marianadecarlos

[marianadecarlos]

Facts!

"Ursa is a great mom and she did the best she could under the circumstances!!!!!"

Wrong! She punished Azula when she misbehaved but that's all she ever did for her daughter. The rest of the time all of Ursa's love and affection was for Zuko. When do we see her showing Azula affection and letting her know her mother loved her? (No, that kiss when Azula was asleep doesn't count). Ursa was perfectly capable of scolding and grounding Azula and just choosed to not show her love bc she was too busy fawning over Zuko.

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ab. 1560s Jacopo Zucci - Portrait of a Lady

(Indianapolis Museum of Art)

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Susanna and the Elders (1608) by Peter Paul Rubens

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submitted by @edwardian-girl-next-door 🩶🖤🤍🧡

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1668 Unknown artist - Hans (Johann) Raimund Fieger and Maria Elisabeth Fieger née von Annenberg

(Private collection)

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La Légende de Saint Nicolas

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Philippe-Jacques de Loutherbourg - The Rainbow.

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Maria Magdalena of Austria by Frans Pourbus the Younger, 1603-04

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Morning in the Markets

Artist: Normand Baker (Australian, 1908-1955)

Date: 1932

Medium: Oil on canvas

Collection: Art Gallery of New South Wales, Sydney, Australia

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do not come near her. i mean it.

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juan martín cabezalero - the assumption of the virgin (c. 1665)

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-Adoration of the Shepherds-

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The Adoration of the Child

Artist: Antonio da Correggio (Italian, 1489–1534)

Date: 1518-1520

Medium: Oil on Canvas

Collection: Uffizi Gallery, Florence, Italy

Description

Antonio Allegri, known as Correggio, named after his birth town, can be considered the leading figure of the renewal of early 16th century Emilian painting. Having started out in the Mantuan scene, where he had the opportunity to study illusionism based on perspective and the recovery of Mantegna’s classicism, he enhanced his expertise by learning Da Vinci’s sfumato and the Venetian tonalismo techniques. The result was a fresh, vibrant style of painting, focused on expressing the tenderness of personal relationships, and capable of winning the beholder over with its likeable spontaneous characters and precious, delicate colours.

The provenance of this painting is unknown, but we do know that the Duke of Mantua, Ferdinando Gonzaga, chose it as a gift for the Grand Duke Cosimo II de’Medici so it was definitely considered one of the painter’s masterpieces. The work came to the Uffizi in 1617 and was located in the Tribuna, where it remained until 1848. In the famous view of the ‘Tribuna of the Uffizi’ painted in 1772 by English artist Johan Zoffany, the work occupies a prominent position alongside Raphael’s ‘Madonna of the Chair’.

The subject of the painting had been quite popular in the 15th century through the works of Filippo and Filippino Lippi, who had painted several versions of it. The iconography is inspired by the vision of the birth of Christ experienced by St Bridget of Sweden in Bethlehem in 1372. In her Revelations, the saint relates that” the Virgin then took off her shoes […] knelt with great reverence as if in prayer, with her hands stretched out in front of her and, then and there, in a moment and the twinkling of an eye, she gave birth to a Son. The newborn child suddenly appeared on the ground radiating an ineffable light. When the Virgin realised that she had given birth, she said to the Child: “Welcome, my God, my Lord, and my Son!” In the clear, esoteric dawn atmosphere, a beautiful, sweet Virgin kneels in front of the newborn Child, gazing at him with tenderness. The Child is returning his mother’s gaze, reaching out his tiny hand, as babies do, as he tries to grab her robe. The intimate bond between mother and child is emphasised by the fact that the baby has been set down on a piece of his mother’s robe.

