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In this painting, I wanted to capture the feeling of water lilies floating on the surface of a still pond, filled with reflections of the clouds.

Lilies in the Clouds
by Erin Hanson, 2026
Oil on canvas
40 x 40 in
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#dailyart #lilypond #art #artist #womanartist
Monet's water lily garden in Giverny is an ever-changing and ever-renewing source of inspiration for me. In this painting, I wanted to capture the feeling of water lilies floating on the surface of a still pond, filled with reflections of the clouds. I applied thick brushstrokes of oil paint laid side by side without layering to capture the sense of movement and texture in the scene. Lilies in the Clouds by Erin Hanson, 2026 Oil on canvas 40 x 40 in
July 31, 2026 at 6:06 PM
shadowdogdesigns.bsky.social
‘Sarah Stone’s Unseen World’ Highlights #Avian #Paintings by an 18th-Century Talent #art #birds #WomanArtist #18thCentury

Link for more photos and information about her amazing #watercolor paintings: www.thisiscolossal.com/2026/02/sara...
February 3, 2026 at 9:41 PM
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woman artist on twitter meme #womanartist
October 16, 2025 at 7:01 PM
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Delicate strokes reveal the quiet majesty of the barn owl in flight ✨️
#art #watercolors #painting #barnowl #watercolorpainting #birds #birder #birdart #birdpainting #owlart #owls #owlpainting #birdartist #womanartist #usbirds #laurawilkinsart
Barn owl painting in watercolors by artist Laura wilkins
January 20, 2025 at 5:32 PM
thezenoftrueart.bsky.social
Gabriele Munter, "Flower and Fruit Still Life," oil on cardboard, c.1940-50; photo: Ketterer Kunst. #art #arte #gabrielemunter #modernart #stilllife #abstractstilllife #flowers #femaleartist #womanartist #colorfulart #museum #paintings #peintures #kunst #museum #artgallery
October 4, 2026 at 5:49 PM
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“Africa” by Loïs Mailou Jones (American) – Oil on canvas board / 1935 – The Johnson Collection (Spartanburg, South Carolina) #WomenInArt #WomenArtists
#LoisMailouJones #BlackArt #AfricanAmericanArt #TheJohnsonCollection #artText #LoïsMailouJones #WomensArt #WomanArtist #africa #HarlemRenaissance
American artist Loïs Mailou Jones painted “Africa” in 1935, five years after joining the faculty of Howard University, where she would teach for nearly half a century. Colleagues there encouraged the Boston-born artist to challenge racist stereotypes and explore African heritage, and this painting reflects that developing engagement. Three monumental Black figures fill the composition, pressed close to the picture plane against a glowing yellow-orange background and broad tropical leaves. The central woman dominates the upper half of the painting, her long, symmetrical face framed by dark hair and accented with green, almond-shaped eyes. She wears dangling gold earrings, a necklace of pale tusks or teeth, and patterned fabric draped across one shoulder. Below her, two additional figures overlap across the foreground. At left, a figure tilts inward beneath stacked gold neck rings and an elaborate spiral earring. At right, another face reclines horizontally, partially obscuring the boldly striped garment at center. Deep browns, greens, golds, cream, blue, and red repeat across skin, jewelry, foliage, and textiles, creating a tightly orchestrated pattern. The elongated faces, simplified features, still expressions, and compressed space give the figures a sculptural presence that evokes African masks, an aesthetic vocabulary Jones would return to throughout her career. At the same time, the work displays her exceptional command of decorative pattern and color, skills rooted partly in her early training as a textile designer. The Johnson Collection describes the painting’s jewel-like palette, patterned cloth, jewelry, and mask-inspired faces as central to Jones’s response to calls for Black artists to engage more directly with African cultural traditions.
