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Short AI generated clip.....many more where this comes from in store!
Super Heroine: Masked, Caped, Unbothered - Playing with the bright, comic-inspired side of portraiture with bold color, clean lines, and a touch of mystery.
Setup: V1 snoot for key, V1 strip for fill, AD200 red gel for background.
Super Heroine: Masked, Caped, Unbothered - Playing with the bright, comic-inspired side of portraiture with bold color, clean lines, and a touch of mystery.
Setup: V1 snoot for key, V1 strip for fill, AD200 red gel for background.
© Eric Lafforgue
www.ericlafforgue.com
Halluuu my sexies,
here we have a news from VAKI KVAKI for collabor88 and .:RiotzInk:.
•• BLoG••
•• PrimFeEd••
Head: LeLUTKA Camila Head 4.0
Skin: IVES - Jessica Skin - LeLUTKA Evo X - #GIFT
Shape: K!ODIO - [Natalina] - Shape LeL CAMILA 4.0 - EVO X (GIFT)
Body: eBODY - REBORN
Hair: TRUTH Linger - Blonde
Tattoo: .:RiotzInk:. Venetian Tattoo {BOM/Evox}
Lipstick from LeLUTKA HUD
Dress: VAKI KVAKI Dress *Raffaella* @collabor88
Mask: =Zenith= Venetian Style Flower Masquerade Mask (Black)
Bottle: :::ChicChica::: DrinkOnMyOwn Champagne props 1
♥ Happy Shopping ♥
Version alternative de Princesse Peach showtime ! dans laquelle Peach a échouée dans la pièce La statue volée située au 3ème étage du théâtre de l’Étincelle malgré les pouvoirs que lui a confiée la fée gardienne Stella lui permettant de se transformer en ersatz de Carmen Sandiego, elle n'a pas réussi à sortir du dirigeable des voleurs contenant une grande statue étant l'emblème d'une ville. Elle a été solidement ligotée/bâillonnée dans la section du dirigeable où elle comptait s'évader et a eu droit à un coussin pour bénéficier d'un peu de confort en attendant qu'elle se fasse interroger.
Que va-t-il arriver à Peach et au théâtre de l’Étincelle si Stella ne peut pas utiliser un nouvel hôte pour lui fournir des pouvoirs et vaincre Syrah ? Peach a été privée de son grappin qui lui aurait permis de pouvoir couper les cordes puis s'évader.
Version alternative de Princesse Peach showtime ! dans laquelle Peach a échouée dans la pièce Piège sombre et guet-apens située au sous-sol du théâtre de l’Étincelle malgré les pouvoirs que lui a confiée la fée gardienne Stella lui permettant de se transformer en ersatz de Carmen Sandiego, elle n'est pas parvenue à délivrer l'Etincelliste voleur en désactivant les 4 verrous du système électrique le retenant prisonnier. Elle a été solidement ligotée/bâillonnée dans un placard aux parois électrifiées pour l'empêcher de s'évader.
Que va-t-il arriver à Peach et au théâtre de l’Étincelle si Stella ne peut pas utiliser un nouvel hôte pour lui fournir des pouvoirs et vaincre Syrah ? Peach a été privée de son grappin qui lui aurait permis de pouvoir couper les cordes puis s'évader.
Version alternative de Princesse Peach showtime ! dans laquelle Peach a échouée dans la pièce L'infiltration parfaite située au 2ème étage du théâtre de l’Étincelle malgré les pouvoirs que lui a confiée la fée gardienne Stella lui permettant de se transformer en ersatz de Carmen Sandiego, elle n'a pas réussi à sortir du bâtiment des voleurs contenant une immense fortune ainsi que des bijoux dérobés à des innocents ayant été dépouillés. Elle a été solidement ligotée/bâillonnée dans une pièce souterraine afin qu'on ne puisse pas la retrouver en attendant qu'elle se fasse interroger.
Que va-t-il arriver à Peach et au théâtre de l’Étincelle si Stella ne peut pas utiliser un nouvel hôte pour lui fournir des pouvoirs et vaincre Syrah ? Peach a été privée de son grappin qui lui aurait permis de pouvoir couper les cordes puis s'évader.
This mural of a masked woman can be found in St. Petersburg Florida.
Full photoset @ www.peterpancomics.com
Look out! The Catwoman is coming to get you! Leather, claws, a domino mask and everything else you love. It's cosplays like this which make us love Comic Con!
Many thanks to Black Velvetto for her support.
See more cosplay, not to mention free webcomics, at www.peterpancomics.com.
