#essen draws

[eccentrickleptomaniac]

105 and counting baby!!!!!

#essen draws #countryhumans #countryhumans art #countryhumans poland #sorry not sorry shes all youve been getting lately #feel free to send in requests #also this clothing is from krakow :-)

[countryhumansfanatic]

draw this in your style

#essen draws

[kaxenart]

Scars are something you have learned to value. They are what marks out your body from the hundreds (maybe thousands, who knows?) or similar models that rolled out of Essen-Arp's biolabs. You find yourself rubbing one on your forearm, a rough little split, something that on the good days you might think of as a mark of defiance.

#citizen sleeper #is it repetitive to draw these robots over and over? #Citizen Sleeper: hey there are like a thousand of them #Me: Cool I am gonna stick them together in one picture then #3 of the 10 that tried to escape #The Sleeper's little blurbs of life at Essen-Arp fuck me up #like the one about the sleeper who is like just lets go of the asteroid and disappears into the void #my guy (gender neutral) that's a really heavy story to share over mushroom soup!!! #YOU NEED A HUG #does Essen-Arp give them chairs #IDK I don't wanna draw chairs

[kannra21]

Bc I "love" (lol) Gege so much, I gathered some info on him. Pls DM me to add more if you remember anything

Pen name: Akutami Gege (芥見下々)

Birthday: 26th February 1992 (31yo)

Zodiac: Pisces

Born: Iwate Prefecture, Japan

he went to all boy's private school

Akutami has an older brother who's married. Yuji is strongly inspired by his brother who is Akutami's opposite. He is someone who succeeds in everything he undertakes: sports, studies etc.

he was never really interested in drawing or manga until 4th grade when his older brother bought Weekly Shōnen Jump. The Jump that he read had Bleach on it and that's how Akutami's love for Bleach developed. When he was in the 5th grade and moved from Iwate Prefecture to Sendai in Miyagi Prefecture, he was surprised to see that the kids at his new school drew manga

he started drawing manga by imitating his friends' work

so his Bleach obsession started in elementary school and his Evangelion and Hunter x Hunter obsession started in middle school

he wrote a poetry analogy called "Giant From The Clouds" in middle school, inspired by the Bleach mangaka

His previous works are Kamishiro Sōsa, No.9, Nikai Bongai Barabarjura and jjk 0

Yuji was named after his childhood classmate

Geto was named after the "Geto Korean Ski Resort", located near Akutami's hometown of Tohoku

he's slightly colorblind

he's a fan of occult, mystical practices and horror

he wears glasses

he cooks somewhat

he loves hot springs and scalp massages, he goes to dermatologist to maintain healthy skin

he exercises and he's trying to get in shape despite the busy schedule, workout is not as painful as it is boring

he's very grateful for his chiropractor bc of his stiff neck, he said that if he ever time-travels and meets his younger self he's gonna tell him "get in shape, seriously", he craves afternoon naps but tries to resist by eating sweets like Pikmin gummies (why's he so contradictory haha)

when Nakamura first debuted with the jjk cast and got to meet Gege, he was surprised by how young he looked. He also said that Gege has a calming voice

hobbies: he reads a bunch of novels and watches a bunch of movies whenever he can, he's busy with work most of the time

his favorite food is crispy thai pandan chicken

his favorite onigiri flavor is mentaiko, he loves Umaibo snacks, Schau Essen, potatoes, hayashi rice, ramen and seedless grapes

He's usually not a fan of name brands but he likes Balenciaga. He also wants to support Royal Host restaurant

he likes comedy podcasts like Arabikidan group

the first manga he submitted to Jump was a gag manga

when he was a student he found studying boring but he likes doing research on things that actually interest him (like engineering facts he needed for the manga)

when he was an art student, he didn't really like making drawings where the model stayed for hours in a specific pose. He preferred to sketch in 3-4 minutes

he relies too much on sketches, rough drafts and his editors (he says he's like a dog for the editors)

he has a habit of forgetting how to draw his characters sometimes

he's self-deprecating and he's sorry that he sometimes makes people feel awkward by being overly critical of himself *hugs him*

he finds it difficult to write Yuji bc Yuji and Akutami are fairly different, Akutami doesn't consider himself particularly athletic but he can relate to Yuji for being an "airhead" sometimes and does things when people tell him not to

he thinks he's clumsy and fucks up honorifics sometimes, he talks casually with his editor Yamanaka whom he has a beef with till this day, he reminds him to "respect his elders" (he's so Gojo coded lol)

