#AmericanArtist

Michael

@mdstamper.bsky.social

6 hours ago

The title deliberately echoes Otto Müller’s earlier Three Girls in a Wood, but American artist Kehinde Wiley transforms that art reference with contemporary women fully clothed in garments that read as self-chosen, poised between intimacy and autonomy. Three Black women sit together on a vivid red background before a dense, decorative field of pink floral patterning. The left woman sits cross-legged, her arms folded around one knee, wearing a dark short-sleeved top, patterned leggings, sandals, a watch, and a choker. Her face turns slightly to the side with a calm, guarded expression. At center, a woman in a coral-pink shirt and hoop earrings sits with her back mostly toward us, twisting her torso so her profile appears in sharp relief. One hand braces behind her while the other arm rests loosely on a bent knee. At right, a woman in a pale lavender T-shirt and blue star-patterned pants sits with her legs folded close, turning her head outward to meet us with a direct, serious gaze. Wiley paints their skin with luminous care and individualized attention, while curling green vines and small blossoms seem to spill across their bodies, partially overlaying clothing, arms, and legs. The setting is not a naturalistic forest but a flattened, theatrical surface of ornament, beauty, and visual tension. This work emerged from Wiley’s practice of inviting local residents into compositions historically reserved for people granted prestige, permanence, and power. The floral wallpaper-like field replaces the “wood” with a stylized environment that feels both seductive and encroaching, as if history, design, and representation are pressing in. In 2018, Wiley was extending his well-known revisions of European portrait traditions into more sustained depictions of women, asking who gets to occupy monumentality, beauty, and museum space. The result is both homage and correction: 3 women presented not as allegorical types, but as individuals with complexity, agency, and quiet force.

“Three Girls in a Wood” by Kehinde Wiley (American) - Oil on linen / 2018 - Joslyn Art Museum (Omaha, Nebraska) #WomenInArt #KehindeWiley #Wiley #JoslynArtMuseum #BlackArt #ContemporaryArt #TheJoslyn #BlackArtist #AfricanAmericanArt #art #artText #2010sArt #BlueskyArt #AmericanArt #AmericanArtist

ANDREW THOMAS

@andrew-thomas10.bsky.social

19 hours ago

Digital Art by Jimmy, Florida, USA

Digital drawing by Jimmy, Florida, USA

🎨🖌ME BY ARTISTS🖌🎨 DIGITAL DRAWING by JIMMY #americanartist #floridaartist #digitalartist #digitalillustrator #eroticartist #queerartist

Michael

@mdstamper.bsky.social

23 hours ago

Three women occupy a sun-warmed rooftop in lower Manhattan, framed by brick parapets, laundry lines, and a hazy skyline of tenements and industrial buildings. At left, a fair-skinned reddish-blonde woman in a loose white blouse and deep green skirt lifts both arms to her head, elbows wide, as if fluffing out thick hair. In the center, a pale woman with short dark hair relaxes sideways on a ledge in a shadow wearing a soft blue top and white skirt, one arm bent behind her head. At right, a light-skinned woman with very long tawny hair bends at the waist in a flowing white dress, one hand braced on her hip as her hair spills forward. Their bodies are unguarded, practical, and self-possessed rather than posed for display. Behind them, white sheets snap on a clothesline, and the dark roof tar catches broad bands of afternoon light and shadow. American artist John Sloan’s brushwork is loose but precise where it matters like the fall of hair, the heat-softened air, the rough masonry, and the sense of a private ritual unfolding in a semi-public urban space. The painting turns an ordinary summer necessity into a quietly radical image of modern city life. Sloan, a leading Ashcan School painter, looked from his Greenwich Village studio onto neighboring rooftops and found what he called the “human comedies” of everyday people. Here, the roof an outdoor room created by crowded tenement living, where women claim air, light, and brief leisure above the street. The scene carries tenderness without sentimentality. These are not idealized muses but working urban women, often understood as immigrant New Yorkers, making use of the little freedom available to them. Painted in 1912, the year Sloan established the nearby studio that inspired many of his rooftop views and began serving as art editor for “The Masses,” the work reflects his deep interest in labor, modern life, and the dignity of people usually excluded from “high” art.

