#non academic painter

[aeriondripflame]

begging for more interesting worldbuilding conversation fr. like i wanna know what the zodiac equivalent is. do people flex that they were born under the warrior or the maiden’s star? let me know about the essos-westeros spice trade. what about valyrian epics? were they influenced by earlier ghiscari literature? what about the art. where are all the art movements in westeros.

[bee-the-loser-recs]

☼My The8/Minghao One-shot Fic Recs☼

𖤓 The letter By @toruro 26k, Idol Minghao, Jun is reader's brother, fluff, angst, long term pining, slowburn, childhood friends to lovers

𖤓 Oh my By @toruro 13.6k, strangers to lovers, mutual crushes, fluff, reader is roommates with Vernon, Svt as one big friend group, smut

𖤓 Flight of the stars By @toruro 13.3k, race car driver Minghao, physical therapist reader, shoulder injury, fluff, angst, smut

𖤓 Red (k)nights By @toruro 6.7k, royalty au, princess reader, knight Minghao, established lovers, fluff, returning from scouting, slight secret relationship, smut

𖤓 This idiot of mine By @mirisss 3.7k, school au, bad boy Minghao, clumsy nerd reader, fluff, affectionate teasing, oblivious reader

𖤓 Fixer upper By @seungkwansphd 9.5k, blind date au, strangers to friends to lovers, ignoring feelings, fluff, slow burn, smut, cute, matchmaker & Minghao

𖤓 Avant-garde By @hoyoungy 4.1k, college student reader, painter Minghao, fluff, adoration, reader loves his painting, so cute, I have revisited this so many times :D

𖤓 Muses By @luvidzy 5.5k, small town au, summer holidays, falling in love, artist Minghao & reader, fluff, cuties

𖤓 Lowkey By @viastro 3.6k, dancer au, college au, pining, embarrassment, dance club, fluff, reader sobs after confession

𖤓 Since we were eighteen By @viastro 1.8k, best friends to lovers, drunk confessions, reader breaks up with their ex cause their in love with reader, fluff

𖤓 Better with you By @viastro 3.1k, friends to lovers, summer fair au, fluff, humour, nauseous reader, cute, love confessions

𖤓 Playing cupid By @sluttywonwoo 4.5k, college au, party, confessing feelings, valentines day party, fluff, smut, pining

𖤓 Once bitten By @sluttywonwoo 3.2k, vampire Minghao, college au, locked in a museum, project partners, aphrodisiac venom, smut, some fluff, slight enemies to lovers

𖤓 Light of my life By @escapewriter 2k, Minghao's birthday, celebration/cute date, painting and lighting lanterns, fluffy, so cute

𖤓 Hi (I love you) By @wheeboo 5.5k, college au, painter Minghao, photographer reader, falling in love, hidden feelings, fluff, really cute

𖤓 Academic infatuation By @berriesandjunnie 2.5k, teachers au, art teacher Minghao, Chinese language teacher reader, fluff, everyone is rooting for them

𖤓 Introverts By @berriesandjunnie 3k, highschool au, Chinese exchange student Minghao, introvert reader, bullying, fluff, fighting back, cute

𖤓 Felix felicis By @blue-jisungs 7k, Hogwarts au, Slytherin Minghao, Hufflepuff reader, project partners, cute dynamics, fluff, angst, mentions of social anxiety

𖤓 Apple of my eye By @rubyreduji 2.4k, Descendants au, Evil Queen's son Minghao, Snow white kid's reader, fluff, bullied reader, soft Minghao

𖤓 Glacial pace By @wonusite 5.3k, college au, fake dating, mutual pining, idiots in love, fluff, finally getting together, communicating, smut, meddling friends

𖤓 To love easily By @minghaoyoudoin 13.5k, college au, fake dating, photographer Minghao, ex Joshua, catching feelings, fluff, angst, smut

𖤓 Moonlight By @ilwonuu Brother's best friend trope, Jun is reader's brother, fluff, pining, oblivious lovers, Jun ships them, smut

𖤓 Minghao + historical au By @husbandhannie 6 one-shots, historical au, duke Minghao, duchess reader, marriage of convenience, falling in love, fluff, smut

𖤓 Love has no language By @renaiswriting Platonic Jun x reader x Minghao, college au, exchange student reader, learning Korean, exam stress, supportive behaviour

𖤓 Headliner By @horangboosadan SMAU one-shot, non-idol au, photographer Minghao, college student & cleaner reader, fluff, developing relationship

[starrynini05]

like we’re moving in slow motion – painter!kim jennie x photographer!reader

summary: when you were with her, everything felt like a dream

warnings: none

tags: non!idol au ; photography student!reader ; art student!jennie : university au

genre: fluff

word count: 1k

You will always remember your first encounter with her as if it was yesterday:

In the city of Seoul, where skyscrapers kissed the sky and neon lights painted the streets in a kaleidoscope of colors, life moved at a dizzying pace. With the arrival of spring, rain cascaded from above, transforming the urban landscape into a shimmering mosaic of light and shadow. The streets, usually bustling with the hurried footsteps of pedestrians, the murmur of crowded sidewalks, the rhythmic pulse of music escaping from nearby shops, and the hum of traffic, now lay quiet under the soothing rhythm of the rainfall.

The city, for a brief moment, seemed to catch its breath, basking in the tranquility brought by the new season. Most people would find it an inconvenience, but for you, it was an inspiration. Amidst the chaos, you were enjoying yourself in the solace of a nearby park, covered by trees, the soft shutter of your camera blending into the sounds of nature. As a photography student, you had a penchant for capturing beauty in the mundane. Your world was seen through the lens of your camera, each click capturing a frozen moment in time. The final frames were a stark contrast to the vibrant city outside, often highlighting the quiet corners and overlooked details of their urban landscape.

As the rain began to pour harder you noticed people entering different shops for shelter. Preoccupied by your equipment, you decided to continue your little shoot inside an old bookstore. While capturing the reflections of the rain-soaked streets you saw a slender, cat-eyed girl enter the store, canvas, and brushes in hand. It felt like you were moving in slow motion, almost serendipitously, your eyes met across the room, a spark igniting between both gazes.

Kim Jennie was the name engraved on her pink smock tag, slightly covered with paint. She was an art student at the same university, carrying a heart as vibrant as her paintings. She was slightly older than you, being in her third year of liberal arts while you were only a freshman. Her paintings were scattered along the campus, being exhibited as examples of skill and talent. Her world was a riot of colors, each brushstroke on her canvas a testament to her passion. Unlike you, she was pretty well known around the university, having friends in different areas, and being involved in various academic activities.

With a surge of confidence, you showed her a timid smile that she reciprocated with an even bigger smile and an invitation to talk. As you approached her, she extended her paint-covered hand and presented herself softly, “Hi, my name is Jennie, I’m a third-year art student at Hanguk University” “Nice to meet you…” too lost in her orbs, you missed her going quiet so you would continue “Oh, yeah, hey, my name is Lee y/n, I’m a first-year photography student at the same university”, your cheeks turning red at the statement. As you exchanged timid smiles and hesitant words, you discovered a shared love for art and expression. She admired your ability to freeze moments in time through your lens, while you found solace in her colorful imagination that breathed life into your monochromatic world.

You both returned to campus that day with a new perspective on life, wishing to know more about each other. Thus, as time passed your connection deepened. You spent your free time together wandering the streets of Seoul, exploring hidden alleyways and abandoned rooftops, looking to capture these landscapes in both painting and pictures. As the artistic outings became more frequent, they suddenly turned into coffee dates, picnics, and even movie dates. With each passing moment, you found yourselves falling deeper into an enchanting rhythm, your hearts beating in sync like a melody.

