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I knew this #farmer and his wife would be super critical and #energyvampires #FourinAbed #Alston

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A young Black woman sits with her body turned slightly while she looks off to our left, as if her attention has been caught by something beyond the frame. She wears a vivid red dress that is both formal and modern, anchored by a large, rounded white collar and chest drop that brightens her neckline and draws our eyes upward. Her hair is short and close to the head, shaping her profile with clean, sculptural clarity. The painting balances bold color against simplified forms as her figure is modeled with calm, steady contours rather than fussy detail, giving her an iconic stillness. The setting is spare and uncluttered, letting the red of the dress carry emotional weight via warmth, visibility, and intent while her gaze remains reserved, self-contained, and unmistakably dignified. Nothing about her posture asks for permission so the portrait holds her as a person with interior life, style, and agency, captured in a moment that feels quiet but resolute.

Made in 1934, this work sits within Harlem Renaissance portraiture’s insistence on modern Black subjecthood and beauty without caricature plus selfhood without explanation. Art historian Richard Powell called this painting a model of the “New Negro” woman: “defiantly black, beautiful, and feminine, yet also unsettled, mysterious, and utterly modern.” American artist Charles Henry Alston’s approach reinforces that tension as the sitter is intimate in scale, yet deliberately unreadable. The painting’s sculptural face and elongated neck also echo Alston’s interest in African aesthetics joined to modernist pictorial flatness. In the mid-1930s, Alston was stepping into public leadership as an artist-educator and WPA mural supervisor in Harlem, helping shape a visual culture of representation. This portrait embodies Alain Locke’s challenge that “art must discover and reveal the beauty which prejudice and caricature have overlaid” … not by idealizing the sitter, but by granting her complexity and presence.

A young Black woman sits with her body turned slightly while she looks off to our left, as if her attention has been caught by something beyond the frame. She wears a vivid red dress that is both formal and modern, anchored by a large, rounded white collar and chest drop that brightens her neckline and draws our eyes upward. Her hair is short and close to the head, shaping her profile with clean, sculptural clarity. The painting balances bold color against simplified forms as her figure is modeled with calm, steady contours rather than fussy detail, giving her an iconic stillness. The setting is spare and uncluttered, letting the red of the dress carry emotional weight via warmth, visibility, and intent while her gaze remains reserved, self-contained, and unmistakably dignified. Nothing about her posture asks for permission so the portrait holds her as a person with interior life, style, and agency, captured in a moment that feels quiet but resolute. Made in 1934, this work sits within Harlem Renaissance portraiture’s insistence on modern Black subjecthood and beauty without caricature plus selfhood without explanation. Art historian Richard Powell called this painting a model of the “New Negro” woman: “defiantly black, beautiful, and feminine, yet also unsettled, mysterious, and utterly modern.” American artist Charles Henry Alston’s approach reinforces that tension as the sitter is intimate in scale, yet deliberately unreadable. The painting’s sculptural face and elongated neck also echo Alston’s interest in African aesthetics joined to modernist pictorial flatness. In the mid-1930s, Alston was stepping into public leadership as an artist-educator and WPA mural supervisor in Harlem, helping shape a visual culture of representation. This portrait embodies Alain Locke’s challenge that “art must discover and reveal the beauty which prejudice and caricature have overlaid” … not by idealizing the sitter, but by granting her complexity and presence.

“Girl in a Red Dress” by Charles Henry Alston (American) - Oil on canvas / 1934 - Metropolitan Museum of Art (New York) #WomenInArt #CharlesHenryAlston #Alston #HarlemRenaissance #AfricanAmericanArt #BlackPortraiture #BlackArt #artText #BlueskyArt #AmericanArt #PortraitofaGirl #TheMet #MetMuseum

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#WALK #THE #SKY
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#DEMOLITION BY #NEGLECT
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#CHICAGO ##FILM #CRITICS #ASSOCIATION #AWARD #FOR #BEST #FOREIGN #LANGUAGE ##FILM
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ALSTON. CUMBRIA. ENGLAND. 21-09-19. A county boundary road sign for the county of Northumberland by the A686 road on the route to the town of Hexham Stock Photo - Alamy Download this stock image: ALSTON. CUMBRIA. ENGLAND. 21-09-19. A county boundary road sign for the county of Northumberland by the A686 road on the route to the town of Hexham. - 2HPM1A9 from Alamy's...

www.alamy.com/alston-cumbr...
ALSTON. CUMBRIA. ENGLAND. 21-09-19. A county boundary road sign for the county of Northumberland by the A686 road on the route to the town of Hexham.
#Cumbria #Alston #A686 #Northumberland #roadsign

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The dangers of relying on ChatGPT

#insiders
#Alston
#notdeadyet

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⭕"La #France est le 2ᵉ client LE PLUS IMPORTANT #d’Israël(..) les échanges commerciaux représentent UN PEU PLUS DE 4 MILLIARDS (..) des entreprises comme #Alston, #Décathlon, #Vuitton, #EDF et #Sanofi officient ici en #Israël."

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Just had a little wander around #Alston #Cumbria.

In about 1/2 an hour saw or heard following
#wren
#rook
#chiffchaff
#robin
#goldcrest
#jackdaw
#greenfinch
#woodpigeon
#swallow
#chaffinch
#spottedflycatcher
#sparrow
#greattit
#mallard

#ukbirds #birds 🐦🦆🪶

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A beautiful plant of uncut or late cut grasslands in the #hills of the North like the @northpennines.bsky.social ... lots on suitable road verges eg between #Alston and #Middleton-in-Teesdale at the moment... a post glacial survivor

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🧥 Let me tell you a bit more about my books...
#TheVintageCoat was my #DebutNovel, inspired by a real #WWII coat I found in an antique shop in #Alston, #Cumbria. In the story, putting the coat on takes you back to 1943… taking it off returns you to now.
linktr.ee/christurnbul...

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ALSTON. CUMBRIA. ENGLAND. 21-09-19. A county boundary road sign for the county of Northumberland by the A686 road on the route to the town of Hexham Stock Photo - Alamy Download this stock image: ALSTON. CUMBRIA. ENGLAND. 21-09-19. A county boundary road sign for the county of Northumberland by the A686 road on the route to the town of Hexham. - 2HPM1A9 from Alamy's...

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ALSTON. CUMBRIA. ENGLAND. 21-09-19. A county boundary road sign for the county of Northumberland by the A686 road on the route to the town of Hexham.
#Alston #Cumbria #landscapephotography #roadsign

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Getting ready for the day at South Tynedale Railway in #Alston #Cumbria

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#Alston sky tonight

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A series of banks and ditches in the high moorland, looking like a rolling sea of grass.

A series of banks and ditches in the high moorland, looking like a rolling sea of grass.

The south west defences of Whitley Castle / #Epiacum fort, looking outward from its rampart. Near #Alston, in historic #Cumberland, it is a truly remarkable place. I visited for the first time recently and was taken aback, even though I knew what to expect. #RomanFortThursday #RomanBritain
📷 Mine.

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#Sunset trying its best to break through in #Alston, #Cumbria.

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The #sunset tonight is courtesy of #Alston, #Cumbria. 🌇

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Views from the garden #alston #cumbria

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It's a lovely springlike day (despite waking up to a bit of frost) here in #Alston #Cumbria.
Just had a mindful 10 minutes stood on the door step listening to the #birdsong. 13 different species heard/seen.

🪶🐦 #ukbirds #birds #birding

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