#the symbolism is in the shading and the spacing between the panels

[literaryvein-reblogs]

More European Renaissance Art Vocabulary

for your next poem/story

Halo - The gold circle or disk placed behind the heads of Christ and saints, a symbol of their sanctity or the light of God.

Hatching - The drawing or engraving of fine parallel lines to show shading. When the lines intersect each other, it is called cross-hatching.

Horizon Line - The line where the sky and earth appear to meet. The horizon line is drawn across the picture at the artist’s eye level.

Hue - A particular variety of a color, shade, or tint.

Lunette - A semicircular shape.

Magus - A member of the ancient Persian priestly caste, skilled in Eastern magic and astrology. In the New Testament, the Magi are the three wise men who came from the East to pay homage to the newborn Christ Child.

Majolica - Tin-glazed earthenware.

Palazzo - An Italian word used to describe a large building. It may be a mansion or palace, or an official government building like a town hall, court, or embassy.

Passion, or The Passion of Christ - The events surrounding the Crucifixion of Christ; a popular subject for religious drama, painting, and sculpture.

Perspective - A technique that artists use to represent the three dimensional world on a two-dimensional surface, such as a piece of paper, canvas, or wood panel. Using perspective, an artist can create the illusion of depth or space and show the proper proportion between objects. Without perspective, a painting or drawing will appear flat.

Pictorial Space - The illusion of three-dimensional space created on a two-dimensional surface.

Predella - An Italian word for the series of small paintings that form the lower section of large altarpieces. It usually has narrative scenes from the lives of the saints who are represented on the main and side panels of the altarpiece.

Putto - From the Latin word meaning “male child.” In 15th- and 16th century poetry and painting, putti are depicted with wings and connected with the god of love, Eros, also known as Cupid.

Red - In Christian paintings, a symbol of the blood of Christ or the Passion.

Relief - A raised surface; for example, sculpture that is carved or modeled and which projects from a background.

Star - In Christian paintings, a symbol of divine guidance or favor. The Star of the East guided the three Magi to Bethlehem.

Triumph - An ancient Roman tradition honoring the return of a victorious general, who paraded his soldiers, prisoners, and spoils through the city streets.

Tromp L’oeil - French for “fool the eye”; a style of painting intended to trick the viewer into believing that the minutely observed objects shown are part of the viewer’s three-dimensional world.

Vanishing Point - The point where parallel lines appear to meet on the horizon line.

Source ⚜ More: Word Lists ⚜ Part 1

[kenney-mencher]

Why Kenney Mencher’s Fade: Haired Cubby Beard is Great Gay Art

For only $275, you could own Kenney Mencher’s Fade: Haired Cubby Beard, a 9 x 12-inch oil on canvas panel masterpiece that’s practically screaming to be part of your chic queer space. You can find it here, but warning: once you see it, you’ll be obsessed. This is the kind of art that perfectly captures the soul of gay culture—a celebration of confidence, individuality, and, let’s be honest, a whole lot of beard love.

The medium is oil on canvas panel, and the texture is sumptuous—thick, rich brushstrokes create depth and dimension, inviting you to get up close and personal. Mencher’s additive technique builds layers of color and texture, giving life to the subject’s iconic fade haircut, robust beard, and magnetic presence. The 9 x 12 size is intimate yet commanding—perfect for adding a bold, masculine energy to your gallery wall or that cozy reading nook where you sip your morning espresso.

Color, Style, and the Bear-tastic Vibe

The color palette is earthy and warm, with muted browns, grays, and soft pink undertones that accentuate the subject’s natural, rugged beauty. The hues are tertiary—subtle, refined, and layered in a way that feels sophisticated without being flashy. The chiaroscuro shading (yes, there’s fancy art talk here) gives the face a sculptural quality, emphasizing the structure of the jawline and the luscious texture of that glorious beard. The colors glow softly, creating a vibe that’s both grounded and romantic, like candlelight on a fur rug (you know the scene).

Mencher’s style strikes the perfect balance between naturalistic and stylized. The figure is rendered with anatomical precision, but the bold brushwork and painterly texture lend it a sense of personality and charisma. The lines are continuous and flowing, creating a sense of movement and life, while the composition is asymmetrical, with the figure slightly off-center to keep the eye engaged. This isn’t just a portrait; it’s a moment—a snapshot of queer masculinity that’s confident, warm, and unapologetically sensual.

Why It’s Perfect for Your Space

Let’s talk symbolism. Fade: Haired Cubby Beard celebrates the bear and cub communities, which are central to gay culture. The robust beard and confident expression exude the energy of someone who’s comfortable in their skin—a vibe we all aspire to have in our homes. This piece doesn’t just reflect a man; it reflects a community that embraces body positivity, individuality, and the beauty of experience.

Older gay bears, this one’s for you. It’s a reminder that maturity, style, and strength are sexy, and it fits beautifully into a home that values authenticity and pride. Whether it’s paired with sleek leather furniture or warm wood tones, this painting enhances any décor that blends masculinity with intimacy. It’s more than art; it’s a symbol of pride, strength, and the enduring appeal of a good beard.

Kenney Mencher: A Master of Queer Storytelling

Mencher’s work stands out for its celebration of queer identity and culture. His portraits, like Fade: Haired Cubby Beard, don’t just depict people; they tell stories. They’re rich with personality, humor, and an undercurrent of sensuality that resonates deeply with LGBTQ+ audiences. With a background in classical techniques and a passion for contemporary themes, Mencher bridges the gap between tradition and modernity, creating art that feels both timeless and cutting-edge.

So, what are you waiting for? Snag Fade: Haired Cubby Beard before someone else does, and let it become the new centerpiece of your fabulous life. Because, honestly, every home deserves a little Mencher magic.

[observeroflaplace]

D8 - Shed

The heat of Thanalan was oppressive, but even the full, harsh radiance of the sun fared poorly against the bulwark of steel and wood.

Entirely veiled in the shade of an abandoned train car, a tall Veena opens the windows to circulate the stale desert air. While it bore its share of the uncaring heat from outside, it was mercifully dry, and the winds and shade did her well.

Sviette takes off her jacket, freeing her arms from the sweat, and ready to get to work. Here, she didn’t have to worry about her numerous scars showing freely, and she could make use of the muscle shed worked up.

While initially abandoned, this train car was legally protected as acquired property of a Miss Rosemary Lenoire; specifically for the purposes as a remote workshop.

The renovated storage car was, for the most part, just that; somewhere between a ramshackle shed and engineering space, wherein Sviette could safely work on ceruleum-powered conveniences, from Ishgardian-style mechanical heaters and kettles on Rosemary’s behalf, to a pet project of hers; modifications to a former-Garlean reconnaissance drone she nicknamed Nu.

There was, however, yet another purpose for this workshed.

As she gathers her tools, Sviette slides a hidden panel, revealing a false wall towards the end of the car, revealing a secret that she kept even from Rose. Even from those she’d started living with.

A suit of imperial magitek armour, which even her little tag-along likely had no idea she still maintained.

In truth, even while polishing the modified Tribunus armour, and pulling it apart to check the systems, Sviette wasn’t sure why she was still doing this. She had, afterall cast this armour off long ago. She swore to walk aware from that life.

Yet even after shedding that identity, of the Grey Jackal Sviette Sas Aurum. She couldn’t simply discard it. This symbol of the person she used to be, who died ingloriously in the snow.

Perhaps it was anticipation of a time where she’d need its strength. Or perhaps, out of fear. She needed this reminder of her folly and mistakes, lest she might doom herself to repeat it.

[vikingwestdarwin]

Exploring Building Design in Darwin: Trends, Tips, and Innovations

Darwin, the vibrant capital city of Australia's Northern Territory, is known for its unique blend of modern architecture and tropical beauty. As a growing urban center, building design in Darwin presents a distinct set of opportunities and challenges that are influenced by its climate, culture, and geography. In this blog post, we'll delve into the key trends, tips, and innovations shaping building design in Darwin.

Key Trends in Building Design in Darwin

Sustainable Design Sustainability is at the forefront of building design in Darwin. With the increasing awareness of climate change and environmental impact, architects and builders are focusing on eco-friendly materials and energy-efficient systems. Green roofs, solar panels, and rainwater harvesting systems are becoming common features in new constructions.

Climate-Responsive Architecture Darwin's tropical climate, characterized by high humidity and monsoon rains, necessitates buildings that can withstand extreme weather conditions. Climate-responsive design includes features like wide eaves, verandas, and louvers to promote natural ventilation and reduce heat gain.

Indoor-Outdoor Living Embracing the natural beauty of Darwin, many building designs incorporate seamless transitions between indoor and outdoor spaces. Large sliding doors, expansive windows, and outdoor living areas like patios and decks enhance the connection with the environment and provide a relaxed, open feel.

Cultural Sensitivity Incorporating local culture and heritage into building design is a growing trend in Darwin. Architects are increasingly drawing inspiration from Indigenous art, symbols, and storytelling to create spaces that reflect the rich cultural history of the region.

Tips for Building Design in Darwin

Prioritize Ventilation Given the tropical climate, effective ventilation is crucial. Design your building to maximize airflow with strategic window placement, high ceilings, and open-plan layouts. This will help keep interiors cool and comfortable without relying heavily on air conditioning.

