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Our Early Bird Special for Tech Trek Summer Camp ends this weekend! Grab your spot and your discount! www.zeffy.com/en-US/ticket... #techtrek #lemberg #BrandeisUniversity

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Three women stand close together, barefoot, filling a tall canvas almost edge to edge. Their bodies form a compact triangular arrangement: a blonde woman at left in a loose white dress looks directly outward with a steady, almost challenging gaze. A central figure, with dark hair swept up, wears a deep red dress and lowers her head slightly, her face softened by shadow. At right, a woman with auburn hair in a blue-green dress turns toward the center, one hand at her hip. Their skin is painted in warm creams, pinks, and peach tones with rough, visible brushstrokes. The dresses cling and fold in broad, expressive passages of white, crimson, and teal. Behind them, the background dissolves into a storm of mauves, browns, blue-grays, and muted rose, giving the scene atmosphere, presence, and mood.

The painting feels less like a portrait of three named individuals than a study in relationship, contrast, and emotional proximity. Each woman occupies her own psychological space: the left  confronts the viewer, the central turns inward, and the right directs her attention across the group. Russian American artist Abraham S. Baylinson uses white, red, and green-blue to almost symbolically, suggest innocence, intensity, and cool reserve without settling into a single narrative. The closeness of their bodies implies solidarity, but their expressions resist easy harmony.

Born in Moscow in 1882 and later active in New York, Baylinson was part of the early modernist circle around Robert Henri and the Society of Independent Artists. He painted figures with a balance of structure and looseness, often letting emotion emerge through brushwork rather than precise detail. In this work, the women are not idealized ornaments. They are substantial, self-possessed presences. The bare feet and unfussy setting remove markers of status and push attention toward gesture, stance, and human feeling. What remains is a vivid trio suspended between individuality and group identity.

Three women stand close together, barefoot, filling a tall canvas almost edge to edge. Their bodies form a compact triangular arrangement: a blonde woman at left in a loose white dress looks directly outward with a steady, almost challenging gaze. A central figure, with dark hair swept up, wears a deep red dress and lowers her head slightly, her face softened by shadow. At right, a woman with auburn hair in a blue-green dress turns toward the center, one hand at her hip. Their skin is painted in warm creams, pinks, and peach tones with rough, visible brushstrokes. The dresses cling and fold in broad, expressive passages of white, crimson, and teal. Behind them, the background dissolves into a storm of mauves, browns, blue-grays, and muted rose, giving the scene atmosphere, presence, and mood. The painting feels less like a portrait of three named individuals than a study in relationship, contrast, and emotional proximity. Each woman occupies her own psychological space: the left confronts the viewer, the central turns inward, and the right directs her attention across the group. Russian American artist Abraham S. Baylinson uses white, red, and green-blue to almost symbolically, suggest innocence, intensity, and cool reserve without settling into a single narrative. The closeness of their bodies implies solidarity, but their expressions resist easy harmony. Born in Moscow in 1882 and later active in New York, Baylinson was part of the early modernist circle around Robert Henri and the Society of Independent Artists. He painted figures with a balance of structure and looseness, often letting emotion emerge through brushwork rather than precise detail. In this work, the women are not idealized ornaments. They are substantial, self-possessed presences. The bare feet and unfussy setting remove markers of status and push attention toward gesture, stance, and human feeling. What remains is a vivid trio suspended between individuality and group identity.

“Three Standing Women” by Abraham S. Baylinson (Russian-American) - Oil on canvas / c. 1935-1939 - Rose Art Museum, Brandeis University (Waltham, Massachusetts) #WomenInArt #AbrahamBaylinson #АбрахамСоломонБайлинсон #Baylinson #RoseArtMuseum #BrandeisUniversity #artText #art #arte #WomenInPainting

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It's Black History Month. Have you checked out the archives at #BrandeisUniversity ?www.brandeis.edu/library/archives/essays/...
#BlackHistoryMonth #blacklivesmatter #blackstoriesmatter

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A tall, narrow oil painting presents a young teen dancer standing barefoot against a cool gray-blue backdrop. She has long brown hair, with a red-orange flower tucked on the side, and her face tilts downward in quiet concentration rather than performance. Her green dress, cut very short above the knees, is patterned with pale diagonal streaks that read like light skimming fabric as it shifts. The brushwork is brisk and textured because the dress is built from layered strokes, while her features are simplified but expressive, with the eyes cast down and the mouth set neutrally, as if she is counting beats internally. Her hands rest on her hips, elbows angled out, giving her posture a rehearsal-room certainty. One leg crosses in front of the other, knees soft, creating a dancer’s poise … ready to pivot, step, or turn. Behind her, a dark, soft-edged shadow rises along the right side, echoing her outline and making her figure feel tactile and present.

Dating this work to circa the 1960s fits the sitter’s abbreviated, mod-like silhouette and the painting’s economy of an image that feels like a captured moment rather than a staged tableau. Russian-born American artist Moses Soyer (Моисей Абрамович Сойер) often returned to dancers not as spectacle, but as people in the in-between like when practicing, waiting, or preparing. Here, the bright green acts like a spotlight you can wear or, perhaps, youth rendered as color, while the lowered gaze resists the idea of being “on display.” The crossed feet and planted hands suggest both confidence and effort like a body learning its own power through discipline. In that sense, the painting reads as a portrait of becoming or of a girl using movement to claim space, not for an audience, but for herself.

