Strong At The Broken Places[2767]
darthcourt10
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Yellowhammer
A.N. -- Another day, another crosspost from last week's loadout on SV. The muse decided it was time for some feelpedoes in the thread and a deep psychological dive. Opening Quote's important for this one, and it is set waaay in the future.
Strong At The Broken Places
"The world breaks everyone and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry." -- Ernest Hemingway, A Farewell To Arms
*-*
....This set of five previously unknown oil paintings, first recorded as part of the painter's estate upon the death of Lord Draco Malfoy and the passage of his wives to join him by the executors of his will, are permanently lent to the National Gallery for display by John-Paul Malfoy. The Younger Malfoy was already a magical landscape painter of note who was instrumental in bringing the attention of the art world to the genius of his father, who did no public exhibitions of his work and painted privately for friends and family such as the wedding paintings of all his children and their cousins.
These are perhaps the finest examples of the Early Period of Lord Malfoy's work as a magical portrait painter of exceptional genius. As common for Lord Malfoy's non-commissioned works, he used himself and his wives as models.
While upon first glance, the five paintings are neither unified by model, subject, nor location, the powerful emotions and pathos displayed link them thematically as a set of masterpieces of the art of one of the most notable magical artists of the 21st, 22nd, and 23rd centuries. Each painting concentrates upon the tragedy of loss, grief, and shame, and are widely considered to be instrumental in the Magical Neo-Classical revival of the 2500s after their discovery and recognition. They are viewed by millions yearly, and we welcome you to experience them as well, visitor....
(Holographic AI guide at the entrance to the Magical Wing of the National Gallery 2767)
VALOR
This piece is set aboard a wet navy warship from the Second World War. Analysis of the details reveal it as a shattered, burning, and sinking Fletcher-class Destroyer littered with the dead and dying. A Native American officer, believed to be Commander Ernest E. Evans (CMOH), bleeding heavily from his wounds, is shouting orders to the -- visible as outlines in the steering compartment when the smoke billows across the scene -- forms of wounded sailors struggling in thigh deep bloodstained water within the open hatch to the steering compartment below him. The one remaining 5"/38 gun turret operational is being fired by the powder-blackened survivors of her gun crew at the approaching Japanese wet-navy warships in the background approaching to deliver the death blow.
The foreground has the ghostly image of the ship spirit of USS Johnston visible as a weeping specter as she gently touches the bloodstained, tattered, and shot torn battle ensign flying over the wreckage with one hand in the final moments before the order to Abandon Ship will be given.
The image of Johnston's stricken but resolute face with its mingled grief, agony, and sad pride as she looks at her crew fighting to the bitter end of the Battle off Samar in 1944 is widely considered to be extremely haunting to the observer when she turns to face the viewer and looks into his heart....
(Holographic AI Guide for the painting called Valor in the Malfoy Collection 2767)
PERSERVERANCE
The scene here is The Cenotaph memorial in London at night. A discarded copy of the Daily Telegraph print newspaper in the foreground puddle is illuminated by the reflection of an outside light source. The newspaper headline "SURRENDER: THIS IS THE END" dates the scene to May 5th, 1945. There are many non-historical and symbolic elements present in the rainstorm, solitary dim light from above the memorial illuminating the focus of the scene in a pool of light, and lack of additional residents present.
Shrouded in blowing rain, and weeping in visible heartbreak as she lays five freshly cut live red poppies (symbolizing death in combat) one at a time at the foot of The Cenotaph kneels a lone blond female figure in Women's Royal Navy Service dress uniform with a black armband. Her face is turned away from the viewer and her hand shakes uncontrollably as she gently places the flowers at the foot of the White Ensign flag (Symbolizing the Royal Navy of the era). The poppies wilt and then sink into the puddle of water and tears at the foot of The Cenotaph in an endless loop that always has four flowers laid and a fifth one being placed.
The scholarly consensus is the mourner is symbolic of the ship spirit of HMS Cleopatra, who was the model for the woman. This hypothesis is bolstered by the infrequent ghostly female images who briefly become visible at irregular intervals within the blowing rain outside the circle of light whenever a flower sinks. These images are modeled on the manifested ship spirits of her sisters HMS Hermione, HMS Bonaventure, HMS Charybdis, HMS Naiad, and HMS Spartan. All five ghosts have looks of love and compassion on their haunting faces as they vainly reach out to the mourning figure to comfort her before they vanish in the rain....
