#Une femme artiste
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Niki de Saint Phalle, pour le plaisir et en pensant à ses NANA
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Louise Abbéma (1858-1927), Jeune femme dans un jardin, fin du XIXe siècle, huile sur toile.
[Young woman in a garden, end of the nineteenth century, oil painting]
Louise Abbéma se fait connaître par le portrait qu’elle exécute de son amie Sarah Bernhardt en 1875. Elle réalise des portraits mondains qu’elle expose au Salon mais aussi des panneaux décoratifs et des illustrations. [Musée des Beaux-Arts de Dijon]
#louise abbema#woman artist#jeune femme dans un jardin#young woman in a garden#huile sur toile#oil painting#fin xixe siècle#end of 19th century#musée des beaux-arts de dijon
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#anna karina#jean luc godard#french new wave#le petit soldat#une femme est une femme#vivre sa vie#band of outsiders#illustration#artists on tumblr
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Ok, I wasn't gonna post each drawing one by one, so here's an art dump of one of my FCs: Thief. ♡
#she's nothing but a depressed femme fatale#and i love her for that#oh she's also spy's ex#heheheh#check her toyhouse for backstory#tf2#team fortress 2#artists on tumblr#oc#oc x canon#team fortress 2 oc#fc#tf2 oc#tf2 thief#also the last one is a song by “los tres” called “un amor violento”#un amor violento#los tres
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Pablo Picasso Femme dans un fauteuil
Dated 30.10.48. and 25.12.48. (on the verso) Oil on canvas. 92 by 73cm. 36¼ by 28¾ in. Executed on 30 October and 25 December 1948.
#Pablo Picasso#Pablo Picasso Femme dans un fauteuil 1948#spanish artist#painter#painting#oil on canvas#art#artist#art work#art world#art news
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Un homme et une femme - Stephan Sinding
#arte#aestehtic#opere#museo#statue#amore#coppia#lui#lei#art#artist on tumblr#arte su Tumblr#artisti#Un homme et une femme#stephan sinding
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MINORS & AGELESS BLOGS, DO NOT INTERACT!!
Imagine going to a pride parade and bumping into Ghost.
He's obviously not wearing his mask or his gear because he's just out and about as a civilian, so you can see his scars and tattoos. He's intimidating even if you're the same height or taller, but there's something about him that draws you in.
So you simply apologize for bumping into him and then you compliment his tattoos, saying they look cool. He looks taken aback because people are usually too intimidated by him to compliment his tattoos, which gets him talking to you about the wonderful tattoo artist who did the tattoos.
You two are so engrossed with your conversation that you end up walking with him throughout most of the pride parade, asking him all sorts of questions about the symbolism and meaning of his tattoos.
As the day turns into night, you invite him to come with your friends to a nearby gay club and Ghost surprisingly takes the offer. He doesn't dance in the club, but he enjoys watching you dance.
Eventually, someone comes up to you and tries flirting with you despite you being uncomfortable, so Ghost comes over and scares off the guy. He's so close to you now that he's on the dance floor, still not dancing along to the beat of the music because he had just come to help you out.
And you pull him close when he tries to go back to where he was standing and watching you, practically begging him to dance with you as a way for you to repay him for helping you out.
Ghost reluctantly agrees, mostly because his body warms when his hands settle on your waist. So he dances with you, following your lead.
One dance turns into several, the rest of the crowd seemingly to melt away as you two dance against each other. You both take turns twirling the other, just doing whatever dance moves the music calls you to.
When it's two in the morning, you and Ghost stumble to his shabby flat because your flat is too far away and his is closer. You two collapse onto the bed together, too exhausted to do anything but sleep.
You wake up in the morning to him spooning you, holding you tightly.
Separator made by @une-femme-de-lettres
Reblogs are welcomed & appreciated! Asks are open, feel free to pop in and request something! (Check the rules in "Rules for Requesting NSFW" before requesting.)
#simon ghost riley#simon riley#simon ghost#ghost riley#ghost cod#simon ghost riley x male reader#simon ghost riley x reader#simon riley x male reader#simon riley x reader#simon ghost x male reader#simon ghost x reader#ghost riley x male reader#ghost riley x reader#ghost x male reader#ghost x reader#call of duty#cod modern warefare 2#cod mwii#cod mw2#cod#just wanted to do something for pride month#:)
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Parc Marie-Victorin, Sainte-Élizabeth-de-Warwick et vieux Belœil en une belle (mais épuisante!) journée de juillet
Outfit rundown Dress: vintage (it's a children's dress lol) Hat: vintage Vogue Gloves: vintage Shoes: old Hush Puppies Parasol: Axes Femme Jewellery: vintage and from artists in Japan (no IG)
#fashion#vintage#vintage style#vintage fashion#true vintage#retro fashion#retro style#vintage aesthetic#retro aesthetic#vintage dress#vintage hat#long hair#garden#white dress#50s fashion#second-hand fashion#sustainable fashion#cottagecore#countryside#québec#fannyrosie#fanny rosie
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Femme du monde...femme africaine...
