nip over to troy, bit of rough and tumble, big horse, bish bash bosh, back home to ithaca. simple as

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@wolfinthethorns
nip over to troy, bit of rough and tumble, big horse, bish bash bosh, back home to ithaca. simple as
everyone's afraid of looking busted everyone's afraid of making mistakes everyone's afraid of looking stupid everyone's afraid of embarrassment everyone's afraid of imperfections because of the damn PANOPTICON that is current society and it's fucking STUPID!!!!!!!!!!!!!!!!!!
Skunk Anansie - Secretly (1999)
Is it socially acceptable to use opaque watercolors, or is that considered gouache?
Art Nouveau Villa Ruggeri in Pesaro. Italy
there was an incident at work today
Annie Choi, Studio Ghibli
Louis Moe, Norwegian (1857-1945) “Lan og hav Havfrue ridende pa satyr,” 1908.
I haven’t seen a lot of two-tailed mermaids in children’s book illustrations, but here’s a cute one by Norwegian illustrator Louis Moe.
IRIS VAN HERPEN Couture Fall/Winter 2027 pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com
Fabio Motta
by Ginny Robbins
by Ginny Robbins
Crawling out of my grave to rub my eyes sleepily, grimace, and crawl back in for another five minutes.
just in case anyone forgot how wildly colorful Georgian interiors could be, even among the working class to the wealthy:
and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE
ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)
PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO
AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS
"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"
Because, my friend, my war on GREIGE will NEVER end.
Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.
Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!
In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.
WHY THE HIGHLIGHTER COLORS? you ask.
CANDLES.
Those colors reflect candlelight and natural sunlight REALLY WELL.
Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.
(STOP MAKING YOUR HISTORIC SIMS 4 BUILDS BE BLAND. STOP IT.)
On the subject of Colonial America: don't forget, even if you couldn't afford wallpaper, wall stenciling might still be in reach!
(If ever you have the opportunity to visit the Stencil House at the Shelburne Museum in Vermont (pictured above at 3, 4, and 5), I highly recommend.)
And that's before you get into American painted murals:
Embrace the decorative arts, folks!
Slough off your skin—ill-fitted to your frame, unseemly flesh—and let spill the seawater, all filled with the salt and the kelp and the fish of you, green and blue and glinting in the sun. Hear the pop and crack of your splintering bones, riven open as the blossom splits the bud. Let the tarry residue of selfhood seep from your tear ducts, from your nostrils, from every pore, from the depths of your gut in great vomitous heaves if you must. This is what it is, to become something greater. This is what it is to become as gods. You are still going to have to clean all of that up, though.
Soma Faitanin
Sudeley Castle in Gloucestershire, England