#national collection of fine arts

[garadinervi]

Poster for Rauschenberg Retrospective, (offset lithograph), National Collection of Fine Arts, Washington, D.C., 1976 [© Robert Rauschenberg Foundation, New York, NY]

Bibl.: Marc Gundel, Rauschenberg. Posters, With a contribution by Jürgen Döring, Prestel Verlag, München, London, New York, NY, 2001

[orcelito]

showing off the commission i got from @ruporas for my fic, In the Next Life!

i'm still so incredibly excited about this. it's been some months since the story event that caused these scars, but i wanted SO BADLY to be able to see what they'd actually Look like... & Here They Are.

ruporas rendered the scars So Well, i just cant stop Looking at them... there's a Fresh & a Healed version, which ruporas was kind enough to give me without additional charge (Thank U Again😭😭) so i get to see what it looks like at different stages.

Lichtenberg Figures. in terms of actual scarring, lightning strikes that people survive don't tend to leave permanent scars, but the lichtenberg figures that they (usually temporarily) leave behind are just So Cool... Now, what happens when you get someone who can survive an amount of electricity/lightning that would be Frankly Lethal to any normal human person?

This :]

[monkeyssalad-blog]

Thorn's Vegetable Cough Cure by National Library of Medicine Via Flickr: Publication: [United States : s.n., 18--] Language(s): English Format: Still image Subject(s): Nonprescription Drugs Genre(s): Advertisements Abstract: Advertisement for Thorn's Vegetable Cough Cure, featuring a young girl dressed for winter, standing outside in a snowstorm. Extent: 1 trade card : 15 x 9 cm. Technique: chromolithograph, color NLM Unique ID: 101442413 NLM Image ID: A028443 Permanent Link: resource.nlm.nih.gov/101442413

[gender-trash]

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

[mysteryshoptls]

SSR Leona Kingscholar - Platinum Jacket Voice Lines

When Summoned: What, why're you lookin' all worried? Even I know to be well-mannered in a museum.

Summon Line: What a great honor to be made a supporter for the Land of Dawning's National Museum of Art. I'll make sure to take in all their precious art.

Groooovy!!: Look at that lion cub, all spoiled and pampered by everyone around it... Surely it made for a splendid ruler.

Home: Here's my utmost respect for their 100 years of history.

Home Idle 1: Every exhibit we step into, he's gotta loudly talk about all this thoughts on each painting. Is Kalim treatin' this museum as if he were back at his family estate?

Home Idle 2: It looked like Silver was staring at the same picture for some time... But then I noticed he was just sleeping while standing. That's some skill, heh.

Home Idle 3: You can see in the details of the King of Beasts' statue the toil that all his hard work impressed on him. That's what you'd expect from a king that did everything he could for his countrymen. He's a completely different breed from any figurehead ruler.

Home Idle - Login: The Land of Dawning's National Museum of Art, huh. It's well-known for it's large collection or art, so this probably won't be a snoozefest.

Home Idle - Groovy: We're lettin' that easily-bored Floyd loose in a museum, huh. Guess this place has full confidence in their security guards.

Home Tap 1: What a warm welcome, indeed. Who would've ever thought I'd get to wear such magnificent garbs as a mere student?

Home Tap 2: I hear the Sorcerer of the Sands was constantly bent on hunting for treasure. Hey, maybe that avarice is what landed him the Vizier's position in the first place.

Home Tap 3: You're looking for Sebek? I feel like I might've seen him at the museum shop, but I'm not completely sure. Funny enough, he's actually been much quieter than usual.

Home Tap 4: The Thorn Fairy sent out all her men in search of one person, huh. Heheh, I wonder what that little human could've possibly done to deserve that.

Home Tap 5: Apparently, some painters'll substitute their fingers for paintbrushes for their final strokes. Not something a carnivore could do, though. It'd damage our nails.

Home Tap - Groovy: You really get into lookin' at art, huh. Your neck's so stretched out you look like one of 'em herbivores trying to eat leaves from a tall tree.

Duo: [LEONA]: No slacking off, Floyd. [FLOYD]: You're the last person I wanna hear that from, Sea Lion-senpai.

Birthday Login Message: ...Ugh. As I'm sure you can tell, I'm in the middle of a nap. If you need something from me, ask me later. If you just wanted to celebrate my birthday, a card woulda been plenty... But, fine. Here, hand it over. [Yuu startles] Whaddya mean, hand what over? ...Obviously, I'm talking about my gift. I'm expecting it to be something good to make up for the rude awakening.

Requested by @sakurakudo and @farfalla049.

[tangledinink]

edit: tag! fic!

ive spent a stupid amount of time recently thinking about a rottmnt au where circumstances allow splinter to figure out a way to get cloaking 'brooches' for himself and his children when they are still lil, giving him a chance to raise them as 'normal' kids. (normal kids who are genetically engineered mutant turtles, actually, and they're, like, SO good at sports, dude.)

surely nothing can break this idyllic illusion of a life that splinter has built. definitely nothing that rhymes with daron braxum.

i can only imagine this would work if the threat of both draxum and big mama were neutralized. i think in this universe, draxum's life of crime caught up to him much sooner than it does in canon, and he's imprisoned for his unethical experimentation when the turtles are still little-- raph maybe around six or seven, mikey around four or five. once splinter learns of this, he pulls every string he possibly can to 1) get cloaking crystals for himself and his family 2) cut a deal with big mama to ensure his children's safety.

after spending about a week or two in the sewers fucking drilling the cover story into the children's heads ("remember, mikey, what do you do if people start asking you too many questions?" "CRY!" "good boy!") he very nervously brings them up to the surface, armed with an elaborate story to explain his disappearance and new children and a shitton of forged documents. there was so much fucking paperwork, christ. (also, it turns out the blue one is biologically female? but he does not have the mental space to deal with that so they all just keep calling him leo, and he's totally fine with that. so.)

and he collects ALLLLLLL the royalties, babey.

