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Michael
Michael
@mdstamper.bsky.social
3 days ago
This painting marked a turning point for American artist Amy Sherald in 2018, just after the national attention surrounding her portrait of Michelle Obama. It was the first work she made after that historic commission and one of the first in which her imagined world opened into a full landscape. Sherald said she had wanted for years to place figures in an open field, and the rocket arrived as a symbol of “unlimited potential,” but also as something coded in American culture as white and male. Here, she reclaims that symbolic space. Two young Black women stand barefoot in a wide field of dry yellow grass, seen mostly from behind as they hold hands. The woman at right turns her head back toward us, with a calm, direct, slightly questioning gaze. The other looks forward toward a rocket launch in the distance. Sherald paints both figures in her signature grayscale rather than naturalistic skin color, while their clothing carries vivid life. The woman on the left wears a white shirt with a high-waisted blue skirt. The other wears a striped dress in bright bands of pink, orange, yellow, and green, with a white bow at her hair. At the far left, a rocket lifts into the sky, its plume running almost like a vertical white scar or beacon beside them. The horizon sits low, making the sky feel immense and the figures quietly monumental. The two sitters were not celebrities but women Sherald met through a Baltimore school community, one a teacher and one a graduate, which matters. Everyday Black life, not spectacle, is the center of the picture. Their joined hands suggest solidarity, intimacy, and shared witness. The title stretches between machinery and mystery as well as between earthly limits and mental freedom. Sherald turns the “spaces in between” into a zone of dreaming, self-possession, and possibility for an image of Black womanhood not under scrutiny, but already sovereign.

This painting marked a turning point for American artist Amy Sherald in 2018, just after the national attention surrounding her portrait of Michelle Obama. It was the first work she made after that historic commission and one of the first in which her imagined world opened into a full landscape. Sherald said she had wanted for years to place figures in an open field, and the rocket arrived as a symbol of “unlimited potential,” but also as something coded in American culture as white and male. Here, she reclaims that symbolic space. Two young Black women stand barefoot in a wide field of dry yellow grass, seen mostly from behind as they hold hands. The woman at right turns her head back toward us, with a calm, direct, slightly questioning gaze. The other looks forward toward a rocket launch in the distance. Sherald paints both figures in her signature grayscale rather than naturalistic skin color, while their clothing carries vivid life. The woman on the left wears a white shirt with a high-waisted blue skirt. The other wears a striped dress in bright bands of pink, orange, yellow, and green, with a white bow at her hair. At the far left, a rocket lifts into the sky, its plume running almost like a vertical white scar or beacon beside them. The horizon sits low, making the sky feel immense and the figures quietly monumental. The two sitters were not celebrities but women Sherald met through a Baltimore school community, one a teacher and one a graduate, which matters. Everyday Black life, not spectacle, is the center of the picture. Their joined hands suggest solidarity, intimacy, and shared witness. The title stretches between machinery and mystery as well as between earthly limits and mental freedom. Sherald turns the “spaces in between” into a zone of dreaming, self-possession, and possibility for an image of Black womanhood not under scrutiny, but already sovereign.

"Planes, rockets, and the spaces in between" by Amy Sherald (American) - Oil on canvas / 2018 - Baltimore Museum of Art (Baltimore, Maryland) #WomenInArt #WomensArt #WomanArtist #AmySherald #Sherald #BaltimoreMuseumOfArt #artBMA #BMA #art #artText #BlackArt #AmericanArt #BlackArtist #WomenArtists

