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armthearmour · 1 year
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Steel Brocade: Puffed & Slashed Costume Armor
Surviving to this day in the collections of the world’s most illustrious museums are a group of three armors. These armors have much in common, but most striking is the attempts made by their armorers to render in steel a convincing portrayal of the puffed and slashed clothing fashionable to the early 16th century.
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Though this fashion is synonymous with the landsknecht mercenaries who may have been responsible for popularizing it, the puffed and slashed style was enjoyed by members at all levels of society.
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Portrait of Duke Henry of Saxony by Lucas Cranach the Elder, 1514, Staatliche Kunstsammlungen, Dresden.
The earliest of these three armors is housed at the Wallace Collection. Consisting only of a cuirass and arms, this armor is, at first glance, rather underwhelming when compared with the other armors in this group. Though the embossed bands styled with etched slashes embellished with gold provide the impression of a puffed and slashed doublet, the execution is all rather stiff, and lacks the impressive volume and fullness exemplified by the other armors.
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It is for this reason that this armor, previously considered contemporary to the KHM and Metropolitan examples, has received relatively little attention. However, recent scholarship by Dr. Tobias Capwell suggests that this work is not, indeed, contemporary to the other examples, and is rather about ten years older, dating to ca. 1515. Dr. Capwell also considers this piece to be the work of Konrad Seusenhofer, a favored armorer of the Emperor Maximilian I.
Seen through this lens, not as a poorly executed contemporary of greater armors, but as a less developed ancestor to them, this armor takes on new life. It speaks to innovation and experimentation; an early attempt at a technique which would later be perfected.
The second in this line is the garniture of Wilhelm von Rogendorf, housed at the Kunsthistorisches Museum in Vienna.
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This armor is unique for its condition, which is remarkably good. Not only does this armor retain more of its pieces than the other two, it is also accompanied by a number of “pieces of exchange,” elements which could be swapped out so the armor could be worn in the field.
Finished in 1523, as attested to by the date etched on the right shoulder strap, this armor was made for the Count Wilhelm von Rogendorf by Kolman Helmschmid and etched by Daniel Hopfer.
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Wilhelm von Rogendorf himself was heir to a new, up-and-coming German noble family.
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A medal showing Wilhelm von Rogendorf as a Knight of the Order of Calavatra, dated 1536, Kunsthistorisches Museum, Vienna.
Born in 1481 the second son of Kaspar von Rogendorf, Wilhelm became heir to his family’s estates when his elder brother Sigmund died in 1507, by which time Wilhelm was already a courtier at the Habsburg court. He entered into the service of King Charles I of Spain (later Emperor Charles V) no later than 1517 and was appointed Governor of Friesland. In 1522, Wilhelm accompanied Charles to Spain where he commanded a regiment of 4,000 landsknechts and was again placed in charge of a restless border territory. In 1524, he successfully captured the Fortress of Fuenterrabía from the French, which won him great praise from the Emperor. Shortly thereafter, Wilhelm was named Captain of the Imperial Bodyguard and given the governorships of Catalonia, the Cerdagne, and the Roussillon. Additionally, he was appointed to the Spanish chivalric Order of Calavatra. Wilhelm would retire from court in 1539, but would be recalled in 1541 to command Imperial troops against the Ottomans in Hungary. He would be killed later that same year at the siege of Buda by a stray cannonball.
Though Wilhelm’s armor is now displayed in its parade configuration, the surviving pieces of exchange attest to the fact that it was also an armor for combat. The cuirass is equipped with the long tassets common to the early 16th century. A pair of holes can be observed at the top of the last lame.
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These holes correspond to holes at the top of the half-cuisses which accompany this armor, showing that these cuisses would be pointed to the tassets rather than worn separately.
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In the rear, the cuirass is accompanied by a rump-defense, also known as a hoguine. Small turning pins near the waist allow this to be removed for combat.
