#ca. 1552

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detailedart wild-bill-jones

Rather unusual sky phenomenons depicted in The Book of Miracles, ca. 1552, by an unknown author-ess. And forgive me but a falling star with a very bad exhaust pipe, people fighting for the territory of a cloud dissolving into rain the next day, and three ovaries playing jump rope with a death rainbow.

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Ladies please share to spread the word about two exhibits featuring women artists in two different cities

Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria (ca. 1615–17). Collection of the National Gallery, London.

Renaissance art calls to mind some of the greatest names in art history—Da Vinci, Raphael, Michelangelo, and Donatello, just to name a few. Lesser known, however, are the influential women artists who shaped the era.

Referring to a period that bridged the end of the Middle Ages and early Modernism, the Renaissance was marked by a widespread effort to recover and advance the accomplishments of classical antiquity. Originating in Florence, Italy, but soon spreading throughout Europe, Renaissance art saw the advent of advanced linear perspective and an increase in realism. Many women artists—famous in their own time—were among these great visionaries.

Though for centuries, these women artists were largely overlooked in the annals of art history, contemporary scholarship has begun a long overdue reappraisal and rediscovery of their lives and works. Evidence of this resurgence of interest in the women artists of the Renaissance can be seen in the two current major museum shows in the U.S. that are dedicated to just that. “Strong Women in Renaissance Italy” at the Museum of Fine Arts, Boston brings together over 100 works from the 14th through early 17th century, exploring the lives and work of Italian women artists and is on view through January 7, 2024.  At the Baltimore Museum of Art, “Making Her Mark: A History of Women Artists in Europe, 1400–1800” is a sweeping exhibition that aims to rectify critical oversight and bring awareness to historical women artists, and is also on view through January 7, 2024,.

In light of these two important exhibitions, we’ve brought together a brief introduction to five Renaissance women artists whom we think you should know.

Plautilla Nelli (1524–1588)

Plautilla Nelli, St. Catherine with Lily (ca. 1550). Collection of Le Gallerie Degli Uffizi, Florence.

Plautilla Nelli was a nun of the Dominican order at the convent of St. Catherine of Siena in Florence—and is considered by many scholars to be the first-known woman artist of Renaissance Italy. A self-taught painter, Nelli led a women’s artist workshop from the convent, and she was one of the few women mentioned in Vasari’s seminal treatise Lives of the Most Excellent Painters, Sculptors, and Architects. Because she developed her practice without formal training and was forbidden from studying male nudes, Nelli frequently copied works by other artists, as well as motifs from religious texts and sculpture.

Nelli’s work recently came into the limelight for her immense painting Last Supper, dating to 1568. Measuring over 21 feet long and 6 feet high, the painting remained in her convent’s refectory until the early 19th century, before being moved to another convent’s refectory and, ultimately, being placed in storage. Following an early 20th-century restoration and several more moves, it went on view to the public for the first time in over four centuries at the Santa Maria Novella Museum in 2019. Hanging alongside other masterworks by artists like Brunelleschi, it finally is getting the widespread recognition it deserves.

Catharina van Hemessen (1528–after 1565)

Catharina van Hemessen, Self-Portrait (1548). Collection of Kunstmuseum Basel.

Northern Renaissance painter Catharina van Hemessen was the daughter of prominent Mannerist painter Jan Sanders van Hemessen, and is the earliest Flemish woman painter with verified work that still exists today. Hailing from Antwerp, van Hemessen achieved success in her lifetime, including obtaining the patronage of Maria of Austria, regent of the Low Countries. She was included both in Vasari’s collection of artist biographies, as well as artist biographer Lodovico Guicciardini’s Description of the Low Countries (1567). Van Hemessen’s greatest claim to fame, however, is that she is attributed with completing the first known self-portrait of an artist at their easel—a compositional approach that has become a pillar of the art historical canon, as it has been taken up by artists ranging from Rembrandt van Rijn to Norman Rockwell.

Though she created religious images, she was most well known as a portraitist. Eight portraits and two religious compositions signed by van Hemessen have survived, dating between 1548 and 1552. Notably, there are no verifiable works dating to later than 1554, which have led scholars to believe she ceased painting following her marriage to organist Christian de Morien that year—though there are records she continued to teach three male apprentices.

Sofonisba Anguissola (ca. 1532–1625)

Sofonisba Anguissola, Self-portrait (ca. 1535–1625). Collection of Łańcut Castle Museum, Poland.

Sofonisba Anguissola was one of the most successful women artists of the Renaissance, with a reputation that rose to international acclaim in her lifetime. Born into a noble Milanese family, Anguissola was able to pursue her artistic aspirations with the support of her family, and began her formal training as a teenager; first apprenticing with Bernardino Campi for three years before working with Bernardino Gatti. Her position also allowed for her to become acquainted with Michelangelo, whom she exchanged drawings with. Her early career saw her complete numerous self-portraits as well as portraits of her sisters, including The Game of Chess (1555), which are noted for their realism and liveliness.

Sofonisba Anguissola, The Game of Chess (ca. 1555). Collection of the National Museum in Poznań, Poland.

Anguissola’s reputation as a painter quickly spread, and she was invited to join the court of King Philip II of Spain in Madrid in approximately 1559. Throughout her 14-year tenure there, she completed many official portraits of both members of the royal family and members of the court, adopting the formal and intricate style expected—though unfortunately, no work from this period survived due to a palace fire in the 18th century. Having garnered considerable royal favor, she ultimately spent the remainder of her life continuing to paint as well as teach and engage with young, up-and-coming artists. In 1624, one such young artist by the name of Anthony van Dyck visited Anguissola and recorded his visit in a series of sketches and noted that he learned more about the principles of painting from her than from anything else he had encountered.

Lavinia Fontana (1552–1614)

Lavinia Fontana, Self-portrait at the Spinet with Maid (1577). Collection of the Accademia Nazionale di San Luca, Rome.

Trained by her artist father Prospero Fontana, a teacher at the School of Bologna, Lavinia Fontana is considered the first professional woman artist insofar as she supported herself and her family solely on the income from her commissions. Unconventional for the time, her husband acted as her agent and took a primary role in childcare for their 11 children.  She began her commercial practice in her mid-twenties, creating small devotional paintings, but later began and excelled at creating portraits—and became a favorite of Bolognese noblewomen who vied for her services. Unusual for the period, she also created large-scale mythological or religious paintings that occasionally featured female nudes.

Lavinia Fontana, The Visit of the Queen of Sheba to King Solomon (1599). Collection of the National Gallery of Ireland, Dublin.

In the early years of the 17th century, she was invited to Rome at the invitation of Pope Clement VIII and was soon appointed as an official portraitist at the Vatican, counting Pope Paul V as one of her sitters. Her career success continued to thrive, as evidenced by the numerous honors she received, and the bronze portrait medallion cast in her likeness by sculptor and architect Felice Antonio Casoni. She was also one of the first women elected to the Accademia di San Luca in Rome.

Artemisia Gentileschi (1593–1653)

Artemisia Gentileschi, Self-portrait as a Lute Player (ca. 1615–1618). Collection of the Wadsworth Atheneum Museum of Art, Hartford.

