#william hogarth

[literaryvein-reblogs]

When your Characters Need to Build Trust in their Relationship

High trust levels are key to a healthy, lasting relationship—here are a few tips on how to build trust from psychotherapist and relationship expert Esther Perel.

Trust - the act of feeling comfortable, safe, and cared for in a relationship.

It is a vital bedrock of a successful relationship because it allows each person to be vulnerable with the other and continue to feel supported and sustained.

It encourages teamwork, collaboration, and healthy interdependence and is a sign of emotional intelligence (or, as Esther calls it, “relational intelligence”), effective communication, mutual respect, emotional intimacy, and overall well-being.

In a romantic relationship without a foundation of trust, partners may feel uncomfortable, insecure, or anxious. Sustained trust issues or a complete lack of trust in a long-term relationship can lead to overwhelming emotional strain, burnout, breakup, and even physical and mental health problems.

How to Build Trust With a Romantic Partner

Trust is one of the building block of a healthy relationship. Here are a few different ways to build trust according to Esther:

Determine your relationship to trust and risk. In Esther’s experience, building trust starts with understanding your own needs. “Do you see yourself as someone who needs to trust first? Or do you see yourself more as someone who is more quick at taking risks?” Taking stock of your own needs allows you to “ground yourself in the reality of the here and now” before building trust with a partner. “Some people say that you need to trust someone, a relationship, before you are feeling okay to take risks with that person. But some people will say—and this is how the research divides around trust as well—that it is actually by taking risks that the trust develops.”

Embrace taking micro-risks with your partner. Esther recommends taking very small risks as a way to practice trust-building in a relationship, creating a little trust at a time as you work toward deep emotional intimacy. “A micro risk … is not a specific thing,” she explains. “It’s the thing that I don’t usually do.” Examples of micro risks may be sharing information about your personal life, making an observation of the other person, challenging yourself to say “no” to something, or challenging yourself to ask for something—as long as it’s something you don’t normally do. Once you take the risk, you can see how the other person responds to it and continue building levels of trust (or identify that something isn’t working). “It's an experience that is built through mutuality and reciprocity,” Esther explains.

Learn to navigate breaches in trust. “When [trust] breaks, it feels shattered and unable to ever be put back together,” Esther says. That response is completely normal—breaches in trust hurt, especially in lasting relationships. “But, in fact, [trust] is quite malleable,” she says. “Life and new experiences, like grafting new cells on top, slowly allow us to experience the trust again.” Avoid jumping to conclusions or making hasty judgments—instead, give the other person the benefit of the doubt, allow yourself time to recover from breaches in trust, and then check in with yourself using your new life experiences to decide how to move forward and whether you can repair things. Even when trust decreases, it is possible to slowly rebuild trust through careful, hard work.

“Trust is one of these concepts that suffers from a definitional vagueness. We all know when we feel it, and we all know when we don’t. But what is it? Is it a feeling? Is it a condition? Is it an outcome? Is it a state? What is trust? And the research is all over the place. At the end of many, many, many papers, what you hear is the sentence, ‘The research could use more research on how to define trust.’” —Esther Perel

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

[suhaylah]

One Flame to Another (2024) ink on paper, hand-pulled relief print Limited Edition of 6 (available here) Instagram: @ suhaylah.h Shop: suhaylah.bigcartel.com Patreon: patreon.com/suhaylah_h

[history-of-fashion]

1741 William Hogarth - William Cavendish, Marquess of Hartington, Later fourth Duke of Devonshire

(Yale Center for British Art)

[rococo-art-history]

Prospero and Miranda (1728) by William Hogarth

[artemlegere]

Satan, Sin and Death (A Scene from Milton’s ‘Paradise Lost’)

Artist: William Hogarth (English, 1697–1764)

Date: c. 1735-1740

Medium: Oil paint on canvas

Collection: TATE Britain, United Kingdom

Paradise Lost Epic Poem

Paradise Lost is an epic poem in blank verse by the English poet John Milton (1608–1674). The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time. The poem concerns the biblical story of the fall of man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden.