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Both spaulders
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and gauntlets
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survive. Additionally, the KHM retains the armor’s right vambrace
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while the Wallace Collection holds the rerebrace and couter for the left arm.
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Recently, these pieces were assembled to show what the arm harness for field as a single unit would have looked like.
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This armor would also have been accompanied by a gorget, now missing, and a helmet. Frequently, this armor is displayed alongside a close-helmet, however it is more likely the armor would have been accompanied by a burgonet similar in form to this example from the KHM.
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One final, unique surprise this armor holds is a hidden lance rest which is incorporated into the turned edge by the right arm. This rest folds down to allow a light lance to be braced atop it, and when folded up, is nearly invisible so as to not ruin the smooth surface of the breastplate with the prominent staples typically required for affixing a lance rest.
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The third and final armor of this group is housed at the Metropolitan Museum of Art in New York City.
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The least complete of these three armors, it may also be the most visually impressive. Comprised of only a backplate, hoguine, and arms, the puffs and slashes of this piece (also by Kolman Helmschmid and Daniel Hopfer) are ornately cusped. The slashed regions, displaying the gilded “fabric” beneath, and heavily etched to resemble an expensive silk brocade.
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The sleeves of this armor are even more voluminous than those of the Rogendorf armor, though they are similarly articulated and provide the wearer with a surprising degree of mobility. It is thought that this armor may have been made for prominent Polish nobleman Jerzy Herkules Radziwill.
Interestingly, the hoguine of this armor is composed of two separate plates, rather than a single solid plate. Where the hoguine of the other two armors terminates in a decorative fabric border, the Met armor continues into two more articulated lames, covering the top rear of the thighs. Holes along the bottom edge suggest that this armor may have been accompanied by fully enclosing cuisses which pointed to the bottom of the fauld and hoguine.
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Sources
“A Pair of Gauntlets.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/540164/.
“A Pair of Spaulders with Besagews.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372772/.
Cranach, Lucas the Elder. “Portrait of Duke Henry of Saxony.” Staatliche Kunstsammlungen Dresden. https://skd-online-collection.skd.museum/Details/Index/246875.
Krause, Stefan. Fashion in Steel. Vienna: Kunsthistorisches Museum, 2017.
“Landsknecht Costume Armour.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372771/.
“Left Upper Cannon and Couter.” The Wallace Collection. https://wallacelive.wallacecollection.org:443/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=60736&viewType=detailView.
“Open Burgonet.” Kunsthistorisches Museum Wien. https://www.khm.at/en/object/503346/.
“Parts of an Armour.” The Wallace Collection. https://wallacelive.wallacecollection.org:443/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=60519&viewType=detailView.
“Portions of a Costume Armor.” The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/27790.
“Vambrace.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372773/.
“Wilhelm von Rogendorf.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/1409642/
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girlsdressingrooms · 24 days
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Iris Barrel Apfel, Decorator and Fashion Stylist
(August 29, 1921 – March 1, 2024) 
Ms. Apfel was one of the most vivacious personalities in the worlds of fashion, textiles, and interior design, she has cultivated a personal style that is both witty and exuberantly idiosyncratic.
Her originality was typically revealed in her mixing of high and low fashions—Dior haute couture with flea market finds, nineteenth-century ecclesiastical vestments with Dolce & Gabbana lizard trousers.
With remarkable panache and discernment, she combines colors, textures, and patterns without regard to period, provenance, and, ultimately, aesthetic conventions. Paradoxically, her richly layered combinations—even at their most extreme and baroque—project a boldly graphic modernity.
Iris Barrel was born on Aug. 29, 1921, in Astoria, Queens, the only child of Samuel Barrel, who owned a glass and mirror business, and his Russian-born wife, Sadye, who owned a fashion boutique.
