#after Manet

[thinkingimages]

Robert Longo. Untitled (X-Ray of A Bar at the Folies-Bergère, 1882 after Manet), 2017 (detail). Courtesy Galerie Thaddaeus Ropac London · Paris · Salzburg. Photograph: Artist Studio.

[mangle-my-mind]

i had a doctor's appointment uptown so I took the day off and had SUCH a great time hanging out by myself. I went to the Museum of the City of New York, which I've never been to bc I never go that far uptown, and saw their exhibit on 100 years of NYC in art and culture, and it was EVERYTHING I could've hoped for. And the weather's nice so I walked the 20 blocks to the Met and saw the Manet/Degas exhibit which was so interesting bc I had no idea about their overlaps and friendship. And I saw some iconic paintings that I saw last five years ago at the D'Orsay which was neat. And now I'm having tea in a cafe that's playing the Beatles and Simon and Garfunkel. Very good vibes.

And the whole thing (aside from the doctor) was impromptu! I wasn't sure what to do with my day and it ended up being so lovely and I caught two exhibits that I wanted to see but hadn't made plans for.

Now heading back home and maybe I'll hit up my friend's birthday party. Life is good!

[neshamama]

lisa brice, "untitled (after manet & degas)," 2023, oil and pigment on linen

[lollobarcollomanonmollo]

women artists that you should know about!!

-Judith Leyster (Dutch, 1609-1660)

During her life her works were highly recognized, but she got forgotten after her death and rediscovered in the 19th century. In her paintings could be identified the acronym "JL", asually followed by a star, she was the first woman to be inserted in the Guild of St. Luke, the guild Haarlem's artists.

-Artemisia Gentileschi (Italian, 1593-1656)

"... Si è talmente appraticata che posso osar de dire che hoggi non ci sia pare a lei, havendo fatto opere che forse i principali maestri di questa professione non arrivano al suo sapere". This is how the father Orazio talked about his nineteen year old daughter to the Medici's court in Florence.

In 1611, Artemisia got raped, and she had to Undergo a humiliating trial, just to marry so that she could "Restore one's reputation" , according to the morality of the time. Only after a few years Artemisia managed to regain her value, in Florence, in Rome, in Naples and even in England, her oldest surviving work is "Susanna and the elders".

-Elisabeth Louise Vigèe Le Brun (French, 1755-1842)

She was a potrait artists who created herself a name during the Ancien Règime, serving as the potrait painting of the Queen of France Marie Antoinette, she painted 600 portraits and 200 landscapes in the course of her life.

-Augusta Savage (Afro-American, 1892-1962)

Augusta started making figures when she was a child, which most of them were small animals made out of red clay of her hometown, she kept model claying, and during 1919, at the Palm Beach County Fair, she won $25 prize and ribbon for most original exhibit. After completing her studies, Savage worked in Manhattan steam laundries to support her family along with herself. After a violent stalking made by Joe Gould that lasted for two decades, the stalker died in 1957 after getting lobotomized. In 2004, a public high school, Augusta Fells Savage Institute of Visual Arts, in Baltimore, opened.

-Marie Ellenrieder (German,1791-1863)

She was known for her portraits and religious paintings. During a two years long stay in Rome, she met some Nazarenes (group of early 19th century German romantic painters who wanted to revive spirituality in art),after becoming a student of Friedrich Overbeck and after being heavily influenced by a friend, she began painting religious image, getting heavily inspired by the Italian renaissance, more specifically by the artist Raphael. In 1829, she became a court painter to Grand Duchess Sophie of Baden.

-Berthe Marie Pauline Morisot (French,1841-1893)

Morisot studied at the Louvre, where she met Edouard Manet, which became her friend and professor. During 1874 she participated at her first Impressionist exhibition, and in 1892 sets up her own solo exhibition.