She became your escape from reality, leaning all your weight, showing her your most vulnerable and integer form. Likewise, you were always on her mind, she kept the memories of your countless interactions as sacred treasures, like tiny blessings to her troubled heart.

It had been almost four months since that day, and now, lying on the grass under the moonlight you couldn’t help but keep on admiring her perfect profile. She had moved your head to rest on her chest, enclosing your small frame from behind. In that moment, time seemed to stand still as you gazed at the stars in perfect silence, lost in each other's embrace. You felt her take something from behind her back, and suddenly, a small bouquet of pink tulips entered your vision. With a small sigh, she slightly sat up and sat you in front of her.

“I know it may seem like soon, but I like you a lot, you were there on my lonely nights keeping me together, you gave me a new lens from which to view, and you made it so easy for me to love you” – “So, wouldn't it make sense if I was yours?” Her voice was barely audible with how nervous she was, and your eyes were almost brimming with tears. You were moved, and, as if on impulse, you threw yourself at her, enveloping her in a bone-crushing hug, as the tears intensified. Worriedly, she asked you “Hey, why are you crying beautiful? Did I do something wrong?”, at her words you hastily moved your head in denial. “I just really like you too, and those words were so touching and profound, it made me emotional”, you carefully rubbed your eyes and took a deep breath before continuing, “For me, you are just like the dream, one I never want to wake up from. I love you; it will be my pleasure to be yours” A soft smile drew on her face as she gingerly kissed your nose.

And so, in the quiet embrace of the night, you both found yourselves enveloped in a love that transcended time and space. For in the chaos of the world around you, you had discovered a moment of slow motion, where everything else faded away, and only your love remained, moving in slow, slow motion.

[jeannereames]

How many love interest did Alexander have in all of his life? I just recently found out he had an affair with a prostitute named Camaspe and apparently she was the one who was the first to have a physical relationship with him although not for long.

Love your work! 💕

Alexander’s Reported Lovers

Just an FYI … Kampaspe (Campaspe in Latin, also Pancaste) is a character in the second volume of Dancing with the Lion (Rise), as I wanted a second female voice and also a slave’s perspective. Even better that she was born to privilege, then lost it. She was reportedly a Thessalian hetaira from Larissa, which was handy as the Argeads had a long history of ties to the city of Larissa. I wrote about her before in a post from the blog tour the publisher had me do when the books first came out. You can read it HERE.

That said, she’s probably a Roman-era invention, mentioned only by late sources (Lucian, Aelian, and Pliny) all with one (repeated) story: Alexander as Super-patron. Reputedly, he gave her to his favored painter Apelles when, commissioned to do a nude,  Apelles fell in love with her. Alexander kept the painting, Apelles got the girl. You bet I’ll have some fun with that. Kampaspe will remain a major character throughout the series…but not as Alexander’s mistress.

When trying to figure out how many sexual partners Alexander had, we must ask which were invented—or denied. Remember: ancient history wasn’t like modern (academic) history. It was essentially creative non-fiction. It inserted speeches, dialogue, even people and events to liven things up and/or to make a moral point. Or it obscured people and events, if that worked better.

Modern readers of ancient sources must always ask WHO wrote this, WHEN was it written, and what POINT did the author intend? Also, especially with anecdotes, look at the wider context. People are especially prone to take anecdotes at face value and treat them as isolated little tales. Yet CONTEXT IS KING.

A lot of our information about Alexander’s love life comes from Plutarch, either in his Life of Alexander or his collection of essays now called the Moralia. Another source is Curtius’s History of Alexander. And finally, Athenaeus’s Diepnosophistai or The Supper Party (really, The Learned Banqueters). All wrote during the Roman empire and had tropes and messages to get across.

Of the WOMEN associated with Alexander, I’m going to divide them into the historical and the probably fictional, or at least their relationship with Alexander was fictional.

Of the certain, we can count one mistress, three wives, and one probable secret/erased liaison.

Barsine is his first attested mistress for whom we have ample references across multiple sources. Supposedly, she bore Alexander a son (Herakles). Herakles certainly existed, but whether he was Alexander’s is less clear to me. As the half-Persian, half-Greek daughter of a significant satrap, she had no little influence. Monica D’Agostini has a great article on Alexander’s women, btw, in a forthcoming collection I edited for Colloquia Antiqua, called Macedon and Its Influences, and spends some time on Barsine. So look for that, probably in 2025, as we JUST (Friday) submitted the last of the proof corrections and index. Whoo! Anyway, Monica examines all Alexander’s (historical) women in—you guessed it!—their proper context.

Alexander also married three times: Roxane, daughter of the warlord Oxyartes of Sogdiana, in early 327. He married again in mid-324 in Susa, both Statiera (the younger), daughter of Darius, and Parysatis, youngest daughter of the king before Darius, Artaxerxes III Ochus. Yes, both at once, making ties to the older and the newer Achaemenid royal lines.

Out of all these, he had only one living son, Alexander IV (by Roxane)—although he got his women pregnant four times. If we can trust a late source (Metz Epitome), and I think we can for this, Roxane had a miscarriage while in India. Also, Statiera the younger was reputedly pregnant when Roxane, with Perdikkas’s help, killed her just a few days (or hours!) after Alexander died.

That’s 3 …who had baby #4?

Statiera the Elder, Darius’s wife. Netflix’s proposal of a liaison between them was not spun out of thin air. Plutarch—the same guy who tells us ATG never even looked at her—also tells us she died in childbirth just a week or three before the battle of Gaugamela, Oct. 1, 331. Keep in mind, Alexander had captured her right after Issos, Nov. 5, 333. Um … that kid wasn’t Darius’s. And if you think ANYbody would have been allowed to have an affair with such a high-ranking captive as the Great-King’s chief wife, I have some swampland in Florida to sell you. More on it HERE.

Now, for the probably fictional….

Kampaspe, I explained above.

Kallixena was supposedly hired by Philip and Olympias (jointly!) to initiate Alexander into sex, because he didn’t seem interested in women. (Yes, this little titbit is also in Rise.) Athenaeus reports the story as a digression on Alexander’s drinking, and how too much wine led to his lack of sexual interest. But within the anecdote, the reported reason for his parents’ hiring Kallixena was because mommy and daddy feared Alexander was “womanish” (gunnis).

Thaïs was linked to him by Athenaeus, almost certainly based on her supposed participation in the burning of Persepolis…which didn’t happen (or not as related; archaeology tosses cold water on it). Thaïs was Ptolemy’s mistress, and the mother of some of his children.

Athenaeus also mentions a couple unnamed interests, but all illustrate the same point: Alexander is too noble to steal somebody else’s love. Two are back-to-back: the flute-girl of a certain Theodoros, Proteas’ brother, and the lyre player of Antipatrides. The last is a boy, the eromenos of a certain Kalchis, a story related apart from the women, but with the same point.

Even more clearly fictional are his supposed encounters with the Amazon Queen Thalestris and Queen Kleophis of the Massaga (in Pakistan). Reportedly, as Onisikritos was reading from his history of Alexander at the court of King Lysimachos (who’d been a close friend, remember), Lysimachos burst out laughing when Onisikritos got to the Amazon story, and asked, “Where was I when this happened?”

Now, when it comes to his MEN/BOYS, the ice is thinner as no names are definitively given except Bagoas (in a couple sources, chiefly Curtius and Athenaeus). We also have a few generic references to pretty boys, as with Kalchis’s boyfriend mentioned above, and some slave boys offered by a certain Philoxenos, who he turns down, a story told by both Plutarch and Athenaeus.

