“I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so it isn’t much of a stretch.”
@captainaloevera asked, “I’m a little stuck in my story. I must write about the everyday life of my character but how can I avoid making it sound like a checklist?”
Writing about the character’s everyday is important to an extent. Unless you’re writing Ulysses, you can include less than you think. Instead of listing out activities, let your reader just assume the character did all those things. Think in scenes. If you have an idea for a scene that occurs in the character’s daily life, include some of the normal things and then work in the plot. Then, skip ahead to the next scene. Mostly we can assume characters do thing they’re supposed to do, like brush their teeth, take showers, eat. We don’t always need to see it.
We all know that Cinder has recurring nightmares of when Levana tried to kill her. What traumatic memory do the others have frequent nightmares of?
Kai: Marrying Levana. Considering how long that particular fear hung over him and how close he came to being stuck as her husband (for more than just an hour), he no doubt has nightmares where he finds himself facing her at the alter all over again. This time with no way out.
Scarlet: Michelle’s death. So many things on the farm remind her of Michelle and with that many reminders in her daily life, it’s not unusual for that horrible scene to appear in her dreams
Wolf: Killing Ran. Because no matter how estranged they were and how justified he was under the circumstances, there’s no way he could ever entirely get over killing his own little brother.
Cress: The whole incident in the throne room, from shooting Thorne’s fingers off to him stabbing her. Every second of it was horrible and traumatic in its own uniquely awful way and every second of it has been featured in her nightmares at one point or another.
Thorne: Being forced to stab Cress in the stomach. Being glamoured is bad enough, but being glamoured into nearly murdering someone you love is a millon times worse. The scene replays over and over in his head some nights,
Jacin: Winter’s fake-death. Because what if it hadn’t been faked? What if Levana had anticipated his plan and arranged to force him to go through with it? What if all that blood on the menagerie floor had been Winter’s rather than Ryu’s?
Winter: Killing Aimery. As much as it affected her at the time and as much as it went against the principles she’d lived with up until that point, there’s no way that it didn’t have lasting effects.
Just that moment, that little moment, where Emma is slightly annoyed at Henry for not doing something she asked him to do was brilliant. We don’t see anywhere near as much actual Mother/son daily life scenes as we should…with either Emma or Regina anymore so that was brilliant. I celebrate the small, simple things writers. It doesn’t have to be 0-100 every episode
Abandoned Fishing Village Outside of Budapest is Perfectly Reflected on the Lake by Viktor Egyed
A few miles outside of Budapest lays a small abandoned fishing village composed of rustic huts, tall trees and an obscure atmosphere. When photographerViktor Egyeddiscovered the sight, he came back a few years later to capture its mystery during a hazy fog.
The gloomy weather beautifully accentuates the landscape passage and its strangely and perfectly mirrored sight on its lake. The glasslike reflections are crystal clear representations of reality. The mysterious observation creates an alternate universe, one where time stands still. Egyed believes the place is an idyllic scene for those looking to escape the rush and stress of daily life.
Since 2011, Japanese artist Tatsuya Tanaka has been engaged in his “Miniature Calendar” — a project which has seen the art director create a pocket-sized scene of everyday life, on a daily basis. What initially started as a means of photographing his collection of diorama dolls amongst familiar settings constructed to scale, has now unfolded into a long-term venture… one that he’s not likely to stop anytime soon. Find more about the artist on the full interview on Designboom.
Menes was the first pharaoh of Egypt, uniting Upper & Lower Egypt
into a single kingdom. This was the beginning of the Old Kingdom era
(3200-2680 BC, and of the 1st Dynasty. Egyptian
architecture began to flourish during this time.
The Egyptians believed that life on earth was temporary, but the
spiritual life was eternal. Therefore, the religious monuments
needed to last. While Ancient Egyptian palaces and houses have
collapsed over the centuries, the religious buildings have endured
for longer. The tomb was the gateway to the afterlife, and the
temple housed the gods.
The mastaba was the tomb. It is Arabic for “stone bench”.
They were designed with the same plan as an Egyptian house.
It was a regulated mound with several small rooms, built over a broad
pit (so it was underground and above ground). This gave space for
the dead person and their provisions for the afterlife. The central
room had the sarcophagus, and the surrounding rooms contained
The walls sloped inwards. Wooden/mud-brick pillars were first built,
then covered in rubble, and finally walled in mud-brick.
4th Dynasty mastaba.
Entrance to the Mastaba of Ti (5th Dynasty).
4th & 5th Dynasty mastabas.
Mud-brick was the usual material for domestic buildings in Egypt. It
was made from a mixture of mud and straw. It was excellent for
building in the arid climate, and the Mesopotamians had used it for
The royal mastaba often had a mud-brick façade around it, with
alternating projections & recessions. This probably copied the
timber panelling of the early palaces. The façade was often painted
in bright colours, and traces of this survive.
