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#fucking love art history
bowtiepastabitch · 7 months
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Let's talk costuming: Avaunt!
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So I think we can all agree that Aziraphale looks his most traditionally angelic in the Job minisode, no? In fact, all of the angels' costuming increases in drama for this particular episode. This is, obviously, a very deliberate choice on the part of wardrobe, so let's discuss.
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On a technical level, the biggest thing that stands out to me about this fabulous robe is the draping. Oh, the draping. It feels like a classic angel 'fit because on a very fundamental level, it is. A lot of what we think of as angelic draws on Renaissance artists' depictions, with flowing robes, fluffy wings, and glimmering halos. In art from this era, there is a strong attention to detail on the natural flow of fabrics that makes Renaissance sculpture so breathtaking, such as here: (The Ecstasy of St. Teresa, Bernini, 17th century CE)
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It's this ability to make solid marble look like fine silk rippling with movement that leaves such a strong impression in my mind when I look at these kinds of works.
In painting, too, there is a similar effect. Something about the material culture of the Renaissance really lent itself to this style, perhaps fueled by the rise in new textile luxuries that occurred in vaguely the same period. This is seen especially strongly for angels, such as in the sculpture above, and in this painting: (The Annunciation to the Virgin, Botticelli, 15th century CE)
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There's a stark contrast between the dress of the two figures. The virgin Mary is no less ornamentally or expensively dressed, but her style is rather minimalistic next to the angel's voluminous robing. It paints a very clear impression of angelic dress, and the designers for Good Omens would have been aware, in at least a small way, of the art history precedence for such a thing.
The poof of the sleeves, the tucks down the front, the little belt with the train tucked in, the gathers, the weight of the fabric, everything about this robe is constructed to carefully recreate the rather fantastical imagery of renaissance art. It's not necessarily an easy texture to nail down, given that the artists themselves had no concerns of gravity, comfort, or the way it would look in actual 3d motion, while our brave costumers were dealing with all three as well as a budget, time constraints, and the constant consideration that white fabric just gets dirty so easy.
Here's some of the other angels as well, so you can see how theirs reflect those same dramatic themes.
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And then, of course, when costuming a show you have a second question: What does this mean for our character? Or rather, we know how, but WHY did they make him look so traditionally angelic?
Well, thematically, the Job minisode centers around Aziraphale's struggle with being a good angel and Crowley's struggle with being a good demon. Aziraphale is learning how to be an angel that follows along with heaven as far as we can, and he's so terribly torn up about it. He spends a lot of his time fretting about doing what's expected demanded of him, even if perhaps he doesn't believe it to be the right choice. Natural, then, that he should look the part of the perfect angel whilst sorting out these ethereal woes.
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Crowley even draws attention to it himself, giggling a bit at the suggestion that Aziraphale, with his fluffy hair and flowing angelic garb, could possibly become a demon. And it is a rather silly mental image; the garment itself would be comically silly in really ANY other context at all. In the same manner, his performance of angelic archetype borders on excessive:
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He's trying so desperately hard here to be the angel he wants to and is supposed to be. He's dressed the part, he's using his big scary angel voice, but deep down he's clinging to an identity that doesn't quite fit.
(You'll notice in this shot the distinct difference between his and Crowley's dress on the level of silhouette as well as color. We see this a lot from the two of them, but with the points I made above it felt worth pointing out in this particular scene)
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Here at the end, as he's coming to terms with the cracks in his heaven-given identity, his robe is largely in shadow, blurring out its startling whiteness. We do not see him dressed this way again. (He continues to wear white, obviously, but from here on out his style of dress mimics the human trends of the time rather than that classical angelic imagery)
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Forest Fire – Alexey Denisov-Uralsky // Boreas – The Oh Hellos
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kissycore · 2 years
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Leanne Franson, 2004.
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leveragedlibrarians · 2 months
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AMAZING NEWS BESTIES
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honeymilkbubbletea · 5 days
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This is how I imagined that one scene from The Secret History 💀
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I know it was meant to be sad and a little dramatic and make us feel bad for Richard
But to me, it was beyond funny
Like okay Richard you stubborn bitch go freeze your ass off no one is stopping you 🤷‍♀️
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londonfoginacup · 7 months
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.
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viscerism · 8 months
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king of one thousand restarts
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b4kuch1n · 1 year
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fuck it sk8 sketches from da sketchbook. get sk8ed idiot
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namari-hime-moved · 7 months
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Hello there! I’m your doppelganger!
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sinfulhares · 3 months
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I'm so tired of sites self-destructing, PLEASE I am begging there to be just ONE art site that isn't a flaming pile of shit that could go down at any moment
I'm not leaving until the ship goes down, but I would like to hear potential places where people are also posting art
Personally I'm most active on Kofi and Bluesky because these are the only sites that I'm sure won't come crashing down anytime soon but god it's so tiring to have to keep rebuilding because everything turns to shit over the dumbest, most lack-of-common-decency bullshit from people who should never be in power to begin with
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paiawon · 6 months
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some pictures i took at the national etruscan museum of villa giulia in rome on nov 21st
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bisupergirl · 9 months
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something that's funny about kara's character is that she has a lot of consistent traits and interests seemingly by coincidence, if that makes any sense?
like for the most part i think people (who read her comics) can agree that kara is a hot-tempered person, and that her rage is an important character trait. and while a lot of people attribute her anger as being a trait that was introduced during her new 52 run, you can actually go back to her comics in the 70s and 80s and see that she was equally as (if not moreso!) hot-tempered as she is today. she has always had an incredibly strong sense of morality that she's not willing to waver on, as well as a high standard for how she's treated by others. and a lot of the time that has led her to lash out in anger at criminals, her employers/coworkers, her love interests, the police, and even clark.
and my point being that while you can trace kara's anger back to pre crisis continuity, i don't think the writers of her new 52 series were reading 70s adventure comics issues and the superman family series from the 70s/80s to inform their personal characterization of kara. in modern comics her rage is specifically tied to the destruction of krypton, whereas pre crisis kara was just Like That. she was occasionally allowed to feel sad and lonely about what happened to krypton/argo city, but her anger didn't really stem from that.
anyway! i was just thinking about this because kara's been in three separate bar fights and i thought that was funny.
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spittinwatches · 1 year
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robin and ramy in their culture's traditional clothing
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semiotomatics · 5 months
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think i found a fake georgia o'keeffe painting lol
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vulpinesaint · 8 days
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staring dumbstruck at these tags on one of my little saint sebastian posts. what kind of life are other people living
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A moment of peace during war 🇺🇸🦅
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