corner of Ben Franklin Store in Middlebury VT (1994 or later), according to catalogue
Seems every scene she paints of Vermont is a ghost town. Not a single human being extant (judging from gallery online)
#AmericanRegionalism
www.susanabbott.com/new-work
A black metal grill, or gate, bars the way leading to a courtyard or cloister beyond, with white stuccoed arches, in Spanish neocolonial style, in San Antonio, Texas. The canopy of some trees visible in the background, providing some color. With copyright notice, img top-right.
in response to the prompt 'Barrieren' for the daily/nightly #FotoVorschlag
©TonyNuspl2022
#urbangaze
#SecretSpaces
#AmateurPhotography
#AmericanRegionalism
#cellphonephotography
#AndroidOptics
view of Sedona, AZ, for the theme 'Weite' (vastness, expanse) #FotoVorschlag
#stunday
©TonyNuspl2023
#ArizonaPeakery
#landscapephotography
#outdoorphotography
#PhotographersOfBluesky
#AmericanRegionalism
#cellphonephotography
#AndroidOptics
Painted during the Works Progress Administration (WPA) era of the 1930s, this scene reflects a broader American Regionalist interest in everyday life and community during the Great Depression. The Federal Art Project supported thousands of artists and encouraged depictions of local environments and ordinary people, sustaining artists while documenting American social landscapes. Born in Louisville and raised in Nashville, American artist Meyer R. Wolfe often depicted working-class and African American life in the city and the experiences he observed around him. In “The Conversation,” the simple act of two women talking beside a clothesline becomes quietly symbolic of domestic labor, neighborhood connection, and shared resilience he witnessed during the difficult Jim Crow era. Two Black women stand together in a yard beside a clothesline heavy with freshly washed garments. Their bodies lean slightly toward each other as if absorbed in quiet conversation. They are placed near the center of the composition, their dark silhouettes contrasted against the lighter cloth that hangs in soft shapes behind them. A wooden fence and modest buildings frame the space, while a church steeple rises in the background against a dim, evening sky. The setting suggests an ordinary residential neighborhood (likely Nashville, where the artist grew up). The women’s posture and proximity emphasize intimacy and trust rather than spectacle. We observe the moment almost as a passerby might, catching a private exchange at the end of the day. This painting was included in the Frist Art Museum’s survey exhibition “The Art of Tennessee,” where it illustrated Jewish American Wolfe’s role in portraying regional life in the American South.
“The Conversation” by Meyer R. Wolfe (American) - Oil on panel / c. 1930s - Frist Art Museum (Nashville, Tennessee) #WomenInArt #MeyerRWolfe #Wolfe #FristArtMuseum #AmericanArt #WPAArt #MeyerWolfe #artText #art #AmericanRegionalism #BlueskyArt #1930sArt #PortraitOfWomen #TheFrist #AmericanArtist
Painted in 1940, when Texas was being remade by oil wealth, roadside commerce, and Depression-era dislocation. American artist Jerry Bywaters, then in his mid-thirties, had already become a central figure in Texas regionalism. Rather than romanticizing the state, he shows its contradictions: opportunity beside exploitation, faith beside commerce, plus heat and smoke beside cosmetics and poise. The sitters’ identities are not known, but their anonymous presence becomes part of the painting’s power. They stand for the human cost and human nerve required to move through a world where modern industry promises escape even as it scorches the land around them. Two women stand at the edge of a West Texas road with a tense, almost theatrical presence. One wears a fitted black dress, black heels, a necklace, and a feathered black hat over blond hair. Her posture is upright and self-possessed, as she looks into the distance. Beside her, a second woman wears a white blouse, yellow skirt, red belt, and tall western boots as she holds a white hat. A suitcase and round hatbox rest near their feet. Their cheeks and lips are brightly painted, their legs elongated, and their clothing sharply outlined. Behind them stretch signs, poles, a garage, scattered tires, roadside advertisements, and oil fires that stain the sky with smoke. The women are often read as sex workers waiting for a ride into the oil fields, yet the picture resists easy judgment. Bywaters called the image a “sympathetic caricature,” and their stylization does not flatten them into mockery, but heightens their force, danger, glamour, fatigue, and will. The road curves forward past Joe’s Garage, a Jax beer sign, “Hattie’s Hut,” and the unsettling contrast between a “666” sign and nearly hidden “Jesus Saves” tag to set up a visual argument about boomtown desire, moral anxiety, and survival in a landscape transformed by the oil industry. The women are not passive victims. They appear monumental, alert, and determined.
“Oil Field Girls” by Jerry Bywaters (American) - Oil on board / 1940 - Blanton Museum of Art (Austin, Texas) #WomenInArt #JerryBywaters #Bywaters #BlantonMuseum #TexasArt #AmericanArt #art #artText #BlueskyArt #UTA #BlantonMuseumOfArt #AmericanArtist #1940sArt #OilFields #arte #AmericanRegionalism
In the foreground, windbreak: specifically, an oak tree about 80 years old, pushed over horizontal. Snow accumulation. In the background, upright trees, in a holler. Copyright notice, top-right.
