#artist Peter Richards

[darshanan-blog]

Exploring San Francisco - Off the beaten path

Exploring #SanFrancisco off the beaten path - beyond #Lombard #GoldenGate & #Presidio

I write my blog like my diary and primarily for myself – so one day when I am old and perhaps not able to do much, I can at least see read about the exciting life I lived. Often then I write and forget to post the blog. I have many such blogs that I come across from time to time in my laptop. So this is one such older blog. It seems I forgot to post it and a few things may have changed or some…

[thosedamnedghouls]

and when i tell you all ive unfortunately fallen down the Dick Grayson parents Peter Parker rabbit hole

[cada4us]

i guess i didn’t post this 😞

[hiveswap]

"comrade in arms" yeah i bet he was in your arms. every night. fruit.

[sciderman]

day 7-9 of spider-month! family…

[unhollowkid]

HI HI HI !! <3 <3 I drew the bat kids...again hehe :3 @preciousthingsareprecious

Dick

Jason

Tim

Damian

Steph got a scar from when she was tortured and almost die

Cass

Duke

Thanks for those who comment, like and share!! 🧡❤💛💚💗💖💜💙💕💞💟💝🧡❤💛💚💗💖💜💙💕💞💟💝❤💛💚💗💖💜💙💕💞💟💝🧡❤💛💚💗💖💜💙💕💞💟💝

[dead-meat]

SPANKOFFSCHITZ AND HEADCANNONS UNDER CUT!! @royall-ass , I'm so late to when this was requested :p BUT YOU THOUGHT OF LITTLE OL ME!? HONORED‼️

"Bro" used romantically

. The way they got together is that Richie used a terrible anime based pick up line and he continues to do them while there together

. Not a Headcannon but just adore how Richie is like always clinging to Pete

. They go on online dates more than in person ones. Like they won't even call because of call anxiety (both of them tbh) and just run around and use in game chat

. When they do in person dates it's always at one of their houses just silently doing things together.

. One time they tried to go out to a restaurant for their anniversary and they both hated it. Completely shut down in two different ways

. The only way Pete will sit on Richie's bed is if he hides those pillows. He loves Richie but thinks they're so odd. Genuinely the most heated argument they had. (At least in high school)

. Heath issue buddies!! Help each other out when they can :3 (disability Headcannons are a wholeee other thing)

. I like to think the way Richie came out to Pete (and Ruth) was that he did the whole literally coming out of a closet thing and then he did a whole slideshow about it that turned into his personal Headcannons for characters. Pete didn't come out till like two years later even though he had known since before Richie even came out to him

. Richie is always taking pictures and videos of Peter for "Film Practice" It's cute until Richie it yelling at him to hold still to focus or redo something

. They both go all out for Halloween!! Though it's always a fight on what the theme for their costumes are and they always end up just going as completely unrelated but Richie insists that in the Subtext it's a couples costume.

. R- "Omg it's so us", P- "I don't see it?"

I could do a lot more, this was lowkey cut down and this is all so excessive but I love and adore them :3

I have a whole playlist for them that I was listening to while doing this, still am >:3

[wonderfoolart]

I've made quite a few emojis over the last few months so I decided to put them up for sale! They're pay what you want with a minimum of 1 whole buck. It's a steal! [buy here]

[cada4us]

oh i need him badly

Spideytorch worms

[devine-fem]

this ship isnt boring/bad, you guys don't get them like i do, i fear. if peter was a god, then wade would be his greatest disciple. if wade was an artist, then peter would be his muse. / Mario Puzo, The Godfather // it chooses you, miranda july // marcel proust // Terrance Hayes, The Same City // Eliza Crewe, Crushed // judas-redeemed // Mitski, I'm your man // u.k // Mitski, I'm your man // Richard Siken // Charlotte Eriksson Everything Changed When I Forgave Myself // u.k. // Noah Kahan You're Gonna Go Far // marilynne robinson, gilead

[broomsick]

Depictions of norse myth & folklore you may not have seen before

Dagr and Nótt (Day & Night, Peter Nicolai Arbo, 1874)

Thor Drives the Dwarves out of Scandinavia (Richard Doyle, 1878)

Håkon the Good (Peter Nicolai Arbo, 1860)

The Völva's Prophecy (Knud Baade, 1843)

Frigga's temple, flanked by runic stones in the holy grove of Uppsala (Scenery for the Opera Frigga by artist Louis-Jean Desprez, 1787)

Urnes Stave Church in Sogn (Knud Baade, 1843)

[cada4us]

fantastic four and their extended family

[stephantom]

I was curious to see the original context of these quotes, so I found “Loitering With Intent: The Apprentice” by Peter O’Toole online, and I was not disappointed. He uses a fun impressionistic style and he does describe this particular encounter in detail.

