1820 1840

need refs/inspo for period clothing?

here you go:

lots of periods in one spot/fashion through centuries:

Short disclaimer: Most pictures show clothes of royalty, aristocracy, and burgoisie as their clothes weren’t worn as much and especially not for labour, which is the issue with farmers/workers’ clothes, which also were reused quite often, whether to sew new clothes or have rags. So please keep this in mind!!

It really is very European-centric as I am European as well, and I apologise for it if you expected more from it. I definitely lack the knowledge to determine what are accurate portrayals of other cultures, and to find content for them is really difficult as well. This is why I would encourage you to submit any resources you have to my blog! If you have any book recs or know good pages, please let me know!

Another edit/note: Pinterest has changed a lot since I made the post, so you need to be signed in now to see more than the first row of the boards, I’m really sorry about that! (Also I tested all the links and on my original post they still work, if you’re having isues with that.)



These books were pulled from the stock because they’re in English and we don’t sell English.. BUT–! They’re also really kinda cool: They’re nothing but British women’s fashion plates from 1828-9 and 1843-4.

The question all of you out there is whether it be helpful or interesting for anyone for there to be a side-blog to post a bunch of these plates? 

(These kinda-crappy photos are just from a phone camera but I can easily take better photos with a better camera.)

I think people from these fandoms might be interested? : les mis, jane austen, american civil war (maaaybe if it’s a figure’s youthhood or something)

…There’re probably other fandoms from ~1820 to ~1850 that I don’t know about too.

Anyway, just checking for interest. Might do it anyway, but wanted to see what other people had to think first.



John Martin (1789–1854, England)

Dramatic landscapes 1

John Martin was an English Romantic painter and one of the most popular artists of his day. He was celebrated for his typically vast and melodramatic paintings of religious subjects and fantastic compositions, populated with minute figures placed in imposing landscapes. His dramatic and subjective style of composition was in stark contrast to the emerging schools of naturalism and realism, which led his work to fall out of critical favour soon after his death, however a revival in interest has occured towards the end of the 20th century, and now his major works are popular pieces of many museum’s collections.


Jean-Pierre Boyer (15 February 1776 – 9 July 1850) was one of the leaders of the Haitian Revolution, and President of Haiti from 1818 to 1843. He reunited the north and south of Haiti in 1820 and also annexed newly independent Spanish Haiti (Santo Domingo), which brought all of Hispaniola under one Haitian government by 1822. Boyer managed to rule for the longest period of time of any of the revolutionary leaders of his generation.


Before there were photos, life and portraits were recorded down by paintings and illustrations and the Philippines during the Spanish colonial period was no different. Here are a few paintings and illustrations of scenes and portraits of Pilipin@s during this time period.

Photo Sources:

I. “Mestizos de Manila, Yslas Filipinas” (Mestizos from Manila, Philippine Islands). 1792. Pen and ink and colored goache on paper. 22.5 cm. x 18.5 cm. Museo de America (Madrid) Collection

II. “La India Viuda” (The Native Widow). Between 1820-1840. Watercolor on paper. 32 cm. X 23.5 cm. Private Collection.

III. “Casa de baños en Manila” (Bath houses in Manila). 1792. 24 cm x 35.5 cm. Pen and ink and sepia gouache on paper. Museo Naval (Madrid) Collection.

IV. "Un India Pescadora de Manila" (A Fish Vendor of Manila). Between 1827-1832. Colored gouache on rice paper. Approximately 20.5 cm. x 30.5 cm. Dr. Eleuterio Pascual Collection.

V. “Un Indio Labrador” (A Native Laborer). [Between 1827-1832]. Colored gouache on rice paper. Approximately 20.5 cm. x 30.5 cm. Dr. Eleuterio Pascual Collection.

VI. Untitled (Man with his Prized Cock). 1840s. Watercolor on wove paper. Approximately 30 cm. x 18 cm. Private Collection.   

VII. Untitled (Mestiza with Embroidered Pañuelo and Parasol). 1840s. Watercolor on wove paper. Approximately 30 cm. x 18 cm. Private Collection.

VIII. “Vista de la entrada de la Calzada de San Sebastian hasta la Yglesia de Nuestra Senora del Carmen” (View of the entrance from San Sebastian Street to the Our Lady of Carmen Church). 1867. Watercolor on paper. Approximately 36 cm. x 49 cm. Private Collection.

A Quick Fashion Guide for Your French Romantics (text only)

I’ve been working on a quick guide to some of the major fashion trends in French Romanticsm, late 1820s- late 1840s.  This is definitely not a complete discussion, but @amelancholycharm, you said you might want to chip in on this?  (I am totally gonna make this an illustrated guide later, but I wanted to type it up first) 

Under a cut because wow this got Long, and it’s definitely not complete:

Keep reading


Tobi-Oiran 飛花魁 (Flying geisha) - Japan - “1820-1840″

Fuji Airways company 富士飛行社 air hostess advertising - Fuji-Q Highland 富士急ハイランド theme park, Fujiyoshida 富士吉田, Yamanashi Prefecture 山梨県 - 2014

CM here

anonymous asked:

Wait is there a big difference between brick and musical enjolras? I'm not that far in the book yet and I'm curious bc of that post you made

Hallo anon! There’s quite a significant difference, including some dramatic choices made for staging purposes. Movie Enjolras is a third character again. 