(the kids are kids, and definitely slip up occasionally or do... weird shit. but, luckily, since they're small children, people pretty much just chalk it up as "oh, these kids have such wild imaginations.")

eventually, enough time passes that the brothers just kinda... forget that they were ever actually turtle mutants who lived in the sewers. coz, like, that's crazy, right? they're pretty sure they just imagined all that stuff. they weren't turtles, they were PRETENDING to be turtles... and people give them weird looks sometimes when they bring it up, so they don't.

overall, they THRIVE on the surface, to no one's surprise. they are, in fact, secretly genetically engineered super soldiers, actually. and they are crazy good at, like. so many things. especially martial arts! they compete at a national level on the regular, in addition to a shit ton of other extracurriculars (ballet, art, basketball, and cooking for mikey, swimming, basketball, gymnastics, and theatre for leo, dance, gymnastics, and swimming for donnie, not even to mention all his academic stuff, basketball, wrestling, and swimming for raph...)

they're still besties with april, obvs.

[artemlegere]

The Reader

Artist: Eduardo León Garrido (1856-1906)

Eduardo León Garrido (Madrid , 1856- Caen , 1949) was a Spanish painter.

He began his training at the Escuela Superior de Pintura in Madrid and as a disciple in the workshop of Vicente Palmaroli . Thanks to a scholarship granted by the Provincial Council of Madrid, he traveled to Paris where he attended the workshop of Raimundo Madrazo . Later he traveled to Italy , contacting in Venice with Spanish painters of the stature of Mariano Fortuny and Martín Rico . In 1905 he was appointed professor at the School of Arts and Crafts in Varennes , remaining in France for the rest of his life. His son Louis-Édouard Garrido was also a painter .

His style was influenced by Impressionism and, for some critics, bears similarities to that of Manet . His work is mainly devoted to costumbrist themes, portraits of elegant women dressed in Belle Époque clothes and the reproduction of gallant scenes. He achieved great success in his time and exhibited in Paris, London and Munich .

Some of his paintings can be seen in the Prado Museum (Madrid), the National Museum of Fine Arts (Argentina) , the Museum of Fine Arts in Bilbao and private collections such as the Bellver Collection in Seville.

[r0entgen]

"Why won't Venezuelans just address the blockade?"

If you're wondering why, read below.

Let me start by saying that I wrote this after I finished work, with less than three hours of sleep and a single meal in my body, so if you find any grammar mistakes, my apologies.

This is the comment that kickstarted this post. I believe I've mentioned this before, but when you're living in a country that weaponizes propaganda and hijacks every single media outlet, you have to master the fine arts of fact checking and cross-referencing. Which is exactly what we're going to do right now, addressing the claim that 40,000 Venezuelans have been killed by the US sanctions, and why We Won't Engage with You In This Particular Argument.

*Note: click the underlined text for links and sources.

In the paper Economic Sanctions as Collective Punishment: The Case of Venezuela by Mark Weisbrot and Jeffrey Sachs (who will be referred to as WS in this post), WS mention that between the years of 2017-2019, the economic sanctions caused a 31% increase in the general mortality rate in Venezuela, a number that they calculate may be of about 40,000 deaths. While they cite ENCOVI and a UN report from 2019 as the sources of this statistic, they clarify the following in the footnotes:

The ENCOVI 2018 survey has not been made public, the mortality statistic cited here is from the UN Report (2019).

As of this date, WS has not made public the data source for this estimate, and the UN report used as a source (Venezuela: Overview of Priority Humanitarian Needs, March 2019) is not publicly available.

So let's take a look at some sources that ARE publicly available.

The World Bank Group World Development Indicators registers at least a 30% increase in the infant mortality rate in Venezuela from the dates of 2013 to 2016. Similar numbers are reported in this paper, seeing a 40% increase in the infant mortality rate in Venezuela between the dates on 2008-2016. Here's an excerpt from the paper Impact of the 2017 Sanctions on Venezuela:

While different than other overall mortality rates, increases in infant mortality rates are generally interpretable as a preventable consequence of inadequate pre- and post-natal care for otherwise healthy but vulnerable infants. Thus, infant mortality is often recognized as a good proxy measure of the quality on overall public health provision.

What this tells us is that THERE HAS BEEN an increase in general mortality rate - one that started long before the 2017 sanctions.

However, this doesn't mean that in the periods of 2017-2019 there wasn't a high death toll. Let's look at another publicly available source.

The National Hospital Survey (2019) found that between November 2018 and February 2019, 1557 people died owing to the lack of supplies in hospitals [...]. 40 patients died as a result of the power outages in March 2019.

We see the first mention of a number in the 2019 Report of the United Nations High Commissioner for Human Rights.

Something interesting this report mentions is that 40 deaths were caused by the blackout in March 2019. A blackout that lasted 7 days and affected our 23 states.

The energy crisis which caused this nationwide blackout started in 2010. The Wikipedia article is a good summary, if a bit simple, of the events that led to and took place during and after the energy crisis (which affects us Venezuelans living in the country to this day)

Back to the UN Report. Something else this report indicates is the following:

In 2018, the Government registered 5,287 such killings, while the non-governmental organization Observatorio Venezolano de la Violencia reported at least 7,523 killings under this category. Between 1 January and 19 May 2019, the Government reported 1,569 killings for resistance to authority. The Observatorio Venezolano de la Violencia reported at least 2,124 such killings between January and May 2019. Information analysed by OHCHR suggests many of these killings may constitute extrajudicial executions.

[...] Six young men executed by the Special Action Forces (SEBIN) in reprisal for their role in anti-government protests in 2019.

This means that between the dates of 2018-2019, there have been approximately 9,647 deaths in the context of security operations - which includes Venezuelans that took part of the protests in 2019. Very similar to what we have been reporting since after the elections in July 28.

2017 to 2019 was one of the most difficult periods in Venezuelan history, marked by the sanctions imposed by Trump which affected oil export, access to diesel, and food and medicine imports. Some people argue that the economic recession in Venezuela was caused by the sanctions - failing to notice the negative trends in the years prior to these.

