#muse: histoire

[divinityunleashed]

"I'm sorry, everyone. I made Neptune, the way she is, and I sincerely apologize..."

[heritagebrowser]

The most famous art nouveau style shop interior must be the shop of Nicholas Fouquet

L

Because of the particularly remarkable decorations of the Fouquet jewelry store, reconstituted and presented within the collections of the Carnavalet museum, you are immediately immersed in the Art Nouveau style, born in Belgium and further developed in France (and later also other distinct european regions), which will dominate the architecture, the decorative arts then the plastic arts (paintings, sculpture) until the First World War. A style characterized by curved and elegant lines; floral, plant or animal motifs inspired by nature; slender and idealized female silhouettes with extra long, flowing and evanescent hair. A style that will also put color back at the heart of arts and architecture.

To create the decorations for his jewelry store, presented here at the Carnavalet museum, Georges Fouquet (1862-1957) called on the Czech Alfons Mucha (1860-1939), an essential and emblematic illustrator of Art Nouveau from the end of the 19th century . Mucha was born on July 24, 1860 in Moravia, a region today partly encompassed by Czechia. After passing through Prague, Vienna and Munich, he arrived in Paris in 1887 to study art. At the same time, he gradually became known by producing magazines, illustrating catalogs or creating sublime advertising posters. His portraits of the famous actress Sarah Bernhardt, like those of many women in a vaporous and typically Art Nouveau style, made him famous. So much so that he was officially rewarded for his talents at the Paris Universal Exhibition in 1900, notably thanks to a collection of jewelry that he designed.

This is how, in 1901, Georges Fouquet invited Mucha to design the decor for his new jewelry store located at 6 rue Royale, between Place de la Concorde and La Madeleine. The artist created a modern and functional boutique (Art Nouveau is in fact a quest for both aesthetics and functionality), designed as a work of art in its own right. Mosaics, furniture, display cases, stained glass windows, lighting, door handles... everything in the decorations and volumes is of naturalistic inspiration, with a lot of curves, plant and floral motifs, or even animal motifs (the bronze peacocks behind and in the (counter tops are beautiful). A central figure in Mucha's work, the elegant woman is present here too, but mainly in front of the store or in small touches inside. Dreamlike, magical and almost phantasmagorical, the powerful settings imagined by Alfons Mucha will surprise, fascinate and seduce his contemporaries. Dismantled in 1923, most of the shop's decor was given to the Carnavalet museum by Georges Fouquet in 1941. But only in the 1980's the shop interior was reconstructed in the museum.

[ask-dark-monita]

Thanks to the Mario Brothers, Histoire is brought back to life!

"Ah! I'm alive! What's that? The Mario Brothers brought me back to life?"

"Oh, thank goodness... Thank you, Mario & Luig-"

"Wait a minute...!" She then remembers the person who killed her.

"Neptune...!"

"Well, it's a good thing the Mario Bros came prepared... Now the only thing left is getting Neptune back to normal, that should put an end to this mayhem."

"Shouldn't be too hard. However, I do have a bad feeling about this..."

"Hey, no problem! Getting Neptune back should be a piece of cake! We even have the Mario Bros on our side to help us out! We'll find Gear's sister in no time!"

"Please do... It's bad enough already that Planeptune collapsed and its citizens now have no home to live in..."

"Lady Histoire, don't you worry! We promise we'll get Nep back to normal and fix Planeptune!"

"What are we waitin' for? The trailer for my 3rd movie? Let's get to it!"

"Yeah!"

And with that, Purple Sister, Notori, and Sonic go to the 2012 Paradise Dimension to get Neptune back to normal with the help of the Mario Brothers!

@hxroic-wxlls-rxborn

@hoshinomulti

[elaineferreirah]

Musal - Museu Aeroespacial do Rio de Janeiro, Julho - 2024

[lawain-dimensional-heroes]

@protagneptune has replied to the ask [X]

"That would be nice. Sometimes I need a break from a certain CPU, and I unfortunately lost contact with Ultra Dimension's Histoire."

"Perhaps your Neptune would be more hospitable?"

"...About her...We've lost contact with her for months now and it's been a chaos ever since the day we've lost her."

[musographes]

Les muses non-consentantes

Quand des cinéastes et comédiens d’âge mûr jettent leur dévolu sur des adolescentes rêvant de belles carrières par leur entremise, tout le monde ou presque parle à présent de domination et d’abus, et ces histoires emplissent les pages d’actualité. Mais pour les peintres et sculpteurs de l’ancien temps, qui parfois dépucelaient leurs modèles de 15 ans, voilà qu’on invoque plutôt la bohème et la frivolité. Cela mérite qu’on y regarde de plus près, non ?

