#arthistory — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #arthistory, aggregated by home.social.
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"The Kiss" (1925) by Willem de Kooning
Art Institute of Chicago 🖼
charcoal on wove paper
#ArtHistory #MuseumArchive #galleries #glam #ModernArt #kunst #expressionism -
📍A unicum of Attic pottery.
This Attic red-figure chous (Greek: xoυς) (wine jug), attributed to the Eretria Painter (5th century BC), shows a special scene: a man, crowned with an olive wreath, places his child on an aiora during the Aiora ritual associated with the ancient Athenian Anthesteria festival.
National Archaeological Museum, Athens, Greece (Inventory No. ΒΣ 319/VS 319)
#Art #ArtHistorians #ArtHistory #Pottery #Antiquity #Museums #Anthesteria #artists #Archaeology #Athens #Greece
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Night, Near Midnight
This Geranium Lake Properties comic was considered for the sixth day of the Eleven Monsters Holiday but it did not quite fit our criteria for the Red Beast theme. It was red enough, but it was not impeccably beastly. This panel was originally part of a series Yost made to illustrate the Thirty-Fifth Anniversary Edition of Six Tales from the Glorious Assemblage of Haberdashers by Abby Ashier Chertsey. The third tale in that book ("The Rust-Stained Jug") is about a man named Mike Frick, aka the King of Millers. Mike is neither a king nor a miller; he inherited his title from his father, who was also not a king nor a miller. Mike comes from a long line of men who were known as the Kings of the Mills, yet none of them were kings and not one of them was a miller. Yost borrowed this character with Chertsey's permission, and put Mike Frick the King of Millers into a short story titled "The Fine and Deadly Difference between Zossiyan and Znayossion Yogurts". […] -
A Dozen Pages, Part 1 [ZINE]
Today we are posting the first part of a 12-page addition to last year's zine project, Intrepid Spirits/The Book of Clea and Enoch. Some of you might recognize these pages, some of you will not. Most of the "viewers"1 of these pages will have no clue, because most of them are unreal, unalive machine programs laboring under the hysterical pretensions of the Most Wretched Masters of Industry Ever. […]https://vraic.wordpress.com/2026/08/21/a-dozen-pages-part-1-zine/
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By Bartolomé Bermejo (1440–1500), detail of a sad demon from “Descent of Christ into Limbo” and the full work,ca. 1475, oil and gilding on wood, 35.23x 27.36 inches (full work), Museu Nacional d'Art de Catalunya, Barcelona. #arthistory #art #spanishart #purgatory #limbo
I call these kinds of paintings “Christian Art You Won’t Find at Hobby Lobby.”
As the museum’s server is down, here is information from the Museo del Prado: “Bartolomé de Cárdenas, alias El Bermejo (c. 1440 – c. 1501), is one of the most fascinating painters of the fifteenth century. He was born in Córdoba, though his status as a converted Jew may well have predisposed him to an itinerant life that included stints in Valencia, Daroca and Zaragoza at least and finally Barcelona. To get round the restrictions of the guild regulations of the period, he often teamed up with much less qualified local masters. Even so, the alias with which he proudly signed some of his most innovative works shows that he was a painter with a powerful personality, probably highly aware, and confident, of his skills.
Building on his mastery of the oil painting technique practised by Flemish artists, Bermejo developed a realistic language of his own with a particular emphasis on illusionistic effects, as well as spectacular ranges of colours. His technical prowess was coupled with an astonishing ability to interpret all kinds of themes and iconographies in new ways. His urge to carry on exploring new avenues, especially in landscape and portraiture, led him to produce some of his most complex and innovative works during the last stage of his career. All this drew the attention of a select clientele ranging from high-ranking clergymen and nobles to distinguished merchants as well as his own colleagues, who often imitated his compositions.“
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By African-American artist Sargent Claude Johnson (1888-1967), “Chester,” 1930, painted terracotta, (Don Ross / Estate of Sargent Claude Johnson). #art #arthistory #sculpture #Blackart #Blackartist
From the art critic Christopher Knight, the Los Angeles Times, March 1, 2024: “Sargent’s father, a white man of Swedish descent, died when the boy was not yet 10. His Black and Indigenous mother succumbed from tuberculosis just a few years later…
The first wave of the Great Migration that saw millions of Black Americans leave the rural South for the increasingly urban North and West was instrumental in creating the Harlem Renaissance. Given the name, we usually think of it as a New York phenomenon, but Johnson lived and worked in the Bay Area throughout his creative life. (He arrived in 1915 and died nearly penniless in 1967.)”