“Sunday, Women Drying Their Hair” by John Sloan (American) - Oil on canvas / 1912 - Addison Gallery of American Art, Phillips Academy (Andover, Massachusetts) #WomenInArt #JohnSloan #Sloan #AddisonGallery #AmericanArt #PhillipsAcademy #AshcanSchool #art #BlueskyArt #artText #1910sArt #AmericanArtist

Michael

@mdstamper.bsky.social

1 day ago

Painted in 1870, this work belongs to American artist Winslow Homer’s early mature period, when he was moving beyond his fame as an illustrator and developing ambitious paintings of modern American life. Three women stand on a sandy beach under a pale, open sky as waves roll into the seashore. A woman in the center faces slightly away as she bends to wring water from her long hair and heavy bathing dress. The wet fabric clings to her body and drops in dark folds toward her calves. Her skin is bright against the darker garment, and her stance feels steady and private. Nearby, two other women in bathing clothes remain closer to the surf. One sits on the ground adjusting her shoes while he other with her back to us seems to be grabbing her long black skirt. Together they create a sense of a shared outing to Eagle Head at Manchester-by-the-Sea. A small dark dog startles at the dripping water near the women’s feet. Homer places the women between land and sea, with rough stones, shallow foam, and a broad horizon making the air feel cool, salty, and exposed. After the Civil War, Homer often depicted women in public space, and here leisure is quietly charged with social tension as bathing costumes suggest modesty. Not surprisingly, the scene unsettled some early viewers, who read the women’s wet clothing and physical presence through the lenses of class, decorum, and gender. That unease still animates the picture. The central bather appears absorbed in her own bodily experience, not posed for us, and that inwardness gives the scene its mystery. Rather than idealizing the women, Homer gives them weight, presence, and individuality. The result is both observational and radical for a painting about seaside recreation, but also about modern womanhood, privacy, and the uneasy act of looking.

"Eagle Head, Manchester, Massachusetts (High Tide)" by Winslow Homer (American) - Oil on canvas / 1870 - The Metropolitan Museum of Art (New York, New York) #WomenInArt #WinslowHomer #Homer #1870sArt #MetMuseum #TheMET #AmericanArt #BeachArt #art #artText #AmericanArtist #MetropolitanMuseumOfArt

Yale University Press

@yalepress.bsky.social

1 day ago

Amy Sherald Sees the Beauty in Everyday Americans Her portraits are currently on display in a solo exhibition that she says represents what America is, was, and could be

"I'm an American storyteller, and these are my stories too"-Amy Sherald
Experience the power of Amy Sherald's portraits in the book Amy Sherald: American Sublime.
#AmySherald #womenoftheyear #americanartist #portraiture #artbooks

yang-key

@rustyfrog.bsky.social

1 day ago

NYC Upper Western. ( on site painting oil on panel

#art #sam_minot #americanartist

Michael

@mdstamper.bsky.social

2 days ago

An irregular 12-sided canvas holds a dreamlike scene against a smoky rose, mauve, and umber sky. Three Black women emerge from darkness and from folds of silver-gray drapery that gather heavily across the lower edge. At left, one woman faces forward with a steady gaze. The top of her head opens into a glowing, brain, edged by pale light. At right, a second figure turns in profile, chin lifted, eyes looking off to the side. Between them, a third rests lower, head tilted and half-reclining. Around and above them, disembodied hands descend or hover, some open, some curled, some gently offering. Sprays of vivid yellow flowers thread through the composition like sparks or veins, crossing bodies, hands, and cloth. Fine gold contour lines trace shoulders, arms, and fingers, making parts of the figures seem to appear and disappear at once. The title “Catalyst” suggests activation like a force that sets change into motion without fully containing it. American artist Maryam Adib’s larger practice centers memory, dreams, lineage, and the natural world. This painting feels like as an image of psychic, ancestral, and communal awakening. The opened head, hovering hands, and branching flowers imply thought becoming growth, memory becoming action, and care becoming transformation. Rather than isolating the figures, the composition binds them through touch, atmosphere, and shared symbolic space. Made when Adib was a young artist before completing her BFA in 2020, the work already shows themes that would define her later practice: magical-realist figuration, layered consciousness, and histories felt in the body. In Cornell’s Here & Now: Artists of Central New York, the painting also resonates with the exhibition’s focus on the body as a site where identity, place, and lived experience converge.

