#americanart — Public Fediverse posts

https://www.europesays.com/be/37614/ FAD NEWS: New contemporary art gallery opens in Brussels #AbstractArt #AmericanArt #ArsBelga #ArtGalleries #BelgianSurrealism #Brussels #BrusselsArt #CharlesPollock #ContemporaryArt #ItalianArt #KineticArt #KoreanArt #OpArt #PieroDorazio #PostwarArt #VincentMathu

https://www.europesays.com/dk/165146/ FAD NEWS: New contemporary art gallery opens in Brussels #AbstractArt #AmericanArt #ArsBelga #ArtGalleries #BelgianSurrealism #Belgium #Brussels #BrusselsArt #CharlesPollock #ContemporaryArt #ItalianArt #KineticArt #KoreanArt #OpArt #PieroDorazio #PostwarArt #VincentMathu

Crystal Bridges Announces Tiffany & Co. Exhibition

Crystal Bridges Announces New Tiffany & Co. Exhibition Crystal Bridges and Tif…
#France #FR #Europe #EU #Tiffany&Co. #Americanart #americanartwork #americanimagination #Artexhibitions #bentonville #Bentonvilleevents #brooch #co.exhibition #CrystalBridges #Flowers #gemstones #georgepauldingfarnham #jewelry #lvmh #museums #Nature #NatureAdorned #necklace #NorthwestArkansas #oct. #rock #theartistry #Tiffany
https://www.europesays.com/france/76637/

🎨 Georgia O'Keeffe’s legendary early masterpiece, "Blue and Green Music" (1919-21), shared by Women's Art. Painted in oil on canvas, this spectacular work highlights O'Keeffe's fascination with Synesthesia—the blending of different senses.
 #art #georgiaokeeffe #modernism #americanart

RE: https://bsky.app/profile/did:plc:u2zs2typsklaohqmfyxiunvy/post/3mubfubjcn22n

🎨 Georgia O'Keeffe’s legendary early masterpiece, "Blue and Green Music" (1919-21), shared by Women's Art. Painted in oil on canvas, this spectacular work highlights O'Keeffe's fascination with Synesthesia—the blending of different senses.
 #art #georgiaokeeffe #modernism #americanart

RE: https://bsky.app/profile/did:plc:u2zs2typsklaohqmfyxiunvy/post/3mubfubjcn22n

"Untitled," Minnie Evans, 1959.

Evans (1892-1987) was a self-taught Black folk artist who didn't begin drawing until she was in her 40s, working at the ticket booth at Airlie Gardens in Wilmington, NC.

Inspired by her inner visions, her religious faith, her regard for her ancestors, and her surroundings, she created many intricate images of faces amid flowers and foliage. The faces could be her ancestors, or her version of spiritual guides, or something else altogether.

She once said that her flower paintings were her vision of heaven, dismissing the idea of heaven as white and full of clouds, but instead a joyous garden of rainbow colors.

Her work, which began in the 40s, was in many ways a forerunner to psychedelic art of the 60s and 70s; this would not have been out of place on the wall of a hippie's flat.

From the American Folk Art Museum, New York.

#Art #MinnieEvans #OutsiderArt #VisionaryArt #BlackArtists #WomenArtists #BlackHistory #WomensHistory #AmericanArt #FlowerFriday

"Untitled," Minnie Evans, 1959.

Evans (1892-1987) was a self-taught Black folk artist who didn't begin drawing until she was in her 40s, working at the ticket booth at Airlie Gardens in Wilmington, NC.

Inspired by her inner visions, her religious faith, her regard for her ancestors, and her surroundings, she created many intricate images of faces amid flowers and foliage. The faces could be her ancestors, or her version of spiritual guides, or something else altogether.

She once said that her flower paintings were her vision of heaven, dismissing the idea of heaven as white and full of clouds, but instead a joyous garden of rainbow colors.

Her work, which began in the 40s, was in many ways a forerunner to psychedelic art of the 60s and 70s; this would not have been out of place on the wall of a hippie's flat.

From the American Folk Art Museum, New York.

#Art #MinnieEvans #OutsiderArt #VisionaryArt #BlackArtists #WomenArtists #BlackHistory #WomensHistory #AmericanArt #FlowerFriday

"Untitled," Minnie Evans, 1959.

Evans (1892-1987) was a self-taught Black folk artist who didn't begin drawing until she was in her 40s, working at the ticket booth at Airlie Gardens in Wilmington, NC.

