#rococó

[antique-girl]

ロココ調風コスメ

[strwberrythorn]

"Eu sou assim como você" ♪♪ 🩷🩵

(Open image for better quality)

Eu reassisti "A Princesa e a Plebeia" essa semana, depois de um ano sem ver. Eu amo tanto esse filme, seria um crime não ter nenhuma arte dedicada a ele pra começar o ano! Tentei fazer algo misturando fantasia com trajes vagamente historicamente corretos.

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I rewatched "The Princess and the Pauper" this week, after a year without seeing it. I love that movie so much, it would be a crime not to have some art dedicated to it to start the year! I tried to do something fun by mixing fantasy with vaguely historically accurate costumes.

[celestialcherubicangel]

Autumn Aesthetic

[madeleineengland]

Palazzo Pianetti (Jesi, Italy)

[faghagmadonna]

Madonna at the 1990 MTV awards

[artthatgivesmefeelings]

Federico Zuccari (Italian, c.1540/41-1609) Giorgio Vasari (Italian, 1511-1574) Angels Fighting Demons, ca.1564 Vatican City, Rome

[coffeeforthemoon]

Elisabeth Louise Vigée Le Brun, Portrait of Julie Le Brun (1780–1819) Looking in a Mirror, 1787.

During her lifetime, Élisabeth Louise Vigée Le Brun was not only the most celebrated female painter in France but also one of the most sought-after portraitists in Europe. Closely associated with Queen Marie Antoinette, she built a career that depended as much on artistic skill as on a carefully managed public image—something she understood with unusual clarity in the competitive environment of the Parisian art world. Her admission to the French Royal Academy in 1783, despite institutional resistance to women artists, marked a significant milestone and allowed her to exhibit regularly at the Salon.

In 1787, she presented three portraits of her daughter, Julie, at the Salon, including this particularly inventive composition. Far from being a simple maternal portrait, the work can be read as a subtle assertion of her intellectual and artistic identity. By foregrounding her role as both mother and creator, Vigée Le Brun suggests that maternity does not confine her creativity but rather coexists with and even enriches it.

In the painting, Julie appears simultaneously in profile and facing forward through the strategic use of a mirror—an intentionally impossible construction that challenges conventional perspective. This dual image not only demonstrates the artist’s technical sophistication but also engages with longstanding artistic traditions. It recalls allegorical representations of Sight and participates in Enlightenment-era debates about perception, truth, and illusion in painting. The mirror becomes more than a compositional device; it serves as a philosophical tool, inviting viewers to question what is seen and what is real, while also reinforcing the painter’s command over visual deception and narrative complexity.

[diemelusine]

A young girl reading (c. 1772) by Jean-Honoré Fragonard. National Gallery of Art.