although more in a lady like fashion

anonymous asked:

can I have some nyo balkans headcanons pretty please?

I can try to make some! I hope they’re okay ;w;

  • Nyo!Bulgaria has long hair, and tends to either keep it in a ponytail or braided. She’s always smelling of rose perfume. Has the most gorgeous garden you will ever see, and is a bit more cuddly than her male counterpart.
  • Nyo!Romania used to have long hair, too, but cut it at some point and now it’s as long a that of her male counterpart. A fun and outgoing spirit, but she’s very serious when it comes to work. A ‘work first, play later’ type of person. Always has her nails done and has very pretty jewellery.
  • Nyo!Greece I think would be less laid back than her counterpart. A hard-worker whose full of life, with rough hands, broad shoulders, and untamed hair. At the end of the day, though, she’s more than happy to relax with close friends and a glass of  ouzo. She’s also got the cutest summer dresses you’ll ever see.
  • Nyo!Turkey is the queen of belly-dancing. Seriously, its her hips that don’t lie. Hair’s either let loose of in a neat bun. A loud and proud woman, much like her male counterpart, and she’s always dresses in the latest fashion. Huge sweet tooth, and a wonderful cook. Coffee and tea addict, for sure.
  • Nyo!Albania (who I will make male, since I’m seeing more and more Albania OCs which are women) is a fun, adventurous guy who’ll take a risk every now and then. A big flirt, always looking to impress the ladies, and who you’ll find at parties and clubs. Very friendly.
  • Nyo!Serbia is another loud and proud woman, although she may appear a bit colder than male!Serbia. However, when friends are involved she’s very sweet and hospitable to them, taking a sort of “mother hen” role. Tall, with hair let loose, but not messy.
  • Nyo!Montengro can be quite lazy, but is generally nice. Pretty well mannered, but won’t hesitate to spit some nasty words at you if you act rudely towards her or disrespect her. You’ll often find her on her country’s beaches, she probably even has a house there.
  • Nyo!Macedonia is the sweetest guy you’ll ever meet. Name any Macedonian folk dance, and he knows it. In fact, he’d be more than happy to teach you, and don’t worry if you don’t get it right at first; he’s patient and happy to help. Also, do you want a flower crown? He’ll make it for you. Big ball of sunshine.
  • Nyo!Croatia: strong, independent woman who don’t need no man. Hard-working and hotheaded. Don’t get on her bad side, it’ll end up ugly for you. However, she might forgive you if it’s the first time. Slightly less unforgiving and uneasy than her male counterpart. She’s the best tour guide, though, and will be happy to show you the best spots on Dalmatian coast (which she is immensely proud of).
  • Nyo!Bosnia is a wonderful cook and quite hospitable. She’s fun to be around, and will try to cheer you up, though she might unintentionally fail in doing so (and might even make things worse). Tries harder when it comes to getting along with others, especially Herzegovina.
  • Nyo!Herzegovina is a guy who will take no shit. Life tough, and so is he. Don’t negotiate with him or try to make yourself look good after you’ve messed with him. He’s quite tall and can also appear intimidating. 
  • Nyo!Slovenia is an excellent business woman, dressed sharply and always has her hair and make-up done perfectly. It’s not easy to get on her bad side, and if you do, she’ll choose mostly to ignore you or maybe give you a harsh glare.
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Elizabeth Monroe (1768-1830) and Eliza Monroe Hay (1787-1840)

Art by Anna Chase-Roberts (tumblr, instagram)

The daughter of a wealthy New York merchant, Elizabeth Kortright married James Madison on February 16, 1786.  She was seventeen, he was twenty seven.

Before becoming President in 1817, James Madison served as a member of the Virginia House of Delegates, as a member of the US Congress, as Governor of Virginia, as United States Minister to Great Britain, and as United States Minister to France.  

Elizabeth’s time in France was among the most defining periods of her life. Elizabeth immersed herself in French culture, learning European manners and how to speak French.  The Monroes lived in France at the height of French Revolution and Elizabeth played a vital role in freeing Adrienne de Noailles, wife of Gilbert du Motier, Marquis de Lafayette.  In May 1794, Adrienne was imprisoned by the French Committee of Public Safety. That July, her mother and sister were guillotined.  One day, Elizabeth Monroe showed up at the Collège du Plessis prison in a sumptuous carriage and asked to see Adrienne.  The attention that came from a wealthy foreigner visiting the prison directly led to Adrienne’s release on January 22, 1795.

Although Elizabeth had been a fashionable hostess earlier in James’s career, she was not a well liked First Lady.  After spending so much time in Europe, Elizabeth preferred more formal manners. Rigid and unpopular social rules were adopted to avoid favoritism, to make foreign diplomats feel more comfortable, and to elevate the presidency of this new upstart nation.  While First Lady of Virginia, Elizabeth began experiencing seizures which led her to curtail her social life.  Although Elizabeth attended social events as First Lady, her daughter Eliza took over much of social leadership.