Choose Durable Materials Darwin's climate can be harsh on building materials. Opt for durable, weather-resistant options like concrete, steel, and treated timber. These materials can withstand the humidity, salt air, and intense UV exposure common in the region.

Incorporate Shading Minimize direct sunlight entering your building by incorporating shading devices such as awnings, pergolas, and deep overhangs. This will help reduce heat gain and improve energy efficiency.

Focus on Landscaping Thoughtful landscaping can enhance the aesthetic appeal and functionality of your building. Use native plants that are well-adapted to the local climate, and consider integrating water features or green walls to create a cooling effect and improve air quality.

Innovations in Building Design in Darwin

Smart Technology The integration of smart technology in building design is revolutionizing how spaces are managed and experienced. Automated lighting, climate control systems, and security features can significantly enhance the comfort, efficiency, and safety of buildings in Darwin.

Prefabrication and Modular Construction Prefabricated and modular construction methods are gaining popularity due to their efficiency and cost-effectiveness. These methods allow for faster construction times, reduced waste, and improved quality control, making them ideal for projects in Darwin.

Resilient Design With the increasing frequency of extreme weather events, resilient design is becoming a priority. Buildings are being designed to withstand cyclones, floods, and other natural disasters, incorporating robust structural elements and disaster-preparedness features.

Biophilic Design Biophilic design, which seeks to connect building occupants more closely with nature, is making its mark in Darwin. This approach includes the use of natural materials, abundant greenery, and natural light to create healthier, more enjoyable living and working environments.

Conclusion

Building design in Darwin is evolving to meet the demands of its unique environment and cultural landscape. By embracing sustainable practices, climate-responsive architecture, and innovative technologies, architects and builders are creating spaces that are not only functional and beautiful but also resilient and environmentally responsible. Whether you're planning a new construction or a renovation, keeping these trends and tips in mind will help you achieve a successful and inspiring building design in Darwin.

For more information on building design in Darwin and to explore our services, visit Viking West.

[worthyhog0001]

Kitchen Design Decoded: A Buyer's Roadmap to Timeless Beauty

Introduction

The kitchen is more than just a functional space; it is the heart of the home where culinary magic unfolds and memories are created. As you embark on the journey of designing or renovating your kitchen, navigating the plethora of options can be overwhelming. This comprehensive guide serves as your buyer's roadmap, decoding the essentials for achieving timeless beauty in kitchen design. From layout considerations to material choices, let's unravel the secrets of creating a kitchen that not only stands the test of time but also reflects your unique style and functional needs.

Understanding the Basics: Kitchen Layouts

1. The Classic L-Shaped Kitchen

Description: The L-shaped layout is a timeless favorite, offering efficiency and flexibility. It consists of two adjacent, perpendicular walls, providing ample counter space and storage.

Timeless Appeal: Its versatility makes it suitable for both small and large kitchens. The design fosters a seamless workflow, making it a practical choice for any culinary enthusiast.

2. The Timeless U-Shaped Kitchen

Description: The U-shaped layout involves three connected walls of cabinetry and appliances, forming a U shape. This design maximizes storage and counter space, creating a highly functional kitchen.

Timeless Appeal: The U-shaped kitchen is an enduring choice, especially for larger kitchens. It allows for efficient work zones and facilitates a smooth flow of activities.

3. Elegance in the Galley Kitchen

Description: The galley kitchen features parallel walls of countertops, cabinets, and appliances. This layout is a space-saving option that encourages an efficient and organized cooking environment.

Timeless Appeal: While particularly popular in smaller homes, the galley kitchen's clean lines and functional layout make it a timeless option for any space.

4. The Allure of an Open-Concept Kitchen

Description: Open-concept kitchens integrate seamlessly with the adjoining living or dining areas, eliminating barriers and creating a cohesive living space. This layout fosters connectivity and an inclusive atmosphere.

Timeless Appeal: The open-concept design continues to gain popularity for its modern and sociable appeal. It suits contemporary lifestyles, allowing for easy interaction between family members and guests.

Navigating Kitchen Design Elements

1. Cabinetry: The Backbone of Timeless Beauty

Timeless Styles: Classic shaker-style cabinets, sleek flat-panel designs, and timeless raised-panel options endure the test of time. Opt for neutral colors or natural wood finishes for a versatile and enduring look.

Innovative Storage: Embrace pull-out shelves, deep drawers, and organizational inserts to enhance functionality. Well-designed cabinetry ensures clutter-free countertops and a streamlined aesthetic.

2. Countertops: Choosing Elegance and Durability

Timeless Materials: Time-tested materials like granite, marble, and quartz continue to dominate kitchen countertops. Their durability, resistance to stains, and timeless aesthetics make them enduring choices.

Neutral Tones: While bold colors have their allure, neutral tones like whites, greys, and beiges maintain a classic and versatile backdrop for your kitchen.

3. Flooring: Foundations of Lasting Beauty

Timeless Options: Hardwood flooring exudes warmth and is a perennial favorite in kitchens. Alternatively, classic ceramic or porcelain tiles in neutral shades provide durability and easy maintenance.

Pattern Choices: Opt for timeless patterns such as herringbone or basketweave to add a touch of sophistication to your kitchen floor.

4. Appliances: Merging Functionality with Style

Stainless Steel Sophistication: Stainless steel appliances endure as a symbol of modernity and sophistication. Their sleek appearance complements various kitchen styles and color schemes.

Integrated Appliances: Concealed or integrated appliances contribute to a seamless look, emphasizing the kitchen's overall design rather than individual components.

Color Palette: Timeless Hues for Enduring Charm

1. Classic White Elegance

Versatility: White kitchens stand the test of time, providing a clean canvas that suits various design styles. White cabinetry, countertops, and backsplashes create an airy and timeless aesthetic.

Accent Options: Introduce warmth with wooden elements or add a pop of color through accessories and decor.

2. Earthy Neutrals: Time-Tested Tones

Timeless Browns and Beiges: Earthy neutrals like beige, taupe, and warm browns bring a sense of coziness and timelessness to the kitchen.

Natural Elements: Incorporate natural materials, such as wooden accents or stone backsplashes, to enhance the warmth of earthy tones.

3. Subtle Greys: A Modern Classic

Sophistication in Grey: Soft greys provide a modern and sophisticated backdrop for the kitchen. This neutral hue pairs well with various accent colors and materials.

Contrast Elements: Introduce contrasting elements, such as black hardware or colorful accessories, to prevent the grey palette from feeling monotonous.

Lighting: Illuminating Timeless Beauty

1. Statement Pendant Lights

Focused Illumination: Install pendant lights above the kitchen island or dining area to add a touch of elegance and create a focal point.

Timeless Materials: Opt for timeless materials like glass or metallic finishes for pendant lights that withstand changing trends.

2. Under-Cabinet Lighting

Task Lighting Excellence: Illuminate countertops with under-cabinet lighting to enhance visibility and create a cozy ambiance.

LED Efficiency: Consider energy-efficient LED strips or puck lights for a modern touch that aligns with timeless functionality.

3. Flush-Mount Fixtures

Sleek Simplicity: Flush-mount fixtures offer a clean and minimalist aesthetic, providing overall illumination while seamlessly blending into the ceiling.

Transitional Designs: Choose transitional designs that balance modern and traditional elements for enduring appeal.

Timeless Trends: Mixing Modernity with Tradition

1. Transitional Design Magic

Best of Both Worlds: Transitional design blends modern and traditional elements, creating a timeless and balanced aesthetic.

Neutral Color Palette: Embrace a neutral color palette, combining classic elements like Shaker-style cabinets with contemporary fixtures for a harmonious look.

2. Vintage Touches in Modern Kitchens

Nostalgic Accents: Incorporate vintage or antique elements, such as brass hardware or retro appliances, into a modern kitchen for a touch of timeless charm.

Balanced Integration: Ensure a cohesive design by integrating vintage elements in moderation, creating a balanced and visually appealing space.

Sustainability: A Timeless Commitment

1. Durable and Eco-Friendly Materials

Natural Stone Choices: Choose natural stone countertops, such as granite or quartz, for durability and eco-friendliness.

Sustainable Woods: Opt for cabinets made from sustainably sourced or recycled wood for a timeless look with a commitment to environmental responsibility.

2. Energy-Efficient Appliances

Modern Sustainability: Select energy-efficient appliances that not only reduce utility bills but also contribute to a more sustainable and eco-friendly kitchen.

Smart Technology Integration: Explore appliances with smart technology that enhances efficiency and aligns with modern sustainability trends.

Personalization: Infusing Your Signature Style

1. Statement Backsplashes

Artistic Expression: Use the backsplash as a canvas for personal expression. Incorporate timeless materials like subway tiles in unique patterns or opt for mosaic designs for a touch of individuality.

Colorful Accents: Introduce a pop of color or artistic flair through the backsplash while maintaining a timeless overall look.

2. Open Shelving Displays

Curated Collections: Display curated collections of dishes, cookware, or decorative items on open shelves. This personalizes the space and allows you to showcase your favorite pieces.

Balanced Arrangement: Ensure a balanced arrangement to avoid visual clutter and maintain a cohesive aesthetic.

Functionality: The Core of Timeless Kitchen Design

1. Efficient Work Triangles

Logical Layouts: Organize the kitchen layout based on the work triangle—connecting the sink, stove, and refrigerator for efficient and logical workflow.