Curtius alone suggests two more, but at least one is meant to show Alexander’s descent into Oriental Corruption(tm), so it’s possible Curtius made them up. At the very least, he used them for his own narrative purposes. Sabine Müller has a great article on this, albeit in German. Still, if you can read German: “Alexander, Dareios und Hephaistion. Fallhöhen bei Curtius Rufus.” In H. Wulfram, ed., Der Römische Alexanderhistoriker Curtius Rufus: Erzähltechnik, Rhetorik, Figurenpsychologie und Rezeption. Vienna: Austrian Academy of Sciences Press, 2016, 13-48.

Romans had a certain dis-ease with “Greek Love,” especially when it involved two freeborn men. Fucking slaves was fine; they’re just slaves. Citizen men with citizen boys…that’s trickier.

Curtius labels two youths “favorites,” a phrasing that implies a sexual affair. One is mentioned early in the campaign (Egypt) when Alexander is still “good”; the other after Alexander begins his slide into Persian Debauchery. These are Hektor, Parmenion’s son (good), and Euxinippos, described as being as pretty as Hephaistion, but not as “manly” (bad). Curtius employs Bagoas similarly, even claims he influenced imperial policy for his own dastardly goals. Gasp!

Yes, of course I’m being sarcastic, but readers need to understand the motifs that Curtius is employing, and what they really mean. Not what 21st century people assume they mean, or romantically want them to mean. (See my "Did Bagoas Exist?" post.)

What about Hephaistion? I’ve discussed him elsewhere in an article, but I’ll just remind folks that it’s nowhere made explicit until late sources, in large part because, by the time we meet Alexander and Hephaistion in the histories, they were adults, and any affair between them would be assumed to have occurred in the past, when they were youths. (See my “It’s Complicated” and a reply to them maybe being “DudeBros.”)

This is why we hear about Alexander’s interest in youths, not adult men. It would be WEIRD to the ancient mind (= Very Very Bad) if he liked adult men. In fact, by comparing Hephaistion to Euxinippos, Curtius slyly insinuates that maybe he and Alexander were still…you know (wink, wink). That’s meant to be a slam against Alexander (and Hephaistion)! Therefore, we cannot take it, in itself, as proof of anything. Alexander’s emotional attachment to Hephaistion, however, is not doubted by any ancient source.

So, all those people are attached to Alexander in our sources, but over half may not be real, or at least, may not have had a sexual relationship with him. There may be (probably are) some that simply didn’t make it into the surviving sources.

Yet I’ve mentioned before that we just don’t find sexual misconduct as one of Alexander’s named faults. Even Curtius and Justin must dig for it/make up shit, such as claiming Alexander actually used Darius’s whole harem of concubines or held a drunken revel through Karia after escaping the Gedrosian Desert. (Blue Dionysos and drag queens on the Seine at the Paris Olympics got nothing on his Dionysian komos!)

Drink, anger, hubris…he sure as hell ticked all those boxes. But not sex. In fact, a number of sources imply he just wasn’t that randy, despite his “choleric” temperament. Some of the authors credit too much drink (bad), others, his supreme self-control (good). He’s more often an example of sexual continence—as in the stories from Athenaeus related above. He also didn’t rape his captives, etc., etc.

Make of that what you like, but I find it intriguing.

[lesb0]

I don't think we can expect everyone to know a lot about art on a deep level, but I do miss more info in art museums. If there are texts I find that they tend to be very surface level. I think it would be nice if either there just was given more info on the plaques in the museums, or that there would be also a sort of digital tour you could follow on your phone where you could access the info. The digital tour on your phone gives you the possibility to give way more info than you would ever put on a plaque in a museum and you don't have to try to read it with 7 people at once. I just remember that two summers ago I was walking through the National Gallery in London constantly looking up paintings and the historical events/stories they depicted. I do think, with the internet in our pockets, that the people who are interested have so much more access to art and info about them, but I still think that for permanent expositions museums could put in some more effort.

Having info about the painter, the event/story depicted, the symbolism (or interpretation of it), and some info about the materials used per painting would be nice, but I am also aware that that would end up being a huge amount of work. Non-academic people just often don't have access to academic publications, or simply don't know how to access them (I'm writing here in English, and in my experience publications in English are way easier to find for free in some way than those in Dutch, German or French, at least those I've needed, but you still don't find everything).

Interesting! There is an ongoing critical restructuring of the art museum, as they grapple with changing the ways they function. being colonial institutions invented to create a civilizing effect for the uneducated masses who suddenly are no longer at work 15 hours a day is pretty bad, right? the 18th century ruling class was extremely worried about what poor people would do with all the new leisure time + human rights they had gained after all those pesky revolutions. so enter the public, free, national art museums.

This crucial book by Duncan first criticized national art museums as a ritual space to replace the power that the church used to have: you get dressed up nicely, walk into a museum and perform an act of pseudo-worship by ascending up the giant steps, you follow a map that leads you from one room to the next, in chronological order with Italian renaissance art as the most valuable in this little micro world, and the other cultures ranked lower (looted african art at the very bottom, unless its with a picasso). You speak quietly, never point, don't stand too closely, follow the map, and NEVER run. if you step out of this order, the guards and the other guests will get angry and yell to correct you.

The museum takes the low uneducated dirty working class and teaches them how to act proper through a civilizing ritual.

Last night I told my friend a story Barbara Kruger mentions on Katy Hessel's podcast, that she gained her visual culture education in the lowest way possible, in a basement as one of the copy-paste girls who put the ads together at conde nast.

She wanted to go to museums and teach herself more about art, but felt like she could never feel clean enough to go in, her clothes felt too dirty and old. she felt like she needed to be lint rolled first. Many of my students feel exactly the same, "I can't go to the museum in sweatpants"

As a museologist, there's an idea of removing this authoritative condescendingness to art museums, and that starts by making didactics have as little of the curator's voice as possible, with just a tombstone. I'm trained to look at an artwork and immediately know the things you mentioned: the era, materials, iconographies, and the artists biography. communicating that to a student takes an entire hour every week. I do not look at didactics because I already have immediate basic info and context of every artwork, and I want to spend my time looking at the art itself. About 1% of this info is available on google/wiki.

You think museums should have a digital didactic for each object in a permanent collection? That'd be a fun initiative, essentially digitizing the work of the docent educator.

How would you feel about other visitors, instead of lining up to read a long didactic, were lining up to look between their phone and the art for a 10+ mins lecture that theyre playing at volume level 100?

Now how do you feel when I tell you the British Museum alone has over 8 million objects in its permanent collection, and doing a digital explanation for each one would take centuries if every qualified artist historian in the world worked on it.

To bring up Katy Hessel again: she does a great job at bridging this gap! She only has an undergrad level of understanding art but that actually makes her a great art communicator and instagram docent, she explains really basic things every art historian already knows, the 1% of art history you get on wikipedia but through her great voice. Museums Without Men accomplishes what you propose on a one woman level; an audio guide to the best women artists in a museum collection:

[thebibutterflyao3]

Marauders/Emeralds Era Characterisation/Builds/Backgrounds in my fics

-I’ve seen a few newbies looking for head-canons to try out in their fics. Feel free to use any of these.

-there is some variation, of course, plus some of my fics are set at the younger Hogwarts ages, but usually in this order from tallest to shortest as adults:

Remus Lupin (6’ 1”-6’4”) - typically an inch or two taller than James, but rarely quite tall. Lanky, long-limbed with curly dirty blond/light brown hair. Sometimes, he’s stronger than he looks, other times he’s a wet noodle. Disabled (usually physically, but sometimes with Tourette’s or Epilepsy). Introvert. Classic literature/fantasy novel buff. Neutral Good. Welsh. Bisexual with a preference for men. Smokes occasionally, prefers weed.

James Potter (around 6’) - athletic with strong upper body, solid but rarely super muscular. Wears glasses, intelligent, and has ADHD. Chaotic Good. Messy curls. Wide open music taste, but always Queen and a sucker for a ballad. Deep voice. Extrovert. Deeply romantic. Usually Desi via Euphemia, but love the Latinx James hc. Bisexual>Pansexual (used interchangeably for James). Non-smoker.

