#titian posting

[cpprcoyote]

Paladin of the Absolute

[ultravioletness]

Rings in 16th century paintings

Raffaello Sanzio, Ritratti di Agnolo Doni e Maddalena Strozzi (c. 1504-1506)

Tiziano Vecellio, Ritratto di Eleonora Gonzaga della Rovere (c. 1537)

Agnolo Bronzino, Ritratto di giovane donna con libro (c. 1545)

Agnolo Bronzino, Ritratto di Lucrezia Panciatichi (c. 1541)

[britneyshakespeare]

"Why did Barbie stop being best friends with Midge in the late 60s, only to replace her with PJ, who has the same face" Midge was in witness protection asshole. Be considerate

[soapy-anon-agere]

Titan Regressor

Titan Regressor, This term/flag for those who connect to Titans from the owl house they just also need to be a Regressor (Agere or Petre) of some form.

(Used the Petre flag template)

Flag Version(s), a Titan eye Pupil, and Without Pupil

Icon Version(s), a Titan eye Pupil, and Without Pupil

[watery-melon-baller]

idea: the first glyph belos ever found was fire, in the ashes of where he killed caleb

[pocketsizedowls]

Chapters: 1/1 Fandom: Shingeki no Kyojin | Attack on Titan Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Krista Lenz | Historia Reiss/Ymir of the 104th Characters: Ymir of the 104th (Shingeki no Kyojin), Krista Lenz | Historia Reiss, Rod Reiss, Erwin Smith, Hange Zoë, Levi Ackerman, Eren Yeager's Parents, Eren Yeager, Mikasa Ackerman, Armin Arlert Additional Tags: Alternate Universe - High School, Alternate Universe - Boarding School, Angst with a Happy Ending, Emotional Hurt/Comfort, past character death - Frieda Reiss, POV Ymir of the 104th (Shingeki no Kyojin), Graduation, Lesbian Ymir of the 104th (Shingeki no Kyojin), Lesbian Krista Lenz | Historia Reiss, Established Relationship, Childhood Trauma, Ymir has an existential crisis because they're graduating, that's it that's the fic, Public Proposal & Engagement, Romantic Comedy, Relationship Study, athlete ymir, Cheerleader Krista Lenz | Historia Reiss, ex-cheerleader actually, Unreliable Narrator Series: Part 3 of Darling Summary:

“Coach Shadis told me that you turned down yet another university scholarship. Care to explain?”

“Same reason as all the others. I don’t want to go to college.”

“I don’t see why not,” he says, “being scouted for athletic scholarships is just as prestigious as earning a spot through your academics.”

“I’m not going anywhere Historia isn’t going.”

“And where is Historia going?”

“To her father’s house. She’s inheriting the company.” ---

Or, Ymir starts having flashbacks to her past as she and Historia prepare to graduate high school. As the professors at school push her to make a decision about her future, how does she convince them that all she wants is Historia?

[postcardaday]

Portrait of a Man in a Red Cap, c. 1510. Titian (1477/90-1567) The Frick Collection, New York

[dcxdpdabbles]

hello hello! After a few posts of this premise I just had to say something and because you just make them come to life I just had to ask :) anyway, Danny let’s say in seriously injured by the giw or even his parents but he is reverting to his core and he goes to Clockwork to help since he’s the one he’s the most closest ghost to and kinda his guardian ghost, Clockwork sees that he himself will not be able to help forever and finds a different solution. He takes Danny’s core and makes a magic safe guard and puts his core inside in the guise of a doll like this one:

But with Danny’s coloration! He sends Danny to Gotham and ends up being picked up by Robin!Jason who thinks he’s cute and gets attached, Danny is weak but trying to gather ectoplasm but sends a sense of gratefulness to Jason who feels it but is a bit confused but happy he saved a doll. He brings it with him everywhere and takes it with him everywhere but when Jason dies and buried Danny is sat at his grave and he wakes up a little earlier with Danny and brings with him. He gets a strange attachment and feeling of safety with the doll and then is able to talk to it and Danny and him become closer and when he eventually reunites with everyone and things smooth over he feels it’s fine to bring Danny the doll to the mansion and the others realize that Jason has a haunted fucking doll and with the already thin trust they can’t do hair when Danny messes with them with moving their stuff, appearing out of nowhere, and being all around creepy but he helps Alfred so Jason has no issues and finds it funny. There are probably times where they try to dispose of it anyways but comes back completely fine and they become even warier but Danny is just having the time of his life while eating his ectoplasm while helping them with cases and finding things and such and Alfred even defends him when they try to talk Jason around about the creepy doll and is like “Did you stay at my grave 24/7 in all weather? That’s what I thought.” When Tim tries to get evidence he takes a picture of the doll all he sees is a boy around the age Jason died with pale soft blue eyes staring back with a soft smile that even if it wasn’t really creepy he still felt a chill down his spine

First of all, the photo almost gave me a heart attack. Haunted dolls terrify me (ironically, I fear ghosts.) But honestly, I love the prompt, so here you go!

Jason moves back into the manor- sort of. He's still in the middle of his hostile takeover of Crime Alley, but things are a little less stressful between the family. Maybe it was because Jason's Pit Madness was slowly disappearing, thanks to his friend Danny.

Danny was a great listener and always willing to help Jason sort through his feelings and thoughts. He was the reason that Jason chose to try to talk things out with Bruce before going through his insane idea of attacking Tim at the Titian Tower.

Which, you know, Tim was grateful he didn't actually go through with it after finding the plans in some of Jason's stuff while helping him move. The fact he wanted to wear his old Robin outfit- which would not fit on his body now- would have been beyond traumatizing enough, thank you very much.

"I know." Jason laughed as the rest of the family crowded around the plans. Even Damian seemed a bit disturbed by what was written. "Danny made me realize I didn't have the skinny legs to pull off the outfit."

Tim has never met Danny, but he has heard about him. Jason spoke about him when he followed Bruce and Jason around with his camera, which was enough for him to know Danny was likely a childhood friend.

