View allAll Photos Tagged Humiliated
Jacey is sent out into the streets on a busy Saturday afternoon by her mistress in full slutty feminine CFM mode. Her task today is to approach 20 random people and kindly request for photos with them. Jacey is to speak to each person in her soft, pouty, seductive girly voice. Mistress's ultimate goal is to train this slut to be more comfortable with her new body and female mannerisms. Jacey must learn to be obedient while serving and submissive while pleasuring.
The royal city is under attack! All the evil in the LEGO universe is attacking the Blue Crown's castle. Will their high walls protect them? Or will the trolls, orcs, skeletons, uruk-hai and goblins fight their way into the palace?
The Crown's Guard has put Darth Vader in stocks and the humiliation of this has rallied the evil forces to one banner. The horde comes crashing against, on and over the city walls, seeking plunder and tender minifig meat. The curtain wall may be breached but the fight is far from over. The king himself commands his cavalry in a sortie. From Westgate, across the river, the king and his mounted knights set out to do some damage in return. They collide head on with enemy cavalry in front of the main gates. They have to mow their through the horde to make it to the battering ram that is driven to the Lesser Gate. If the gate is breached, the city will go down in flames. But between the city and the keep, with its impossibly high walls, runs the river. The fast flowing current is the first defense of the Blue Crown Royal Palace that is built in the shallows of the seaside cliffs. The princesses and their ladies in waiting stand in idle anticipation of the battle that is fought, whereas the city and countryside women have taken up bows to fight with the militia. Even the children take their place in the battle, armed with buckets they are at the ready to quench any starting fire.
It took well over seven months for Eric and me to build the Blue Crown's castle. We have known each other since we were kids, but building this creation together was our first co-build. Or at least, the first co-build ever to reach completion... Eric had been wanting to build a castle since forever he's back into bricking, and was suckered into this massive undertaking. Me, too, wanted to finally build a proper castle; with a keep, a city and a curtain wall, and preferably a bit of country side as well... By teaming up we had a brick supply that would enable even our most darkest desire!
Eric has built the keep, the green fish- and fisherman shop, and I built the curtain wall, the other town houses and shops (tavern, blacksmith, prospector's guild, bakery, pottery, stables and inn, statue, apothecary, tailor, fletcher, butcher, carpenter, stone mason, stocks and the mine) and the siege equipment. After sending over 350 photos back and forth, the whole thing was assembled at Eric's hoping to fit properly. There were some counting mistakes, I'm not pointing fingers, there were some misalignments, but I'll remain calm, and there was a lot of last minute detailing and cursing before it was actually done. The final creation measures 149 cm (187 studs) by 123 cm (152 studs) and stands 84 cm tall. It has more easter eggs, than a dog has flees :)
Have fun!
I don't even know where to begin. I fought so hard on this one but my Big Sis wouldn't budge even a little. She told me to hold up a big piece of blank paper but didn't say how. I did a bunch of poses just hoping one would be good enough and I wouldn't have to redo everything. I had no idea she was going to use so many... or what she was going to write on the signs. When I read them, my stomach dropped! I feel so helpless...
And let me be perfectly clear: this shirt does not describe me, my personality, or my sexual orientation. She made me wear this only as a way to humiliate me.
„Enough of this!“, Nadakhan yelled! „Get back to the ship! We got bigger fish to fry!“ And with this he spared his crew another surefire humiliating defeat at the hands of the famous Spinjitzu masters.
„My dear crew!“, he addressed them back on the „Misfortune’s Keep“. „I know you are tired of having to fight these irritating little ninjas over and over again. I know none of you was born to be a pirate. I know you are ready to stop your outlawing ways and return to a civil life. I know all of that. But my dear crew! Would you be willing to come with me on one last raid?“ „YEA!“, the all returned. „One last raid that would mark your names in history for all times forward!“ Another „YEA!“ „One last raid that will make you rich beyond your wildest dreams!“ „YEEEEAAA!“ Their eyes glowed in anticipation. Once again Nadakhan had worked them into a frenzy with his charismatic magic.
„So. Who’s willing to get the Queen of Brixton?“
The Sky Pirates were mum. This big a fish they hadn’t expected. None of them knew if they really wanted a part in this. Suddenly, one pirate broke the silence.
„Whoooohooo! Finally!“, Captain Bono hollered. „Let’s go get this wench!“
And so it was settled. The „Misfortune’s Keep“ set course to the Northern polar ice field for it’s final raid.
and the glorious men with their little penis.
you know how i loved watching him getting caught out of the hot tub with that shriveled wet penis? the lake is even better for highlighting him in all his glory. here he is skinnydipping with others nearby and able to see him if they wanted. he was cheating and wearing a shirt, trying to be careful but of course i wanted everybody to see him. i had him swim out into the open with all the swimmers and where he could be seen by those on shore too.
she got an eyeful but wasn't in a rush to leave either. maybe another aficionado of the teenieweenie? LoL
of course, i actually really like this shot. it makes me want to do more.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Illarion Mikhailovich Pryanishnikov (Russian: Илларио́н Миха́йлович Пря́нишников; 20 March [O.S. 1 April] 1840 – 12 March [O.S. 24 March] 1894) was a Russian painter, one of the founders of the Peredvizhniki artistic cooperative, which broke away with the rigors of their time and became one of the most important Russian art schools of the late 19th Century.
