#rare René art

[rene-01]

Hey so I’m alive!

Redraw from old art like two years ago (og below)

I think I’ve improved

[blackswaneuroparedux]

Anonymous ask: What do you think of the new Indiana Jones movie? And of Phoebe Waller-Bridge?

In a nutshell: From start to finish ‘Indiana Jones and the Dial of Destiny’ is watching Indiana Jones being a broken-down shell of a once great legacy character who has to be saved by the perfect younger and snarky but stereotypical ’Strong Independent Woman’ that passes for women characters in popcorn movies today.

I went in to this film with conflicted feelings. On the one hand I was genuinely excited to see this new Indiana Jones movie because it’s Indiana Jones. Period. Yet, on the other hand I feared how badly Lucasfilm, under Kathleen Kennedy’s insipid woke inspired CEO studio direction, was going to further tarnish not just a screen legend but the legacy of both George Lucas and Steven Spielberg. The cultural damage she has done to such a beloved franchise as the Star Wars universe in the name of progressive woke ideology is criminal. The troubled production history behind this film and its massive $300 million budget (by some estimates) meant Disney had a lot riding on it, especially with the future of Kathleen Kennedy on the line too as she was hands on with this film.

To me the Indiana Jones movies (well, the first three anyway, the less we say about ‘Kingdom of the Crystal Skull’ the better) were an important part of my childhood. I fell in love with the character instantly. Watching ‘Raiders of the Lost Ark’ (first on DVD in my boarding school dorm with other giggly girls and later on the big screen at a local arts cinema retrospective on Harrison Ford’s stellar career) just blew me away. 

As a girl I wanted to be an archaeologist and have high falutin’ adventures; I even volunteered in digs in Pakistan and India (the Indus civilisation) as well as museum work in China as a teen growing up in those countries and discovering the methodical and patient but back breaking reality of what archaeology really was. But that didn’t dampen my spirit. Just once I wanted to echo Dr. Jones, ‘This belongs in a museum!’ But I happily settled for studying Classics instead and enjoyed studying classical archaeology on the side.

I couldn’t quite make sense why Indiana Jones resonated with me more than any other action hero on the screen until much later in life. Looking like Harrison Ford certainly helps. But it’s more than that. I’ve written this elsewhere but it’s worth repeating here.

‘Raiders of the Lost Ark’ is considered an inspiration for so many action films yet there’s a very odd aspect to the film that’s rather unique and rarely noticed by its critics and fans. It’s an element that, once spotted, is difficult to forget, and is perhaps inspiring for times like the one in which we currently live, when there are so many challenges to get through. Typically in action films, the hero faces an array of obstacles and setbacks, but largely solves one problem after another, completes one quest after another, defeats one villain after another, and enjoys one victory after another.

The structure of ‘Raiders’ is different. A quick reminder:

- In the opening sequence, Indiana Jones obtains the temple idol only to lose it to his rival René Belloq (Paul Freeman). - In the streets of Cairo, Indy fails to protect his love, Marion Ravenwood (Karen Allen), from being captured (killed, he assumes). - In the desert, he finds the long-lost Ark of the Covenant, only to have it taken away by Belloq. - Indy then recovers the ark only to have it stolen a second time by Belloq, this time at sea. - On an island, Indy tries to bluff Belloq into thinking he’ll blow up the ark. His bluff fails. Indy is captured. - The climax of the film literally has its hero tied to a post the entire time. He’s completely ineffectual and helpless at a point in the movie where every other action hero is having their greatest moment of struggle and, typically, triumph.

If Indiana Jones had done absolutely nothing, if the famed archeologist had simply stayed home, the Nazis would have met the same fate - losing their lives to ark’s wrath because they opened it. It’s pretty rare in action films for the evil arch-villains to have the same outcome as if the hero had done nothing at all.

Indy does succeed in getting the ark back to America, of course, which is crucial. But then Indy loses the ark, once again, when government agents send it to a warehouse and refuse to let him study the object he chased the whole film. In other words: Indiana Jones spends ‘Raiders’ failing, getting beat up, and losing every artefact that he risks his life to acquire. And yet, Indiana Jones is considered a great hero.

The reason Indiana Jones is a hero isn’t because he wins. It’s because he never stops trying. I think this is the core of Indiana Jones’ character.

Critics will go on about something called agency as in being active or pro-active. But agency can be reactive and still be kinetic to propel the story along. It’s something that has progressively got lost as the series went on. With the latest Indiana Jones film I felt that Indiana Jones character had no agency and ends up being a relatively passive character. Sadly Indiana Jones ends up being a grouchy, broken, and beat up passenger in his own movie.

Released in 1981, ‘Raiders of the Lost Ark’ remains one of the most influential blockbusters of all time. Exciting action, exotic adventure, just the right amount of romance, good-natured humour, cutting-edge special effects: it was all there, perfectly balanced. Since then, attempts have been made to reproduce this winning recipe in different narrative contexts, sometimes successfully (’Temple of Doom’ and ‘the Last Crusade’), usually in vain (’Crystal Skull’).

What are the key ingredients of an Indiana Jones movie? There are only four core elements - leaving aside aspects of story such as the villain or the goal - that you need in place before anything else. They are: the wry, world-weary but sexy masculine performance of Harrison Ford; the story telling genius of George Lucas steeped in the lore of Saturday morning action hero television shows of the 1950s; the deft visual story telling and old school action direction of Steven Spielberg; and the sublime and sweeping music of the great John Williams. This what made the first three films really work.

In the latest Indiana Jones film, you only have one. Neither Lucas and Spielberg are there and arguably neither is Harrison Ford. John Williams’ music score remains imperious as ever. His music does a lot of heavy lifting in the film and let’s face it, his sublime music can polish any turd.

This isn’t to say the ‘Dial of Destiny’ is a turd. I won’t go that far, and to be honest some of the critical reaction has been over-hysterical. Instead I found it enjoyable but also immensely frustrating more than anything else. It had potential to be a great swan song film for Indy because it had an exciting collection of talent behind it.

In the absence of Spielberg, one couldn’t do worse than to pick James Mangold as next best to direct this film. Mangold is a great director. I am a fan of his body of work. After ‘Copland’, ‘Walk the Line’, ‘Logan’ and ‘Le Mans 66’ (or ‘Ford vs Ferrari’), James Mangold has been putting together a fine career shaped by his ability to deliver stories that rediscover a certain old-fashioned charm without abusing the historical figures - real or fictional - he tackles. And after Johnny Cash, Wolverine and Ken Miles, among others, I had high hopes he would keep the flame alive when it came to Indiana Jones. Mangold grew up as a fanboy of Spielberg’s work and you can clearly see that in his approach to directing film.

But in this film his direction lacks vitality. Mangold, while regularly really good, drags his feet a little here because he’s caught between putting his own stamp on the film and yet also lovingly pay homage to his hero, Spielberg. It’s as if he didn't dare give himself away completely, the director seems too modest to really take the saga by the scruff of the neck, and inevitably ends up suffering from the inevitable comparison with Steven Spielberg.

Mangold tries to recreate the nostalgic wonder of the originals, but doesn't quite succeed, while succumbing to an overkill of visual effects that make several passages seem artificial. The action set pieces range from pedestrian to barely satisfying. The prologue sequence was vaguely reminiscent of past films but it was still a little too reliant on CGI. The much talked about de-ageing of Harrison Ford on screen was impressive (and one suspects a lot of the film budget was sunk right there). But Indiana’s lifeless digitally de-aged avatar fighting on a computer-generated train, made the whole sequence feel like the Nazi Polar Express. Because it didn’t look real, there was no sense of danger and therefore no emotional investment from the audience. You know Tom Cruise would have done it for real and it would have looked properly cinematic and spectacular.

The tuk tuk chase through the narrow streets of Tangiers was again an exciting echo of past films, especially ‘Raiders’, but goes on a tad too long, but the exploration of the ship wreck (and a criminally underused cameo by Antonio Banderas) was disappointing and way too short. 

The main problem here is the lack of creativity in the conception of truly epic scenes, because these are not dependent on Ford's age. Indeed, the film could very well have offered exhilarating action sequences worthy of the archaeologist with the whip, without relying solely on the physicality of its leading man. You don't need a Tom Cruise to orchestrate great moments but you could do worse than to follow his example. 

Mangold uses various means of locomotion to move the character  - train, tuk tuk, motorbike, horse - and offers a few images that wouldn't necessarily be seen elsewhere (notably the shot of Jones riding a horse in the middle of the underground), but in the end shows himself to be rather uninspired, when the first three films in the saga conceived some of the most inventive sequences in the genre and left their mark on cinema history. There are no really long shots, no iconic compositions, no complex shots that last and enrich a sequence, which makes the film look too smooth and prevents it from giving heft to an adventure that absolutely needs it.

And so now to the divisive figure of Phoebe Waller-Bridge. 

It’s important here to separate the person from the character. I like Phoebe Waller-Bridge and I loved her in her ‘Fleabag’ series. She excels in a very British setting. I think she is funny, irreverent, and a whip smart talented writer and performer. I also think she has a particular frigid English beauty and poise about her. When I say poise I don’t mean the elegant poise of a Parisienne or a Milanese woman, but someone who is cute and comfortable in her own skin. You would think she would be more suited to ‘Downton Abbey’ setting than all out Hollywood action film. But I think she almost pulls it off here. 

In truth over the years Phoebe Waller-Bridge, known for her comedy, has been collecting franchises where she is able to inflict her saucy humour into a hyper-masculine space. I don’t think her talent was properly showcased here. 

Hollywood has this talent for plucking talented writers and actors who are exceptional in what they do and then hire them do something entirely different by either miscasting them or making them write in a different genre. I think Phoebe Waller-Bridge is exceptional and she might just rise if she is served by a better script.

In the end I think she does a decent stab at playing an intriguing character in Helena Shaw, Indy’s long lost and estranged god daughter and a sort of amoral rare artefacts hustler. Phoebe Waller-Bridge brings enthusiasm, charm and mischief to the role, making her a breath of fresh air. She seems to be the only member of the on-screen cast that looks to be enjoying themselves. 

To be fair her I thought Waller-Bridge was a more memorable and interesting female character than either Kate Capshaw (’Temple of Doom’, 1984) and Alison Doody (’Last Crusade’, 1989). She certainly is a marked improvement on the modern woke inspired insipid female action leads such as Brie Larson (’Captain Marvel’), or any women in the Marvel universe for that matter, or Katherine Waterson (’Alien Covenant’). Waller-Bridge could have been reminiscent of Kathleen Turner (’Romancing the Stone’) and more recently Eva Green, actresses who command attention on screen and are as captivating, if not more so, than the male protagonists they play opposite.

