Laura JG

The catalogue note: “Suzanne Fabry was the daughter of the Symbolist painter Emile Fabry (1865–1966) and was immersed from her early childhood in an artistic environment. Her father’s many friends became her teachers: Jean Delville, Constant Montald, Fernand Khnopff and Victor Horta. Although she was not herself a Symbolist painter, she was possessed of a lyrical and dreamlike temperament and a very distinctive sensibility, especially evident in her portraits. Between 1932 and 1934, Suzanne Fabry produced several canvases in which her face is depicted in multiples. This was not simply a question of presenting herself to the viewer, or even to herself, frontally and in profile, nor of experimenting with the art of portraiture, in which she excelled, but rather of a deeper self-examination, marked by a piercing, investigative gaze and an absence of complacency. The Triple Self Portrait focuses less on an analysis of her incisive gaze. Here, the eyes are turned towards some other, unspecified place, lost in the distance or modestly lowered. The hand gestures are equally revealing, suggesting that the artist is protecting, controlling or restraining herself. Suzanne Fabry had a very gentle nature, calm but rarely smiling. At thirty years old, this young woman was in full artistic bloom yet retained a certain reserve.”

By Suzanne Fabry (1904-1985), Triple Self-Portrait, 1934, oil on canvas, 77.5 x 89.5 cm (30½ by 35¼ inches, photo: Sotheby’s Paris, March 2023. More in ALT. #WomensHistoryMonth #womanartist #womenartists #art #painting #oilpainting

An expressionistic painting, possibly a burning tree. An estimated 500,000 Roma and Sinti people were murdered in the Holocaust, along with 6 million Jews, and other victims, such as people with disabilities, and homosexuals, political prisoners, etc. From Brooklyn Rail, September 2023, a quote from the artist: “What should I be afraid of? Auschwitz is my overcoat, Bergen-Belsen my dress, and Ravensbrück my undershirt.”

By Romani Holocaust survivor Ceija Stojka (1933-2013), Untitled, 2000, oil on canvas , 60 x 50 cm, © Ceija Stojka, ADAGP, Paris. More info in ALT. #womanartist #womenartists #holocaust #holocaustsurvivors #WomensHistoryMonth

Good Lord! 😡

That is also outrageous!!!!

8 months later, and it’s even worse. Alas. I hope you are well, despite the trauma of just living life here in the US right now. 🙏🏼

🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼

That’s outrageous!!!!!!!! 😡

Quite a story! The Jewish heroine Judith has lured Israel’s enemy, General Holofernes into her tent, got him drunk, and cut off his head. Here she holds the severed head in one hand, her upraised sword in the other. Her maid has a basket ready for it. From the book of Judith, Chapter 13: “So everyone went out, and there was no one left with them in the bedroom, either small or great. Then Judith stood next to his bed and said in her heart, Lord, God of all power, look at this hour upon the work of my hands for the glory of Jerusalem. Now is the time to help your inheritance and to accomplish my plans to destroy the enemies who have risen up against us. Then she went to the bedpost near Holofernes’ head and took down his sword. When she came closer to the bed, she grabbed the hair on his head and said, “Give me strength today, Lord God of Israel.” She struck him in the neck twice with all her might and cut off his head. Then she rolled his body off the bed and pulled down the canopy from the rods. After a little while she went out and handed Holofernes’ head to her servant, who placed it in her food bag. The two of them went out to pray, as was their habit.‘ She takes the head to uzziah, the leader of the city Bethulia. He has this to say: ‘Blessed are you, daughter, by the Most High God, above all the women on earth; and blessed be the Lord God, the creator of heaven and earth, who guided your blow at the head of the leader of our enemies. Your deed of hope will never be forgotten by those who recall the might of God. May God make this redound to your everlasting honor, rewarding you with blessings, because you risked your life when our people were being oppressed, and you averted our disaster, walking in the straight path before our God.” And all the people answered, “Amen! Amen!”’