Bahar, Bustos, Morales and Santos (who will be referred to as BBMS in this post) conclude in their paper, Impact of the 2017 Sanctions on Venezuela, that while the sanctions had a negative effect in the oil production, "it is quite impossible to attribute the fall [...] to one single event (i.e., the sanctions), when many other confounding events were happening at the same time."

Oil production: Oil prices dropped during 2015, and oil production decreased as a result of lack of maintenance and investment.

Energy crisis: By 2009, when the energy crisis was first declared, the electrical grid had already been suffering from the lack of maintenance and investment since 1998. The Chávez administration distributed million dollar contracts [...] that enriched high officials of his government and the works were never built. [1] [2] [3]

Economic decline and hyper-inflation: Actions taken by the Chávez administration such as expropriation and price control, as well as the PDVSA purge in 2002 led the country to depend almost entirely on its already declining oil industry, causing shortages and price rises in common goods, food, medical supplies and so on. By 2015, 60% of the Venezuelan population was living in poverty. [1] [2] [3] [4]

From only these three points, we can establish a negative trend starting way before the first US Sanctions. Thus, we can conclude that by the time the devastating 2017-2019 sanctions took place, Venezuela was already deep in a state of generalized crisis.

WS conclude in their paper:

[...] One of the most important impacts of the sanctions is to lock Venezuela into a downward economic spiral. [...] An economic recovery could have already begun in the absence of economic sanctions.

While Bahar, Bustos, Morales and Santos declare:

[...] Our analysis finds insufficient evidence to conclude that they [sanctions] were responsible for the worsening of the socio-economic crisis. [...] The weight of evidence seems to indicate that, rather than being a result of US-imposed sanctions, much of the suffering and devastation in Venezuela has been, in line with most accounts, inflicted by those in power.

In conclusion - both papers seem to agree that the crisis in Venezuela started before 2017, but where WS claim that it worsened due to US sanctions, BBMS place a higher blame on the deterioration caused by the Venezuelan government.

Now, you may keep whichever analysis you prefer, but one thing we know for sure: the 40,000 Venezuelans that WS claimed died due to the sanctions cannot be found in any public report, while the death toll of protests and extrajudicial killings has been extensively reported.

Why is this relevant?

Contrary to what some people on this site would say, Venezuelans generally agree on the negative impacts of US-imposed sanctions (note: this poll accounts only for Venezuelans in Florida, as polls aren't often published inside Venezuela). However, the general consensus is that US-sanctions only added up to a crisis that had been building up since Chávez rose to power, and rather than the cause, it was yet another symptom.

Yes, the US is the Big Bad, but placing the blame solely on the sanctions only takes the responsibility away from the government and diverts the attention from the poor governance, rampaging corruption, violent repression and denialism that we've grown used to in the last 25 years.

So if you ask "why don't you address the blockade?", my response is: why don't you address the 9,647 extrajudicial killings, the 40 deaths caused by the energy crisis, the energy crisis itself, the economic decline, the lack of maintenance in the infrastructure, the violent repression, the forceful abductions and the censoring?

What we want you to understand is that when you center the US as the cause of the crisis, you are actively participating in our state-funded propaganda and knowingly turning a blind eye on the suffering of all Venezuelans. You are no better than imperialists - you ARE participating in imperialism.

Remember:

Last, but not least - be careful with your sources. This Venezuelanalysis article was written by Andreína Chávez, former editor-in-chief of TeleSUR, a government-funded news channel known for spreading Maduro propaganda. One of their most recent claims: dead Venezuelans are shown as having voted in the ballots shown in resultadosconvenezuela.com. Needless to say, this is false. This news portal is what some people would call, BIASED.

For more information, please read the amazing analysis written by @systhemes HERE.

A more direct response by @achillesmonochrome HERE.

For other sources, check HERE.

*Fellow Venezuelans, feel free to include anything I might have missed.

[harvardfineartslib]

April is National Decoration Month.

Art et décoration was first published in 1897. The publication was suspended during the two World Wars from August 1914 – April 1919, and from 1939 through 1945. The Fine Arts Library has the original volumes if you want to see them. Request to view them in the Special Collections Study Room!

Art et décoration : revue mensuelle d'art moderne Cover title: Art et décoration et l'architecture 1936-37 Paris : Librairie Centrale des Beaux Arts, Frequency note: Monthly French HOLLIS number: 990062486850203941

[hidden-poet]

President Snow part 3

Previous chapters; 1 and 2

Summary; After Lucy-Grey there was you.

warnings; slavery, Uncon, angst, dark!Coriolanus snow.

3/3

"Did you hear? Y/n L/n was sold into maids standing by her father last year". Festus creed plopped another Hors d'oeuvre into his mouthlike he was talking about the weather.

Coriolanus feels his body still at his words. The drink he pushed to his lips couldn't make its way into his mouth. He had looked for you at every social function. Even called upon where you once lived, only to be turned away by a new family living there.

He had assumed you had married and your family followed to where your new husband lived. If he was a manufacture he properly lived closer to the districts. The thought made him sick.

But no. You had been waiting for him. Training for him for the past year in maid training.

"I was thinking of adding her to my collection of the fallen"

Coriolanus's blood boils at the thought.

"Who?" Clemensia asks matching the almost bored expression of Festus.

"You know Arthur's daughter. The Banker who was stealing from the Pamen National bank. His daughter was a few years below us. Used to play on the volley ball team".

"When does she go to auction?" Clemensia warms at his words. She remembered her after all.

"Why so you can steal her from me?"

"What use would we have for a girl trained in fine arts and history? it won't make her a better floor scrubber. Right, Coriolanus?"

"i am still not sure who you are talking about" Coriolanus lied.

----------

Coriolanus returns home later then usual. He had gone to a party but normally he only made a quick appearance for an hour or two before returning. But this time he returned well into the night.

You wouldn't have minded if it hadn't of got so late. You were tired and he hated to come home to find you asleep. When you heard the door unlock you knew you would only have to stay up for an hour more.

As he entered the room to find you laying on the bed watching TV, he doesn't crawl over to you or demand you help him undress.

