#blackart — Public Fediverse posts

By Joseph Holston (born 1944), Jazz, 1990, screenprint, 27 7⁄8 x 20 inches (70.8 x 50.8 cm), © 1990 Joseph Holston. #BlackArt #Blackartist #blackhistory #printmaking

From the Pittsburgh Post-Gazette: “Holston's subjects are African-Americans, often engaged in the activities of daily life. While his figures are simplified and abstracted, they're imbued with dignity, and their societal identities are recognizable, from business-suited commuter to homemaker.
Underlying their narrative roles, at times competitive with them, is the paint, pulsing at the edge of line's restraint, frequently tactile, just short of becoming an entity of its own. One could cite the influence of the Fauves, Romare Bearden and Jacob Lawrence, who was a mentor — but in the end, Holston's handling of color and composition is consistently and uniquely his own.” ~ by Mary Thomas, “Vivid, subtle works show strong emotion in SAMA exhibits,” The Pittsburgh Post-Gazette, May 31, 2006.

By Joseph Holston (born 1944), Jazz, 1990, screenprint, 27 7⁄8 x 20 inches (70.8 x 50.8 cm), © 1990 Joseph Holston. #BlackArt #Blackartist #blackhistory #printmaking

From the Pittsburgh Post-Gazette: “Holston's subjects are African-Americans, often engaged in the activities of daily life. While his figures are simplified and abstracted, they're imbued with dignity, and their societal identities are recognizable, from business-suited commuter to homemaker.
Underlying their narrative roles, at times competitive with them, is the paint, pulsing at the edge of line's restraint, frequently tactile, just short of becoming an entity of its own. One could cite the influence of the Fauves, Romare Bearden and Jacob Lawrence, who was a mentor — but in the end, Holston's handling of color and composition is consistently and uniquely his own.” ~ by Mary Thomas, “Vivid, subtle works show strong emotion in SAMA exhibits,” The Pittsburgh Post-Gazette, May 31, 2006.

By Joseph Holston (born 1944), Jazz, 1990, screenprint, 27 7⁄8 x 20 inches (70.8 x 50.8 cm), © 1990 Joseph Holston. #BlackArt #Blackartist #blackhistory #printmaking

From the Pittsburgh Post-Gazette: “Holston's subjects are African-Americans, often engaged in the activities of daily life. While his figures are simplified and abstracted, they're imbued with dignity, and their societal identities are recognizable, from business-suited commuter to homemaker.
Underlying their narrative roles, at times competitive with them, is the paint, pulsing at the edge of line's restraint, frequently tactile, just short of becoming an entity of its own. One could cite the influence of the Fauves, Romare Bearden and Jacob Lawrence, who was a mentor — but in the end, Holston's handling of color and composition is consistently and uniquely his own.” ~ by Mary Thomas, “Vivid, subtle works show strong emotion in SAMA exhibits,” The Pittsburgh Post-Gazette, May 31, 2006.

By Joseph Holston (born 1944), Jazz, 1990, screenprint, 27 7⁄8 x 20 inches (70.8 x 50.8 cm), © 1990 Joseph Holston. #BlackArt #Blackartist #blackhistory #printmaking

From the Pittsburgh Post-Gazette: “Holston's subjects are African-Americans, often engaged in the activities of daily life. While his figures are simplified and abstracted, they're imbued with dignity, and their societal identities are recognizable, from business-suited commuter to homemaker.
Underlying their narrative roles, at times competitive with them, is the paint, pulsing at the edge of line's restraint, frequently tactile, just short of becoming an entity of its own. One could cite the influence of the Fauves, Romare Bearden and Jacob Lawrence, who was a mentor — but in the end, Holston's handling of color and composition is consistently and uniquely his own.” ~ by Mary Thomas, “Vivid, subtle works show strong emotion in SAMA exhibits,” The Pittsburgh Post-Gazette, May 31, 2006.

By Joseph Holston (born 1944), Jazz, 1990, screenprint, 27 7⁄8 x 20 inches (70.8 x 50.8 cm), © 1990 Joseph Holston. #BlackArt #Blackartist #blackhistory #printmaking

From the Pittsburgh Post-Gazette: “Holston's subjects are African-Americans, often engaged in the activities of daily life. While his figures are simplified and abstracted, they're imbued with dignity, and their societal identities are recognizable, from business-suited commuter to homemaker.
Underlying their narrative roles, at times competitive with them, is the paint, pulsing at the edge of line's restraint, frequently tactile, just short of becoming an entity of its own. One could cite the influence of the Fauves, Romare Bearden and Jacob Lawrence, who was a mentor — but in the end, Holston's handling of color and composition is consistently and uniquely his own.” ~ by Mary Thomas, “Vivid, subtle works show strong emotion in SAMA exhibits,” The Pittsburgh Post-Gazette, May 31, 2006.

