That Few Girl's Writing

Here's my writing...and stuff.

[magicalnaturetour]

Cute Baby Goat (by tintedglass)

[forest-faerie-spirit]

[thatfewgirlwriting]

Idea: The animals start to come back. As the forest grows, animals slowly start reappearing: rabbits, squirrels, birds, deer, even unicorns and sprites.

[kamigarcia]

[thatfewgirlwriting]

Gallery Review: The Vet

George Cephus, Jr.’s lifelike painting pulls us from the world we know and live in into the memory of something historical that changed lives. This piece, on display at the Irving Art Center on MacArthur Street in Irving, has details and a message worth a second look. Amidst the multiple works, one oil painting stands out, entitled “The Vet”. The work is large on canvas, 32” X 45 ¾”, created sometime in 2012. In the image, an elderly man with a walking cane and camera stands in front of the Vietnam Veterans Memorial, giving the impression his visiting is in honor of those who sacrificed their lives. The man faces away from the Memorial, as if posing for a picture, as well as another tourist in the background, as seen in the reflection of the Memorial wall. At first, the old man looks like a tourist visiting on a sunny day, based on his sunglasses and short sleeved shirt, but the cane suggests he isn’t in perfect health, possibly from age, or from an injury he might have gotten overseas. In the top left corner is what appears to be a reflection of clouds, but as we look closer, they are in fact clouds above forested mountains, which are not in Washington D.C., where the memorial is located; this suggests it is a memory of the man’s tour in Vietnam, where it is known for its greenery. The painting is naturalistic, detailed down to the wrinkles in clothing and names on the Memorial wall. There is an interesting balance to his piece, as the top left corner is whiter and brighter, whereas the bottom right corner is darker and blacker. It gives the impression that there is something both happy and sad about this man, that while he is alive, he’s constantly reminded of the sacrifices made during the Vietnam War. The paint strokes are both smooth and precise, giving the idea that the old man and the Memorial are right before you. The light source looks to be the sun, which is up by the clouds, casting shadow on the lower half of the image, creating an asymmetrical balance. This image is very real and believable, and even more enjoyable to analyze its details and motivations.

The work of George Cephus, Jr. is like that of a memory. The painting is detailed and precise, putting us in a very real existing place that’s historical, where we see and elderly man who experienced it and played a part of that history. There is lightness about seeing the old man dressed in a blue Hawaiian shirt with a camera around his neck, as though he lives a common, every day life, but the sadness settles in when you notice the cane and his location. He isn’t smiling so there’s another indication that visiting the Memorial isn’t a happy thing for him, but perhaps something he feels the need to see. It is obvious there are other onlookers visiting as well but from their positions and unapparent connection, emotional and physical; they are probably just tourists, too young to have experienced the Vietnam War. Seeing this Veteran before the Memorial seems to have paused time, sharing for a brief moment a glimpse of this man’s life and struggles. There is an air of sadness, despite how it appears the man has moved on from his past. While the reality of this piece is apparent and the emotional pull for sympathy is present, the effect of this historical connection is bittersweet.

The work “The Vet” by George Cephrus, Jr. successfully speaks to me in an emotional way. The details are not only beautiful but insightful, that makes human connection to not only the historical event but the Veteran who witnessed and participated. I’m forced to see from this man’s point of view, the sacrifice and time he gave for our country; for me. It makes me realize how fortunate freedom is and reminds me that it’s bought with a price.

[thatfewgirlwriting]

Travel Project to Rome

From the first time I studied Greek mythology in eighth grade, I was entranced by the interesting tales and beautiful art done to captures the embodiments of the Rome and Greek gods and goddesses. I became really taken by the story of Hades and Persephone, known as Pluto and Proserpina by the Romans, specifically by the paintings and sculptors of them. That leads me to Rome, Italy, where this wonderful phenomenon began. Naturally, my intrigue of Rome is intensified because my boyfriend’s ancestors, having the surname “Roman”, are indeed from the very place I wish to go. To visit and tour Italy and the museums of Rome, we will have booked airline tickets at $1,500 each to Rome (“Travelocity Vacation Packages”). While on our 10 day journey, we hope to limit ourselves $1,000 for hotel expenses and another $1,000 for food and other sightseeing adventures. While I was aware of Roman sculpture in general, more specifically how the mythology effected the people, not until I began this project did I come to understand the impact that artists, especially Gian Lorenzo Bernini, had on art and artists of Rome.

While the Greeks were known and thought of as the brains of world, the Romans had their fair share of fame. Competing ever for glory in Greece’s shadow, they finally found their grounding in art and architecture. Places like the Colosseum and the Pantheon are famous even today because of Roman artists’ tactics and skill. The Roman soldiers were widely known and feared, having the power to raid and plunder other cities, which they did to the Greeks often. It was no secret that the Romans stole others ideas and made them their own, another reason why “Roman sculpture was heavily influenced by Greek examples”, (“Art in Ancient Rome”). Other countries, regardless if the inspiration came directly from Greece or Italy, learned and incorporated the ancient methods and techniques into their own cultures. One of the many famous galleries in Rome, Galleria Borghese, is home to many of the paintings and sculptures that makes Rome and its artists famous, such as Antonello da Messina, Antoni Canova, Beato Angelico, Gian Lorenzo Bernini, and many more. The museum itself provides a place of escape, a window to the past, a way to see the world as those very artists did, having guided tours, souvenirs to take with you, and many books for purchase about the art pieces (“Galleria Borghese.”)

