#womenartists — Public Fediverse posts

I love Amie McNee and her art rebellion!! With her book We Need Your Art, she inspired me to keep creating and sharing my music ❤️🎶

📖 The We Need Your Art book: https://www.amiemcnee.com/order-we-need-your-art-book-amie-mcnee
🎧 My electronic altpop art: https://kayleighbeard.bandcamp.com/

#books #favouritebooks #amiemcnee #weneedyourart #author #inspiration #creative #creativity #artist #artists #artistsonpixelfed #womenartists #music #electronicmusic #alternativemusic #bandcamp #artquotes #art #artpop #music #painting #poetry

Happy #InternationalMuseumDay! #Throwback to October when I had a one-day pit stop in #HongKong so of course I spent it in an #artmuseum. 🧶 Chiharu Shiota, "Infinite Memory" (2025), dresses and ropes, then-new #exhibition “Dream Rooms: Environments by #WomenArtists 1950s–Now” at M+.

#Museum #Museums #Art #MastoArt #FediArt #Arte #Artist #ContemporaryArt #Installation #ArtInstallation #Design #Travel #TravelPhotography #Photography #Photo #PhotoMonday #FotoMontag #MobilePhotography #ShotoniPhone

Happy #InternationalMuseumDay! #Throwback to October when I had a one-day pit stop in #HongKong so of course I spent it in an #artmuseum. 🧶 Chiharu Shiota, "Infinite Memory" (2025), dresses and ropes, then-new #exhibition “Dream Rooms: Environments by #WomenArtists 1950s–Now” at M+.

#Museum #Museums #Art #MastoArt #FediArt #Arte #Artist #ContemporaryArt #Installation #ArtInstallation #Design #Travel #TravelPhotography #Photography #Photo #PhotoMonday #FotoMontag #MobilePhotography #ShotoniPhone

Happy #InternationalMuseumDay! #Throwback to October when I had a one-day pit stop in #HongKong so of course I spent it in an #artmuseum. 🧶 Chiharu Shiota, "Infinite Memory" (2025), dresses and ropes, then-new #exhibition “Dream Rooms: Environments by #WomenArtists 1950s–Now” at M+.

#Museum #Museums #Art #MastoArt #FediArt #Arte #Artist #ContemporaryArt #Installation #ArtInstallation #Design #Travel #TravelPhotography #Photography #Photo #PhotoMonday #FotoMontag #MobilePhotography #ShotoniPhone

Happy #InternationalMuseumDay! #Throwback to October when I had a one-day pit stop in #HongKong so of course I spent it in an #artmuseum. 🧶 Chiharu Shiota, "Infinite Memory" (2025), dresses and ropes, then-new #exhibition “Dream Rooms: Environments by #WomenArtists 1950s–Now” at M+.

#Museum #Museums #Art #MastoArt #FediArt #Arte #Artist #ContemporaryArt #Installation #ArtInstallation #Design #Travel #TravelPhotography #Photography #Photo #PhotoMonday #FotoMontag #MobilePhotography #ShotoniPhone

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.”

"Self-Portrait with a Palette," Anna Bilińska-Bohdanowiczowa, 1887.

Bilińska-Bohdanowiczowa (1854-93) was born to a Polish family in current-day Ukraine, and spent her childhood in Russia, learning drawing from instructors who were exiled from Moscow for their participation in the January Uprising.

Moving to Warsaw with her mother and siblings, she studied at the Warsaw Conservatory and later studied in Paris, the first Polish woman to do so. She exhibited with success for multiple years at the Paris Salon and this painting won a silver medal at the Paris Universal Exposition. Sadly, she died young from a heart condition, a few months after marrying.

This painting is one of her most famous; she depicts herself sitting and seemingly tired but satisfied, with mussed hair and a stained apron. Showing her personal fulfillment seems more important than being glamorous, it seems.

Happy Portrait Monday!

From the National Museum in Krakow.

#Art #AnnaBilińska_Bohdanowiczowa #WomenArtists #PortraitMonday #SelfPortrait #Realism

"Self-Portrait with a Palette," Anna Bilińska-Bohdanowiczowa, 1887.

Bilińska-Bohdanowiczowa (1854-93) was born to a Polish family in current-day Ukraine, and spent her childhood in Russia, learning drawing from instructors who were exiled from Moscow for their participation in the January Uprising.

Moving to Warsaw with her mother and siblings, she studied at the Warsaw Conservatory and later studied in Paris, the first Polish woman to do so. She exhibited with success for multiple years at the Paris Salon and this painting won a silver medal at the Paris Universal Exposition. Sadly, she died young from a heart condition, a few months after marrying.