Inspired by her inner visions, her religious faith, her regard for her ancestors, and her surroundings, she created many intricate images of faces amid flowers and foliage. The faces could be her ancestors, or her version of spiritual guides, or something else altogether.

She once said that her flower paintings were her vision of heaven, dismissing the idea of heaven as white and full of clouds, but instead a joyous garden of rainbow colors.

Her work, which began in the 40s, was in many ways a forerunner to psychedelic art of the 60s and 70s; this would not have been out of place on the wall of a hippie's flat.

From the American Folk Art Museum, New York.

#Art #MinnieEvans #OutsiderArt #VisionaryArt #BlackArtists #WomenArtists #BlackHistory #WomensHistory #AmericanArt #FlowerFriday

"Untitled," Minnie Evans, 1959.

Evans (1892-1987) was a self-taught Black folk artist who didn't begin drawing until she was in her 40s, working at the ticket booth at Airlie Gardens in Wilmington, NC.

Inspired by her inner visions, her religious faith, her regard for her ancestors, and her surroundings, she created many intricate images of faces amid flowers and foliage. The faces could be her ancestors, or her version of spiritual guides, or something else altogether.

She once said that her flower paintings were her vision of heaven, dismissing the idea of heaven as white and full of clouds, but instead a joyous garden of rainbow colors.

Her work, which began in the 40s, was in many ways a forerunner to psychedelic art of the 60s and 70s; this would not have been out of place on the wall of a hippie's flat.

From the American Folk Art Museum, New York.

#Art #MinnieEvans #OutsiderArt #VisionaryArt #BlackArtists #WomenArtists #BlackHistory #WomensHistory #AmericanArt #FlowerFriday

"Untitled," Minnie Evans, 1959.

Evans (1892-1987) was a self-taught Black folk artist who didn't begin drawing until she was in her 40s, working at the ticket booth at Airlie Gardens in Wilmington, NC.

Inspired by her inner visions, her religious faith, her regard for her ancestors, and her surroundings, she created many intricate images of faces amid flowers and foliage. The faces could be her ancestors, or her version of spiritual guides, or something else altogether.

She once said that her flower paintings were her vision of heaven, dismissing the idea of heaven as white and full of clouds, but instead a joyous garden of rainbow colors.

Her work, which began in the 40s, was in many ways a forerunner to psychedelic art of the 60s and 70s; this would not have been out of place on the wall of a hippie's flat.

From the American Folk Art Museum, New York.

#Art #MinnieEvans #OutsiderArt #VisionaryArt #BlackArtists #WomenArtists #BlackHistory #WomensHistory #AmericanArt #FlowerFriday

"Green Plums," Joseph Decker, c. 1885.

Born in Germany, Decker (1853-1924) came to the US with his family when he was 14. An apprentice house painter in Brooklyn, he had hopes of becoming a serious artist and started taking classes at the National Academy of Design.

At first, he painted mostly landscapes and genre scenes, but around 1885 began to focus more on still lifes of fruit and other organic material, that became what he would be known for.

Decker's style was unconventional for the time, and he never achieved great success as a painter. But he did work consistently, and now some believe he did illustrations for seed packets as well. His work fell from favor and his last years are poorly documented, except that he died penniless in a Brooklyn hospital. He and his work were forgotten for a while until critics called attention to him in 1949, at which point he was rediscovered to acclaim.

The near-photorealistic quality here is remarkable, especially as it's achieved through relaxed and practiced brushwork. An exceptional work, sadly not appreciated during the artist's life.

From the National Gallery of Art, Washington, DC.

#Art #StillLife #JosephDecker #Plums #AmericanArt #Realism #Photorealism

"Green Plums," Joseph Decker, c. 1885.

Born in Germany, Decker (1853-1924) came to the US with his family when he was 14. An apprentice house painter in Brooklyn, he had hopes of becoming a serious artist and started taking classes at the National Academy of Design.

At first, he painted mostly landscapes and genre scenes, but around 1885 began to focus more on still lifes of fruit and other organic material, that became what he would be known for.

Decker's style was unconventional for the time, and he never achieved great success as a painter. But he did work consistently, and now some believe he did illustrations for seed packets as well. His work fell from favor and his last years are poorly documented, except that he died penniless in a Brooklyn hospital. He and his work were forgotten for a while until critics called attention to him in 1949, at which point he was rediscovered to acclaim.

The near-photorealistic quality here is remarkable, especially as it's achieved through relaxed and practiced brushwork. An exceptional work, sadly not appreciated during the artist's life.

From the National Gallery of Art, Washington, DC.