October 4, 2026 at 5:59 PM
thezenoftrueart.bsky.social
Georgia O'Keeffe, "Autumn Leaf II," oil on canvas, 1927; photo: Christie's. #art #arte #modernart #autumn #autumnleaves #fallleaves #okeeffe #georgiaokeeffe #womanartist #womanpainter #paintings #peintures #museum #artgallery
September 9, 2026 at 4:30 PM
wendeviousarts.bsky.social
"Care" 24 x 24 in. Acrylic on Canvas

#Luigi #healthcare #surrealism #metarealism #darksurrealism #darkart #emergingartist #beautifulbizarre #createmagazine #blackartist #womanartist #disabledartist #acrylicpainting #wendeviousarts #bionicninja #artcollector #popsurrealism
January 20, 2025 at 7:05 PM
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"Retrato de Lucha María, niña de Tehuacán" by Frida Kahlo (Mexican) - Oil on masonite / 1942 - San Diego Museum of Art (California) #WomenInArt #FridaKahlo #art #Kahlo #artwork #WomanArtist #WomensArt #MexicanArtist #FemaleArtist #artText #MexicanArt #ModernArt #WomenArtists #SanDiegoMuseumofArt
A young woman sits barefoot on a pale rock in a barren landscape under a dramatic sky. She wears a knee-length white dress with a black-and-white patterned jacket. Her dark hair with braids is parted and pulled back, framing a calm face that gazes directly at us. In her lap, she holds a carved wooden toy shaped like a plane. Behind her, swirling gray clouds frame two glowing orbs: a bright red sun to the right and a pale moon to the left. Low ochre pyramids sit in the distance, emphasizing her still, symbolic presence between earth and sky. This portrait by iconic Mexican artist Frida Kahlo fuses realism with cultural and historical symbolism. Lucha Maria sits firmly on rock, her innocence grounded in both childhood and the deep roots of Mexican identity. In her lap rests a camouflaged model military plane that is a toy yet likely a reminder of World War II, reflecting global turbulence entering even private lives. Behind her, two step pyramids evoke Mexico’s ancient civilizations and continuity of heritage. Above, sun and moon appear together, a Mesoamerican symbol of cosmic dualities: life and death, day and night. By placing the young woman between pyramids, celestial forces, and war’s shadow, Kahlo entwines childhood, national identity, and global conflict into a meditation on resilience and cultural endurance. In 1942, when Kahlo painted "Portrait of Lucha Maria, A Girl from Tehuacan," her health was fragile but her artistic recognition was rising. She had recently joined Mexico’s artistic movement to honor national identity and indigenous culture. Diego Rivera’s fame still overshadowed hers, yet Frida was carving her own place. Through "Lucha Maria," she reflected both childhood innocence and Mexico’s cultural heritage, even as she faced personal pain and growing creative independence. It is a layered meditation on childhood, heritage, and the world’s upheaval, showing Kahlo’s ability to turn a portrait into a reflection on identity, culture, and history.
September 11, 2025 at 7:32 PM
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It's Small Business Saturday!

Get 30% off all Erin Hanson Prints and Replicas through Monday.

Don't miss the biggest sale of the year!