This painting is one of her most famous; she depicts herself sitting and seemingly tired but satisfied, with mussed hair and a stained apron. Showing her personal fulfillment seems more important than being glamorous, it seems.

Happy Portrait Monday!

From the National Museum in Krakow.

#Art #AnnaBilińska_Bohdanowiczowa #WomenArtists #PortraitMonday #SelfPortrait #Realism

"Self-Portrait with a Palette," Anna Bilińska-Bohdanowiczowa, 1887.

Bilińska-Bohdanowiczowa (1854-93) was born to a Polish family in current-day Ukraine, and spent her childhood in Russia, learning drawing from instructors who were exiled from Moscow for their participation in the January Uprising.

Moving to Warsaw with her mother and siblings, she studied at the Warsaw Conservatory and later studied in Paris, the first Polish woman to do so. She exhibited with success for multiple years at the Paris Salon and this painting won a silver medal at the Paris Universal Exposition. Sadly, she died young from a heart condition, a few months after marrying.

This painting is one of her most famous; she depicts herself sitting and seemingly tired but satisfied, with mussed hair and a stained apron. Showing her personal fulfillment seems more important than being glamorous, it seems.

Happy Portrait Monday!

From the National Museum in Krakow.

#Art #AnnaBilińska_Bohdanowiczowa #WomenArtists #PortraitMonday #SelfPortrait #Realism

"Self-Portrait with a Palette," Anna Bilińska-Bohdanowiczowa, 1887.

Bilińska-Bohdanowiczowa (1854-93) was born to a Polish family in current-day Ukraine, and spent her childhood in Russia, learning drawing from instructors who were exiled from Moscow for their participation in the January Uprising.

Moving to Warsaw with her mother and siblings, she studied at the Warsaw Conservatory and later studied in Paris, the first Polish woman to do so. She exhibited with success for multiple years at the Paris Salon and this painting won a silver medal at the Paris Universal Exposition. Sadly, she died young from a heart condition, a few months after marrying.

This painting is one of her most famous; she depicts herself sitting and seemingly tired but satisfied, with mussed hair and a stained apron. Showing her personal fulfillment seems more important than being glamorous, it seems.

Happy Portrait Monday!

From the National Museum in Krakow.

#Art #AnnaBilińska_Bohdanowiczowa #WomenArtists #PortraitMonday #SelfPortrait #Realism

"Self-Portrait with a Palette," Anna Bilińska-Bohdanowiczowa, 1887.

Bilińska-Bohdanowiczowa (1854-93) was born to a Polish family in current-day Ukraine, and spent her childhood in Russia, learning drawing from instructors who were exiled from Moscow for their participation in the January Uprising.

Moving to Warsaw with her mother and siblings, she studied at the Warsaw Conservatory and later studied in Paris, the first Polish woman to do so. She exhibited with success for multiple years at the Paris Salon and this painting won a silver medal at the Paris Universal Exposition. Sadly, she died young from a heart condition, a few months after marrying.

This painting is one of her most famous; she depicts herself sitting and seemingly tired but satisfied, with mussed hair and a stained apron. Showing her personal fulfillment seems more important than being glamorous, it seems.

Happy Portrait Monday!

From the National Museum in Krakow.

#Art #AnnaBilińska_Bohdanowiczowa #WomenArtists #PortraitMonday #SelfPortrait #Realism

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.”

"Untitled (Yellow House with Yellow Roses)," Matilda Browne, after 1918.

Browne (1869-1947) was an American Impressionist artist, and a noted member of the Old Lyme, CT artists' colony...in fact, the only female painter they took seriously.

She showed talent as a child, and luckily was a neighbor of Hudson School painter Thomas Moran, who taught the young Matilda and encouraged her gifts. By age 12 she had a painting accepted as part of an exhibit at the American Academy of Design.

She traveled Europe, where she learned from many significant painters, and returned to the US where she earned a reputation as a skilled artist of landscapes, animals, and florals. She also married author Frederick Van Wyck, and had a long and successful career.

Here's the house she lived in at Old Lyme, in the summer with the roses blooming...

Happy Flower Friday!

From a private collection.

#Art #MatildaBrowne #Impressionism #AmericanArt #WomenArtists #FlowerFriday

"Untitled (Yellow House with Yellow Roses)," Matilda Browne, after 1918.

Browne (1869-1947) was an American Impressionist artist, and a noted member of the Old Lyme, CT artists' colony...in fact, the only female painter they took seriously.