#Art #StillLife #JosephDecker #Plums #AmericanArt #Realism #Photorealism

"Green Plums," Joseph Decker, c. 1885.

Born in Germany, Decker (1853-1924) came to the US with his family when he was 14. An apprentice house painter in Brooklyn, he had hopes of becoming a serious artist and started taking classes at the National Academy of Design.

At first, he painted mostly landscapes and genre scenes, but around 1885 began to focus more on still lifes of fruit and other organic material, that became what he would be known for.

Decker's style was unconventional for the time, and he never achieved great success as a painter. But he did work consistently, and now some believe he did illustrations for seed packets as well. His work fell from favor and his last years are poorly documented, except that he died penniless in a Brooklyn hospital. He and his work were forgotten for a while until critics called attention to him in 1949, at which point he was rediscovered to acclaim.

The near-photorealistic quality here is remarkable, especially as it's achieved through relaxed and practiced brushwork. An exceptional work, sadly not appreciated during the artist's life.

From the National Gallery of Art, Washington, DC.

#Art #StillLife #JosephDecker #Plums #AmericanArt #Realism #Photorealism

"Green Plums," Joseph Decker, c. 1885.

Born in Germany, Decker (1853-1924) came to the US with his family when he was 14. An apprentice house painter in Brooklyn, he had hopes of becoming a serious artist and started taking classes at the National Academy of Design.

At first, he painted mostly landscapes and genre scenes, but around 1885 began to focus more on still lifes of fruit and other organic material, that became what he would be known for.

Decker's style was unconventional for the time, and he never achieved great success as a painter. But he did work consistently, and now some believe he did illustrations for seed packets as well. His work fell from favor and his last years are poorly documented, except that he died penniless in a Brooklyn hospital. He and his work were forgotten for a while until critics called attention to him in 1949, at which point he was rediscovered to acclaim.

The near-photorealistic quality here is remarkable, especially as it's achieved through relaxed and practiced brushwork. An exceptional work, sadly not appreciated during the artist's life.

From the National Gallery of Art, Washington, DC.

#Art #StillLife #JosephDecker #Plums #AmericanArt #Realism #Photorealism

"Green Plums," Joseph Decker, c. 1885.

Born in Germany, Decker (1853-1924) came to the US with his family when he was 14. An apprentice house painter in Brooklyn, he had hopes of becoming a serious artist and started taking classes at the National Academy of Design.

At first, he painted mostly landscapes and genre scenes, but around 1885 began to focus more on still lifes of fruit and other organic material, that became what he would be known for.

Decker's style was unconventional for the time, and he never achieved great success as a painter. But he did work consistently, and now some believe he did illustrations for seed packets as well. His work fell from favor and his last years are poorly documented, except that he died penniless in a Brooklyn hospital. He and his work were forgotten for a while until critics called attention to him in 1949, at which point he was rediscovered to acclaim.

The near-photorealistic quality here is remarkable, especially as it's achieved through relaxed and practiced brushwork. An exceptional work, sadly not appreciated during the artist's life.

From the National Gallery of Art, Washington, DC.

#Art #StillLife #JosephDecker #Plums #AmericanArt #Realism #Photorealism

Wilhelmina Godfrey (1914-1994)

https://palianshow.wordpress.com/2026/08/27/mcalpin-godfrey/

Wilhelmina Godfrey (1914-1994)

https://palianshow.wordpress.com/2026/08/27/mcalpin-godfrey/

Wilhelmina Godfrey (1914-1994)

https://palianshow.wordpress.com/2026/08/27/mcalpin-godfrey/

Yayoi Kusama, who splashed polka dots across the art world, dies at 97

TOKYO — Japanese artist Yayoi Kusama, who splashed her signature polka dots on paintings, sculptures and museum installations around the…
#EuropeSays #Japan #JP #americanart #artworld #Company #hallucination #infinitymirrorrooms #Japanese #kusama #LosAngelesTimes #museuminstallation #newyork #polkadot #sculpture #Tokyo #whitneymuseum #yayoikusama
https://www.europesays.com/japan/80978/

"Red and Orange Streak," Georgia O'Keeffe, 1919.

O'Keeffe (1887-1986) was a real pioneer of American modernism. She's best known for her flower paintings, which are almost overfamiliar and the subject of many a joke...but here we've got something different.

O'Keeffe moved to New York from Texas in 1919, and painted this soon after. She wrote that this was inspired by her nostalgia for the Texas plains, especially her fondness for watching lightning storms in the distance.