Giovanni Lorenzo Bernini, having later dropping his first name to Gian, has four pieces in the Galleria Borghese: David, Apollo and Daphne, Pluto and Proserpina, and Truth Unveiled by Time. Bernini, being influenced by his sculptor father from youth, Pietro, started sculpting as well. By age 19 he was commissioned by Scipione Borghese, an Italian Cardinal and art collector, to complete four life size sculptors for his villa, thus bringing to life The Goat Arnalthea with the Infant Jupiter and the Faun, Apollo and Daphne, David and a bust of the Cardinal himself (Mormando). Bernini’s name became quickly known, news of the prodigy’s talent spreading rapidly. It seemed that “his artistic sensibility, coupled with his capacity to charm and to be charming, were nearly flawless - so impeccable that they helped created a new style, the Baroque, which reflected new ways of thinking about the world and about God” (Morrissey 15). This is highly noted in Bernini’s Ecstasy of St. Teresa created for the Cornaro Chapel of the church of Santa maria della Vittoria, Rome. The era of Baroque, a style that exaggerates motion and clear detail to produce drama, tension, exuberance and grandeur in sculpture, painting, architecture, literature, dance and music (“Baroque”), is credited to Gian Lorenzo Bernini, much to his new take on art, as he said, “There are two devices which can help the sculptor to judge his work: one is not to see it for a while. The other... is to look at his work through spectacles which will change its color and magnify or diminish it, so as to disguise it somehow to his eye, and make it look as though it were the work of another...”

“Bernini was a man driven by many passions, possessed of an explosive temper and a hearty sex drive, and he lived a life as dramatic as any of his creations,” as was reflected in many of his works (Mormando), especially The Rape of Proserpina, also called Pluto and Proserpina and The Abduction of Proserpina. A big feat for Bernini as sculptor is his ability to capture life, the naturalism of his pieces. Its as if the beings, though merely marble or another fabrication, are really there, really human, tangible in the flesh. The movement and emotion in The Rape of Proserpina creates not only a mental reaction for the audience, but a physical one as well. It is interesting how Bernini interpreted that of the popular beliefs, such as the Roman gods and Biblical characters, such as David, having captured the essence of the beings, as if caught in action, a picture taken, a moment frozen in marble statue, stuck in time.

As Bernini was influenced greatly by his artistic father, Pietro, he is also often compared to and put in the same light as Michelangelo, Leonardo and Raphael. Being a prodigy and taking to fame quickly, Gian Lorenzo Bernini not only became a popular and well known name, but the father of an entire era (Scribner III). Many Popes and Cardinals befriends and commissioned work from him, for their own desires as well as for churches, deciding his work was not only beautiful but inspirational, having and giving power to those who actually see the personification of their deity.

The Rape of Proserpina is 295 cm tall, standing on a square platform. The piece was started in 1621 and finished the following year and is made entirely out of marble. It currently stands on display at the Galleria Borghese in Rome, Italy (“Terminartors”).

After getting past the initial surprise of life likeness, one can analyze and appreciate the details of this piece. As a whole there is movement, as the myth says Pluto abducted Proserpina, which is the focus and purpose of this piece, captured in the position of the feet and hands, the cloth that seems to be falling between them and even their hair, that seemed to be blowing in an invisible wind, wild and detailed, which is interesting because in reality, that position of their hair would’ve lasted a fraction of a second, before moving to another position. Their facial expressions are drawing; Proserpina, the woman, has a distressed expression; her brows are furrowed, her mouth open as if from a scream or cry, her eyes open as if in “crazed terror” (Smarthistoryvideos). Up close, one can see there are even tears on her face. Pluto, on the other hand, is the man, whose face is gleeful, showing a bemusement to her struggles because he is so powerful, knowing she doesn't have a chance. The reasons for their expressions are explained in their body positions: Proserpina is pulling away, while Pluto is holding onto her. The muscle tension in each of the characters, especially Pluto’s legs, which are taut as if you can feel him pulling her toward him, and while Proserpina’s a softer, womanly shape, she’s obviously fighting to get away from him. The position of their hands is interesting; knowing that this is a statue of marble makes it all more inspiring. Pluto’s hands, which are holding onto Proserpina’s thigh and waist, making an indention as if he is grasping flesh. It’s as if seeing a real fleshly couple making a scene. Signs of struggle, on both peoples faces and in their posture, is obvious. Proserpina’s desperation to get away and Pluto desire and power to take her. Its a display of power, Pluto, being the fierce and feared god of the Underworld, abducting the beautiful Daughter of Spring, who is weak in comparison, though she puts up a fight. There is another additional part of this piece, on the backside of the sculpture. There is Cerberus, the three-headed dog that guards the gates of the Underworld. It is barking, having as much ferocity and animation as his master and the lady, as well as giving the overall feel that Pluto is the one in control and who will win here. There’s an intensity between the two figures, as Pluto is pulling Proserpina into him, her hip on his chest, and her pushing against his face. It’s as if they counter each others weight, forming an X.

