#windows and mirrors

[vxmpire-vxlle]

I need this mirror.

by cameupinthedrought.

[huariqueje]

Interior of the Pianist - Denis Frémond , 1993.

French, b. 1950 -

Oil on canvas , 82 x 100 cm.

[butterflyangel2002]

[purusims]

[nobeerreviews]

It is the city of mirrors, the city of mirages, at once solid and liquid, at once air and stone.

-- Erica Jong

(London)

[vintagehomecollection]

Southern Interiors, 1988

[365filmsbyauroranocte]

Crocus (Suzan Pitt, 1971)

[momentomori24]

I may just be insane about this but does this feel like foreshadowing to anyone else. In this scene we see her trying to replicate the skill of someone else (her mother) and failing to achieve the same results that they would. That feels really specific and it's driving me insane.

Like, we see this come back again in the aftermath of the trial. Diana has repeatedly voiced her admiration for Wolfgang's ability to speak and inspire those around him in the darkest of times, saying she wished she could do the same. We see her pour her heart out and give her own speech to inspire the others-- except the reaction that she receives is cold and miserable, far from the newly kindled warmth and hope Wolfgang was able to create every time.

Diana is a chameleon. Her whole thing is to reflect, to replicate and to adapt. Do you think that this small scene where she tries to make a butterfly out of her hairclips-- a butterfly, an animal associated with transformation and change-- and the end result looking nothing like what she wanted it to be is a metaphor for her future character arc? She has declared that she wants to follow in Wolfgang's footsteps, wants to become something new, but do you think that by the end she ends up being the furthest thing from him? Do you think that by the end she will be left distorted, fundamentally wrong? Do you think that if she could see what she will become in the future, the only emotion that she can muster is horror as she gazes at a stranger that's supposed to be herself? That by the end, she won't be able to recognise herself, because there's no "her" left anymore?

[katiekatdragon27]

🎵My man Glisten used to always quit. But he never really quit. He just said he did...🎵

Made an illustration all on one layer. It was agony, but I think it looks really good. This is based on the song "Cigarettes Out the Window" by TV Girl if that wasn't obvious enough.

Also, hi all 15 of my followers who like glittermask! Enjoy the kind of angst!

An alt version and sketch under the cut:

I love TV Girl and glittermask. Save me TV Girl and glittermask.

Have a good one guys✌️

[terribleoldwhitemen]

obedience.

[clubconsent]

"I worshipped that dog. . . . Died from eating too much pizza."

"Not Hollywood Hair Ken. . . . I gave him to Nana's dog to eat."

So . . . do we think the cause of death was actually pizza?

[huariqueje]

Interior - Hanneke Naterop , 2023.

Dutch , b. 1970s

Oil on panel , 39.9 x 54.9 cm.

[heartnosekid]

not.so.well.read on ig

[chillentertainer]

thinkin' about a little bellesco bodyswap au! bellini and tedesco have yet another fight, and this one's got a vicious fucking bite to it. even lawrence is surprised at how down and dirty and personal it gets. doesn't help that they a) both lost out on the papacy but b) had a drunk hook-up following the conclave that neither have yet to acknowledge. innocent, having witnessed this, prays one night for God to help reconcile his cardinals.

god, in all of his infinite wisdom (or maybe gabriel's, what a little trickster!) decides the solution is to for bellini and tedesco to walk a mile in each other's shoes.

cue freaky friday, lent edition

[vintagehomecollection]

An easy, relaxed assemblage of furniture and memorabilia contributes to the restful atmosphere enjoyed in the home's inviting library.

Southern Interiors, 1988

[preraphaelitepaintings]

The Awakening Conscience

Artist: William Holman Hunt (English, 1827–1910)

Date: 1853

Medium: Oil paint on canvas

Collection: Tate Britain, London, United Kingdom

Description

Inspired by the novels of Charles Dickens, William Holman Hunt shows an aristocratic man visiting a working-class woman, who lives in a flat he owns. The woman jumps up realising her home is a trap. The man’s gesture mimics that of the cat under the table, reaching for a bird as it tries to escape. The factory-produced textiles and carpets are a metaphor for the exploitative, commercial basis of the relationship. Hunt hoped to persuade the model, Annie Miller, of the dangers of dependence of this kind. Miller, a bar worker, became a successful Pre-Raphaelite model and married an aristocrat.