#womanartist — Public Fediverse posts

By Marie Spartali Stillman (1844-1927), “The last sight of Fiammetta,” watercolor, bodycolour and gum arabic, 82 x 62cm (32 5/16 x 24 7/16inches), photo: Bonhams London, 21 September 2022. #arthistory #painting #watercolor #womanartist #womenartists

From Eclectic Light Company, September 22, 2016: “Now unfortunately overshadowed by Impressionism, the Pre-Raphaelite movement was a major influence in European painting in the middle and later years of the 1800s. The core of the Pre-Raphaelite Brotherhood was small and transient, but the movement and its periphery spread further, and lasted until the early twentieth century. Like Impressionism, it was also notable for being one of the first art movements in Europe in which women artists became a major influence.

Today, the women of the Pre-Raphaelite movement are mainly known as models, lovers, and partners; at the time, several were productive and original painters in their own right, but somehow their work never got into major public collections, and is now generally overlooked. Of the women painters who were part of the movement, probably the most prolific and significant was Marie Spartali Stillman (1844–1927).”

And from the same website, November 6, 2020: “Her obituary in The Times (for which her husband had written so much) seems to have decided her fate in the history of art, though: it dwelled on her beauty, grace, and charm. Its single short paragraph about her art described it as a leisuretime activity. No catalogue raisonné of her work has been attempted, but more than 150 paintings of hers are known or survive, from a career which lasted about sixty years, during which her paintings were exhibited throughout the UK, in France, Italy, and Boston and New York in the USA.

If any of the Pre-Raphaelite Sisterhood should rank alongside its original Brotherhood, surely she should be Marie Spartali Stillman, one of the great British painters of the nineteenth century.”

By Marie Spartali Stillman (1844-1927), “The last sight of Fiammetta,” watercolor, bodycolour and gum arabic, 82 x 62cm (32 5/16 x 24 7/16inches), photo: Bonhams London, 21 September 2022. #arthistory #painting #watercolor #womanartist #womenartists

From Eclectic Light Company, September 22, 2016: “Now unfortunately overshadowed by Impressionism, the Pre-Raphaelite movement was a major influence in European painting in the middle and later years of the 1800s. The core of the Pre-Raphaelite Brotherhood was small and transient, but the movement and its periphery spread further, and lasted until the early twentieth century. Like Impressionism, it was also notable for being one of the first art movements in Europe in which women artists became a major influence.

Today, the women of the Pre-Raphaelite movement are mainly known as models, lovers, and partners; at the time, several were productive and original painters in their own right, but somehow their work never got into major public collections, and is now generally overlooked. Of the women painters who were part of the movement, probably the most prolific and significant was Marie Spartali Stillman (1844–1927).”

And from the same website, November 6, 2020: “Her obituary in The Times (for which her husband had written so much) seems to have decided her fate in the history of art, though: it dwelled on her beauty, grace, and charm. Its single short paragraph about her art described it as a leisuretime activity. No catalogue raisonné of her work has been attempted, but more than 150 paintings of hers are known or survive, from a career which lasted about sixty years, during which her paintings were exhibited throughout the UK, in France, Italy, and Boston and New York in the USA.

If any of the Pre-Raphaelite Sisterhood should rank alongside its original Brotherhood, surely she should be Marie Spartali Stillman, one of the great British painters of the nineteenth century.”

By Marie Spartali Stillman (1844-1927), “The last sight of Fiammetta,” watercolor, bodycolour and gum arabic, 82 x 62cm (32 5/16 x 24 7/16inches), photo: Bonhams London, 21 September 2022. #arthistory #painting #watercolor #womanartist #womenartists

From Eclectic Light Company, September 22, 2016: “Now unfortunately overshadowed by Impressionism, the Pre-Raphaelite movement was a major influence in European painting in the middle and later years of the 1800s. The core of the Pre-Raphaelite Brotherhood was small and transient, but the movement and its periphery spread further, and lasted until the early twentieth century. Like Impressionism, it was also notable for being one of the first art movements in Europe in which women artists became a major influence.

Today, the women of the Pre-Raphaelite movement are mainly known as models, lovers, and partners; at the time, several were productive and original painters in their own right, but somehow their work never got into major public collections, and is now generally overlooked. Of the women painters who were part of the movement, probably the most prolific and significant was Marie Spartali Stillman (1844–1927).”

And from the same website, November 6, 2020: “Her obituary in The Times (for which her husband had written so much) seems to have decided her fate in the history of art, though: it dwelled on her beauty, grace, and charm. Its single short paragraph about her art described it as a leisuretime activity. No catalogue raisonné of her work has been attempted, but more than 150 paintings of hers are known or survive, from a career which lasted about sixty years, during which her paintings were exhibited throughout the UK, in France, Italy, and Boston and New York in the USA.

If any of the Pre-Raphaelite Sisterhood should rank alongside its original Brotherhood, surely she should be Marie Spartali Stillman, one of the great British painters of the nineteenth century.”

By Marie Spartali Stillman (1844-1927), “The last sight of Fiammetta,” watercolor, bodycolour and gum arabic, 82 x 62cm (32 5/16 x 24 7/16inches), photo: Bonhams London, 21 September 2022. #arthistory #painting #watercolor #womanartist #womenartists

From Eclectic Light Company, September 22, 2016: “Now unfortunately overshadowed by Impressionism, the Pre-Raphaelite movement was a major influence in European painting in the middle and later years of the 1800s. The core of the Pre-Raphaelite Brotherhood was small and transient, but the movement and its periphery spread further, and lasted until the early twentieth century. Like Impressionism, it was also notable for being one of the first art movements in Europe in which women artists became a major influence.

Today, the women of the Pre-Raphaelite movement are mainly known as models, lovers, and partners; at the time, several were productive and original painters in their own right, but somehow their work never got into major public collections, and is now generally overlooked. Of the women painters who were part of the movement, probably the most prolific and significant was Marie Spartali Stillman (1844–1927).”