Here we've got a red band resembling mountains in the distance, and a orange/gold arc that could be lightning....it makes me think of lights in long-exposure photos that stretch into lines. But most say it's simply a creation of a mood, which I can also see.

From the Philadelphia Museum of Art.

#Art #GeorgiaOkeeffe #AbstractArt #WomenArists #AmericanArt

"Red and Orange Streak," Georgia O'Keeffe, 1919.

O'Keeffe (1887-1986) was a real pioneer of American modernism. She's best known for her flower paintings, which are almost overfamiliar and the subject of many a joke...but here we've got something different.

O'Keeffe moved to New York from Texas in 1919, and painted this soon after. She wrote that this was inspired by her nostalgia for the Texas plains, especially her fondness for watching lightning storms in the distance.

Here we've got a red band resembling mountains in the distance, and a orange/gold arc that could be lightning....it makes me think of lights in long-exposure photos that stretch into lines. But most say it's simply a creation of a mood, which I can also see.

From the Philadelphia Museum of Art.

#Art #GeorgiaOkeeffe #AbstractArt #WomenArists #AmericanArt

"Red and Orange Streak," Georgia O'Keeffe, 1919.

O'Keeffe (1887-1986) was a real pioneer of American modernism. She's best known for her flower paintings, which are almost overfamiliar and the subject of many a joke...but here we've got something different.

O'Keeffe moved to New York from Texas in 1919, and painted this soon after. She wrote that this was inspired by her nostalgia for the Texas plains, especially her fondness for watching lightning storms in the distance.

Here we've got a red band resembling mountains in the distance, and a orange/gold arc that could be lightning....it makes me think of lights in long-exposure photos that stretch into lines. But most say it's simply a creation of a mood, which I can also see.

From the Philadelphia Museum of Art.

#Art #GeorgiaOkeeffe #AbstractArt #WomenArists #AmericanArt

"Red and Orange Streak," Georgia O'Keeffe, 1919.

O'Keeffe (1887-1986) was a real pioneer of American modernism. She's best known for her flower paintings, which are almost overfamiliar and the subject of many a joke...but here we've got something different.

O'Keeffe moved to New York from Texas in 1919, and painted this soon after. She wrote that this was inspired by her nostalgia for the Texas plains, especially her fondness for watching lightning storms in the distance.

Here we've got a red band resembling mountains in the distance, and a orange/gold arc that could be lightning....it makes me think of lights in long-exposure photos that stretch into lines. But most say it's simply a creation of a mood, which I can also see.

From the Philadelphia Museum of Art.

#Art #GeorgiaOkeeffe #AbstractArt #WomenArists #AmericanArt

"Red and Orange Streak," Georgia O'Keeffe, 1919.

O'Keeffe (1887-1986) was a real pioneer of American modernism. She's best known for her flower paintings, which are almost overfamiliar and the subject of many a joke...but here we've got something different.

O'Keeffe moved to New York from Texas in 1919, and painted this soon after. She wrote that this was inspired by her nostalgia for the Texas plains, especially her fondness for watching lightning storms in the distance.

Here we've got a red band resembling mountains in the distance, and a orange/gold arc that could be lightning....it makes me think of lights in long-exposure photos that stretch into lines. But most say it's simply a creation of a mood, which I can also see.

From the Philadelphia Museum of Art.

#Art #GeorgiaOkeeffe #AbstractArt #WomenArists #AmericanArt

https://www.moma.org/artists/5047-mark-rothko

Here's a story about about the visual arts in the mid 20th century USA , a story that I have often heard myself, told myself, and taught to others:

>> In the years following the Second World War, the socially conscious art that had developed under the auspices of the New Deal was cast aside under the pressure of the Cold War and liberal anticommunism, and its place an ostensibly apolitical art was promoted in association with asocial, formalist criteria of critical evaluation.<<

I don't think this story is wrong, but I have come to think of it as incomplete and thereby perhaps misleading.

The MOMA page linked here draws attention to one problem. Whatever archformalist Clement Greenberg might have said, artists like Rothko and Newman did not understand their own work in his narrow terms. To grasp these artists' work, one has to employ a humanist vocabulary of the tragic and the sublime, and employ that vocabulary not merely as a reference to "all over painting", but as a way of making sense of the content of that painting.

Unfortunately, this vocabulary of the transcendent was already being squeezed out in the New Deal years.

Within the modernism of the first three decades of the 20th century, two tendencies were at work: one advancing new visual practices as a way of transcending the crass materialism and obsolete illusionism of the 19th century (Kandinsky, Malevich, early Bauhaus), the other as challenging the separation of "art" from "life" (De Stijl, later Bauhaus, Soviet Constructivism) with the aim of making all art some kind of applied art while simultaneously debunking the "mystifying" language and socially exclusionary practices of the "fine" arts.