“Catalyst” by Maryam Adib (American) - Oil & acrylic on canvas / 2019 - Herbert F. Johnson Museum of Art (Ithaca, New York) #WomenInArt #WomensArt #WomanArtist #WomenArtists #MaryamAdib #Adib #JohnsonMuseum #JohnsonMuseumOfArt #Cornell #art #artText #artwork #2010sArt #AmericanArtist #AmericanArt

Michael

@mdstamper.bsky.social

3 days ago

American artist Charles Courtney Curran spent summers at the Cragsmoor art colony near Ellenville, New York, where he developed some of his most recognizable images of women placed in sunlit, idealized landscapes. He was already strongly associated with this mountaintop community, and its clear air, dramatic views, and cultivated leisure shaped the mood of paintings like this one. In this 1909 work, a group of women are not shown laboring or narrating a specific story. Instead, they are emblems of calm companionship, modern femininity, and seasonal freedom. Three young women sit side by side on a rocky ledge, shown in left profile against a vast, luminous sky. Their light skin is warmed by sun and flushed softly at the cheeks. Each wears a flowing white summer dress with short puffed sleeves, the fabric catching blue, cream, and peach reflections from the open air. Their hair is pinned up in loose early-20th-century styles. The nearest woman’s dark brown hair is fuller and more shadowed, while the two beyond her have lighter brown and golden tones. Their bodies lean slightly forward in a shared, attentive stillness, hands resting in their laps on the folds of their skirts. Low green plants edge the stone at the bottom of the canvas, but most of the composition is a brilliant blue sky veiled with sweeping white clouds so the women seem suspended between earth and atmosphere. The trio’s placement above the horizon gives them an almost monumental presence, yet the painting remains tender rather than grandiose. Curran’s impressionist-inflected brushwork and radiant sky turn an ordinary pause outdoors into a vision of aspiration with the women literally and symbolically “on the heights,” poised between intimacy and idealization plus earth and atmosphere. The result is both accessible and slightly dreamlike privilege for a celebration of light, youth, and shared presence in nature.

“On the Heights” by Charles Courtney Curran (American) - Oil on canvas / 1909 - Brooklyn Museum (New York) #WomenInArt #CharlesCourtneyCurran #Curran #CharlesCurran #BrooklynMuseum #AmericanImpressionism #art #artText #arte #artwork #BlueskyArt #AmericanArt #AmericanArtist #PortraitofWomen #1900sArt

yang-key

@rustyfrog.bsky.social

4 days ago

The Cloud Forest. Costa Rica oil on canvas ( I did this standing in a shallow stream.
#art #sam_Minot #americanartist

Patrick Saunders Fine Arts

@patricksaunders.bsky.social

4 days ago

#art #fineart #artstream #artreview #artdiscussion #artcritique #arttalk #patricksaunders #patricksaundersfinearts #representationalart #realistart #floralart #floralpainting #oilpainting #MuseumTourTuesday #americanpainting #americanart #americanartist #mariadewing #smithsonian

Michael

@mdstamper.bsky.social

1 week ago

Painted during the Works Progress Administration (WPA) era of the 1930s, this scene reflects a broader American Regionalist interest in everyday life and community during the Great Depression. The Federal Art Project supported thousands of artists and encouraged depictions of local environments and ordinary people, sustaining artists while documenting American social landscapes. Born in Louisville and raised in Nashville, American artist Meyer R. Wolfe often depicted working-class and African American life in the city and the experiences he observed around him. In “The Conversation,” the simple act of two women talking beside a clothesline becomes quietly symbolic of domestic labor, neighborhood connection, and shared resilience he witnessed during the difficult Jim Crow era. Two Black women stand together in a yard beside a clothesline heavy with freshly washed garments. Their bodies lean slightly toward each other as if absorbed in quiet conversation. They are placed near the center of the composition, their dark silhouettes contrasted against the lighter cloth that hangs in soft shapes behind them. A wooden fence and modest buildings frame the space, while a church steeple rises in the background against a dim, evening sky. The setting suggests an ordinary residential neighborhood (likely Nashville, where the artist grew up). The women’s posture and proximity emphasize intimacy and trust rather than spectacle. We observe the moment almost as a passerby might, catching a private exchange at the end of the day. This painting was included in the Frist Art Museum’s survey exhibition “The Art of Tennessee,” where it illustrated Jewish American Wolfe’s role in portraying regional life in the American South.

