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#womenartists

4 posts4 participants0 posts today
Public
Hotspur🏳️‍🌈🇺🇦

"The Cathedrals of Broadway," Florine Stettheimer, 1929.

I've featured Stettheimer (1871-1944) before, so no point in going over her biography, except to note that she was not only a painter, but a designer of theatrical sets and costumes.

This Modernist painting shows her theatrical roots. She's got neon signs, a proscenium arch, a ticket window, ushers, the whole works. It's a neon-lit fantasia of the real "cathedrals" of Broadway, giving escapist entertainment to people of the Depression.

It's very much its own thing, being partly representational but also bizarrely surreal, echoing the work of Chagall.

From the Metropolitan Museum of Art, New York.

A modern painting. In the center of the canvas, dominated by reds and golds, we have a screen showing newsreel footage of New York Mayor Jimmy Walker throwing the first pitch of the baseball season. It's in a golden arch of a theater proscenium, with a clock at the top and various classical decorations around it. Around it in the upper half of the canvas float neon signs of assorted Broadway theaters, like the Strand, the Rialto, and the Roxy. In the lower half we see people arriving at a theater, people at a ticket window, a row of ushers, and a sign that reads "Silence."
#Art#FlorineStettheimer#Modernism
Public
Laura G, Sassy 70’s

Your art history post for today: Girl in Pink Dress, ca. 1927, by African-American artist Laura Wheeler Waring (1887-1948), oil on canvas, 36 ¼ x 26 ¼ x 2 ¼ in, private collection. #arthistory #blackart #blackartists #womenartists #womanartist #womensart

From Elizabeth Lovsin in School Library Journal, Feb 01, 2020, her a review of the book “Beautiful Shades of Brown: The Art of Laura Wheeler Waring,” by Nancy Churnin, illustrated by Felicia Marshall: “Laura Wheeler Waring (1887–1948) combined colors to create the exact shades of brown that depicted the skin tones of the loved ones she painted. Artistic representation during the time period Waring came of age was far from inclusive. Portraits of African Americans and artwork created by black artists were not welcomed into museums. Waring pursued her passion and was eventually commissioned to paint important African American people for a traveling exhibit that displayed her art in the Smithsonian and other museums. This biography succeeds by keeping its focus on Waring’s artistic journey. When discussing her portrait of singer Marian Anderson, Churnin forms an emotional link between these two women and spotlights the potential for their work to break barriers. The straightforward narrative allows young readers to connect with Waring as a person, recognize her dedication to her craft, and appreciate her accomplishments. The recurring theme of brown as a complex and beautiful color is an effective metaphor for the celebration of African American people and culture central to Waring’s work. Marshall’s painted illustrations are an artistic tribute rendered in the style of Waring’s paintings.”

A young black woman, seated, short wavy hair, face in 3/4 view. She wears a pink sleeveless dress with a flowery accent at the shoulder.
Public
Hotspur🏳️‍🌈🇺🇦

"Portrait of Painter Olga Boznańska," Helena Emingerová, 1899.

Czech-born Emingerová (1858-1943) was noted mostly for her portraits of the upper crusts in central and eastern Europe, but she prospered. She was noted as a pioneer in Czech graphic art. As we see here, she's pretty minimalist in this lithograph, but it's done exquisitely and communicates so much.

Boznańska (1865-1940), the subject of this work, was herself a prominent Polish painter. At first her style was associated with French Impressionists but she rejected that label. She was also a famed portraitist, but her work was mostly in oils. She worked and studied for a time in Munich, where she likely knew Emingerová, but later moved on to Paris where her work met with acclaim. She lived there the rest of her life, passing away during the German occupation of the city.

From the National Gallery in Prague.

