First Amendment Girl

The intense light saturates the rugged terrain. Jagged, rocky peaks dominate the upper reaches, their surfaces a riot of ochre, orange, and deep vermilion. Below these towering forms, a harbor unfolds, dotted with boats and rudimentary structures. Swirling strokes of blue and white define the sky, turbulent counterpoint to the earthbound forms. The artist applies thick, energetic marks that build palpable surface texture across the mountainsides. These applied forms assert their presence against the flattened background. Such bold application of color and gesture speaks to a post-war urgency. The visual language of its time grappled with representing a world irrevocably altered. This dynamism suggests an artist forging new ways of seeing during a period of profound societal upheaval. The simplification of forms into solid, emotive shapes communicates the raw power of landscape. Johnson was a key figure in the Harlem Renaissance and a pioneer in modern American painting. "Harbor Under the Midnight Sun" was created during a period when Johnson was exploring themes of northern landscapes and maritime life influenced by his travels and experiences. It reflects the broader trend of American artists moving away from European styles and developing a distinctly American visual language, incorporating elements of Expressionism, Cubism, and African art. The work also aligns with the Regionalist movement's focus on depicting American scenes, though Johnson's style is far more abstract and emotionally charged than that of many Regionalist painters.

Harbor Under the Midnight Sun by William H. Johnson, 1942, Smithsonian American Art Museum (Washington, DC)

#ArtHistory #ModernArt #Expressionism

Sargent's inordinate technical facility, coupled with his ability to portray elegant sitters in sumptuous surroundings, made him extremely popular with wealthy patrons on both sides of the Atlantic. Despite his success as one of the most sought-after portraitists of the late Victorian era, Sargent eventually became exasperated by the whim and vanities of prominent sitters. By 1909 he had abandoned conventional portraiture in order to "experiment with more imaginary fields." The woman in "Repose" is Sargent's niece, Rose-Marie Ormond. In keeping with his newfound preference for informal figure studies, Sargent did not create a traditional portrait; rather, he depicted Rose-Marie as a languid, anonymous figure absorbed in poetic reverie. The reclining woman, casually posed in an atmosphere of elegiac calm and consummate luxury, seems the epitome of nonchalance - the painting's original title. Sargent seems to have been documenting the end of an era, for the lingering aura of "fin-de-siècle"* gentility and elegant indulgence conveyed in "Repose" would soon be shattered by massive political and social upheaval in the early 20th century. *end of a century, particularly the 19th century

Nonchaloir (Repose) by John Singer Sargent, 1911, National Gallery of Art (Washington, DC)

#ArtHistory #ModernArt #Realism #Impressionism

Dems are ready but GOP has the majority, and won't even consider it

Oyster Sloop, Cos Cob by Childe Hassam, 1902, National Gallery of Art (Washington DC)

#ArtHistory #ModernArt #Impressionism #AmericanImpressionism

Shimomura’s artwork casts a light on the alienation experienced by many Asian Americans. He knows well the pain associated with xenophobia and the feeling of disconnect between the symbol of the American flag and the lived experience of those who exist simultaneously as “an other” and “a citizen.” As a small child during World War II, he and his family were relocated from their home in Seattle to a Japanese American incarceration camp in Idaho. The experience of displacement in his family’s new homeland shaped his identity. The source for this painting is Emanuel Leutze’s monumental oil on canvas Washington Crossing the Delaware (1851). Shimomura has positioned himself in the guise of George Washington with samurai warriors as his Continental troops. The body of water resembles San Francisco’s harbor with Angel Island, the processing center for Asian immigrants, in the background. The work echoes the compositions of Katsushika Hokusai’s wood-block prints. Dimensions: 3 canvas panels, each 182.9 x 121.9cm (72 x 48")

Shimomura Crossing the Delaware by Roger Shimomura, 2010, National Portrait Gallery (Washington, DC)

#ArtHistory #ContemporaryArt #PopArt #Ukiyo-e

This was one of the first pictures Corinth painted after suffering a stroke during a holiday on the ltalilan Riviera. It is fascinating for the immediacy of the angled, Iow view point the artist has chosen despite the way that this distorts the features. The rose-decorated hat takes up the movement of the head and the eyes and sends it out elliptically beyond the picture edges. The expressive brush work that seems to skim over the physicality of the décolleté is at its most powerful around the woman's eyes. With its inherent light, the color this work creates a feeling of vitality that banishes any threat of darkness. Corinth's mature artworks are seen as a fusion of Impressionism and Expressionism. Apart from paintings, he also created etchings from 1891 on, executing his first lithograph in 1894. Under the National Socialists, 295 of his works were confiscated as "degenerate art."