“The Conversation” by Meyer R. Wolfe (American) - Oil on panel / c. 1930s - Frist Art Museum (Nashville, Tennessee) #WomenInArt #MeyerRWolfe #Wolfe #FristArtMuseum #AmericanArt #WPAArt #MeyerWolfe #artText #art #AmericanRegionalism #BlueskyArt #1930sArt #PortraitOfWomen #TheFrist #AmericanArtist

Nudo Artistico

@artsex.bsky.social

1 week ago

#americanartist #photographer

Peter Beard (1938-2020)
Jenny's Jewelry, Montauk
2006

Michael

@mdstamper.bsky.social

1 week ago

Painted in 1940, when Texas was being remade by oil wealth, roadside commerce, and Depression-era dislocation. American artist Jerry Bywaters, then in his mid-thirties, had already become a central figure in Texas regionalism. Rather than romanticizing the state, he shows its contradictions: opportunity beside exploitation, faith beside commerce, plus heat and smoke beside cosmetics and poise. The sitters’ identities are not known, but their anonymous presence becomes part of the painting’s power. They stand for the human cost and human nerve required to move through a world where modern industry promises escape even as it scorches the land around them. Two women stand at the edge of a West Texas road with a tense, almost theatrical presence. One wears a fitted black dress, black heels, a necklace, and a feathered black hat over blond hair. Her posture is upright and self-possessed, as she looks into the distance. Beside her, a second woman wears a white blouse, yellow skirt, red belt, and tall western boots as she holds a white hat. A suitcase and round hatbox rest near their feet. Their cheeks and lips are brightly painted, their legs elongated, and their clothing sharply outlined. Behind them stretch signs, poles, a garage, scattered tires, roadside advertisements, and oil fires that stain the sky with smoke. The women are often read as sex workers waiting for a ride into the oil fields, yet the picture resists easy judgment. Bywaters called the image a “sympathetic caricature,” and their stylization does not flatten them into mockery, but heightens their force, danger, glamour, fatigue, and will. The road curves forward past Joe’s Garage, a Jax beer sign, “Hattie’s Hut,” and the unsettling contrast between a “666” sign and nearly hidden “Jesus Saves” tag to set up a visual argument about boomtown desire, moral anxiety, and survival in a landscape transformed by the oil industry. The women are not passive victims. They appear monumental, alert, and determined.

“Oil Field Girls” by Jerry Bywaters (American) - Oil on board / 1940 - Blanton Museum of Art (Austin, Texas) #WomenInArt #JerryBywaters #Bywaters #BlantonMuseum #TexasArt #AmericanArt #art #artText #BlueskyArt #UTA #BlantonMuseumOfArt #AmericanArtist #1940sArt #OilFields #arte #AmericanRegionalism

Michael

@mdstamper.bsky.social

2 weeks ago

Two Indigenous (Native American) women crouch close together on sunlit ground, turned slightly toward our right as if focused on something just beyond the frame. Both hold their hands raised at chest level, palms nearly caught mid-clap to suggest a steady rhythm rather than a single loud strike. The woman at left appears older, with a deeply lined face and a calm, intent expression. She wears a light blanket or shawl draped over her shoulders with geometric banding. The woman at right appears slightly younger, her dark hair pulled back. She wears a pale top and a warm, reddish skirt. The background is pared down to soft, sandy tones with minimal detail, so the women’s bodies, garments, and gestures carry the whole scene. Their posture is grounded, balanced, and purposeful like communal music and movement you can almost hear. American artist Joseph Henry Sharp frames the women’s clapping as both performance and prayerful attention, emphasizing rhythm as a shared form of knowledge and something made together, not possessed. As an artist closely associated with Taos, New Mexico and the early 20th-century art colony there, he repeatedly painted Indigenous life through an outsider’s eye, often blending careful observation with the era’s taste for “timeless” images of Native cultures. That tension matters here because the women’s identities are not named, yet their presence is rendered with dignity and concentration, asking us to notice skill (timing, breath, cadence) rather than spectacle. Scholarship around this work’s dating is complicated. Museum records place it around 1930, while other research links the title and signature style to Sharp’s earlier western period which suggests he may have revisited a long-held subject over time. Either way, the painting lingers on what endures: synchronized hands, shared song, and the authority of women shaping ceremony through sound and movement.