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

Rin in something fluffy

I don’t have anything to post for today sooooo enjoy this 2019 art of Rin. I am still very, very tired.

If you’re wondering why it’s tagged black femboy, he is mixed.

Rate this:

Rin in something fluffy

I don’t have anything to post for today sooooo enjoy this 2019 art of Rin. I am still very, very tired.

If you’re wondering why it’s tagged black femboy, he is mixed.

Rate this:

Rin in something fluffy

I don’t have anything to post for today sooooo enjoy this 2019 art of Rin. I am still very, very tired.

If you’re wondering why it’s tagged black femboy, he is mixed.

Rate this:

By African/Cuban-American artist Harmony Rosales (born in Chicago, 1984). #oilpainting #painting #BlackArt #blackartist #womanartist #portrait #portraitpainting #portraiture

Her description on her Facebook and Instagram accounts: “I’ve been heads down with a new body of work.

Experimenting with different grounds and allowing parts of the image to remain unfinished.

This painting began with Portrait of a Lady with her Servant (c. 1694–95), and my interest in the liveried servant in European portraiture.

I kept returning to the power of portraiture: how a painting can tell us who was considered worthy of being remembered, while reducing another person to evidence of someone else’s status.

I wanted to disturb that hierarchy.

The figure once positioned as an accessory to the portrait now occupies it entirely and possessing the space around her.

Maybe the question is no longer who she served, but who she might have been when no one else was defining her.”

The artist’s IG: https://www.instagram.com/honeiee/?hl=en

By African/Cuban-American artist Harmony Rosales (born in Chicago, 1984). #oilpainting #painting #BlackArt #blackartist #womanartist #portrait #portraitpainting #portraiture

Her description on her Facebook and Instagram accounts: “I’ve been heads down with a new body of work.

Experimenting with different grounds and allowing parts of the image to remain unfinished.

This painting began with Portrait of a Lady with her Servant (c. 1694–95), and my interest in the liveried servant in European portraiture.

I kept returning to the power of portraiture: how a painting can tell us who was considered worthy of being remembered, while reducing another person to evidence of someone else’s status.

I wanted to disturb that hierarchy.

The figure once positioned as an accessory to the portrait now occupies it entirely and possessing the space around her.

Maybe the question is no longer who she served, but who she might have been when no one else was defining her.”

The artist’s IG: https://www.instagram.com/honeiee/?hl=en

By African/Cuban-American artist Harmony Rosales (born in Chicago, 1984). #oilpainting #painting #BlackArt #blackartist #womanartist #portrait #portraitpainting #portraiture

Her description on her Facebook and Instagram accounts: “I’ve been heads down with a new body of work.

Experimenting with different grounds and allowing parts of the image to remain unfinished.

This painting began with Portrait of a Lady with her Servant (c. 1694–95), and my interest in the liveried servant in European portraiture.

I kept returning to the power of portraiture: how a painting can tell us who was considered worthy of being remembered, while reducing another person to evidence of someone else’s status.

I wanted to disturb that hierarchy.

The figure once positioned as an accessory to the portrait now occupies it entirely and possessing the space around her.

Maybe the question is no longer who she served, but who she might have been when no one else was defining her.”

The artist’s IG: https://www.instagram.com/honeiee/?hl=en

By African/Cuban-American artist Harmony Rosales (born in Chicago, 1984). #oilpainting #painting #BlackArt #blackartist #womanartist #portrait #portraitpainting #portraiture

Her description on her Facebook and Instagram accounts: “I’ve been heads down with a new body of work.

Experimenting with different grounds and allowing parts of the image to remain unfinished.

This painting began with Portrait of a Lady with her Servant (c. 1694–95), and my interest in the liveried servant in European portraiture.

I kept returning to the power of portraiture: how a painting can tell us who was considered worthy of being remembered, while reducing another person to evidence of someone else’s status.

I wanted to disturb that hierarchy.

The figure once positioned as an accessory to the portrait now occupies it entirely and possessing the space around her.

Maybe the question is no longer who she served, but who she might have been when no one else was defining her.”