Unlike many of her predecessors, Artemisia Gentileschi has maintained a level of renown over the centuries, with her dramatic and dynamic oeuvre that was unprecedented in her own time. Her Baroque compositions helped usher in a new era of painting. Today, her paintings draw the attention of global audiences. Born in Rome, her father was the painter Orazio Gentileschi, who trained Artemisia starting at an early age. Inspired greatly by the work of Caravaggio and his use of high-contrast compositions, her paintings garnered and maintained attention for their naturalism and nuance, as they broke from the idealism of generations past.

Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes (ca. 1623–1625). Collection of the Detroit Institute of Arts.

In 1612, Gentileschi relocated to Florence, which is where she first achieved major career success, including securing patronage from the House of Medici and being the first woman to attend the Accademia delle Arti del Disegno. From her oeuvre, Gentileschi has become most well-known for her self-portraits as well as religious scenes, specifically the story of Judith Beheading Holofernes—of which there are at least six known variations she completed. Gentileschi’s tendency to portray women as the protagonists of her works—and as equals to their male counterparts—made her innovative in her time and has subsequently secured her legacy as one of the most influential artists within Western art history—of either sex.

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Transcript:

Peter Apian (1495-1552) Michael Ostendorfer (ca. 1490-1549) Artist

Astronomicum Caesareum

Ingolstadt 1540

Rare Book Division

This work is considered to be one of the most beautiful and spectacular contributions to the art of I6th-century book making. Astronomicum Caesareum was published by Petrus Apianus (Peter Apian), one of the foremost mathematicians, astronomers, and cartographers of the ith century. The book's title translates to "Imperial Astronomy" and is a direct reference to its two dedicatees, Holy Roman Emperor Charles V and King Ferdinand I of Spain.

This is a particularly vibrant, pristine copy of Astronomicum Caesareum, which is perhaps Apian's most notable published work. The book features more than 20 elaborately decorated rotating disks, called volvelles, which, when manipulated, represent the functions of the astrolabe and other astronomical instruments used to calculate the positions of stars and planets. As one might imagine, over time and with use, these moving paper elements do not often survive intact.

This book was extremely cool. You can’t really tell from the photo how thick that stack of discs is, but it is… uh…. thick.

Transcript:

Andreas Cellarius (ca. 1596-1665)

Harmonia Macrocosmica

Amsterdam: Johannes Janssonius 1661

Lionel Pincus and Princess Firyal Map Division

The only celestial atlas published in the Netherlands during the golden age of Dutch cartography, Harmonia Macrocosmica completes the multivolume history of all creation first conceived by Gerardus Mercator in 1569. It consists of 29 charts depicting the competing worldviews of Claudius Ptolemy, Martianus Capella, Nicolaus Copernicus, and Tycho Brahe. Engraved plates in the Baroque style illustrate more than 400 pages of text and depict the motions of the sun, moon, and planets, as well as delineations of classical and biblical constellations. In the preface, Cellarius notes his intention to create a second volume to address the new astronomical observations made available by the invention of the telescope. Unfortunately, this was never realized, due to his death in 1665.

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Comet (with a sword), germany, ca. 1552

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Oil painting, ca. 1552-1553, Austrian.

Portraying Joanna of Austria in a black dress with gold details.

Royal Collection Trust.

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … November 17

Andrea Doria as Neptune 

1503 – Agnolo Bronzino (d.1572) was one of the leading painters of the Florentine School in mid-sixteenth-century Italy. He eventually became court painter to Cosimo de Medici. Born in Monticelli in 1503, Bronzino studied with mannerist painter and portraitist Jacopo Pontormo (1494-1557).

Most scholars conclude, based on a series of sonnets Bronzino wrote upon Pontormo's death, that the two men enjoyed a more intimate relationship than that of master and pupil. Later in his life, in 1552, Bronzino also adopted one of his own pupils, Alessandro Allori (1535-1607), as his son. In sixteenth-century Florence, this type of arrangement often signaled a sexual relationship between two men; an older man adopting his younger lover was quite common. The two artists lived together until Bronzino's death in 1572.

Famous mainly for his portraits, Bronzino also painted biblical and mythological scenes, designed tapestries and frescos, and composed poetry. While some of Bronzino's poetry consists of rather conventional lyric verse, as well as the sonnets upon Pontormo's death, he also wrote a considerable body of burlesque verse. Often obscene and erotic, burlesque verse circulated among Florentine intellectual and aristocratic circles, whose members would have detected obscure allusions and subtexts beneath the bawdy wordplay. Bronzino's burlesque poetry is distinguished by its large number of homoerotic references and allusions.

Cosimo I de' Medici as St. Sebastian

There is an undeniable homoerotic subtext to several of Bronzino's famous portraits, including Andrea Doria as Neptune (ca 1545) and Cosimo I de' Medici as St. Sebastian (ca 1538-1540).

In both his writing and painting, Bronzino contributes significant insights into same-sex desire and relationships in sixteenth-century Florentine society.

1851 – Major Lord Henry Arthur Somerset (d.1926) was the third son of the 8th Duke of Beaufort and his wife, the former Lady Georgiana Curzon. He was head of the stables of the future King Edward VII (then Prince of Wales) and a Major in the Royal Horse Guards.

He was linked with the Cleveland Street scandal, wherein he was identified and named by several male prostitutes as a customer of their services. He was interviewed by police on 7 August 1889; although the record of the interview has not survived, it resulted in a report being made by the Attorney-General, Solicitor-General and Director of Prosecutions urging that proceedings should be taken against him under section 11 of the Criminal Law Amendment Act 1885. A piece of paper was pasted over Somerset's name in the report, as it was deemed so sensitive.

However, the Director was told that the Home Secretary wished him to take no action for the moment. The police obtained a further statement implicating Somerset, while Somerset arranged for his solicitor to act in the defence of the boys arrested over the scandal. After the police saw him for a second time on 22 August, Somerset obtained leave from his regiment and permission to go abroad.

Lord Arthur went to Homburg, although he returned to England. When tipped off in September that charges were imminent, he fled to France to avoid them. From there he travelled through Constantinople, Budapest, Vienna, and then back to France, where he settled and died in 1926, aged 74.

1854 – Louis-Hubert Lyautey (d.1934) was a French Army general and colonial administrator. After serving in Indochina and Madagascar, he became the first French Resident-General in Morocco from 1912 to 1925. Early in 1917 he served briefly as Minister of War. From 1921 he was a Marshal of France. He was dubbed the Maker of Morocco and the French empire builder, and in 1931 made the cover of Time.

Lyautey was born in Nancy, capital of Lorraine. His father was a prosperous engineer, his grandfather a highly decorated Napoleonic general. His mother was a Norman aristocrat, and Lyautey inherited many of her assumptions: monarchism, patriotism, Catholicism and belief in the moral and political importance of the elite.

As Resident-General of Morocco from 1912 he was publicly deferential to the sultan and told his men not to treat the Moroccans as a conquered people. It was he who governed Morocco for the French, developed its economy, extended its borders, and pacified native resistance. During WWI, even with diminished troops, Lyautey maintained an iron rule over this French protectorate.

During his administration, inadvertently, perhaps, Morocco became a place of refuge for homosexuals from all over Europe who came to sample the delights of the native population. Lyautey is one of the many real life homosexuals who people Roger Peyrefitte’s novel, The Exile of Capri.