(Holographic AI Guide for the painting called Perseverance in the Malfoy Collection 2767)
DUTY
The setting here is the port of Wilhelmshaven in Germany. The uniforms of the officers and other details place the scene during the middle of the First World War.
Two naval officers in undress uniform speak together as they supervise a work detail attempting to chip away rust on a worn and neglected Gazelle-class Protected Cruiser (an obsolete prewar class) anchored at the breakwater as a hulk. One, holding a radio message form shakes his head to the other officer's question with a melancholy look on his face.
Past the officers, the final ships of the High Seas Fleet, damaged, near sinking, and with their flags lowered in defeat return to port from the Battle of Jutland. In the distance, the setting sun turns the now-empty sea as red as blood while night begins to fall.
Visible on the seaward rail is a ghostly spirit easily identified as that of SMS Niobe. She shakes her head in denial while staring into the now-empty ocean, then falls to her knees in tears as she desperately begs for her sisters to return to her and forgive her for failing to be there for them in Early 20th Century German. This is according to linguistic analysis paired with lip reading as she suffers in an endless loop. This figure is widely viewed to be a painted quintessence of grief and regret....
(Holographic AI Guide for the painting called Duty in the Malfoy Collection 2767)
HONOR
The scene is a mist shrouded cemetery in a yew forest. Headstones with Christian and Jewish iconography stand in serried rows of white marble endlessly into the distance. There is one notable exception in the foreground which is the centerpiece of the painting.
A single jet-black slate cross bearing the cryptic inscription H. v. u. z. W. X.III.17 -- II.VII.42 in silver Fraktur lettering rests at the head of a grave being dug. Next to the grave, a pair of open coffins made of cypress rest with one being occupied while its identical mate awaits its occupant.
The occupied coffin has a blond-haired young man with an incredibly peaceful but dead face dressed in a pristine black and silver Schutzstaffel uniform with a Knight's Cross of the Iron Cross with Oak Leaves at his neck. Atypically, and jarringly, his SS-Ehrendolch honor dagger is bloodstained and chipped as he clasps it in his folded hands upon his breast. It points directly to the bleeding death wound upon his abdomen in an action of significant symbolism.
The other figure is a blond woman dressed in a stained and worn black mourning dress from this era with a veiled face and her hair filthy, tangled, and unbound. She is clearly exhausted with her once-beautiful face hollowed by her difficult life as she uses her bloodstained and torn hands to dig the grave for the corpse to lie in eternally. Her face is filled with resolute acceptance with her pain only visible in the depths of her haunted eyes, filled with tears that never fall.
Ehren du Chasteler-Malfoy, the painter's fourth wife, is the model of the digging woman. The identity of the corpse and the meaning of the second empty coffin have produced intensive scholarly debate among art historians ever since the painting was discovered. To date no clear consensus has been established for this symbolism....
(Holographic AI Guide for the painting called Honor in the Malfoy Collection 2767)
INSIGHT
The last painting in the set is a self-portrait set in a darkened room.
The artist, here a young boy dressed in his Hogwarts school uniform, holds a serpent-decorated silver hand mirror in front of him with an aristocratic sneer as he admires himself. That expression of vanity twists into a look of terror, regret, and remorse. Following the expression change he slowly changes from flesh to lifeless and crumbling stone in an endless loop that begins at the hand holding the mirror and resets as the decaying stone reaches his screaming horrified face. During an cycle with an additional figure, the face will warp into the Basilisk or the Young Man before resetting when they are present. To date, the face has never warped into that of the Girl.
Visible behind Lord Malfoy as reflections over his shoulder in the mirror are a trio of additional figures who fade in and then out during any given petrification cycle. Most frequently seen is a unknown boy his age with dark hair also dressed in Slytherin House robes who has a expression of evil delight in his smirk of triumph as his features warp to that of Lord Malfoy. Next frequently is a monstrous basilisk with eyes the same color as Lord Malfoy. Very rarely, a brown-haired and brown-eyed young girl in Gryffindor House robes is very briefly visible with a look of utter disgust and rejection.
The themes of metamorphosis and the expression of self-knowledge as an action that can either transcend or consume the seeker while it changes him into what is within became more widely developed later within Lord Malfoy's mature Middle Period. This is the earliest known example and use of the symbolism as an apparent first probe at a theme that he later explored in more depth in The Maidens of The Seasons four painting set for instance. The widely accepted metamorphosis symbolism here is the Jungian Shadow (represented by the boy), the Inhuman Monster Within (represented by the Basilisk), and the Feminine (represented by the girl)....
