#1900sArt
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plastyczny.bsky.social
Anton Azbe
The Village Choir
1900
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#AntonAzbe #TheVillageChoir #1900sart #art
February 2, 2025 at 7:16 PM
tucanito.bsky.social
borzoi lady (with her daughter) #botzoi #art #borzoianthro #doganthro #anthroart #1900s #early1900s #1900sart #night #canine #artistonbluesky #dress #doglady
September 4, 2025 at 5:51 PM
ruskinsociety.bsky.social
Ruskin always argued that the smallest, most familiar plants carried the clearest truths about growth and honesty in art.

#Symbolism #YoungPoland #ArtsAndCrafts #Stasiak #Malczewski #ArtHistory #Dandelions #1900sArt
ahistoryinart.bsky.social Richard Morris @ahistoryinart.bsky.social · Mar 14
'Dandelions.' (1900) Along with Jacek Malczewski, Ludwig Stasiak is credited for the rise in popularity of symbolism in late 19thC and early 20thC Poland and was on the fringes of the Young Poland Movement, it shared fundamental parallels with the British Arts and Crafts Movement
April 21, 2026 at 8:42 PM
mdstamper.bsky.social
“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
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.
March 11, 2026 at 2:30 PM
mdstamper.bsky.social
“Denise at Her Dressing Table” by Mary Cassatt (American) - Oil on canvas / c. 1908–1909 - Metropolitan Museum of Art (New York) #WomenInArt #artText #MaryCassatt #Cassatt #TheMet #AmericanArt #MirrorArt #WomenArtists #MetropolitanMuseumofArt #AmericanArtist #WomensArt #WomenPaintingWomen #1900sArt
American artist Mary Cassatt, the American-born painter who built her career largely in France and became closely associated with the Impressionists, often focused on women’s lives from within rather than as spectacle for others. Here, a mirror motif may suggest vanity, but the painting is more intelligent and generous than that label alone. A fair-skinned young woman with auburn hair sits at her dressing table in a loose white robe brushed with pale pinks, lilacs, and cool blue-gray shadows. Her body turns slightly toward us, but her attention is divided between her own reflection and the act of arranging her hair. With one hand, she holds a small round hand mirror backed in green moiré. Either the other, she reaches toward her coiffure. Behind her, a larger round mirror repeats the back of her head and arm, creating a second view of the same intimate ritual. One shoulder is bare, the neckline falling open in a way that feels casual rather than theatrical. A tabletop and the room are only lightly described, and the upper right remains thinly painted and unfinished, so the work reveals both Denise’s private grooming and Cassatt’s quick, confident handling of paint. The sitter was apparently a professional model whom Cassatt painted more than once. That matters, because this is not a formal portrait of a named socialite but a modern study of a working model transformed into a psychologically rich presence. Cassatt turns simple grooming into a meditation on self-awareness, repetition, and the shifting ways a woman can be seen: by herself, by a mirror, and by us. Painted late in Cassatt’s career, around the time her eyesight was beginning to fail, the work still shows remarkable control in flesh tones, loose brushwork, and the luminous softness of the robe. Denise appears thoughtful, self confident, and fully present. She is not an ornament, but a person inhabiting a quiet moment of self-fashioning.