To be sure there have been strong female leads before the woke infested itself into Hollywood story telling but they never made it central to their identity. Sigourney Weaver in ‘Alien’ and Linda Hamilton in the ‘Terminator’ franchise somehow conveyed strength of character with grit and perseverance through their suffering, while also being vulnerable and confident to pull through and succeed. Phoebe Waller-Bridge’s character isn’t quite that. She doesn’t get into fist fights or overpowers big hulking men but she uses cheek and charm to wriggle out of tight spots. She’s gently bad ass rather the dull ‘strong independent woman’ cardboard caricatures that Marvel is determined to ram down every girl’s throat. If Waller-Bridge’s character was better written she might well have been able to revive memories of the great ladies of Hollywood's golden age who had the fantasy and the confidence that men quaked at their feet.

What lets her character down is the snark. She doesn’t pepper her snark but she drowns in it. All of it directed at poor Indy and mocking him for his creaking bones and his entire legacy. It’s a real eyesore and it is a real let down as it drags the story down and clogs up the wheels that power the kinetic energy that an adventure with Indiana Jones needs. ‘The grumpy old man and the young woman with the wicked repartee set off across the vast world’ schtick is all well and good, but it does grate and by the end it makes you angry that Indy has put up with this crap. I can understand why many are turned off by Waller-Bridge’s character. As a female friend of mine put it, we get the talented Phoebe Waller Bridge’s bitter and unlikable Helena acting like a bitter and unlikable man. But it could be worse, it could be as dumb as Shia LaBeouf‘s bad Fonzie impersonation in 'Crystal Skull’.

I would say there is a difference between snark and sass. Waller-Bridge’s character is all snark. If the original whispers are true the original script had her way more snarkier towards Indy until Ford threatened to leave the project unless there were re-writes,  then it shows how far removed the producers and writers were from treating Indy Jones with the proper respect a beloved legacy character deserves. It’s also lazy story telling.

Karen Black gave us real sass with Marion Ravenwood in ‘Raiders’. Her character was sassy, strong, but also vulnerable and romantic. She plays it pitch perfect. Of all the women in Indy’s life she was good foil for Indy.

Spielberg is so underrated for his mise-en-scène. We first meet Marion running a ramshackle but rowdy tavern in Tibet (she’s a survivor). She plays and wins a drinking game (she’s a tough one), she sees Indy again and punches him (she’s angry and hurt for her abandoning her and thus revealing her vulnerability). She has the medallion and becomes a partner (she’s all business). She evades and fights off the Nazis and their goons, she even uses a frying pan (she’s resourceful but not stupid). She tries on dresses (she’s re-discovers her femininity). Indy saves her but she picks him up at the end of the film by going for a drink (she’s healing and there’s a chance of a new start for both of them). This is a character arc worth investing in because it speaks to truth and to our reality.

The problem with Phoebe Waller-Bridge’s character is that she is constantly full on with the snark. Indy and Helena gripe and moan at each other the entire film. Indy hasn’t seen her in years, and she felt abandoned after her father passed, so there’s a lot of bitterness. It’s not unwarranted, but it also isn’t entertaining. It’s never entertaining if the snark makes the character too temperamental and unsympathetic for the audience to be emotionally invested in her.

I think overall the film is let down by the script. Again this is a shame. The writing talent was there. Jez and John-Henry Butterworth worked with James Mangold on ‘Ford v. Ferrari’ and co-wrote ‘Edge of Tomorrow‘ while David Koepp co-wrote the first ‘Mission: Impossible’ (but he also penned Indiana Jones and the ‘Kingdom of the Crystal Skull’, and the 2017 version of ‘The Mummy’ that simultaneously started and destroyed Universal’s plans for their Dark Universe). I love the work of Jez Butterworth who is one of England’s finest modern playwrights and he seemed to have transitioned fine over to Hollywood. But as anyone knows a Hollywood script has always too many cooks in the kitchen. There are so many fingerprints of other people - studio execs and directors and even stars - that a modern Hollywood script somehow resembles a sort of Ship of Theseus. It’s the writer’s name on the script but it doesn’t always mean they wrote or re-wrote every word.

Inevitably things fall between the cracks and you end up filming from the hip and hoping you can stitch together a coherent narrative in post-production editing. Clearly this film suffered from studio interference and many re-writes. And it shows because there is no narrative fluidity at work in the film.

Mads Mikkelsen’s Nazi scientist is a case in point. I love Mikkelsen especially in his arthouse films but I understand why he takes the bucks for the Hollywood films too. But in this film he is phoning in his performance. Mads Mikkelsen does what he can with limited screen time to make an impact but this character feels so recycled from other blockbusters. Here the CIA and US Government are evil and willing to let innocent Americans be murdered in order to let their pet Nazi rocket scientist pursue what they believe to be a hobby. But to be fair the villains in the Indy movies have never truly been memorable with perhaps Belloq, the French archaeologist and nemesis of Indy in ‘Raiders’, the only real exception. It’s just been generic bad guys - The Nazis! The Thugee death cult! The Nazis (again)! The Commies! Now we’re back to Nazis again which is not only safer ground for the Indy franchise but something we can all get behind.

However Mads Mikkelsen’s Dr. Voller, is the blandest and most generic Nazi villain in movie history. At the end of World War II, Voller was recruited by the US Government to aid them in rocket technology. Now that he’s completed his task and man has walked on the moon, he’s turning his genius to his ultimate purpose, the recovery of the ‘Dial of Destiny’ built by Archimedes. Should he find both pieces of the ancient treasure, he plans to return to 1930s Nazi Germany, usurp Hitler, and use his advanced knowledge of rocket propulsion to win the war. In a sense then he was channeling his inner Heidegger who felt Hitler had let down Nazism and worse betrayed Heidegger himself.

So there is a character juxtaposition between Voller and Indy in the sense both men feel more comfortable in the past than the present. But neither is given face time together to explore this intriguing premise that could have anchored the whole narrative of the film. It’s a missed opportunity and instead becomes a failure of character and story telling.

Then there are the one liners which seemed shoe horned in to make the studio execs or the writers feel smug about themselves. There are several woke one lines peppered throughout the film but are either tone deaf or just stupid.

“You trigger happy cracker”-  it’s uttered without any self-awareness by a black CIA agent who is chaperoning the Nazi villain. Just because white people think it’s dumb and aren’t bothered by it doesn’t make it any less a racial slur. If you want authenticity then why not use the ’N’ word then as it would historically appropriate in 1969? The hypocrisy is what’s offensive.

“You stole it. He stole it. I stole it. It’s called capitalism.” - capitalism 101 for economic illiterate social justice warriors.

“[I’m] daring, beautiful, and self-sufficient” - uttered by Helena Shaw as a snarky reminder that she’s a strong independent woman, just in case you forgot.

“It’s not what you believe but how hard you believe.” - Indiana Jones has literally stood before the awesome power of God when the Ark of the Covenant was opened up by the Nazis, and they paid the price for it by having their faces melted off. Indy has drunk from the authentic cup of Christ, given to him by a knight who’s lived for centuries, that gave him eternal life and heal his father from a fatal bullet wound. So he’s figuratively seen the face of God (sure, he closed his eyes) and His holy wrath, and has witnessed the divine healing power of Christ first hand. And yet his spews out this drivel. It’s empty of any meaning and is a silly nod to our current fad that it’s all about the truth of our feelings, not observable facts or truth.

For me though the absolute worse was what they did to Indiana Jones as a character. Once the pinnacle of masculinity, a brave and daring man’s man whose zest for life was only matched by his brilliance, Henry Jones Jr. is now a broken, sad, and lonely old man. Indiana Jones is mired in the past. Not in the archaeological past, but in his own personal past. He's asleep at the wheel, losing interest in his own life. He's lost his son, he's losing his wife. He's been trying to pass on his passion, his understanding to disinterested people. They're not so interested in looking at the past. He remains a man turned towards the past, and then he finds himself confronted by Helena, who embodies the future. This nostalgia, this historical anchoring, becomes the main thread of the story.The film tries to deconstructs Indiana Jones on the cusp of retirement from academia and confronts him with a world he no longer understands. That’s an interesting premise and could have made for a great film.

It’s clear that the filmmakers’ intention was for a lost and broken Indiana to recapture his spirit by the film’s end. However, its horrible pacing and meandering and underdeveloped plot, along with Harrison Ford’s miserably sad demeanour in nearly every scene, make for a deeply depressing movie with an empty and unearned resolution. 

By this I mean at the very end of the film. It’s meant to be daring and it is. There’s something giddy about appearing during the middle of siege of Syracuse by blood thirsty Romans and then coming face to face with Archimedes himself. The film seems to want to justify the legendary, exceptional aura and character of Indy himself by including him in History. Hitherto wounded deep down inside, and now also physically wounded, Indy the archaeologist tells Helena that he wants to stay here and be part of history. 

It's a lovely and even moving moment, and you wonder if the film isn't going to pull a ‘Dying Can Wait’ by having its hero die in order to strengthen its legend. But in a moment that is too brutal from a rhythmic point of view, Helena refuses, knocks out her godfather and takes him back to the waiting plane and back to 1969. The next thing Indy sees he’s woken up back in his shabby apartment in New York.

I felt cheated. I’m sure Indy did too.

After all it was his choice. But Helena robbed him of the freedom to make his own decisions. She’s the one to decide what’s best. In effect she robbed him of agency. Even if it was the wrong decision to stay back in time, it’s so important from a narrative and character arc perspective that Indy should have had his own epiphany and make the choice to come back by himself because there is something worth living for in the future present - and that was reconciling with Marion his estranged wife. But damn it, he had to come to that decision for himself, and not have someone else force it upon him. That’s why the ending feelings so unearned and why the story falls flat as a soufflé when you piss on it.

‘Indiana Jones and the Dial of Destiny’ feels like the type of sequel that aimed to capture the magic of its predecessors, had worthwhile intentions, and a talented cast, but it just never properly materialised. In a movie whose pedigree, both in front and behind the camera, is virtually unassailable, it’s inexcusable that this team of filmmakers couldn’t achieve greater heights. 

The film was a missed opportunity to give a proper send off to a cinematic legend. Harrison Ford proving that whatever gruff genre appeal he possessed in his heyday has aged better than Indy’s knees. He may be 80, but Ford carries the weight of the film, which, for all its gargantuan expense, feels a bit like those throwaway serials that first inspired Lucas - fun while it lasts, but wholly forgettable on exit.

I wouldn’t rate ‘Indiana Jones and the Dial of Destiny’ as the worst film in the franchise - that dubious honour still lies with ‘Kingdom of the Crystal Skull’.  Indeed the best I can say is that I would rate this film at the benchmark of “not quite as bad as Crystal Skull”.But it’s definitely time to retire and hang up the fedora and the bull whip.