Barty Crouch Jr. (around 6’) - athletic, but slim. This man has no arse. Stronger than he looks. British, but love the hc that he’s Italian. Burnt out gifted kid, occasionally tech savvy. Heavy-metal and emo fan. Usually has ODD. Extrovert. Chaotic Evil. Omnisexual or Bi with a preference for mascs. Often with tattoos and/or piercings. Heavy smoker.

Dorcas Meadowes (5’9-5’11) - athletic, or slender with some curves. Black, British, and the most intelligent of the group. Long braids. Ambivert. Love her characterisation as a good Slytherin. True Neutral. Listens to R&B, but secretly loves pop music, mostly sapphic artists. Occasionally has Depression. Neither butch or femme exclusive, bit of both. Bisexual or Lesbian. Non-smoker.

Evan Rosier (5’9”-5’10”) - painfully average floppy-haired blond white boy with a tan. Neutral Evil. Solid build. Grunge music fan. Piercings rather than tattoos. French or British. Ambivert. Demisexual. Prefers edibles or shrooms to smoking.

Regulus Black (5’7”-5’10”) - usually a hair taller than Sirius, but he was shorter by a bit once or twice. Chin-length wavy hair. French. Writer (poetry) and/or musical prodigy. Introvert. Slim to average build. Lawful Evil. Anxiety, OCD, and/or Autistic. Classical music or jazz, nothing with lyrics. I have written him as intersex (or trans in a few WIPs), but usually a gay cis man. Non-smoker, mostly. Social drinker, but overestimates his tolerance.

Sirius Black (5’8”-5’10”) - most attractive amongst the guys. Usually slim, but strong and flexible. Highly intelligent, but easily bored and uninterested in academics. Artistic (painter) and/or musical (percussion instruments). Rock/grunge junkie. Shoulder-length hair and tattooed. Chaotic Good/Chaotic Neutral. Sometimes ADD, often emotionally stunted with abandonment issues. Heavy drinker, occasional smoker.

Mary McDonald (5’8”-5’10”) - depends on the fic, but always in heels so she seems taller. Curvy queen. Most attractive and socially aware of the entire group, extremely trendy, designs/sews a lot of her own clothes, high-femme. Prefers soulful music and light pop. Popular, but keeps her emotions buried. High expectations. Does not suffer fools. Lawful Neutral. Black, British, and extroverted. Natural hair. Social smoker and drinker. Neurotypical. Aromantic or lesbian.

Lily Evans (5’6”-5’8”) - very curvy to plus-size. Super long dark red hair, often braided with a fringe. Academic overachiever, Lawful Good, pretty, and fiery/defensive when confronted. Fantasy book nerd. Introvert. Neurotypical with anxiety. Pop music girlie. Artistic (usually sketching). Welsh/British. Non-smoker. Bisexual>Pansexual (used interchangeably for Lily) or Femme Lesbian, but rarely wears make-up.

Marlene McKinnon (around 5’6”) - athletic/ stocky queen with thick thighs. Blonde, usually in a ponytail and shoulder-length with fringe. Scottish/British. Music-obsessed (mostly 70-80s rock) and lives in band tees and Docs. Tattooed. Extrovert. Chaotic Neutral. Social smoker, but rarely. ADHD. Butch lesbian who loves eye-liner. Occasional short skirt to break Dorcas’s brain.

Peter Pettigrew (5’5”-5’7”) - stocky/plus-size, straight blond hair. British. Logical and strategic, but struggles with abstract concepts. Chess player, comic book collector, video game/movie buff, and weed fiend, but non-smoker. People-pleaser and supportive of his friends, but ambivalent around strangers. Ambivert. Asexual, unlabeled, Questioning.

Pandora Lovegood (5’-5’3”) - always petite and slim. Long blonde hair, usually loose or in elaborate half-updos (like Phoebe Buffet in Friends). Hippie vibes and high-femme. Usually Autistic. Ambivert -depends on who she’s with. French. Animal lover, compassionate, high-strung, a gossip but rarely maliciously, collects crystals. Pansexual. Non-smoker, but open to experimentation. Rarely drinks.

[snuffedcat]

Requested by anon! I lost the ask somehow?? But hopefully I remember it correctly.. “adult sapphic fem, hyper fixated on nature / space”? It was something along those lines! Thank you Anon for your request!! :D this is right up my valley, and hopefully it’s up to expectations.

︵ ₊ Name :: Nova , Nebula , Lyra , Solara , Juno , Mercury , Willow , Fern , Cedar , Ivy , Ember , abyss , altair , astra , comette , knox , stella , stardust , jupiter , skye , pluto , milkyway, verta, clover, honey, oak , cedar , river , fawn

︵ ₊ pronouns :: she/zir/em/faer/space/planet/universe/nebula/star/shine/heat/void/cosmo/nova/astro/supernova/glow/abyss/antenna/scurry/fossil/dino/alien/spaceships/ufo/moon/ring/🌍/🌙/🪐/👽/bug/beetle/moth/deer/faun/doe/wild/leave/rain/dawn/garden/florence/flora/grass/moss/nature

︵ ₊ terms :: prn who shines in the night, prn of stars, the cosmos, bathed in the glow, dancing through saturn's rings. the star gazer, shooting star, the orbiter, prn who comes from the woods, prn who sings with birds

︵ ₊ genders :: all of the following have feminine twist to them! Stariverusa, lumicattic, lavendercosmic, multivercous, universpacic, rainynightgender, stargrapegender, spacecatdoggender, moongender, starmarked, fidgetcubic, snowstarthing, swirllstaremojigender, lumigender, consentellunyx, nocturlance, earthic, stormcomifc, purplestaric, galaxic, bloomgirl, sungirl, sproutgender, stonerthing, stargirl, biolumistarric, vinegender, pillbuggender, froggender, leafdripsoundic, foremizzlen, goblincoric, genderuttumna, dandedappline, foreststaric, forestcoric, naturegender, plantgender, floragender, komorebian, floradeeric, forestgender, naturebodiment, mossgender, naturecomfic, dreamgender, rainsleepic, hangingstaric, shakergender, rainydream,

︵ ₊ Presentation :: fem presenting. Presents as adult, snail, and alien.

︵ ₊ cisIDs :: Snail, ADHD, writer, artist, painter, harmless, kind

︵ ₊ transIDs :: autismseverity (worse), fully non-human, wheelchair user, forearm crutches user, service dog, biology researcher, biology major, Asian, time traveler, astronaut, alien, minus weight, cryptic, cryptozoologist, historian, warmbodytemp, transsummer, leafshaped pupil, planet shaped pupil, childhood, drooling, college grad, DPD, Schizotypal

︵ ₊ otherIDs :: tris autism, permahydrated, permacozy, perma living in forest, permaharmless, permaunharmed, permaadult, permaessa, sapphic

︵ ₊ ageID :: perma27

︵ ₊ physical age :: 27

︵ ₊ age requirements :: treat as adult

︵ ₊ species ID :: snail, alien, beetle, cryptic

︵ ₊ physical species :: snail, human

︵ ₊ disorders / MUDs :: DPD, Schizotypal, MAA, GDS, CNSD, has a condition similar to GDS but with nature, adhd, autism

︵ ₊ symptoms that stand out :: Very hyperactive and manic when it becomes nighttime- will often try to stay awake only at night, misses big events in life due to space/nature, has a delusion that one of her stuffies is her child, has delusion that her ESSA talks to her

︵ ₊ paras :: 🍯🐾⚾️🧵 📚🌱🌧️

︵ ₊ functions :: interest holder, happiness holder, obliviousness holder, academic productivity