“The Chanters” by Joseph Henry Sharp (American) - Oil on canvas / c. 1930 - New Mexico Museum of Art (Santa Fe, New Mexico) #WomenInArt #JosephHenrySharp #JosephSharp #NativeAmericanArt #IndigenousWomen #PortraitofWomen #art #artText #AmericanArt #AmericanArtist #NewMexicoMuseumofArt #TaosSchool

Michael

@mdstamper.bsky.social

2 weeks ago

Two girls, identified in the title as sisters, sit outdoors in a sunlit community setting painted with thick, energetic brushstrokes and vivid color. The girl at right is nearest us, seated upright and turned slightly toward us. She has medium-brown skin, dark hair parted in the center and tied back, and a calm, steady expression. She wears a saturated blue-turquoise blouse and a yellow-orange skirt, her hands gathered in her lap. Beside her, the second girl turns inward in profile, smiling softly and looking down. She wears a bright rose-pink blouse and a lavender-purple skirt. Behind them, a loom spans the left side of the scene; other figures sit nearby, and horses appear at the right edge. Pale sandy ground, lilac shadows, and a bright blue sky create a dry, open atmosphere of everyday life, work, and kinship. The title preserves period catalog language (“Navajo”) and appears to pair a general title with a quoted identifying phrase naming the sitters as “two sisters.” Today, many people prefer Diné, the people’s own name, and the painting can be read with that respect in mind while retaining the museum’s recorded title. Ellis gives the girls individuality through expression, posture, and color contrast rather than treating them as anonymous “types.” Painted in 1957, this work comes late in Fremont F. Ellis’s career, after his long involvement in the Santa Fe art world and his association with Los Cinco Pintores. His handling here remains representational but animated by modern color relationships and brisk, visible paint. The painting also carries the civic history of its collection: gifted by the Springville High School Senior Class in 1958, it reflects Springville’s distinctive student-led collecting tradition and the role of local public institutions in shaping how regional and Southwestern art was seen and valued.

“Navajo Girls” / “Naki Deezht two sisters Navajo” by Fremont F. Ellis (American) - Oil on canvas / 1957 - Springville Museum of Art (Springville, Utah) #WomenInArt #FremontEllis #Ellis #SpringvilleMuseumOfArt #PortraitOfWomen #SouthwesternArt #Diné #art #artText #artwork #AmericanArt #AmericanArtist

ANDREW THOMAS

@andrew-thomas10.bsky.social

2 weeks ago

🎨🖌ME BY ARTISTS🖌🎨 "FAIRY AMONG BUTTERFLIES". DIGITAL DRAWING by #americanartist #chicagoartist #digitaleroticartist #digitalartist #eroticartist @antoniopalermo6969.bsky.social
Video by ANDREW THOMAS

Robert Azensky Fine Art

@azenskyfineart.bsky.social

2 weeks ago

Margaret M. Kilburn - "Gulls On The Rocks" - Original Lithograph On Paper For Sale on 1stDibs - "Gulls On The Rocks" - Original Lithograph On Paper, India Ink, Laid Paper, Screen Print by Margaret M. Kilburn. Offered by Robert Azensky Fine Art.

Margaret M. Kilburn
"Gulls On The Rocks" - Original Lithograph On Paper
buff.ly/VDf2FUS

#americanartist #printmakingtoday #printmaking #printmakingartist #printmakingart #impressionist #impressionistart #impressionism

Michael

@mdstamper.bsky.social

2 weeks ago

Two women are shown in a close, vertical composition, cropped tightly so their bodies and faces fill most of the picture space. The taller sitter stands behind and to the left, facing forward with a calm, direct, unsmiling gaze. Her skin is rendered in warm brown and amber tones while her dark hair is short and softly waved. She wears a pink garment with broad folds and a deep neckline. In front of her, a second woman turns in profile to the right, her face gently modeled and thoughtful, with a blue headwrap covering her hair and a pale cream garment draped across her shoulders. She holds a long blue-green vertical pole near the left edge of the painting. The background is loose and atmospheric with greens, tans, and browns brushed broadly so the emotional focus remains on the women’s presence, proximity, and relationship. The painting conveys dignity, quiet strength, and intimacy without sentimentality. The title “The Sisters” invites a reading of kinship, but American artist Peggy Strong builds meaning through pose and orientation as much as title. As one woman meets us, the other turns inward, creating a subtle dialogue between outward endurance and private reflection. Painted in 1938, the work belongs to a crucial period in Strong’s life and career. After a devastating 1933 automobile accident left her paralyzed, she continued to paint and develop a serious professional practice and exhibiting beyond the Pacific Northwest. “The Sisters” was documented as an oil painting shown at the 1940 Virginia Biennial, underscoring Strong’s national visibility. Seen in the context of her shortened life and her persistent artistic work after injury, this portrait feels especially powerful. It is not only a sensitive study of two Black women, but also evidence of Strong’s resilience, ambition, and deep commitment to human presence. The compressed space and expressive brushwork give the painting a modern immediacy, while its emotional restraint gives it lasting gravity.

