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International Center for the Arts of the Americas
International Center for the Arts of the Americas
@icaa-mfah.bsky.social
2 days ago
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Record ID / Registro ID: 📌852865
Researchers / Investigadores: Flavia Marichal Lugo
#Bineal #PuertoRicoArt #CaribbeanArt

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Waleo MOLIERE (MIDAS)
Waleo MOLIERE (MIDAS)
@midaswm.bsky.social
1 week ago
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“Rasanbleman”- the ceremonial gathering
-Mise en scene art-#1
#illustration #blackart #digitalart #caribbeanart #artwork #artoftheday

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Michael
Michael
@mdstamper.bsky.social
3 weeks ago
This pastel painting is intimate, dignified, and deliberate, giving four unidentified free women of color in colonial Guadeloupe social presence and visual authority despite the historical erasure of their names. Painted in Guadeloupe in 1770, it is one of the rare surviving 18th-century images centered on free women of color in the French Caribbean. It is more than costume study thanks to rich textiles, refined posture, and differentiated complexions which push back against the colonial “prejudice of color” that ranked people by ancestry and skin tone. French artist Joseph Savart presents the women side by side, equally composed and equally worthy of attention, while the tools and goods they carry hint at skill, labor, and economic agency. The result is both portrait and social document. The four women are shown shoulder-to-waist in a tight, frontal row, pressed close to the picture plane so that their faces, fabrics, and jewelry become the heart of the image. Their skin tones vary subtly from lighter brown to deeper brown, and Savart renders each woman with individual features. All four meet us with calm, poised, slightly smiling expressions. Their white chemises and light dresses catch the soft powdery glow of pastel, while headwraps rise into elegant sculptural forms above their heads. Gold earrings, necklaces, and pins glint against cloth and skin. The women’s dress feels carefully arranged, stylish, and public-facing. At least three hold or balance objects linked to commerce or labor, suggesting practical roles within urban Caribbean life. Little survives of Savart’s career beyond scattered archival traces, which makes this pastel all the more important. It preserves not only a little-known artist, but also a rare, complex image of Black and mixed-race womanhood in colonial Guadeloupe (still a part of France). Today, the work is valued for its beauty, but also for the way it records fashion, status, labor, and resistance within an unequal Caribbean world.

This pastel painting is intimate, dignified, and deliberate, giving four unidentified free women of color in colonial Guadeloupe social presence and visual authority despite the historical erasure of their names. Painted in Guadeloupe in 1770, it is one of the rare surviving 18th-century images centered on free women of color in the French Caribbean. It is more than costume study thanks to rich textiles, refined posture, and differentiated complexions which push back against the colonial “prejudice of color” that ranked people by ancestry and skin tone. French artist Joseph Savart presents the women side by side, equally composed and equally worthy of attention, while the tools and goods they carry hint at skill, labor, and economic agency. The result is both portrait and social document. The four women are shown shoulder-to-waist in a tight, frontal row, pressed close to the picture plane so that their faces, fabrics, and jewelry become the heart of the image. Their skin tones vary subtly from lighter brown to deeper brown, and Savart renders each woman with individual features. All four meet us with calm, poised, slightly smiling expressions. Their white chemises and light dresses catch the soft powdery glow of pastel, while headwraps rise into elegant sculptural forms above their heads. Gold earrings, necklaces, and pins glint against cloth and skin. The women’s dress feels carefully arranged, stylish, and public-facing. At least three hold or balance objects linked to commerce or labor, suggesting practical roles within urban Caribbean life. Little survives of Savart’s career beyond scattered archival traces, which makes this pastel all the more important. It preserves not only a little-known artist, but also a rare, complex image of Black and mixed-race womanhood in colonial Guadeloupe (still a part of France). Today, the work is valued for its beauty, but also for the way it records fashion, status, labor, and resistance within an unequal Caribbean world.