James Ensor
Oil on canvas
Ensor's enigmatic, deeply personal form of painting was defiantly anti-naturalistic. A masked woman (probably the 'Wouse' of this picture's title, a heartless and unscrupulous shrew) gestures toward a heap of bodiless masquerade figures with musical instruments. Peculiar figures - two of them racist stereotypes of a Black man (far left) and an indigenous American (far right) - suggest an atmosphere of mockery. Despite Ensor's unique vision, his palette and handling of paint expressed his deep admiration for such Flemish masters as Peter Paul Rubens (1577-1640).*
From the exhibition
After Impressionism: Inventing Modern Art
(March – August 2023)
Explore a period of great upheaval when artists broke with established tradition and laid the foundations for the art of the 20th and the 21st centuries.
The decades between 1880 and the outbreak of the First World War in 1914 were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation.
The exhibition celebrates the achievements of three giants of the era: Paul Cézanne, Vincent van Gogh and Paul Gauguin and follows the influences they had on younger generations of French artists, on their peers and on wider circles of artists across Europe in Barcelona, Berlin, Brussels and Vienna.
With nearly a hundred works by artists ranging from Klimt and Munch, Matisse and Picasso to Mondrian and Kandinsky complemented by a selection of sculpture by artists including Rodin and Camille Claudel, the exhibition follows the creation of a new, modern art, free of convention, taking in Expressionism, Cubism and Abstraction.
[*National Gallery]
Taken in the National Gallery
James Ensor
Oil on canvas
Ensor's enigmatic, deeply personal form of painting was defiantly anti-naturalistic. A masked woman (probably the 'Wouse' of this picture's title, a heartless and unscrupulous shrew) gestures toward a heap of bodiless masquerade figures with musical instruments. Peculiar figures - two of them racist stereotypes of a Black man (far left) and an indigenous American (far right) - suggest an atmosphere of mockery. Despite Ensor's unique vision, his palette and handling of paint expressed his deep admiration for such Flemish masters as Peter Paul Rubens (1577-1640).*
From the exhibition
After Impressionism: Inventing Modern Art
(March – August 2023)
Explore a period of great upheaval when artists broke with established tradition and laid the foundations for the art of the 20th and the 21st centuries.
The decades between 1880 and the outbreak of the First World War in 1914 were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation.
The exhibition celebrates the achievements of three giants of the era: Paul Cézanne, Vincent van Gogh and Paul Gauguin and follows the influences they had on younger generations of French artists, on their peers and on wider circles of artists across Europe in Barcelona, Berlin, Brussels and Vienna.
With nearly a hundred works by artists ranging from Klimt and Munch, Matisse and Picasso to Mondrian and Kandinsky complemented by a selection of sculpture by artists including Rodin and Camille Claudel, the exhibition follows the creation of a new, modern art, free of convention, taking in Expressionism, Cubism and Abstraction.
[*National Gallery]
Taken in the National Gallery
James Ensor
Oil on canvas
Ensor's enigmatic, deeply personal form of painting was defiantly anti-naturalistic. A masked woman (probably the 'Wouse' of this picture's title, a heartless and unscrupulous shrew) gestures toward a heap of bodiless masquerade figures with musical instruments. Peculiar figures - two of them racist stereotypes of a Black man (far left) and an indigenous American (far right) - suggest an atmosphere of mockery. Despite Ensor's unique vision, his palette and handling of paint expressed his deep admiration for such Flemish masters as Peter Paul Rubens (1577-1640).*
From the exhibition
After Impressionism: Inventing Modern Art
(March – August 2023)
Explore a period of great upheaval when artists broke with established tradition and laid the foundations for the art of the 20th and the 21st centuries.
The decades between 1880 and the outbreak of the First World War in 1914 were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation.
The exhibition celebrates the achievements of three giants of the era: Paul Cézanne, Vincent van Gogh and Paul Gauguin and follows the influences they had on younger generations of French artists, on their peers and on wider circles of artists across Europe in Barcelona, Berlin, Brussels and Vienna.
With nearly a hundred works by artists ranging from Klimt and Munch, Matisse and Picasso to Mondrian and Kandinsky complemented by a selection of sculpture by artists including Rodin and Camille Claudel, the exhibition follows the creation of a new, modern art, free of convention, taking in Expressionism, Cubism and Abstraction.
[*National Gallery]
Taken in the National Gallery
Peacock topiary-carefully trimmed hedges in the form of two birds supported by a plastic frame on a yellow-orange-garnet flower and shrub base. Zhangye city's main square-Gansu province-China.
Group of taijijian-sword tai chi practitioners in the morning sun perform fencing choreographies to the sound of portable music as if to maintain their physical fitness. Zhangye-Gansu province-China.
