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#1650s
history-of-fashion · 3 months
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1658 Girolamo Martinelli - Beatrice Cabassi
(Palazzo dei Pio/Museo Della Città)
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artschoolglasses · 1 year
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Double Portrait, English School, 1650
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Michiel Sweerts (1618-1664) "Self-portrait" (c. 1654) Oil on canvas Baroque Located in the Allen Memorial Art Museum, Oberlin, Ohio, United States
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medici-collar · 9 months
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Surviving 17th century dresses
1650s-1660s
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Dress of Electress Magdalena Sybilla of Saxony
1650
Saxony, Germany
SKD
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Dress of Electress Magdalena Sybilla
1650
Saxony, Germany
SKD
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English court dress from the 1660s. Silver tissue. Fashion Museum, Bath.
Source: Wikipedia
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jeannepompadour · 1 month
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Portret of a woman, possibly Elisabeth van Dobben, by Isaack Luttichuys, 1655
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oncanvas · 7 months
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Interior with a Woman Seated by a Hearth, Jacobus Vrel, circa 1654
Oil on panel 64.5 x 47.5 cm (25.39 x 18.7 in.) Museo Nacional Thyssen-Bornemisza, Madrid, Spain
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"Allegory of the Vanity of Earthly Things," c. 1650, unknown French artist
This is one of my all-time favorite Baroque works, but there's, like, no scholarly works on it, so here's an excerpt from an essay I wrote on its meaning, entitled "Shadow and Light: Tenebrism and Chiaroscuro in Depictions of Femininity in Baroque Art":
"While candles in Baroque art tend to serve a similar purpose regardless of context– a literal and symbolic way to expose some otherwise obscured truth– this is used to wildly different effect throughout varying traditions. For example, the candle became a universally-recognized element of vanitas and memento mori paintings– related genres which utilized carefully-curated still lifes as a way to create physical manifestations of the inevitability of death. Items such as books, candles or lamps, skulls, and timepieces became synonymous with these late Renaissance and Baroque-era genres. Skulls, once again, serve as a constant reminder of death and the limitations of the human body, books as a symbol of the limited use of accruing earthly knowledge, and timepieces as a very tangible representation of the unstoppable, unforgiving nature of existence. While the vast, almost complete, majority of paintings within these genres are still lifes, a handful include human or humanlike (e.g. angelic) figures. One such example is the enigmatic Allegory of the Vanity of Earthly Things by an unknown French artist. This painting, while clearly referencing vanitas and memento mori paintings through the familiar naming convention (i.e. “Allegory of …”) and the direct reference to vanity in the title, as well as the selection of objects, evades direct categorization. The female figure is unnamed and unrecognized. Because of the relation of Mary Magdalene to vanitas paintings, one could make the argument that the figure is meant to be a representation of Mary. However, depictions of Mary Magdalene throughout history nearly universally depict her with long, flowing, curly, often blonde or reddish hair (with Artemisia Gentileschi’s Mary Magdalene in Ecstasy being a perfect example). Additionally, when Mary Magdalene is depicted as the subject of vanitas paintings, she is generally the one contemplating the macabre items. In this painting, the woman seems to be wordlessly communicating with an individual to the audience’s left. As she tilts the mirror– a symbol of truth, obsession with the self, and most importantly, prediction– towards this phantom audience member and points to the skull with a faint, knowing smirk, she seems to be very intentionally and explicitly indicating the point of the work– death is inevitable. If the predictive, mystical capabilities of mirrors– as well as the truth-revealing properties of the candle– are considered, one could even interpret the woman as a harbinger of death."
If anyone knows anything more about this painting, I would love to hear about it! I've developed a strange obsession with it.
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theineffableauthor · 3 months
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What the hell happend in 1650?
We know Aziraphale did the I was wrong dance in 1650, 1793(bastille) and 1941(church with naz!s)
But what happend 1650, in the golden age of piracy?
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clove-pinks · 1 year
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Watch "HOW TO GET DRESSED IN A 1610S SUIT: The Modern Maker Workroom BASICS" on YouTube
youtube
Just a huge fan of this video. Mathew Gnagy begins in his underwear, which is a long shirt similar in construction to early 19th century men's shirts, but even more gigantic, and a pair of drawers which he compares to Venetians (knee breeches c. 1570-1620). He rolls up the shirt beneath the drawers to pad his hips and the effect is amazing. It really looks so good when he completes the ensemble!
I have been reading Phillis and C. Willett Cunnington's Handbook of English Costume in the 17th Century and The History of Underclothes by the same authors. They mention 17th century breeches stuffed with bombast of "horsehair, flock, wool, rags, flax, bran or cotton" to give the desirable silhouette. (Before bombast referred to an inflated vocabulary it referred to inflated pants.) Quoting Benjamin Jonson: "Stay let me see these drums, these kilderkins, these bombard slops, what is it crams them so? Nothing but hair." (The Case is Altered, 1609).
The video is a great demonstration of "trussing the points" i.e. using ribbons or tape ties to attach the breeches and doublet, which held them together and kept the breeches on. After so much lacing and lacing I couldn't help but wonder how the clothes could come off in a timely manner—but he takes the suit off and strips to his underwear to show how quick it is to undress! (Much to consider).
An illustration from Handbook of English Costume in the 17th Century shows that the basic suit-shape is the same at midcentury, but the breeches are now held up by metal rings under the doublet skirt and the ribbon bows peeking out are decorative.
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Today, in Useless Information:
During the pandemic I made a baroque costume for a dancer, and last week he asked me to share the documentation for the suit since he's submitting the whole project to a museum. I said, sure.
And I had forgotten HOW WELL DOCUMENTED IS EVERYTHING. Like. ?????!!!!!!!!. I had TOTALLY FORGOTTEN that EVERYTHING, from the way I cut the fabric pieces to keep the floral repetitions in the brocade, to the interfacing, to the way I added the metallic buttons or made the falling band and the cuffs, everything is based on existing garments and made/finished with historical and hand made techniques.
????!!!!!!
I mean, look at this shit:
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All garments, of course are adapted for functionality to work on stage and with the fast changes a dancers have to make. But still, just the sleeveless doublet structure is *chef kiss*. And I have no photos of the interior, but the breeches and the doublet attach, in a VERY historical way.
HOW DID I FORGET ALL OF THAT?!
Anyway, I think I'll ask for the finished garments to take some interior and details photos, and when the project gets finished, I'll share some photos.
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i-love-this-art · 2 years
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Mattia Preti / “Saint Veronica with the Veil” / 1655-1660 / Los Angeles County Museum of Art
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history-of-fashion · 5 months
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1654 Adriaen Cornelisz Beeldemaker - Portrait of a woman putting on her gloves
(Musée de la Ville de Bruxelles / Maison du Roi)
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artschoolglasses · 1 year
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Bronze Vase with Roses, Pedro de Camprobin, 1640-60
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Jacob van Loo (1614-1670) "Group of Musicians" (c. 1650-1652) Oil on canvas Dutch Golden Age Located in the Thyssen-Bornemisza Museum, Madrid, Spain
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heracliteanfire · 4 months
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Mezzotint by Johann Peter Pichler, c. 1800; after the painting Cave with Resting Shepherds, 1653, by Guillam Dubois
(via National Gallery of Art)
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jeannepompadour · 4 months
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17th century mule shoes;
Women's mule. Velvet, embroidered with raised silver thread, leather heel. England, c. 1650
Mule. Possibly man's, silk, embroidered with raised work in silk and silver thread, leather heel. Britain, 1660s-70s
Mule shoe. Silk and embroidered with raised work in silk and silver thread and leather heel. England, 1660-80
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