She showed talent as a child, and luckily was a neighbor of Hudson School painter Thomas Moran, who taught the young Matilda and encouraged her gifts. By age 12 she had a painting accepted as part of an exhibit at the American Academy of Design.

She traveled Europe, where she learned from many significant painters, and returned to the US where she earned a reputation as a skilled artist of landscapes, animals, and florals. She also married author Frederick Van Wyck, and had a long and successful career.

Here's the house she lived in at Old Lyme, in the summer with the roses blooming...

Happy Flower Friday!

From a private collection.

#Art #MatildaBrowne #Impressionism #AmericanArt #WomenArtists #FlowerFriday

"Untitled (Yellow House with Yellow Roses)," Matilda Browne, after 1918.

Browne (1869-1947) was an American Impressionist artist, and a noted member of the Old Lyme, CT artists' colony...in fact, the only female painter they took seriously.

She showed talent as a child, and luckily was a neighbor of Hudson School painter Thomas Moran, who taught the young Matilda and encouraged her gifts. By age 12 she had a painting accepted as part of an exhibit at the American Academy of Design.

She traveled Europe, where she learned from many significant painters, and returned to the US where she earned a reputation as a skilled artist of landscapes, animals, and florals. She also married author Frederick Van Wyck, and had a long and successful career.

Here's the house she lived in at Old Lyme, in the summer with the roses blooming...

Happy Flower Friday!

From a private collection.

#Art #MatildaBrowne #Impressionism #AmericanArt #WomenArtists #FlowerFriday

"Untitled (Yellow House with Yellow Roses)," Matilda Browne, after 1918.

Browne (1869-1947) was an American Impressionist artist, and a noted member of the Old Lyme, CT artists' colony...in fact, the only female painter they took seriously.

She showed talent as a child, and luckily was a neighbor of Hudson School painter Thomas Moran, who taught the young Matilda and encouraged her gifts. By age 12 she had a painting accepted as part of an exhibit at the American Academy of Design.

She traveled Europe, where she learned from many significant painters, and returned to the US where she earned a reputation as a skilled artist of landscapes, animals, and florals. She also married author Frederick Van Wyck, and had a long and successful career.

Here's the house she lived in at Old Lyme, in the summer with the roses blooming...

Happy Flower Friday!

From a private collection.

#Art #MatildaBrowne #Impressionism #AmericanArt #WomenArtists #FlowerFriday

"Untitled (Yellow House with Yellow Roses)," Matilda Browne, after 1918.

Browne (1869-1947) was an American Impressionist artist, and a noted member of the Old Lyme, CT artists' colony...in fact, the only female painter they took seriously.

She showed talent as a child, and luckily was a neighbor of Hudson School painter Thomas Moran, who taught the young Matilda and encouraged her gifts. By age 12 she had a painting accepted as part of an exhibit at the American Academy of Design.

She traveled Europe, where she learned from many significant painters, and returned to the US where she earned a reputation as a skilled artist of landscapes, animals, and florals. She also married author Frederick Van Wyck, and had a long and successful career.

Here's the house she lived in at Old Lyme, in the summer with the roses blooming...

Happy Flower Friday!

From a private collection.

#Art #MatildaBrowne #Impressionism #AmericanArt #WomenArtists #FlowerFriday

I came across a reel on Instagram yesterday, which I didn't save so I can't post here... Several women were asked to name three female artists, and most of them couldn't even name one. Sad, isn't it?
#MastoArt #Artists #FemaleArtists #WomenArtists

I came across a reel on Instagram yesterday, which I didn't save so I can't post here... Several women were asked to name three female artists, and most of them couldn't even name one. Sad, isn't it?
#MastoArt #Artists #FemaleArtists #WomenArtists

I came across a reel on Instagram yesterday, which I didn't save so I can't post here... Several women were asked to name three female artists, and most of them couldn't even name one. Sad, isn't it?
#MastoArt #Artists #FemaleArtists #WomenArtists

I came across a reel on Instagram yesterday, which I didn't save so I can't post here... Several women were asked to name three female artists, and most of them couldn't even name one. Sad, isn't it?
#MastoArt #Artists #FemaleArtists #WomenArtists

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.’

"Vase of Flowers with an Ear of Corn," Rachel Ruysch, 1742.

We can always count on our old friend Rachel Ruysch to see out the week in style. Here Ruysch, regarded as one of the greatest still life artists of all time, gives us a bouquet of flowers that likely couldn't exist in real life....as they wouldn't be blooming at the same time. The roses and tulips and forget-me-nots all belong to different parts of the spring, and that ear of corn, with its dry husk, is definitely late summer.

