Visited NYC for the first time a few weeks ago! Museum every day, musical every night - it was fantastic!
#nyc #hadestown #operationmincemeat #maybehappyending #naturalhistorymuseum #metcloisters #brooklynmuseum
Dog mummy, with coffered, box-like pattern of linen wrapping, and a fake dog head, once painted black. Scholars associate this type of pattern of linen wrapping with the Roman Period in Egypt (30 B.C.E.–395 C.E.). Yet carbon 14 dating of a linen sample from this mummy suggests the linen is at least two hundred years older than that period. Either very old linen was recycled in the process of mummy making or this distinctive pattern of wrapping existed earlier than scholars had suspected. Future tests might resolve this question by sampling and testing the animal itself. Egyptian, ca. 510–230 BCE. Brooklyn Museum, New York (37.1984E)
Dogs became associated with Anubis and the afterlife and were mummified and placed in tombs with deceased humans. I hope User's dog lived a long life before this happened ... 😬🏺 4/
Dog mummy, Late Period to Ptolemaic Period (510–230 BCE). 📸 #BrooklynMuseum
This gilded cartonnage, or mummy case, made from layers of linen and plaster, once covered the head and chest of a mummified woman. She wears a draped garment pulled over her head in a veil in Roman style, and wears an elaborate Roman style coiffure. Her fringed shawl or himation is tied at her breast in the style of devotees and priestesses of the Egyptian goddess Isis, and she is adorned with earrings, necklaces (formerly inlaid with glass, faience, and/or semiprecious stones throughout), and snake bracelets and armlets. The flowers and wheat in her hands also connect her to the goddess Isis, while the use of gold links her to the sun's daily rebirth - the gods themselves were said to have gold skin. She stares out at us with inlaid eyes of opaque colored glass; the dramatic lining of her eyes and her eyebrows are made with blue faience, imitating lapis lazuli. The front is mostly gilded, but the rose petal funerary wreath in her hand and the sides of her head are painted. Her hairstyle is also a mix of Roman and Egyptian elements. It's basically a Trajanic style, but the curls framing her face and corkscrew locks above her ears are in accordance with an Romano-Egyptian style popular during the latter years of the 1st century CE. Under Roman rule, Egyptians often chose burial features that emphasized either Roman or Egyptian identities - or both, as seen here. Egyptian, Roman Period, 1st century CE, possibly from Hawara. Brooklyn Museum, New York (69.35)
This 1st c. CE gilded cartonnage (mummy case, a mix of linen and gesso) of a woman shows an incredible blend of Egyptian, Greek, and Roman cultures. The gold is traditional Egyptian, linked to the sun's daily rebirth, showing her hope of rebirth in the afterlife. 🏺 1/
#BrooklynMuseum 📸 me
3/4 frontal view of the small exquisitely carved wooden figurine of Lady Mi, wearing a large plaited wig (it falls well past her shoulders), and round sun-disk gilded earrings. She's clad in a traditional sheer pleated linen dress. Her left arm is held by her side, but her right hand is held up in front, below her breasts. Her age is indicated by a slight sagging to her chin and her breasts, and a slightly extended stomach. She stands on a rectangular base which appears to have hieroglyphs - undoubtedly where we know her name from. No translation of the inscription is offered by the museum.
Left side view of the statuette of Lady Mi, which really shows off the pleats in her linen dress, the complexity of her braided wig, and her poochy belly, indicating her advanced years.