43 8 0 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
Two women are shown close together in a tightly framed, shoulder-length double portrait, filling nearly the full picture space. They are Black women with medium-to-deep brown skin tones and dark hair styled in soft, mid-century waves. They face forward and meet us with calm, direct gazes, their expressions composed and focused. The woman on the left wears a white blouse with a ruffled neckline while the other woman wears a warm yellow garment with curved accents in red, orange, and green. American artist Loïs Mailou Jones builds their faces with visible, confident brushstrokes using warm browns, blue-gray shadows, white highlights, and rich reds, so their skin is luminous and dimensional rather than flat. Behind them, a patterned background of looping blues, greens, and reds compresses depth and heightens intimacy, making the pair feel both individual and unified. The painting’s strength lies in its balance of closeness and dignity. Jones gives each sitter equal visual weight, allowing relationship (possibly friends, sisters, or companions) to remain open rather than fixed. The frontal scale and patterned backdrop create a modern, almost iconic presentation of Black womanhood, while the loose, expressive handling preserves individuality and psychological presence. Around the mid-1940s, Jones was already an accomplished painter and a pivotal educator at Howard University, shaping generations of artists while navigating the racial and gender exclusions of the U.S. art world. Her work moved across portraiture, design, and transatlantic modernist influences, and this painting reflects that range as decorative pattern and formal experimentation serve the sitters rather than overwhelm them. In the BMA context, the work also carries institutional significance as an important corrective to older collecting histories, asserting Jones’s place in American modernism with clarity and force.

Two women are shown close together in a tightly framed, shoulder-length double portrait, filling nearly the full picture space. They are Black women with medium-to-deep brown skin tones and dark hair styled in soft, mid-century waves. They face forward and meet us with calm, direct gazes, their expressions composed and focused. The woman on the left wears a white blouse with a ruffled neckline while the other woman wears a warm yellow garment with curved accents in red, orange, and green. American artist Loïs Mailou Jones builds their faces with visible, confident brushstrokes using warm browns, blue-gray shadows, white highlights, and rich reds, so their skin is luminous and dimensional rather than flat. Behind them, a patterned background of looping blues, greens, and reds compresses depth and heightens intimacy, making the pair feel both individual and unified. The painting’s strength lies in its balance of closeness and dignity. Jones gives each sitter equal visual weight, allowing relationship (possibly friends, sisters, or companions) to remain open rather than fixed. The frontal scale and patterned backdrop create a modern, almost iconic presentation of Black womanhood, while the loose, expressive handling preserves individuality and psychological presence. Around the mid-1940s, Jones was already an accomplished painter and a pivotal educator at Howard University, shaping generations of artists while navigating the racial and gender exclusions of the U.S. art world. Her work moved across portraiture, design, and transatlantic modernist influences, and this painting reflects that range as decorative pattern and formal experimentation serve the sitters rather than overwhelm them. In the BMA context, the work also carries institutional significance as an important corrective to older collecting histories, asserting Jones’s place in American modernism with clarity and force.

"Untitled (Two Women)" by Loïs Mailou Jones (American) - Oil on linen / c. 1945 - Baltimore Museum of Art (Maryland) #WomenInArt #WomensArt #WomanArtist #WomenArtists #LoisMailouJones #LoïsMailouJones #BMA #BaltimoreMuseumOfArt #artText #art #1940s #BlueskyArt #PortraitOfWomen #BlackArt #BlackArtist

54 9 1 0
@mheavnerphoto.bsky.social
1 month ago
Mirror image of a bronze sculpture of a woman joined at the hip and arms with a background of bare ivy on a wall.

Mirror image of a bronze sculpture of a woman joined at the hip and arms with a background of bare ivy on a wall.

I'm seeing double with today's theme of #two in the #BlueSkyArtShow. Thanks to Fujifilm's fun little #Instax camera, I created this mirror image called "Joined at the Hip" using a sculpture in the garden of the #BaltimoreMuseumofArt.