Woman in Hat with Roses by Lovis Corinth, 1912, Alte Nationalgalerie, Staatliche Museen zu Berlin (Germany)

#ArtHistory #ModernArt #Expressionism

Crowe painted with intense realism and used a delicate, meticulous technique, almost like that of a miniaturist. The rich detail of his works contributes to the impression that they are authentic representations of their subject matter. Crowe had remarkable powers of observation and conveyed many subtle nuances of a scene, imparting tremendous character and charm. He also occasionally engaged in political criticism or in a critique of social mores, creating social realist works as well as humorous caricatures. Notably, he portrayed workers in a positive way, not in a clichéd or patronizing manner. In "A Sheep-Shearing Match," he has not painted the shearers toiling in a shed; instead, he explores the dynamic of a contest at an English fair. The atmosphere in this luminous picture is relaxed, the cheerful informality emphasized by the bright, sunlit day, and by the colourful garments of the well-dressed spectators. Crowe's social commentary is particularly evident in the portrayal of the group of men at the back of the tent most likely landowners - whom the artist has pointedly positioned well distant from the physical labour taking place behind them. Above all, "A Sheep-Shearing Match" is a celebration of the immense skill of the shearers, which is apparent in the depiction of the closely clipped sheep in the pens. Although the shearers' labour is obviously strenuous, there is a grace and relaxed confidence in the way they carry out their work, and Crowe has used their differing postures to create a rhythm across the composition. The level of concentration of the shearers is in stark contrast to that of the visitors, the majority of whom seem to ignore the spectacle of the competition. Despite this lack of attention, the shearers, old and young alike, take great pride in their performance. The way in which the artist has captured their inherent nobility was praised by many critics when "A Sheep-Shearing Match" was exhibited at London's Royal Academy in 1875.

A Sheep-Shearing Match by Eyre Crowe, 1875, National Gallery of Victoria (Melbourne, Australia)

#ArtHistory #ModernArt #SocialRealism

a man in a suit and tie is sitting in front of a window and saying nope . don 't like that . ALT: a man in a suit and tie is sitting in front of a window and saying nope . don 't like that .

Has anyone looked at their Medicare accounts recently? Today they want me to verify my identity with either a state ID or Passport, and a current photo. But wait, there's more. I can't just upload photos. I have to allow their software into my phone to take the photos.

Venetian Interior by John Singer Sargent, ca.1880-1882, Carnegie Museum of Art (Pittsburgh, PA)

#ArtHistory #ModernArt #Realism #Impressionism

For more, see: wapo.st/4lfPB1q

Much bigger than Trump's was for his fake assassination attempt

Van Gogh painted it in January 1889, a week after leaving hospital. He had received treatment there after cutting off most of his left ear (shown here as the bandaged right ear because he painted himself in a mirror). This self-mutilation was a desperate act, committed a few weeks earlier, following a heated argument with his fellow painter Paul Gauguin. Van Gogh's fur cap secures his thick bandage and wards off the winter cold. Created in harsh conditions, this self-portrait demonstrates van Gogh's determination to continue painting. Above all, it is Van Gogh's brushwork and powerful handling of color that declare his renewed ambition as a painter.

