#1570s painting

[digitalfashionmuseum]

Oil painting, ca. 1578, Italian.

Portraying the artist in a white dress.

Painted by Marietta Robusti.

Uffizi Gallery.

[artschoolglasses]

Scorn, Paolo Veronese, 1575

[introspect-la]

LADY IN A FUR WRAP BY EL GRECO (DOMENIKOS THEOTOKOPOULOS) (1577-1579)

[onenakedfarmer]

Daily Painting

Giovanni Battista Moroni THE TAILOR (c. 1570)

[degenerate-artist]

Portrait of Mary Dudley, Lady Sidney ○ Levina Teerlinc ○ 1575

[proartsblog]

Portrait of a man playing a virginal, c. 1570 by Francesco Traballesi (1541-1588)

[whencyclopedia]

Djed

The Djed is an ancient Egyptian symbol for stability which features prominently in Egyptian art and architecture throughout the country's history. `Stability' should be understood to mean not only a firm footing but immutability and permanance. The symbol is a column with a broad base which narrows as it rises to a capital and is crossed by four parallel lines. The column and the lines are sometimes brightly painted and other times monochrome. The djed first appears in the Predynastic Period in Egypt (c. 6000-3150 BCE) and continues through the Ptolemaic Dynasty (323-30 BCE), the last dynasty to rule Egypt before it became a province of the Roman Empire.

The djed is often overlooked in Egyptian art, and especially in architecture, simply because it is so ubiquitous; the djed is featured on pillars, tomb walls, architraves (the main beam which rests on pillars), palace walls, sheets of painted papyrus, and especially sarcophagi. Once one is aware of the djed and its importance to ancient Egyptian culture it is impossible to miss. It is a potent symbol associated with the god Osiris and his return from the dead. The symbol has been interpreted to represent different objects such as the god Osiris' backbone, the tamarisk tree which enclosed the god, four pillars rising one behind another, and a fertility pole raised at festivals. `Stability', however, seems to have been its prime meaning and the one which the ancient Egyptians attached the greatest importance to.

Meaning & Origins

The precise origin of the djed is unknown but it was associated with the god Ptah, an early creator god in the Predynastic Period whose attributes were later assumed by the deities Atum and Osiris. According to historian Clare Gibson, the djed was an early phonogram which could also act as a pictogram or ideogram. A phonogram is a symbol representing a sound and a pictogram a symbol for a specific word or phrase while an ideogram is a symbol of a thing itself without reference to words or sounds (such as numerals where one recognizes the symbol 10 as representing a certain quantity). The djed symbolized the spoken word-concept for stability, was the written word for stability, and stood for the concept itself.

In the Predynastic Period it may have originally been a representation of a fertility pole upon which sheaves of grain were suspended at festivals. This pole may have been a feature of early fertility rituals which eventually came to be associated with the god who made the land fertile. The god Ptah carried a sceptre which combined the djed and the Ankh (symbol of life) and is referenced as "The Noble Djed" in ancient inscriptions. The Djed Pillar Festival was held annually at which an actual djed pillar was built and raised by the local priesthood on the first day of the harvest season. Raising the pillar may have originally symbolized the grains rising from the earth but, in time, came to represent the god Osiris returning from the dead.

With the rise of the cult of Osiris, the djed came to be firmly associated with him and, especially, with the tree of Byblos which enclosed him and the pillar made from that tree. The djed also symbolized the backbone of Osiris in that, just as Osiris rose from the dead, the deceased would rise from their body after death. In the same way that the human backbone allowed one to sit up and stand and walk, the spiritual image of Osiris' backbone would encourage the soul to rise up from the body and move toward the afterlife. The myth of Osiris was one of the most popular in ancient Egypt, especially in the period of the New Kingdom (1570-1069 BCE). The story details the death of the god, his ressurection by his wife Isis, and descent to the underworld to reign as Lord of the Dead.

Continue reading...

