##tatebritain
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shibui-shashin.bsky.social
Deserted basement corridor - Tate Britain, Millbank, London

#corridor #tate #tateBritain #artGallery #stunday #classicMono
February 15, 2026 at 12:53 PM
shibui-shashin.bsky.social
Entrance hall foyer of the Tate Britain, formally Tate Gallery, named after its founder Sir Henry Tate - Millbank, London

#foyer #Tate #TateBritain #tateGallery #AlphabetChallenge #WeekEForEponymous #classicMono
February 3, 2026 at 12:31 PM
mdstamper.bsky.social
“The Magic Circle” by John William Waterhouse (British) – Oil on canvas / 1886 – Tate Britain (London, UK) #WomenInArt #TateBritain #art #artText #artwork #WitchArt #MagicArt #Blueskyart
#Pre-Raphaelitism #BritishArtist #Orientalism #TateMuseum #Waterhouse #JohnWilliamWaterhouse #Pre-Raphaelite
A barefoot woman with light-olive skin and voluminous black curls stands on barren ground beneath a darkening sky. Her turquoise dress, embroidered with Persian or Greek warriors and tied with a dark-rose sash, ripples faintly in the warm air. Around her neck twines a small brownish-green snake like living jewelry. Holding a long wand in her right hand, she traces a ring of flame in the sand, enclosing herself and a cauldron that blazes with yellow-white fire. In her left hand, she lifts a crescent-shaped sickle. Smoke rises in a straight, glowing column, undisturbed by wind. Beyond the circle’s light, large black birds and a toad gather as symbols of witchcraft and corruption while inside, white flowers lie scattered beside her bare feet. The rocky desert and dim shapes of distant cliffs intensify her isolation allowing the circle’s glow to define both her boundary and her command. British artist John William Waterhouse’s fascination with miracles, magic, and prophecy converges here in the figure of an enchantress poised between mystery and mastery. Drawing from Victorian interest in the occult and “Orientalist” imagery, he portrays the beautiful woman not as victim but as autonomous priestess, creating her own sanctified space. The costume’s eclectic mix, from Anglo-Saxon hair to Near Eastern embroidery, reflects the painter’s attraction to imagined exoticism rather than lived travel. The sickle links her to Hecate and lunar cycles while the circle becomes a symbol of protection and creative power. Outside lies a barren world of superstition; within, the woman and her flowers embody beauty and agency. When first exhibited at the Royal Academy in 1886, “The Magic Circle” captivated audiences with its “original conception and pictorial result.” It remains among Waterhouse’s earliest triumphs, marking the beginning of his lifelong exploration of women as bearers of vision, transformation, and the unknowable.
October 18, 2025 at 10:39 PM
mdstamper.bsky.social
“Through the Looking-Glass” by Louise Jopling (English) – Oil paint on canvas / 1875 – Tate Britain (London, England) #WomenInArt #LouiseJopling #Jopling #TateBritain #TateMuseum #VictorianArt #WomensArt #WomanArtist #WomenArtists #art #artText #arte #BlueskyArt #mirror #EnglishArtist #SelfPortrait
Painted when British artist Louise Jopling was an ambitious young professional—and pregnant with her son Lindsay, this self-portrait insists on seeing her as a working artist rather than a decorative sitter. She stages herself “through the looking-glass,” riffing on Lewis Carroll’s recent novel to suggest a passage between private and public identities as a woman who sits in her studio and the public painter whose image will hang in exhibitions. She depicts herself as a light-skinned woman artist sitting as she paints on an easel with her body turned slightly to the side so her gaze meets ours in a calm, steady look. She wears a pale blue dress with ruffled trim, a high white collar, and a matching blue-and-white cap perched over dark hair. A spray of yellow and russet flowers hangs at her chest, echoed by warm tones in her cheeks. Jopling balances a wooden palette loaded with bright dabs of paint on her lap, a fan of brushes gathered in her right hand as she works at an unseen canvas. We realize we are looking into a tall, dark-framed mirror. Behind her, a red-brown studio wall, a painted folding screen crowded with tiny figures, a yellow chest of drawers, a draped chair, and the vertical bar of her easel describe a lived-in, professional studio space. Jopling sent this picture to the Society of Lady Artists in 1875, while her companion canvas "A Modern Cinderella" appeared at the Royal Academy, evidence of her determination to claim space in institutions that still excluded women from membership. The folding screen, patterned textiles, and fashionable blue dress signal her place in cosmopolitan Victorian culture, yet the direct gaze, firm posture, and active hands quietly challenge assumptions about women’s roles. Shown in "Now You See Us: Women Artists in Britain 1520–1920," the painting restores Jopling to the story of British art as a pioneer who built an art school for women and helped future generations step through the glass of professional exclusion.
December 10, 2025 at 6:37 PM
mdstamper.bsky.social
“Hope (second version)” by George Frederic Watts (British) - Oil on canvas / 1886 - Tate Britain (London, England) #WomenInArt #art #hope #artText #Symbolism #Watts #GeorgeFredericWatts #TateBritain #Tate #BritishArt #BritishArtist #allegory #BlueskyArt #FineArt #bskyart #artwork #oilpainting #1880s
A young light-skinned woman, blindfolded, sits on a small cloud-wreathed globe that tilts under her bare feet. Her body curls inward; head bowed, cheek turned toward a simple wooden lyre cradled in her lap. All but one of the lyre’s strings are broken; her right hand lightly plucks the lone survivor while her left steadies the frame. Pale, classical drapery clings to her shoulders and knees, its folds rendered in muted blue-greys that merge with the atmosphere. The background is an expansive, mottled blue with no clear horizon; faint light rims her form and grazes the globe’s edge. The mood is hushed and strained as if suspended between despair and endurance. Nothing distracts: no landscape, crowd, or architecture, only the figure, the globe, the nearly silent instrument, and the enveloping blue. British artist George Frederic Watts’s “Hope” redefined a time-honored allegory. Rather than anchor or flowering rod, he gives Hope a nearly voiceless lyre and a blindfold that make expectation feel precarious and inward. In 1885, he described his vision as “Hope sitting on a globe… playing on a lyre which has all the strings broken but one… trying to get all the music possible,” a picture of listening as much as believing. He created multiple versions, but it was this second version which became the best-known iteration and was transferred to the new Tate Gallery in 1897. Its simplified setting, restrained palette, and dissolving edges situate the work within late Victorian Symbolism while resisting easy consolation. “Hope” quickly entered public consciousness through studio photographs and prints, provoked debate among critics, and later resonated in religious and civic life; preachers and politicians alike drew on its image of tenacious listening in the dark. Yet its power remains painterly as much as emblematic: the composition compresses world, body, and sound to a single, straining line, asking what music or meaning can be made when almost everything is broken.
September 17, 2025 at 2:50 AM
preraphaelitesoc.bsky.social
#WednesdayWandering through the four Victorian Galleries at Tate Britain, we’d highly recommend a visit.