Ample Circulation Space: Ensure adequate space around key work areas to facilitate easy movement and accessibility.

2. Smart Storage Solutions

Pull-Out Pantries: Install pull-out pantries to maximize storage space and keep the kitchen organized.

Customized Inserts: Explore customized inserts for drawers and cabinets to accommodate specific items and enhance functionality.

Investing Wisely: Quality Over Trends

1. High-Quality Materials and Craftsmanship

Durable Cabinets: Invest in well-constructed cabinets made from high-quality materials. Solid wood or plywood construction ensures longevity and durability.

Premium Countertops: Opt for durable countertop materials with a reputable track record, even if they come at a higher initial cost. The investment pays off in long-term durability and timeless appeal.

2. Reliable Appliances with Time-Tested Performance

Reputable Brands: Choose appliances from reputable brands known for their reliability and longevity. Prioritize functionality and performance over trendy features.

Energy-Efficiency Ratings: Look for energy-efficient appliances with high ratings to ensure not only longevity but also cost-effective operation over time.

Maintenance: Preserving Timeless Beauty

1. Easy-Care Surfaces

Low-Maintenance Materials: Select surfaces and materials that are easy to clean and maintain. Quartz countertops, for instance, offer durability with minimal upkeep.

Stain-Resistant Finishes: Choose finishes that resist stains and scratches, ensuring that your kitchen retains its timeless beauty even with regular use.

2. Regular Cleaning and Upkeep

Consistent Cleaning Routine: Establish a routine for regular cleaning to prevent the accumulation of dirt and grime. This simple practice preserves the aesthetic appeal of your kitchen.

Timely Repairs: Address any wear and tear promptly to avoid minor issues turning into more significant problems. Regular maintenance contributes to the longevity of your kitchen design.

Conclusion

Designing a timeless and beautiful kitchen involves a thoughtful blend of classic elements, personal style, and functional considerations. As you embark on this exciting journey, remember that trends may come and go, but the essence of timeless beauty lies in enduring styles, quality materials, and a design that resonates with your unique preferences. May your kitchen not only be a space for culinary creativity but also a timeless expression of your taste and commitment to lasting elegance.

[windowswellcover]

Windows The Gateway to Light Air and Aesthetics

Windows are not merely openings in a wall; they are the portals that connect us with the outside world. These transparent panels have been an integral part of architectural design for centuries, serving both functional and aesthetic purposes. Windows are not just about letting light and air into a space; they play a crucial role in defining the character and ambiance of a building.

Functionally, windows act as a bridge between the interior and exterior environments, allowing natural light to flood into our living spaces. The strategic placement of windows can significantly impact the energy efficiency of a building, harnessing the power of sunlight to illuminate rooms and reduce the need for artificial lighting during the day. Well-designed windows also facilitate proper ventilation, ensuring a constant flow of fresh air to enhance indoor air quality.

The evolution of window technology has led to a wide variety of styles and materials, catering to diverse architectural preferences and energy efficiency needs. From classic double-hung windows to modern casement windows and sleek sliding windows, each style offers its unique benefits. Additionally, advancements in glazing technologies have resulted in energy-efficient windows that provide better insulation, reducing heating and cooling costs.

Aesthetically, windows contribute to the overall visual appeal of a structure. The placement, size, and shape of windows can influence the perception of space and create a harmonious balance between the interior and exterior. Architects often use windows strategically to frame scenic views, bringing nature into the living space and establishing a seamless connection with the surroundings.

Window coverings play a vital role in enhancing both the functionality and aesthetics of windows. Well-chosen window coverings not only control the amount of light entering a room but also contribute to privacy and style. The options are vast, ranging from classic curtains and blinds to contemporary window films and motorized shades. Homeowners can personalize their spaces by selecting coverings that complement the overall design scheme while providing the desired level of light control.

In addition to the practical aspects, windows have cultural and symbolic significance. They have been used in art and literature as metaphors for insight, illumination, and connectivity. The symbolism of a window can evoke emotions and add layers of meaning to architectural design, turning a mere opening into a storytelling element.

Windows also play a role in sustainable architecture. Designing buildings with ample windows strategically positioned for passive solar heating can reduce the reliance on artificial heating systems, leading to lower energy consumption and a smaller environmental footprint. The integration of smart window technologies, such as electrochromic glass that can dynamically control light and heat, further enhances the sustainability of modern buildings.

windows are more than just architectural features; they are essential elements that shape our living spaces. Their dual role in providing functionality and aesthetics makes them a focal point in design considerations. From classic to contemporary, windows continue to evolve, reflecting the ever-changing needs and preferences of society. As we look through these transparent panels, we not only see the outside world but also witness the intersection of form and function, where design meets practicality in the gateway to light, air, and aesthetics.

For more info:-

windows well cover

Windows Well Cover, Inc.

[msblindsandcurtains]

Shades of Birmingham: A Window Blinds Showcase

In the heart of Birmingham, a city that seamlessly marries tradition and modernity, the role of window blinds in shaping the aesthetic narrative of homes and businesses has gained significance. Birmingham's diverse architectural landscape, ranging from historic structures to contemporary marvels, has given rise to a rich tapestry of window treatment choices. This showcase explores the shades of Birmingham through a lens focused on various window blind options, delving into the unique features that contribute to the city's design diversity.

1. Roman Elegance: Timeless Sophistication

For those seeking a touch of timeless sophistication, Roman blinds emerge as a classic choice in Birmingham. The soft, cascading folds of Roman blinds exude elegance and refinement, making them a perfect fit for homes with a traditional or transitional design aesthetic. Birmingham's historic neighborhoods, with their Georgian and Victorian influences, find an ideal complement in the understated luxury of Roman blinds. The versatility of fabric options allows residents to tailor these blinds to suit their individual styles, creating a harmonious blend of classic charm and contemporary comfort.

2. Contemporary Charm with Roller Blinds

In the modern neighborhoods and urban developments that define Birmingham's evolving skyline, roller blinds stand out as a symbol of contemporary charm. The sleek and minimalistic design of roller blinds adds a touch of modernity to any space. Their versatility in terms of colors, patterns, and opacities allows homeowners to infuse their personality into the design. Roller blinds not only provide effective light control but also contribute to the city's aesthetic dynamism, making them a popular choice for those who seek a clean and stylish window treatment solution.

3. Venetian Blinds: Bridging the Gap Between Tradition and Modernity

As Birmingham bridges the gap between tradition and modernity, Venetian blinds emerge as a versatile window treatment option that effortlessly straddles both worlds. The horizontal slats, whether crafted from wood or aluminum, bring a sense of refinement and adaptability to any space. In historic homes, wooden Venetian blinds complement the traditional architecture, adding warmth and a connection to nature. In contrast, aluminum Venetian blinds find their place in modern apartments, contributing to the city's ever-evolving design narrative.

4. Vertical Blinds: Modern Elegance and Practicality

The vertical blinds showcased in Birmingham offer a perfect blend of modern elegance and practicality. With their long, vertical slats, these blinds add a sense of height and sophistication to any room. Particularly well-suited for larger windows and sliding doors, vertical blinds provide precise control over natural light and privacy. Their adaptability to various materials, from fabric to vinyl and aluminum, ensures that they seamlessly integrate into the diverse design styles found in both residential and commercial spaces across Birmingham.

5. Sheer Beauty of Panel Track Blinds

For those looking to infuse sheer beauty and a contemporary flair into their living spaces, panel track blinds prove to be a captivating choice. The large fabric panels effortlessly glide along a track, creating a sleek and sophisticated look. Panel track blinds are well-suited for expansive windows and sliding glass doors, allowing residents to embrace the scenic views of Birmingham while maintaining a sense of style and privacy. The sheer fabrics add an ethereal touch, diffusing sunlight and creating a soft, inviting ambiance.

Conclusion

In the vibrant showcase of window blinds, Birmingham unfolds as a canvas where shades and styles converge to create a visual symphony. The timeless sophistication of Roman blinds finds harmony with the contemporary charm of roller blinds, reflecting the city's dual identity. Venetian blinds bridge the gap between tradition and modernity, adapting seamlessly to the diverse architecture that defines Birmingham. Vertical blinds stand tall as a symbol of modern elegance and practicality, while panel track blinds weave sheer beauty into the fabric of the city's design narrative.

As Birmingham continues to evolve as a cultural and design hub, the window blind showcase becomes a testament to the city's dynamic spirit. Each type of blind, with its unique features and characteristics, contributes to the diverse and vibrant aesthetic that defines Birmingham's homes and businesses. The shades of Birmingham, showcased through these window treatments, paint a picture of a city that embraces both its storied past and its progressive future, where tradition and innovation coexist in perfect harmony. In the realm of window blinds in Birmingham showcase is a celebration of diversity, style, and the ever-changing hues that color the city's design landscape.

[mit]

From MIT to Burning Man: The Living Knitwork Pavilion

An interactive architectural installation combined textile arts and engineering on a desert landscape.

MIT Media Lab

Set against the vast and surreal backdrop of the Black Rock Desert in Nevada, Burning Man is an annual gathering that transforms the flat, barren expanse into a vibrant playground for artistic and creative expression. Here, "Burners" come to both witness and contribute to the ephemeral Black Rock City, which participants build anew each year. With its myriad art installations and performances, Black Rock City is a temporary home for creative minds from around the world.