#PhotographersofBlueSky #EastCoastKin #fujifilm

29 3 0 0
SamMosh (she/her)
SamMosh (she/her)
@sammosh.bsky.social
3 months ago
Post image

Blue Sky of the Day: #BaltimoreMuseumofArt #photography #sculpture

6 0 0 0
Judith Krummeck
Judith Krummeck
@jkrummeck.bsky.social
3 months ago
Post image Post image

Michelle Lavaughn Robinson Obama
Trans Forming Liberty
The astounding, mesmerizing, stunning
#baltimoremuseumofart

7 0 0 0
Michael
Michael
@mdstamper.bsky.social
3 months ago
Also exhibited as "Portrait d’une artiste appuyée sur un portefeuille" (Salon of 1793) and sometimes considered a self portrait, this work depicts a young adult woman with light skin sitting against a softly shaded, neutral background. Her curly brown hair is gathered with a ribboned band, and she wears a high-waisted white dress that catches the light in crisp, almost satin-like highlights, with a warm-toned shawl draped over her shoulders and across her lap. Her posture is poised, but mid-action as one forearm rests along the back of a chair, while her other hand holds a drawing implement ... ready to work. To her right, a large portfolio (or drawing board) props open, and a sheet shows a sketched figure study, lightly outlined and unfinished. She turns her face up and to our left, eyes focused beyond the frame, as if pausing to observe a model, listen, or consider the next mark. The artist’s technique of dark chalk modeling with pale, and opaque touches makes fabric gleam, edges breathe, and the sitter’s expression feel alert, thoughtful, and quietly self-possessed. Made for public viewing at the Salon of 1793, this image is a deliberate claim not as muse or amateur, but as working artist. The portfolio and visible study sheet function like proof of practice while her upward glance suggests attention and intellect. If the drawing is a self-portrait, Guéret is staging authorship at a moment when women’s access to training, networks, and professional recognition was hard-won and constantly negotiated. Even the materials participate in that argument with the economy of chalk and ink, then the confident whitening that “finishes” the light, mirrors how she brings authority into view. Guéret, active in late 18th-century Paris and exhibiting alongside her sister, uses portraiture to insist that creative labor belongs to women, too. The result is tender and strategic that feels intimate, yet designed to publicly declare ambition, competence, and presence.

Also exhibited as "Portrait d’une artiste appuyée sur un portefeuille" (Salon of 1793) and sometimes considered a self portrait, this work depicts a young adult woman with light skin sitting against a softly shaded, neutral background. Her curly brown hair is gathered with a ribboned band, and she wears a high-waisted white dress that catches the light in crisp, almost satin-like highlights, with a warm-toned shawl draped over her shoulders and across her lap. Her posture is poised, but mid-action as one forearm rests along the back of a chair, while her other hand holds a drawing implement ... ready to work. To her right, a large portfolio (or drawing board) props open, and a sheet shows a sketched figure study, lightly outlined and unfinished. She turns her face up and to our left, eyes focused beyond the frame, as if pausing to observe a model, listen, or consider the next mark. The artist’s technique of dark chalk modeling with pale, and opaque touches makes fabric gleam, edges breathe, and the sitter’s expression feel alert, thoughtful, and quietly self-possessed. Made for public viewing at the Salon of 1793, this image is a deliberate claim not as muse or amateur, but as working artist. The portfolio and visible study sheet function like proof of practice while her upward glance suggests attention and intellect. If the drawing is a self-portrait, Guéret is staging authorship at a moment when women’s access to training, networks, and professional recognition was hard-won and constantly negotiated. Even the materials participate in that argument with the economy of chalk and ink, then the confident whitening that “finishes” the light, mirrors how she brings authority into view. Guéret, active in late 18th-century Paris and exhibiting alongside her sister, uses portraiture to insist that creative labor belongs to women, too. The result is tender and strategic that feels intimate, yet designed to publicly declare ambition, competence, and presence.