︵ ₊ sources :: N/A

︵ ₊ kins :: willow from TOH, shelly from DW

︵ ₊ aesthetics :: goblincore, cottagecore, aliennature, twillightcore, art academia, art nouveau, bloomcore, fantasy astronomy, green academia, whimsigothic

︵ ₊ likes :: all things Space, all things Nature, books, painting, earths history, bugs, journaling, learning

︵ ₊ dislikes :: ppl who are mean to bugs, debates, loud noises, misinformation, beef jerky, ham

︵ ₊ music :: crane wives, the oh hellos, the amazing devil, comso sheldrake, the paper kites, hozier, florence + the machine. folk music

︵ ₊ boundaries :: no loud noises, do not talk negative about interest, no reality checking unless trusted, be careful with touch, dont correct her during rants

︵ ₊ notable traits :: she is very bad at understanding social situations, cares deeply about those around her but sometimes cant express it right, often has a flat tone of voice

︵ ₊ appearance :: darker skin with freckles, long green hair that's commonly put up into a ponytail/pigtails/braid/two braids, snail like antennas, snail shell backpack, dresses in earthy clothes with a gothic twist, sometimes dresses whimsigoth

︵ ₊ typing quirks :: h🌿ll🪐 h🪐w are 🌱🪐u?

e=🌿 y= 🌱 o= 🪐

︵ ₊ hex codes :: 9b7ba7 84a77b 3e423d dcc3e7 719593

︵ ₊ sign offs :: 🍃⛅️🏞️🌱🌿 🧺🐌🚀🪐🌕🌑☄️🛸

︵ ₊ other notes :: she's overall a very sweet and caring gal!!

[racefortheironthrone]

In A Guildsman Goes Forth to War, what can you tell us about fae society? I'm assuming they're monarchies, feudal or absolute? Do they bear any resemblance to Celtic society? Do they practice slavery? What of their gender dynamics? Etc

Great question!

So there's a lot that I'm not going to share with you, because the fae/Fair Folk/etc. are supposed to be a mysterious people who live in their own realm that connects to the human world via thin places in the forests and underhill and deep in the mountains or underground rivers, and humanity doesn't particularly understand them very well despite centuries of intermarriage, as the fae are both very cryptic and contradictory in the information they've shared with their Gentry kin.

Government

As far as humans have been able to glean, the Fae do organize themselves into Courts that seem close enough to European feudal systems that the leading families of Europe can do business with them when it comes to dynastic marriage alliances and diplomatic relations.

That being said, status and power in Faerie society don't seem to be based in land as they are among humans. (In the interests of full disclosure, I'm borrowing some ideas here from the Feywild in D&D.) As far as people have been able to glean from correspondence and diplomatic and cultural interactions, titles are based on elements of nature (the Duke of Hoarfrost, the Viscount of Watermeadows) or from emotions (the Lady of Wistful Rememberance, the Prince of Sorrow), or from ideas and beliefs (the Duchess of the Dark Side of the Moon claims to have once been a handmaiden to the goddess Selene).

Quite a few scholars of geography and history from the leading universities have theories and taxonomies about how Faerie society is organized, but they're all second-hand and can offer only partial explanations and there's absolutely no consensus about what's going on. It does not help that the rare diplomatic missions or marriage parties that go to Faerie from the human world rather than in the other direction tend to report memory issues, such that much of what is recorded owes more to dream logic than accurate observation. Needless to say, this has been a rich vein of material for poets, playwrights, and painters only, and intensely frustrating for academics and statesmen.

Culture

Faerie culture is highly localized in accordance with regional folklore and mythology, although scholars disagree whether human folklore is a record of pre-historical encounters with Faerie, or whether the Fae pattern themselves after the human cultures they interact with.

So for example, the Fae of Éire, Alba, Anglia, and northern Gallia seem to correspond to Gaelic and Brythonic literature, Arthuriana, and the Matters of Britain and France. In the Sacrum Imperium and the Danelaw, however, the dominant Fae cultures are distinctively Germanic and Scandinavian - whether that's the Rheintöchter of the Rhineland and Palatinate, or the dvergr who predominate in Bavaria and the Hapsburg lands or the trollkind and various álfar in the land of the Northmen. In much of southern Europe around the Mediterranean, one is much more likely to encounter Faerie peoples recognizable to students of Greek and Roman mythology: many Gentry from the Lega or the western half of the Rhōmaîoi-Rashidun Federation claim descent from oreads, naiads, nereids, satyrs and other bloodlines.

Human scholars are particularly confused by the fact that all of these different peoples all call one another "cousin," no matter whether they belong to the more humanoid elfkind or the distinctly non-human trollfolk or even the potentially fictional or extinct dragons.

Class and Slavery

As already suggested, Faerie society seems to have some sort of a hierarchy, but it does not seem to be one based in the inheritance of land passed down from generation to generation. Rather, as far as humans can tell, status seems to be associated with proximity to or control of or possession of or identification with magical power from various sources.

What does seem to be the case is that those with more power can command those with less, and Faerie embassies ubiquitously feature both vips with titles and what appear to their servants, but there is no consistency on which kinds of fae serve and which rule. Human visitors and diplomats are very unsure whether this consistutes a caste system or clientilism, because the Fae themselves speak in rather vague terms about "obligations" and "debts" and "true names."

Gender

Again, humans have a rather hard time understanding Faerie gender norms - and are rather unsure whether various Fae kinds have genders and how many they have. What is known is that, among what passes for royalty and nobility in Faerieland, there is a tendency for the female to be announced first - correspondence often arrives in the form of "Queen Titania and King Oberon" or "The Baroness and Baron"- which suggests a slight tendency to the matriarchal, but that is mere supposition. Human cultural conservatives both within and without the Church do grumble about the "immodest" and "amazonian" habits of Faerie women when they comport themselves in their visits to human society or in their Gentry marriages, but they make sure to do so under their breath.

[aacetrainer]

I want to see what everyone would want to be if you could actually live in the Pokemon world and be anything!! Including, but not limited to, the classic trainer. Please feel encouraged to tag and go into specifics about what you would do.

If you can, please also reblog to share I want to see everyone's answers ❤️🖤❤️

[madwickedawesome]

anyways wanna hear gen info abt alexandre cabanel my favie artist in the whole wide world (he is dead) well too bad ur gonna hear abt him!!!! (specifically his mini war with the church)(i am writing this from memory i am so sorry if i butcher any facts)

his work is generally that of the 'academic' art style bc at 16 or 17 (i dont rember which) he started art school and trained under this dude named picot who was another famous painter at the time :] there he learned academic style and made his way making a variety of religious paintings to appease the church....... cabanel later became a professor there and taught some other famous artists like pierre auguste cot (my second fav artist) and henri regnault!!!!!!

cabanel is probably most famous nowadays for his painting the fallen angel [l'ange déchu] which is below!!!!! it depicts lucifer upon falling from heaven looking heartbroken and enraged while the rest of the angels in heaven rejoice over his exile

i personally adore this piece!!! a lot!!!!!!!! but anyways this painting ^ got him into suuuuper hot water bc at the time, everyone was very strict abt catholicism and it was not epic to be painting lucifer in a sympathetic way!!! he went from pretty accepted in the art world to everyone hating him and he did not like that!!!!!!!

as a result, cabanel bounced back by painting the death of moses 3 years later to enforce his loyalty to the church and religious painting LMFAO. here it is below!!! it is also a very famous piece of his!!!!!!!!

after this he was accepted For The Most Part in the pretentious french art community :3 and i love his works very much however he drew mostly naked women so ur gonna have to look them up urself HSAHABAHJHSDGKJA heres 2 non naked favs tho :D

ophelia, 1883 (wow hamlet reference)

darling bird [l’oiseau chéri], 1825 (u will have to ignore the watermark)

[franzliszt-official]

If you were not a musician at all, what other jobs would you consider?