[alatismeni-theitsa]

Alexander the Great in Greek Art

Alexander the Great (as per the official statement of the restorers). At. Demetrius Church, Palatitsia by unknown artist, 1570

Aigai was the original capital of the Macedonian Kingdom and the place where Philip II was killed. Although the capital was later transferred to Pella, Aigai remained the burial place for the Macedonian kings. The little church still maintains part of the ancient history alive as its interior bears incorporated architectural elements from the palace of Philip II. Alexander is depicted as a representative of the “Kingdom of the Greeks” -one of the four kingdoms that predate the end of times according to the prophet Daniel’s interpretation of Nebuchadnezzar II’s eschatological dream. Alexander the Great in Byzantine art:

Note, 7th painting because it shows a very important concept in Byzantine understanding of their past: Next to Alexander the "βασιλεύς των Ελλήνων" (emperor/king of the Hellenes/Greeks), you can see Octavian "βασιλεύς των Ρωμαίων" (emperor of the Romans/Byzantines). Alexander and Octavian Augustus were the most important historical rulers of the future Christian Romans (our so-called "Byzantines) before the reign of Constantine the Great.

source1

source2

[ltwilliammowett]

Mariner's Compass, c. 1570

The case, lid and compass bowl are made of turned ivory. The compass is mounted in a brass gimbal ring, which reduces the effects of the ship's motion at sea. It has a soft iron needle, which is diamond-shaped and has a brass pivot cap in the centre allowing it to balance on a brass spike fixed to the bottom of the bowl. The needle is fixed to the underside of the vellum and paper card, which is divided into thirty-two points and hand-painted.

The north and east points have additional decoration; this remained common until the 19th century, with east for Europeans being the direction of the Holy Land (and therefore often indicated by a cross).

[arcielee]

You got all I need.

Summary: Your boyfriend goes all out for your birthday. Paring: chubby!Aegon x you Word Count: 1570 Warnings: Chubby!Aegon, brief mentions of wg, implied sexual situations, hands hands hands, fingering, inappropriate behavior while riding in a vehicle. Author's Note: Thank you to @bucknastysbabe for being my beta reader for this! Happy birthday to @lovelykhaleesiii 💜 This story was inspired by the line, “There's more of you to love.” in her brilliant one-shot A Little Too Tight... Also, for the foreseeable future, every title will be a lyric from Unreal Unearth.💜 Banners & dividers by @cafekitsune

You had always loved his hand; you loved his strong hold and how his thick fingers interlaced with your own, pulling you into the back of the Uber with enough force for you to fall against his chest. Aegon was solid with the welcoming scent of vanilla and cognac cologne that still held to his skin despite the busy day, with a warmth that you could just melt against. 

The entire day had been his idea. 

Aegon was adamant to take you away to celebrate your birthday. He booked a room at one of the many luxury hotels owned by the Targaryen dynasty, a suite with a postcard view of the blue-green waters of The Gullet. The day began with brunch, which you knew to be his favorite meal, and afterwards his large hand enveloped your own, your fingers knitting in a way that would still sweep away your heart, a grinning fool and walking alongside him on the boardwalk until you were both rosy from the sun.  

There was a reprieve back in the room, an afternoon delight that left you both breathless and wanting more, insatiable for him still after all this time, but Aegon seemed determined to make the dinner reservation. He had purchased you a dress, something that complemented your figure in a way that made his pupils swallow the lovely lilac of his eyes when he looked you over; you burned from his gaze, also admiring the fit of his buttoned up shirt and slacks on his thicker frame. 

He pulled you in for a chaste kiss, a saucy confirmation that you were wearing the lace set underneath. When you nodded, he kissed you again with a murmured, “Good girl,” and Aegon, ever the gentleman, offered you his elbow. “Come on, pretty girl.” 

You giggled, you hand tucking into the crook of his arm, and he escorted you out to the awaiting Uber. Night was settling over Driftmark and the man made lights began to glow for the nightlife, with the sea rolling a cool breeze from its coastline. 

The restaurant he had chosen had a renowned drag show and you were enthralled with the floorshow; your cheeks pink from the sun, from your strawberry mojitos, from singing along to the pop songs performed and marveling at the swell of colors of elaborate costumes. Aegon made sure to have cash in hand to tip the ladies, and they flocked towards him, vocally swooning over your “big man.” 

“Honey,” one popped her painted lips into the microphone, the shimmer of glitter across her cheekbones, “he is thicker than a Snickers!” And the other queens crowed in agreement. 

Aegon blushed from the attention, a mixture of flattery and the fleeting glimmer of self-consciousness that also tainted his handsome features.