A Victorian-era lithograph. A woman, with her face turned away, holds a painter's palette in her left hand, and with her right holds a brush up to a canvas. Her hair is gathered in a bun on top of her head, and she wears a high-necked dress.
#Art#WomenArtists#HelenaEmingerova
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Laura G, Sassy 70’s

By Frida Kahlo (1907-1954), Self Portrait on the Border between Mexico and the United States of America, 1932, oil on metal, 11 3/4" X 13 1/2" (31 × 35 cm), private collection. #arthistory #cincodemayo #womanartist #womenartists #mexicanartists

From PBS, discussing the film The Life and Times of Frida Kahlo, written directed by Amy Stechler: ‘In 1930, when Diego [Rivera, her husband] received several commissions to paint murals in the United States, the couple packed their bags and headed north. At the end of four years, Diego remained content in his American surroundings, but Frida was homesick and miserable. Her experience living in "Gringolandia" inspired the painting, Self-portrait on the Borderline Between Mexico and the United States.”

From Byron’s Muse on WordPress: “In the middle of the painting is the twenty-five year old Frida dressed in a pretty pink gown and white mittens. A cigarette in one hand and a Mexican flag in the other. On the left is an idealised landscape of Mexico… On the left is a world led by the forces of nature, the power of sun, rain and soil. The fertile soil which gives birth to vibrant flowers and cactuses, their roots are deep and hard to pull out, just as Frida’s art was deeply rooted in the traditions of her homeland. Ruins of a temple and statues of ancient Gods represent the pre-Columbian Mexico. The sun and the moon represent the ancient gods of Mexico; Quetzalcoatl and Tezcatlipoca. On the right is the industrial landscape; skyscrapers and tall factory chimneys; their smoke is slightly obscuring the flag of the United States and there are no clouds on the sky, the dirty chimney smoke has concealed them all. The word Ford is written on the four factory chimneys. There is an obvious contrast between the natural and artificial in the manner in which the buildings were made, ancient temples, although made by humans, were made from natural material, and are therefore still connected to the earth and nature.”
Public
Laura G, Sassy 70’s

Your art history post for today: Woman in a Loge, 1879, by Mary Cassatt (1844–1926), oil on canvas, 32 1/16 × 23 7/16 inches (81.5 × 59.5 cm), Philadelphia Museum of Art. #arthistory #womanartist #womenartists

From the website: “Cassatt created a series of theater scenes in the late 1870s, displaying an interest in city nightlife shared by many of the Impressionists. This work, showing a woman (often said to be her sister Lydia) seated in front of a mirror with the balconies of the Paris Opéra House reflected behind her, demonstrates the influence of Cassatt's friend Edgar Degas, particularly in the attention paid to the effects of artificial lighting on flesh tones. This painting was shown in Paris at the fourth Impressionist exhibition in 1879, where it was singled out for much praise.”

From Jim Immerwahl, Taskstream: ‘… a young woman of the bourgeoisies, rumored to be Lydia, Cassatt’s sister. The pearl necklace she wears, along with her eloquent dress, white gloves, and fan represent her social status as she sits in her private box at the theater… The theater was traditionally seen as promiscuous and a place where women were flaunting their sexuality (Pollock, 144). Thus, having women appear as the subject of a piece was very groundbreaking for the time. Cassatt was portraying women as intellectually capable and independent, representing a great culture shift (Haney, 9). Cassatt was a feminist and this influence was clear in her art as her subjects were female and usually the main focus of her paintings. Cassatt uses a particularly unique technique established by Degas to portray the theater setting as large and spacious. She positioned her subject in front of a mirror in order to depict the theater and other patrons behind the woman. Notice, Lydia is watching the show in one direction whereas the other spectators are viewing the performance in the opposite direction. Though it provides an image of a large and full theater behind the woman, it also “refutes the illusion of deep space by reminding us that we are looking at a flat, if reflective, surface just behind the figure” (Pollock, 146).’ https://w.taskstream.com/ts/immerwahr/modernart.html/uefbfn00uif7eifbfdfaf9e6ec
Public
Laura G, Sassy 70’s

My art history theme for the merry month of May is a color: Pink! It was my grandmother’s favorite color. For today, I offer you Portrait of Romana de la Salle, 1928, by Tamara de Lempicka (1898-1980), oil on canvas, 45 ⅞ by 28 ¾ in. (116.5 by 73 cm.), photo: Sotheby’s New York, 14 November 2022. #arthistory #artdeco #lempicka #womenartists #womanartist