“Portrait of a Female Artist with a Portfolio (perhaps a Self-Portrait)” by Anne Guéret (French) - Black chalk & wash with white gouache on buff paper / 1793 - Baltimore Museum of Art (Maryland) #WomenInArt #art #AnneGueret #AnneGuéret #Gueret #BaltimoreMuseumOfArt #WomenArtists #WomenPaintingWomen

51 6 1 0
Aubrey Montano
Aubrey Montano
@aubsdagoat.bsky.social
3 months ago
Post image Post image Post image Post image

Amy Sherald - American Sublime at the Baltimore Museum of Art
#art #modernart #baltimoremuseumofart #amysherald #transformingliberty

2 0 0 0
Michael
Michael
@mdstamper.bsky.social
6 months ago
A beautiful young Black woman, American artist Monica Ikegwu herself, stands before a field of saturated crimson, the hue echoing across background, coat, and lipstick. She glances back over her left shoulder with a level, downward gaze. The high-gloss, quilted puffer coat is zipped and drawn close; deep, crisp folds gather at the collar and sleeves, catching pinpoint highlights that read like flashes on vinyl. Only a sliver of bare shoulder peeks out from the jacket. Her left hand rises just under her chin. Her hair is pulled into a low ponytail while her brows are neat and mouth composed. The red-on-red palette collapses space so the figure seems almost 3D, her silhouette defined by value shifts rather than outline. Hyper-real textures like stitched seams, knuckled fingers, specks of light on the coat contrast with the velvety, brush-quiet background. In "Closed," paired with its companion "Open" (posted by me a few months ago on Bluesky), Ikegwu uses fashion as psychology: a zipped coat becomes armor; an unzipped one (in the other panel) signals exposure and ease. The monochrome crimson operates like a mood conveying heat, attention, and power while also flattening context so that presence itself is the subject. Ikegwu calls her practice a study of “perception… how people are viewed and how they want to appear,” and she aims to “capture the person… their essence” without forcing them into someone else’s ideal. Here, the artist stages herself as both model and message, aligning with hip-hop’s sartorial codes where outerwear telegraphs status and stance. The downward gaze reads regal rather than deferent; the hand near the chin, a pivot between reserve and declaration. Painted in 2021, while the Baltimore-born artist was consolidating a hyper-real, figure-forward language, "Closed" reflects her broader project: celebrating Black self-presentation including youth, attitude, and choice through academic precision sharpened by contemporary style.

A beautiful young Black woman, American artist Monica Ikegwu herself, stands before a field of saturated crimson, the hue echoing across background, coat, and lipstick. She glances back over her left shoulder with a level, downward gaze. The high-gloss, quilted puffer coat is zipped and drawn close; deep, crisp folds gather at the collar and sleeves, catching pinpoint highlights that read like flashes on vinyl. Only a sliver of bare shoulder peeks out from the jacket. Her left hand rises just under her chin. Her hair is pulled into a low ponytail while her brows are neat and mouth composed. The red-on-red palette collapses space so the figure seems almost 3D, her silhouette defined by value shifts rather than outline. Hyper-real textures like stitched seams, knuckled fingers, specks of light on the coat contrast with the velvety, brush-quiet background. In "Closed," paired with its companion "Open" (posted by me a few months ago on Bluesky), Ikegwu uses fashion as psychology: a zipped coat becomes armor; an unzipped one (in the other panel) signals exposure and ease. The monochrome crimson operates like a mood conveying heat, attention, and power while also flattening context so that presence itself is the subject. Ikegwu calls her practice a study of “perception… how people are viewed and how they want to appear,” and she aims to “capture the person… their essence” without forcing them into someone else’s ideal. Here, the artist stages herself as both model and message, aligning with hip-hop’s sartorial codes where outerwear telegraphs status and stance. The downward gaze reads regal rather than deferent; the hand near the chin, a pivot between reserve and declaration. Painted in 2021, while the Baltimore-born artist was consolidating a hyper-real, figure-forward language, "Closed" reflects her broader project: celebrating Black self-presentation including youth, attitude, and choice through academic precision sharpened by contemporary style.