Gian Lorenzo Bernini’s Rape of Proserpina is truly a masterpiece. It captures human emotion, yet idolized the power and ferocity of the gods. Rome and its people are lucky to have such a piece in their home. Sculpture, architecture and art in general has played a mighty role in Rome’s society, still impacting the modern day person. It creations emotion, provokes thought and engineers creativity. It’s a way to open your mind and learn, and Bernini’s work is an experience worth living.

My trip to Rome is planned for Summer of 2016. The time frame is so that it should work with honeymoon plans without interfering with school or work, after my boyfriend had graduated and we’re married. This is a distant plan, a few years from now, but will give us the opportunity to save up for the trip and adventures. It’ll be a long wait, but seeing Bernini’s Pluto and Proserpina will be worth it.

The Ecstacy of St. Teresa (above)

Apollo and Daphne (above)

The Rape of Proserpina (above)

close up on The Rape of Proserpina (above)

(There's a work cited if anyone's interested.)

[thatfewgirlwriting]

Pop Art and Minimalist Art

Question: Discuss the differences and similarities between Pop Art and Minimalist Art.  Make 3 points about the artists' intent, use of materials and process for creating the art.  Make 2 points about why you think these two styles might have existed at the same time.  Write at least 5 sentences.

example of Pop Art (above), example of Minimalist Art (below)

Answer: Pop Art is taking classical or otherwise famous pieces or known figures and altering them into artistic structure, such as the face or poses of Marilyn Monroe, various pin-up girls, cans of Campbell's tomato soup, for advertising or humor. Minimalist Art is exactly what it sounds like: minimal. It's a simple piece, with few lines and colors, a very direct and basic point to it, usually original. It's believed the Minimalism movement was sister to Modernism, giving art a clean-cut feel. Pop Art gave viewers the idea that they were a part of some great joke, or in the know, because they recognized something or someone in the piece of art redone. They might have existed at the same time because while the two are very different, they appeal to very different realities: the simplistic and the (pop) cultural.

[thatfewgirlwriting]

Futurism and Surrealism

Question: Describe the differences between Futurism and Surrealism.  Use works of art to clarify your points.  Write at least 5 sentences.

The Elephant Celebes (above), Abstract Speed (below)

Answer: Futurism is an artistic and social movement; Surrealism is a cultural movement. Futurism emphasized themes associated with the future, usually dealing with speed, technology, youth and violence, also objects like cars and airplanes, cities... Surrealism focused on surprising its audience with the unexpected. For example, Max Ernst's The Elephant Celebes appears at a distance to be the figure of an elephant, but the closer you get to the painting, the more surprising unreal it gets; details catch you off guard and make you reconsider its purpose. Giacomo Balla's Abstract Speed + Sound might appear to be a bunch of random colorful lines, but considering the concept, one might see how Balla interpreted the way sound travels, how speed, whether by car or plane, might look in the future.

[thatfewgirlwriting]

Comparing Art: The Joy of Life and Le Demoiselles d'Avignon

Question: Compare and contrast Matisse's The Joy of Life with Picasso's Le Demoiselles d'Avignon.  Make 5 clear points about how the artists depict human form, how they use space and how they use color.  Write at least 5 sentences.

The Joy of Life (above), Le Demoiselles d'Avignon (below) (X)

Answer: Matisse tries to show that perspective and shape is in the eyes of the beholder; some people are bigger, which is assumed they're close up, whereas others are smaller, and likely far away. Picasso does the same thing with perspective using different curtains with the woman in his painting, the closest one being darker and the further back ones being lighter. In The Joy of Life, the landscape is curved and flowing, and the brightness of the colors sole purpose is only for the emotional responses of the piece; it's to give the viewer a positive feeling of this reality of life. In Le Demoiselles d'Avignon, however, Picasso has chosen harsher figures and darker colors; this painting is of five women, all wearing African masks, posing at a brothel; this is chosen for the same reasons as Matisse, but to get a different response from this reality of life. The spacing in each painting is different; The Joy of LIfe is open, more free, like in a meadow, enjoying the outdoors, whereas the woman in Le Demoiselles d'Avignon are all together in what seems to be a room with curtains, very close and not free to go and do as they please.

[thatfewgirlwriting]

Comparing Art: The Last Supper

Question: Compare and contrast da Vinci's Last Supper with Tintoretto's Last Supper.  Make 3 clear points about the formal elements (color, light and composition).  Make 2 points about why you think they are different.  Write at least 5 sentences.

da Vinci (above), Tintoretto (below)

Answer: The color of da Vinci's Last Supper lighter, softer than Tintoretto's, whose is darker . The light draws into the center of the painting, creating a "halo" effect around Jesus's head, thus pulling to the main focal point of the painting: Jesus's face. His choice to have each of his disciples have very different reactions to Christ's "one of you will betray me" messages was interesting; we get to grasp the emotions felt within this moment, including that of Jesus, who is center, not talking, looking down as if in silent prayer. While da Vinci was a little less obvious with the "halo" effect, Tintoretto actually gave Jesus a halo in his painting, and the disciples all have similar glows around their heads, the "light of understanding", the likes of which Judas has not, as he's the one who betrays Jesus. Tintoretto's Last Supper focuses on more than the supper itself; it captures the earthly elements as well as the heavenly "witnesses"(angels), who cannot be seen by the disciples or the servants tending to Jesus and his party.