Self-Portrait with Bandaged Ear by Vincent van Gogh, 1889, The Courtauld Institute of Art (London, UK)

#ArtHistory #ModernArt #PostImpressionism

For a comparison of an earlier self-portrait with this one, see www.tiktok.com/t/ZThvLpvRw/

Opal Miners by Jacqueline Hick, 1965, Private Collection

#ArtHistory #ContemporaryArt #SocialRealism #Expressionism

... but only the losers and suckers

The abundant light defines the opulent interior. Two figures occupy the preground: a man in rich, dark robes, and a red fez stands beside an elder in flowing cream garments, leaning on a cane. Intricate tile work adorns a central pillar, its geometric patterns drawing the eye. Smooth brushstrokes render the textures of fabric and polished stone with meticulous care. This refined handling of detail transports the viewer to a specific moment within a carefully constructed rientalist vision. The luminous atmosphere, achieved through careful layering of glazes, imbues the scene with an almost tangible warmth. Decorative grilles and elaborate woodwork suggest an established tradition of craftsmanship. The deep red carpet anchors the figures and guides the viewer's gaze across the polished floor. These elements construct a tableau of piety and learned discourse. The carefully rendered details speak to a fascination with exoticism. Ernst's precise execution constructs a palpable sense of place. "After Prayer" belongs to the broader movement of Eastern European Jewish art that emerged in the late 19th and early 20th centuries. This art often focused on depicting the daily lives, religious practices, and struggles of Jewish communities the face of modernization, poverty, and rising antisemitism. It can be seen as a precursor to Social Realism, though it retains a strong emotional and psychological depth. It also aligns with the Expressionist tendencies of the time, particularly in its focus on conveying inner states rather than objective reality.

After Prayer by Rudolf Ernst, 1917, Mathaf Gallery (London, UK)

#ArtHistory #ModernArt #Orientalism

I'm convinced Hegseth is #1 in the World Record Smallest Penis

You can never convince me that Trump doesn't think "They want me to replace x. Who would be worse?"

The diffuse light saturates the scene, an all-encompassing radiance. Figures gather near a sailboat at the water's edge, their forms rendered with broad, energetic strokes. A group of women converses near the foreground; children play, and several men attend to the vessel. The quick application of paint, a visible impression of movement, dissolves solid forms into flickering patches of color. This immediacy captures a moment of leisure, a palpable engagement with the ephemeral pleasure of the sea. The swift articulation of light and shadow over surfaces suggests a world experienced through transient sensation. The scene pulses with the newfound freedom of outdoor observation, a visual testament to a society increasingly embracing recreation. Clouds drift across a vibrant sky, their bulk suggested by rapid, layered brushwork. The sea reflects this dynamic atmosphere, its surface broken by energetic marks. This composition channels the immediacy of modern life, a visual echo of Paris escaping its confines for sunlit excursions.

The Return of the Boating Party by
Pierre-Auguste Renoir, 1862, Private Collection

#ArtHistory #ModernArt #Realism #Impressionism

The artwork depicts a seated woman with a contemplative expression. She is dressed in dark, modest clothing with a white headscarf that contrasts with the earthy tones of her outfit. Her hands are gently clasped, resting on her lap, which enhances the serene and introspective mood of the portrait. The background is rendered with loose, expressive strokes, characteristic of the Expressionist style, allowing the viewer to focus on the subject’s facial features and posture. The pastel or soft color palette, combined with bold outlines, gives a sense of depth and texture to the composition.

Breton by Zinaida Serebriakova, 1935, Private Collection (?)

#ArtHistory #ModernArt #Expressionism

Mujer con calabaza by Saturnino Herran, 1917, Museo Colección Blaisten (National Autonomous University of Mexico,Mexico City, Mexico)

#ArtHistory #ModernArt #ArtNouveau

I swear I'm reliving the 70s, but this isn't as much fun

This piece showcases Fish’s ability to capture the intricacies of light and its play on transparent and reflective surfaces. In this vivid composition, the artwork depicts a series of Kraft brand salad dressing bottles intricately rendered with rich color and meticulous attention to detail. The line-up of bottles features various labels and caps, each one displaying its unique graphics and text. The transparency of the glass containers reveals the textures of the salad dressings inside, with the artist skillfully depicting the suspension of herbs and spices in the viscous liquids. The bottles are set against a vibrant green background that serves to emphasize the luminosity and clarity of the glass and its contents. The painting employs a dynamic range of colors, emphasizing the yellows and greens within the dressings, as well as capturing the distortion of the background as seen through the curved surfaces of the bottles. Fish’s technique creates a lifelike appearance that encourages the viewer to appreciate the commonplace beauty in everyday objects. The intricate reflections and refractions of light make the bottles appear almost tactile.

