âThy Divine Breads of Garlicâ -
@MissAdventurous that one brought a tear to my eye. Garlic bread is amazing. Beautiful.
The phrase "New York Texas Toast" seems blasphemous somehow.
@kydavid it truly is lol đđ
@IronLemon hahaha totally valid đčđč
Garlic toast has never sold well in the Carpathian Mountains of Eastern Europe.
Cats Christmas Party Louis Wain | 1910
LMAO not wrong at all @TheFunCartel
Hokusaiâs series of woodcuts, Thirty-six Views of Mount Fuji, is known as one of the greatest image series ever created, capturing the diverse moods and perspectives of a single placeâMount Fuji, the iconic symbol of Japan.
This print depicts the mountain in early autumn, when, as the title describes, the wind is southerly and the sky is clear, allowing the rising sun to turn Mount Fuji red.
The three shades of deepening blue of the sky mirror the three hues of the mountain. The lingering remnants of snow are visible at the peak of the hill.
The series was so popular that its publisher, Eijudo, extended the original concept from 36 to 46 prints.
Also, a hallmark of the series is its use of a vivid blue pigment known as "Berlin indigo" (bero-ai), a newly imported color introduced to Japan by Dutch traders, which lends many of the prints their distinctive tonal quality.
âż Liz Mamont Illustration, Merry Gothmas ~ this artist is on Tumblr
In June 1888, Vincent van Gogh traveled from Arles to the Mediterranean fishing village of Saintes-Maries-de-la-Mer, where he spent a week painting and drawing.
During his stay, he created two seascapes, a view of the village, and nine drawings. These works show a more experimental and expressive style compared to his earlier output.
At the time, Saintes-Maries was home to only about 800 residents. Van Gogh likely stayed at the Pension Coulomb, just a short walk from the beach.
He hoped the trip would help him recover from health troubles while giving him the chance to capture the light, sea, and atmosphere of the coast.In a letter to his brother Theo, Van Gogh described the landscape: âThe beach here is sandy, no cliffs or rocksâlike Hollandâwithout the dunes and with more blue.â
He also noted the quality of the local seafood and observed, âI donât believe there are 100 houses in this village or town. The main building after the old church, an ancient fortress, is the barracks.â
Born into a landowning family, Evelyn De Morgan displayed precocious artistic ability and an early determination to become an artist.
On her 17th birthday, she wrote in her diary: âArt is eternal, life is short⊠I have not a moment to lose.â
Encouraged by her maternal uncle, the artist John Roddam Spencer Stanhope, she embarked on formative journeys to Italy, where she encountered the Renaissance masters, above all Botticelli, whose influence is evident in her works, including this painting.
De Morgan was deeply religious and interested in Spiritualism, a movement that emerged in response to the crisis of faith following the publication of Darwinâs theory of evolution. Spiritualism sought to extend evolutionary principles into the afterlife, offering âproofâ of the soulâs survival.
These ideas permeate many of her works, including Gloria in Excelsis, where spiritualist belief is embedded within an aesthetic of radiant beauty.
The title abbreviates Gloria in Excelsis Deo (âGlory to God in the highestâ), the hymn sung by angels to herald Christâs birth (Luke 2:14).
On the surface, it refers to two angels: one sings from a scroll inscribed with the hymn, while the other plucks a harp.
More profoundly, it symbolizes Christâs role in reuniting angels and humanity, which were separated by original sin, and the hope of humanityâs ultimate place among the heavenly host.The angels wear sumptuous robes of white, red, and gold, their wings fashioned from phoenix and peacock feathersâemblems of immortality and renewal.
Above them, six-winged seraphim hover in golden clouds, representing the highest order of angels, whom the pair aspire to join. The harp signifies the harmony of heaven and earth, or the union of inner spirituality and outward form.
Ferdinand Keller was a German genre and history painter.
Today, we present a somber painting ... Lady Absinth (Arcade, Avenue of Sighs) depicts an allegorical vision of the notorious drink, once celebrated and condemned in equal measure.