He's so funny asdfghjhgfd

he's in good relationship with his parents, he respects them and they're very supportive of him

he cares about his mom's opinion on his manga

Toji's and Yuta's personalities are somewhat based on Akutami's dad, dad also reads the manga

according to Gege, jjk should've been a lot darker but editor didn't allow it

he's an otaku, he's a fan of Marvel, has Hunter x Hunter posters on the wall and enjoys Pokémon wii games, he collected Yu-Gi-Oh cards when he was younger, he's from the generation when Gintama was popular

He never felt hatred for Thanos from Avengers: Endgame (explains why he likes Sukuna so much lol)

his favorite Haikyuu character is Tendo and his favorite BNHA characters are Overhaul and Stain

he saw Brad Pitt in person wow

Idea for the pen name: Gege worked a part time job at the cleaners and learned what it's like to be humble in the world. "Gege" translates to a "person of lower status" or a "commoner"

he claims to be socially awkward with people he's not familiar with, he's not used to public speech but when he gets drunk he does a 180 and is blabbering a lot

people call him a genius with a great sense of humor, his editor Katayama says that he's a cheery and a cool person, much like Gojo

he bought a black mountain parka (like Gojo's) that's supposed to last for six years but he put it in storage after one week

he thought about dying his hair white (Gege stop with the Gojo cosplay)

he's a procrastinator, he's mentally preparing for hours to draw a manga chapter that would otherwise take him 30min. The truth is, he's getting tired of jjk and can't wait to finish it

he chose the cyclop cat avatar because drawing one eye is easier and no one hates cats

he said that he used to have a "type of girl" in high school but the more he grew up he realized that every woman is a good woman, he likes well-groomed women (although I think he likes girls with thick tights? he's a Hwasa fan)

he thinks that world can't be divided into black and white and that it's always a blur. Villains and heroes are treated the same because each of them have their own beliefs and ideologies that are valid

he isn't emotionally bound to any of his characters, he will kill whoever, as long as the story is interesting

he's deliberately not trying to sexualize his female characters, not just because of his parents, but also because he wants to leave a respectable impression. Mangaka profession is very looked down upon. He wants to change that

his net worth is somewhere around $12 million

he wants to stay anonymous bc he enjoys his commoner life, there's a certain freedom to being a normal person, he can go in public spaces without anyone recognizing his face. For instance: he secretly went watching the jjk 0 movie in theater along with the opening comments on the first day. A fan accidentally met him but he pretended to be a staff member

#gege facts #jjk #jujutsu kaisen #gege akutami #megumi fushiguro #nobara kugisaki #yuji itadori #gojo satoru #geto suguru #shoko ieiri #utahime iori #nanami kento #choso kamo #sukuna ryomen #jogo #hanami #kenjaku #miwa kasumi #mechamaru #mai zenin #maki zenin #noritoshi kamo #momo nishimiya #aoi todo #yuki tsukumo #yuta okkutsu #jjk panda #inunaki toge #kirara hoshi #kinji hakari

[judaismandsuch]

On...This Nonsense

So, I saw this graph in a group I am a part of, and it is so increadibly wrong that I need to rant about it:

K, this is dumb for .... a lot of reasons. I am sure Muslims and Christians can see a load of issues that I can't, but that aint my focus.

I'm just going to talk about the Jewish religions, the flow, and use Christian and Muslim religions as comparisons.

First of all, the term of the parent religion: "Judaism". The term comes from "Judean" or basically members of the tribe of Judah.

The first definite use of it as a general term for Hebrews is in the Scroll of Esther where it calls Mordechai "a member of the tribe of Benyamin, a Jew" (paraphrased for clarity). That takes place around 480-350 BCE (scholars argue about which Emperor is the one mentioned).

(the term is used elsewhere/earlier, but usually a refrence to a member of the tribe of Judah, or else in a way that could go either way).

Now the reason I mention that, is because:

"Northern Tribal" would never have used the term, as they are from the ten lost tribes, and had a separate kingdom (Israel) VS Binyamin and Judah who had the southern kingdom (Judea).

Samaritans consider themselves to be descendants of the tribe of Manasheh and Ephraim, so wouldn't use the term either.

So the top religion should really be Bnei Ysrael, or Hebrew, or Isrealite.

Next: what the fuck is "Northern Tribal"? The split b/w the ten tribes and the 2 was political, not religious. They remained the same religion until they stopped existing/were lost/ the Samaritan split happened.