Pictured: Christmas Snow
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Last year we had a white Christmas in Oregon's Willamette Valley. This painting captures snow-covered maple and oak trees and long shadows curving across rolling hillocks in my home in Oregon wine country. "Christmas Snow" Original Oil Painting by Erin Hanson 2024 24 x 30 in Prints Available
November 29, 2025 at 5:04 PM
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“Green Tea” by Leonora Carrington (British) - Oil on canvas / 1942 - Museum of Modern Art (New York, NY) #WomenInArt #WomensArt #LeonoraCarrington #Carrington #Surrealism #BritishArt #MoMA #ModernArt #art #artText #arte #painting #BritishArtist #MuseumOfModernArt #1940sArt #WomanArtist #WomenArtists
British artist Leonora Carrington painted “Green Tea” during a turbulent period of displacement and reinvention. After Nazi authorities imprisoned her partner, artist Max Ernst, during World War II, Carrington fled France for Spain. There she experienced a psychological crisis and was confined against her will in a psychiatric institution in Santander, where she underwent harsh treatments. She later escaped her family’s plans for further institutionalization, traveled to New York, and painted this work shortly afterward. Across a strangely manicured green landscape, a solitary woman stands wrapped from shoulders to ankles in black-and-white, cowhide-like fabric. Her arms disappear beneath the constricting folds, while her pale, masklike face and bare feet remain exposed. Beside her, four small antlered heads rise from a purple vessel. Farther right, a reddish doglike creature and a white horse are tethered to slender trees that seem to grow from their own elongated tails. Behind them stretches an intricate countryside of hedges, paths, miniature trees, towers, and distant fantastic structures beneath a blue sky. Along the bottom edge, the earth appears sliced open, revealing a shadowy underground realm inhabited by bats, birds, bodies, and mysterious cocoons. The bound central figure has often been interpreted as Carrington herself. Its enveloping garment evokes both protection and restraint, making the surrounding open landscape feel paradoxically inaccessible. The white horse carries particular autobiographical resonance: horses recur throughout Carrington’s art and writing as figures of freedom, transformation, and rebellious energy. Here, however, even the horse is chained. The serene English-looking countryside coexists with impossible animals, ritualistic objects, and an ominous world literally beneath the surface. The painting embodies a central Surrealist impulse: ordinary appearances conceal unruly inner realities.
October 6, 2026 at 9:35 PM
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Autoportrait (Self-portrait) by Suzanne Fabry (Belgian) - Oil on canvas / 1932 #womeninart #art #womanartist #portraitofawoman #selfportrait #oilpainting #SuzanneFabry #BelgianArtist #womensart #WomenPaintingWomen #femaleartist #fineart #portrait #beauty #BelgianArt #AcadémieRoyaledesBeaux-Arts
This 1932 self portrait by Belgian artist Suzanne Fabry recalls classical depictions of female beauty, whilst also calling them in to question. The slight contortion of Fabry’s limbs suggests a certain artifice to the pose, whilst her direct gaze and the prominent positioning of her brush reinforce a sense of authority that preemptively rejects any attempt to perceive the sitter as a mere aesthetic object. The stripped-back composition further emphasizes the sitter’s commanding presence, while also drawing focus to the intricacies of her chartreuse dress. The delicate rendering of fabric hints at Fabry’s future career as a prolific costume designer for the Belgian national opera house, La Monnaie. Taking the dual role of artist and muse, Fabry creates a self-portrait that examines the viewer as much as they examine the work itself, and it is through such confrontations that Fabry’s inimitable skill as a portraitist truly shines. At the start of the First World War and the subsequent invasion of Belgium by German forces, a young Fabry was forced to flee to England with her father, the renowned Symbolist painter Émile Fabry. Having spent time in Herefordshire and St Ives, the family returned to Brussels at the end of the conflict, where Fabry’s upbringing continued to be influenced by the political turmoil and ideological upheaval that defined the earlier part of the twentieth century. Autoportrait was painted after her graduation from the Académie Royale des Beaux-Arts. This monumental self-portrait depicts an artist who is already confident in her skills and assured of her own sense of artistic identity. Influenced by her father’s symbolist tendencies, Fabry was never overshadowed by his legacy. Using her own distinctive style, she went on to create an enigmatic body of work which was dominated by assured yet dream-like portraiture and subtle interrogations of the female form.