Que diriez-vous de malmener sans attendre l’imagerie romantique des relations entre artistes et modèles ? Pour cela, rien de mieux que les aventures de Benvenuto Cellini, sculpteur et orfèvre florentin du XVIe siècle.  En résidence en France afin de répondre à une commande de François 1er, Cellini avait pris l’habitude de satisfaire ses besoins sexuels sur Catherine, une de ses servantes, 16 ans au compteur, une situation qui n’avait rien d’exceptionnel à cette époque. Comme le faisaient les artistes qui souhaitaient travailler le nu à partir d’un vrai modèle féminin et non à partir de plâtres et de gravures, notre sculpteur florentin utilisa cette servante comme modèle. Puis, prétendant qu’elle l’aurait trompé avec son assistant, il obligea ce dernier à la marier, ce qui constituait un déshonneur au vu de la condition sociale très basse de la modèle. Mais la modèle contre-attaqua en traînant Cellini devant les tribunaux, l’accusant de viol par sodomie, une procédure dont le sculpteur se sortit par le haut, sans doute grâce à ses commandes pour le roi François 1er. Catherine revint travailler à son atelier mais, excédé par son comportement, Cellini la tabassa. La force des coups la rendit inapte au travail de pose pendant deux semaines. Elle revint finalement poser, parce qu’il fallait bien gagner des sous, et ce fut dès lors une alternance de relations sexuelles et de violences, jusqu'à ce que Cellini la remplace par une autre de 15 ans, à qui il ne tarda pas à faire un enfant. Il avait alors 44 ans. Nous tenons ce récit de l’autobiographie que Cellini nous laissa, la seule du genre en l’occurrence. Étant donné que l’ouvrage n’est pas pauvre en rodomontades, il convient de considérer avec prudence ce compte-rendu. Cependant, celui-ci jette sur le sculpteur un jour suffisamment peu reluisant pour qu’on se laisse aller à le juger crédible dans ses grandes lignes.  Comme de bien entendu, il serait tout à fait exagéré de penser que les relations entre artistes et modèles à la Renaissance étaient généralement taillées sur le même patron, mais avouez que c’est une frappante entrée en matière pour notre sujet du jour, à savoir les relations charnelles dans le secret des ateliers ! Les relations charnelles présumées entre artistes et modèles sont un des piliers de leur mythologie, le récif saillant des préjugés que nulle entreprise historiographique sur les modèles ne peut esquiver. Ce présupposé qui sexualise les modèles prend appui sur l’idée que les artistes étaient majoritairement de sexe masculin (très vrai) et les modèles majoritairement de sexe féminin (plutôt faux). Les autres configurations de genre, par exemple artiste masculin face à modèle masculin, ont toujours moins intéressé... comme par hasard.

Durant l’époque moderne, il fut souvent interdit de travailler d’après des modèles féminines, d’où leur faible nombre, et de plus les sources sont bien maigres sur le sujet. Pour le XIXe, cette période où les modèles féminines se firent bien plus nombreuses et où l’image populaire du modèle vivant se cristallisa, les témoignages sont en revanche bien plus copieux, et ils nous disent qu’on trouvait chez les modèles féminines aussi bien de chastes femmes que des délurées, et que les modèles ne partageaient pas autant la couche des artistes que les bourgeois aimaient à s’en persuader. Ceci posé, il faut absolument considérer le contexte social. Toutes les modèles féminines étaient des filles de rien, qui pour certaines posaient depuis leur plus jeune âge. Pour beaucoup d’entre elles, c’était ça ou le trottoir (parfois les deux). De 15 à 25 ans, sachant qu’au-delà elles étaient vite considérées comme trop vieilles, elles posaient comme femmes adultes. Imaginez à présent ces jeunes filles souvent miséreuses, dominées socialement, culturellement et financièrement par ces messieurs artistes généralement issus de milieux aisés, et osez dire que la consommation charnelle qui pouvait en découler n’était affaire que de joie et de consentement... C’est là que les récents scandales de mœurs qui secouent le monde du spectacle aujourd'hui, parce qu’il offrent des réalités plus concrètes, peuvent aider à mieux appréhender ce que pouvait être la situation des dites "muses" d’autrefois, et à comprendre que les quelques poseuses "libérées" de la bohème de la butte Montmartre ou du Petit Montparnasse n’ont jamais constitué le maître étalon de la corporation des modèles.  Rappelons-nous cette phrase de Raniero Paulucci di Calboli en 1901 : "«Si la faible créature ne cède pas, trop souvent la porte de l’atelier lui reste fermée ! II faut qu’elle adopte bon gré mal gré la devise cynique de la femme: Le ciel nous fit pour consentir à tout.(...)"

