#animateglee

[twocandles]

current mood: floating aimlessly through time and space, yelling about writers who put their fanfic on tv and just GET IT ALL WRONG

also current mood: who of y’all is gonna write the show we all deserve and straightbait the audience while doing so

[klaineencyclopedia]

Gymnopedies by hazelandglasz

“I just really want a story where Blaine dips Kurt and then kisses him. It can be New Years, they can be dancing, it can be out of the blue, I don’t care I just want it to be sweet as pie and so goshdarn romantic that it hurts my heart”

Well then.

So fluffy it might be wise to call the dentist in advance.

Drabble, low rating. On Tumblr.

And inspired by this fic, a beautiful illustration by animateglee!

[twocandles]

This may be a dumb question but what is lord Alfred's position/title?

Hi! Not a silly question. I’m not that familiar with British positions and ranks etc either but he’s the queen’s equerry. I can link you to wikipedia but also @templehill and @animateglee can probably give you a more detailed summary, also re his title as Lord. And maybe you guys can explain how historically (in)accurate Alfred’s portrayal is because I’m definitely wondering what his job includes and I’m not sure the show is selling that correctly?

[tacogrande]

animateglee reblogged your photoset and added: “animateglee: tacogrande: klaine-is-good: Kurt coBlaine (4.17) ...”

“queer baited..A QUEER SHIP” OMFG THAT IS SO TRUE...

IM SORRY IM GIVIN YA THESE FEELS AGAIN LOOOOL alsO WHAT??? that happeneD? was it for s2 bc i wasn't around at that time but holy shit that's BS (this also reminds me of that scene where kurt and blaine are at the lima bean an d this couple are literally oN TOP of each other in the bg)! my blood pressure is risinG

[klaineencyclopedia]

Modern Classics Verse by hazelandglasz

Blaine Anderson loves classical music. He breathes classical music. He plays his alto violin, listens to it, takes care of it almost day and night. He chose a different career, but it’s still the one love in his life.

When a new neighbor settles in the building across the teeny, tiny street from his apartment, Blaine might consider cheating on music.

Verse of 11 parts: about 10,000 words total, low rating, complete. On Tumblr and AO3 (not the whole verse though).

Partly inspired by this cute drawing by animateglee...

[hazelandglasz]

Art is Magic, Ch.24 : Jean-Honoré Fragonard, Intimate Rococo

Born to a glove maker, Fragonard only starts his artistic training with François Boucher around his eighteenth birthday, the older Master recognizing his raw talent. But Boucher quickly proves too impatient to properly train the young man and sends him over to Chardin, who is known for his pedagogic abilities that complement his artistic nature.

Under the great luminist and still-life painter, Fragonard achieves one of the quickest Magnus Opus throughout all of art history, producing a Stone in less than six months, which is a testimony of his motivation and magical skills.

In addition to this accomplishment, Fragonard manages to win the Prix de Rome while not even registered at the Academy. Before departing for Rome, Fragonard stays in France to study composition under the tutelage of Charles-André van Loo.

Fragonard doesn’t stay in Rome, travelling through Italy to get as much inspiration from the Renaissance masters as possible, questioning their portraits at every given opportunity and sketching copies of the most important frescoes still present in the palazzi and of the gardens.

The later will greatly influence his future compositions, providing an idyllic scenery for the romantic--in the literal sense of the word--compositions he’s known for.

He also makes his brushstroke evolve as he learns about the Dutch masters, emulating their vigorous approach.

An example of his technique, blending all of the influences--present Masters and old ones together--, is found in his painting of young Giuseppa Barbapiccola, an Italian witch and philosopher who is best known for translating Diderot’s “Principles of Philosophy” in Italian, but also brought new developments to the field of Rune interpretation.

In the painting’s Muggle view, the young witch is presented in profile, completely absorbed in her reading. As it is, even when unfrozen, she doesn’t move much more, only picking up a quill to jot down notes or standing up to refresh herself with a glass of wine (Fragonard’s mastery of the cristal’s texture and the wine’s thickness is admirable, and well worth the time spent waiting for Giuseppa to unfocus from her task).

She appears to be sitting at a window, enjoying the sunlight while engrossed in her reading, the light casting a faint shadow on the wall behind her.

As most witches in Rome during the 1770s, Giuseppa wears a yellow dress, the white collar marking her status as Master in her field, while the lilac ribbons on her bodice and in her hair symbolizes her interest for philosophy, with reason.

