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thezenoftrueart.bsky.social
Georgia O'Keeffe, "Apple Blossoms," oil on canvas, 1930; Nelson-Atkins Museum of Art. #art #arte #modernart #flowers #appleblossoms #flowerpainting #okeeffe #georgiaokeeffe #womanartist #femaleartist #paintings #pinturas #museum #artgallery
November 1, 2026 at 3:21 PM
danettehitznewton.bsky.social
Got a little work done on this cosmos-inspired painting. #cosmos #oilpainting #geometricart #womanartist
October 30, 2026 at 3:55 PM
danettehitznewton.bsky.social
Nature's Feminist Manifesto brings bold color and organic shapes together, suggesting motion and feeling. It’s 36 by 36 inches and available to purchase as are prints and other products. #abstract #feministart #womanartist
November 6, 2026 at 4:15 PM
maggiefabbiart.bsky.social
What the algorithm wants...the algorithm gets ✨😬✨#artoftiktok, #ottawa, #womanartist, #Canadianartist
November 5, 2026 at 2:02 PM
elainefogel.bsky.social
I thought I'd share a bit about myself today. I'm a Canadian-American artist living in Phoenix, AZ. I find joy in creating nature-inspired art and relish the positive feedback I receive! Thanks to those who have been following my art journey. 💕 elainefogelart . com #womanartist #artist #artlovers
November 5, 2026 at 6:06 PM
laurajg.bsky.social
By Flora Lion (1878-1958), “Women's Canteen at Phoenix Works, Bradford,” 1918, oil on canvas, 1066x1828 mm, Imperial War Museum London. #arthistory #painting #oilpainting #womanartist #womenartists
From the museum: “Artist Flora Lion was an established society portrait artist who, during the First World War, organised permission to sketch factories in Leeds and Bradford. She created two oil paintings that were donated to the Imperial War Museum in 1927… This scene at the Phoenix Dynamo Company in Bradford shows the factory canteen filled with female workers taking their lunch break, chatting and queueing in their work-issued uniforms. They are depicted by Lion as a sisterhood of strong young women, and look both confident and relaxed. The two figures in the centre, arms entwined, stand for a generation of women newly liberated by employment. History Canteens like this one were a popular wartime welfare innovation, aimed at maximising production efforts. For many women it was their first chance for a good regular meal. Phoenix Dynamo was contracted to produce Short sea planes, shells, machine tools and flying boats.”
November 4, 2026 at 4:29 PM
artistmelinda.bsky.social
#Art share.
This is
Tumacacori Mission©MSE.
If you zoom in, you can see the angry scratches of the artist using wood carving tools. Happy when finished.
#Sold #WomanArtist #SecondToNone ##ContemporaryArt #OilPainting
October 28, 2026 at 11:47 PM
mdstamper.bsky.social
“Portrait of a Woman” by Phyllis Purser (British) – Oil on canvas / c. 1960–1980 – Williamson Art Gallery & Museum (Birkenhead, England) #WomenInArt #PhyllisPurser #WilliamsonArtGallery #art #artText #arte #WomensArt #Purser #BritishArt #WomenArtists #BlackPortraiture #PortraitofaWoman #WomanArtist
Against a rose-red background, an unidentified Black woman with dark eyes looks past us to our left. Thick black hair rises high above her forehead, framing a face modeled in deep browns, grey-greens, and pale highlights. A small gold-colored earring is visible. Her lips are closed, her expression steady and serious. Without a recognizable setting, the painting keeps our attention on her. A white sleeveless top contrasts with her skin, while a multicolored cloth with purple, plum, moss green, cream, and pale pink in broad, visible brushstrokes drapes from her right shoulder across her torso. The woman’s eyes, nose, and mouth are handled with considerably greater precision than the loosely sketched fabric. Even the background varies in tone, moving from darker mauve on the left to a lighter dusty pink on the right. This contrast gives the portrait its energy. British artist Phyllis Miriam Purser (née Palmer) was born in Grantham, Lincolnshire, and trained at Nottingham School of Art from 1911 to 1913. She worked chiefly as a commercial illustrator, becoming known for postcards, greeting cards, and cheerful illustrations of children. After marrying Jack Purser in 1917, she lived for a time in Paris, then returned to England in 1921 and settled in Hoylake on the Wirral. Her designs were published by firms including Vivian Mansell and J. Salmon. Later in life she devoted more attention to painting and exhibited with the Society of Women Artists in 1973. Unlike the playful subjects for which she was widely known, this painting offers an encounter with a woman whose composed gaze dominates the canvas. Acquired by the Williamson Art Gallery & Museum as a gift in 2006, it preserves an image of a dignafied Black person without pretending to recover a biography that the record does not supply.