#tatebritain #preraphaelite
February 12, 2025 at 3:25 PM
joshito.bsky.social
A disaster at sea (1835), by Joseph Mallord William Turner. #art #painting #TateBritain
December 19, 2025 at 7:08 PM
runningpast.bsky.social
Loved the new exhibition at #TateBritain - The 80s - Photographing Britain. A brilliant mixture of protest and ordinary life including bits of from the late 1970s - such as the first few. It was so vast, that it probably needs another visit. Some of the labels are in Alt text
David Mansell 1976 - Jayaben Desai who led a walk out of Grunwick Film Processing Laboratories in northwest London. Syd Shelton - Lewisham (Milton Court Estate in the background) Darcus Howe addressing the anti-racist demonstrators, Lewisham 1977 Paul Trevor - Lewisham 1977, New Cross Road. Anti-racists block route of National Front demonstration. Syd Shelton - Paul Simonon RAR Victoria Park 1978
November 24, 2024 at 6:58 PM
mdstamper.bsky.social
"The Passing Train" by Marianne Stokes (Austrian British) - Oil on canvas / 1890 - Now You See Us: Women Artists in Britain, 1520–1920 - Tate Britain (London) #WomenInArt #WomensArt #WomanArtist #WomenArtists #MarianneStokes #MariannePreindlsberger #Stokes #artText #TateBritain #WomenPaintingWomen
Painted in 1890, this image stages a quiet collision between rural labor and modern speed. Austrian-born British artist Marianne Stokes never shows the locomotive choosing to lets it arrive as vapor, turning industry into atmosphere ... or something that seeps into the countryside and shifts a working day’s rhythm. A young woman stands in profile at the edge of a meadow, her body turned to our right while her gaze looks almost behind, as if listening. She appears late-teen to young adult, with light skin and brown hair swept into a low bun. A vivid red cape wraps her shoulders and arms, forming a near-triangular silhouette over a dark teal dress that falls straight to her ankles. Near her left hip, she grips the wooden handle of a small sickle or harvesting tool. Her other hand holds a tightly bound bundle of brushwood, its twig ends pointing forward. Behind her, a field stretches into bands of deep blue-green and soft olive, dotted with small yellow blossoms and shadowed stems. On the far horizon a pale sun sits low, flattened by haze. At the right, a passing train is suggested only by drifting white steam and smoke, which blurs the landscape and dissolves into the greenish sky. The paint surface feels velvety and atmospheric, with softened edges that make sound like steam, wind, and the rush of train wheels seem present even in stillness. Her lips and her sideways glance feels alert as if caught between the grounded weight of work and the airy blur of steam. The red cloak anchors the woman, while her half-turned pose suggests divided attention between the bundle of gathered wood at her side, and the train rushing past. Born in Graz, Marianne Stokes (née Maria Léopoldine Preindlsberger) later based her career in Britain and often painted women and children in moments of solitude. This sitter is unnamed, yet her pause feels universal ... and close enough to feel progress, but not close enough to ride.
January 8, 2026 at 12:19 AM
jillysnaps.bsky.social
Take a Seat 🤭