She studied art history at New York University, then qualified to teach and did so briefly in Wisconsin before fleeing back to New York to work on Women's Wear Daily, and for interior designer Elinor Johnson, decorating apartments for resale and honing her talent for sourcing rare items before opening her own design firm. She was also an assistant to illustrator Robert Goodman.
As a distinguished collector and authority on antique fabrics, Iris Apfel has consulted on numerous restoration projects that include work at the White House that spanned nine presidencies from Harry Truman to Bill Clinton.
Along with her husband, Carl, she founded Old World Weavers, an international textile manufacturing company and ran it until they retired in 1992. The Apfels specialized in the reproduction of fabrics from the 17th, 18th, and 19th centuries, and traveled to Europe twice a year in search of textiles they could not source in the United States.
The Metropolitan Museum of Art’s Costume Institute assembled 82 ensembles and 300 accessories from her personal collection in 2005 in a show about her called “Rara Avis”.
Almost overnight, Ms. Apfel became an international celebrity of pop fashion.
Ms. Apfel was seen in a television commercial for the French car DS 3, became the face of the Australian fashion brand Blue Illusion, and began a collaboration with the start-up WiseWear. A year later, Mattel created a one-of-a-kind Barbie doll in her image. Last year, she appeared in a beauty campaign for makeup with Ciaté London.
Six years after the Met show she started her fashion line "Rara Avis" with the Home Shopping Network.
She was cover girl of Dazed and Confused, among many other publications, window display artist at Bergdorf Goodman, designer and design consultant, then signed to IMG in 2019 as a model at age 97.
Ms. Iris Apfel became a visiting professor at the University of Texas at Austin in its Division of Textiles and Apparel, teaching about imagination, craft and tangible pleasures in a world of images.
 In 2018, she published “Iris Apfel: Accidental Icon,” an autobiographical collection of musings, anecdotes and observations on life and style. 
Ms. Apfel’s apartments in New York and Palm Beach were full of furnishings and tchotchkes that might have come from a Luis Buñuel film: porcelain cats, plush toys, statuary, ornate vases, gilt mirrors, fake fruit, stuffed parrots, paintings by Velázquez and Jean-Baptiste Greuze, a mannequin on an ostrich.
The Museum of Lifestyle & Fashion History in Boynton Beach, Florida, is designing a building that will house a dedicated gallery of Ms. Apfel's clothes, accessories, and furnishings.
Ms. Apfel’s work had a universal quality, It’s was a trend.
Rest in Power !
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livesunique · 1 year
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Happy Lunar New Year to all celebrating!
Wishing You and Your Beloved Ones A Happy New Year!
Peace, Safety and Good Luck Continually for 2023!
'Three Rabbits' (1644–1911). Silk painting, formerly attributed to Gong Ji (Chinese, Northern Song dynasty). Courtesy The Met
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thatshowthingstarted · 5 months
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Wine cup in the shape of addorsed owls (Zhi),
China, 12th century BCE.
Bronze,H. 6 in. (15.2 cm); W. 4 in. (10.2 cm); D. 5 1/4 in. (13.3 cm),
Courtesy: The Met
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onmysluttyknees · 6 months
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The MET
Pairing: Pedro x reader.
Summary: You’re Pedro’s +1 to the MET.
Series warnings: 18+ Minors do not interact. This is for mature audience only. By continuing reading you hereby agree that you are ver 18. Fiction, smut, explitit smut, no use of Y/N.
Words: 2962
As you get out of the car you’re mindful to grab the hem of your dress to make sure it won't ride up too high, not wanting to give the paps the money shot.
Your dress might have been a smidge too short, just reaching to your midthigh, but with what you had in mind it was just perfect and the red color matched perfectly your red soled pumps and crisp white clutch and with the Valentino outfit Pedro was wearing.
He looks positively mouthwatering, and with the hair slicked back, it had been an easy decision when you got dressed. He would notice soon enough, if only he would put his hand on your hip already he would notice you didn’t have any panties on.
