#miranda

[ewanmitchelldaily]

EWAN MITCHELL at CCXP México, May 5th 2024

[fuckyeahgoodomens]

👀.

[katarinamorgan]

[blacksailsblr]

BLACK SAILS 2.05 “XIII.”

[aemondtargaryensource]

Ewan Mitchell as Aemond Targaryen House of the Dragon s2e01 "A Son for a Son"

[ultimateanna]

Resident Evil - Cards (Teppen)

[magnificentwerewolfsheep]

MIRANDA BABEGIRL

[captainfantasticalright]

Miranda from The Tempest and A Companion to Owls.

I remember some time ago a fan pointed out that this scene was incredibly reminiscent of “Miranda” by John William Waterhouse and added Aziraphale on the rock contrasted with the first painting (1875). However, another version of the same painting exists; featuring a red-hair Miranda, which was painted afterwards in 1916.

The Miranda here is a character from William Shakespeare's The Tempest. She was detained on an island, together with her father, Prospero, for almost twelve years. This happened as a result of having been exiled from Milan by Prospero's power-seeking brother, Antonio.

The scene plays very blatantly with the word “exile” and Aziraphale fearing being cast into Hell (exiled from Heaven) and Crowley’s clear banishment from his position as an angel.

The picture has been painted in cold (red hair) and warm tones (blond), playing very much into the tones we get to see in A Companion to Owls. Aziraphale’s side on the rock, with the more conventional, peaceful look and Crowley’s with the rocks on the background.

A ship slices through the waves, causing a feeling of imminent loss; notice how that is exactly Aziraphale’s placement on the frame.

Unlike the paintings though, in Good Omens we get a view of both sides, of before and after the storm. The color palettes combine as both Aziraphale and Crowley are fitted into the frame.

Concluding with the wonderful shot directly mirroring their color palettes (sunnier on Aziraphale’s side; shadows on Crowley’s) again and reversing the order of the Miranda paintings (not chronologically, as we see red-hair Miranda appear later on, but in terms of placement and coloring).

[aegoniidaily]

Tom Glynn-Carney as Aegon II Targaryen House of the Dragon S2E01 "A SON FOR A SON"

[alicenthightowerdaily]

OLIVIA COOKE as ALICENT HIGHTOWER HOUSE OF THE DRAGON — 2.01 "A Son for a Son"

[ewanmitchelldaily]

Ewan Mitchell as Aemond Targaryen House of the Dragon 2x02 "Rhaenyra the Cruel"

[rhaenyratargaryencentral]

MILLY ALCOCK as RHAENYRA TARGARYEN HOUSE OF THE DRAGON 1.04 "King of the Narrow Sea"

[sclappin]

This was part of my undergrad illustration thesis, which was illustrations to accompany the text of Shakespeare's The Tempest, repurposing aesthetics and imagery from the rural New Hampshire village where I grew up.

Reposting this piece from May 2020, because it is now available as a print, and Tumblr is being weird about letting me edit the original post to add alt text and a link.

[aemondtargaryensource]

EWAN MITCHELL as AEMOND TARGARYEN House of the Dragon S2E7

[preraphaelitepaintings]

Miranda - The Tempest

Artist: John William Waterhouse (English, 1849–1917)

Date: 1916

Medium: Oil on canvas

Collection: Private Collection

Description

In 1916 Waterhouse submitted three works to the Royal Academy: the group composition A Tale from the Decameron along with two single figure works "I am Half Sick of Shadows," said the Lady of Shalott and Miranda-The Tempest. As the titles suggest, Waterhouse had abandoned classical myths as subjects in favor of medieval and Renaissance narratives, often centering on a woman experiencing a revelation.

The Tempest is one of Shakespeare's most romantic plays, written late in his career, circa 1611; its original performance a year later coincided with the wedding of Elizabeth Stuart, the daughter of England's James I to Frederick, the Elector Palatine, later King of Bohemia.

As with many of Waterhouse's single-figure pictures of women, Miranda is a legendary, mystical woman withdrawn from the world, her future in peril. Miranda, her expression hidden from the viewer in three quarter profile, becomes a decorative object of dangerous beauty, her body surrounded by the violent bruised blue waves, the broken bits of Ferdinand's ship's mast suggesting the destructive, transformative power of love.