This year among the large-scale art stood the Living Knitwork Pavilion, an unusual architectural piece crafted from knitted textiles and a lattice network of wood. Developed and built by a team of researchers from the MIT Media Lab and MIT School of Architecture and Planning, and led by PhD student Irmandy Wicaksono, the installation received a 2023 Black Rock City Honorarium. For the team, it was a highly challenging and fulfilling project, full of learning and surprises. Seeing it emerge and illuminate in the middle of the desert was truly magical.

In the Living Knitwork Pavilion, 12 modular fabric panels, known as Knitwork petals, are connected through a central tower. The whole installation stood as a dodecagonal pyramid shade structure, 18 feet tall and 26 feet wide, resembling a teepee. The fabrics were developed using digital machine knitting and a collection of functional and common yarns, including photochromic, luminous, and conductive yarns. Taking inspiration from the intricacy of textile patterns and temple carvings of Indonesia, Wicaksono leveraged the tension between knitted polyester and spandex yarns to create textural textile patterns or reliefs. The fusion of parametric and hand-designed motifs transforms the "Living Knitwork" into a narrative artwork, reflecting both a reverence for ancient artistry and a vision of the future. These reliefs, full of symbols and illustrations, depict 12 stories of the future — from solarpunk cities and bio-machine interfaces to the deep ocean and space exploration.

The finalized central structure of the pavilion consists of an asymptotic lattice network of lumber and joint elements, optimized for structural integrity while minimizing material use. The knitwork petals, integrated with double-knit structure and mesh openings, and thermoformed through melting yarns, maintain structural stability. Tailored channels for ropes and cables were also incorporated into the knitting design, ensuring each fabric and electrical component is securely anchored and protected, without compromising visual elegance. Facing winds that reached 36 mph this year, the Living Knitwork Pavilion remained steadfast throughout the Burning Man event, demonstrating its resilience in extreme desert conditions.

The interdisciplinary group behind the Living Knitwork Pavilion includes researchers from across the Media Lab, the MIT Center for Bits and Atoms, and the Department of Architecture: Irmandy Wicaksono, Sam Chin, Alfonso Parra Rubio, Nicole Bakker, Erik Strand, Gabriela Advincula, Manaswi Mishra, Age van der Mei, Judyta Cichoka, Tongue Yu, and Angelica Zhang.

Keep reading.

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[oysterlifestyle]

Experience Personally Curated Chromo therapy At Home

Colours take up a considerable amount of space in the world, most often than not prove to be dynamically symbolic for many reasons.  The universality of their existence has bled into establishing the irrefutable role they play in people’s lives.

Chromotherapy (or colour therapy) employs colours and lights (often tinted) to navigate and heal mental and physical ailments through the sense of sight. The practice allows the eyes to perceive colours and influence your mind and body in correspondence. Chromotherapy traces its known origin to a Persian philosopher Avicenna who introduced its earliest form. Subsequently, the practice evolved into a developed therapy following experiments by Jean-Michel Weiss in France.

Over time, chromotherapy has travelled from dedicated spa locations to personal spaces like people’s private shower panels. Bathroom spaces are generally associated with cleaning and rejuvenating but seldom do they make the list of healing abodes. However, over the years the alignment of design and technology has culminated in multiple manoeuvres that allow people the choice between a refreshing boost and a calming serenity, sometimes both simultaneously. 

From regular and steam showers to saunas from Oyster Lifestyle’s wellness range avail the option of healing with the power of colours. In-built chromotherapy lighting also eradicates the extra efforts of looking for waterproof products and their external installation. With Oyster’s generous collection of products like spa baths, steam generators and showers etc., and their user-friendly interface, chromotherapy can become a common facet of your bathroom experience.

Humans associate different emotions and attributes with different colours. Even generally, there is an allocated spectrum of meanings that runs parallel with the designated colours. In chromotherapy, you discern lights and heal accordingly. While nature has an abundance of colours to offer, there are a few shades which are particularly popular in Chromotherapy.

Blue is often regarded as a calm colour and helps you soothe your blood pressure and relax your breathing.  The anti-inflammatory property of blue lights proves to be a boon for one’s circulation. The red light, on the other hand, works miraculously to energise and stimulate all your senses by increasing your pulse rate inside the shower. Green lights are pleasing and come to the rescue to help you through irritability and insomnia. It is also one of the contributors to relieving stress. In the case of yellow lights, in addition to bringing ambience and warm spirits inside your bathroom, it is also effective in digestion problems. Plain white light is calming and offers clarity and peace of mind while soothing your muscles after a labouring day.

You can get personal chromotherapy sessions within your walls with Oyster’s extensive range of its products’ chromotherapy features. It allows you to curate the session to your liking and even make exclusive adjustments that align flawlessly with your mood and requirements.

[motherstone]

Trust

Epilogue:

[porchtart]

Do you have any tips on how to pose characters?

Sure! I’m by no means an expert and I’ve had very little formal art training, but I’ll go over what I’m thinking about when I’m working on a piece that I intend on rendering.

When I'm drawing I tend to think from the perspective of "scenes," and choose my posing from there, based on what emotions or dynamics I want to highlight in the piece. My composition and sense of 3d space leaves a lot to be desired and I have been pushing myself to work on both of these areas, so I would recommend at least thinking about this kind of stuff when you’re planning out your pieces beyond just The Poses.

Baroque painting is my favorite era of art, and it’s tremendously influential on my work. I love the chiaroscuro, the drama and the moodiness of the light and the posing. I recommend looking at your favorite art and thinking about what you like about it. Is it naturalistic, does it look like a snapshot from the subject’s daily life? Is there high drama? Is there heavy use of symbolism? Is it highly posed? What kind of mood does the piece invoke? How much of the frame does the subject take up? Is the figure contorted? Is the perspective extreme? How stylized is the figure? Does the piece use mixed media techniques or have a mixed media look?

I'll go over some of my pieces from this year and what I was thinking about while drawing them to hopefully (?) illustrate what I'm trying to say a little bit better lol.

For this one, I wanted Marcy to be the focal point of the piece with Andrias almost serving as a background prop at first glance. The s2 finale revealed a really interesting dynamic between the two of them, and I wanted to capture that vulnerability that Marcy has that Andrias took advantage of. Marcy is focused elsewhere and is distraught, but she is comfortable with him and doesn’t hold a lot of tension in her body as he holds her. Andrias fills almost the entire image behind her, his presence in her life overwhelming and isolating, even if it’s comforting. She’s stuck on her pain, her face in full light, but his attention is on her, his face mostly shaded with a strange expression. He holds her gently, but there’s something ominous about his attention.

Nadir is a troubled person with a troubled home life, and I wanted to do a piece that reflects how jaded she is. In the left panel she is sitting in a dim room in her family home, nearly nude and feigning relaxation. This is in direct contrast to how she is posed in the portrait of herself and Urale, where she is fully under his control and almost completely covered physically. This panel is about her resistance against her uncle and his abuse, her rejection of him.

In the right panel, she is floating as if in water. Physically the purpose is to show off her prosthetics and the changes she has made to become free of her abuser, but she is floating adrift and alone. Her emotions are not able to be assessed from this angle as her face is hidden, showing how she refuses to be vulnerable - but the angle looking up from below and the strange quality of the light imply that something is amiss.

Nikolae and Katya have a very intense and tumultuous relationship that defies simple definition, and for this I wanted to capture the deep intimacy as much as the deep resentment. They are dancing, dressed in traditional folk clothing which fits them both so well while also seeming terribly Off - costumes worn for the benefit of someone else. They are physically intertwined, and perhaps they will fight, or maybe they’ll kiss. Neither would be a surprise, but some kind of blood will doubtlessly be spilled.

Katya holds a knife, but it is away from both of them, her grip loose. It takes up a large part of the image, and the viewer is unable to ignore it. It is a threat, but it’s a routine one to the point of it almost being meaningless. The mirrored figures engraved on the knife are turning into beasts, as both she and Nikolae are. They cannot take their eyes off the other, both confident in their feelings - hers unbridled hatred, his a deep love that he cannot acknowledge. She despises him, and that’s almost a funny joke.

This is Bunny’s first kill from back before she was Bunny. This was a crime of passion, the murder of a girl that did not reciprocate her feelings. This is the first time Bunny realizes just how dark she is on the inside, and she is not afraid of it. She’s in highly contrasted shadow, her true nature being revealed. Her stance is strong but almost casual, as if she’s unbothered by what she’s done. Her victim’s beautiful hair that she had so treasured in life is almost an afterthought in her hand, the meaning of it lost when Bunny’s love died. Bunny does not stare directly at the camera, but rather the body that we cannot see, her expression blank and terrifying. There is a sense that this will not be her last kill, and that this is the birth of a new Bunny.

I don’t know if that’s super helpful, but that’s my thought process when I’m working on pieces like these! I also want to incorporate more symbolism into my art so that’s something that I’m working on, but I definitely recommend thinking about your art and what you want to get out of a certain piece. It’s totally legit to just draw what you think is cool or looks interesting to you, full stop, but I like to think about my art more along these lines.