Hugo did slightly remove his Republican characters from the very specific circumstances around the 1832 uprising (e.g. only a passing mention of 1830 and Louis-Philippe is treated very kindly in the text) because by 1862 social and political events had moved on - what he stressed was more the general Republican aims of personal freedom, representation, suffrage and education rather than the assembly laws, suppression of the press, reneging on the 1830 attempts to integrate Republican institutions into the Monarchy etc. Indeed, the very strong stress on education really takes us almost into the territory of 19th century Utopian Socialism than 1820s - 30s Republicanism.

The stage musical, in its efforts to create a universal black box staging, takes that further and eliminates even a reference to the monarchy (something I’m glad was restored in the movie, as it was referenced in the OFC) - what we’re left with is a vague “cut the fat ones down to size” which sounds like a caricature of a 20th century Marxist slogan. The Amis are about raising people up, not tearing them down, and the Enjolras of the Brick - with his lofty ideas about honour, not to mention brotherhood - would not be sloganeering in that fashion. The closest he comes is a reference to parasites in his View from a Barricade speech. 

Depending on the direction and the acting, I’ve seen stage Enjolraii that come across as very hot-headed and impetuous to various degrees (some, like Thaxton, are more self-possessed and contained…others seemed almost unbalanced). They do things like charge to the top of the barricade and make themselves conspicuous targets in their red jacket. Brick!Enjolras is the opposite - he quietly settles himself in a corner of the barricade and picks off attackers as they charge in, many of them not even seeing them. He speaks little, and when he does it’s usually very brief and straight to the point (which lends a greater impact to those moments when he soars into speech). 

There are reasons Musical!Enjolras is so conspicuously front and centre stage - a musical Enjolras who spends most of his time concealed and firing from behind his redoubt, alertly keeping his eye on the street and calling out terse commands, would not translate well to stage (thus front-row-centre in his red jacket Musical!Enjolras). 

Musical!Enjolras does not have such scope to subtly convey Enjolras’ foresight and preparation - the closest we get is a reference to the fact that it’s “easy to sit here and swat them like flies/but the National Guard will be closer to catch”. Musical!Enjolras then goes on to act as if victory is their’s for the taking, and sometimes lapses into a sense of shaken faith when it becomes apparent it’s not. This is something that also bothers me about Aaron Tveit’s interpretation, and his reading of Enjolras as having “realised” he’s lead the Amis to their deaths. That has absolutely no counterpart in the book - quite the opposite. Brick!Enjolras is fully aware that this is a risk (a revolution is the act of kicking down a rotten door, and you don’t know if the door is rotten enough until you test it), and is already preparing for the possible fall of the barricade long before that happens, to the extent that he’s setting aside bottles of acid that, it’s hinted, were prepared well in advance. 

Musical!Enjolras (again, depending on the actor and staging) is charismatic and passionate, but he doesn’t have the ice cold determination and remorseless logic that drives Brick!Enjolras. At times he comes across as a bit generic revolutionary leader, and the whole “they were school boys, never held a gun” sets up a narrative of naivete that is not reflected either in the fictional Amis or in their real-life student counterparts. These Amis seem to owe more to the Mai 1968 protests than to the students that took to the streets in the 1820s - 1840s. They were experienced street combatants - not “school boys”. Enjolras was a born soldier and leader, not a naive over-reaching dreamer. 

Hope that starts to answer your questions - there’s a lot more I could write on the subject. I also have to stress again that it’s heavily dependent on how the libretto is interpreted - I’ve seen Les Mis performed in London, Paris, Melbourne and Sydney, and some of the performances differed almost unrecognisably. I used to drop in and see it often in London, and was transfixed the first time (Enjolras was more on the transcendent Revolutionary Priest end of the spectrum) and horrified the second (Second time Enjolras was swaggering around the stage like he was the Pirate King). I’ve seen an Enjolrai attack the barricade and have a hissy fit when people started dying, and I’ve seen him respond with ineffable dignity. Some Stage Enjolrai can overcome the weaknesses in the libretto, and the need for dramatic staging compromises, and reach back more to the Enjolras Hugo wrote. 

Period guys (and gals!) in glasses

A special post for Combeferre today.  You’re not alone in poor eyesight!

^^^This Belgian fellow couldn’t settle for just one set of magnifiers.

^^^Awesome lady!  Rock those glasses, girl!

^^^Don’t know what to say here……….>___>

^^^Another hip lady!

^^^Some of the spectacles themselves.  Tinted spectacles, like today, were used for a variety of protective purposes, usually against light or chemicals, while clear lens were mainly for reading.  Good luck getting long-distance spectacles!

^^^And, because we know men have always been lazy.  An 1832 cariacature promising “living made easy”: revolving hats that had all the gadgets men needed attached to their brims, from cigarettes to eyeglasses. Because “the intolerable trouble of holding them” was just too much.

So, see, Combeferre!  Lots of hot 1820s-1840s guys in glasses!  There’s still hope for you yet…!  :D