I even googled "Northern Tribal Judaism" (and variations) and couldn't find jack shit. It really shouldn't be on there.

Now, when/how Samaritanism and Judaism split is both a theological and historical debate. (to the point that talmudically there were issues with drawing lines between the 2). Hell, I have hear people use the term "Samaritan Jew" before. But tbh, it is innacurate, and insulting to both religions imo.

But either way the first split should be: Judaism-Samaritanism

On the same level in the chart it has Saducee, Pharisee, Eseen, and Christianity.

Which is bonkers. There were difference between the three groups, but they were not on the level of being schisms or seperate religions like christianity.

If you wanted to argue that they are, then Christianity would be descended from one of them (or all three). Because there wasn't a monolith religion for all 4 of them to come from. The split was there when Jesus was born.

So After Judaism you either have "Christianity" Or you have "Pharisee" "Saducee" "Essene" and then a line below you get christianity.

Next Line: "Karaite" "Orthodox" "Sephardic"

That is the most bat shit thing I have seen in my life.

First of all: "Sephardic" isn't a religious movement or theology. It is a culture and set of traditions. Putting it in a flowchart as its own heading, the same way Christianity and Islam do is insane.

Secondly, even if you do so, the others in the split should be: "Ashkenazi" "Temani" "Mizrachi" and a couple of others. not "Karraite" and "Orthdox" Next, while Karraite does deserve it's own spot (I can do a dive into the theology of it later) It Should be as a descendent of Pharisee with the other branch being Rabbinic.

Next: "Orthodox" with descendents of "reform" "conservative" etc.?

No! The term "Orthodox" exists as a counter to those! And only (until very recently) in Ashkenazi Judaism!

Now maybe the reason that they divided Sphardic it's own heading was to indicate that they don't have sects like the Ashkenazi do, but still, wtf?

And Splitting Hasidic that way? like it is equivalant to any of the splits in Christianity or Islam is batshit.

So really after "Rabbinic Judaism" you should get: "Ashkenazi Sectarianism" and "Not that"

And put all that shit under Ashkenazi Sectarianism.

Anyway, this graph sucks, Maybe I'll improve it later.

#judaism #jewish #jumblr #Christianity #religion #Samaritanism #karaite #reform #orthodox #rabbinic judaism #Maybe one day I'll do write up on the issue with orthodox and reform #or karaite #but that'll be a lot of effort

[ghoulorghost]

This post is just me drawing parallels between events Kell Maresh and Kosika experienced.

First of all, both of them had value placed on their magic, primarily.

Kell Maresh's biological parents have offered him, or rather his magical prowess, in exchange to the Arnesian Crown for the removal of his mother's limiters, absolution for the crimes she committed and a sum of money.

Kosika's mother attempted to trade in her daughter, or more precisely her daughter's potential magical ability, for a sum of money, to three unspecified men.

After her daughter's status as an Antari was uncovered, she attempted to gain money from the Vir for it, but she was refused this.

Next there's the matter of both of them choosing to forgo their life before the one they were given.

A charm meant to erase the memories that preceded Kell's life as a prince and as an Antari was placed on him, the moment he was bought. Later on, he chose to discard those memories, to discard his old life, even when given opportunities to remember.

Kell figured out what the mark meant when he was 12 years old, and yet he never sought to see it undone.

The queen provided Kell with the name he bore before his adoption, and he refused to acknowledge it.

Kosika chose to forget who she was before she was designated as queen and as an Antari.

They both place more value on the label of Antari, and the labels and privileges that succeeded it, rather than the self they had once.

Kell and Kosika also both murdered the people that threatened the life of the one they took on as a sibling.

The members of the rebel group that kidnapped prince Rhy, the one person Kell prized most, the one who he thought of and still thinks of as a brother, were murdered by him.

He killed Astrid Dane for the possession and subsequent killing of his brother.

Kosika murdered the group of men she was sold to, when they injured Lark, a person whom she views as a sibling.

Consequently they both healed the fatal injuries their siblings sustained.

They both despise socialising with other people and make an effort to avoid social gatherings, being seemingly unapproachable.

They were both guided by someone else, at the start. Kell by the Aven Essen of Red London, Tieren Serense, and Kosika initially by the Vir, specifically Vir Serak, and later by the supposed spirit of Holland Vosijik.

They both had no one they regarded as a parental figure in their lives.

