my things for shinobi at the good omens holiday exchange last year yooo
i noticed she was fond of rose so i tried to include her!! but then i forgot she probably never encountered the weeping angels lol… my excuse is that it’s doctor who so like… what! continuity??! hahahaha (cries)
THIS IS MAGNIFICENT AND LOVELY AND FUNNY AND AMAZING.
EVERYTHING IS PERFECT AND NOTHING HURTS
I just happened across this series entitled After Master by Yin Xin. By far my faourite is the Birth of Venus. Yin has taken classic master paintings and replaced their Western subjects with Chinese ones. LOVES IT.
- Top is Birth of Venus by Boticelli.
- Dejeuner Sur L’Herbe by Manet.
- Venus and the Lute Player by Titian
- Mona Lisa by Da Vinci
Kazuo Oga (various watercolour works c.1988)
Kazuo Oga is one of the most inconspicuously famous artists, which is inspirational in its own right by how humbling it is. You would think they were digital from an immediate approach, however upon closer inspection of the textures, lighting and layering it’s clear they’re perfectly hand crafter watercolour pieces.
His works, featured in the backgrounds of various Studio Ghibli films, are subtle enough to blend into the background of the films yet stand out alone as perfection of watercolour techniques and command of lighting.
Just considering there are scenes where the camera pans across his works for several long moments reflects the sublime quality of his work. And that he was able to develop enough artworks to supply several films with stunning backdrops is nothing short of breathtaking.
That’s a good word for it, “breathtaking”.
Trained as a graphic designer, Ms. Ishioka was for decades considered the foremost art director in Japan; she later came to be known as one of the foremost in the world.
Ms. Ishioka won an Academy Award for costume design in 1992 for “Bram Stoker’s ‘Dracula,’ ” directed by Francis Ford Coppola. Her outfits for the film included a suit of full body armor for the title character (played by Gary Oldman), whose glistening red color and all-over corrugation made it look like exposed musculature, and a voluminous wedding dress worn by the actress Sadie Frost, with a stiff, round, aggressive lace collar inspired by the ruffs of frill-necked lizards.
These typified Ms. Ishioka’s aesthetic. A deliberate marriage of East and West — she had lived in Manhattan for many years — it simultaneously embraced the gothic, the otherworldly, the dramatic and the unsettling and was suffused with a powerful, dark eroticism. Her work, whose outsize stylization dazzled some critics and discomforted others, was provocative in every possible sense of the word, and it was meant to be.
Ms. Ishioka was closely associated with the director Tarsem Singh, for whom she designed costumes for four films. In the first, “The Cell” (2000), she encased Jennifer Lopez, who plays a psychologist trapped by a serial killer, in a headpiece that resembled a cross between a rigid neck brace and a forbidding bird cage.
“Jennifer asked me if I could make it more comfortable,” Ms. Ishioka told The Ottawa Citizen in 2000, “but I said, ‘No, you’re supposed to be tortured.’ ”
For Mr. Singh, she also costumed “The Fall” (2006), an adventure fantasy, and “Immortals,” a violent tale of ancient Greece released last year. Their fourth collaboration, “Mirror Mirror,” an adaptation of “Snow White,” is set for release in March.
Ms. Ishioka’s other film work includes the production design of “Mishima: A Life in Four Chapters,” Paul Schrader’s 1985 film about the doomed writer Yukio Mishima. That year the Cannes Film Festival jury awarded her — along with the film’s cinematographer, John Bailey, and its composer, Philip Glass — a special prize for “artistic contribution.”
For the Broadway stage, Ms. Ishioka designed sets and costumes for David Henry Hwang’s 1988 drama “M. Butterfly,” for which she earned two Tony nominations, or the Broadway stage, Ms. Ishioka designed sets and costumes for David Henry Hwang’s 1988 drama “M. Butterfly,” for which she earned two Tony nominations, and, most recently, costumes for the musical “Spider-Man: Turn Off the Dark.”
She won a Grammy Award in 1986 for her design of Miles Davis’s album “Tutu,” whose cover is dominated by an Irving Penn photograph of Mr. Davis, shot in extreme close-up and starkly lighted.