Perhaps I would have become a priest or a member of the ecclesiastical life much earlier, since being devoted to music - and my parents' disapproval - has been the most prominent reason as why it did not happen before.

Remaining into the realm of artistry, perhaps I could place some bets on becoming a decent painter. Also working as a proper essayist once and for all... Alas having had to recuperate much of my non-musical education later during my adolescence has made any chance in academics take a blow, albeit little.

[thedarkat]

HENRI ROUSSEAU (Laval, 1844 - París, 1910)

 Soirée au carnaval, Henri Rousseau, 1886

(English / Español / Italiano)

There is an air of mystery in this winter landscape. Dressed in carnival costumes , this solitary couple pose in front of the barren trees, against an almost calligraphic forest background .

It gets dark, and the moon rises , but the satellite doesn't seem to illuminate much. In reality it is the figures that seem to shine from within. It is almost a dreamlike scene, much praised by the surrealists years later. Painters such as Magritte would take good note of this particular painting.

This is one of the first paintings exhibited by the self-taught Henri Rousseau, who did not take up painting until 1893 (when he was 49 years old). He was one of those artists with little or no academic training, but on the contrary with a great freshness, which is exactly what the modern art of the late 19th century needed.

Of course, his art, which was very naïve or primitivist, was ridiculed by many critics. But this formal naivety combined with a certain thematic and compositional sophistication would end up having a notable influence on avant-garde movements such as Fauvism and Surrealism, led by Picasso himself.

------------------------------------------------------------------------------

Se respira un aire de misterio en este paisaje invernal. Vestidos con disfraces de carnaval, esta solitaria pareja posa delante de los árboles estériles, en un fondo forestal casi caligráfico.

Anochece, y sale la luna, pero el satélite no parece iluminar demasiado. En realidad son las figuras las que parecen brillar desde dentro. Es casi una escena onírica, muy alabada por los surrealistas años después. Pintores como Magritte tomarían buena nota de este cuadro en concreto.

Este es uno de los primeros cuadros expuestos por el autodidacta Henri Rousseau, que no se dedicó a la pintura hasta 1893 (cuando tenía 49 años). Fue uno de esos artistas con muy poca o nula formación académica, pero por el contrario con una gran frescura, que es exactamente lo que necesitaba el arte moderno de finales del siglo XIX.

Por supuesto su arte, muy naíf (ingenuo) o primitivista, fue ridiculizado por muchos críticos. Pero esa ingenuidad formal unida a cierta sofisticación temática y compositiva acabaría influyendo notablemente en vanguardias como el fauvismo o el surrealismo, con el mismísimo Picasso a la cabeza.

-----------------------------------------------------------------------------

In questo paesaggio invernale si respira un'aria di mistero . Vestita con costumi di carnevale, questa coppia solitaria posa di fronte agli alberi spogli, su uno sfondo forestale quasi calligrafico.

Si fa buio e sorge la luna, ma il satellite non sembra illuminare molto. In realtà sono le figure che sembrano brillare dall'interno. È quasi una scena onirica, molto apprezzata dai surrealisti anni dopo. Pittori come Magritte avrebbero preso nota di questo particolare dipinto.

Questo è uno dei primi dipinti esposti dall'autodidatta Henri Rousseau, che si dedicò alla pittura solo nel 1893 (all'età di 49 anni). Era uno di quegli artisti con poca o nessuna formazione accademica, ma al contrario con una grande freschezza, che è esattamente ciò di cui l'arte moderna della fine del XIX secolo aveva bisogno.

Naturalmente la sua arte, molto naïf o primitivista, fu ridicolizzata da molti critici. Ma questa ingenuità formale, combinata con una certa raffinatezza tematica e compositiva, non è mai stata un problema.finirà per avere una notevole influenza su movimenti d'avanguardia come il fauvismo e il surrealismo, guidati dallo stesso Picasso.

Source: https://historia-arte.com/autores/miguelcalvo in HA!

[saint-starflicker]

The person I reblogged this from requested the rest of the list, of which there were 3 batches. Here are the lists as I found them, I did NOT make these lists. I added commentary.

My definition of Dark Academia is simple: dark because somebody dies, academia because they go to uniform school or prepster university. At a stretch, the darkness can be oppression or abuse from which no one necessarily dies but it still gets pretty dark, and the academia can be an intense study of something even though they are not at a campus.

I want to repeat that I did not make these lists.

1. The Emperor's Club ✅ they go to uniform school and the teacher gets about ready to throw hands with a very annoying student who has no academic integrity

2. The Imitation Game ❓ i didn't watch this but it's a biopic about a computer expert so maybe

3. Never Let Me Go ✅ they go to uniform school and then the corporation government harvested all their organs; they study their own mortality—if this were the baseline for darkness, then sorry to The Emperor's Club but i must confiscate that membership card to dark academia cinematic canon. We are now only accepting Darkness on the level of non-consensual organ harvesting.

4. The Dreamers ❓ i didn't watch this one

5. Ammonite ❓ i didn't watch this one

6. Dorian Gray ❌ it's classic literature but not itself a school story or a got-too-much-into-studying story, even though there is a murder; SO CRUCIFY ME! THIS IS NOT DARK ACADEMIA!

7. A Dangerous Method ❓ didn't watch

8. Le Fabuleux Destin d'Amélie Poulain ❌ she didn't go to school at all that's why she's so messed up... that's not "studying people", Amélie, that is stalking... if you count The Talented Mr. Ripley movie as dark academia, then Amélie is dark academia but the aesthetic is bright and quirky so there is no dark and there is no academia what is Amélie doing here

9. Mary Shelley ❓ i am familiar with the historical figure but i did not watch this so i don't know

10. Call Me by Your Name ❓ i didn't watch this

1. The Riot Club ❓ probably; i haven't watched this

2. Little Women ❌ they go to a school and then Beth dies but those are not interrelated events? the other March sisters and Marmee did not conspire to murder Beth for not being pretentious enough...maybe there's some rivalry between Writer Jo and Painter Amy but it's not an exploration of how their rivalry ruined everybody else's lives

3. Noordzee, Texas ❌ if you count Eat, Pray, Love by Elizabeth Gilbert starring Julia Roberts as dark academia then yes Noordzee, Texas is also dark academia

4. The Goldfinch ❓ i didn't watch this one and i can't be sure that it's automatically dark academia just because Donna Tartt wrote both this and The Secret History

5. Mona Lisa Smile ❓ even though 1950s housewife angst gets dark and vindictive, and they study art, nobody died so I don't really count this — why don't we like to call things LIGHT Academia?? what did the Light Academists do to us that we should shun them so mercilessly

6. Tolkien ❓ i didn't watch this but maybe yes—he did go to a university, didn't he

7. Colette ❓ i didn't watch this

8. School Ties ✅ nobody dies but the main character's bedroom gets broken into and vandalized with swastikas and i just think that's really dark, given the context; plus this happens at a uniform school

9. Total Eclipse ❌ this movie is basically Kill Your Darlings without the university; there is a "study" of poetry and a lot of stabbing people, shooting people, and setting people on fire for the Art and passion of love...but i still wouldn't count it as dark academia

10. Sherlock Holmes ❌ they do study, let's consider it field work, but the murders tend to be a plot device rather than a grim contemplation of gilded privilege and the evil in the hearts of humankind...so i do not consider Sherlock Holmes mysteries to be dark academia either

1. The Breakfast Club ❌ no

2. Whiplash ❌ he studies music pretty hard and his mentor is a jerk but i say no to this; if Whiplash is dark academia then Fight Club is dark academia

3. The Falling ❓ didn't watch

4. Licorice Pizza ❓ didn't watch

5. Maurice ❌ they meet at university, and in the movie one of their mutual friends die horribly, but if i already said no to Dorian Gray, Little Women, and Sherlock Holmes being dark academia then I should say no to this too; unlike Never Let Me Go they don't physically return to university as though studying at the university were the central important thing; honestly though I'm on the fence about this because "the unspeakable vice of the Greeks" and the Platonic love that Clive tried for, that could count as study while 19th/20th century homophobia in society can get pretty dark...but for now i say no

6. Anna Karenina ❌ i watched the Kiera Knightley movie adaptation, it was pretty and it was trippy, but there wasn't really what i would consider darkness and also there was no academia

7. Cracks ❓ didn't watch this

8. Picnic at Hanging Rock ❓ didn't watch this but the book is on my TBR

9. Nowhere Boy ❓ didn't watch this

10. Kill Your Darlings ✅ "dark academia movies you might not know"? i think this is in the top 3 dark academia cinematic canon

[kitchenmanagementcertificate]

What is certificate III in painting and decorating?

