#Louvre Lens

[kundst]

The young Picasso often went to the Louvre to find his inspiration in old or ancient art. A nice exhibition showed these sources in de Louvre museum Lens (Fr) in 2022.

[imagesdepensee]

Regarde #

[ghoermann]

Louvre Lens, detail of the face

[dutchjan]

August 28, 2023

[philoursmars]

Au Louvre-Lens, une expo : "Exils" (aussi bien réels qu'intérieurs, les mythes que les trajectoires personnelles de certains artistes)

Au sous-sol, une extension de l'expo avec des icones ukrainiennes en exil en France.

Ici : Théodore Poulakis - "Le Jugement Dernier" - Ukraine, 1661

[ukdamo]

Today's Flickr photo with the most hits: this bust of Augustus, at the Louvre-Lens.

[sheltiechicago]

_DSC7420.jpg 1. Elément de chapiteau hathorique de la collection Salt. by YVES NEVEJANS Via Flickr: Dendéra, temple d’Hathor (Egypte) 332-30 avant J-C (époque ptolémaïque) Calcaire Champollion. La voie des Hiéroglyphes. Exposition au Louvre -Lens.

[ha-bakbuk]

inspired by: Ouroboros (tumblr.com)

[kevlo75]

Italy 🇮🇹 and France 🇫🇷 are linked by Leonardo da Vinci ! Far from the controversies surrounding the ownership of the Mona Lisa, the heads of state of the two countries met in Amboise on May 2 2019 to commemorate the 500th anniversary of the artist's death. The Italian genius was born in Tuscany in 1452 and brought his talent to every city he passed through, from Milan to Mantua via Rome and Florence, then reached France and more specifically the Château du Clos Lucé, residence of Anne de Bretagne in Amboise, at the age of 64, at the request of King François I, who had several projects to entrust to him. #leonardodavinci #monalisa #louvre #paris #lens #abudhabi (à Musée des Beaux-Arts de Rennes) https://www.instagram.com/p/Co-syoDrLjf/?igshid=NGJjMDIxMWI=

[forlix]

𝘄𝗼𝗿𝗱𝘀・792 / 𝗽𝗮𝗶𝗿𝗶𝗻𝗴・felix x gn!reader / 𝗴𝗲𝗻𝗿𝗲(𝘀)・fluff, established relationship, lots of kissing (again), a lil suggestive towards the end, inspired by his pictures from paris, which i am just. SOOOOOO normal about

“Careful, my love,” Felix murmurs, his huff of laughter tickling the side of your neck when he loops a wary arm around your waist. You first feel your weight lifting off the metal railing of the double-decker bus, then the taut warmth of your boyfriend’s chest as you’re pulled against it.

When you lift your eyes to look at Felix, you have to squint against the sun—or maybe it’s him that’s making it so hard to see, wisps of blonde hair framing his face like freshly spun gold, flawless features illuminated so gloriously that he looks like an exhibit in the Louvre come alive.

“What was that for?” You ask with a furrowed brow, and Felix doesn’t reply right away, suddenly captivated by your newfound proximity.

His gaze darts to your lips; the rest of him follows. You perceive a delicate finger under your chin, a deliberate angle of his head, a tensing of his hand where it slides over your hip. And then he’s kissing you, so sweetly that you’re reminded of whipped cream, his mouth melting your pout to a defenseless smile. 

“You looked like—you were gonna—drop your phone.” These words are woven between three last pecks, the first placed to your lips, the second and third to each of your cheeks. Then Felix pulls away, only far enough for you to spot the teasing smile on his face. “Or fall off the bus. Neither outcome would’ve been ideal.”

“Did I really?” You giggle. “I didn’t even notice.”

“Yes. Or, I think so. I can’t remember anymore.” The tip of his nose bumps against yours lightly, affectionately, and you think your knees would’ve given at his next words if you weren’t literally wrapped in his arms. “God, you’re fucking beautiful.”

As you lift a hand to trace the contours of his jaw, to bring your fingers around the curve of his nape, you’re beginning to think they had a point, dubbing Paris the City of Love. You swear that his eyes have never been browner; that his freckles have never been so numerous; that you’ve never been as utterly and hopelessly beguiled with Lee Felix as you are right here, right now.

An idea surfaces—suddenly, surely. “Let me take pictures of you.”

A surprised chuckle rises to his throat. “Why?”

“Just trust me, baby.” And he does, with everything in him.

You untangle yourself from his embrace and settle into a seat on the other side of the bus. The next minutes are spent with him adopting various poses and postures before your lens, your fingers toying with the different lighting and focus settings as you attempt to capture him within the world of your screen—ironic, considering he’s a world in himself. The only one that matters; the only one that ever will.