Of course, Danny went by the code "Doll" in those days. Personally, Tim had always assumed that Jason and Danny shared a relationship that went beyond friends.

It had been another reason that Jason was his favorite Robin. If Robin could like boys, then Tim could too, and the knowledge that one of his literal heroes was like him helped Tim accept himself faster.

He never brought it up, even as Jason slowly gained control over Crime Alley as a Crime Lord- one that didn't kill because it would make Danny sad, which was another point in his secret boyfriend checkbox list.

Everything was fine- until Bruce found out about Danny.

"Jason, I thought you outgrew Danny," Bruce uttered hesitantly as Jason explained how Danny had fallen over himself when describing his Titain Tower plan.

Jason's eyes flashed green at once, and everyone in the cave grew tense.

"I will never outgrow Danny!" The second oldest barked, his neck muscles straining.

Now Tim knew that Danny was a secret, so he never brought him up despite the burning need to ask every question under the sun about him. Jason wasn't out to the rest of the family- detectives or not- that was up to Jason to decide when they would know.

He just always assumed Bruce knew since, you know, his son called his best friend Doll back when he was fourteen and running around in green spandex.

How could he not know? Did he want Jason to change his cape out for a rainbow and sing musicals at the top of his lungs on Wayne Tower?

Actually.....Jason did sing in musicals at his drama club. Honestly, Bruce was in denial.

Jason may not be out, but Tim wouldn't let Bruce bully him about his lover!

"Jason can have whatever friends he wants! And feel whatever he feels about them!" Tim snares, and that causes Dick, Damian, and Steph to bristle. They stand beside a huffing Jason, slowly coming down from his rage at the sight of support.

Cass and Alfred watch from the Batcomputer, a tension around their eyes the only sign that they, too. Bruce intelligently raises his hands in a placating manner.

"I did not mean anything wrong by that, Jason. I'm just surprised Danny still has such a strong hold on you." Bruce starts, his eyes never leaving his boy's face, even with all his other children flocking around him. "I thought Danny was lost when you died."

There is a long pause where Tim considers the words. It's a fair assumption. After all, Danny thought Jason had died and been buried. Why would he wait around after that?

Even the Bats still didn't know what caused Jason to come back. How would a civilian possibly begin to consider his boyfriend returning from the grave- or Tim assumes to be a civilian since Danny had never joined them on the field? He had to be in the know for Jason to tell him the plans comfortably.

"He waited every day, twenty-four seven at my grave," Jason tells Bruce, puffing up his chest. "He was with me when I was in a coma and when I was practically brain-dead on the streets. Hell, he was even there when the League of Assiasns brainwashed me!"

Damian jerks in surprise. He always gets taken aback by how casually Jason admits being part of the organization of his upbringing, no matter how briefly. Not even Bruce does that. "I....was unaware Daniel had been with you. I never saw him."

"Talia allowed me to have him with me just as long as I kept him tied up in my closet so he wouldn't be spotted."

Everyone but Alfred and Bruce step back, staring in horror at Jason. Tim can figure out by their reactions alone that everyone in the Bats had come to the same conclusion as he did about Danny being Jason's lover then.

After all, it's hard to hide that kind of thing from the family of detectives.

How could I have missed this? Tim thinks in dismay. Quickly, his brain runs through every time Jason has so much as hinted at Danny, trying to spot the signs that apparently his brother was abusive and honestly psychotic towards his boyfriend.

"Jason," Dick began in the same casual tone he usually used on hostile witnesses. "Where is Danny now?"

" Upstairs in my closet. He kept trying to escape, so I had to switch to chains." The responses are as easy as they are casual. Tim's stomach drops.

Quickly, he makes eye contact with Steph, who very quickly lowers her chin at him, and then his eyes flicker to the others. Damian's hands have curled, while Dick moves casually to stand behind Jason, which will make it easier to restrain him.

How long had Danny been up there? How many days and nights did he spend held against his will in the one place that should have been the safest of Gotham?

They all tense their muscles, ready to strike-

"Danny is a doll," Bruce suddenly speaks up, his eyes flickering to all of the gathered children with a wild, alarmed look. Ah, he caught on to the fact they were about to take Jason down. "A doll that Jason found in Crime Alley. Made of porcelain and fabric. Not a person."

The Bats are still eyeing their father with sharp, trained eyes, but Alfred's agreeing nod has them relaxing. Oh, thank the gods!

"Of course, Danny isn't a person," Jason replies mystified. He is unaware of how close he came to being jumped. As it were, the Bats stepped away from him as he looked around, confused. "Why would I have a person chained up in my closet?"

Bruce gets a strange, sad smile on his face. "Yes, Chum, why would you."

Tim isn't following. "If Danny is a toy-"

"A doll." Jason cuts in with a hard edge to his voice.

"Right, sorry, if Danny is a doll, why must you chain him up?"

Jason smiles. "Cause Danny runs the first chance he gets."

What?

"Danny is a haunted doll," Bruce starts, only to have Jason huff.

"No, he isn't! Danny is not haunted; he's just curious." Jason rolls his eyes. "Yeah, he never stays still, and okay, sometimes things disappear around the house, but that doesn't necessarily mean a haunting!"

"Master Jason, might I remind you that while you and Mister Danny were first living here, I caught the vacuum moving by itself?" Alfred calls. "I also remember that Mister Danny's head turned to me and followed my movement as I dusted."

"He just wanted to help you clean," Jason defends in a rather childish manner that Tim never thought he would see from someone his age. Maybe that's why Bruce was worried Danny was still around. "He's not a ghost."

"Chum, I hear laughter from your room even when you are not home." Bruce starts. "The laughing started the day you brought Danny home."

"He can tell great jokes!"

"Wait, tells jokes? Jason, does Danny talk to you? " Steph questioned, looking a tiny bit spooked. Oh yeah, she hates ghosts. Tim forgot her fear of them after living so close to the Gotham cemetery and all the nasty ghost stories surrounding it.

Jason blinks down at her, likely forgetting they were present, before considering the question. He moves his hand in a so-and-son motion. "He tries, but it sounds like fast past whispers. I have to strain to hear him."