Most US New Deal Art, and the criticism and historiography that has valorized that art, has followed that second tendency within modernism . That's a healthy and understandable reaction to art as understood as something old to be purchased in Europe, packed up in crates, and then displayed in the USA by courtesy of billionaire businessmen.

Yet that "socially conscious" modernism all too often either misses or even suppresses the responses mentioned in the MOMA Rothko page.

We need to to ensure that the tragic, the sublime, and the mysterious do not become the exclusive property of the right, whether in the visual arts or the culture at large.

Forgive me -- all this is thinking on the go, conducted under the influence of three large glasses of Woodbridge Chardonnay, and possibly erroneous in many respects.

#AmericanArt #Modernism #Art #20thCentury

https://www.moma.org/artists/5047-mark-rothko

Here's a story about about the visual arts in the mid 20th century USA , a story that I have often heard myself, told myself, and taught to others:

>> In the years following the Second World War, the socially conscious art that had developed under the auspices of the New Deal was cast aside under the pressure of the Cold War and liberal anticommunism, and its place an ostensibly apolitical art was promoted in association with asocial, formalist criteria of critical evaluation.<<

I don't think this story is wrong, but I have come to think of it as incomplete and thereby perhaps misleading.

The MOMA page linked here draws attention to one problem. Whatever archformalist Clement Greenberg might have said, artists like Rothko and Newman did not understand their own work in his narrow terms. To grasp these artists' work, one has to employ a humanist vocabulary of the tragic and the sublime, and employ that vocabulary not merely as a reference to "all over painting", but as a way of making sense of the content of that painting.

Unfortunately, this vocabulary of the transcendent was already being squeezed out in the New Deal years.

Within the modernism of the first three decades of the 20th century, two tendencies were at work: one advancing new visual practices as a way of transcending the crass materialism and obsolete illusionism of the 19th century (Kandinsky, Malevich, early Bauhaus), the other as challenging the separation of "art" from "life" (De Stijl, later Bauhaus, Soviet Constructivism) with the aim of making all art some kind of applied art while simultaneously debunking the "mystifying" language and socially exclusionary practices of the "fine" arts.

Most US New Deal Art, and the criticism and historiography that has valorized that art, has followed that second tendency within modernism . That's a healthy and understandable reaction to art as understood as something old to be purchased in Europe, packed up in crates, and then displayed in the USA by courtesy of billionaire businessmen.

Yet that "socially conscious" modernism all too often either misses or even suppresses the responses mentioned in the MOMA Rothko page.

We need to to ensure that the tragic, the sublime, and the mysterious do not become the exclusive property of the right, whether in the visual arts or the culture at large.

Forgive me -- all this is thinking on the go, conducted under the influence of three large glasses of Woodbridge Chardonnay, and possibly erroneous in many respects.

#AmericanArt #Modernism #Art #20thCentury

https://www.moma.org/artists/5047-mark-rothko

Here's a story about about the visual arts in the mid 20th century USA , a story that I have often heard myself, told myself, and taught to others:

>> In the years following the Second World War, the socially conscious art that had developed under the auspices of the New Deal was cast aside under the pressure of the Cold War and liberal anticommunism, and its place an ostensibly apolitical art was promoted in association with asocial, formalist criteria of critical evaluation.<<

I don't think this story is wrong, but I have come to think of it as incomplete and thereby perhaps misleading.

The MOMA page linked here draws attention to one problem. Whatever archformalist Clement Greenberg might have said, artists like Rothko and Newman did not understand their own work in his narrow terms. To grasp these artists' work, one has to employ a humanist vocabulary of the tragic and the sublime, and employ that vocabulary not merely as a reference to "all over painting", but as a way of making sense of the content of that painting.

Unfortunately, this vocabulary of the transcendent was already being squeezed out in the New Deal years.

Within the modernism of the first three decades of the 20th century, two tendencies were at work: one advancing new visual practices as a way of transcending the crass materialism and obsolete illusionism of the 19th century (Kandinsky, Malevich, early Bauhaus), the other as challenging the separation of "art" from "life" (De Stijl, later Bauhaus, Soviet Constructivism) with the aim of making all art some kind of applied art while simultaneously debunking the "mystifying" language and socially exclusionary practices of the "fine" arts.