For what’s worth I always thought the ending of ‘Last Crusade’ where Indy, his father Henry Jones Snr., and his two most faithful companions, Sallah and Marcus Brody, ride off into the sunset was the most fitting way to say goodbye to a beloved character.

Instead we have in ‘Dial of Destiny’ the very last scene which is meant to be this perfect ending: Indiana Jones in his scruffy pyjamas and his shabby apartment. Sure, the exchange between a reconciling Indy and Marion is sincere and touching. But that only works because it explicitly recalls ‘Raiders of the Lost Ark’. That's what Nietzsche would call “an eternal return”.

I shall eternally return to watch the first three movies to delight in the adventures of the swashbuckling archaeologist with the fedora and a bull whip. The last two dire films will be thrown into the black abyss. Something even Nietzsche would have approved of.

Thanks for your question.

[frogshipping]

☆Sam☆She/They☆Bi☆20's☆

Before You Follow + DNI List

Hi!! I'm Sam, but you can also call me Frog! I've been shipping myself with fictional characters since I was small. At last I've worked up the courage to blog about it!! I have a few f/o's, but my main has been and probably always will be Goku from dbz!!!

Here's a list of all my current f/o's!!

Here's info/lore about my main s/i (it's long, sorry ><). Have her pinterest board and outfit board while we're at it, too!

I don't mind sharing my beloveds. If you're not comfortable with it, though, feel free to block me! Proshippers please stay away! I don't want any drama. We're all here to have fun <3

Some info about me: I curse a lot. I really love x reader fanfics, and seeing people's selfship art. I will reblog this sort of thing often! There will also be some nsfw or suggestive posts, although rare. I enjoy writing and drawing, though I write more than anything. I refer to my followers as friends, guys, dudes, bros, besties, buddies, and lovelies in the more gender neutral way possible.

I'd love to chat and interact with the community, so please send me asks, prompts, requests, etc! If we share the same f/o come gush over them with me!! My main is @vitiateoriginator!

Frequently used tags under the cut (will be updated when I think of more to add. I can tag things upon request)

#ribbits- for when I make an original post

#frog mail- tag used for asks/submissions

#frog doodles- my art tag

#tadpole typewriter- my writing tag

#gifts from the pond- given to posts that feature art/writing/gifts/whatever I make for other people

#how they got together- a series of posts that each summarize how my s/i('s) become romantically involved or friends with my f/o's

#Viti stuff- posts related to my self insert's experiences, thoughts, aesthetics, and personality

#Spars and Stars- shipping tag for Viti and Goku (this will be the most frequently used ship tag)

#Gales of Serenity- shipping tag for Sucrose

#Pokéology- shipping tag for Sonia

#Fake it til we make- shipping tag for Reigan

#Of Breath and Blood- shipping tag for Karkat

#Operation: Triad Lovers- shipping tag for Yor and Loid (they're in a polyship with Viti)

#Whipped cream frosting- shipping tag for Jane

#Experimentation of the Heart- shipping tag for Wilson

#Glacier Snowstorm- shipping tag for Shenhe

#Cat Scratch Chaos- shipping tag for Nicole

#Neighbor Next Door- shipping tag for Renée

#Breeze on the Sea- friendship tag for Spongebob

#Breath Bros- friendship tag for John

#Queens of the Universe- friendship tag for Bulma

[lavrents]

(jacob anderson, 31, he/him, cis man, fournier #3)  I wonder how the season will treat LAURENT FOURNIER. It’s true that HE is CONSIDERATE, but I’ve also heard that they can be RESERVED. Do you think they’ll find their match? I doubt it if what I heard is true. I heard that [REDACTED] Of course, that’s just speculation. (ooc penny, 25, gmt, she/her, none).

full name:  laurent rené fournier. nickname(s): laurie. birthday: february 19th. gender / pronouns:  cis man ,  he / him. orientation:  bisexual / biromantic. personality: kind hearted, sensitive, nurturing & distant. languages spoken: french, english. good latin. passable spanish, italian & ancient greek. relationship status:  single ; unbetrothed. distinctive features: french-tinged accent, constant fidgeting. build: slim.

( tw ; death, grief, loss. )

second born child to the fourniers, laurent too did not take after his mother. at least, not in the visual arts. his musical talent, undeniable from a young age, is a very closely held secret. he is not ashamed of it at all -- rather proud of it, in fact -- but unlike his mother, despises the spotlight. violin and pianoforte are his favourites ( the former his best instrument ) but he has turned his hand to any instrument crossing his lap.

the loss of the fournier matriarch had a profound impact on young laurent. until that point he had been a perfectly cheery and rambunctious lad, but withdrew after her death and seemingly never fully returned to himself.

laurent was an exemplary student. not exceptional, but well-behaved and perfectly keen to learn. he attended eton, then, seizing the opportunity to return to his home country, attended the university of paris to study the humanities and law. he has sustained interests in literature, politics and history his whole life. it is rare to find laurent without a book seemingly glued to his hands.

the experience studying abroad brought him back to england almost immediately ; laurent has always been highly family-oriented and missed his siblings more than he could have conceived while he was away.

being shy, he never has been the biggest fan of the season or the sometimes overwhelming nature of the ton. he would much refer to remain in the countryside all year, outstretched in fields or all curled up by the fire reading. but, given the family financial situation, he dutifully attends and sometimes even has a good time.

would love nothing more than to gain a true love match ; a real hopeless romantic who wears his heart on his sleeve. probably a result of all of the stories he reads. but, he tries to keep in mind the reality of the situation -- that he may have to settle for someone he can tolerate.

pinterest board. wanted connections.

childhood friend (s) -- the first he made in england as a boy would be cute. school friends. best friend(s). sibling-like friendships. neighbours. acquaintances. the extrovert who has adopted him to get him out more hbh. fellow history / reading etc enthusiasts. past relationship -- good / bad ending terms. crush ( either way, or mutual. ) i would love to plot literally any / everything !

[the-garbanzo-annex-jr]

The Center for Jewish History in New York City announced this week a new exhibition opening in the fall that will showcase the history of Jewish comics, graphics, and pop culture.

The exhibit, titled “The Museum and Laboratory of the Jewish Comics Experience,” will feature original artworks by acclaimed Jewish comic writers and artists, historical artifacts, and interactive installations “celebrating the rich tapestry of Jewish narratives depicted through the lens of comics and graphic storytelling,” according to a description on its website. It is being organized in partnership with JewCE: The Jewish Comics Experience, a Jewish comic book convention that will take place in November.

The artifacts that will be on display include original Captain America artwork by co-creator Joe Simon, the rare 1933 Reign of the Superman story by Jerry Siegel and Joe Shuster, and the comics of Holocaust survivor Lily Renée, who was one of the first women to make a mark in the comic book industry.

Visitors will learn about the development of Jewish themes and representation in comics and other art forms — from classic newspaper comic strips to contemporary graphic novels. The exhibit will have two parts, starting with a museum that dives deep into the Jewish origins of the comic book industry and how Jewish comic book creators responded to fascism in their works.

The second part of the exhibit is a laboratory that will enable visitors to participate in activities that will teach them about the creative process behind graphic storytelling, such as character creation, storyboarding, and iconography. The laboratory will additionally have a separate area where visitors can dress up like superheroes, take part in imaginative cosplay, and pose for pictures.

“The Museum and Laboratory of the Jewish Comics Experience” will open on Oct. 6 and run through December.

[keepthisholykiss]

Lesbian Visibility Week Writers Day 4: Amy Levy

I know I have been posting the most normal and pleasant images of these writers thus far but I’m using this opportunity to force you all to look at this beautiful edit I made just go with it.

To Vernon Lee

On Bellosguardo, when the year was young, We wandered, seeking for the daffodil And dark anemone, whose purples fill The peasant's plot, between the corn-shoots sprung. Over the grey, low wall the olive flung Her deeper greyness ; far off, hill on hill Sloped to the sky, which, pearly-pale and still, Above the large and luminous landscape hung. A snowy blackthorn flowered beyond my reach; You broke a branch and gave it to me there; I found for you a scarlet blossom rare. Thereby ran on of Art and Life our speech; And of the gifts the gods had given to each-- Hope unto you, and unto me Despair.

Day One: Renée Vivien Day Two: Natalie Clifford Barney Day Three: Amy Lowell

Amy Levy was a Jewish writer, poet, and scholar from London. She suffered from extreme depression and anxiety which unfortunately led to her untimely death at the age of 28. She was notably involved with Vernon Lee also known as Violet Paget. Lee was a gothic writer who lived in Italy. Throughout her personal writings and poetry Amy Levy grapples with the concepts of death and love equally and has left behind haunting memories of herself. She also was a well-read young scholar who has lots of opinions about popular classic works of her time, her letters can be very fun to read. She’s an important component for both lesbian and Jewish history who is definitely worth your time to read.

[madewithonerib]

Mr. Sandman (2021) | SYML

Bring Me a Dream, Maker Her The Cutest I Ever Seen

Mr. Sandman, bring me a dream Make her the cutest that I've ever seen Give her two lips like roses and clover Then tell her that her lonely nights are over Sandman, I'm so alone Don't have nobody to call my own Please turn on your magic beam Mr. Sandman, bring me a dream

Mr. Sandman, bring me a dream Make her the cutest that I've ever seen Give her the word that I'm not a rover Then tell her that her lonely nights are over Sandman, I'm so alone Don't have nobody to call my own Please turn on your magic beam Mr. Sandman, bring me a dream

Oh, Sandman bring us a dream Make her the cutest that I've ever seen Give her two lips like roses and clover Then tell her that her lonely nights are over Sandman, I'm so alone Don't have nobody to call my own Please turn on your magic beam Mr. Sandman, bring me a dream

Mr. Sandman, bring me a dream Make her the cutest that I've ever seen Give her two lips like roses and clover Then tell her that her lonely nights are over

Art & Symbolism for Roses

The long cultural history of the rose has led to it being used often as a symbol. In ancient Greece, the rose was closely associated with the goddess Aphrodite. In the Iliad, Aphrodite protects the body of Hector using the "immortal oil of the rose" and the archaic Greek lyric poet Ibycus praises a beautiful youth saying Aphrodite nursed him "among rose blossoms".

The second-century AD Greek travel writer Pausanias associates the rose with the story of Adonis and states that the rose is red because Aphrodite wounded herself on one of its thorns and stained the flower red with her blood.

Book Eleven of the ancient Roman novel The Golden Ass by Apuleius contains a scene in which the goddess Isis, who is identified with Venus, instructs the main character, Lucius, who has been transformed into a donkey, to eat rose petals from a crown of roses worn by a priest as part of a religious procession in order to regain his humanity.

French writer René Rapin invented a myth in which a beautiful Corinthian Queen named Rhodanthe ("she with rose flowers") was besieged inside a temple of Artemis by three ardent suitors who wished to worship her as a goddess; the god Apollo then transformed her into a rosebush.