When Richard Burton strutted his Bastard on to the stage, he fetched with him a virility and poetry which neither before nor since have I seen matched in any playhouse. Power he brought, and insouciance; laughter, energy, danger; a rapidity of action and mental agility which throbbed; a relaxation and stillness which magnetized; an eye and a presence which commanded, and a glorious voice which rang and hushed and boomed and stung into every sounding inch of the auditorium. Much of what the Bastard says is a compound of slang, eloquence and yokel speech. Such was Richard's understanding of the very nature of the Bastard, and the skill he brought to the weight, nuance and balance of each word and phrase, that this mix blended into a singular essence which defined and made whole Shakespeare's reincarnated Lionheart.

[O’Toole goes on at length about the production and muses a lot about the history behind the play, etc. I’m skipping ahead.]

Nina Von [one of Peter’s theater student friends] made it clear that the rest of us could do as we wished but that she was going to the stage door in the hope of having a sumptuous ogle of Richard Burton, whom she considered to be a cute hunk of real man. No demur came from the heap and so round to the stage door we trooped where, pretty prospect, I saw that right next to it stood a welcoming pub.

[Skipping ahead again; they go to the pub.]

Hello. It is less than half an hour since the play ended. […I]nto the pub pushes what appears to be the entire cast of King John. The King of France has bought drinks and is passing them to Cardinal Pandulph, the Dauphin has his head dipped into a foam of Guinness and here comes Burton calling for a pint. They are a cheerful bunch, sparky, voluble, dry as one expected and the ale goes around and down. Here is Constance of Bretagne. Stern yet mischievous, handsome, and giving what appears to be a ribbing to a donnish and perplexed King John.

Burton has lifted his pint with an ease and sure-handedness that tells of diligent practice; parched ancestors from the coal pits of Wales live on in his sturdy body as the glass pint pot is applied to his mouth, and no miner up from the shaft after a double-header at the black coal face could have managed better his deep first sweet suck. Well played, Richard Burton! Laugh your easy laugh, light a fag, swig your ale, lean against the bar and look about you. Here sit six drama students, lately up in the gods, now come down to earth, sitting in a pub and looking at members of the Old Vic Company who this evening have so thoroughly entertained us when performing in a play. What my friends are thinking, I can't know. Me? The sight and sound of the chatter and the laughter made by you and your companions, and the ease with which you are all spreading yourselves about the pub, the warmth and vitality engendered, why, it delights me but though I can see and hear all this, I cannot yet touch it, am excluded, for you are professionals and I am not. Not at all, not even an experienced amateur. Not, in fact, an actor. And yet. Do I sense a tie of kinship? A tie which I have already sensed with my teachers at the RADA, professionals all? Perhaps. We will see. Meanwhile, though I am in a true sense excluded from it, I shall be happy on the fringe of your company.

Hello. Burton, R., is having a deep greeny-blue eyeful of [each of the three women in Peter’s friend group]. Can you blame him? These three bonny babes would fill a gladdened eye on any man […] Now, did you ever meet a young man who with complacency could watch while the women in his company were being given a thorough scrutiny by another young man in a pub? A stranger at that? An actor? A bloody film star? It was while I was adjusting my ears to their pinned-back position and mustering up one of my better grim scowls, that Richard took his gaze away from the women, glanced at Joe, at Bob, and then looked straight at me. A grin as big as it was friendly and as warm as it was wide spread over his face. His eyes sent a merry message which said that, on the whole, I could be in much worse company. He raised his glass to me, to my friends, we raised our glasses to him, and then with the grin still on him he ambled away to sit with Lewis and Philip of France at a table on the other side of the bar.

Six young drama students went happily home that night and Bob [Peter’s school roommate] and I drank bottles of beer and talked until dawn.

[Tune in next time for another early run-in. Here’s a picture of the Royal Academy of Dramatic Art (RADA) era Peter O’Toole.]