[writesailingdreams]

One Piece ch. 1065

Let’s go!

please don’t reply with any recent chapter 1068 raw spoilers (when do those come out anymore, anyway?); I generally I wait for the official English releases.

*Spoilers* for chapters 1065 & 1066 (Why together? Because I read & recorded my responses together)

Genuinely laughed when I read this which was what jump-started this whole thing. Like, hilarious but also, yep, me too! Thanks Zoro for speaking my mood on what’s-his-name. (I refuse to look it up.)

Actual note whilst reading: Zoro 🤣 👍

Sun fuel...hmm, I would have thought water would be more useful (oxygen & hydrogen) and you have more of that available, but if you’re talking sun (solar) fuel you might be going for nuclear?

But wait! the reason there’s interest in whether there’s frozen water on the Moon is to get hydrogen & oxygen. If there is, it can be broken down into oxygen which can be highly flammable I believe and hydrogen which I’m pretty sure is a potent element per energy...which I’m also pretty sure is a component of stars (e.g. the sun). Sooo, maybe it’s hydrogen Vegapunk is after?

Like, if the Fire beings Marco remembered Whitebeard telling him about (and which is probably related to King) are somehow connected to the lost kingdom then yeah, it makes sense that the fuel powering their technology would be solar. But there’s just so much Moon focused stuff too.

Personally I think it’d be cool if there’s either some Moon fuel power for the old tech or ~even better~ some kind of sea power. (There’s also potentiality of willpower, which would be weird but there’s precedent in One Piece.)

Nami 😂 what!

But also! 🤩 Me too! Yes please!! Please give me jewel flowers! Yes Nami will my Aladdin fairytale visual to life! 😍

I’m loving the new “i will murder if you threaten my shipmates/family” Robin

Holy shit! Are the seraphim clones of the 7 Warlords!? So far we’ve seen the Hancock child ones and now Jinbe. Was there some kind of stealth sneaking of genetic material from them?? Like hair or something. 0-0

Is that why the government wanted the strongest pirates??

Isn’t that growing up? Don’t things just adapt as they age and grow? Unless the seraphim aren’t living/alive. But blood... 🤔 that makes me think of organic life... what are you doing Vegapunk?

One Piece ch. 1066

Lots of backstory, and nothing especially unusual (lost kingdom fought what became the World Government, of course, thanks for confirming!), but what I found most compelling (or more compelling) was the way all the threads of each Straw Hat (who’s met who in the broader world and what each of them knows and doesn’t know) are weaving together.

In other words, the Straw Hats have had all these different pieces of experience and knowledge that are casually coming up, not in a “oo! learning information for plot” way but in a “hey that person I also know of” and I think that’s cool.

It gives the world a sense of depth — different characters experiencing different sides of the same person

It makes me feel like they’re all facets of a bigger whole — as a group in-story and as characters whose particular plots as written have come together. By giving each of them different knowledge and experiences across the wide array of characters in the world it gives *me* the feeling of woven threads coming together, whether characters or narrative.

Also this:

Heck yeah! Get angry about that! But yeah, ~feelings~ for Robin, Ohara and the survival of restricted knowledge and how it endures.

😭 all my heart forever

[vagabondageautourdesoi]

Caillebotte. Peindre les hommes

Présentation d'une partie de l'exposition Gustave Caillebotte - Peindre les hommes présentée au Musée d'Orsay à l'automne 2024.

Musée Orsay Le Musée d’Orsay a choisi de mettre le peintre discret et généreux, Gustave Caillebotte (1848-1894), en avant avec son exposition Peindre les hommes. Autoportrait – Vers 1892 Certes, les choix des tableaux interrogent sur le rapport de Caillebotte au corps masculin, surtout lorsque l’on sait qu’il n’a peint qu’un seul nu féminin. Seulement, ici, il s’agit de comprendre comment le…

[sky60038]

Alpes-Maritimes, Grasse, histoire-du-musee-dart-et-dhistoire-de-provence par Olivier Boyer Via Flickr : 230514_Sony_DSC4065_HDR www.museesdegrasse.com/histoire-du-musee-dart-et-dhistoir... cotedazurfrance.fr/decouvrir/les-villes-de-la-cote-dazur/...

