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Laura JG @laurajg.bsky.social · 10h

This appears to be the original photo image used in the photomontage: by Dora Maar (1907-1997), Portrait of Nusch Éluard, gelatin silver print.Maar was for a time Picasso’s muse and lover. Which was not, (for any of the women in his life), a healthy relationship. #photographyhistory

A black & white portrait photo of a woman with her fingers to her face at her cheeks and chin.

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Laura JG @laurajg.bsky.social · 10h

By Dora Maar (1907-1977), “The years lie in wait for you,” a portrait of artist, performer, & model Nusch Eluard, ca. 1935, photomontage, gelatin silver print on paper, 355 × 254 mm. Maar’s photographs tend to have a mood of apprehension. #photography #darkroomphotography #artphotography

A spider and web, both in white, superimposed over a photograph of a woman with her hands held up to her face. An eerie feeling to this photograph. A mood of apprehension.

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Laura JG @laurajg.bsky.social · 1d

And the unfiltered version.

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Laura JG @laurajg.bsky.social · 1d

You are as sweetly adorable as always! Here’s me. iPhone 15 Pro Max. Edited in Hipstamatic.

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Laura JG @laurajg.bsky.social · 1d

🙏🏼

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Laura JG @laurajg.bsky.social · 1d

By Leonor Fini (1908-1996), Autoportrait au scorpion (Self-portrait with Scorpion), 1938, oil on canvas, 31% by 23½ in. (80.3 by 59.8 cm), photo: Sotheby's New York, 12 May 2021. #arthistory #womenartists #womanartist A quote: "I am a painter. When people ask me how I do it, I reply: 'I am'"

From Sotheby's: "In the present fascinate, ca work, the costume is a structured of an en brown corsage with torn sleeves, beautifully coiffed and dyed blonde hair and a striking single pale blue glove, the bottom of which is turned back to reveal the emerging tail of a scorpion curling down to her wrist. A self-taught artist, Fini drew on a wide range of art historical influences, from the Mannerists and the Decadents to the pre-Raphaelites and Symbolists amongst others. The slits and slashes in the sleeves of her dress reference the paintings of the Renaissance, a period with which she had a lifelong fascination. They are signs of provocation and of passion, of taking a knife to the threads of convention. This was a visual metaphor she employed in other paintings from the period, as well as to shocking theatrical effect in her own life."

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Laura JG @laurajg.bsky.social · 2d

A Must See exhibit at the Metropolitan Museum of Art in New York.
www.amny.com/news/john-wi...

John Wilson at The Met: Witnessing humanity and defying erasure through his canvas | amNewYork

John Wilson’s name first appeared to me as an apparition — my father’s name, my beloved father, who stood as a defiant beam of light against the suffocating

www.amny.com

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Laura JG @laurajg.bsky.social · 2d

I honor your vulnerability as you walk this difficult path 🙏🏼

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Reposted by Laura JG

Andrea Junker @strandjunker.com · 2d

“I never understood the idea that you’re supposed to mellow as you get older. Slowing down isn’t something I relate to at all. — I’ve done all kinds of things I said I wouldn’t do and, of course, now I’m glad. Thrilled.”

R.I.P. Diane Keaton, what a legend. 🕊️💫

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Laura JG @laurajg.bsky.social · 2d

By Suzanne van Damme (1901-1986), La Couleur Assiégée (The Besieged Color), 1947, oil on panel, 222 x 120 cm, photo: 15 September 2015 Sotheby’s New York. More on the artist in ALT. #arthistory #womenartists #womanartist #painting #oilpainting

A woman wearing a dress, but instead of being made of cloth, it is made of many, many objects, some unidentifiable. In the background we see a satellite.

From RAW Modern: “Suzanne van Damme was born in Ghent and studied art at the Académies royales des beaux-arts at Gand and in Brussels. She admired the work of James Ensor, whose portrait she painted in 1925. In the early 1930's, Van Damme moved to Paris where she met the italian painter and poet Bruno Capacci, who became her husband. In 1941 she came into contact with the Surrealists, including Marcel Duchamp, Jean Cocteau and André Breton, who exerted a profound influence over her work.”

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Laura JG @laurajg.bsky.social · 4d

That’s awesome!

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Laura JG @laurajg.bsky.social · 4d

That’s just horrifying.

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Laura JG @laurajg.bsky.social · 4d

Jeanne d'Arc (Joan of Arc), 1921, by Céline Lepage (1882–1928), chryselephantine, bronze with golden patina on a marble base, 48.5 cm, collection of RAW Modern. #arthistory #womenartists #womanartist #Art

From Art UK: “Joan of Arc was a significant figure in fifteenth-century French history for claiming divine visions guiding her to save France and the reign of Charles VII at Reims during the Hundred Years’ War. The artist portrays Joan of Arc in chryselephantine – a technique blending gold and ivory – highly esteemed in ancient Greece and often used to represent deities and significant religious figures. This choice not only aligns with Jeanne d’Arc’s symbolism but also elevates her to a divine status, emphasising the significance of the medium over Lepage’s usual preference for bronze. Thus, the sculpture embodies themes of courage, and faith, symbolising bravery, devotion, and nationalism. The depiction of Jeanne wielding a sword accentuates her revered status, akin to a deity.“

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Laura JG @laurajg.bsky.social · 5d

Your art history post for today: by Eileen Agar (1899-1991), Harlequin, 1968, oil on canvas, 50 1⁄4 x 40in. (127.5 x 101.5cm.), photo: Christie’s London, March 2, 2022. More in ALT. #arthistory #womanartist #womenartists #Art

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Laura JG @laurajg.bsky.social · 6d

Quote: “The exhibition, titled “Before the Americas”, is an art historical survey tracing the work of Afro-Latino, Caribbean, and African American artists who have lived and worked in the Greater Washington area… “
www.artnews.com/art-news/new...

Exhibition Canceled By Trump’s DEI Ban Opens at George Mason University

"Before the Americas" is an art historical survey tracing the work of Afro-Latino, Caribbean, and African American artists.

www.artnews.com

Laura JG @laurajg.bsky.social · 6d

By Helen Lundeberg (1908-1999), Double Portrait of the Artist in Time, 1935, oil on fiberboard, 47 3⁄4 x 40 in. (121.3 x 101.6 cm.), Smithsonian American Art Museum. #arthistory #womenartists #womanartist #painting #oilpainting

From the museum: ‘In Double Portrait, Helen Lundeberg incorporated different figures and objects to symbolize the stages of her life. The time on the clock represents the child’s age of two and a quarter, and the blank paper suggests her unknown future. She holds a flower bud to emphasize her undeveloped state, whereas the adult figure holds a blooming flower to show that she has experienced sex and love. Lundeberg connected the young girl to the grown woman with a shadow to suggest that the two parts of her life are “psychologically bridged.” The subdued tones and flat colors create a mysterious world where the shadow hovers like a ghost over the shoulders of both figures.’

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Laura JG @laurajg.bsky.social · 6d

Here is abother work on the same theme by the artist. Marion Elizabeth Adnams (1898-1995), L’infante égarée (The Lost Infanta), 1944, Manchester Art Gallery, Manchester, UK. #arthistory #womenartists #womanartist #painting

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Laura JG @laurajg.bsky.social · 7d

Alter Ego, 1945, by Marion Adnams (1898-1995), oil on panel, 53.3x43.2 cm, © Derby Museums and Artist’s Estate. She never explained her paintings, letting them stand for themselves. #arthistory #painting #oilpainting #womenartists #womanartist