#JanuArty #Furniture

#AlphabetChallenge
#WeekCforCostume

#TateBritain
A contemporary art installation in The Tate Gallery, London. The central figure is a female mannequin positioned on her back atop a soft fur rug. It is styled in a provocative pose with her legs bent towards the chest and upwards and wearing black, lace-up thigh-high boots and long black gloves. A black leather cushion is strapped to her midsection, supported by a metallic frame, to form a chair.
January 17, 2025 at 4:50 PM
yelamo.bsky.social
Luz y Color,la mañana después del Diluvio. J.M.W.Turner (1843). #art #painting #romanticismo #TateBritain
October 30, 2025 at 6:08 PM
mdstamper.bsky.social
“H.M.S. Calcutta” by Lubaina Himid (British, born Zanzibar) - Acrylic & charcoal on canvas / 2021 - Tate Britain (London, England) #WomenInArt #WomensArt #WomanArtist #WomenArtists #LubainaHimid #Himid #TateBritain #Tate #arttext #art #arte #BlackArt #BlackArtist #ContemporaryArt #BlackBritishArt
Zanzibar-born British artist Lubaina Himid created this work as a reimagining of James Tissot’s nineteenth-century "The Gallery of HMS Calcutta (Portsmouth)", but she removes the flirtatious naval officer and centers the women instead. That change transforms the story. What had been a scene of Victorian social intrigue becomes one of female presence, Black visibility, and shared interior life. The title still carries the weight of empire: “H.M.S.” signals British naval power, while “Calcutta” evokes colonial naming and imperial routes across oceans. Two Black women stand together on the deck (or maybe an enclosed viewing gallery) of a ship, facing toward a turbulent grey sea. The woman at right stands nearest the railing in a long cream dress, lavender-blue stockings, white heels, and a blue headwrap. Her body turns outward toward the water, while her head angles to the right. Behind her, the second woman wears a pale pink top and a long olive-green skirt. She holds the railing near the other women, creating a quiet link. Around them are several empty café-style chairs with yellow seats and thin curved metal legs. Slanted dark supports divide the view, and beyond them the sea is painted in gray-white, churning bands beneath a pale blue sky. The mood is calm, watchful, and slightly uncanny. Himid, a pioneering figure in the British Black Arts Movement and an artist long committed to recovering erased histories, often revisits inherited images to ask who was left out, misseen, or never allowed full subjecthood. Here, the women are neither accessories nor symbols of someone else’s narrative. They occupy the picture with calm authority. Painted in 2021, after decades of Himid’s work challenging cultural amnesia, the canvas feels both historical and immediate like a meditation on race, gender, memory, and the possibility of looking out from history rather than being trapped inside it.
April 16, 2026 at 8:44 PM
mdstamper.bsky.social
"Sappho and Erinna in a Garden at Mytilene" by Simeon Solomon (British) - Watercolor on paper / 1864 - Tate Britain (London, England) #WomenInArt #SimeonSolomon #Solomon #TateBritain #art #artText #arte #Watercolor #Watercolour #VictorianArt #BritishArt #PreRaphaelite #Pre-Raphaelite #1860sArt
Painted in 1864, this watercolor belongs to British artist Simeon Solomon’s early, ambitious engagement with classical and poetic subjects. Solomon, still a young artist in his twenties and closely associated with Pre-Raphaelite circles, turned to Sappho as a figure through whom desire, lyric beauty, and ambiguous identity could be imagined with unusual frankness. Two young women sit close together on a curved stone bench inside a lush, enclosed garden. At left, Erinna wears a soft rose-pink robe that slips from one shoulder, exposing part of her upper chest and emphasizing the tenderness and vulnerability of the pose. At right, Sappho leans in, dressed in warm yellow-gold drapery, her arm wrapped around Erinna as their faces nearly touch. Their dark hair, pale skin, and calm, inward expressions create a mood of stillness rather than drama. Around them, Solomon scatters symbolic details like petals and flowers on the ground, two doves perched behind them, a darker bird nearby, a small deer beside Erinna, and, near Sappho, the attributes of poetry and music. The figures feel both intimate and ceremonial, suspended in a private world of touch and affection. Victorian viewers often linked Sappho and Erinna romantically, even though that historical pairing is now understood to be anachronistic. That tension matters as the painting is not a documentary reconstruction of antiquity, but a 19th-century dream of female intimacy, literary companionship, and queer longing. Solomon makes that longing legible without making it crude. The doves suggest paired love. The darker bird introduces unease or interruption. The deer evokes a sacred, poetic realm. The result is delicate but radical. It's an image that treats closeness between women as cultured, beautiful, and emotionally serious rather than marginal. Tate acquired the work in 1980, and it remains one of Solomon’s most resonant pieces on desire, classicism, and imagined lesbian history.
April 10, 2026 at 6:48 PM
yelamo.bsky.social
El Lamento por Ícaro. Herbert James Draper (1898). #art #painting #mitología #academicismo #TateBritain
October 27, 2025 at 4:18 PM
lorraineinglisd.bsky.social
The many lives of #LeeMiller 📸
Really enjoyed this brilliant exhibition at Tate Britain. Such a powerful, inspirational woman and iconic photographer ❤️