You two were sweethearts since uni; Aegon had enrolled with his family connections partnered with a rugby scholarship, which suited his broad shoulders and defined chest, and you were a hapless student among the masses of school spirit whenever your academic schedule allowed. 

You had always noticed him, as he was impossible to miss with his strong jawline and his silver hair knotted at the base of his neck, how his eyes glittered with his roguish smile. It was one night during a celebratory party of another victory that you allowed your liquored courage to ask for his phone and save your number under the name: prettiest pussy.  

This, of course, was something you did not recall until he texted you the next morning, along with a screenshot to accompany his claim. You burned with embarrassment, swearing off cheap tequila forever, but he had been sweet and asked to take you out on a date. 

And this is how you learned that brunch was his favorite. 

You two became inseparable even after he graduated, and with you following two years later. It had been easy to fall in love with Aegon and his big heart, and he was all-consumed by you, but as the years continued there was a newfound insecurity that flared in a way that you loathed. 

No longer an undergraduate, rugby was not a massive part of his day-to-day life, and there was a softness to his center; in truth, you loved him as you watched him clean his plate of French toast with sliced bananas and walnuts, drenched in syrup, and you loved him now, if not even more. There was a comfort to his embrace, something that allowed you to melt against him with a sultry whisper in his ear, “There is just more of you for me to love,” and it would dispel any hesitation he felt. 

But tonight you saw it lingered still. 

Now you were cuddled up against Aegon in the backseat of the SUV, listening to the soft curses from your Uber driver dealing with the standstill traffic. You did not mind it though, enjoying the cool air from the windows rolled down and your head resting on his chest, your leg draped over his thick thigh. Your hand was on his belly with the slow motion to rub away the meal and he groaned, trying to shy away from your touch. 

“Stop it,” you moved to whisper in his ear, smiling as you watch his skin prickle with your words. “Everyone wanted you tonight, but I am the lucky one who gets to take you back to bed.” 

The blue glow of the dashboard showed how his lips curled. “Is that so?” He asked, his arm curling around your waist and pulling you closer. 

Your eyes were heavy, dropping to see the inviting bulge between his thighs, a warmth curling in your lower abdomen. “It is,” and you held his own hooded gaze, watching his cheeks darken with the flush of red. Your hand moved to touch his jaw and you leaned to kiss him. 

Aegon responded to you, a sweet sigh, and his clever tongue curling against your own, the leftover taste of the strawberry mojitos that stained your lips. His kiss was fearsome, drawing the very breath from your lungs and leaving you lightheaded, giggling against his lips. 

You sighed again at his touch to your thigh, his palms still rough from rugby, still gentle as always, dipping between your legs. His kiss swallowed your soft gasp when you felt the pads of his finger pressing against the damp patch of the lace underwear. 

“Fuck, is this for me?” His voice was husky, heavy with want, and he encircled your clothed cunt slowly, the sensation curling at the base of your spine.

You nod quickly and he shifts his weight, pulling you closer, his hot mouth pressing a kiss to the soft divot beneath your ear. You shuddered in response, biting your bottom lip between your teeth, a pitiful attempt to smother a moan.

He was quick to playfully pinch your hip with his other hand. “We cannot disturb the driver, pretty girl,” his breath tickling the curve of your neck. “Can you be quiet for me while I play with your pretty pussy?”  

Your eyes are glassy and you nod again; Aegon gives a cheeky grin before capturing your lips for another kiss, a whispered, “Good girl,” that fans your jawline as you feel his fingers pulling aside the lace. 

There is another wave of arousal with how his fingers ghost your entrance, your body desperate for him, for his touch, and his smile remains, but now smug. It is a stretch with one digit, but he pushed for two, their tandem motion curling against that sweet spot within you that allows stars to dance across your vision. 

You bury your face into the soft curve of his neck, your teeth sinking into his flesh and sucking to muffle your cry. Aegon groaned, low, a rumbled vibration through his chest that you are flushed against, but it does not stop the come hither motion of his fingers. 

His wrist angles to allow his thumb to press against the bundle of nerves above, his familiar touch to your clit and your involuntary clench. “Aegon,” you whined softly against his skin, your hips rutting in response. 

He does not answer you but kisses you again, something desperate, as if he is trying to draw the release deep within. His lips pulled you to the precipice, the flutter of your walls around his thick fingers that are coated with your juices, an electricity that trills your spine. 

