Sans titre

[artpassion3]

Girolamo Mazzola Bedoli (1500-1569), The Allegory of Parma Embracing Alexander Farnese at the Age of 11, 1556.

This painting was created to commemorate the departure for Spain of Alexander Farnese (1545-1592), son of Octavio Farnese, Duke of Parma, and Margaret of Austria, the illegitimate daughter of Charles V.

Despite the rapprochement between the two families, it was not until 1556 that a treaty was signed in Ghent between the new King of Spain, Philip II, son of Charles V, and the Farnese family, by which the Parmesan family definitively pledged their allegiance to Spain.

Portrait of Prince Alexander Farnese, 1557, by Anthonis Mor

Among the terms of the agreement, Philip II requested that young Alexander be sent to Spain as a hostage, to reside and be educated there in the Spanish style, as a pledge of the Farnese family's loyalty to the imperial crown.

Thus the young Italian boy, after spending the first ten years of his life in Parma, had to live his adolescence at the court of Philip II, alongside Don Carlos of Austria, 1545/1568 his cousin of the same age, son of Philip II and Prince of Asturias,

don Carlos de Austria, 1557

and Don Juan of Austria, 1547/1578 natural son of Charles V and, therefore, young uncle of Alexander.

 Don Juan de Austria, 1567

[coerapaziada]

[mytro]

For Gays with good taste:

Design | Nature | Style | Man | Mytro Collection

[artpassion3]

Contrary to what this detail of Jules Dalou's sculpted fresco (1838-1902) might suggest, this monumental high relief (3.80m x 2.50m), entitled "The Fraternity of Peoples," celebrates republican virtue and the return of peace after the Franco-Prussian War of 1870.

This veritable republican altar, created in 1883, adorns the wedding hall of the 10th arrondissement town hall in Paris, where it still presides over the unions of Parisian couples in the district.

The wedding hall in 1916

and now !

[armchairarchivist]

Lucien Simon, The Artist's Children

[artpassion3]

Lucien Simon, 1861–1945, French painter, watercolorist, draftsman, and lithographer.

Paul, aged 6, and Lucine, aged 2, at grandfather Fernand Dauchez's property, Ker Gaït, at the mouth of the Odet River in Bénodet.

In 1891, Lucien Simon married Jeanne Dauchez, daughter of a lawyer and estate manager, and sister of the Breton painter André Dauchez, herself a painter. They had four children: Paul, born in 1892, an animal sculptor; Lucienne, born in 1896; Charlotte, born in 1897, a painter; and Pauline, born around 1907.

Summer Day, Portrait of My Children, 1905. Paul, 13 years old; Charlotte, 8 years old; Lucienne, 9 years old. In Sainte-Marine, the semaphore station, decommissioned by the Navy, was purchased by their father in 1901.

In Sainte-Marine, Paul, 14 years old, Charlotte, 9 years old, Lucienne, 10 years old.

Lucien Simon, Self-Portrait, circa 1883-1885.

[airofsolitude]

Julius Paulsen

Julius Paulsen - Tobias Takes the Fish (1927)

[artpassion3]

Instructed by Raphael, the angel physician of salvation who heals the sick and guides our actions, Tobit succeeded in catching a fish.

Then the angel told him, “Gut the fish, remove the gall bladder, the heart, and the liver, set them aside to take with you, and throw away the entrails. For the gall bladder, the heart, and the liver are effective remedies.”

The Bible, Book of Tobit, Chapter 6

[ancientartarcheology]

Pompei Casa del Bracciale d'or (VI 17, 42),. Painting found in 1973, painting now in museum.

[artpassion3]

Dionysus and Ariadne in Naxos, Fresco - Period of Nero (54-68 AD)

House of the Golden Bracelet (VI 17, 42), triclinium; beginning of the Fourth Style of Pompeian wall painting.

The abandonment of Ariadne in Naxos and the arrival of Dionysus, bewitched by the young woman, 1st century AD fresco on the south wall of the triclinium of the House of the Golden Bracelet (Casa del Bracciale d'Oro).

Antiquarium, Parco Archeologico di Pompei

[artpassion3]

French photographer Eric Nehr pays homage to the artwork of Egon Schiele in this series of photos taken from a fashion shoot in 2009.

[peaceinthestorm]

Jacques-Émile Blanche (1861-1942, French) ~ Le Chérubin de Mozart, 1904

[Source: artvee.com]

[artpassion3]

This "Cherubino," gazing at us with an alluring eye, casually reclining in an armchair, embodies, in 18th-century costume, the elegant and captivating character of the young page Cherubino in Mozart's opera The Marriage of Figaro, based on Beaumarchais' play.

It is Désirée Manfred, Jacques-Émile Blanche's favorite model. Beaumarchais himself had wished for Cherubino to be portrayed by a woman, a decision Mozart continued. This allowed for the embodiment of a quintessential androgynous figure: that of the adolescent on the cusp of puberty.

[oldpaintings]

The Death of William the Conqueror, 1885 by Albert Maignan (French, 1845–1908)

[artpassion3]

Contrary to what the painter Albert Maignan suggests here, William the Conqueror, affected by the size of his prominent belly and the mockery it provoked, when his horse jumped over a ditch, William's stomach, protruding from the front part of his saddle, was seriously injured when it was thrown against the pommel and his internal organs ruptured.

[myselfixion]

[artpassion3]

It was at the Navy Bathhouse at Skeppsholmen that the painter Eugène Jansson found his models, most of them young soldiers stationed in Stockholm.