Women’s History Month. By Lavinia Fontana (1552–1614), Judith with the Head of Holofernes, 1600, oil on canvas, 123x97 cm (48.4x38.1 inches), Davia Bargellini Museum, Bologna, Italy. The story is in ALT. #WomensHistoryMonth #womanartist #womenartists #art #painting #oilpainting

I’m glad you’re home. And bless those patients who were more helpful than the staff! 🙏🏼

A beautiful depiction of a lovely black woman, sitting on the floor(?), one hand on her knee, the other propping up her slightly tilted head. From the National Museum of Women in the Arts: “ The lives and identities of Black people, especially women, are central to Delita Martin’s work. Sometimes she knows the sitters for her portraits well, but other times they are virtual strangers: people she meets in the grocery store or on the street. Martin’s main criterion in selecting a subject is simple: she has to feel a connection with them. That sense of connection can transcend the canvas. After seeing an exhibition of her work one evening, an older Black woman approached the artist with tears in her eyes. As Martin recalls, she said, “‘You have shown us in all of our beauty. Our full lips, our full noses, our skin, our hair.’ That was the best compliment I’ve ever gotten in my entire life; a foremother for me said, you have done well.”

By African-American artist Delita Martin (born 1972), Mirror Mirror, 2020, charcoal, acrylic, decorative papers, liquid silver leaf and hand stitching, ©️Delita Martin. More in ALT. #blackartist #blackart #womanartist #womenartists

Her website: blackboxpressstudio.com/about-delita

Selfie of a silver haired white woman, her long hair pulled over one shoulder.

Sunday Selfie. Shot with my iPhone 15 Pro Max. Edited in Hipstamatic (filters: John S lens/Indio film/Cadet Blue Gel flash). #iphonography #iphoneonly #hipstamatic #instagram #selfportraitsunday

From the blog Jeanie in the Metro, September 21, 2017: “‘After Breakfast’ seems like an act of rebellion: a young woman blowing smoke over the remains of her breakfast, refusing to rush off and do whatever tasks lie in wait. It was painted in 1890 yet it feels so modern; the woman is carving out time for herself, demonstrating an independence and assertion that we usually don’t associate with women of that time. Set in an era before smoking became a knowing act of self-destruction, the painting has an air of freedom about it. From the body language – she might be resting but she’s leaning forward with both elbows on the table – to the uncleared dishes, this is a woman at ease with herself, a woman in command. It’s an image that seems to fit the spirit of the artist. Danielson-Gambogi is generally considered to be Finland’s first bohemian female artist. She was part of the first generation of Finnish women artists to receive a professional art education, the so-called ‘painter sisters’ generation. Teaching drawing gave Danielson-Gambogi financial independence whilst she gained critical acclaim for her art and won scholarships to study in Paris and Florence. She loved to travel and married late – at the grand old age of 36 – to a much younger man, and continued to pursue her art at a time when it was rare for a women to earn a living as an artist.”

Elin Kleopatra Danielson-Gambogi (1861-1919), After Breakfast, 1890, oil on canvas, 26.3x 37 inches (67x94 cm), private collection. #arthistory #womanartist #womenartists #painting #WomensHistoryMonth

Kay WalkingStick, from Tears to Laughter | Magazine | MoMA The artist talks about being true to her Cherokee identity while navigating the art world, and expressing grief and joy through her work.

The work shown here is by Kay WalkingStick, born 1935, "You're an Indian?," 1995, lithograph. As a print it appears in many collections, both public and private. @momanyc.bsky.social #womanartist #womenartists #indigenous #indigenousart #indigenousartist

www.moma.org/magazine/art...

Very much so!

An artwork portraying in collage a young black woman, wearing colorful fashion, her hair braided, a tote hanging from one arm, the opposite hand on her hip. She wears a colorful fashion outfit. From Victoria L. Valentine, Culture Type, April 20, 2018: ‘AS A YOUNG GIRL, Jamea Richmond-Edwards got lost in the pages of Ebony magazine. She was particularly drawn to the runway images from the Ebony Fashion Fair show. Through the otherworldly photographs of stunning black models styled in wildly imaginative ensembles, she discovered haute couture and envisioned herself as a fashion designer. Years later, she chose visual art over fashion design, but never gave up on her desire to explore the artifice of dressing. "Those images were very visually affirming for me. It presented black women in a space that had never seen before," Richmond-Edwards told me via email.’

By Jamea Richmond-Edwards (b. 1982, Detroit, MI), "Archetype of a 5 Star," 2018 (acrylic, spray paint, glitter, ink and cut paper collage on canvas, 60 × 48 inches), ©️ Jamea Richmond-Edwards. #blackart #blackartist #womanartist #womensart #collage Her Instagram: www.instagram.com/jamearichmon...

And the unfiltered version.