Considered one of the finest wooden sculptures to survive from antiquity, this small carved figure of Lady Mi has an elaborate wig, large gilded earrings, and a gossamer linen dress. Depicted realistically as an older woman, a feature of the art of Amunhotep III's court. 🏺 1/
#BrooklynMuseum 📸 me
American artist Charles Courtney Curran spent summers at the Cragsmoor art colony near Ellenville, New York, where he developed some of his most recognizable images of women placed in sunlit, idealized landscapes. He was already strongly associated with this mountaintop community, and its clear air, dramatic views, and cultivated leisure shaped the mood of paintings like this one. In this 1909 work, a group of women are not shown laboring or narrating a specific story. Instead, they are emblems of calm companionship, modern femininity, and seasonal freedom. Three young women sit side by side on a rocky ledge, shown in left profile against a vast, luminous sky. Their light skin is warmed by sun and flushed softly at the cheeks. Each wears a flowing white summer dress with short puffed sleeves, the fabric catching blue, cream, and peach reflections from the open air. Their hair is pinned up in loose early-20th-century styles. The nearest woman’s dark brown hair is fuller and more shadowed, while the two beyond her have lighter brown and golden tones. Their bodies lean slightly forward in a shared, attentive stillness, hands resting in their laps on the folds of their skirts. Low green plants edge the stone at the bottom of the canvas, but most of the composition is a brilliant blue sky veiled with sweeping white clouds so the women seem suspended between earth and atmosphere. The trio’s placement above the horizon gives them an almost monumental presence, yet the painting remains tender rather than grandiose. Curran’s impressionist-inflected brushwork and radiant sky turn an ordinary pause outdoors into a vision of aspiration with the women literally and symbolically “on the heights,” poised between intimacy and idealization plus earth and atmosphere. The result is both accessible and slightly dreamlike privilege for a celebration of light, youth, and shared presence in nature.
“On the Heights” by Charles Courtney Curran (American) - Oil on canvas / 1909 - Brooklyn Museum (New York) #WomenInArt #CharlesCourtneyCurran #Curran #CharlesCurran #BrooklynMuseum #AmericanImpressionism #art #artText #arte #artwork #BlueskyArt #AmericanArt #AmericanArtist #PortraitofWomen #1900sArt
American artist Jeff Donaldson’s title invokes Shango, a ruler of the Oyo empire and a major Yoruba spiritual figure associated with thunder, lightning, power, and justice. The three strong women represent his wives: Oshun, Oba, and Oya who fought beside him. Donaldson reimagines them in the language of Black pride and liberation in 1969. They are not distant mythic figures, but modern, self-possessed women whose beauty, dignity, and readiness suggest spiritual authority as well as political power. They connect Yoruba memory to Black self-determination during the Black Arts Movement, making the painting a vision of women as protectors, cultural anchors, and agents of resistance. The three Black women stand close together, like a shared monument. Their skin is modeled in deep browns, amber, copper, and gold, and the watercolor surface flickers with warm oranges, reds, and yellows, making the whole composition feel radiant and heat-filled. All three wear natural Afro hairstyles that expand their silhouettes with pride and presence. The woman at left turns her face outward in profile, wearing a pink-orange dress, an ankh pendant, and a belt of bullets slung low across her hips. A long firearm hangs vertically beside her shoulder. The central figure wears white, a necklace of large beads, and a cross pendant. The woman in profile at right, in a yellow dress with patterned trim, holds an open fan. Donaldson presents them not as passive muses but as dignified, alert, and formidable women. Painted just after Donaldson helped found AfriCOBRA in Chicago, the work reflects his commitment to a proudly Black, community-centered aesthetic that celebrated beauty, power, and African diasporic connection. Rather than placing women at the margins of revolution, he centers them as intellectual, spiritual, and political equals. The glowing palette intensifies the sense that these women feel iconic and almost sanctified like a vision of Black resilience and sovereignty.
“Wives of Shango” by Jeff Donaldson (American) - Watercolor with mixed media on paper / 1969 - Brooklyn Museum (New York) #WomenInArt #1960sArt #artText #art #JeffDonaldson #Donaldson #Yoruba #BrooklynMuseum #BlackArtsMovement #BlueskArt #BlackArtist #BlackArt #AfricanAmericanArtist #AfriCOBRA
The Dinner Party by #JudyChicago at the #BrooklynMuseum showcases a triangular table honoring 39 influential women and their achievements. As March kicks off Women's History Month, this artwork celebrates women's contributions throughout history. #FeministArt #WomenInArt #WomensHistoryMonth
R.I.P., Iris #Cantor, née Bazel [°Feb. 14, 1931 – Feb. 22, 2026]🕯️😔🌹
#MetropolitanMuseumofArt #BrooklynMuseum #ICMHC #IrisCantorMensHealthCenter #IrisandBGeraldCantorFoundation #LACountyMuseumofArt #IrisandBGeraldCantorCenterforVisualArts #BernardGeraldCantor #FannieBarsky #IrisBazel #IrisCantor
Bald, short, bearded, ugly guy in winter clothes in front of a neo-Assyrian stone, carved relief.