"Quatre femmes créoles" (Four Creole Women) by Joseph Savart (French) - Pastel on paper / 1770 - Musée départemental Victor Schoelcher (Pointe-à-Pitre, Guadeloupe) #WomenInArt #JosephSavart #Savart #MuseeVictorSchoelcher #VictorSchoelcherMuseum #Guadeloupe #CaribbeanArt #arte #artText #FrenchArtist

40 8 2 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
Agostino Brunias, born in Rome around 1730, spent much of his career in the British Caribbean (especially Dominica) after traveling there in the 1760s. His paintings frequently depict the complex societies of the Lesser Antilles, where African, Caribbean, and European cultures intersected. His canvases depicted daily activities such as washing clothes, trading in markets, or walking through town. He often highlighted the clothing and social identities of free women of color within colonial society. While Brunias’s paintings can provide visual records of Caribbean fashion and community life, they also present an idealized vision of colonial harmony that softens the realities of plantation slavery and colonial hierarchy. The painting’s calm tone reflects both careful observation and the expectations of European collectors. Two Caribbean women walk together along a path after leaving a market, their bodies angled slightly toward one another as if in relaxed conversation. Each balances bundles and baskets likely filled with produce or textiles and carried with practiced ease. Their clothing is vivid and layered with long skirts with aprons, fitted bodices, and colorful headwraps tied high. One woman turns her head toward the other as she gestures gently with her hand, suggesting companionship and familiarity. The tropical landscape is warm earth tones and soft vegetation that frame the figures rather than dominate the scene. The women’s clothing likely carries social meaning within the colonial Caribbean context. Free women of African descent frequently participated in local markets as vendors, traders, and small-scale entrepreneurs, and their dress became an important marker of identity and status. The brightly colored skirts, fitted bodices, jewelry, and carefully tied headwraps seen correspond to historical descriptions of Caribbean fashion among these women, who used clothing both to express cultural identity and to signal respectability or prosperity.

Agostino Brunias, born in Rome around 1730, spent much of his career in the British Caribbean (especially Dominica) after traveling there in the 1760s. His paintings frequently depict the complex societies of the Lesser Antilles, where African, Caribbean, and European cultures intersected. His canvases depicted daily activities such as washing clothes, trading in markets, or walking through town. He often highlighted the clothing and social identities of free women of color within colonial society. While Brunias’s paintings can provide visual records of Caribbean fashion and community life, they also present an idealized vision of colonial harmony that softens the realities of plantation slavery and colonial hierarchy. The painting’s calm tone reflects both careful observation and the expectations of European collectors. Two Caribbean women walk together along a path after leaving a market, their bodies angled slightly toward one another as if in relaxed conversation. Each balances bundles and baskets likely filled with produce or textiles and carried with practiced ease. Their clothing is vivid and layered with long skirts with aprons, fitted bodices, and colorful headwraps tied high. One woman turns her head toward the other as she gestures gently with her hand, suggesting companionship and familiarity. The tropical landscape is warm earth tones and soft vegetation that frame the figures rather than dominate the scene. The women’s clothing likely carries social meaning within the colonial Caribbean context. Free women of African descent frequently participated in local markets as vendors, traders, and small-scale entrepreneurs, and their dress became an important marker of identity and status. The brightly colored skirts, fitted bodices, jewelry, and carefully tied headwraps seen correspond to historical descriptions of Caribbean fashion among these women, who used clothing both to express cultural identity and to signal respectability or prosperity.

“Dos mujeres antillanas viniendo del mercado” (Two Caribbean Women Returning from the Market) by Agostino Brunias (Italian) – Oil on canvas / c. 1770–1780 – Museo Carmen Thyssen Málaga (Málaga, Spain) #WomenInArt #AgostinoBrunias #Brunias #MuseoCarmenThyssen #CaribbeanArt #ColonialArt #art #artText

45 13 1 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
Painted in 1856 and inscribed “Paris,” this small canvas holds a vivid memory of French artist Camille Pissarro’s birthplace (St. Thomas island in the Caribbean Sea) filtered through distance and reflection. Rather than turning two women into scenery, the composition centers their mutual attention as a pause, a shared space, and an ordinary coordination of bodies carrying weight and time. Two dark-skinned women pause in conversation on a sunlit dirt path beside the sea. We look slightly down at them from a close, human distance. The woman facing us balances a flat tray piled with white cloth on her head, steadying it with one hand. Her long, off-white dress gathers at the hips, still falling to the ankles. A patterned deep green with red and brown headscarf wraps her hair and knots near one ear. The second woman stands with her back to us in an aquamarine dress, a garnet-red scarf tied around her head. A brown basket hangs from her arm. Low shrubs and grasses edge the path, while the shoreline curves inward like a crescent. Farther back, tiny strokes suggest other figures working or wading at the water’s edge. A rust-brown hill meets a pale, milky sky. The tray of linens and the basket hint at daily labor without reducing the women to it. Dignity lives in the upright stance, the steadying hand, and the unhurried exchange. The open shore behind them can represent freedom and openness, but it also quietly evokes a Caribbean shaped by trade, colonial history, and work that kept households and economies running ... often on women’s backs. Long before the broken brushwork of Impressionism, Pissarro was already practicing a kind of attentiveness that respected lived experience, held in light. The young artist relocated to Paris in late 1855 to pursue art seriously, after years split between St. Thomas and an extended spell working as an artist in Venezuela. In 1856, he had started private classes at the École des Beaux-Arts on his way to become a professional painter.

