#mme pastel

[slotttralist]

[chic-a-gigot]

La Mode illustrée, no. 36, 6 septembre 1903, Paris. Robe en lainage avec boléro à plis. Toilette d'automne. Château de Chenonceaux. Modèles de chez Mme Blanche Limousin, rue La Fayette, 105. Ville de Paris / Bibliothèque Forney

Description des toilettes de la gravure coloriée:

Robe en lainage avec boléro à plis.

La jupe de cette robe, en lainage beige quadrillé, est disposée en gros plis piqués jusqu'à mi-hauteur et évasés dans le bas, pour figurer un volant.

On entoure la taille d'une ceinture-corselet en soie Liberty héliotrope, sur laquelle retombe un boléro à gros plis, monté sur un empiècement piqué; ce dernier, coupé en pointes et fermé sous un gros bouton doré, est ouvert sur un petit plastron à col droit, exécuté en guipure crème sur transparent héliotrope; on monte les manches, faites avec des plis, sur des épaulettes piquées et on les retient dans des poignets croisés sous un bouton doré.

Chapeau en paille héliotrope garni d'une draperie en dentelle crème.

Woolen dress with pleated bolero.

The skirt of this dress, in checkered beige wool, is arranged in large pleats stitched up to mid-height and flared at the bottom, to represent a flounce.

The waist is surrounded by a corselet belt in heliotrope Liberty silk, on which falls a bolero with large pleats, mounted on a quilted yoke; the latter, cut in points and closed under a large golden button, is open on a small plastron with a straight collar, executed in cream guipure on transparent heliotrope; the sleeves, made with pleats, are mounted on stitched shoulder pads and held in cuffs crossed under a golden button.

Heliotrope straw hat trimmed with cream lace drapery.

—

Toilette d'automne.

Notre, gravure représente une robe en drap bleu pastel, ornée de biais de drap d'une nuance plus foncée. On coupe la jupe avec un tablier doublé à même et piqué sur les lés des côtés; ceux-ci sont composés de lés coupés en forme et montés sur un empiècement découpé en créneaux. (Voir le dos de la robé).Toutes les coutures, ainsi que les contours des volants, sont masqués sous des biais de drap bleu pastel ornés de boutons dorés.

Le corsage, exécuté avec la même garniture, s'ouvre sur un plastron à col droit en mousseline de soie bleue d'une teinte plus pâle, encadré de revers et de deux cols pèlerine ornés de pattes. On complète la garniture par une cravate en velours bleu avec boutons dorés. Les manches garnies de pattes sont complétées par des bouillonnès en mousseline.

Chapeau en feutre blanc garni de lisérés et d'une cocarde en soie Liberty bleue.

Autumn ensemble.

Our engraving represents a dress in pastel blue cloth, adorned with bias cloth in a darker shade. We cut the skirt with an apron lined in the same way and stitched on the lengths of the sides; these are made up of lengths cut in shape and mounted on a yoke cut into slots. (See the back of the dress). All the seams, as well as the contours of the ruffles, are concealed under bias in pastel blue cloth adorned with golden buttons.

The bodice, executed with the same trim, opens to a straight-necked plastron in blue silk muslin of a paler shade, framed by lapels and two pelerine collars adorned with tabs. The trim is completed with a blue velvet tie with gold buttons. The sleeves trimmed with plackets are completed with muslin bubbles.

White felt hat trimmed with piping and a blue Liberty silk cockade.

[susandsnell]

I really do think that having Spooky Goth Mom Madame Giry and Pastel Everything Ballerina Meg is made so much more fun by the fact that Mme. is deeply conventional if superstitious and horrified by the fact that Meg is the Would-Be Gothic Novelist (Susan Kay made one valid point! She’s allowed one! And that Magical Lasso blooper is canon to me let Meg be a horror stan.) The opposing aesthetics/contrasting tastes is such a fun characterization concept 

[chicinsilk]

US Vogue September 1, 1950

Mrs. Amory Carhart wears an Emba Royal Pastel mutation mink coat, by Maximilian over a beige worsted jersey dress, beige velvet piped collar and cuffs. by Harvey Berin. Mme Amory Carhart porte un manteau de vison mutation Emba Royal Pastel, par Maximilian sur une robe en jersey peigné beige, col et poignets passepoilés en velours beige. par Harvey Berin. Photo Horst P. Horst vogue archive

[jules-aviat-b]

Musée de Périgueux

“Départ pour la chasse aux papillons”, don de Jules Aviat au MAAP ; huile sur toile signée BG, 200 x 130 cm. Ce tableau, qui figura notamment à l'exposition des Beaux Arts de Dordogne en 1886, représente trois des cinq enfants du peintre, Marguerite  (qui est restée célibataire et qu’on surnommait Tito), à gauche, Pierre (décédé jeune), avec un fusil d'enfant et Denise, future épouse Serratrice, à droite, sur les escaliers de leur propriété de Sceaux. Le tableau a été restauré en 2024 grâce aux dons effectués par l’Association des Amis du MAAP et Alain Serratrice, l’arrière petit fils du peintre, pour moitié du coût de la restauration et par une subvention de la ville de Périgueux, pour le solde.

