#modern edgar

[carbonateddelusion]

sometimes I think abt my characters and what they'd be doing on social media

Isaac very obviously has a consistent presence on the internet bc modern him is a YouTuber/content creator (I hate the term influencer with a passion), but Edgar is an anomaly. No presence. Nothing. He only shows up in the backgrounds of Isaac's photos mid-movement like a cryptid. He isn't even intentionally avoiding them, he just does not use social media AT ALL. He probably wouldn't use YouTube all that much, either, outside of editing for Isaac. At most he has a LinkedIn. Yes, he's a computer programmer. Yes, he also is completely baffled by the internet. All he knows is use Adblock and order expensive parts from websites. He uses Linux and Firefox and he will get into an argument with his loved ones if he sees they're still using Google Chrome. It's not that he doesn't use these things- he just doesn't post and doesn't have any accounts.

RAE is probably like Isaac- he is Very Much There online. I think he'd be less terminally online, though. He still takes a lot of time to unplug, and most of his life exists outside of the framing of online spaces. He DOES create very aesthetically appealing pictures of food and himself, though.

Orange... I can only really see her using it to advertise and network for her business. At most, she picked up Tinder Once, got annoyed after the first few matches, and uninstalled the app. She loves services like Spotify, though. And stuff like Audible... Orange definitely binges a lot of books while she's busy drafting patterns and sewing. She likes to leave the music on low in the background while she talks to Billy as she works, too :]

Red is also Old Man like Eddie and doesn't use any social media. His big fat thumbs are too big to use a phone. Unlike Eddie, though, he thinks The Social Medias are melting people's minds and back when I was a kid we played outside and on arcade cabinets blah blah blah. He likes his tablet, though. It makes it easier to pull up funny videos.

Coda... Twitter shitposter. Definitely uses Tumblr, too. They don't give out much personal information, but people think they're hot (they generally stay in sapphic circles) and funny. Probably has a travel blog or smth like that on top of his normal social media. He totally uses Instagram and likes posting pictures of him nd his toddler traveling.

Maddison (modern them) is PEAK shitposter, though; they're addicted to Tiktok and Twitch and are lowkey trying to become a creator. They're on the brink of a big depressive episode when they graduate high school so the internet becomes one of the only things that make them happy. Basically, they're like most of us on here BIXGGIYDGIBJ.

Mint and Indigo are probably lurkers.. They don't really post much of anything, but they enjoy stuff like Twitter and YouTube and Twitch passively. They aren't diehard fans or anything; they like the occasional 6 hour long video essay about some show from the early 2000s.

[germanpostwarmodern]

The Barwa Lounge Chair designed by Edgar Bartolucci around 1948 for Barwa

[hypertechnica]

for the electric dreams remake, all i care about is that edgar has the most obnoxious early 2000s internet aesthetic possible. i repeat, THE MOST OBNOXIOUS. 2 billion blinkies, terrible gradients, bad contrast, absolutely unreadable bullshit. if modern tech minimalism comes anywhere near that entire movie i’m going to throw up

[the-cricket-chirps]

Edgar Degas, Musicians in the Orchestra, 1872

Edgar Degas, Orchestra Musicians, 1870

[artsandculture]

Waiting (1882) 🎨 Edgar Degas 🏛️ The J. Paul Getty Museum 📍 Los Angeles, United States

A young ballet dancer bends forward to massage her foot, while her somberly dressed older companion sits silently beside her on a bench. They appear to be waiting, perhaps for an audition or its outcome. The two figures are a study in contrasts: The athletic dancer dressed in a dazzling costume reflects the glamour and artifice of the stage, while the shabbily dressed, bent figure represents the drabness of everyday life.

Edgar Degas painted modern life; his subjects, including laundresses, milliners, nightclub singers, horse races, and the ballet, reflected contemporary Parisian occupations and diversions. From the 1860s onward, Degas frequented the Paris Opéra, where he made numerous studies of performances, rehearsals, and backstage scenes. Later, he would refine and combine these motifs in his studio, in exercises of daring technical skill and compelling psychological subtlety. Here he demonstrated his complete mastery of the pastel technique. Delicately blended strokes are combined with bold hatching and emphatic slashes; pink, blue, and creamy tones describe the dancer in contrast to the dark, severe form of the older woman.

[askbendyandroxas]

Today theme is Bow. I like this idea to make all boys dressing good with bow ties.

[fashionlandscapeblog]

Edgar Degas Femme se paignant, 1887-1890 Pastel on beige paper mounted on cardboard.

[onlylonelylatino]

Tarzan by Teddy Kristiansen

[sunsetzer]

Modern AU Edgar would absolutely fuck with Minecraft. That's it, that's the whole post.

[disease]

"COMBING THE HAIR" EDGAR DEGAS // c. 1896-1900 [oil on canvas | 82 x 87 cm.]

[carbonateddelusion]

younger Eddie wears bow ties and suspenders and that is all I ever draw him in. he's the kind of person to have "special occassion" bow ties. like, "ah yes these 3 are for Halloween... this one is for Isaac's birthday... this one is for Christmas- look, the reindeer's nose lights up, isn't that cool?"

he's such a dork. if you thought normal Eddie was a dork you are not ready for his younger self. ask him about his collection of manuals. what kinds of manuals? yes. he has manuals for things he doesn't even own. he likes reading them so he knows how things work. he would be transfixed watching how it's made.