October 30, 2026 at 8:54 PM
thezenoftrueart.bsky.social
Georgia O'Keeffe, "Dead Cottonwood Tree," oil on canvas, 1943; Santa Barbara Museum of Art. #art #arte #modernart #georgiaokeeffe #femaleartist #femalepainter #womanartist #southwest #desert #highdesert #newmexico #paintings #peintures #museum #artgallery
October 27, 2026 at 3:11 PM
thezenoftrueart.bsky.social
Mary Cassatt, "On a Balcony," oil on canvas, c.1878-79; Art Institute of Chicago. #art #arte #modernart #figurativeart #portrait #portraitpainting #marycassatt #womanartist #femalepainter #paintings #peintures #kunst #museum #artgallery
October 27, 2026 at 3:14 PM
mdstamper.bsky.social
“The Jolly Washerwoman” by Lilly Martin Spencer (American) – Oil on canvas / 1851 – Hood Museum of Art (Hanover, New Hampshire) #WomenInArt #LillyMartinSpencer #HoodMuseumOfArt #AmericanArt #AmericanArtist #WomenArtists #19thCenturyArt #art #artText #1850sArt #WomensArt #WomanArtist #WomenArtists
A smiling woman pauses over a wooden washtub, turning toward us with rosy cheeks, dark hair neatly arranged, and a broad, toothy grin. Her reddish-brown dress and white apron contrast with the muted brick walls of a working household interior. Her strong, reddened arms reveal the physical demands of scrubbing laundry by hand. Around her, American artist Lilly Martin Spencer meticulously records the tools of domestic labor: a washboard, soap, clothespins, metal containers, and piles of clothing. A shallow basin holds freshly washed garments, arranged from lighter fabrics to darker colors, while a jacket rests atop the unwashed laundry in the foreground. The woman was probably Jane Thompson, a Scottish-born immigrant servant in Spencer’s household. Between 1845–1852, many Scottish and Irish immigrant women found employment in American households, performing exhausting work that often went unrecognized. The painting’s cheerful atmosphere contrasts with the evidence of demanding, repetitive labor, including the woman’s chapped arms, bent posture, and seemingly endless washing. Born in England to French parents, Spencer became one of the few 19th-century American women to achieve national recognition and support her family through painting. Her husband and 7 surviving children depended largely on her earnings. By placing a working woman at the center, Spencer challenged artistic conventions that favored male activities and public life. The painting’s original round-arched frame also gives an ordinary domestic worker an almost monumental dignity. Yet Spencer’s ability to pursue her career also depended on the labor of women such as Thompson. Spencer’s detailed realism drew upon European painting traditions. Remarkably, her signature was later painted over and replaced with a forged signature of German artist Meyer von Bremen, probably when European paintings commanded higher prices than works by American women. The forgery has since been removed.
October 29, 2026 at 11:41 PM
erinkatearcher.bsky.social
the most satisfying part of finishing a painting: packing her up for the collector #traditionalart #handpaintedart #womanartist #ethereal
October 27, 2026 at 3:06 PM
erinkatearcher.bsky.social
bewitched & beginning -- acrylic on panel for my october snail mail club suite ✧ #handpaintedart #ethereal #womanartist #fantasy
October 26, 2026 at 6:26 PM
mdstamper.bsky.social
“Shroud” by Mary Whyte (American) – Watercolor on paper / 2007 – The Johnson Collection (Spartanburg, South Carolina, USA) #WomenInArt #MaryWhyte #TheJohnsonCollection #art #artText #watercolour #Watercolor #JohnsonCollection #Whyte #SouthernArt #PortraitPainting #2000sArt #WomenArtists #WomanArtist
The woman depicted in “Shroud” worked in a textile mill in the American South, where an industry that had supported generations of families was increasingly threatened by closures. American artist Mary Whyte painted her in 2007 while developing “Working South,” a series devoted to people in disappearing occupations. Rather than show the woman at a machine, Whyte surrounds her with the material central to her working life. The result is both a portrait and a reflection on an industry’s decline. The pale-skinned woman’s head leans to one side, her eyes lowered and her blonde hair streaming toward the left. An expanse of yellow cloth sweeps above her head, curls around her shoulders, and falls in folds along her body. Washes of gold, orange, lime green, and red animate the fabric, while deep blue-black shadows fill the surrounding space. Her mature face is modeled with delicate precision, in contrast to the broad, fluid strokes of the cloth. Its almost weightless movement makes her stillness striking. No hands emerge from the folds, leaving her expression as the painting’s most immediate human detail. Whyte was born in Ohio, studied at Philadelphia’s Tyler School of Art, and settled in coastal South Carolina in 1991. She became known for watercolors of women in the Gullah community near Charleston. For “Working South,” she traveled through ten Southern states to depict mill workers, farmers, fishermen, and others whose labor was often overlooked. Writing about “Shroud” in her 2011 book “Painting Portraits and Figures in Watercolor,” she explained that the model worked in a textile mill and that the painting conveyed her feelings about the mills’ demise rather than a literal workplace scene. A shroud is a covering associated especially with death, and here it can suggest the fading of a livelihood and a way of life. Yet the woman is neither erased nor reduced to a symbol as Whyte gives her a distinct face, a moment of quiet, and a commanding presence.