Aquarelle représentant les escaliers de la propriété de Jules Aviat à Sceaux, qui a servi de décor au tableau “Départ pour la chasse aux papillons” (Col. privée). Jules Aviat   a  peint  cette  aquarelle  en  1885, sur  la première page du journal intime de Mademoiselle Berthe Caron, en l’accompagnant du poème ci-dessous (la famille Caron était de grands amis des Aviat).

Berthe Caron s’est mariée en 1887 avec Monsieur Ernest Bousquet ; Jules Aviat était l’un de leurs témoins de mariage.

Photo des escaliers de  la propriété de Jules Aviat à Sceaux, avec deux enfants du peintre, Denise et Julie, future épouse Huber (Col. privée).

“Portrait de Madame (mère de Mme de Poix ?),  huile sur toile, 121 x 86 cm.

“Portrait d'une jeune femme roumaine”,  huile sur toile signée BD 84 x 69 cm.

“Portrait du Docteur Guilbert”, ancien préfet de Dordogne et directeur de la maison pénitencière de Cadillac (33), huile sur toile signée en HG datée 87, 55 x 46 cm.

“Portrait de Madame Guilbert”, huile sur toile signée en HG datée 87, 55 x 46 cm.

“Portrait de Pierre Antoine Aviat”, père adoptif de l'artiste, huile sur toile 56 x 45 cm.

“Portrait de Marie Marguerite Aviat”, mère de l'artiste, huile sur toile 56 x 45 cm.

“Portrait du Docteur Bardy Delisle, maire de Périgueux”, huile sur toile 130 x 98 cm, don de Madame Delisle en 1903.

REIMS : musée des Beaux Arts

“Portrait du Docteur Louis Landouzy 1845-1917”, huile sur toile datée 1889, 131.3 x 98.9 cm.

RENNES : musée des Beaux Arts

“Portrait de Madame Gustave Toudouze, signée en HD, avec la dédicace "A mon Ami Gustave Toudouze, 1883”, “Maman par Aviat” au dos de la main de G. Toudouze, leg de Georges Gustave Toudouze, huile sur toile 55.5 x 46.2 cm.

ROUEN : musée des Beaux Arts

“Portrait de Mademoiselle Suzanne Marsa”, © Agence Albatros/Musée de la Ville de Rouen-Reproduction et utilisation interdites sans l'autorisation des Musées de la Ville de Rouen ;pastel signé BD, daté 1893, 130 x 108 cm.

Ce tableau a été exposé au Salon des Artistes Français de 1893 (voir ci-après).

SAINTES : musée des Beaux Arts

“Portrait du Comte Lemercier, fondateur du musée”, huile sur toile 130.5 x 97 cm, don du Comte Lemercier.

TROYES : musée des Beaux-arts

“Portrait de Madame Berthe Bousquet née Caron”, Photo J.M. Protte. Tous droits réservés. Pastel signé BG, 130 x 80 cm, dédicacé “à mon excellent ami Monsieur Caron”.

Un autre “Portrait de Madame Berthe Bousquet”,  Photo J.M. Protte. Tous droits réservés. Pastel daté 1893, signé BG, 135.5 x 79.5 cm.

“Portrait de Madame Jules Caron née Jannet”, huile sur toile, signée BD, datée 1889, 203 x 141 cm, exposée au Salon de 1889 (voir ci-après).

“Les forgerons”, huile sur toile 113 x 162 cm.

“Les forgerons”, ancienne photographie du tableau (Col. privée).

Huit études pour les personnages du tableau “Les forgerons”.

Deux des huit études ci-dessus, 24 x 20 cm.

“Les Forgerons” est une peinture réaliste, peinte en 1882, qui représente la réalité du travail ouvrier et plus particulièrement, le travail du fer.

Nous pouvons  observer au premier plan, six hommes autour d’une enclume, chaque personnage ayant un geste différent. L’un frappe le métal avec son outil, l’autre s’apprête à battre le fer, pendant qu’un autre attend avec son outil à terre. Les études pour la réalisation du tableau sont intéressantes pour l’analyse des gestes de chaque personnage. Nous pouvons donc voir un certain enchaînement rapide en forme de spirale qui montre le geste décomposé et le travail acharné du forgeron mais aussi le travail collectif. De plus le peintre a porté une certaine attention au geste graduel et a la place importante qu’il occupe ce qui projette la scène dans un réalisme quotidien.