1887 – Field Marshal Bernard Law Montgomery, 1st Viscount Montgomery of Alamein, KG, GCB, DSO, PC (d.1976). Often referred to as "Monty", he was an Anglo-Irish British Army officer who successfully commanded Allied forces at the Battle of El Alamein, a major turning point in the Western Desert Campaign during World War II, and troops under his command played a major role in the expulsion of Axis forces from North Africa. He was later a prominent commander in Italy and North-West Europe, where he was in command of all Allied ground forces during Operation Overlord until after the Battle of Normandy.

After retirement the outspoken views of the best known general of the Second World War became public and his reputation suffered. He supported apartheid and Chinese communism under Mao Zedong, and spoke against the legalisation of homosexuality in the United Kingdom, arguing that the Sexual Offences Act 1967 was a "charter for buggery" and that "this sort of thing may be tolerated by the French, but we're British - thank God."

However, several of Montgomery's biographers, including Chalfont (who found something "disturbingly equivocal" in "his relations with boys and young men" and Nigel Hamilton have suggested that he may himself have been a repressed homosexual, that he had a "predilection for the company of young men" and enjoyed platonic love affairs; in the late 1940s he conducted an affectionate friendship with a 12-year-old Swiss boy. One biographer called the friendship "bizarre" although not "improper" and a sign of "pitiful loneliness."

1889 – The New York Times published a report on the "Cleveland Street Scandal," a case involving a house of male prostitutes and members of British nobility.

The Cleveland Street scandal occurred when a homosexual male brothel in Cleveland Street, Fitzrovia, London, was discovered by police. At the time, sexual acts between men were illegal in Britain, and the brothel's clients faced possible prosecution and certain social ostracism if discovered. It was rumoured that one of the brothel's clients was Prince Albert Victor, who was the eldest son of the Prince of Wales and second-in-line to the British throne. The government was accused of covering up the scandal to protect the names of any aristocratic patrons.

One of the clients, Lord Arthur Somerset, was an equerry to the Prince of Wales. He and the brothel keeper, Charles Hammond, managed to flee abroad before a prosecution could be brought. The male prostitutes, who also worked as telegraph messenger boys for the Post Office, were given light sentences and no clients were prosecuted. After Henry James FitzRoy, Earl of Euston, was named in the press as a client, he successfully sued for libel. The British press never named Prince Albert Victor, and there is no evidence he ever visited the brothel, but his inclusion in the rumours has coloured biographers' perceptions of him since.

The scandal fuelled the attitude that male homosexuality was an aristocratic vice that corrupted lower-class youths. Such perceptions were still prevalent in 1895 when the Marquess of Queensberry accused Oscar Wilde of being an active homosexual. Wilde sued Queensberry for libel but his case collapsed. He was arrested, found guilty of indecency, and condemned to two years' hard labour.

1925 – Rock Hudson (d.1985) was a popular American film and television actor, noted for his stunning looks and most remembered as a romantic leading man during the 1950s and 1960s. Hudson was voted Star of the Year, Favorite Leading Man, or any number of similar titles by countless movie magazines, and was unquestionably one of the most popular and well-known movie stars of the time. He completed nearly seventy motion pictures and starred in several television productions during a career that spanned over three decades.

Hudson was born Leroy Harold Scherer Jr. in Winnetka, Illinois, the son of a telephone operator, and an auto mechanic who abandoned the family during the depths of the Great Depression, in the early 1930s. His mother remarried and his stepfather adopted him, changing his last name to Fitzgerald.

After graduating from high school, he served in the Philippines as an aircraft mechanic for the Navy during WW II. In 1946 he moved to Los Angeles to pursue an acting career and applied to the University of Southern California's dramatics program, but was rejected due to poor grades. Among a number of odd jobs, he worked as a truck driver for a couple of years to support himself, longing to be an actor but with no success in breaking into the movies. A fortunate meeting with powerful - and gay - Hollywood talent scout Henry Willson in 1948 got Hudson his start in the business - and Willson renamed him "Rock Hudson."

Neither a gifted nor a natural actor, he was neverthless blessed with enormous charm and with time proved to have a flair for comedy and was capable of strong and memorable performances in drama. He was coached in acting, singing, dancing, fencing and horsebackriding, and he began to feature in film magazines where he was promoted on the basis of his good looks. Success and recognition came in 1954 with Magnificent Obsession in which Hudson plays a bad boy who is redeemed. The film received rave reviews, with Modern Screen Magazine citing Hudson as the most popular actor of the year.

Hudson's popularity soared in George Stevens' Giant, based on Edna Ferber's novel. Co-starring Elizabeth Taylor and James Dean, and as a result of their powerful performances both Hudson and Dean were nominated for Best Actor at the Oscars.

Following Richard Brook's notable Something of Value in 1957 and a moving performance in Charles Vidor's A Farewell to Arms, based on Ernest Hemingway's novel, Hudson sailed through the 1960s on a cloud of romantic comedies. He portrayed humorous characters in Pillow Talk, the first of several profitable co-starring gigs with Doris Day; followed by Come September; Send Me No Flowers; Man's Favourite Sport, with Paula Prentiss, and Strange Bedfellows, with Gina Lollobrigida.

His popularity on the big screen diminished in the 1970s. He performed in a 13-city US tour of the musical Camelot. He was quite successful on television starring in a number of made-for-TV movies. His most successful series was McMillan and Wife opposite Susan Saint James from 1971 to 1977.

Following years of heavy drinking and smoking, by the early 1980s, Hudson began having health problems. Heart bypass surgery sidelined Hudson and his then-new TV show, The Devlin Connection, for a year; the show suffered for the delay and was cancelled not long after it returned to the airwaves. He recovered from the surgery, but a couple of years later Hudson's health had visibly deteriorated again, prompting different rumours.

In 1984 and 1985 Hudson landed a recurring role in Dynasty. While his inability to memorise dialogue was the stuff of legend, now he was exhibiting all the signs of a man in serious trouble. The need for cue cards was one thing, but when his speech began to deteriorate, everybody knew the least of Hudson's problems was simple forgetfulness. The word cancer was tossed around, but the phrase 'gay cancer' was not mentioned- not, at least, by those who had something to lose. Not yet.

While Hudson's career was blooming, he was struggling to keep his personal life out of the headlines, although the Hollywood media was complicit in concealing his homosexuality from the general public. Throughout his career, he epitomised an ideal of wholesome manliness, and in 1955 he wed Willson's secretary at the time, Phyllis Gates, and the news was made known by all the major gossip magazines. The union lasted three years. Gates filed for divorce in April 1958, charging mental cruelty; Hudson did not contest the divorce. Loyal friends and the now-unimaginable support of the media kept Hudson successfully in the closet to all but those 'in the know' until the 1980s.

According to the 1986 biography Rock Hudson: His Story by Hudson and Sara Davidson, Hudson was good friends with American novelist Armistead Maupin, and Hudson's lovers included: Jack Coates (born 1944); Hollywood publicist Tom Clark (1933-1995), who also later published a memoir about Hudson, Rock Hudson: Friend of Mine; and Marc Christian, who later won a palimony suit against the Hudson estate. In addition, Darwin Porter's book, Brando Unzipped (2006) claims that Hudson had an affair with Brando. Hudson was also a close friend of Burt Lancaster, who was reportedly bisexual, and Lancaster's FBI file suggested the two stars had attended Gay parties in Hollywood together.