“Closed“ by Monica Ikegwu (American) - Oil on canvas / 2021 - Baltimore Museum of Art (Maryland) #WomenInArt #WomenArtists #ArtText #WomanArtist #AmericanArtist #SelfPortrait #WomensArt #BaltimoreMuseumofArt #AfricanAmericanArtist #HipHopFashion #artwork #AfricanAmericanArt #Ikegwu #MonicaIkegwu

57 9 1 2
Michael
Michael
@mdstamper.bsky.social
8 months ago
“Open,” and its partner work “Closed,” by African American artist and 2025 Baker Artists Awards recipient Monica Ikegwu are dewy, bright self-portraits that are reflective of the ways that clothing aids us in revealing and concealing. Ikegwu’s puffer jacket and all-red ensemble are nods to hip-hop fashion and the two paintings were featured in the 2023 Baltimore Museum of Art (BMA) groundbreaking exhibition “The Culture: Hip Hop and Contemporary Art in the 21st Century” that explored the conceptual, cultural, and aesthetic attributes that have made hip hop a global phenomenon and established it as the artistic canon of our time. It is a striking portrait of a young Black woman, rendered in hyperrealistic style with exceptional attention to detail. She is the undeniable central focus against a solid, intense red backdrop. Dressed entirely in varying shades of deep red, she wears a form-fitting, crimson-colored tank top styled as a cropped top, revealing a portion of her midriff. Her form-fitting bottoms are a matching deep red. Over this outfit, she wears a voluminous, quilted crimson puffer jacket. The “open” jacket drapes dramatically over her arms, adding texture and depth to the composition while allowing us to see her outfit beneath. Her skin is depicted with a rich, dark tone, and her features are sharply defined. Her expression is one of confidence, bordering on defiance. Her eyes hold a direct gaze downward towards us, and her lips are painted with dark, glossy lipstick. Her textured hair is pulled back into a short loose ponytail, adding to her modern aesthetic. Her nails are painted a bright red, a small yet noticeable detail. The deep reds create a sense of intensity and passion, while the woman's confident posture communicates strength and self-assurance. The hyperrealistic style adds to its impact, drawing us into her presence. The painting evokes a feeling of boldness, and displays a celebration of Black beauty and female empowerment.

“Open,” and its partner work “Closed,” by African American artist and 2025 Baker Artists Awards recipient Monica Ikegwu are dewy, bright self-portraits that are reflective of the ways that clothing aids us in revealing and concealing. Ikegwu’s puffer jacket and all-red ensemble are nods to hip-hop fashion and the two paintings were featured in the 2023 Baltimore Museum of Art (BMA) groundbreaking exhibition “The Culture: Hip Hop and Contemporary Art in the 21st Century” that explored the conceptual, cultural, and aesthetic attributes that have made hip hop a global phenomenon and established it as the artistic canon of our time. It is a striking portrait of a young Black woman, rendered in hyperrealistic style with exceptional attention to detail. She is the undeniable central focus against a solid, intense red backdrop. Dressed entirely in varying shades of deep red, she wears a form-fitting, crimson-colored tank top styled as a cropped top, revealing a portion of her midriff. Her form-fitting bottoms are a matching deep red. Over this outfit, she wears a voluminous, quilted crimson puffer jacket. The “open” jacket drapes dramatically over her arms, adding texture and depth to the composition while allowing us to see her outfit beneath. Her skin is depicted with a rich, dark tone, and her features are sharply defined. Her expression is one of confidence, bordering on defiance. Her eyes hold a direct gaze downward towards us, and her lips are painted with dark, glossy lipstick. Her textured hair is pulled back into a short loose ponytail, adding to her modern aesthetic. Her nails are painted a bright red, a small yet noticeable detail. The deep reds create a sense of intensity and passion, while the woman's confident posture communicates strength and self-assurance. The hyperrealistic style adds to its impact, drawing us into her presence. The painting evokes a feeling of boldness, and displays a celebration of Black beauty and female empowerment.