October 28, 2026 at 2:28 PM
mdstamper.bsky.social
“All the Ancestors” by Hung Liu (劉虹) (Chinese-born American) – Mixed-media triptych / 2011 – Jordan Schnitzer Museum of Art (Eugene, Oregon) #WomenInArt #HungLiu #LiuHung #WomanArtist #JordanSchnitzerMuseumofArt #JordanSchnitzerMuseum #JSMA #劉虹 #artText #WomenArtists #WomensArt #Art #ArtOfTheDay
“All the Ancestors” centers on a young Chinese girl whom Chinese-born American artist Hung Liu (劉虹) befriended and photographed during China’s Cultural Revolution. Sent to the countryside in 1968 for political “reeducation,” Liu spent four years doing agricultural labor. She also used a camera entrusted to her by a friend to preserve portraits of people she came to know. Decades later, one of those photographs became the heart of this monumental work. The girl’s face dominates the central panel, turned slightly to one side, with her eyes directed outward. Orange-red peaches and curling blue-green leaves surround her hair and shoulders. In Daoist imagery, peaches signify immortality. Behind her, a detailed Confucian ancestor portrait depicts hundreds of small seated figures arranged in rows, representing generations of a family. The flanking gold-toned panels contain delicate flowers, colored circles, bold brush marks, and long trails of dripping pigment. Individual memory and collective ancestry meet on the same luminous surface. Liu was born in Changchun in 1948 and trained in Socialist Realism in China before moving to the United States in 1984. She studied at the University of California, San Diego, and later taught at Mills College. Historical photographs became central to her practice, particularly images of women, children, workers, and others often overlooked in official accounts. Her characteristic drips suggest both the survival of images and the erosion of memory over time. Beginning in 2003, Liu collaborated with master printer David Salgado on an experimental za zhong (“hybrid” or “bastard painting”) process combining printed imagery, painting, collage, and transparent resin in successive layers. In “All the Ancestors,” this technique transforms a personal photograph into something between a family memorial and a history painting. The girl is not simply placed before the past. She becomes part of it as a woman deserving a place among her ancestors.
October 27, 2026 at 2:31 AM
mdstamper.bsky.social
“falling” by Betty Shanefelter (American) – Acrylic on canvas / 2024 – American University Museum at the Katzen Arts Center (Washington, D.C.) #WomenInArt #BettyShanefelter #Shanefelter #AmericanUniversityMuseum #art #artText #TeenArt #ContemporaryArt #WomensArt #AmericanArt #2020sArt #WomanArtist
A teenage girl falls backward through an empty, blue-green space. Her brown hair lifts away from her face, both arms reach upward with fingers spread, and her legs swing apart bent at the knees. She wears a loose white T-shirt, denim shorts, pale socks, and dark sneakers. Her mouth is slightly open and her gaze turns upward. Yet there is no ledge, horizon, or ground to explain what has happened … or where she might land. American artist Betty (Elizabeth) Shanefelter painted “falling” in 2024 while still a high school student in Maryland. Rather than showing the instant of impact, she fixes her subject in a state of suspension. The creases of the shirt, contours of the legs, and carefully rendered shoes give the body a convincing physical presence, while the nearly featureless background removes any sense of place. Cool turquoise and blue tones unify the composition, with warmer hues in the skin and hair. The outstretched hands suggest an effort to regain balance, but the outcome remains unresolved. In 2025, “falling” appeared in “The Teen Experience” at the American University Museum at the Katzen Arts Center in Washington, D.C. Presented with the Museum of Contemporary American Teenagers (MoCAT), the exhibition brought together art by students from Montgomery County Public Schools’ Visual Art Center. Their work addressed identity, mental health, family, school, and the pressures of growing up. Shanefelter had already earned a Gold Key for her drawing “Ophelia” and a Silver Key for a mixed-media work titled “Betty” in the 2024 Maryland Scholastic Art Awards. In March 2026, she was a first-year illustration student at Parsons School of Design, with interests in comics, cartoons, color, and light. “falling” can be read as an image of uncertainty: the moment when ordinary life feels beyond one’s control. Shanefelter gives that sensation a physical form without telling us whether the figure is frightened, exhilarated, or somewhere between the two.