"Jason," Dick says with an easy-going smile that belies the worry in his eyes. "That's haunting one-oh-one. You're haunted."

"No, a haunting implies that Danny is dead, which he is not. Danny is just resting until his body can reform. I think he's an alien." Jason taps his chin. "He told me before that his species are the conscious manifestation of ectoplasm but that their souls are within a small core, they can retreat to when badly injured. Danny was really hurt, so he's taking a while to reform."

Bruce's strained smile becomes tighter. "We can have Zatanna or Consitine take a look at him. They might-"

"I'll blow your fucking head off if you try it, old man" Jason's eyes were a bright green, an animistic sneer at his lips, and bloodlust was thick in the air. The abrupt change makes Tim wonder if he has passed out and missed the trigger.

Bruce sighs. "Of course, Jason. Why don't you show everyone, Danny? I think it's time they meet him."

Jason beams, shooting up the stairs to go get his doll. Everyone watches him go, and until they are sure he can not hear them, they burst into conversation.

"Jason is definitely haunted!" Dick despairs, throwing himself dramatically on a nearby chair. "We need to do something! Get it away from him."

"We will do no such thing," Alfred huffs. "Mister Danny is a fine young ghost who helps Master Jason. It would be unwise to separate them."

"As much as I hate to admit it, even Dinah claims that the two are good for each other." Bruce says, likely unhappy that Black Canary used her therapy license against him, "Apparently, Danny is Jason's support doll."

Before anyone can say anything else, Jason races down the stairs with a broad smile. In his hands is a beautiful porcelain doll with black fabric hair, a fine little king suit made from expensive material, and a pretty painted face.

Its green glass eyes- colored to seem almost watery- seemed to stare into everyone's soul as Jason held him up for the room to see. Danny had no facial expression- not even a smile, just a soft, relaxed neural set of features that were popular in the era he was likely made in, but the eyes held emotions.

There was definitely something intelligent and aware in them.

Tim shuddered.

"Oh, Tim, can you take our picture? It's Danny's first time in the cave, and I want to commemorate the date!" Jason suddenly asks, rocking on his heels like he used to do as Robin. Tim wonders if Danny was doing that to him- reverting him to a child-like mind.

If so, was that a good thing? Should he let it keep happening?

"Sure, Jason," He says, instead picking up his camera that he had taken on patrol. He aims his lends, trying to find the perfect lighting as his older brother quickly holds the doll up in his arms, allowing it' head to be at the same level as his face.

Tim snaps the picture, but when he looks at the screen, a shiver runs down his spine, and it takes all his training not to scream.

Jason's smirk is not out of place for his hulky form. He takes up most of the frame, but where Danny the doll is, there is a faint outline of another person. A teenager, maybe a year younger than Jason, with pretty features, a copy of the beauty in Jason's arms, but much more human, yet not human, is smiling at the camera.

He's about a head shorter than Jason, but even with the softness of his smile, Tim has never been more creeped out in his life.

Jason is definitely haunted.

"How did it come out?" Jason asks as Danny's doll head turns to look at Damian. The younger boy imminently moved back, hiding behind Bruce. The doll's eyes followed him, almost amused by the boy's actions.

"G-good." Tim stammers. Steph is already racing for the safety of Bruce's cape, joining Damian. "Danny is beautiful."

Jason pauses, tilting his head as if hearing something, eyes flickering down to his right where the teenager ghost stood for the picture, and then grins.

"Of course he means it." Jason's ears turn pink as he admits, "I also think you're the most gorgeous person I've ever met."

Okay, Jason is definitely being haunted by someone he might have a crush on. That's....something Bruce has to deal with because Tim is the younger brother, not the dad, and thank god for that.

He might be wrong, but he gets the sense that the doll is blushing even though nothing changes.

It's not my circus and will never be my monkies. Tim thinks racing to Bruce's cape is a good idea as well. He is scared to be out here in the open like Dick and Cass.

Those two might be okay with being haunted, but Tim isn't. Just in case, he'll have to steer clear of the manor for a few days.

[beautyofaphrodite]

Venus Anadyomene

If you didn’t know, I’m making a few nice little posts about different artistic depictions of Lady Aphrodite (many are technically Lady Venus). I’ve already written about The Birth of Venus (the one by Botticelli and also the one by Cabanel) and the statue Venus Victrix by Canova. Today’s artwork is the painting titled Venus Anadyomene by Titian. I’m not even close to an expert on art or art history so there’s a good chance that there will be an error in this post- if you notice one let me know. Anyways, Venus Anadyomene!

Titian

Tiziano Vecellio, more commonly known as Titian , was born c. 1488-1490 in the Republic of Venice and died August 27, 1576 in Venice. This Italian was very influential in the style of Renaissance Venetian painting. He was successful throughout his whole life and was very versatile, talented at painting portraits, landscapes, as well as mythical and religious subjects.

Description of the Painting

Venus Anadyomene (The Goddess Rising from the Sea) stands nude in the water, washing her long, reddish-brown hair. The wringing of her hair is a reference to this statue, as a way for Titian to prove he could “rival the art of antiquity”.

About the Painting

This painting was created around 1520 using oils on canvas. With dimensions of 75.8 cm × 57.6 cm (29.8 in × 22.7 in), it is displayed the Scottish National Gallery in Edinburgh. This painting was owned by many throughout the world, from Christina of Sutherland to Francis Egerton, 7th Duke of Sutherland.

Fun Facts

- Aphrodite/Venus Anadyomene is one of Her most common epithets to be painting, as so many liked to depict Her birth from the sea

- the small seashell next to the goddess is meant to identify the subject of the painting by referencing Her birth on a large seashell as seen in other art (notably Boticelli’s Birth of Venus)

I hope you learned something, I certainly did! If you have a favorite artistic depiction of Lady Aphrodite or Lady Venus or one you would like to see me cover, please let me know!

[naturallyteal]

Did you know that Vincent van Gogh painted Angel!Crowley?

