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Edit: This comic was originally made with Hozier’s ‘Nina Cried Power’ lyrics, which I didn’t realize was a song very specific to the Civil Rights movement. In retrospect, overlaying a comic of white lgbtq characters with these lyrics wasn’t a tactful decision. 

I’ve changed the lyrics to Hozier’s ‘ From Eden’ now, and I want to ask you guys to reblog this version instead. Thank you!

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You were powerful enough to hold your ground and keep memories of Madzie’s true location from Iris. That’s not power. Yes, it is, Magnus.

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I did this poster of Magnus and Alec for Red Scrolls of Magic! 

The poster will be given away at the ALA Midwinter and other library conferences. (I don’t think they will be a limited quantity).

I hid a lot of details in the poster, try to spot some of them! 

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from afar

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Caravaggio, Bacco, 1596, Uffizi Gallery.

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The Calling of Saint Matthew, 1599-1600, Caravaggio

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Artemisia Gentileschi, Judith Slaying Holofernes (Uffizi), 1614-18

Caravaggio, Judith Beheading Holofernes, 1599

“The similarities between Artemisia’s Uffizi painting and Caravaggio’s version are obvious as each depicts a calm, pragmatic Judith cutting through Holofernes’ neck. Each work is violent, but Artemisia’s has an intensity and tension more disturbing than Caravaggio’s picture. In comparison to Artemisia’s figures, Caravaggio’s figures seem stiff and almost uninvolved with one another. Judith’s maid is only a passive observer. Artemisia endows her painting with force by tilting Judith’s body to demonstrate her strength of action. The maid also plays an active role as she restrains Holofernes’ struggling body, Gentileschi’s figures have more energy as the movements are circular, revolving around the spattering blood. The crisscrossing of arms, as well as the vertical emphasis at the center of sword, arms, and maid’s figure, contribute to the sense of tension. Caravaggio’s horizontal arrangement suggests aloofness. Artemisia convincingly conveys Judith’s violent, yet heroic deed.“

-  Shang, C.D. (1992). Artemisia Gentileschi.

“… it is worth comparing [Artemisia’s] version of Judith with Caravaggio’s. Caravaggio’s Judith is a young girl, with her hair braided in rings over either ear. She handles the sword to kill Holofernes, the general who had conquered her people, awkwardly, as something foreign to her, and she performs the action with a becoming squeamishness, as if repelled by the sight of blood, which spurts out in red jets. Caravaggio has composed the scene within a canvas far wider than it is high, in order to put as much distance between Judith and the victim as possible. Her servant is a crone, to show off Judith’s innocence and inexperience. Artemisia’s Judith is a femme forte. She handles the sword with the confidence and power of a fishwife dealing with a particularly large tuna, while her maidservant holds Holofernes down with both her arms. And the canvas is higher than wide, so that the full weight of the two women presses down. And the blood is there because–well, that’s the way decapitations were represented in Roman painting circa 1613.”

- Danto, A.C. (2002). Artemisia and the Elders.

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Caravaggio, Basket of Fruits, ca. 1599

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Timothée Chalamet X Caravaggio

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lgbt proud 🌈

thanks for +8000 followers!

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─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

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FRASES //

Más aquí / More here

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“Name one hero who was happy.“

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lit meme: [¼] deaths

patroclus, the song of achilles

“The spearhead submerges in a sear of pain so great that my breath stops, a boil of agony that bursts over my whole stomach. My head drops back against the ground, and the last image I see is of Hector, leaning seriously over me, twisting his spear inside me as if he is stirring a pot. The last thing I think is: Achilles.”

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Desearía ser alguien más.

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colors  ☆○o。

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