“Open“ by Monica Ikegwu (American) - Oil on canvas / 2021 - Baltimore Museum of Art (Maryland) #WomanInArt #WomenArtists #art #ArtText #WomanArtist #AmericanArtist #MonicaIkegwu #Ikegwu #WomensArt #BaltimoreMuseumofArt #AfricanAmericanArtist #HipHopFashion #artwork #AfricanAmericanArt #SelfPortrait

79 9 2 1
Jan Spoor
Jan Spoor
@winterbadger.bsky.social
9 months ago
Museum panel describing an installation that is a collection of boardgames for visitors to play.

Museum panel describing an installation that is a collection of boardgames for visitors to play.

Perfect museum installation for me!
#baltimoremuseumofart

2 0 0 0
CIRCA
CIRCA
@circa-umbc.bsky.social
11 months ago
Bold playful graphics projected on a cardboard house by Kelley Bell.

Bold playful graphics projected on a cardboard house by Kelley Bell.

Featuring new work by Kelley Bell!
This weekend, six Baker Artist Awardees will be featured in a powerful new exhibition at the Baltimore Museum of Art.

#Bakerawardee #bakerartistportfolios #bakercity #baltimoremuseumofart #artopening #artexhibition

5 0 0 0
Uriél Danā
Uriél Danā
@uridev.urieldana.com
1 year ago
Post image

Todays censored oil painting is by Washington DC painter #ErikThorSandberg (b.1975). He has exhibited his oils internationally, including the #BaltimoreMuseumofArt, #AmericanUniversityMuseum at the Katzen Arts Center, Washington, DC; #MontserraCollegeofArt, Beverly, MA; & #BakerMuseum, Naples, FL.

24 1 2 0
Michael
Michael
@mdstamper.bsky.social
1 year ago
Vahine no te vi (Woman with a Mango) is an 1892 painting by Paul Gauguin, currently in the collection of the Baltimore Museum of Art. The striking yellow background and flowing purple gown that fills most of of the canvas make it a moving celebration of decoration and color. Gauguin was actually participating in exactly what he claimed to disdain, running away from Paris, to separate himself from the civilization that he was from, and from his power, which is given by his civilization to him in this colonial era. The painting depicts beautiful young Teha'amana or Tehura who became Gauguin's "wife" when she was just 13. At the time of this portrait sporting a dark purple European missionary dress, she was 15 years old or so, and she was pregnant. Gauguin returned to Paris before the birth and by the time he returned Tehura had remarried a local man, with whom she brought up the child. The fresh orange-colored fruit and the young beauty with dark tanned skin have been interpreted as things that Gauguin thought he could enjoy in an idealized image of a European adventure abroad. It’s an out-of-date cliché to “get away” from the industrial urban hubs of Europe and enjoy his unbridled predatory sexual freedom, for which he is notorious now. The painting is one of the earliest of about seventy Gauguin produced during his first visit to Tahiti. The work was subsequently acquired by Edgar Degas and is now one of many works of modern art in the museum's Cone Collection.

Vahine no te vi (Woman with a Mango) is an 1892 painting by Paul Gauguin, currently in the collection of the Baltimore Museum of Art. The striking yellow background and flowing purple gown that fills most of of the canvas make it a moving celebration of decoration and color. Gauguin was actually participating in exactly what he claimed to disdain, running away from Paris, to separate himself from the civilization that he was from, and from his power, which is given by his civilization to him in this colonial era. The painting depicts beautiful young Teha'amana or Tehura who became Gauguin's "wife" when she was just 13. At the time of this portrait sporting a dark purple European missionary dress, she was 15 years old or so, and she was pregnant. Gauguin returned to Paris before the birth and by the time he returned Tehura had remarried a local man, with whom she brought up the child. The fresh orange-colored fruit and the young beauty with dark tanned skin have been interpreted as things that Gauguin thought he could enjoy in an idealized image of a European adventure abroad. It’s an out-of-date cliché to “get away” from the industrial urban hubs of Europe and enjoy his unbridled predatory sexual freedom, for which he is notorious now. The painting is one of the earliest of about seventy Gauguin produced during his first visit to Tahiti. The work was subsequently acquired by Edgar Degas and is now one of many works of modern art in the museum's Cone Collection.

