Live and recent posts from across the Fediverse tagged #womanartist, aggregated by home.social.
2025 las ich mit Begeisterung das Buch
THE STORY OF ART WITHOUT MEN
von Katy Hessel
Viele der Künstlerinnen hatte ich damals mit ausgewählten Werken hier vorgestellt.
Über #TheStoryOfArtWithoutMen findet man diese. Das Projekt, das mir sehr viel Spaß gemacht hat, sollte nicht einfach in der Versenkung verschwinden. Es ist eine wirklich schöne und anregende Entdeckungsreise in die Welt der unbekannten Künstlerinnen.
Your art history post for today: by Georgia O'Keeffe (1887–1986), 2 Yellow Leaves (Yellow Leaves), 1928, oil on canvas, 40 x 30 1/8 inches (101.6 x 76.5 cm), Brooklyn Museum. #arthistory #womanartist #womenartists #painting #oilpainting
A quote from the artist: “Men put me down as the best woman painter…
…I think I’m one of the best painters.” ~ Georgia O’Keeffe
From the Tate Gallery: “Georgia O’Keeffe is best known for her paintings of magnified flowers, animal skulls, and New Mexico desert landscapes… Making her debut… in 1916, O’Keeffe was immediately recognised as a trailblazing artist, while today her legacy as an American art icon and a pioneer of twentieth-century art is widely recognised.”
By Corita Kent (1918-1986), "Crocuses for Autumn," 1980. Screen print. Sheet: 20 x 20 in. (50.8 x 50.8 cm). #art #arthistory #womanartist #womenartists #printmaking
From the Corita Art Center: “Corita Kent (1918–1986) was an artist, educator, and advocate for social justice. At age 18 she entered the religious order Immaculate Heart of Mary, eventually teaching and then heading the art department at Immaculate Heart College. During the course of her career, her artwork evolved from using figurative and religious imagery to incorporating advertising images and slogans, popular song lyrics, biblical verses, and literature. Throughout the ‘60s, her work became increasingly political, urging viewers to consider poverty, racism, and social injustice.
In 1968, she sought dispensation from her vows and moved to Boston. After 1970, her work evolved into a sparser, introspective style, influenced by living in a new environment, a secular life, and her battles with cancer. She remained active in social causes until her death in 1986. At the time of her death, she had created almost 800 serigraph editions, thousands of watercolors, and innumerable public and private commissions.”
By Zinaida Serebriakova (1884-1967), Green Autumn Landscape, 1908, oil on canvas, 43.4 x 45 cm, Tretyakov Gallery, Moscow. #art #womanartist #womenartists #painting #oilpainting
From Museum Studies Abroad: ‘Zinaida Yevgenyevna Serebriakova was born on the Neskuchnoye estate in modern-day Kharkov, Ukraine, into the Benois-Lanceray dynasty of artists. The Benois family fled the French Revolution for St. Petersburg in 1794, among the last years of Catherine the Great’s reign. They were likely drawn from the chaos of the revolution by tales of Catherine’s patronage of the arts and sciences, which in particular transformed Russia’s “Window on the West,” into a city that completely integrated creatives and intellectuals into the socio-political landscape.‘
Your art history post for today: by Tamara de Lempicka (1898-1980), Woman in a Yellow Dress (Femme à la robe jaune), 1929, oil on canvas, 80 by 120 cm (31 ½ by 47 ¼ inches), photo: Sotheby’s London, 27 June 2023. #arthistory #painting #oilpainting #womenartists #womanartist
From the catalogue note: “Femme à la robe jaune presents a vision of a starkly modern and self-possessed woman. Much like Lempicka herself… the sitter in the present work exudes a decided sense of independence, even defiance, as her sculpted figure takes up the whole of the composition… Lempicka’s woman in gold is a force to be reckoned with—elegant, implacable, doubtless…