😉

Van Gogh‘s Head of an Angel, after Rembrandt, 1889, private collection (with several changes made by me).

When I saw the original (below) I thought „that’s Crowley“, but then, as an Angel, he looked so happy in the show, ecstatic even, while van Gogh’s angel looks sad (?), so I changed it up a bit.

If you’re ever in Amsterdam, Netherlands, here’s a show that throws some light on van Gogh’s admiration for Rembrandt: [vangoghinamsterdam.com]

Used from Good Omens S2:

View more of my posts of famous artists and their Good Omens fanart:

[Titian]

[Raphael]

[Simon Vouet]

[René Magritte]

[dazeddoodles]

i needed to share this with somebody and i like your blog. so somebody on the internet notice that luz custom for azura for halloween looked a little similar to darius costum and so they said that darius was a fan of the good witch azura. I know that it was most likely just a crosindence that they outfits looked a little alike and it is very unlike he has even heard of the books but titian dam i want that to be true.

I can't find the post but someone has actually brought up to me before that Darius has similar boots and cape as Azura!

[livvyandcaycaytakenselfies]

I need your opinion!

Heyo! So as most of you know, I mainly post abt twst right? Well another obsession of mine is the ‘Tales of Arcadia’ franchises. (Trollhunters, 3Below, Wizards, and Titians.)

So I was thinking, what if I made a yandere! All test boys with a trollhunter darling?? Like, she’s just like Jim basically.

I dunno, but I would love to hear your guys thoughts! And if you ever have a request for a story or just certain character lmk!

[whencyclopedia]

Interview: Pre-Raphaelites: Modern Renaissance

Pre-Raphaelites: Modern Renaissance marks the first multidisciplinary exhibition in Italy to examine the profound impact of Italian Renaissance art on the Pre-Raphaelite movement, which flourished in Victorian and Edwardian Britain (c. 1840-1920).

Displayed throughout the hallowed halls of the San Domenico Museum, a restored 13th-century Dominican convent in Forlì, Italy, are over 300 works of art, which juxtapose and highlight the revolutionary creativity and intensity of two important artistic eras. In this exclusive interview, James Blake Wiener speaks to Mr. Peter Trippi, a co-curator of the exhibition and an expert of Victorian art, about the exhibition.

JBW: Peter, thanks so much for speaking to me and introducing us to a most gorgeous exhibition.

I have always seen the Pre-Raphaelite artists as rebels and innovators. Their rejection of Victorian complacency and industrial materialism, as reflected in their works, shocked segments of the British public. Looking to the distant past to find a more natural vision, Pre-Raphaelite artists embraced that which was ordinary while still applying innovation to technique and treatment of form in novel ways.

What was it that made the revolt of the Pre-Raphaelite Brotherhood so enduring and yet so profound in its immediate impact?

PT: The earliest paintings exhibited by members of the Pre-Raphaelite Brotherhood electrified their contemporaries in the late 1840s and early 1850s for several reasons. Visually, they were completely out of step with everything around them at London's crowded major exhibitions: their brilliant coloring stood out from the drab browns and greys used by most artists at the time; their draftsmanship and paint handling was precise rather than "sloshy" (the term they used to criticize their older colleagues); their compositions were willfully naïve and sometimes even jarring, ignoring the polite post-Raphaelite conventions that the Royal Academy promoted; and they were depicting narratives that were unexpectedly high-minded (such as the Annunciation to the Virgin Mary) or gruesomely passionate (such as the run-up and aftermath of Lorenzo's murder in John Keats's Romantic poem Isabella and the Pot of Basil). Viewers could see these were young men with talent and something fresh to say, but they were not quite sure what to do with it. It was not until 1851, when the prestigious critic John Ruskin came to their defense, that the British public began to accept these innovations.

The continuing power of those innovations was demonstrated in 1986 when I was sitting in an art history lecture hall at the University of St. Andrews in Scotland. As an American exchange student, I had never even heard of the Pre-Raphaelites (who were little known in the U.S. then). But I sat up straight in my chair as their brilliantly colored, oddly composed, and often erotic images came up on the screen. 175 years after its launch, the Pre-Raphaelite Brotherhood's power to fascinate is still evident. Once they start, people cannot stop looking.

JBW: Highlights on display within the exhibition include celebrated paintings and drawings by the great Italian masters, including Botticelli, Lippi, Verrocchio, Michelangelo, Veronese, Titian, and even Guido Reni. These are juxtaposed with major works by British artists including Dante Gabriel Rossetti, John Everett Millais, William Holman Hunt, John Ruskin, and J. W. Waterhouse, among others. The pairing of Renaissance Italian antecedents with Pre-Raphaelite masterpieces affords visitors a rare opportunity to compare and contrast across time and space.

What new perspectives can the visitor learn with regard to Pre-Raphaelites as a result of this exciting pairing?

PT: The exhibition at Forlí has a light touch; it is almost poetic in the way it allows the Italian Old Masters and their British admirers to converse with each other in the same rooms, without striving to show direct influences or replications. A great example is the large room of Dante Gabriel Rossetti's mature paintings, most of which show women in bust-length portrait formats, as if sitting at a window. These images (of such sitters as Jane Morris and Fanny Cornforth) have become famous around the world, but never before have we seen them hanging side by side, literally interspersed, with the Madonnas, Florentine noblewomen, and Venetian courtesans to which Rossetti was responding. It is only in an art-rich country like Italy that a museum can make this case so visibly. In the UK, for example, there simply are not enough of the Italian prototypes available to lend them to a show about 19th-century British art. My co-curator Liz Prettejohn and I knew that this opportunity might never come again and so we pounced on it. Once visitors leave that Rossetti room, they will never see his famous woman-at-the-window the same way; suddenly her backstory has become clear.

JBW: Aside from paintings and drawings, sculptures, prints and photographs, to furniture, ceramics, glass, metalwork, tapestries, wallpaper, illustrated books, and jewelry are also displayed within Pre-Raphaelites: Modern Renaissance.

Many Pre-Raphaelites artists believed that the way art was produced could shape wider cultural values. Is this reflected within the exhibition, and if so, how?

