tunteellinen siili

history and art lover, probably not trying my best

[stlamb]

"monastic cells" - miniature models made by nuns, where they depicted themselves as little dolls praying in their monastic rooms. they can be found in museums in france, belgium, and switzerland. crosses, images, and quotes from the bible, as well as everyday items are meticulously crafted.

[dagodeiwos]

Michael Parkes - Dante in Exile

[queershakespeare]

replica by alessio carnevali // st. mary magdalene from the santa lucia triptych, painted c1470 by carlo crivelli

[literary-sparks]

“Why don’t you use ai” idk man beyond the obvious environmental and “this machine causes psychosis and encourages people to kill themselves” thing I think asking the equivalent of a solid D student who is also a pathological liar if they can answer my question/do the work for me seems pretty fucking stupid

[yorksnapshots]

White Roses and St. Mary’s Abbey, York, England.

[kung-laos-hat]

Courtesy of The British Museum.

[stalinistqueens]

We have finally found a worthy boyfriend for the anarchocommunist skeleton.

[pankendev]

there are places in the world today that are experiencing 40°C for the first time in recorded history. of course there's no way to know whether chucking billionaires into volcanos will appease the sun god but i feel we're doing the scientific method a disservice if we don't at least try

[innerchildabortionclinic]

also I don't think parents "these days" are uniquely terrible, I just think neglect is showing up in new ways as technology progresses. today's ipad kid would've been wandering around in a ditch alone all day and night before. parents not wanting to have to deal with children is not a new phenomenon.

[fnordseer5]

our idiotic ancestors used to believe stuff that's not true but luckily we've now figured out all the true things to believe in

[innerchildabortionclinic]

WTF (where's the feta?)

[cuties-in-codices]

marginalia birds

from the llangattock hours, illuminated by willem vrelant, the master of the llangattock hours, the master of the llangattock epiphany, and other flemish artists in bruges, 1450s

source: Los Angeles, J. Paul Getty Museum, Ms. Ludwig IX 7

[petrarchesco]

Marc Bloch - "The Historian's Craft (Apologie pour l'histoire ou Métier d'historien)"

[bethanydelleman]

The thing that pisses me off about bad period movie adaptations is when they go for a realist tone but don't care about what real people wore or thought. Like the tone is realist, the acting is realist, the colour palette is realist, and the clothes are things that real people at some point in time have worn. But they aren't accurate to the period, and it's just like. That's not a realistic depiction of the period or the people in it. So what's the point in being realist???

Incidentally, this is why I don't care that the recent Wuthering heights wasn't realistic period dress or society etc. It was blatantly symbolic (and Symbolic!) and wasn't trying for realism or period accuracy, so I don't criticise it for period inaccuracy. Like, who walks across the moors in a massive tulle gown in real life? No one ever, and that's the point. It's obviously performance, and that's what its going for. My criticisms are based on other criteria.

But this new adaptation of S&S seems realist - the colour palette and grading, the costumes and hair that aren't accurate but look like something real people at some point in time have worn, the characters that read like real(ish) modern women... It's trying to read as realist without being realistic and just. What's the point in setting it in the past then?? Why adapt Sense and Sensibility, a realistic realist novel, into an unrealistic realist movie?

I'm just so tired of earth tones being "realist." People wore bright clothes! The past wasn't drab, honestly it might have been brighter than now given our whole obsession with beige minimalism.

But no, it's not realistic unless it's BROWN and BORING

This is just modern minimalism imposed on the past. Just make a modern.

This is all just P&P 2005 recycled over and over

[mimicofmodes]

The thing I find particularly irritating is that they will then justify it with stuff like "and people didn't sit still for hours and hours to have their hair and makeup done everyday! stuff wasn't pristine because they lived in it! and those fashion plates only reflect the absolute top of society!" (as the writer for this adaptation did). Because it's like,

a) If you are doing Jane Austen, you are doing the top of society, percentage-wise. Stop lying to yourself. (Even the Dashwoods. They're poor in comparison to their previous situation but they still have incomes and more to the point, their old clothes.) They have servants. There is someone waiting to help them change clothes.

b) Oh my god it does not take hours to twist someone's hair up and stick a comb in it, and cosmetics were minimal. The alternative to pristine is not "full blown mess".

c) Have you ever heard of this marvelous technology, "cotton printing"? It had been around in Europe for about a century by the Regency and recent technological advances had made printed cotton even more affordable by 1800, such that basic prints were quickly becoming the cheapest and most common fabrics among the poor and middle class. The more you know!

[bethanydelleman]

You are very correct!

I feel completely spoiled by Chinese period dramas/historical fantasy because they embroider/decorate/print EVERYTHING. None of this B.S. minimalism. It's like how much embroidery and beading can we fit on a single outfit if we try our very best

Black and white outfits but with so much texture going on

Even more simple outfits have nice decoration

And Europe had lots of silk by Jane Austen's time, it's not just a fabric issue (Europe has had silk forever, to those of varying degrees of wealth, but these are the wealthy as you point out). But no, Hollywood thinks the past must be boring and minimalist and earth toned.

Bridgerton is much closer to what I showed above and honestly even though it's historical fantasy at least we get some colour and bedazzling... Emma 2020 was the perfect middle ground to me.

[inseparablefromtheimpossible]

no i don’t think that wishy washy mystical religious stuff is inherently feminine and female literature is literature whose writing ties into mystical spiritual connection to a divine feminine that exists and connects all women to nature and the universe. i don’t feel connected to jack shit and couldn’t give less of a fuck about mysticism. there’s no inherent feminine literature or a particular feminine way to write. i vehemently disagree with that. the idea that female literature should be all sentimental magical bullshit is ludicrous and frankly offensive. idgaf

[svrrealist]

Santiago Rebull (b. Mexico D.F. 1829 - d. ibidem 1902) La muerte de Marat (The death of Marat), 1875.

Oil on canvas, 58.7 x 66.3 cm

[civique]

If the people were asleep, then the People’s Friend would just have to shout louder. He decided that in order to shock the comatose masses out of their stupor he would have to make a major adjustment in his agitational techniques. As early as the beginning of June [1790] he had asked his readers, “Will it always be necessary to treat you like overgrown children?”

Soon you won’t open your eyes to anything but cries of alarm, of murder, of treason … How can I keep your attention? How can I keep you awake? There’s only one thing left for me to do; I’ll have to take your tastes into consideration and change my tone. Oh, Parisians! No matter how bizarre this will make me appear in the eyes of scholars, I won’t hesitate to do it — your old friend cares only for your safety. I have to keep you from falling into the abyss.

It is somewhat amusing that Marat foresaw the judgment of future historians who would cite his inflammatory rhetoric to depict him as a “madman.” He announced in advance that he was going to become more shrill, more frenetic, more hysterical, more “bizarre,” if that was what was necessary to rekindle the Parisians’ revolutionary spirit. And that is what he did. As extreme as Marat’s polemical style became, however, it never declined in political sophistication. It avoided the crude street slang, expletives, and bathroom humor utilized by other popular journalists such as Hébert and Lemaire. Nor did he fall back upon empty ultimatums or abstract “Down with the government!” sloganeering. Rather than continuously calling upon the sans-culottes to rise up in unfocused revolt, he chose his issues carefully.

Jean-Paul Marat: Tribune of the French Revolution (Clifford D. Conner), p. 70

[centuriespast]

GAINSBOROUGH, Thomas Study of a Lady c. 1785 Black chalk and stump heightened with white, 485 x 312 mm Private collection