That winter of 1953 Richard Burton, back from his first foray in Hollywood, reigned supreme at the Old Vic. Tickets were like gold dust with the twenty-eight-year-old hailed as the new Olivier. A group of RADA students, O'Toole amongst their number, decided to see King John, with Burton playing Philip the Bastard. Taking it in turns to queue for cheap tickets they sat up in the gods, crackling with anticipation.

The curtain that evening fell to applause like thunder and O'Toole stepped outside into a cold, windy Waterloo Road almost traumatized by what he'd seen. “When Richard Burton strutted his Bastard on to the stage, he fetched with him a virility and poetry which neither before nor since have I seen matched in any playhouse.”

Conveniently located nearby was a pub and O'Toole's group made haste inside. He was halfway through his pint when Burton and other cast members bounded in, calling out for refreshment. O'Toole watched the Welsh wizard lift his pint with an ease and sure-handedness that told of diligent practice. It was a strange sensation to sit so close to actors who had entertained him so grandly, there was laughter, good humour, it delighted him, yes, “but though I can see and hear all this, I cannot yet touch it.” They were professionals, O'Toole was still very much the apprentice. At one point O'Toole distinctly recalled Burton catching sight of his own gaze and staring back with a grin, “as big as it was friendly. He raised his glass to me, to my friends, we raised our glasses to him, and then with the grin still on him he ambled away.”

- Peter O’Toole: The Definitive Biography by Roger Sellers [the direct quotes attributed to O’Toole are from O’Toole’s 1997 memoir Loitering With Intent]

^ Richard Burton in The Robe (1953)

[pathetic-gamer]

Pentiment's Complete Bibliography, with links to some hard-to-find items:

I've seen some people post screenshots of the game's bibliography, but I hadn't found a plain text version (which would be much easier to work from), so I put together a complete typed version - citation style irregularities included lol. I checked through the full list and found that only four of the forty sources can't be found easily through a search engine. One has no English translation and I'm not even close to fluent enough in German to be able to actually translate an academic article, so I can't help there. For the other three (a museum exhibit book, a master's thesis, and portions of a primary source that has not been entirely translated into English), I tracked down links to them, which are included with their entries on the list.

If you want to read one of the journal articles but can't access it due to paywalls, try out 12ft.io or the unpaywall browser extension (works on Firefox and most chromium browsers). If there's something you have interest in reading but can't track down, let me know, and I can try to help! I'm pretty good at finding things lmao

Okay, happy reading, love you bye

Beach, Alison I. Women as Scribes: Book Production and Monastic Reform in Twelfth-Century Bavaria. Cambridge Univeristy Press, 2004.

Berger, Jutta Maria. Die Geschichterder Gastfreundschaft im hochmittel alterlichen Monchtum: die Cistercienser. Akademie Verlag GmbH, 1999. [No translation found.]

Blickle, Peter. The Revolution of 1525. Translated by Thomas A. Brady, Jr. and H.C. Erik Midelfort. The Johns Hopkins University Press, 1985.

Brady, Thomas A., Jr. “Imperial Destinies: A New Biography of the Emperor Maximilian I.” The Journal of Modern History, vol 62, no. 2., 1990. pp.298-314.

Brandl, Rainer. “Art or Craft: Art and the Artist in Medieval Nuremberg.” Gothic and Renaissance Art in Nuremberg 1300-1550. The Metropolitan Museum of Art, 1986. [LINK]

Byars, Jana L., “Prostitutes and Prostitution in Late Medieval Bercelona.” Masters Theses. Western Michigan University, 1997. [LINK]

Cashion, Debra Taylor. “The Art of Nikolaus Glockendon: Imitation and Originality in the Art of Renaissance Germany.” Journal of Historians of Netherlandish Art, vol 2, no. 1-2, 2010.

de Hamel, Christopher. A History of Illuminated Manuscripts. Phaidon Press Limited, 1986.

Eco, Umberto. The Name of the Rose. Translated by William Weaver. Mariner Books, 2014.

Eco, Umberto. Baudolino. Translated by William Weaver. Mariner Books, 2003.

Fournier, Jacques. “The Inquisition Records of Jacques Fournier.” Translated by Nancy P. Stork. Jan Jose Univeristy, 2020. [LINK]

Geary, Patrick. “Humiliation of Saints.” In Saints and their cults: studies in religious sociology, folklore, and history. Edited by Stephen Wilson. Cambridge University Press, 1985. pp. 123-140

Harrington, Joel F. The Faithrul Executioner: Life and Death, Honor and Shame in the Turbulent Sixteenth Century. Farrar, Straus and Giroux, 2013.