The artist’s IG: https://www.instagram.com/honeiee/?hl=en

By African/Cuban-American artist Harmony Rosales (born in Chicago, 1984). #oilpainting #painting #BlackArt #blackartist #womanartist #portrait #portraitpainting #portraiture

Her description on her Facebook and Instagram accounts: “I’ve been heads down with a new body of work.

Experimenting with different grounds and allowing parts of the image to remain unfinished.

This painting began with Portrait of a Lady with her Servant (c. 1694–95), and my interest in the liveried servant in European portraiture.

I kept returning to the power of portraiture: how a painting can tell us who was considered worthy of being remembered, while reducing another person to evidence of someone else’s status.

I wanted to disturb that hierarchy.

The figure once positioned as an accessory to the portrait now occupies it entirely and possessing the space around her.

Maybe the question is no longer who she served, but who she might have been when no one else was defining her.”

The artist’s IG: https://www.instagram.com/honeiee/?hl=en

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.)”

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.)”

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.)”

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.)”

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.)”

Theresa Musoke (b.1945)

https://palianshow.wordpress.com/2026/08/15/theresa-musoke/

Theresa Musoke (b.1945)

https://palianshow.wordpress.com/2026/08/15/theresa-musoke/

Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement.

Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO,

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#blackart #blackmastodon

Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement.

Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO,

(1/202)

#blackart #blackmastodon

Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement.

Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO,

(1/202)

#blackart #blackmastodon

Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement.

Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO,

(1/202)

#blackart #blackmastodon

Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement.

Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO,

(1/202)

#blackart #blackmastodon

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

Your art history post for today: by 19th century African American artist Edward Mitchell Bannister (1828-1901), Sunset Scene, ca. 1875-1885, oil on wood, 10 3⁄4 x 18 7⁄8 in. (27.2 x 48.0 cm.), Smithsonian American Art Museum. #art #blackart #blackartist #blackhistory

From the museum; “Edward Mitchell Bannister (1828–1901) lived by the sea for most of his life, and many of his paintings, including Sunset Scene, feature boats or bodies of water. Here, the glowing oranges and yellows immediately draw us into the center of the image, highlighting the indistinct trees and buildings in the background. Bannister's intimate views of the American landscape contrast with the large vistas of mountains and canyons painted by many of his contemporaries. This picturesque scene, in which nature is shown as passive and calm, is typical of Bannister's work.”

Your art history post for today: by 19th century African American artist Edward Mitchell Bannister (1828-1901), Sunset Scene, ca. 1875-1885, oil on wood, 10 3⁄4 x 18 7⁄8 in. (27.2 x 48.0 cm.), Smithsonian American Art Museum. #art #blackart #blackartist #blackhistory

From the museum; “Edward Mitchell Bannister (1828–1901) lived by the sea for most of his life, and many of his paintings, including Sunset Scene, feature boats or bodies of water. Here, the glowing oranges and yellows immediately draw us into the center of the image, highlighting the indistinct trees and buildings in the background. Bannister's intimate views of the American landscape contrast with the large vistas of mountains and canyons painted by many of his contemporaries. This picturesque scene, in which nature is shown as passive and calm, is typical of Bannister's work.”

Your art history post for today: by 19th century African American artist Edward Mitchell Bannister (1828-1901), Sunset Scene, ca. 1875-1885, oil on wood, 10 3⁄4 x 18 7⁄8 in. (27.2 x 48.0 cm.), Smithsonian American Art Museum. #art #blackart #blackartist #blackhistory

From the museum; “Edward Mitchell Bannister (1828–1901) lived by the sea for most of his life, and many of his paintings, including Sunset Scene, feature boats or bodies of water. Here, the glowing oranges and yellows immediately draw us into the center of the image, highlighting the indistinct trees and buildings in the background. Bannister's intimate views of the American landscape contrast with the large vistas of mountains and canyons painted by many of his contemporaries. This picturesque scene, in which nature is shown as passive and calm, is typical of Bannister's work.”

Your art history post for today: by 19th century African American artist Edward Mitchell Bannister (1828-1901), Sunset Scene, ca. 1875-1885, oil on wood, 10 3⁄4 x 18 7⁄8 in. (27.2 x 48.0 cm.), Smithsonian American Art Museum. #art #blackart #blackartist #blackhistory

From the museum; “Edward Mitchell Bannister (1828–1901) lived by the sea for most of his life, and many of his paintings, including Sunset Scene, feature boats or bodies of water. Here, the glowing oranges and yellows immediately draw us into the center of the image, highlighting the indistinct trees and buildings in the background. Bannister's intimate views of the American landscape contrast with the large vistas of mountains and canyons painted by many of his contemporaries. This picturesque scene, in which nature is shown as passive and calm, is typical of Bannister's work.”