An urban legend states that Hudson married Jim Nabors in the 1970s. In fact the two were never more than friends. According to Hudson, the legend originated with a group of "middle-aged homosexuals who live in Huntington Beach" who sent out joke invitations for their annual get-together. One year, the group invited its members to witness "the marriage of Rock Hudson and Jim Nabors", at which Hudson would take the surname of Nabors's most famous character, Gomer Pyle, becoming "Rock Pyle". Those who failed to get the joke spread the rumor. As a result, Nabors and Hudson never spoke to each other again.

In 1985, Hudson joined his old friend Doris Day for the launch of her new cable show, Doris Day's Best Friends. His shockingly gaunt appearance, and his nearly-incoherent speech, was so shocking that it was broadcast again all over the national news shows that night and for weeks to come. Doris Day herself stared at him throughout their appearance together.

Hudson was diagnosed with HIV on June 5, 1984, but when the signs of illness became apparent, his publicity staff and doctors told the public that he had liver cancer. It was not until July 25, 1985, while in Paris for treatment, that Hudson issued a press release announcing that he was dying of Acquired Immunodeficiency Syndrome. This had an enormous impact as he was the not only the first major celebrity to come out with the disease but because most of his army of fans still had no idea that Rock Hudson was gay.

Shortly before his death Hudson stated, 'I am not happy that I am sick. I am not happy that I have AIDS. But if that is helping others, I can at least know that my own misfortune has had some positive worth.' Hudson's death is said to have pushed his long time friend and then Republican President Ronald Reagan to change his tune on efforts to fight and publicise the epidemic. Rock Hudson's death from AIDS was a highly significant and tragic milestone in bringing the disease to a wider public consciousness.

Rock Hudson was cremated and his ashes buried at sea.

1960 – RuPaul Charles, best known as simply RuPaul, is an American actor, drag queen, model, author, and singer-songwriter, who first became widely known in the 1990s when he appeared in a wide variety of television programs, films, and musical albums. Previously, he was a fixture on the Atlanta and New York City club scenes during the 1980s and early 90s. RuPaul has on occasion performed as a man in a number of roles, usually billed as RuPaul Charles. RuPaul is noted among famous drag queens for his indifference towards the gender-specific pronouns used to address him—both "he" and "she" have been deemed acceptable. "You can call me he. You can call me she. You can call me Regis and Kathie Lee; I don't care! Just as long as you call me." He hosted a short-running talk show on VH1, and currently hosts reality television shows called RuPaul's Drag Race and RuPaul's Drag U.

RuPaul was born in San Diego, California. His name was given to him by his mother, a Louisiana native. The Ru came from roux, an ingredient used in gumbo. RuPaul struggled as a musician and filmmaker in Atlanta, Georgia during the 1980s. He participated in underground cinema, helping create the low-budget film Starrbooty, and an album by the same name. In Atlanta, RuPaul often performed at the Celebrity Club (managed by Larry Tee) as a bar dancer or with his band, Wee Wee Pole, which included the late Todd Butler.

In the early 1990s, RuPaul worked the Georgia club scene and was known by his full birth name. Initially participating in genderfuck-style performances, RuPaul performed solo and in collaboration with other bands at several New York nightclubs, most notably the Pyramid Club. He appeared for many years at the annual Wigstock drag festival and appeared in the documentary Wigstock: The Movie. In the '90s, RuPaul was known in the UK for his appearances on the Channel 4 series Manhattan Cable, a weekly series produced by World of Wonder and presented by American Laurie Pike about New York's wild and wacky public-access television system.

RuPaul is credited with the statement "We're born naked, and the rest is all drag."

Rock Hudson - A Personal Encounter:

By Ted

Back in 1966, on my way to Canada, I had a brief brush with Rock Hudson.

I came to North America by ship from Fremantle, Australia, via the far east, and on the leg from Japan to North America, my friends and I, all travelling second-class, met up with a wealthy American travelling in first class. My friends were a couple of lesbian Australian nurses, and Joe, my cabin-mate, a straight Swiss guy. We were all about 25 at the time. The wealthy American, Lloyd, was a short chubby guy in his sixties. In retrospect, I think he looked a lot like Artie Johnson. He was very ostentatious, and seemed to have a never-ending wardrobe of clothes and of jewellry— neck-chains, rings, bracelets, and watches. He claimed to be a millionaire, and Pat Boone's boyfriend. The very idea was rather shocking to us small-town folk. The way he told it, he had been to Japan for Pat Boone's tour there, but Lloyd hated flying, so was travelling by ship instead while Pat flew home. At the time, Pat Boone was separated from his wife, and had not yet become "born again."

The reason Lloyd was associating with us obvious, though unstated — my cabin-mate Joe was a hottie! He was also absolutely straight, but Lloyd hoped to change that. He would buy us drinks to get us to leave him alone with Joe. He even gave the girls some expensive jewellry to get rid of them. He never really got anywhere with Joe, however.

Anyway, our landfall was in San Pedro, south of Los Angeles, before sailing north to San Francisco and Vancouver. When the American - from L.A. - was leaving ship, he invited us the a "welcome-home" party the next night. He said he would send a car for us. We never really thought he would do it, but the next evening we got a message from the purser's office that a car would be waiting for us at the foot of the gangplank at 8:00 that night. Sure enough, there was not just a car, but a limosine waiting for us. Imagine four young people from the boonies riding in a limousine into one of the poshest areas of Los Angeles (I'm not sure if it was Beverly Hills, or Hollywood Hills, but it was very posh and in the hills on the outskirts of LA)!

I'm not really sure who the "welcome home" was for — Lloyd or Pat Boone. If it was for Boone, he never showed at the party, at least while we were there. Nor was I sure just whose home it was held at. All I remember was that it was a huge ranch-style with an immense patio and pool at the rear. It was around this pool that the party was being held, on a warm, late-June evening. I got the impression that the house was not Lloyd's, although he treated it as if it were. I think it actually belonged to Robert Wagner or Natalie Wood, both of whom were present, although they were not married to each other at the time. They were actually between marriages to each other.

Lloyd greeted us then left the girls and I at the pool to fend for ourselves, while he hustled Joe off to the interior of the house - probably to a bedroom. There were maybe 60 people at the party when we arrived around nine pm. Most of them were males, mostly has-been movie or tv actors or wanna-be's and agents. I really don't remember most of them. I do recall Mickey Rooney being present. I remember him as a nasty little man who was absolutely rude to almost everyone, even though people were trying their hardest to be nice to him, because his estranged wife had been murdered earlier that year. It completely destoyed my pleasant memories of him as Andy Hardy on The Hardy Family radio show of my childhood.

Most of the guests were rather condescending to us small-town hicks with out "adorable accents." I remember Peter Graves (who had starred in a Australian TV "western" a few years before) being particularly snide - maybe because his Aussie western was a major flop.

This was where I had my brief brush with Rock Hudson. He arrived later than us, and made his way round the pool saying hi to everyone, including the girls and I. Unlike many of the guests he was really pleasant to us. After chatting to us for a couple of minutes he moved on, with another tall, fairly good-looking man in tow. One of the other guests told us that the second man was Rock Hudson's boyfriend. He mentioned the man's name, but I didn't recognize the name then, and don't remember it now. It may have been Jim Nabors, but I really don't know.

Around eleven pm, the party got nasty when a fight broke out. I don't know who started it or what it was about, but I know it somehow involved Natalie Wood and Robert Wagner. Someone ended up in the pool fully-dressed. Someone else got a bloody nose. A table of glasses got smashed, and so did a sliding glass door, and someone got badly cut. An ambulance was called and so were the police.