-Edmonia Lewis or also called "wildfire" (mixed African-American and Native American 1844-1907)

Edmonia was born in Upstate New York but she worked for most of her career in Rome, Italy. She was the first ever African American and Native American sculptor to achieve national and international fame, she began to gain prominence in the USA during the Civil Ware. She was the first black woman artist who has participated and has been recognized to any extent by the American artistic mainstream. She Also in on Molefi Kete Asante's list of 100 Greatest African Americans.

-Marie Gulliemine Benoist (French, 1768-1826)

Daughter of a civil servant, Marie was A pupil of Jaques-Louis David, whose she shared the revolutionary ideas with, painting innovative works that have caused whose revolutionary ideals he shared, painting innovative works that caused discussion. She opened a school for young girl artists, but the marriage with the banker Benoist and the political career Of the husband had slowly had effect on her artistic career, forcing her to stop painting. Her most famous work is Potrait of Madeline, which six years before slavery was abolished, so that painting became a simbol for women's emancipation and black people's rights.

-Lavinia Fontana (Italian, 1552-1614)

She is remembered for being the first woman artist to paint an altarpiece and for painting the first female nude by a woman (Minerva in the act of dressing), commissioned by Scipione Borghese.

-Elisabetta Sirani. (Italian, 1698-1665)

Her admirable artistic skills, that would vary from painting, drawing and engraving, permitted her, in 1660, to enter in the National Academy of S. Luca, making her work as s professor. After two years she replaced her father in his work of his Artistic workshop, turning it into an art schools for girls, becoming the first woman in Europe to have a girls' school of painting, like Artemisia Gentileschi, she represent female characters as strong and proud, mainly drawn from Greek and Roman stories. (ex. Timoclea Kills The Captain of Alexander the Great, 1659).

[kaizokuou-ni-naru]

the official one piece channel released a music video to promote volume 109 much like how they did with volume 106 and the start of egghead:

and i watched it and i started bawling almost instantly. below the cut is the rough (very rough, i'm not great at translating music) translation i did of the lyrics, so you all can cry along with me.

例えば誰か一人の命と/tatoeba dareka hitori no inochi to 引き換えに世界を救えるとして/hikikae ni sekai wo sukueru toshite 僕は誰かが名乗り出るのを待っているだけの男だ/boku wa dareka ga nanorideru no wo matteiru dake no otoko

if, for example, by saving the life of one person i could save the whole world i would be a man who only waits for that one person to declare himself

愛すべきたくさんの人達が/aisubeki takusan no hitotachi ga 僕を臆病者に変えてしまったんだ/boku wo okubyoumono ni kaete shimattanda

to all the many people dear to me i sadly became a coward

小さい頃に身振り手振りを/chiisai goro ni miburiteburi wo 真似てみせた/manete miseta 憧れになろうだなんて/akogare ni narou da nante 大それた気持ちはない/daisoreta kimochi wa nai

the gestures i learned when i was small i've showed you how to copy and i've come to yearn for something no grand ambitious feeling

でもヒーローになりたい/demo 'hero' ni naritai ただ一人君にとっての/tada hitori kimi ni totte no つまずいたり転んだりするようなら/tsumazuitari korondari suru you nara そっと手を差し伸べるよ/sotto te wo sashinoberu yo

but i want to become a hero if only to you alone if you ever stumble or fall i'll quietly reach out a hand

駄目な映画を盛り上げるために/dame na eiga wo moriageru tame ni 簡単に命が捨てられていく/kantan ni inochi ga suterareteiku 違う　僕らは見ていたいのは/chigau, bokura wa miteitai no wa 希望に満ちた光だ/kibou ni michita hikari da

for the sake of bringing this no-good movie to its climax lives were simply thrown away but no, what we dream of seeing is the light that has fueled our hopes

僕の手を握る少し小さな手/boku no te wo nigiru sukoshi chisana te すっと胸の淀みを溶かしていくんだ/sutto mune no yodomi wo tokashiteikunda

that small hand gripping mine all of a sudden melts all the hesitation from my heart

