scio me nihil scire
desc
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.......I came, I saw, I never left......
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landscaping-your-mind:

non-threatening-feminist-boy:

inneskeeper:

“OP why are you mad that your words are being misinterpreted you’re on the piss on the poor website” actually i think it’s very reasonable to demand people pay attention to the words they use, the choices they make, the things they believe, and their capacity for empathy and comprehension and that it’s sort of weird that you’re finding humor in making excuses to just believe that there simply is no possible way to improve your actions

comment by icannotgetoverbirds saying: "i thought we were using the piss poor reading comprehension joke as a reminder to cool it and think twice before responding? y'all've been using it as- no wait yeah i see it now"ALT

[ID from alt: comment by icannotgetoverbirds saying: “i thought we were using the piss poor reading comprehension joke as a reminder to cool it and think twice before responding? y'all’ve been using it as- no wait yeah i see it now” /End ID]

skinks:

skinks:

skinks:

i work full time as the little human silhouette they put next to dinosaurs to show how big they were. my god but it’s dangerous

recently got promoted to the skeleton they put in a cage hanging in a dungeon to show people they’re doomed

finally found my calling as the one posing for all those cut-out photo opportunity cardboard stands. I like the fun costumes but they have to cut off my head every time with a circular saw

twodragonsinatrenchcoat:

Talking to myself out loud like a point and click protagonist

st-just:

Most alienating level of media enjoyment: enough that when people are having fun over hating it you feel they’re being unfair and feel compelled to defend it, but little enough that when people are talking it up and saying how great it is you feel your eyes rolling back into your skull.

girlfriendsofthegalaxy:

buddwyer:

i go outside after a long day at the office and stretch my arms wide. birds of prey sweep down from every direction and tear me into ribbons of gore with their talons and beaks and their talons and beaks and their talons and their beaks

serizawadyke:

image

nighthawkes:

In the center of this photo are two paintings, one above the other, by J. C. Leyendecker, both featuring two men in relaxed social situations. See images 4 and 5 for full IDs. Partially visible to the right of these paintings is a narrow display case, as tall as the two paintings, featuring Arrow-brand collars and a small portrait of the figurative "Arrow Collar Man". See image 3 for full ID of display case. Partially visible to the left of the paintings is a vertical banner with text that contextualizes the display as well as other parts of the exhibit, not shown. See image 2 for ID of banner.ALT
A banner contextualizing the exhibit, displayed next to two paintings, each featuring two men in private, relaxed social situations (see images 4 & 5 for full IDs). The banner's title reads, "Homo-sociability". The text beneath reads: "Many of Leyendecker's paintings portray male behaviors as well as their social and physical interactions. In his illustrations, these interactions often take place in all-male spaces such as dormitories, clubs, haberdasheries, and gyms. Leyendecker had access to these spaces, and as a gay man he might have been attuned to their potential for same-sex desire and connection. Often, when women are present in his work, the men seem indifferent to them, sometimes sharing sexually charged glances with each other instead. Since Leyendecker operated within the collaborative nature of the modern advertising profession, he did not have control over what happened to his images after he created them. His work was often subject to revisions at the hands of art directors and others. These changes, whether intentional or not, sometimes had the effect of fortifying or mitigating the images' implications of same-sex attraction."ALT
A photo of a narrow, antique display of Arrow collars, in a protective white case. The antique display has a gold frame and what looks to be black felt backing in which the white collars are mounted. At the top of the framed display is what looks to be a paper card featuring a tagline in white text on a blue background: "Favorite Styles In Arrow Collars", accompanied by a small portrait of a well-coiffed man with a tidy collar (an "Arrow Collar man"). Below this, the name of the company is written in white text on a gold background: "Arrow Collars". Most of the collars are accompanied by a style nameplate, although some of these nameplates have been lost to time. There are 9 collar styles in sets of 3, the sets separated by portraits of "Arrow Collar men". The second portrait, similar to the first blue card on the display, is accompanied by text: "Follow the Arrow and you follow the style. Arrow Collars". The portraits on this display are all drawn by J. C. Leyendecker.ALT
Museum label for two paintings by J. C. Leyendecker and a display case for Arrow collars (featuring illustrations by J. C. Leyendecker), which reads as follows (with punctuation added for clarity): "Men Reading" - Illustration for Arrow Collars advertisement, 1914. Oil on canvas. National Museum of American Illustration. "Men with Golf Clubs" - Illustration for Arrow Collars and Cluett Shirts advertisement, ca. 1909. Advertising agency: Calkins & Holden, New York City. Oil on canvas. National Museum of American Illustration. Leyendecker's first illustration for Arrow collar advertisements was published in 1907, a decade after Cluett, Peabody & Company began using male figures in its marketing campaigns. At least two leading advertising agencies, N. W. Ayer Company of Philadelphia and the New York-based Calkins & Holden, shaped the Arrow Collar Man campaign. Earnest Elmo Calkins, cofounder of Calkins & Holden, was a strong proponent of using art in advertising. With the Arrow ads, he used art as a form of "soft selling" that surrounded products with a visual atmosphere of style and luxury. In "Men with Golf Clubs", the informal dress and posture, plus the heraldic marks of Harvard and Yale in the window, suggest an elite northeastern college clubhouse and direct the ad to college men. "Arrow Collars display," 1924 National Museum of American Illustration Leyendecker's commercial illustrations appeared on roadside billboards, mass transit placards, product packaging, and retail displays.ALT
This photo depicts two paintings, one above the other. The first is "Men Reading", by J. C. Leyendecker, an oil painting illustration for Arrow Collars advertisement, 1914. It depicts two men in what appears to be a study but the background is opaque black, drawing focus to the foreground. The man on the left, a brunet, is seated on the edge of an ornate wooden desk. He holds a book in his hand but it's closed and marked with his finger as he looks towards his companion. The other man is blond and seated in a white reading chair patterned with a dark red, naturalistic floral design. He is reading the newspaper. Both are wearing well-cut shirtsleeves and pants with ties, black socks, shoes, and white collars (modeled after Arrow-brand collars). The second painting is "Men with Golf Clubs" by J. C. Leyendecker, an illustration for Arrow Collars and Cluett Shirts advertisement, ca. 1909. Two men lounge in front of a window in what appears to be a well-lit college clubhouse. The man on the right is blond and sits on a cushioned bench smoking a pipe and looking at his companion. The man on the left is brunet and examines a golf club. His sleeves are rolled up and he holds either end of the golf club in one hand. There is a golf bag with a few clubs leaning against the bench beside him on the viewer's left-hand side. Their demeanors are relaxed and their dress is casual, but they both wear fashionable shirts and well-cut pants with stylish white collars over thin neckties.ALT