“The Sisters” by Peggy Strong (American) - Oil (on canvas?) / 1938 - Cascadia Art Museum (Edmonds, Washington) #WomenInArt #WomensArt #WomanArtist #WomenArtists #PeggyStrong #CascadiaArtMuseum #Sisterhood #BlackPortraiture #art #artText #BlueskyArt #AmericanArt #AmericanArtist #WomenPaintingWomen

Michael

@mdstamper.bsky.social

3 weeks ago

Two young women, April and June, sit together on a sofa, facing forward and meeting our eyes without flinching. Their bodies are close, legs intertwined so their limbs overlap and “confound,” making the boundary between two separate poses feel intentionally blurred. One figure sits more upright as the other reclines on the cushions, lying back so her head drops just past the sofa’s edge. The scene reads as playful and intimate, with cropped clothing and tasteful bare skin presented as self-possessed rather than staged. The paint surface feels warm and bodily against the sofa’s structured shape, and beneath the couch, possible phallic forms push into view like an intrusive, almost comic underside that turns the domestic setting into something charged and watchful. The scale and direct gaze keep the moment from becoming voyeuristic because the longer you look, the more it feels like they are assessing you. American artist David Antonio Cruz’s composition deliberately echoes art-historical reclining-figure traditions that often built around passive female availability. Cruz flips the power dynamic. Where a canonical precedent like Titian’s “Venus of Urbino” can read as posed for consumption, “April and June” hold an assertive gaze that signals control. This is their closeness, their room, and their terms. The title’s run-on defiance pairs tenderness with warning, as if intimacy itself is a boundary line. As the Outwin text notes, Cruz’s wider practice (across painting and performance) centers the visibility and intersectionality of queer Brown and Black bodies, and this work sits within his “returnofthedirtyboys” series, portraying queer-identified activists and community members. Here, sensuality isn’t an invitation. It’s a stance of chosen family, mutual trust, and pleasure that refuses to be separated from safety, agency, and the right to look back.

“theboysdon’tplaynice-withanyone, portrait of april and june” by David Antonio Cruz (American) - Oil and latex on wood / 2018 - Outwin 2019, National Portrait Gallery (Washington, DC) #WomenInArt #art #artText #DavidAntonioCruz #NationalPortraitGallery #QueerArt #arte #AmericanArt #AmericanArtist

Mike Ryczek

@m-ryczek.bsky.social

3 weeks ago

"Coffin Breaker" alongside it's tiny foam ancestor. 18 x 24 in., oil on canvas, 2025.

#oilpainting #contemporaryart #fineart #figurativeart #landscapepainting #artcollector #artstudio #painterlife #artist #americanartist #eastcoastartist #newenglandartist #bostonartist #artforsale #originalart

Michael

@mdstamper.bsky.social

3 weeks ago

A woman stands at ease beside the trunk of a slender palm, her body mostly front-facing while her head turns to the left, away from us. She has a light brown skin tone, deep-set eyes, and long dark hair partly covered by a patterned, plaid patchwork shawl that wraps around her shoulders and head. One arm folds across her chest as the other hangs softly down. Her clothing is practical and layered including a red-and-white blouse, a brown apron over a long white skirt, and gray shoes with small red accents. The setting is lush and humid with dense green leaves and shrubs punctuated by a few red blossoms. The ground is sandy and light while the sky behind the foliage is washed to an off-white glow. The watercolor handling keeps edges airy and breathable, with the woman’s calm presence held against the living, textured greens. Painted in Key West in January 1886, this work has also circulated under titles that frame the sitter as “A Key West Native” and “Florida Landscape and Figure.” That naming matters because it points to how often women are made “types” rather than fully named individuals. Yet American artist Winslow Homer’s composure here resists spectacle. The woman’s turned gaze suggests she is not posed for our permission as she appears mid-thought, self-contained, and unhurried. The palm becomes both shelter and vertical boundary like an everyday landmark that quietly centers her, giving the scene a sense of heat, shade, and stillness. By early 1886, Homer was deep into his mature period. He was based in Prouts Neck, Maine, but traveled south in winter to work in watercolor and recharge his palette with subtropical light. Florida/Caribbean excursions in the mid-1880s helped push his watercolors beyond “sketch” status into major finished works that are bold, economical, and structurally confident while also broadening his subject matter to include Black and Caribbean life, even as viewers then and now debate the social and colonial implications of that gaze.