And from the same website, November 6, 2020: “Her obituary in The Times (for which her husband had written so much) seems to have decided her fate in the history of art, though: it dwelled on her beauty, grace, and charm. Its single short paragraph about her art described it as a leisuretime activity. No catalogue raisonné of her work has been attempted, but more than 150 paintings of hers are known or survive, from a career which lasted about sixty years, during which her paintings were exhibited throughout the UK, in France, Italy, and Boston and New York in the USA.

If any of the Pre-Raphaelite Sisterhood should rank alongside its original Brotherhood, surely she should be Marie Spartali Stillman, one of the great British painters of the nineteenth century.”

By Marie Spartali Stillman (1844-1927), “The last sight of Fiammetta,” watercolor, bodycolour and gum arabic, 82 x 62cm (32 5/16 x 24 7/16inches), photo: Bonhams London, 21 September 2022. #arthistory #painting #watercolor #womanartist #womenartists

From Eclectic Light Company, September 22, 2016: “Now unfortunately overshadowed by Impressionism, the Pre-Raphaelite movement was a major influence in European painting in the middle and later years of the 1800s. The core of the Pre-Raphaelite Brotherhood was small and transient, but the movement and its periphery spread further, and lasted until the early twentieth century. Like Impressionism, it was also notable for being one of the first art movements in Europe in which women artists became a major influence.

Today, the women of the Pre-Raphaelite movement are mainly known as models, lovers, and partners; at the time, several were productive and original painters in their own right, but somehow their work never got into major public collections, and is now generally overlooked. Of the women painters who were part of the movement, probably the most prolific and significant was Marie Spartali Stillman (1844–1927).”

And from the same website, November 6, 2020: “Her obituary in The Times (for which her husband had written so much) seems to have decided her fate in the history of art, though: it dwelled on her beauty, grace, and charm. Its single short paragraph about her art described it as a leisuretime activity. No catalogue raisonné of her work has been attempted, but more than 150 paintings of hers are known or survive, from a career which lasted about sixty years, during which her paintings were exhibited throughout the UK, in France, Italy, and Boston and New York in the USA.

If any of the Pre-Raphaelite Sisterhood should rank alongside its original Brotherhood, surely she should be Marie Spartali Stillman, one of the great British painters of the nineteenth century.”

By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists

From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”

By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists

From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”

By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists

From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”

By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists

From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”

By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists

From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”

Fruit and Flowers, c. 1630, Orsola Maddalena Caccia (Italian, Moncalvo 1596–1676 Moncalvo), on canvas, 30 × 39 in., The Metropolitan Museum of Art, New York. #arthistory #womanartist #womenartists

From Art Herstory: “Like many of the earliest known women painters of the Renaissance, Orsola Maddalena Caccia (1596–1676) was a nun. She was born Theodora Caccia; she adopted the name Orsola Maddalena when she took her vows as an Ursuline sister. Later she, along with her five sisters, joined a convent founded by their father, painter Guglielmo Caccia, in Moncalvo. Of the six Caccia sisters, only Orsola Maddalena and Francesca were painters.

As far as we know, no paintings by Francesca Caccia survive. But a number of works by Orsola Maddalena still exist today, many in the area of Italy where she lived and worked. These paintings include the Nativity featured here; Birth of the Virgin; St. Luke the Evangelist in the Studio; The Birth of John the Baptist; and several other religious works. She also painted still lifes with flowers and birds. She is said to have helped bring the genre of still life painting to Northwestern Italy.

In 2020, a collector bequeathed three paintings by the artist to The Metropolitan Museum of Art in New York City. As a result of this bequest, The Met now boasts the largest collection of works by the Mannerist painter-nun outside the artist’s native Italy.”

Fruit and Flowers, c. 1630, Orsola Maddalena Caccia (Italian, Moncalvo 1596–1676 Moncalvo), on canvas, 30 × 39 in., The Metropolitan Museum of Art, New York. #arthistory #womanartist #womenartists

From Art Herstory: “Like many of the earliest known women painters of the Renaissance, Orsola Maddalena Caccia (1596–1676) was a nun. She was born Theodora Caccia; she adopted the name Orsola Maddalena when she took her vows as an Ursuline sister. Later she, along with her five sisters, joined a convent founded by their father, painter Guglielmo Caccia, in Moncalvo. Of the six Caccia sisters, only Orsola Maddalena and Francesca were painters.

As far as we know, no paintings by Francesca Caccia survive. But a number of works by Orsola Maddalena still exist today, many in the area of Italy where she lived and worked. These paintings include the Nativity featured here; Birth of the Virgin; St. Luke the Evangelist in the Studio; The Birth of John the Baptist; and several other religious works. She also painted still lifes with flowers and birds. She is said to have helped bring the genre of still life painting to Northwestern Italy.

In 2020, a collector bequeathed three paintings by the artist to The Metropolitan Museum of Art in New York City. As a result of this bequest, The Met now boasts the largest collection of works by the Mannerist painter-nun outside the artist’s native Italy.”

Fruit and Flowers, c. 1630, Orsola Maddalena Caccia (Italian, Moncalvo 1596–1676 Moncalvo), on canvas, 30 × 39 in., The Metropolitan Museum of Art, New York. #arthistory #womanartist #womenartists

From Art Herstory: “Like many of the earliest known women painters of the Renaissance, Orsola Maddalena Caccia (1596–1676) was a nun. She was born Theodora Caccia; she adopted the name Orsola Maddalena when she took her vows as an Ursuline sister. Later she, along with her five sisters, joined a convent founded by their father, painter Guglielmo Caccia, in Moncalvo. Of the six Caccia sisters, only Orsola Maddalena and Francesca were painters.

As far as we know, no paintings by Francesca Caccia survive. But a number of works by Orsola Maddalena still exist today, many in the area of Italy where she lived and worked. These paintings include the Nativity featured here; Birth of the Virgin; St. Luke the Evangelist in the Studio; The Birth of John the Baptist; and several other religious works. She also painted still lifes with flowers and birds. She is said to have helped bring the genre of still life painting to Northwestern Italy.