Illarion Pryanishnikov was born in the village of Timashovo (today's Kaluga Oblast) in a family of merchants. From 1856 to 1866 he studied in the Moscow School of Painting, Sculpture and Architecture in the classes of Evgraf Sorokin and Sergey Zaryanko.
His picture Jokers. Gostiny Dvor in Moscow, painted in the last year of education, straight away brought to him a wide reputation. In this small canvas he gives an original solution of a theme of the humiliation of human dignity, callousness and cruelty in the world, where everything is bought and is sold. After depicting the tipsy merchants, who with a jeer are compelled to dance under the concertina and a poor elderly official, the artist authentically demonstrates a whole gallery of the specimens of moral deformity and complacent caddishness. The painting caused indignation in some adherents of official academic art who felt that the young painter appeared as the destroyer of the "high" destination of the art which was to express in the ideal form the eternal truths.
In 1870 Pryanishnikov received the title of the "painter of 1st degree". From 1873 until his death he was a teacher in the MSoPSA and his apprentices were Konstantin Korovin, Vitold Byalynitsky-Birulya, Mikhail Nesterov, Alexei Stepanov and others.
Although Pryanishnikov lived in mainly in Moscow, he often visited the Russian north where he sketched. Pryanishnikov died in Moscow where one of the streets was named after him.
en.wikipedia.org/wiki/Illarion_Pryanishnikov
en.wikipedia.org/wiki/Moscow_Gostiny_Dvor
(Illarion Mikhailovich Pryanishnikov (Ruso: Илларио́н Миха́йлович Пря́нишников; 20 de marzo [1 de abril] 1840 – 12 de marzo [24 de marzo] 1894) fue un pintor ruso, uno de los fundadores de la cooperativa artística Peredvizhniki, que rompió con los rigores de su tiempo y se convirtió en una de las escuelas de arte rusas más importantes de finales del siglo XIX.
Illarion Pryanishnikov nació en la aldea de Timashovo (actual Oblast de Kaluga) en una familia de comerciantes. De 1856 a 1866 estudió en la escuela de pintura, escultura y arquitectura de Moscú en las clases de Evgraf Sorokin y Sergey Zaryanko.
Su cuadro jokers. Gostiny Dvor en Moscú, pintado en el último año de la educación, de inmediato le trajo una amplia reputación. En este pequeño lienzo da una solución original de un tema de la humillación de la dignidad humana, la insensibilidad y la crueldad en el mundo, donde todo se compra y se vende. Después de representar a los comerciantes borrachos, que con un abucheo obligan a bailar bajo la concertina a un pobre funcionario anciano, el artista demuestra auténticamente toda una galería de los especímenes de la deformidad moral y la desvergüenza complaciente. La pintura causó indignación en algunos adherentes del arte académico oficial que sentían que el joven pintor aparecía como el destructor de la "alta" destinación del arte que era expresar en la forma ideal las verdades eternas.
En 1870 Pryanishnikov recibió el título de "pintor de 1er grado ". Desde 1873 hasta su muerte fue profesor en el MSoPSA y sus aprendices fueron Konstantin Korovin, Vitold Byalynitsky-Birulya, Mikhail Nesterov, Alexei Stepanov y otros.
Aunque Pryanishnikov vivió principalmente en Moscú, a menudo visitó el norte ruso donde hizo bocetos. Pryanishnikov murió en Moscú, donde una de las calles fue nombrada en su honor.)
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
I love to look my Sissy best you know! I just love beeing seen in frilly ankle socks and pantyhose when wearing matching skirt & top sets! I love it when people see me for the sissy I really am. Knowing that I have gone out of my way to look the way I want them and you to see me. With lilac colored tennies, frilly purple socks that match the stripes in my cute top and panties that match my tiny little skirt. Oh yes, and always wearing pantyhose!
I must concede defeat, agonizing, humiliating defeat to my 'Bama buddy GW. We'll see you again next year GW. We'll bring a quarterback this time..........
We're Here!: Drawn-On Photographs
Strobist: AB1600 with gridded 60X30 softbox camera left. AB800 with Softlighter II camera left. Triggered by Cybersync.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
–noun
1.
infliction of injury, harm, humiliation, or the like, on a person by another who has been harmed by that person; violent revenge: But have you the right to vengeance?
2.
an act or opportunity of inflicting such trouble: to take one's vengeance.
3.
the desire for revenge: a man full of vengeance.
Long day. Anna and I went out job hunting in the rain. It's really humiliating being so qualified and still having to beg and plead for a job somewhere.
I got a call and ended up in a fight with my mom. Same old issues. Job hunt. Love life. Art. I'm about to cut my family out of my life if they can't start to accept me. There are enough people in my life who love and respect me just as I am. I don't need people around who are breaking my heart every day.
I have a headache, so I couldn't think of anything major to do....so I decided to fall back on my favourite TV show.
She knows what's up: