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Posts tagged #Americanart

Michael
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.

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

13 3 0 0
@lronlacy.bsky.social
17 hours ago
Post image

3 #March #WorldWildlifeDay
‘The Lost Quarry’
Phillip R. Goodwin (1882-1935)
*Illustrated Collier’s Weekly*, Feb. 25, 1907
Oil on canvas. 1907.
#wildlife #biodiversity #forest #wolves #stag #illustration #IllustrationArt #IllustrationArtists #PhillipGoodwin #AmericanArt

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Michael
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.

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

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Michael
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.

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

30 3 0 0
Michael
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.

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

34 3 0 0
Michael
Michael
@mdstamper.bsky.social
2 days ago
The title invokes the Indigenous agricultural teaching of the Three Sisters ... corn, beans, and squash ... grown together in mutual support. Mvskoke (Creek) Nation artist Starr Hardridge turns that ecological relationship into a human image of kinship, reciprocity, and continuity. Three Indigenous women sit shoulder to shoulder before a dense wall of tall green plants. Their bodies form a calm horizontal rhythm, but each face turns in a different direction, creating a sense of individuality within kinship. The woman at left wears a warm rust and orange patterned dress. The central figure wears a deep brown outfit and long braids while the woman at right wears a vivid magenta-purple garment. All three wear large white aprons that catch the light and anchor the composition with brightness. Their hands rest quietly in their laps. The plants rises closely behind them, almost like a protective screen, surrounding the figures in living green. Hardridge’s surface is carefully structured and highly finished, balancing hyper-realism with stylized pattern so that cloth, skin, and plant life feel equally intentional and symbolic. The women do not simply sit in front of plants. They seem held within a living system of nourishment and inheritance. The corn rises behind them like a protective curtain, while the squash leaves spread low across the foreground, rooting the figures in land-based knowledge. Hardridge’s contemporary Muscogee visual language joins realism with pattern and ancestral design, making the painting feel both intimate and ceremonial. Painted for the 2024 Mvskoke Art Market, where it won first place in painting, the work was soon acquired by the Philbrook Museum of Art. In their collection, it becomes a visible and powerful statement about Indigenous presence, food sovereignty, feminine strength, and the enduring intelligence of community.

The title invokes the Indigenous agricultural teaching of the Three Sisters ... corn, beans, and squash ... grown together in mutual support. Mvskoke (Creek) Nation artist Starr Hardridge turns that ecological relationship into a human image of kinship, reciprocity, and continuity. Three Indigenous women sit shoulder to shoulder before a dense wall of tall green plants. Their bodies form a calm horizontal rhythm, but each face turns in a different direction, creating a sense of individuality within kinship. The woman at left wears a warm rust and orange patterned dress. The central figure wears a deep brown outfit and long braids while the woman at right wears a vivid magenta-purple garment. All three wear large white aprons that catch the light and anchor the composition with brightness. Their hands rest quietly in their laps. The plants rises closely behind them, almost like a protective screen, surrounding the figures in living green. Hardridge’s surface is carefully structured and highly finished, balancing hyper-realism with stylized pattern so that cloth, skin, and plant life feel equally intentional and symbolic. The women do not simply sit in front of plants. They seem held within a living system of nourishment and inheritance. The corn rises behind them like a protective curtain, while the squash leaves spread low across the foreground, rooting the figures in land-based knowledge. Hardridge’s contemporary Muscogee visual language joins realism with pattern and ancestral design, making the painting feel both intimate and ceremonial. Painted for the 2024 Mvskoke Art Market, where it won first place in painting, the work was soon acquired by the Philbrook Museum of Art. In their collection, it becomes a visible and powerful statement about Indigenous presence, food sovereignty, feminine strength, and the enduring intelligence of community.

"Three Sisters" by Starr Hardridge (Muscogee/Creek) - Acrylic on canvas / 2024 - Philbrook Museum of Art (Tulsa, Oklahoma) #WomenInArt #StarrHardridge #Hardridge #PhilbrookMuseum #Muscogee #Creek #NativeArt #art #artText #artwork #IndigenousArt #AmericanArt #NativeWomen #BlueskyArt #PortraitOfWomen

52 8 0 1
@lronlacy.bsky.social
2 days ago
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3 #March #WorldWildlifeDay
‘Skunked’ Phillip R. Goodwin (1882-1935). Oil on canvas. N.D.
#wildlife #biodiversity #forest #fishing #wading #skunk #illustration #IllustrationArt #IllustrationArtists #PhillipGoodwin #AmericanArt

4 0 0 0
Michael
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.