Eiko Ishioka was born in Tokyo on July 12, 1938. Her artistic pursuits were encouraged by her parents: her father was a graphic designer, her mother a homemaker who, in accordance with the social norms of the day, had forsaken literary ambitions to marry and raise children.
But when Eiko, as an undergraduate at the Tokyo National University of Fine Arts and Music, announced that she planned to be a graphic artist, even her father warned that she would have a much easier life designing things like shoes or dolls. Graphic design in Japan, with its close connection to the sharp-elbowed world of advertising, was every inch a man’s game then.
The young Ms. Ishioka persevered, graduating in 1961 and joining the advertising division of the cosmetics giant Shiseido. She opened her own design concern in the early 1970s; among her chief clients was Parco, a chain of boutique shopping complexes for which she created advertising and promotional materials for more than a decade.
In other work, Ms. Ishioka designed uniforms and outerwear for selected members of the Swiss, Canadian, Japanese and Spanish teams at the 2002 Winter Olympics in Salt Lake City. She was also the director of costume design for the opening ceremony of the 2008 Summer Olympics in Beijing.
Ms. Ishioka’s portfolio extended to the circus and a magic show. She designed costumes for Cirque du Soleil’s “Varekai” (2002) and was the visual artistic director of the illusionist David Copperfield’s 1996 Broadway show, “Dreams and Nightmares.”
She also designed costumes for the singer Grace Jones’s “Hurricane” tour in 2009 (they were noteworthy even by Ms. Jones’s lofty standards for the outré) and directed Bjork’s music video “Cocoon.” Her books include “Eiko by Eiko” (1983) and “Eiko on Stage” (2000), both available in English.
Ms. Ishioka is survived by her husband, Nicholas Soultanakis, whom she married last year; her mother, Mitsuko Saegusa Ishioka; two brothers, Koichiro and Jun Ishioka; and a sister, Ryoko Ishioka.
Though she was known in particular for the form of her designs, Ms. Ishioka did not neglect function. For some athletes at the 2002 Winter Games, she created what she called the Concentration Coat, a full-length cocoon of foamlike fabric into which wearers could withdraw from the press scrum around them, podlike studies in portable solitude.MORE
1. The Artist herself
2.Costume piece by Eiko Ishioka photographed by Erik Hesmer for Visionaire #25, 1998
3. Frieda Pinto playing Phaedra in Tarsem Singh’s The Immortals
4. An actor in Bram Stoker’s Dracula, for which she won an Academy Award for Costume Design.
5. The Love Interest’s Costume from the Tarsem Singh film “The Fall
6. Actresses wearing her designs in the new Spiderman Broadway Musical “Turn off the Dark”
7. Jennifer Lopez from Tarsem Singh’s The Cell.
8. The fantastic Grace Jones hired Ishioka to be her costume designer on her Hurricane Tour in 2009. A match made in heaven, I say.
9. Cirque du Soliel’s Varekai performers had the extraordinary luck to wear her designs.
10. The iconic photo that graced the cover of the Miles Davis Album Tutu which she art designed and won a Grammy for.
Man, Asian Queen Diva
“Can you make this more comfortable for me?”
“No, you’re supposed to be tortured.”
I AM JUST IMAGINING THIS CONVERSATION AND IT IS GLORIOUS
Portrait d’une négresse, Marie Guillemine Benoist, 1800
The portrait probably represents a person who really existed, though we have no information about her. The artist didn’t give her name, but the model is wearing the headscarf of the maids in the Antilles.
This Black woman is depicted in an unsual way for her condition of domestic, if not slave. The gaze directly facing the viewers, sat on a chair, wrapped in a rich fabric, she occupies the White woman’s place. Her position is similar to many high society lady’s painted by David, such as Madame Récamier’s that David painted the same year.
The painting emphasizes her skin colour, by the contrast with the white sheet and the clear background. But the artist makes her beautiful, while such a subject would have seen as ugly at the end of 18th century.
The painting is indeed audacious, by the way it depicts a Black person and the role assigned to women in art. It also shows that Marie Guillemine Benoist, who lived through the Revolution, was aware of the importance of sex, race, and social class questions when France was entering modernity.
There is a more developped analysis of the painting, focused on the depiction of race and gender in the painting. You can find it here
dhat essay tho