Winter scene, fallen tree
©TonyNuspl2026
#woodlands
#naturephotography
#outdoorphotography
#PhotographersOfBluesky
#Monochrome
#ClassicMono
#ThickTrunkTuesday
#AmericanRegionalism
#cellphonephotography
#AndroidOptics
Clouds cascading through mountain peaks, which poke above the billowy carpet of rolling, white clouds. The horizon melts into a cloudy background. viz. The Cascade Mountains, east of Tacoma, WA, aerial view (altitude above 30,000 ft) including, as far as i can tell (am open to corrections), among mountain tops captured here: Navajo Peak (foreground, bottom-left); McClellan Peak, Enchantment Peaks, Prusik Peak, and The Temple; plus, Cannon Mtn (background left) and Edward Peak (background right). Copyright notice, bottom-right.
Cascade Mountains, from about 33,000 ft - including The Enchantments
©TonyNuspl2023
The Cascades captured from the air (not a satellite view)
for the theme 'hohe Berge' proposed by FotoVorschlag
#CascadiaPeakery
#PacificNorthwest
#AmericanRegionalism
#landscapephotography
#cellphonephotography
The saddleback between East&West Twin Buttes (with Streaker Spires visibke to the lefyt, afaik). Gibraltar Rock in distance, img-left. Bear Wallow Canyon, in foreground. All set against an early evening sky. Munds Mountain Wilderness, Red Rock district, Coconino Forest, Mogollon Rim, Arizona. copyright notice, bottom-right
The saddleback between East & West Twin Buttes, Sedona, AZ
©TonyNuspl2023
'hohe Berg' theme proposed by FotoVorschlag
#SedonaPeakery
#landscapephotography
#AmericanRegionalism
#cellphonephotography
#AndroidOptics
A young deer displays prowess hiding in bushes, almost evading detection. An example of photography that uses shapes/colors rather than realistic figures to achieve an effect, with the subject almost unrecognizable (nature transformed), the focus being more on palette, the play of light, texture, and shape (here fragments of the subject matter, partially obscured, partially revealed) creating a rhythm (pattern in the middleground). There is virtually no depth to the photo, everything appearing in the same plane. An amateur original, untouched, digital photo, with copyright notice added, bottom right. Taken with OnePlus 9 Pro 5G smartphone Nov2024, NE Oklahoma.
Abstracted in Her Element
©TonyNuspl2024
'Abstrakt' #FotoVorschlag
#AmericanRegionalism
#wildlifephotography
#cellphonephotography
#AndroidOptics
#BlueSkyArtShow
Oklahoma lawn art, winter scene. Abandoned machinery covered in a thick layer of fresh snow. A few trees, a few dead leaves. Photo taken with legacy cell phone.
brokendown Yard Machine, winter
©TonyNuspl2026
part of a series on Pissarro Pessimism
#AmericanRegionalism
#landscapephotography
#cellphonephotography
#Androidoptics
The rhythm of the plains. Hello-Goodbye Tree — my homage to Thomas Hart Benton, blending painterly motion and Haas color in a single fine-art photograph. Limited-edition matte-metal print. #FineArtLandscape #ThomasHartBenton #AmericanRegionalism #HaasStyle #PainterlyPhotography #HelloGoodbyeTree #RobertNPhotographer #GalleryArt #MatteMetalPrint #AmericanWest #LandscapeCollectors
The rhythm of the plains.
Hello-Goodbye Tree — my homage to Thomas Hart Benton, blending painterly motion and Haas color in a single fine-art photograph.
Limited-edition matte-metal print.
#FineArtLandscape #AmericanRegionalism #PainterlyPhotography #GalleryArt #MatteMetalPrint #AmericanWest
American Gothic
#rossmuir #grantwood #american #americangothic #gothic #goth #culture #lifestyle #life #style #fashion #america #usa #unitedstates #painting #paint #painter #artist #art #news #worldnews #contemporaryart #americanregionalism #americanmidwest #farmers #rural #farming #farmer
This mural panel, part of Benton's larger "A Social History of the State of Missouri," depicts the famous folk ballad of Frankie and Johnny. It shows a lively scene of a saloon or dance hall with figures engaged in music, dancing, and drinking. The scene is characterized by Benton's dynamic, swirling style and regionalist focus, capturing a slice of Missouri's rural life and folklore. Frankie is depicted shooting Johnny, and the panel captures the drama and energy of the story. The artwork is a prime example of American Regionalism, a movement that flourished the 1930s as a reaction against European abstraction. Regionalist artists like Benton, Grant Wood, and John Steuart Curry focused on depicting rural American life and landscapes, often with a nostalgic and patriotic tone. It emerged during the Great Depression, a time when many Americans sought solace and identity in their local communities and traditions. It also reflects the WPA's (Works Progress Administration) support for public art projects.
Frankie and Johnny by Thomas Hart Benton, 1936, House Lounge in Missouri State Capitol (Jefferson City, MO)
#ArtHistory #ModernArt #Regionalism #AmericanRegionalism