The Certificate III in Painting and Decorating is a nationally recognized qualification in Australia designed to equip individuals with the practical skills and theoretical knowledge required to become a professional painter and decorator. This course is part of the vocational education and training (VET) sector and is typically offered by Australian Health and Management Institute (AHMI) and other registered training organizations (RTOs).

Course Overview

International Students must be 18 years of age at the time of enrolment

Academic Entry Requirements: Year 12 or equivalent of Australian HSC.

English Language Entry Requirements: IELTS score 6.0 (with no bands less than 5.5) or equivalent Pearson Test of English (PTE).

Skills and Knowledge:

Surface Preparation: Techniques for preparing various surfaces, including cleaning, sanding, filling, and priming to ensure a smooth and durable finish.

Application of Paints: Methods for applying different types of paints, varnishes, and other coatings using brushes, rollers, and spray equipment.

Wallpapering: Skills for selecting, cutting, and hanging wallpaper and other wall coverings.

Decorative Finishes: Techniques for creating decorative effects such as marbling, graining, and stenciling.

Safety Practices: Knowledge of safe work practices, including the use of personal protective equipment (PPE), handling hazardous materials, and working at heights.

Color Matching: Understanding color theory and techniques for matching and mixing colors to meet client specifications.

Business and Customer Service: Basic skills in business operations, customer service, and communication to effectively interact with clients and manage projects.

Course Structure

Certificate III in Painting and Decorating consists of twenty nine (29) units of competency, comprising 26 core units and 3 elective units, in accordance with the packaging rules.

Core Units

Some of the core units may include:

PCCPD2011   Handle and store painting and decorating materials 

CPCCPD3036  Work safely to encapsulate non-friable asbestos in the painting industry 

CPCCPD3035  Prepare uncoated surfaces for painting 

CPCCPD3028  Apply decorative paint finishes 

CPCCPB3026  Erect and maintain trestle and plank systems

  CPCCPD3025  Match specific paint colours 

CPCCPD3021  Prepare existing coated surface for painting

CPCCPD3027  Remove and apply wallpaper 

CPCCPD3026  Apply stains and clear timber finishes 

CPCCPD2013  Remove and replace doors and door and window components 

CPCCCM3001  Operate elevated work platforms up to 11 metres 

CPCCOM1013  Plan and organise work 

CPCCPD3022  Apply paint by brush and roller 

CPCCPD3023  Apply texture coat paint finishes by brush, roller and spray 

CPCCPD3031  Work safely with lead-painted surfaces in the painting industry 

CPCCPD3030  Apply protective paint coating systems 

CPCCPD3024  Apply paint by spray 

CPCCOM2001  Read and interpret plans and specifications 

CPCCCM2008  Erect and dismantle restricted height scaffolding 

CPCCCM2012  Work safely at heights 

CPCCCM2012  Work effectively and sustainably in the construction industry 

CPCCOM1014  Conduct workplace communication 

CPCCWHS2001  Apply WHS requirements, policies and procedures in the construction industry 

CPCCOM1015  Carry out measurements and calculations

 CPCCCM3005  Calculate costs of construction work 

CPCCPD2012  Use Painting and Decorating Tools and Equipment

Elective Units

Elective units may vary depending on the training provider and can include topics like:BSBESB407   Manage Finances for new business ventures  CPCCSP3003   Apply Trowelled Texture Coat Finishes  CPCCPD3029 Remove Graffiti and Apply Anti-graffiti Coatings

Duration and Delivery Mode

The course duration can vary depending on whether it is taken full-time, part-time, or as part of an apprenticeship. For full-time and part-time options, the duration can span 52 weeks, which includes 40 weeks of delivery plus a 12-week term break.

Career Outcomes

Graduates of the Certificate III in Painting and Decorating can pursue various career paths, including:

– Residential Painter

– Commercial Painter

– Industrial Painter

– Decorative Painter

– Wallpaper Installer

– Painting and Decorating Contractor

Education Pathways

Further training pathways from this qualification may lead to any of the following qualifications:

CPC40611 Certificate IV in Building and Construction (Specialist Trades)

CPC40408 Certificate IV in Building and Construction (Sales)

CPC40708 Certificate IV in Building and Construction

CPC50210 Diploma of Building and Construction (Building)

Exit Point/Award

Students that successfully complete all 29 units of competency as stated in the Course Structure will be issued with CPC30620 Certificate III in Painting and Decorating. This qualification is recognised nationally under the Australian Qualifications Framework (AQF)

Students that complete some but not all of the units of competency as stated in the Course Structure may be issued with a Statement of Attainment. It will identify only those units of competence that have been completed as part of the qualification and recognised nationally under the AQF.

Source:

[weimarhaus]

Walter Jacob, (1893–1964) Entombment, 1920, oil on canvas, 100x98cm.

“The battered body of Christ with the bleeding wounds on his hand, foot and forehead is carried to the grave by two men. A third figure in flaming red laments his death. Walter Jacob, who was one of the most important painters from the second generation of Expressionism, gave the crucified man the shadowy features of his own face.

Images of the Passion of Christ took on an important role during and after the First World War as symbols of the torment felt. Jacob came from Altenburg and went to Dresden to study painting. The Elbe metropolis was one of the most important centers of new, non-academic painting, which had great appeal for young artists like Jacob. Jacob became friends with Oskar Kokoschka, who was appointed to Dresden from Vienna in 1919, and received support. His most important sponsor was Bodo Kirchhoff, who lived in Wiesbaden, who enabled the penniless artist to stay in the Eberbach monastery and bought his pictures. The "Entombment" was also created there in 1920 in bright colors and with powerful, stormy brushstrokes that are reminiscent of Emil Nolde.”

[exhibit-of-the-century]

Lecture Notes MON 26th FEB

Masterlist

BUY ME A COFFEE

A centre and its Peripheries 1830-1900

Further Reading: Manet's Olympia Reviews, Fournel (1829 - 1894) 'The Art of Flanerie', Baudelaire: The Painter of Modern Life, Gaugin (1848 - 1903) from three letters written before leaving for Polynesia

More and Other Reading

Context

The centre: Paris has been called the cultural capital of the nineteenth century. Modernism began in France and spread.

Salon was rebranded after the revolution and continued exhibiting, but was organised by the state rather than the king and upper classes.

Review of the Salon of 1846 by Baudelaire:

“the life of our city is rich in poetic and marvellous subjects. We are enveloped and steeped as though in an atmosphere of the marvellous; but we do not notice it”.

Walter Benjamin: Paris was the capital of the 19th century. The socio politically landscape was changing constantly in Paris, revolution and coup-d’etat in 1848 and 1851. Subsequent proclamation of an empire

1860s: artistic avant-garde opposed to the conventions of the Academy, it’s also the academies that establish and support modern art development.