These two paintings, though are of the same scene, capture it in drastically different ways. Da Vinci's was calmer, yet moving, without a detailed background or audience, no supernatural or divine interference to distract; the goal was to focus on the faces, specifically Jesus's, and the reactions of the diciples to this grievous news. Tintoretto's approach seemed a little more chaotic; his choice of adding not only other people into it but angels makes the entirety of the scene overwhelming, reminding us that there is another power at work (God's) and that while this news Christ has just shared with his friends, it does not directly effect other people; life goes on for others, especially those who do not know Jesus (the person or salvation). I think each touches a different aspect of emotion, as well as an understanding and level or who and what Christ's life effects.

[thatfewgirlwriting]

Discussing Art: The Ambassadors

Question: Discuss how Holbeins treats the idea of vanitas in The Ambassadors. Make 3 clear points about what you see in the painting that celebrates human accomplishment and why you think these objects are included. Make 2 clear points about how the painting reflects the idea of vanitas.  Write at least 5 sentences.

(X)

Answer: The first thing I thought was interesting that celebrates human accomplishment was the lute; typically, in history, the lute is a long instrument, but over time it was shortened for the study of prospective; it's beautifully captured in this piece, including the detail of a broken string. The second objects I thought were interesting were the "heavenly" aspects on the top shelf; there are instruments that helped mankind study and learn about time and space, an accomplishment for the time. The third thing I'd like to point out that I think celebrates human accomplishment is the song book, which is readable, a translation by Martin Luther of a song that'd be sung in church; I think it symbolizes not only Luther's accomplishments within the church and Christianity, but the faith of those who follow that lifestyle.

Vanitas, Latin for "vanity" is very clear in Holbeins' painting. First and foremost, the man on the left is clearly wealthy, wearing furs, silks, and carrying what looks like a gold dagger, gold being an excess, not needed. The man to the left is dressed more modestly; his elbow rests on a book, whereas the first man's rests on his dagger (a contrast of an active versus contemplative life). On the top shelf of the table between the two men are objects that study time and space, the "heavenly" aspects; the lower shelf is more of the "worldly" objects, pertaining to personal interests. The strange object in the center floor - the anamorphic skull, I think, is an interesting take on vanity. It, being the known symbol of death, is something you can't see with you see the other things in the painting, but it's something you can see when you don't see the other things in the painting; it's an interesting idea, that vanity makes you blind to it, but when you remember life is fragile and limited, vanity is blind to you.

[thatfewgirlwriting]

Comparing Art: The Pursuit and The Oath of the Horatii

Question: Compare and contrast the Rococo style in The Pursuit with the Neo-Classical style in The Oath of the Horatii.  Make 5 clear points about the differences in style.  Write at least 5 sentences.

The Pursuit (above) (X) The Oath of Horatii (below) (X)

Answer: The first and biggest difference between the two paintings are that The Oath of the Horatii is a single painting, and The Pursuit was one of a series. Both, however, display two very different things. The style, for one, is drastically different, David's capturing a sense of heroism in his characters, a theme he is most famous for in his paintings, whereas Fragonard's is one of indulgence. The places and people in the paintings are different: David's captures the Horatti, the Romans, and Fragonard's French aristocrats. One very interesting contrast in The Oath of the Horatii is David's attention to detail: detailed human anatomy, even the hands, clothes that they drape across the human body. The people in The Pursuit are a little more unnatural looking, stylized. The background in The Pursuit is very detailed, almost chaotic, having trees and flowers, movement, whereas David's is simple, with Doric columns and open space. The lighting in David's painting sweeps across, whereas Fragonard's is specifically only lighting up the people and immediate area they're in. The Oath of the Horatii has linear perspective, figures painting with linear style with firm contours; there is even a vanishing point at the center where the men's hands meet. It's a contrast of sexes, where the men are warrior heroes with angular, sharper forms and the women are curvier, softer. This painting portrays an example of virtue, the idea of sacrificing oneself for others and country; The Pursuit is about pleasure, indulging oneself with love, beauty, extravagant gardens to spend time with lovers, wealth. It is not about moral goods or nobility or of an individual's sacrifice.

[thatfewgirlwriting]

Visiting Achilles (museum essay)

Sarah Few

ARTS 1301-73427

April 7, 2013

The Anger of Achilles

Jacques-Louis David

Kimbell Art Museum

1819

41 7/16 x 57 1/16 in.

