still cookin, i promise! had a very particular vision for this week hehe
13 - my boy ambrogio from my jjba fanpart wild ride! he's the protagonist and is a medium-sized goldendoodle :) had fun drawing him silly
14 - one of my ocs ever tbh. this is epicurus, who shows up in the last chapter of this! at his core, he's a lesson on not letting go and its consequences. he would like to think he's a hero, though. (...at first, anyway.)
15 - director reagan! one of my oldest ocs, the cruel owner of an underground colosseum where entertainment is the highest priority. their design is still in the works, tbh, but i'll figure it out. i for sure like the gharial inspo
16 - one of my newest! i can't reveal a whole lot yet bc that'd spoil some things for my friends who write in shepherdstown with me, but! i love her very much.
17 - another oc i haven't named, but she's from a story i fidget with on and off! she's a scientist who comes to these remote isles and ends up meeting a witch who's trying to clone themself... explorations of ethics and magic vs science roll out from there !
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Ambrose: When I possess the Genesis Book, and I go to Selvadorado and find the Genesis Pool, nothing will matter. I will finish what I started long ago, Jure. This time, I intend to win the coming war. The Gargareans, Amazons, and Valkyries are all extinct, the Omiscans are dead and gone, Spellcasters hiding in a pocket… Only scant pockets of resistance remain. Lazarus will die, and then… the pool will be mine.
Dream: It would seem that thousands of years have done very little to temper the desires of this creature. Beasts who crave power look back on the mistakes of their lives and call it “destiny.” I wonder if “Ambrose” will be stopped this time?
****
Jure: And what of Azura, sire? Are we to inform her of the return of her old Lover?
Ambrose: Azura still lives? She has done well. Well indeed. But for now, we shall keep her in the dark. Does she ever speak of me?
Jure: Occasionally, she said that she: “Once had a boyfriend called Ambrogio, and he was a meanie pooh who never let me have any fun.”
Ambrose: Her mental state is still as poor as ever, if not worse I see. For now, we will keep the status quo. It will change when I command. This is the optimal for now.
Jure: And the Chosen One, she knows you as Ambrogio?
Ambrogio: No, she knows me as “Ambrose” and that is good enough. Truly the best place to hide, is in plain sight is it not?
Jure: As they say, sire.
****
Ambrogio: I think the Chosen One is a bit of a buffoon. I am rather disappointed if I am honest.
Jure: She is not what you expected?
Ambrogio: *laughing* Oh Jure, she’s the only one who DOESN’T know! *stops laughing* She has no idea about anything! She’s as stupid as she is young.
Jure: That makes the task easier. I doubt securing the Dreamwalker will be so easy if I may say, what is your plan for her?
Ambrogio: Leave that to me. Her fresh nightmares await her… I will turn her, and harness her power, finally Jure, we will undo the wrongs of the past. All the abuse and vile experiments the ancients did to us.. To ME! It will all be swept away. Humans will be farmed. Some will be pets, some will be sustenance.
Dream: Nightmares and dreams are my domain, Ambrose. Tread carefully, because even vampires dream and yours are no better than hers. I hope my cousin is ready for all of this… She’s the last of her kind.
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A. Lorenzetti was highly influenced by both Byzantine art and classical art forms and used these to create a unique and individualistic style of painting.
His work was exceptionally original. Individuality at this time was unusual due to the influence of patronage on art. Because paintings were often commissioned, individualism in art was infrequently seen.
It is known that Lorenzetti engaged in artistic pursuits that were thought to have their origins during the Renaissance, such as experimenting with perspective and physiognomy and studying classical antiquity.
Ambrogio invented checkerboard paving, giving a depth effect.
They introduced naturalism into Sienese art. In their artistry and experiments with three-dimensional and spatial arrangements, the brothers foreshadowed the art of the Renaissance.
- Wikipedia
Author: Ambrogio Lorenzetti
Date: 1342
Museum: The Uffizi
Technique: Tempera on wood
Size: 257 x 168 cm
The Presentation at the Temple is a painting by the Italian late medieval painter Ambrogio Lorenzetti, signed and dated 1342, now housed in the Uffizi Gallery of Florence, Italy. It is one of the largest works by the Italian medieval painter, as well as one of the five which he signed and dated.
- Wikipedia
Ambrogio Lorenzetti’s work shows the presentation at the temple and the purification of Mary, forty days after giving birth, according to Hebrew rituals.
Mary, who can be recognized by her usual blue cloak and red dress, is holding her son out to Simeon and to the prophetess Anna, both of whom recognize the Child as being the Messiah.
Anna is holding a scroll citing a passage from the Gospels, narrating this event.
On the altar, the priest is sacrificing the gifts brought by Mary and Joseph.
Joseph is shown alone, on the far left.
The temple, for which we can see both interior and exterior, according to medieval custom, is imagined by Ambrogio Lorenzetti as a church, with columns, starry vaults, paintings, and windows.
The converging widths of the polychrome marble floor serve to enhance the idea of depth, showing the artist’s interest in depicting spatiality.
- Uffizi Museum
Pavement reaches mathematical accuracy
Groundlines converge into a precisely defined the vanishing point
Detail of Allegory of Good Government
The Allegory of Good and Bad Government is a series of three fresco panels.
Artist: Ambrogio Lorenzetti
Date: 1338
Medium: Fresco
Movement: Gothic art, Sienese School
Subject: Allegorical depictions of good and bad government
Dimensions: 7.7 x 14.4m
Location: Palazzo Pubblico, Siena, Italy
Owner: Fondazione Musei Senesi
The paintings have been construed as being "designed to remind the Nine [magistrates] of just how much was at stake as they made their decisions"
Participate in the pictorial revolution of Trecento using space in a new way.
Man is at the heart of the world's activities
To begin with, unlike other works produced by the Sienese School of painting, The Allegory and Effects of Good and Bad Government has a secular rather than a religious theme - a rare characteristic at a time when the bulk of all Proto-Renaissance art consisted of religious paintings. Indeed, it remains one of the first significant examples of secular political art, since classical antiquity. Compare, for instance, works by Duccio di Buoninsegna (1255-1319), Duccio's pupil Simone Martini (1285-1344), Pietro Lorenzetti (active 1320-45) and Sassetta (1394-1450).
Secondly, the work demonstrates the artistic modernism of its creator Ambrogio Lorenzetti. Not only was he active in Siena - a city noted for its conservative style of medieval painting - he was also a member of an important crafts guild in Florence, which suggests he was familiar with the advances made by Giotto and others. This is borne out by his depiction of realistic architectural space, his use of primitive perspective (see also his 1342 painting entitled The Presentation in the Temple), and his modeling of faces and figures.
