First Amendment Girl

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.

Blue Dancer by Gino Severini, 1912, Gianni Mattioli Collection, on long term loan to the Peggy Guggenheim Collection (Venice, Italy)

#ArtHistory #ModernArt #Futurism

He always looks like a member of Hitler Youth to me

I'll say again, I really think Trump has no idea how to win the Nobel Peace Prize

“603A Sunset,” created by Hundertwasser in 1966, is a notable woodcut artwork. As part of the “Nana Hyaku Mizu” series, this figurative piece embodies elements of the Transautomatism art movement, a distinctive genre championed by Hundertwasser. The artwork depicts an abstract yet vibrant interpretation of a sunset, captured through a symphony of bold colors and undulating lines. Central to the composition is the radiant sun, rendered in luminous shades of yellow, enveloped by a complex series of concentric curves in hues of red, green, and blue. These lines cascade in waves, creating a dynamic ripple effect that extends throughout the piece, evoking the transient beauty of a sunset. The lower portion features geometric shapes reminiscent of buildings, bathed in warm tones of brown, gold, and green. An eclectic mix of angular forms and organic curves, the design achieves a harmonious balance between nature and the built environment, reflective of Hundertwasser’s characteristic style and his overarching philosophy that blurs the lines between art, architecture, and nature. The presence of traditional Japanese seals and characters further enriches the cultural and artistic tapestry of this esteemed work.

603A Sunset by Friedensreich Hundertwasser, 1967, Private Collections

#ArtHistory #ContemporaryArt #Transautomatism

In the winter of 1884-85, Homer traveled from his home in Maine to the Bahamas, creating a series of illustrations for Century Magazine that capture the dazzling light and color of the Caribbean islands. His watercolors depicted the architecture, the islands’ residents, flora and fauna, and natural features of the landscape. Glass Window Bridge, pictured here, was a naturally formed stone arch on the island of Eleuthera. Peering through its “window,” visitors see the deep blue expanse of what is likely the Atlantic Ocean to the northwest and the turquoise waters of the Bight of Eleuthera to the southeast. Homer deftly paints the effect of sunlight on the facets of stone, framing the distant view, which includes a boat. Over the last century, intense storms have eroded the stone that Homer saw on his visit, and the space is now spanned by a concrete bridge with a roadway.

Glass Windows, Bahamas by Winslow Homer, c. 1885, Brooklyn Museum (New York)

#ArtHistory #ModernArt #Realism

Three men stand around a saddled horse, seemingly engaged in conversation, likely discussing the potential purchase of the horse. The setting appears to be a rural, possibly western, environment characterized by the sandy ground and rustic buildings in the background, with additional horses visible in the distance. The warm, vibrant colors and the use of light and shadow are indicative of the Impressionist style, adding a sense of realism and immediacy to the scene. The men’s attire and the overall composition reflect the authenticity and essence of life in the American West during that era.

Buying Polo Ponies in the West by Frederic Remington, 1905, Private Collection

#ArtHistory #ModernArt #Impressionism #AmericanImpressionism

Chueh's images have been praised for their juxtaposition of cuteness with the macabre. "Traditionally, the sublime is described as the beautiful tinged with pain," said Steppling gallery director Sheila Dollente. "Chueh pares that idea to a single spare image borne by figures reminiscent of the soft, innocent stuffed animals of childhood. His paintings are at once intriguing, puzzling, friendly and sorrowful." His paintings and illustrations are noted for bringing together influences as diverse as Mark Rothko and Sanrio. Chueh draws inspiration from deeply personal experiences and pop culture, and has created works that stem from the intolerance he experiences as a Chinese-American.