PT: Our curatorial team was eager to show how the Pre-Raphaelites' innovative ideas about the power and romance of Italian Renaissance art were transmitted not only through "fine art" (paintings, sculptures, drawings, and prints) but also through the applied (decorative) arts. We invited Dr. Charlotte Gere, the London-based scholar of decorative arts, to join the team, and she selected most of those artworks, primarily from the Victoria and Albert Museum, Fitzwilliam Museum, and British Museum, but also from other UK collections. One of her aims was to show that the "second generation" of Pre-Raphaelites – especially Edward Burne-Jones and William Morris – were determined to bring their aesthetic into immersive environments ranging from churches to the dining rooms at the Victoria and Albert Museum. They also made objects in every possible medium that individuals could buy and live with, often on the expensive side, but not always. By 1870, their worldview had morphed into the Aesthetic Movement (the so-called Cult of Beauty), which impacted every aspect of visual culture in the UK and, by extension, its empire and the United States. The most dramatic examples of immersive decoration in our show are the huge Holy Grail tapestries designed in the 1890s by Edward Burne-Jones and hand-woven by William Morris's team for a wealthy collector's baronial hall near London.

JBW: Pre-Raphaelites: Modern Renaissance additionally explores the important and often overlooked contributions made by accomplished female artists to the Pre-Raphaelite movement.

What can you tell us about these Victorian talents, and how are they differentiated from their male colleagues within the show?

PT: We are pleased to have 15 women artists represented in our exhibition through 26 different works. In order of appearance, they are Elizabeth Siddal, Christina Rossetti, Maria Rossetti, Eliza Jameson Strutt, Evelyn De Morgan, Christiana Jane Herringham, Constance Phillott, Maria Cassavetti Zambaco, Marie Spartali Stillman, Julia Margaret Cameron, Beatrice Parsons, Marianne Stokes, Phoebe Anna Traquair, Eleanor Fortescue-Brickdale, and May Cooksey. Over the past quarter-century, scholars have proven that women were fully involved in the Pre-Raphaelite movement as it evolved over time, but usually, their stories have been ignored or even erased by subsequent generations. That injustice is certainly not unique to art history, but it is time to rectify it, and we were delighted that so many relevant loans were approved.

Some of these women have been thoroughly studied (such as Dante Gabriel Rossetti's wife and collaborator, Elizabeth Siddal) while others still need to be investigated (such as the enigmatic May Cooksey). We have scattered them throughout the show rather than placing them in a female "ghetto," and we are especially proud to have six major examples of mature work by Evelyn De Morgan. Her parents wanted her to marry a rich man and start a family, but with the help of her artist-uncle J. R. Spencer Stanhope (also in our show), she pursued formal artistic training and ultimately exhibited her large symbolist canvases at London's prestigious Grosvenor Gallery right alongside starry male colleagues like Edward Burne-Jones. I would argue that she surpassed her uncle in quality and ambition.

JBW: I was intrigued to learn that over time, the Pre-Raphaelites and their admirers shifted their attention to other periods in Italian art, including 16th-century Venetian art.

Could you tell us more about this transfer in focus, and how that is revealed within the exhibition?

PT: Because the period we are studying is so long (1840s through 1920s), it is inevitable that the British artists would shift in their predilections for Italian art. In the beginning, the Pre-Raphaelite Brothers had little original Italian art to study in person in London, so they consulted prints and illustrated books. One of their heroes was Fra Angelico, not only for his seemingly naïve compositions and handling (naïve as compared with Raphael) but also because he was a monk – a man of faith who expressed his devotion through art, something the Brothers felt was lacking in British art of the 1840s. Our co-curator Cristina Acidini (former head of the Museums of Florence) selected a superb Angelico, which is now displayed at one end of the huge church that serves as our exhibition's first gallery. At the other end, she has placed Botticelli's famous Pallas and the Centaur so that they face each other. This is a brilliant and quite poetic juxtaposition; back in 1848, when the Brotherhood launched, no one was talking about Botticelli at all. By the 1870s – thanks in large measure to British scholars and collectors getting interested in him – Botticelli was all the rage and was particularly influential on Edward Burne-Jones, whose Holy Grail tapestries are shown just beyond Pallas and the Centaur.

We have many moments of transition like this throughout the show. The gallery devoted to Frederic Leighton is a key example, with its insertion of Lotto, Veronese, and Reni – a disparate trio of heroes! Again, such a loan list could only happen in an art-rich country like Italy. No British or American museum could deliver these prototypes in such quantity or quality.

JBW: One can say that the convent, itself, is another star of the show.

How was it chosen as the venue for Pre-Raphaelites: Modern Renaissance, and why is it the perfect venue to showcase Pre-Raphaelite and Renaissance masterpieces?

PT: It was only in 2021 that director Dr. Gianfranco Brunelli conceived this theme as a logical extension of the series of superb loan exhibitions he has been mounting at the Museo San Domenico. (Most of them have focused on Italian and Continental art, including specific masters and themes such as Mary Magdalene. This is the first one to encompass British art.) He brought in Cristina Acidini (see above) and Francesco Parisi (an independent scholar based in Rome) and then Liz Prettejohn and me. In 2022, we began requesting loans from museums and individuals around the world, and by February 2024, we were opening the show! That is a comparatively quick development process, and I think one reason it worked so well is that many lenders were intrigued by the idea of their British-made, Italian-inspired artworks being shown in Italy to modern Italian audiences.

This theme has previously been tackled in a few exhibitions (e.g., London, San Francisco), but with only a few Renaissance prototypes on view – never so many as we have now. Moreover, the fact that the Museo San Domenico is a renovated medieval monastery adds visual power and meaning to the visitor experience; this is especially notable in the former refectory now devoted to Edward Burne-Jones. In many of his paintings we see scrolling foliage that he borrowed from Renaissance art, and painted on the ceiling above in the Middle Ages are those same scrolling forms. The outer walls are lined with Burne-Jones's art, while the middle of the room features major prototypes by such forerunners as Bellini, Mantegna, and Michelangelo.