Painted in 1856 and inscribed “Paris,” this small canvas holds a vivid memory of French artist Camille Pissarro’s birthplace (St. Thomas island in the Caribbean Sea) filtered through distance and reflection. Rather than turning two women into scenery, the composition centers their mutual attention as a pause, a shared space, and an ordinary coordination of bodies carrying weight and time. Two dark-skinned women pause in conversation on a sunlit dirt path beside the sea. We look slightly down at them from a close, human distance. The woman facing us balances a flat tray piled with white cloth on her head, steadying it with one hand. Her long, off-white dress gathers at the hips, still falling to the ankles. A patterned deep green with red and brown headscarf wraps her hair and knots near one ear. The second woman stands with her back to us in an aquamarine dress, a garnet-red scarf tied around her head. A brown basket hangs from her arm. Low shrubs and grasses edge the path, while the shoreline curves inward like a crescent. Farther back, tiny strokes suggest other figures working or wading at the water’s edge. A rust-brown hill meets a pale, milky sky. The tray of linens and the basket hint at daily labor without reducing the women to it. Dignity lives in the upright stance, the steadying hand, and the unhurried exchange. The open shore behind them can represent freedom and openness, but it also quietly evokes a Caribbean shaped by trade, colonial history, and work that kept households and economies running ... often on women’s backs. Long before the broken brushwork of Impressionism, Pissarro was already practicing a kind of attentiveness that respected lived experience, held in light. The young artist relocated to Paris in late 1855 to pursue art seriously, after years split between St. Thomas and an extended spell working as an artist in Venezuela. In 1856, he had started private classes at the École des Beaux-Arts on his way to become a professional painter.

“Deux Femmes Causant au Bord de la Mer, Saint-Thomas” (Two Women Chatting by the Sea, St. Thomas) by Camille Pissarro (French) - Oil on canvas / 1856 - National Gallery of Art (Washington, DC) #WomenInArt #CamillePissarro #Pissarro #NationalGalleryofArt #NGA #artText #art #arte #1850s #CaribbeanArt

40 7 0 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
A stylized portrait shows a young woman seated against a wide, pale background. She has deep brown skin with warm orange undertones. Her large, glossy black curls billow outward in thick spirals, framing her face and shoulders like a halo of looping lines. Small white earrings punctuate the dark hair. Her expression is steady and slightly guarded, eyes lifted upward, mouth parted as if mid-thought. She wears an off-the-shoulder dress patterned with delicate flowers with crisp edges that hint at cut paper and wallpaper. Her arms cross firmly at her waist, hands stacked with fingers carefully outlined, nails painted, and tiny marks on the skin. Beside her, a single bird-of-paradise bloom arcs in from the right with a green stem bending like a gesture, carrying sharp red-orange petals that flare near her chest, as if the flower is speaking in bright punctuation. In the “Bony Ramirez: Cattleya” exhibition, the Newark Museum of Art describes the artist’s practice as shaped by childhood memories of the Dominican Republic and by Caribbean histories, explicitly linking botanical forms to the legacies of colonialism, tourism, and the question of what “resistance” can look like. His repeated use of tropical flowers is not simply decorative. The blooms are read as carrying trauma and miscommunication to be beautiful, but also signaling what cannot be said plainly. “Strelitzia” ( bird-of-paradise) deepens that tension as a flower native to southern Africa but named through European royal homage, its very taxonomy echoing the entanglement of nature, collecting, and power. Here the stem leans toward the sitter like an inherited narrative that is exoticized, admired, and burdened while her crossed arms and gaze insist on self-possession. She is a contemporary woman refusing to be reduced to “paradise,” holding dignity and interiority in the face of a history that has too often turned people and places into scenery.

