goddamnshinyrock:

writer: [a fictional scenario, clearly intended purely for escapist fantasy or romance]

me: okay sure but LOGISTICALLY SPEAKING HERE,

as a person who has sent one published author a detailed ask about the evolutionary biology of her fantasy creatures and tweeted a different author about the specifics of garment construction in the world of her period fantasy novel, I am and likely always will be That Guy.

brideoflister:

no-discourse-onlywrites:

rowantheexplorer:

drst:

tiny-librarian:

A Pennsylvania museum has solved the mystery of a Renaissance portrait in an investigation that spans hundreds of years, layers of paint and the murdered daughter of an Italian duke.

Among the works featured in the Carnegie Museum’s exhibit Faked, Forgotten, Found is a portrait of Isabella de’Medici, the spirited favorite daughter of Cosimo de’Medici, the first Grand Duke of Florence, whose face hadn’t seen the light of day in almost 200 years.

Isabella Medici’s strong nose, steely stare and high forehead plucked of hair, as was the fashion in 1570, was hidden beneath layers of paint applied by a Victorian artist to render the work more saleable to a 19th century buyer.

The result was a pretty, bland face with rosy cheeks and gently smiling lips that Louise Lippincott, curator of fine arts at the museum, thought was a possible fake.

Before deciding to deaccession the work, Lippincott brought the painting, which was purportedly of Eleanor of Toledo, a famed beauty and the mother of Isabella de’Medici, to the Pittsburgh museum’s conservator Ellen Baxter to confirm her suspicions.

Baxter was immediately intrigued. The woman’s clothing was spot-on, with its high lace collar and richly patterned bodice, but her face was all wrong, ‘like a Victorian cookie tin box lid,’ Baxter told Carnegie Magazine.

After finding the stamp of Francis Needham on the back of the work, Baxter did some research and found that Needham worked in National Portrait Gallery in London in the mid-1800s transferring paintings from wood panels to canvas mounts.

Paintings on canvas usually have large cracks, but the ones on the Eleanor of Toledo portrait were much smaller than would be expected.

Baxter devised a theory that the work had been transferred from a wood panel onto canvas and then repainted so that the woman’s face was more pleasing to the Victorian art-buyer, some 300 years after it had been painted.

Source/Read More

Christ men have been Photoshopping women to make us more “pleasing” since for-fucking-ever.

Also, Isabella de’Medici is nice looking, but also has that look in her eye of all Medicis: “I haven’t yet decided whether I’m going to kick your ass, buy you and everything you own, or have sex with you. Perhaps all three.”

Carnegie Museum! 😀  That’s right downtown. You rock, Ellen Baxter!

There’s an excellent video about the restoration and you can hear the disdain for the cover up dripping from the conservators words.

revolutionarynoodles:

milvertons:

I’m reading John Adam’s annotated copy of Mary Wollstonecraft’s 

Historical and Moral View of the French Revolution, ya know, for like, fun. And it’s hilarious.  I swear he’s almost a caricature of himself. It’s TOO John Adams™  

Like this over-dramatic nonsense  

At first, it’s clear he can’t get over the fact that a chick is writing about POLITICS

He loves to write little sarcastic comments when the language and/or sentiments are Too Optimistic for him

also when Wollstonecraft sly-digs the american revolution

He didn’t think Marie Antoinette was All That (later he says “her beauty was chiefly the fiction of flattery”)

Is a total prude even in his most private thoughts #repressed

But every once in a while shows genuine appreciation for good writing

Can we all talk about Marie Antoinette got roasted in that 5th one? 😂