Cette scène est peinte avec des couleurs obscures et seule l’enclume et le métal, autour desquels les forgerons sont concentrés, paraissent éclairés ce qui provoque un effet de clair-obscur.

Nous pouvons aussi remarquer que cette scène met en valeur une forge artisanale, réalisée par plusieurs hommes ce qui peut évoquer la petit industrie du XIXème. Cependant, l’image traditionnelle du forgeron est montrée de façon différente à travers des personnages torse-nus et donc une représentation plus contemporaine qui met en valeurs l’homme en effort.

Le thème des forgerons a été traité par de nombreux peintres dont les frères Le Nain (17ème s.). Ci-dessous “Une famille de forgerons” (Le Louvre).

“Portrait d'homme”, Photo J.M. Protte. Tous droits réservés. Huile sur toile signée HD, datée 1902, 85 x 65 cm.

VENDÔME : musée de Vendôme (dans les bâtiments de l’abbaye de La Trinité ?).

“Portrait du Professeur Alban Ribemont-Dessaignes, (1847-1940)”, huile sur toile signée HD, datée 1909, 73.5 x 60 cm, exposée au Salon de 1910. Ce tableau était destiné au Lycée Ronsard de Vendôme, où le professeur enseignait. Il porte la robe universitaire des doyens et professeurs de la faculté et des écoles supérieures. La couleur “casimir rouge” fait référence aux facultés de droit.

VIZILLE : musée de la Révolution française.

“Charlotte Corday, mort de Marat”, huile sur toile signée BG, 281 x 205 cm (Salon de 1880, voir ci-après).

Ce tableau, acheté 800 frs à son auteur par le musée de Rouen en 1880, est maintenant exposé au musée de Vizille.

“Charlotte immobile et comme pétrifiée de son crime était debout derrière le rideau de la fenêtre” (Lamartine).

Dans le tableau de Jules Aviat, toute l'attention est concentrée sur l'héroïne. Charlotte vient de tuer. Immobile comme pétrifiée, elle se tient debout dans sa robe blanche, le poignard du crime au sol, son regard fixe comme halluciné, ne s'arrête point sur la baignoire sanglante. Il regarde ailleurs vers l'avenir. Les lèvres se pincent dans un rictus. Elle a tué. La voici en face de son acte, seule en face de lui. Tout le reste est silence.

Bientôt le monde, la foule, la justice vont accourir. La justice des hommes qui condamne, approuve, honnit, guillotine. La Société qui se défend et à raison de se défendre.

Mais le secret profond des âmes et des consciences qui donc -sinon Dieu- en sera le juge ?“ (Marguerite d'Escola dans l'Aube du 12 mars 1939).

Etude pour le tableau "Charlotte Corday, mort de Marat”, huile sur toile 72x32 cm.

[detournementsmineurs]

"Mme Perronneau Endormie" pastel de Jean-Baptiste Perronneau (circa 1766) à l'exposition "Berthe Morisot et l'Art du XVIIIe siècle" au Musée Marmottan Monet, Paris, février 2024.

[maikagervais]

Critique de l'exposition Réenchantement de Carol Wainio à La Poste

Dans le cadre de mon cours d'atelier de création, j'ai eu à choisir entre trois expositions. Une dont le délais était passé, l'autre très politisé et celle pour laquelle j'ai finalement opté, Carol Wainio au musée La poste.

Dès mon entrée dans le bâtiment d'exposition, j'ai été bouche-bée. Déjà de loin, les teintes et formats des œuvres créait une première impression grandiose. L'agencement des œuvres nous transportent immédiatement dans l'univers quelle créé à travers ses toiles. Les thèmes et le style de l'artiste m'ont plus au premier regard. Ses toiles, un mélange de précision et d'abstrait, créent un univers bien particulier facile d'accès même pour un observateur novice. Les thèmes sont faciles à reconnaître tel les fables de la Fontaines, le petit Poucet et les contes de Disney. Les teintes pastels tout en douceur nous entraînent dans le rêve et la nostalgie.