Still, Ruysch depicts them all with loving precision, and creates an image of beauty that pleases the eye and rests the mind. Heaven bless you, Rachel Ruysch.

Happy Flower Friday!

From the National Gallery of Ireland.

#Art #RachelRuysch #FlowerFriday #StillLife #DutchGoldenAge #WomenArtists

"Vase of Flowers with an Ear of Corn," Rachel Ruysch, 1742.

We can always count on our old friend Rachel Ruysch to see out the week in style. Here Ruysch, regarded as one of the greatest still life artists of all time, gives us a bouquet of flowers that likely couldn't exist in real life....as they wouldn't be blooming at the same time. The roses and tulips and forget-me-nots all belong to different parts of the spring, and that ear of corn, with its dry husk, is definitely late summer.

Still, Ruysch depicts them all with loving precision, and creates an image of beauty that pleases the eye and rests the mind. Heaven bless you, Rachel Ruysch.

Happy Flower Friday!

From the National Gallery of Ireland.

#Art #RachelRuysch #FlowerFriday #StillLife #DutchGoldenAge #WomenArtists

"Vase of Flowers with an Ear of Corn," Rachel Ruysch, 1742.

We can always count on our old friend Rachel Ruysch to see out the week in style. Here Ruysch, regarded as one of the greatest still life artists of all time, gives us a bouquet of flowers that likely couldn't exist in real life....as they wouldn't be blooming at the same time. The roses and tulips and forget-me-nots all belong to different parts of the spring, and that ear of corn, with its dry husk, is definitely late summer.

Still, Ruysch depicts them all with loving precision, and creates an image of beauty that pleases the eye and rests the mind. Heaven bless you, Rachel Ruysch.

Happy Flower Friday!

From the National Gallery of Ireland.

#Art #RachelRuysch #FlowerFriday #StillLife #DutchGoldenAge #WomenArtists

"Vase of Flowers with an Ear of Corn," Rachel Ruysch, 1742.

We can always count on our old friend Rachel Ruysch to see out the week in style. Here Ruysch, regarded as one of the greatest still life artists of all time, gives us a bouquet of flowers that likely couldn't exist in real life....as they wouldn't be blooming at the same time. The roses and tulips and forget-me-nots all belong to different parts of the spring, and that ear of corn, with its dry husk, is definitely late summer.

Still, Ruysch depicts them all with loving precision, and creates an image of beauty that pleases the eye and rests the mind. Heaven bless you, Rachel Ruysch.

Happy Flower Friday!

From the National Gallery of Ireland.

#Art #RachelRuysch #FlowerFriday #StillLife #DutchGoldenAge #WomenArtists

"Vase of Flowers with an Ear of Corn," Rachel Ruysch, 1742.

We can always count on our old friend Rachel Ruysch to see out the week in style. Here Ruysch, regarded as one of the greatest still life artists of all time, gives us a bouquet of flowers that likely couldn't exist in real life....as they wouldn't be blooming at the same time. The roses and tulips and forget-me-nots all belong to different parts of the spring, and that ear of corn, with its dry husk, is definitely late summer.

Still, Ruysch depicts them all with loving precision, and creates an image of beauty that pleases the eye and rests the mind. Heaven bless you, Rachel Ruysch.

Happy Flower Friday!

From the National Gallery of Ireland.

#Art #RachelRuysch #FlowerFriday #StillLife #DutchGoldenAge #WomenArtists

"Moonlight Seascape, Gloucester Harbor," Mary Blood Mellen, c. 1870s.

Mellen (1819-86) was the major female member of the Hudson River School, a group of artists of the 19th century who specialized in sweeping Romantic-style landscapes of North America.

Born in Massachusetts, she learned to paint early on, but her marriage to the Universalist Rev. Mellen was a turning point. The couple became acquainted with Fitz Henry Lane, a great painter and teacher, and through him she developed her skill and talent.

New England, especially the coastal areas of Massachusetts and Maine, were her specialty, including a number of marine subjects. Most of her work is undated so we can only guess at when it was painted, but it is known she collaborated with Lane several times.

After her husband's death in 1866 she moved to Hartford, CT, supporting herself with her work, which was evidently popular. Her passing from typhoid generated a number of complimentary obits, praising her work.

From a private collection.

#Art #MaryBloodMellen #HudsonRiverSchool #AmericanArt #WomenArtists #Moonlight

"Moonlight Seascape, Gloucester Harbor," Mary Blood Mellen, c. 1870s.