In 2020, a collector bequeathed three paintings by the artist to The Metropolitan Museum of Art in New York City. As a result of this bequest, The Met now boasts the largest collection of works by the Mannerist painter-nun outside the artist’s native Italy.”

Fruit and Flowers, c. 1630, Orsola Maddalena Caccia (Italian, Moncalvo 1596–1676 Moncalvo), on canvas, 30 × 39 in., The Metropolitan Museum of Art, New York. #arthistory #womanartist #womenartists

From Art Herstory: “Like many of the earliest known women painters of the Renaissance, Orsola Maddalena Caccia (1596–1676) was a nun. She was born Theodora Caccia; she adopted the name Orsola Maddalena when she took her vows as an Ursuline sister. Later she, along with her five sisters, joined a convent founded by their father, painter Guglielmo Caccia, in Moncalvo. Of the six Caccia sisters, only Orsola Maddalena and Francesca were painters.

As far as we know, no paintings by Francesca Caccia survive. But a number of works by Orsola Maddalena still exist today, many in the area of Italy where she lived and worked. These paintings include the Nativity featured here; Birth of the Virgin; St. Luke the Evangelist in the Studio; The Birth of John the Baptist; and several other religious works. She also painted still lifes with flowers and birds. She is said to have helped bring the genre of still life painting to Northwestern Italy.

In 2020, a collector bequeathed three paintings by the artist to The Metropolitan Museum of Art in New York City. As a result of this bequest, The Met now boasts the largest collection of works by the Mannerist painter-nun outside the artist’s native Italy.”

Fruit and Flowers, c. 1630, Orsola Maddalena Caccia (Italian, Moncalvo 1596–1676 Moncalvo), on canvas, 30 × 39 in., The Metropolitan Museum of Art, New York. #arthistory #womanartist #womenartists

From Art Herstory: “Like many of the earliest known women painters of the Renaissance, Orsola Maddalena Caccia (1596–1676) was a nun. She was born Theodora Caccia; she adopted the name Orsola Maddalena when she took her vows as an Ursuline sister. Later she, along with her five sisters, joined a convent founded by their father, painter Guglielmo Caccia, in Moncalvo. Of the six Caccia sisters, only Orsola Maddalena and Francesca were painters.

As far as we know, no paintings by Francesca Caccia survive. But a number of works by Orsola Maddalena still exist today, many in the area of Italy where she lived and worked. These paintings include the Nativity featured here; Birth of the Virgin; St. Luke the Evangelist in the Studio; The Birth of John the Baptist; and several other religious works. She also painted still lifes with flowers and birds. She is said to have helped bring the genre of still life painting to Northwestern Italy.

In 2020, a collector bequeathed three paintings by the artist to The Metropolitan Museum of Art in New York City. As a result of this bequest, The Met now boasts the largest collection of works by the Mannerist painter-nun outside the artist’s native Italy.”

By Lorraine Schneider (1925-1972), Primer ("War is not healthy for children and other living things"), 1966, etched print, 2 x 2 inches, photo: Bonhams New York, 4 June 2014. #arthistory #printmaking #womanartist #womenartists #war

The lot essay: ‘ONE OF THE MOST ICONIC ANTI-WAR IMAGES TO EMERGE FROM THE VIETNAM ERA. The simple image of a sunflower with the equally simple but profoundly powerful statement "War is not healthy for children and other living things," was originally created by Los Angeles artist Lorraine Schneider for a miniature print contest at Pratt. It has since become one of the most reproduced and recognizable anti-war statements of the modern era. Schneider granted the use of the image to the anti-war organization Another Mother for Peace; as writer, peace activist, and Another Mother founding member Barbara Avedon recounts, "On February 8, 1967 fifteen friends met at our house to discuss 'doing something' about the war in Vietnam ... We decided to send a Mother's Day card to Washington. We would print and distribute one thousand letters of protest that said in a very ladylike fashion 'For my Mother's Day gift this year I don't want candy or flowers. I want an end to killing. We who have given life must be dedicated to preserving it. Please talk peace' ... I called Lorraine and asked if we could use Primer on the face of the card. She sad yes, and one thousand cards became two hundred thousand cards. And because of her genius 'Another Mother for Peace' was born" (Lorraine Art Schneider ... An Illustrated Catalogue p xi). The card was presented and read on air by the Smothers Brothers during their "Comedy Hour" a week before Mother's Day 1967, with viewers instructed to write if they would like a copy of the card– an act which incensed CBS executives, and launched the image and slogan on its path to ubiquity.
The present example was exhibited at the Autry Museum in Los Angeles from May 2013 - January 2014. Poster versions frequently appear in exhibitions of protest art, most recently at the Century of the Child exhibition at MOMA in 2012.
"The effect of that tiny etching upon people all over the world is incalculable ... Copies have appeared on greeting cards, jewelry, bumper stickers, posters and stamps, to mention only a few areas of distribution. It has become a symbol of peace throughout the world" (ibid, p xv).’

By Lorraine Schneider (1925-1972), Primer ("War is not healthy for children and other living things"), 1966, etched print, 2 x 2 inches, photo: Bonhams New York, 4 June 2014. #arthistory #printmaking #womanartist #womenartists #war

The lot essay: ‘ONE OF THE MOST ICONIC ANTI-WAR IMAGES TO EMERGE FROM THE VIETNAM ERA. The simple image of a sunflower with the equally simple but profoundly powerful statement "War is not healthy for children and other living things," was originally created by Los Angeles artist Lorraine Schneider for a miniature print contest at Pratt. It has since become one of the most reproduced and recognizable anti-war statements of the modern era. Schneider granted the use of the image to the anti-war organization Another Mother for Peace; as writer, peace activist, and Another Mother founding member Barbara Avedon recounts, "On February 8, 1967 fifteen friends met at our house to discuss 'doing something' about the war in Vietnam ... We decided to send a Mother's Day card to Washington. We would print and distribute one thousand letters of protest that said in a very ladylike fashion 'For my Mother's Day gift this year I don't want candy or flowers. I want an end to killing. We who have given life must be dedicated to preserving it. Please talk peace' ... I called Lorraine and asked if we could use Primer on the face of the card. She sad yes, and one thousand cards became two hundred thousand cards. And because of her genius 'Another Mother for Peace' was born" (Lorraine Art Schneider ... An Illustrated Catalogue p xi). The card was presented and read on air by the Smothers Brothers during their "Comedy Hour" a week before Mother's Day 1967, with viewers instructed to write if they would like a copy of the card– an act which incensed CBS executives, and launched the image and slogan on its path to ubiquity.
The present example was exhibited at the Autry Museum in Los Angeles from May 2013 - January 2014. Poster versions frequently appear in exhibitions of protest art, most recently at the Century of the Child exhibition at MOMA in 2012.
"The effect of that tiny etching upon people all over the world is incalculable ... Copies have appeared on greeting cards, jewelry, bumper stickers, posters and stamps, to mention only a few areas of distribution. It has become a symbol of peace throughout the world" (ibid, p xv).’