Following the Christianization of the Roman Empire, the rose became identified with the Virgin Mary. The colour of the rose & the number of roses received has symbolic representation. The rose symbol eventually led to the creation of the rosary and other devotional prayers in Christianity.

Ever since the 1400s, the Franciscans have had a Crown Rosary of the Seven Joys of the Blessed Virgin Mary. In the 1400s and 1500s, the Carthusians promoted the idea of sacred mysteries associated with the rose symbol and rose gardens. Albrecht Dürer's painting The Feast of the Rosary (1506) depicts the Virgin Mary distributing garlands of roses to her devotees.

Roses symbolised the Houses of York and Lancaster in a conflict known as the Wars of the Roses. Subsequently roses of the corresponding colours have been used a emblems for the English counties of Yorkshire and Lancashire.

The Tudor rose combines the colours of the roses of York and Lancaster, and is an emblem of then Tudor dynasty and of England.

Roses are a favored subject in art and appear in portraits, illustrations, on stamps, as ornaments or as architectural elements. The Luxembourg-born Belgian artist and botanist Pierre-Joseph Redouté is known for his detailed watercolours of flowers, particularly roses.

Henri Fantin-Latour was also a prolific painter of still life, particularly flowers including roses. The rose 'Fantin-Latour' was named after the artist.

Other impressionists including Claude Monet, Paul Cézanne and Pierre-Auguste Renoir have paintings of roses among their works. In the 19th century, for example, artists associated the city of Trieste with a certain rare white rose, and this rose developed as the city's symbol. It was not until 2021 that the rose, which was believed to be extinct, was rediscovered there.

In 1986 President Ronald Reagan signed legislation to make the rose the floral emblem of the United States. The rose is often exchanged on St. Valentines Day and is used often as a symbol of such.

General Meaning of Rose Various folk cultures and traditions assign symbolic meaning to the rose, though these are seldom understood in-depth. Examples of deeper meanings lie within the language of flowers, and how a rose may have a different meaning in arrangements. Examples of common meanings of different coloured roses are: true love (red), mystery (blue), innocence or purity (white), death (black), friendship (yellow), and passion (orange). Meaning in Judaism In the Song of Songs 2:1-2, the Jewish people are compared with a rose, remaining beautiful amongst thorns, although some translations instead refer to a "lily among thorns." The Zohar uses a "thirteen-petalled rose" as a symbol for the thirteen attributes of Divine Mercy named in Exodus 34:6-7. And HE passed in front of Moses, proclaiming, “The LORD, YHWH, the compassionate & gracious GOD, slow to anger, abounding in love & faithfulness, 7 maintaining love to thousands, and forgiving wickedness, rebellion and sin. Yet HE does not leave the guilty unpunished; HE punishes the children and their children for the sin of the parents to the third and fourth generation.” The rose and rosettes were also used to symbolize royalty and Israel, and were used in wreaths for the bridegroom at weddings in Biblical times.

The 13 Attributes of Mercy

“a covenant was established regarding the 13 Attributes of Mercy that they will never be returned empty-handed.”2Their importance is underscored by the role they play in our prayer services. Every day when many Jews recite “Tachanun” (a confessional prayer), they say the 13 Attributes of Mercy, invoking G‑d’s mercy in the face our transgressions. Every fast day, which is an opportune time to repent, this prayer is recited. Most telling of all is how often we say it during the Ne’ilah service on Yom Kippur—the holiest moment of the year.

Let us now explore the power & significance of the #13.

Any person can show mercy to another, yet there are always restraints & calculations as to how much mercy will be shown. For example, most people walking past a beggar on the street will have a sense of rachmanut (mercy) for the unfortunate person. However, before someone reaches into a pocket to give, s/he will think about the children’s tuition, the mortgage, medical bills, etc. And so, only a small sum will be given to the beggar.

The #13 signifies the infinite.

The #12 signifies constraint & order: e.g., the 12 zodiac signs and the 12 months in a year. Above order & control, 13 connotes boundlessness and immeasurability. The fact there are 13 Attributes of Mercy teaches us when GOD shows mercy, HE does so without limit. No matter how low we fall, HE will come to our aid & forgive us.

This is further demonstrated in the word echad (one), which has the numerical value of 13 (ד=4 / ח=8 / א=1). This signifies GOD’s oneness in the world, how HE is beyond any measure & limitation.

Does GOD Care?

So how can GOD have mercy? Does GOD have emotions & feelings?

Furthermore, the rabbis of the Talmud refer to GOD’s actions as “middot,” “attributes” or “character traits,” descriptions that refer to human qualities?

Maimonides 4 explains GOD HIMSELF does not have any emotions, as GOD is infinite and not restricted to feelings. Rather these “middot” are used in reference to GOD’s actions & not HIS qualities. Moreover, the term “middot” is used only as a “borrowed term,” and not to be taken literally. We use this term for GOD because HE performs actions in a way similar to human actions, which stem from our emotions.

Chassidic thought 5 further expounds on this idea, explaining that GOD HIMSELF is beyond emotions and not tied down to them. On the one hand, there is GOD in actuality, in HIS essence & glory. On the other hand, there is how GOD portrays HIMSELF & relates to us in this finite world. When GOD appears to be angry or merciful it is because that is how we perceive HIS Godly Light as it shines in this world.

A Dispute of Numbers

The kabbalists take the following approach to the words that are counted as an attribute.6

The 13 Attributes of Mercy according to Kabbalah:

א-ל / GOD — mighty in compassion to give all creatures according to their need;

רַחוּם / rachum — merciful, that humankind may not be distressed;

וְחַנּוּן / ve’chanun — and gracious if humankind is already in distress;

אֶרֶךְ אַפַּיִם / erech apayim — slow to anger; (once, to the righteous)

אֶרֶךְ אַפַּיִם / erech apayim — slow to anger; (repeated again for the wicked)

וְרַב-חֶסֶד / ve’rav chesed — and plenteous in kindness;

וֶאֱמֶת / ve’emet — and truth;

נֹצֵר חֶסֶד / notzer chesed — keeping kindness

לָאֲלָפִים / laalafim — unto thousands;

נֹשֵׂא עָוֹן / noseh avon — forgiving iniquity;

וָפֶשַׁע / vafeshah — and transgression;

וְחַטָּאָה / vechata'ah — and sin;

וְנַקֵּה / venakeh — and pardoning.

However, others argue and offer a different approach to the words that count as an attribute.7 For example, they believe the first two names of GOD are attributes themselves. In contrast, the Kabbalistic approach did not include the first two names of GOD, instead, it regards them as introductory notes - as the source for the thirteen attributes of mercy.

י-ה-ו-ה / Hashem — compassion before a person sins;

י-ה-ו-ה / Hashem — compassion after a person has sinned;

א-ל / GOD — mighty in compassion, to give all creatures according to their need;8

רַחוּם / rachum — merciful, that humankind may not be distressed;

וְחַנּוּן / ve’chanun — and gracious if humankind is already in distress;

אֶרֶךְ אַפַּיִם / erech apayim — slow to anger;

וְרַב-חֶסֶד / ve’rav chesed — and plenteous in kindness;

וֶאֱמֶת / ve’emet — and truth;

נֹצֵר חֶסֶד לָאֲלָפִים / notzer chesed laalafim — keeping kindness unto thousands; FAITHFUL

נֹשֵׂא עָוֹן / noseh avon — forgiving iniquity;

וָפֶשַׁע / vafeshah — and transgression;

וְחַטָּאָה / VeChata'ah — and sin;

וְנַקֵּה / VeNakeh — and pardoning. ATONING

The consensus amongst the Rabbinic authorities leans towards the kabbalistic approach. One of the reasons given for this is because in halachik analysis, when Torah is discussing a matter which has strong ties to Kabbalah, then the kabbalistic approach is the accepted opinion.9

The Mystical 13

Kabbalists explain besides the 13 attributes which GOD said to Moses, there is another set which was later said to the prophet Micah: 10, [Micah 7:18-20]

מִי אֵ-ל כָּמוֹךָ / mee E-l kamocha — Who is a GOD like YOU (in compassion);

נֹשֵׂא עָו‍ֹן / noseh avon — WHO bears iniquity;

וְעֹבֵר עַל פֶּשַׁע / ve’over al pesha — and overlooks sin;

לִשְׁאֵרִית נַחֲלָתוֹ / lishi’eirit nachalato — For the remnant of HIS heritage;

לֹא הֶחֱזִיק לָעַד אַפּוֹ / lo hechzik le’ad apoh — HE does not retain HIS anger forever;

כִּי חָפֵץ חֶסֶד הוּא/ ki chafetz chesed hu — for HE desires kindness;

יָשׁוּב יְרַחֲמֵנוּ/ yashuv yerachamanu — HE shall again have mercy on us;

יִכְבֹּשׁ עֲו‍ֹנֹתֵינוּ / yichbosh avonoteinu — and suppresses our iniquities;

וְתַשְׁלִיךְ בִּמְצֻלוֹת יָם כָּל חַטֹּאתָם / vetashlich bimtzolet yam kol chatotam — casts our sins into the depths of the sea;

תִּתֵּן אֱמֶת לְיַעֲקֹב / titein emet le’Yaakov — You grant truth to Jacob;

חֶסֶד לְאַבְרָהָם / chesed le’Avraham — kindness to Abraham;

אֲשֶׁר נִשְׁבַּעְתָּ לַאֲבֹתֵינוּ / asher nishba’ata le’avotaynu — which You previously swore to our forefathers;

מִימֵי קֶדֶם / mimei kedem — from the earliest days.

However, the kabbalists explain that these 13 attributes are on a loftier plane than the ones that were given to Moses. The kabbalists refer to the 13 attributes given to Moses as “zeir anpin,” which means “small face,” referring to a small revelation of GOD. The attributes given to Micah are referred to as “arich anpin,” which means “big face,” referring to a great revelation of GOD. Kabbalah further refers to the attributes said to Micah as the soul/internal attributes, whereas those given to Moses are body/external attributes.12

The reason why the attributes said to Micah are on a grander scale is because they don’t express any aspects of judgment or severity. In contrast, some of the attributes given to Moses, such as “truth,” imply distance and coldness. Truth looks at something for what it is and is unwilling to look past the wrong that was committed. (See True Mercy.)

13 vs. 13

Thirteen is a significant number in Judaism. It is the age when a boy becomes Bar Mitzvah and assumes the obligation to keep the laws of the Torah. It also corresponds to Thirteen is a significant number in Judaism the 13 tribes of Israel (when including Joseph's two sons, Ephraim and Menashe), and often brings to mind Maimonides’ 13 principles of faith.

