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A green and black ensemble by Elsa Schiaparelli consisting of her famous bow sweater and a black skirt

A green and black ensemble by Elsa Schiaparelli consisting of her famous bow sweater and a black skirt

An illustration of Schiaparelli’s early 1930s bow sweaters, the trompe l’oeil design that made her name

An illustration of Schiaparelli’s early 1930s bow sweaters, the trompe l’oeil design that made her name

A black and white photograph of Elsa Schiaparelli wearing a different version of her 1930s bow sweater with a cloche hat as an accessory

A black and white photograph of Elsa Schiaparelli wearing a different version of her 1930s bow sweater with a cloche hat as an accessory

It’s World Book Day and a favourite of mine is Dodie Smith’s I Capture the Castle. Whilst I know that the Mortmain family would not necessarily have sported any Schiaparelli for me it has something of its spirit #RISDMuseum #1930s
#FashionHistory 🗃️🪡

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A short sleeved shift style dress with a deep V neck. The fabric is textured and has a pattern of black flowers against a red background. There is a wide sash like belt that wraps the waist

A short sleeved shift style dress with a deep V neck. The fabric is textured and has a pattern of black flowers against a red background. There is a wide sash like belt that wraps the waist

Textured and glamorous with its deep V neck, #Balenciaga was a master at fabric selection to complement his construction. The splendour of this black and red floral dares to 1960 #RISDMuseum #FashionHistory 🗃️🪡

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A side by side image of a sleeveless 1920s flapper style evening dress consisting of a sage green sequin background with black and gold sequinned floral motifs

A side by side image of a sleeveless 1920s flapper style evening dress consisting of a sage green sequin background with black and gold sequinned floral motifs

The slick, wet look sequins used in the creation of this mid #1920s evening dress are made from cellophane. For over 30 years, sisters Anna & Laura Tirocchi brought European style over America in their Providence RI shop. This is one of their choices #RISDMuseum #FashionHistory 🗃️🪡

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Made in France in the early 1910s, this portrait turns a society commission into a study of velocity with glamour as momentum. Italian artist Giovanni Boldini’s signature “swish” (those long, skating strokes and dissolving contours) gives Mrs. Peter Cooper Hewitt (New York–born heiress and social figure Lucy Bond Work) a kind of modern autonomy: she isn’t contained by the frame so much as she seems to pass through it.

She is woman with light skin pictured full-length, standing and stepping forward as if caught in a gust of wind. Her short, softly waved brown hair frames a calm, direct gaze. Her cheeks are flushed warm pink. Lucy wears a pale, off-the-shoulder white and silvery gown painted in loose, flickering strokes that make the fabric look weightless and in motion. A long strand of pearls drops in looping arcs down her torso, and a cluster of pink roses is pinned near her waist, the petals rendered with quick, juicy touches of red and blush. Her right arm lifts a sheer wrap or scarf, which blurs into the sky like a ribbon of mist. Her left arm relaxes down, and a ring flashes green on her finger. The background is an airy landscape of mauve, gray, and peach with sweeping diagonals of ground beneath her feet. To the right, a vivid patch of green and scattered coral-pink flowers echoes the roses on her dress. Boldini’s brushwork softens edges and elongates lines so Lucy feels elegant, poised, and actively moving through space rather than posed in stillness.

The pearls and roses signal wealth and cultivated femininity, yet they’re treated as lively marks like ornament becoming energy, not restraint. Lucy appears less as a fixed emblem of status than as a presence in motion. She is confident, lightly smiling, and centered as the force that sets the whole painted world of sky, fabric, and flowers into radiant drift.

Made in France in the early 1910s, this portrait turns a society commission into a study of velocity with glamour as momentum. Italian artist Giovanni Boldini’s signature “swish” (those long, skating strokes and dissolving contours) gives Mrs. Peter Cooper Hewitt (New York–born heiress and social figure Lucy Bond Work) a kind of modern autonomy: she isn’t contained by the frame so much as she seems to pass through it. She is woman with light skin pictured full-length, standing and stepping forward as if caught in a gust of wind. Her short, softly waved brown hair frames a calm, direct gaze. Her cheeks are flushed warm pink. Lucy wears a pale, off-the-shoulder white and silvery gown painted in loose, flickering strokes that make the fabric look weightless and in motion. A long strand of pearls drops in looping arcs down her torso, and a cluster of pink roses is pinned near her waist, the petals rendered with quick, juicy touches of red and blush. Her right arm lifts a sheer wrap or scarf, which blurs into the sky like a ribbon of mist. Her left arm relaxes down, and a ring flashes green on her finger. The background is an airy landscape of mauve, gray, and peach with sweeping diagonals of ground beneath her feet. To the right, a vivid patch of green and scattered coral-pink flowers echoes the roses on her dress. Boldini’s brushwork softens edges and elongates lines so Lucy feels elegant, poised, and actively moving through space rather than posed in stillness. The pearls and roses signal wealth and cultivated femininity, yet they’re treated as lively marks like ornament becoming energy, not restraint. Lucy appears less as a fixed emblem of status than as a presence in motion. She is confident, lightly smiling, and centered as the force that sets the whole painted world of sky, fabric, and flowers into radiant drift.