JBW: Many readers may agree with me that the Pre-Raphaelite artists remain so compelling because of the exuberance, naturalism, and luminosity found in their works. The Pre-Raphaelites' love affair with the art of the Italian Renaissance allowed them to drive innovation within artistic creation.

What then is the legacy of the Pre-Raphaelites? Moreover, why do you believe visitors come to see this exhibition?

PT: I think that many museums today underestimate the ability of visitors to connect the visual dots for themselves. We are often "spoon-fed" curatorial arguments because our own grasp of art history is slim, and that is OK because it is better to do this than appear exclusive or intimidating. In Italy, however, all young children in public and private elementary schools are taught art history and studio art (and this continues right through high school). And, of course, they are literally surrounded by Italian Renaissance art, which they see not only inside churches and museums but also in public spaces such as piazzas. This means that the visitors in Forlí (95% of whom are Italian) are already familiar with the Italian Renaissance art on view, and therefore eager to learn about the British artists who revered it and adapted it to their own ends.

The response we are getting (through the Italian media and conversations occurring inside the exhibition galleries) is one of surprise (e.g., "How did we not know about these terrific British artists before?") and also of mutual respect: this show is about a profound love and admiration that British artists felt for Italy, and in the final room we even show examples of how late 19th-century Italian artists integrated British approaches into their own work.

We hope that all our visitors will choose to learn more (perhaps by visiting major collections of Pre-Raphaelite art at venues like Tate Britain and the Birmingham Museum & Art Gallery), and ultimately see how imagery and ideas travel across eras and places that are seemingly disparate. Artists play a special role in society by transcending superficial boundaries and looking – really looking – at their colleagues' creations with respect and insight.

Art made by Italians at the end of the nineteenth century

JBW: Peter, on behalf of World History Encyclopedia, I thank you so much for sharing your knowledge with us! I thank you so much for your time, consideration, and expertise. PT: Thank you for taking the time to ask these important questions!

Pre-Raphaelites: Modern Renaissance remains on display, at the San Domenico Museum Piazza Guido da Montefeltro, in Forlì, Italy, until June 30, 2024.

Peter Trippi is editor-in-chief of Fine Art Connoisseur, the national magazine that serves collectors of contemporary and historical realist art, and president of Projects in 19th-Century Art, a firm he established to pursue research, writing, and curating opportunities. Based in New York City, Peter recently completed a six-year term as president of the Foundation for Advancement in Conservation, which supports and raises awareness of the American Institute for Conservation, the country's leading society of conservation and preservation professionals. Peter previously directed the Dahesh Museum of Art (New York City), headed development teams at the Brooklyn Museum and Baltimore Museum of Art, and has created (with Prof. Liz Prettejohn, University of York) international touring exhibitions and publications devoted to the 19th-century British painters J.W. Waterhouse and Lawrence Alma-Tadema. Their latest curatorial project, the exhibition Pre-Raphaelites: Modern Renaissance, is on view in Forlí (near Bologna, Italy) through June 30. It is accompanied by a 600-page catalogue in Italian.

Continue reading...

[darkcrowprincess]

To all my followers about Percy Jackson fandom:

This is a Luke Castellan Apologist Blog

This is also an anti book Annabeth Chase blog.

Also anti Percabeth blog.

I can ship whatever I want if no one likes it, let's agree to disagree. Or just block me. That works too.

5. I actually like the first movie and think it's good. Am I bias because it's what got me to read the books? Probably.

6. The Gods in the books (accept for Hades, Artemis, Hestia, I'm undecided about Poseidon) can all go fuck themselves. Because you guys are horrible and I wish Luke did destroy all of you.

7. Percy is hilarious, but I'm also protective of him. Like let this boy rest. He deserves blue food and a normal life( and a not so abusive girlfriend).

8. I'm also protective of Nico. But he's so badass at the same time. My gay emo gremlin.

9. I would honestly join the Hunter's of Artemis. I hate that I'm too old for them and love romance too much. But they were my favorite part of Titians Curse.

10. Rachel is basically me. I just love her so much. She deserves more love!

11. Zoe, Bianca, Selena, and Luke's deaths still hurt so fucking much.

12. I've only read the Percy Jackson books and the first Hoo book lost hero, but got bored so I didn't finish. I know most of the spoilers of some of the later books. Still this renew interest of Fandom makes me want to re read books 3, 4 and 5.

13. The show is ok. Some things I like some things I don't. I just wish it had more humor. More Percy humor.

14. Again Artemis and Zoe are soooo badass. I love them. I get the hate on men. Especially considering today's world. Don't want to be a woman who hates men. But god do I get it soooo fucking much. Do I relate to it. Only good men are fictional ones.

15. I too like Zoe would lay down my life for Lady Artemis and would happily become stars/a constellation. Like Zoe is so relatable to me.

(Don't like don't read. Post hate and I'll block you)

[scotianostra]

On March 21st 1859 The National Gallery of Scotland opened on The Mound in Edinburgh.

The observant of you out there will know that The National Galleries is my go to place for many of my the photographs I post here.

Nowadays The Nationnal Galleris of Scotland is the collective name given to four buildings the others are, Royal Scottish Academy Building which sits in front of the original building, The National Portrait Gallery at Queen Street, and The Gallery of Modern art at Belford Road.

To clarify the building that opened in 1859 is the one foreground in the fitst photo. The building was designed by William Henry Playfair and was completed in 1854 on land gifted by the City Council for the Board of Manufactures, an arm of the government at the time responsible for public works and improvements.

There are Ionic porticos on all four sides, but the grander are on the northern and southern aspects. Carefully hidden beneath is a subtle extension, built 1975-8, the windows of which can only just be seen from Waverley Bridge and incorporates Scotland's foremost collection of paintings, drawings and prints from the early Renaissance to the late 19th Century.

Importantly the gallery includes the national collection of Scottish works by artists Allan Ramsay , Henry Raeburn, David Wilkie and William McTaggart .