There are also “the 13 principles of hermeneutic methodology by which Torah law is extrapolated.” These rules, compiled by the talmudic sage Rabbi Ishmael, outline the methods by which the Torah is elucidated and halachic decisions are deduced.

The 13 Attributes of Mercy are perhaps the most significant of the 13s that appear in Judaism. The notion of mercy is especially relevant and necessary when dealing with penitence. It is for this reason the Attributes of Mercy are recited numerous times during the Hebrew month of Elul, and especially on the Day of Atonement.

[September 1 - September 25, 2025]

The kabbalists also suggest that there is a correlation between the 13 principles of Torah interpretation and the 13 Attributes of Mercy.13 The name of the month of Elul can be read as an acronym for the words of the verse from Shir HaShirim, “אני לדודי ודודי לי,”

“I am to my BELOVED and my BELOVED is to me." [Song of Solomon 6:3]

The verse concludes, "Ha-roeh bashoshanim,” “HE browses among the lilies.”

The Talmud 15 teaches not to read the verse as “bashoshanim,” “lilies,” rather as “shoshanim ba’Torah,” “the teachings in Torah.” The idea that both the month of Elul—when the 13 Attributes of Mercy are more regularly referenced & revealed—and learning Torah are alluded to in the same verse demonstrates a clear link between the two.

Further, Rosh Chodesh Elul, the first day of the month of Elul, began the 40 days when Moses ascended Mt. Sinai to receive the second set of Tablets. The sages tell us many more dimensions of Torah were revealed at that time, which further demonstrates the connection between Torah and the month of Elul, and more particularly their shared theme of 13. 16,17

There is another set of 13. According to the Zohar there are 13 strands of a beard, which correspond to the 13 Attributes of Mercy. This correlation demonstrates the holiness of a beard, and how growing one brings down Divine help and mercy. 18

The Talmud

The Talmud states,

G‑d passed before him and proclaimed … Rabbi Yochanan said: “Were it not written in the text, it would be impossible for us to say such a thing; this verse teaches us that G‑d enwrapped Himself like the shaliach tzibbur [prayer leader] of a congregation and showed Moses the order of prayer. He said to him: ‘Whenever Israel sin, let them carry out this service before Me, and I will forgive them.’” 19

So what does it mean, “It would be impossible for us to say”? What is it that would be impossible? What is Rabbi Yochanan coming to teach us here? Finally, what is this “service” to which GOD refers?

For any of us to imagine GOD plays dress up is simply ludicrous. And yet, the sages say GOD wrapped HIMSELF in a tallit, prayer shawl, like a prayer leader, and appeared to Moses. The sages learn this from the words, “GOD passed before him.” The verb “pass” is used when speaking of a prayer leader, when we ask him to “pass” before the ark to lead the prayers. GOD portrayed HIMSELF in this way to teach us the holiness of these 13 Attributes of Mercy: They can be said only when there is a minyan, a quorum, as per the rule that a holy act may be done only in the presence of a minyan. 21

But what is this service GOD wants us to do?

Speech vs Action?

“Whenever Israel sin, let them carry out this service before ME, and I will forgive them.” 22

So what does G‑d wants us to do in order for Him to forgive us? “Let them carry out this service before Me.” What is “this” service? It seems ambiguous and vague.

Some commentaries23 believe that mentioning the Attributes of Mercy in prayer alone has the power to influence G‑d to forgive us for our sins. However, most kabbalists and commentaries on the Talmud explain24 that G‑d is asking us to imitate His actions: just as He is merciful, so too should we be merciful; just as He is kind, so too should we be kind. Most opinions seem to follow this explanation; because if G‑d meant for the prayer alone to be sufficient, the verse should have read, “Let them carry out this prayer before me.”

However, others say that this expectation is placed on the leader of the congregation alone; the one leading the service should be of good character, and only then will the prayers of the community be answered.25

The Chassidic Approach

The concept of arousing G‑d’s Attributes of Mercy is understood simply: when we sin and seek forgiveness, or we areWhen we are going through a trying time, G‑d will come to our aid going through a trying time, G‑d will come to our aid.

However, Chassidut takes us a step deeper.26 It teaches that reciting the 13 Attributes of Mercy creates a strong bond between G‑d and the soul.

Every Jew has within a spark of G‑dliness that is constantly reanimating the body at every moment. When we nullify ourselves by putting away our selfish desires and letting that Divine spark grow into a raging fire, to the extent that we are willing to sacrifice our life for G‑d, then G‑d responds in kind, measure for measure, and reveals to us His inner G‑dly light.

This is because the people of Israel, G‑d and the first attribute of mercy (according to Kabbalah) all contain the word “E-l,” “G‑d,” in them. This reveals the deep and powerful bond the three share, and shows that no matter what challenges we face, G‑d is our father, and when we cry out, He will embrace us and love us as His children.

They are small annual, biennial, or short-lived perennial herbaceous plants, typically growing up to 30 cm (12 in) tall. The leaves are trifoliate (rarely, they have four or more leaflets; the more leaflets the leaf has, the rarer it is; see four-leaf clover), with stipules adnate to the leaf-stalk, and heads or dense spikes of small red, purple, white, or yellow flowers; the small, few-seeded pods are enclosed in the calyx.

As legumes, clovers fix nitrogen using symbiotic bacteria in their root nodules, and are used as an alternative or supplement to synthetic nitrogen fertilizers. They are also valuable food source for grazing livestock and bees. The domestication of clover caused substantial increases in agricultural productivity.

Cultivation History

Clover was first domesticated in Spain in around the year 1000. During European urbanization, crop rotations involving clover became essential for replacing the fixed nitrogen exported to cities as food. Increased soil nitrogen levels from the spreading use of clover were one of the main reasons why European agricultural production in 1880 was about 275% of the production in 1750.

Fields of clover, used as forage and newly-invented silage, became an important part of the rural landscape; adding clover made livestock feed more nutritious. Honey production also rose drastically, and clover remained the main nectar source for bees until the mid-twentieth century.

Clover was carried around the world as a crop by European colonists, and some clover species became invasive in some areas.

Imports of guano and the development of the Haber-Bosch process in the 20th century substantially displaced clover as a crop, with negative effects on pollinators, but in the 1990s and 2010s, the cost of industrially-fixed nitrogen rose substantially, approximately doubling, and reviving interest in forage mixes that include clover. As the fixation process is energy-intensive, prices are closely tied to energy prices. The 21st century also saw interest in clover as a countermeasure to fight the global pollinator decline.

Uses

Clover is foraged for by wildlife such as bears, game animals, and birds. Clover is edible by humans, although red clover should be avoided by pregnant women. [medical citation needed] The plant is a traditional Native American food, which is eaten both raw and after drying and smoking the roots. The seeds from the blossoms are used to make bread. It is also possible to make tea from the blossoms.

Symbolism

Shamrock, the traditional Irish symbol, which according to legend was coined by Saint Patrick for the Holy TRINITY, is commonly associated with clover, although alternatively sometimes with the various species within the genus Oxalis, which are also trifoliate.

Clovers occasionally have four leaflets, instead of the usual three. These four-leaf clovers, like other rarities, are considered lucky. Clovers can also have five, six, or more leaflets, but these are rarer still. The clover's outer leaf structure varies in physical orientation.

The record for most leaflets is 63, set on August 2, 2023, by Yoshiharu Watanabe in Japan. The previous record holder, Shigeo Obara, had discovered an 18-leaf clover in 2002, a 21-leaf clover in 2008 and a 56-leaf clover in 2009, also in Japan.

A common idiom is "to be (or to live) in clover", meaning to live a carefree life of ease, comfort, or prosperity.

A common saying in surgery [regarding the appearance of wound after hemorrhoidectomy] is "If it looks like clover, the trouble is over; if it looks like dahlia, it’s surely a failure."

A cloverleaf interchange is named for the resemblance to the leaflets of a (four-leaf) clover when viewed from the air.

[antiqueestatebuyers]

How to Identify Valuable Antique Estate Collectables: A Focus on Baccarat and Lalique Crystal Glass?

About

Antique estate collectibles hold a special place in the hearts of collectors and enthusiasts alike. These valuable pieces often carry a rich history, intricate craftsmanship, and timeless appeal, making them sought-after items for anyone who appreciates the beauty of rare and luxurious items. Among the most prized collectibles are Baccarat crystal glass and Lalique crystal glass, two renowned names in the world of high-end glassware. If you're looking to expand your collection or simply admire these exquisite works of art, this guide will introduce you to the fascinating world of antique estate collectibles.

The Allure of Antique Estate Collectibles

Antique estate collectibles are treasures that come from personal estates, often passed down through generations. These items can range from fine jewelry and vintage furniture to rare glassware and decorative art. What sets antique collectibles apart is their uniqueness, history, and the story behind each piece. Collectors value these items not only for their aesthetic appeal but also for the craftsmanship and the era in which they were made.

Estate sales, auctions, and specialized antique stores are prime locations to find these rare pieces, often offering a glimpse into the past. Among the many types of collectibles, fine crystal glassware from prestigious brands like Baccarat and Lalique stands out as an embodiment of elegance and luxury.

Baccarat Crystal Glass: A Legacy of Luxury

Baccarat crystal glass has a storied history dating back to 1764 when the Baccarat company was founded in France. Over the centuries, Baccarat has built a reputation for producing some of the finest crystal glassware in the world. Each piece is a work of art, known for its clarity, precision, and brilliance. Baccarat crystal is often associated with opulence, having been commissioned by royalty and aristocrats throughout history.

Collectors of Baccarat crystal glass appreciate the brand's dedication to craftsmanship. From exquisite chandeliers and elegant vases to wine glasses and decanters, Baccarat crystal glass pieces are known for their timeless designs. The intricate cuts, patterns, and flawless finishes make these items highly desirable among antique estate collectors.

If you're in the market for Baccarat crystal glass, estate sales and antique shops are great places to find these stunning pieces. Because Baccarat has been producing crystal for centuries, there's a wide variety of styles to choose from, each reflecting the period in which it was made.

Lalique Crystal Glass: Art Meets Glassmaking

René Lalique, a visionary French artist and designer, founded Lalique in the early 20th century. What sets Lalique crystal glass apart from other brands is its unique fusion of art and glassmaking. Lalique's creations often feature sculptural designs, inspired by nature, mythology, and the female form, giving them a distinct aesthetic that collectors love.

Lalique crystal glass is known for its frosted and clear finishes, which give the pieces an ethereal, almost mystical appearance. Collectors prize Lalique vases, bowls, figurines, and perfume bottles for their artistic qualities and craftsmanship. Each Lalique piece tells a story, whether it's a delicate floral design or an intricate animal figure.

Antique Lalique crystal glass pieces are highly sought after by collectors who appreciate the blend of artistry and functionality. Estate sales and auctions are excellent venues to find rare Lalique items, often offering one-of-a-kind pieces that are no longer in production.