Quatre des œuvres m'ont particulièrement touchées. Pour la première, il s'agit de "The Fall" qui est une acrylique sur toile créé en 2015. Elle fait référence au conte du petit Poucet. La précision des personnages dans un univers plutôt abstrait créé un beau contraste. La superposition des couches de peinture permet une belle profondeur intéressante. La deuxième est "Grimper" aussi une acrylique sur toile qui a été créé en 2022 et fait partie de la collection Le petit Poucet. Dans celle-ci, nous avons l'impression d'une toile dans une toile. Le fond est plutôt abstrait, donnant l'impression d'être dans un endroit imaginaire. En avant plan, il y a un encadré semi défini dans lequel on y voit des enfants perdus dans les bois comme s'ils étaient prisonniers de la toile dans la toile. La troisième toile est "The dog and the wolf 2" où on y voit une oeuvre inspirée des fables de La Fontaine. C'est une acrylique sur toile créé en 2021. On y voit un chien à l'air triste et à la mine base devant un loup à l'allure agressive dans une forêt où se trouve une porte de pierre. Le chien est dans le coin inférieur droit dans un genre de rectangle aux couleurs différentes du reste de la toile. On voit aussi, sur le canevas, une image originale de cette fable avec un chien en tuxedo face au loup agressif. La quatrième toile est aussi une acrylique sur toile de 2005-2006 nommée "Puss in boots 7". On y voit un mur de briques percé de deux fenêtres par lesquelles on voit des pieds chaussés. En superposition, il y, a en transparence, le contour d'un chat tacheté noir et caramel.

La démarche de l'artiste s'inspire, tel que mentionné précédemment, des classiques des œuvres de sa jeunesse. Son inspiration créative vient de la découverte d'anciennes cartes postales de vieux contes qu'elle a décidé d'intégré dans ses œuvres. Ses peintures évoquent une trame narrative et sont influencées par l'expressionnisme figuratif et le mouvement naturaliste. Carol Wainio intègre des sujets d'actualité en lien avec des histoire d'autrefois.

L'installation de son oeuvre au musée est très fluide et cohérente. Nous pouvons aisément passer d'une oeuvre à l'autre dans l'ordre ou le désordre sans avoir l'impression d'en avoir manqué quelque chose tout en ayant la perception que tout est relié. La majorité des toiles sont de très grand format, ce qui permet à l'artiste d'y intégrer des messages plus subtils qui ne paraissent pas au premier regard mais qui nécessite une exploration en profondeur de son art pour y saisir un deuxième degré qui nous fait davantage réfléchir. Il se dégage une impression de précision mais qui n'est, en y prêtant davantage d'attention, qu'une perception puisque certains items sont finalement très abstraits.

En conclusion, j'ai adoré mon choix d'exposition puisque les œuvres de Mme Wainio viennent titiller mon besoin de perfectionnisme. La douceur de ses œuvres m'ont apaisé au premier regard et mon permis de me plonger dans son oeuvre onirique qui me rappelle les histoire de mon enfance. J'y ai vu une possibilité de faire une oeuvre précise sans l'être tout à fait.

[jbwebster]

Check out this listing I just added to my Poshmark closet: Appleseed’s Tunic Top M Sheer Easy Breezy Crinkle Cotton.

[madamemorisot]

The exhibition was held at Durand-Ruel's, from May 25 to June 25; it was smaller than originally planned. Berthe sent three paintings, one pastel, and one water-colour. Monet wrote to her later:

“.. You must think that I am quite forgetful, don't you? I wanted to come to see you and to tell you how good I thought your pictures at Durand's were. I have been very busy here, going to Paris only occasionally for a few hours; and then I hoped that you would arrange with Mallarmé to come to Giverny.

“Have the Goupils at least notified you that they were giving an exhibition of about ten paintings that I sold them? I should be very pleased to have your opinion.”

She wrote in answer: “Thank you very much for kindly remembering me and for your kind words about my wretched pictures at Durand's. I am all the more touched because, as you know, the show is a complete fiasco, and it seemed to me that each of us had his share of responsibility in this disaster, of course Renoir and Whistler less than the others; but all this the public cannot understand.“As for you, you have conquered this recalcitrant public. At Goupil's one meets only people who have the highest admiration for you, and I find that there is much coquetry in your request to me to give you my opinion — I am simply dazzled! and you know it quite well. If you insist I shall tell you that the picture I like best is the one with the little red-brown tree in the foreground; my husband and I stood in ecstasy before it for an hour.“I saw Mallarmé on Thursday. I should be quite surprised if this charming man did not express all his admiration for you in a delightful letter. Both of us are still very eager to see you at Giverny, and I hope that next month the weather will be less unpleasant than this month.“Please, give my best regards to Mme Hoschedé.”

[floraracoon]

Pt 2

Mme. Bustier -

- As class starts up, the class phone begins to ring. Mr Damocles has called to tell Bustier that there are people wanting to talk to her about something, and that the Art teacher would be sent over to watch her class in the mean time.

- As Bustier leaves the class are told to use this time as a study hall, and those who had nothing left to do just need to make sure they behave for the art teacher.

- When she arrives there are three people in the office. Damocles, a representative from the school board, and a lawyer sent to represent the school board.

