#David Ress

[euripidxdherrera]

Por un nuevo comienzo, por nuevas personas, por no tener miedo a bailar bajo el sol. Por un amarillo más intenso que nunca, que brille hasta volver hacer la misma persona🥂

🌻🌻Dime girasol, ¿cuánto vas a tardar hasta bailar bajo el sol? 🌻🌻

[misspeppermint2003]

Picrew Animated Portraits of World Politicians 12

After the first part of the eleventh part of Picrew Animated Portraits of World Politicians collection, I made the second part of it with a same student image maker on Picrew.

Tony Blair (left), Nick Clegg (middle) & David Cameron (right)

Ulf Kristersson (left), Isaac "Bougie" Herzog (middle) & Benjamin Netanyahu (right)

Pedro Sánchez (left), Andrzej Duda (middle) & Volodymyr Zelenskyy (right)

Rishi Sunak (left), Jesse Klaver (middle) & Rob Jetten (right)

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15

[thund3randrain]

there's more

"So you were talking about that gay ship you like..."

BITCH WHICH ONE

[dreaminginthedeepsouth]

Peter Paul Rubens, Dance of Mythological Figures and Villagers (Antwerp, 1630–35.)

A group of figures dance to the tune of a flute played by a man perched on an oak tree, and to the bells that some dancers have attached to their lower legs. The scene evokes the dances that are part of Ancient Greek history and myths and the tradition that followed—the book Hypnerotomachia Poliphili includes a description and a woodcut of a similar dance. The painting also evokes the arcadian settings of pastoral lyric and drama inspired by Theocritus’s Idylls. In that tradition, and in Rubens’s interpretation of it in numerous paintings, the countryside is considered as an ideal place of plenitude, romance, and sexual fantasy for men. The setting is enlivened by the handling of brown, green, and blue paint. The texture builds on the panel support defining the folds of draperies, head buns and ornaments, and the areas where the light hits the trees. In the middle distance is a farm building with a Palladian motif of arch and lintel—if we were to take this literally, we would place the scene in the Veneto. Rubens favoured this style of sixteenth-century Italian architecture, as witnessed by his designs for his own palatial house and garden in Antwerp.

The dancing figures move their limbs and contort their bodies, an expression of the passionate feelings involved in dancing as it is described in Greek literature. Two dogs positioned as mirror images of each other emphasise the circular movement, and the flowing draperies also contribute to the sense of motion. Many of the figures seem concentrated on the mechanics of the complicated dance, as they try not to lose the hands of the others. In the centre foreground, one of the women appears to be upset by the proximity between a woman with a bare breast and a large bearded man with an ivy wreath; his lascivious attitude is intimidating. To the right another couple come close to kissing. Dionysius, ressed in his tiger skin and crowned with a wreath of leaves, looks back apparently pleased by what he sees.

Only the young Dionysius is clad in attributes that allow us to identify him; the exotic tiger skin alludes to his exploits in the Orient. The epic poem Dionysiaca by Nonnos is full of references to such animals. It also mentions a dance that was part of a celebration of Dionysius’s conquest of India: "The foot-soldiers of Bromios danced round with their oxhides and mimicked the pattern of the shieldbearing Corybants, wildly circling in the quick dance under arms". This is not to imply that Rubens is depicting that specific dance, but a reminder of the very frequent descriptions of such activity in Ancient Greek texts, including whirlwind-like ones similar to the one Rubens painted. The most famous is perhaps one of the scenes that Hephaestus designed on the shield he made for Achilles, as described by Homer in the Iliad: "And young men were whirling in the dance, and with them flutes and lyres sounded continually". Other than Dionysius, the identity of the figures in this painting is ambiguous. I see them as timeless, generic characters inspired by ancient texts.

The flute player takes on the role of Pan, the sex driven, pipe playing shepherd god, but he has no animal features. The other dancers bring to my mind the satyrs, frequent companions of Dionysius (but none bear their animal features). Silenus usually formed part of Dionysius’s train as well; perhaps he inspired the large bearded man between the two women in blue in the foreground.

Some women wear high end outfit and sandals, others are barefoot and seem more peasant like. In fact, none of the figures in the scene dress the way high class or countrywomen did during Rubens’s time (as they are shown in his own paintings and in those by Jan Brueghel, David Teniers, or other roughly contemporary Flemish artists). Necks, breasts, and shoulders are more exposed here than they would have been in contemporary society and their uncovered hair and bare feet are also evocative of a different time and place. What the women dancers resemble is a host of timeless allegorical and mythological female figures painted by Rubens throughout his life. They also remind me of some of the bacchantes and nymphs that Titian painted in his Bachanals, following descriptions by Philostratus the Elder—dancing was a favourite activity of both types of creatures, which had the form of beautiful women.