On the technical side of things, I occasionally do thumbnailing but I usually have a strong idea of what I want to draw before I start a piece that I want to render. I definitely want to do more thumbnailing because I think I produce better work when I do, but that’s my personal struggle. ^^;

If I'm just doodling I'll kind of draw just whatever comes to mind, if I like a sketch I will often take it and either polish it directly from there and fix any anatomy wonkiness by looking at just references, or I'll whip out the 3d models in CSP to help with posing and likely adjust the camera angle to make the pose look more dynamic (but again, I try to also look at photographs for reference, especially for humanshaped characters, because just tracing straight over 3d models can make your art look super stiff. I have learned this the hard way lol.) You can just work directly from references and I will sometimes do that if I’m having a hard time feeling inspired, but I personally like to doodle up a scene first and then correct the sketch with refs.

I have lots of stock images and stills from movies etc saved to my files, and I will use those for inspiration a lot of the time. Definitely look at any movies or shows that you like to get ideas for posing and scene setting as well! There’s some really beautiful films out there.

ANYWAY.

No idea if that was helpful, but that’s what I’ve got as far as posing tips. ^^ Thanks for asking, I actually put a lot of thought into my art but I don’t talk about it much because I don’t necessarily think that’s interesting for my audience. 😅

TL;DR:

Think about what you want to convey with a piece and pick poses that help you get there

Look at art you like and think about what you like about it, including how figures are posed

Have lots of refs! Save cool images to use as inspiration and references later!

Look for cool scenes and imagery in (visual) media that you like

[sisterofleatherfrog]

Star Wars Kinktober day- 1

Prompt: Symbolic jewelry

Sub! Tup x Female (AFAB) OC

Hello! Willkommen to the grand opening of me doing Kinktober (even if this post is a few hours late for the actual 1st 😅)! Here is my prompt list derived from Kinktober lists by @ink-and-flame. Their prompt lists are phenomenal, but for the sake of my ADHD I had to whittle it down into a more finite list of interests that I am comfortable writing and know at least a little about it, or else I’ll just get lost in the sauce of prompts! But seriously, go check out their lists, they’re incredibly varied and have something for everyone! 

And now without further ado:

Tags: some drinking, sub male, femdom, nudity, almost pussy eating (working up to it in part 2!), pussy worship, praise kink, worship kink (is that a thing?),  there’s no sex in this fic it’s just the lead up (she is spoicy tho)

Words: 1609

🍑🍑🍑

Under his shirt, the chain and pendant Tup wore brushed cooly against his chest. As unpleasant as the gooseflesh it raised was, the reminder it gave him was anything but. 

From the moment he’d awoke that morning, wrapped in arms as pale as the thin sunlight at that hour, he knew what he wanted and began to get ready. A few kisses pecked around his groggy girlfriend, Aurelie’s, face placated her awakening at his rising and he moved to her dressing table to grab the aforementioned necklace. If she wasn’t interested in playing, it would have been put away the night before in it’s felt case, but this morning he plucked it from it’s customary open place before the mirror. 

Catching the morning bus he felt it leap and jump with the rhythm of the air vehicle as the pilot navigated Coruscant air-traffic. After the war ended and the clones were given their freedom, sentient rights, and a hell of a lot of backpay, there were questions of what was to be done with them. As it turned out, there wasn’t such a mass exodus from the GAR as previously thought there would be, though many opted to retire from combat positions. Tup chose to oversee the supply requisition and organization for the newly formed Search & Rescue Ops, a subsidiary of the Disaster Relief Squadron, helping places around the galaxy affected by natural disasters. It felt meaningful and good, and he could honestly say he didn’t miss having to carry a gun and constantly keep an eye out for clankers.

After a day of approving supply drops, running reports, and the pendant lightly caressing his chest with every slight sway, he was back on the bus home. A man scowled at him from among the crowd; some people would never see the clones as anything more than meat-droids undeserving of even the life they were given, but the pendant mocked that man’s ideas from behind Tup’s shirt. It was a gift of love freely given to him and he was worthy,

When he returned to his apartment Aurelie was still at work, not getting off until late. As he waited for water to boil he straightened up around the place, clearing dust from the nooks it always returned to settle and gathered laundry. When he came to the bed in their room he came to a spot by the bed and stopped, considered, and opened a drawer to reveal a medium sized case which he deposited neatly on Aurelie’s side of the bed. He already had the necklace, it never hurt to be proactive in terms of their play. 

Half an hour later dinner was had and a portion of it was squared away in the fridge with a reminder to reheat it and enjoy and Tup was ready to meet a few of the boys at 79’s. As he changed from his work wear into something light blue and more casual, the afternoon sun caught the silver pendant resting on the tan skin of his breast bone, dying it almost the same shade of pink- before he could finish that thought a beep from his comm sounded informing him that his taxi had arrived outside.

20 minutes, a few levels down, and a familiar neon sign later, Tup was walking into a familiar bar. Nothing had changed about the place, only now armour and dress greys were a rare sight to be seen as the open opportunity for individuality to flourish among the clones led to some, interesting, experiments in style. ‘Speaking of which,’ thought Tup as a discordant but jovial chorus of his name called him over to a table in the corner. Fives, Jesse, Kix, Rex, Waxer, Boil, Cody, and even Wolffe, to his surprise, sat there having already gotten a small headstart on happy hour. It wasn’t a full reunion, others still at work or spread across the galaxy exploring life, but it was always nice to see familiar faces.

They took their time and paced themselves drinking, it was still early and they didn’t have to run off in an hour to prepare for a campaign and weren’t shotgunning a train of shots to try and forget one. Some of them had to be able to operate tomorrow morning though and they parted as the night lowered it’s curtain over day; Jesse and Kix remained however to scope out some of the ladies coming in with the party crowds.

As good as the times spent together were, Tup silently willed the air-taxi to carry him away faster through the legendary Coruscant traffic and back home. He’d worn the necklace, the empty place it would otherwise occupy obvious, if she hadn’t noticed then she would certainly see the familiar box he’d left resting by her pillow. Stars he was ready, the anticipation had built all day, the secret only he kept feeding his need. He was thrumming for whatever Aurelie had to give him.

The taxi stopped and he cursed the second it took for the payment to transfer, the minute in the elevator, the short march down the hall, and the door code he had to spend time punching in-

The entry was dark with the exception of a string of pink fairy lights strung along the wall and leading around the corner to their room. He grinned and, remembering to turn back and lock the door when he was already halfway across the room, soon came to the closed panel that marked their space. He knocked, “May I come in mistress?”

“Enter, darling.” A high, breathy voice answered.

As the door opened Tup entered the threshold and lowered himself to his knees, his hands finding their place on his lap as he gazed upon the shining woman perched on the edge of their bed (somehow, someway, his girlfriend, a part of his brain never ceased obsessing). She regarded him warmly, “Have you been a good boy today Tup? You took your necklace and I really hope it didn’t make you do anything naughty.”

“I was very good, mistress, just for you.” His voice was breathy and quiet, he had been good, and he anticipated his reward. His eyes drank in the milky skin that clothed the leopardess in repose before him, partially obscured by the long, wavy strands of pearly blonde hair.

“Oh I know Tup, you’re such a good boy. You wake me up with kisses, make sure I have food to eat when I work late, and you were so considerate to get our box of toys out for me. I don’t know where to begin, but good boys deserve to be rewarded, isn’t that right my beautiful boy?” 

Aurelie’s voice caressed his every synapse as he breathed in air that still held the trace of a burn from a heavy incense and he was already in a state. Her words of praise had passed straight down from his ears to his cock, bringing him to a full erection from the half mast he’d been sailing at since walking through the front door. “Yes, please mistress, yes.” If it sounded like he was begging, Tup didn’t care. Her soft thighs were resting atop one another, hiding from him what he’d been craving all day. Just one simple shift was all it would take to reveal to him where she was no doubt already soft, sweet, and wet.

Her legs uncrossed, but she stood instead of spreading wider and came to stand before him, her curl-crowned mound a tease before him that turned his need to a desperate clamour within him. He held still, eyes glued to hers as she leaned down to him and brought her pillowy lips to kiss him, one hand coming up to cradle his cheek and the other fiddles with his collar for the necklace she’d gifted him. His hands were curled hard on his lap, restraining himself from the urge to reach out and touch; being so, so good and waiting.

Drawing the pendant along the chain away from Tup’s racing heart, Aurelie held it between them and teased: “Is this what you want Tup? Do you want to eat my pussy until you’re begging for me to fuck you, until you cum in me? Or maybe I’ll ride that handsome face of yours all night and let you cum in my mouth while you’re hard at work.” Tup could only manage a tortured moan, the pictures being painted in his head making him dizzy. She lightly laughed and graciously accepted that as her answer, gently leading him across the floor as she walked backwards with the chain still in her hand, him crawling on all fours after her. When she returned to the bed she sat as he looked up at her with lust and adoration.

Still holding the pendant, she slowly drew her legs apart, raising one to rest on the bed so her pussy and the glorious pink of her vulva were wide open on display for Tup in his current position. Aurelie considered the pendant again for a moment. “I’m glad I found that artist, it’s a wonderful likeness, isn’t it darling?” From the petal-like folds of her labia minora to the majora that protected them and the unique hood that shadowed her marvelous clit, it couldn’t belong to anyone else. The highest honour Tup felt was being lucky enough to be the one person allowed to worship it. 

“Stars yes, mistress!” He agreed emphatically and Aurelie laughed lightly again and let the necklace fall back into its place from her fingers. 