La beauté de la femme africaine est une beauté qui transcende les frontières et les cultures. Elle est universelle et intemporelle. Elle est une inspiration pour les artistes, les poètes, les musiciens et les écrivains du monde entier, qui ont cherché à capturer sa grâce et son charme depuis des siècles.
En fin de compte, la beauté de la femme africaine est une beauté qui doit être célébrée, honorée et respectée. Elle est une force vive et inspirante dans le monde, une incarnation de la vie, de l'amour et de la dignité humaine. Que nous soyons africains ou non, nous pouvons tous être inspirés par la beauté de la femme africaine et apprendre de sa force et de sa grâce.
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Le Petit écho de la mode, no. 29, vol. 17, 21 juillet 1895, Paris. 3. Coiffure de jeune femme brune. Ville de Paris / Bibliothèque Forney
Coiffure de jeune femme brune. — Bandeaux ondulés au flou-flou à larges vagues. Racines des tempes simplement relevées et bouffantes ondulées de meme au flou-flou. Un simple chignon tordu derrière formant une sorte de nœud allongé. Voilà la coiffure dénotant bien le goût d’élégance artistique qui caractérise tout ce qui sort de la maison Lenthéric. Le flou-flou est un délicieux petit système extraordinairement remarquable comme trouvaille, avec lequel toute personne peut faire son ondulation, pour n’importe quel genre de coiffure. Sans bandeaux, avec bandeaux pour fillettes, jeunés filles, etc. Ce charmant appareil ne laisse apparaître dans les cheveux que de petits noeuds de rubans. Du reste, dans une prochaine chronique, Mme de Clessy vous parlera en détail de tous les avantages que les coquettes trouveront en se servant de ce petit système qui est breveté dans tous les pays du monde.
Hairstyle of a young brunette woman. — Wavy headbands with a blur and large waves. Roots of the temples simply raised and bouffant wavy even with a flou-flou. A simple bun twisted behind forming a sort of elongated knot. This is the hairstyle clearly denoting the taste for artistic elegance which characterizes everything that comes out of the Lenthéric house. The flou-flou is a delicious little system, extraordinarily remarkable as a find, with which anyone can make their own waves, for any type of hairstyle. Without headbands, with headbands for girls, young girls, etc. This charming device only leaves small ribbon knots appearing in the hair. Moreover, in a future column, Ms. de Clessy will talk to you in detail about all the advantages that coquettes will find by using this little system which is patented in all countries of the world.
#Le Petit écho de la mode#19th century#1890s#1895#on this day#July 21#periodical#fashion#fashion plate#hair#description#Forney#dress#Modèles de chez#Maison Lenthéric#Maison de Clessy
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Fanfic Classics, batch 5 (Drarry, hot edition)
More Serious Literary Work Book Covers, with a heat theme. Endless days, outdoor soirées, warm spring rain, and hot sweat summer! Sun-drenched shoulders and cautious optimism! Or they just feel sort of lazy and flower-bloomy to me.
Grab a cold drink in a smooth glass before reading on the porch.
Poppiholla by @moonflower-rose
Beekeeping by khalulu
Wild (orphaned work)
Even the Night by @tackytigerfic
Of Wands and Trees by Omi_Ohmy
Pages of You by by @wolfpants
Timeshare by @astolat
Sweet Creature by bribitribbit (@whineosaur)
This Summer by Saras_Girl
Sun Stroke by @peachpety
Part 1, 2, 3, 4, explanation of what I mean by "classics." Art credits below.
