I cannot believe that tomorrow I will see this painting. There are so many old friends waiting for me at the Alte Pinakothek in Munich and strangers I’ve never met.
Being a flight attendant means I’m privy to secrets that people don’t normally share. Desires and dreams, things they want to see or things they are too afraid to see. A lot of things happen when you are 36,000 feet in the air and sometimes people just want to talk. Something I talk to people a lot about are their bucket lists. Places they want to travel, mountains to climb. I have one of those also but the best conversations are the ones where strangers talk about their separate bucket list for art. Things you have to see with your own eyes.
Which is why tomorrow is so exciting for me. I can cross off entire sections. I spent my entire childhood studying these masterpieces and it’s no longer enough to only see them captured in a book. I have to stand before them and on those rare occasions I have to stand and cry before them. Sometimes I have to whisper thank you to them for seeing me through those dark teenage times, for guiding me, giving me strength, and for teaching me that beauty absolutely lies in the eye of the beholder.
… ‘I had friends. The idea of being forever separated from them and from all their troubles is one of the greatest sorrows that I suffer in dying. Let them at least know that to my latest moment I thought of them’. I told myself I wouldn’t cry. I cried.
Marie Antoinette’s Last Letter Stained By Her Tears
“16th October, 4.30 A.M.
It is to you, my sister, that I write for the last time. I have just been condemned, not to a shameful death, for such is only for criminals, but to go and rejoin your brother. Innocent like him, I hope to show the same firmness in my last moments. I am calm, as one is when one’s conscience reproaches one with nothing. I feel profound sorrow in leaving my poor children: you know that I only lived for them and for you, my good and tender sister.
Comédie-Française: Robe de style XVIIIe siècle en brocard marron à motifs fleurs, rose et or, dentelle ocre. Manches en lingerie et dentelle écrue. Pièce de corsage garnie de bijoux or et strass.
Anyone know where this is from?
Thank you to everyone who helped!
Der Rosenkavalier, worn by Kiri Te Kanawa
Costume porté par Kiri Te Kanawa pour Chevalier à la rose, opéra de Strauss, Costumes d’Ezio Frigerio, Opéra Garnier, 1976
Metropolitan Museum of Art
A Spitalfields silk dress with a dome-shaped skirt conforms not only to the silhouette of the 1730s but also to the interaction between silks and laces during that time, especially evident in Spitalfields manufacture. The silk pattern is like that of lace. While such interaction seems hard to imagine between worker and pattern book, clothing is a place where the various media ultimately converge. Eighteenth-century dress, in particular, was a Gesamtkunstwerk of artisanal and dressmaking skills. While most eighteenth-century dresses have been altered in some way for subsequent use, fashion historian Janet Arnold has noted that this one shows no sign of ever having been altered and is thus in its perfect original state.
I think it’s fascinating to see how Swedish Court Gowns have changed over the centuries. The silhouettes are different but the sleeves are always the same.
1780’s Queen (consort of Sweden) Sophia Magdalena, wife of king Gustav III, by Niclas Lafrensen. She is wearing a formal court costume.
1812 La princesse Desideria de Suède Miniature par Nicolas Jacques aka Desiree, in Swedish court dress
Court Gown (with Train) with Evening and Day Bodices of Wilhelmina von Hallwyl, Léon Sacré, W W. Ullberg & Comp.: 1865, Swedish, silk velvet, Chantilly lace.
Jeanne Lanvin, Dress Made for the Swedish Court, 1926.
Casaca (jacket), skirt, and same Casaca laid flat, 1740, Spain. metal, cotton, linen, silk, paper. polychrome and gilded silver. Casaca is hip-length, open in front and side pleats that start from a button covered in the same fabric. The sleeve, three quarter with triangular back. The jacket, along with the petticoat (skirt) was a common dress among the Spanish female population of the first half of the eighteenth century. Museo del Traje.
(c) Museo del Traje
Jubon - Vest, ca. 1770, Madrid. Blue silk and taffeta silk in ivory. With neck placket and long sleeves and narrow. The back ends in its lower edge in a queue. Decorated with a silk cord application and metallic threads in gold silk braid. Majismo costume, part of the movement in late 18thC Spanish clothing away from the influence of the French and towards a more Spanish style of clothing.
Museo Del Traje
Vestido a la inglesa (Vaquero)
Vestido de seda amarilla labrada en dos tonos. Largo con escote redondo se cierra por la espalda. Mangas cortas muy estrechas y en la bocamanga encaje de lino a la aguja. El perímetro del escote y bocamangas están decorados con una cinta de seda verde tableada. La misma cinta decora todo el delantero dispuesta en él a modo de peto. Neoclasicismo 1780 (ca) INVENTARIO: MT00567 Este vestido que, a diferencia de la bata, estaba ceñido en la espalda siguiendo la moda del vestido a la inglesa, en España fue conocido como vaquero hecho a la inglesa. Este vaquero de niña es muy similar al que lleva Maria Teresa de Borbón niña en el retrato que Francisco de Goya realizó en 1784.
Disclaimer, I don’t speak Spanish, Castilian or otherwise and confess to having used Google Translate. Mea Maxima Culpa.
Yellow silk dress styled two tone. Round neckline Long closes in the back. Very narrow and short sleeves in linen lace cuff to the needle. The perimeter of the neckline and cuffs are decorated with a pleated green silk ribbon. The same ribbon decorates the entire front disposed therein as a breastplate. Neoclassicism 1780 (approx) INVENTORY: MT00567 This dress, unlike the gown was belted in the back following the fashion of the English dress in Spain was known as the English vaquero. This cowboy girl (GOOGLE WHAT THE HECK? COWBOY?) is very similar to what Maria Teresa de Borbon takes girl in the portrait Francisco de Goya painted in 1784.