When you’re finally finished, Felix is already motioning for you to return to his side, not wanting you out of his reach for a second longer than you absolutely need to be. You settle in Felix’s lap once you’re close enough—your legs hanging off the side of his seat, your temple leaning against his forehead—and the way his arms circle so readily and securely around your stomach feels like a cushioned fall.

“Tell me now?” He hums, planting a soft kiss to your cheek.

You heartbeat is in your ears as you start to flip through your camera roll. The pictures are perfect. He’s perfect. The princely man in the foreground of each puts even the stunning Parisian weather to shame.

“I wanted you to see yourself the way I do,” you whisper. “And only then would you really understand the meaning of that word, in its purest and brightest form.”

Felix feels his eyes widen; his breath catch in his throat. You hear the scratch of his interrupted inhale, and you're almost nervous when you turn to meet his eyes, despite your love feeling like it’s spanned lifetimes by now. And you know by his darkened gaze and flushed cheeks that he knows just which word you’re referring to.

Then, Felix closes the distance between the two of you again, but this kiss is completely devoid of the last one’s gentleness, open-mouthed, positively scalding, and intensely loving. Your lips sting a bit where his crash; your scalp tingles where he rakes a hand through your hair; your back shivers where the vibrations of his voice travel, his words nearly growled against your mouth.

“I love you,” he breathes.

Your palm comes to rest upon his chest, and the way his every heartbeat moulds to your touch is nothing short of classical.

“I love you more, beautiful.”

𝘁𝗮𝗴𝗹𝗶𝘀𝘁 (open): @astraystayyh @like-a-diamondinthesky @fire-08

𝗹𝗶𝗸𝗲𝗱 𝘁𝗵𝗶𝘀 𝘄𝗼𝗿𝗸? please consider reblogging, commenting, or sending me an ask to let me know; or, read my other writing here. thanks so much for the support ♡

© 𝗳𝗼𝗿𝗹𝗶𝘅 (est. 090323) · all works are pieces of original writing and all characters and relationships are purely fictional. please do not repost or reuse for any reason.

[realbeefman]

i cant blame armand for anything he did because if there was a picture painted of “me” immortalized in the louvre for all to see, a pale imitation of who and what i once was, and the only!!! other!!! guy!!!! in 500 years who considered me worthy of immortalizing saw me through a particular and flattering lens, froze me in time exactly as i truly am, froze me in love, i think i probably wouldve done anything to keep him too. wouldnt have mattered in the slightest that his shots always centered a ghost

[imagesdepensee]

Framboise #

« Nous avions une moitié de jardin avec un voisin. Dans sa part il y avait des framboises magnifiques, elles étaient belles, je les voulais. Je me disais , comment les prendre? La voisine doit surveiller, comment faire? Je suis restée sur mon compte, et Colette est née avec une framboise aux creux de la cuisse. »

Yvonne Verdier , Façons de dire, façons de faire. La laveuse, la couturière , la cuisinière . Folio essais , 1976, p54.

[nalyra-dreaming]

Trying to find the best way to frame this question...but do you think they the writers/show runners are divorcing this show or at least attempting to, from real world " human" values/morality? I see so many conversations about DV/infidelity/bad parenting/abuse apologia etc..but to me it's through a lens of real world morality.

If the writers are basically saying " these are vampires...real world stuff doesn't apply." Shouldn't we just take it as that? For me, I have separated my humanity from the show and just let it be what it is.

Thoughts?

Hmm.

The show is intentionally holding up a dark mirror to us - as gothic fiction often does. Their meta level and even story level commentary on social structures and racism is very much deliberate.

But.

That is all there is, a commentary. It is not "the big abuse show", nor out to "point out patriarchial oppression through painting Lestat as the white demon". That's bullshit.

It's color-conscious, very intelligent, and extremely well thought-out gothic horror romance, set up as a multi-season puzzle.

A while ago, there was this biiiiiigggggggggg discussion about the art used for Armand's story - you know, the one they stand before in the "Louvre". Big metas were written about in-story and story-commentary white-washing. Turns out though that Rolin and co went to the Louvre, and were simply happy to find a painting in a style that they wanted with a figure that looked somewhat like a young Assad. No big social commentary. no big in-story white-washing. Just a coincidence they were happy they could use.

Or the thing with the Harlequin, and its presence in the Commedia Del'Arte. Big metas, about blackfacing, and the show making a commentary there about racism. Turns out though that Armand only wanted to present Lestat as a clown. Duh.

And so on. There's many examples like that.

As Sam said - the discussions are good and important. And they are.

But the fandom tends to overshoot the finish line, so to speak. The big discussions on racism and white patriarchy often fail to include the actual stories and their structures for the narrative... and the fact that these vampires, the Ricean vampires, do not turn towards humanity in the end.

They turn to their own monstrosity, to their own state of being.

This is not Twilight, or the Vampire Diaries.

This is not to say they don't struggle. And, as the themes the show comments on via meta or even in-story level, we are allowed - and should - struggle with this, too.

