MRS

Ode to age; Nate & Elena

dontusemeasanexcuse:

Elena made a confused noise and hopped off the counter, grabbing her coffee and phone before following Nate into the living room. “Where are you going?” she asked. “And no, I’m not going back to the studio— if it was an emergency, someone would have called.” 

He cast a glance over his shoulder at her, before proceeding in sitting down on the couch. He patted the spot next to him. “Seemed like it’d be a lot more comfortable then the counter perch you had set up for yourself,” He replied with a smile. “So — that means I have you all to myself tonight.” Queue the victory trumpets.

Losing followers left and right. Haha, that’s okay. I didn’t need you anyway.

02 Oct 14   –   0 notes

blxdesshadow:

"I see." Talon crossed his arms to the best of his ability, the large blade strapped to his wrist touching his own hip in the process. The other looked a bit confused, Talon had no doubt in his mind now that he was some aimless adventurer - truly disgusting.

'Mhm.” Well, he looked friendly. Chock that up on the sarcasm board. He also didn’t look like the type who shook hands. “Uh, Nathan Drake. Treasure Hunter, Fortune Seeker…” His voice trailed off, as the list could go on and he could probably elaborate for hours. He’d probably just be wasting his time.

blxdesshadow:

"Endeavor? What word suits you best?" Talon’s eyes quickly scan over the man before him, his attire almost unrecognizable to any region within Runeterra. There was a possibility he was some kind of archaeologist from Piltover but for some reason he believed that assumption would be incorrect.

Nathan would blink, noting the strangers attire as well. “Endeavor would probably work.” Big boy, using big words now. Half the time they confused him. May as well just start carrying a dictionary with you, you’re probably gonna need it.

cavetocanvas:

Thomas Cole, The Pic-Nic, 1846

From the Brooklyn Museum of Art:

Thomas Cole was at the height of his landscape-painting career in 1845 when he received a commission from James Brown, a wealthy New York banker who requested a landscape with interesting figure groups. Cole chose the subject of a picnic to describe the ideal coexistence of nature and civilization. The bounty of nature embodied in the parklike natural setting is accentuated by the trappings of the meal dispersed throughout and the flower gartands that three of the women wear in place of their fashionable bonnets. Hints of time’s passage and mortality also invade this otherwise lighthearted scene through the ax-cut tree stump so prominent in the foreground.

blxdesshadow:

"And who are you? Another.. Wanderer on some quest for revenge?”

"Quest…?"
He’s judging you for using old timey words.
That and he totally forgot to mention his name.

Apologies in advance for the sudden influx of Art History / Thomas Cole art, but I just really like his past/present art so much.

30 Sep 14   –   2 notes

faustus-syndrome:

The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833–36. 

Comprises the following works: 
The Course of Empire – The Savage State
The Course of Empire – The Arcadian or Pastoral State
The Course of Empire – The Consummation of Empire
The Course of Empire – Destruction;
and 
The Course of Empire – Desolation.

It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. 

The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man.

A direct source of literary inspiration for The Course of Empire paintings is Byron's Childe Harold’s Pilgrimage (1812–18). Cole quoted this verse, from Canto IV, in his newspaper advertisements for the series:[2]

There is the moral of all human tales;

'Tis but the same rehearsal of the past.
First freedom and then Glory – when that fails,
Wealth, vice, corruption – barbarism at last.
And History, with all her volumes vast,
Hath but one page…

More info

artmastered:

Thomas Cole, The Past and The Present, 1838