The main conflict of the poem involves Satan’s jealous desire to corrupt God’s new and beloved creation by creating human distrust in God’s plan, a distrust that will lead to disobedience. Through the temptations of the antagonist, Satan, Milton emphasizes the corruption to which humans are vulnerable if they are not spiritually aware of the manipulative power of evil around them. Adam and Eve’s inner struggle, an effort to resist temptation, symbolizes the innate human desire to stay loyal or true to a spiritual compass, which, in Milton’s poem, is represented by God’s exhortations and the messages of his angels.

The inciting incident of the poem finds the antagonist, Satan, banished to hell, where he and his fellow devils construct a temple called Pandemonium, a symbol of chaos and irrationality, and then plot both to make a good out of evil and an evil out of good. Milton portrays the devils’ apparently democratic decision as ironic evidence of their failed capacity for reason: Satan refuses to accept God’s rational hierarchy—that the Son is superior to him—and settles on irrational disobedience. In an allegory reminding the poem’s readers of a conventional Christian understanding of the fall, Satan begets Sin who begets Death. He volunteers to corrupt God’s new and beloved human beings, and a bridge is built between Hell and Earth.

The rising action explores ideas about free will and a redemption in which God’s Son will willingly sacrifice himself, God’s plan for human salvation. The Son is the instrument through which God acts, and Milton shows how God and the Son work separately, yet are manifestations of the same entity, working as one. Free will is one of the major themes of the poem, and Milton suggests a paradoxical idea about it: a human being is free to choose, yet is only truly free when choosing the good. Events unfold as Adam is visited by the Archangel Raphael who recounts the story of creation, reveals the primary conflict between God and Satan, and describes the latter’s fall and the War in Heaven. The war stands as an extended spiritual metaphor in which disobedience leads to one’s blindness from the truth. Raphael warns Adam to be wary of Satan’s temptations; Adam’s choice will rest entirely in his own hands.

At the poem’s climax, Satan accomplishes his goal by convincing Adam and Eve to become disobedient. Plagued by envy and despair, Satan flatters Eve, convincing her to eat the forbidden fruit from the Tree of Knowledge. He presents knowledge as a means with which she might equate herself with God, using his perverted reasoning to demonstrate how knowledge can be used for evil. Eve, in turn, convinces Adam to join her in this act of disobedience, and he dooms himself, unable to bear the thought of losing her. Ultimately, he chooses loyalty to Eve over loyalty to God. As the pair’s heightened senses take over, their capacity for reason diminishes. The further Adam and Eve drift from God, the more reduced their powers of reasoning become.

In the falling action, Adam and Eve awaken to their banishment from Paradise. They find themselves in a world of shame and evil, blaming each other for their condition, and Sin and Death subsequently enter the world. The fall, however, paves the way for humanity’s redemption and salvation; thus, Milton claims that his epic surpasses the ancient classics, as it pertains to all of humankind, not to a single hero or nation. The archangel Michael grants Adam visions of a future in which his offspring commit murder, as well as scenes of people living for pleasure and the flesh. Unlike Satan, Adam and Eve repent by praying to God.

Michael, in the poem’s resolution, recounts the idea that a Messiah will eventually arrive to reunite Heaven and Earth, noting that there will be much suffering before that reconciliation. Milton suggests that Adam and Eve’s fall is the “felix culpa,” or happy fault or fortunate fall, for God’s mercy is shown. Individuals, he suggests, may hope to redeem themselves through devotion and obedience to God, forming an aspect of his ultimate plan. Comforted by these suggestions, Adam and Eve, in the poem’s final scene, exit into a new world. They have been led to understand that obedience to God and his love for his creation will lead humanity toward salvation, toward regaining a Paradise that has been lost.

