#Orsola

[jadeseadragon]

Orsola Maddalena Caccia (Italian, 1596 - 1676), Flowers in a Grotesque Vase, ca. 1635, oil on canvas, 40⅜ × 31⅞ inches (102.5 × 81 cm.); The Metropolitan Museum of Art.

[psikonauti]

Orsola Maddalena Caccia (Italian, 1596-1676)

Flowers in a Grotesque Vase, c. 1635

oil on canvas

[yearningaces]

Since you asked I’ve been really feeling like cuddling a big bear-esque monster lately. A big fluffy lady who just likes having a little something/someone to hold. Idk, something about how warm it’s been getting now is making me miss the cozy nights wrapped up in winter y’know?

-🦈

One cuddly were-bear lady served sweet, sharky(No emoji's for me at the moment tbh) and can i say, i want to be cuddled by this woman already, thank you

It would be cheeky to call your home a den, much less a cave… However, as you looked around the room, coffee brown walls with plants growing in every corner, different pots either on shelves or hanging or upon the floor, paired with the dense and fluffy blankets you were currently bundled in, it wouldn't really be a strange description.

However, Orsola would most likely roll on top of you as 'punishment' as if having your wonderful were-bear of a partner could ever be anything short of preferred. Orsola's large arms gripped you closer to her chest, the patches of fur and fat providing the softest cushion as you were squeezed closer.

"You're squirming again, Pumpkin," Her voice growls softly in your ear, paired with a light nip of fangs, she has your attention back in the moment. "Y' gotta stop that now, sleep time is cuddle time, and I'm 'bout five seconds from using you as a bed if you cant keep still."

The thought isn't really threatening, but you still raise a hand to pet her soft, dark hair, gingerly stroking the base of her furry bear like ears. "Get a pillow if I move that much," Your lighthearted teasing is met with a low growl as Orsola grasps you tighter to her, curled up around your smaller form.

You can feel her nuzzling her nose against the top of your head, breathing in the familiar scent. "Never even suggest that again. You're the perfect snuggle buddy. Sweet little thing that you are, A damn pillow ain't able to replace that." One of her hands shift from your hip to the back of your neck, guiding your head to rest against her throat as she lets out a deep comfortable sigh. "Nah, pumpkin… This is all I want, You really can't just let me love on you while nappin'?" Her voice softens as she knows you'll give in to her cravings for cuddling.

And of course, how couldn't you? You throw your legs over her larger ones, pressing as close as you can while speaking, "No, I love napping together, I was just talkin', sweetheart. We can stay here as long as you'd like."

You only realize your words once you physically feel her mouth widen into a broad grin where its pressed against your skin. "No take backs." With that Orsola wraps both arms around you quickly, gripping you tightly to her chest as she rolls over on the bed, pinning you down to the mattress while laying halfway on top of you, her positioning dropping you between the wall and her so you couldn't sneak off without her knowing.

"Hey!" Your startled squeak rises as soon as you hit the mattress with a 'thud', "Orsola-"

The were-bear quickly cuts you off with a far too amused sound, pressing her lips to yours to muffle your mock complaint's. Once you settle, she leans back slightly to press another kiss to your cheeks, your forehead, your nose, your jaw, and finally the top of your head. All the while she easily maneuvers you into your new position, curled up among bundled blankets and cushions for no doubt the rest of the late afternoon, and possibly the night if she can convince you to stay.

"Cuddle bear," your huffed voice drips with adoration for her.

"Pumpkin, don't even act like you don't wanna be carried around and cuddled up to me at any given moment," Her own amusement and affection for you rings clear in her tone.

With a soft sigh, you rest your head against the broad forearm tucked under your head with care. "Yeah," You finally admit. "Yeah, I do."

[pintoras]

Orsola Maddalena Caccia (Italian, 1596-1676): Saint Catherine of Alexandria (via Dorotheum)

[catholic-character-tournament]

i gotta know, how many magical index characters were submitted?

So far Orsola Aquinas has been submitted once :)

[queerographies]

[La signora scostumata][Vita Sackville-West]

La signora scostumata: un perfetto, spietato, veritiero ritratto dell’alta società dell’epoca edoardiana Titolo: La signora scostumataScritto da: Vita Sackville-WestTitolo originale: The EdwardiansTradotto da: Henry Furst e Orsola NemiEdito da: AstoriaAnno: 2024Pagine: 304ISBN: 9788833211848 La trama di La signora scostumata di Vita Sackville-West Inghilterra, 1905 C’è molto di scandaloso,…

[onoranzetriolo]

è mancato Domenico Morabito, App. della Guardia di Finanza

è mancato Domenico Morabito, App. della Guardia di Finanza Ne danno il triste annunzio la Moglie Maria Grazia Plateroti, le adorate figlie: Federica e Valentina con il marito Antonio Barreca; i fratelli: Maria ved. Branca, Liliana, Vincenzo con la moglie Orsola Marino; la cognata  Caterina Plateroti con il marito Dott. Domenico Polito, Giuseppe Plateroti con la moglie Nicoletta Foti e Alessandro…

[dumbbitchhour]

Orsola Maddalena Caccia, Flowers in a Grotesque Vase, 1635 x

[lospeakerscorner]

I 100 anni di Francesco Rosi

I 100 anni di Francesco Rosi

La Città celebra con una serie di iniziative il grande regista napoletano Francesco Rosi nel centenario della nascita CITTÀ METROPOLITANA DI NAPOLI – A cento anni dalla nascita di Francesco Rosi (15 novembre 1922), Napoli celebra il maestro napoletano e la sua cinematografia di impegno civile con una due giorni di iniziative diffuse nella sua città, giovedì 17 e venerdì 18 novembre, organizzata…

[herpsandbirds]

Egyptian Grasshopper aka Egyptian Locust (Anacridium aegyptium), family Acrididae, Italy

photograph by Mariano Orsola

[psikonauti]

Orsola Maddalena Caccia (Italian, 1596-1676)

Still life of Birds, 1630

oil on canvas

[critter-creature-or-beast]

Submitted for classification by @casperwyomingxer

"Egyptian Grasshopper aka Egyptian Locust (Anacridium aegyptium), family Acrididae, Italy

photograph by Mariano Orsola, viewed from @herpsandbirds"

[pintoras]

Orsola Maddalena Caccia (Italian, 1596-1676): Madonna and Child (via Doroheum)

[canesenzafissadimora]

Papà era tecnico di laboratorio all' ospedale Sant' Orsola.