Not that the tight dress would look good with panties anyway. And then, he puts his hands on your back between your shoulder blades as he ushers you forward, slowly his hand starts to glide down. A shiver of anticipation runs through you.
“Are you cold cariño?” he asks as he leans in closer, his lips almost grazing your ear, making you shiver again.
“No, just a little nervous about stepping onto that carpet with you” you answer honestly in a low voice and you don’t dare to look up at him. One look from this man now and you’d push him back into the car and have your way with him right now. But that was not the plan.
“You’ll be great, you look drop dead gorgeous, but I’ve told you that already” he says and you can hear the smirk that’s definitely playing on his lips.
He keeps his hand on your back as you walk inside and flashes goes off like crazy. Not a surprise though, this was the first time you were seen out at an official event the whole place felt like it was buzzing and bright as fuck. Again, not a surprise, everyone who's anyone is here tonight, and you. Not that you’re anyone, you’re just here as Pedro’s +1.
But the look he is giving you as his hand descends down your back to land on your hip you can feel him freeze next to you. You look up at him from under your lashes and the look in his eyes is undoubtedly a mix of shock and amazement. His hand rubs up and down your hip a few times as if to ascertain that he is indeed feeling what he believes he is feeling. And that is nothing, no line where your panties should have been under that dress. His eyes burn into yours as he leans in,
“Are you fucking kidding me?” his breath blows onto your face and a soft whimper escapes from your lips. His voice drips with desire as his eyes now roam over your body.
“I’m not sure what you mean” you reply coyly, feigning surprise but the way his eyes darken, he knows you know what he means.
“You little devil, trying to turn me on more than I already am?” he whispers as his hand grips tightly on your hip.
“You’re the one who always says my panties are just in your way” you say as you turn to look at the sea of photographers snapping picture after picture of the two of you. For a moment you second guess your decision to go commando cus right now , with all these cameras pointed at you, you almost feel naked. If it hadn’t been for Pedro by your side, you would have run out the door long ago.
“Fuck me, you’re gonna be the death of me I swear” he replies, his voice husky with lust as he wills himself to look away from you to satiate the photographers with a few more pictures before he starts to walk with you up the stairs as you grasp your clutch sighter in your hands.
He has one interview to do but that’s done and over with rather quickly. He has other things on his mind and can’t be bothered with staying for the interview longer than necessary.
When the interview is done he ushers you into the room where the cocktail hour is held while the rest of the celebrities arrive. Pedro hands you a champagne flute and you sip it slowly. No need to add too much alcohol to your already buzzing nerves.
He’s standing close to you, closer than necessary probably, but you don’t mind. He is just being overprotective since this is your first time at this kind of thing together. And you can’t help but to feel a bit out of place.
He turns to say something just as someone calls out his name behind you.
“Pedro Pascal has gone and got himself a girlfriend, as I live and breathe, hell must have frozen over then,” the voice booms from behind the both of you. Pedro has to let go of your waist as he turns around and you turn too.
“Bradley! Good to see you too man” Pedro hugs Bradley quickly before turning to you and introducing you to each other.
“Wow! You’re absolutely gorgeous, pleasure to meet you. Pedro, where did you find this stunning woman?” he asks with a smile directed towards you. You know who he is. how could you not, he’s Bradley Cooper, big movie star and Hollywood hunk. You can agree with the general population, he is good looking but no one compares to Pedro in your opinion, but then you’re probably considered biased.
“Nice to meet you too” you say as you shake hands with Bradley. His hand lingers in your a bit too long for your liking and Pedro’s too.
Pedros arm wraps possessively around your waist, not that you mind, you like this side of him. It’s not often you get to see him get a bit jealous, not that there’s anything to be jealous about but still.
“Knock that off, she’s mine” he says with a chuckle but you can tell he’s being serious. That neck vein starts to protrude a bit more than with each passing moment.
