Shady Ladies

11/12/2024

"The Unequal Marriage" (1862) by Russian painter Vasili Pukirev is a powerful social commentary on a common practice in 19th century Russia - the arranged marriage of young women to much older men for economic or social advantage.

In the painting, we see a somber wedding ceremony taking place in an Orthodox church. The bride appears very young, perhaps 16 or 17, wearing a traditional white wedding dress with orange blossoms in her headdress. Her downcast expression and passive demeanor suggest resignation rather than joy. The groom is elderly, likely in his 60s, dressed formally and holding a candle as part of the Orthodox ceremony. The stark age difference between them is the painting's central message.

The surrounding figures tell their own story: there's a younger man in the background (believed to be a self-portrait of Pukirev himself) who looks on with obvious distress - possibly representing a thwarted love interest of the bride. The other witnesses include various bureaucrats and officials, their expressions ranging from indifference to mild concern, highlighting society's acceptance of such arrangements.

The painting caused quite a stir when it was first exhibited, as it boldly criticized a practice common among Russian nobility and merchant classes. Young women were frequently married off to older, wealthy men to secure their families' financial stability or advance their social status. The painting became a rallying point for critics of this custom and those advocating for women's rights in Russian society.

The work is particularly noted for its realistic style and psychological depth. Pukirev paid careful attention to the detailing of the Orthodox church interior, the ceremonial dress, and most importantly, the subtle but telling expressions of each figure. The contrast between the bride's youth and beauty and the groom's age and stern demeanor makes the painting's social criticism unmistakable.

11/12/2024

The storied "maisons closes" (closed houses) of Paris were once as much a part of the city's cultural fabric as its cafés and cabarets. From the mid-19th century until 1946, these state-regulated establishments operated under strict governmental oversight, with registered s*x workers required to undergo regular health examinations. The most famous among them, such as Le Chabanais and Le Sphinx, were renowned for their lavish decor, featuring themed rooms, ornate furnishings, and art collections that rivaled many museums.

These establishments served not merely as houses of pleasure but as social institutions where artists, writers, and politicians gathered. The legendary Le Chabanais, favored by King Edward VII of England, boasted a specially designed copper bathtub for the monarch, while prominent figures like Guy de Maupassant and Toulouse-Lautrec were regular patrons of various establishments. The latter even maintained a studio in one brothel, where he painted intimate portraits of the women who worked there, creating an invaluable artistic record of this hidden world.

The architecture and interior design of these establishments reflected the excesses of the Belle Époque period. Each maison close developed its own distinctive character: some resembled Oriental harems, others recreated classical Roman settings, and a few even featured elaborate reproductions of medieval chambers. The attention to theatrical detail extended beyond mere decoration – these spaces were carefully crafted to create complete fantasies, with some rooms featuring complex mechanical beds, ceiling mirrors, and intricate lighting systems designed to flatter their occupants.

The era of the maisons closes came to an end with the passage of the Marthe Richard law in 1946, which ordered the closure of all regulated in . This legislation marked the end of an era that had shaped much of Paris's nightlife and artistic culture for nearly a century. Today, these former brothels have largely been converted into hotels, apartments, or offices, though some retain hints of their ornate past behind their otherwise ordinary facades. Their influence can still be seen in the works of art they inspired and the literature they generated, serving as a testament to a unique period in Parisian history when pleasure, art, and society intermingled behind closed doors

11/03/2024

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11/02/2024

The Sarcophagus of Seianti Hanunia Tlesnasa offers an exceptional glimpse into Etruscan culture, artistry, and attitudes toward death in the 2nd century BC. Discovered at Poggio Cantarello near Chiusi, Tuscany, this sarcophagus dates to around 150-140 BC and reveals the high level of craftsmanship, as well as the social and cultural importance of funerary rites among the Etruscans.