There is also the best collection of English and European masters outside London, including Constable, El Greco, Poussin, Raphael, Rembrandt, Reynolds, Rubens, Titian, Turner, van Dyck, Velazquez, Vermeer and the impressionists.

I love the fact that the entrance is to the galleries free, although occasionally special exhibitions do incur and an entrance fee. Thebuilding that opened on this day has only just completed a major refurb, with an excellent extra floor beeing added.

[sabrinathepolytheist]

Do you have to follow ancient tradition to be an Hellenic Polytheist?

Hello! Welcome to my very first official passion blog post! I hope you enjoy reading it and do let me know what you think! <3

I would like to start right off the bat and say that Hellenism, otherwise known as Hellenic Polytheism, can be a very vast topic to explore, and even with the depth that I provide in this post, I don't think I will ever be able to convey everything correctly. It is also important to note that this post is mostly theoretical, and philosophical in nature. My sources you may ask? Well, that's just it, my sources are the many things I have read, and learned over the past year about being a Hellenist. I cannot provide a direct source to what I know as to me it is now common knowledge.

I will go ahead and say that I do not represent the entirety of the community who worships these gods. I am just one person, and this post and my blog is just my perspective on our shared spirituality. I don't know everything, and frankly, I am sure neither do you, dear reader. Let us all remember a remarkable quite by Socrates;

"The only true wisdom is in knowing you know nothing" - Socrates

This post will discuss the following:

A general definition of what a Hellenic Polytheist is.

A description of what ancient traditions and customs were like.

How ancient tradition, and customs can change to accommodate our modern era

Do you have to practice ancient tradition to be considered a Hellenic Polytheist?

What is a Hellenic Polytheist?

To answer this question simply, an Hellenic Polytheist is a individual who practices Hellenism - the ancient Greek religion. A Hellenic Polytheist simply believes in the gods of Greece as being the divine powers over the universe itself. One who is not familiar with these gods may know their names from just pure happenstance. Their names consist of; Zeus, Hera, Apollon, Artemis, Ares, Aphrodite, Hephaestus, Hermes, Athena, Dionysus, Poseidon, Demeter, and last but certainly never least, Hestia. Yet, there are countless of other gods, daemons, heroes, titans, and primordials that fall into the pantheon of the Greek gods. However, some Hellenist only worship a handful of gods, or all the gods, or just primordials, or perhaps just titians, and some even worship only one of the gods. The range of gods that you worship in Hellenism can vary from person to person, just as it varied from city to city in ancient times. Interestingly enough, Hellenism even has an element of animism to it.

A great example would be the many personified deities the Greeks had. Thanatos - the personification of death, and Hypnos - the personification of sleep, are just the tip of the iceberg when talking about personified deities. Another example of animism in Hellenism, would be the many nymphs whom are believed to frolic around in the forests, seas, rivers, and more. Both personified deities, and nymphs seem to be powers whom encompass the human condition, or nature itself. Mother Gaia is another example, whom is seen as mother nature, or the earth herself in some views.

What did ancient tradition look like?

What about the tradition behind the worship of these gods? Well in traditional Hellenism, there were structures in place that would determine if you were ready to approach the gods in worship. Typically, in ancient Hellenic tradition one would have to rid themselves of any "Miasma" or otherwise known as "spiritual dirtiness" before ever approaching the gods for worship or prayer. The concept of Miasma is not to be confused with the Christian concept of "sin", rather Miasma was seen as a spiritual fifth, often acquired by being among the dead - this included being in the presence of blood, death, illnesses, or fighting in a war. Some claim that Miasma can also come from sexual acts. With Miasma being such a feared thing in ancient times, purification became an essential part to the practice.

When addressing the gods after a purification of Miasma was completed, one would then commence in ritual, or prayer to the gods. Most often the first and last prayer of the ritual was given to Hestia - the goddess of the hearth and home. It was believed that Hestia was the center of the home, and without her fire burning within the home, the home would surly parish. Of course, a home does not have to be a building, it could also be a family, or a group of people you are close with. Most often after addressing and giving to Hestia, libations would then be poured to other gods.

Libations where an essential part of ancient Hellenic practice, and they were often the only type of offering given to the gods by some. For some, Hellenism is not Hellenism without the offering of libations. Libations were poured liquids. The liquids would consist of water, or wine most often. It was said that libations poured to the gods should not be drank, but instead poured into the ground to return the liquid to the gods. After all you offered the liquid to the gods, it is technically now theirs.

There were likely many other types of offerings given to the gods in ancient times. In fact, some have excavated votive offerings to the gods that were buried in the ground. There is so-so-so much more that goes into ancient Hellenic practice, however, I cannot go through them all here, as that would literally require me to write a book. Goodness, even the customs, and ancient traditions are a huge mouthful to explain - this is just the very tip of the iceberg.

How ancient tradition, and customs can change to accommodate our modern era

One might say that the ancient tradition never changed and will never change. However, is that really the case? How could it be? Everything changes at some point, right? Well, it depends on who you ask really. Re-constructionists (Recons) of the ancient Hellenic practice would argue that one should practice the exact way that the ancients practiced the tradition. The thing is this is a very hard thing to replicate to full accuracy in the modern day. There are people out there who have tried to replicate an ancient ritual to the gods to an absolute spitting-image. The problem? They still had to substitute items into the ritual because they simply didn't have access to the items that the ancients used for their honorings. So even Recons must stray away from tradition.

Revivalists are more lenient and would tell you to take what vibes with you and leave what doesn't vibe with you (for the most part). A revivalist is more likely to accept the fact we live in modern times, and our world is modernized, and because of this, we can honor the gods in modernized ways, as we see fit, so long as we remain respectful of the gods. The practice is modernized, but the gods are still ancient.

Other worshipers of the Greek gods may not even identify as Hellenists, and may be eclectic Witches, or Neo-pagans. This goes to show that Hellenism - the tradition, isn't what connects you to the gods. What connects you to the gods, is in fact - well, you! Yes, you have the ability to connect to the gods just as you are now.