March 3, 2025 at 7:21 AM
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Self-Portrait by Romaine Brooks / Beatrice Romaine Goddard (American) - Oil on canvas / 1923 - Smithsonian American Art Museum (Washington DC) #womeninart #womanartist #art #selfportrait #oilpainting #smithsonian #RomaineBrooks #artwork #portraitofawoman #womenpaintingwomen #womensart #femaleartist
Romaine Brooks, born Beatrice Romaine Goddard in 1874, was an American painter who worked mostly in Paris and Capri. She specialized in portraiture and used a subdued tonal palette keyed to the color gray. Brooks ignored contemporary artistic trends such as Cubism and Fauvism, drawing on her own original aesthetic inspired by the works of Charles Conder, Walter Sickert, and James McNeill Whistler. Her subjects ranged from anonymous models to titled aristocrats. She is best known for her images of women in androgynous or masculine dress, including this self-portrait of 1923, which is her most widely reproduced work. Brooks’s came from wealth which afforded her freedom other women at the time could only dream. She was free to shake off the restrictive limits of women artists to include female nudes in her early exhibits and take classes in which she was the only woman. After a brief, tumultuous marriage to John Ellingham Brooks, she rejected monogamy and, largely, men, even as subjects. In 1915 she met Natalie Clifford Barney, a leading host of salons in Paris, and the couple began a five-decade nonmonogamous relationship. Despite their deep bond, the two women maintained near total independence, living in a home with separate wings and both having relationships (some serious) with other women. In an era still dominated by men, Brooks leaned into the subculture to which she belonged and painted largely her own friends and lovers. Her portrait depicts her as an artist who eschewed gender via a mode of dress that was both fashionable at the time and a signal of her sexuality. Brooks was part of a growing, but still little-known group of women who wore men’s clothes and cut their hair short not just to embrace the 1920s androgyny trend, but to communicate to others in the know that they were lesbians.
March 9, 2025 at 9:10 AM
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“El Último Hilo (The Last Thread)” by Karla de Lara (Mexican) – “de Lara” Technique with ink, wax & high gloss / 2026 – Museo de las Américas (Denver, Colorado) #WomenInArt #KarlaDeLara #MexicanArt #arte #ContemporaryArt #art #artText #MuseoDeLasAmericas #Surrealism #Symbolism #DeLara #WomanArtist
Mexican artist Karla de Lara’s “The Last Thread” turns separation into something more complicated than rupture. The artist placed a Spanish-language text of her own beside the painting, making the written word an integral companion to the image. In it, she describes two souls recognizing themselves as independent and confronting memories, wounds, inherited affections, guilt, and patterns carried through generations. Separation requires returning to each other what does not belong to oneself while reclaiming one’s own limits, identity, and independence. That story illuminates the painting’s opposing realms. Two elongated women face one another within a fantastical architectural world divided between fire and night. At left, a red-haired figure rises from a dense landscape of rust, crimson, black, tangled branches, and glowing lanterns. At right, her pale, silver-haired counterpart stands amid moonlight, blue water, stars, columns, and delicate white flowers. Their outstretched hands nearly meet around a radiant sphere at the painting’s center. Gold-and-white tendrils spiral outward from it, visually binding their contrasting worlds. The women’s sweeping gowns echo the curling smoke, water, hair, and vines around them, while small cages, masks, celestial forms, and reflections create a dreamlike environment of confinement, memory, release, and transformation. The fiery figure and the luminous blue figure are not simply adversaries, but intertwined identities whose experiences have shaped one another. The glowing energy between the women is not a bond that must be violently severed, but one that can change form. Separating does not always mean losing one another because memory, learning, and “amar desde la libertad” can forge love from freedom. The painting speaks to me of boundaries and attachment across generations. Fire does not extinguish water, and night does not erase light. Instead, the two women remain connected at the very moment each becomes fully herself.
October 3, 2026 at 6:54 PM
erinhansonartist.bsky.social
This painting captures a vineyard scene in early spring, when the vines are just about to start sending out new shoots after the long, dormant winter.