More samplings from “J. C. Leyendecker & American Masculinity”. On exhibit from May 5th to August 13th, 2023.

In relation to the text on the banner, it’s also interesting to note that according to a credible art historian and creative director who did a panel related to the exhibit, Leyendecker uniquely had ownership of his images written into all his contracts. This meant that the company licensed one-time or limited-time usage for the work-for-hire image and sent the original back to Leyendecker.

You may also be interested in checking out @breakingthegaycodeinart on instagram.

nighthawkes:

A partial view of a large screen which acted as one wall of the exhibit. This screen is printed with a closeup from “Record Time, Cool Summer Comfort,” an oil painting by J. C. Leyendecker for an advertisement for Kuppenheimer menswear, c. 1920. The shot focuses on the face of the swimmer from that painting (modeled by Charles A. Beach). Behind the screen you can see the partially-lit silhouettes of a tour group viewing the cluster of paintings on the far side.ALT
Title of the exhibit and preface text painted on the wall outside of the entrance to the exhibit, reading: "Under Cover: J. C. Leyendecker & American Masculinity." (see full transcript of the preface text under the read more line).ALT
A closeup of a young man in a monocle and bowler cap from J. C. Leyendecker's painting "In the Stands 2", an oil painting illustration for an Arrow Collars and Shirts advertisement from 1913ALT
A closeup of the old tailor from the J. C. Leyendecker painting "A Fitting", an advertisement for Kuppenheimer Good Clothes, 1918. He wears a brown suit, a yellow tape measure around his shoulders, a pince-nez, and a thoughtful expression as he assesses the man he is fitting (not shown in the closeup).ALT
A closeup of a seated older man from the J. C. Leyendecker painting "A Fitting", an advertisement for Kuppenheimer Good Clothes, 1918. He wears a fine straw boater hat and light colored suit. His arm is outstretched, hand resting on a cane (not in veiw of the closeup), and his expression is piercing, (perhaps hungry, or merely assessing) directed at the man being fitted (not in veiw of the closeup).ALT
A woman's hand splayed on her hip over the spread of a beautifully colorful floral shawl. Closeup from "Man and Woman with Spanish Shawl" by J. C. Leyendecker, an oil painting illustration for Arrow Dress Collars and Shirts advertisement, ca. 1920.ALT
A closeup from the J. C. Leyendecker painting "Man and Woman Dancing", an oil painting illustration for Arrow Collars and Shirts advertisement, 1923. The man is blond and looks off to the viewer's right, past where his hand is joined with the woman's in a raised clasp. The woman is red-headed and wears a pale turquoise dress, her gaze is averted as if trying to glimpse the man's other hand where it rests low on her back.ALT
A closeup from the J. C. Leyendecker painting "Man and Woman Dancing", an oil painting illustration for Arrow Collars and Shirts advertisement, 1923. This closeup is focused on the back of the woman's pale turquoise dress, and the point where the man's gloved hand rests low on the middle of her back.ALT

I couldn’t go to the J. C. Leyendecker exhibit on masculinity without sharing some of the highlights here on the J. C. Leyendecker fansite

The exhibit is open through August 13th, 2023

Keep reading

cottoncandylesbo:

morning affirmations:

i will do wrong. i will commit attrocities. i will not retain my honor. i will lie

diaryofalandlockedmermaid:

Bust of the nymph/naiad Herkyna in the Herkyna River in Greece

statuary  · 

theoptia:

image

George Seferis, from Collected Poems 1924-1955; “Stratis Thalassinos Among the Agapanthi”

Text ID: The first thing God made is love / then comes blood / and the thirst for blood

caninecranium:

German Schandmaske (Mask of Shame) in the shape of a wolf’s head.

Source: 1, 2

whitepeopletwitter:

image
the bear hulu  · 

inneskeeper:

voice-of-illogical-sense:

this is what a Bodhisattva is

P