[ourstaturestouchtheskies]

Historical Portraits of Children // The Truth is a Cave – The Oh Hellos

Four Children Making Music – attributed to the master of the Countess of Warwick, 1565 // Three Children with a Dog or Two Sisters and a Brother of the Artist – Sofonisba Anguissola, 1570-1590 // The Children of Philip III of Spain (Ferdinand, Alfonso, and Margarita) – Bartolomé González y Serrano, 1612 // Three Children with a Goat-Cart – Frans Hals, 1620 // The Balbi Children – Anthony van Dyck, 1625-1627 // The Three Eldest Children of Charles I – Anthony van Dyck, 1635-1636 // Five Eldest Children of Charles I – Anthony van Dyck, 1637 // Portrait of the Children of Habert de Montmor – Philippe de Champaigne, 1649 // Group Portrait of Charlotte Eleonora zu Dohna, Amalia Louisa zu Dohna, and Friedrich Christoph zu Dohna-Carwinden – Pieter Nason, 1667 // The Graham Children – William Hogarth, 1742 // Portrait of Sir Edward Walpole’s Children – Stephen Slaughter, 1747 // The Bateson Children – Strickland Lowry, 1762 // The Gower Family: The Five Youngest Children of the 2nd Earl Gower – George Romney, 1776-1777 // Marie-Antoinette de Lorraine-Habsbourg, Queen of France, and Her Children – Élisabeth Louise Vigée Le Brun, 1787 // The Marsham Children – Thomas Gainsborough, 1787 // The Oddie Children – William Beechey, 1789 // Three Siblings – Johann Nepomuk Mayer, 1846 // Happy Children – Paul Barthel, 1898 // My Children – Joaquín Sorolla, 1904 // The Truth is a Cave – The Oh Hellos

[portrait-paintings]

The Painter and his Pug

Artist: William Hogarth (English, 1697–1764)

Date: 1745

Medium: Oil paint on canvas

Collection: TATE Britain

Description

Hogarth began this self-portrait by painting himself in a formal coat and wig. Later, he changed these to the more casual cap and clothes seen here, suggesting a down-to-earth self-image. His pet pug, Trump, alludes to the artist’s own pugnacious character. The picture is also a statement of Hogarth’s professional ambitions, with the oval canvas propped up on books by famous British authors. He includes a curving line, inscribed ‘Line of Beauty and Grace’ on the palette. Hogarth believed this serpentine line underpinned all harmony and beauty in art and nature.

[a-book-of-creatures]

Nice argument, unfortunately I have drawn you as a drunkard bear and my dog peeing on your argument.

[canvasmirror]

William Hogarth (British, 1697–1764) • The Painter and his Pug, Trump • 1745 • Tate Britain, London

[thepaintedroom]

William Hogarth (British/English, 1697-1764) • Marriage a-la-mode: Tête à Tête • 1743 • Tate, Britain

[artisthomes]

William Hogarth's house in Chiswick, London, England

[literaryvein-reblogs]

Writing Notes: Scene Blocking

Scene blocking - a rough description detailing everything that will occur in a scene, such as which characters are present, where they go, what they do, and what they say.

Below is a sample guideline you may consider.

Goals for the scene:

Characters:

Location:

Opening:

Middle:

End:

Character development:

World info revealed:

Source Writing References: Plot ⚜ Character ⚜ Worldbuilding

[artschoolglasses]

Frances Arnold, William Hogarth, 1738-40

[granstromjulius]

William Hogarth

[rococo-art-history]

Portrait of Dr. Benjamin Hoadly (1738) by William Hogarth

[artemlegere]

Sigismunda Mourning over the Heart of Guiscardo

Artist: William Hogarth (English, 1697–1764)

Date: 1759

Medium: Oil on canvas

Collection: TATE Britain

Description

This painting illustrates a dramatic scene from Giovanni Boccaccio’s celebrated medieval novel, the Decameron. The heroine Sigismunda holds a golden goblet sent to her by her father, Prince Tancred. Inside, is the heart of her dead husband, Giuscardo – one of Tancred’s servants. He has murdered him, enraged by their unsuitable secret marriage.This was Hogarth’s most deliberate attempt to prove that modern English painters could handle heroic themes as convincingly as the revered Italian old masters. But the picture received such harsh criticism that he almost completely abandoned painting for the last years of his life.