人生をフ��コースで深く味わうための/jinsei wo furucosu de fukaku ajiwau tame no 幾つものスパイスが誰もに用意されていて/ikutsumono supaisu ga daremo ni youi sareteite 時には苦かったり/toki ni wa nigakattari 渋く思うこともあるだろう/shibuku omou koto mo aru darou そして最後のデザートを笑って食べる/soshite saigou no dezaato wo waratte taberu 君の側に僕は居たい/kimi no soba ni boku wa itai

so that you might deeply savor life as a full-course meal with all its many spices laid out for everyone though at times it may be bitter and full of sour thoughts and at last you'll eat dessert laughing i want to be by your side

残酷に過ぎる時間の中で/zankoku ni sugiru no naka de きっと十分に僕も大人になったんだ/kitto juubun ni boku mo otona ni nattanda 悲しくはない　切なさもない/kanashiku wa nai, setsunasa mo nai ただこうして繰り返されてきたことが/tada koushite kurikaesarete kita koto ga そうこうして繰り返していくことが/sou koushite kurikaeshite iku koto ga 嬉しい　愛しい/ureshii, itoshii

i certainly came to adulthood in the midst of these times that are far too cruel but i'm not sad, and i'm not in pain although things have just repeated like this yes, although things will repeat like this i'm happy, my dearest

ずっとヒーローにありたい/zutto 'hero' ni aritai ただ一人君にとっての/tada hitori kimi ni totte no ちっとも謎めいてないし/chittomo nazomeitenai shi 今更もう秘密はない/imasara mou himitsu wa nai

i always want to be a hero if only to you alone without any mystery left after everything, i have no secrets anymore

でもヒーローになりたい/demo 'hero' ni naritai ただ一人君にとっての/tada hitori kimi ni totte no つまずいたり転んだりするようなら/tsumazuitari korondari suru you nara そっと手を差し伸べるよ/sotto te wo sashinoberu yo

but i want to become a hero if only to you alone if you ever stumble or fall i'll quietly reach out a hand

[nicodelenfent]

1132 Rue Royale + artwork

AMC's Interview With the Vampire, set design by Mara LePere-Schloop, set decor by Selina van den Brink.

List:

Robert Henri, Mildred-O Hat (Undated)

Edvard Munch, Starry Night (1893)

Edvard Munch, Weeping Nude (1913)

Edvard Munch, Self Portrait (1881)

Pierre-Auguste Renoir, Bouquet in a Theater Box (1871)

George Bellows, Stag at Sharkey's (1909)

George Bellows, New York (1911)

George Bellows, Forty-two Kids (1907)

George Bellows, The Cliff Dwellers (1913)

George Bellows, Paddy Flannigan (1908)

George Bellows, The Lone Tenement (1909)

Edgar Degas, Dancers (1899)

Edgar Degas, After the Bath: Woman Drying her Hair (1898)

Jean Beraud, Backstage at the Opera (1889)

Vasily Alexandrovich Kotarbiński, Roman Bacchanal (1898)

Édouard Manet, Berthe Morisot with a Fan (1872)

Egon Schiele, The Artist's Sister Melanie (1908)

Egon Schiele, Portrait of Erich Lederer (1912)

Egon Schiele, Krumau on the Molde (1912)

Egon Schiele, Self Portrait in a Jerkin (1914)

Egon Schiele, Kneeling Girl with Spanish Skirt (1911)

Egon Schiele, Church in Stein on the Danube (1913)

(Dubai penthouse edition)

[mercisnm]

Some spellwork has gone horribly wrong and turned Tissaia into her 5 years-old self (oh no!). Yennefer is experiencing mixed emotions about this, though mostly overly protectiveness over tiny—, well, even-tinier-than-usual Tissaia.