You are as fetching & lovely as ever, while I flat forgot to do a #SundaySelfie! So, here is a Wednesday Selfie instead. Shot with my iPhone 15 Pro Max. Edited in Hipstamatic. #iphonography

From the Sotheby’s catalogue note:: “Similar to Cezanne’s self-portrait which is deliberately composed to leave little room for the negative space in the backdrop, the artist’s countenance dominates the picture plane. The hyperbolic scale of the face renders the image intriguing and intense; the experience of viewing the work mimics that of intently looking in a mirror or drawing very intimate contact with another individual. The prim Chinese collar concealing her neck and her neatly pinned, elegantly arranged hair place further focus on her memorable visage, adding to her mystique… Given the youthful glow resonating from Chen’s appearance, this work was conceivably executed in the early 1930s, while the artist was residing in France and experimenting with portraiture. Bearing a reserved expression on her slightly tilted face, Chen is imbued with a sense of feminine vulnerability. Yet, her intense eyes tellingly penetrate the viewer’s consciousness in an arresting and artful symphony. She is mindful of one’s presence, but remains deliberately aloof and silent. The observer is urged to empathize with her timidity, but simultaneously feels confronted by her knowing scrutiny. Painted by a woman prevalent within the context of the male-dominated art circles of 20th century Asia, the self-portrait skillfully captures the contradictory elements of Chen’s character: she is sensitive yet detached, sincere yet private, shy yet determined.”

By Georgette Chen (born Chang Li Ying, 1906-1993), Self-Portrait, oil on wood, 35 by 27 cm (13 3/4 by 10 1/2 inches), photo: Sotheby’s Hong Kong, 04 April 2015. #arthistory #womanartist #womenartists #asianart #painting #oilpainting #WomensHistoryMonth

From the museum: “While some paintings of artists in their studios depict the moment before work begins or give a glimpse midway through the process, this picture shows a triumphant completion. Holding her palette, brushes, and a mahl stick, used to steady the painter’s arm, Schalcken looks out at us and points at her creation. This painting was once attributed to her brother and teacher, Godfried. But a cleaning revealed Maria’s signature in the upper left corner—making it clear that the picture is a self-portrait. This is one of only two known paintings by the artist.”

Continuing this month’s theme of women artists: by Maria Schalcken (Dutch, 1645/50–before 1700), Self-Portrait in Her Studio, ca. 1680, oil on panel, 44.1 x 34.3 cm (17 3/8 x 13 1/2 in.), Museum of Fine Arts, Boston. #arthistory #womanartist #womenartists #painting #WomensHistoryMonth #art

Instagram

The artist’s Instagram: www.instagram.com/dataoruwari

Data Oruwari Data Oruwari | The Ancestors' Scribe

The artist’s website: www.dataoruwari.com

A beautifully executed portrait of a black woman with an elaborate hairstyle, big earrings (and what might be a tattoo on her forehead? ). Her skin and hair are in grayscale Her hands gesture gracefully in front of her. She wears a black dress with black and gold accent at the neck. She is also surrounded by black, gold, and white designs/ symbols. From Design Indaba: "Creative strategist Data Oruwari is formally trained in law and branding but her real passion is creativity. Self-taught in illustration and graphic design, Oruwari creates a number of projects inspired by African subjects. Her mircopen illustrations are characterised by intricate, monochrome dimensions that bring her ideas to life."

Nigerian born artist Data Oruwari (born 1987), based in Brooklyn, The Awakening, 2019, ink, acrylic, gouache and gold leaf on archival paper, 14x20 inches, ©️Data Oruwari #womanartist #womenartists #drawing #africanartist

home | dianaejaita

The artist’s website:

www.dianaejaita.com

From the artist, on the website Afriquette: “I was contacted by The New Yorker's Art Director and was asked to send some sketches in 48 hours for Mothers Day. They were looking for a representation of motherhood with elements that qualify the traditional way of seeing mother from the Nigerian perspective. I decided I wanted to create something modern, intense, yet deeply universal. I had recently returned from a visit to Lagos and decided to portray a mother in the city of Lagos, in the middle of the crazy traffic. I wanted to show the mother who, despite the chaos, still takes time to kneel down to her child and takes time to take care of her at the same eye level. I hoped this sense of motherhood would be universal — that any mother would be able to see herself in it. To me, the illustration is very powerful because it speaks about a sense of belonging to the family and to the land. I was happy to be asked to do the cover and to have the chance to use this major opportunity to say thank you to Lagos, the city that is has been so generous and inspiring to me. I wanted Nigerians around the world to see something from our homeland that would warm their heart.”

