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Le son du vortex - Radio alternative
Le son du vortex - Radio alternative
@vortexradio.bsky.social
3 days ago
Now Playing: The Walters - I Love You So

Now Playing: The Walters - I Love You So

🔴 LIVE NOW ON VORTEX
📻 Vortex Sessions 🎧 (Indie pop, synth-pop, alternative rock)
──────────────
🎵 The Walters - I Love You So

▶️ Écouter / Listen : VorteX [Radio]

💬 Join us on Discord

#VortexWave #TheWalters #IndiePop #AlternativeRock #2010s

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Le son du vortex - Radio alternative
Le son du vortex - Radio alternative
@vortexradio.bsky.social
4 days ago
Now Playing: The Walters - New Girl (Tom's Song)

Now Playing: The Walters - New Girl (Tom's Song)

🔴 LIVE NOW ON VORTEX
📻 Vortex Abyss 🕳️ (Dark ambient, neofolk, shoegaze, immersive)
──────────────
🎵 The Walters - New Girl (Tom's Song)

▶️ Écouter / Listen : VorteX [Radio]

💬 Join us on Discord

#VortexWave #TheWalters #IndiePop #AlternativeRock #2010s

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Lissa
Lissa
@qibhom.bsky.social
2 months ago
An approximately 5' (1.2 meter) wide fish made out of chainmail, plate armour, spikes and rivets.

An approximately 5' (1.2 meter) wide fish made out of chainmail, plate armour, spikes and rivets.

Visited The Walters Museum yesterday for the first time in years. Was thrilled that my old friend Sir Galashad is still by the store.

#TheWalters

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Michael
Michael
@mdstamper.bsky.social
6 months ago
A young woman with light, peach-toned skin stands in three-quarter profile, torso angled toward us while her face turns beyond the right edge, as if listening offstage. Her dark hair is swept into an updo; a beaded golden hoop earring catches the light. Over a pink dress that clings at the bodice and loosens into rippling folds at her waist, she wears a short, elaborately embroidered bolero lined in red satin, its matador-like cut evoking Spanish performance dress. She rests the guitar’s body on her thigh and lightly grips the headstock with elongated fingers; a gemstone ring flashes on her left hand. Brushstrokes churn around her in ochres, warm grays, and rose, while a bubble-like “LV” monogram hovers at the upper right. Boldini painted this intimate figure soon after settling in Paris, when he was exploring how meticulous detail could dance with sweeping brushwork. In 1876, critic Diego Martelli called Boldini “a mass of looseness and finish, of false and of true,” urging viewers to take the painter on his own terms. Boldini’s ability with microscopic qualities and agile brushwork are seen in the jeweled ring, earring, and crisp jacket seams that punctuate a field of vibrating paint. The chaquetilla-style jacket and guitar nod to the 19th-century European fascination with Spain (especially flamenco’s singing and dance). Yet the props likely came from Boldini’s own studio wardrobe, part of the staged theatricality he, Meissonier, and Fortuny cultivated with models and costumes. The floating “LV” monogram functions like the stamps and cartouches of ukiyo-e prints then flooding Paris, a device Boldini adopts to keep one element consciously “above” the image. Though the figure’s décolleté signals the era’s taste for erotically charged studio subjects, her turned head also resists capture, suspending her between performance and private focus. Boldini presents music imagined through paint, presence built from gesture, and identity staged, but never fully fixed.

A young woman with light, peach-toned skin stands in three-quarter profile, torso angled toward us while her face turns beyond the right edge, as if listening offstage. Her dark hair is swept into an updo; a beaded golden hoop earring catches the light. Over a pink dress that clings at the bodice and loosens into rippling folds at her waist, she wears a short, elaborately embroidered bolero lined in red satin, its matador-like cut evoking Spanish performance dress. She rests the guitar’s body on her thigh and lightly grips the headstock with elongated fingers; a gemstone ring flashes on her left hand. Brushstrokes churn around her in ochres, warm grays, and rose, while a bubble-like “LV” monogram hovers at the upper right. Boldini painted this intimate figure soon after settling in Paris, when he was exploring how meticulous detail could dance with sweeping brushwork. In 1876, critic Diego Martelli called Boldini “a mass of looseness and finish, of false and of true,” urging viewers to take the painter on his own terms. Boldini’s ability with microscopic qualities and agile brushwork are seen in the jeweled ring, earring, and crisp jacket seams that punctuate a field of vibrating paint. The chaquetilla-style jacket and guitar nod to the 19th-century European fascination with Spain (especially flamenco’s singing and dance). Yet the props likely came from Boldini’s own studio wardrobe, part of the staged theatricality he, Meissonier, and Fortuny cultivated with models and costumes. The floating “LV” monogram functions like the stamps and cartouches of ukiyo-e prints then flooding Paris, a device Boldini adopts to keep one element consciously “above” the image. Though the figure’s décolleté signals the era’s taste for erotically charged studio subjects, her turned head also resists capture, suspending her between performance and private focus. Boldini presents music imagined through paint, presence built from gesture, and identity staged, but never fully fixed.

“Lady with a Guitar” by Giovanni Boldini (Italian) - Oil on panel / c. 1873 - The Walters Art Museum (Baltimore, Maryland) #WomenInArt #art #artText #artwork #GiovanniBoldini #Boldini #WaltersArtMuseum #TheWalters #pink #portraitofawoman #BlueskyArt #OilPainting #ItalianArtist #1870s #MuseumArt

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