Your art history post for today: by 19th century African American artist Edward Mitchell Bannister (1828-1901), Sunset Scene, ca. 1875-1885, oil on wood, 10 3⁄4 x 18 7⁄8 in. (27.2 x 48.0 cm.), Smithsonian American Art Museum. #art #blackart #blackartist #blackhistory

From the museum; “Edward Mitchell Bannister (1828–1901) lived by the sea for most of his life, and many of his paintings, including Sunset Scene, feature boats or bodies of water. Here, the glowing oranges and yellows immediately draw us into the center of the image, highlighting the indistinct trees and buildings in the background. Bannister's intimate views of the American landscape contrast with the large vistas of mountains and canyons painted by many of his contemporaries. This picturesque scene, in which nature is shown as passive and calm, is typical of Bannister's work.”

Your art history post for today: by African-American artist Henry Ossawa Tanner (1859-1937), Daniel in the Lions' Den (1907-1918), oil on paper mounted on canvas, 41 1/8 × 49 15/16 in. (104.46 × 126.84 cm), LACMA Los Angeles County Museum of Art. #arthistory #blackartist #blackart #painting #oilpainting #blackhistory

From LACMA Untamed, January 4, 2017: “Henry Ossawa Tanner became known for his quiet, subtle depictions of Biblical stories. Where his contemporaries and forbearers often created dramatic scenes of similar subject matters, Tanner’s work tells a different story.

Daniel in the Lions’ Den offers a quiet, contemplative moment in an otherwise terrifying scene. Daniel, a Jewish prophet persecuted for his faith, was sent to certain death in a den of wild lions. His captors discovered him alive and unharmed the next day. A shaft of light illuminates the center of the scene, but Daniel’s face is obscured. He and the lions are cloaked in a blue-green shadow. The focus, rather than on Daniel’s face, is drawn to his bound hands and the face of a docile lion, the only things illuminated in this work.

Tanner’s calm interpretation of the story of Daniel conveys a man of faith, secure in and protected by his belief, not one fervently praying in fear. The subtlety of the painting conveys Daniel’s humanity and his faith on the same level, showing him alone but accompanied by the almost heavenly beam of light.”

Your art history post for today: by African-American artist Henry Ossawa Tanner (1859-1937), Daniel in the Lions' Den (1907-1918), oil on paper mounted on canvas, 41 1/8 × 49 15/16 in. (104.46 × 126.84 cm), LACMA Los Angeles County Museum of Art. #arthistory #blackartist #blackart #painting #oilpainting #blackhistory

From LACMA Untamed, January 4, 2017: “Henry Ossawa Tanner became known for his quiet, subtle depictions of Biblical stories. Where his contemporaries and forbearers often created dramatic scenes of similar subject matters, Tanner’s work tells a different story.

Daniel in the Lions’ Den offers a quiet, contemplative moment in an otherwise terrifying scene. Daniel, a Jewish prophet persecuted for his faith, was sent to certain death in a den of wild lions. His captors discovered him alive and unharmed the next day. A shaft of light illuminates the center of the scene, but Daniel’s face is obscured. He and the lions are cloaked in a blue-green shadow. The focus, rather than on Daniel’s face, is drawn to his bound hands and the face of a docile lion, the only things illuminated in this work.

Tanner’s calm interpretation of the story of Daniel conveys a man of faith, secure in and protected by his belief, not one fervently praying in fear. The subtlety of the painting conveys Daniel’s humanity and his faith on the same level, showing him alone but accompanied by the almost heavenly beam of light.”

Your art history post for today: by African-American artist Henry Ossawa Tanner (1859-1937), Daniel in the Lions' Den (1907-1918), oil on paper mounted on canvas, 41 1/8 × 49 15/16 in. (104.46 × 126.84 cm), LACMA Los Angeles County Museum of Art. #arthistory #blackartist #blackart #painting #oilpainting #blackhistory

From LACMA Untamed, January 4, 2017: “Henry Ossawa Tanner became known for his quiet, subtle depictions of Biblical stories. Where his contemporaries and forbearers often created dramatic scenes of similar subject matters, Tanner’s work tells a different story.