In our modern world, it can be hard to cling to the past. This is why recons may be annoyed with revivalists, or Neo-pagans. Recons tend to have a harder time accepting the modernization of ancient practices, while revivalists, and other groups do not have this issue (again for the most part). A thing we must realize is, change is inevitable. Even the physical planet we live on itself has morphed its shape with tectonic movements countless times. The seasons too, are a great example of change. Everything goes through changes and phases. The sooner we take note of this the happier we will all be.

Do you have to practice ancient tradition to be considered a Hellenic Polytheist?

I must reveal for those who are concerned that I am not a Re-constructionist, although I am to a slight degree, I am mostly a revivalist. You could even consider me to be a hybrid; a Recon-Revivalist. it is my personal belief that tradition is only secondary to divine relationship and communication. You do not have to stress about performing an ancient ritual to absolute perfection in order to have a connection to the gods. To me, Hellenism is about the gods, and how you connect with them. In ancient times there would be communal rituals and cleansings of miasma, that multitudes of people would be able to participate as well as city-wide festival celebrations, and worship rituals. These people were capable of honoring the gods in the same environment, so it is no shock that they would have similar ways of worship to each other.

However, we live in a modern world, and we are modern people. While ancient tradition provides a much needed insight into the way the ancients went about worshiping their gods, and I do think it is only respectful that one would at least consider trying to do worship the way the ancients would have conducted it, that doesn't make it the end all be all for what Hellenism is. Think about the vast amount of philosophers, and philosophical wisdoms, and ideas passed down from the ancients. Not a single one of them thought about Hellenism, or the gods in the exact same way (to my knowledge). Due to this, we can come to realize that philosophical thinking is not something limited to the ancients. Everyone can think about life philosophically and come to see what they truly believe about themselves and about the world.

So, do I have a personal philosophy? Well, yes, but I would say as I learn, and grow myself, it can change as time goes on. I would say I have a tendency to take things from many different ancient philosophers. For example, I agree with Sallustius that the gods are pure good and are never the cause of unrest and heartache in our lives. That said, there are also many other things I believe in that are not of ancient context. I believe that true Hellenism in the modern day is most easily experienced in the eyes of the individual. In ancient times it was a communal tradition, now days it is harder to do so, and because of this it is much easier to be a solitary Hellenist rather than a Hellenist that is a part of a community. Not many of us have local temples to our gods, and that is a valid and real thing to understand. Our homes are our temples now.

I know the idea of straying away from strict ancient tradition may put some individuals off from my blog. However, I am willing to take that risk in order to be able to provide a safe place for fellow Hellenists to gather and read my blog; a blog written from the hands and mind of a Hellenic polytheist, for the eyes of other Hellenic Polytheists, or aspiring ones.

Conclusion - Do you need to practice ancient tradition?

So, in closing, to answer the question each and every one of you have been waiting for; no, you do not have to practice ancient tradition to be an Hellenic Polytheist. Just do you, stop batting around the thoughts and opinions of a million other people in your head, and get up, walk to your alter(s), and just pray. Connect with the gods, speak with the gods, grow a relationship with them. This is true Hellenism in my eyes. The relationship that you have with one or more of the gods is priceless, and it is something no human being could ever take away from you. So, cherish that relationship. Of course, this view could be seen as subjective, and that's okay, people deserve to think what they wish, but this will not change my personal viewpoint.

Above all respect each other's practices. A hardcore re-constructionist, and a more lenient revivalist are one in that when we consider that they worship the same gods. Neither of these groups should be viewed as any less of a Hellenic Polytheist either. We must learn to co-exist with one another without getting into arguments. Arguments only lead to a bad situation for each party involved. So, to settle this dispute, if at all possible, perhaps recons could be more lenient and accepting of revivalists and their more modernized traditions, and revivalists could perhaps explore parts of ancient tradition do resonate with their practice and incorporate those parts of ancient practice into their own.

I personally do find it important to consider ancient ways of practice when starting out your path, as the last thing we want to end up doing is appropriating a culture - that would be a no-no. That stated, I do also feel it is completely valid if one wishes to stray a bit away from tradition. Do you like offering libations? Yes? Good for you! Own it, it's your practice. Say you don't enjoy giving libations due to the possible inconvenience of having to return the liquid to the earth, or maybe you do not like that you can't consume the liquid offered to the Chthonic gods according to tradition. That's A-okay. You don't have to do libations, you can simply offer votive offerings like stones, rocks, crystals, anything physical really. Perhaps devotionals are more your speed. Good! Write a song, or a poem, or a story in honor of the gods and offer that work to them.

Whatever you are doing, you are doing it for you. You aren't doing it for anyone else but you. So, understand, especially those new to Hellenic Polytheism, that when I say it is okay to stray from tradition, that it is absolutely okay. Individual practice is individual practice, and it is very sacred to the individual, and no one can tell you how to do your individual practice. Don't listen to the people who try to control your practice for you. There is no way you can do your own personal practice wrong. The only way to go with your own practice is up.

-Sabrina the Polytheist

Thank you all for reading! If you wish to learn more about Hellenism, or perhaps start learning about Hellenism, here are some sources that I would recommend:

Hellenic Polytheism : Household Worship by Labrys https://www.amazon.com/Hellenic-Polytheism-Household-Worship-1/dp/1503121887/ref=sr_1_1?crid=UVH9MRG9RL5K&keywords=hellenic+polytheism+household+worship&qid=1691612186&sprefix=%2Caps%2C299&sr=8-1 (This is a stable in the Hellenic Polytheist community, this book tells you in detail how ancient tradition was conducted in the home: can be found on Amazon for $14.00 USD!)

https://www.theoi.com/ (A site to learn about the many gods of the Hellenic pantheon, as well as to read up on myths)

https://hellenicfaith.com/ (This site showcases a multitude of information about ancient tradition, philosophy, and worldviews)

Pic the Pagan on YouTube https://www.youtube.com/channel/UCQmVTgvWkXrbdod_Ni1XFUw (is a well-known Hellenic Polytheist content creator, he creates short form V-log style videos that are very insightful, I do recommend you check him out).