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

40 1 0 0
@lronlacy.bsky.social
3 days ago
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In #MARCH 1948
👇🧵
‘Painting by Glenn Grohe [1912–1956] - “Cruisers at Bearing Tree”’
#illustration #illustrationart #illustrationartists #GlennGrohe #AmericanArt #forestry #lumbering #timber

3 0 1 0
Patrick Kapty
Patrick Kapty
@patrickkapty.bsky.social
4 days ago

#frankstella #art #painting #modernart #americanart #popart

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Patrick Saunders Fine Arts
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

1 0 0 0
@lronlacy.bsky.social
4 days ago
Post image

In #MARCH 1947
👇🧵
‘Painting by John Steuart Curry [1897-1946] - “Panama Bazaar”’
#tourism #Panama #illustration #illustrationart #illustrationartists #JohnSteuartCurry #AmericanArt #regionalism

1 0 1 0
@lronlacy.bsky.social
4 days ago
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3 #March #WorldWildlifeDay
‘The Hunter’ N. C. (Newell Convers) Wyeth (1882-1945)
Cover illustration first used for *The Outing Magazine*, June 1907
Oil on canvas. Brandywine River Museum. 1906.
#wildlife #wetlands #WildGeese #nativeAmerican #hunter #hunting #NCWyeth #AmericanArt

2 0 0 0
Koya Abe
Koya Abe
@koyaabe.bsky.social
4 days ago
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Koya Abe: Tintin Reading from the series Duplication/American Original, Topology of Art Chapter 9 (2014), archival inkjet print. www.koyaabe.com

#koyaabe #popart #art #Japaneseart #Americanart

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The Zen of True Art
The Zen of True Art
@thezenoftrueart.bsky.social
6 days ago
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Edward Hopper, "Hotel Lobby," oil on canvas, 1943; Indianapolis Museum of Art. #edwardhopper #art #modernart #americanart #modernartist #famousartist #paintings #peintures #oiloncanvas #arte #oilpainting #museum #artgallery

11 0 0 0
@lronlacy.bsky.social
6 days ago
Post image Post image Post image

Details: newfound roles
#EmilBisttram #AmericanArt #TheNewDeal #TreasurySectionOfFineArts

0 0 0 0
Michael
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.

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

55 10 1 0
@lronlacy.bsky.social
1 week ago
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3 #March #WorldWildlifeDay
Phillip R. Goodwin (1882-1935). Oil on canvas. N.D.
#wildlife #moose #biodiversity #illustration #illustrationartists #PhillipRGoodwin #AmericanArt

2 0 0 0
Michael
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.

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

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The Zen of True Art
The Zen of True Art
@thezenoftrueart.bsky.social
1 week ago
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Maxfield Parrish, "Cowboys, Hot Springs, Arizona," oil and wax on cardboard, 1902; Rhode Island School of Design. #maxfieldparrish #parrish #illustration #cowboys #design #paintings #oilpainting #modernart #americanart #museum #artgallery

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@lronlacy.bsky.social
1 week ago
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3 #MARCH #WorldWildlifeDay
‘A “Bear” Chance’ Phillip R. Goodwin (1882-1935)
Oil on canvas. Minneapolis Institute of Art. 1907.
Gift of the #NationalBiscuitCompany.
#wildlife #bears #biodiversity #illustration #illustrationartists #PhillipRGoodwin #AmericanArt

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The Zen of True Art
The Zen of True Art
@thezenoftrueart.bsky.social
1 week ago
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Edward Hopper, "Pemaquid Light," watercolor on paper, 1929; Portland Museum of Art, Maine. #hopper #edwardhopper #maineartist #americanart #modernart #art #watercolor #aquarelle #acuarela #arte #paintings #museum #artgallery

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Alexa Carmichael 🇨🇦
Alexa Carmichael 🇨🇦
@alexacarmichael.bsky.social
1 week ago
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Kehinde Wiley
American artist
b 1977
Anthony of Padua, 2013
Oil on canvas
72 × 60 in.

#KehindeWiley
#Americanart

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Alexa Carmichael 🇨🇦
Alexa Carmichael 🇨🇦
@alexacarmichael.bsky.social
1 week ago
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Rockwell Kent
American artist
1882-1971
Maine Lobsterman, 1955

#RockwellKent
#Americanart

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Alexa Carmichael 🇨🇦
Alexa Carmichael 🇨🇦
@alexacarmichael.bsky.social
1 week ago
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Rockwell Kent
American artist
1882-1971
Squall, Greenland, 1937

#RockwellKent
#Americanart

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@lronlacy.bsky.social
1 week ago
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‘Venus Taking a Break’ Norman Reeves. Gouache. 1940’s.
#surrealism #AmericanArt #NormanReeves #Venus

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@lronlacy.bsky.social
1 week ago
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New Post Office Building (now the Clinton Federal Building), Washington, D.C.
#CarlLudwigSchmitz #sculpture #statue #aluminum #AmericanArt #TreasurySectionOfFineArts #SSPS #USPSemployee #SaveTheUSPS #maildelivery #mailcarrier

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Koya Abe
Koya Abe
@koyaabe.bsky.social
1 week ago
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Koya Abe: Girl With Hair Ribbon from the series Duplication/American Original, Topology of Art Chapter 9 (2014), archival inkjet print. www.koyaabe.com

#koyaabe #popart #art #Japaneseart #Americanart

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Anne Denoon
Anne Denoon
@annedenoon.bsky.social
1 week ago
An abstract painting, 1980s, with a tangle of black, white and grey lines on a bright blue ground.

An abstract painting, 1980s, with a tangle of black, white and grey lines on a bright blue ground.

Brice Marden (1938-2023)
6 (Course)
oil on linen, 1987-88
SFMoMA, San Francisco
📷by me, 2019
#AmericanArt #BlueMonday 🎨

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Alexa Carmichael 🇨🇦
Alexa Carmichael 🇨🇦
@alexacarmichael.bsky.social
1 week ago
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Janet Fish
American artist
1938 - 2025
The Little Fish, 1984
Oil on canvas
38 x 56 in.

#JanetFish
#Americanart

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