Germain Bazin states: 'The linea serpentine, to sixteenth-century Italian theorists the supreme expression of beauty, animates Tamara’s figures: with bodies twisting from top to toe they touch the edge of the painted surface at various points… A painting by Tamara is generally presented like a bas-relief with a single, powerful figure filling the whole canvas – to the extent quite often that the head is cut off by the upper edge'”
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
Nola Hatterman (1899-1984)
Nola Hatterman (1899-1984) was a Dutch actress and painter. In 1953 she moved to Paramaribo, Suriname. via W #PalianSHOW
Sue Fuller (1914-2006)
Sue Fuller (1914-2006) was an American sculptor, draughtsman, author, teacher and printmaker who created three-dimensional works with thread. via W #PalianSHOW
Luisa Max-Ehrler (1850–1920)
Luisa Max-Ehrler (1850–1920) was a German (Austro-Hungarian) painter. via W #PalianSHOW
Susie Hamilton (b.1950)
Susie Hamilton (b.1950) is an English artist. via W #PalianSHOW
Alicia Penalba (1913-1982)
Alicia Penalba (1913-1982) was an Argentine sculptor, tapestry designer, and weaver. via W #PalianSHOW
Jo Baer (1929–2025)
Jo Baer (1929–2025) was an American painter associated with minimalist art. via W #PalianSHOW
WiP 🚧
Ghost dragon
Watercolour Rosa Gallery
Fountain Pen Pilot Kakuno m
Diamine Smoky Mauve ink
Magnani Toscana 300gsm paper
#dragonart #mixedMediaArt #queerartist #womanartist #transartist #nofrickenai
Rebecca Lepkoff (1916-2014)
Rebecca Lepkoff (1916–2014) an american photographer, known for capturing Lower East Side neighborhood of New York City in the 1940s. #PalianSHOWhttps://palianshow.wordpress.com/2026/08/04/rebecca-lepkoff/
In the blazing heat of August, let’s look at the color orange: by Georgia O'Keeffe (1887-1986), Red Canna, 1924, oil on canvas, 29 by 18 inches (73.7 by 45.7 cm), photo: Sotheby’s. #art #womenartists #womanartist
A quote from the artist: “A flower is relatively small. Everyone has many associations with a flower… still, in a way, nobody really sees a flower, really, it is so small….So I said to myself, I’ll paint what I see, but I’ll paint it big and they will be surprised into taking time to look at it, even busy New Yorkers [will] take time to see what I see of flowers.”
Abigail Heyman (1942–2013)
Abigail Heyman (1942–2013) was an American photographer, photojournalist, and educator. She published Growing Up Female: A Personal Photo-Journal in 1974. via W
Eleanor Allen Moore (1885-1955)
Eleanor Allen Moore (1885-1955) was a British painter who was born in Northern Ireland, but became one of the group of painters known as the "Glasgow Girls". via W #PalianSHOWhttps://palianshow.wordpress.com/2026/07/26/eleanor-allen-moore/
By African-American artist Augusta Savage (1892-1962), "Lift Every Voice and Sing, installed at the 1939 World's Fair in NYC. Savage had no room to store it, and it was smashed by bulldozers during the fair’s cleanup despite its popularity. 😢 #art #blackart #blackartist #womanartist #BlackHistory
The 16 foot tall sculpture depicts 12 Black singers, who represent the strings on a harp, fronted by a Black man holding a sheet of music. "Lift Every Voice and Sing, lyrics by James Weldon Johnson (1871–1938), music by his brother J. Rosamond Johnson (1873–1954). This hymn has become known as The Negro National Anthem. It begins: “Lift every voice and sing, 'Til earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise High as the list'ning skies, Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us; Facing the rising sun of our new day begun, Let us march on 'til victory is won.”