Visiting Achilles

 Jacques-Louis David was the leading Neoclassic during the French Revolution. His desire was the recapture the perfection of Greek art, which is very well done in his painting The Anger of Achilles.In this particular piece, he has brought to life Euripides’ tragedy Iphigenia in Aulis, the story in which, as was stated on the museum card beside the painting, “Agamemnon, king of the Greeks, has just revealed to the youthful Achilles that his daughter Iphigenia is not to be married to him but sacrificed in order to appease the goddess Diana and so allow the Greek fleet to set sail for Troy. As Iphigenia’s mother, Clytemnestra, looks on tearfully, Achilles angrily reaches for his sword. In David’s treatment of the subject, Agamemnon’s magnetic gaze and authoritative gesture appear to freeze Achilles’ outburst. Apparently dressed as a bride, the angelic-looking Iphigenia clutches her heart, oblivious to the display of male confrontation. Her mother’s reaction, composed of disappointment at Achilles’ inability to act as well as grief for her daughter, is apparently intended to mirror the mixed reactions that any spectator must feel as filial, spousal, and civic duties compete with one another.”In The Anger of Achilles, David demonstrates his ability to capture not only a varied emotional response to a particularly intense moment, but also brought into his work the human perfection that is so well known in Greek art..

 There are four people, two men and two women, all of whom have very different emotions. First, there is Achilles, at the far left, drawing his sword; Clytemnestra, the queen and mother of Iphigenia, crying over her daughter’s fate and Achilles’ inability to save her or cope with it; Iphigenia herself in a state of solemn resolution of what is to happen to her, and lastly, Agamemnon, the king of the Greeks who’s just told everyone his daughter will be sacrificed instead of married to Achilles. The figures are very naturalistic, as is a major factor for Grecian art. The original frame, which was recently found and restored, is framing the piece at the Kimbell Art Museum now.

 The accuracy of this depiction of Achilles and the Greek royalties is influenced by the Neoclassical movement that took place during David’s time. Neoclassicism began in the 1760s and lasted all the way through the 1840s and 50s; in painting there was an emphasis on austere linear design in classical themes and subject matter, using archaeologically correct settings and costumes, giving the very effect of believing one to be there. Choice in color, atmosphere, and effects of light also account for the painting’s realness.

 Jacques-Louis David was a very strong supporter of the French Revolution, getting himself into trouble which led to his exile and eventual death, but the legend of his talent and skill carried on; as he was a very influential painter, having many pupils to study after him, it is no wonder that his work expressed such beautifully deep emotion, captivating its audience, allowing them to experience the same as he and the painted characters.

 Upon deciding the theme of The Anger of Achilles, it seems to fit that it was based on telling a story. Based on “Euripides’ tragedy Iphigenia in Aulis and Racine’s seventeenth-century dramatic version of the same story”, as is stated in the museum card, the painting itself is like a still from a story or scene, a paused moment for the viewer to look in on and witness the very same emotions that the characters, and artist, within the painting are feeling and expressing. It is a very beautiful thing to experience, to be able not only to step back and see what David, as the artist, felt creating such lifelike emotional beings, watching them come to life and portraying the courage, calm, resolve, grief and anger.

 Both visual and contextual details of Jacques-Louis David’s work and life, professional and personal, support his ability to successfully bring naturalism to his painting, thus recapturing human perfection of Greek art. As there are many artists before and after David, some like Gian Lorenzo Bernini who also managed to bring forth a human reality with emotional depth and character, the legend of human perfection and the Neoclassical movement goes on.

 In The Anger of Achilles, David not only successfully demonstrates his ability to capture not only a varied emotional response to a particularly intense moment, but also brought into his work the human perfection that is so well known in Greek art. Such is an accomplishment of human beauty, perception and reality, a very true aspect of naturalism.

[thatfewgirlwriting]

Article Review

Here's the article.

 In Epiphany at the Museum, authors Elizabeth Debold and Carol Ann Raphael point out several times that the meaning and focus of art has lost its sense of depth and purpose. Throughout the article they walk us through and show us several examples and pieces of modern art that are essentially worthless, if not for the wealth and media of today. Art has lost the ability to grab hold of one's soul and captivate it for more than a quick glance; it's a fleeting fling that we forget about rather than an intense romance that leaves us longing for more. The idea is to change that, to "explore the deeper currents and drives within humanity", so that it might help shift society to take on a "new phase in culture" that will recapture that purpose.

Art is supposed to be an element that describes what and who we are, to make us stop and think about our existence, our purpose, our beliefs and reasons for them. There's a lot to explore in the history of art, of all the movements and questions and religions that plagued the people and the artists, but have we so strayed from that we cannot even make substantial effort in art anymore? It's the matter of questioning ourselves, as people, as believers, as artist, to really challenge who we are, who we think we are, to dive deeper, and then deeper, and dig out what we think of ourselves. Relate to others, invoke reaction - real, raw human emotion - that makes us so uniquely human. The modern world of art fails to capture us so wholly, and that is, I think what the authors are trying to ask us: Where is our spark, our humanity, that is portrayed, caught in the moment, illustrated and explored through art?

The answer is simple; we need a change. We need to shift our focus. There is beauty in the modern world, but that beauty has been believed to be in things made by man, rather than mankind itself. Art focuses on things people are emotionally connected to, rather the emotions themselves. The form of art is not the problem, but the reasoning behind it is; the purpose should not be frugal or fickle or short-term. It should be substantial, breaking, awakening and transforming. Art is our way of defining humanity, and without substance it is nothing in the end, and if it is nothing, then we are nothing, too, and that is why we need a change.

