evans-martin

[sleepydrunkenmisshap]

Yea definitely, special interests are so cute and always socially acceptable. No yea, I definitely can shut up about them when nessecary.

Anyway watch as I go on a rant for 2 hours about Oscar Wilde, Incel culture, Hikikomoris in the west, Punk philosophy, The Victorian Age, Cannibalism, Fast Fashion, The Barbie movie, Kiki's Delivery Service, The Picture of Dorian Gray and the idea of lost history

[amanufacturedheaven]

Carl Blechen

1798-1840

How I love the romantics

[life-imitates-art-far-more]

Caspar David Friedrich (1774-1840) "The Cemetery Entrance" (1825) Oil on canvas Romanticism Located in the Galerie Neue Meister, Dresden, Germany

[misscromwellsmonocle]

Anatomical Pieces (1819) by Théodore Géricault

[medea-of-colchis]

Joan of Arc wearing armour and mounted upon a horse at the head of her troops by Jules De Praetere

[atopvisenyashill]

i was thinking more about characters Performing Gender, but not necessarily Transgressing Gender. I wound up focusing on Ned and Sansa bc I feel like I understand them the most but-

Sansa as a hostage is imo the most obvious (bc it’s so well done) moment of someone clearly Performing Gender but not being transgressive in that performance. Which isn’t to say it’s not a complicated performance; it’s a fine line Sansa walks between weaponizing her gender to protect herself without seeming too fake. She’s trying to placate the Lannisters by playing the perfect, dedicated, air headed betrothed because it’s the only defense she has - if she outwardly rebels, she will be punished in a likely violent and/or sexual way (which isn’t even conjecture - when she says “or maybe he’ll give me yours” Joffrey has her struck with an armored hand). She’s not quite successful in being convincing but that’s because it’s a rather extreme situation; despite no one believing her, she does make herself seem meek and stupid enough that no one suspects she’s plotting to escape with Dontos until she’s well away from KL. The fact that she even has Dontos to confide in is because of Sansa’s relationship with gender! When she saves him, she covers her rebellious slip by playing up Joffrey’s intelligence & his role as King; she reaches for “tools” of her gender AND of ~proper manhood~ to save a life and herself from another beating. Her retreats into the godswood and silence are very much Sansa attempting to recharge from these draining interactions, the same way a knight would need to stop and eat and rest after a fight. She is fighting, constantly, by forcing herself to stay within the narrow confines of a specific type of gender performance as a way of shielding herself from harm.

Ned yelling at Cat is another big one, and I’ve seen the scene referred to as Ned using his patriarchal power to scare Cat, which is a great description. It feels like a Performance because Ned is putting on this terrifying Lord Stark mask in an attempt to get Catelyn to stop asking about Jon (and Lyanna). This is not how he usually acts with those he loves! When Ned is with His People, he is welcoming of questions, curiosity, emotion, even transgressive thought (to a point! the idea that Ned is a feminist because he lets Arya learn to fight is Not accurate but you can’t deny he allows significantly more flexibility wrt gender expression than most of the fathers we meet in this series. the bar is in hell tho). Yet when Cat asks him about Jon’s mother, Ned scares her so well she stops asking & still remembers the moment bitterly over a decade later. And if that snippet we see through Bran’s eyes of Ned praying that Cat will forgive him does come after she asks (like it’s suspected), it’s clear not only that this is a performance he’s putting on & weaponizing against Cat, it’s one he does not like using as a weapon against someone he is close to. After using the power his gender gives him to cause harm, he retreats to the godswood and silence to pray and rest, much like Sansa. A spiritual cleanse, the way a soldier may pray after battle, to reset and reconnect Being A Proper Man to Being A Kind Man.

I think there’s something interesting in that two of the characters most widely defined by how well they adhere to Westerosi gender norms both dislike feeling like they had to weaponize their gender. They are exhausted by the performance, because it’s a performance. This isn’t Sansa getting excited over tourneys, or Ned teaching his sons to fight; it’s toxic masculinity, it’s structural misogyny. It’s something they’re good at, excel at, and connected to something they enjoy but when it’s paired with violence, whether done by Ned or done to Sansa, it crosses over in their minds from an innate part of themselves (The Gender) to a performance necessary due to survival (The Gender Role). And that after these performances, both retreat to nature & god as a way of resting and cleansing from the experience.

[annariadne]

‘Her tender touch was all but a dream;

Unfurl sweet rosebud, holding morning dew,

By night the rose is gilded by frost’s gleam

What dawn proposes, dusk demeans’

[dark-longings]

[heather--moors]

and tomorrow i will wake early again

[robinsfilm]

analyzing a poet from the romanticism era AND THIS IS NOT FOR THE WEAK.

[pmamtraveller]

MARTYRDOM OF SAINT PHILIP | c. 1639 | by JUSEPE DE RIBERA

The painting is a powerful and dramatic depiction of the apostle's crucifixion. The work is considered one of RIBERA'S finest and most mature paintings

The canvas presents the martyrdom on an epic scale, with large, imposing figures. SAINT PHILIP is shown in the moment before his crucifixion, as two executioners strain to raise the horizontal beam of the cross while a third holds his leg.

PHILIP'S long limbs are extended and his face turned upwards in anguish, though he is not shown as the elderly man described in hagiographies. RIBERA contrasts PHILIP'S resigned acceptance of his fate with the vigorous physical efforts of his tormentors. The artist's use of CHIAROSCURO dramatically highlights the saint's muscular, sun-tanned body and emphasizes the physical suffering he is about to endure

In the background, a crowd of onlookers gathers, some pitying PHILIP'S fate while others appear indifferent. A woman holding a child provides a tender counterpoint to the cruelty of the scene. RIBERA'S masterful handling of paint is evident in the thick impastos on PHILIP'S flesh and the vibrant transparencies of the background figures

The low viewpoint reveals a vast, beautiful blue sky, suggesting the divine realm that PHILIP is about to enter. However, unlike earlier depictions, there is no heavenly intervention or chorus of angels - for RIBERA, martyrdom is an essentially earthly spectacle

[northernxxxlights]

The Love Potion - Mihály von Zichy

[life-imitates-art-far-more]

Jean-François Millet (1814-1875) "Gust of Wind" (c. 1872) Oil on canvas Realism Located in the National Museum Cardiff, Cardiff, Wales

[mrgaretcarter]

Honestly I think it would do us all well to go back to kinda cringy feminism again for a little bit idk cause I think maybe for some people the discourse somehow circled back around to supporting sexism just rebranded or whatever so its more aesthetic

[medea-of-colchis]

Details, from Crescentia Fürstin von Oettingen-Oettingen und Wallerstein, by Joseph Karl Stieler

[punkass-diogenes]

Anyone who thinks they can just dust off the old dead bones of Bundism and resurrect it wholesale into a post-Holocaust post-Zionist world without making massive adjustments is completely deluded. You would have better luck trying to run a punched card program on a MacBook.