"Portrait of Mrs. Peter Cooper Hewitt" by Giovanni Boldini (Italian) - Oil on canvas / c. 1911–1913 - RISD Museum (Providence, Rhode Island) #WomenInArt #GiovanniBoldini #Boldini #RISDMuseum #PortraitPainting #BelleEpoque #GildedAge #SocietyPortrait #art #artText #artwork #RhodeIslandSchoolofDesign

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Made around 1930, this self-portrait by American artist Esther Pressoir places modern self-fashioning at the center of the composition. It’s not a flattering display, but a clear-eyed record of mood, posture, and control. Smoking, then a charged marker of sophistication and transgression, becomes a small, deliberate gesture, echoed by looping smoke and the painting’s circling brushstrokes. 

The young woman artist with light skin crouches low, her body folded into a compact, almost protective pose. She has short, dark, softly waved hair and strong brows. Her eyes look out from under heavy lids, almost meeting ours with a steady, unsentimental calm. Her lips are painted a vivid red, and warm peach and pink tones model her face and bare shoulder. A thin-strap, sleeveless garment (taupe and dusty rose, edged with quick red lines) wraps her torso and falls in loose folds around her legs. One arm hooks over a raised knee, while the other hand extends downward, holding a small cigarette between long fingers. To the right, pale rings of smoke rise and fade into a turbulent field of grays, browns, and sandy beige. The background is built from broad, circular sweeps of paint, like wind spiraling around her figure. At the bottom edge, a black heeled shoe peeks out, anchoring the pose. Across the surface, the brushwork stays sketchy, energetic, and layered so the Pressoir’s outline seems simultaneously drawn and dissolving.

Pressoir, born in Philadelphia and raised in Woonsocket, and a 1923 Rhode Island School of Design (RISD) graduate, was in her late twenties at the time she painted this presentation of herself. The work shows an artist testing how frank a woman’s image can be. She folds inward, yet refuses to look away and claims the right to be seen on her own terms.

Made around 1930, this self-portrait by American artist Esther Pressoir places modern self-fashioning at the center of the composition. It’s not a flattering display, but a clear-eyed record of mood, posture, and control. Smoking, then a charged marker of sophistication and transgression, becomes a small, deliberate gesture, echoed by looping smoke and the painting’s circling brushstrokes. The young woman artist with light skin crouches low, her body folded into a compact, almost protective pose. She has short, dark, softly waved hair and strong brows. Her eyes look out from under heavy lids, almost meeting ours with a steady, unsentimental calm. Her lips are painted a vivid red, and warm peach and pink tones model her face and bare shoulder. A thin-strap, sleeveless garment (taupe and dusty rose, edged with quick red lines) wraps her torso and falls in loose folds around her legs. One arm hooks over a raised knee, while the other hand extends downward, holding a small cigarette between long fingers. To the right, pale rings of smoke rise and fade into a turbulent field of grays, browns, and sandy beige. The background is built from broad, circular sweeps of paint, like wind spiraling around her figure. At the bottom edge, a black heeled shoe peeks out, anchoring the pose. Across the surface, the brushwork stays sketchy, energetic, and layered so the Pressoir’s outline seems simultaneously drawn and dissolving. Pressoir, born in Philadelphia and raised in Woonsocket, and a 1923 Rhode Island School of Design (RISD) graduate, was in her late twenties at the time she painted this presentation of herself. The work shows an artist testing how frank a woman’s image can be. She folds inward, yet refuses to look away and claims the right to be seen on her own terms.

“Self Portrait (Smoking)” by Esther Pressoir (American) - Oil on canvas / c. 1930 - RISD Museum (Providence, Rhode Island) #WomenInArt #EstherPressoir #Pressoir #RISD #RISDMuseum #SelfPortrait #WomenSmoking #artText #art #BlueskyArt #RhodeIslandSchoolofDesign #WomensArt #WomanArtist #WomenArtists

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Robert Siegelman
In The Life
Polaroid 20x24 Photograph
1992

I am happy to announce that a Polaroid 20x24 photograph from my “In The Life” series has been acquired by the RISD Museum.

I extend a special thank you to Conor Moynihan.

#inthelife #Polaroid20x24photograph #RISD #RISDMuseum #polaroid

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A mannequin wearing a mid length stripe cotton in turquoise and white with long sleeves and round neck. Where the fabric is gathered and stitched it forms solid sections of colour. It has a brown belt

A mannequin wearing a mid length stripe cotton in turquoise and white with long sleeves and round neck. Where the fabric is gathered and stitched it forms solid sections of colour. It has a brown belt

Back view of the turquoise and white striped cotton dress demonstrating how the stitched and gathered fabric changed the pattern

Back view of the turquoise and white striped cotton dress demonstrating how the stitched and gathered fabric changed the pattern

A closer detail of the turquoise and white striped cotton dress showing how the pattern is disrupted by gathers and stitches

A closer detail of the turquoise and white striped cotton dress showing how the pattern is disrupted by gathers and stitches