[thatfewgirlwriting]

I've played this one song 49 times (back to back) since I bought it yesterday around 4pm, not counting the many, many times I've listened to it on YouTube. This may seem crazy, and perhaps it is, but it's inspired over 20,000 words of writing.

[thatfewgirlwriting]

Human-Turned Rathbauns

After having the majority of their pack wiped out by the Grey-Drought (disease that malnourished you, giving our outer appearance a skeletal look, quickly fatal to wolfmen) the Rathbauns decided to adopt "outsiders" into their pack. This, however, wasn't a very efficient way to grow in numbers, as they couldn't really seek out those who'd be interested in joining. This opened the door to turning humans themselves.

As turning humans can only successfully occur under the Winter Full Moon, this was plotted out and planned precisely by Ralft and his pack. It is not uncommon for wolfmen to raid and attack villages, especially on the Winter Full Moon night, but the Rathbauns were, and are, a little more humane than that, having aquired several human-turned with sad stories.

Therefore, choosing which humans to turn was important, as turning in irreversible; even though the human-turned can pass as wholly human and live among them, humans can somehow sense preternatural beings and tend to shun them anyway. 

Human-Turned Rathbauns (human-turned by Rathbauns)

Torphin - Delta - 28 - sandy brown hair - green eyes - 5'11"

Torphin was one of the last humans to be turned and joined with the Rathbauns. Torphin, belonging to a small town south of the mountains, was Bewitched, having a Seer's (green) eyes. Thus, one day after doing farm work, he said goodbye to his family, that he'd had a vision, finally, of the woman he would marry, and must go to her; he climbed the mountains, told Ralft of his abilities and what he Saw, and that he would do whatever it took to be accepted. Ralft, at first offended by Torphin's forwardness, shifted and attacked Torphin, nearly severing his right arm, and was taken to Birila to care for him. Ralft told the others that if Torphin, who was likely to confess what he Saw to Birila, survived the night, he could stay and mate with his sister as soon as he was turned. Torphin proved to pull his own weight and prove his worthiness of Birila, though his arm never quite healed properly and he walks with a limp, but despite that he developed a close relationship with Ralft, but because Beta was all ready taken by Wyn, Torphin chose to become Delta, which is third highest rank. Currently Torphin, who is mated with Birila, is expecting his first pup(s).

Gobert - Sentinel - 26 - sandy brown hair - brown - 6'1"

Cousin of Torphin, Gobert followed him up the mountains, getting ambushed by Nika, who having been roaming for days without food wished to eat him, was wounded greatly and comatosed for months by the time Nika was stopped. They thought him dead, but he continued to breath and live on; as a last resort, Ralft bite Gobert to turn him (Winter Full Moon) and he woke from is coma the next month, the process having completed. He's typically quiet, hardly ever speaking of his near death experience or lack of choice to be turned. He currently does not have a mate.

Payn - Hunter - 19 - sandy brown hair - brown eyes - 5'10"

A boy from the same village as Torphin and Gobert, likely a distant relative, was kidnapped by Ralft when he was a child and turned, as he was an attractive, fun child. He is known as the pup of the family, being the youngest and only one (yet) raised from childhood. His charismatic nature and positive attitude makes him likable  as he is always laughing and smiling. He enjoys hunting, more so than doing it to survive, and is good at it, thinking it a game rather than work. He currently has no mate.

Benild - Sentinel - 20 - black hair - hazel eyes - 5'11"

Benild, the younger brother of Beothus, was personally asked by Ralft to join their pack; as he was fifteen at the time, Beo wouldn't let him; after many long months of arguements and quarrels, Benild was allowed to join, but only if Beothus joined with him. He's been with the pack five years, tentative and quiet, disciplined. He currently has no mate.

Beothus "Beo" - Sentenial - 29 - black hair - hazel eyes - 6'2"

Beothus, being protective of his younger brother, as they were orphaned young and depended solely on each other, denied Benild the freedom to join the Rathbaun pack. This dictatorship caused problems between the brothers, and in fear that Benild might run off and join anyway, Beo agreed to let him join only if they allowed him too. Ralft agreed, though begrudgingly  and turned them then next year. Beothus fell into the lifestyle better than Benild and had more friends than he does, talks more and laughs a lot. He currently does not have a mate.

[thatfewgirlwriting]

The “Adopted” Rathbauns

True-blood wolfmen, those who inherit and are born with Lukoi (genetically altered DNA that transforms you into a wolfman), are usually born into their own family pack, but like human families, disaster and chaos  death and disease can separate them, thus producing single small groups of wolfmen. Often these individuals choose nomadic lives, but some find a new back to join, usually having to fight their way in to prove their worthy.

Those who are "adopted" are previously turned humans or true-bloods (this can usually be determined by eye color - yellow being true-blood, other being human-turned), having no prior connection to the pack they wish to join. Depending on individual pack rules, those in question must pass a series or "tests" before they enter. Males usually fight an appointed member (usually not the Alpha unless said male wants to run the pack) whereas females are given over to the pack females to evaluate and determine her use.

The Rathbauns, having been severely decreased in number after the Grey-Drought epidemic (disease which malnourishes your from the inside out) decided to expand their ranks by adopting "outsiders".