Seianti Hanunia Tlesnasa’s name, inscribed along the chest’s base in the Etruscan language, establishes her identity and highlights the importance of preserving personal legacy. The elaborate depiction of her attire and accessories speaks to her status. Her gown and cloak, with their intricate drapery, would have been labor-intensive to render, particularly in terracotta, indicating that she came from an affluent family in Chiusi. Adorned with a tiara, earrings, bracelets, and a necklace, Seianti’s attire is both regal and reflective of Etruscan fashions, emphasizing wealth and the desire to be remembered with dignity and prestige.

Her reclining pose, upon a shallow mattress with a pillow, evokes a common motif in Etruscan funerary art, where the deceased are often shown reclining as if participating in a banquet or symposion—a practice borrowed from the Greeks but transformed in the Etruscan context. This positioning underscores an ongoing “life” or presence even in death, as she holds a mirror and adjusts her cloak. The open-lidded mirror in her hand symbolizes vanity, self-awareness, or even the soul, an object seen frequently in Etruscan art and often associated with women of the era.

The also held physical remains that, when analyzed, suggested a woman of around 50-55 years of age, offering a rare case where art and archaeology can directly intersect. The combination of Seianti’s lifelike representation and her physical remains allows modern scholars to gain a fuller understanding of both her personal status and health.

Overall, the sarcophagus is more than an artistic object; it reflects the approach to death as a continuation of life’s pleasures and a display of family honor.

10/21/2024

The Queen of the Night Relief, also known as the Burney Relief, is one of the most striking artifacts from ancient Mesopotamia. Dating to around 1800 BC, it originates from the Old Babylonian period and is housed in the British Museum. This terracotta plaque, measuring about 50 cm in height, features a n**e female figure with wings standing on the backs of two lions. She is flanked by two large owls, adding to the enigmatic nature of the piece. The woman is adorned with a horned headdress, a symbol of divinity in Mesopotamian art, and her hands are raised in a gesture that might indicate blessing or domination.

The figure’s feet, resembling those of birds of prey, suggest a connection to both the natural and the underworld. The lions beneath her feet symbolize strength and power, while the owls, associated with the night, reinforce the figure’s possible link to death or the underworld. These elements make the goddess portrayed a figure of immense power, straddling both life and death, light and darkness.

The identity of this goddess has been the subject of intense debate. Some scholars believe she is Ishtar (Inanna), the goddess of love, war, and fertility. Ishtar’s connection to fertility is often symbolized by nudity in ancient art, and her association with lions is well-established, as lions represent her fierce and royal nature. The wings may signify her ability to move between the heavens, earth, and the underworld, further supporting the case for her identification as Ishtar.

Other scholars, however, argue that the figure may represent Ereshkigal, Ishtar’s sister and the queen of the underworld. The presence of owls, nocturnal creatures associated with death, and the clawed feet suggest a darker connection to the underworld. Ereshkigal, though less commonly depicted in Mesopotamian art, ruled over the realm of the dead, and the imagery of the relief aligns with her domain.

Some interpretations suggest the figure could be a composite deity, blending characteristics of both Ishtar and Ereshkigal. This would reflect the dualistic nature of Mesopotamian religion, where life and death, love and war, were seen as intertwined forces rather than opposites.

The relief’s complex symbolism—its combination of animals, divine attributes, and supernatural elements—conveys the figure’s power and authority. The wings, for instance, may signify her divine status or her ability to travel between realms, reinforcing her role as a mediator between life and death. The lions and owls, in turn, serve as reminders of her dominion over both the natural world and the cosmic forces of the underworld.

Produced during the Old Babylonian period, the Burney Relief reflects the rich religious and cultural life of ancient Mesopotamian cities. The pantheon of gods and goddesses, especially figures like Ishtar, played a central role in the daily lives and beliefs of the people. Art from this period often depicted divine figures in ways that emphasized their authority over both the physical and spiritual realms. The Queen of the Night Relief, with its focus on the figure’s dominance over animals and nature, could have served a religious or symbolic purpose, possibly in a temple setting, to invoke divine protection or favor. It may also have had connections to funerary practices, given its underworld themes.