In order:
"Summer Evening on the Porch," by Konstanin Korovin, 1922
"Abstract Painting" by Vanessa Bell, 1914
"Femme dans un jardin" by Frederick Carl Frieseke, 1912
"Accent on rose" by Wassily Kandinsky, 1926
"Landscape at Fontainebleau Forest," by Abbott Handerson Thayer, 1876
"The Artist's Letter Rack," by William Michael Harnett, 1879
"The Swan (No. 16)," by Hilma af Klint, 1914-1915
"Shepherd and Sheep at Vlaici," by Nicolae Darascu, 1912
"Promenade," by August Macke, 1913
"Etretat, Cliff of d`Aval, Sunset," by Claude Monet, 1885
#drarry#drarry fic rec#drarry fanfic#drarry book cover#my art#moonflowerrose#khalulu#tackytigerfic#omi_ohmy#wolfpants#astolat#bribitribbit#saras_girl#peachpety#saras girl
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Anaïs Nin par Guillermo Summers
« André Breton m'a rendu visite. Je me disais que l'atmosphère de ma vie, mes intuitions inarticulées correspondaient à sa sensibilité poétique. Il n'en fut rien. Il était intellectuel. Il parla idées, pas impressions ni sensations. Et il me raconta une histoire de ce qui était le contraire de ce que je m'étais figuré.
Il avait parlé du jeu surréaliste qui consiste à se retrouver à plusieurs pour s'engager dans une action non concertée. Ils prennent le train, descendent n'importe où, un endroit qu'il ne connaissent pas, et attendent que des surprises, des choses se produisent. Ou bien montent dans un autocar et décident tout à coup de rester dans une petite ville, et d'attendre l'inattendu. Il raconte cela avec solennité, davantage comme un roi s'adressant à un auditoire que comme un collègue artiste parlant à d'autres artistes. Il n'attendait pas de commentaires, seulement des auditeurs.
Puis il dit : « L'autre jour, j'ai reçu une lettre d'une femme. Elle avait écrit une lettre très belle. Elle commentait l'importance que j'attache à la « surprise », aux coïncidences, et disait qu'elle aimerait me rencontrer seul sous le pont Royal un soir à minuit. Elle ne voulait absolument pas révéler son identité. »
J'attendais le reste de l'histoire. Breton ajouta : « Je n'y allais pas. Bien entendu.
Pourquoi « bien entendu » ? demandais-je.
Parce que j'ai de nombreux ennemis et que ç'aurait pu être un piège ».
Lorsqu'il vit combien j'étais déçue de son manque d'esprit d'aventure, il ajouta : « J'y allais la deuxième fois, pourtant après qu'elle m'eut écrit. Mais je pris soin de poster deux amis loyaux sur le pont de manière à pouvoir les héler en cas de danger .»
Cette histoire, ajoutée à son manque de goût pour la musique, trahissait ce que je soupçonnais dans le surréalisme, la part qui en est consciente, préméditée et une technique intellectuelle ; elle trahissait l'homme de laboratoire. C'est ce qui m'empêcha d'épouser le surréalisme, de devenir un disciple totalement engagé.
P.377,378
Anaïs Nin « Journal 2 - 1934-1939» Livre de poche
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Louis! Louis! vien ici please regard ça. THIS is an artist. She has arrived at this award for music videos covered in meat Louis. She is bleeding on the stage! Have you seen her videos? she’s truly une femme provocante. Can you believe the vitriol they speak of this woman? She is known as la mère aux monstres Louis, JE SUIS un monstres Louis! I must have her! Non! I won’t kill her évidemment! She is one deserving of the dark gift! Don’t you agree Louis!? Louis!
#Lestat discovers Lady Gaga performances#and becomes psychosexually obsessed#his mommy issues are triggered by mother monster#i really thought i posted this#but im obsessed with the totally head cannonized friendship i decided they are going to have
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René Gruau L'art de la publicité The Art of Advertising
Réjane Bargiel, Sylvie Nissen
Le Cherche Midi, Paris 1999, 128 pages, 23x28cm, English/French, ISBN 9782862746951
euro 90,00
email if you want to buy [email protected]
Un G surmonté d'une étoile, griffe d'innombrables images appartenant à la mémoire collective. Des lèvres spirituelles qui attendent le baiser, des jambes sublimes jaillissant d'un nuage de plumes, des bras qui se tendent vers vous, des yeux splendidement expressifs qui plongent dans les vôtres. Voilà autant d'images emblématiques et célébrissimes de Gruau, affichiste et illustrateur qui constituent des repères incontournables de l'art publicitaire du XXe siècle. Autodidacte, nourri d'une culture classique et graphique à travers les travaux des grands peintres et illustrateurs du XIXe siècle, il a créé un style. Admirable synthèse graphique, son trait épuré parent de la calligraphie extrême-orientale, le chic de ses femmes mutines, toujours en mouvement symbolisent internationalement l'élégance. Depuis 1947, il imagine la publicité des parfums Dior, réinvente depuis plus de 30 ans l'affiche de music-hall pour le Bal du Moulin Rouge et le Lido. A 90 ans, René Gruau, très actif professionnellement symbolise à la fois l'héritage de l'art graphique et publicitaire du XIXe siècle et la modernité de la fin du XXe siècle. Gruau's trademark, the letter G crowned with a star, bas become a part of our collective memory. It has marked many memorable images: a spiritual set of lips just waiting to be kissed, a sublime pair of legs emerging from a cloud of feathers, arms that stretch out invitingly, splendidly expressive eyes like bottomless pools. Gruau's famous, emblematic images are at the core of twentieth-century advertising art. An autodidact thoroughly familiar with classical painting and graphic art, Gruau drew on the work of the great artists and illustrators of the nineteenth century in order to create his own unique style. In short, his work represents an admirable graphic synthesis. The purity of his line recalls Oriental calligraphy, while his chic, saucy women, always in motion, are an international symbol of elegance. He has been the creative force behind Dior perfume ads since 1947. For over 50 years he has reinvented the dancehall poster for the Moulin Rouge and the Lido. Still a working professional at 90 years old, Gruau symbolizes both the heritage of nineteenth-century modernism.