A stylized portrait shows a young woman seated against a wide, pale background. She has deep brown skin with warm orange undertones. Her large, glossy black curls billow outward in thick spirals, framing her face and shoulders like a halo of looping lines. Small white earrings punctuate the dark hair. Her expression is steady and slightly guarded, eyes lifted upward, mouth parted as if mid-thought. She wears an off-the-shoulder dress patterned with delicate flowers with crisp edges that hint at cut paper and wallpaper. Her arms cross firmly at her waist, hands stacked with fingers carefully outlined, nails painted, and tiny marks on the skin. Beside her, a single bird-of-paradise bloom arcs in from the right with a green stem bending like a gesture, carrying sharp red-orange petals that flare near her chest, as if the flower is speaking in bright punctuation. In the “Bony Ramirez: Cattleya” exhibition, the Newark Museum of Art describes the artist’s practice as shaped by childhood memories of the Dominican Republic and by Caribbean histories, explicitly linking botanical forms to the legacies of colonialism, tourism, and the question of what “resistance” can look like. His repeated use of tropical flowers is not simply decorative. The blooms are read as carrying trauma and miscommunication to be beautiful, but also signaling what cannot be said plainly. “Strelitzia” ( bird-of-paradise) deepens that tension as a flower native to southern Africa but named through European royal homage, its very taxonomy echoing the entanglement of nature, collecting, and power. Here the stem leans toward the sitter like an inherited narrative that is exoticized, admired, and burdened while her crossed arms and gaze insist on self-possession. She is a contemporary woman refusing to be reduced to “paradise,” holding dignity and interiority in the face of a history that has too often turned people and places into scenery.

“Strelitzia” by Bony Ramirez (Dominican American) - Acrylic, soft oil pastel, color pencil, wallpaper, Bristol paper on wood panel / 2024 - Newark Museum of Art (Newark, New Jersey) #WomenInArt #BonyRamirez #Ramirez #NewarkMuseumofArt #PortraitofaGirl #art #artText #CaribbeanArt #CaribbeanArtist

34 9 3 0
Michael
Michael
@mdstamper.bsky.social
2 months ago
Painted in late 19th-century Jamaica by Mrs. Lionel Lee, a woman artist known only through her married name, this portrait holds two kinds of partial record: the sitter is identified as “Fatima,” while the painter remains otherwise undocumented. A young woman is depicted from the chest up against a shallow, softly mottled beige background. Her broad shoulders sit almost parallel to the picture plane as her head turns to our left in three-quarter profile. She has honey-brown, sun-warmed skin, dark eyes, and an alert, steady expression that stays private rather than inviting our attention. Her hair is gathered back, with loose curls escaping as long the back of the neck. A muted red head tie wraps her head high at the crown, banded with a pale strip of cloth that catches the light. A small gold hoop earring glints at her left ear. She wears an almost collarless blue-green striped tunic, slightly open at the neck, where a crisp white undergarment shows through. The paint is most finely blended in her face, while the background remains undifferentiated, keeping attention on her features and posture. This portrait is often analyzed through what it withholds as much as what it reveals. Fatima does not meet us directly. Her averted gaze can signal period ideas of feminine modesty, but it also frames the image as observational and closer to an ethnographic “study” than a society portrait. The tunic’s stripes appear irregular, as if the garment were pieced together, and scholars connect such fabric to indigo-dyed Guinée cloth, linked to laboring lives and African diasporic trade networks. Her head tie is notable for its simplicity. Instead of sharply articulated folds pictured elsewhere in Caribbean art, it works as protection: holding hair, shielding from sun and dust, and helping preserve styles made during limited free time.

Painted in late 19th-century Jamaica by Mrs. Lionel Lee, a woman artist known only through her married name, this portrait holds two kinds of partial record: the sitter is identified as “Fatima,” while the painter remains otherwise undocumented. A young woman is depicted from the chest up against a shallow, softly mottled beige background. Her broad shoulders sit almost parallel to the picture plane as her head turns to our left in three-quarter profile. She has honey-brown, sun-warmed skin, dark eyes, and an alert, steady expression that stays private rather than inviting our attention. Her hair is gathered back, with loose curls escaping as long the back of the neck. A muted red head tie wraps her head high at the crown, banded with a pale strip of cloth that catches the light. A small gold hoop earring glints at her left ear. She wears an almost collarless blue-green striped tunic, slightly open at the neck, where a crisp white undergarment shows through. The paint is most finely blended in her face, while the background remains undifferentiated, keeping attention on her features and posture. This portrait is often analyzed through what it withholds as much as what it reveals. Fatima does not meet us directly. Her averted gaze can signal period ideas of feminine modesty, but it also frames the image as observational and closer to an ethnographic “study” than a society portrait. The tunic’s stripes appear irregular, as if the garment were pieced together, and scholars connect such fabric to indigo-dyed Guinée cloth, linked to laboring lives and African diasporic trade networks. Her head tie is notable for its simplicity. Instead of sharply articulated folds pictured elsewhere in Caribbean art, it works as protection: holding hair, shielding from sun and dust, and helping preserve styles made during limited free time.