Suad al-Attar (b.1942) سعاد العطار
Suad al-Attar (b.1942) سعاد العطار is an Iraqi painter whose work is in private and public collections worldwide, including The British Museum and the Gulbenkian Collection. via W #PalianSHOW
Vera Jackson (1912-1999)
Vera Jackson (1912 – 1999) was a "pioneer woman photographer in the black press". She photographed African-American social life and celebrity culture in 1930s and 1940s Los Angeles. via W #PalianSHOW
Laila Pullinen (1933-2015)
Laila Pullinen (1933-2015) was a Finnish artist and sculptor. via W #PalianSHOW
Judy Seigel (1930-2017)
Judy Seigel (1930-2017) was an American painter and photographer, writer and editor, and feminist activist in New York City. via W #PalianSHOW
Joan Jonas (b.1936)
Joan Jonas (b.1936) is an American visual artist and a pioneer of video and performance art. via W #PalianSHOW
By Evelyn Rumsey Cary (1855-1924), Woman’s Suffrage, 1905, oil on canvas, 40-7/8 x 23-5 inches (103.8 x 60 cm), collection of The Wolfsonian–Florida International University. #arthistory #womenartists #womanartist #painting #oilpainting #VotingRights #suffragehistory
Definition of suffrage: “the right to vote, especially in a political election.”
The quote beneath the woman is Proverbs 31:31 (KJV): “Give her of the fruit of her hands; and let her own works praise her in the gates.”
The 19th Amendment to the U.S. Constitution, passed in 1920, guarantees women the right to vote. However neither men nor women of color had that guarantee until the passage of the Voting Rights Act of 1965.
Pitaloosie Saila (1942-2021)
Pitaloosie Saila (1942-2021) was a Canadian Inuk graphic artist. via W #PAlianSHOWhttps://palianshow.wordpress.com/2026/07/11/pitaloosie-saila/
Amalia Mesa-Bains (b.1943)
Amalia Mesa-Bains (b.1943) is a Chicana curator, author, visual artist, and educator. via W #PalianSHOWhttps://palianshow.wordpress.com/2026/07/10/amalia-mesa-bains/
By Grace Lynne Haynes (b. 1992), "Sojourner Truth, Founding Mother," cover of The New Yorker, Aug. 3 & Aug. 10, 2020. #art #blackartist #blackart #womanartist #womenartists #BlackHistory
From the artist (found on the CNN website, dated, August 5, 2020: “My portrait of Truth is based off of existing black-and-white photos of her, but I interpreted them in a playful, modern way. She wears the shawl and cap she was often pictured in, but in vibrant colors and textiles of my own imagination. She sits at a table next to a lively plant rising upwards from a vase while hummingbirds flit around her. I often include hummingbirds in my paintings as a tribute to my grandmother, who grew up in the South and dealt with racism and sexism as a Black woman.”
By Tamara de Lempicka (1898-1980), Portrait de Mrs. Bush, 1929, oil on canvas, 48 1/8 x 26 in. (122.3 x 66 cm.), © 2024 Tamara de Lempicka Estate, LLC / ADAGP, Paris / ARS, NY. #art #womanartist #womenartists #painting #oilpainting
From Christie’s New York, 4 May 2004: “Tamara de Lempicka had arrived at her mature signature manner by the end of the 1920s, and her career was at its peak. Combining elements drawn from French Cubism, Purism and Neo-Classicism, as well as her own study of Italian Mannerist masters, and showing her awareness of such contemporary realist trends such as Neue Sachlichkeit in Central Europe, Lempicka synthesized her own boldly cosmopolitan classical-realist style. It was the perfect manner for the liberated assertiveness and opulence of the Parisian post-war années folles, the fabled Jazz Age. Her paintings were aggressively modern-looking, and their appeal to the new social elite of her day was no doubt due in large part to their proud and glowing sensuality, in which physical beauty was emblematic of purposeful self-confidence, personal empowerment and success. The urbane and coolly polished surfaces in her pictures mirrored the social ideals of this well-heeled and influential class, which did not hesitate to pursue its passions, but had the good taste to moderate them through the exercise of accomplished formality, self-discipline and dedicated professionalism.
Lempicka became one of the most sought-after portraitists of her day, rivaling Kees van Dongen, and she could accept or refuse commissions as she saw fit.”