[montre-l-heure]

Les musées d'horlogerie en France : Un voyage à travers le temps

On se retrouve aujourd’hui non pas pour un article mais plutôt un inventaire. Le but est de faire une liste des musées d’horlogerie en France. On a fait quelques recherches, mais si vous connaissez des pépites qui n’apparaissent pas ici, alors a vos claviers! A nous tous, on arrivera certainement, au fur et à mesure à faire une liste complète des musées horlogers de France! Région Centre-Val…

[2t2r]

La baleine de Malm, la seule taxidermie de baleine au monde

Nouvel article publié sur https://www.2tout2rien.fr/lbaleine-de-malm-taxidermie-de-baleine/

La baleine de Malm, la seule taxidermie de baleine au monde

[divinityunleashed]

( X )

"FINE, THEN I HEARBY RESIGN AS YOUR ORACLE. SEE HOW YOU ACTUALLY HANDLE, RUNNING A NATION WITHOUT ME. ENJOY BEING BURIED IN PAPERWORK."

"TWO CAN PLAY THIS GAME, NEPTUNE."

[heritagebrowser]

Depicted: The courtyards of Musee Carnavalet in Paris.

A history of the complex:

At 23 rue de Sévigné, the Hôtel des Ligneris (known as Carnavalet) is, with the square courtyard of the Louvre, one of the rare witnesses of the architecture of the Renaissance period in Paris. Built in the middle of the 16th century (1548-1560) for Jacques des Ligneris, president of the Paris parliament, it is one of the oldest private mansions in the Marais in Paris.

The hotel was sold in 1578 to Françoise de la Baume, wife of the knight Kernevenoy, nicknamed “Monsieur de Carnavalet”. This distorted name has become established.

From 1660, the famous architect François Mansart raised the porch of the hotel on what is now rue de Sévigné and created two new wings. The writer Madame de Sévigné settled there from 1677 until 1694.

Finally, at the suggestion of Prefect Haussmann, at the time of the Grands Travaux de Paris (1853-1870), the hotel was purchased by the City of Paris in 1866, to make it the Historical Museum of the capital.

The extension of the museum was immediately decided with two-story adjoining galleries. The garden facades incorporate elements of demolished Parisian buildings: the Nazareth arch dating from the 16th century, the Drapiers pavilion from the 17th and the Choiseul pavilion from the 18th century. Several sculptures also leave their place of origin to join the museum, such as the statue of King Louis XIV by Antoine Coysevox or the relief of Henri IV by Lemaire (previously installed at the Hôtel de Ville), and also the statue of Victory by Louis-Simon Boizot (coming from Place du Châtelet)

[ask-dark-monita]

⚡️

❝ so, Neptune. Now that you're back to normal, what are you gonna do now? ❞

"This time, I'm gonna make my nation proud by working hard! I'll get on that paperwork ASAP!"

"Oh my! Really, Neptune? I'm so proud you're taking responsibility for once!"

"...Right after a pudding break, a video game session, a nap, and overall procrastination!"

"*Sigh...* Of course... Well, at least it's better than her wanting to kill me or bomb entire nations..."

"It's good to have the real Nep back."

[petitsdieu]

❛ You insult my character mid-attestation? ❜

The son she should have been in her inner eggshell pushes out as an injured tooth. It looks like the puff of her cheeks as she takes this chip-insult and chews on it. Like a prince.

But she is not a Prince. She can never settle into boyish whims. She's too well encased in the girlish curse that is her wrong-birth.

❛ I care in more volumes than I can carry. ❜

"I'm not scared. I'm not."

Another repetition only serves to make the lie sound sourer, warped by the echo.

"Why don't you stop pretending like you care?"

[lawain-dimensional-heroes]

Try Histoire.

"Actually he has attempted to interact as me a few times in the far past. When he created the Neptunia roleplay blog that you followed he iconed a few of us, me, Nepgear, among a few others. Due to lack of activity there and the fact it's a sideblog, considered roleplaying there not a real need anymore and that was before he considered adding me and the sisters there too..."

"...Hopefully at some point he'll consider remaking that blog as a non-side blog."

Send Me ‘Try’ + A Characters Name Who You Would Like To See Me Play