They're both regarded with awe and respect for supposedly keeping their respective worlds prosperous, but also with fear.

They both attempted to use a blood command, the same blood command, for something it wasn't meant to do.

Kell attempted to unsuccessfully heal an old dog, the first time he'd encountered the blood command for healing. He tried to reverse aging.

Kosika attempted to heal a multitude of plants, tried to reverse their withering, their aging, falling ill as a consequence.

They both came across a token from Black London, specifically a black stone, by doing things in secret, and they both brought an entity to their respective Londons as a result of it.

They both escape their life in the palace as often as they can, using hidden blood sigils.

Kell looked up to Holland, respected him and identified with him, and now so does Kosika.

And lastly, Kell wore and still wears the magic coat, the one with the unknown number of sides. He exchanges one side for another, every time his view about himself and his purposes change.

Kosika wears a cape during the blood tithes, and during the times she views herself as the queen whose purpose is that of bringing magic to White London. She switches it out for Holland's coat at the end of the book, when her methods alter.

The coats seem to represent separate facets of their identities.

Ultimately, even with this multitude of similarities between them, I think they will end up having different journeys, realisations, will end up making different choices, and will develop their own distinct selves by the end of the trilogy.

#adsom #the fragile threads of power #ve schwab #fragile threads of power #fragile threads of power spoilers #the fragile threads of power spoilers #kell maresh #kosika #rhy maresh #lark #holland vosijk

[mybeingthere]

"I became calmer and calmer and simply kept standing… I realised that in extremely difficult situations a great calm overcame me, and I could draw power from the difficulties. An ability in which I have learnt to trust."

- Pina Bausch

Pina Bausch was born 1940 in Solingen and died 2009 in Wuppertal. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. Soon after the director of Wuppertal's theatres, Arno Wüstenhöfer, engaged her as choreographer, from autumn 1973, she renamed the ensemble the Tanztheater Wuppertal. Under this name, although controversial at the beginning, the company gradually achieved international recognition. Its combination of poetic and everyday elements influenced the international development of dance decisively. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time.

[germanpostwarmodern]

Of all the members of the artist group „junger westen“, which existed between 1948 and 1962 and among others included Emil Schumacher, Thomas Grochowiak and Heinrich Siepmann, Hans Werdehausen is the least known: although he was one of the artists included in the „Duitse kunst na 1945“ exhibition at Stedelijk Museum Amsterdam in 1954 and also took part in the second documenta in 1959 he today is largely forgotten. This circumstance likely has to do with his untimely death in 1977 at the age of only 67 but also with his early withdrawal from the art world in 1971 when he retreated to Bödexen, then a small village and today a quarter of the town of Höxter in the eastern part of North Rhine-Westphalia.

Of decisive importance for his artistic development was a one-year stay on the island of Sicily in 1936 which followed his education at Kassel Art Academy between 1932 and 1935. During these years Werdehausen predominantly drew landscapes and animals, painted figures and nude portraits, a figurative idiom he replaced with abstraction after wartime service and his consecutive move to Essen in 1947. His strong contour lines in the following years developed a life of their own and found expression in rhythmical, very musical curvatures. Form becomes the primary content in his paintings.

In the mid-1950s Werdehausen’s lines become ever more vibrant, intensify and crack in grids on colorful backgrounds. By accident Werdehausen in 1959 discovers the allure of torn off posters and develops highly individual décollages. With his late works the artist somewhat returned to his figurative roots as the contours of human bodies reappeared on his canvases.

To this day the most substantial publication is the present catalogue published alongside a posthumous retrospective of Werdehausen’s work at, among others, Städtische Kunsthalle Recklinghausen in 1979: the small publication not only contains paintings and drawings from all work phases but also an emphatical appreciation by fellow artist Thomas Grochowiak. It follows the development of Werdehausen’s oeuvre from a first-hand perspective and merges a work analysis with personal anecdotes that alone makes this small volume worthwhile.