Instead he takes a dress out of your closet, that was mostly filled with his extra clothes, and tosses it to you.

"I have a surprise for you. Get dressed".

You do as your told taking off your nightdress in front of him and putting on the dark blue sun dress.

He eyes you slowly before taking your hand and leading you down the hall to the living room.

You wondered about the surprise and the need to dress for it. Normally his surprises entailed the exact opposite.

It made sense when you turned the corner and saw an elderly man sitting on the large white couch.

You heart leaps at the sight of your father sitting in the living room.

"dad" you cry tearing your hand from Coriolanus . He gets up upon seeing you and you both throw your arms around each other.

"Oh my baby". His arms felt safe and secure.

Coriolanus is quick to breck up the scene, taking you back into his grasp with a tight hold on your wrist. He brings you to the other side of the couch, away from your father.

"given your rise i thought you might like the opportunity to buy back your daughter" Coriolanus spoke with a cold hard tone.

Your toes curled in excitement. You were going home and you were going home a lady.

Your father straightened his back and shook off imaginary weight from his shoulders.

"I sure would. How much did you pay?"

"Less then what she is worth and less then what she is currently worth after my teachings".

You shudder. He was going to make this more difficult then it had to be.

"Lets start at a thousand panars".

"Let me show you the door at a thousand panars. My shoes cost more".

You wrap your hand around Coriolanus's wrist as he held yours. That was a good offer he spat at.

"Please Coriolanus" you beg.

-------

Coriolanus had a private showing at the slave quater the very next morning.

It was the earliest he could convince the owner of the house to have a showing. Which still wasn't early enough for him.

He paced through lines of young girls trying to find you. He remembered what you liked like at the Academy but people had a awful habit of changing.

He stopped in front of one girl who could have been you. Roughly the same height as he remembered. Same color eyes, although he never saw them up close so he couldn't be certain. Her hair seemed a lighter shade of Y/H/C and her nose seemed larger.

He continued satisficed that she most likely was not the girl he was looking for. He continues through the line of girls all dressed neatly in simple white dresses. They were more like potato sacks with arm holes.

They were organized according to training and skill. The girls who had been with the house the longest and received the most training were shown first.

He skipped the queue, you wouldn't be amongst them. He started in the middle and grew more frustrated as he neared the end. He knew once he spotted you he would know.

He scanned ahead looking for your hair color and height.

He saw a possibility far off and bee lined for it, ignoring the words of the owner as he took off.

Once he stood in front of you, he knew without a doubt that you were her. His Y/N.

You had barely changed from his memory. You had lost a little bit of weight no doubt from the stress of it all. Your eyes had dulled over a tad and your hair was less shiny and neat, but all the same you were as he remembered.

"President Snow, she is only trained as a house maid. She wouldn't be trained adequately for you", the owner of the house explained.

"Good then I don't have to train her out of annoying habits".

You looked worried, and he wondered if it was at the thought of being chosen or at not being chosen.

"Open your mouth" His first command to you.

You do and he pretends to check your teeth. Not an unordinary practice for a buyer but not of interest for Coriolanus.

He had longed to exert control over you.

Walking to school he would day dream to make the trek bearable in his tight shoes.

He dray dreamed he would find you at school and pluck the flowers out of your hair. "Don't wear these. They make you look childish" he would say.

At lunch time he would take the liberty of filling both your plates with food of his choice while you trailed close behind him.

You would wait for him after each class at his place of choosing. sometimes waiting just outside the door while he astonishes the classroom with his hard learned knowledge. He was sure he was going to get the Plinth prize and go off to university. There would be no need for you to do the same.

But his poverty kept him shackled and your money (however so dwindling) kept you safe.

Before if he told you to open your mouth for inspection you would laugh at him, now if he told you to hop on the spot, you would hop.

"how much?" he asked the sweaty little owner.

They agreed and you were tossed in the sold cage while Coriolanus filled out paperwork. He tired not to seem egger to collet you.

He had never personally brought a maid and had no idea it involved this much paper. He only glanced at whatever he was signing, trusting the person who explained each document to him.

When he was finally allowed to go collect you, he found himself stuck at the door.

How would he approach this? should he call you by your name to show he knew you or place the burden on you to make the connection.

You never even talked to him in school but perhaps you shared the same quiet fascination with him.

If not, he was still President Snow, and you were a loyal subject. He could image you would be awe-struck at the opportunity to serve him.

He yanked open the door and walked with powerful strides. You were sitting in the holding cell, curled into a ball on the floor.

You got up upon seeing him, and came closer to the bars.

"Here" he held out a cold water bottle that he got from the owners assistant. He wished he drank some of it. He would have spat in it if he had registered that he was going to give it to you.

his action took you both by surprise. But you take it.

"Thank you, President Snow".

He gained no sense of familiarity with your words.

He waited for a 'we went to school together' or a 'I always knew you were going to be President of Panem'.

But nothing came. You drank your water and even separated yourself from the bars.

You gave no sign you recognized him from the Academy days. You gave no plea to his sense of fellowship, or tried to give yourself false standing upon your upbringing.

When he had asked about your standing you had told him you were born into your situation. A bold move to someone who held your paperwork in his hand. The entire history of you, as well as your in and outs.

Still he didn't correct you. Perhaps you were waiting to pull the secret past card for a rainy day.

"Your name is Y/N? is that correct"

two could play the i don't remember game.

You nod.

"Well Y/N, in about 10 minutes two peacekeepers will come and take you to a van where you will be escorted to the Presidential estate. From there the Headmistress will make you presentable and begin your training as my servant".

His hands curl around the bars and he pushes himself closer to you.

"I have high expectations of you. Don't disappoint me".

-----------

'Coriolanus please. I'll come back any time you want me to. Do anything for you. But please let me return home".

Your words took his mind breifly to imagining a different life with you. They never caught him for cheating and with the Plinth prize under him, he took your hand in marriage.

And yet still, in his imagation you stood in the living room, perhaps better dressed, and said the same words.

He really did just want to own you.

Coriolanus said nothing and turned his eyes back to your father.