This might be the perfect early autumn dress, long sleeved but still lightweight enough for residual warmth to filter through. The stripes are masterfully manipulated to form solid blocks of colour here and there, designed by Claire McCardell, early #1950s #risdmuseum #FashionHistory 🗃️🪡

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A short sleeved fitted dress with a deep v neck. The pattern is on a red background with blurry black blooms in a repeat pattern

A short sleeved fitted dress with a deep v neck. The pattern is on a red background with blurry black blooms in a repeat pattern

For cocktails in smoky bars, a #Balenciaga dress from 1960 in black and red with dark roses that bloom across the scarlet silk. It is sleek and chic and sassy #risdmuseum

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A pink and white silk and meet crinoline style dress lying flat on a white surface

A pink and white silk and meet crinoline style dress lying flat on a white surface

The title of this exhibition at #risdmuseum was Inherent Vice, the term used by conservators for objects whose own materiality causes its deterioration. Textiles and dress are especially prone, this mid #1850s gown a victim of time but clinging on still #FashionHistory 🗃️🪡

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A long green sleeveless dress in shaded panels with a red stripe running down the centre front

A long green sleeveless dress in shaded panels with a red stripe running down the centre front

The red stripe bisecting the centre of Elizabeth Hawes’s late #1930s evening gown runs like a flicker of flame between the shaded green panels. Hawes was a master of colour selection, bringing unlikely hues together #risdmuseum #FashionHistory 🗃️🪡

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#Ootd is this 1925 French dress. The diagonal stripe of what looks to be warriors contrasts with the light florals of the rest of the garment. I also love how the colors invert themselves, and the colorful flowers are muted to a bronze. Very art deco. #Fashionhistory #RISDMuseum

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#Fashionhistory #ootd #risdmuseum

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🌮

#Providance #art #RISDMuseum

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I may have the exact style wrong). Vionette was known for making outfits in soft fabrics that flowed from the body, inspired by Grecian clothing. She often combined simple structures with luxurious fabrics, like here. #Fashionhistory #risdmuseum

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aesthetics, fabrics, and embroidery became popular in European fashion. Authenticity was not a huge concern, so much as a Western interpretation of Chinese motifs and culture, called Chinoiserie, which also extended into other arts. #Fashionhistory #RISDmuseum

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#Ootd is this 1965 cocktail dress by Topal-Carlson, an elite dress shop owned by Cecil Topal in Providence, RI, in the 1950s and 60s. #RISDMuseum says it is a green, not yellow, silk and nylon chemise dress with beaded and sequined tassel embroidery. Imagine this on the dance floor! #Fashionhistory

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THE STORY ON THE WALLS Before I went to see “The Art of French Wallpaper Design,” on view at the RISD Museum through May 11, I thought the exhibition might be stuffy, but quite the opposite — it is a fascinating viewing…

Emily Banas, Associate Curator of Decorative Arts & Design, discusses “The Art of French Wallpaper Design” at #RISDMuseum @risd1877.bsky.social #Providence with Suzanne Volmer in our latest issue: artscopemagazine.com/2025/03/the-... #wallpaperdesign #decorativearts #newenglandart #internationalart

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WELCOME March/April 2025 Dear Artscope reader, Since 2006, we’ve been honored to bring the stories of the arts community of New England and beyond to you, always believing the best contribution that we can make to a peaceful…

Our March/ April 2025 19th Anniversary issue is now available and includes reviews of “The Art of Wallpaper Design” at the #RISDMuseum & Clara Wainright at the #RoseArtMuseum. Read managing editor @bgoslow.bsky.social's welcome statement: artscopemagazine.com/2025/03/a-ma...

#Art #newenglandart

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#Ootd is this 1910 American linen dress. The dress has some key features of the 1910s, such as the slim silhouette with a shorter hem and a high waistline. The buttons with their big and bold contrasting color add elegance to the otherwise simple dress. #fashionhistory #risdmuseum

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Front and back view of a vivid orange ensemble consisting of loose harem style trousers and a chevron patterned multicoloured bodice. Finished off with a wide pink sash

Front and back view of a vivid orange ensemble consisting of loose harem style trousers and a chevron patterned multicoloured bodice. Finished off with a wide pink sash

If you are going to enjoy a cocktail or two this Friday evening, then why not dress accordingly in a mid #1960s Wendy Hertz harem style ensemble? It shimmers in the warmest of colours to banish February chills here in Devon #RISDmuseum #FashionHistory 🗃️🪡

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Knee length burgundy crepe dress with short sleeves. Thin strips of silver leather applied around waist and cuffs

Knee length burgundy crepe dress with short sleeves. Thin strips of silver leather applied around waist and cuffs

I already loved the colour and style of this late #1930s cocktail dress with its chic gathers and pleats but then it just gets better with chrome-like silver leather strips encircling the waist and cuffs, sold by Saks Fifth Avenue #risdmuseum #FashionHistory 🗃️🪡

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Attributed to Suzuki Harunobu (1724-1770)
Possibly Isoda Koryūsai (Active in Edo ca. 1764-1788)
"Cat, butterfly and begonias (Kaido ni cho to neko)" ca. 1767, #RisdMuseum

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