A photo from the Brooklyn Museum of Neo-Assyrian reliefs from the palace at Nimrud. When I was working on In Strife and Conflict, I never thought I would see artifacts like this in-person.
#wargaming
#neo-assyrians
#brooklynmuseum
#ancienthistory
#BHM #NYC #Brooklyn #BKNY #Museums #NYCEvents #BKNYEvents #BrooklynEvents #BKNYMuseum #BrooklynMuseum
Blue faience hippo statuette with black line drawings of lotus flowers and buds on stalks painted on its surface (including its face). In a way, it's like seeing the hippo through the marsh plants of its environment.
This #Egyptian faience hippo statuette is painted with lotus flowers and buds, found in its marshy environment. The lotus flowers - closing every night and reopening again in the morning - also represented regeneration and rebirth. 🏺 1/ @alisonfisk.bsky.social
1938-1539 BCE.
#BrooklynMuseum 📸 me
Three fallen angels, carved in white marble, and a fourth figure in the base of the sculpture, made of dark stone.
Three naked figures of angels, carved in white marble, arranged in a confused jumble of wings and limbs.
A dark marble figure at the base of a sculpture, crushed by the enormity of his wrondoing and the marble figures above, which weigh down upon him.
Salvatore Albano’s, The Fallen Angels, aka The Rebel Angels (1893). It must once have been considered high-minded, but looks gloriously weird to me!
#BlueskyArtShow #Photography #Art #BrooklynMuseum #NYC #Sculpture #Weirdness
The Met Museum facade in a deep freeze - yes, AI.
Heading to NYC on Wednesday, and giving up my 80º weather for … 20ºF?? I’m going to die. 🥶 Just a few days, though.
Going to hit up the #MetMuseum, and the #BrooklynMuseum, of course, but is there anything I shouldn’t miss (besides theater)?
This life-size, full-length portrait shows an adult woman with light-to-medium olive skin and dark hair drawn back beneath a jeweled headpiece. She faces forward with a steady, composed expression, framed by a sweeping red drapery and a cool gray interior. Her figure is shaped by an eighteenth-century silhouette, then expanded into a dramatically wide tobajilla (skirt) of blue-and-white striped satin or silk covered with intricate silver-and-gold embroidery. White lace trims her sleeves and neckline. Matching blue shoes fasten with bright buckles over pale stockings. She wears a choker and longer necklace, bracelets, and a chandelier earring with teardrop pearls. In one hand, she holds a folded fan. In her other, she offers a small, ornate watch with a silver-and-pearl pendant above a dark wooden table. Pearls, jewelry, and a vase of flowers sit nearby, turning the scene into a catalog of wealth. Through an arched opening, a manicured promenade with a fountain and distant archway recedes in perspective, anchoring her to Lima, Peru. At lower right, the inscription names her Doña Mariana Belsunse y Salasar, born in Lima, the wife of Coronel Agustín de Landaburrú y Rivera. The Brooklyn Museum frames this portrait as “conspicuous luxury” in Spanish colonial Peru with the tobajilla, jewels, and accessories operating as proof of rank. Beyond the arch is the Paseo dede Aguas and the Plaza de Acho, real Lima landmarks that place her within the city’s public life. The museum recounts that she entered a convent to avoid marrying an older man. Later, she married that man's nephew, the wealthy mayor of Lima for an arc that fueled public scandal. Against that backdrop, the brilliant blue can read as an appeal to virtue, while the tiny watch (held out like evidence) turns time into a luxury object. Attributed to either José Joaquín Bermejo or Pedro José Díaz, the painting fixes her name and reputation in paint now hundreds of years later.