"Under a Palm Tree" by Winslow Homer (American) - Watercolor on wove paper / 1886 - National Gallery of Art (Washington, DC) #WomenInArt #WinslowHomer #Homer #NationalGalleryofArt #Watercolor #AmericanArt #AmericanArtist #bahamianArt #WomenInPortraiture #art #artText #BlueskyArt #PortraitofaWoman

@jackmorganart.bsky.social

3 weeks ago

99 LuftBallons
Oil & Collage on Canvas
66x70 inches. 2025.
(Homage to Artist Kip Jones)
.
.
.
#NarrativeArt #mixedMediaArt #AmericanArtist #Nena

Patrick Saunders Fine Arts

@patricksaunders.bsky.social

3 weeks ago

#art #fineart #artstream #artreview #artdiscussion #artcritique #arttalk #americanpainting #americanart #americanartist #ncwyeth #BrandywineMuseumOfArt #patricksaunders #patricksaundersfinearts #saundersfinearts #representationalart #realistart #westernart #MuseumTourTuesday

Michael

@mdstamper.bsky.social

1 month ago

Painted in 1910, this little-known oil painting aligns with American artist William Glackens’s Impressionist-leaning portrait manner with modern color, lively surface, and atmosphere prioritized over academic finish for an approach often discussed in relation to the brighter, Renoir-adjacent side of his practice within the Ashcan generation. It’s a waist-up portrait of a young woman posed frontally, her gaze steady and direct, set against a softly mottled field of teal, gray, lavender, and mossy green. Her skin is ghostly white with cool bluish shadows along the jaw and neck plus warm pink blooms across her cheeks, as if lit from within. Dark, carefully shaped brows anchor her expression. Her eyes are deep brown-black, outlined with a crisp, graphic emphasis that heightens her intensity. A rounded, very dark crimson hat frames her hair, with a small red feathery accent near the left side. Her clothing is simplified into bold color relationships like a deep green-black collar and a richly patterned orange-red shawl that arcs across her shoulders and forearms. One pale hand reaches diagonally toward the lower left, resting on the other arm which folds inward, creating a contained, self-possessed posture. Brushstrokes remain visible throughout, especially in the background, so edges soften and the woman seems to emerge from vibrating color rather than a defined room. The sitter is not identified and the title “Russian Girl” is best read cautiously as it may point to styling (hat, shawl, and an early-20th-century taste for “Russian” culture) more than it confirms nationality or biography. The portrait’s power comes from the balance it holds between the woman’s calm, guarded composure and a backdrop that refuses stillness via shifting hues and brushed veils of paint. As part of the permanent collection of Florida International University’s Frost Art Museum, the portrait is both an encounter with a person and a performance of modernity through color, mood, and title.

“Russian Girl” by William Glackens (American) - Oil on linen / 1910 - Patricia & Phillip Frost Art Museum, FIU (Miami, Florida) #WomenInArt #FrostArtMuseum #FIU #WilliamGlackens #Glackens #PortraitPainting #WomanInArt #AmericanArt #artText #art #arte #Ashcan #AmericanArtist #AmericanImpressionism

Patrick Kapty

@patrickkapty.bsky.social

1 month ago

'Tank Trap'
lithograph
1975
Alexander Calder (1898-1976)
USA

#art #modernart #popart #color #tanktrap #c1975 #lithograph #alexandercalder #americanart #usa #americanartist #pyramids

Robert Azensky Fine Art

@azenskyfineart.bsky.social

1 month ago

Anany Alexeevich Verbitsky - Modernist Mid Century Forest by Anany Alexeevich Verbitsky For Sale on 1stDibs - Modernist Mid Century Forest by Anany Alexeevich Verbitsky, Linen, Oil Paint by Anany Alexeevich Verbitsky. Offered by Robert Azensky Fine Art.