Most US New Deal Art, and the criticism and historiography that has valorized that art, has followed that second tendency within modernism . That's a healthy and understandable reaction to art as understood as something old to be purchased in Europe, packed up in crates, and then displayed in the USA by courtesy of billionaire businessmen.

Yet that "socially conscious" modernism all too often either misses or even suppresses the responses mentioned in the MOMA Rothko page.

We need to to ensure that the tragic, the sublime, and the mysterious do not become the exclusive property of the right, whether in the visual arts or the culture at large.

Forgive me -- all this is thinking on the go, conducted under the influence of three large glasses of Woodbridge Chardonnay, and possibly erroneous in many respects.

#AmericanArt #Modernism #Art #20thCentury

https://www.moma.org/artists/5047-mark-rothko

Here's a story about about the visual arts in the mid 20th century USA , a story that I have often heard myself, told myself, and taught to others:

>> In the years following the Second World War, the socially conscious art that had developed under the auspices of the New Deal was cast aside under the pressure of the Cold War and liberal anticommunism, and its place an ostensibly apolitical art was promoted in association with asocial, formalist criteria of critical evaluation.<<

I don't think this story is wrong, but I have come to think of it as incomplete and thereby perhaps misleading.

The MOMA page linked here draws attention to one problem. Whatever archformalist Clement Greenberg might have said, artists like Rothko and Newman did not understand their own work in his narrow terms. To grasp these artists' work, one has to employ a humanist vocabulary of the tragic and the sublime, and employ that vocabulary not merely as a reference to "all over painting", but as a way of making sense of the content of that painting.

Unfortunately, this vocabulary of the transcendent was already being squeezed out in the New Deal years.

Within the modernism of the first three decades of the 20th century, two tendencies were at work: one advancing new visual practices as a way of transcending the crass materialism and obsolete illusionism of the 19th century (Kandinsky, Malevich, early Bauhaus), the other as challenging the separation of "art" from "life" (De Stijl, later Bauhaus, Soviet Constructivism) with the aim of making all art some kind of applied art while simultaneously debunking the "mystifying" language and socially exclusionary practices of the "fine" arts.

Most US New Deal Art, and the criticism and historiography that has valorized that art, has followed that second tendency within modernism . That's a healthy and understandable reaction to art as understood as something old to be purchased in Europe, packed up in crates, and then displayed in the USA by courtesy of billionaire businessmen.

Yet that "socially conscious" modernism all too often either misses or even suppresses the responses mentioned in the MOMA Rothko page.

We need to to ensure that the tragic, the sublime, and the mysterious do not become the exclusive property of the right, whether in the visual arts or the culture at large.

Forgive me -- all this is thinking on the go, conducted under the influence of three large glasses of Woodbridge Chardonnay, and possibly erroneous in many respects.

#AmericanArt #Modernism #Art #20thCentury

https://www.moma.org/artists/5047-mark-rothko

Here's a story about about the visual arts in the mid 20th century USA , a story that I have often heard myself, told myself, and taught to others:

>> In the years following the Second World War, the socially conscious art that had developed under the auspices of the New Deal was cast aside under the pressure of the Cold War and liberal anticommunism, and its place an ostensibly apolitical art was promoted in association with asocial, formalist criteria of critical evaluation.<<

I don't think this story is wrong, but I have come to think of it as incomplete and thereby perhaps misleading.

The MOMA page linked here draws attention to one problem. Whatever archformalist Clement Greenberg might have said, artists like Rothko and Newman did not understand their own work in his narrow terms. To grasp these artists' work, one has to employ a humanist vocabulary of the tragic and the sublime, and employ that vocabulary not merely as a reference to "all over painting", but as a way of making sense of the content of that painting.

Unfortunately, this vocabulary of the transcendent was already being squeezed out in the New Deal years.

Within the modernism of the first three decades of the 20th century, two tendencies were at work: one advancing new visual practices as a way of transcending the crass materialism and obsolete illusionism of the 19th century (Kandinsky, Malevich, early Bauhaus), the other as challenging the separation of "art" from "life" (De Stijl, later Bauhaus, Soviet Constructivism) with the aim of making all art some kind of applied art while simultaneously debunking the "mystifying" language and socially exclusionary practices of the "fine" arts.

Most US New Deal Art, and the criticism and historiography that has valorized that art, has followed that second tendency within modernism . That's a healthy and understandable reaction to art as understood as something old to be purchased in Europe, packed up in crates, and then displayed in the USA by courtesy of billionaire businessmen.

Yet that "socially conscious" modernism all too often either misses or even suppresses the responses mentioned in the MOMA Rothko page.