By Lorraine Schneider (1925-1972), Primer ("War is not healthy for children and other living things"), 1966, etched print, 2 x 2 inches, photo: Bonhams New York, 4 June 2014. #arthistory #printmaking #womanartist #womenartists #war

The lot essay: ‘ONE OF THE MOST ICONIC ANTI-WAR IMAGES TO EMERGE FROM THE VIETNAM ERA. The simple image of a sunflower with the equally simple but profoundly powerful statement "War is not healthy for children and other living things," was originally created by Los Angeles artist Lorraine Schneider for a miniature print contest at Pratt. It has since become one of the most reproduced and recognizable anti-war statements of the modern era. Schneider granted the use of the image to the anti-war organization Another Mother for Peace; as writer, peace activist, and Another Mother founding member Barbara Avedon recounts, "On February 8, 1967 fifteen friends met at our house to discuss 'doing something' about the war in Vietnam ... We decided to send a Mother's Day card to Washington. We would print and distribute one thousand letters of protest that said in a very ladylike fashion 'For my Mother's Day gift this year I don't want candy or flowers. I want an end to killing. We who have given life must be dedicated to preserving it. Please talk peace' ... I called Lorraine and asked if we could use Primer on the face of the card. She sad yes, and one thousand cards became two hundred thousand cards. And because of her genius 'Another Mother for Peace' was born" (Lorraine Art Schneider ... An Illustrated Catalogue p xi). The card was presented and read on air by the Smothers Brothers during their "Comedy Hour" a week before Mother's Day 1967, with viewers instructed to write if they would like a copy of the card– an act which incensed CBS executives, and launched the image and slogan on its path to ubiquity.
The present example was exhibited at the Autry Museum in Los Angeles from May 2013 - January 2014. Poster versions frequently appear in exhibitions of protest art, most recently at the Century of the Child exhibition at MOMA in 2012.
"The effect of that tiny etching upon people all over the world is incalculable ... Copies have appeared on greeting cards, jewelry, bumper stickers, posters and stamps, to mention only a few areas of distribution. It has become a symbol of peace throughout the world" (ibid, p xv).’

By Lorraine Schneider (1925-1972), Primer ("War is not healthy for children and other living things"), 1966, etched print, 2 x 2 inches, photo: Bonhams New York, 4 June 2014. #arthistory #printmaking #womanartist #womenartists #war

The lot essay: ‘ONE OF THE MOST ICONIC ANTI-WAR IMAGES TO EMERGE FROM THE VIETNAM ERA. The simple image of a sunflower with the equally simple but profoundly powerful statement "War is not healthy for children and other living things," was originally created by Los Angeles artist Lorraine Schneider for a miniature print contest at Pratt. It has since become one of the most reproduced and recognizable anti-war statements of the modern era. Schneider granted the use of the image to the anti-war organization Another Mother for Peace; as writer, peace activist, and Another Mother founding member Barbara Avedon recounts, "On February 8, 1967 fifteen friends met at our house to discuss 'doing something' about the war in Vietnam ... We decided to send a Mother's Day card to Washington. We would print and distribute one thousand letters of protest that said in a very ladylike fashion 'For my Mother's Day gift this year I don't want candy or flowers. I want an end to killing. We who have given life must be dedicated to preserving it. Please talk peace' ... I called Lorraine and asked if we could use Primer on the face of the card. She sad yes, and one thousand cards became two hundred thousand cards. And because of her genius 'Another Mother for Peace' was born" (Lorraine Art Schneider ... An Illustrated Catalogue p xi). The card was presented and read on air by the Smothers Brothers during their "Comedy Hour" a week before Mother's Day 1967, with viewers instructed to write if they would like a copy of the card– an act which incensed CBS executives, and launched the image and slogan on its path to ubiquity.
The present example was exhibited at the Autry Museum in Los Angeles from May 2013 - January 2014. Poster versions frequently appear in exhibitions of protest art, most recently at the Century of the Child exhibition at MOMA in 2012.
"The effect of that tiny etching upon people all over the world is incalculable ... Copies have appeared on greeting cards, jewelry, bumper stickers, posters and stamps, to mention only a few areas of distribution. It has become a symbol of peace throughout the world" (ibid, p xv).’

By Lorraine Schneider (1925-1972), Primer ("War is not healthy for children and other living things"), 1966, etched print, 2 x 2 inches, photo: Bonhams New York, 4 June 2014. #arthistory #printmaking #womanartist #womenartists #war