(Holographic AI Guide for the painting called Insight in the Malfoy Collection 2767)
A.N. -- Another day, another crosspost from last week's loadout on SV. The muse decided it was time for some feelpedoes in the thread and a deep psychological dive. Opening Quote's important for this one, and it is set waaay in the future.
Strong At The Broken Places
"The world breaks everyone and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry." -- Ernest Hemingway, A Farewell To Arms
*-*
....This set of five previously unknown oil paintings, first recorded as part of the painter's estate upon the death of Lord Draco Malfoy and the passage of his wives to join him by the executors of his will, are permanently lent to the National Gallery for display by John-Paul Malfoy. The Younger Malfoy was already a magical landscape painter of note who was instrumental in bringing the attention of the art world to the genius of his father, who did no public exhibitions of his work and painted privately for friends and family such as the wedding paintings of all his children and their cousins.
These are perhaps the finest examples of the Early Period of Lord Malfoy's work as a magical portrait painter of exceptional genius. As common for Lord Malfoy's non-commissioned works, he used himself and his wives as models.
While upon first glance, the five paintings are neither unified by model, subject, nor location, the powerful emotions and pathos displayed link them thematically as a set of masterpieces of the art of one of the most notable magical artists of the 21st, 22nd, and 23rd centuries. Each painting concentrates upon the tragedy of loss, grief, and shame, and are widely considered to be instrumental in the Magical Neo-Classical revival of the 2500s after their discovery and recognition. They are viewed by millions yearly, and we welcome you to experience them as well, visitor....
(Holographic AI guide at the entrance to the Magical Wing of the National Gallery 2767)
VALOR
This piece is set aboard a wet navy warship from the Second World War. Analysis of the details reveal it as a shattered, burning, and sinking Fletcher-class Destroyer littered with the dead and dying. A Native American officer, believed to be Commander Ernest E. Evans (CMOH), bleeding heavily from his wounds, is shouting orders to the -- visible as outlines in the steering compartment when the smoke billows across the scene -- forms of wounded sailors struggling in thigh deep bloodstained water within the open hatch to the steering compartment below him. The one remaining 5"/38 gun turret operational is being fired by the powder-blackened survivors of her gun crew at the approaching Japanese wet-navy warships in the background approaching to deliver the death blow.
The foreground has the ghostly image of the ship spirit of USS Johnston visible as a weeping specter as she gently touches the bloodstained, tattered, and shot torn battle ensign flying over the wreckage with one hand in the final moments before the order to Abandon Ship will be given.
The image of Johnston's stricken but resolute face with its mingled grief, agony, and sad pride as she looks at her crew fighting to the bitter end of the Battle off Samar in 1944 is widely considered to be extremely haunting to the observer when she turns to face the viewer and looks into his heart....
(Holographic AI Guide for the painting called Valor in the Malfoy Collection 2767)
PERSERVERANCE
The scene here is The Cenotaph memorial in London at night. A discarded copy of the Daily Telegraph print newspaper in the foreground puddle is illuminated by the reflection of an outside light source. The newspaper headline "SURRENDER: THIS IS THE END" dates the scene to May 5th, 1945. There are many non-historical and symbolic elements present in the rainstorm, solitary dim light from above the memorial illuminating the focus of the scene in a pool of light, and lack of additional residents present.
Shrouded in blowing rain, and weeping in visible heartbreak as she lays five freshly cut live red poppies (symbolizing death in combat) one at a time at the foot of The Cenotaph kneels a lone blond female figure in Women's Royal Navy Service dress uniform with a black armband. Her face is turned away from the viewer and her hand shakes uncontrollably as she gently places the flowers at the foot of the White Ensign flag (Symbolizing the Royal Navy of the era). The poppies wilt and then sink into the puddle of water and tears at the foot of The Cenotaph in an endless loop that always has four flowers laid and a fifth one being placed.
The scholarly consensus is the mourner is symbolic of the ship spirit of HMS Cleopatra, who was the model for the woman. This hypothesis is bolstered by the infrequent ghostly female images who briefly become visible at irregular intervals within the blowing rain outside the circle of light whenever a flower sinks. These images are modeled on the manifested ship spirits of her sisters HMS Hermione, HMS Bonaventure, HMS Charybdis, HMS Naiad, and HMS Spartan. All five ghosts have looks of love and compassion on their haunting faces as they vainly reach out to the mourning figure to comfort her before they vanish in the rain....
(Holographic AI Guide for the painting called Perseverance in the Malfoy Collection 2767)
DUTY
The setting here is the port of Wilhelmshaven in Germany. The uniforms of the officers and other details place the scene during the middle of the First World War.