Reconstructions of 1st Dynasty mastabas. Both are attributed to Queen Merneith.
But during the 3rd & 4th Dynasties
(2780-2565), attention moved away from the mastaba’s exterior and
towards its interior, for security reasons. The exterior became
simpler. The burial chamber was sunk deep into the rock, and
security measures such as stone portcullises were added.
A false door was usually on the tomb’s eastern side, facing the Nile.
This allowed the deceased’s spirit, or ka, to enter &
exit the tomb as it pleased, and travel upon the river. It was made
of mud-brick or stone, as an imitation of the façade’s wooden door.
False door (6th Dynasty).
During the 4th Dynasty (2680-2565), non-royal mastaba
cemeteries were built near/around royal mastabas. These non-royal
tombs contained high officials, and the tombs were probably an honour
bestowed on them by the pharaoh. A small chapel was included – often
a simple niche with an offering table for dedications to the
deceased, on the outside of the mastaba.
The most sophisticated tombs had many chambers inside them, as a
full-scale residence for the deceased, as well as a gateway to
eternity. The rooms were decorated with scenes of daily life, and
natural motifs. They depicted the afterlife as an “idealized
parallel to Egypt”. These rooms included storerooms, a chapel,
resting places, and dining areas.
The following photos are all from the tomb of Merefnebef (6th Dynasty).
Fishing scene & marsh scene.
Merefnef sitting with one of his wives, watching harpists & dancers.
Merefnebef (II) and his wife Hemi, seated before offerings.
The Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history generally spanning the 17th century, during and after the later part of the Eighty Years War (1568–1648) for Dutch independence. The new Dutch Republic was the most prosperous nation in Europe, and led European trade, science, and art. The northern Netherlandish provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south, and the upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art needed to reinvent itself entirely, a task in which it was very largely successful.
Although Dutch painting of the Golden Age comes in the general European period of Baroque painting, and often shows many of its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting.
It is also a great time for Flemish Painters of the Baroque
Flemish Baroque painting refers to the art produced in the Southern Netherlands during Spanish control in the 16th and 17th centuries. The period roughly begins when the Dutch Republic was split from the Habsburg Spain regions to the south with the Spanish recapturing of Antwerp in 1585 and goes until about 1700, when Habsburg authority ended with the death of King Charles II. Antwerp, home to the prominent artists Peter Paul Rubens, Anthony van Dyck, and Jacob Jordaens, was the artistic nexus, while other notable cities include Brussels and Ghent. Rubens, in particular, had a strong influence on seventeenth-century visual culture. His innovations helped define Antwerp as one of Europe’s major artistic cities, especially for Counter Reformation imagery, and his student Van Dyck was instrumental in establishing new directions in English portraiture. Other developments in Flemish Baroque painting are similar to those found in Dutch Golden Age painting, with artists specializing in such areas as history painting, portraiture, genre painting, landscape painting, and still life.
A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the bulk of their work within one of these. The full development of this specialization is seen from the late 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting.
The term “genre” is much used in the history and criticism of visual art, but in art history has meanings that overlap rather confusingly. Genre painting may also be used as a wider term covering genre painting proper, and other specialized types of paintings such as still-life, landscapes, marine paintings and animal paintings.
The concept of the “hierarchy of genres” was a powerful one in artistic theory, especially between the 17th and 19th centuries:
History painting, including narrative, religious, mythological and allegorical subjects
Genre painting or scenes of everyday life
Landscape (landscapists were the “common footmen in the Army of Art” according to the Dutch theorist Samuel van Hoogstraten) and cityscape
Still life, flowers, etc.