We need to to ensure that the tragic, the sublime, and the mysterious do not become the exclusive property of the right, whether in the visual arts or the culture at large.

Forgive me -- all this is thinking on the go, conducted under the influence of three large glasses of Woodbridge Chardonnay, and possibly erroneous in many respects.

#AmericanArt #Modernism #Art #20thCentury

'Poe On The High Bridge' by Bernard Rosenmeyer.
#Poe #EdgarAllanPoe #Gothic #AmericanArt #art

'Poe On The High Bridge' by Bernard Rosenmeyer.
#Poe #EdgarAllanPoe #Gothic #AmericanArt #art

Martha Rosler (b.1943)

https://palianshow.wordpress.com/2026/07/29/martha-rosler/

Martha Rosler (b.1943)

https://palianshow.wordpress.com/2026/07/29/martha-rosler/

Martha Rosler (b.1943)

https://palianshow.wordpress.com/2026/07/29/martha-rosler/

"Lady with a Bowl of Violets," Lilla Cabot Perry, c. 1910.

Lydia Cabot (1848-1933) was born into a Boston society family, and in her youth spent time with Ralph Waldo Emerson and Louisa May Alcott, both family friends. Her family were passionate abolitionists during the Civil War and worked to protect runaway slaves.

After the war, she married linguist and academic Thomas Sergeant Perry, and then began her artistic training at the age of 36. She became a protegee of Claude Monet and friend of Camille Pissarro, and established herself as an American Impressionist.

Although she never had the fame other Impressionists had, she formulated her own version of it and helped stir up the staid Boston art community. Several years' residence in Japan, when her husband was teaching at a university there, also influenced her. She started going by her nickname, Lilla.

Here we have an unknown young woman, sitting serenely in a rich setting. We have part of a Japanese print and the bowl of violets present but carefully cropped off, a very Japanese choice. It's a lovely, serene picture, typical of her work.

From the National Museum of Women in the Arts, Washington, DC.

#Art #LillaCabotPerry #Impressionism #WomenArtists #WomenInArt #Herstory #AmericanArt

"Lady with a Bowl of Violets," Lilla Cabot Perry, c. 1910.

Lydia Cabot (1848-1933) was born into a Boston society family, and in her youth spent time with Ralph Waldo Emerson and Louisa May Alcott, both family friends. Her family were passionate abolitionists during the Civil War and worked to protect runaway slaves.

After the war, she married linguist and academic Thomas Sergeant Perry, and then began her artistic training at the age of 36. She became a protegee of Claude Monet and friend of Camille Pissarro, and established herself as an American Impressionist.

Although she never had the fame other Impressionists had, she formulated her own version of it and helped stir up the staid Boston art community. Several years' residence in Japan, when her husband was teaching at a university there, also influenced her. She started going by her nickname, Lilla.

Here we have an unknown young woman, sitting serenely in a rich setting. We have part of a Japanese print and the bowl of violets present but carefully cropped off, a very Japanese choice. It's a lovely, serene picture, typical of her work.

From the National Museum of Women in the Arts, Washington, DC.

#Art #LillaCabotPerry #Impressionism #WomenArtists #WomenInArt #Herstory #AmericanArt

"Lady with a Bowl of Violets," Lilla Cabot Perry, c. 1910.

Lydia Cabot (1848-1933) was born into a Boston society family, and in her youth spent time with Ralph Waldo Emerson and Louisa May Alcott, both family friends. Her family were passionate abolitionists during the Civil War and worked to protect runaway slaves.

After the war, she married linguist and academic Thomas Sergeant Perry, and then began her artistic training at the age of 36. She became a protegee of Claude Monet and friend of Camille Pissarro, and established herself as an American Impressionist.

Although she never had the fame other Impressionists had, she formulated her own version of it and helped stir up the staid Boston art community. Several years' residence in Japan, when her husband was teaching at a university there, also influenced her. She started going by her nickname, Lilla.

Here we have an unknown young woman, sitting serenely in a rich setting. We have part of a Japanese print and the bowl of violets present but carefully cropped off, a very Japanese choice. It's a lovely, serene picture, typical of her work.

From the National Museum of Women in the Arts, Washington, DC.

#Art #LillaCabotPerry #Impressionism #WomenArtists #WomenInArt #Herstory #AmericanArt

"Lady with a Bowl of Violets," Lilla Cabot Perry, c. 1910.

Lydia Cabot (1848-1933) was born into a Boston society family, and in her youth spent time with Ralph Waldo Emerson and Louisa May Alcott, both family friends. Her family were passionate abolitionists during the Civil War and worked to protect runaway slaves.