Napa Vines
by Erin Hanson, 2026
Oil on canvas
24 x 36 in

#art #oilpainting #napavalley #winecountry #nature #vineyard #womanartist @bsky.art
Exploring Napa Valley in the early morning always inspires me to pick up the brush. I love the quiet moments after dawn, when dew still covers the landscape and the light is pure and clean. This painting captures a vineyard scene in early spring, when the vines are just about to start sending out new shoots after the long, dormant winter. Thick brushstrokes of oil paint capture the beauty of the scene with unexpected pops of color and texture. Napa Vines by Erin Hanson, 2026 Oil on canvas 24 x 36 in
September 7, 2026 at 3:46 PM
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Anaïs Nin by Natashia Troubetskoia (Russian) - Oil on canvas / c. 1932 - Smithsonian's National Portrait Gallery (Washington DC) #womeninart #femaleartist #womanartist #portraitofawoman #womensart #art #oilpainting #smithsonian #AnaisNin #AnaïsNin #NatashiaTroubetskoia #Troubetskoia #RussianArtist
French-born American diarist, essayist, novelist, and writer of short stories and erotica Anaïs Nin wrote about female identity and sexuality in a style that was both explicit and poetic. Her most significant work, a diary spanning six decades, recounts her transformative experiences in Paris from 1926 to 1939. At first, Nin felt intimidated by the French capital’s competitive literary scene. She hid her insecurity behind “original, striking clothes which distinguish me from other women.” She was delighted when a blue velvet coat she had made was mistaken for a design by the eminent couturier Jeanne-Marie Lanvin. It appears in this portrait by the Russian artist Natashia Troubetskoia, who admired Nin’s eccentric style. In between portrait sittings, Nin was writing her first book -- a study of the writer D.H. Lawrence. Published in 1932, its shocking sexual candor marked her distinctive literary voice. As she wrote in her diary, she no longer needed clothing to express her uniqueness. “I have other things to do.” Troubetskoia was reportedly a princess who fled to Paris after the Bolshevik revolution. She met Nin in January 1929 and painted several portraits of her including this one in 1932. She also used Nin as a model for other paintings, and Nin used the Princess's studio as a mailing address and meeting place in Paris. In the painting, we see Nin elegantly dressed in a long royal blue velvet robe with gray fur trim, sitting regally on an ornate chair with her legs crossed and head slightly cocked to her right while exuding an air of quiet confidence and sophistication. She is striking with dark, shoulder-length wavy hair, extremely fair skin, and dark eyes that hold a direct gaze at us. She wears a dark pendant necklace and her hands, adorned with rings, rest gracefully on the arms of the chair. She wears white stockings and dark pointy shoes with delicate straps. Her pose is one of relaxed yet controlled dignity making her as memorable as her writings.
April 11, 2025 at 6:06 AM
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"Armelle" by Elizabeth Colomba (French) - Oil on canvas / 1997 - Metropolitan Museum of Art (New York) #WomenInArt #WomensArt #WomanArtist #WomenArtists #ElizabethColomba #Colomba #TheMet #BlackArt #BlackArtist #art #artText #BlueskyArt #PortraitofaWoman #WomenPaintingWomen #MetropolitanMuseumofArt
American artist Elizabeth Colomba painted her cousin Armelle while thinking with (and against) the language of canonical portraiture. The pose and polish nod toward John Singer Sargent’s "Madame X," but the remake shifts what is centered. It's not spectacle, not rumor, but presence and Black womanhood held with dignity and specificity. Armelle stands in an elegant interior, her body angled slightly while her face turns in profile. Her eyes look up and to our right, toward a framed painting on the wall. Her skin is a beautiful warm brown tone under soft, controlled light. Her black hair is gathered into a neat bun, and small earrings catch a faint highlight. She wears a crisp black-and-white ensemble with a white, button-front top with a deep black collar and black trim at the sleeves, paired with a long black skirt that falls in a smooth, heavy drape over a white underskirt hem. One hand rests lightly on a small wooden table, fingertips relaxed. The other hand holds a single pale pink flower on a long stem, hanging downward like a quiet punctuation mark. The floor beneath her is a bold black-and-white checkerboard, sharpening the geometry of the room. In the upper right, the framed picture shows an outdoor scene with a standing figure beneath palms. It's an image that pulls her attention and organizes the whole moment around looking. Armelle’s sideways glance toward the “painting-within-the-painting” (a 1885 watercolor painted in the Bahamas by Winslow Homer called "Under the Palm Tree" at the National Gallery of Art) creates a triangle of looking: we look at her, she looks toward art history, and art history looks back ... all reframed through family, roots, and choice. Colomba has described beginning from an existing story and remaking it to feel true to her mixed French and Caribbean inheritance. Here, that remaking reads as both critique and care, claiming the museum’s visual grammar as a space where Black beauty is not an exception but a standard.