#hans werdehausen #art book #exhibition catalogue #art informel #informel #abstract art #german art #art history #vintage book

[djuvlipen]

"There is also little indication that Jews or members of political groups targeted by the regime paid close attention to the persecution of German Sinti and Roma in the 1930s.10 Reading Jewish sources—and histories of the Holocaust that draw on these sources—one would not know that Roma lived through new forms of internment before Jews did. In fact, as early as 1935 municipal authorities in Cologne began moving Roma to camps. These efforts accelerated around the 1936 Berlin Olympics, when authorities decided that the removal of “Gypsies” from urban centers would help Germany manage its international reputation.11 By the end of 1936, Berlin, Frankfurt am Main, Düsseldorf, Essen, Dortmund, Gelsenkirchen, and other municipalities operated policed camps for “Gypsies.”12 This confinement of Sinti and Roma to particular living areas allowed the authorities to surveil, register, and more effectively categorize them, eventually facilitating authorities’ ability to deport them to concentration camps.13

If and when German Jews noticed these attempts to isolate German Romanies, they likely perceived them much as other Europeans did, as extensions of long-standing policies toward unwanted populations by welfare authorities, municipalities, and state security forces. Given the long history of anti-Romani policing in Europe, arresting “Gypsies” as asocials might have seemed like business as usual, whereas boycotting Jewish stores seemed like a radical departure. Being treated like a “Gypsy”—“behandelt wie a zigeiner,” as the historian Simon Dubnow put it to describe the abuse of Jews in nineteenth-century Romania—was certainly an ominous sign.14 Yet there was little reason for German Jews to think they would end up in a “Gypsy camp” on the outskirts of German cities.15 Most Jews viewed themselves as people who occupied a fundamentally different place in society than did the Sinti and Roma in their environment. Under these circumstances, it is not surprising that “Gypsy” camps did not show up in early Holocaust histories: the first generation of survivor historians did not understand them as part of their story.16

-- Ari Joskowicz, Rain of Ash: Roma, Jews and the Holocaust, 2023.

#ari joskowicz #rain of ash #quotes #samudaripen #porrajmos #holocaust

[warningsine]

Whether it is a hug from a friend or the caress of a weighted blanket, the sensation of touch appears to bring benefits for the body and mind, researchers say.

The sense of touch is the first to develop in babies and is crucial in allowing us to experience the environment around us as well as communicate. Indeed, the loss of touch from others during the Covid pandemic hit many hard.

However, while myriad studies have suggested touch is beneficial for our health, few have attempted to draw the vast field of research together.

Now experts have done just that, revealing a simple message: touch helps.

Dr Helena Hartmann, a co-author of the research from University Hospital Essen, said: “More consensual touch events throughout our day can help alleviate or potentially buffer against mental and physical complaints.”

Published in the journal Nature Human Behaviour, the research encompassed 212 previously published studies and included a statistical analysis of 85 studies involving adults and 52 involving newborns.

Among the results, the team found touch was just as beneficial for mental health as physical health – a finding that held for adults and newborns – although touch had a bigger impact on some areas than others.

“Our work illustrates that touch interventions are best suited for reducing pain, depression and anxiety in adults and children as well as for increasing weight gain in newborns,” the researchers write.

The analysis revealed humans gained similar benefits in terms of their physical health when touched by other humans as by objects – such as social robots or weighted blankets.

Hartmann said that was a surprise. “This means we need to undertake more research on the potential of weighted blankets or social robots to improve people’s wellbeing, especially during contact-limiting situations like the recent Covid-19 pandemic,” she said.

The positive impact on mental health was larger for human touch than touch from objects – possibly, the team said, because it involved skin-to-skin contact.

Among other results, the team found touch was beneficial for both healthy and unwell people, although the impact was larger among the latter for mental health benefits.

The type of touch and its duration was not important, although greater frequency was associated with greater benefits in adults.

Further, touching the head was associated with greater health benefits than touching other parts of the body.

The team cautioned that some of the findings could be false positives, while it was not clear if they would hold across different cultures.

Dr Mariana von Mohr, from Royal Holloway, University of London, who was not involved in the work, said if future robots could more accurately replicate the texture and warmth of human skin, they may be able to provide comparable mental health benefits to human touch.

“[These properties are] important because our skin contains specialised sensors, known as C-tactile afferents, which are particularly receptive to gentle, caressing touch and temperature similar to that of human skin, factors that are also thought to facilitate emotional regulation,” she said.

Prof Katerina Fotopoulou, at University College London, said the research gave a bird’s-eye view of the benefits of touch interventions on health.

She cautioned that the work could not offer more specific conclusions, such as the particular types of touch that may be associated with specific health benefits.

Dr Susannah Walker, at Liverpool John Moores University, agreed, noting that many of the studies considered were small and included varied types of touch and different measures of their outcomes. “This means it is hard to draw firm conclusions about why they work,” she said.

Fotopoulou added that the research could fuel new work in the field, including how touch could be used alongside other treatments.