(Tiny Tissaia done after a Manet's print)

[vorfreudevortex]

a portrait of us - eight

a nanami x reader smau

masterlist

warnings: angst lol, slow burn, swearing, a little ooc, a typo or two

notes: ngl i am starting to hate this story but it's okay!! also I'm drunk but I'm posting this anyways idc. also - written portion - 1.3k words (?!!). i'm finding it impossible to not write long ass parts. also pls feel free to request or ask me anything bc i don't like this smau and need something to distract me in between writing it <3 love u bye

as the car pulled up to the museum’s front entrance, you shakily smoothed your hair and dress with one hand, the other clutching a crumpled sheet of paper with your speech.

you couldn’t decide which was more pitiful. the frizzy flyaways escaping your hastily curled hair? or the piece of stationary, painstakingly flattened but still creased, one of the thirty-two drafts you’d written, retrieved reluctantly from the hotel floor?

the driver parked as an attendant opened the door, offering a hand to help you out. the museum director approached with a reassuring smile, and a suit probably worth more than thirty of your paintings combined.

the driver parked an attendant opened the car door and offered you a hand to help you out. the director approached you with a comforting smile and a suit that probably cost more than 30 of your paintings combined.

“welcome! how are you feeling?”

“to be honest,” you replied with a nervous smile. "I'm terribly anxious.”

he chuckled, holding the front door open for you. “that’s perfectly natural. don’t worry! the patrons will love you and your work. anyone would be foolish not to.”

“thank you, director…” you murmured, his words doing little to calm your trembling hands.

the head assistant joined your walk to the gallery hall, peppering you with one question after another.

“the catering service has just finished setting up. would you please take a final sample of the gyoza and ohitashi? they don’t look quite the same as they did during the original tasting…”

“we have a very important guest from malaysia��� would you like me to introduce you two when she arrives? it would be a shame if you didn’t at least find time to say hello…”

“are you absolutely certain about the painting for the final reveal? i know you said it’s special to you but the other assistants and i agreed that the other one would-”

“alright, that’s enough questions,” the director interjected as you neared the gallery hall. you let out a small breath of relief. you thought you might burst if another word came out of the assistant’s mouth. “please go make sure the waiters have the champagne chilled and poured.”

“thank you,” you whispered to the director as the assistant walked away.

“please, don’t thank me. they can be so overbearing. sometimes, it’s better to just let things flow as life means them to,” he replied with a smile.

“yeah…” you replied, glancing at your paintings, their eyes seemingly judging you.

“i can see you’re terrified, and that’s okay. you’ve never done this on such a big stage before!” he laughed. “but truly, it’s not all that different than a smaller exhibition.”

“i don’t think i deserve to be here.”

“if you didn’t, you wouldn’t be.”

you looked at the director, letting his words calm your nerves a bit. your gaze wandered to one of your paintings, a vibrant reinterpretation of jeanne: spring by édouard manet, now alive with bold reds and yellows. 

it was both different and familiar, evoking nostalgia even in those who knew the original. the abstract strokes depicted a striking dark-skinned woman you had met in the park, with bright orange braids cascading down to her waist, her skin glowing against the polka-dotted umbrella she carried.

upon meeting her, you had eagerly asked to paint her, offering what little savings you had left in return. she had given you a sideways smile and agreed, letting you capture her portrait for free.

over the next week, you posed her in your small apartment, finding moments between both of your busy schedules. when you finally showed her the finished piece, she grinned again and said, “oh sweetie, you’re gonna be big one day.”

though she couldn’t be here in tokyo, her spirit was with you, embodied in the painting with that sideways smile even the umbrella couldn’t overshadow.

"onee-san!"

your attention shifted from the painting to the other side of the room, where a group was led by itadori yuji and his toothy grin.

"itadori-kun!"

“and me! hello?” satoru added playfully.

“of course, you too,” you smiled. “thank you for coming, i'm so thrilled you’re here. you all look amazing!”