February 18, 2026 at 5:42 PM
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“afro.died, T.” by Rozeal. (American) - Acrylic, pen, ink, marker, and graphite on birch plywood panel / 2011 - National Gallery of Art (Washington, DC) #WomenInArt #Rozeal #art #artText #WomenArtists #BlackArt #AfricanAmericanArt #AfricanAmericanArtist #IonaRozealBrown #ContemporaryArt #WomanArtist
American artist Rozeal. (Iona Rozeal Brown) created this work after becoming fascinated by ganguro, a Japanese youth style associated with deeply tanned skin, blond or bleached hair, dramatic makeup, and fashion shaped in part by African American hip-hop culture. She combines that contemporary reference with the visual language of ukiyo-e and bijin-ga images of fashionable women, producing a deliberately unstable hybrid of Japanese, Black American, and Western imagery. A glamorous woman reclines diagonally across the panel, gathering a long fall of blond hair in both hands. Her skin is partly covered in dripping brown pigment that leaves lighter areas visible beneath, while dark roots, red lips, elongated scarlet nails, pearls, and a green robe trimmed with white fur heighten the sense of deliberate self-fashioning. Behind her, large circles resembling records overlap with angular lines and repeated “BACK AND FORTH” text. At lower left and across her thigh, koi, curling blue waves, patterned cushions, and flattened decorative space evoke Japanese print traditions. Her lowered gaze makes the scene feel less like a posed portrait than a private moment of transformation. The brown color appears applied rather than natural, making racial transformation visible and raising questions about imitation, appropriation, and the unequal consequences of “putting on” signs of Blackness. The repeated phrase “BACK AND FORTH” reinforces that cultural movement and also recalls Aaliyah’s 1994 song. The title is another layered exchange as “afro.died, T.” sounds like Aphrodite, goddess of love and beauty, while its written form suggests an “afro” dying or disappearing. Rozeal. does not reduce cultural borrowing to a simple accusation. Instead, she makes the painting seductive, witty, and uneasy at once, asking what is gained, distorted, or erased when beauty and identity travel across cultures.
October 5, 2026 at 2:56 PM
tanitatikaram.bsky.social
Tove Jansson (1914 - 2001) 'Smoking Girl ( Self-Portrait )' 1940 ❤️ #womanartist #portrait #colour
Tove Jansson (1914 - 2001) 'Smoking Girl ( Self-Portrait )' 1940 ❤️
December 11, 2025 at 3:28 PM
mdstamper.bsky.social
Autoritratto con capello rosso (Self-portrait with Red Hat) by Leonor Fini (Argentine-Italian) - Oil on canvas / 1968 - Palazzo Reale di Milano (Italy) #womeninart #selfportrait #art #oilpainting #womanartist #LeonorFini #femaleartist #womensart #portraitofawoman #PalazzoReale #PalazzoRealediMilano
The 1968 artwork titled “Autoritratto” is an intriguing self-portrait by Argentine-Italian surrealist Leonor Fini. We are immediately drawn to the striking contrast between the vibrantly painted reddish-orange hat and the cool, subdued tones of the sea blue background. The hat, with its expansive brim, frames the face of the artist and adds a dramatic flair to her visage. Fini’s gaze confronts us directly, serene yet penetrating, suggesting a confident and introspective presence. She wears a deep scoop-neck dress adorned with a pattern blending botanical elements with abstract forms, perhaps indicating the complex nature of identity and the way it intertwines with the surrounding world. The use of color is noteworthy, with the background rendered in a monochromatic blue that enhances the luminosity of her pale very white skin and the fiery hat, creating an aura of mystique around the figure. The brushwork appears fluid, with the patterns on the body executed in a manner that suggests both spontaneity and intention. The overall composition speaks to the influence of surrealism, yet it remains grounded in a realism that captures the essence of the artist’s physical features. Born to an Argentinean father and an Italian mother, Leonor Fini received a cosmopolitan education in the heart of the Triestine literary scene. In 1925, having decided to paint, she moved to Milan, where the approach of Renaissance painters inspired her. Meeting Savinio, Carrà, and other Italian Magical Realists had a profound effect on her. When she moved to Paris in 1931, her interest in Surrealism strengthened her penchant for the wonderful and dream-like. Despite her friendships within the group of Surrealists, she explored the imaginary visions dictated by her fantasies alone: women-sphinxes, ephebes, and chimeras populate scenes where sacred rituals mix with the erotic, in an atmosphere which is incandescent and gloomy by turns, and always enigmatic.