Two naval officers in undress uniform speak together as they supervise a work detail attempting to chip away rust on a worn and neglected Gazelle-class Protected Cruiser (an obsolete prewar class) anchored at the breakwater as a hulk. One, holding a radio message form shakes his head to the other officer's question with a melancholy look on his face.
Past the officers, the final ships of the High Seas Fleet, damaged, near sinking, and with their flags lowered in defeat return to port from the Battle of Jutland. In the distance, the setting sun turns the now-empty sea as red as blood while night begins to fall.
Visible on the seaward rail is a ghostly spirit easily identified as that of SMS Niobe. She shakes her head in denial while staring into the now-empty ocean, then falls to her knees in tears as she desperately begs for her sisters to return to her and forgive her for failing to be there for them in Early 20th Century German. This is according to linguistic analysis paired with lip reading as she suffers in an endless loop. This figure is widely viewed to be a painted quintessence of grief and regret....
(Holographic AI Guide for the painting called Duty in the Malfoy Collection 2767)
HONOR
The scene is a mist shrouded cemetery in a yew forest. Headstones with Christian and Jewish iconography stand in serried rows of white marble endlessly into the distance. There is one notable exception in the foreground which is the centerpiece of the painting.
A single jet-black slate cross bearing the cryptic inscription H. v. u. z. W. X.III.17 -- II.VII.42 in silver Fraktur lettering rests at the head of a grave being dug. Next to the grave, a pair of open coffins made of cypress rest with one being occupied while its identical mate awaits its occupant.
The occupied coffin has a blond-haired young man with an incredibly peaceful but dead face dressed in a pristine black and silver Schutzstaffel uniform with a Knight's Cross of the Iron Cross with Oak Leaves at his neck. Atypically, and jarringly, his SS-Ehrendolch honor dagger is bloodstained and chipped as he clasps it in his folded hands upon his breast. It points directly to the bleeding death wound upon his abdomen in an action of significant symbolism.
The other figure is a blond woman dressed in a stained and worn black mourning dress from this era with a veiled face and her hair filthy, tangled, and unbound. She is clearly exhausted with her once-beautiful face hollowed by her difficult life as she uses her bloodstained and torn hands to dig the grave for the corpse to lie in eternally. Her face is filled with resolute acceptance with her pain only visible in the depths of her haunted eyes, filled with tears that never fall.
Ehren du Chasteler-Malfoy, the painter's fourth wife, is the model of the digging woman. The identity of the corpse and the meaning of the second empty coffin have produced intensive scholarly debate among art historians ever since the painting was discovered. To date no clear consensus has been established for this symbolism....
(Holographic AI Guide for the painting called Honor in the Malfoy Collection 2767)
INSIGHT
The last painting in the set is a self-portrait set in a darkened room.
The artist, here a young boy dressed in his Hogwarts school uniform, holds a serpent-decorated silver hand mirror in front of him with an aristocratic sneer as he admires himself. That expression of vanity twists into a look of terror, regret, and remorse. Following the expression change he slowly changes from flesh to lifeless and crumbling stone in an endless loop that begins at the hand holding the mirror and resets as the decaying stone reaches his screaming horrified face. During an cycle with an additional figure, the face will warp into the Basilisk or the Young Man before resetting when they are present. To date, the face has never warped into that of the Girl.
Visible behind Lord Malfoy as reflections over his shoulder in the mirror are a trio of additional figures who fade in and then out during any given petrification cycle. Most frequently seen is a unknown boy his age with dark hair also dressed in Slytherin House robes who has a expression of evil delight in his smirk of triumph as his features warp to that of Lord Malfoy. Next frequently is a monstrous basilisk with eyes the same color as Lord Malfoy. Very rarely, a brown-haired and brown-eyed young girl in Gryffindor House robes is very briefly visible with a look of utter disgust and rejection.
The themes of metamorphosis and the expression of self-knowledge as an action that can either transcend or consume the seeker while it changes him into what is within became more widely developed later within Lord Malfoy's mature Middle Period. This is the earliest known example and use of the symbolism as an apparent first probe at a theme that he later explored in more depth in The Maidens of The Seasons four painting set for instance. The widely accepted metamorphosis symbolism here is the Jungian Shadow (represented by the boy), the Inhuman Monster Within (represented by the Basilisk), and the Feminine (represented by the girl)....
(Holographic AI Guide for the painting called Insight in the Malfoy Collection 2767)