"You made a deal with Mr Grenge for 300 million panams. So my price for Y/N is 300 million panams"

"that's everything" he father mutters.

'She is everything". You didn't believe it. Not to him.

"I-I Can't. I'd be ruined again".

"You could always sell her back. At a discount of course".

'Please" you try again.

"It would be a fun 18 hours for you" Coriolanus taunts.

"we could pay in instalments" you father tries.

"Do i seem like a patient man?"

"Patient enough to wait for your time to strike" Your father is seething, "It wasn't surprise I felt about her being here, only dread".

Coriolanus smirks trying to hide it by rubbing his forefinger across his bottom lip.

" I saw you every time I picked her up from school. Lingering in the background like a parasite. Coriolanus Snow's got eyes for my daughter, I thought to myself, how harmful could he truly be".

He dad crosses the boundary of the living room table. His face contorted with anger.

"Then I saw you dangle that poor district 12 girl in the Hunger games. You were no harmless school boy, I realized, you were your fathers son. And that is a very dangerous thing to be".

"Careful. You don't speak to that school boy now. President Snow is who you address, and you've said enough to get yourself hanged".

You place a hand on Coriolanus shoulder as if to keep him pinned to the chair.

"Y/N I am so sorry. He was gone when I sold you. I thought you'd be house maid to one of the lady's. I never thought he'd get his hands on you".

The old man takes you into his arms. His baby daughter who he threw directly into the mouth of the wolf.

"No sale has been made yet" Coriolanus reminds him, "Do we have a deal of 300 million panems or are you touching some one else's property?".

--------

The first few months in the presidential estate were terrible and Coriolanus saw to it.

You were beaten for everything for quick training. Even things you were sure you did right were wrong.

He had to give it to you, despite your privileged up bringing, you were a hard worker. Every time he checked on you, which was often, you were never found sitting down. Always on the move scrubbing something, dusting something, organizing lien cupboards.

He only caught you once reading a passage from a poetry book kept in the library. Old habits die hard, he supposed. He remembered you loved to read.

You would often read stretched out in the sun during lunch time at the academy garden. Coriolanus would watch from the schools library window, when he should have been studying. You again were interfering with him being the best he could be.

He called upon you during your dinner time. Requesting your presence in his office.

When you entered you saw your headmistress standing on the opposite side of the desk.

Coriolanus sat in his chair, looking bored. His head resting in his hand, not looking at the headmistress or you. Just staring blankly at his desk.

As you enter you can see the wooden Cain and the poetry book laying flat on the desk. Your legs turn to jelly the closer you got.

"President Snow. Headmistress" you greet.

"Which poem was it that caught your eye?" The old women grumbled.

You bring your hands to your chest and wring them together. You were still sore from your beating last night. You weren't sure you could take another one.

"i was only checking the book. The pages seemed loosed".

"Are you suggesting that the presidential estate would house such a book?"

You try and back track on your lie. Blaming lack of sleep and food for your mistake of the falling pages.

Coriolanus reaches for the book, flipping it to a random page and placing it back on the desk.

"Place your hands on the desk and read it" The headmistress demands, picking up the cain.

You face Coriolanus who watches you from his seat. You eyes swell with tears that spilled on it the page. He would keep the book in his draw rather than the library.

''My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk''

The headmistress brings the cain down upon your back, and your sentence comes out as a yelp.

"Or, or, or emptied some dull-ll opiate to the drains One minute past, and Lethe-wards had-saH-Sunk!".

It strikes after each pause. Your hands curl into fists upon the page.

"Tis,not,through,envy,of, thy,happy,lot" You rush and two strikes come down upon your back.

"Cheeky girl!" your headmistress reprimanded.

"But being too happy in thine happines" you slow.

He closes his eyes to the sound of the Cain coming down and images the school garden. Both school children again in the red uniforms. You lay in the sun together. Coriolanus rested his head on your lap as you read out your poem. You stroke his hair and he feels the warm sun on his face.

Your desperate act pulls him from his day dream. He looks at the women before him. A women he owed.

No school children in sight; the President of Panem and a slave take their place.

You finish your poem looking up to him for salvation. You do not receive it.

"Again" he demanded.

He wouldn't leave during your nightly flogging. He would lock the door and free his cock from his trousers. He loved the thought of you so vunruable, so brusied and battered at his command.

He would image you with your dress down, tied to the whipping post as he brought the whip down on you. He imaged your squirming and crying for him. God, there was nothing he loved more than control.

He would wait until the flogging was announced to be over before he would return home.

He was always so sure that you would come to him the very next morning and beg for him to save you from the whipping post. Exchanging anything in return.

-----------

"I am so sorry. I have your mother to look after. She's not been well Y/N"

"Dad you can't leave me here"

"We'll visit" He insisted.

"No you won't"

You both turn to Coriolanus in his chair, half forgotten he was there.

"We'll write to you"

"It won't be delivered"

"I am sorry" your father finally accepted, 'Maybe once I make more money".

"Daddy please" you whine. He won't be given another chance, you know it. You weren't sure this chance was entirely truthful.

"I am so sorry" he repeats pulling away from you. He rushes to collet his things. You aim to go to him, to hold him one last time but Coriolanus rises from his chair.

He takes your hand in a tight grip.

"You'll find a maid downstairs. She'll help you to the door".

Your father looks at Coriolanus with hate filled eyes, but nodded his head in understanding. President Snow held all the cards, you both were nothing but pawns for him to entertain himself with.

'So sorry we could not do business together".

Your father doesn't answer too overcome with emotion of selling his daughter for a second time. He rushes away in shame and you fall to your knees.

Coriolanus lets go of your hand so you could curl yourself into a ball on the floor.

He lets you sob and heave on the floor by his feet. He knew telling you to stop would be a waste of breath.

He waits until you can control your breath again before he crouches down next to you.

He snakes a arm under your side to pull you to his chest. His arm curls around your shoulders to keep you there, while his hand cradles the back of your head. He rests his cheek against the top of your head while you sob. Loudly and painfully, you sob into his chest.