“no, you look amazing. and i wouldn’t miss this for the world,” satoru said, hugging you. "onee-san, i want you to meet all my students!”

as he finished introducing you to the first and second years, a warm hand rested on your shoulder. you turned to see an old classmate, now with long hair and a familiar pair of boots.

“shoko ieri, take my shoes off right now!” you laughed, throwing your arms around her.

“um, no way. you never even wore them when you had them,” she teased.

shoko's expression softened as she noticed the tears welling in your eyes. she looked just the same, but you couldn’t help noticing the worry lines between her brown, evident even with her smile.

“i didn’t think i'd see you again,” she said quietly.

“me neither… i'm so-”

“-stop talking,” she interrupted. “we brought gifts for you!”

you let go of shoko while yuji held out a large bouquet of blue and pink daisies.

“oh, stop it!” you exclaimed, taking the flowers. “they’re beautiful. thank you all so much!”

“we’re not done yet! there’s more,” satoru said slyly, holding out a small black box.

your heart nearly stopped when you pried the lid open to reveal a large pearl pendant on a gold chain.

“you-”

“-there’s more. look under the velvet,” shoko urged. you carefully lifted the padding to reveal a check with the note “a commission for the staff and students” made out for…

“ten million fucking yen?!”

“whoa, language!” satoru laughed. “kids, go run and play or something.”

“shoko, did you know about this?” you panicked as the students filed away with quiet giggles. “i seriously can’t accept this!”

“yes, you will,” shoko retorted, crossing her arms.

“a commission for what?”

“girl, did you even read the check?” satoru huffed playfully. “you’re gonna paint a portrait of the staff and students at jujutsu high. and hopefully, instead of ignoring us, it’ll cover a plane ticket back so you can visit us next year.”

tears welled up in your eyes again, spilling down your cheeks.

“no. seriously. i-no! i can’t accept this! this is an insane amount of money for a commission like that. i'll paint for you guys for free. and you’ll return this necklace because i know you spent too much money on it, too.”

“stop talking and just accept the gift,” shoko urged.

“but i don’t deserve it.”

“now you’re just spouting nonsense,” satoru said as he placed a hand on your shoulder and turned you toward the gallery entrance. he pointed at the large banner bearing your gallery information. “what does that banner say?”

“it says my name,” you sniffled, still clutching the flowers and box.

“no, idiot. i'm talking about the quotes.”

“um…” you blinked away tears. “someone truly exceptional…?”

“and?”

“a modern-day van gogh…?”

“one more.”

“art that every being should hope to be privileged enough to experience.”

“good job, you can read!” satoru smiled, giving your shoulders a slight shake. “some snobby rich art critics said that about you. now, stop feeling fucking sorry for yourself and make sure everyone has their attention on you tonight.”

“and deposit the check when you get home,” shoko added.

“yes, please deposit the check,” satoru agreed. “if you lose it, i'll be pissed.”

you wrapped your arms around satoru and shoko, squeezing tight in tearful appreciation. they had no idea… the check would cover over a year’s worth of rent, premium canvases, all fine-haired brushes you could ever want, and even a payment on a car. you swore to yourself that you’d pour your soul into painting them a fucking masterpiece.

“now let go,” satoru said, pushing you away. “and go impress all these high-class art people.”

“okay, okay, i'm going!” you smiled with a sniffle.

wiping your tears away, you waved at your classmates as you walked further into the gallery to greet the small crowd that had arrived. sometime during your conversation, your hands must have stopped trembling.

“you’re gonna be just fine,” you thought to yourself with a grin.

next: part nine

tag list // @bubybubsters @sad-darksoul @corvid007 @kenqki @ikon-teen

© vorfreudevortex | all rights reserved. do not copy, translate, repost, or otherwise share my work.

[iwtvfanevents]

Rewind the Tape —Episode 2

Art of the episode

Just like we did for the pilot, we took note of the art shown and mentioned in the second episode while we rewatched it, and we are sharing our findings with you. Did we miss any? Can you help us put a name to the unidentified ones? Do you have any thoughts about how these references could be interpreted?