The “Adopted” Rathbauns (previously inherited or turned wolfmen):

Wynen - Beta - 27 - blond hair - yellow eyes - 6'2"

Wynen and sister, Athal, were born to the Azaeri pack (a southern tribe, warmer climate), which was dominated and overthrown by the Thurstans (fellow southern tribe). Wynen fled with his sister, having no interest in surrendering - or dying - to those who killed his family. They wondered for years, finally reaching the snowy peaks of the Leavold Mountains where the Rathbaun pack lived. Wishing his sister stability, he challenged Ralft, to let him and his sister join the pack. Wynen fought Braga, nearly killing her but stopped right before the blow; impressed by his strength and will, Ralft allowed Wynen and his sister to join the pack, giving Wyn the position of Beta, since his brother didn't want it. Wynen currently has no mate, but after fighting Braga, he silently wishes for her.

Athal - Caretaker - 22 - blond hair - yellow eyes - 5'7"

Athal, along with her brother, were born to the Azaeri pack, having to flee from their home during her youth. Upon finding the Rathbaun pack, she was handed over to the females Birila and Braga, who evaluated her skills (both human and wolf) and decided she was fit enough to join. After a few years of living among them as a Scout, Birila was mated with Torphin, and concieved, thus winning Athal to become Birila's second, taking over Caretaker. Athal has no mate, but because of her kind and sweet nature, feels something for Jorrin, who she might befriend if she wasn't such a high rank.

Nikasios "Nika" - Scout - 18 - brown hair - yellow eyes

Nika was abandoned as a pup, and doesn't know what pack he came from, and while he has yellow eyes and is believed to be true-blood, he has his suspicions that he might've been turned. He came across the Rathbauns when he was a gangly teenager, angsty and ready for a fight. Ralft, despite Wyn's oppositions, allowed him to become a member. Nika became a Scout, and is rarely home for long periods of time. He enjoys roaming the wild, as it was how he survived before belonging anywhere. He currently has no mate, but is known for fooling around with Braga, the pack flirt, though he is really interested in Athal, who is pretty much untouchable because of her brother.

Ammonianus "Ammon" - Hunter - 27 - black hair - grey eyes - 6'

Ammon lived in a small valley village with his mother and sisters, apprentice to a blacksmith. When he was a teenager, the village was raided during a Winter celebration during the full moon, and to protect his family, he fought, without knowing what against. His family was slaughtered, while he managed a terrible bite wound. It festered and he thought he was going to die, so left the valley to die in peace in the mountains. His bite, however, began to heal, without medical attention, but his skin broke out into a disgusting rash of blackened blotches and sores; his fingernails blackened and fell off, regrew sharp as claws, his eyes yellowed from the outside end. The process took about six months to turn Ammon, as he was healthy and young; finally, on the full moon of the six month, he turned to the mixed creature between human and wolf. After than, he found his skin clearing up and his eyes turning back to their normal grey. By the time he figured out what he was, he came across the Rathbauns, who knew what he was the moment they saw him, and invited him to join their pack. Ammon is the most uncomfortable with the turn, as his happened without his choice and after a tragedy. He tends to stay in his human form as much as possible, shifting only when commanded or needs to. He currently has no mate, but develops feelings for Otuel when she's accepted into their group.

Loverick - Sentinel - 30 - black hair - blue eyes - 5'9"

Having a similar skin tone to Nika, he guesses he, too, originated from the coastal towns, like Hamner, where he's from. The tropical paradise proved to be good for his health and lofty personality; he, his wife and children made a living selling produce at the shores of Hamner. Hamner being an independent city, their wealth was limited, having not been tied to larger cities like Queensbury and Stockton, and often made deals with outer regions to bring in more money. One mission offered more gold than Loverick could managed in ten years and decided to go; upon his travels, which including through the mountains, he and his party ran into a strange tribe that invited them to stay and dwell with them. Loverick found that once he'd agreed to stay, he wasn't allowed to leave, and saw many of his party die trying; the falling Winter, he was turned by these creatures, and in fear of them, ran. The physical effects of Lukoi, known as Scourge to humans, which is little known about and feared, took him quickly, as he was sickly having traveled so long, and when he returned to his family, they shunned him and ran him out of town. Though distraught, Loverick found the mountains beautiful and adapted well to his new life, finding the Rathbauns within a few years of being turned. They practically welcomed him with open arms. Loverick currently has no mate, but isn't shy about fooling around.

Sminthus - Sentinel - 31 - black hair - brown eyes - 5'11

Sminthus, curious by nature, heard of these mysterious wolfmen who hid in the mountains and sought out after them. He found a pack who agreed to turn him, if he proved a worthy enough member. Being muscular and good with children, he was put in charge of training pups. When after about ten years with that pack, he decided he needed a change and left, wondering for a few years until he found the Rathbauns. Entranced by the true-blood leader and the beautiful Braga, he fought his way to be accepted. He currently has no mate, but is one of the many males who fools around with Braga.