Daniel in the Lions’ Den offers a quiet, contemplative moment in an otherwise terrifying scene. Daniel, a Jewish prophet persecuted for his faith, was sent to certain death in a den of wild lions. His captors discovered him alive and unharmed the next day. A shaft of light illuminates the center of the scene, but Daniel’s face is obscured. He and the lions are cloaked in a blue-green shadow. The focus, rather than on Daniel’s face, is drawn to his bound hands and the face of a docile lion, the only things illuminated in this work.

Tanner’s calm interpretation of the story of Daniel conveys a man of faith, secure in and protected by his belief, not one fervently praying in fear. The subtlety of the painting conveys Daniel’s humanity and his faith on the same level, showing him alone but accompanied by the almost heavenly beam of light.”

Your art history post for today: by African-American artist Henry Ossawa Tanner (1859-1937), Daniel in the Lions' Den (1907-1918), oil on paper mounted on canvas, 41 1/8 × 49 15/16 in. (104.46 × 126.84 cm), LACMA Los Angeles County Museum of Art. #arthistory #blackartist #blackart #painting #oilpainting #blackhistory

From LACMA Untamed, January 4, 2017: “Henry Ossawa Tanner became known for his quiet, subtle depictions of Biblical stories. Where his contemporaries and forbearers often created dramatic scenes of similar subject matters, Tanner’s work tells a different story.

Daniel in the Lions’ Den offers a quiet, contemplative moment in an otherwise terrifying scene. Daniel, a Jewish prophet persecuted for his faith, was sent to certain death in a den of wild lions. His captors discovered him alive and unharmed the next day. A shaft of light illuminates the center of the scene, but Daniel’s face is obscured. He and the lions are cloaked in a blue-green shadow. The focus, rather than on Daniel’s face, is drawn to his bound hands and the face of a docile lion, the only things illuminated in this work.

Tanner’s calm interpretation of the story of Daniel conveys a man of faith, secure in and protected by his belief, not one fervently praying in fear. The subtlety of the painting conveys Daniel’s humanity and his faith on the same level, showing him alone but accompanied by the almost heavenly beam of light.”

Your art history post for today: by African-American artist Henry Ossawa Tanner (1859-1937), Daniel in the Lions' Den (1907-1918), oil on paper mounted on canvas, 41 1/8 × 49 15/16 in. (104.46 × 126.84 cm), LACMA Los Angeles County Museum of Art. #arthistory #blackartist #blackart #painting #oilpainting #blackhistory

From LACMA Untamed, January 4, 2017: “Henry Ossawa Tanner became known for his quiet, subtle depictions of Biblical stories. Where his contemporaries and forbearers often created dramatic scenes of similar subject matters, Tanner’s work tells a different story.

Daniel in the Lions’ Den offers a quiet, contemplative moment in an otherwise terrifying scene. Daniel, a Jewish prophet persecuted for his faith, was sent to certain death in a den of wild lions. His captors discovered him alive and unharmed the next day. A shaft of light illuminates the center of the scene, but Daniel’s face is obscured. He and the lions are cloaked in a blue-green shadow. The focus, rather than on Daniel’s face, is drawn to his bound hands and the face of a docile lion, the only things illuminated in this work.

Tanner’s calm interpretation of the story of Daniel conveys a man of faith, secure in and protected by his belief, not one fervently praying in fear. The subtlety of the painting conveys Daniel’s humanity and his faith on the same level, showing him alone but accompanied by the almost heavenly beam of light.”

Rest in Power, Betye Saar. Artist and activist extraordinaire. Black Liberation. Womanist. She died on Sunday four days before her 100th birthday. 🙏🏿✊🏿

#betyesaar #rip #art #artist #blackness #blackart

Rest in Power, Betye Saar. Artist and activist extraordinaire. Black Liberation. Womanist. She died on Sunday four days before her 100th birthday. 🙏🏿✊🏿

#betyesaar #rip #art #artist #blackness #blackart

Rest in Power, Betye Saar. Artist and activist extraordinaire. Black Liberation. Womanist. She died on Sunday four days before her 100th birthday. 🙏🏿✊🏿

#betyesaar #rip #art #artist #blackness #blackart

Rest in Power, Betye Saar. Artist and activist extraordinaire. Black Liberation. Womanist. She died on Sunday four days before her 100th birthday. 🙏🏿✊🏿

#betyesaar #rip #art #artist #blackness #blackart

Rest in Power, Betye Saar. Artist and activist extraordinaire. Black Liberation. Womanist. She died on Sunday four days before her 100th birthday. 🙏🏿✊🏿

#betyesaar #rip #art #artist #blackness #blackart