Vahine no te vi (Woman with a Mango) by Paul Gauguin (French) - Oil on canvas / 1892 - Baltimore Museum of Art (Maryland) #womeninart #art #oilpainting #PaulGauguin #artwork #bskyart #FrenchArtist #Gauguin #womensart #BaltimoreMuseumofArt #fineart #portraitofawoman #controversialart #beauty #artbsky

63 5 0 0
Beth Tribe
Beth Tribe
@mdphotoexplorer.bsky.social
1 year ago
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"Lone Watchman"

I love the art installation "Moon Dust (Apollo 17) by Spencer Finch. But the lone security guard facing the door while this beautiful art is over his head caught my eye.
.
.
.
#photography #art #photographersofbluesky #baltimoremuseumofart

12 0 0 0
Sue Biebuyck
Sue Biebuyck
@suebeerbike.bsky.social
1 year ago
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"Coffee" oil on aluminum
Inspired by Matisse/Diebenkoen at BMA.
An unforgettable day with Edie. #goggleworkscenterforthearts #studiobbb #BaltimoreMuseumofart #Oilpainting #coffee

10 0 0 0
Josh Batten
Josh Batten
@ink58.bsky.social
1 year ago
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Play on background. Back of Degas Bronze Dancer Statuette with background symmetry. Acrylic on birch board. #sculpture #dance #ballet #degas #baltimoremuseumofart #danseuse #modernart #modernism #nationalgalleryofart #baltimore #art #dancer #ballerina #acrylicpainting #impressionism #artgallery

16 1 2 0
@kennethconway.bsky.social
1 year ago
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@baltimoremuseumofart

#LoïsMailouJones. “Untitled (Two Women).” c. 1945. The Baltimore Museum of Art: Purchase with exchange funds from the Pearlstone Family Fund and partial gift of The Andy Warhol Foundation for the Visual Arts, Inc. @ Loïs Mailou Jones Pierre-Noel Trust.

#baltimoremuseumofart

3 1 0 0
Uriél Danā
Uriél Danā
@uridev.urieldana.com
1 year ago
Post image

Washington DC painter #ErikThorSandberg (b.1975) has exhibited his oils internationally, including the #BaltimoreMuseumofArt, #AmericanUniversityMuseum at the Katzen Arts Center, Washington, DC; #MontserraCollegeofArt, Beverly, MA; & #BakerMuseum, Naples, FL.

19 1 0 0
@kennethconway.bsky.social
1 year ago
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@baltimoremuseumofart

#SamGilliam will be remembered for pushing the boundaries and dreaming in full color.

Sam Gilliam. “Blue Edge.” Acrylic on canvas, 1971. The Baltimore Museum of Art. © Sam Gilliam; Courtesy of David Kordansky Gallery, Los Angeles, CA.

#baltimoremuseumofart
#gilliam

3 0 0 0
@kennethconway.bsky.social
1 year ago
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“Beach at Scheveningen.” Vincent van Gogh (Dutch; 1853-1890). Transparent and opaque watercolor with charcoal on light brown paper, 1882. Baltimore Museum of Art, Baltimore, Maryland.

#scheveningen
#vincentvangogh
#vangogh
#baltimoremuseumofart
@baltimoremuseumofart

3 0 0 0
Uriél Danā
Uriél Danā
@uridev.urieldana.com
1 year ago
Post image

Washington DC painter #ErikThorSandberg (b.1975) has exhibited his oils internationally, including the #BaltimoreMuseumofArt, #AmericanUniversityMuseum at the Katzen Arts Center, Washington, DC; #MontserraCollegeofArt, Beverly, MA; & #BakerMuseum, Naples, FL. #figurativeart, #magicalrealism

11 1 0 0
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
2 years ago
In which I briefly donate myself to the BMA’s collection. #baltimore #baltimoremuseumofart #bma #...

