The Seduction, c.1900 by Juan José Gárate

Cristina Garcia Rodero. Noche de los favores, Alosno (Huelva), 1991.

peluquería barros

Sorry for the post dump but as a good neurodivergent person I became obsessed with a TV show. And if you're also an occultism fan, a horror fan, a costumbrist horror fan, or someone that just wants to be surprised and ask themselves every ten minutes 'was it necessary to show this like that?' you also should be watching 30 coins.

Mujer recostada sobre el muro (Woman leaning against the wall), by José Cebrián García (Loja, Granada, 1839-1904).

Profanación. Es una costumbre que ejercen personas que no tienen ni idea de como ayudar, pero eso no las detiene, entonces lo intentan. En casi cualquier situación solo se convierten en obstáculos. En casos más graves, como el que viví recientemente con la muerte de mi padre, se convierten en profanadores. Son personas que apenas te conocen, el vínculo jamás fue más allá de un hola y chau, pero de repente se enteraron que se murió mi padre y pretenden exprimir a mi madre y a mí confesiones profundas, charlas intensas, quieren que nuestro corazón se abra frente a sus narices que huelen dolor, congoja, sufrimiento. Y eso les atrae como moscas. ¿Cómo voy a hablar yo de mi dolor más desgarrador con alguien que me cruzo menos de 10 veces al año por puro azar, únicamente en la calle, cuando hago algunas compras? Profanadores. Quieren desesperadamente ser parte de un momento trascendente sin poder aceptar que como personas o como vínculos son intrascendentes. No tienen guion pero hablan, a veces parece que hasta les molesta no tener el protagonismo de la tragedia de turno. Mucho mejor hicieron las personas que supieron exactamente qué decir o qué callar, sin importar si era mucho o poco, en el momento correspondiente, al margen de que el momento fuera descomunal. Mucho mejor hicieron también quienes fueron conscientes de su inutilidad en momentos como este y se quedaron al margen, con un breve saludo respetuoso a la distancia, sin molestar. Lo peor son estas otras personas que no me conocen, no se conocen, y tienen una desesperación inagotable de pasar a la historia ante la mínima o máxima oportunidad que se les presenta, sin importar quien sea afectadx en su camino a la fama. Profanadores.

Acostumbradoalfindelmundolandia: linktr.ee/acostumbradoalfindelmundo

¿Por qué cuando estoy a punto de tomar distancia apareces tratándome como siempre quise que me trataras?

¿Por qué es tan difícil dejarte? :(

al things considered — when i post my masterpiece #1193

first posted in facebook may 19, 2023

an artist active in bolivia [possibly joaquin castañón] -- "saint isidore the farmer" (ca. 1860)

"culture participates in imperialism yet is somehow excused for its role" ... edward said

"the spanish empire and its patent mercantile companies were the dominant colonial force in america from 1492 to 1832 [...] the colonial encounters and exchanges that established an 'american art' informed by european conventions are also responsible for the violence of forced religious conversions, removal from ancestral homes, and the enslavement of african and indigenous peoples in the hemisphere" ... special exhibitions gallery,  harvard art museums

"imperialism was born when the ruling class in capitalist production came up against national limitations to its economic expansion. the bourgeoisie turned to politics out of economic necessity; for if it did not want to give up the capitalist system whose inherent law is constant economic growth, it had to impose this law upon its home governments and to proclaim expansion to be an ultimate political goal of foreign policy" ... hannah arendt

"this dynamic composition portrays saint isidore the farmer, the patron saint of farmers and the city of madrid [...] his ability to navigate the politics of multiple cultures and religious traditions while maintaining his faith served as a poignant example for converts and priests" ... special exhibitions gallery, harvard art museums

"the conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much" ... joseph conrad

"here, saint isidore is shown dressed as a 19th-century gentleman farmer in the andes. the artist [...] depicts the saint performing one of his many miracles: causing fresh water to gush from the earth [...] the blending of the hagiographic with romanticized depictions of native farm life and dress contributes to the work's power as both an icon and a noteworthy example of costumbrismo: a romanticized approach to the pictorial representation of everyday life and folk traditions in the americas" ... special exhibitions gallery, harvard art museums

"and if all others accepted the lie which the party imposed—if all records told the same tale—then the lie passed into history and became truth. 'who controls the past' ran the party slogan, 'controls the future: who controls the present controls the past'" ... george orwell

"every empire, however, tells itself and the world that it is unlike all other empires, that its mission is not to plunder and control but to educate and liberate" ... edward said

"everything americans have been taught over the years has been propaganda by the rich used to justify and maintain their control of power" ... al janik

Ramón Frade

« Fotografía de niña con chinas »

Fotografía, ca. 1947

« Niña con chinas »

Aguada, 1947

« Niña con chinas »

Óleo sobre madera, 1948

Bruma y Katia Brumiferas

Santa Pola, August 2022, 35mm

Spanish Painters of the 19th century: José Villegas Cordero.

Ladies in a Garden.

The Slipper Merchant.

Siesta.

ARC considers this painting by Jose Villegas Y Cordero to be one of the finest orientalist paintings we've ever seen and it readily rivals some of the most famous works by Jean Leon Gerome, Karl Frederick Lewis, Frederick Arthur Bridgman, Rudolph Ernst or Ludwig Deutch. "In this tour de force of sumptuous indolence, a warrior rests in a mafraj (lounge) in a corner of the Alhambra Palace, serenaded by a beautiful young mandolin player. He is surrounded by all the accoutrements he could desire, smoking a pipe, a coffee pot by his side, and an incense burner by his feet releasing scent into the languid air. Resting on the headboard behind him is his flintlock pistol, and in his hilt rests his kindjal dagger in its bejewelled case. Above, an explosion of pampas grass flowers create a sheltering canopy over the two figures.

A good plan.

More paintings from the same painter here.

Also on this series:

José Jiménez Aranda.

Ventura Álvarez Sala.

Rey de copas

¿Quién para?

@dafnadafne_