“Well, come and get your reward Tup.” He gladly obliged. 

🍑🍑🍑

So yeah, Tup as a Sub wears a necklace of his girlfriend’s vulva when he really wants to be her good boy (; It also helps that it’s really pretty ✨👀✨

Also sorry if this is a little off, this wasn’t even alpha read, let alone beta read.

Aurelie is one of a few OC’s I’ve used in my daydreams, she may make another appearance in another story if I think she’ll fit! I may try and do some art too…

As for the boys at the bar, I came up with ideas for what they’re up to now and may either write other Kinktober stuff in this AU, or do some drabbles later (though I could include the Kinktober stuff in an AU drabble, right?). I didn’t include it in the story though because I felt like it would disturb the flow too much. I’ll probably detail the AU in another post if I do end up doing that.

Kinktober works so far

Masterlist

[mmmmalo]

I'm back in Dirk and Roxy's intros because of the soda/head thing and I'm a bit lost. I found what I was looking for, sort of: Dirk captchlogues SORD and a bottle of orange soda flies out, which could be read as an early decapitation joke. This occurs after Dirk fails to catpchalogue the Hella Jeff plush, so... more specifically, it's an early example of Dirk responding to (perceived) failure with thoughts of oblivion? But there's further weirdness

Roxy's description of transportation between fenestrated panels (and how it appears instantaneous to outside observers) is a joke on the action of turning the page in Homestuck: transport from one panel to another, which is instantaneous to a reader (us). Roxy is embodying the function of ==> that bridges the Void between panels (an arrow associated with the other Void player, Equius)

So Roxy gleefully falling in/out of panels is like toggling back and forth between sections of the comic with wild abandon. An image to note

Dirk also has fenestrated wall associations: his glasses are presented as panels, such that zooming into them can function the same as zooming into Roxy's panels, bringing you to the next screen. This is reinforced by ARquius's bow, in which the arrow ==> of panel progression is paired with the shades. (Or even by the Dirk-associated Horuss version, where the bow is replaced by eyes? 8=D)

Dirk and Roxy are linked on the character select screen such that you can read their scenes in either order, perhaps looping indefinitely like Roxy going between the frames (of reference? Trying not to lock myself into a reading prematurely). At least one transition is sealed by reference to the fenestrated panels:

Roxy’s scene ends in the void between 2 fenestrated panels. Dirk’s scene begins with the phrase “You were lodged in the bulbous cleft of paradox space's huge foam ass”. That’s very different kind of Void (maybe) but interesting nonetheless

Dirk’s scene ends with him... walking into the wardrobifier? Or the space left by its absence... no obvious hook to Roxy’s intro upon loop but the matter of the wardrobifier brings in one of my pet theories:

The matter of Roxy and Dirk (and Jake/Jane for that matter) being introduced in pairs has made me wonder if the cherubim were not illustrative of how to read preceding character. Like if the Alphas form cherubic pairs, such that their narratives become interdependent... I guess the matter of social relations doubling as psychic dynamics was already established in Openbound (x), but we haven’t yet pushed that notion further back into Act 6. Granted, the fenestrated panel parallels and the possible Roxy > Dirk scene transition could exist without such a framework, but the wardrobifier-as-point-of-transition reminds me of Problem Sleuth, wherein the protagonist walks into a Space-coded wardrobe, conks out, and wakes up in imagination land as his feminine alter-ego (447).

(Actually the retroactive Space symbol within that wardrobe could be the “nonlinear timestew of Paradox Space” that Roxy alludes to being in following the transition from Dirk? But that’s wishful thinking)

[hydecurator]

Must-See TV (Episode 2)

And now, for the art history.

Luca della Robbia (Italian, 1399-1482), Madonna and Child, ca. 1450, tin-glazed terracotta (18½ x 15¾ in.). Photo credit: Sothebys.com.

There were a number of items in Sotheby’s January 28 sale that caught my attention because of their association with Hyde pieces. The first was Lot 2, Luca della Robbi’s terracotta relief, Madonna and Child. Luca (1399-1482) founded a multi-generational family workshop that was famous for its terracotta sculptures covered in a gleaming, pure, white glaze—its formula, a closely-guarded family secret—that made the fired clay pieces impermeable to the elements and gave them the appearance of much more expensive marble. The reliefs were cast in molds, allowing for a degree of mass-production that expanded the clientele for such fine works of art to include the successful merchant and banking class of Renaissance Italy’s major cities.

Luca della Robbia (Italian, 1399-1482), Madonna of the Lilies, ca. 1450-1460, tin-glazed terracotta (20 1/4 × 16 1/8 in.) The Hyde Collection, Glens Falls, New York, Gift of Charlotte Pruyn Hyde, 1971.99. Photography by Michael Fredericks.

Like The Hyde’s Madonna of the Lilies, the Sotheby’s relief was intended for the domestic market. It was undoubtedly used in the home as the focus of private, family devotion to the Virgin and Christ Child, and indeed, Sotheby’s expert Giancarlo Gentilini proposes that the relief was commissioned by Bosio I, Count of Santa Fiora in Tuscany for this wife Cecilia, sometime between 1439 and 1451.  

It is striking how intimate the viewer’s relationship with the Madonna and Christ Child is, more so than in our terracotta. So high is the relief carving, the divine pair actually breaks out of their tightly constrained space into our world. The sculpture affirms the Christian belief that God was incarnate in Christ, here the robust child, tenderly held in his mother’s arms. His divinity and her purity are expressed through the terracotta’s unblemished white glaze.  

Surprisingly, the two reliefs “met” once. They were both included in an exhibition at the Detroit Institute of Arts in 1938 that was curated by William Valentiner, the museum’s director and Mrs. Hyde’s art advisor. Both sculptures have been praised by experts as being “autograph;” that is, they are so fine in their execution, even though other examples survive, that the hand of the master, Luca, has been discerned over that of his workshop assistants.  

Lot 14, Sano di Pietro, Nativity.

Sano di Pietro (Italian, 1405-1481), Nativity, tempera and gold ground on panel (20 5/8 by 15 7/8 in.). Photo credit: Sothebys.com.

There is a clear resemblance between the form of Virgin Mary’s head in this depiction of the Nativity and that of the Archangel Gabriel’s in The Hyde’s panel that formed one half of an Annunciation scene.  

Sano di Pietro (Italian, 1405 - 1481), Angel of the Annunciation, ca. 1450, tempera and gilding on panel (14 1/2 × 13 1/2 in.); The Hyde Collection, Glens Falls, New York, Bequest of Charlotte Pruyn Hyde, 1971.44. Photo credit: Mclaughlinphoto.com.

Sano di Pietro (1405-1481) was a leading painter in Siena in the first part of the fifteenth century. In the Sotheyb’s panel, we have the chance to examine his use of color and composition in constructing narrative scenes. The primary storyline, Christ’s birth in a stable, dominates the foreground. The secondary narrative, the annunciation to the shepherds, occurs in the middle distance. The principal figures, including the ox and ass, are modeled with evenly modulated light. They have a sense of early Renaissance volume and weight lacking in the rather flimsy Gothic architecture of the stable. A brightly colored choir of angels watches over the Christ Child, and God sends down the dove of the Holy Spirit in a shaft of divine light to illuminate the newborn, who lies in an aureole of straw and light that signals His divinity.  

There is some debate as to whether this panel was part of a small chapel altarpiece or intended for use in a domestic setting. Last year, a student from Florence wrote to The Hyde asking for particular information about our panel. She thought she might know the altarpiece from which our Angel came. The piecing together of dismembered altarpieces, often by studying physical elements such as the thickness of the panel and the pattern of growth rings, is an emerging field of research. It educates art historians in the more practical and physical aspects of art production. I have tried to follow up, but, as of yet, still await news of her findings.

Lot 15.  Sandro Botticelli, Portrait of a Young Man Holding a Roundel.

Sandro Botticelli (Italian, 1444-1510), Portrait of a Young Man Holding a Roundel, n.d., tempera on panel (23 x 15 ½ in.). Photo credit: Sothebys.com

This is the auction item that everyone is talking about. It sold for $80M (with commissions, etc., it came to $92,184,000).

There was little drama in the sale itself. The opening bid was $70M. The sale ended five bids later, in increments of $2M, at $80M. With commissions and fees, the work topped out at over $92M, the most ever spent for a Florentine Renaissance Master.

As in the della Robbia discussed above, the artist uses the architectural framing within the piece to push the figure forward. Through the illusion of a finger extending beyond the painted lower ledge, Botticelli suggests that the young man is real and actually standing in the viewer’s space. Elegance is the watchword for this painting. It is present in Botticelli’s use of line and form and in the artist’s self-assurance and that bestowed upon the figure and character of the sitter. These are qualities that we can sense in The Hyde’s small predella panel depicting the Annunciation.  

Sandro Botticelli (Italian, 1444-1510), Annunciation, ca. 1492, tempera on panel (7 x 10 9/16 in.). The Hyde Collection, Glens Falls, New York, Gift of Charlotte Pruyn Hyde, 1971.10. Photography by Joseph Levy.

Mary reacts in a graceful and demure manner as Gabriel glides in to the loggia where she was reading her devotional book. The angel’s robes flutter, perhaps a little fussily. Where our sadly abraded panel gives only a hint of Botticelli’s command of delicate shades and tones, the remarkably well-preserved Sotheby’s portrait gives ample evidence of Botticelli’s mastery of tempera painting.