By African-American artist Laura Wheeler Waring (1877-1948), After Sunday Service, ca. 1940, oil on Canvas, 30 x 14 1/2 inches (76.2 x 36.8 cm), collection of the Petrucci Family Foundation. #arthistory #art #blackartists #blackart #womanartist #womenartists
From The Art Story: “With Edmonia Lewis, Meta Vaux Warrick, and Augusta Savage, Waring is one of the foremost Black American female artists of the first half of the twentieth century. Taking her stylistic lead from the likes of Monet, Manet, Corot and Cézanne, Waring emerged, with Aaron Douglass and Beauford Delaney, as one of the most influential portrait painters associated with the Harlem Renaissance, the influential movement in African American literary, artistic, and cultural history that thrived between 1918 and the late 1930s. Challenging racial stereotypes, she built her reputation on portraits of prominent African Americans which she executed with consummate skill and imagination. Waring is equally respected for her life-long dedication to the advancement of Black culture and history through her role as director of arts education programs at America's oldest Black teaching institutions.”
Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), Woman with Bouquet, ca. 1940, oil on canvas, Brooklyn Museum. #arthistory #blackartists #blackartist #blackart #womanartist #womenartists
From the museum: “With hand on hip and confident bearing, this woman is self-assured and elegant. She was probably from the Philadelphia area, where the artist Laura Wheeler Waring lived and worked. Like Waring’s other portraits of sophisticated or dignified working-class African Americans, this painting countered the many racial stereotypes that were prevalent at the time. Waring’s work, with its strong color palette and energetic brushwork, flourished during the Harlem Renaissance of the 1920s and 1930s, a period of great African American artistic and cultural production.”
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.”
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 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 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.
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
Your art post for today: by South African artist Lebohang Motaung (born 1992), Expressive Roots, 2020, watercolor over linocut, 98.5 x 68.5 cm, ©️Lebohang Motaung. #womanartist #womenartists #africanartist #southafricanartist
Artist’s Statement: “As a fine artist and a hairstylist plaiting hair has always been part of my life. Over the years it has my area of research and art practice.I am fascinated by arrangements, patterns, and different textures. My mission has always been more than making women beautiful, I am committed through my work to portray a sense of confidence and contentment and reflect issues of shame, stereotypes and insults relating to hair, African hair.
In my work, I use a wide range of mediums from linocut, etching, paper making and synthetic hair on paper. With my etchings and linocuts, I present the timeous and laborious process that I go through when plaiting hair. Hair can be a symbol of one’s identity it has the power to dictate how a person is seen.”
Your art history post for today: by Anna Katrina Zinkeisen (1901–1976), Night Duty, 1954 or before, oil on canvas, 76x63.5 cm, Bradford Museums and Galleries, Bradford, England. ©️Estate of Anna Katrina Zinkeisen. As a comment, I will share one of her more challenging works from World War II. #WomensHistoryMonth #womenartists #womanartist #painting #oilpainting
Yesterday, I shared a work by her sister Doris Zinkeisen. Both were artists. From Judi McGinley, Museum of the Order of St John: “They were talented, vivacious, stylish and sassy, and the toast of London’s society. They were the Zinkeisen sisters. Doris and Anna Zinkeisen were the bright young things of the art world during the 1920s and 30s, and rubbed shoulders with the likes of Noel Coward, John Gielgud, and Laurence Olivier…
In 1918, Doris and Anna volunteered as St John Ambulance Voluntary Aid Detachment nurses (VADs). Voluntary Aid Detachments were groups of volunteers who among other things provided field nursing services, mainly in hospitals in the United Kingdom, and in various parts of the British Empire. The VADs worked alongside technical and professional staff. The sisters would have been trained in first aid nursing, and would have cared for convalescing soldiers who had been injured at the front.
Doris and Anna volunteered their services again during the Second World War when they both worked as auxiliary nurses for the Order of St John at St Mary’s Hospital in Paddington. They worked in the casualty department helping to nurse air raid victims who had been caught up in the Blitz. By day they nursed war casualties and by night the sisters worked as medical artists. Each night they would commandeer disused operating theatres where they would work on paintings of wounded air raid victims that they had nursed during the day. Anna also created pathological and anatomical drawings of war injuries, complex surgical procedures, and dismembered limbs for the Royal College of Surgeons.”