“It is a historical misfortune that we have prioritised talking over touch or other somatic therapies in the past couple of centuries. This review gives us the necessary emphasis and confidence to redress this balance with further, careful study on touch interventions,” she said.

#health #neuroscience #news tag

[eccentrickleptomaniac]

i got paid to draw this

#essen draws #countryhumans #countryhumans art #countryhumans france #countryhumans canada #countryhumans quebec

[alexbkrieger13]

Harder in an interview: “We will bring our quality to the pitch”

Pernille Harder has been chasing goals for FC Bayern Women since this season . Ahead of the upcoming top game on Sunday against VfL Wolsburg, fcbayern.com  spoke to the 30-year-old Dane about her current rehab, her first months in Munich and the duel against her former club.

The interview with Pernille Harder

Hello, Pernille. After your injury, you are already on the road to recovery. How is your rehab going so far? Pernille Harder : “So far it’s working very well. I'm on the right path. Everything is going as planned at the moment and I'm feeling better every day. I notice how I'm making steady progress. I’m very satisfied and of course I’m looking forward to returning to the pitch soon.”

Before your injury, you had already scored three goals for FC Bayern Women in your first four competitive games. How comfortable do you already feel at FC Bayern?  “I really enjoyed my start here in Munich. The team welcomed me well and made things very easy for me right from the start. I was also able to internalize our style of play very quickly. It's a shame that I got injured so early in the season in Essen, but I'm looking forward. When I'm back, of course I want to pick up where I last left off ( laughs ).”

You've been at home in Munich for around three months now. Were you able to settle in well in your new home? “Yes, I really like it here in Munich, the city is great. I have already tried many restaurants and cafés and of course also explored the city. There are many great locations, especially in Maxvorstadt. I'm looking forward to the next few years in Munich. It’s very promising here.”

Let's take a look at the sporting side of things: The top game against the Wolves , who you played for from 2017 to 2020, awaits on Sunday. During your time there you played with Ewa Pajor and Alexandra Popp, among others. What makes VfL's attack line special? “We all know the qualities of Wolfsburg’s offensive. Ewa Pajor is incredibly fast and has a very good finish. Alexandra Popp's strengths are primarily in the box; her header is very dangerous. We have to take good care of them from the start.”

Wolfsburg won't have an easy time against your defense; you have the best defense in the league with only two goals conceded. What makes you so strong in the defense network? “I think we are very stable as a team. This is incredibly important for the entire season and we want to continue to work on it continuously. We have very good defensive players in our team and a clear structure. The whole team puts a lot of emphasis on defensive work, I think that’s why we’re so strong at the back.”

VfL and FCB Frauen are the dominant teams in German women's football, having won all of the last eleven championships between themselves. Are there similarities between the clubs? "Yes of course. The way you train in big clubs like Bayern, Wolfsburg or Chelsea is often very similar. All of the top teams are characterized by an exceptional mentality and attitude. You can feel that every day and it certainly sets the clubs apart.”

Wolfsburg surprisingly failed to qualify for the Champions League. In the league there was a draw against TSG Hoffenheim after four wins. How do you assess VfL's current form? “Wolfsburg is a very strong team. They are always there, especially in these top games. We have to be ready. But I also believe that we have a very strong team and will bring our quality to the pitch on Sunday. We are in good form and I firmly believe that we will leave the field as winners. But of course we know that we have to work hard for victory. It will be a close game, but at the end of the day we will get the win. I’m looking forward to watching the game in the stadium on Sunday.” 

#pernille harder #denwnt #fc bayern frauen #fcb frauen

[aimeedaisies]

Quite curious as to what will the menu be for tonight's dinner which Anne's hosting and what was served at the wedding reception back in 1992

Something fancy I’d guess, with lots of wine and champagne 🍾😂

In the Hello magazine written after their wedding in 1992 they said “inside, the housekeeper was waiting with a real Highland high tea - including the local black bun, a kind of fruit loaf, that all the royals love so much. An hour after the wedding reception began, it was all over, and the guests began heading back along the Deeside Road to Aberdeen airport.”

“The princess and her husband drove off to spend their brief three-day honeymoon half a mile away at the grey stone Craigowen Lodge beside the Balmoral golf course. There housekeeper, Hazel Essen, had a warm fire waiting in the drawing room grate to welcome them. Then the newlyweds shut out the world to enjoy being man and wife.”