The lot essay: ‘ONE OF THE MOST ICONIC ANTI-WAR IMAGES TO EMERGE FROM THE VIETNAM ERA. The simple image of a sunflower with the equally simple but profoundly powerful statement "War is not healthy for children and other living things," was originally created by Los Angeles artist Lorraine Schneider for a miniature print contest at Pratt. It has since become one of the most reproduced and recognizable anti-war statements of the modern era. Schneider granted the use of the image to the anti-war organization Another Mother for Peace; as writer, peace activist, and Another Mother founding member Barbara Avedon recounts, "On February 8, 1967 fifteen friends met at our house to discuss 'doing something' about the war in Vietnam ... We decided to send a Mother's Day card to Washington. We would print and distribute one thousand letters of protest that said in a very ladylike fashion 'For my Mother's Day gift this year I don't want candy or flowers. I want an end to killing. We who have given life must be dedicated to preserving it. Please talk peace' ... I called Lorraine and asked if we could use Primer on the face of the card. She sad yes, and one thousand cards became two hundred thousand cards. And because of her genius 'Another Mother for Peace' was born" (Lorraine Art Schneider ... An Illustrated Catalogue p xi). The card was presented and read on air by the Smothers Brothers during their "Comedy Hour" a week before Mother's Day 1967, with viewers instructed to write if they would like a copy of the card– an act which incensed CBS executives, and launched the image and slogan on its path to ubiquity.
The present example was exhibited at the Autry Museum in Los Angeles from May 2013 - January 2014. Poster versions frequently appear in exhibitions of protest art, most recently at the Century of the Child exhibition at MOMA in 2012.
"The effect of that tiny etching upon people all over the world is incalculable ... Copies have appeared on greeting cards, jewelry, bumper stickers, posters and stamps, to mention only a few areas of distribution. It has become a symbol of peace throughout the world" (ibid, p xv).’

By Georgia O'Keeffe (1887-1986), Two Calla Lilies on Pink, 1928, oil on canvas, 40 × 30 inches (101.6 × 76.2 cm), Philadelphia Museum of Art. #arthistory #womanartist #womenartists

From the museum: ‘Georgia O’Keeffe once remarked, “What is my experience of the flower if not color?” This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues. The white petals, highlighted in green, are arranged against a pink backdrop, and from each one emerges a bright yellow pistil. Many have interpreted O’Keeffe’s depictions of floral anatomy in relation to sexuality and gender, but the artist always resisted these interpretations, considering them too specific and limiting.’

By Georgia O'Keeffe (1887-1986), Two Calla Lilies on Pink, 1928, oil on canvas, 40 × 30 inches (101.6 × 76.2 cm), Philadelphia Museum of Art. #arthistory #womanartist #womenartists

From the museum: ‘Georgia O’Keeffe once remarked, “What is my experience of the flower if not color?” This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues. The white petals, highlighted in green, are arranged against a pink backdrop, and from each one emerges a bright yellow pistil. Many have interpreted O’Keeffe’s depictions of floral anatomy in relation to sexuality and gender, but the artist always resisted these interpretations, considering them too specific and limiting.’

By Georgia O'Keeffe (1887-1986), Two Calla Lilies on Pink, 1928, oil on canvas, 40 × 30 inches (101.6 × 76.2 cm), Philadelphia Museum of Art. #arthistory #womanartist #womenartists

From the museum: ‘Georgia O’Keeffe once remarked, “What is my experience of the flower if not color?” This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues. The white petals, highlighted in green, are arranged against a pink backdrop, and from each one emerges a bright yellow pistil. Many have interpreted O’Keeffe’s depictions of floral anatomy in relation to sexuality and gender, but the artist always resisted these interpretations, considering them too specific and limiting.’

By Georgia O'Keeffe (1887-1986), Two Calla Lilies on Pink, 1928, oil on canvas, 40 × 30 inches (101.6 × 76.2 cm), Philadelphia Museum of Art. #arthistory #womanartist #womenartists

From the museum: ‘Georgia O’Keeffe once remarked, “What is my experience of the flower if not color?” This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues. The white petals, highlighted in green, are arranged against a pink backdrop, and from each one emerges a bright yellow pistil. Many have interpreted O’Keeffe’s depictions of floral anatomy in relation to sexuality and gender, but the artist always resisted these interpretations, considering them too specific and limiting.’

By Georgia O'Keeffe (1887-1986), Two Calla Lilies on Pink, 1928, oil on canvas, 40 × 30 inches (101.6 × 76.2 cm), Philadelphia Museum of Art. #arthistory #womanartist #womenartists

From the museum: ‘Georgia O’Keeffe once remarked, “What is my experience of the flower if not color?” This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues. The white petals, highlighted in green, are arranged against a pink backdrop, and from each one emerges a bright yellow pistil. Many have interpreted O’Keeffe’s depictions of floral anatomy in relation to sexuality and gender, but the artist always resisted these interpretations, considering them too specific and limiting.’

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Marie Bashkirtseff (1858-1884), The Umbrella, 1883, oil on canvas, State Russian Museum, St. Petersburg, Russia. #WomensHistoryMonth #womanartist #womenartists

A quote from the artist: "Do you think I benefit from what I see when, in order to go to the Louvre, I must wait for my carriage, my lady companion, or my family? This is one of the reasons why there have been no great women artists. . . . But if we were raised in the same manner as men, this inequality which I deplore would disappear, and what remains would be inherent in nature itself. Oh well, no matter what I say, we must cry out and make ourselves ridiculous (I will leave this to others) to obtain this equality in a hundred years. As for me, I will stick it to society by showing them a woman who has become something, despite all the disadvantages it heaped on her."

From the Encyclopedia of Ukraine: "After growing up on her grandparents' estate in the Okhtyrka region of Kharkiv gubernia, Bashkirtseva moved from Ukraine in 1870 with her aristocratic mother to live in Nice, France... She first exhibited her work at the Salon in Paris in 1880, the year that her tuberculosis was confirmed. She continued to paint even though in failing health. Bashkirtseva left some 150 paintings, including compositions, portraits, études, and genre paintings... A selected rendition of her diary, which she kept in French starting in 1873, was published in Paris in 1887 under the title Journal de Marie Bashkirtseff. A vivid and open account of the life of a perceptive 'modern' woman, it catapulted Bashkirtseva to lasting fame. Her letters were first published in 1902.

Bashkirtseva's diary was deposited in the Bibliotèque Nationale in Paris in 1920 following her mother's death. It remained largely unnoticed until the mid-1960s, when contemporary studies of Bashkirtseva drew attention to the fact that much interesting material had been left out of the diary's earlier publication. Subsequent editions have been more complete.”