A tall, narrow oil painting presents a young teen dancer standing barefoot against a cool gray-blue backdrop. She has long brown hair, with a red-orange flower tucked on the side, and her face tilts downward in quiet concentration rather than performance. Her green dress, cut very short above the knees, is patterned with pale diagonal streaks that read like light skimming fabric as it shifts. The brushwork is brisk and textured because the dress is built from layered strokes, while her features are simplified but expressive, with the eyes cast down and the mouth set neutrally, as if she is counting beats internally. Her hands rest on her hips, elbows angled out, giving her posture a rehearsal-room certainty. One leg crosses in front of the other, knees soft, creating a dancer’s poise … ready to pivot, step, or turn. Behind her, a dark, soft-edged shadow rises along the right side, echoing her outline and making her figure feel tactile and present. Dating this work to circa the 1960s fits the sitter’s abbreviated, mod-like silhouette and the painting’s economy of an image that feels like a captured moment rather than a staged tableau. Russian-born American artist Moses Soyer (Моисей Абрамович Сойер) often returned to dancers not as spectacle, but as people in the in-between like when practicing, waiting, or preparing. Here, the bright green acts like a spotlight you can wear or, perhaps, youth rendered as color, while the lowered gaze resists the idea of being “on display.” The crossed feet and planted hands suggest both confidence and effort like a body learning its own power through discipline. In that sense, the painting reads as a portrait of becoming or of a girl using movement to claim space, not for an audience, but for herself.

“Girl in Green Dancing Dress” by Moses Soyer (Russian-American) - Oil on masonite / c. 1960s - Rose Art Museum (Waltham, Massachusetts) #WomenInArt #MosesSoyer #МоисейСойер #Soyer #SocialRealism #artText #dancer #arte #BlueskyArt #art #BrandeisUniversity #RoseArtMuseum #PortraitofaGirl #DanceArt

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Brandeis to host ICE surveillance activist during 'Immigration Justice Week'

Link in bio or read the story at www.campusreform.org/article/bran...

#brandeis #brandeisuniversity #ICE #immigration #campusreform

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Beyond Brutality: Reclaiming Female Presence in Bavli Sotah Beyond Brutality draws on feminist analysis and gender studies to examine tractate Sotah of the Babylonian Talmud as a literary unit. By interrogating how, why, and where women are invisible within Ba...

A @brandeispress.bsky.social publication in the HBI Series on Jewish Women. #jewsky #hbiconversations #brandeisuniversity #brandeispress # brandeisuniversitypress.com/title/beyond...

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This Monday, join HBI online or on campus for our next Seminar with Scholar in Residence Dotan Brom! 12:30-1:30 pm EST ⬇️
#lgbtqisrael #brandeisuniversity #hbischolar

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Lemberg food and clothing drive:
Beginning Monday, November 6th (until Nov 21), we will have boxes in the office to collect winter clothes, food & toiletries. Some of these will be donated to the Brandeis drives & others to local shelters and food pantries. #BrandeisUniversity #lemberg #fooddrive

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Brandeis appoints respected scholar Flora Cassen to direct two centers focusing on Jewish Studies

Exciting news at Brandeis! Congratulations to Flora Cassen on her appointment as the inaugural Lavine Family Director of the Brandeis Center for Jewish Studies. www.brandeis.edu/stories/2025... #jewishstudies #brandeisuniversity #jewsky @brandeisuniversity.bsky.social

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This week's #MicroscopyMonday is a time lapse 3D printing of a mini microscope from the MakerLab at Brandeis University.

🥼 Greg Buckland | Head of Brandeis MakerLab

#MicroscopyMonday #Sciencecommunication #BrandeisUniversity #NESM #Microscopy #Science #3D #3DPrinting

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Apparently… #BosCityCouncil #WestRoxbury & #JamaicaPlain’s #District6, #BenWeber #Boston, was a #BrandeisUniversity champion soccer player during his college yrs🫢.

His award-winning & career-of-44yrs coach, regaled us w/stories of WeberForBoston.com’s fortitude, diligence & skill Universal.hub.com

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You're invited! An opening reception for "Tu Ke Bivas", photo-based artist Becky Behar's immersive presentation tracing Sephardic traditions enacted by her mother and daughter, is happening tomorrow at the Kniznick Gallery! #kniznickgallery #BrandeisUniversity #Sephardic Info: bit.ly/HBIEVENTS

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Brandeis Library News - Research Guides at Brandeis University

During her years at Brandeis, Matanky held several roles at HBI including gallery docent, office assistant, and events staff. More on Matanky's research: guides.library.brandeis.edu/blogs/system...

#jewsky
#brandeisuniversity
#brandeisuniversitylibrary
#judaism
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Good news: After pushback from alumni and students #BrandeisUniversity relented and will keep its Yiddish program, although it will scale it back due to declining enrollment in courses.

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Today's #vinyl selection #BobDylan #InConcertBrandeisUniversity1963
62 years ago today, #Dylan recorded the concert at #BrandeisUniversity.
#MastersOfWar #TalkinJohnBirchParanoidBlues #BobDylanVinyl #Vinylsky #NowSpinning #MusicSky #NEOVC #VinylCollection #VinylCommunity #MusicAlmanac

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R.I.P., Dan #Morgenstern [°Oct. 24, 1929 – Sept. 7, 2024]🌹😔

#JazzJournal #InstituteofJazzStudies #TheNewYorkPost #TheChicagoSunTimes #SomaMorgenstern #BrandeisUniversity #ElsaSchochet #DanMichaelMorgenstern #DanMorgenstern

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