Investing in Baccarat and Lalique Crystal Glass

For collectors, investing in Baccarat and Lalique crystal glass is not just about owning beautiful items—it's also about preserving a piece of history. Both brands have maintained their status as leaders in the world of luxury crystal, and their pieces tend to hold or increase in value over time. When purchasing antique Baccarat or Lalique items, it's important to ensure authenticity by checking for maker's marks and consulting experts if necessary.

Conclusion

Antique estate collectibles, particularly Baccarat and Lalique crystal glass, represent the pinnacle of elegance and craftsmanship. Whether you're a seasoned collector or just beginning to explore the world of antique glassware, these brands offer a wealth of options that can enhance any collection. By attending estate sales, auctions, or visiting specialized antique dealers, you can find rare and valuable pieces that reflect the beauty and artistry of a bygone era.

[martial-maurette]

Bernard Perrine (9 septembre 1938/15 Décembre 2023) :

85 ans, (docteur en pharmacie, psychologie), photographe dès 1968, journaliste, professeur, rédac’chef pour « Le Photographe », conseiller, membre de tant de jurys, …/… "Officier des Arts et des Lettres, correspondant de la section de photographie de l’Académie des Beaux-Arts"

La pertinence rigoureuse de ses propos techniques, technologiques et historiques, (…il a une bibliothèque d’érudit rare, dont il m’avait dit, malicieusement, être rangée par ordre de dates de naissance des auteurs…), m’était compensée par son impertinence envers les « VIP » des diverses chapelles en « La Photographie » française.

Il m’a fait connaître Karlheinz Stockhausen (compositeur contemporain), Lyrinx (René Gambini, éditeur de musique), Henri Cartier-Bresson, Avedon, Nadar, les humanistes français, le rouleau compresseur « kulturel » américain, L’Histoire de La Photographie française, les M chez Leica, le Noir et Blanc et ses innombrables nuances, le portrait Polaroïd en 50x65cm, d’innombrables auteurs-photographes anciens et récents, Armal Moutiez, Agathe Gaillard, Delpire, Jean-Claude Lemagny, Willem Flusser, Lucien Clergue, Andy Warhol, Les Rencontres Internationales de la Photographie d’Arles, le Ministère de la Culture, l’Académie des Beaux-Arts, la BNF, « les » professions (…et chapelles esthétiques…) de La Photographie, (et tous les magazines plus ou moins spécialisés), les rues, musées et galeries photo de Paris, l’apprentissage technique et chimique en labo, la découverte des dernières technologies, les droits d’auteurs, les règles sans compromis, le doute envers la société des loisirs et spectacle, l’intransigeance, la persévérance, son exceptionnelle bibliothèque personnelle, sa forteresse familiale, …où très cachées, ses innombrables planches-contacts dont très peu d’images diffusées…/…

Bernard, sous le coup de cette nouvelle, hier ...aujourd’hui ...demain !, je reste stupéfait de ton départ foudroyant en l’autre monde, certainement lumineux pour toi.

Ensuite, ce seront les souvenirs qui empliront l’espace que tu laisses. Et ces souvenirs partagés par tant (et toi, par tes archives, sauf sur les réseaux sociaux que tu abhorrais), tels les écrits photographiques, consolideront ton « image ».

C’est grâce à toi, professeur (pour moi, de 1976 à 1980) puis ami 44 ans, que j’ai très correctement mené ma passion-profession (diplômé, encore grâce à toi) pendant 30 ans.

Sans oublier que tes partages de savoirs, rigueur et questionnements m’ont aussi permis d’assumer (très bien) une famille soudée.

Pensées amicales aussi à Isabelle et leurs filles. Au revoir.

https://galeriehegoa.fr/portfolio/bernard-perinne/

[longlivebatart]

Hals' Youth with a Skull

Note: Sorry I haven't been around, guys! Life kinda got in the way.

Transcript:

Welcome to Long Live Bat Art, the podcast for art lovers who don’t see art as much as they want to. My name is Sydney and thank you for taking this slow tour through an art gallery with a casual art lover. Today, I’ll be talking about Youth with a Skull by Frans Hals. I hope you enjoy. 

Frans Hals was born somewhere around 1582 in Antwerp. Hals and his family fled Antwerp after the fall of the city to the Spanish when he was around 2 years old. Protestants were given a mere four years to get all their affairs in order before leaving the city. The Hals family moved north to Haarlem in the Netherlands, which was part of the fledgling Dutch Republic. Hals did his studying as an artist under Flemish artist Karel van Mander, though the older painter’s style is barely seen in Hals’ own work. It seems as though Hals worked with portraits exclusively. 

Hals joined the Haarlem Guild of Saint Luke in 1610, when he was in his late twenties, which was considered old to be admitted to the Guild. Once admitted, Hals actually worked as a restorer for the town council, which brought him some amount of money. After the council sold off to Cornelis Claesz van Wieringen, a Guild member and painter, Hals was forced to seek other work. It’s then that Hals decided to try his hand at original work, starting with portraiture. He stuck with religious themes by using a Catholic pastor, Jacobus Zaffius, as a subject in 1611. But it isn’t until 5 years later that he had his first work that gained him some attention when he produced a schutterstuk and painted the officers of the Saint George Militia company. Hals even painted René Descartes in 1649. 

Instead of the usual custom at the time of painters moving from place to place as they were commissioned, often staying in the house or general vicinity of their patrons, Hals remained in Haarlem and his customers came to him. Perhaps it was because he was a devoted father to his 10 children. 

In 1644 he became chairman of the Guild that he was once considered too old to be admitted into. 

Hals was also a musketeer- though sadly not one of the swashbuckling three- in the Saint George civic guard, which was a kind of town guard. After being a musketeer from 1612-15, he served another function in the same guard for nine years. From 1616 to 1624 he was a man after my own heart- he was a second member of an amateur dramatic society whose translated name is The Vine Tendrils. In fact, one of Hals’ earliest known portraits was of a man named Pieter Cornelisz van der Morsch. Van der Morsch apparently was known for his cutting wit. 

Like Vermeer, unfortunately no foundations of Hals have survived.

Frans Hals is considered by many in the art world to be second only to Rembrandt before the last century when Vermeer was re-discovered as a Dutch Master. Hals was especially popular in Paris past 1850. Hals’ often-colorful palette and incredibly bold brushwork was particularly inspiring to Impressionist and Realist painters, even more so than Rembrandt. And you might remember our friend Theophilé Thoré from the Vermeer episode, who was also a fan of Hals. It seems as though Thoré had a very good eye and incredible taste. After Thoré brought Hals back to the public eye, Hals’ work soared in value. His work went from being sold for just over 4 British pounds to 25,000 of the same currency. That’s from about 5 to nearly 31,000 American dollars. 

On the opposite side of the spectrum from Thoré’s flattery and support, the same critic that wrote a quote biography unquote of Steen- Arnold Houbraken- said in 1718, long after the painter’s death, that Hals’ financial struggles later in his life were due to alcoholism. Of course, it might have had nothing to do with the fact artists were rarely appreciated or paid well in their time and his 10 children, but I highly doubt it. To further cast doubt on Houbraken’s biography, it seems as though a scene in the book - where Anthony van Dyke went to visit Hals had to search taverns for the man when he wasn’t at home, painted a picture of Hals who recognized him by the art alone, and how van Dyke tried to get Hals to move to England - was borrowed almost entirely from Pliny the Elder’s Natural History from around the year 78 ACE. Seymour Slive tried to squash those rumors, but they remained persistent for quite a while. People tend to like unsubstantiated gossip more than facts.

Hals had several students once he was established, though the exact number and even names are debated. The ones that are known for sure are Vincent Laurensz van der Vinne and Pieter Gerritsz van Roestraten, the latter of which later married Hals’ daughter Adriaentje. Because of her style, Judith Leyster has been offered as a possible student of Hals. She often signed her work, which was unusual at the time but very helpful today. Her husband, Jan Miense Molenaer, is also a possible student.

Hals’ influence extended far beyond his lifetime- I said before that Impressionists and Realists were influenced by his work. What I didn’t mention was that one of those influenced painters was Claude Monet, and that even Vincent van Gogh admired Hals’ work. Still other painters were able to learn the technicalities of painting due to Hals’ tendency to not hide his brushstrokes as many of his contemporaries did. 

As with most of the painters this season, the exact numbers of surviving painters that have been attributed to Hals differ greatly, depending on which source you draw from. Slive claims 222 works in 1970-74, but in 1989 Claus Grimm, another historian of Hals, attributed only 145. Now for the painting.

The young man depicted in the painting has shaggy and wispy brown hair that extends past his chin, but not by much. It’s unkempt- the right side is fluffed out carelessly. So not a vain young man.

He has pale skin and a rosy complexion, mostly around the apples of his cheeks and his nose. His mouth is also very red. He’s looking to his left, the viewer’s right. He’s wearing a bright red hat with a very long red feather on the right side of the image stuck in the front by the quill. The feather extends from the hat to just past the young man’s shoulder, then it drapes down. The fibers of the feather are fluffy. Each strand is a different shade of pink or red. The main vein of the feather is a very pale pink, actually more of a white.

The boy is wearing a loose navy garment wrapped around his front. It- like the feather- is oversized. The folds are realistic. The low points are a deeper blue, the highlights a brighter one. The fabric is actually shaded with a rust color on the left side of the image. The collar of the young man’s clothes peeks over the fabric- his shirt is white. The clothing underneath the fabric, what must be his overcoat, is red. It’s a deeper shade than the hat and the feather. A little closer to burgundy than true red. The young man’s right hand is stretched towards the viewer, his thumb above the others and the rest of his fingers flat, as if he’s going to awkwardly shake hands. His fingers are too spread for a grab. His palm is in shadow, and the backs of his fingers are highlighted. The webbing between his thumb and his hand is also highlighted, and the webbing is detailed. You can see the actual curve of it in front of the rest of his skin. His overcoat is open over his hand, and you can see the button holding the sleeve halves shut on the bottom of his arm. His arm is casting a shadow on the rest of his body. Now for the skull.

The boy is holding it from beneath, his fingers curled around it. There’s no bottom jaw, just the top jaw that’s connected to the rest of the skull. The skull is somewhat in profile- you can see only one half of the teeth, where the cartilage of the nose was, and an eye socket with only part of the other one visible. The right half of the skull is in a gentle shadow. The skull has a pronounced brow ridge, and its cheekbones are pronounced, as well. The skull is shaded in faded yellow and neutral tones, with some blue-toned grays. The gray is concentrated in the hollow above the cheekbone and following the line of it. The eye socket is almost completely in deep black shadow, with some lighter shadows closer to the nose. The opening in the nose where the nostrils were is in deep shadow, as well. The few teeth that remain are whiter than the rest of the skull. The wall behind the boy is a dingy gray with some texture. There is a shadow thrown on it beneath the feather, though not by it. By his head, maybe.