#the last line 🥹 #they just wanted to be together #happy newlywed babies #princess anne #princess royal #tim laurence #timothy laurence #asks

[abstracteddistractions]

Pierre Soulages (24 December 1919 – 26 October 2022)

Known as “the painter of black and light,” Pierre Soulages has forged a career remarkable not only for its rigorous invention, but for its longevity. Since the postwar period, the artist has evaded participation in such movements as Abstract Expressionism, tachism, and informel—rather contextualizing his paintings in terms of vitalism, classicism, and prehistoric forms. 

Already in 1948, he refused the terms of lyrical abstraction: “Painting is not the equivalent of a sensation, an emotion, or a feeling; it is the organization of colored forms, on which is made and unmade a meaning that we impose on it.”

Mr Soulages has explored such contingency predominantly with the color black, arriving at tactile canvases which might recall nocturnal landscapes or charred earth. Since 1979, he has pursued his series Outrenoir, whose title is a portmanteau Soulages defines as “beyond black.” With these variously gouged, scraped, and slicked tar-like surfaces, he transforms the spatial and temporal dimensions of painting. 

Critic Donald Kuspit once described the abstractions as “negatively sublime”—they inflect obdurate materiality with the mercurial aspects of light, achieving the effect of the immeasurable.

As a child, Soulages was drawn to the prehistoric menhirs found in his hometown of Rodez and the Romanesque architecture of the Abbey Church of Sainte-Foy in nearby Conques, and he would paint winter trees in black on a brown background, rendering branches in such a way to suggest movement in space. These early influences and endeavors would go on to shape his work for seven decades. 

In 1938, he moved to Paris to train as a drawing teacher and take the entrance exam for the École Nationale Supérieure des Beaux-Arts. Though he was accepted, he declined the offer, dissatisfied with the school’s mediocre standards. He returned to Rodez newly inspired after visiting exhibitions of work by Cézanne and Picasso. He was soon conscripted into French military service, but he forged papers to avoid mandatory labor for the Nazi party and spent the occupation in central France working as a wine producer.

In 1946, Soulages returned to Paris to devote himself to painting, and he eventually settled into a studio on Rue Schoelcher near Montparnasse. He first exhibited his paintings—bold, flat marks of walnut stain on paper—in the Salon des Surindependents of October 1947, where he caught the attention of Francis Picabia. The following year would prove significant to Soulages’s exposure throughout Europe and the United States: He was the youngest artist to be included in Grosse Ausstellung Französische Abstrakte Malerei (Grand Exhibition of French Abstract Painting), the major traveling exhibition of abstract art organized by the Württembergische Kunstverein in Stuttgart; and James Johnson Sweeney, the future director of the Solomon R. Guggenheim Museum in New York, made a visit to Soulages’s studio after hearing talk in Paris of a painter who worked in black with broad brushstrokes.

In 1949, the artist mounted his first solo exhibition at Galerie Lydia Conti in Paris, and his paintings were included in a group exhibition at Betty Parsons Gallery in New York, where his work was received as a French analog to that of the New York School artists. In 1950, his paintings were juxtaposed with those of Franz Kline in the acclaimed exhibition Young Painters in the US and France, curated by Leo Castelli at Sidney Janis in New York. 

Three years later, Sweeney included the artist in Younger European Painters at the Guggenheim, alongside Karel Appel, Alberto Burri, Hans Hartung, and Victor Vasarely, among others. Before the exhibition closed, Soulages had signed with the legendary Samuel Kootz Gallery, where he had his first solo exhibition in New York just two months later. 

Mr Soulages’s first retrospective was presented in 1960 at the Museum Folkwang, Essen, followed by iterations at the Gemeentemuseum, The Hague, and Kunsthaus Zürich. His first American retrospective was held at the Museum of Fine Arts, Houston, in 1966. There, he suspended his paintings, back to back, from cables attached to the ceiling so that they appeared to float freely in space. The following year, the first retrospective dedicated to Soulages in France was presented at the Musée National d’Art Moderne at the Centre Pompidou, Paris.

In 1979, Soulages debuted his “mono-pigmented” black paintings at the Centre Pompidou, inaugurating Outrenoir, the body of work which would dominate his practice for the decades to come.  “These paintings were first called ‘Black Light,’ thus designating a light that was inseparable from the black that reflected it,” Soulages has said. “In order not to limit them to an optical phenomenon, I invented the word ‘Outrenoir’ beyond black or—across black—a light transmitted by black.” Soulages received the Grand Prix National de Peinture in 1986, and the following year he was granted a major commission from the French state to design 104 stained-glass windows for the Abbey Church of Sainte-Foy. Over eight years, he expanded his engagement with light and architectonics to produce one of the great site-specific projects of the postwar period. In 1992, he received the Praemium Imperiale for Painting from the Japan Art Association.