“Okay, I get it man, it’s not like she has eyes for anyone else anyway with the way she’s looking at you” Bradley says as he puts his hand on Pedros shoulder and gives him a pat and walks away. Pedro turns to look at you and sees you’re already staring at him.
“That was not very kind of you babe” you say and try to sound more serious than you actually manage to sound. It’s just too hot, him being jealous.
“Let's go see some of the exhibitions” he says with a smirk on his lips as he leads you out of the room, his arm still wrapped tightly around your waist.
He walks you over to the ancient Egyptian art exhibition and as you walk around looking at all the old artifacts you can feel his eyes on you. Lingering. Heat starts to creep up your neck.
There’s a few other people around but all he can look at is you. He doesn’t even look at the exhibition. You do though. Trying your best to distract yourself from his gaze and the heat that’s started to pool at your core.
As the other people start to leave the exhibition Pedro keeps moving closer to you and finally he’s right behind you as you stand looking at an old statue of what according to the information, is an fertility statue dating back to ca 1938-1960 B.C.E.
But once Pedros hands land on your hips your mind goes blank and you can’t remember what else was written on there. His hands skimming up and down your sides, sending waves of delightful tingles through your body.
“I need you” he whispers with a heavy breath into your ear, his lips nibbling it gently. Making you sigh and lean into his broad chest as a soft moan slips out from your mouth.
“We’re not exactly at home, behind closed doors. There’s people everywhere, what if someone catches us?” you ask but can’t really put any weight into the words because the throbbing ache between your thighs is starting to become too much.
You try to calm it by pressing your thighs together but that seems to have the opposite effect. One of his hands slides lower down to the hem of your dress and up under, sliding higher up until it reaches your sex.
“Fuck baby, your drippin’, this all for me?” he asks as one finger slips between your folds feeling how wet you are.
“Yes, always for you” you say breathlessly as one of his fingers dips into you. Pulling a soft low moan from you, and then he adds another finger and your breath hitches.
“You’re going to have to keep real quiet or I won’t get invited back here again” he says with a chuckle as he starts to move his fingers in and out of you. It’s almost deafening, the sound of his fingers moving in and out of your wet folds, but you don’t care, not when his fingers keep nudging that oh so sweet spot inside which you never seem to be able to reach with your own fingers.
Heavy breaths fill the air as you both start to breath quicker, you can already feel the familiar tug inside. His thumb finds your clit and starts to circle it as he continues to pump his thick fingers into you. Your head falls back to rest on his shoulder as he pumps faster.
“I need you to cum for me cariño, cum for me and then I’ll fuck you. Quick and hard cus we need to get back before the dinner starts” he breathes into your ear.
With a few more thrusts of his fingers, you cum hard, all over his hand. His fingers keep going in and out of you, riding out your high with you. And when your breath starts to settle he grunts behind you as he slips his fingers out of you and you turn around just as he brings his hand up to his lips to lick your slick of his fingers. It’s positively filthy and so fucking sexy, you grab him by his tie and pull him closer.
Your lips crash against his in a heated kiss, tasting yourself on his tongue, teeth gnashing and tongues battling for domination. Your hands let go of his tie and descend down his chest, marveling at how his muscles tense under your touch.
You purr as one of his hands comes to grip your waist and the other snakes its way up to tangle into your hair, probably messing up the curls as he does but who cares. You lean into his touch and your breath quickens again. Your hands greedily skim down towards his shorts to unbutton his them, but you don’t unzip them.
Not wanting them to fall and pool at his feet if someone were to enter the room you’d want him to be able to cover up quickly.
“Te voy a comer rico” (I’m going to fuck you so deliciously) he says and groan just as you reach into his pants to pull out his hard aching cock.
“Cómeme, papi” (fuck me daddy) you say staring into his eyes, he groans as your hand pumps up and down his member.