Unnamed painting by Marius de Romanus

Created for the show (uncredited artist).

Armand (still "Rashid") tells Daniel that Marius was a contemporary of Tintoretto (1518-1594).

Transformation

Ron Bechet, 2021 [Identified by Gizmodo's Linda Codega, here.]

Bechet is a New Orleans-born visual artist. He's a relative of the early jazz pioneer Sidney Bechet. Exhibition Prospect.5 says about the collection this piece belongs to: "Bechet carefully renders the ways vines wrap themselves around trees for support and access to sunlight. At times, this relationship serves both the vine and the tree. Works such as Transformation depict a harmonious symbiosis, as tree and vine both flourish. (...) Through his immersive compositions, Bechet invites us to see history and ourselves in relationship to the beauty, power, and violence of the natural world." And, from Xula Gallery: "Here, we are gifted with the physical proximity of life and death – How they share the same organic space, how they sleep together as equals. The flora of South Louisiana's natural landscape is cleaved open to expose its roots. (...) Here is botany that has every potential of becoming monstrous. All of these meanderings are used to symbolize the deep historical roots of a family home and exhibits the precariousness of nature, both human and environmental, with all of its nurturing and destructive potential. (...) It is a diaspora body, skin folded back to reveal its elegant and resilient backbone."

Untitled photographs

Vivian Maier, undated

Maier was a street photographer whose work was discovered and distributed after her death —she took more than 150,000 photographs during her life, and never printed or circulated any. You can learn more about how her work came to light here. We don't actually see the self-portrait in the third picture, which hangs to the left, until episode four.

Dancers

Edgar Degas, 1899 [Identified by @nicodelenfent, here.]

Degas produced countless paintings of ballerinas throughout his career. While he is often considered an impressionist, he himself saw himself more as a realist and preferred harsh gritty subjects of working class backgrounds. Ballerinas at the time often came from working class or poor families and worked intense grueling hours.

Berthe Morisot with a Fan

Edouard Manet, 1872 [Identified by @nicodelenfent.]

Manet was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism. The portrait in this scene shows his close friend, painter Berthe Morisot, wearing mourning blacks after the death of her father, but wearing a wedding ring —she was engaged to Manet's brother.

Portrait of Erich Lederer

Egon Schiele, 1912 [Identified by @nicodelenfent.]

The Schiele depicts a young Erich Lederer, son of art collectors Serena and August Lederer, whose collection was looted by the Gestapo.

Paddy Flannigan

George Bellows, 1908 [Identified by @nicodelenfent.]

The Bellows depicts a young impoverished boy on the streets of New York.

A Doll's House

Henrik Ibsen, 1879

Lestat tells Louis "They'll seat us late, and we'll miss Nora's entrance with the Christmas tree," which quite a few fans soon identified as a reference to this play, in which a housewife becomes slowly disillusioned with marital life and eventually leaves her husband. This conclusion led to the play being banned in certain countries, such as Germany and Britain, and Ibsen was compelled to write an alternative ending, in which Nora's husband forced her to stay. In the two stage productions pictured above, you can see Kelsey Brennan and Nate Burger on the left, and Assad Zaman and Anjana Vasan on the right.

Unnamed paintings of Papa du Lac and Paul

Created for the show (uncredited artist).

Unidentified painting*

* The running theory is that the woman in this painting is Gabrielle, Lestat's mother; which would mean this is another uncredited prop painted for the show.

Woman in A Fur Coat

Edouard Manet, 1879

Additionally, on the bottom left corner of the frame you can catch a glimpse of another unidentified painting, but we couldn't get any clearer looks of it either.

Autumn at Arkville

Alexander H. Wyant, 1909 [Identified by @vfevermillion.]

The one in the mirror and the one on the other side of the door are too blurry, but we managed to place the one on top of the couch!