Now for my thoughts.

The boy looks unsure. It’s clear Hals was giving him directions on how to pose himself. He’s looking for assurance that he’s doing it correctly. And at the same time, there’s an innocence about him, even though he’s holding a skull. His mouth is very red. It’s slightly open, too. Just enough to show his front teeth. There’s just something soft about this. And the finality of the skull, the symbol of death, in such a vibrant young man’s hand. Lots of artists used skulls and skeletons as a subject- Van Gogh did the latter with a cigarette hanging from its mouth. And I’ll hopefully describe that baller painting in a later season. 

But the juxtaposition of death and youth is interesting. As much as death is scary, youth is comforting. And both death and youth are important. Without death, we wouldn’t appreciate life. And without youth, we wouldn’t remember where we came from. But as far as youth, people have to be very careful when giving advice, no matter how well-meaning, to people younger than they are. Nostalgia makes us think the past was better, but it isn't. It’s just the past. It only seems better because we’re no longer experiencing it. Time and distance bring wisdom in a lot of situations. 

Here’s today’s challenge- learn one thing from your life. I don’t mean examine every second of your life for a theme, though you’re free to do that and all the more power to you. I mean learn one thing you didn’t know yesterday. It can be a fact about a subject you think you know well, or something from a brand-new one. It can be a joke- the dumber the joke, the better. It can be some new story from a friend or family member. Learn from your life, because life is the best teacher there is, even though it isn’t always the easiest. 

Not only skills take practice- being a human does, too. Learning how to be a better friend to others and yourself takes practice. Learning to communicate your wants and needs takes practice. Trying new things takes practice. And you should dive into practicing whole-heartedly because finding out what makes you happy is a great feeling. And don’t feel like you’re ever done learning- humans are ever-changing beings. Labels can be useful, but boxes are prisons. 

If you liked this episode of Long Live Bat Art, please consider telling a friend and reviewing to help the podcast grow. A link to the transcript of this episode is available in the show notes below. And you can follow me on Twitter at Long Live Bat Art and tumblr at tumblr dot com forward slash Long Live Bat Art. That’s Long Live B-A-T Art. Thank you for listening to this episode, and I will see you in two weeks.

[teepoxshop]

This 1960s trailblazer of erotic pop art died just as she was finding fame

Throughout Evelyne Axell’s short but radical career, the Belgian artist revered the female body in psychedelic hues rendered in gleaming enamel. Nude women recline in acid green or cerulean blue fields under open skies; in one portrait, bodies and landscape become indistinguishable, with rings of colors forming the volume of a perm and tufts of grass the pubic hair.

She delighted in double meanings. Axell’s most famous artwork, of a woman licking an ice cream cone, could be both a summery advertisement or an explicit pornographic scene. She named another painting, of red heels on a gas pedal, “Axell-ération” — an implied self-portrait, like many of her works.

But the young actor-turned-Pop artist, who was working in the 1960s and early ’70s and had been trained by the famed surrealist artist René Magritte, had her career cut short. In 1972, only a handful of years into painting, she died in a car crash and faded into relative obscurity. Only in the past decade as curators have revisited the pop art movement beyond celebrated male artists — such as Andy Warhol, Roy Lichtenstein and Richard Hamilton — has Axell arisen as one of the many women co-opting mass media to engage with the social structures and politics of the ‘60s.

“If you asked almost anybody to name a woman pop artist, you would probably get a blank stare,” said Catherine Morris, a curator at the Brooklyn Museum, which hosted the touring show “Seductive Subversion: Women Pop Artists, 1958–1968” in 2011. The landmark group show featured Axell and contemporaries including Pauline Boty and Chryssa.

“(If this) period of emergence of women Pop artists had even been a couple of years later, we probably would have been more aware,” Morris continued, pointing to the 1970s as a turning point for women artists in the wake of second-wave feminism. “This whole group of women who covered this decade were dramatically overlooked.”

Since “Seductive Subversion,” which first exhibited at The University of the Arts in Philadelphia, Axell’s work has been included in a host of significant group shows that take a more expansive, international view of pop art and foreground women. And in 2021, she achieved a significant posthumous milestone, with the Museum of Modern Art in New York adding “Axell-ération” to its collection. But institutional solo exhibitions remain few and far between, with retrospectives hosted by Museum Abteiberg in western Germany and the remote Swiss Alps art center Muzeum Susch 10 years apart. (Perhaps, in part, because of her limited output.)

Now, two of Axell’s playful, erotic artworks— both painted with her signature application of enamel on plexiglass — are poised to make history at Christie’s, in her first major New York sale. “Paysage” a dreamy pastoral nude, is expected to surpass her record of $140,000, set in 2017, with a high estimate of $200,000; “L’Amazone”, a sensual blue-ombre hued portrait, could also come close at $120,000. But such sales for Axell are infrequent, according to Sara Friedlander, Christie’s deputy chairman of post-war and contemporary art.

“She made very little work — she was 37-years-old when she died,” Friedlander said in a phone call. “So, in a way, the market doesn’t have enough to know what to do with her. These (paintings) are very special and very rare.”

An incomplete legacy

The decade following Axell’s death saw the emergence of a number of women artists who unabashedly expressed female sexuality, painting and photographing their own bodies, and subverting erotic or pornographic imagery. Artists such as Joan Semmel and Marilyn Minter believed that feminism should be inclusive of sexual agency, but as Morris explained, they faced criticism for doing so.

Axell might have been part of this crucial wave; curators and scholars are still unpacking her prescient feminist ideas, and the paradisical world she set them in. Instead, she hid her identity, signing her works with only her last name, after facing derision from male art critics, according to the exhibition at Muzeum Susch. Her stylistic approach — a mix of pop art influences and dreamy surrealist settings — is still underrecognized, according to Morris.

“She acts as a historical bridge (between surrealism and pop art),” she said. “And I think that that’s something that’s dramatically unexplored.”

Skilled at challenging expectations around her own beauty, sexuality and sense of self in her work, Axell was also politically engaged, producing portraits of the African American activist Angela Davis and a painting responding to the Kent State campus shootings in 1970.

“Despite all aggressiveness, my universe abounds above all in an unconditional love for life,” Axell said in her only interview in 1970, according to a publication by Muzeum Susch. “My subject is clear: nudity and femininity experiment in the utopia of a bio-botanical freedom; that means a freedom without frustration nor gradual submission, and that tolerates only the limits that it sets itself.”

One of Morris’ favorite works, shown at the Brooklyn Museum, embodies this spirit: an abstracted view of a woman’s torso, the curves of her body like peaks and valleys, her vulva covered in a real tuffet of green fur. Called “Petite fourrure verte” or “Small green fur,” the intimate perspective was based on a photograph Axell’s filmmaker husband, Jean Antoine, had taken of her.

“It’s from 1970, just a couple years before her death,” Morris said. “So for me, it really epitomizes what would have been — what was to come.”

[mysteriis-moon666]

SUMMONED AND DEFILED

Il faisait encore jour quand je partais de Castres, ville rugueuse d’ovalie, porteuse d’une victoire contre le RC Toulonnais en ce jour du 22 avril 2023. Dans les rues des supporters rentraient à pied, drapeau sur l’épaule, se chambrant gaiement. Des cumulus nimbus offraient un parterre de teinte grisâtre et laiteuse avec des trouées minimale de lumière, comme si des jets venaient à percer dans une obscurité naissante. Bientôt la pluie le long du trajet tomberait, et fera abattre le ciel sur terre dans une nappe de brouillard épaisse, et de crachin que cette nuit en enfer allait offrir à coups de décibel tellurique, de cris perçant et d’hémoglobine sonique. La nappe phréatique de mes émotions remonterait jusqu’à ma paroi nasale en laissant couler un filet de sang, pour une raison que j’ignore encore, mais qui demeure un présage de la déflagration reçue.

L’association Profusion existe depuis 1995, elle a mis en place des concerts dans le Tarn et la région toulousaine. Depuis St Sulpice, la première édition d'Une Nuit En Enfer a été effectué en 2003 où elle avait posé les bases d’une intention fidèle à l’underground oldschool. Pour ses 20 ans c’est « Be there or be dead », PAF 15 Euros. Pas de CB, rien que de la fraîche, à l’ancienne (vise le flyer). Lieu = Salle René Cassin / 81370 Saint Sulpice La pointe.

Les groupes ayant joué dans une nuit en enfer sont Fall Of Seraphs, Iron Flesh, Ritualization, Mercyless, Asmodée, Agressor, Necrowretch, Charnier, Fatal Nunchaku, Graveyard, Hate Wanted, Hypnosis, Hypoptalasias, Inhumate, Les Incapables, Malhkebre, Necrocult, Oldskull, Offending, Ossuaire, Otargos, Ouroboros, Pestiferum, Pulmonary Fibrosis, Putrefaction, Ruins Division, The Bottle Doom Lazy Band, The Seven Gates, Temple Of Baal, Trashnasty, Vorkreist, Withdrawn.

C’est OLDSKULL qui éventre la nuit comme l’on ouvre une parenthèse pour marquer les esprits. Son death metal touille Obituary (mais sans le groove) et Morbid Angel avec une lichette de Bolt Thrower, et parfois des grumeaux thrashy dans les riffs et rythmiques.

Le chanteur avait un t-shirt de Power Trip, et son growl de bons caillots de sang dans la glotte pour projeter son impureté deathalique. Le batteur du groupe avait le son de la caisse claire d'une bouteille que l'on décapsule, car pas de peau sablé. Je dis ceci car un gonze me l’a fait remarquer alors que jusque-là je n’y avais pas prêté cas. L'ingé son a assuré, je ne veux pas dire de connerie, mais il me semble qu’il travaillait à l’ancienne salle du Bikini, au 54 chemin des Étroits à Tolosa, car la façade démontrait un son de gouffre à death metOl. Scéniquement la scène n’est pas immense, les gars font leur set dans un condensé salé de leur sauce dégoulinante, ça envoie une bonne rasade oldschool, avec pour les light, un spot bleu, un rouge, un jaune, un peu de fumée et va chier à la vigne.

Dans une nuit en enfer il n'y a pas de poseurs, pas de kikouyou à licorne, de touristes, de personnes qui vivent dans un trou de hobbit, nannn. L'atmosphère est oldschool, il y a en présence une majorité de gars qui turbinent avec sincérité depuis l'époque des échanges de K7. L’underground c’est une niche, un endroit en marge, reclus, parfois trop, enfin tout dépend comment tu vois le truc. C’est un isolement, et pas du tout à la fois. Beaucoup y trouvent leur compte, du moins un temps, après les époques meurent et les nouvelles prennent leur place, il y a des personnes qui restent fidèles malgré tout. Oui ça existe.