Eliza Kortright Monroe was born in Virginia in 1786.  As a child, she attended Jeanne Campan’s school near Paris and became friends with Hortense de Beauharnais, step-daughter of Napoleon and the future Queen of Holland.   In 1808, Eliza married Virginia attorney George Hay.  Together they had a daughter named Hortense.

As First Daughter and White House hostess, Eliza believed that politicians and diplomats should pay their respects by making the first visit to the White House.  This followed contemporary European norms, but ran counter to Dolley Madison’s policy of making the first visit.  Eliza was seen as haughty and quickly alienated Washington society.  The situation got so bad, that in 1819 the women of Washington refused to attend parties hosted by Elizabeth, Eliza and future First Lady Louisa Adams.  A cabinet meeting was held and eventually the two sides reconciled.  As controversial as these more formal rules were at the time, they greatly influenced White House etiquette.  Modern presidential protocol has more in common with the rigid standards of the Monroe administration than with the outgoing informality that made Dolley Madison such a popular First Lady.

Elizabeth Monroe died on September 23, 1830.  Brokenhearted, James died less than a year later.  After the death of her husband and parents, Eliza returned to France, converted to Catholicism, and moved into a convent. She died in 1840 and is buried in France.

Past Cool Chicks from History posts about First Ladies can be found here.

rosewater-eunuchs  asked:

terrific blog, thanks for sharing your knowledge! Is there any symbolism to the color of the obijime? I've read that flat is generally for casual and round is for formal attire, and black is for extremely respectful events like funerals and wedding. How about the rest of the color spectrum? Thanks!

In fact I think you have nailed it pretty accurately! Flat is generally casual, round is generally formal, and for furisode there are obviously fancy obijime that have beads, braiding, gold threads, sparkles etc.

As with other kimono things, the more gold involved, the more formal it is.

For summer kimono, you can wear summer-weight obijime (unbelievably, yes, the one accessory that makes NO difference whether it’s thick or thin is changed to a “cool” summer weight) which are made in an open weave like Ro silk. 

As for other colors, there are not really any rules about colors having particular significance. Red, as in China, is auspicious, but you don’t always see it at weddings. Although black is traditionally worn only at funerals, in modern fashion you will see it just matching the outfit. The ‘make’ of the obijime, its weight and formality, seems to be much more important than simply the color.

For a general rule of thumb, though, I believe older ladies often wear subdued colors and younger ladies saturated colors. 

Have fun!

Saw Jupiter Ascending!

Jupiter Ascending was awesome. 

More janitor space princesses with shirtless cyborg angel winged werewolf boyfriends please. (although my favorite character might be lady space police captain??)

I was smiling the whole time till my face hurt, and although it had pacing issues and too many ideas, I really like it when a movie tries big, it felt a LOT like a lady Flash Gordon movie. You know the 1980 one? (It really needs a big huge Queen song on the soundtrack!!)

ALSO it was VERY pretty to look at and the fashion was awesome and there are DRAGON PEOPLE?!?!?!

I liked how aware it was of the female gaze, which makes sense since it was co-directed co-produced by a lady, so that was awesome.  Because a lot of times when I watch a sci fi movie i feel like there’s this idea that “NO THIS IS NOT FOR YOU. YOU JUST GET TO BE HERE” but this movie was like “WOW SO HAPPY YOU SHOWED UP! HERE THIS MOVIE IS FOR YOU!” which i appreciated.

more goofy lady centric overblown scifi, i am so down.

REYNOLDS, Sir Joshua

English painter (b. 1723, Plympton Earl, d. 1792, London)

Lady Cockburn and her Three Eldest Sons

1773

Oil on canvas, 141,5 x 113 cm

National Gallery, London

Later years

In 1753 Reynolds settled in London, where he was to live for the rest of his life. His success was assured from the first, and by 1755 he was employing studio assistants to help him execute the numerous portrait commissions he received. The early London portraits have a vigour and naturalness about them that is perhaps best exemplified in a likeness of Honourable Augustus Keppel (1753-54; National Maritime Museum, Greenwich, London). The pose is not original, being a reversal of the Apollo Belvedere, an ancient Roman copy of a mid-4th-century-BC Hellenistic statue Reynolds had seen in the Vatican. But the fact that the subject (who was a British naval officer) is shown striding along the seashore introduced a new kind of vigour into the tradition of English portraiture. In these first years in London, Reynolds’ knowledge of Venetian painting is very apparent in such works as the portraits of Lord Cathcart (1753/54) and Lord Ludlow (1755). Of his domestic portraits, those of Nelly O'Brien (1760-62) and of Georgiana, Countess Spencer, and Her Daughter (1761) are especially notable for their tender charm and careful observation.

After 1760 Reynolds’ style became increasingly classical and self-conscious. As he fell under the influence of the classical Baroque painters of the Bolognese school of the 17th century and the archaeological interest in Greco-Roman antiquity that was sweeping Europe at the time, the pose and clothes of his sitters took on a more rigidly antique pattern, in consequence losing much of the sympathy and understanding of his earlier works.