10/18/2024

This ancient , a small globular flask used to store perfume or oil in ancient Greece, provides fascinating insights into the cultural and artistic representations of the time. Dated to 520-510 BC, the artifact is now preserved in the Louvre Museum, and it showcases the visages of two women - one Greek and the other Ethiopian - adorned with the Greek word "ΚΑΛΟΣ," meaning "beauty."

The inclusion of the Ethiopian woman on the Aryballos is particularly noteworthy, as it reflects the early Greek literary tradition of "Tales of ," which depicted these distant lands at the edge of the known world. These narratives, dating back to the 8th century B.C. and echoed in the epic poems of Homer, recount the adventures of Greek deities and heroes, such as , as they ventured to these mythical realms.

The juxtaposition of the Greek and Ethiopian women on the Aryballos suggests a cultural exchange and an appreciation for diverse representations of beauty during this period in ancient Greece. It speaks to the interconnectedness of the Mediterranean world and the curiosity and engagement of the Greek people with distant cultures and civilizations.

Furthermore, the use of the Aryballos in bathing ceremonies among athletes further highlights the significance of this artifact. These small flasks were commonly depicted in vase paintings, showcasing their integral role in the rituals and practices of ancient society.

10/08/2024

Emily Dickinson and Susan Gilbert's relationship began in 1850 when both were young women on the cusp of adulthood. Their initial meeting sparked a profound connection that would endure and evolve throughout their lives. Gilbert, who later became Emily's sister-in-law by marrying her brother Austin, played a multifaceted and crucial role in Dickinson's life and work.

As a mathematician-in-training, Gilbert brought a unique perspective to her relationship with Dickinson. This intellectual background likely contributed to her ability to appreciate and engage with Dickinson's complex and innovative poetry. The two women shared a deep bond that transcended conventional friendship, with Gilbert becoming an integral part of Dickinson's creative process.

In her role as Dickinson's primary reader and editor, Gilbert provided invaluable feedback and support for the poet's work. Dickinson, known for her reclusive nature, found in Gilbert a trusted confidante with whom she could share her most intimate thoughts and artistic creations. This literary partnership allowed Dickinson to refine her craft and develop her unique voice, which would later be recognized as one of the most distinctive in American poetry.

The nature of Dickinson and Gilbert's relationship has been a subject of scholarly debate and speculation. Some historians and biographers argue that their bond went beyond friendship and literary collaboration, suggesting that Gilbert was Dickinson's true love and perhaps her romantic partner. This interpretation is based on the passionate and intimate language found in their correspondence and the depth of their emotional connection.

Dickinson's letters to Gilbert while she's away speak for themselves:

When I look around me and find myself alone, I sigh for you again; little sigh, and vain sigh, which will not bring you home.

I need you more and more, and the great world grows wider... every day you stay away — I miss my biggest heart; my own goes wandering round, and calls for Susie... Susie, forgive me Darling, for every word I say — my heart is full of you... yet when I seek to say to you something not for the world, words fail me... I shall grow more and more impatient until that dear day comes, for til now, I have only mourned for you; now I begin to hope for you...

Now, farewell, Susie... I add a kiss, shyly, lest there is somebody there! Don’t let them see, will you Susie?

10/08/2024

Maria Carolina of Austria, born in 1752, was a key figure in the complex web of European royal families during the late 18th and early 19th centuries. As the 13th child of Maria Theresa, she carried on the Habsburg tradition of large families and political marriages. Her full name, Maria Carolina Louise Josepha Johanna Antonia, reflected various family connections and religious devotions, though her family affectionately called her Charlotte.