- It turns out that an anonymous person sent a flashdrive to the school, with video and audio of some of Mme. Bustier’s ‘teaching methods’ along with lists, links, and more. The evidence alone is damning of her capabilities as a teacher.

- She’s told that there was someone who had been planning to transfer over here anyways, and that they would take over the next day and bring with them their protege.

Aftermath -

- As the new teacher arrives and explains the situation, shock waves through the students. Some sigh in relief that they can put themselves first for once, while others shout out in defense of Bustier. Many stay quiet and just stare in shock.

- The protege arrives then, and is told to sit down next to Marinette in Alya’s old seat, drilling in to some students that Alya truly is not coming back.

- Eventually class ends and the protege is properly introduced to the other students, where they quickly explain through text that they aren’t attending this school, and that they just aren’t able to stay home alone at the moment. They are online learning from their school back in the states, but they’ll be attending classes whenever the teacher can’t find someone to take care of them for a day.

- They are invited to join them in watching Kitty Section’s new song at the Liberty over the weekend, and they gladly join in.

Desperada -

- The weekend arrives, and the class is gathered at the dock they’ve decided on. Students are scattered around the boat trying to find places to see. Kim even dragged Max and by extension MARKOV onto the roof for a better view. Alix quickly climbed up claiming she was there to “keep MARKOV company, who knows how bored they would be without me”

- As the performance comes to a close, Jagged Stone pulls up in his limo, trying to recruit a new guitarist. Marinette does as canon, and Desperada drops in. Everyone scatters, with only a few being captured.

- Eventually a few people drop onto the scene. Ladybug is the only recognizable one. The one that arrives next to her is in a teal suit that covers most of their face, carrying a harp on their back and with one hand resting on a bracelet around their wrist.

- The other two came from different directions. One had a spiked leather jacket over their suit, with hair up in a mohawk like style. They had spots of honey-yellow peaking through a mostly black and dark brown suit. Spiked steel toed boots finished up the look. The other was more…. Chaotic. Tall ears peaked up from fluffed up hair, with hazel eyes peaking out from a pastel blue mask. Their suit had them wearing a baggy hoodie with the iconic turtleneck of the miraculous suits poking out from beneath. With dark brown leggings that melted into black boots reminiscent of the person next to them.

- The first fight goes terribly. Ladybug is hit near immedietly. The teal one twists their bracelet and their back to moments before, in the sewers they had jumped out of. Only, this time the two mysterious people dropped into the sewers with them.

- Ladybug is immedietly suspiscious, reminders of Scarlet Moth and Volpina bleeding into her mind. Aspik however is confused as to why they appeared sooner than before.

- Leather: “Time travel doesn’t effect cartoons, dummy.”

- Turns out the two are heroes who got sent over to assist in the fight against Hawkmoth. The one in the leather jacket has the ability to cause anyone who they use their power on to see all of their loved ones mocking and laughing at them. The one in the hoodie abides by cartoon logic exclusively.

- Ladybug/Aspik:“Ok, and why should we believe you?”

- Leather: “Cause there’s already an akuma. We also could detransform if you want.”

- Ladybug: “Why would we want that? Aren’t you scared of your identity being known?”

- Leather: “Well yeah. Just means I’m scared of dying which everyone is.”

- Aspik: “What do you mean?”

- Leather: “What do you mean?”

- Ladybug: “This is taking too long, Aspik go re-charge, we’ll finish this conversation before you get back.”

- After Aspik leaves, the three get to talking.

Explanation: Miraculous magic system makes very little sense. So, I fixed it up a bit. Each kwami is descended from gods of magic, and depending on what is the most present dictates their title. Tikki and Plagg aren’t actually THE kwami’s of creation and destruction alone, they are the creation and destruction of LUCK. Good Luck/Bad Luck. Leather jacket has the hyena miraculous, hoodie has the coyote miraculous, which both fall with the monkey on the chaos side of things. ‘Perfect holders’ or people who have almost the exact same magic signature as the kwami of the miraculous are the only ones able to have chaos miraculous, as they are chaotic and therefore incredibly distructive if used incorrectly. ‘Perfect Holders’ can only loose their miraculous if they willingly take it off or if they die. So they aren’t worried about their identities being found out. Fu who never learned how to figure that out wasn’t exactly worried about finding a perfect holder. Even if he tried, he likely wouldn’t find one, as they could very well be in another country.

Full explanation is chapter ten of the fic

Continuing on -

- When they get back the hoodie wearing holder pulls out a sign from their pocket and shows it to their companion. Their companion nods before asking if Ladybug knows that the person next to her was more fit for a destructive or protection miraculous, rather than the time based miraculous around his wrist. When asked why it would matter, the answer was just “someone with time based magic will be more likely to understand and get though a time based miraculous’s abilties with their sanity in tact and with minimal damage.”