There were no public exhibitions of contemporary artists in London before 1760, when Reynolds helped found the Society of Artists and the first of many successful exhibitions was held. The patronage of George III was sought, and in 1768 the Royal Academy was founded. Although Reynolds’ painting had found no favour at court, he was the obvious candidate for the presidency, and the king confirmed his election and knighted him. Reynolds guided the policy of the academy with such skill that the pattern he set has been followed with little variation ever since. The yearly Discourses that he delivered at the academy clearly mirrored many of his own thoughts and aspirations, as well as his own problems of line versus colour and public and private portraiture, and gave advice to those beginning their artistic careers.

From 1769 nearly all of Reynolds’ most important works appeared in the academy. In certain exhibitions he included historical pieces, such as Ugolino (1773), which were perhaps his least successful works. Many of his child studies are tender and even amusing, though now and again the sentiment tends to be excessive. Two of the most enchanting are Master Crewe as Henry VIII (1775-76) and Lady Caroline Scott as Winter (1778). His most ambitious portrait commission was the Family of the Duke of Marlborough (1777).

In 1781 Reynolds visited Flanders and Holland, where he studied the work of the great Flemish Baroque painter Peter Paul Rubens. This seems to have affected his own style, for in the manner of Rubens’ later works the texture of his picture surface becomes far richer. This is particularly true of his portrait of the Duchess of Devonshire and Her Daughter (1786). Reynolds was never a mere society painter or flatterer. It has been suggested that his deafness gave him a clearer insight into the character of his sitters, the lack of one faculty sharpening the use of his eyes. His vast learning allowed him to vary his poses and style so often that the well-known remark of Thomas Gainsborough, Damn him, how various he is! is entirely understandable. In 1782 Reynolds had a paralytic stroke, and about the same time he was saddened by bickerings within the Royal Academy. Seven years later his eyesight began to fail, and he delivered his last Discourse at the academy in 1790. He died in 1792 and was buried in St. Paul’s Cathedral.

In his seventh Discourse on Art delivered at the Royal Academy in 1776, Reynolds proclaimed:

He…who in his practice of portrait-painting wishes to dignify his subject, which we will suppose to be a lady, will not paint her in the modern dress, the familiarity of which alone is sufficient to destroy all dignity… [he] dresses his figure something with the general air of the antique for the sake of dignity, and preserves something of the modern for the sake of likeness.

In his fourth Discourse of 1771 he had recommended the ‘historical Painter’ never to to 'debase his conceptions with minute attention to the discriminations of Drapery…With him, the clothing is neither woolen, nor linen, nor silk, satin, or velvet: it is drapery; it is nothing more.’

Reynolds was not alone in worrying about the way portraits began to look ridiculous as fashions changed. The dress of ancient Greeks and Romans belonged to that period in European history which, educated people then thought, set civilised standards for all time; it was also believed to be closer to nature than modern dress especially the 'straight lacing of English ladies’, 'destructive…to health and long life’. But not all sitters wished to be depicted in mythical charades, and the results could sometimes be even more risible than an outmoded bodice - as when Lady Sarah Bunbury, who 'liked eating beefsteaks and playing cricket’ was painted by Reynolds sacrificing to the Three Graces.

Lady Cockburn’s portrait demonstrates the half-way mode most successfully adopted by the artist, and his pleasure in it is reflected by his signing it on the hem of her robe - a wonderfully majestic gold 'drapery’. According to the newly fashionable exaltation of maternity, Augusta Anne, Sir James Cockburn’s second wife, is posed with her three children (although separate sittings are recorded for the elder boys). James, the cherub kneeling on the left, born in 1771, became a general; George, born in 1772 and clambering around his mother’s neck, grew up to be the admiral whose ship conveyed Napoleon to exile on St Helena; the baby, William, born that June, entered the Church and became Dean of York. The commission must have reminded Reynolds of the traditional allegorical image of Charity as a woman with three children; he probably knew Van Dyck’s painting (now in the National Gallery, but then in an English private collection) or the famous engraving after it, for his composition resembles it in many details.

Where Van Dyck’s Charity gazes up to Heaven, however, Lady Cockburn turns her profile to us and looks lovingly at her eldest son. Despite George’s mischievous address to the viewer - probably to be imagined as his Papa - the composition echoes Michelangelo’s grand and severe sibyls on the Sistine Chapel ceiling. The colour accent of the brilliant macaw, a favourite pet in Reynolds’s household recorded as having perched on the hand of Dr Johnson, was an afterthought, recalling Rubens’s use of a similar device. So well did Reynolds succeed in lending Lady Cockbum 'the general air of the antique’, however, that when the painting was etched for publication, and Sir James objected to his wife’s name being exposed in public, the print was entitled Cornelia and her Children after the Roman matron who boasted that her children were her only jewels.