Day Dress
c. 1876
by Martha J. De La Mater
American
The Fenimore Art Museum
d e v o n

izzy's playlists!
he wasn't even looking at me and he found me

No title available
tumblr dot com
Game of Thrones Daily
Cosimo Galluzzi
sheepfilms
🪼
wallacepolsom
i don't do bad sauce passes
Peter Solarz
Mike Driver

Kaledo Art

pixel skylines

titsay
dirt enthusiast
$LAYYYTER
RMH
TVSTRANGERTHINGS
seen from United States

seen from United Kingdom

seen from Italy
seen from France
seen from Germany

seen from Singapore

seen from Germany
seen from United States

seen from France

seen from United Kingdom

seen from South Korea

seen from United States
seen from Germany
seen from Norway
seen from United States

seen from Germany
seen from Singapore
seen from Spain

seen from Malaysia
seen from United Kingdom
@sarahbellia
Day Dress
c. 1876
by Martha J. De La Mater
American
The Fenimore Art Museum
One thing I am just not going to let go of is objecting to the uncritical mainstreaming of the "radical feminism is bioessentialist" talking point.
Materialist feminism, a pretty important branch of radical feminism, famously defines both sex and gender as social constructs.
I'm just going to say it - body hair (and beauty standards in general) is truly one of the final frontiers of women's issues in the West. Too many women just love their gilded cage too much. It shocks me how virulently women will defend it. I barely open my mouth and the "well I like how it feels. it just makes me feel cleaner. sensory issues. I do it for me. feminism is about choosing (to conform)." brigade come rushing in by the dozens.
Well I don't like how it feels. I don't feel cleaner without body hair. I don't prefer not having body hair. But who will advocate for women like me, but me? For women who do like hair removal, they are advocated for every time they step out of the house and see 99% of the female population also conforming to that standard, or when they watch a movie and see all the shaved actresses, or view an advertisment, or open a magazine, or watch a music video, or scroll through social media, or walk down the streets without receiving insults and glares for having a completely normal bodily feature.
You genuinely can't even point out that hairlessness is a man-made standard without women losing their shit and acting like they are totally immune to propaganda they've been exposed to from birth. I'm so tired.
An ultra extended flowchart for identifying dynasties! Even identifying sub-periods of each dynasty. As always, this is a general guide ther
does the makeup look sad or happy? >>> goth & sad >>> middle tang dynasty [lmao]
Nasturtiums -  Stanisław Wyspiański , 1903.
Polish , 1869-1907
Crayon , 113.5 x 154 cm.
The Lovers by Leonora Carrington (1987)
🧡Sweet mother, I cannot weave…🧡 My full drawing of Anglo-Saxon era lesbians for We've Always Been Here artbook along with a look at the progress. (Digital sketch & pencil drawing)
Shout out to all the #loomheads who are liking this piece. I tried very hard in my research to make it a decent depiction so these tags both make me laugh & very pleased!
Since a few people have asked me this in a couple of places, I thought i'd answer -
It's not available as a print right now but it will be later in the year, likely October! Sorry for the wait but due to the contract of the art book this is for, I'm not allowed to sell prints/merch etc of the piece until 6 months after the Kickstarter campaign.
TLDR; Please do keep an eye out for a print announcement in October!
The MET Gala is a fundraiser for The Met. Putting on the fashion exhibition is VERY costly. Has the politics, inflation, and bullshit gotten out of hand? Yeah. To give you an idea of how much this can cost, the collection I work for has 2 gowns from 1798 & 1809 currently being conserved and had mounts made for them so displaying them wouldn’t cause further damage. They were already in a solid B shape and cost more than 50k to conserve so the public can view them for 5 months each. They will then be reboxed (archival tissue and box) for a minimum of 10 years before they’re considered to be seen again. Oh, and archival material only lasts 10 years before it has to be replaced, whether or not it’s being considered for display.
Don’t like the gala? Support local museums with a textile or fashion collection, they get fractions of the revenue or publicity, and still aim to achieve a solid fraction of what the MET does. More collections are deaccessioning their textiles because they’re costly to maintain, large and need space. However, after big names artists like Van Gogh, Botticelli or da Vinci they get the most interest in from the public. The study of clothing is an opportunity to shine light on women & minority stories as well. Don’t let the fact that some of the guests suck and have more money than any of them need take away the importance of museums and dress study.