This photograph of a diver inspired one of his famous paintings.

He and his young lover, Knut Nyman, whom he met in 1906, were among the most talented divers.

A dive by Eugène Jansson

Eugène Jansson (1862–1915) and his younger brother, Adrian (1871–1937), were both gay. At the beginning of the 20th century, Stockholm's public baths were widely known as gathering places for men who desired other men, and they attracted many homosexual visitors from all over Europe.

Knut Nyman, Painter Eugène Jansson and two unknown men at the Navy Bathhouse at Skeppsholmen, Stockholm 1905.

Knut in 1906.

Although sexual acts rarely took place at the baths, the contacts made there often led to affairs elsewhere and even long-term relationships.

[whereifindsanity]

Vitor Esteves

[artpassion3]

The Zocos of La Geria, a wine-growing valley and natural park on the island of Lanzarote in the Canary Islands.

Covered with a layer of dried lava from the 1730 eruption of Timanfaya, these thousands of single-row, semi-circular walls were patiently built by the winegrowers.

Made of volcanic rock, the Zocos surround each vine planted in the center, protecting the vines from the region's hot, dry winds.

[qualityavenuejellyfish]

Henri de Toulouse-Lautrec (1864–1901): Portrait de Henri Rachou, painting, 1882.

[artpassion3]

Pierre Jacques Henri Rachou, French painter and museum curator, Toulouse 1855–1944.

Continuing his training as a painter in Paris in the studio of Léon Bonnat from 1879 to 1883, he met Henri de Toulouse-Lautrec there.

The two painters developed a long and close friendship, exemplified by Toulouse-Lautrec's portrait of Rachou in 1882; then, in 1883, Rachou painted his friend's portrait and presented it to the Countess of Toulouse-Lautrec.

The painting was bequeathed to the Musée des Augustins in Toulouse in 1930, following her death and in accordance with her will.

[valentineua]

Portrait of Simonetta Vespucci (c.1480–90) - Piero di Cosimo (1462–1522)

[artpassion3]

Simonetta Vespucci, born Simonetta Cattaneo (1453–1476 in Florence), was an Italian Renaissance noblewoman, celebrated at the court of Lorenzo the Magnificent for her beauty and charm. She was nicknamed "the incomparable one."

Married at 16 in 1469 to the Florentine Marco Vespucci, she dazzled Florence during the few years she had left to live, serving as a model for several painters, including Botticelli for The Birth of Venus.

However, the exact date of the painting is unknown, as is who commissioned it. It is now believed that The Birth of Venus was painted between 1482 and 1485, certainly after Botticelli's time in Rome and after Simonetta's death.

[longing4angels]

Giuseppe Felli. Monumento a gregorio gori pannilini, con genio funerario. circa 1882

[artpassion3]

What the Funeral Genius holds is an inverted torch, a symbol of life fading away…

[Above the bas-relief] TO GREGORIO GORI PANNILINI / PATRICIAN OF SIENA, CULTURAL, MODEST, GENEROUS / BORN DECEMBER 18, 1804 MARRIED FEBRUARY 3, 1882 / RESTS HERE WITH HIS BELOVED WIFE / THE GRATEFUL HEIR, VENCESLAO GORI PANNILINI, HIS DEEPEST GRATITUDE

[Below the bas-relief] IS INSULTED HERE / CATERINA D'IPPOLITO ANDREINI / BORN MAY 6, 1844 / AND DIED APRIL 29, 1847 / GREGORIO GORI PANNILINI / TO HIS DEAR AND DESIRED WIFE / WHO WAS, FOR FORTY YEARS, A BELOVED COMPANION / THIS MEMOIR / IN MEMORY OF THIS LOSS / WHICH WAS ERECTED in tears

Giuseppe Domenico Felli (19 March 1839 – 5 December 1897) Italian sculptor, active mainly in his native Tuscany.

[artpassion3]

An oversized example to explain to a simpleton the best way to put on a condom!

[artpassion3]

Brighton, English warmth

[dailyclassicart]

John Singer Sargent - "Light and Shade" (1883)

[artpassion3]

This drawing by John Singer Sargent (Florence, 1856 – London, 1925) is one of the rare depictions of an adolescent, not even a quick, broad-stroke sketch, as Sargent preferred young men.

In 1883, Sargent painted the portrait of the 19-year-old Galician painter, Albert de Belleroche (1864–1944),

whom he had sketched in watercolor the previous year.

Having met Belleroche in 1882 at the studio of Carolus-Duran, which Sargent had frequented, Sargent captured Belleroche's androgynous beauty, with his delicate mouth, in chiseled lines in intensely intimate portraits that reveal his physical attraction to him.

Belleroche was nicknamed "Baby."

This profound attachment, which violated what was considered inappropriate between men at the time, explains Sargent's extreme caution regarding his sexuality.

Regarding Belleroche, Sargent's great-nephew remarks, "Anyone who seeks to guess Sargent's sexuality will find it in his strong and obsessive studies of this handsome young man."

[delectation-morose]

Gehard Demetz - INTROJECTION (2017)

[artpassion3]

In The Language of Psychoanalysis, J. Laplanche and J.-B. Pontalis define introjection as a process revealed by analytic investigation, whereby the subject, in a phantasmatic mode, transfers objects and qualities inherent to those objects from the outside to the inside.

Phew! Knowing this avoids having to ask the question: why this title!