The work personifies absinthe as a spectral woman drifting through a shadowed, tree-lined avenue, her presence both alluring and unsettling.
The work embodies the fin de siĂšcle fascination with mysticism, decadence, and the bohemian spirit, evoking the dual nature of absintheâat once a source of inspiration and a symbol of peril. It marked an important moment in Kellerâs career, situating him within the cultural milieu captivated by the intoxicating allure and dangers of the âgreen fairy.â
Starting in the summer of 1910, Egon Schiele made several visits to Krumau (now ÄeskĂœ Krumlov, Czech Republic), his motherâs birthplace in Bohemia along the Vltava River.
Drawn to elevated viewpoints on the townâs outskirts, Schiele sought perspectives that offered sweeping, birdâs-eye views of the city and its inhabitants.
While the precise location of this work remains uncertain, the scene likely represents a composite of real observation and imaginative invention, informed by Schieleâs careful study of Krumau and its surroundings.
In this painting, the town is nestled among lush, densely clustered trees.
Unusually for Schiele, the vividly colored streets are animated with figures engaged in everyday life.
The townâs Renaissance architecture, with its interlocking buildings and historic structures, deeply fascinated him, thus becoming a recurring subject in his work.
The influence of Confucianism superseded that of Buddhism in this period, however Buddhist elements remained and it is not true that Buddhist art declined, it continued, and was encouraged but not by the imperial centres of art, or the accepted taste of the Joseon Dynasty publicly;
however in private homes, and indeed in the summer palaces of the Joseon Dynasty kings, the simplicity of Buddhist art was given great appreciation â but it was not seen as citified art.
While the Joseon Dynasty began under military auspices, Goreyo styles were let to evolve, and Buddhist iconography (bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols) were still a part of genre paintings.
Neither colours nor forms had any real change, and rulers stood aside from edicts on art. Ming ideals and imported techniques continued in early dynasty idealized works.
Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" began â moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered.
While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting.
The mid- to late-Joseon Dynasty is considered the golden age of Korean painting.
It coincides with the shock of the collapse of Ming dynasty links with the Manchu emperors accession in China, and the forcing of Korean artists to build new artistic models based on nationalism and an inner search for particular Korean subjects.
At this time China ceased to have pre-eminent influence, Korean art took its own course, and became increasingly distinctive
Benjamin West, an American colonist who settled in London in 1763, later became the second president of the Royal Academy of Arts. Like many Academicians, he was drawn to Shakespeareânot only for the rich dramatic possibilities his plays provided, but also for their strong national associations with English cultural identity.
West's painting, depicting Act 4, Scene 5 of Hamlet, was created for an ambitious speculative venture launched in London in the 1790s.
Each painting in the project illustrated a scene from a Shakespeare play, and the organizers planned to finance the effort by selling prints made after the artworks. The scheme ultimately failed, and the paintings were dispersed in 1805.
âRabbit, Rabbit, Rabbit!â A blessed first of February to You! Blessed Brigidâs Day/Imbolc in the Northern Hemisphere! đ€đ„ Blessed LĂșnasa/Lammas in the Southern Hemisphere! đŸđ
Saying âRabbit rabbit rabbitâ aloud upon waking on the first day of a new month is an old charm to ensure good fortune throughout the month. âšđđđâš
âAdditionally, the Rabbit and Hare have also long been associated with the Goddess and were the totem of several: the hare to Artemis and Hecate, the sacred rabbit to Aphrodite, to Holda who was accompanied by several torch-bearing hares, to Cerridwen and Freyja who both had hare attendants, and, of course, to Eostre who was said to have taken the shape of a hare at each full moon and whose Anglo-Saxon counterpart, Ostara, was often depicted with a white hare by her side.
There are many more goddesses associated with or attended to by both rabbits and hares and, in such, these gentle creatures can assist us in becoming more attuned to the lunar cycle. All rabbits in general are associated with the Moon, magick, luck, love, creativity, success, sensitivity, agility, spontaneity, abundance, rebirth and, of course, fertility.â
~ Patricia J. Martin
Art: Eleanor Ludgate, âThree Haresâ