March 25, 2025 at 12:22 PM
mdstamper.bsky.social
The Ascendants XVIII (She Is Here And So Are You) by Wangari Mathenge (Kenyan) - Oil on canvas / 2021 - Dallas Museum of Art (Texas) #womeninart #womanartist #art #oilpainting #WangariMathenge #womensart #femaleartist #DMA #DallasMuseumofArt #KenyanArtist #womenpaintingwomen #Kenyan #artwork
Kenyan artist Wangari Mathenge's “The Ascendants XVIII (She Is Here And So Are You)” was part of Mathenge's solo exhibition “You Are Here” at Pippy Houldsworth Gallery in 2021. The piece belongs to the artist's ongoing series in which figurative compositions explore hybridity across the continent and diaspora, reflecting on personal experience of movement between the two. This vibrant painting depicts a woman seated at a vanity, engrossed in reading a book. The scene is composed within a small room, likely a bedroom. The woman is positioned centrally, seated at a green vanity with a three-part mirror. The vanity is the focal point, and elements in the foreground and background are arranged to direct the viewer's gaze to the main subject. The framing is intimate, focusing on the woman and her immediate surroundings with patterned fabrics and pillows on the floor in front of the vanity adding depth and interest. The central figure is a mature dark-skinned woman wearing a reddish-orange headwrap and multicolored, patterned gown featuring a variety of vibrant and bold patterns and colors. The colors and prints reflect the artist’s African cultural influences. Lauded by Apollo Magazine, “(Women) in Mathenge’s explosively colorful domestic settings – replete with Kanga textiles and other signifiers of their subjects’ East African heritage – have agency, either contemplating themselves and their own thoughts or observing us, the viewer, with magnificent hauteur.” Mathenge was born in Nairobi, Kenya in 1973 and holds an MFA in Painting and Drawing from the School of The Art Institute of Chicago. Recent institutional exhibitions include Stretching the Body at Fondazione Sandretto Re Rebaudengo, Turin, and Black American Portraits, at LACMA, Los Angeles. Further collections include Nasher Museum of Art, NC; Weisman Art Museum, Minneapolis; Elie Khouri Art Foundation, Dubai; Christen Sveaas Art Foundation, Norway, and Fondazione Sandretto Re Rebaudengo, Turin.
March 9, 2025 at 4:00 AM
erinhansonartist.bsky.social
Just thought I'd give your eyes a little rest from Pantone's 2026 color of the year, since it's apparently everywhere on social media today.

Pictured: Norway Lights by Erin Hanson, 2025

#art #artist @bsky.art #womanartist #dailyart #landscapepainting #natureart #oilpainting🎨#colorfulart
"Norway Lights" Original Oil Painting by Erin Hanson 2025 22 x 36 in Colorful, impressionistic brush strokes capture the majesty of Norway in this Open Impressionism painting by Erin Hanson. Delicate hues of an October sunset are reflected in the still waters of Norway's unique coastline.