History Painting (historical, biblical, mythical, allegory, battle scenes)
Denis van Alsloot
Dirck Van Baburen
Jacob Adriaensz. Backer
Salomon de Bray
Jan Brueghel the Elder
Jan Brueghel the Younger
Hendrick ter Brugghen
Abraham Van Calraet
Jacob van Campen
Hendrik de Clerck
Gaspar de Crayer
Benjamin Gerritsz. Cuyp
Caesar van Everdingen
Frans Francken the Younger
Hieronymus Francken the Younger
Aert de Gelder
Pieter de Grebber
Cornelis van Haarlem
Pauwels van Hillegaert
Gerrit van Honthorst
Samuel van Hoogstraten
Michael Angelo Immenraet
Gerard de Lairesse
Jacob van Loo
Karel van Mander
Daniel Mijtens the Younger
Jan Baptist van Meunincxhove
Eglon van der Neer
Adriaen van Nieulandt
Abraham Janssens van Nuyssen
Jacob van Oost the Elder
Jacob van Oost the Younger
Cornelius van Poelenburgh
Willem de Poorter
Erasmus Quellinus II
Pieter Cornelisz van Rijck
Rembrandt van Rijn
Peter Paul Rubens
David Rijckaert (III)
Joris van Schooten
Jacob van Swanenburg
Abraham van den Tempel
David Teniers the Elder
David Teniers the Younger
Theodoor van Thulden
Moses van Uyttenbroeck
Gillis van Valckenborch
Otto van Veen
Esaias van de Velde
Adriaen Pietersz van de Venne
Simon de Vos
Cornelis de Wael
Jan Baptist Weenix
Adriaen van der Werff
Pieter van der Werff
Thomas Willeboirts Bosschaert
Tronies, portrait, selfportrait, equestrian, groupsportrait, military
Pieter van Anraedt
Jan de Baen
Jan van Bijlert
Abraham van Blyenberch
Gerard ter Borch
Gesina ter Borch
Jan de Bray
John de Critz the elder
Jacob Gerritszoon Cuyp
Jan Frans van Douven
Anthony van Dyck
Wybrand de Geest
Marcus Gheeraerts the Younger
Frans Pietersz de Grebber
Johannes van Haensbergen
Bartholomeus van der Helst
Jan van den Hoecke
Ludolf Leendertsz de Jongh
Thomas de Keyser
Roelof Koets of Zwolle
Sir Peter Lely
Michel Jansz van Mierevelt
Jan van Mieris
Daniel Mytens the Elder
David van der Plas
Pieter van der Plas
Hendrick Gerritsz Pot
Jan Antonisz. van Ravesteyn
Arnold van Ravesteyn
Jan Albertsz. Rotius
Dirck van Santvoort
Paul Van Somer
Pieter Claesz Soutman
Johannes Cornelisz. Verspronck
Jacob Ferdinand Voet
Ary de Vois
Cornelis de Vos
Genre, scenes of daily life, music
Cornelis Pietersz Bega
Charles Emmanuel Biset
Peter van Bloemen
Balthasar van den Bossche
Hendrick van der Burgh
Willem Pieterszoon Buytewech
Joos van Craesbeeck
Joost Cornelisz Droochsloot
Willem Cornelisz Duyster
Pieter de Hooch
Pieter van Laer
Jan Miense Molenaer
Frans van Mieris the Elder
Willem van Mieris
Adriaen vam Ostade
Landscape, seascape, city scape, winter, night
Jan Abrahamsz Beerstraaten
Nicolaes Pietersz. Berchem
Paul and Mattheus Brill
Anthonie van Borssom
Jan Dirksz Both
Abraham Van Calraet
Gillis van Coninxloo
Dirck Dalens the Elder
Pieter Janssens Elinga
Allaert van Everdingen
Jan van Goyen
Joris van der Haagen
Jacob de Heusch
Willem de Heusch
Philips Augustijn Immenraet
François van Knibbergen
Philip de Koninck
Govert van der Leeuw
Jean-François Millet (I)
Pieter de Molijn
Frederick de Moucheron
Isaac de Moucheron
Aert van der Neer
Pieter de Neyn
Jan van Nickelen
Egbert Van Der Poel
Jacob Van Ruisdael
Salomon van Ruysdael
Jacob Savery the Elder
Adriaen van Stalbemt
Lucas van Uden
Lodewijk de Vadder
Adriaen van de Velde
Jan Vermeer of Haarlem
Gaspar van Wittel
Jan van der Heyden
Jan van Kessel of Amsterdam
Hendrick van Anthonissen
Jan Theunisz Blanckerhoff
Jan van Capelle
Jeronymus van Diest
Willem van Diest
Andries van Eertvelt
Hendrik van Minderhout
Pieter Mulier the Elder
Jan Peeters I
Willem van de Velde the Elder
Willem van de Velde the Younger
Lieve Pieterszoon Verschuier
Abraham de Verwer
Simon de Vlieger
Hendrick Cornelisz Vroom
Cornelis Claesz van Wieringen
Paul de Vos
Still life, flowers, food, vanitas, Trompe l’oeil
Willem van Aelst
Balthasar van der Ast
Jan Anton van der Baren
Martin Boelema de Stomme
Ambrosius Bosschaert the Elder
Ambrosius Bosschaert II
Joseph de Bray
Elias van den Broeck
Cornelis Jacobsz. Delff
Isaac van Duynen
Floris van Dyck
Jan Baptist van Fornenburgh
Jan Pauwel Gillemans
Gerrit Willemsz Heda
Willem Claeszoon Heda
Cornelis de Heem
Jan Davidsz. de Heem
Jan Janszoon de Heem
Jacob van Hulsdonck
Jan van Kessel
Cornelis van der Meulen
Maria van Oosterwijck
Pieter Gerritsz van Roestraten
Floris van Schooten
Otto Marseus van Schrieck
Jan Philips van Thielen
Jan Jansz. Treck
Jan Jansz. den Uyl
Adriaen van Utrecht
Jan Jansz. van de Velde
Vincent Laurensz van der Vinne
Others, interiors, skating
Bartholomeus van Bassen
Dirck van Delen
Pieter Janssens Elinga
Wilhelm Schubert van Ehrenberg
Jacob de Gheyn II
Cornelis de Man
Pieter Neefs the Elder
Peeter Neeffs (II)
Pieter Jansz Saenredam
Jacobus Ferdinandus Saey
Hendrick van Steenwyck (II)
Hendrick Cornelisz van Vliet
Paul Vredeman de Vries
Emanuel de Witte
The enormous success of 17th-century Dutch painting overpowered the work of subsequent generations, and no Dutch painter of the 18th century—nor, arguably, a 19th-century one before Van Gogh—is well known outside the Netherlands. Already by the end of the period artists were complaining that buyers were more interested in dead than living artists.