Excerpt from the catalogue note: “The slight tilt of Romana’s head and serpentine turn of her torso evoke the figuration of Botticelli and Raphael… while dramatic shadows employed throughout the present work allude to Lempicka's admiration of Mannerist painters. Romana’s body, anchoring the entire bottom of the picture plane and culminating with her delicate facial features at the top of the canvas, forms a triangular symmetry that mirrors the compositions of Neoclassical titans like David and Ingres… Accentuated by the ethereal draping of her pink dress, her voluminous forms defy containment by the canvas’ edges. As such, Lempicka confers the monumental power of a classical sculpture upon her wholly modern subject.”

A dramatic painting of a woman wearing a pink dress
Public
Swaantje Güntzel
SPACE HEROINES (How to kick ass in space or The bias of AI)
5/13

Series of female super heroines who maintain law and order in the universe and fight against space debris. The work is conceived as a commentary on male-dominated space travel and of male-determined self-conceptions of space conquest. It was created in the context of an artist residency at European Space Agency (ESA/ESOC) in Darmstadt that Güntzel held in 2022. The works were generated using the open source DALL.E 2 AI from descriptions in natural language. Since then, Güntzel has continued to further develop the work, which simultaneously questions the biased practice of AI in which “heroines” are standardized as white, young, slender, mostly blond, scantily clad, over-sexualized women. More inclusive and diverse images emerged only when prompts explicitly contradicted these norms. Even then, the AI often failed to produce a more inclusive image or the results are so impaired that they are unusable (images that lacked colour, figures without faces, etc.). The series is more relevant than ever after Trump instructed NASA “‘to drop everything’ to scrub public sites of mentioning of DEI, indigenous people, environmental justice, and women in leadership” -> https://www.404media.co/nasa-dei-drop-everything-executive-order/

[Swaantje Güntzel, Space Heroines / plus size heroine with short dark hair wearing a turtle neck fighting orbital debris comic style, 2022/23, Series]

#art #conceptualart #contemporaryart #kunst #konzeptkunst #zeitgenössischekunst #serie #series #spaceheroine #space #spacedebris #orbitaldebris #heroines #esa #nasa #weltraum #raumfahrt #comic #ai #ki #dalle2 #bias #inklusion #sexism #sexismus #inclusion #superheldin #superheroine #swaantjeguentzel #swaantjegüntzel #pixelfedart #womensart #womenartists #spacetravel
#spacetravel
Public
Hotspur🏳️‍🌈🇺🇦

"Study of a Student," Laura Wheeler Waring, c. 1940s.

Waring (1887-1948) was one of the great painters of the Harlem Renaissance, known for her deservedly famous portraits of figures such as singer Marian Anderson or author Jesse Redmon Fauset. Here we have a portrait of an unidentified woman, looking bored as anything. I feel for her!

The handling seems a bit clumsy, but this was only a study, something done in preparation for another painting, so one can't expect perfection from it. So many of her other portraits are detailed and realistic....but despite being basically a rough draft, it still has charm.

From the Pennsylvania Academy of the Fine Arts, Philadelphia.

A portrait of the Harlem Renaissance. A black woman, unidentified, in a sleeveless red dress, sits at a table, her head resting on her right hand and her left touching her right bicep. She wears a bored expression and has a blue flower tucked in her hair.
#Art#BlackArtists#WomenArtists
Public
Hotspur🏳️‍🌈🇺🇦

"Sunday Afternoon in the Country," Florine Stettheimer, 1917.

Stettheimer (1871-1944) was a Modernist painter and theatrical designer, as well as a pioneering feminist, poet, and salonniere.

While at first glance this seems rather mundane, the colors are strange; check out the red tree. Some of the characters seem to be doing bizarre, random things, and some appear to be sitting in upholstered armchairs.