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The Execution of Lady Jane Grey

Artist: Paul Delaroche (French, 1797-1856)

Date: 1833

Medium: Oil on canvas

Collection: The National Gallery, London

Description

Lady Jane Grey reigned for just nine days as Queen of England following the death of Edward VI in July 1553: she was deposed by the faction supporting Edward’s half-sister and heir, the Catholic Mary Tudor. Tried for treason, the 17-year-old Lady Jane was beheaded at Tower Hill on 12 February 1554.

In the catalogue for the 1834 Salon, where the painting was first exhibited, Delaroche quoted from a text about Protestant martyrs, Martyrologe des protestants, which was published in 1558. Describing her final moments, the excerpt tells how the blindfolded Lady Jane pleaded, ‘What shall I do? Where is the block?’ It is this moment that the painting shows, as the helpless Lady Jane is guided to the execution block by Sir John Brydges, Lieutenant of the Tower. Her outer clothing has already been removed and is gathered in the lap of a lady-in-waiting, who has slumped to the ground. Behind her, a second lady-in-waiting stands facing the wall, unable to watch. To the right, a fifth figure, the executioner, stands waiting.

Delaroche uses a dark monochrome background of Romanesque architecture as a foil for the illuminated life-size figures – in particular the group in the centre-right – and the rich reds, browns and blacks of their clothing. Lady Jane is the visual focus of the painting, as the bright sheen of her satin petticoat (its radiant whiteness symbolising her innocence), pale skin and gleam of her wedding ring stand out from the oppressive gloom. No one in the picture looks at us, and nothing, except for the brightly-lit straw laid down to soak up the blood, comes between us and what is about to happen. The smooth finish of the paint and its lack of visible brushwork further enhance the illusion.

Delaroche’s extensive preparatory drawings reveal how he reduced the composition to its core elements, trying out a variety of poses. These include seated, standing, kneeling and leaning figures who are variously presented frontally, half-turning or else fully turned away, displaying a range of emotional responses – horror, fear and pity. The drawings show how Delaroche was particularly preoccupied with Lady Jane and the executioner. Taking his cue from the historical source he cited in the catalogue, Delaroche specifically focuses on Lady Jane’s moment of faltering hesitation as, ‘crying piteously,’ she tentatively searches for the block, her outstretched arms gently guided by Sir John’s hands. Hands play an important role in the picture, as Delacroche uses expressive gestures to give insight into the psychological state of each character. In a highly finished watercolour sketch of 1832, a stockier version of the executioner, who holds a large broadsword, stands to the side, as if merely waiting to complete his task. However, in the painting the sword has been replaced by an axe, and the figure of brute state authority had evolved into one whose pose and facial expression suggest some degree of compassion.

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Dante in Hell

Artist: Hippolyte Flandrin (French, 1809-1864)

Date: 1835

Medium: Oil on canvas

Museum of Fine Arts, Lyon, France

Description

Dante in Hell or Dante, led by Virgil, Consoles the Souls of the Envious is an 1835 oil painting on canvas by the French painter Hippolyte Flandrin. Contrary to its primary title, it shows a scene from the Circle of the Envious, the second circle of Purgatory in Canto III of Purgatorio. The scene depicts Dante on the mountain of Purgatorio trying to comfort the blind men. It is now in the Museum of Fine Arts of Lyon.

Inferno (Dante)

Inferno (Italian for 'Hell') is the first part of Italian writer Dante Alighieri's 14th-century narrative poem The Divine Comedy, followed by Purgatorio and Paradiso. The Inferno describes the journey of a fictionalised version of Dante himself through Hell, guided by the ancient Roman poet Virgil. In the poem, Hell is depicted as nine concentric circles of torment located within the Earth; it is the "realm […] of those who have rejected spiritual values by yielding to bestial appetites or violence, or by perverting their human intellect to fraud or malice against their fellow men". As an allegory, the Divine Comedy represents the journey of the soul toward God, with the Inferno describing the recognition and rejection of sin.

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yes, all disabilities aren’t visible, but that doesn’t mean people with visible disabilities are treated any better. internalise this 👍🏻