Bella/PNGtuber /designer commission open

Streamer , Vtuber , Pngtuber , Artist Fortnite Charactor || League Of Legend Character Designer Fursuiter Live 2D and 3D Animations paid work only . .

[Bella/PNGtuber /designer commission open @Bellahere32]

A gentleman on the outside. A radio demon within.👺
#Alastor #Hazhinhotel #digitalart #fanart #Anime #comms #ArtSupport #NotMyWork
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Art By :@KAJI_1590

[Mordecai @MenschOhneMusil]

Marcus Wallinder - Is this seat taken.

[Bella/PNGtuber /designer commission open @Bellahere32]

#DONKEY

[Bella/PNGtuber /designer commission open @Bellahere32]

@basedgamingplus Cool

[Oldspeak Bookshop 📚 @oldspeak_books]

"It is time to make the case for colonialism again,"

The Case for Colonialism by @BruceDGilley. Link to purchase in reply.

[PARSIFEL @Parsifel1]

Continuing my research for my upcoming book and I'm nearby finished with Wilson’s Charlemagne, somehow I underestimated the Emperor...

[Daily Dose of Art @aDose_of_Art]

The Galleries of the Stelvio, Lake Como, 1871,
by Sanford Robinson Gifford (American, 1823-1880).

[Unfinished Revolution @Caisc1916]

"I’d burn England’s cities to ashes if it freed Ireland; no tactic is too low when it’s for our nation’s liberty."

Jeremiah O’Donovan Rossa

[Ulfcytel @ulfcytel]

Stoic ethics and Platonist metaphysics makes a strong framework.

[Bella/PNGtuber /designer commission open @Bellahere32]

@viaSargedna Pretty good

[Via Sardegna @viaSargedna]

This painting is generally known as "Edward II and His Favourite, Piers Gaveston” by the Victorian artist Marcus Stone, painted in 1872.
What the painting shows
The scene depicts Edward II strolling arm-in-arm with his close companion and favorite, Piers Gaveston, while members of the royal court look on with disapproval. The two central figures are richly dressed and absorbed in each other's company, largely ignoring the nobles around them.
Historical background
Edward II's relationship with Gaveston was one of the great controversies of medieval England. Gaveston, a Gascon knight, became extraordinarily close to the future king. Edward showered him with honors and wealth, provoking resentment among England's powerful nobles. Historians continue to debate whether their relationship was romantic, sexual, or an exceptionally intense political and personal friendship, but there is no doubt that their bond was unusually close and politically explosive.
Why the painting mattered in Victorian Britain
When Marcus Stone exhibited this work in 1872, Victorian artists could not openly depict same-sex relationships. Instead, Stone used gesture, body language, and social context to suggest intimacy:
Edward and Gaveston stand physically close together and dominate the composition.
Their elegant clothing contrasts with the stern, suspicious courtiers.
The nobles' expressions communicate hostility and judgment.
The game of bowls visible in the foreground alludes to courtly leisure and distraction while political tensions simmer.
Many art historians view the painting as one of the clearest Victorian visual suggestions of a same-sex attachment, though it remains deliberately ambiguous.
Composition and symbolism
Notice how Stone organizes the figures:
Center-left: Edward and Gaveston are brightly illuminated and occupy the emotional focus.
Center-right: Armored nobles cluster together, visually united in opposition.
Right foreground: Ladies and attendants appear detached from the political drama.
Landscape: The peaceful garden setting contrasts with the conflict that would ultimately lead to Gaveston's downfall and execution in 1312.
Artistic style
The work is characteristic of late Victorian historical painting:
Rich costume detail.
Narrative storytelling.
Strong emotional cues through posture and facial expression.
A romanticized vision of the medieval past rather than strict historical accuracy.
What makes the painting especially interesting today is that it operates on two levels: as a medieval historical scene and as a Victorian commentary on affection, favoritism, social prejudice, and power. The courtiers' disapproving stares are as important to the meaning of the painting as Edward and Gaveston themselves.

[Annie @annie151092]

Henry John Boddington (1811-1865)
Children playing by the river, circa 1860 #paintings #art

[Sensitive Young Woman @TransStalin1917]

>mine now

[Bella/PNGtuber /designer commission open @Bellahere32]

#artwork

[Bella/PNGtuber /designer commission open @Bellahere32]

@Lost___London @BygoneBritain Old Gold

[Lost London @Lost___London]

A young shoe shine boy at work, London, 1890s (colourised)

[Bella/PNGtuber /designer commission open @Bellahere32]

@bandy1803 Cool

[Daily Dose of Art @aDose_of_Art]

View of Esslingen am Neckar, 1841,
by Heinrich Adam (German, 1787–1862).