Each texture--her hair, her dress, the ruffles of her collar and cuffs, the velvet of the pillows she’s resting against--is rendered in a different brush stroke: her dress is a thick weave of yellow and white, while the pillows are more loosely sketched, just a passage of the brush on the canvas to convey their fluffiness, and the collar marked with the back of the brush to be almost sculpted into the medium.

Thanks to the composition and the way Fragonard builds his scene within the canvas, the viewer can feel like he’s interrupting a private scene, stumbling upon the celebrated witch during her task, but the agitated strokes, paired up with the brightness of her robes, break away from this sensation of loneliness and studious concentration.

More than any personal affinity for the subject, it’s the high demand of the most powerful patrons in Paris--starting with the King himself--for his light, frivolous scenes that drives Fragonard to specialize his production in it. For this reason, his name will forever be associated with pictures of young couple just starting the exploration of the more carnal possibilities of their love, the passionate side but with the innocence that will make the Church look the other way to avoid condemning the court’s favorite.

In spite of his success, Fragonard never opened a studio, choosing only one apprentice: Marguerite Gérard, his sister-in-law.

With the Revolution, Fragonard loses his most influential clients (through exile or, in the worst cases, guillotine), and he quickly leaves the capital settling down in his birth town of Grasse, where he paints a series of decorative panels for a relative’s house.

Fragonard passed away at the end of the 19th century, peacefully retired and overlooking his apprentice’s work with the same patience Chardin used with him, while providing advice for any artist requesting it.

[hazelandglasz]

Art Is Magic, Ch.22 : 18th Century in Europe, Introduction

In arts like in politics and literature, the 18th century is a violent reaction against the rules inherited from the 17th, and for a moment, it feels like all that matters is to reject all the traditions from the past, to slowly evolve into a simpler, more peaceful modernization of said traditions to build a new world.

To the grandiloquent, well-behaved style of the 17th century is substituted a new, more graceful and lighter style, in the manner of a Watteau.

If many of these painters look into mythology and Ancient history for inspiration, they all share a common desire to keep away from complicated subjects and to represent their characters in a profusion of sensuality which, in the case of wizarding paintings, make them completely inappropriate for public places.

Among the most famous wizartists of that timeframe, let’s quote Fragonard, whose natural liveliness makes him the perfect representant of this first half of the French 18th century.

During the second part of the 18th century, though, another revolution starts brewing, taking the pictorial arts in its wake. Far from the pastoral scenes or the easy-looking myths from the past, the artists want to witness their time and the changes it brings to society as a whole, inspired by the philosophers of the Enlightenment.

Among the painters who manage to apply this change, this philosophical change to their style, one cannot oversee the work of Chardin, with the high morale he applied to both his life and his paintings--in a way, he blends the lightness of the French School to the severity of the Flemish, creating a new form of art that actually announces, in its veiled criticism of the French society, the hardship of the French Revolution of 1789 (but more on that subject in a moment).

Portrait also becomes a prominent genre in French paintings during the 18th century, and particularly in a medium that had been cast aside uptil now: pastels.

Master of the pastel portrait, Quentin de la Tour never managed to hide his magical abilities, using maybe too much pulverized Artist’s stone in his composition. He was saved from losing his wand and from being exiled from the community by his friend Diderot, who, by openly nicknaming him “The Magician”, appeased the Muggles and comforted them in the belief that there is no such thing as magic.

Hidden in plain sight, so to speak.

Historical painters become the elite of the French school of painting, encouraged by the academy in their endeavors.

The rediscovery of Pompeii and Herculanum motivates a new taste for Antique, or Classicism as the movement will be known, and most of the patterns found on the ancient frescoes (and the outfits worn by Romans and Greeks) make a comeback in the 18th century fashion as well as in most paintings.

But along with the esthetic that quickly takes over each and every canvas produced in the kingdom, the ideals of Ancient Greece sweeps over the whole country, ideals of democracy and equality between the different components of the population that are at the very foundation of the revolutionary movement in France.

One artist in particular shows an unprecedented skill for using those patterns and those models to actually represent his time and its evolution: Jacques Louis David, leader of the French Classicism movement and most important painters of the reign of Emperor Napoleon Bonaparte.

But in his wake, David only agitates an even more powerful artistic revolution, that takes over Europe as one: the Romantic movement, lead by Géricault and Delacroix.

[klaineencyclopedia]

I Want to Hold Your Hand by daltoneering

My contribution to the Klaine Book Project 2015. I had the opportunity to work with the amazing animateglee on this, and she created some beautiful art which can be found here.

Our theme was vintage!Klaine, so have some 60s Beatlemania…

Drabble, low rating. On Tumblr.

Gorgeous, art and fic!