Mellen (1819-86) was the major female member of the Hudson River School, a group of artists of the 19th century who specialized in sweeping Romantic-style landscapes of North America.

Born in Massachusetts, she learned to paint early on, but her marriage to the Universalist Rev. Mellen was a turning point. The couple became acquainted with Fitz Henry Lane, a great painter and teacher, and through him she developed her skill and talent.

New England, especially the coastal areas of Massachusetts and Maine, were her specialty, including a number of marine subjects. Most of her work is undated so we can only guess at when it was painted, but it is known she collaborated with Lane several times.

After her husband's death in 1866 she moved to Hartford, CT, supporting herself with her work, which was evidently popular. Her passing from typhoid generated a number of complimentary obits, praising her work.

From a private collection.

#Art #MaryBloodMellen #HudsonRiverSchool #AmericanArt #WomenArtists #Moonlight

"Moonlight Seascape, Gloucester Harbor," Mary Blood Mellen, c. 1870s.

Mellen (1819-86) was the major female member of the Hudson River School, a group of artists of the 19th century who specialized in sweeping Romantic-style landscapes of North America.

Born in Massachusetts, she learned to paint early on, but her marriage to the Universalist Rev. Mellen was a turning point. The couple became acquainted with Fitz Henry Lane, a great painter and teacher, and through him she developed her skill and talent.

New England, especially the coastal areas of Massachusetts and Maine, were her specialty, including a number of marine subjects. Most of her work is undated so we can only guess at when it was painted, but it is known she collaborated with Lane several times.

After her husband's death in 1866 she moved to Hartford, CT, supporting herself with her work, which was evidently popular. Her passing from typhoid generated a number of complimentary obits, praising her work.

From a private collection.

#Art #MaryBloodMellen #HudsonRiverSchool #AmericanArt #WomenArtists #Moonlight

"Moonlight Seascape, Gloucester Harbor," Mary Blood Mellen, c. 1870s.

Mellen (1819-86) was the major female member of the Hudson River School, a group of artists of the 19th century who specialized in sweeping Romantic-style landscapes of North America.

Born in Massachusetts, she learned to paint early on, but her marriage to the Universalist Rev. Mellen was a turning point. The couple became acquainted with Fitz Henry Lane, a great painter and teacher, and through him she developed her skill and talent.

New England, especially the coastal areas of Massachusetts and Maine, were her specialty, including a number of marine subjects. Most of her work is undated so we can only guess at when it was painted, but it is known she collaborated with Lane several times.

After her husband's death in 1866 she moved to Hartford, CT, supporting herself with her work, which was evidently popular. Her passing from typhoid generated a number of complimentary obits, praising her work.

From a private collection.

#Art #MaryBloodMellen #HudsonRiverSchool #AmericanArt #WomenArtists #Moonlight

"Moonlight Seascape, Gloucester Harbor," Mary Blood Mellen, c. 1870s.

Mellen (1819-86) was the major female member of the Hudson River School, a group of artists of the 19th century who specialized in sweeping Romantic-style landscapes of North America.

Born in Massachusetts, she learned to paint early on, but her marriage to the Universalist Rev. Mellen was a turning point. The couple became acquainted with Fitz Henry Lane, a great painter and teacher, and through him she developed her skill and talent.

New England, especially the coastal areas of Massachusetts and Maine, were her specialty, including a number of marine subjects. Most of her work is undated so we can only guess at when it was painted, but it is known she collaborated with Lane several times.

After her husband's death in 1866 she moved to Hartford, CT, supporting herself with her work, which was evidently popular. Her passing from typhoid generated a number of complimentary obits, praising her work.

From a private collection.

#Art #MaryBloodMellen #HudsonRiverSchool #AmericanArt #WomenArtists #Moonlight

"Tug of War," Ethel Spowers, 1933.

Australian Spowers (1890-1942) combines two of her loves in this work: she loved depicting children at play, and she loved experimenting with modern art.

An acclaimed illustrator of children's books, Spowers here depicts a game of tug-of-war, but also turns the two teams into a pattern of near-identical figures.

She started off illustrating fairy tales, but in the 30s moved to linocuts featuring simplified forms, skillfully depicting movement, and painting children in modernist ways, like she does here. Her work was popular not only for its artistic quality but its sheer charm.

She co-founded the Contemporary Art Society of Australia, encouraging modernist works and young artists. She died young, of cancer, but today her work fetches steep prices at auction.

From the National Gallery of Australia, Canberra.

#Art #EthelSpowers #Modernism #GrosvenorSchool #WomenArtists