October 25, 2026 at 8:12 PM
artistmelinda.bsky.social
#Mood. Yeah. It's Friday.
She Wore New Earrings© MSE
#WomanArtist #OilPainting #ContemporaryArt
October 23, 2026 at 4:30 PM
mdstamper.bsky.social
“86” by Adji Dieye (Senegalese-Italian) – Felt pen and watercolor on paper / 2024 – Musée des Civilisations Noires (Museum of Black Civilizations), Dakar, Senegal #WomenInArt #AdjiDieye #MuseeDesCivilisationsNoires #art #artText #AfricanArt #Watercolor #BlackArt #WomanArtist #WomensArt #WomenArtists
“86” was featured in “L’art d’être, Femmes Noires” (“The Art of Being, Black Women”), at the Musée des Civilisations Noires (Museum of Black Civilizations) from December 2025 to May 2026. The exhibition highlighted Black women’s experiences and creativity across generations. Senegalese-Italian artist Adji Dieye’s subject feels self-possessed. She does not offer herself to our gaze; she is occupied with her own world. The picture quietly makes room for a Black woman to be modern, comfortable, and seen on her own terms. A woman reclines in an angular, black-framed chair, her knees raised and her feet extending to the right. She wears a flowing blue garment, a matching headwrap, and black shoes with pale straps and block heels. Holding a smartphone near her face, she looks toward its screen rather than at us. We see the back of the phone like she is taking a photo of us. Her relaxed posture suggests a moment of everyday life. Dieye combines crisp felt-pen outlines with loose blue watercolor washes. The garment fills much of the composition, its folds tracing the woman’s posture. Her face and hands are drawn largely against the unpainted white paper, and the background is almost entirely empty. This spareness highlights the contrast between the fabric and the phone. Her headwrap and draped clothing evoke West African styles, while her smartphone places her unmistakably in the present. Cultural inheritance and contemporary life appear together, without contradiction. Born in Milan in 1991, Dieye works between Dakar, Milan, and Zurich. Her practice explores how photographs, advertising, archives, and public imagery shape identities, particularly in Senegal. Her 2024 Dakar exhibition “Dègg naa tuuti Wolof” (“I understand a little Wolof”) examined everyday gestures and the shaping of public space. In “86,” the woman focuses on an image, conversation, or message, while we observe her. Whether she is browsing, communicating, or taking a picture is left uncertain.
October 25, 2026 at 5:44 AM
laurajg.bsky.social
Georgia O'Keeffe (1887–1986), 2 Yellow Leaves (Yellow Leaves), 1928, oil on canvas, 40 x 30 1/8 inches (101.6 x 76.5 cm), Brooklyn Museum. #arthistory #womanartist #womenartists #painting #oilpainting
Two yellow leaves, the smaller one on top of the larger one. From the museum: “This is a great example of how O'Keeffe was inspired by nature to create paintings that showed single items as she saw them. Here she takes two leaves and makes them very large. Like with her flower paintings, she is making viewers stop and notice these small, everyday aspects of nature.” A quote from the artist: “Men put me down as the best woman painter…I think I’m one of the best painters.” ~ Georgia O’Keeffe
October 27, 2026 at 12:32 AM
erinkatearcher.bsky.social
illustrating some custom stationery for my october snail mail club (will be paired with a witchy painting art print 🌙) #handpaintedart #womanartist #fantasy #snailmail #ethereal
October 23, 2026 at 6:31 PM
erinkatearcher.bsky.social
the dragon emerges -- 8x10 acrylic on panel #handpaintedart #womanartist #fantasy #threshingday
October 22, 2026 at 5:06 PM
mdstamper.bsky.social
“School Again!” by Jessie Willcox Smith (American) – Watercolor and charcoal on paper / 1928 – Delaware Art Museum (Wilmington, Delaware) #WomenInArt #JessieWillcoxSmith #DelawareArtMuseum #art #artText #arte #AmericanIllustration #GoodHousekeeping #1920sArt #WomanArtist #WomensArt #WomenArtists