“Fatima” by Mrs. Lionel Lee (Nationality unknown) - Oil on canvas / c. 1886 - National Gallery of Jamaica (Kingston) #WomenInArt #MrsLionelLee #NationalGalleryofJamaica #PortraitofaWoman #arte #CaribbeanArt #BlueskyArt #ArtOfTheDay #CaribbeanArt #JamaicanArt #WomensArt #WomanArtist #WomenArtists

45 7 0 0
Elle Rene
Elle Rene
@ellereneart.bsky.social
2 months ago
Post image Post image Post image Post image

Bloom Revisited
Oil on Canvas
20" x 30"

#caribbeanart #contemporaryart #oilpainting #portrait

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Elle Rene
Elle Rene
@ellereneart.bsky.social
2 months ago
Close up photograph of a painting of a woman's face. Pink and blue variations in the background. She is laughing.

Close up photograph of a painting of a woman's face. Pink and blue variations in the background. She is laughing.

Full photograph of a painting of a woman sitting. She is laughing, one hand on her lap, one hand behind her which she leans on. The pink and blue patterns in the background become the colour's of her dress.

Full photograph of a painting of a woman sitting. She is laughing, one hand on her lap, one hand behind her which she leans on. The pink and blue patterns in the background become the colour's of her dress.

First painting of 2026.

'Comes From Within'
Acrylic on Canvas
19.5 x 19.5

#art #caribbeanart #acrylicpainting

5 0 0 0
Society for Iberian Global Art
Society for Iberian Global Art
@siga.spainculture.us
2 months ago

🖼 Image credit:
Sarah Grilo, Art Museum of the Americas

#CFP #CallForPapers #LatinAmericanArt #CaribbeanArt #ArtHistory #EmergingScholars #ModernArt #IAandA #AMA
(5/5)

1 0 0 0
Michael
Michael
@mdstamper.bsky.social
2 months ago
Artist Osmond Watson titles the work in Jamaican Creole, turning “Psalm 23” from the Christian bible into everyday speech and locating faith in the lived world of a market. He monumentalizes a working Black Jamaican woman whose spiritual practice sits alongside economic self-reliance with produce for sale below, and holy scripture at the center. The woman sits looking slightly to our right with calm steadiness. She wears a pale blue headwrap that catches the light, a short-sleeved checkerboard blouse in warm reds and golds, and a blue skirt that folds in soft, heavy arcs across her bare knees. Her hands clasp an opened brown “HOLY BIBLE” book in her lap. She sits inside a market stall improvised from boards, nails, and sheet metal as angled wood planks hold up a tarp above her, a wooden barrel curves at left, and a patterned blue metal panel frames the right edge like a patched wall. At her feet, ripe round, orange-red and golden fruit spills forward, while a basket of red beans and a metal cup sits at the lower right. The space feels intimate and guarded as dark corners press in, yet the woman’s presence holds the scene, as if prayer and work share the same seat. Her skin is rendered in deep, glossy browns with cool green shadows, outlined with decisive dark contours that sharpen cheekbones, eyelids, and her nose. Two silver bangles circle one wrist and a ring glints on a finger. Her mouth is closed, neither smiling nor stern, more like someone looking up while reading. The geometry of the stall and the careful stillness of her pose make the Bible feel like the painting’s quiet compass. Painted in early post-independence 1969, it affirms Black Jamaican dignity being direct, unsentimental, and public. The cubism-touched geometry, saturated color, and heavy outlines lend a stained-glass intensity, elevating everyday items and daily labor into icon. As critic David Boxer put it, Watson wanted art that could be “understood and appreciated by all levels of society.”