Kraft Salad Dressing by Janet Fish, 1973, Mount Holyoak College Art Museum (South Hadley, Massachusetts)

#ArtHistory #ContemporaryArt #ContemporaryRealism

Self Portrait in a Straw Hat is a signed copy by the artist of a very popular self-portrait that she painted in 1782 and which is now in the collection of the baronne Edmond de Rothschild. The pose is deliberately modeled on Rubens’s Portrait of Susanna Lunden (?) (also in the National Gallery’s collection), which was formerly but incorrectly known as Le Chapeau de Paille (The Straw Hat). Vigée Le Brun offers us a highly calculated image in which she explicitly associates herself with a great artist and his sitter. Looking at us directly with an open expression as she holds the tools of her profession (a palette and brushes), she presents herself as an elegant society lady and as an accomplished professional artist. By posing outdoors – and not, for example, in a studio – she replicates the contrasting light effects in Rubens’s portrait by combining ordinary daylight with direct sunlight.

Self Portrait in a Straw Hat by
Elisabeth Louise Vigée Le Brun, 1782, The National Gallery (London, UK)

#ArtHistory #HighRococo #FrenchRococo

For more, see: youtu.be/sqhrpkhX2uA?...

The illustrations for The Tailor of Gloucester, her second and favourite book, were drawn in Gloucester and the country round about, the story being based on an actual Gloucestershire story that she heard while staying with a cousin near Stroud. The fabrics in the watercolors are said to have been taken from fabrics in the Victoria & Albert Museum. The book was first privately printed, in a limited edition of 400 copies, in 1902; Frederick Warne & Co. published their first edition in 1903. D. Billington, Managing Director of Frederick Warne & Co., stated: ‘Regarding the 22 original illustrations held in your Gallery, these are the same drawings from which we originally made the blocks in our 1903 first edition. Only two of these were used in the 1902 edition, and these appear on pages 40 and 43 of the present (1958) edition (letter of 28 January 1959). In addition, the ninth illustration was used only in the 1902 edition. There are seven further plates in the Warne edition, the drawings for which are not at the Tate Gallery.

Frontispiece. The Tailor Mouse by HelenBeatrix Potter, 1902, Tate Britain (London)

#ArtHistory #ModernArt #ArtNouveau #Illustration

Morning Mist by Kazuo Nakamura, 1951, Art Canada Institute (Toronto)

#ArtHistory #ModernArt #AbstractExpressionism #PaintersEleven

For more see, www.aci-iac.ca/art-books/ka...

"Emigrants Crossing the Plains" offers a sweeping and romantic vision of the westward migration and the diverse nature of the frontier. Bierstadt, a German-born American painter associated with the Hudson River School, was renowned for his grand, dramatic landscapes that captured both the beauty and the myth of the American West. Through works like this, he not only documented the nation's expansion but also shaped how generations would imagine the frontier experience.

Emigrants Crossing the Plains by Albert Bierstadt, 1867, National Cowboy & Western Heritage Museum (Oklahoma City, OK)

#ArtHistory #Romanticism #HudsonRiverSchool

*written about it

2015: Obama signs the Iran Nuclear Deal ( Comprehensive Plan of Action (JCPOA)). It was a landmark agreement signed in July 2015 by Iran and the P5+1 (USA, UK, France, Germany, Russia, China) + EU.

2018: Trump pulls us out of it

2026:

He rarely has an Hour 3 plan beyond this: if he's not immediately declared a hero, he denies any knowledge. He didn't know about anything, he didn't know anyone involved, and it's Obama's fault

I know! It took my breath away, yet I could find nothing written about beyond passing mentions in articles about the artist.