Risqué Edwardian postcard by totallymystified
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Risqué Edwardian postcard by totallymystified
More 1890s AU of my Search for Quintessence characters! Here's part 1 ~
I started doodling this AU again because I had the thought: what if Willow was a chalan (cowboy) back in Peru? Like it's the 1890s nothing is stopping me from making him one! No wonder he hates London when he moves there lol, he's used to the outdoors and can't stand the industrial smog.
Lionhart is a spoilt aristocrat (not so different from canon haha). He has an interest in boxing and is a patron to amateur boxing rings- he claims he wants to box one day himself but everyone knows he won't because he'll flop. Before I had finalised Lion's design in canon I had considered leaning into a victorian dandy aesthetic and had experimented with a few designs involving waistcoats and a cane but it wasn't really clicking and I went for dark medieval prince instead!! So I already had a pretty clear image for 1890s AU Lion, I'm glad I get to reuse the lion-headed cane concept here
Umbra is a fashionable lady from Meiji Japan who's travelling Europe with her sister on an art tour. She has a rather eccentric love for art, especially music and hopes to go to as many orchestral concerts and operas as possible on her visit (and improve her piano playing). Umbra is a hard character to put in realistic AUs because she's a death goddess possessing a mortal woman's body and her ethos and circumstances make no sense divorced from that context. So for this AU I'm making her a twin (the lady whose body she's possessing in canon is the good twin and she's the bad twin). I used a kiku-zukushi (many chrysanthemums) pattern on her kimono as white chrysanthemums are associated with death- I still wanted to give her some memento mori motifs even in an AU where she's a human because that really is so integral to her character!
Bibliothek Gustav Meyrink. Sepp Frank.
Neue deutsche Exlibris
Richard Braungart München: Franz Hanfstaengl, 1919.
Celebrating the New Year at the fin-de-siècle
Joaquín Sorolla y Bastida (1863-1923)
Olas
ca. 1900
The prevailing masculine psychosadistic insistence that women prove their virtue through extreme feats of saintly self-negation created a multiplicity of responses, but all were related to women’s attempts to make the best out of an intolerable situation, to construct alternatives, to gain a sense of control over the psychological obliteration they were being asked to undergo […] However, as women everywhere tried hard to become the household nuns they were supposed to be, the act of suffering as a defiant, if passive, form of self-identification lost the rebellious element which had been its main attraction for Emily Bronte and became instead a sign of passive compliance with the cultural image of extreme virtue. What better guarantee of purity, after all, than a woman’s pale, consumptive face, fading, in a paroxysm of self-negation, into nothingness?
Excerpt from “Raptures of Submission: The Shopkeeper’s Soul Keeper and The Cult of the Household Nun” from Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siecle Culture by Bram Dijkstra
House-Studio/Casa-Estúdio Carlos Relvas (1872)
Golegã/Portugal
Iacchus
Le sang des dieux Jean Lorrain Paris: Edouard-Joseph, 1920.