December 4, 2025 at 10:11 PM
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“The Church” by Gertrude Abercrombie (American) - Oil on canvas / 1938 - Crystal Bridges Museum of American Art (Bentonville, Arkansas) #WomenInArt #WomanArtist #art #artText #artwork #church #GertrudeAbercrombie #Abercrombie #Surrealism #CrystalBridgesMuseumofAmericanArt #WomensArt #WomenArtists
In the foreground, a lone woman in a long black dress with matching hat and shoes plus white socks and long gloves stands on a narrow dirt path leading toward a small, whitewashed church. She holds a leaf-less branch in her left hand while her right steadies her hat. Giving a sense of distance and solitude, the a solitary white church rises at the center of the scene, with pale walls, darkened windows, and a slim steeple topped by a pointed spire. It sits on flat ground, surrounded by open space with no trees or buildings nearby. The horizon is low, emphasizing the wide sky above, which is painted in muted blues and grays with hints of overcast light. Dark storm clouds, dead trees, and tree stumps surround the path near her. The stillness of the scene, the isolated figure, and the stark geometry create a quiet, dreamlike atmosphere. Gertrude Abercrombie, remembered as Chicago’s “jazz witch” and a leading figure in American Surrealism, painted “The Church” during her early period, when she pared down landscapes to bare essentials and infused them with psychological resonance. Born in Texas and raised in Illinois, Abercrombie studied briefly at the School of the Art Institute of Chicago before developing her own style. During the Depression, she worked for the WPA Federal Art Project, producing a painting a month between 1935 and 1940. This experience sharpened her minimal, symbolic approach. By the mid-1930s she had become central to Chicago’s creative scene, hosting gatherings of musicians like Dizzy Gillespie and Sarah Vaughan, whose improvisation mirrored her own imaginative freedom. For Abercrombie, churches, moons, barren trees, and solitary women were not literal but symbolic as motifs of solitude, longing, and the search for transcendence. She once said her art was about “simple things that are a little strange.” Here, the familiar sight of a country church becomes uncanny, charged with questions of faith, abandonment, and the mysteries of life.
September 21, 2025 at 11:36 PM
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Expressionistic color dances across the canvas in this interpretation of central California wine country.

Expanse of Color
Original Oil Painting
by Erin Hanson, 2016
60 x 72 in

#dailyart #impressionism #california #womanartist @fineartgallery.bsky.social
https://www.erinhanson.com/portfolio/expanse-of-color Expanse of Color Original Oil Painting by Erin Hanson, 2016 60 x 72 in Expressionistic color dances across the canvas in this interpretation of central California wine country. The softly curved hills and rounded oak trees form complementary patterns in the landscape. The long summer grasses are captured with curving brush strokes that are reminiscent of van Gogh.
May 20, 2025 at 8:22 PM
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“Erin and Anyah with Hydrangeas” by LaToya Hobbs (American) - Acrylic and collage on carved wood panel / 2023 - Frist Art Museum (Nashville, Tennessee) #WomenInArt #Art #WomanArtist #WomensArt #WomenArtists #AfricanAmericanArtist #BlackArtist #FemaleArtist #FristArtMuseum #LaToyaHobbs #CarvedArt
Baltimore-based American artist LaToya Hobbs carves stylized woodblocks of Black women with a perspective that rest is a fundamental human right. Hobbs described her professional focus on rest and relaxation as “The act of carving and its removal of material carries symbolic meaning related to the carving away of negativity and stereotypes needed to reveal the real version of oneself.” In “Erin and Anyah with Hydrangeas,” Hobbs’ young stepdaughter and niece, look directly at us with calm expressions of confidence and hope. Their bodies intertwined in a tender embrace, one rests her head on the other’s shoulder, set against a backdrop of stylized puffy white flowers and foliage decorating a pinstriped backdrop. The positioning and arrangement emphasize the closeness and shared connection between the two young Black women with gold color accents for their braided hair, necklaces, earrings, and bracelet. It’s a personal moment taken from an original photograph by the artist’s husband Ariston Jacks giving us a sense of the cousin’s closeness and empathy. Often using her family, friends, and even herself as subjects, Hobbs creates densely textured prints and paintings depicting quiet moments of affection and connection. Gouged with impeccably thin lines and delicate crosshatching, Hobbs’ works evidence the artist’s laborious process and profound admiration for the tactile, in both the tangible, ridged properties of her carvings and the connections elicited by human touch. She received her B.A. in Painting from the University of Arkansas at Little Rock and M.F.A. in Printmaking from Purdue University. As we see in this beautiful piece, her work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora.
July 3, 2025 at 6:39 AM