You can hear footsteps pounding down the hall way and you knew it was Clemessia.

"Get her to stop or I'll hang her by her feet in my study. She'll wake the children".

Coriolanus raises his eyebrows at her but does not uncurl his body from you to follow her command.

You quieten anyway. It's fine, you tell yourself, you've lost nothing.

You hold your breath counting to a slow ten and then release it a couple of times. It helped regain your composure.

Coriolanus unhooks himself from you and reaches into his breast pocket to pull out his handkerchief. He wipes your face clean from snot and tears with an emotionless expression.

You weren't sure you could walk so when he picked you up and took you back to the bedroom you were thankful to not have to find out.

----------

Coriolanus spits his tea back into the cup.

There was nothing wrong with it. But he loved how panicked you got.

Your lips would part, your eyes fell wide, your chest would puff up.

How could there be something wrong with the tea again.

'i am so sorry, President Snow. I'll make another" You go to take the cup back.

'What's the point? You disturb me every time you come with another pot".

"I'll try not to in the future, Sir".

"what good are your efforts. I've watched you try for the past six months. You only slightly improved".

'i can do better. I will do better".

He loved the grovel.

"maybe the night without supper would help to refocus your mind?"

Your body tensed, and he could feel the anger radiating off you, even if he couldn't see it upon your face.

'Is that a good idea?" he teased.

"Yes, Sir" You tried not to spit the words.

"Good. Then it's settled. Go about your chores".

The next day he offered you a biscuit from his tray, and said nothing about his tea. Even through this one was too sweet for his liking.

It was the first time your hunger overtook your pride. You took it with a small thanks, excusing yourself at the first opportunity.

he watched the camera link. You had gobbled the biscuit down as soon as the door closed behind you.

Once a lady now a beggar.

-------

He took you to the bedroom and laid you down.

You didn't move. You couldn't move.

He talked as he undressed you.

"I know that was painful for you but you needed to see it".

He yanked your dress over your hand, leaving you in only your panties.

You turn from him to your side but he flips you back.

tears still run down your face but you make no noise.

"Why. So you could see it?" you bit.

"At some point you have accept your life here".

He slides your panties down your legs, leaving them on the floor.

"was it true?" you ask, "that we both went to the Academy".

"yes. I had a terrible crush on you for many years". Crush he called it but it couldn't be further from the truth.

"i never even noticed you all those years". The sentence stung him a bit.

He places his lips on your neck and bites down. You wiggle under him, pushing on his shoulders.

"You are making me suffer because you had a school boy crush?"

He rises up and undresses himself from his many layers.

"i am making you suffer because I can". He makes haste with the many buttons on his vest.

His sentence quietens you. He could make you suffer just because he wanted to. he could make your family suffer just because he wanted to.

He rips the clothes from his body, leaving them a messy pile on the floor.

He drags you to the center of the bed and crawls on top.

"In any case who would you rather, me, President of Panem, or some old business man, bored with his wife. That's who you would have gone to".

You try and turn to your side again but his hands catch your shoulders and bring them flat on the mattress again.

"You should really say thank you". He pumps himself over you.

You don't say anything, and your ungratefulness resulted in a harsh hold on your chin.

"Say it. Say thank you" he demands.

"Thank you" You spit hard and fast.

"Thank you, President snow". He nudges your legs further apart and lines himself up to your entrance.

"Thank you, President SNow" he enters you without warning and starts a steady thrust.

It had been years with him. Sex with him wasn't something you even blinked at. On occasion you could have even been called a participant.

But not tonight. You couldn't even rock your hips for your own feeling. You just lay there and take it.

Something about night had made Coriolanus feel like a school boy again, and he took it out in his hard and rough thrusts. He was President Snow and you would remember it.

He begins to sing the national anthem of Panem.

"Oh, Horn of Plenty One Horn of Plenty for us all! And when you raise-ah- the cry The brave shall heed the call And we shall never falter, hmm"

He grunts in your ear. He pushes himself upright where with his new position he places both his hands on your hips and pulls you closer so your legs were hooked over his hips.

"And when we raise the cry-y the brave shall heed", he huffs, "the call and we shall never fall"

He new position gave him deeper thrusts. As the song ends his hips loose their rhythm.

"Oh, Capitol Your glorious diamond shine A tribute to' The darkest days behind Oh! One Horn of Plenty for us all"

He bucks his hips as he leans back over you on the bed, a hand resting by the side of your head to keep his weight off you and the other used to keep your leg over his hip.

He never fully leaves you before he slams back in.

He groans as he cums, letting you milk him of anything he had left. Even after that he remains in you.

Coriolanus lets out a short breathy laugh, dropping your leg and pushing his body down on you. You huff in protest but he doesn't care. Placing small kisses and bites along your skin.

You remain still. Numb from the events of the night. You didn't even say goodbye to your father. You knew you would never see him again.

Coriolanus spent by using you, rests his head on your chest.

"Someday some one will kill you for your wrong doings, Coriolanus". You warn.

He chuckles in response. It won't be by his doll.

----

Years later you stand in the crowd watching Katniss Everdeen raise her bow and arrow at Coriolanus.

You smile waiting for her to let go. You could see Coriolanus's eyes searching for you in the crown, unable to find you as hide amongst the people, before his settles on the eyes of his executer.

"MockingJay, may your aim be as true as your heart is pure".

The arrow flies but enters the heart of the Coin.

Coriolanus begins to laugh, blood spilling from his mouth as he does.

As the blood coats his shirt it is a reminder of his misdeeds. Against his people, his family, and importantly you.

You charge taking along a crowd of people with you.

[empirearchives]

Napoleon’s reforms

As it is Napoleon’s death day (May 5th), I decided to make a collection of some of my posts with Napoleon’s reforms. This is not an exhaustive list of all of Napoleon’s reforms, just what I’ve been able to post about thus far, and I plan to dedicate many more posts to the subject.