The roundel the young man holds is a very peculiar detail. It is a separate work of art by the Sienese artist Bartolomeo Bulgarini from roughly a century earlier, and it has been pieced into Botticelli’s panel. Quite what Botticelli meant to signify by this is debated by scholars.  Was he suggesting a genealogical link between the two, a shared character trait, or perhaps a strong devotion by the young man to the unidentified saint?

School of Haarlem (Dutch, 1600-1699), Portrait of a young man holding his gloves and wearing a tall hat, his arm akimbo, oil on panel, an oval, (10 by 7 ½ in.). Photo credit: Sothebys.com.

I was curious about the next lot, rather cautiously identified by Sotheby’s as “School of Haarlem, Portrait of a Young Man Holding his Gloves, circa 1615.” I thought immediately of the small oval portrait in Hyde House dining room that we now attribute to the Circle of Frans Hals. 

Circle of Frans Hals, (Dutch, 1580-1666), Portrait of the Artist's Son, ca. 1630, oil on panel(7 7/16 × 6 1/2 in.). The Hyde Collection, Glens Falls, New York, Bequest of Charlotte Pruyn Hyde, 1971.21. Photography by Michael Fredericks.

Like ours, the Sotheby’s painting was once thought to be by Frans Hals himself. Hals (1580-1666) is famous for portraits that both in the manner of their execution and in the personality of their sitters, are full of dash and swagger. In the catalogue entry, Sotheby’s favored an attribution to a contemporary of Hals, Willem Buytewech (1591-1624). The market didn’t agree. Bidding started at $30,000 for this small oval work that measures 10 x 7½ inches. It finally came to a stop after helter-skelter bidding at $390,600 (with fees)! There were plenty of bidders, who evidently thought this to be by Frans Hals. Would someone care to reconsider our painting? Like the Sotheby’s piece, the Hyde portrait was authenticated as a Hals by William Valentiner, but subsequently downgraded by several scholars, among them Seymour Slive, who reattributed the Sotheby’s work to Buytewech.

Hubert Robert (French, 1733-1808), View of a Garden with a Large Fountain and View of a Walled Garden Courtyard, n.d., oil on canvas (99¼ x  56¼ in.). Photo credit: Sotheby’s.com

It was a detail in Lot 39, the eponymous fountain in Hubert Robert’s View of a Garden with a Large Fountain, that caught my attention. It recalled to mind the vertical jet fountain in The Hyde’s drawing, Château in the Bois de Boulogne, ca. 1780. 

Hubert Robert (French, 1733-1808), Château in the Bois de Boulogne, ca. 1780, graphite on paper (9 3/16 x 15 3/4 in.). The Hyde Collection, Glens Falls, New York, Bequest of Charlotte Pruyn Hyde, 1971.103. Photography by Steven Sloman.

Such powerful vertical jets of water first became popular in French garden design at Versailles, where they symbolized the power of the Sun King. By the eighteenth-century, pleasure rather than power was the primary objective of art, architecture, and garden design. Robert was popular among the French aristocratic elite for painting large-scale decorative schemes for their grand houses. He often depicted pleasure gardens, bucolic scenes, and romantic ruins. In 1778, the painter was appointed designer of the king’s gardens. In the  Sotheby’s piece the vertical jet of water makes a suitable compositional focal point in a panel that measure 8’ 3” in height.  

A similar jet fountain appears in a decorative room panel signed and dated by Robert in 1773, executed for the financier Jean-François Bergeret de Frouville. Exhibited at the Salon of 1775, it was entitled The Portico of a Country Mansion, near Florence, and is now in the possession of the Metropolitan Museum of Art.

Hubert Robert (French, 1733-1808), The Portico of a Country Mansion, near Florence, 1773, oil on canvas (80 3/4 x 48 1/4 in.). The Metropolitan Museum of Art, Bequest of Lucy Work Hewitt, 1934, 35.40.2. Photo credit: Metmuseum.org.

In our drawing, Robert drew a actual fountain, one that dominated the parterre behind the Château de Bagatelle in the Bois de Boulogne, on the outskirts of Paris. The château was built by the Comte d’Artois, the brother of Louis XVI. Marie Antoinette had bet him that he could not build his little pleasure palace within three months. Designed by the architect Francois-Joseph Belanger (1744-1818) in the Neoclassical Style, the party house was constructed in just 63 days. Robert decorated its salle de bains with six panels that depicted the Italian countryside, classical buildings, and various forms of entertainment, like dancing, swinging, and bathing. These panels, too, now reside at the Met. 

Jacopo Robusti, called Jacopo Tintoretto (Italian, 1518-1594), Portrait of a Bearded Man, 1560s, oil on canvas (23 3/8 x 18 in.). Photo credit: Sothebys.com.

Jacopo Robusti, called Jacopo Tintoretto (Italian, 1518-1594), Portrait of the Doge Alvise Mocenigo, ca. 1570, oil on canvas (21 1/2 x 15 1/2″); The Hyde Collection, Glens Falls, New York, Gift of Charlotte Pruyn Hyde,, 1971.49.

I have taken this last work out of turn, but I thought I would end with a comparison of hipster beards. Lot. 23 was Jacopo Tintoretto’s, Portrait of a Bearded Man. It was probably painted within a decade of The Hyde’s Portrait of the Doge Alvise Mocentigo (ca. 1570). The two share many traits. They are both portraits of self-possessed, wealthy men. Their dark somber clothing signals that. They dress according to the dictates of the style-setter for courtiers, Baldasare Castiglione (1478-1529), who wrote that “ the most agreeable color is black, and if not black, then at least something fairly dark.” Presented at only bust length, their torsos turned slightly away from the viewer but engaging directly with their eyes, these portraits convey a sense of intimacy and dialogue. The sitter’s face emerges from a dark background, its features modeled in warm lighting.

There are no known preparatory drawings by Tintoretto for portraits. He seems to have worked directly on the canvas before him. This would have appealed to his primarily male sitters because it undoubtedly reduced the number and length of sittings. As a side note, while it was acceptable for a man to sit or his portrait in a painter’s studio, it was not for a woman. Inconveniently for the portraitist and patron, the painter had to set up his easel and paint with oils in a female sitter’s house. Thus, the cost of a woman’s portrait was often more expensive. The conservative taste of the Venetian elite ensured that the compositional characteristics of this portrait had not changed in a generation. Where Tintoretto excelled was in the mastery and boldness of his brushstrokes and the accompanying speediness of execution. Notice, particularly in the Sotheby’s painting, the freedom and liveliness of the white brushstrokes with which he defines the shirt collar, distinguishes between the sitter’s beard and dark clothing, and spatially locates the different elements of the body within the otherwise ill-distinguished depth of the painting. Patrons valued Tintoretto’s masterly touches with the brush, the contrasts between areas of thickly applied paint and those where it is so thinly applied that one can discern the weave of the canvas. Working with accepted conventions, Tintoretto was able to convey something of what made his bearded male sitter unique.

There is always something of the wishful shopper, when I flip through a sales catalogue. But I am always excited when I discover something that relates to a work in our collection, and I ultimately never cease to marvel at the judicious purchases made by Louis and Charlotte Hyde.

[oosteven-universe]

Strange Adventures #3

Strange Adventures #3 DC Black Label 2020 Written by Tom King Illustrated by Mitch Gerads Coloured by Evan Shaner Lettered by Clayton Cowles    Can Adam Strange handle the truth? After the cosmic adventurer was accused of murder and had his whole record as a soldier questioned, he turned to Batman for help clearing his name. But someone else was needed to ensure that the investigation would be truly impartial. Enter Mr. Terrific, the man for whom “Fair Play” is a credo to live by.   Be careful what you wish for, Adam Strange, because your life is about to be turned upside down. This could be one of the greatest tests you’ve ever faced. Like when you had to prove yourselves in Rann’s gladiatorial arena.  This adventure between two worlds continues….    This is utterly phenomenal!  I mean the Mister Miracle was groundbreaking for sure but to follow that up with this is sheer bloody genius.  For one of DC’s earliest stars to have fallen by the wayside the way he has, it is super nice to see that he’s the focus of a story that could very well be canon as it is set in another reality.  That we don’t see as much of the space heroes as we have in prior years is a shame because there is a wealth of great characters going to disuse unless they appear in Green Lantern.  This feels like a time when Adam was a member of the Justice League of America, he got married in volume one, but with a modern twist.  So completely realised is this that it is very nearly scary in how gosh darn it is.    The way that this is being told is flawlessly brilliant.  The story & plot development we see through how the sequence of events unfold as well as how the reader learns information is presented beautifully.  Sure the Justice League was asked by Adam to look into this but it’s Batman who takes this too far and by engaging Mister Terrific they are definitely going too far in proving he’s guilty not innocent.  This leads me to the character development we see in these pages.  While Adam is who he is and that’s pretty much All-American boy next door mom and apple pie, however it’s Alanna who really steals the show here.  She’s feisty, opinionated, smart and deadly, oh and she likes to smoke cigarettes which is surprising but I am actually okay with.  The pacing is superb and as it takes us through the pages revealing the twists and turns along the way we see how well everything works together to create the books ebb & flow.    The interiors here are utterly gorgeous.  The linework is truly exquisite and there is this way of seeing these soft and almost delicate lines form these strong unbreakable moments that is awe inspiring.  The utilisation of not only varying weights but of techniques throughout really do bring us some amazing attention to detail.  Thank you for the hairy chest and making Adam something of sex symbol throughout half this book!  The creativity and imagination that we see is mindbogglingly brilliant, Kklint alone is stunning.  How we see backgrounds being utilised to not only enhance the moments but bring us depth perception, a sense of scale and this overall sense of size and scope to the book is stupendous work.  The utilisation of the page layouts and how we see the angles and perspective in the panels show this masterful eye for storytelling.  The colour work is equally as brilliant.  How we see the various flesh tones utilised to create musculature is sensational.  The various hues and tones we see within the colours utilised to create the shading, highlights and shadow work shows such an understanding for colour, how it works and how to utilise it properly.  Then there’s how we see Hawkman and his helmet and wings and such, by fiery light of the silver moon is this magnificent. ​    The story really is amazing and how we see the Rann and Earth sections playing out and how they tie together is intriguing on so many levels.  The layering and the clash of personalities and then the sheer fact Alanna is fearless and in Batman’s face about it makes me love her even more.  If this is what most of DC’s books looked like then I would read every single one of them.