By Marie Bashkirtseff (1858-1884), The Umbrella, 1883, oil on canvas, State Russian Museum, St. Petersburg, Russia. #WomensHistoryMonth #womanartist #womenartists

A quote from the artist: "Do you think I benefit from what I see when, in order to go to the Louvre, I must wait for my carriage, my lady companion, or my family? This is one of the reasons why there have been no great women artists. . . . But if we were raised in the same manner as men, this inequality which I deplore would disappear, and what remains would be inherent in nature itself. Oh well, no matter what I say, we must cry out and make ourselves ridiculous (I will leave this to others) to obtain this equality in a hundred years. As for me, I will stick it to society by showing them a woman who has become something, despite all the disadvantages it heaped on her."

From the Encyclopedia of Ukraine: "After growing up on her grandparents' estate in the Okhtyrka region of Kharkiv gubernia, Bashkirtseva moved from Ukraine in 1870 with her aristocratic mother to live in Nice, France... She first exhibited her work at the Salon in Paris in 1880, the year that her tuberculosis was confirmed. She continued to paint even though in failing health. Bashkirtseva left some 150 paintings, including compositions, portraits, études, and genre paintings... A selected rendition of her diary, which she kept in French starting in 1873, was published in Paris in 1887 under the title Journal de Marie Bashkirtseff. A vivid and open account of the life of a perceptive 'modern' woman, it catapulted Bashkirtseva to lasting fame. Her letters were first published in 1902.

Bashkirtseva's diary was deposited in the Bibliotèque Nationale in Paris in 1920 following her mother's death. It remained largely unnoticed until the mid-1960s, when contemporary studies of Bashkirtseva drew attention to the fact that much interesting material had been left out of the diary's earlier publication. Subsequent editions have been more complete.”

By Marie Bashkirtseff (1858-1884), The Umbrella, 1883, oil on canvas, State Russian Museum, St. Petersburg, Russia. #WomensHistoryMonth #womanartist #womenartists

A quote from the artist: "Do you think I benefit from what I see when, in order to go to the Louvre, I must wait for my carriage, my lady companion, or my family? This is one of the reasons why there have been no great women artists. . . . But if we were raised in the same manner as men, this inequality which I deplore would disappear, and what remains would be inherent in nature itself. Oh well, no matter what I say, we must cry out and make ourselves ridiculous (I will leave this to others) to obtain this equality in a hundred years. As for me, I will stick it to society by showing them a woman who has become something, despite all the disadvantages it heaped on her."

From the Encyclopedia of Ukraine: "After growing up on her grandparents' estate in the Okhtyrka region of Kharkiv gubernia, Bashkirtseva moved from Ukraine in 1870 with her aristocratic mother to live in Nice, France... She first exhibited her work at the Salon in Paris in 1880, the year that her tuberculosis was confirmed. She continued to paint even though in failing health. Bashkirtseva left some 150 paintings, including compositions, portraits, études, and genre paintings... A selected rendition of her diary, which she kept in French starting in 1873, was published in Paris in 1887 under the title Journal de Marie Bashkirtseff. A vivid and open account of the life of a perceptive 'modern' woman, it catapulted Bashkirtseva to lasting fame. Her letters were first published in 1902.

Bashkirtseva's diary was deposited in the Bibliotèque Nationale in Paris in 1920 following her mother's death. It remained largely unnoticed until the mid-1960s, when contemporary studies of Bashkirtseva drew attention to the fact that much interesting material had been left out of the diary's earlier publication. Subsequent editions have been more complete.”

By Marie Bashkirtseff (1858-1884), The Umbrella, 1883, oil on canvas, State Russian Museum, St. Petersburg, Russia. #WomensHistoryMonth #womanartist #womenartists

A quote from the artist: "Do you think I benefit from what I see when, in order to go to the Louvre, I must wait for my carriage, my lady companion, or my family? This is one of the reasons why there have been no great women artists. . . . But if we were raised in the same manner as men, this inequality which I deplore would disappear, and what remains would be inherent in nature itself. Oh well, no matter what I say, we must cry out and make ourselves ridiculous (I will leave this to others) to obtain this equality in a hundred years. As for me, I will stick it to society by showing them a woman who has become something, despite all the disadvantages it heaped on her."

From the Encyclopedia of Ukraine: "After growing up on her grandparents' estate in the Okhtyrka region of Kharkiv gubernia, Bashkirtseva moved from Ukraine in 1870 with her aristocratic mother to live in Nice, France... She first exhibited her work at the Salon in Paris in 1880, the year that her tuberculosis was confirmed. She continued to paint even though in failing health. Bashkirtseva left some 150 paintings, including compositions, portraits, études, and genre paintings... A selected rendition of her diary, which she kept in French starting in 1873, was published in Paris in 1887 under the title Journal de Marie Bashkirtseff. A vivid and open account of the life of a perceptive 'modern' woman, it catapulted Bashkirtseva to lasting fame. Her letters were first published in 1902.

Bashkirtseva's diary was deposited in the Bibliotèque Nationale in Paris in 1920 following her mother's death. It remained largely unnoticed until the mid-1960s, when contemporary studies of Bashkirtseva drew attention to the fact that much interesting material had been left out of the diary's earlier publication. Subsequent editions have been more complete.”

By Marie Bashkirtseff (1858-1884), The Umbrella, 1883, oil on canvas, State Russian Museum, St. Petersburg, Russia. #WomensHistoryMonth #womanartist #womenartists

A quote from the artist: "Do you think I benefit from what I see when, in order to go to the Louvre, I must wait for my carriage, my lady companion, or my family? This is one of the reasons why there have been no great women artists. . . . But if we were raised in the same manner as men, this inequality which I deplore would disappear, and what remains would be inherent in nature itself. Oh well, no matter what I say, we must cry out and make ourselves ridiculous (I will leave this to others) to obtain this equality in a hundred years. As for me, I will stick it to society by showing them a woman who has become something, despite all the disadvantages it heaped on her."