The Lone Tenement

George Bellows, 1909 [Identified by @nicodelenfent.]

The National Gallery of Art says about this painting: "Bellows has imbued the composition with a sense of eerie wistfulness, recording the precarious positions of those who were being displaced to make way for the future."

Don Pascuale

Gaetano Donizetti, 1842

The opera that Louis and Lestat go to at the end of the episode follows an elderly bachelor, who gets conned by his nephew Ernesto and his friend Malatesta into marrying the nephew's lover, Norina, under false pretenses. You can find a complete synopsis here.

The Storm On The Sea Of Galilee

Rembrandt van Rijn, 1633 [Identified by Gizmodo's Linda Codega.]

Rembrandt van Rijn, Dutch Baroque painter and printmaker from the 17th century, is best known for his biblical and allegorical pieces. Rembrandt's only seascape was stolen from the Isabella Stewart Gardner Museum in Boston on March 18th, 1990, alongside other 12 works of art. The case remains unsolved.

If you spot or put a name to any other references, let us know if you'd like us to add them with credit to the post!

This week, we will be rewatching and discussing Episode 3, Is My Very Nature That of a Devil. We can't wait to hear your thoughts!

And, if you're just getting caught up, learn all about our group rewatch here ►

[cirqueduroyale]

Was Louise still home when Quinn + fam was located? Or did she dip the moment George was in the ground?

Yeah, Louise was there to see Quinn and fam and then stayed until after the funeral and cremation before her and Manet's "mourning cruise."

But it's so funny to imagine them dipping immediately:

[latinare]

I have a translation request, good friend, as long as it happens to be one that looks like you would enjoy it. If it is too long, maybe just the final paragraph?

Over their voices, Captain Cully screamed, “Fools! Fools and children! It was a lie, like all magic! There is no such person as Robin Hood!”

But the outlaws, wild with loss, went crashing into the woods after the shining archers, stumbling over logs, falling through thorn bushes, wailing hungrily as they ran.

Only Molly Grue stopped and looked back. Her face was burning white.

“Nay, Cully, you have it backward,” she called to him. “There’s no such person as you, or me, or any of us. Robin and Marian are real, and we are the legend!” Then she ran on, crying, “Wait! Wait!” like the others, leaving Captain Cully and Jack Jingly to stand in the trampled firelight and listen to the magician’s laughter.

Supra eorum voces clamavit Dux Cullius: "Stulti! Stulti et pueri! Mendax erat, sicut omnia magica! Nullus est Robertus Capero!"

Proscripti autem, calamitate feri, in silvas sagittarios claros persequentes, trabes offendentes, per spinas se iacientes, essurienter vagientes irruebant.

Stetit sola Marilla Horrens et respexit: facies candida ignebat.

"Minime," vocavit haec "Culli, retrorsus id habes. Nullus est tu, aut ego, aut vero omnis nostrum. Robertus et Mariana veri sunt, et nos fabula!" Et porro cucurrit, "Manete! Manete!" clamans sicut ceteri: Ducem Cullium et Johannem Tinnitum reliquens ad ignem calcatum spectandum magique risum audiendum.

[oceancentury]

“A man’s life is brief; a book's life may be prolonged century after century.” - Irish novelist, George Moore (1852 - 1933). Painted by Edouard Manet, 1879.

[problemduetest4life]

for the ask game, snippet from Olympia please? Btw I LOVE your writing

thank you so much :`) and of course!

(IVE BEEN WAITING FOR THIS ONE)

The plot of Olympia covers the day of the interview and the next morning. I've only written a couple thousands words for it so far, but here's part of the aftermath...

~

“Kevin, stop,” Jean said, backing out of his space. “I don’t know what you’re trying to do, but I don’t find it amusing.”