Network of dealers and galleries; periodical literature; evolving and effervescent political and cultural ideas.

Juste Milieu painting

From the July Monarchy, focused on Classicism, not necessarily a style but a tendency. Albert Boime characterises juste milieu art which thrived under the monarchy of Louis-Philippe (1830-1848) as a middle way between Classicism and Romanticism, combining romantic themes with classical forms and technique.

Boime writes: ’Dissatisfied with the Classic-Academic style, and perplexed by the Romantic style, the public of the July monarchy supported the compromise art of the juste milieu.’ – Boime, The Academy and French Painting, p. 10

For Boime it was juste milieu painting that was the official art of the period. A middle brow art, sentimental and uncontentious. A well measured middle ground.

Artists that categorised this period: Paul Delaroche, Albert Boime, Ary Scheffer

Paul Delaroche, Execution of Lady Jane Grey, 1822, National Gallery, London

In a similar fashion, Bastien-Lepage and others offered a middle-way version of Impression that had popular appeal. Since the 1970s art historians have paid much more attention to works like these that were previously overlooked and dismissed.

There is a display of competent charming in form from the traditional classical style, and a draw on romantic things in these paintings.

Jules Bastien-Lepage, L'Amour au Village, 1883, 199 x 181 cms Oil on canvas

In the 1830 revolution, that led to Louise Philippe, there was a bourgeois regime, creating a middle class.

Gustave Courbet

Courbet came from peasant origins, the meaning of peasant at that time was someone who lived off the land. His family imagined a bourgeois life for him. And while the aforementioned Juste Milieu paintings were non-confrontational and common to be painted, after the failed Napoleonic III revolution, he began to paint more political art. In the form of Realism with Bohemian language, the realism approach was seen as radical, especially when paired with the political stances. But the Bohemian balanced it, as it was talking to Parisians and in a visual language people were used to.

However, modernisation impacted the lower classes too, especially the farmers/peasants, making it harder for them to make money, with many loosing their land, falling into debt because of it and having to move to Paris.

Courbet raised serious social issues when he exhibited his work in the Salon’s, receiving a medal for his work.

A Burial at Ornans, 1849 - 1850. Musee D’Orsay.

Photograph of The Stonebreakers (original destroyed), 1849

‘I am not only a socialist but a Democrat and a Republican as well – in a word, a partisan of the revolution and above all a realist.’

Asked why he didn’t paint angels, Coubet replied he would paint one the day he saw it.

The Dresden bombing during the second world war destroyed the stonebreakers painting, being destroyed during the move as the Germans attempted to relocate it with other wealth and luxury goods.

The medal he received meant that he no longer had to submit his work for approval, and he could just send it to be put straight up. Although after the 1948 revolution, the Salons stopped wanting him and fought with him because of his politics.

This also happened to a great many other artists, leading to the creation of Salon des Refusés,  1863 

In the middle of the nineteenth century, the official Salon continued to uphold Academic criteria and rejected the majority of works submitted, excluding artists who pursued any other approach. In 1863, responding to criticisms of the Salon, Emperor Napoleon III stated: ’His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry’.

The novelist and critic Emile Zola observed that many who visited went to sneer and laugh.

In 1883 the Impressionists organized a second Salon des Refusés. By 1884 the Société des Artistes Indépendants had been founded, to hold un-juried exhibitions, which would accept the work of any artist who wished to participate.

Palais de l’Industrie in Paris where Salon des Refusés took place. Photo by Édouard Baldus.

This highlighted an open wish for artists to break away from the Academies.

Rejected by the Salon in 1863, Manet exhibited in the Salon des Refusés:

Édouard Manet, Le Dejeneur sur l’herbe (Luncheon on the Grass) 1863, via Musée d’Orsay, Paris

While this painting may raise questions as to why it was refused, some quick analysis will highlight its confrontational nature.

Most of it coming from the eye contact of the woman, staring at the viewer and challenging them in her bareness.

While this work does draw on classical paintings of naked women, one such example being: Giorgione, Pastoral Concert, c.1509

Manets work isn’t of gods or goddesses, unlike the classical work, its very human and raw. Perhaps even a little bit suggestive, and it’s precisely the subject matter that meant that the Academies rejected it.

The first exhibition of the Impressionist group was held at the studio of the photographer Nadar in 1874. Eight exhibitions followed, with the last in 1886. About 175 works by 30 artists were on show in the first exhibition. Including works by Claude Monet, Edgar Degas, Berthe Morisot, Pierre August Renoir, Camille, Pissarro, Paul Cézanne, Alfred Sisley. There was c.4,000 visitors in the month it was open.

The exhibition itself was held in a photography shop as in the 1880’s photography starts becoming more accessible.

Around the mid 1800’s Paris is greatly renovated and modernising. Paris becomes a construction site. Before this construction Paris used to look very Medieval with close streets and tight crowded houses.

Charles Marville photographer of the transformation

Pissarro, Avenue of the Opera, 1898

70,000 houses destroyed and 150,000 built. There was a crisis in capitalism at that time, however the renovation helped with that as it was a way to solve too many workers and not enough jobs. This created a leisure commodity, with great new offers of entertainment to be bought like cafes, music halls etc.

One such thing that took off was train stations, thanks to the industrial revolution.

Claude Monet, The Gare Saint-Lazare (or Interior View of the Gare Saint-Lazare, the Auteuil Line), 1877, oil on canvas, 75 x 104 cm (Musée d’Orsay)

Pierre-Auguste-Renoir, The Ball of the Moulin de la Galette,1876, Musée d’Orsay, Paris

The critic Meyer Schapiro described Impressionism as an art of spontaneous middle-class sociability.

The Edges of Paris

Manet, View of the 1867 Exposition Universelle, 1867

Gustave Caillebotte, Factories at Argenteuil, 1888, Private Collection

(Left) Georges Seurat, Bathers at Asnières , 1884, National Gallery, London (Right) Georges Seurat, A Sunday on La Grande Jatte, 1884, Chicago Art Institute

Away from Paris

Paul Gaugin travelled to Polynesia to discover the “wild” and “otherness”, the idea of the “other” meant pure, exotic, and to be studied. Which is a complete pseudo-science. This also was an idea that persisted around the time, as early as 1877 there were organised ethological spectacles. Basically, people of colour were put on display to be gawked at. Modernity does not mean there is an otherness to people who are not modern. Here are some works and examples:

"under an eternally summer sky, on a marvelously fertile soil…the…happy inhabitants of the unknown paradise of Oceania know only the sweetness of life” —Paul Gauguin, letter from 1890

Paul Gauguin, Women of Tahiti, 1891

Gauguin in Tahiti 1891-1893. He returned to Paris and again travelled to Tahiti in 1895.

The ‘Primitive’

He spent the first three months in Papeete the capital of the colony and already much influenced by French and European culture. He decided to set up his studio in Mataiea, Papeari some 28 milesfrom Papeete, installing himself in a native-style bamboo hut. Gauguin was in constant conflict with French Missionaries. But he was hardly isolated. He was met disembarking by the French Consul and was in regular contact with Paris. Showing his work and receiving the art magazines.

Paul Gauguin, Nevermore , 1897, Oil paint on canvas, The Courtauld, London

Teha'amana Gauguin’s thirteen year old ‘vahine’ or native wife. She was pregnant by him at the end of 1892 

In 1901 Gauguin left Tahiti for the Marquises Islands. He died in 1903 (probably of Syphillis)

(Left) Poster advertising the Somali exhibit in the Bois du Boulogne, “Jardin zoologique d’Acclimatation. Somalis” 1890. (Right) Poster advertising the Ashantis of modern-day Ghana, “Jardin zoologique d’Acclimatation. Achantis” 1887.