One of his hands reaches down to grab at your leg and wrap it around his hip as you position his cock at your entrance. His eyes look into yours as he slips himself inside. Your walls put up little to no resistance, because you’re so wet, dripping from walking around without underwear and from the delicious orgasm he gave you just moments ago. And then he starts to thrust.
Hard and deep. The hand in your hair pulls you closer to him in a heated kiss as he pistons himself into you. His pace is almost frenzied. He hitches your leg up a little bit higher and with a slight shift in the angle he thrusts into you he reaches that soft spot deep inside. That spot that makes your legs shake and your mind go blank. Nothing else matters at this moment. Not that you’re at the MET and this is not appropriate.
Not that anyone could come in at any moment, and even though you were standing around a corner somewhat concealed, the sounds would be unmistakable. The sound of skin slapping against skin, the squelching sounds of his cock sliding in and out of your wet pussy. But that didn’t matter. All that matters is the way he moves and the way he makes you feel. Your body begins to tremble and you feel your body tense, you can feel it. The rush of sensations floods your senses as your second orgasm hits you with full force.
A cry of pleasure about to escape your lips so you bite down on his shirt clad shoulder to keep yourself quiet. Your walls flutter around his cock with each wave as the orgasm rips through you. You feel him slow his pace down but not the force in each thrust. Still pounding into you at a deliciously hard rhythm. But then his moves falters a little and you can tell he’s getting close.
“Tan apretada” (so tight) he grits through his teeth.
“Fuck, i love it when you speak Spanish babe” you reply when you’re finally able to speak again. His thrusts become more sloppy and he twitches inside of you.
“Where?” he asks and you don’t need more than that to understand what he means. Preferably you’d like it inside, feel him painting your insides. But since you don’t have any panties that won’t work, you’d have his cum running down your legs in no time and that is not something that is appropriate for this evening.
Not that having sex in one of the exhibitions was either but that’s not the point. Instead of answering him, you unwrap your leg from him and try to steady yourself as you slip him out from your pussy, whining low at the loss of his cock inside of you as he too lets out a sound of disappointment. And you give him a devilish smile as you sink to your knees, and lean forward to take his cock into your mouth.
He moans loudly, too loud. You look up at him and try to shush him, but with your mouth full the only effect it has is him moaning louder. The vibrations from you trying to shush him sends delicious vibrations through his cock. You move your head back and forth as you take him deeper and deeper each time, almost touching the back of your throat.
Your eyes start to water a littler and your lipstick is getting smeared all over his cock and probably all around your mouth too, but you don’t care. Your sole focus now is to make it good for him, like he did for you. You hollow out your cheeks as you take him as deep as you possibly can.
His hands grab a hold of your hair and he guides your head over his cock. You drag your tongue along the vein on the underside and he twitches inside your mouth and unintentionally he pushes your head down on him a little hard and you choke. He immediately lets up and begins to pull back but you grab his ass and pull him in again. You’re not done, not until he comes undone.
Your head bobs up and down his cock faster and you suck harder and as you drag your teeth gently along his shaft, that’s what sends him over the edge. He comes hard into your mouth, ropes after ropes of his cum shoots down your throat and you swallow it all and lick his cock clean as he slides out of your mouth.
Licking your lips he helps you tug the dress back down as you stand up again, he drags his thumb across your lips to wipe away the last remnants of his cum on your chin and you open your mouth as he puts his thumb on your tongue and you lick it clean. He eyes you doing that and his eyes are dark with lust.
“Don’t look at me like that” you say as he slides his thumb out of your mouth.
“How am I looking at you?” he questions with a sly smirk.
“Like you’re about to devour me” you reply as you can feel heat pooling inside you again. Never satiated with this man. Enough is never enough.
“Oh I will. When we get home later, I will eat you until you beg me to stop” he says as he leans in to kiss your lips. His hands grab and caress anywhere they can reach.