A young pale-skinned girl sits at her classroom desk with her cheeks resting in both hands and her elbows planted on an open book. Her loose brown curls frame a face that looks anything but eager to study. Dressed in blue with striped cuffs, she lowers her eyes but seems scarcely absorbed by the pages beneath her. Behind her, an enormous classroom map stretches across Texas, Mexico, and the Gulf of Mexico, suggesting a world far bigger and more enticing than the lesson before her. American artist Jessie Willcox Smith gives the schoolroom an appealingly precise set of details. A green cloth covers the desk, where a pencil box, an inkwell with a red pen, and a small slate with a red border sit beside the book. Against these ordinary tools of study, the colorful map almost becomes a window onto elsewhere. The girl is well behaved enough to remain at her desk, but her resting head and wandering attention communicate the familiar boredom of a long school day. Created in watercolor and charcoal, “School Again!” appeared as the cover of the October 1928 issue of Good Housekeeping. At the time, the magazine reached about one million American households each month. The return to school made an ideal seasonal subject, and Smith’s understated humor would have been recognizable to children and parents alike. Smith (1863–1935) studied with Thomas Eakins and illustrator Howard Pyle to became one of the most celebrated American illustrators of children. Alongside Elizabeth Shippen Green and Violet Oakley, she belonged to the group remembered as the Red Rose Girls. Before establishing her artistic career, she had briefly worked as a kindergarten teacher, a fitting connection to this portrait of reluctant scholarship. Rather than presenting an impossibly perfect child, Smith recognizes a small, enduring truth that even when the body stays at its desk, the imagination or a child’s desired destination can be far away.
October 24, 2026 at 4:17 PM
mdstamper.bsky.social
“L’Enfant de Paris” (Portrait of Dolly Davis) by Jacqueline Marval (French) – Oil on canvas / 1926 – Milwaukee Art Museum (Milwaukee, Wisconsin) #WomenInArt #JacquelineMarval #DollyDavis #MilwaukeeArtMuseum #art #artText #arte #WomensArt #WomanArtist #FrenchArt #FrenchArtist #1920sArt #WomenArtists
“L’Enfant de Paris” depicts French actress Dolly Davis (born Julienne Alexandrine David in Paris in 1896). By the mid-1920s, she was a familiar presence in French silent cinema, appearing in films including “Paris,” “The Imaginary Voyage,” and “Paris in Five Days.” French artist Jacqueline Marval also painted Davis in earlier works like “La Clownesse” and “La Figurante” which suggests an ongoing artistic interest in Davis. Marval places Dolly Davis at the center of a light-filled Parisian scene, seated on a tall pale chair beside a balcony railing. Davis wears a loose pink garment that falls softly around her body, while her short waved hair, red lips, and carefully defined face stand out against the surrounding pastels. Her hands rest in her lap and her legs angle toward the lower right. Behind her, the city dissolves into pale blues, violets, creams, and flashes of yellow. Railings, distant architecture, trees, and tiny figures become part of a decorative rhythm of broken brushwork and color. Born Marie-Joséphine Vallet near Grenoble, the artist formed the moniker “Marval” from her own name and moved to Paris, where she first exhibited at the Salon des Indépendants in 1901. Ambroise Vollard bought ten paintings from that debut, and she soon exhibited with legends Henri Matisse and Albert Marquet at Berthe Weill’s gallery. By the 1920s, she was an established artist with an international exhibition record, although she has often been overlooked in the story of modern French painting. This portrait brings together two 1920s women whose careers depended on visibility: one before the movie camera and the other with the art exhibition public. Marval does not turn Davis into a theatrical character. Instead, the actress appears composed and self-possessed, surrounded by a city rendered almost as atmosphere. The title “L’Enfant de Paris” ties her to the city of her birth, while the airy color, relaxed setting, and steady gaze give her a distinctly modern presence.
October 21, 2026 at 6:33 PM
laurajg.bsky.social
No paywall. #art #womanartist #womenartists #arthistory
#painting #oilpainting
www.nytimes.com/2026/10/17/a...
She Signed Her Painting in 1548. Nearly 500 Years Later, It Finally Goes on Show. (Gift Article)
Long overshadowed by her father and overlooked by historians, the 16th-century pioneer Catharina van Hemessen is now getting her due.
www.nytimes.com
October 21, 2026 at 1:08 AM
erinkatearcher.bsky.social
seeing a bunch of creative ways people make being an artist work at patreon up next was such a breath of fresh air. thanks so much for the invite !
#handpaintedart
#womanartist #artistsoftiktok #arttok
October 20, 2026 at 10:02 PM