tunteellinen siili

history and art lover, probably not trying my best

[tratadista]

Carlos Bonvalot, Pierrot (1916)

[givemearmstopraywith]

online library so far:

margaret atwood

the brontës (the complete works is a MASSIVE file fyi)

anne carson

hélène cixous

bell hooks

clarice lispector

audre lorde

virginia woolf

compilations

feminist theory

academic writing (both books and articles)

everything here is in pdf format so you should be able to download and read it on any device. it’s slow going because i have a lot of epubs that i have to convert before uploading and the folders i’ve listed here are neither complete nor comprehensive, but it’s a start! 

[enchantedbook]

'The Snow Queen' illustrated by Jindra Capek.

[milksockets]

'mary mcfadden evening gown, 1986' in the historical mode: fashion + art in the 1980s - richard martin + harold koda (1989)

[songs-of-the-east]

Uzbek Women Attend School; Uzbek Socialist Soviet Republic, USSR - David King

[ghostofthedistantfuture]

I find it funny how the original national theater poster for amadeus is so wildly different than any others cause the broadway one was so peak everything else is inspired by it

[chatgateau]

So! I got something to say about this because I did some research for my thesis.

The image of the original 1979 poster is a reworking of Henry Fuseli’s 1774 pen-and-ink drawing Dante and Virgil on the Ice of Cocytus.

The film poster, by contrast, was designed by Peter Sis at the request of Milos Forman, taking as its model Robert von Nutt’s poster for the Broadway production (1980). It depicts black hooded figure with outstretched arms and barely visible eyes. Despite its graphic stylization, the composition appears to reproduce the features of a typical Venetian mask, the bauta, consisting of a tricorne hat, a domino cloak, and the mask known as the larva.

My hypothesis is that this aesthetic shift was also influenced by another major Mozart-related event of 1979: Joseph Losey’s cinematic adaptation of Wolfgang Amadeus Mozart’s Don Giovanni. In this distinctive opera-film, set in an imaginary Venice, masks play a central role, particularly in the finale of the first act, when Donna Anna, Don Ottavio, and Donna Elvira—having identified Don Giovanni as the murderer of the Commendatore—enter his house in disguise during the ball. In Losey’s film, the masks retain the domino cloak (or tabarro) and tricorne hat, but the traditional larva of the bauta is replaced by a white face with distinctly feminine features. Since the film was released in the United States almost simultaneously with the stage production of Amadeus (Amadeus premiered in September 1979, and Don Giovanni was released inNovember 1979) it is not implausible that it helped shape the visual imagination that would later become iconic.

In Forman’s film, the black carnivalesque figure remains, but the larva is replaced by an original bifront mask depicting the faces of Comedy and Tragedy. This choice appears to invoke the theatre explicitly, not only as the original medium of the narrative (Peter Shaffer’s play), but also as a stylistic principle underlying the entire film, whose events and modes of representation are marked by a pronounced theatricality. In an article published in The New York Times ( “Paying Homage to Mozart”, 1984. https://www.nytimes.com/1984/09/02/magazine/paying-homage-to-mozart.html.) Shaffer himself stated that the use of masks constitutes a tribute to Mozart, who frequently employed disguises in his comic operas.

I couldn’t help but notice, anyway, that the recent blue ray posters have started to introduce the double faced mask as an iconography: meaning that, in fact, now it is this specific icon mostly associated with Amadeus!

[vedurnan]

ferdinand hodler, the dream of the shepherd

[marinolta]

[miamaimania]

"I Drivhuset" (1980) by Susanne Ussing — Sculpture installed at Ordrupgaardsamlingen

[hardlyanywherewithal]

She has now grown too big to get out through the doorway. She will have to bust her way out.

[oilpalette]

Glamour Cat, 2026 by Brazilian artist Daniel Arthur

[julytrees]

Naomi Campbell by Peter Lindbergh.

2000

[transmonk]

i was born to be a monk because my favorite activities are sitting at a desk, rearraging bookshelves and having existential crises

[pmamtraveller]

Mammal in a Sunday Dress, by Georgina M. Cox, 2026

[originalaccountname]

Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back. The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act. For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body. The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser. Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology. Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.

source

[poisonedsequin]

rahul mishra fall 2022 couture

[dailymarx]

“The less you eat, drink and buy books; the less you go to the theatre, the dance hall, the public house; the less you think, love, theorise, sing, paint, fence, etc., the more you save – the greater becomes your treasure which neither moths nor rust will devour – your capital. The less you are, the less you express your own life, the more you have, i.e., the greater is your alienated life, the greater is the store of your estranged being. Everything which the political economist takes from you in life and in humanity, he replaces for you in money and in wealth.”

— Marx - Human Requirements 1844

[fuzzygifs]

x

[faer1etale]

Really like it when Aphrodite is depicted wearing bigass headwear, huge fan of that btw

(This one isnt that big but who cares)