- Aspik quickly returned the miraculous and darted off, with Chat Noir returning shortly after.

- The question of who would take the miraculous comes up, and the two dart off to find suitable canidates. Hoodie returns with a pink haired gremlin in tow, while Leather returns with Luka.

- An agreement is made that the two will swap back and forth every twenty turns so they can try different approaches.

- After a couple rounds of each, Luka eventually comes in with the winning strategy.

(Note: This is going to stick. Alix and Luka both fit both time miraculous but not to a perfect extent. As such, they swap back and forth who has which miraculous to split responsibility.)

Gems of Dupont - Rewrite

Since it's been bothering me these past few days, this is a list of how I would rewrite a fic I wrote last year, called The Gems of Dupont on Ao3 if I were to do so.

Spoiler Warning if you want to read the fic then read this

Premise: There is a group of students who while anonymous, are known to have a lot of power. Namely, they have a history of getting rid of unsavory figures in the school or associated with it. Their current targets are Marinette (stalking, minor abuse of power, and her actions towards her 'rivals'), Adrien (bystander, actions as Chat Noir towards Ladybug, etc.), Lila (obvious), Alya (misinformation, slander, and something else), Mme. Bustier (bystander, emotional manipulation, poor teaching methods), Mr. Damocles (fraud, neglect, etc.), and Fu (facing the consequences of his own actions)

Problems: A scene that I did not flesh out enough to show the reasoning behind it, too many characters involved in the takedown, illogical plot points, involving characters that make no sense, and moving too fast due to me losing interest but not wanting to go on hiatus or abandoning the work.

The Rewrite:

Establishing the Gems -

The sign of the Gems (a wreath of gems on Mme. Mendelieve's door) is shown, causing rumors to spread through the school

Adrien, Alya, and Lila ask what they are, giving them the full explanation

The Gems are a group of six that every year go through and gather evidence of people's wrongdoings, before giving them to those that would cause the most change. This most of the time results in someone leaving the school. When they are done, gems are left where the person sits. Each gem represents something, and while there are six Gems, there are more gems.

Chloe scoffs out loud while Lila internally scoffs. Chloe thinks she is immune, as she has never been hit before. Lila scoffs because she thinks she hasn't been caught, to begin with.

Cut to a group chat, where two people are arguing over the nicknames they have in the chat. "Eye candy" seems particularly frustrated and claims they bring something more to the team than their good looks.

Safety Measures -

We see a week pass, with people becoming more and more anxious waiting for something to happen. Some sign that this wasn't a fluke. The first week is always when it is that they send out the warnings, where are the warnings?

But one day, as Nino walks in, having not arrived with Alya due to her running off to record an akuma fight, he finds a note sitting on his desk. The note contains a list of numbers and timestamps. A small doodle of a gem sitting in the corner.

On another day, Rose finds a small slip of paper that has Prince Ali's phone number on it, also with a small doodle of a gem in the corner

Luka opens a note left on his bed. He finds the chords for a song, with no lyrics. Each page has small annotations of cherry blossoms in places where lyrics would be, and a doodle of a gem in the bottom corner.

Kagami is surprised when a note falls out of her locker, with a message in brail saying "He hesitates, where is his backbone?". A gem is engraved on the page

The first -

Alya is the first to go down. After a fight between her and Nino that results in their break up, she learns that her parents got a similar note to the one that started the fight.

The numbers and timestamps were coded for different videos on the Ladyblog. The one for Nino was instances where Alya endangered him and those around him. The fight was about her recklessness, and her want to get up close to akuma fights with little regard for her safety.

The one her parents got, however, was every single time she had endangered herself.

The two of them were busy with work often, so they only really watched the videos Alya sent them. Often those were the ones where she stayed safe for the most part or had a lot of views.

So they opened her blog, to investigate what these timestamps were, only to find their daughter once again throwing herself into situations she shouldn't have. Along with countless posts trying to figure out the identities of people who were trying to protect the city and a single post that had them questioning her integrity.

The next day, Alya was pulled into distanced learning. She was also grounded until further notice, with no blog posting for one day per timestamp listed.

Will continue this post tomorrow, as this is getting really long

[griffes]

Anniversaire entaché par des soucis de santé alors... encore plus touchée par la beauté, la présence désintéressée et les gestes d'amitié.

[chic-a-gigot]

La Mode illustrée, no. 1, 7 janvier 1900, Paris. Toilette de promenade en drap-idéal. Modèle de Mme Angenault, rue de Provence 67. Ville de Paris / Bibliothèque Forney

Description de la gravure coloriée:

La jupe, collante sur les hanches, de cette toilette en drap-idéal bleu-pastel, a son lé de derrière taillé en éventail, fixé intérieurement sur des bandes disposées pour donner une forme élégante à son ampleur.