Text translated from Alejandro Vergara, 'Comentario' in: Pasiones mitológicas, Madrid, Museo Nacional del Prado, 2021, p.110-113 nº10

[manifestocarnivoro]

ALTA FORMAZIONE IN MACELLERIA

Settembre è il mese dei nuovi progetti, si rientra dalle vacanze carichi e pieni di energia: con questo spirito Alta Formazione in macelleria ha studiato vari eventi per i mesi autunnali dedicati a preparazioni particolari per arricchire con qualche proposta innovativa il banco macelleria.

OTTOBRE Il magico mondo delle tortillas Due giorni full immersion nel mondo delle tortillas, corso specialistico per professionisti della carne associati a Confcommercio Prato, Pistoia. Giornate congiunte dedicate alle prepa-razione di tortillas da vendere crude in macelleria e speciali ricette con carne cotta a bassa temperatura in sottovuoto. 1 e 2 ottobre dalle ore 14:30 alle ore 18:30 c/o Gustar, via Fonda di Sant’Agostino 4 – Pistoia Tutor: Francesca Santin, Gianni Radice

La cottura a bassa temperatura in sottovuoto per una macelleria smart Introduzione alla cottura a bassa temperatura con ricette veloci e pratiche da utilizzare da subito. Una tecnica moderna che affonda in radici lontane. Dai molteplici vantaggi, è l’innovazione del momento per un macellaio attento ed innovativo. Le ricette presentate sono adatte ad un menu autunnale ed invernale. Presentazione di semilavorati e monoporzione nel display del banco. 23 ottobre dalle ore 14.30 alle ore 18,30 c/o Span, via E. Fermi, Z.I. 36 – Veggiano (PD) Tutor: Francesca Santin, Luca Zannoni chef

NOVEMBRE La gioia del Natale nella nostra tavola, speciale arrosti Alta formazione in macelleria dedica il mese di novembre alle preparazioni natalizie, nello specifico gli arrosti di Natale. Sempre più spesso si sente l’esigenza di proporre nuove tipo-logie di farce ed arrotolati per le feste, che strizzino l’occhio alla tradizione ma anche all’innovazione. I nuovi eventi sono studiati dai tutor per realizzare prodotti intelligenti, veloci da realizzare, ad alta rotazione e pratici da rigenerare dal consumatore finale. Tutte le ricette sono inedite e studiate per l’occasione, prevedono la visione dal vivo di un prodotto crudo, lo stesso prodotto presentato come semilavorato cotto a bassa temperatura in sottovuoto e la finitura in mo-noporzione dello stesso. 4 novembre dalle ore 14:30 alle ore 18:30 c/o Seno e Seno, via L. Pasteur 10 – Verona Tutor: Francesca Santin, Nicoletta Zanchi 7 novembre dalle ore 14:30 alle ore 18:00 c/o Ress Multiservice, via Innsbruck 2 – Trento Nord Tutor: Davide Corrà, Francesca Santin, Fabrizio Sighel 13 novembre dalle ore 14:30 alle ore 18:30 c/o ESACH Formazione, via Piazzon 40 – Creazzo (VI) Tutor: Francesca Santin, Giuliano Costa

14 novembre dalle ore 14:30 alle ore 18:30 c/o Omnia Arredi, zona artigianale D/1 – Policoro (MT) Tutor: Alessandro di Leo, Giuseppe Dumas, Francesco Incesti chef

Per info e costi: francescasantin@libero.it

Fonte: Eurocarni 9/24

[optimisticallycyn]

Hm, i guess there were a few Resses ones that I wanted to write.

One being with an older Gus and Yope (from Norway if anyone remembers him 🤣). It was going to be a story where Gus' Dad wanted him to join the army and Gus didn't want to, he eventually runs into Yope who he's excited to see only to end up getting dragged into a world of espionage because Yope actually works as an intelligence agent from Norway and is currently helping out Gus' dad during an American/Norway alliance for a mission against another intelligence agent in the country.

I thought a Recess cat and mouse spy story would be fun!

Another one would be for Camp Camp and it was about Max and Herrison (I think that was his name, the magic kid) ended up finding out that they went to the same school and would hang out with each other. After realizing that Max's parents are highly negligent and Max's parents are abusive because they think their son is the devil or something because Magic, they end up running away together to a large city where they hustle people to stay alive. Eventually they run into Nikki and Steve??? (Holy shit I'm blanking on his name right now) and they end up helping the two by getting David involved who kinda somewhat adopts them without really adopting them and theu end up back in a safe environment and get rised as bros. I thought it would be cute. 😊

There's others but that's all I can think of right now. I've got to many stories on the go to focus on those ones.

What’s a fanfic you wanna read but can’t write?

For me it’s a Swap Fic for Wicked where Glinda was the one born green and Elphaba was born normal colored.

I’ll tag @catarina-hamato, @boots-with-the-fur-club and @phoebepheebsphibs