April 24, 2026 at 6:10 AM
mdstamper.bsky.social
“Dos gitanas (Two Gypsies)” by Francisco Iturrino (Spanish) - Oil on canvas / c 1901–1903 - Museo Carmen Thyssen Málaga (Málaga, Spain) #WomenInArt #FranciscoIturrino #Iturrino #MuseoCarmenThyssenMalaga #MuseoCarmenThyssenMálaga #SpanishArtist #SpanishArt #AndalusianArt #art #artText #arte #1900sArt
This painting belongs to the period when Spanish artist Francisco Iturrino first immersed himself in southern Spain and found in Andalusia a new language of color. Andalusian themes became central to his work, and here he is less interested in anecdote than in atmosphere like heat, brightness, conversation, and presence. The title identifies the figures as gitanas, a historical Spanish term for Romani women, but the picture also reflects the era’s habit of turning Andalusia into an “exotic” imagined South. Two women stand outdoors in a courtyard washed in warm southern light. The woman at left is fuller-bodied and poised, her medium-brown skin framed by dark hair pinned back with a red flower. She wears a creamy white mantón with long fringe over a cool lavender-blue skirt. One hand rises lightly toward her chest, and her face turns away in a distant, inward-looking expression, as if she is listening while thinking of something else. Beside her, a slimmer woman with deep brown skin and dark, softly waved hair, tucked with a yellow flower, faces her companion more directly. She stands with one hand on her hip and the other relaxed at her side, projecting confidence and alert attention. Her dress glows in bands of orange, gold, and red, topped by a lively red-and-white shawl. Behind them, green foliage, a pale wall, and stone paving create a setting that feels intimate yet sun-struck. Iturrino paints with broad, visible strokes, so fabric, skin, and plants shimmer. Each woman carries a distinct emotional force. At the same time, the work participates in a broader early-20th-century fascination with Andalucía as spectacle. Iturrino, born in Santander and raised in Bilbao, was at this moment moving toward the radiant palette and liberated brushwork that would make him one of Spain’s most vivid colorists. Here, light is almost the third subject as it binds white fringe, orange stripes, black hair, and flowers into a scene that feels both observed and dreamlike.
April 18, 2026 at 2:30 AM
mdstamper.bsky.social
“Le Five O’Clock (Tea)” by Susan Watkins (American) - Oil on canvas / c. 1903 - Chrysler Museum of Art (Norfolk, Virginia) #WomenInArt #WomanArtist #WomenArtists #SusanWatkins #ChryslerMuseumOfArt #ChryslerMuseum #AmericanArt #art #artText #arte #teatime #WomenPaintingWomen #WomensArt #1900sArt
Artist Susan Watkins turns a familiar tea scene into something quietly modern. The title itself (part French, part English) suggests cosmopolitan play, fitting for an American painter who trained in New York and Paris and built an international career at the turn of the century. Around 1903, she was already earning praise for her technical control and elegant interiors, even as women artists were often steered toward “acceptable” domestic subjects. Two young women sit at a small tea table beside doors with windows, their figures emerging from a dim, softly brown interior into cool afternoon light. The woman at left, in a pale rose dress with a dark sash, leans forward with one hand near her chin, listening intently. Across from her, a woman in a white blouse lifts a delicate blue-and-white teacup, her face and shoulders haloed by the brightness behind her. Between them are a teapot, cups, saucers, and small plates. At right, a green vase holds pink flowers, while glass bottles and serving pieces recede into shadow on a shelf. Outside the open doorway, blurred greenery glows in loose strokes. Their skin is fair in the filtered light, their hair swept up in softly structured early-20th-century styles. No sitter is identified here, and the painting’s intimacy comes partly from that uncertainty as we seem to enter not a formal portrait, but a private moment. The domesticity is not trivial. Conversation, attention, and mood are the real subject. One woman speaks. The other measures the moment before replying. The white tablecloth and porcelain catch the light like stage props, but the emotional drama stays restrained, almost whispered. Watkins’s gift lies in that restraint. She makes the room feel lived-in and intelligent, a space where women’s interior lives matter. Later, she would say that meaningful work brought “the most lasting and most perfect happiness.” This painting feels shaped by that conviction to be disciplined, observant, and full of quiet self worth.
April 19, 2026 at 10:43 PM
joea64.bsky.social
This drawing exemplifies why I personally consider Gibson to be superior to other popular artists of the period, e.g., Harrison Fisher. Gibson was a superb observer of people. #edwardianera #charlesdanagibson #vintagehumor #1890sart #1900sart
achronalart.bsky.social Achronal Art @achronalart.bsky.social · Oct 24
Charles Dana Gibson satirized the inability of "respectable" people to show amusement in his ink drawing "In A London Theater"

The people behind in the cheap seats show every kind of delight and laughter at the spectacle before them but the upper-class couple in front look positively bored.
1896 pen and ink illustration by Charles Dana Gibson for Life Publishing Co.
December 18, 2024 at 4:00 PM