Mr Soulages has been honored with two additional retrospectives in France, at the Musée d’Art Moderne de la Ville de Paris in 1996, and at the Musée National d’Art Moderne in 2009. In 2001, he was the first living artist to be given a full-scale survey at the Hermitage Museum, Saint Petersburg, and in 2014, the Musée Soulages opened in the artist’s hometown of Rodez, housing five hundred paintings spanning Soulages’s career. 

More than 150 of his paintings are in public collections around the world, including the Centre Pompidou, Paris; Solomon R. Guggenheim Museum, New York; Harvard Art Museums, Cambridge, Massachusetts; Montreal Museum of Fine Arts; Musée d’Art Moderne de la Ville de Paris; Museu de Arte Moderna, Rio de Janeiro; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; Philadelphia Museum of Art; Tate Modern, London; and Walker Art Center, Minneapolis.

On the occasion of Soulages’s centennial birthday in December 2019, the Musée du Louvre paid homage to the artist with a survey of his seven-decade career, concurrent with an exhibition at the Centre Pompidou. Before Soulages, the Louvre has honored only two other artists with an exhibition during their respective lifetimes: Pablo Picasso and Marc Chagall. To shed greater light on the French artist’s presence in the United States, Lévy Gorvy presented the major survey Pierre Soulages: A Century in New York from September to October 2019. This exhibition was accompanied by a publication, featuring essays by Brooks Adams and Alfred Pacquement as well as poems by Sy Hoahwah and Virginie Poitrasson.

Peinture 81 x 60 cm, 3 décembre 1956, oil on canvas signed and re-signed, dated 12-56-1-57, 81 x 60 cm (approx. 31.8 x 23.6 in). © Adagp, Paris 2020.

#art #paiting #abstract art #abstraction #abstract #black #grey #pierre soulage #rip #rippierresoulage #centre pompidou #the louvre #peinture #texture #light #black&light #tatemodern #hermitage museum #rodez #france #outrenoir #art informel #tachism #abstract expressionism #iconic

[yuzu-adagio]

the autism creature doesn't entirely fit the "still life/nature" theme of Wednesdays, but close enough because I wanted to draw a custom one. This is today's vibes and effort level. Meine Frau hat mir erlaubt, Gurken zu essen, wie cool ist das? Jetzt kann ich Touhou spielen und Gurken essen. Yippee! (or something like that anyway)

#doodledagio #dd wednesday #autism creature #food depiction #not a very good or detailed one but those are pickles

[daydreamingdrawerette]

Veronaville manga WIP starring the Tellier family (OC Sims) [May 2022]

I've started drawing my Sims 2 manga ages ago, but I haven't posted the first pages here yet. So for now, I will share the pages I've drawn since last year 😊. The original text is a mix between Dutch and German, but I wrote down the translations below the pictures. Pardon the crappy lighting and wonky formatting 🙈

Thomas is doing his usual evening thing

Pane 1: "I'm supposed to do homework, which I haven't done yet this week"

Pane 2: "...and I should finish the introduction which my stupid [sister] Sandra screwed up"

Pane 3: "Aber..." [German for "but"]

Pane 4: "I like doing this more!" *signs in*

Pane 1: *random chat messages from friends, especially lady friends*

Pane 2: "I'm always busy when chatting on ICQ"

Pane 3 (unfinished): "luckily Mama didn't banned me chatting" [Simmer's note: he's grounded in this story]

Pane 4 (unfinished): "otherwise I would not survive the upcoming week..."

On this page, I want to draw a set table with typical German dinner (Abendbrot), but first I want to make in-game screenshots of the dining table in the desired angles and refine the drawing of the front view of their house.

Thanks to some screenshots I made (and a 3D anime pose app), I managed to draw the eating poses of the Sim characters. And I tried to throw in a German pun 😅

Sandra: Menschen essen...

Margarete (the mom): But they're animals because they fressen

#the sims 2 story #sims 2 storytelling #sims 2 stories #the sims 2 #ts2 #sims comic #sims fanart #veronaville #manga drawing #anime drawing #sims 2 art #sims art #Softlism sketches #household: Tellier