At about the same time, Joe and Lloyd emerged from the house, both looking rather pissed off. Lloyd rather brusquely informed the four of us: "The police are on the way. You'd better go!" He promptly left us standing there, having made no offer of a ride back to the ship or anything. We made our way to the front of the house, rather obviously at a loss. Someone who was leaving at that time offered us a ride back to Los Angeles, which we gladly accepted, because a taxi back to the ship would have been beyond our means, and a couple of squad cars were just arriving.

So, our night of glamour turned into a long wait at the seedy downtown L.A. bus depot, a long ride back to San Pedro on the last bus of the night, and a long walk from the San Pedro drop-off to the ship, past all the little late-night bars with drunk chicanos whistling at the girls – and me and Joe.

Joe never did talk about what happened with Lloyd, but from Lloyd's reaction I presume Lloyd never managed to get into Joe's pants — but then, neither did I, and I spent 9 weeks, on and off ship, trying!

[somethingwithmoles]

Giovanni Battista Moroni, The Sculptor Alessandro Vittoria, ca. 1552/53, oil on canvas, 87.5 x 70 cm, Kunsthistorisches Museum, Vienna

Source: Wikimedia Commons

[joseandrestabarnia]

Retrato de Giuseppe da Porto con su hijo Adriano Paolo Caliari, conocido como Veronese (Verona c. 1528 – Venecia 1588) ca. 1555 Pintura al óleo sobre lienzo 247x133 cm Inventario Inv. Contini Bonacossi n.16

Esta obra representa al conde Giuseppe (o Iseppo) da Porto junto con su hijo mayor Adriano, uno de los siete hijos que tuvo de su matrimonio con la noble Livia Thiene en 1545. Originalmente el lienzo era el colgante del otro retrato doble que representa a su esposa Livia junto a su hija Porcia y que se conserva en el Walters Art Museum de Baltimore (Maryland). Los dos lienzos probablemente estaban colocados a los lados de una ventana, como sugiere el origen especular de la luz en cada uno de ellos. Veronese había participado en la decoración pictórica del palacio de la familia da Porto en Vicenza, terminado en 1552, construido por Andrea Palladio. La datación se puede deducir -con considerable aproximación- de la edad que muestran los dos primeros hijos, representados en los dos cuadros. Probablemente estemos entre 1552 y 1553, cuando Paolo se mudó a Venecia, donde sus retratos adquirieron características más decididamente titianas; mientras que aquí mantiene elementos tomados de la tradición lombarda.

De hecho, los personajes representados están colocados en un falso nicho sombreado y retratados de cuerpo entero, según un método de presentación típico de los pintores activos entre Brescia y Bérgamo, por ejemplo, Giovan Battista Moroni, en quien Veronese se inspiró mucho. Giuseppe da Porto viste una pesada chaqueta negra forrada de piel y corta en las piernas, sostiene la espada al cinturón, lleva un solo guante y se ha quitado el otro para apoyar su mano derecha en el hombro de su hijo Adriano. Él también está suntuosamente vestido con una chaqueta forrada de armiño y decorada con bordados dorados.

Se trata de una obra célebre que pertenece a la etapa juvenil de Veronese, donde ya están presentes los rasgos fundamentales de su estilo. Los fondos de color aparecen muy bien definidos y presentan características estilísticas peculiares, como fuertes efectos iridiscentes, que los diferencian de la pintura tonal veneciana. La interpretación matérica de suntuosos tejidos, pieles y joyas es muy relevante, lo que convierte esta obra en uno de los ejemplos más extraordinarios del retrato del siglo XVI.

Información de la web de la Gallerie degli Uffizi, imagen de mi autoría.

[hyrtwynwrites]

[Spoilers!] Light's Falle Timeline

Updated 18 July 2024

Note: Links only go to the first chapter referenced per day - e.g., a link on Ch.12-15 will go to Chapter 12.

Key

AM - Astral Moon

UM - Umbral Moon

SQ - FFXIV Canon Timeline Dates

LF - General Light's Falle Dates

GP - Book 1: Gridanian Prelude

WT - Book 2: White Towers, Deep Waters

OT - Book 3: An Oasis at Twilight

Timeline

6th Astral Era

1 4th AM 1527: Vivail Aikiria is born. [LF]

ca. 1535: Papalymo Totolymo and Merlwyb Bloefhiswyn are born. [SQ]

4 5th AM 1536: Aebba Falle is born. [LF]

ca. 1545: Y'shtola Rhul and Thancred Waters are born. [SQ]

ca. 1546: Yda Hext is born. [LF]

ca. 1549: Kan-E-Senna and Adalberta Sterne are born. [SQ]

ca. 1550: Jacke Swallow is born. [SQ]

ca. 1552: The Ala Mhigan Civil War begins. [SQ]

22 1st UM 1556: Yenifer Falle is born to Aebba. [LF]

ca. 1557: Ala Mhigo is conquered by the Garlean Empire. [SQ] Yenifer and her mother escape Ala Mhigo. [LF]

ca. 1558: Yenifer and Aebba settle into life in the Gridanian hamlet of Quarrymill along with other Ala Mhigan refugees. [LF]

ca. 1562: The XIVth Legion is defeated in the Battle of Silvertear Skies. [SQ]

ca. 1572: The events of Final Fantasy XIV 1.0; Dalamud falls, unleashing Bahamut and the 7th Umbral Calamity. [SQ] Kan-E-Senna leads the Gridanian element at the Battle of Carteneau. [GP Ch.32] Aebba is killed during the Calamity. [LF]

7th Umbral Era

Year 5

18 2nd UM: The start of Light's Falle and Gridanian Prelude; Yenifer digs a ditch outside of Quarrymill and makes a fateful decision. [GP Ch.1]

24 2nd UM: Yenifer leaves Quarrymill for Gridania, joining the Lancers' Guild and encountering her rival, Foulques, for the first time. [GP Ch.2-9]

32 2nd UM: Yenifer is recruited by the Twin Adders to assist in a manhunt. [GP Ch.10]

3 3rd AM: Yenifer meets Scions Yda and Papalymo for the first time, and finds her Crystal of Light. [GP Ch.10-12]

11 3rd AM: Yenifer encounters Foulques for the second time, and stumbles into what would be called the Battle of Spirithold; she experiences her first Echo vision in the aftermath. [GP Ch.13-16]

29 3rd AM: Yenifer has her spear taken for repairs, and has a brief altercation with gawking Gridanians. [GP Ch.17-18]

30 3rd AM: Yenifer has her third encounter with Foulques after he kidnaps a Guild member. She finds herself stumbling into aiding the Gridanians in a battle against the Ixal. Yenifer has her first encounter with a Paragon, only narrowly surviving, and for her heroism is made Emissary. [GP Ch.19-29]

31 3rd AM: Yenifer fulfils the role of Emissary for the Greenbliss, but an Echo vision interrupts the ceremony. [GP Ch.30-31]

32 3rd AM: Yenifer is made Envoy of Gridania, and is dispatched by its leader, Kan-E-Senna, to deliver vital missives across Eorzea; end of Gridanian Prelude. [GP Ch.33-34]

ca. 3rd AM: Legatus Gaius van Baelsar of the Garlean XIVth Legion makes an inspection of Castrum Occidens. [GP Epilogue]