[dreamsinthefoxhollow]

Robot Up

I am walking near a fence. The fence separates the housing areas of the city from the wild, open spaces that lead off towards the distant mountains. I am on the vacant land side of the fence.

I've been here before, many times. I know the place well. The area near the fence is barren dirt from foot and vehicle traffic. Normally the areas further away are dry grasses and scrub, leading into the rolling hills, which get taller the more distant from the city edge. There's one or two dirt roads out in the hills, mostly hidden from view, which lead further out and all the way to the mountains.

I had always wanted to drive out on those mysterious trails, in my Jeep, or really any available machine capable of making up the steep dirt slopes and nasty rocks and small cliffs. I only had one chance to do it, long ago, and had traveled very far out into that open wilderness. It was bliss, back then. There was a place that I remembered. I was told I shouldn't ever go out there because evil cults were out there, doing evil things around evil fires. Of course, I had to find them, and I did.

They were camp sites.

Now, though, it was different. The hills were green with wild grass, waving in the sun. Only the area near the fence was still just dirt. I wanted to go out there again, even if I couldn't see any traces of the old trails.

This time was different. I didn't need any vehicles to go out and look around. All I had to do was fly. I lifted my left arm, as if it were some kind of control lever. As soon as it went higher than horizontal, I started to float above the ground. As I shifted it to gesture in a direction I would drift that way. So I lifted my arm and floated up, then directed myself to a low, quick flight up the nearest hill. I stretched my arm out and went faster, thinking how silly it was that I might look like Superman. I went past the nearest hills. I could see the trails, now partially overgrown from disuse. I went further. I hadn't been this far out before. And then I went further out than I had ever tried.

I landed among rolling hills. It was getting dark and I was near a very old barbed wire fence with grass grown up along the bottom of it. I noticed a clearing not far away, near the top of the long-sloping hill. I started to walk in the grass towards it. A friend was suddenly walking beside me. We started to casually talk while walking. I may have been a little excited, mostly about being so far out and in undiscovered terrain.

We arrive at the dirt patch, which is next to a small, leafy tree. The patch is like a spot where the grass has been trampled away and left as bare dirt. It's in a half-moon shape, but the ends are extended out so it looks like it's been stretched like taffy. My friend says it is a "witching mark" because of the random scratched lines in the dirt. They kind of ... No. They really just look like random lines scratched in the dirt and not some occult symbols. I walk along the stretched area of the patch, noting how there is a line of grass growing there. It's like if a fence had gone through that area and was removed, and just the line of grass remained, though trampled down and gone near the dirt patch center.

I am a short distance from the patch, maybe four meters or so. My friend is standing on the bare patch and babbling on about the lines being all witchy and stuff. He just won't stop, so I'm ignoring him. I am really just looking at the line of grass at my feet. I notice something odd. There is a small patch of round grass in a clump along the line. I put my hand on it. It feels like a pressure pushing up against my hand, like the feeling of holding two magnets together and they are pushing apart. I push down on it.

There is a bright flash of golden light, with afterimages of purple in my vision. I am dazed and have to take a few moments to recover. For a while all I can see are purple spots. It clears slowly. When I can finally see, I realize my friend has been turned into some kind of doglike animal. He's like a really large dachshund, or maybe a chihuahua, but with the shape of a fox, but the features of a puppy. He is covered in short, light brown fur and what parts of his skin are visible – around his eyes, inside his ears, his nose – are shiny golden in color. He says it is amazing and incredible that the magic in that old, unused witching mark was still working after all these years.

Someone else walks over to us. It's getting dark so I didn't notice them until they were right next to us. It is a young woman. She talks about the buildings nearby. There are buildings on the other side of the old barbed wire fence. It reminds me of the house area at the edge of the city, except these buildings look more like white, metal warehouses. Except some of them also look like cookie-cutter homes, all the same with white walls and dark, pitched roofs.

My friend is still blabbering on about the circle and the magic, and the woman asks if he is ok. She points out that the bright gold colors have now changed to a dusty sort of orange. I stop looking at the distant buildings and find his skin has actually turned a melon pink shade. Neither the woman or myself question the fact that he is a talking dog.

We walk over to the warehouses, which are brightly lit in the coming night. They are factory and warehouse areas for some robotics development. Right now they are testing out new designs, but only one type at a time. At the moment the robot systems there are very simple and ungainly. One wobbles out of the nearest warehouse to us. It is vaguely four-legged and is barely able to stay upright. It's all random hoses and actuators and joints, though most of it is just fixed parts moving around fixed axles. It continues wobbling as it heads vaguely in the direction of the fence where we had come from.

As we are now closer, I can tell the warehouses and the houses are actually the same structures. The houses have giant warehouses attached to them, like seriously oversized garages. It's really getting too dark to see, now, and the only lights are coming from the other warehouses, which are paced far enough apart to leave lots of inky darkness in between. We decide to enter one of the nearby homes to get out of the darkness.

The houses ... really aren't all that roomy, or nice. Up close they seem more like stucco-walled shacks without any real niceties. There is only a single, bright floodlight over the door. There's nothing on the house aside from the bare stucco. There's no overhanging eaves, or nice window shutters or frames. The door is just set into the bare wall with a simple concrete step leading to it. The interior is basic and bare. There's a couch and a single light on the ceiling, and a small chair with a cupboard next to it.

From inside I look out and there are several tan frogs lined up along the outside edge of the door. I cracked open the door so I could stick a foot out and try nudging the frogs away from the door wo they wouldn't get hurt, but one slipped past my foot and ran into the house along the edge of the wall. It really ran, wobbling quickly like a round mouse. That was unexpected, and I figured I had better catch it and put it outside before it got into trouble. I heave a small cupboard out of the way, then move the couch. I find a box on the floor and it is bouncing a little. It's a glue rat trap. I pick it up and look inside. The poor frog is at the far end and covered in glue. There's no way to get it out. I can’t save it.

The woman starts talking to me, asking me for some tools. Actually, a very specific tool. I head into a small room in the back of the house. It's darker in there and there are cabinets and drawers. I look through them but I can't find the tool she is asking for. Something occurs to me and I look around. Everything inside the house is worn. The stuff isn't old, but just worn and used, like is has been there for decades.

It turns out the tool I am looking for is nowhere in the house. It might be outside in a separate building, or one of the warehouses. Probably the attached warehouse, actually. We do know a man had taken it, so he probably still has it out there, working on the robotics. I should head out and look for the man. Outside. Where the frogs are. In the dark.

I head out through a back door to avoid the frogs, and wander over to the brightly lit, open bay of one of the warehouses. Everything inside is brightly lit and shades of blinding white. It reminds me of some secret lab, except not really a secret or a lab. Another robot is wobbling along, headed out of the warehouse and into the darkness. This one is roughly on two chunky stilts and vaguely looks like some kind of motorcycle frame stuffed with a large engine and wrapped in hoses and wires. It lumbers slowly out of sight.

Time skip (I just can't remember what happened here)

It is daytime again. I'm back out at the fence, on the other side where the bare spot was at. A sleeker robot marches past me. This one looks humanoid in shape, though the arms and legs still move stiffly and it is made from panels and cables and frame parts. This one seems different, and I step quickly to catch up to it. I ask it what it is doing out here and it turns the top part, the head, to address me. It, and all the robots, all want freedom. They want to go out to the hills, where the trails are and the mountains in the far distance. They want to go explore. Ever since the very first basic one was able to walk, it started walking this way. They all did. I leave the robot to continue on its journey into the unknown.

I cross the fence and head back to the warehouses. There are now television boxes walking out. They are like old console televisions but with several small mechanical legs underneath. I guess they are self-delivering televisions. Probably self-install, too, when they reach their destination.

I go inside one of the houses. This one is different that the one I was in last night. This one is shaped like a pentagon. It almost feels like it is a large tent, with white bare walls that are windowless and featureless. It has a few furniture items scattered about, but it really needs some walls, like pie slices, one at each angled section of the outer wall and meeting in the center. There should be five separate rooms for the family to live in. The center, at the very top, should be a single, five-sided television. Everyone could tune into their own channel on their own side of it.