From the Encyclopedia of Ukraine: "After growing up on her grandparents' estate in the Okhtyrka region of Kharkiv gubernia, Bashkirtseva moved from Ukraine in 1870 with her aristocratic mother to live in Nice, France... She first exhibited her work at the Salon in Paris in 1880, the year that her tuberculosis was confirmed. She continued to paint even though in failing health. Bashkirtseva left some 150 paintings, including compositions, portraits, études, and genre paintings... A selected rendition of her diary, which she kept in French starting in 1873, was published in Paris in 1887 under the title Journal de Marie Bashkirtseff. A vivid and open account of the life of a perceptive 'modern' woman, it catapulted Bashkirtseva to lasting fame. Her letters were first published in 1902.

Bashkirtseva's diary was deposited in the Bibliotèque Nationale in Paris in 1920 following her mother's death. It remained largely unnoticed until the mid-1960s, when contemporary studies of Bashkirtseva drew attention to the fact that much interesting material had been left out of the diary's earlier publication. Subsequent editions have been more complete.”

Your art history post for today: by Seraphima Blonskaya (1870-1947), Palm Sunday, 1900, Taganrog Museum of Art, Taganrog, Russia. Because palm trees do not grow in Russia, carrying blooming willow branches became the substitute for waving palm fronds. #WomensHistoryMonth #womanartist #womenartists

From TikTok poster novikaslab: “Seraphima Blonskaya (1870–1947) was one of the first professional female painters in Ukraine, a pioneer who combined classical academic training with deep emotional insight. Born in Katerinoslav (today Dnipro), she showed artistic talent from a young age and was accepted into the prestigious Imperial Academy of Arts in St. Petersburg — a rare achievement for a woman in the late 19th century. There she studied under the renowned realist masters of the time, learning rigorous academic drawing and painting techniques while developing her own voice defined by grace, empathy, and a luminous sense of atmosphere.”

Both Russia and Ukraine claim her as an artist, as she was born in in Verkhnodniprovsk, at that time part of the Russian Empire, but now in Ukraine. In 1875 her family moved to Taganrog, Russia. Most of her paintings belong to the collection of the Taganrog Museum of Art.

Your art history post for today: by Seraphima Blonskaya (1870-1947), Palm Sunday, 1900, Taganrog Museum of Art, Taganrog, Russia. Because palm trees do not grow in Russia, carrying blooming willow branches became the substitute for waving palm fronds. #WomensHistoryMonth #womanartist #womenartists

From TikTok poster novikaslab: “Seraphima Blonskaya (1870–1947) was one of the first professional female painters in Ukraine, a pioneer who combined classical academic training with deep emotional insight. Born in Katerinoslav (today Dnipro), she showed artistic talent from a young age and was accepted into the prestigious Imperial Academy of Arts in St. Petersburg — a rare achievement for a woman in the late 19th century. There she studied under the renowned realist masters of the time, learning rigorous academic drawing and painting techniques while developing her own voice defined by grace, empathy, and a luminous sense of atmosphere.”

Both Russia and Ukraine claim her as an artist, as she was born in in Verkhnodniprovsk, at that time part of the Russian Empire, but now in Ukraine. In 1875 her family moved to Taganrog, Russia. Most of her paintings belong to the collection of the Taganrog Museum of Art.

Your art history post for today: by Seraphima Blonskaya (1870-1947), Palm Sunday, 1900, Taganrog Museum of Art, Taganrog, Russia. Because palm trees do not grow in Russia, carrying blooming willow branches became the substitute for waving palm fronds. #WomensHistoryMonth #womanartist #womenartists

From TikTok poster novikaslab: “Seraphima Blonskaya (1870–1947) was one of the first professional female painters in Ukraine, a pioneer who combined classical academic training with deep emotional insight. Born in Katerinoslav (today Dnipro), she showed artistic talent from a young age and was accepted into the prestigious Imperial Academy of Arts in St. Petersburg — a rare achievement for a woman in the late 19th century. There she studied under the renowned realist masters of the time, learning rigorous academic drawing and painting techniques while developing her own voice defined by grace, empathy, and a luminous sense of atmosphere.”

Both Russia and Ukraine claim her as an artist, as she was born in in Verkhnodniprovsk, at that time part of the Russian Empire, but now in Ukraine. In 1875 her family moved to Taganrog, Russia. Most of her paintings belong to the collection of the Taganrog Museum of Art.

Your art history post for today: by Seraphima Blonskaya (1870-1947), Palm Sunday, 1900, Taganrog Museum of Art, Taganrog, Russia. Because palm trees do not grow in Russia, carrying blooming willow branches became the substitute for waving palm fronds. #WomensHistoryMonth #womanartist #womenartists

From TikTok poster novikaslab: “Seraphima Blonskaya (1870–1947) was one of the first professional female painters in Ukraine, a pioneer who combined classical academic training with deep emotional insight. Born in Katerinoslav (today Dnipro), she showed artistic talent from a young age and was accepted into the prestigious Imperial Academy of Arts in St. Petersburg — a rare achievement for a woman in the late 19th century. There she studied under the renowned realist masters of the time, learning rigorous academic drawing and painting techniques while developing her own voice defined by grace, empathy, and a luminous sense of atmosphere.”

Both Russia and Ukraine claim her as an artist, as she was born in in Verkhnodniprovsk, at that time part of the Russian Empire, but now in Ukraine. In 1875 her family moved to Taganrog, Russia. Most of her paintings belong to the collection of the Taganrog Museum of Art.

Your art history post for today: by Seraphima Blonskaya (1870-1947), Palm Sunday, 1900, Taganrog Museum of Art, Taganrog, Russia. Because palm trees do not grow in Russia, carrying blooming willow branches became the substitute for waving palm fronds. #WomensHistoryMonth #womanartist #womenartists

From TikTok poster novikaslab: “Seraphima Blonskaya (1870–1947) was one of the first professional female painters in Ukraine, a pioneer who combined classical academic training with deep emotional insight. Born in Katerinoslav (today Dnipro), she showed artistic talent from a young age and was accepted into the prestigious Imperial Academy of Arts in St. Petersburg — a rare achievement for a woman in the late 19th century. There she studied under the renowned realist masters of the time, learning rigorous academic drawing and painting techniques while developing her own voice defined by grace, empathy, and a luminous sense of atmosphere.”