The practice of reusing names for royal children was common, especially when earlier children had died young. Maria Carolina was the third daughter to bear this name, following two sisters who had died in infancy. This naming convention highlights the high infant mortality rates of the time, even among the nobility.
Maria Carolina's close relationship with her younger sister Marie Antoinette offers a glimpse into the personal side of royal life. Growing up together in the opulent Schönbrunn Palace, they formed a bond that would endure through correspondence long after their marriages separated them physically.
The circumstances of Maria Carolina's marriage to Ferdinand IV of Naples and Sicily underscore the political nature of royal unions in this era. She was essentially a replacement for her deceased sister, Maria Josepha, who had been intended for Ferdinand but succumbed to smallpox before the marriage could take place. Maria Theresa's frank assessment of Ferdinand's appearance reveals the pragmatic approach to such arrangements, where political alliances trumped personal attraction.
As Queen of Naples and Sicily, Maria Carolina proved to be a formidable political figure in her own right. She often overshadowed her husband in matters of governance and was known for her patronage of the arts and sciences. Her support for the excavations of Pompeii and Herculaneum contributed significantly to our understanding of ancient Roman life.

The French Revolution marked a turning point in Maria Carolina's life and worldview. The ex*****on of her sister Marie Antoinette hardened her stance against revolutionary ideas and led to her fierce opposition to Napoleonic France. This political stance eventually resulted in her exile from Naples in 1806, a dramatic fall from power for a woman who had once wielded considerable influence.

Maria Carolina's legacy continued through her numerous descendants. Her granddaughter Marie Louise's marriage to Napoleon Bonaparte in 1810 added another layer to the family's already complex history. This union, like so many others, was driven by political considerations rather than personal inclinations.

10/08/2024

The between Princess Pauline von Metternich and Countess Anastasia Kielmannsegg in 1892 is one of the most bizarre and fascinating moments in European history. Both were prominent figures in the high society of Austria-Hungary, known for their influence, elegance, and fierce dedication to proper etiquette and social rules. The incident that led to this notorious duel is believed to have stemmed from a disagreement over how to organize an artistic exhibition, an event that the Princess and the Countess were both deeply involved in. But what began as a matter of proper decorum quickly escalated into something much more dramatic and outlandish.

Princess Pauline von Metternich was the wife of Prince Richard von Metternich, the Austrian ambassador to France, and granddaughter of the famous Austrian statesman Klemens von Metternich. She was well known for her beauty, wit, and passion for music and the arts. She had a sharp intellect and was a prominent figure in the European cultural scene, especially in Paris, where she was a close friend of the Empress Eugénie of France. Countess Anastasia Kielmannsegg, meanwhile, was also a highly respected member of the aristocracy, holding the position of President of the Ladies' Committee for the exhibition.

The dispute between the two women reportedly arose from differences in opinions about the proper way to organize the exhibition. Both were strong-willed and unafraid to defend their perspectives, but the intensity of the argument eventually led to the suggestion of a duel—an extreme but not unheard-of method for settling disputes in 19th-century European aristocratic circles. What makes this duel particularly unusual is not just that it involved two women, but that they fought topless.

The decision to duel topless was not a matter of vanity or scandal. It was actually based on medical advice. The duel was overseen by a female second, Baroness Lubinska, who was a physician and insisted on this odd measure for safety reasons. She feared that if the women wore clothing, fabric fibers could get into any wounds caused by the swords, increasing the risk of infection. At the time, medical knowledge about germs and infections was still developing, but this precaution reflected the belief that wounds should be kept as clean as possible to prevent complications.

So, on a summer day in 1892, the duel took place in the garden of Vaduz Castle in Liechtenstein. With their female seconds and a physician on hand, the Princess and the Countess drew their swords and began the duel. It was reportedly the first all-female duel in modern history, and the fact that it was fought topless only added to the sensationalism surrounding it. Accounts vary as to how long the fight lasted, but the two women clashed fiercely, both determined to defend their honor and viewpoint.

The duel ended when Princess Pauline von Metternich managed to land a blow on Countess Kielmannsegg, drawing blood. The injury was not fatal, and the duel was stopped before any serious harm could be done. With blood having been spilled, honor was considered satisfied, and the two women were able to resolve their differences. The duel is said to have ended with both women reconciled, having proven their commitment to defending proper decorum.