“It’s not supposed to be,” Kevin said, stepping closer yet again. Jean was already up against the bed, so he put out his arm to stop him. Kevin looked down at Jean’s hand on his chest. His heart was beating fast, Jean could feel it beneath the flat of his palm. Slowly, Kevin placed his own hand over Jeans.

“Quit it.” Jean ripped his hand back like he had been burned. It wasn’t fair. Kevin couldn’t flit in and out of his life and expect the same space to be waiting for him each time.

“If you want me to go, I’ll go,” Kevin said.

Jean had never wanted Kevin to leave, how could he tell him to go now? Anger lurched up his throat and Jean lunged forward, pushing Kevin back.

“Don’t— Don’t you fucking dare,” Jean barreled into Kevin’s space. Kevin took each hit, keeping his gaze downturned as Jean shoved him again and again. “I’m supposed to have a life without you and you keep showing up! Why? Why are you here?” Jean said, desperation slipping into his tone.

“Tell me to go,” Kevin repeated. Jean shook his head and moved to turn away, reaching to wipe the moisture from his eyes, but Kevin caught his elbow. His hands engulfed Jean’s jaw, pulling his face to his. The kiss was harsh. Needy.

That was the thing about Kevin. He always tried to appear crueler than his nature. Yes, he was an Exy obsessed asshole. Crucifying with his words and unyielding on the court, Kevin thrived. And yet when Riko brought out his knives, Kevin turned into the skittish pet that he was. Back in the Nest, back when Kevin was still a god, Jean had latched onto that with all his might.

There it is, Jean would tell himself, a glimmer of the truth. He fooled himself into thinking it was proof Kevin cared. Would someone, could someone, look so distraught if not out of affection? Favor? Love?

Now Jean knew it had just been fear. And the morning after, pity.

~

The title comes from the painting by Édouard Manet. I thought the woman in the painting looked normal until a professor pointed out how uneven her face is. He described it as looking half-dead. Now I can't see it any different. I thought it would be a good title since Kevin and Jean's relationship has decayed so much.

[paleparearchive]

Character profile - Renoir

GENERAL DISCLAIMER: please keep in mind that I got access to these game profiles from gamerch, but unfortunately not all of them have all the information. Wherever you see a "//", it's because that info wasn't on the site and I couldn't find anyone who unlocked it. If you happen to have it, please send it to me! Also, some characters will have more infos than other because they had more cards in the game.

Other note: know that, in this case, "strength" is their painting technique or what they use in paintings.

Name: Renoir (Pierre-Auguste Renoir)

CV: Kakihara Tetsuya

Catchphrase: "A Feminist Who Pursues Looseness"

Hobby: Ceramics

Likes: Soft things, human skin

Dislikes: Things that aren't fun

Height: 190 cm

Birthday: February 25th

Favourite food: Cheese dessert

Disliked food: Foods with strong smells such as garlic and chives

Strength: Clear and varied colors

Special skill: Singing, pick-up

Relationships with artists: He's especially close friends with Sisley, Monet and Bazille since they're alumni, and he admires Manet. Watteau is his pick-up buddy.

How he became an exclusive member: After leaving the art school where he met Monet and his friends, he was working as a stage singer and painting in his spare time when he met the owner. There, he was scouted and invited to become an exclusive artist.

What he wants to do: //

Sleeping time: "Fufu, I wonder if I'd be so nervous to sleep with you, my lady."

What he wants now: "Hmm, let's see… What I want now is to spend time with you, my lady, what do you think?"

Daily habits: "Hmm… I'm going to make it a routine to talk to you every day, young lady. I guess that accomplishes today's routine."

[alloutshirt]

Julie Manet with cat, Pierre-Auguste Renoir / my cat, first day after we rescued him from abusive household

[the-cricket-chirps]

Ramon Casas, Decadent young woman. After the dance, 1899

Édouard Manet, Reclining Young Woman in Spanish Costume, 1862

Kees van Dongen, Woman on Sofa, 1930

James McNeill Whistler, Note in Red, The Siesta, 1873-75