Hertzka, Gottfired and Wighard Strehlow. Grosse Hildegard-Apotheke. Christiana-Verlag, 2017.

Hildegard von Bingen. Physica. Edited by Reiner Hildebrandt and Thomas Gloning. De Gruyter, 2010.

Julian of Norwich. Revelations of Divine Love. Translated by Barry Windeatt. Oxford Univeristy Press, 2015.

Karras, Ruth Mazo. Sexuality in Medieval Europe: Doing Unto Others. Routledge, 2017.

Kerr, Julie. Monastic Hospitality: The Benedictines in England, c.1070-c.1250. Boudell Press, 2007.

Kieckhefer, Richard. Forbidden rites: a necromancer’s manual of the fifteenth century. Sutton, 1997.

Kuemin, Beat and B. Ann Tlusty, The World of the Tavern: Public Houses in Early Modern Europe. Routledge, 2017.

Ilner, Thomas, et al. The Economy of Duerrnberg-Bei-Hallein: An Iron Age Salt-mining Center in the Austrian Alps. The Antiquaries Journal, vol 83, 2003. pp. 123-194

Lang, Benedek. Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe. The Pennsylvania State University Press, 2008

Lindeman, Mary. Medicine and Society in Early Modern Europe. Cambridge University Press, 2019.

Lowe, Kate. “’Representing’ Africa: Ambassadors and Princes from Christian Africa to Renaissance Italy and Portugal, 1402-1608.” Transactions of the Royal Historical Society Sixth Series, vol 17, 2007. pp. 101-128

Meyers, David. “Ritual, Confession, and Religion in Sixteenth-Century Germany.” Archiv fuer Reformationsgenshichte, vol. 89, 1998. pp. 125-143.

Murat, Zuleika. “Wall paintings through the ages: the medieval period (Italy, twelfth to fifteenth century).” Archaeological and Anthropological Sciences, vol 23, no. 191. Springer, October 2021. pp. 1-27.

Overty, Joanne Filippone. “The Cost of Doing Scribal Business: Prices of Manuscript Books in England, 1300-1483.” Book History 11, 2008. pp. 1-32.

Page, Sophie. Magic in the Cloister: Pious Motives, Illicit Interests, and Occullt Approaches to the Medieval Universe. The Pennsylvania State University Press, 2013.

Park, Katharine. “The Criminal and the Saintly Body: Autopsy and Dissectionin Renaissance Italy.” Renaissance Quarterly, vol 47, no. 1, Spring 1994. pp. 1-33.

Rebel, Hermann. Peasant Classes: The Bureaucratization of Property and Family Relations under Early Habsburg Absolutism, 1511-1636. Princeton University Press, 1983.

Rublack, Ulinka. “Pregnancy, Childbirth, and the Female Body in Early Modern Germany.” Past & Present,vol. 150, no. 1, February 1996.

Salvador, Matteo. “The Ethiopian Age of Exploration: Prester John’s Discovery of Europe, 1306-1458.” Journal of World History, vol. 21, no. 4, 2011. pp.593-627.

Sangster, Alan. “The Earliest Known Treatise on Double Entry Bookkeeping by Marino de Raphaeli.” The Accounting Historians Journal, vol. 42, no. 2, 2015. pp. 1-33.

Throop, Priscilla. Hildegarde von Bingen’s Physica: The Complete English Translation of Her Classic Work on Health and Healing. Healing Arts Press, 1998.

Usher, Abbott Payson. “The Origins of Banking: The Brimitive Bank of Deposit, 1200-1600.” The Economic History Review, vol. 4, no. 4. 1934. pp.399-428.

Waldman, Louis A. “Commissioning Art in Florence for Matthias Corvinus: The Painter and Agent Alexander Formoser and his Sons, Jacopo and Raffaello del Tedesco.” Italy and Hungary: Humanism and Art in the Early Renaissance. Edited by Peter Farbaky and Louis A. Waldman, Villa I Tatti, 2011. pp.427-501.

Wendt, Ulrich. Kultur and Jagd: ein Birschgang durch die Geschichte. G. Reimer, 1907.