#photography #TateBritain
Lee Miller poster Lee Miller exhibition Lee Miller exhibition
February 14, 2026 at 2:40 PM
spexaddict.com
László Moholy-Nagy, K VII, 1922, London, Tate Britain

#LaszloMoholyNagy #TateBritain #art

newgolddream.tumblr.com
September 8, 2025 at 3:03 PM
malcolmstoneman.bsky.social
#LeeMiller exhibition #TateBritain #London

Reproduction of self-portrait images. 1927

Miller was a model, an artist’s muse, a photographer’s assistant, photographic collaborator, Surrealist, Vogue photographer, War photographer & Chef.

What a life!

An outstanding exhibition.
These (photo booth) self-portraits show her experimenting with poses wearing the cloche hat she wore in Vogue magazine cover of March 1927. These (photo booth) self-portraits show her experimenting with poses wearing the cloche hat she wore in Vogue magazine cover of March 1927.
December 10, 2025 at 5:06 PM
nicholassack.bsky.social
Figures in the city
Tate Britain, London, 2019
Silver gelatin print
#photography #streetphotography #believeinfilm #blackandwhitephoto #analoguephoto #London #TateBritain #Tate #women #figures #exhibition #gallery #Sickert #WalterSickert #paintings #viewers #visitors #spectators #show #pictures
August 20, 2025 at 2:33 PM
mrkirby.photography
Tate Britain - May 2026
#streetphotography #fujifilm #tatebritain
June 1, 2026 at 9:29 AM
museoprivado.bsky.social
#WilliamLogsdail (pintor realista inglés, 1859-1944)
- Saint Martin-in-the-Fields / Saint-Martin-des-Champs, 1888, óleo sobre lienzo #TateBritain, #Londres #museoparticular #painting
May 10, 2026 at 10:05 AM
etreharne.bsky.social
Ford Madox Brown’s Chaucer Reading #TateBritain
November 24, 2024 at 2:40 PM
felix-xifel.bsky.social
I will try the #AlphabetChallenge
#weekO 📷 #photography
At the #TateBritain #FrancisBacon
O for Orange
April 11, 2024 at 9:04 PM
minimallyprocessed.bsky.social
Daily Photo #33

Sometimes, even the most mundane things like footsteps can be fascinating to watch. The strange 'chairs' in the Tate Britain were so relaxing, and we loved seeing people go by.

#photography #photo #streetphotography #travelphotography #artgallery #tatebritain #london
A person mid footstep, torso and legs only
January 7, 2025 at 5:53 PM
mrkirby.photography
Tate Britain - May 2026
#streetphotography #fujifilm #tatebritain
May 31, 2026 at 8:17 AM
runningpast.bsky.social
A stained glass window at #TateBritain
#StainedGlassSunday
A semi circular stained glass window, it is divided into squares with what look like books - they are in a variety of colours, but yellows, oranges and blues predominate.
December 1, 2024 at 9:54 AM