L’underground fonctionne sur le principe du participatif, et généralement en autarcie. Ces passionné.es peuvent passer du statut d’inconnu à culte, mais c’est très rare, et pas du tout l’effet escompté. Le premier c’est d’être libre de créer, de faire émerger un art, une discipline, l’esprit d’une musique, l’incantation du concert, un lieu de vie, une époque. Tu évolues dans un environnement scellé de rite, signe, expression, symbole, représentation, empreinte, d’érudition, d’échange, de transmission, de passion, tu es dans l’ombre, te transformes dans la pénombre, le mystère et l’obscurité sont tes frères. Si tu viens avec une apparence, tu vires vers le soleil très rapidement car le simulacre ne fait pas partie de ta loyauté, de ton honnêteté aux autres et à toi-même. Mais l’underground va t'oublier un jour, comme si tu n'avais jamais existé, tu ne fais que passer, météore.

« Le rock est mort, le punk est mort, le metal est mort » tu entends ça depuis toujours, tout est mort quand tu vieillis, parce que le pain blanc de ta jeunesse est bouffé, et qu’il te reste le pain noir, et peut-être même un sac de clou noir avec des croûtons et des os à ronger. Bullshit, tu le sais, dans ta foi pour ces musiques en marge, tu es, tu vis, tu te sens bien au milieu de ces gens, que tu considères comme ton peuple.

Le rock est mort parce qu’il passe de mode pour certain.nes. La mode elle peut aller se faire enculer, et ce, depuis toujours. C’est ta philosophie.

Dans la salle ce soir, il y a un gars qui a organisé et fait jouer la première date en France et en Europe de Cannibal Corpse. C’était en 1991 à Escoussens, au pied de la montagne noire parce que la salle d'Aussillon n'était pas libre. Le christ de Mazamet, le seul et unique, nom Carlos, comme le chanteur, mais lui n’a pas de chemise à fleur, il préfère les champs de tripes du death metAl. Casquette vissée sur la tête, des cheveux longs, le ventre à bière de Tankard et toujours dans le game, le week-end suivant celui d’une nuit en enfer, il ira au Portugal pour un petit festival, il a son ticket pour aller voir les Mets au stade de France, mais ce qu’il lui tarde le plus, ça fait trois ans qu’il a son billet pour le Maryland Deathfest du 23 au 26 mai à Baltimore.

Le quatuor MISGIVINGS se poste sur scène. Formé en 1991 avec un seul opus à leur actif, je ne sais pas ce qu'ils ont foutu, nous sommes en 2023 ?!

Le bassiste chanteur a un truc dans le visage, la forme de son visage peut-être, mais il me semble que ce sont ses yeux qui me font penser à Tom Araya, d'ailleurs leur musique c'est Slayer mets Deicide. La basse a un son très metallique, le riffing des 2 gratteux c’étaient des frelons asiats aux dards véloces et pestilentiels. Le bassiste a rameuté le pit pas mal de fois, une sollicitation qui a trouvée l'envol de belles chevelures, et a certainement brisé quelques nuques. Le groupe fout un tournis de mur blanc sonique pour fouetter un death metal aux encornures saillantes, dans l'esprit pernicieux du groupe Pestilence. Mon cerveau était devenu un énorme paquet de lingettes mouillées à torcher un putride death metOl que Misginving remplissait sans arrêt, je pouvais faire des mouillettes sanguinolentes avec, cool, cool.

Formé en 2013 CONVICTION est un groupe de Doom Metal avec des membres d'Ataraxie, Temple Of Baal, et un unique album à leur actif.

Mettre un groupe de doom oldschool sur un plateau death metal c'est comme poser de la tisane dans un office de traders. L'ambiance est moins remuante. Attention j'adore le doom, là c'est Saint Vitus pour le doom et du Type O Negative pour le cimetière. Il y a un côté funéraire dans leur set que certains jugeront soporifique. Le bassiste joue avec un nœud coulant autour du cou ce qui annonce en terme de métaphore que le gars va se marier nan ? J'ai noté quelques fausseté dans le chant, ohhh trois fois rien, j'ai surtout apprécié dans le chant cette recherche mélodique, une ligne vocale claire avec du spleen dans son intention théâtrale, parfois même inattendue. Ce qui ressort vraiment de Conviction c’est "... la capacité de s'épanouir dans une douce douleur." (Thomas Mann), mais aussi une visite dans les marécages de l'âme, une cadence rythmique lente, des riffs charbonneux, vraiment intenses avec ce tréfonds doom, et des solis de très bonne tenue, pour finir par une cover de Black Sabbath, hé forcément. Nous étions bercé.es d’une funambule torpeur opiacée et refermions le cercueil sur nous.

Conviction se nourrit d’une noire vision, éviscère ses démons qui tordent l’âme. Il préfère les pierres qui redressent son âme plutôt que les fleurs qui ramollissent son cœur. Il se déploie dans sa nuit et dans chaque respiration de sa musique, en trouvant sésame dans le gémissement du lointain, jusqu'à ressentir le fracas du spleen à côté de lui battre des ailes, éveiller les torpeur jusqu'aux tristesses rédemptrices.

J’ai décidé d’être sensible, car c’est ce que je suis au fond de moi depuis toujours, c’est un prix à payer, il est lourd parfois, mais je laisse rentrer chaque vague et l’écume est belle, la collision sur les roches offre un spectacle étourdissant, et au fond de cet océan se gonfle une vivacité qui s’ancre à une diversité d’émotions. Conviction navigue dans ces eaux tumultueuses, à son rythme, il est vrai.

******************************************************************

Dans la grosse lessiveuse d'internet dont nous pouvons nous goinfrer jusqu’à écœurement de toutes les musiques disponibles, nous devenons des décharges à ciel ouvert, oubliant d'apprécier dans l'instant présent l'offrande des groupes en train de jouer en live, parce que tout est encombré des restes glanés, la contradiction renaît.

VENEFIXION c'est un peu de ça avec un soupçon de ceci, rien de nouveau, j'ai déjà entendu cela plein de fois et je m'en vais. Non, il fallait rester, il fallait se laisser atteindre par cette sorcellerie, par ce fléau de metal noir, cet incurable tourment, qui vient zester ce dégoût secret, mal indéfinissable qui donne tant de torts dont on n’est point coupable. C’était la magie noire d'un concert dans toute sa beauté exaltante, avec lequel Venefixion a frotté son set avec du papier verre et un marteau clouté. Urg !

Le quintette Venefixion a laissé trois opus, "Armorican Deathrites" 2016, "Necrophagous Abandon" (split w/ Possession) 2019 et "A Sigh From Below" 2021 en faisant évoluer sa musique qui irrite les refus et lui apporte tous les feux qu���elle inspire désormais, loin des vieux grimoires bretonnant du bois de Brocéliande d'ADX. Du khôl autour des yeux, du sang sur la tronche, un death black 2.0 qui joue la carte du malin, avec un max de delay dans le chant. Ecole putréfaction avec des restes primitifs de Morbid Angel, du swedeath rock'n'roll de Tribulation, et pour les cris en fond Ghostbath. Il y a le côté black'n'roll de Venom et Midnight surtout en fin de set, augmentant l'enthousiasme d'un public férocement attiré par les puissances souterraines. Oui il y avait de la magie noire, d'ailleurs en fin de set un gars a scandé « Satan » à plusieurs reprises le poing levé, exhortant de la sorte le chanteur à faire de même, et le public de lui répondre. Merci à cet Anton Lavey d'avoir libéré les apôtres soniques de Belzébuth dans la succursale rené cassin, face à la très belle église de St Sulpice la pointe, et de ce set de Venefixion en un petit bijou de crucifix retourné.

Merci à Profusion association, à cette Nuit En Enfer, à Oldskull, Misgivings, Conviction, Venefixion et à ce peuple des ténèbres.

[usurperss]

i still really love the lineart i did for my mermay piece 😩

[beautifulbizarremagazine]

#Takeover // Johnson Tsang 

I had the pleasure to meet Johnson Tsang and watch him work a few years back when he made a trip to Singapore. There are these rare, precious times when you come across an artist who works their material like magic, almost like an extension of their fingers, and Johnson was exactly that and more.

In his exquisite works, he goes beyond rendering flesh to perfection, but pushes and shapes it to tell stories. He is a master of extracting the essence of things, getting rid of the extraneous to achieve a simple elegance in his works. This brings to mind a recent beautiful piece, ‘Still in One Piece III’, reminiscent of ‘The Lovers II’ by René Magritte, that reflects on the pandemic.

Beautiful Bizarre Guest Curator: QimmyShimmy 

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#beautifulbizarre #beautifulbizarretakeover #qimmyshimmy #socialmedia #johnsontsang #sculpture #sculptor #darksurrealism #darksurreal #lowbrowart #popsurrealism #contemporaryart #newcontemporary #art #artwork #artist #artlovers #inspiration #darkart #visualart

[blueiscoool]

Jean-Michel Frank Rare Desk

Circa 1930. Executed by Chanaux & Pelletier, Paris. Walnut, vellum.

numbered 5133 and stamped CP within a circle. 29⅞ x 70⅝ x 37¾ in. (75.5 x 179.3 x 95.8 cm).

Dr. François Debat was a pivotal figure in the Parisian decorative arts scene of the 1920s and 1930s. An accomplished doctor and the founder of a pharmaceutical laboratory in Garches, a city on the outskirts of the French capital, Debat was also a forward-looking aesthete and an avid collector. He founded the periodical Art et Médecine and organized the first edition of the Salon de la Peinture in 1936 in the neighboring city of Saint-Cloud, to which his decorator and artist friend René Crevel participated. The home of Dr. Debat was a carefully curated space in which Art Deco design took center stage, as evidenced by the corresponding image of the present Jean-Michel Frank desk in his private study. Made with an exquisite combination of rosewood and vellum, the desk embodies its creator's predilection for a minimalist design, most evident in the curved edges of the tabletop and sculpted bases on either side.

The present desk is the only known example of this model.

[rosehaunt]

Gifts of a different kind for @bisousmiumiu

Happy birthday angel! ♡

Art Deco Style Pink Velvet and Brass Curved Sofa / pink shell angel cherub necklace / pink and white vintage Gucci handbag / Rare Amethyst Chandelier in the Style of Maison Bagues, France, 1950s / French Art Deco Crystal Anemone Perfume Bottle by René Lalique, 1930s / 14K Pearl Drop Diamond Inset Flower Dangle Earrings / gold vanity table mirror / 1910 French Edwardian Platinum Diamond Quartz Bow Pin / Antique French Mother of Pearl perfume vial Casket