Artist Osmond Watson titles the work in Jamaican Creole, turning “Psalm 23” from the Christian bible into everyday speech and locating faith in the lived world of a market. He monumentalizes a working Black Jamaican woman whose spiritual practice sits alongside economic self-reliance with produce for sale below, and holy scripture at the center. The woman sits looking slightly to our right with calm steadiness. She wears a pale blue headwrap that catches the light, a short-sleeved checkerboard blouse in warm reds and golds, and a blue skirt that folds in soft, heavy arcs across her bare knees. Her hands clasp an opened brown “HOLY BIBLE” book in her lap. She sits inside a market stall improvised from boards, nails, and sheet metal as angled wood planks hold up a tarp above her, a wooden barrel curves at left, and a patterned blue metal panel frames the right edge like a patched wall. At her feet, ripe round, orange-red and golden fruit spills forward, while a basket of red beans and a metal cup sits at the lower right. The space feels intimate and guarded as dark corners press in, yet the woman’s presence holds the scene, as if prayer and work share the same seat. Her skin is rendered in deep, glossy browns with cool green shadows, outlined with decisive dark contours that sharpen cheekbones, eyelids, and her nose. Two silver bangles circle one wrist and a ring glints on a finger. Her mouth is closed, neither smiling nor stern, more like someone looking up while reading. The geometry of the stall and the careful stillness of her pose make the Bible feel like the painting’s quiet compass. Painted in early post-independence 1969, it affirms Black Jamaican dignity being direct, unsentimental, and public. The cubism-touched geometry, saturated color, and heavy outlines lend a stained-glass intensity, elevating everyday items and daily labor into icon. As critic David Boxer put it, Watson wanted art that could be “understood and appreciated by all levels of society.”

“The Lawd Is My Shepard” by Osmond Watson (Jamaican) - Oil on canvas / 1969 - National Gallery of Jamaica (Kingston) #WomenInArt #OsmondWatson #NationalGalleryofJamaica #JamaicanArt #CaribbeanArt #PortraitPainting #BlackArt #art #artText #BlueskyArt #PortraitofaWoman #JamaicanArtist #CaribbeanArtist

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Miami Today
Miami Today
@miamitodaynews.com
3 months ago
Preview
Family foundation aids Caribbean Cultural Institute Pérez Art Museum Miami (PAMM) has been awarded $5 million by the Green Family Foundation (GFF) in support of the museum’s Caribbean Cultural Institute (CCI). The program will center on advancing th...

Family foundation aids Caribbean Cultural Institute

www.miamitodaynews.com/2025/12/10/f...

#MiamiTodayNews #MiamiToday #PAMM #CaribbeanArt #MiamiArt #ArtInMiami #MiamiToday

0 0 1 0
Michael
Michael
@mdstamper.bsky.social
4 months ago
In this vertical self-portrait, Dominican artist Clara Ledesma shows herself in profile, seated and absorbed in hand-stitching a pale cloth that pools like soft light across her lap. Her deep brown skin is modeled in violets and blues, edged with electric lime highlights that echo a vivid green background. A fitted, sleeveless top with sculpted collar wraps her torso, its strong yellow-green planes carved out by broad, visible brushstrokes. Her hair is piled high in a sweeping, sculptural updo, emphasizing the elegant line from neck to shoulder. Long, angular arms bend toward the right edge, fingers carefully pinching needle and fabric. The space around her dissolves into a halo of greens, so our attention stays on her concentrated face, focused eyes, and slight, knowing smile: a Black Caribbean woman at work and almost illuminated from within. Painted when Ledesma was in her late twenties, this work joins self-representation with everyday labor, casting the artist as both maker of images and maker of cloth. In early 1950s Ciudad Trujillo, Ledesma was one of the few women graduates of the National School of Fine Arts and a rising figure in Dominican modernism. Here, her expressionist palette and vigorous brushwork anticipate the dreamlike, magical worlds of her later paintings while remaining grounded in the reality of Black Dominican womanhood. The luminous greens push against the darkness of her silhouetted profile, suggesting resilience and inner focus amid a repressive political climate. Created just as she was gaining recognition and preparing for study in Europe, this self-portrait can be read as a quiet declaration of authorship as Ledesma stitches her own image and future, affirming her place as a foundational voice in 20th-century Caribbean art.