Anany Alexeevich Verbitsky
Modernist Mid Century Forest by Anany Alexeevich Verbitsky
buff.ly/N0DhZxo

#landscapeartist #landscapeart #oilpaintingartist #americanart #americanartist #impressionist #impressionistart #impressionism #impressionart #oilonlinen

Robert Azensky Fine Art

@azenskyfineart.bsky.social

1 month ago

Alice Duke - "Shenandoah Valley" - Rural California Landscape in Watercolor on Paper For Sale on 1stDibs - "Shenandoah Valley" - Rural California Landscape in Watercolor on Paper, Paper, Watercolor by Alice Duke. Offered by Robert Azensky Fine Art.

Alice Duke
"Shenandoah Valley" - Rural California Landscape in Watercolor on Paper
buff.ly/su2PSYM

#landscapeart #framedartwork #framedart #framedartforsale #americanart #americanartist #impressionist #impressionistart #impressionism #watercolorartist #watercolorpainting #impressionart

Michael

@mdstamper.bsky.social

1 month ago

Painted in 1943, “The Balcony” arrives when time (during war) for art had to be defended. Born in Biloxi, Mississippi as Eunice Lyle Swetman, the American artist reinvented herself as Dusti Bongé and began painting seriously after her husband died in 1936, working in the backyard studio he built. It’s a modernist close-up self-portrait of a woman turned slightly away, her head angled back as she looks sideways behind us. Her face is built from crisp, geometric peach, coral, rose, and cool mint planes so the cheekbones, nose, and jaw are intersecting facets rather than soft modeling. Dark, arched brows and heavy-lidded eyes (outlined in deep blue and green) create a steady, appraising gaze. Her lips are painted in warm red-brown, with a green accent at the lower lip that echoes the cool shapes in her face. Her hair, a warm auburn-brown with honey highlights, is swept back into a neat roll. She wears a deep navy blouse with a scalloped white trim with a small yellow bow at the neckline. Along her right shoulder, a patterned textile of gold and black, with curling motifs adds a sharp decorative contrast. Behind her, floating rings in reds, oranges, and yellows punctuate a muted teal-green field, while a pale diagonal plane cuts across the background like a light beam. The overall effect is bold and unsentimental self portrait rendered with angular clarity, color intensity, and deliberate distance. Bongé was testing Cubist-inspired structure while remaining attentive to psychological presence. Critics have hailed this image for the “message in her eyes,” and it’s easy to see why. Her gaze is focused, skeptical, and quietly determined rather than inviting. In the context of a widowed artist building a serious practice far from the usual centers of power, the painting becomes more than likeness. It’s a statement of intention. The flat planes, high-contrast accents, and rhythmic circles behind her amplify that feeling. She is constructed, decisively, as a working artist.

“The Balcony (Self Portrait)” by Dusti Bongé (American) - Oil on canvas / 1943 - Mississippi Museum of Art (Jackson, Mississippi) #WomenInArt #WomanArtist #WomenArtists #DustiBonge #Bonge #DustiBongé #MississippiMuseumofArt #SelfPortrait #art #artText #BlueSkyArt #AmericanArtist #1940s #WomensArt

Robert Azensky Fine Art

@azenskyfineart.bsky.social

1 month ago

Alice Duke - Farmhouse Amador Foothills - Rural California Landscape in Watercolor on Paper For Sale on 1stDibs - Farmhouse Amador Foothills - Rural California Landscape in Watercolor on Paper, Paper, Watercolor by Alice Duke. Offered by Robert Azensky Fine Art.

Alice Duke
Farmhouse Amador Foothills - Rural California Landscape in Watercolor on Paper
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#landscapeart #framedartwork #framedart #framedartforsale #americanart #americanartist #impressionist #impressionistart #impressionism #watercolorartist #watercolorpainting #impressionart

Zoli Aswad Osaze

@zaswadosaze.bsky.social

1 month ago

pieddepoule_selale
“Envision”, 2022
Linda Christensen (American / Californian artist, b.1950)
@pieddepoule_selale #lindachristensen #envision #2025art #americanartist #californianartists