In which I briefly donate myself to the BMA’s collection. #baltimore #baltimoremuseumofart #bma #...

In which I briefly donate myself to the BMA’s collection.

#baltimore #baltimoremuseumofart #bma #artmuseumselfie #adayatthemuseum

0 0 0 0
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
2 years ago
Stone Möbius. (Endless Ribbon by Max Bill.) #baltimore #baltimoremuseumofart #bma #bmasculpturegar...

Stone Möbius. (Endless Ribbon by Max Bill.) #baltimore #baltimoremuseumofart #bma #bmasculpturegar...

Stone Möbius. (Endless Ribbon by Max Bill.)

#baltimore #baltimoremuseumofart #bma #bmasculpturegarden #möbiusstrip #endlessribbon #maxbill

1 0 0 0
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
6 years ago
... or not. #baltimore #baltimoremuseumofart #artmuseum #artmuseumdrive #bma #inbroaddaylight #neons...

... or not. #baltimore #baltimoremuseumofart #artmuseum #artmuseumdrive #bma #inbroaddaylight #neons...

... or not. #baltimore #baltimoremuseumofart #artmuseum #artmuseumdrive #bma #inbroaddaylight #neonsign

1 0 0 0
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
7 years ago
Stars in a blue sky. #baltimore #baltimoremuseumofart #seedpods #seedpodart #starsindaylight #starsi...

Stars in a blue sky. #baltimore #baltimoremuseumofart #seedpods #seedpodart #starsindaylight #starsi...

Stars in a blue sky. #baltimore #baltimoremuseumofart #seedpods #seedpodart #starsindaylight #starsinthedaytime #sky #bluesky #summerinthecity

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❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
7 years ago
Tabletop with inlaid Italian marble, made in Philadelphia circa 1830. #baltimore #baltimoremuseumofa...

Tabletop with inlaid Italian marble, made in Philadelphia circa 1830. #baltimore #baltimoremuseumofa...

Tabletop with inlaid Italian marble, made in Philadelphia circa 1830. #baltimore #baltimoremuseumofart #bma #tabletop #marble #inlaidstone #decorativeart #circles #radialsymmetry

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❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
12 years ago
A closeup look at the Antioch Mosaics. #baltimore #baltimoremuseumofart #bma #antiochmosaics #antioc...

A closeup look at the Antioch Mosaics. #baltimore #baltimoremuseumofart #bma #antiochmosaics #antioc...

A closeup look at the Antioch Mosaics. #baltimore #baltimoremuseumofart #bma #antiochmosaics #antioch #mosaic #tiles #geometry #byzantine #byzantineart #byzantineempire #art #history #closeup #iphoneonly #hefe

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❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
12 years ago
Some more Antioch Mosaics at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #ant...

Some more Antioch Mosaics at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #ant...

Some more Antioch Mosaics at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #antiochmosaics #antioch #artmuseum #art #history #mosaic #mosaics #tiles #byzantine #byzantineart #byzantineempire #geometry #iphoneonly #brannan

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❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
12 years ago
One of the Antioch Mosaics at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #ar...

One of the Antioch Mosaics at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #ar...

One of the Antioch Mosaics at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #artmuseum #art #history #antiochmosaics #antioch #byzantine #byzantineart #byzantineempire #mosaic #tiles #geometry #iphoneonly #hefe

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❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
❀ 𝔼 𝕣 𝕚 𝕟 𝔹 𝕝 𝕦 𝕣 ❀
@urbanocelot.bsky.social
12 years ago
Stone lion at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #lion #stonelion #s...

Stone lion at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #lion #stonelion #s...

Stone lion at the Baltimore Museum of Art. #baltimore #baltimoremuseumofart #bma #lion #stonelion #statue #sculpture #artmuseum #sky #bluesky #iphoneonly #nofilter

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