06/12/23
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Hripsimeh Sarkissian (1908 — 2000), Armenian textile artist from Turkey.
Born into a family involved in trading carpets among other things, in a region where textile making was a common activity especially among women, Hripsimeh Sarkissian had been familiar with textile designs and techniques since her childhood. In 1915 H. Sarkissian, just a child, survived the Armenian Genocide. She lost most of her relatives, including her father and siblings during the atrocities. Then, almost twenty years later, in 1938, she survived the Dersim Massacre, which was a military campaign led against the non-Turkish and non-Sunni communities in the area, this time with her husband and children. Her family was one of the few Armenian families that escaped the executions in their village, forced to leave their homes with thousands of other people. For nearly ten years the family lived in arduous conditions. Only after 1947, when the settlement law in Turkey was amended to give the right to displaced communities to return to their homes, they moved to Elazığ, a city neighbouring their native Dersim.
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Oedipus and the Sphinx, Gustave Moreau, 1864
Edipo y la Esfinge, Gustave Moreau, 1864
(English / Español)
Gustave Moreau's "Oedipus and the Sphinx" (1864) captures one of the most iconic moments in Greek mythology: the tense confrontation between Oedipus and the enigmatic Sphinx. This encounter, famously recounted in Sophocles' Oedipus Rex, takes place on Oedipus' journey to Thebes, where the Sphinx blocks his path, posing a deadly riddle: "What walks on four legs in the morning, two in the afternoon and three at night?" Oedipus answers correctly: "Man", who crawls as a baby, walks upright as an adult and uses a cane in old age. The Sphinx, shocked by his answer, takes her own life, leaving Oedipus to continue on his tragic path to becoming the king of Thebes-and, unbeknownst to him, his mother's husband.
Unlike earlier versions by artists such as Jean-Auguste-Dominique Ingres, Moreau's interpretation emphasises the power dynamic between the two figures, presenting the Sphinx as a more aggressive and sensual creature that is already grabbing Oedipus, clawing at his chest. The intense gaze between the two figures adds an unsettling tension to the scene. Moreau's Sphinx, part woman, part lion and part bird, embodies the menacing power of the mythological femme fatale, a theme commonly explored in 19th-century Symbolist art.
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"Edipo y la Esfinge" (1864) de Gustave Moreau captura uno de los momentos más icónicos de la mitología griega: la tensa confrontación entre Edipo y la enigmática Esfinge. Este encuentro, famoso por ser relatado en Edipo Rey de Sófocles, tiene lugar en el viaje de Edipo a Tebas, donde la Esfinge bloquea su camino, planteando un enigma mortal: "¿Qué camina sobre cuatro patas por la mañana, dos por la tarde y tres por la noche?" Edipo responde correctamente: "El hombre", quien gatea de bebé, camina erguido de adulto y usa un bastón en la vejez. La Esfinge, asombrada por su respuesta, se quita la vida, dejando a Edipo continuar su trágico camino hacia convertirse en el rey de Tebas—y, sin saberlo, en el esposo de su madre.
A diferencia de versiones anteriores de artistas como Jean-Auguste-Dominique Ingres, la interpretación de Moreau enfatiza la dinámica de poder entre las dos figuras, presentando a la Esfinge como una criatura más agresiva y sensual que ya está agarrando a Edipo, arañando su pecho. La intensa mirada entre los dos personajes añade una tensión inquietante a la escena. La Esfinge de Moreau, parte mujer, parte león y parte ave, encarna el poder amenazante de la femme fatale mitológica, un tema comúnmente explorado en el arte simbolista del siglo XIX.
Fuente: Los Secretos del Arte
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