The duel between Princess Pauline and Countess Anastasia became infamous not only for its bizarre circumstances but also because it was a rare example of a duel fought by women at a time when dueling was already in decline across Europe. The 19th century saw the practice of dueling fall out of favor, especially as laws were passed to prohibit it. However, duels were still sometimes fought in aristocratic circles as a way to settle disputes of honor, particularly among men. That two high-ranking women would resort to such a dramatic act was highly unusual, making this duel stand out in the annals of history.

Despite the fact that no serious injuries resulted from the duel, the event became a source of gossip and intrigue across Europe. Newspapers and society columns reported on it with a mix of shock and amusement. The image of two noblewomen, stripped to their waists and fighting with swords over a point of etiquette, seemed to capture the imagination of the public, who were both scandalized and fascinated by the spectacle. The duel also highlighted the intense social pressures and strict codes of conduct that governed the lives of aristocratic women at the time. In a world where maintaining one's reputation and adhering to rigid social rules were of paramount importance, even a minor dispute could escalate into something as drastic as a swordfight.

10/03/2024

Sutematsu Yamakawa’s life reflects the blending of cultures and the opportunities that arose for women in during the late 19th and early 20th centuries. Born in 1860 to a family, she was one of the five young girls sent to the United States in 1871 as part of the Iwakura Mission. The Japanese government hoped that these girls would acquire Western knowledge and bring it back to help Japan’s modernization.

At just 11 years old, she traveled to the U.S., where she lived with foster families and quickly adapted to American culture. She attended College, one of the few institutions offering higher education to women at the time. While she excelled academically, her years in the U.S. caused her to lose fluency in Japanese, making communication difficult when she returned to Japan.

After graduating in 1882, she returned home, where she faced challenges reintegrating into Japanese society. Despite the cultural differences, she married Count Iwao Oyama, a leading military figure and Minister of War. Her marriage elevated her status, and she took on the title of Princess Oyama when her husband was promoted.

Her influence went beyond her marriage. Inspired by her education in the U.S., she became involved in nursing and social work. She volunteered with the Japan Red Cross Ladies' Volunteer Nursing Association and the Ladies’ Patriotic Association, using her skills during the Russo-Japanese War from 1904-1905. Her dedication to service during wartime highlighted the evolving role of women in Japan’s modernization, as well as her unique blend of Western and Japanese influences.

09/30/2024

When Isabella of France married Edward II of England in January 1308, the political landscape was already complex, largely due to Edward's close relationship with Piers Gaveston. Historians continue to debate the nature of their bond, questioning whether it was purely platonic or had a s*xual element. Regardless of the specifics, their relationship was marked by deep personal and political intimacy, which led to significant tensions at court.

Many nobles and courtiers perceived Gaveston's influence over Edward as excessive, fostering resentment and suspicion. This dynamic alienated not only the nobility but also Isabella herself. At Edward's coronation banquet in 1308, the situation reached a peak when Isabella's family, feeling slighted by the king's overt favoritism towards Gaveston, chose to leave the festivities. This incident underscored the growing rift between the king and his bride, who was supposed to be the center of attention.

The emotional fallout from Gaveston’s ex*****on in 1312 profoundly affected Edward. He was devastated by the loss of his close companion, which further strained his relationship with Isabella. While Edward mourned, it is likely that Isabella felt little sorrow for Gaveston’s demise, as she had endured years of neglect and humiliation due to the favoritism shown to him.

As the years passed, another figure emerged in Edward's inner circle: Hugh Despenser. Despenser's ascendance was marked by an even greater influence over the king than Gaveston had wielded, and his presence exacerbated Isabella's feelings of alienation. Despenser's role in court life and his close ties with Edward effectively marginalized Isabella, leading her to feel increasingly isolated in her own marriage.

The situation escalated to the point where Isabella openly expressed her discontent. She adopted widow's attire, a significant act that historian Kathryn Warner notes was a powerful symbol of her mourning—not just for the loss of her marriage, but for the loss of her dignity and agency as a queen. This public display of grief illustrated the depth of Isabella's despair and frustration with her husband’s choices, particularly Despenser's influence, which she blamed for creating an irreparable rift in their relationship.

