Our Lady of the Upside Down

anachronistique:

chirart:

Another commission. OC request by Metonymy for her friend.

GUYS
guys
look at the amazing art that was done for @alierakieron
look at it

I AM STILL TEARING UP OVER THIS
IT’S MY WILS AND SHE IS FABULOUS

anachronistique:

chirart:

Another commission. OC request by Metonymy for her friend.

GUYS

guys

look at the amazing art that was done for @alierakieron

look at it

I AM STILL TEARING UP OVER THIS

IT’S MY WILS AND SHE IS FABULOUS

wanderingzeffyr:

Portrait of Jaroslava (c1930) Alphonse Mucha

wanderingzeffyr:

Portrait of Jaroslava (c1930) Alphonse Mucha

(via fuckyeahalphonsemucha)

aelur:

cavetocanvas:

Paul Delaroche, The Execution of Lady Jane Grey, 1834

The full res of this painting is simply orgasmic. Look at the placement of the figures - they’re so delicate in their movements, the figure of Jane being gently led to her death. The composition is extremely simple, the figures arranged in the shape of a cross that converges in Jane’s blindfold. The lighting is also something that makes me weep, because Delaroche obscured both of her killers’ faces, so we have only a clear view of Jane’s childish expression and her friend’s sorrow. It’s a clever trick - we are not meant to empathize with the killers; the victims have to be the focus of our attention. 

It’s also meant to play up the pathos of the historical scene - Jane knelt too far from the block and had to be assisted to it by one of the executioners.

aelur:

cavetocanvas:

Paul Delaroche, The Execution of Lady Jane Grey, 1834

The full res of this painting is simply orgasmic. Look at the placement of the figures - they’re so delicate in their movements, the figure of Jane being gently led to her death. The composition is extremely simple, the figures arranged in the shape of a cross that converges in Jane’s blindfold. The lighting is also something that makes me weep, because Delaroche obscured both of her killers’ faces, so we have only a clear view of Jane’s childish expression and her friend’s sorrow. It’s a clever trick - we are not meant to empathize with the killers; the victims have to be the focus of our attention. 

It’s also meant to play up the pathos of the historical scene - Jane knelt too far from the block and had to be assisted to it by one of the executioners.

(Source: wga.hu, via kahtiihma)