Where does the bullshit start, Armand, Amadeo, Arun?
(observant followers may have noticed I usually don't do much detail on hair because I am bad at drawing hair but his cute little half up hairstyle inspired me to try harder this time so I hope you like it!)
so it’s confirmed what they pulled from tva was the armand sewing claudia’s head thing. and they thought armand just sewing anybody’s head would be in character for him. regardless of motives
armand in the book: so yeah, i was trying to do something good, okay? i was high on too much blood and it was ugly. i tell you. it wasn't pretty. it was gruesome and ugly. but i had to try, at least. and i never wanted my poor sensitive louis to know. but here we are. and you know, i never loved claudia. i didn't know how.
Original Painting: unknown Italian painter, ca. 1480-1525, tempera on wood, 18x18 in.
Color and edits: me, digital painting
.
If you’re a nerd, further information about the irl piece and my thought process below.
I was browsing through the collections of the Metropolitan Museum of Art in New York, looking for any potential Armand pieces. No real standouts, until I found a curious entry.
The Palazzo di San Martino Gusnago (now Palazzo Pastore) lies just outside the small city of Mantua, and in the 16th century, it would have been maybe ten days travel from Venice (depending on how you made the journey). In a small room in this palazzo, you would have been greeted by an interesting decor choice: the exposed central beam and the upper portions of the walls were lined with faces. Portraits of random men and women, real or imagined--all done, it would seem, by the same unknown painter. There were once at least 44 in total, though some have disappeared and others have been divided among the world’s art museums. The Met has 12 of them.
The paintings have been studied a little, though not extensively, and there has been little consensus on who may have painted them or when. The Met has likely not photographed the pieces in decades, as no images are available in color. According to the exhibition history the Met provides, none of their twelve panels have been on public display since 1947. This may be because they're in delicate condition; a lot of chipping and cracking is visible in the Met's old black-and-white photos. Tempera can be a brittle medium, made all the worse on a wood panel that expands and contracts with changes in humidity and temperature. And so, these twelve mysterious portraits are stowed away in the depths of the Met's vast storage, largely forgotten.
Of the 12 panels in the Met's collection, I liked Number 8 the best. This, I thought, could be a very badly whitewashed Armand-- the face shape and features like the mouth and eyes could work, as would the shoulder-length dark curls, but the anonymous youth in the painting was much too pale, and the nose wasn't quite right. But then I remembered I have an iPad and rudimentary digital art skills. After adjusting the shape of the nose, I essentially used the same process as digital artists who lay down values in grayscale and then go back and add color. I think I ended up with 15-17 layers of various blend modes and opacities.
I didn't realize until after I was done that, in TVA, Marius dresses Amadeo in blue multiple times.
pixelskylines
andulkaphoto
blakekathryn
izzy806
gracieabrams
turnnoffyourmind
dailybridgerton
yousharknotpass
s-u-f-j-a-n-s-t-e-v-e-n-s
areudirty