My art history theme for March will be women artists. So today: by Nigerian-Italian illustrator and textile artist Diana Ejaita, “Iya Ni Wura (Mother Is Gold),” cover for The New Yorker Magazine, May 13, 2019. #BlackArt #womanartist #womenartists #illustration #illustrationart

I see nothing objectionable whatsoever. But, suggestive, yes maybe. Which is perfectly okay.

From Culture Type: ‘In 2017, Sherald entered the charming portrait of a young woman wearing a red hat, navy blue and white polkadot dress, and white gloves holding an oversized teacup in the National Portrait Gallery's 2016 Outwin Boochever Portrait Competition. The painting won first place and Sherald became the first woman and first Black artist awarded the top prize in the national competition.’

By African-American artist Amy Sherald (born 1973), Miss Everything (Unsuppressed Deliverance), 2013, oil on canvas, 54 x 43 inches, private collection, © Amy Sherald. #arthistory #BlackHistoryMonth #blackart #blackartist #womanartist

Here is the film which explores the relationship between Brown and her niece. kindredspiritsfilm.com

A portrait of a black woman, seated, one hand in her lap, one resting on a table. She is wearing a light blue with red trim long sleeved top. From Paul Richard, “Drawing on the District: The Neglected Art Of Hilda Wilkerson Brown,” The Washington Post, November 14, 1983: “Like the finest works she left us, Hilda Brown herself was sophisticated, genteel, charming, modest, tough. In the '20s and the '30s, she was one of the few painters capable of linking this city's black community to the world of modern art. Her best paintings are delightful. Her subjects are familiar. She painted what she saw here--the lights of Griffith Stadium, brick Victorian row houses, the streets of Le Droit Park. Her oils please at once, and after pleasing unfold slowly. They have quiet truths to give us. Hers are images that teach. When it suited her intentions she would borrow from the moderns. She fully understood the space-declaring brushstrokes of Ce'zanne, Lyonel Feininger's light rays, and the sweet, domestic scale of the paintings at the Phillips. But her style is her own."

By African-American artist and educator Hilda Wilkinson Brown (1894-1981), Portrait of a Girl. I could find little specific information about this painting, nor could I find a better photo. More info in ALT. #arthistory #BlackHistoryMonth #blackart #blackartist #womanartist

By African-American sculptor May Howard Jackson (1877-1931). “Slave Boy,” 1899, bronze. Today, the title is offensive. He’s a young man who is enslaved, not a boy.

As cast bronze, the sculpture is in more than one collection. #arthistory #BlackHistoryMonth #blackart #blackartist #womanartist

Mixed media work depicting a black woman in profile, wearing a flower print head wrap and a black & white print dress of small round circles and larger oblong ones. She is surrounds by green foliage. Behind her, a flower print quilt hangs as if suspended in mid-air. A quote from the artist’s website: “ The conceptual basis of my works (specifically narrative works) comes from a time of the past, whether 40, 60 or 100 years ago. The art world is heavily urbanized, and I do not produce urban art. Regardless of living in urban environments over the past 30+ years, I realize how my rural roots have shaped my value system and world view. The great American migration shifted millions of African Americans from the South to more industrialized cities which has produced millions of urban Black people having little personal reference to the rural existence of their ancestry. I have chosen not to become another urban artist, but nor will I produce works depicting rural life. My aim is to address contemporary issues through Black figuration but only from the backdrop of a non-urban environment. Therefore, I am not an urban artist.” Who is Zipporah? She is Moses’ wife in the Book of Exodus. A very strange passage in the book: ‘But it came about at the overnight encampment on the way, that the Lord met Moses, and sought to put him to death. So Zipporah took a flint and cut off her son’s foreskin and threw it at Moses’ feet; and she said, “You are indeed a groom of blood to me!” So He left him alone. At that time she said, “You are a groom of blood”—because of the circumcision.”’ ~ ‭‭Exodus‬ ‭4‬:‭24‬-‭26‬ ‭(NASB2020‬‬)

By African-American artist Ronald Jackson, born 1970, Zipporah's Song, 2014, oil and fabric on wood, 36 × 36 in. (91.4 × 91.4 cm), DC Commission on the Arts & Humanities. #BlackHistoryMonth #blackart #blackartist #art
The artist’s website: www.ronaldjacksonartworks.com/about