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#CHRISTMAS 1916
‘The Christmas Tree’
Henry Mosler (1841-1920)
Oil on canvas. Ca. 1916.
#Christmas #ChristmasTree #HenryMosler #AmericanArt
December 18, 2025 at 1:14 PM
mdstamper.bsky.social
"Return of the Shrimp Fishers" by Henry Mosler (American) - Oil on canvas / c. 1881 - Cincinnati Art Museum (Cincinnati, Ohio) #WomenInArt #HenryMosler #Mosler #CincinnatiArtMuseum #art #arttext #BlueskyArt #Realism #AmericanArtist #AmericanArt #WorkingWomen #SocialRealism #JewishArtist #1880sArt
American artist Henry Mosler turns exhausting labor into something almost monumental. A diagonal rhythm of bodies, nets, and baskets gives the painting dignity and momentum, making two women workers feel heroic rather than picturesque. Set at Grandcamp on the Normandy coast and painted for the Paris Salon of 1881, the picture reflects a moment when artists were increasingly drawn to rural and coastal life, even as mechanization threatened older ways of working. At low tide, two fisherwomen stride toward shore across a beach strewn with wet sand, seaweed, tide pools, and black rocks. Both wear deep blue dresses, caps, and worn aprons with their dark hair tucked back from faces marked by fatigue and concentration. The woman at left walks barefoot, her pale foot pressing into the sand as she balances a long-handled net across her shoulders and supports a basket on her back. The woman at center-right wears dark lace-up shoes and carries a circular shrimp net in one hand while another basket hangs behind her hip. Their bodies lean forward with the weight of the day’s catch. Behind them, more shrimp fishers move through the shallow water, some bent to work, others heading in as their pale bonnets catching the last light. A broad evening sky glows with soft gold, rose, lavender, and gray, while the sea turns green-blue under the fading sun. Cincinnati Art Museum notes that Mosler painted the canvas in his Paris studio, yet he still captured the shifting light of early evening with remarkable sensitivity. Conservation later revealed that he reworked the sky, changing an earlier blue daytime setting into this more atmospheric sunset. That fading light deepens the sense of fatigue, endurance, and return. Mosler, a Prussian-born Jewish American artist who built an international reputation in Europe, gives these fisherwomen scale, weight, and presence. They are not accessories to the landscape. They are the subject, and the shore seems to yield to their hard-won passage.
April 17, 2026 at 9:32 PM
mdstamper.bsky.social
The Quadroon Girl by Henry Mosler (German-American)- Oil on canvas / 1878 - Cincinnati Art Museum (Ohio) #womeninart #art #artwork #portraitofawoman #oilopainting #HenryMosler #Mosler #womensart #CincinnatiArtMuseum #fineart #abolitionist #poem #HenryWadsworthLongfellow #Longfellow #ArtText
German-born American artist Henry Mosler’s “The Quadroon Girl” depicts a Black woman with a lighter complexion posed in front of a pale gray background. She is turned slightly to the right and does not face the viewer. The woman has long black wavy hair that is parted in the middle and reaches down her back. Her face tilts to the right and is downturned. She appears to have a downcast expression on her face. A dangling gold earring peaks out from her hair. She is wearing a white garment wrapped around her chest; her shoulders are bare. She holds the fabric in place with bent arms and her hands cross over her chest. On her right wrist is a black manacle with a dangling chain. Her left elbow rests on a little-defined russet-colored piece of furniture. At the Paris Salon of 1878, this painting appeared alongside the following stanza of Henry Wadsworth Longfellow’s 1842 abolitionist poem, The Quadroon Girl: Her eyes were large, and full of light, Her arms and neck were bare; No garment she wore save a kirtle bright, And her own long, raven hair. A quadroon was a demeaning term for a person of one-quarter African descent and three-quarters white Euro-American. Longfellow’s poem, which tells the story of a Southern plantation owner who sold his own mixed-race daughter into bondage, expresses the cruel inhumanity of enslavement. Although we may surmise that Mosler opposed slavery, he was not a political artist. Literary themes were in vogue with the juries of the Salon, to whom he successfully presented this painting. To likely satisfy the taste of the privileged white male elite art establishment, he produced a romanticized and sensual portrait of Longfellow’s tragic heroine.
May 13, 2025 at 6:14 PM
serenitydesign.bsky.social
ICYMI: #Art #Aesthetic #FeminineArt #CanvasArt #HenryMosler
The Spirit of the Rainbow – Feminine Art – Canvas or Print – aesthetic painting by Henry Mosler by DesignBohemian
https://www.etsy.com/listing/1777980581/the-spirit-of-the-rainbow-feminine-art?ref=rss&utm_source=dlvr.it&utm_medium=wordpress
serenitydesigns.org
August 31, 2025 at 4:40 PM
delphinelancel.bsky.social
L’arbre de Noël
#HenryMosler J-6 🎄🎁
December 18, 2024 at 12:40 PM