If only because of the enormous quantities produced, Dutch Golden Age painting has always formed a significant part of collections of Old Master paintings, itself a term invented in the 18th century to describe Dutch Golden Age artists. Taking only Wouwerman paintings in old royal collections, there are more than 60 in Dresden and over 50 in the Hermitage. But the reputation of the period has shown many changes and shifts of emphasis. One nearly constant factor has been admiration for Rembrandt, especially since the Romantic period. Other artists have shown drastic shifts in critical fortune and market price; at the end of the period some of the active Leiden fijnschilders had enormous reputations, but since the mid-19th century realist works in various genres have been far more appreciated.
During the Middle Kingdom (2134-1786 BC), private tombs shifted from
using the mastaba design, to rock-cut tombs hewn directly out of the
hills along the Nile. The pharaohs soon adopted the practice, too,
for security reasons. The rock-cut tombs reached their peak during
the New Kingdom (1570-1085 BC), built by craftsmen supported by the
Rock-cut tombs near Aswan.
The Valley of the Kings is situated on the west bank of Thebes, and
this decision may have been because of the natural pyramid shape of
the Western Mountain. These tombs continued to imitate domestic
building design, with many chambers for funerary goods as well as the
deceased’s body. They were decorated with bright colours, with
subjects ranging from scenes of daily life to high ritual, the gods,
Beni Hasan is a cemetery site that was used mostly during the Middle
Kingdom (there are also some Old Kingdom burials). There are 39
Middle Kingdom tombs, built mostly during the 11th and 12th
Dynasties for provincial officials. The entrance faced the rising
sun, and the portico were like those of domestic houses, as we can see from the models of houses included in funerary goods.
Middle Kingdom tombs.
Tombs of Wahkare Khety (9th/10th Dynasty) Baqet III (11th Dynasty).
Amenemhet’s tomb (12th Dynasty).
The entrance to the Beni Hasan tombs was flanked by two pillars.
Inside, a rectangular-shaped chamber was supported by four columns,
and a niche was cut into the back wall. The ceiling was flat or
slightly vaulted, and there was no light source apart from the
As can be seen above, the columns had large, flat, circular base
stones. This would become the standard form of column base
throughout Egyptian architecture (with a bit of modification).
The columns were cut into either an octagonal, or fluted 16-sided
form. This may have been an entirely aesthetic decision, to soften
the square structure’s appearance. The columns narrow slightly up to
the top. They have no capital, just a square slab or abacus.
Security measures included pits, false floors and dummy chambers. A
false floor led the trespasser to an empty dummy chamber, while the
real burial chamber was hidden beneath him.
The Beni Hasan tombs, like those of that time, were relatively
simple. So were the royal tombs. But by the 19th Dynasty
(second dynasty of the New Kingdom), the royal tombs had developed
into an elaborate series of chambers, linked by corridors and
stairways. They were built by specialized teams of workmen from the
village of Deir el-Medina, and were decorated with raised reliefs.
Aerial view of Deir el-Medina.
Tombs in the Valley of the Kings was built & used during the New
Kingdom. The entrances were cut into the bedrock to try and hide
them – quite a change from the attention-grabbing pyramids. The
construction of a later tomb actually buried Tutankhamun’s tomb,
which wasn’t rediscovered until 1922.
Tomb entrance of Ramesses XI (20th Dynasty).
Inside the highly-decorated burial chamber was the sarcophagus – a
large stone coffin, often carved from solid blocks of granite, which
held the mummy. It was decorated with hieroglyphics.