Le bord inférieur de la jupe, cerclé de plusieurs rangées de piqûres, est garni de tresses dentelées de même nuance que la robe, disposées en une pointe remontant par derrière; le lé de devant est encadré de piqûres pour simuler un étroit tablier. Le corsage-veste, fermé par trois grands boutons de nacre, garni de.tresses dentelées, se prolonge devant en formant une patte arrondie, garnie de piqûres.Les devants s'ouvrent avec des revers souples, garnis de velours blancs et bordés de chinchilla, sur un petit plastron en guipure crème; le corsage est terminé par un haut col rabattu; les manches étroites, bordées de chinchilla, sont entièrement cerclées de tresses et de piqûres sur les épaules.

Chapeau en feutre bleu pastel garni d'une écharpe disposée en un grand nœud et terminée par des franges, ainsi que d'une plume de fantaisie gris foncé.

—

The skirt, tight on the hips, of this ensemble in pastel blue ideal cloth, has its back panel cut in a fan shape, fixed inside on bands arranged to give an elegant shape to its fullness.

The lower edge of the skirt, circled with several rows of stitching, is trimmed with serrated braids of the same shade as the dress, arranged in a point rising from behind; the front length is framed with stitching to simulate a narrow apron. The bodice-jacket, closed by three large mother-of-pearl buttons, trimmed with serrated braids, extends in front forming a rounded tab, trimmed with stitching. The fronts open with soft lapels, trimmed with white velvet and edged with chinchilla, on a small cream guipure plastron; the bodice is finished with a high turn-down collar; the narrow sleeves, edged with chinchilla, are fully circled with braids and stitching on the shoulders.

Pastel blue felt hat trimmed with a scarf arranged in a large bow and finished with fringes, as well as a fancy dark gray feather.

[booksrbetterthanpeople]

Mirrorverse Crossover- Nino

Fairy GodBro's wings flinched a bit as the fox-human hybrid circled around him with a predatory look in his eyes. He's not one for judging, but... He's pretty sure this guy is going to pounce on him at any moment, so if he's going to do anything, he should just get it over with! On instinct, he starts reaching for his wand, but settles down when the fox finally takes the seat across from him

"Relax, buddy," Honest Nino says coolly with a chuckle. He flips the chair around, and at first Fairy GodBro wants to roll his eyes, but then remembers that his counterpart has a tail, and the chairs here don't exactly accommodate for that. Mind you, he's brought that up several times with a few teachers regarding his wings, but it all comes back to Mme. Bustier and M. Damocles saying they can't afford to accommodate every student... Yet, this school can afford King-size beds for everyone's dorm room. "I just like to know who I'm doing business with, is all. I mean, it's not every day you get to meet a fairy who can turn melons into carriages for maids, right?”

"It was a pumpkin," the fairy corrects through clenched teeth, knowing he got that wrong on purpose. "And we're just here to talk. So... What is it exactly that you do where you come from?"

Honest Nino gave a shrug of his shoulders and grinned, showing off his sharpened pearly whites. "Well, I consider myself a businessman and a bit of a manager of sorts. Mostly for stage actors, though. Ever heard of The Little Wooden Boy?"

Fairy GodBro blinks. "Excuse me?" He needs to make sure he didn’t mishear.

"Yeah, not to brag, but..." Honest Nino makes a show of pretending to stretch and leans back in his seat. "I'm the one who got him on the big stage. Had a big musical number and everything. Ever heard of, I've Got No Strings? It was a hit, and lemme tell you. That puppet girl you got sitting outside? Could make a killing off’a her.”

The fairy's wings flared out in anger. Memories of comforting Sabrinocchio during those sleepless nights began to resurface. Those pompous royals would always goad the ginger into singing that accursed song, poking and prodding at her wooden skin with whatever they had until she relented.

Taking a sharp inhale, he stands, not once slouching as he usually would and stares the hybrid dead in the eye. “Dude… I don’t care what sort of backwards universe your crawled out of… But here?” In a burst of blue sparkles, his wand appears in his hand. While he could have just fished it out of his pocket, it wouldn’t be as intimidating. “Most of us don’t find it humane to use people- People. Not puppets. In such a way. So if it’s alright with you, you should leave. Now.”

Honest Nino feels a sudden chill in the air, but tries to play it off. “H-hey, I was just joshin’, man. Lighten up, will ya?”

“No… I don’t think I will.”

🧚🏾‍♂️🦊

“‘Brina, hey, look at me,” Aurore gently coaxes while rubbing circles on the girl’s wrists. It helped to remind her that her strings were gone. “You’re not going back to that man. You’re not going to put on any shows or sing any songs unless you want to. Okay?”