Whelan, Mark. “Taxes, Wagenburgs and a Nightingale: The Imperial Abbey of Ellwangen and the Hussite Wars, 1427-1435.” The Journal of Ecclesiastical History, vol. 72, no. 4, 2021, pp.751-777.

Wiesner-Hanks, Merry E. Women and Gender in Early Modern Europe. Cambridge University Press, 2008.

Yardeni, Ada. The Book of Hebrew Script: History, Palaeography, Script Styles, Calligraphy & Design. Tyndale House Publishers, 2010.

[uwmspeccoll]

Milestone Monday

Poetry in Punk

On this day, December 30th, 1946, Patti Smith, a singer, songwriter, author, poet, photographer, and painter, was born in Chicago, Illinois. Often referred to as the "Godmother of Punk," Smith is known for her influential music that blends rock and poetry. Her debut album, Horses, released in 1975, is considered a landmark work in the punk rock genre. Beyond her music career, Patti Smith has written several books, including the acclaimed memoir Just Kids, which explores her relationship with photographer Robert Mapplethorpe and their experiences within the New York City artistic scene. Throughout her life, she has been a prominent cultural figure, advocating for artistic freedom and social change.

Images featured come from:

Our first edition of A Useless Death, a poem by Patti Smith that was published as a chapbook and distributed by Gotham Book Mart and Gallery in New York in 1972.

Ha! Ha! Houdini!, a poem written by Patti Smith and published as a chapbook. It was distributed by Gotham Book Mart and Gallery in New York in 1977.

Robert Mapplethorpe, released by Peter Weiermair and published by Robert Wilk in 1981. The contexts come from a catalogue of an exhibition sponsored by the Frankfurter Kunstverein, April 10-May 17, 1981, and features an introduction by Sam Wagstaff, the artistic mentor and benefactor to Robert Mapplethorpe and Patti Smith.

Some Women by Robert Mapplethorpe that features an introduction by one of the pioneers of New Journalism, Joan Didion. Our first edition was published in Boston by Bulfinch Press in 1989.

Robert Mapplethorpe by Richard Marshall with essays by American poet, literary critic essayist, teacher, and translator Richard Howard, and South African-born American writer and editor Ingrid Sischy. Our copy is the first cloth edition, published in New York: Whitney Museum of American Art; Boston: in association with Bulfinch Press: Little, Brown and Company in 1988.

Mapplethorpe prepared in collaboration with the Robert Mapplethorpe Foundation with an essay by American art critic, philosopher, and Professor Arthur C. Danto. This first edition was published in 1992 by Random House in New York.

-View more Milestone Monday posts

-Melissa, Special Collections Graduate Intern

[artbyblastweave]

I just saw someone posit that the first step on Ultimate Reed richards' path to becoming the Maker was his encounter with the Reed Richards of the Zombie universe. Do you think that there's any meat to that interpretation?

Yes and no. The thing about Ultimate Fantastic Four is that the first six issues in particular are a really interesting re-imagining of the team to bring the entire thing in line with the artistic and political sensibilities of Ultimate Spider-Man, Ultimate X-Men and The Ultimates. The biggest and most important change is that the FF aren't well-established adult professionals who fucked around and found out, and they aren't driving the bus- they've been swallowed up by the same military-industrial pipeline that Nick Fury is grooming Peter Parker to become a part of over in Ultimate Spider-Man. Reed in this version slingshots from a neglectful/abusive home life where he was completely unappreciated, to a think-tank that's purely interested in juicing him like a lemon for actionable military technologies. There was a very deliberate psychological pressure-cooker situation that Bendis was setting up there, this kid was never going to be as successful or as well-adjusted as 616 Reed.

That said, though, the zombie situation isn't totally unrelated to this, because 2149 Reed was presenting himself as 616 Reed as part of the honeypot, he was presenting himself as an aspirational vision of Ultimate Reed's future development. Here's what you could be a part of! A dimension where you're globally respected, an elder luminary of a community of thousands of superheroes, happily married with a family! And then Ultimate Reed he takes the bait and from there it's Whoops! All Cannibals. And I can't imagine that you'd come away from a rugpull like that with a less bleak outlook on your either your personal prospects or the prospects of the world at large. And more than anything in the world I want any video essayist trying to do an involved rundown of The Maker's character arc to have to give a deep sigh and spend a couple of minutes talking about the long-term implications of the Zombie Dimension. I am not going to let anybody memory hole the Zombie Dimension