The commentary the show makes is connected to the real world. That is what makes it so special. That is what makes it so exceptional.

But that is not the only level it works on, and in most metas or commentary I have seen the vampiric aspects of these vampires is dismissed. Human AUs galore on Ao3, too, which changes the characters for me(!), completely.

And, imho, you cannot ignore the vampiric aspects for these vampires.

These vampires are not human.

And so their stories cannot (fully) be perceived and understood through a only/reduced human lens either.

All this to say: No, I don't think you can fully divorce the show from the social commentary, because it does make that, deliberately. But not in the depth the fandom experiences (and lives) it.

Which is most evident in the episode 5 discourse, I think, and the actual intentions there from writers and show runner.

Because what happened there, and as it was perceived... was never what they intended for it to be. But it is now.

I bet as we go forward we will see more examples of that.

Maybe the writers will make the disconnect more clear in upcoming seasons, but I actually doubt it - because the commentary itself is very much intentional.

[incorrectcoldflashblog]

Barry: No.

Len: Why not?

Barry: Why do you want to have sex in the Louvre? And don’t you spout the cheesy “I wanna pin you to the wall like the piece of art you are.”

Len: What if I want you to pin ME to the wall like the piece of art I am?

Barry: …

Barry: …then that’s a maybe.

[philoursmars]

Louvre-Lens : il y a une expo : “Mondes souterrains : 20.000 Lieux sous la terre”. la suite et fin.

pendentif, Saint Janvier bénissant et tenant des burettes - Naples, XVIIIe s.

Fac-simile (bon, on s'y attendait) du ''Régent'', diamant de la Couronne

Johann Daniel Mayer - coupe en argent, jaspe, rubis, or… - 1660

Philippe Caffieri - coupe en porphyre - 1750

les 2 derniers : bustes d'empereurs romains (dont la tête est en jaspe, calcédoine, agate, cornaline, cristal de roche,...) - Rome, 1750

[gallifreyinstituteforlearning]

Anatomy of a Dalek

A Dalek is primarily made from Dalekanium and polycarbide and is technically a cyborg. To understand how a Dalek is created, see How Do Daleks Become Daleks?

Some Daleks will have variations on the below, but these aspects of a Dalek's anatomy are broadly applicable to most.

The Dome (aka dome section, head section, head dome) is attached to the neck via a docking clamp.

Eyestalk (aka eyepiece, eye antenna, tele-eye, eye-stick, optical stalk, sensory antenna, eyeball unit). The eyestalk is attached to the dome via a lens attachment, sitting on a pivot in a cowl. The eye itself is known as an eyelens. The eyestalk is covered in multiple insulator discs to protect it from radiation.

Luminosity dischargers (aka headlamp, radiation valve, dome light, vocaliser light, sound disc). It's not quite known how or why the luminosity dischargers sync up with Dalek speech, but they could be energy compensators, translation units, safety valves to release excess energy, or just lights to indicate when a Dalek's speaking.

Neck (aka grating section, upper grating section). Attached to the weapons platform via another docking clamp, or 'catch'.

Neck rings support the neck grille.

Neck grille (aka audio receptor grill, sensor grille, sensor mesh, sensor grid louvres) cover the mutant Dalek within.

Weapons Platform (aka shoulder platform, shoulder section).

Slats (aka solar power collection slats, solar slats, solar cells, shoulder slats, armour slats, sensor plates) are effectively solar panels that absorb energy to power the Dalek.

Gunstick (aka radiation gun, gun-rod, ray-gun, exterminator, blast-gun, energy gun, Dalek neutraliser, neutraliser, beam distributor, Dalek beam gun, Dalek gun, ruby ray blaster). Sits on a balljoint, controlled by armament circuits. Can be set to non-lethal, causing temporary paralysis, but maximum settings can split atoms apart. Some Daleks deliberately reduce the power of their gunstick so that the beam burns away the central nervous system outside inwards, so victims die within 2-3 seconds in complete agony.

Manipulator arm (aka tactile arm, arm-stick). Usually sits on a balljoint. Attachments can be swapped out for various tools depending on the needs of the Dalek. Some attachments include the plunger, flamethrower, seismic detector, electrode unit, sieve, syringe, blow torch, cutting tool, another gunstick, or a claw, or basically anything they need.

Base Unit (aka travel unit). Contains the motive unit, the elevation unit, and thrusters.

Sense spheres (aka sensor globes, sensor arrays, bumps) can do pretty much whatever you want them to, including detecting emissions, monitoring the surrounding environment, and acting as self-destruct mechanisms. They can also function as sockets for cables and wires, and some say the sensor globes are capable of free flight, allowing them to provide remote battlefield intelligence.

Bumper (aka fender). Possibly containing proximal alert systems to detect other Daleks, but more likely just softening collisions.

Gallifreyan Dalek Biology for Tuesday by GIL

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