ Newton’s Revenge: Curse of the Emerald Isle 🏴‍☠️

coming soon to an Ao3 near you….

[thekatebridgerton]

The truth is that the audience is craving for an interclass relationship

Dear Anon

Is Benophie chopped liver?

If this is about the show then, is boss babe Genevive Delacroix x Benedict Bridgerton also chopped liver?

Or do they simply want an interclass relationship for Eloise specifically because she's "not like other girls" and a "rebel with a cause"

I think I love Benophie so much because in their interclass relationship, doesn't carry social climbing connotations. There is never a hint from Sophie that the commoner men she knows are somehow better than the noble men she knows. (They are all equally trash. As is Benedict until he reforms. ) And she's initially attracted to Benedict because he treated her nicely in a ball.

And while Benedict does imply that the society girls he knows are not as interesting as Sophie. It's never stated that he thinks commoner girls are better than other girls just because they work for a living and do things the ladies of his circle don't do.

No, he just thinks Sophie is better than all of them because she's Sophie. And that's valid.

Contrary to the show where there is a clear disdain on both sides of the equation about social class. The working class seems to think they are morally better than the nobles because they work for a living and the nobles seem to think they are socially better than the working class because they don't work for a living.

If they want to deliver an interclass relationship then it should be well written. Else it just feels flat and tone deaf.

So far what I've seen of interclass interactions in Bridgerton Isn't my cup of tea dear readers. But I understand why the audience would want that.

and that's the tea