[mrhyde-mrseek]

Similar to how I made moodboards for SMS, I made some for the Case Files characters!

There’s a LOT, so this’ll be split into multiple parts. First, we have the Order of Peculiar Mortals and Other Such Figures:

Clara Holmes

Dr. Watson

Jonathan Harker

Adam Shelley

The Time Traveller

Dr. Jekyll/Mr. Hyde

Griffin

Allan Scholar

Ichabod Crane

[archinform]

Crossroads Room, Dearborn Station, Chicago

A lost Fred Harvey Restaurant in Chicago, designed by Samuel A. Marx, with murals by Edgar Miller

Fred Harvey Crossroads Room, Dearborn Station, Chicago, c. 1940, architect Samuel A. Marx. Source: Chicago Historical Society

I only learned about this long-gone but exceptional moderne restaurant interior a couple of days ago, while perusing a lengthy post on the Forgotten Chicago site.

Another mostly forgotten Art Deco landmark is seen above by noted Chicago architect and art collector Samuel Marx for the Fred Harvey Crossroads Restaurant at Dearborn Station. Perhaps best known locally for the original incarnation of the legendary Pump Room at the Ambassador East Hotel (now PUBLIC Chicago) in 1938, this Marx commission included a restaurant seating 102, a 50-seat cocktail lounge, and a 31-person lunchroom. Edgar Miller, Chicago’s great and recently rediscovered artist, was commissioned for the murals that commemorated both old Chicago and the southwestern routes served by the Santa Fe Railroad. Patrick Steffes, Chicago’s Million Vacant Lots, and Other Recent Research Finds, Forgotten Chicago, May 31, 2014

Dearborn Station. Designed by Cyrus L. W. Eidlitz, the station opened in 1885 at 47 West Polk Street, Chicago. Source: Dearborn Homes website

An earlier Fred Harvey Restaurant in Dearborn Station, 1899

Cover and contents page of Architectural Record, Vol. 88 No. 1, July 1940. PDF of entire issue is available from Architectural Record Archives here.

The scans below are from pp. 40-43 of this issue:

Text of the article:

Description on back of postcard

Another view of the restaurant. Source: Chicago History Museum

A view of the bar. Source: Chicago History Museum

The Crossroads Room featured curving walls in each of its three rooms, chrome fixtures with indirect lighting, and a serpentine bar. Marx specially designed all the furniture. He used a wide-ranging color scheme throughout the project, including "brilliant green, reddish brown, deep chocolate brown, pigskin, Indian red, black, and white," colors that were seen in much of Santa Fe's advertising through the years. Other distinctive decorating touches included Indian and roadrunner motifs and rather bizarre round neo-Baroque wall cases containing what appear from photographs to be cactus sculptures. These unique features would no doubt have reminded patrons of the exotic destinations of the Santa Fe Railroad in the American Southwest. Although Fred Harvey was best known for promoting travel to the West and Southwest, the new spaces were also full of depictions of the history and early life of Chicago. For the 183-seat Crossroads restaurant, Miller created a large wall mural depicting early nineteenth-century pioneer life in Chicago, including a cntral rendering of Indians, fur traders, and Fort Dearborn. For the 50-seat cocktail lounge, adjacent to the main entrance, Miller illustrated early Chicago settlers along with various livestock.... Patrick Steffes, "Crossroads Room," in Robert Brueggman, editor, Art Deco Chicago: Designing Modern America. Chicago Art Deco Society, 2018, pp. 313-315.

Enlarged view of floor plan, from p. 41 illustration above

Crossroads Room menu, Saturday, January 14, 1950 (ebay)

Crossroads Room, matchbook cover (ebay)

Anemo-Light advertisement; this type of anemostat indirect lighting was used in the Crossroads Room.

Portrait of architect Samuel Marx at his desk in his office in Chicago, Illinois, February 15, 1941. Source: Chicago History Museum

Art Institute of Chicago, works by Samuel A. Marx

Sources:

Andrew Raimist, Architectural Ruminations

Robert Brueggman, editor, Art Deco Chicago: Designing Modern America. Chicago Art Deco Society, 2018.

Chicago History Museum, images of buildings designed by Samuel a. Marx

Liz O'Brien, Ultramodern: Samuel Marx, Architect, Designer, Art Collector. Pointed Leaf Press, 2012

Old Chicago Station Gets New Restaurant, Architectural Record, Vol. 88 No. 1, July 1940, pp. 40-43

The Pump Room, Architectural Forum, July 1940, pp. 21-24

Samuel Abraham Marx, Wikipedia

Samuel A. Marx in the Art Institute of Chicago collections

Patrick Steffes, Chicago’s Million Vacant Lots, and Other Recent Research Finds, Forgotten Chicago, May 31, 2014

[schlock-luster-video]

On August 29, 1963, The Raven debuted in Italy.

Here's some new Peter Lorre art!

[the-cricket-chirps]

Edgar Degas

Absinthe (Originally ’Dans un Café’) (The Absinthe Drinker or Glass of Absinthe)

1875-1876

[verbluzhatinka]

prefects of all dormitories in modern au!