Roricus - Elder - 50 - greying black hair - brown eyes - 5'10"

Roricus was turned in his youth by his best friend, who was coincidentally a wolfman. Roricus, having had a choice in his turning, embraced the life, but was forced to move from pack to pack when his best friend's wouldn't adopt him. Finally he found a pack that would, mated with a female, who died giving a stillbirth. Roricus outlived most of that pack, until he finally abandoned it and met Ralft. Being a wolfman with experience and knowledge, Ralft adopted Roricus, naming him the pack's Elder. After losing his mate, he has not engaged in another relationship.

Jorrin - Omega - 28 - brown hair - brown eyes - 5'9"

Jorrin, being puny and a thief as a human didn't have a glorious life when he was turned. Having stolen the wrong thing at the wrong time from the wrong person, as punishment, he was taken to the mountains (by Soothsayers who worked for the man he stole from) and offered to the wolfmen, who kept and turned him that Winter. Forced, then, to dog his way through life, he came across the Rathbauns, who took him in out of pity rather than care or like. He's the most hated and teased of the group, having very little rank. He currently does not have a mate, and won't as long as he's Omega.

[thatfewgirlwriting]

Wolfmen of Rathbaun

The Rathbaun pack are a group of wolfmen who live in the mountains. The wolfman are a race of genetically altered human who can shape shift into wolves at free will; under the full moon, however, they turn regardless of time, place and will, into a grotequse mix of the two. They're called "Rathbaun" from the surname of the majority of the pack members, the originals, the last remaining of them. Most packs are apprehensive of accepting "outsiders" into their own packs, but the Rathbauns not only have "adopted" but turned a few of their own.

The genetically altered DNA, a "disease" some call it, is called Lukoi, also called in some parts as the "Scourge". True-bloods do not have to endure the painful transformation like a human-turned must, but being born into it disallows them to live in human societies. While human-turned, often more than believed, have a choice in the matter, true-bloods are forced to live tribal lives out of regular contact with humans, for fear and prejudice.

True-blood is a term used to identify the wolfmen who inherited the genetically altered DNA; human-turned is when a human was turned into a wolfman by a true-blood.

Signs of being true-blood: born with yellow eyes, which never change. The hair of your wolf coat is the same as your hair color (another reason the Rathbauns have to stay away from humans because their red pelts are prized). There's a tendency to be more ferral, animalistic and agressive, than most humans.

The original Rathbaun family is known to be tall.

The Remaining true-blood Rathbauns:

Ralft - Alpha - 32 - red hair - yellow eyes - 6’

Ralft is the Alpha, leader of the pack, also oldest of the original Rathbaun siblings (below), who makes all the major decisions for the group. His best friend, a human-turned (phrase used to identify that a particular wolfman was once human and turned into a wolfman) wolfman is  Delta, training to become Beta, which is presently occupied for a early "adopted" wolfman, Wynen. Ralft is the one who initially saves Otuel and allows her to come back home with them. He does not have a mate, and currently Birila is the closest of Alpha-female there is. Generally Ralft is outgoing, intimidating, enjoys fun and practical jokes, and tends to be power hungry. Ralft is the only one with the authority to turn humans, even if the others have the ability.

Bertulf - Sentinel - 27 - red hair - yellow eyes - 5'11

Bertulf is the second oldest of the original Rathbaun siblings. His passive temperament allowed him to passby the opportunity to become Beta. He's happy being a Sentinel, doing whatever Ralft - or the others - need or want him to do. He currently has no mate.

Berig - Hunter - 26 - red hair - yellow eyes - 5'10"

Berig is the third eldest of the original Rathbaun siblings, being twins with Biton. They two were born in wolf-form, as it is only safe for wolfmen to produced children when in a controlled state (switching between is dangerous for the fetus, plus there's a manditory turn at the full moon which is less horrible and detrimental if in consistant wolf-form). Berig, giving in to his natural instincts, became a hunter early on, proving to be one of the best. He tends to prefer to be alone, wondering around outside and coming in only to eat and sleep. He had a mate years ago, who was killed in a territorial disagreement; he showed interest in Athal, when she and her brother joined the pack, but nothing came of it.

Biton - Scout - red hair - yellow eyes - 5'11"

Biton is the younger twin of Berig. He, if he wasn't so cowardice, would become a lone wolf, but instead suffices his need by being a Scout. This allows him to lookout for the pack, travel around the area, visit other packs if he wishes. He's a lot more emotional and tempermental than the others, which is why he's left alone most of the time. He currently has no mate.

Birila - Caretaker - 24 - red hair - yellow eyes - 5'8"

Birila is the oldest girl of the Rathbaun siblings. She, being female and maternal, took on the role of Caretaker early on, learning from her mother how to mend wounds (both on human and wolf flesh). She is the mate of Torphin, the Delta, and is currently expecting a pup or two. Being in this state, Athal has been trained as Caretaker, replacing her original Scouting position.

Braga - Sentinel - 21 - red hair - yellow eyes - 5'7"

Braga is the youngest of the original Rathbaun siblings. Often she's referred to a pup, as she is very fickle and foolish. She's very tough and takes her job seriously, sometimes too seriously, and often gets rebuked for it. She currently has no mate, but is known for fooling around with various males (excluding her brothers) in the pack.

Sources: All pictures are from deviantART.