"Doña Mariana Belsunse y Salasar" attributed to José Joaquín Bermejo or Pedro José Díaz (Peruvian) - Oil on canvas / c. 1780 - Brooklyn Museum (New York) #WomenInArt #BrooklynMuseum #ColonialArt #JoseJoaquinBermejo #PedroJoseDíaz #art #artText #BlueskyArt #pintura #PortraitofaWoman #PeruvianArt
It occurred to me that I had not heard from #mosdef in a while and found out everything he has done since 2006, including a name change to #yasiinbey.
Now I want to visit the #brooklynmuseum to hear his unreleased album ንጉሥ (pronounced Negus).
www.brooklynmuseum.org/exhibitions/...
Monet painting of Venice canal and palazzo, Brooklyn Museum exhibit
#Monet in Venice exhibit, #BrooklynMuseum, Christmas 2025
#art #Venice
#BirthdateUnknown, 1938: #BOTD: #HBD #RichardMerkin! #Painters #Illustrators #ArtTeachers #Dandies #InterwarPeriod #Jazz #Celebrities #Fashion #RISD #VanityFair #TheNewYorker #MOMA #BrooklynMuseum #Whitney #ItWasAFakeMoustache #PeopleOnTheCoverOfSgtPepper #MusicSky #BeatlesSky
A bronze sculpture of three women wearing hoop earrings and cross neckaces who are bound together by their elaborately braided hair.
A bronze sculpture of three women wearing hoop earrings and cross neckaces who are bound together by their elaborately braided hair.
A bronze sculpture of three women wearing hoop earrings and cross neckaces who are bound together by their elaborately braided hair.
“Bound” (2014) by Kehinde Wiley at the Brooklyn Museum.
#KehindeWiley #Sculpture
#AmericanArt #BrooklynMuseum
#AfricanAmericanArt
Painted in 1966, this early self-portrait shows Emma Amos asserting herself within an art world that largely centered white male abstraction. By placing her own image at the heart of a modernist, geometric composition, she insists that Black women’s lives and pleasures belong inside the canon, not at its margins. Inside a wide circular frame that feels like both window and mirror, a young Black woman, Smos herself, with medium-brown skin sits in profile, her body turned while her head tilts toward us. She wears a vivid red dress with a blue collar, her straight black bob cut neatly framing her face. Her gaze meets ours, steady and thoughtful, even as she bends slightly over a small bouquet of green, yellow, and red flowers cradled in her hands. The circle is edged with warm browns, set against a flat field of saturated blue. Within the circle, the background is divided into soft off-white and pale yellow planes, with a sliver of magenta tabletop and stacked color blocks at the lower right. Broad, visible brushstrokes, simplified shapes, and bold contrasts flatten the space, turning this quiet act of smelling flowers into a striking, graphic image. The artist’s posture, rich color, and framing convey a sense of contemplation, sanctuary, and self-possession. The circular “portal” can be viewed as a mirror, a studio window, or even a halo-like emblem of self-regard, echoing Amos’s belief that, “For me, a Black woman artist, to walk into the studio is a political act.” The small bouquet suggests both everyday joy and self-care, as if she has gathered these flowers for herself in the midst of struggle. Decades later, she would insert this painting inside “Sandy and Her Husband,” literally weaving her younger self into a narrative of Black love and intimacy. Born in segregated Atlanta and later the only woman in the Spiral collective, Amos used color, pattern, and figuration to challenge racism and sexism in art history.
“Flower Sniffer” (Self-portrait) by Emma Amos (American) – Oil on canvas / 1966 – Brooklyn Museum (New York) #WomenInArt #EmmaAmos #BrooklynMuseum #artText #art #BlackWomenArtists #arte #AfricanAmericanArtist #BlueskyArt #selfportrait #BlackArt #WomensArt #WomanArtist #WomenArtists #ContemporaryArt
The face was not painted and then covered with a glaze, but alla prima, revealing the effect through the use of the correct values and colors.