Both Russia and Ukraine claim her as an artist, as she was born in in Verkhnodniprovsk, at that time part of the Russian Empire, but now in Ukraine. In 1875 her family moved to Taganrog, Russia. Most of her paintings belong to the collection of the Taganrog Museum of Art.

By Japanese artist Katsushika Ōi (ca, 1800–after 1857, daughter of the more famous Katsushika Hokusai), “Girl Composing a Poem under the Cherry Blossoms in the Night,” color on silk, hanging scroll, 88.8x34.5 cm, Menard Art Museum, Komaki City, Aichi, Japan. #WomensHistoryMonth #womenartists #womanartist #japaneseart #japaneseartist

The artist trained with her father and became part of the family business. She married artist Tsutsumi Tōmei, but divorced 3 years later. She was the better artist, and perhaps (most likely, I’d say) her superior skills caused friction in the marriage. She returned to her father’s workshop and never married again.

From Julie Nelson Davis, blog, “Hokusai and Ōi: Art runs in the family,” British Museum, London: “Hokusai said that 'when it comes to paintings of beautiful women, I can't compete with her – she's quite talented and expert in the technical aspects of painting.'…

She apparently gained a reputation for her skill as a painter during her own lifetime. The artist Keisai Eisen (1790–1848) wrote that she 'is skilled at drawing, and following after her father has become a professional artist while acquiring a reputation as a talented painter.'”

By Japanese artist Katsushika Ōi (ca, 1800–after 1857, daughter of the more famous Katsushika Hokusai), “Girl Composing a Poem under the Cherry Blossoms in the Night,” color on silk, hanging scroll, 88.8x34.5 cm, Menard Art Museum, Komaki City, Aichi, Japan. #WomensHistoryMonth #womenartists #womanartist #japaneseart #japaneseartist

The artist trained with her father and became part of the family business. She married artist Tsutsumi Tōmei, but divorced 3 years later. She was the better artist, and perhaps (most likely, I’d say) her superior skills caused friction in the marriage. She returned to her father’s workshop and never married again.

From Julie Nelson Davis, blog, “Hokusai and Ōi: Art runs in the family,” British Museum, London: “Hokusai said that 'when it comes to paintings of beautiful women, I can't compete with her – she's quite talented and expert in the technical aspects of painting.'…

She apparently gained a reputation for her skill as a painter during her own lifetime. The artist Keisai Eisen (1790–1848) wrote that she 'is skilled at drawing, and following after her father has become a professional artist while acquiring a reputation as a talented painter.'”

By Japanese artist Katsushika Ōi (ca, 1800–after 1857, daughter of the more famous Katsushika Hokusai), “Girl Composing a Poem under the Cherry Blossoms in the Night,” color on silk, hanging scroll, 88.8x34.5 cm, Menard Art Museum, Komaki City, Aichi, Japan. #WomensHistoryMonth #womenartists #womanartist #japaneseart #japaneseartist

The artist trained with her father and became part of the family business. She married artist Tsutsumi Tōmei, but divorced 3 years later. She was the better artist, and perhaps (most likely, I’d say) her superior skills caused friction in the marriage. She returned to her father’s workshop and never married again.

From Julie Nelson Davis, blog, “Hokusai and Ōi: Art runs in the family,” British Museum, London: “Hokusai said that 'when it comes to paintings of beautiful women, I can't compete with her – she's quite talented and expert in the technical aspects of painting.'…

She apparently gained a reputation for her skill as a painter during her own lifetime. The artist Keisai Eisen (1790–1848) wrote that she 'is skilled at drawing, and following after her father has become a professional artist while acquiring a reputation as a talented painter.'”

By Japanese artist Katsushika Ōi (ca, 1800–after 1857, daughter of the more famous Katsushika Hokusai), “Girl Composing a Poem under the Cherry Blossoms in the Night,” color on silk, hanging scroll, 88.8x34.5 cm, Menard Art Museum, Komaki City, Aichi, Japan. #WomensHistoryMonth #womenartists #womanartist #japaneseart #japaneseartist

The artist trained with her father and became part of the family business. She married artist Tsutsumi Tōmei, but divorced 3 years later. She was the better artist, and perhaps (most likely, I’d say) her superior skills caused friction in the marriage. She returned to her father’s workshop and never married again.

From Julie Nelson Davis, blog, “Hokusai and Ōi: Art runs in the family,” British Museum, London: “Hokusai said that 'when it comes to paintings of beautiful women, I can't compete with her – she's quite talented and expert in the technical aspects of painting.'…

She apparently gained a reputation for her skill as a painter during her own lifetime. The artist Keisai Eisen (1790–1848) wrote that she 'is skilled at drawing, and following after her father has become a professional artist while acquiring a reputation as a talented painter.'”

By Japanese artist Katsushika Ōi (ca, 1800–after 1857, daughter of the more famous Katsushika Hokusai), “Girl Composing a Poem under the Cherry Blossoms in the Night,” color on silk, hanging scroll, 88.8x34.5 cm, Menard Art Museum, Komaki City, Aichi, Japan. #WomensHistoryMonth #womenartists #womanartist #japaneseart #japaneseartist

The artist trained with her father and became part of the family business. She married artist Tsutsumi Tōmei, but divorced 3 years later. She was the better artist, and perhaps (most likely, I’d say) her superior skills caused friction in the marriage. She returned to her father’s workshop and never married again.

From Julie Nelson Davis, blog, “Hokusai and Ōi: Art runs in the family,” British Museum, London: “Hokusai said that 'when it comes to paintings of beautiful women, I can't compete with her – she's quite talented and expert in the technical aspects of painting.'…

She apparently gained a reputation for her skill as a painter during her own lifetime. The artist Keisai Eisen (1790–1848) wrote that she 'is skilled at drawing, and following after her father has become a professional artist while acquiring a reputation as a talented painter.'”

By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art

By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art

By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art

By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art

By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art