Those who weren’t helping Sabrina calm down from her panic attack were busy watching the events unfold through one of the bubbles… Namely, the villains.

Nathaniel of Hearts loudly shushed them. “QUIET!" He turns his attention back to the glittery bubble. "That fairy of yours is about to go off on him!" His pupils shrink as manic laughter escapes through his lips, startling the alternate version of himself.

Yzalya scowls and narrows her eyes at the lousy hero version of her boyfriend. To think, him in... Pastels. "I'll have his wings hanging over my fireplace if he even dares," she threatens, right as the bubble suddenly pops in the villains' faces. "What the hell?!" Ismael lets out a growl of pain when some of the soap got in his eyes.

A few of the hero students look to see what has their counterparts so riled up, and have their answer when they see that the bubble Nino left for them to watch the interactions had disappeared. They're supposed to be indestructible and only pop when Nino calls them off, so the question on the hero kids' mind was, why did Nino call it off? And it didn't take too long for Tianalya to figure it out when Honest Nino's words about Sabrina played in her head.

"Oh, boy," she winces and tugs on her shirt collar. Yzalya suddenly seizes her by the shoulders. "Hey! Personal space!"

"What is that fairy doing to my boyfriend?!" She demands. "Tell me, or I'll see to it you do not have a Prince to reverse the spell!" From her purse, she pulls out a vial with a green fluid, making Tianalya gulp. "Well?!"

"Uh..."

Suddenly, the door opens, revealing Fairy GodBro with a look of innocence across his face. Being the masters of deceit, the villain kids know that smile is hiding something dark.

Adrien took the bold step forward. "Nino?"

"Yeah, dude?"

"... Where's the other you?"

"Hm?" The fairy quirks an eyebrow before his face morphed into one of realization. "Oh! Him. Well, he had to bibbidi bobbidi bounce, but said that he should be back around midnight. So..." He clicks his tongue. "Don't worry about it." The room falls deathly silent, sans the crackling of Mirehades' flame hair. "Who's next?"

"..."

"I like him," Nathaniel of Hearts beams.

(And the lesson is: Don't mess with Nino's godfamily)

@msweebyness & @imsparky2002

[the-paintrist]

Anna Barbara Bansi (26 February 1777 – 27 May 1863) was a Swiss-born French painter. She is usually referred to as "Barbara" or "Babette".

Born in Fläsch, Bansi was the daughter of a reformed minister, Heinrich Bansi; her father had little money, and at the age of six she was adopted by Zürich philanthropist Johann Caspar Schweizer, with whom she came to Paris in 1786. He left for the United States in 1794, while she remained behind at school. She studied painting in Paris, exhibiting for the first time in 1798, at the "Salon de Musée". She moved to Italy in 1802 to complete her education, serving also for a while as the companion to Letizia Ramolino and converting to Roman Catholicism while there. During this time Bansi was the subject of a drawing by Jean-Auguste-Dominique Ingres that is today in the Louvre; they had met twice, first in the studio of Jacques-Louis David and some years later in Rome. Furthermore, her only known pastel, which may instead be a drawing in black chalk, is of the violinist Pierre Baillot, also drawn by Ingres.

It has been claimed that Bansi had an affair with Joseph-Benoît Suvée, of whom she was a pupil. In 1808 she married Lorenzo Nannoni, a physician; he died in 1812, and two years later she returned to Paris, exhibiting an oil painting of the Virgin at that year's salon. Her name in the catalogue entry was given as Mme Nannoni, née Bansi, with an address at rue du Doyenné, no. 3. Later in her career Bansi was appointed maîtresse de dessin at the schools of Saint-Denis and Sainte-Clotilde. She donated two pastels by Adélaïde Labille-Guiard, portraits of Jean-Jacques Bachelier and the painter Vincent, to the Louvre in 1832. Several works by Bansi, including a 1793 self-portrait, are known, and a fragmentary diary from the same year survives as well.

Jean-Auguste-Dominique Ingres (29 August 1780 – 14 January 1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists.

Portrait of miss Barbara Bansi sitting in an Italian landscape, Jean-Auguste-Dominique Ingres

[artist-lautrec]

Dinner at the House of M. and Mme. Nathanson, 1898, Henri de Toulouse-Lautrec

Medium: gouache,oil,pastel,cardboard

[artist-vuillard]

Mme Henri-Xavier Fontaine, Edouard Vuillard, 1927, Modern and Contemporary Art

Gift of Justin K. Thannhauser, 1966 Size: 25 1/2 × 19 5/8 in. (64.8 × 49.8 cm) Medium: Pastel on paper, mounted on canvas

https://www.metmuseum.org/art/collection/search/489506