“Soy tuya y tú eres mío, now let's get back before we miss the dinner, I’m starving” (I am yours and you are mine), you say as he tucks himself back into his pants and buttons them back up before you lace your fingers with his as you walk out of the ancient Egyptian art exhibition.
You make a quick stop at the restroom to make sure you look somewhat presentable before returning to the party. You think to yourself that you won’t be able to look at anything Egyptian the same way ever again, as you take your seat at your assigned table with a grinning Pedro at your side. This is not how you had planned this night to go, it turned out even better than you had imagined.
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piedrafundamental · 6 months
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My fanart digital collages for @greenerteacups Lionheart chapter ‘the Undercroft’. Hermione’s bluebell flames blazing outward from her wand —“Bluebell flames erupted over his head like a candlewick igniting”— every stone vault of the crypt made cobalt by the flare. To the right, a horsefly buzzing towards a flower-trap. The flower represents Colin, knocked about as Skeeter’s prey, but the movement of the horsefly warns how soon it, in turn, will get caught by Hermione.
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Artworks used:
Crypt with a kneeling mourner, Metropolitan Museum of Art
Blue and Green Music, Georgia O’Keefe, Art Institute of Chicago
Modern Reproduction of Chrysanthemums and Horsefly, Katsushika Hokusai, Honolulu Museum
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Clearly beautiful. #franklloydwright #architecture #architecturephotography #franciswlittlehouse #metropolitanmuseumofart #themet #newyorkcity #nyc #leadedglasswindow #interiordesign #salvaged #flwsites #wrightsites #fllw (at The Metropolitan Museum of Art, New York) https://www.instagram.com/p/CnZeYyFr5pk/?igshid=NGJjMDIxMWI=
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Boiserie, from the Palais Paar in Vienna, now installed in the European Sculpture and Decorative Arts Rooms at the @metmuseum This elegant rococo panelling represents the final phase of this period, before it was subsumed by the neoclassical tastes of the Louis XVI style. Photograph via @metmuseum #themetropolitanmuseumofart #metmuseum #themet #newyork #newyorkcity #fifthavenue #manhattan #uppereastside #museum #boiserie #panelling #palaispaar #vienna #austria #rocaille #rococo #rococostyle #rococointeriors #interior #interiors #interiordecor #interiordecorating #interiordecorator #interiordecoration #interiordesign #interiordesigner #installation #periodroom #decorativearts #decorativeantiques (at The Metropolitan Museum of Art, New York) https://www.instagram.com/p/CoXmVbKoJZ4/?igshid=NGJjMDIxMWI=
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david6of7 · 11 months
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Andromeda and the Sea Monster
Domenico Guidi – Italian 1694
Photography by David Velez
#davidvelez #david6of7 #photograph #originalcontent #themet #sculpture #andromeda #greek #mythology #myth #seamonster #monster #andromedaandtheseamonster
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jad-ee · 1 year
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whatsinmyaperture · 5 months
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Paris, The Met Museum
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armthearmour · 2 years
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A lavishly embossed breastplate which belonged to a parade armor, attributed to Giovan Paolo Negroli,
Height: 23.25 in/59.1 cm
Width: 16.4 in/41.6 cm
Milan, Italy, ca. 1540-1545, housed at the Metropolitan Museum of Art.
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cocobytesthebigapple · 9 months
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Rooftop Installation at the MET, NYC
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opera-ghosts · 1 year
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Here we see the original Program from the first performance at The Metropolitan Opera of the Opera „Loreley“ 1922 from Alfredo Catalani (1854-1893). He died at the age of 39.
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thatshowthingstarted · 11 months
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Group of two women and a child,
Middle Kingdom–Early New Kingdom, ca. 1981–1500 B.C.
Limestone, paint
H. 7.1 cm (2 13/16 in.); W. 4.3 cm (1 11/16 in.); L. 8.2 cm (3 1/4 in.)
Courtesy: The Met
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bittersweetsss · 1 year
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obsessed with how realistic the fabric looks on sculptures
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