Clare Victor Dwiggins, 1908
I was amused by this rather “freaky” bit of Edwardiana, especially since I always got the feeling that Charles Dana Gibson, when drawing the Gibson Girl, was at least partially fantasizing about being stepped on or something.
i want all my friends and followers and mutuals and acquaintances to know from the bottom of my heart: i don’t respond to your messages because i’m an insane person, i am insane medieval hermit software running inappropriately on modern queer hardware and social media scares me. it is not your fault
when i get a notifications on my phone i try to kill my phone with a rock
Penelope's weaving
aka I, an archeologist, am here to review the accuracy Penelope's loom in the 2024 movie 'The Return' because I want to avoid thinking about all my papers due next week. For context, I am currently writing my bachelor paper on Minoan textiles, and while I am definitely not an expert, I do know a thing or two about bronze age textile technology
So first point of pedantry: that is not at all a bronze ago loom.
I can't say exactly say what kind of loom this is, as I've only studied bronze ago looms. Whatever kind of horizontal/draw/treadle loom this is, I can confidently state that this would not have been used in Mycenaean times. I'd say that we only see these kinds of looms in Europe from the medieval period, somewhere around the 11th century.
In the bronze age, there are three types of looms in use (as far as we know). The horizontal ground loom, the two beam loom, and the warp-weighted loom. Most traditionally, we see iconography depict Penelope weaving on a warp-weighted loom, like this beautiful vase does.
We can clearly recognize this as a warp weighted loom, because we can see the weights: they're the little triangles at the ends of the vertical threads (the warp). The warp-weighted loom is also the only loom we can find archeological remains of, as the loom weights were often made of clay (sometimes pebbles), while the other types of looms were purely wooden.
Furthermore, I have genuinely no clue what she is supposed to be doing with her weaving in this short clip. There is no visible shed, which is the separation between the warp yarns, through which you pull the weft, so that you can actually weave something.
Here's a picture of the shed, as you can see, every other thread is pulled up, and the shed can then be switched around to create a woven pattern.
In the short clip we see, she seems to just be drawing some threads through the warp, which is more than a little nonsensical. If one was weaving a smaller fabric or a tapestry, one could perhaps use a pin or sword beater to pick up individual threads of the warp to pass your horizontal thread (the weft) under, and create patterns that way. That is still not what she is doing here. Additionally, she is weaving a solid red fabric, which would not make it a very interesting tapestry.
Perhaps she's undoing her weaving in this scene? It would make a little more sense if that was what she was doing, as no one would ever be actively weaving at night! It required a lot of light to be able to see what you were doing. Candle light just did not suffice. It still looks a little strange to me, as I don't actually see any woven fabric on the loom that she could be undoing. It's all just loose warp threads.
Honestly, it kind of looks like they picked up a loom from the nearest interactive history museum and plunked it into their movie without doing any research. I think it's a little sad that when adapting a work that centers weaving as much as the Odyssey does, the filmmakers did not do any research into bronze age weaving. You really don't need to be writing a paper on this stuff to find sources for this!
I'll just leave you all with this: a beautiful reconstruction of a warp-weighted loom, with the beginnings of a tapestry as Penelope would have woven it. You can see the loom weights at the bottom, and the sticks in the middle called the heddles, which were used to create the shed I discussed earlier. This is part of the Penelope project.
'Diction'
January 2022
The Lady of Shalott (1889)
by William Holman Hunt
I’ve been experimenting more with collage recently! Please enjoy this Nona the Ninth inspired piece that I made—Nona is my favorite of the series, and cutting up old National Geographic’s gave me lots to work with for this piece
The Bird of A Thousand Voices, installation by Boris Acket at the Vilnius Light Festival in the St. Catherine Church, 𝟤𝟢𝟤𝟨
Two women catch winged hearts in a net, 16th century.
From the Petit Livre d’Amour (Little Book of Love) — an ornate bespoke book given by the Lyon-born poet Pierre Salas to his then lover and future wife Marguerite Bullioud: https://publicdomainreview.org/collection/the-little-book-of-love