1 3rd UM: Yenifer arrives in Limsa Lominsa and delivers Kan-E-Senna's missive to its leader, Merlwyb; she also makes the acquaintance of several locals, most notably the rogue, Jacke, the Scion, Y'shtola, and the marauder, Vivail. Yenifer and Vivail are recruited by Y'shtola for an adventure to the Sastasha Seagrove to begin the following morning. [WT Ch.1-9]

2 3rd UM: Yenifer, Y'shtola, and Vivail travel to the Sastasha Seagrove; while investigating, Yenifer and Vivail become separated, and together fight through a pirate stronghold to liberate kidnapped civilians. Reunited afterwards, the three return to Limsa Lominsa, where Yenifer says her goodbyes to them, and to Jacke. Vivail is recruited by Y'shtola to join the Scions. End of White Towers, Deep Waters. [WT Ch.10-Epilogue]

2-3 3rd UM: While en-route to Ul'dah, Yenifer is incapacitated by the Echo, and is treated frantically by the airship's crew. Lost in the vision, Yenifer accidentally enters the memory - and then the present - of an Ala Mhigan, Arenvald. Surprising them both, Arenvald is able to see her in the vision, and strikes her, jolting her awake. [OT Prologue-Ch.1]

3 3rd UM: Yenifer arrives in Ul'dah and encounters yet another Scion, Thancred, while trying to get her bearings. Yenifer is abused by Brass Blade mercenaries after she attempts to save the life of a fellow refugee, and is in turn saved by the Miners' Guild's master, Adalberta. When Adalberta asks Thancred to investigate the Copperbell Mines going silent, Yenifer forces the Scion to take her along. Thancred allows her presence, but goes to recruit an ally of his for the mission as insurance: Arenvald. [OT Ch.2-13]

[ousontlesfemmes]

LAVINIA FONTANA (1552 – 1614)

Lavinia Fontana est née à Bologne le 24 août 1552 dans une famille d’artistes. Son père, Prospero Fontana, était un peintre en vue à Bologne. C’est dans son atelier qu’elle étudie la théorie de la peinture avant de passer à la pratique. Elle profite également de l’ébullition artistique de la ville de Bologne pour exercer son regard en observant des œuvres de Raphaël (1483 – 1520) ou du Parmesan (1503 – 1540).

En 1577, alors âgée de vingt-cinq ans, elle épouse Gian Paolo Zappi, peintre tout comme elle. L’histoire aurait pu s’arrêter là : à cette époque, dans les couples d’artistes, c’est la femme qui stoppe sa carrière au profit de celle de son mari. Chez les Zappi-Fontana, les choses sont différentes. Gian Paolo cesse de peindre pour servir d’assistant à Lavinia. Il s’occupe de lui trouver des mécènes, gère les commandes et exécute certaines finitions dans ses tableaux. C’est le cas notamment des draperies. Ainsi, malgré ses onze enfants – dont seulement trois lui survivront – Lavinia arrive à mener sa carrière à bien.

Celle-ci est exceptionnelle, surtout pour l’époque, puisqu’elle réalise des commandes privées et publiques. Lavinia Fontana est ainsi souvent considérée comme la première femme à s’être forgé une carrière d’artiste indépendante.

Lavinia Fontana ne souhaite cependant pas se limiter aux portraits. Elle réalise des tableaux religieux, notamment un Noli me tangere en 1581 (Galerie des Offices, Florence). Passer ce cap est une première étape sur son ascension : elle attire finalement l’attention du pape Grégoire XIII qui lui commande un portrait (non daté). Malgré le soutien pontifical, son œuvre est victime de controverses liées à son genre. En 1600, le cardinal d’Asconti lui commande en effet un grand tableau d’autel pour l’église Sainte-Sabine à Rome. Cette décision provoque de nombreuses polémiques : qu’une femme exécute des commandes privées passe encore. Mais une commande publique, de si grande échelle de surcroît… Cette idée semble impossible pour de nombreux opposants qui jugent une femme indigne d’une telle responsabilité. Le cardinal, appuyé par le pape, maintient sa décision. Lavinia Fontana, elle, résiste à la pression. Le succès de son tableau est finalement tel qu’en 1603 elle s’installe à Rome.

La peintre poursuit alors son œuvre, alternant portraits privés, tableaux religieux et même mythologiques. Lorsqu’elle peint en 1613 sa Minerve s’habillant (œuvre ci-dessus), elle est l’une des premières femmes à oser la représentation du nu féminin.

À sa mort le 11 août 1614, elle laisse une œuvre de 131 tableaux (dont plusieurs sont malheureusement perdus). Mais au-delà de sa propre création, Lavinia Fontana laisse derrière elle un héritage tout aussi important : le chemin qu’elle a tracé. En étant élue à l’Académie des Beaux-arts de Rome, elle prouve à tout le monde qu’une femme peut être plus qu’une femme d’artiste, mais bel et bien devenir artiste femme.

Pour en savoir plus :

Lavinia Fontana | Renaissance, Female Artist & Bologna | Britannica

Lavinia Fontana : l’artiste peintre du XVIe siècle dont le mari est l’assistant (radiofrance.fr) 

Artistes femmes, Flavia Figeri, 2019, Flammarion, p.10-11

Pour voir une œuvre de Lavinia Fontana en France, vous pouvez vous rendre au château de Blois et admirer le portrait saisissant d’Antonietta Gonzalvus, une jeune fille atteinte d’hypertrichose.

[love-for-carnation]

Double Portrait of a Married Couple (Possible Portrait of Gian Paolo Zappi), ca. 1577-85, detail Lavinia Fontana (1552-1614, Italian) https://en.wikipedia.org/wiki/Lavinia_Fontana

[sacramentolimoca]

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[abwwia]

Barbara Longhi , Madonna and Child, ca. 1580–85 Barbara Longhi (English: /bɑːrˈbɑːrə ˈlɒŋɡi/ bar-BAR-ə LONG-ghee, Italian: [ˈbarbara ˈloŋɡi]; 21 September 1552 – 23 December 1638)[1] was an Italian painter. She was much admired in her lifetime as a portraitist, although most of her portraits are now lost or unattributed. Her work, such as her many Madonna and Child paintings, earned her a fine reputation as an artist. via Wikipedia

[joostjongepier]

Wat?   Drievleugelig altaarstuk door Lucas Cranach de Jongere (1552-1555), Weimarer Lutherbibel (1534), Portretten van Maarten Luther en Katharina van Bora (1528), Gesetz und Gnade (1535-1540) uit het atelier van de Lucas Cranach de Oudere en Caritas (ca. 1540) door Lucas Cranach de Jongere [met ter vergelijking het gelijknamige werk uit Antwerpen, 1537-1540]

Waar?   Herder Kirche, Weimar en tentoonstelling Cranachs Bilderfluten in de Herzogin Anna Amalia Bibliothek, Weimar

Wanneer?   29 en 30 juli 2024

De Stadtkirche St. Peter und Paul in Weimar staat beter bekend als de Herderkirche, genaamd naar de theoloog en filosoof  Johann Gottfried von Herder. Herder werkte van 1776 tot zijn overlijden in 1803 als superintendant bij deze kerk. Op het altaar in deze kerk staat een drievleugelig altaarstuk van Lucas Cranach de Jongere. Lang werd aangenomen dat het stuk was aangevangen door diens vader, maar recente onderzoeken wijzen erop dat het werk tussen 1552 en 1555 door Lucas de Jongere is geschilderd.