#art #fineart #artstream #americanart #johnsingersargent #brooklynmuseum #artreview #artdiscussion #artcritique #arttalk #pleinair #pleinairpainting
In 1878, American artist Winslow Homer was perfecting watercolor as a primary medium, using transparent washes blotted together and touches of opaque white to model light and atmosphere. “Fresh Air” belongs to an early series painted outdoors at Houghton Farm, a patron’s country estate in upstate New York, where he staged “modern shepherdesses”—contemporary girls in fanciful rustic dress against expansive skies. The subject is less a portrait than a type: poised between girlhood and work, self-contained amid grazing sheep and restless weather. A light-skinned young shepherdess stands on a breezy hillside, profile turned left, hands loosely clasped before her. She wears a straw hat trimmed with a fluttering sky blue ribbon, a pale bodice with ruffled sleeves, and a long, wind-lifted skirt as heavy black shoes with large metal buckles anchor her against the slanting grass. Sheep nose through the turf at her feet, while a branch with small leaves edges the sky in the upper right. Behind her, a high, sun-washed bank of cloud fills the canvas. Light catches her cheek, hat brim, and the creases of her skirt, emphasizing the stillness of her stance against the blowing wind across the grassy hilltop. This painting hints at the era’s taste for pastoral retreat while showcasing Homer’s technical confidence with layered sky, scraped highlights, and selective glazing on a modest wove paper sheet that makes it feel monumental. To achieve the subtle coloration in the sky, he applied overlapping washes of grays, pinks, and blues and then blotted them together. Homer, who rose to national prominence in the 1860s for his magazine illustrations and oil paintings of modern American life, took up watercolor in the 1870s. "Fresh Air" foreshadows his lifelong interest in figures set against nature’s forces, from quiet wind to storm-tossed sea, and marks the moment watercolor became central to his American vision.
“Fresh Air” by Winslow Homer (American) - Watercolor over charcoal on wove paper / 1878 - Brooklyn Museum (Brooklyn, NY) #WomenInArt #art #artText #artwork #homer #BrooklynMuseum #AmericanArt #AmericanWatercolor #19thCenturyArt #PleinAir #BlueskyArt #portraitofaWoman #AmericanArtist #WinslowHomer
My latest piece for the New York Amsterdam News on the current exhibition of the work of Malian photographer Seydou Keïta on view at the Brooklyn Museum:
#Photography #Mali #BrooklynMuseum
amsterdamnews.com/news/2025/11...
Chase proves that there's no right or wrong way to use any material. All that matters is the final piece.
#art #fineart #artstream #patricksaunders #patricksaundersfinearts #artreview #artcritique #portrait #portraitpainting #representationalart #realistart #williammerrittchase #brooklynmuseum
White text on a green background reads, “Monet's Venice comes alive in new Brooklyn Museum exhibit”. Underneath, CBS News is listed as the source.
“Monet's Venice comes alive in new Brooklyn Museum exhibit” — CBS News
#NYCNews #BrooklynMuseum #Brooklyn
Looking forward to this week: #harveystein at #bronxdocumentarycenter #photography; Life in 18th Century #greenwichvillage; #monetandvenice at #brooklynmuseum; My Art. My Voice. Our Zen at #tallerboricua + more
gothamtogo.com/art-installa...
✨🎨 On Sept 13, Cool Culture teamed up with Brooklyn Museum + Museum on Wheels for a day of art, storytelling & community in Brooklyn! Families honored environmentalist Hattie Carthan while creating maps, textiles & more. 🌍💫
#CoolCulture25 #BrooklynMuseum #MuseumonWheels #CulturalAccess
Interior of the Brooklyn Museum showing details of the floor
Lots of #angles at the Brooklyn Museum!
#BlueSkyArtShow #BrooklynMuseum