Abolition of torture

British renunciation of the title “King of France”

Cadaster (land registry)

Canned food

Central Vaccine Committee & the Society for the Extinction of Smallpox

Child labor laws

Citizen cooks & the Society for the Encouragement of National Industy

Concordat of 1801

Constitution of 1799 (universal suffrage)

Education

Freedom of religion

Grand Sanhedrin

Imperial nobility

Legal impact (list of law codes)

Legal impact (part 2)

Metric system

Napoleonic Code in Bavaria

Paris Bourse

Paris Fire Brigade

Paris Health Council

Père Lachaise Cemetery

Prison reforms and changes

Reforms in Italy (undone during the Restoration)

Regulations limiting pollution

Restoration of universities

Rumford soup kitchens

Sewers and Sanitation

Smallpox vaccine

Society for the Encouragement of Fine Arts Brussels

Sorbonne university

Sugar beet industry & trade

Sugar (part 2)

Switzerland (Napoleon’s impact in the country)

Tax collection system

Treaty of Campo Formio

Unification of the Italian peninsula

Water policies

Women artists in Napoleonic France

Women writers in Napoleonic France

[uwmspeccoll]

Staff Pick of the Week

My staff pick this week is the trade edition of The Tale of the Shining Princess by Japanese-born writer Hisako Matsubara (b.1935) and Japanese-Canadian artist-printmaker Naoko Matsubara (b.1937), published by Kodansha International LTD. Tokyo, Japan in 1966. 

As a artist-printmaker and bookmaker who makes woodcuts, I am greatly inspired by Naoko’s prints. Naoko Matsubara’s work carries on traditions of Japanese printmaking while having its own contemporary flavor. Her woodcuts are ecstatic, they are vibrating with movement. Her use of bold shapes and the white line of the the carving tool makes the most of what woodcut has to offer. In the book form, the active images carry the reader’s eyes through the book space. Her use of negative space activates the page. Additionally, her woodcuts have translated beautifully to commercial printing. 

The Matsubara sisters are daughters of a senior Shinto priest, and were raised in Kyoto. Both studied, lived, and worked in the United States. Hisako received her Master of Arts degree from Pennsylvania State College, moving to Germany where she continued her studies and became a prominent writer, publishing her work in Japanese, English, and German. In the 1980s she moved back to the United States, this time to California where she worked at Stanford University. 

Naoko received her Master of Fine Arts from Carnegie Institute of Technology in Pittsburgh, now Carnegie Mellon University. After her studies she traveled across Europe and Asia. She returned to the United States and became the personal assistant to the artist and wood engraver Fritz Eichenberg, an artist who has been featured many times on our blog. Naoko taught at Pratt University in New York and at the University of Rohde Island. She also lived in Cambridge, Massachusetts for a time. Naoko is currently living and working in Canada in Oakville, Ontario, where she continues to work and exhibit nationally. 

The work of both Hisako and Naoko have had great influence inside the United States and around the world. So lets celebrate their accomplishments! 

This book has end sheets of mulberry paper with inclusions of Bamboo leaves, the cover is a red textured paper with a gold stamped design by Naoko. 

View some of our other AAPI selections for this month.

View our other Staff Picks.

- Teddy, Special Collections Graduate Intern

[kwillow]

I have this strong feeling that theo would be very happy to live in one of my oc's nations. (Hes a minotaur prince of a country that religiously collects any and ALL forms of knowledge cause they believe knowledge no matter what about or how you got it, is not evil also they do necromancy) Unless theo likes to lie in which case just dont do it infront of the crown prince and he'll be golden. The prince tends to skin people alive for lying to him u.u

Theo's a man of ethics, you know. He's taken a Hypocritic Oath.

Alas, I worry Theo might not be as at home in such a nation as one might think, despite his, erm, hobbies.

His studies into necromancy/blood magic are done out of a sense of filial duty, and as a rather fussy man with a prudish personality, he finds the hands-on application of it quite revolting and something to be endured rather than enjoyed. Additionally, Theo may be a nerd who loves books and dark magic and books about dark magic, but he is also a proud scion and adherent of an archaic aristocratic line. As such, he comes packaged with some rather staid, traditionalist values and the belief that most people are inherently his lesser. His few social experiences haven't dissuaded him from the opinion that the vast majority of people are some combination of brutish, stupid, and dissolute.

All that to say - he believes that he himself has the proper motivations, intellect and capacity for self-control (ha) to practice responsible crimes against nature, but would he say the same of wide swathes of society? Certainly not! A kingdom wherein necromancy is widespread and celebrated would naturally have too many lowly people who should never practice such a gruesome, potent art doing so, and that means the kingdom itself must be corrupt.

He would view the collection of dubiously-attained knowledge similarly. He would certainly like to partake in such knowledge, because he is a noble man of good breeding and fine manners who can understand and apply such knowledge with a gentleman's delicate touch. As a curiosity, and out of an appreciation for historical artifacts, he would like ancient tomes of evil work preserved, but not accessible to the unwashed masses who would sully them or use them for ill. Better to remain in a private library, read only by those who engage in appropriate self-flagellation after. Who decides what to preserve and which people should get access to it? Well, himself, of course! He wouldn't trust any other curator's judgment. Another strike, in his view, against a kingdom with a laissez-faire approach to science.

Also, while he values (often brutal) honesty and is certainly not a consummate confabulator of the caliber of Hyden or Ambroys, Theo will use deception to achieve his own ends. Just... not often very well. He's not exactly rocking a Charisma build. He also tends to chafe against male authority figures, especially if they threaten any consequences of his actions. It might end badly for him on the "skinning alive" front.

Anyway - I wouldn't stamp Theo's visa to the minotaur prince's kingdom, for everyone's sake. Best case scenario, he rudely complains about everyone there being debased reprobates the whole time and everyone is extremely uncomfortable. Worst case scenario, I've got one dead rat-sans-pelt and the city's libraries have been ransacked by a man who feels like common people are too dumb and immoral to read medical textbooks and the Kama Sutra alike.