Op het linker paneel zijn de opdrachtgevers afgebeeld: Johann Friedrich I van Saksen en zijn vrouw Sybilla van Jülich-Kleve-Berg en op het rechterpaneel hun drie  kinderen: Johann Friedrich II, Johann Wilhelm I en Johann Friedrich III. Op het hoofdpaneel zien we een afbeelding van de kruisiging. Jezus is op dit paneel driemaal afgebeeld: als Gekruisigde, als opgestane Heer en als Lam Gods. Onder het kruis staan Johannes de Doper, Lucas Cranach de Oudere en Maarten Luther. Deze laatste wijst op een passage in zijn Bijbelvertaling over de verlossing door het bloed van Jezus. Bij de voeten van Jezus zien we de verdrijving van Adam uit het Paradijs. Op de achtergrond twee scènes die wijzen op Gods genade: Mozes die een slang opricht in de woestijn (Numeri 19) en de aanbidding door de herders.

In de renaissancezaal van de Hertogin Anna Amalia Bibliotheek is een kleine tentoonstelling gewijd aan het atelier van Lucas Cranach de Oudere en zijn zoon. Het was één van de meest productieve ateliers uit de kunstgeschiedenis. Ze produceerden beelden in allerlei vorm: schilderijen, grafiek, geïllustreerde boeken en medailles. Wat betreft boeken is het meest indrukwekkende voorbeeld de Weimarer Lutherbijbel, een uitgave van de eerste volledige Bijbelvertaling door Maarten Luther met afbeeldingen van onder meer Lucas Cranach de Oudere.

Tot de bekendste schilderijen op deze tentoonstelling behoort het portret van Maarten Luther, dat evenals dat van zijn echtgenote Katharina van Bora afkomstig is uit het atelier van de Cranachs.

Luthers rechtvaardigingsleer wordt afgebeeld op het werk Gesetz und Gnade. Een boom verdeelt het beeld in twee zones; links de zonde, rechts de genade. Op het linkerdeel zien we Adam en Eva met de slang bij de boom der kennis van goed en kwaad, Adam die door de duivel naar het hellevuur wordt gedreven en Mozes met de tafelen der wet en bovenin God als rechter. Rechts zien we Johannes de Doper met Adam, die geraakt wordt door het genadebloed van Christus, Jezus als overwinnaar van Dood en Duivel, het Lam Gods, Mozes en de bronzen slang, Maria die het Kind verwacht en bovenin zien we nog net de voeten van Jezus, die ten hemel vaart. Onder de schildering staan Bijbelteksten die betrekking hebben op Luthers rechtvaardigingsleer.

Het schilderij Caritas toont Caritas, de personificatie van moeder- en naastenliefde, zittend onder een appelboom. Zij geeft één van haar kinderen borstvoeding, terwijl twee andere naakte kinderen naast haar staan. Eén van hen heeft een appel in de hand. Een variant op dit schilderij hangt in het Museum van Schone Kunsten in Antwerpen. Ook hier geeft ze één kind borstvoeding, terwijl een ander kind naast haar zit en een derde zich achter haar rug bevindt en de armen om haar hals slaat.

[thinkoften]

Ancient Egyptian Rulers

Dynasty 3    ca. 2649–2575 B.C.    

Zanakht : ca. 2649–2630 B.C.

Djoser : ca. 2630–2611 B.C.

Sekhemkhet : ca. 2611–2605 B.C.

Khaba : ca. 2605–2599 B.C.

Huni : ca. 2599–2575 B.C.

Dynasty 4    ca. 2575–2465 B.C.    

Snefru : ca. 2575–2551 B.C.

Khufu : ca. 2551–2528 B.C.

Djedefre : ca. 2528–2520 B.C.

Khafre : ca. 2520–2494 B.C.

Nebka II : ca. 2494–2490 B.C.

Menkaure : ca. 2490–2472 B.C.

Shepseskaf : ca. 2472–2467 B.C.

Thamphthis : ca. 2467–2465 B.C.

Dynasty 5    ca. 2465–2323 B.C.    

Userkaf : ca. 2465–2458 B.C.

Sahure : ca. 2458–2446 B.C.

Neferirkare : ca. 2446–2438 B.C.

Shepseskare : ca. 2438–2431 B.C.

Neferefre : ca. 2431–2420 B.C.

Niuserre : ca. 2420–2389 B.C.

Menkauhor : ca. 2389–2381 B.C.

Isesi : ca. 2381–2353 B.C.

Unis  : ca. 2353–2323 B.C.

Dynasty 6    ca. 2323–2150 B.C.    

Teti : ca. 2323–2291 B.C.

Userkare : ca. 2291–2289 B.C.

Pepi I : ca. 2289–2255 B.C.

Merenre I : ca. 2255–2246 B.C.

Pepi II : ca. 2246–2152 B.C.

Merenre II : ca. 2152–2152 B.C.

Netjerkare Siptah : ca. 2152–2150 B.C.

First Intermediate Period : ca. 2150–2030 B.C.    

Dynasty 8–Dynasty 10    ca. 2150–2030 B.C.    

Dynasty 11 (first half)    

Mentuhotep I : ca. 2124–2120 B.C.

Intef I : ca. 2120–2108 B.C.

Intef II : ca. 2108–2059 B.C.

Intef III : ca. 2059–2051 B.C.

Mentuhotep II : ca. 2051–2030 B.C.

Middle Kingdom : ca. 2030–1640 B.C.    

Dynasty 11 (second half)    ca. 2030–1981 B.C.    

Mentuhotep II (cont.)  : ca. 2030–2000 B.C.

Mentuhotep III : ca. 2000–1988 B.C.

Qakare Intef : ca. 1985 B.C.

Sekhentibre : ca. 1985 B.C.

Menekhkare : ca. 1985 B.C.

Mentuhotep IV : ca. 1988–1981 B.C.

Dynasty 12  ca. 1981–1802 B.C.    

Amenemhat I : ca. 1981–1952 B.C.

Senwosret I : ca. 1961–1917 B.C.

Amenemhat II : ca. 1919–1885 B.C.

Senwosret II : ca. 1887–1878 B.C.

Senwosret III : ca. 1878–1840 B.C.

Amenemhat III : ca. 1859–1813 B.C.

Amenemhat IV : ca. 1814–1805 B.C.

Nefrusobek : ca. 1805–1802 B.C.

Dynasty 13    ca. 1802–1640 B.C.    

Second Intermediate Period  :  ca. 1640–1540 B.C.    

Dynasty 14–Dynasty 16    ca. 1640–1635 B.C.    

Dynasty 17  ca. 1635–1550 B.C.    

Tao I  : ca. 1560 B.C.

Tao II : ca. 1560 B.C.

Kamose : ca. 1552–1550 B.C.

New Kingdom :   ca. 1550–1070 B.C.    

Dynasty 18  :  ca. 1550–1295 B.C.    

Ahmose : ca. 1550–1525 B.C.

Amenhotep I : ca. 1525–1504 B.C.

Thutmose I : ca. 1504–1492 B.C.

Thutmose II : ca. 1492–1479 B.C.

Thutmose III : ca. 1479–1425 B.C.