09/30/2024

A woman being dressed in a with the help of attendants using long poles to position her dress over the hoop structure. The crinoline was a popular fashion item during the mid-19th century, particularly around the 1850s to 1860s, and was characterized by its voluminous shape, supported by a cage-like structure made of hoops.an wearing a crinoline being dressed with the aid of long poles to lift her dress over the hoops, circa 1860.

09/30/2024

Did You Know This?

In the late 19th century, the body of a young, unidentified woman was pulled from the River Seine in Paris. Presumed to be a teenager who had taken her own life, her identity remained a mystery, and she became known as "L'Inconnue de la Seine," the Unknown Woman of the Seine. Authorities, hoping to identify her, displayed her body at the Paris Morgue, a common practice at the time to encourage recognition. However, no one came forward, and her story ended there, except for one striking detail: her serene and peaceful expression.

A doctor or mortician, captivated by the tranquility of her face, made a plaster cast of it. This "death mask" quickly became an object of fascination, and replicas were produced and sold across Europe. Her peaceful, enigmatic expression resonated with the Romantic ideals of beauty and mystery. Over time, artists and writers became entranced by her likeness, comparing her serene smile to the Mona Lisa, and L'Inconnue’s face became an icon in Parisian culture, symbolizing the unknowable beauty of the tragic.

Her legacy took an unexpected turn in the 1950s and 60s when CPR was being developed. As mouth-to-mouth resuscitation gained prominence, two doctors—Archer Gordon from the American Heart Association and Bjorn Lind—realized that medical students needed a better way to practice the life-saving technique. Practicing on one another risked injury, so they sought help from a Norwegian toymaker, Åsmund Laerdal, to create a mannequin for training.

Laerdal, already committed to the cause after saving his own son from drowning, agreed to design the dummy. While searching for the right face for this mannequin, Laerdal recalled seeing the death mask of L'Inconnue de la Seine. Her face, calm and neutral, seemed perfect—soothing and non-threatening. This became the face of the mannequin, which was named "Resusci Anne," or "Annie," and went on to revolutionize CPR training.

Since the 1960s, Resusci Anne has become the most widely used CPR dummy in the world. It’s estimated that over 300 million people have been trained using this mannequin, earning her the title of "the most kissed girl in the world." The connection between L'Inconnue’s peaceful death mask and her role in teaching millions to save lives adds a poetic layer to her story. Though she died young, her face has indirectly contributed to countless rescues, a strange and beautiful legacy for someone whose life ended in anonymity.

09/30/2024

Happy Birthday to the incredibly talented Marion Cotillard, who turns 49 today! 🎉✨ From her unforgettable performances in La Vie en Rose to Inception, she continues to inspire us with her brilliance. Here's to many more years of iconic roles and captivating stories! 💫

09/27/2024

This work is attributed to the international sculptor Monica Angel, crafted in Carrara marble—a material historically favored for its fine grain and pristine white color. Carrara marble has been used for some of the most iconic sculptures in history, including works by Michelangelo and Bernini. In this piece, Angel showcases her mastery of detail and texture, particularly in the ornate headdress and the soft, serene expression of the subject.

The sculpture is currently exhibited at the Xiong Folk Art Museum, which, though named after a Chinese artist, is interestingly located in New York, NY, United States. This museum may represent a confluence of global art, displaying a wide range of traditional and contemporary folk arts from various cultures. Angel’s work likely fits into the museum’s collection by emphasizing traditional craftsmanship and aesthetic beauty, while also exploring contemporary themes.

The meticulous attention to the facial features, particularly the subtlety of the eyes and lips, paired with the delicate ornamentation, suggest that the piece might reflect an idealized form of femininity or an archetype of historical figures. The headdress and the jewelry indicate that this could be a depiction of a royal or noble woman, inspired by European or perhaps even Eastern fashion motifs.

09/27/2024

LONDON (AP) — Maggie Smith, the masterful, scene-stealing actor who won an Oscar for “The Prime of Miss Jean Brodie” in 1969 and gained new fans in the 21st century as the dowager Countess of Grantham in “Downton Abbey” and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.