In reality, this is her memory of a picnic she held; in the upper right, hardly visible, she paints herself working at her easel. In the lower left, photographer Edward Steichen points his camera at Dada founder Marcel Duchamp. leaning on a table, while Ettie Stettheimer (the artist's sister) stands behind him in the red coat. Other real-life people are depicted, but in a strange style reminiscent of Chagall.

Stettheimer refused to identify with any group or school; her work is Modernist by default for the time she worked in and her style. Not taken seriously in her liftetime, her work was donated to museums and rediscovered in the 1990s, and now she is hailed as a great American artist.

From the Cleveland Museum of Art.

A Modernist painting. We see a scene set in a garden of sorts, but it's dominated by shades of pink and red, with some pale green. The garden is holding what appears to be a picnic of sorts, but it's populated by figures doing odd things. In the center, a man faces away while a girl beside him turns back. Lower left, a photographer aims a camera at a man leaning on a table. Lower right, two women sit in upholstered armchairs. Middle left, a purple blanket is a surface for a drummer and a green figure with a yellow parasol. Upper left, a woman sits under a red/pink tree while a man does a handstand; on the right, a woman leans face-first into a green tree, and almost invisible figure of a woman works at a painting on her easel.
#Art#FlorineStettheimer#Modernism
Public
Hotspur🏳️‍🌈🇺🇦

"Portrait of Dr. Elisabeth Winterhalter," Ottilie W. Roederstein, 1887-88.

Born in Zurich, Roederstein (1859-1937) became interested in art at an early age, which horrified her conventional parents, but they eventually allowed her to study with a local artist. It became obvious she was hugely talented, & her married sister, who lived in Berlin, took her in so she could continue her studies. By 1882 she had her first exhibition, & in 1887 was totally self-supporting as an artist. She continued to exhibit & traveled widely until 1931, when she retired.

The subject of this charming portrait is Dr. Elisabeth Winterhalter (1856-1952), Germany's first woman doctor, & also Roederstein's partner. She also defied her family by going to study medicine in Zurich, where she and Roederstein met & fell in love. Elisabeth returned to Germany where she practiced obstetrics & gynecology, but didn't receive a full medical license until 1902, when German law was changed to allow women doctors.

The Third Reich largely ignored them; by then both were retired & living quietly. Elisabeth was honored by West German president Heuss for her contributions to the medical field shortly before her death at 95. She & Ottilie are buried together.

From the Städel Museum, Frankfurt.

An Academic portrait of a woman doctor. She sits at a desk, her right holding a pencil and her left resting on a book. She wears dark utilitarian clothing and her dark hair is short and wavy. She looks out at us calmly and serenely. Behind her is a white wall with a small bookcase, on top of which rests a chemical flask and a human skull.
#Art#WomenArtists#QueerHistory
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Laura G, Sassy 70’s

By Elisabeth Louise Vigée Le Brun (1755-1842), Profile Portrait of the Duchesse de Polignac, black and white chalk with stumping over traces of graphite, within red and black chalk framing lines, 17 by 11 ⅛ in. (432 by 282 mm), private collection. #arthistory #womenartists #womanartist

The work had been on loan to The Metropolitan Museum of Art, New York and has been returned to the collector. From the museum: “Vigée Le Brun admired the duchesse de Polignac (1749–1793)—a favorite of Marie Antoinette and governess to the royal children—for what the artist described as her beauty, sweetness, and solid mind. Shown here in traveling costume, the sitter emigrated in July 1789, eventually settling in Vienna, where she died only a few years later.”

From Sotheby’s New York: “The elegant drawing in question here, which is thought to have been produced in Rome circa 1790, that is to say at the beginning of the Polignac family's emigration, like the aforementioned pastel once again shows Madame de Polignac in profile. The Duchesse is wearing a dress with large lapels and a substantial white kerchief, a travel costume similar to that worn by Madame Le Brun in her pastel self-portrait also dating from her stay in Rome (see lot 11). Polignac's curly hair, rendered with small, curved strokes thrown quickly across the coarse-grained paper, is styled with a muslin bonnet, while her face is sensitively modelled with the soft application of black and white chalk.”
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