Hatshepsut (as regent) : ca. 1479–1473 B.C.

Hatshepsut : ca. 1473–1458 B.C.

Amenhotep II : ca. 1427–1400 B.C.

Thutmose IV : ca. 1400–1390 B.C.

Amenhotep III : ca. 1390–1352 B.C.

Amenhotep IV : ca. 1353–1349 B.C.

Akhenaten : ca. 1349–1336 B.C.

Neferneferuaton : ca. 1338–1336 B.C.

Smenkhkare : ca. 1336 B.C.

Tutankhamun : ca. 1336–1327 B.C.

Aya : ca. 1327–1323 B.C.

Haremhab : ca. 1323–1295 B.C.

Dynasty 19   : ca. 1295–1186 B.C.   

Ramesses I : ca. 1295–1294 B.C.

Seti I : ca. 1294–1279 B.C.

Ramesses II : ca. 1279–1213 B.C.

Merneptah : ca. 1213–1203 B.C.

Amenmesse : ca. 1203–1200 B.C.

Seti II : ca. 1200–1194 B.C.

Siptah : ca. 1194–1188 B.C.

Tawosret : ca. 1188–1186 B.C.

Dynasty 20 :   ca. 1186–1070 B.C.    

Sethnakht  : ca. 1186–1184 B.C.

Ramesses III : ca. 1184–1153 B.C.

Ramesses IV : ca. 1153–1147 B.C.

Ramesses V : ca. 1147–1143 B.C.

Ramesses VI : ca. 1143–1136 B.C.

Ramesses VII : ca. 1136–1129 B.C.

Ramesses VIII : ca. 1129–1126 B.C.

Ramesses IX : ca. 1126–1108 B.C.

Ramesses X : ca. 1108–1099 B.C.

Ramesses XI : ca. 1099–1070 B.C.

Hight Priests (HP) of Amun : ca. 1080–1070 B.C.    

HP Herihor : ca. 1080–1074 B.C.

HP Paiankh : ca. 1074–1070 B.C.

Third Intermediate Period  ca. 1070–713 B.C.    

Dynasty 21    ca. 1070–945 B.C.    

Smendes : ca. 1070–1044 B.C.

HP Painedjem I : ca. 1070–1032 B.C.

HP Masaharta : ca. 1054–1046 B.C.

HP Djedkhonsefankh : ca. 1046–1045 B.C.

HP Menkheperre  : ca. 1045–992 B.C.

Amenemnisu : ca. 1044–1040 B.C.

Psusennes I : ca. 1040–992 B.C.

Amenemope : ca. 993–984 B.C.

HP Smendes : ca. 992–990 B.C.

HP Painedjem II : ca. 990–969 B.C.

Osochor : ca. 984–978 B.C.

Siamun : ca. 978–959 B.C.

HP Psusennes : ca. 969–959 B.C.

Psusennes II : ca. 959–945 B.C.

Dynasty 22 (Libyan)    ca. 945–712 B.C.    

Sheshonq I : ca. 945–924 B.C.

Osorkon I  : ca. 924–889 B.C.

Sheshonq II : ca. 890 B.C.

Takelot I : ca. 889–874 B.C.

Osorkon II : ca. 874–850 B.C.

Harsiese : ca. 865 B.C.

Takelot II : ca. 850–825 B.C.

Sheshonq III : ca. 825–773 B.C.

Pami : ca. 773–767 B.C.

Sheshonq V : ca. 767–730 B.C.

Osorkon IV : ca. 730–712 B.C.

Dynasty 23    ca. 818–713 B.C.    

Pedubaste I : ca. 818–793 B.C.

Iuput I : ca. 800 B.C.

Sheshonq IV : ca. 793–787 B.C.

Osorkon III : ca. 787–759 B.C.

Takelot III : ca. 764–757 B.C.

Rudamun : ca. 757–754 B.C.

Iuput II : ca. 754–712 B.C.

Peftjaubast : ca. 740–725 B.C.

Namlot : ca. 740 B.C.

Thutemhat : ca. 720 B.C.

Dynasty 24    ca. 724–712 B.C.    

Tefnakht : ca. 724–717 B.C.

Bakenrenef : ca. 717–712 B.C.

Late Period  : ca. 712–332 B.C.    

Dynasty 25 (Nubian)    ca. 712–664 B.C.    

Piye (establishes Nubian Dynasty in Egypt) : ca. 743–712 B.C.

Shabaqo : ca. 712–698 B.C.

Shebitqo : ca. 698–690 B.C.

Taharqo (loses control of Lower Egypt) : ca. 690–664 B.C.

Tanutamani (loses control of Upper Egypt) : ca. 664–653 B.C.

Dynasty 26 (Saite)    688–525 B.C.    

Nikauba : 688–672 B.C.

Necho I : 672–664 B.C.

Psamtik I : 664–610 B.C.

Necho II : 610–595 B.C.

Psamtik II : 595–589 B.C.

Apries : 589–570 B.C.

Amasis : 570–526 B.C.

Psamtik III : 526–525 B.C.

Dynasty 27 (Persian)   525–404 B.C.    

Cambyses : 525–522 B.C.

Darius I : 521–486 B.C.

Xerxes I : 486–466 B.C.

Artaxerxes I : 465–424 B.C.

Darius II : 424–404 B.C.

Dynasty 28    522–399 B.C.    

Pedubaste III : 522–520 B.C.

Psamtik IV : ca. 470 B.C.

Inaros  : ca. 460 B.C.

Amyrtaios I : ca. 460 B.C.

Thannyros : ca. 445 B.C.

Pausiris : ca. 445 B.C.

Psamtik V : ca. 445 B.C.

Psamtik VI : ca. 400 B.C.

Amyrtaios II : 404–399 B.C.

Dynasty 29    399–380 B.C.    

Nepherites I: 399–393 B.C.

Psammuthis : 393 B.C.

Achoris : 393–380 B.C.

Nepherites II : 380 B.C.

Dynasty 30    380–343 B.C.    

Nectanebo I : 380–362 B.C.

Teos : 365–360 B.C.

Nectanebo II : 360–343 B.C.

Persians : 343–332 B.C.

Khabebesh : 343–332 B.C.

Artaxerxes III Ochus : 343–338 B.C.

Arses : 338–336 B.C.

Darius III Codoman : 335–332 B.C.

Macedonian Period    332–304 B.C.    

Alexander the Great : 332–323 B.C.

Philip Arrhidaeus : 323–316 B.C.

Alexander IV : 316–304 B.C.

Ptolemaic Period    304–30 B.C.    

Ptolemy I Soter I : 304–284 B.C.

Ptolemy II Philadelphos : 285–246 B.C.

Arsinoe II : 278–270 B.C.

Ptolemy III Euergetes I : 246–221 B.C.

Berenike II : 246–221 B.C.

Ptolemy IV Philopator : 222–205 B.C.

Ptolemy V Epiphanes : 205–180 B.C.

Harwennefer : 205–199 B.C.

Ankhwennefer : 199–186 B.C.

Cleopatra I : 194–176 B.C.

Ptolemy VI Philometor : 180–145 B.C.

Cleopatra II : 175–115 B.C.

Ptolemy VIII Euergetes II : 170–116 B.C.

Harsiese : ca. 130 B.C.

Ptolemy VII Neos Philopator : 145–144 B.C.

Ptolemy IX Soter II : 116–80 B.C.