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fashionsfromhistory · 11 months
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Waistcoat
c.1850
National Gallery of Victoria
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digitalfashionmuseum · 5 months
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Blue and red day dress, ca. 1895, French.
By Jean-Philippe Worth.
National Gallery of Victoria.
https://www.ngv.vic.gov.au/explore/collection/work/117074/#
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visionaryskeptic · 2 months
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from 2019
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twixnmix · 2 years
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Keith Haring painting a mural at the National Gallery of Victoria in Melbourne, 1984.
Photos by Geoffrey Burke
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my-art-encounters · 1 year
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Snakeman (1981), Robert Mapplethorpe
📍NGV, Melbourne
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hauntedbystorytelling · 2 months
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Thought by Ruth Hollick (1921)
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Ruth Hollick (1883-1977) ~ Thought, 1921 | src National Gallery of Victoria, Melbourne. Image ID: De102079 Thought is a portrait of the artist’s niece in a distinctly Australian costume adorned with appliqued gum leaves and a gum nut belt. The sitter is pictured in a meditative pose and the evocative title of the photograph encourages an allegorical interpretation of the work. The photograph is…
From the exhibition: Photography: Real and Imagined (2023-2024) examines two perspectives on photography; photography grounded in the real world, as a record, a document, a reflection of the world around us; and photography as the product of imagination, storytelling and illusion...
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empirearchives · 6 months
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(Portrait of a young lady c. 1800-1805. Louis-André-Gabriel Bouchet. Fondation Napoléon, Paris.)
Flimsy Female Fashion in the Age of Napoleon
From NGV:
The garments worn by fashionable young women following the Revolution were famously dominated by muslin. In imitation of the ancient Greeks and Romans whose simplicity and elegance of dress was synonymous with democracy and the Roman Republic, post-Revolutionary Fashion set itself in opposition to the opulent artificiality of the Ancien Régime with its hooped and panniered skirts and elaborate embroidery and trimmings, by strutting a pared down simplicity in both style and material. Simply gathered, high waisted dresses of fine soft fabric, especially muslin, became the rage. The French interpretation of these classical garments came to be known as Empire style, whereas in England it became known as the Regency style. While muslin was the preferred fabric it came to have political and economic ramifications that were highly problematic for Napoleon.
Muslin is most typically an unbleached or white cloth, produced from finely combed cotton yarn. It originated in Northern India and first appeared in Europe in the 17th century. Becoming increasingly available with the English occupation of India in the 18th century, it found great popularity at the end of that century in France. Popular with British women in India, its open weave allowed the movement of air, and therefore was suitable for hot, dry climates. Muslin clothes were traded by ancient Greeks from the Indian port of Maisolos (or Maisala) and perhaps the name muslin originated from that place name. Marco Polo apparently praised the muslins available from India. The word muslin is also used colloquially. In the United Kingdom, many sheer cotton fabrics are termed ‘muslin’ and their uses are many; for instance, muslin is used for making various cheeses which require the milk solids to be separated from the whey.
Because the muslin trade was essentially cornered by the British, this delicate fabric had to be imported from England. This posed a serious problem for Napoleon – not only because he has closed French ports to English trade because of the hostilities between their countries (the Continental Blockade), but also because Napoleon was anxious to re-establish the textile industries in France following the Revolution. He was famously impatient with women around him who continued to wear muslin and was known to lose his temper with both Josephine and his step-daughter, Hortense, reportedly either tearing their fashionable dresses or spoiling them by dousing them with coffee and officially banning the wearing of muslin. His reasons were serious (though his temper must have been irksome) and connected with propping up France’s textile industry. He required formal dress to be worn at all times at court, thereby reintroducing a clientele for silks and velvet largely made in Lyon.
(Source)
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adof8 · 4 months
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Abbey Lee Kershaw at NGV Gala 2023 in Melbourne
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sleepymccoy · 4 months
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I went to the triennial today! For those who don't know, whichll be most people, this is the every three years the national gallery of Victoria put on a free modern art exhibit for a few months, integrated into the permanent collection. Tonnes of fun, here's some pics
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Also, I had a favourite room. I don't know why, but it really got me and I was so gleeful and tearing up a bit and I just wanted to stay there forever and ever
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archadianskies · 7 months
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Yeah of COURSE I went to the Bonnard exhibit purely to see the beloved scrungly cat
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snappingthewalls · 4 months
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fashionsfromhistory · 9 months
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Wedding Dress
1889
Australia
National Gallery of Victoria
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digitalfashionmuseum · 5 months
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Purple silk evening dress, 1893, Australian.
National Gallery of Victoria.
https://www.ngv.vic.gov.au/explore/collection/work/45198/
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do-you-have-a-flag · 1 month
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Petrit Halilaj’s 'Very volcanic over this green feather' at the National Gallery Victoria's Triennial.
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from the information card
Petrit Halilaj Very volcanic over this green feather:
Displaced along with members of his immediate family during the Kosovo War (1998–99), Petrit Halilaj’s Very volcanic over this green feather explores his experience as a thirteen-year-old refugee living for more than two years in Kukës II camp in Albania. Art materials were distributed to children at the camp by visiting Italian psychologist Giacomo Poli. Poli encouraged the children to externalise and process their experiences through drawing. Spotting his talent, Poli would much later arrange for Halilaj to attend art school in Italy.
Halilaj’s rediscovery of these felt-tip pendrawings inspired the creation of this large-scale installation which takes thirty-six drawings from the artist’s childhood experience as the basis for a visual and physical journey through the artist’s memory. The work reveals the complex and ever-changing relationships between reality and the imagination, personal history and collective trauma, off i cial histories and lived experiences. Symbols as varied as the Garden of Eden and its birds, trees and fl owers are interspersed with images of war and trauma.
Transferred to thick felt and suspended, the drawings appear as a theatre set or a landscape, where the fragmented visions of war and peace sit side by side.
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jgthirlwell · 6 months
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Jeff Koons 'Venus' at NGV in Melbourne
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liamhsource · 4 months
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HQ. Liam and Gabriella at the NGV Gala celebration launch of Triennial 2023 exhibition in Melbourne, Australia. December 2, 2023.
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