Aegon pulled you closer, his breathless command, “Come for me,” and it spilled from you like a torrent, sweeping away your breath with your heart pounding its fury to break through your ribs, a pleasure thrumming beneath your skin.  

“We’re here,” a voice chirped, and only then did you remember the Uber. 

Aegon had not forgotten, his smug satisfaction still splayed on his features as he sucked his fingers clean. “Good timing,” and his other hand unwrapped from your waist, moving to open the car door. “Come on, pretty girl, let’s get you to bed.” 

The implication of his tone is not lost on you and the blood remains bold in your cheeks, a shade of crimson as you try your best to discreetly fix your lace underwear and follow after him, moving with a new slick between your trembling thighs. 

You reach to take his hand and it wraps around your own, a perfect fit as always.

arcie's masterlist

[classicalcanvas]

Title: Earth

Artist: Giuseppe Arcimboldo

Date: 1570

Style: Mannerism

Genre: Allegorical Painting

[heaveninawildflower]

Paintings of Flowers, Butterflies, and Insects (between 1550 and 1570) by Jacques Le Moyne de Morgues.

Dumbarton Oaks.

archive.org

[artschoolglasses]

The Holy Family, Pompeo Cesura, 1560-71

[mythological-art]

Mars and Venus United by Love

Artist: Paolo Veronese (Italian, 1528–1588)

Art Movement: Mannerism

Genre: Mythological Painting

Date: 1570's

Medium: Oil and Canvas

Collection: Metropolitan Museum of Art, New York

The love between Mars, the god of war, and Venus, the goddess of love, is encouraged by a meddlesome pair of cupids. One ties the couple together, while his co-conspirator restrains Mars’s warhorse. The painting celebrates the civilizing and nurturing effects of love, as milk flows from Venus’s breast and Mars is disarmed. A brilliant colorist, Veronese amplifies the sensuality of the subject through his lush palette.

The meeting of the two lovers takes place in idyllic, peaceful scenery. On the left stands the naked goddess, with her left hand embracing Mars, who sits in front of her in armor. The right hand of Venus rests on her breast from which milk flows, emphasizing her femininity. On the right side, there is a war horse of the god of war. Its silhouette is based on antique sculpture. The underlined musculature of the animal expresses his strength, and his inclined head and calm eyes soften his image. The two putti shown are the key to the interpretation of the work. The first, taming the horse, symbolizes the subduction of the love desires of the god of Mars, the control over passions. second putto, which tied the ribbon around Venus' legs, symbolizes the union of lovers into eternal love and harmony in a time without wars. Milk from the breast of Venus symbolizes the wealth of peace, which is the food for humanity

[gangster-z]

The Fall of the Rebel Angels. Painted by Frans Floris (1519-1570).

[arthistoryanimalia]

For #InternationalGibbonDay:

Sesson Shūkei 雪村周継 (c. 1504 – c. 1589) Gibbons in a Landscape Japan, Muromachi Period, c. 1570 Pair of six-panel screens, each 157.5 x 348 cm Monochrome ink on paper The Metropolitan Museum of Art, New York

Gibbons aren't native to Japan; the iconography was adopted into Japanese art through Chinese art, especially the paintings of Muqi Fachang (f. 13th century) and the popular Zen motif of a gibbon grasping at the reflection of the moon in the water.

This entry in a 19th century Japanese book reports what may have been the first live gibbon exhibited in Japan, in 1809. Likely brought by a Dutch ship; said to be from Java and referred to as "wau-wau," a name for the Silvery Gibbon (Hylobates moloch).

The book is _Kenkadō-zatsuroku_ by Kimura Kenkadō (1736-1802), 1856; drawing by Mori Sosen (1747-1821), a famous Japanese monkey painter.

Text translated as follows:

"In the winter of the sixth year of the Bunko era (1809), a gibbon was shown in Osaka, in the Dōtombori ward. Although we have heard the word 'gibbon' since olden times, and seen pictures of him, we never had seen a live specimen, and therefore a large crowd assembled to see this gibbon. Generally he resembled a large macaque, and figure and fur are very similar. The face is black the fur grey with a touch of brown. The Hollander 'Captain' Hendrik Doeff who was then staying here said that this gibbon occurs on the island of Java where it is called 'wau-wau'. Truly an extraordinary sight!"