[mtaartsdesign]

We mourn the loss and celebrate the life of Faith Ringgold (1930-2024). A painter, mixed media sculptor, performance artist, activist, writer, teacher and lecturer, Ringgold’s impact on American art cannot be understated, and her legacy is especially felt in New York City. Born in Harlem, Ringgold attended City College for both her B.S. and M.A. degrees in visual art before travelling the world, which would inform the rich narratives in her work and the development of her iconic story quilts. She revolutionized notions of craft in fine art with her unique style of narrative quilt paintings while centering African American and feminist voices. The distinguished artist received more than 80 awards and 23 Honorary Doctorates throughout her prolific career. Ringgold’s work has been exhibited internationally and belongs in the collections of numerous institutions including the Brooklyn Museum, the Metropolitan Museum of Art, the High Museum of Art, the Studio Museum in Harlem, and the National Gallery of Art in Washington, D.C.

Ringgold’s mosaic artwork “Flying Home: Harlem Heroes and Heroines (Downtown and Uptown)” (1996) at 125 St (2,3) station honors Harlem notables and makes them fly. Ringgold has said of the work: "I love every one of these people. I wanted to share those memories, to give the community - and others just passing through - a glimpse of all the wonderful people who were part of Harlem. I wanted them to realize what Harlem has produced and inspired." Faith Ringgold herself is certainly a Harlem heroine who has inspired and will inspire many for years to come.

📸1: MTA A&D/Cheryl Hageman, 2: Trent Reeves

[vestaignis]

Маслянные картины от Уиллоби Старший. Oil paintings by  Willoughby Senior.

Уиллоуби-старший ( 15.10.16 - 04.02.84). Уиллоуби окончил Школу изящных искусств Национальной академии искусств в Нь��-Йорке за два года, а не за традиционные четыре года. Он был автором и иллюстратором книги «Дым на ветрах», опубликованной Swallow Press, о своем более чем 25-летнем опыте среди хопи («Люди мира»). Один рецензент назвал его «наблюдателем, который действительно активно участвует». Все эти годы он также провел среди своих друзей-навахо. Уиллоби получил степень бакалавра искусств в философии. Он также имел степень доктора философии и любил называть ее «прикладной социальной этикой».

Трое детей Уиллоуби запустили сайт об искусстве в память о своем отце и матери, Эйлин-старшей (26.06.21 - 24.03.10). Его дети — Тор-старший, писатель-художник и мастер-плотник; Дон Сеньор-Траск и Ленор Старший. Его семья также издает серию книг, в которых представлены произведения искусства и сочинения Уиллоби, в том числе «Песни юности», «Песни о любви» и «Большой рогатой сове, приди ко мне на порог, умирая».

Willoughby Senior (10/15/16 - 02/04/84). Willoughby graduated from the School of Fine Arts of the National Academy of Arts in New York in two years rather than the traditional four years. He was the author and illustrator of the book "Smoke on the Winds", published by Swallow Press, about his more than 25 years of experience among the Hopi ("People of the World"). One reviewer called him "an observer who is truly involved." He also spent all these years among his Navajo friends. Willoughby received a Bachelor of Arts degree in philosophy. He also had a PhD and liked to call it “applied social ethics.”

The three Willoughby children launched an art website in memory of their father and mother, Aileen Senior. (06/26/21 - 03/24/10). His children are Thor Senior , a writer-artist and master carpenter; Don Senior-Trask and Lenore Senior . His family also publishes a series of books featuring Willoughby's art and writings, including Songs of Youth, Love Songs and Great Horned Owl, Come to My Doorstep Dying.

Источник : //willoughby-senior.pixels.com/collections/oil+paintings.

[mybeingthere]

Kim Lim (1936-1997, Singaporean/British)

In 1954, Kim Lim left Singapore for Britain with the aim of studying art and becoming an artist. In London, she enrolled at St. Martin’s School of Fine Art and later at the Slade School of Fine Art, studying printmaking and sculpture with equal enthusiasm—two approaches that formed the basis of her work in the four decades that followed. During those formative school years, Lim studied under Anthony Caro and befriended other artists like Tess Jaray and Julia Farrer. She was particularly fascinated by the work of Brancusi, a shared affinity with William Turnbull, who became her husband in 1960. Lim began exhibiting work relatively soon after finishing her studies, with her first solo exhibition at Axiom Gallery in 1966 where she displayed early, colourful works such as Borneo II and Candy (as seen in the studio shot below), acquired the year after it was made by the Arts Council Collection. She exhibited regularly through the 1970s and 1980s with Nicola Jacobs Gallery.

Much of Lim’s early work can be characterised by her engagement with materials such as wood and bronze. Her printmaking practice was equally pervasive and prominent from the beginning. Works such as Abacus I and II (1959), two sister relief sculptures, modelled after the ancient Chinese calculation tool, employ a poverty of material and reveal Lim’s ability to transform fundamental shapes and concepts with an elegant gesture. Made of plaster shapes hung on wire within a rectangular wooden frame, these works eschew “high art” material for simplicity of form. Both works are now in the collections of the Singapore National Gallery and M+ in Hong Kong, respectively. Lim extracted inspiration from her own personal journey from the East to West, with the vernacular of those artists she admired from the West such as Giacometti. Importantly, Lim looked outside the “canon” of art as well. A keen observer of nature and of natural forces, she would echo the sinuous curves of a vast desert plain, the waves of a silent sea breeze, and other experiential moments of life in her work. The strength of a Gingko tree’s trunk, for example, as seen in the 1989 sculpture titled after this living fossil, in which a monolith of rose aurora marble fluted and carved by hand rests on a Portland stone base.

Lim’s 1970s work is marked by a deeper experimentation into concepts of “form, space, rhythm and light”. Her series Intervals, which refers to both sculptural and paper works, employs negative space with equal detail as it does with ideas of density and volume. The year 1979 would prove be a watershed moment for the artist, culminating in a mid-career survey show at The Roundhouse where Lim would exhibit works from every period in a non-linear and non-chronological method, partly in response to the venue itself, a circular gallery space. This was also the year that Lim moved toward an embracing of stone and marble mediums, materials that would remain present in her practice until her untimely passing in 1997.

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