In this vertical self-portrait, Dominican artist Clara Ledesma shows herself in profile, seated and absorbed in hand-stitching a pale cloth that pools like soft light across her lap. Her deep brown skin is modeled in violets and blues, edged with electric lime highlights that echo a vivid green background. A fitted, sleeveless top with sculpted collar wraps her torso, its strong yellow-green planes carved out by broad, visible brushstrokes. Her hair is piled high in a sweeping, sculptural updo, emphasizing the elegant line from neck to shoulder. Long, angular arms bend toward the right edge, fingers carefully pinching needle and fabric. The space around her dissolves into a halo of greens, so our attention stays on her concentrated face, focused eyes, and slight, knowing smile: a Black Caribbean woman at work and almost illuminated from within. Painted when Ledesma was in her late twenties, this work joins self-representation with everyday labor, casting the artist as both maker of images and maker of cloth. In early 1950s Ciudad Trujillo, Ledesma was one of the few women graduates of the National School of Fine Arts and a rising figure in Dominican modernism. Here, her expressionist palette and vigorous brushwork anticipate the dreamlike, magical worlds of her later paintings while remaining grounded in the reality of Black Dominican womanhood. The luminous greens push against the darkness of her silhouetted profile, suggesting resilience and inner focus amid a repressive political climate. Created just as she was gaining recognition and preparing for study in Europe, this self-portrait can be read as a quiet declaration of authorship as Ledesma stitches her own image and future, affirming her place as a foundational voice in 20th-century Caribbean art.

“Autorretrato (Self-Portrait)” by Clara Ledesma (Dominican) - Oil on wood panel / 1952 - Museo Bellapart (Santo Domingo, Dominican Republic) #WomenInArt #ClaraLedesma #Ledesma #BlueskyArt #art #artText #MuseoBellapart #DominicanArt #selfportrait #WomensArt #WomanArtist #WomenArtists #CaribbeanArt

63 14 2 0
Capture the Soul Creations
Capture the Soul Creations
@ctscca.bsky.social
4 months ago
Video

One of my favourite pieces. So happy with the way it turned out.

One of 21 in my series on the 7 stages of grief.

#7stagesofgrief
#blackartists
#caribbeanart

8 2 0 1
@eastonart.bsky.social
5 months ago
Video

"Me mek she "skin crawl" when she see me new painting."
- The Artist Easton
#jamaicanculture #caribbeanart #folkart #obeah #Duppy

0 0 0 0
@eastonart.bsky.social
5 months ago
Video

"No woman No Cry... I so very sorry my painting ruined your favorite Bob Marley song."
- The Artist Easton
#bobmarleyandthewailers #caribbeanart #folkart #bobmarleytribute

0 0 0 0
@eastonart.bsky.social
5 months ago
Video

"Mi was only 13 when mi see Easton painting of a Black Girl"

"Black Is Beautiful"
by the artist of Caribbean Gothic folkart esthetic signs his name only as Easton.
#Caribbeanart #islandlife #folkart #Gothicart

1 0 0 0
@eastonart.bsky.social
5 months ago
Video

"Easton mek de Old Gods dance again. A running shoe blessed with Jamaican Obeah"
Dank je wel Mascolori
mascolori.eu/products/eas...
#caribbeanart #sneakerpimp #RunningShoesForWomen #RunningShoesForMen

0 0 0 0
@eastonart.bsky.social
5 months ago
Video

My Jamaican Mother She'd whisper these to me at bedtime, like Lullabies from Hell."
"Stephen King writes horror... Jamaica lives it"
- The Artist Easton
Caribbean Gothic artwork inspired by my Jamaican Mother
#Gothicart #caribbeanart #Ilovejamaica #JamaicaStrong

1 0 0 0
@eastonart.bsky.social
5 months ago
Video

"She'd whisper these to me at bedtime, like Lullabies from Hell."
- The Artist Easton
Caribbean Gothic artwork inspired by my Jamaican Mother
#Gothicart #caribbeanart #Ilovejamaica #StephenKing #JamaicaStrong

0 0 0 0
@eastonart.bsky.social
5 months ago
Video

"She'd whisper these to me at bedtime, like Lullabies from Hell."
"Stephen King writes horror... Jamaica lives it"
- The Artist Easton
Caribbean Gothic artwork inspired by my Jamaican Mother
#Gothicart #caribbeanart #Ilovejamaica #JamaicaStrong

0 0 0 0
Miami Caricature Artist Jeff Sterling
Miami Caricature Artist Jeff Sterling
@jeffsterling.bsky.social
5 months ago

"Tropical Cottage near Miami Beach, Florida". Vibrant 100% Original Streetscape #CaribbeanArt by #MiamiArtist. Ready to hang a display immediately! Picture frame included.
artististique.etsy.com/listing/4968...