43 anni fa era un sabato e lui faceva mattina.

Al pomeriggio doveva venirmi a prendere dai nonni per portarmi alla piscina di Granarolo.

Papà non arrivò puntuale come mi aveva promesso.

Quando scoppio la bomba, tutto il personale medico e paramedico fu mobilitato e mandato alla stazione.

Entrato nell'atrio, la prima cosa che gli capitò fu di scivolare sul sangue sparso in terra e si rese subito conto dell'orrore.

Si rialzò e si mise a scavare con le mani.

Trovò un bambino tedesco che aveva esattamente la mia età, ma non poté tirarlo fuori perché ferito ed incastrato dalla vita in giù sotto una trave.

Gli misero una flebo e papà si sdraiò accanto a lui. Parlava bene tedesco, per cui gli parlò, lo consolò, gli diede da bere. Passò la notte a raccontargli le stesse fiabe che raccontava a me, di Ramesse il coccodrillo del Nilo e del suo furbo amico, il pesciolino Tutankamon.

Venne il giorno e passò anche la mattina, papà era sempre lì nella polvere e nel sangue, accanto a quel cucciolo spaurito e sofferente, che avrei potuto essere io stessa, come lui mi disse piangendo anni dopo.

A mezzogiorno il bimbo fu estratto dalle macerie, aveva le gambe rotte ma si salvò.

Non si salvò la madre, che lo teneva in braccio e gli fece scudo col suo corpo, schiacciato dalla pesante trave.

Papà mi portò in piscina domenica pomeriggio.

Quando mi vide mi abbracciò con tutte le sue forze, poi, sul prato della piscina di Granarolo, quel pomeriggio dormì, aprendo gli occhi solo per sorridermi ogni tanto.

Negli anni a venire, ancora, alcune notti si svegliava, sudato e angosciato, perché la coscienza, nel sonno, continuava a sbattergli davanti i fotogrammi di quell'incubo.

Me lo confessò solo quando fui grande.

Bologna 2 agosto 1980 è anche la storia dei soccorritori, del moto di spontanea solidarietà dei cittadini, che divennero gli angeli di quell' inferno.

Fra loro mio padre, Claudio Tuzi.

da una pagina fb

[love-for-carnation]

Vase of Flowers with Daffodils, Carnations and Anemones Giovanna Garzoni (1600-1670, Italian)

Giovanna Garzoni was the daughter of Giacomo Garzoni of Venice and Isabetta Gaia of Ascoli, who also had Venetian ancestors. From 1615 to 1630 she lived intermittently in Venice, where she studied with her uncle Pietro Gaia, a student of Jacopo Palma the Younger , and with the calligrapher Giacomo Rogni. In 1622 she married the portrait painter Tiberio Tinelli, from whom she separated the following year. In 1630 she traveled with her brother Matteo to Naples, where she entered the service of the viceroy Fernando Alfán de Ribeira. On the way to Naples she spent some time in Rome, where she came into contact with Cassiano Dal Pozzo. In November 1632, at Christina's request, she came to Turin from France and received a position at the court of Vittorio Amadeo I. She created numerous portraits for the court and her first known still lifes. After Vittorio Amadeo's death she left Turin and probably lived in Paris, possibly also in England. From 1642 she lived as an established artist in Florence and worked particularly for the Medici. Her clients and supporters included Ferdinando II de' Medici, his wife Vittoria della Rovere and Leopoldo de' Medici. Giovanna was at the peak of her popularity at this time, selling many works and becoming somewhat wealthy. In 1651 she settled in Rome, but continued to maintain contact with her clients in Florence. She purchased a house near the Accademia di San Luca, with which she was closely associated. It is unclear whether and when she was formally accepted into the academy, but from 1654 onwards she took part in the members' meetings. In her will of 1666, the childless Garzoni bequeathed her property to the Academy on the condition that a tomb be built for her in the church of Santi Luca e Martina. This tomb was created by Mattia de Rossi in 1698, 28 years after her death.

Giovanna created mainly works in tempera, watercolor and gouache on parchment, in addition to some oil paintings on canvas. Her motifs are portraits, calligraphy and fruit and flower still lifes, and from 1630 increasingly botanical motifs. She developed a characteristic, almost pointillist technique between painting and drawing. In the style of English miniature painting, she placed many tiny dots with a special brush and delicate, dense strokes on the parchment. Her works, based on the still life tradition of Orsola Caccia, Panfilo Nuvolone and Fede Galizia, show fruit and vegetable peels, often combined with flowers, animals or foliage in a simple, symmetrical structure. Her floral still lifes are varied and display an extraordinary wealth of color. From around 1630, Giovanna's pictures show a naturalistic, non-idealized representation of plants and animals that correspond less to contemporary still life painting than to natural history painting in the tradition of Dürer or Leonardo or to the model of Jacopo Ligozzi. Giovanna was obviously knowledgeable in botany and also created illustrations for flower books. Giovanna's other works: http://www.artnet.de/k%C3%BCnstler/giovanna-garzoni/