After the war, she married linguist and academic Thomas Sergeant Perry, and then began her artistic training at the age of 36. She became a protegee of Claude Monet and friend of Camille Pissarro, and established herself as an American Impressionist.

Although she never had the fame other Impressionists had, she formulated her own version of it and helped stir up the staid Boston art community. Several years' residence in Japan, when her husband was teaching at a university there, also influenced her. She started going by her nickname, Lilla.

Here we have an unknown young woman, sitting serenely in a rich setting. We have part of a Japanese print and the bowl of violets present but carefully cropped off, a very Japanese choice. It's a lovely, serene picture, typical of her work.

From the National Museum of Women in the Arts, Washington, DC.

#Art #LillaCabotPerry #Impressionism #WomenArtists #WomenInArt #Herstory #AmericanArt

"Lady with a Bowl of Violets," Lilla Cabot Perry, c. 1910.

Lydia Cabot (1848-1933) was born into a Boston society family, and in her youth spent time with Ralph Waldo Emerson and Louisa May Alcott, both family friends. Her family were passionate abolitionists during the Civil War and worked to protect runaway slaves.

After the war, she married linguist and academic Thomas Sergeant Perry, and then began her artistic training at the age of 36. She became a protegee of Claude Monet and friend of Camille Pissarro, and established herself as an American Impressionist.

Although she never had the fame other Impressionists had, she formulated her own version of it and helped stir up the staid Boston art community. Several years' residence in Japan, when her husband was teaching at a university there, also influenced her. She started going by her nickname, Lilla.

Here we have an unknown young woman, sitting serenely in a rich setting. We have part of a Japanese print and the bowl of violets present but carefully cropped off, a very Japanese choice. It's a lovely, serene picture, typical of her work.

From the National Museum of Women in the Arts, Washington, DC.

#Art #LillaCabotPerry #Impressionism #WomenArtists #WomenInArt #Herstory #AmericanArt

https://www.europesays.com/ie/570058/ Show and tell: See how museums and galleries are celebrating 250 in the US #AmericaAt250 #AmericanArt #AmericanHistory #Arts #ArtsAndDesign #ArtsAndDesign #ArtsDesign #Design #Éire #Entertainment #HTWKnd #IE #Ireland #UnitedStates #US

Two very weird illustrations for 'A Midsummer Night's Dream' Pincknewy-Marcius Simons, 1908.
#WyrdWednesday #Shakespeare #Symbolism #AmericanArt #art

Two very weird illustrations for 'A Midsummer Night's Dream' Pincknewy-Marcius Simons, 1908.
#WyrdWednesday #Shakespeare #Symbolism #AmericanArt #art

Two very weird illustrations for 'A Midsummer Night's Dream' Pincknewy-Marcius Simons, 1908.
#WyrdWednesday #Shakespeare #Symbolism #AmericanArt #art

https://www.thestoryoftexas.com/artifacts/plains-indian-breastplate-richard-petri/

Lipan Apache?

#Texas #NativeAmerican #AmericanIndian #RichardPetri #LipanApache #History #Art #AmericanArt #19thCenturyArt

https://www.thestoryoftexas.com/artifacts/plains-indian-breastplate-richard-petri/

Lipan Apache?

#Texas #NativeAmerican #AmericanIndian #RichardPetri #LipanApache #History #Art #AmericanArt #19thCenturyArt

https://www.thestoryoftexas.com/artifacts/plains-indian-breastplate-richard-petri/

Lipan Apache?

#Texas #NativeAmerican #AmericanIndian #RichardPetri #LipanApache #History #Art #AmericanArt #19thCenturyArt

https://www.thestoryoftexas.com/artifacts/plains-indian-breastplate-richard-petri/

Lipan Apache?

#Texas #NativeAmerican #AmericanIndian #RichardPetri #LipanApache #History #Art #AmericanArt #19thCenturyArt

https://www.thestoryoftexas.com/artifacts/plains-indian-breastplate-richard-petri/

Lipan Apache?

#Texas #NativeAmerican #AmericanIndian #RichardPetri #LipanApache #History #Art #AmericanArt #19thCenturyArt

Andreas Andersen, the artist with Hendryk (presumably his boyfriend.) #Pride #GayPrideMonth #GayArt #AmericanArt #Scandinavian #art

Andreas Andersen, the artist with Hendryk (presumably his boyfriend.) #Pride #GayPrideMonth #GayArt #AmericanArt #Scandinavian #art