Bear in Mind by Luke Chueh, 2006

#ArtHistory #ContemporaryArt #LowBrowArt

Also the cover of the artist's book, "Bearing the Unbearable"

Atmospheric light dissolves the edges of the scene. The arches of Waterloo Bridge emerge from a pervasive haze, their stone forms softened by the diffused sunlight. Above the bridge, indistinct industrial chimneys pierce the vaporous sky, their presence a testament to burgeoning modern metropolis. The water below churns with the muted reflections of the city, disturbed by the faint passage of small boats. Short, broken strokes of color construct the surfaces, allowing light to permeate and blur form. This dissolution of precise detail captures the transient, shimmering quality of the London air, itself a subject of industrial transformation. The city's energy hums just beneath the surface of perception, rendered in fleeting impressions of color and light. Such a vision encapsulates the fleeting perceptions of urban life at the dawn of a new century, a time of rapid change and burgeoning industrial power. Monet's Waterloo Bridge series falls within the late Impressionist and early Post-Impressionist periods. While rooted in lmpressionism's focus on light and color, these works demonstrate a move towards greater abstraction and a concern capturing subjective experience. The series anticipates the developments of early modern art, particularly the emphasis on atmosphere and emotional response seen in movements like Expressionism. Monet's repeated depictions of the same subject, under varying conditions, also foreshadows the serial imagery explored by artists like Warhol in the 20th century.

Waterloo Bridge, Hazy Sunshine by Claude Monet, 1903, Private Collection

#ArtHistory #ModernArt #Impressionism

Cliff Rock- Appledore by Childe Hassam,1903, Indianapolis Museum of Art at Newfields (Indiana)

#ArtHistory #ModernArt #Impressionism #AmericanImpressionism

Street from Cluj by Teodor Harșia, 1958, Private Collection

#ArtHistory #ModernArt #Expressionism

Frankenthaler is recognized as one of the great American artists of the 20th century. Her development from Abstract Expressionism to Color Field painting consistently challenged traditional conventions over the course of 50 years. Her innovative "soak-stain" technique, first deployed in 1952 with solvent-thinned oil paint, and then after 1962 with acrylic, reinvigorated abstract art, with pigments brushed, dripped, poured, sponged, and dragged across unprimed bolts of canvas laid out on the studio floor. Her command of color and space, coupled with a process that thrived on intuitive spontaneity, yielded a prolific stream of paintings on canvas and paper. In the early 1960s, Frankenthaler transitioned from oil to acrylic paint, a faster-drying, less translucent, more opaque medium. She adapted acrylic to her stain techniques with impressive results. Santorini, from 1965, is titled after the Greek island known for its expansive vistas of the Aegean Sea. Athens and the Greek Islands were part of an extended tour that Frankenthaler made with Motherwell and his two daughters, Lise and Jeannie, during the summer of 1965. Their itinerary also included Paris, Venice, and London. The painting, a prime example of Frankenthaler's poetic abstraction, distills amorphic and geometric forms into a pared-down configuration suggesting elements of land,sea, and sky. The reference to Santorini, the affinity to an expansive sea and a rugged coastline, provides the entry point to an abstract image rife with ambiguity.

Santorini by Helen Frankenthaler, 1965, Guggenheim Bilbao (Spain)

#ArtHistory #ContemporaryArt #ColorField

Keep hope alive. From his lips to God's ear. Don't threaten me with a good time.

Shoppenagons, Last of the Chippewas age 90 by Eanger Irving Couse, 1911, Eiteljorg Museum (Indianapolis, IN)

#ArtHistory #ModernArt #Realism

For more on Chief David Shoppenagons see: saginawcountyhalloffame3.org/chief-david-...

He's believing his own press

Table for Ladies by Edward Hopper, 1930, Metropolitan Museum of Art (New York City, NY)

#ArtHistory #ModernArt #Realism #AmericanRealism

See: www.dailyartmagazine.com/edward-hoppe...

A landmark not only of the city of Paris, but also of modernism, Delaunay devoted a long series of works to the Eiffel Tower, which was erected for the 1889 Universal Exposition. At the time when Braque and Picasso were developing cubism, Delaunay used the motif of the spectacular steel skeleton construction to illustrate the dynamics of human perception. The entire picture is composed of facets and adds up to different perspectives on the object - as though the viewer were a strolling flâneur [French term for a person who wanders through a city, observing and absorbing its sights and sounds].

Eiffel Tower by Robert Delaunay, 1911, Staatliche Kunsthalle Karlsruhe (Karlsruhe, Germany)

#ArtHistory #ModernArt #Orphism

I had a long complex dream last night, but this is all I remember: I was a double agent in the CIA trying to undermine Trump. My partner was Taylor Swift.