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@eastonart.bsky.social
6 months ago
Video

Monday, Thursday and Friday. Saint Kitts Cruise ship passengers... MY PRIVATE CARNIVAL SPOT ON Saint Kitts!

You’ll find me at the vibrant Port Zante Artists’ Area, showcasing Art that's "too raw for the main strip ,but too real to ignore.
#folkart #Caribbeanart #islandcrafts #AuthenticCrafts

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@eastonart.bsky.social
6 months ago
Video

Saint Kitts Cruise ship passengers... MY PRIVATE CARNIVAL SPOT ON Saint Kitts!

You’ll find me at the vibrant Port Zante Artists’ Area, showcasing Art that's "too raw for the main strip ,but too real to ignore" 😆
#folkart #Caribbeanart #islandcrafts #AuthenticCrafts
#CelebrityCruises

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Society for Iberian Global Art
Society for Iberian Global Art
@siga.spainculture.us
6 months ago
Clark Art Institute Caribbean Art and Its Diasporas Fellowship 2026 | SIGA This residential fellowship at the Clark supports the work of scholars engaging with modern and contemporary Carribean art.

🔗Learn more here: siga.spainculture.us/news/opportu...

#CaribbeanArt #ArtHistory #ClarkArtInstitute #FellowshipOpportunity #CaribbeanStudies #ModernArt #ContemporaryArt #ArtResearch #CriticalScholarship #ResidencyOpportunity

🖼️Image: Tessa Mars, Praying for the visa, 2019. Le Centre d'Art d'Haïti.

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ScienceOpen
ScienceOpen
@scienceopen.bsky.social
6 months ago
Preview
The garlic in the cook-up rice: An interview with Portuguese-Guyanese artist Dennis de Caires On 10th March 2025, I interviewed Dennis de Caires in London. He had flown to the UK the previous day from Barbados where he lives and works for some of the year.

'The garlic in the cook-up rice: An interview with Portuguese-Guyanese artist Dennis de Caires' - published in the Journal of #Indentureship and its Legacies on #ScienceOpen 🔓🗞️ @pluto-journals.bsky.social @gafoorinstitute.bsky.social

🖇️ #PortugueseGuyanese #CaribbeanArt #DiasporaStudies

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Jhohadli
Jhohadli
@jhohadli.bsky.social
6 months ago
Preview
CREATIVE SPACE #14 of 2018 – Antigua and Barbuda: an Art, History, Culture Tour 2 CREATIVE SPACE #14 of 2018 (originally uploaded to Jhohadli November 6th 2018) Antigua and Barbuda: an Art, History, Culture Tour 2 Independence week, I took a turn toward the airport, a …

creativespace12.wordpress.com/2024/07/16/c... #Caribbeanart #Antiguaart #ArtSky #Flashback

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Charles Wallace India Trust
Charles Wallace India Trust
@cw-indiatrust.bsky.social
6 months ago
Post image Post image Post image

Congratulations to Anupam Roy who is participating in the group show ‘𝘛𝘩𝘦 𝘓𝘢𝘯𝘥 𝘚𝘪𝘯𝘨𝘴 𝘉𝘢𝘤𝘬’ curated by Natasha Ginwala.

📍Drawing Room, 1b New Tannery Way, London SE1 5WS
🗓 25 Sep until 14 Dec
⏰ Wed-Sun, midday to 6pm

#TheLandSingsBack #artists #art #SouthAsianArt #AfricanArt #CaribbeanArt

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@eastonart.bsky.social
6 months ago
Video

"The dead won't stay buried when their stories were never told. Welcome to Nisbet Plantation on Nevis Island"
nisbetplantations.com
#folkart #caribbeanart #folkart #artcollector

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@eastonart.bsky.social
6 months ago

Saint Kitts Cruise ship passengers... MY PRIVATE CARNIVAL
#folkart #Caribbeanart #islandcrafts #AuthenticCraft #CaribbeanCruise #StKittsArtist #CaribbeanArt #AuthenticStKitts #ShopLocal #ArtisanMade #CruiseLife #TravelCaribbean #IslandArt #FindMeAtPortZante #mystkittsadventure

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