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This woodblock print by Japanese artist Yamamura Kōka (山村耕花) is important not only for its glamour but for what it represents in Japanese modern art. It is widely regarded as one of the earliest … and often described as the first … shin-hanga (新版画) images of the moga (モガ), or “modern girl”: who were urban, fashionable, socially visible, and shaped by new forms of leisure. Rather than an older idealized bijinga type, these women occupy a cosmopolitan public world of nightlife, performance, and looking.

Two women sit at a round white-clothed café table in the foreground, watching a line of dancers beyond. At left, a pale-skinned woman with a sleek auburn bob leans her chin on her hand. Her peach-pink dress slips off one shoulder, and a vivid red shawl patterned with large flowers spills across her lap. At right, another woman sits with her back partly turned, wearing a sleeveless black dress covered in blue, coral, and cream floral forms. She wears a bright red cloche hat decorated with flowers and holds an open fan edged in peacock colors. On the table are a pair of stemmed cocktail glasses. In the background, four women dance with almost unseen men. Each woman dances with her back to us and with raised arms beneath tall blue arches. Their bobbed hair, sleeveless dresses, and rhythmic poses give the scene an airy, stylish energy. Yamamura flattens space into soft blue and cream planes, using elegant contour and decorative pattern to make the room feel modern, theatrical, and sophisticated.

Shanghai matters here. By placing the scene in the New Carlton Café, Yamamura presents the city as a 1920s international contact zone where Japanese print design, Western-style dance culture, and Art Deco sensibility meet. Better known for actor prints, he turns instead to women whose poise and independence signal a changing era. The result is both elegant and quietly radical with beauty redefined through modern motion, public pleasure, and female presence.

This woodblock print by Japanese artist Yamamura Kōka (山村耕花) is important not only for its glamour but for what it represents in Japanese modern art. It is widely regarded as one of the earliest … and often described as the first … shin-hanga (新版画) images of the moga (モガ), or “modern girl”: who were urban, fashionable, socially visible, and shaped by new forms of leisure. Rather than an older idealized bijinga type, these women occupy a cosmopolitan public world of nightlife, performance, and looking. Two women sit at a round white-clothed café table in the foreground, watching a line of dancers beyond. At left, a pale-skinned woman with a sleek auburn bob leans her chin on her hand. Her peach-pink dress slips off one shoulder, and a vivid red shawl patterned with large flowers spills across her lap. At right, another woman sits with her back partly turned, wearing a sleeveless black dress covered in blue, coral, and cream floral forms. She wears a bright red cloche hat decorated with flowers and holds an open fan edged in peacock colors. On the table are a pair of stemmed cocktail glasses. In the background, four women dance with almost unseen men. Each woman dances with her back to us and with raised arms beneath tall blue arches. Their bobbed hair, sleeveless dresses, and rhythmic poses give the scene an airy, stylish energy. Yamamura flattens space into soft blue and cream planes, using elegant contour and decorative pattern to make the room feel modern, theatrical, and sophisticated. Shanghai matters here. By placing the scene in the New Carlton Café, Yamamura presents the city as a 1920s international contact zone where Japanese print design, Western-style dance culture, and Art Deco sensibility meet. Better known for actor prints, he turns instead to women whose poise and independence signal a changing era. The result is both elegant and quietly radical with beauty redefined through modern motion, public pleasure, and female presence.

“踊り上海ニューカールトン所見” (“Dancing at the New Carlton Café in Shanghai”) by 山村耕花 / Yamamura Kōka (Japanese) - Woodblock print on paper / 1924 - Carnegie Museum of Art (Pittsburgh, Pennsylvania) #WomenInArt #YamamuraKoka #山村耕花 #CarnegieMuseumOfArt #artText #JapaneseArtist #Shinhanga #新版画 #Moga #モガ #1920sArt

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@carnegiemuseumofart

Édouard Manet, Still Life with Brioche (Nature morte à la brioche) (detail), 1880, Carnegie Museum of Art, William R. Scott, Jr. Fund.

#édouardmanet
#manet
#edouardmanet
#carnegiemuseumofart

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Museum Pix—Tiny Planet
Image entirely in camera

#photography #noEdit #tinyPlanet #silhouette #polarCoordinates
#year2018 #pittsburghPA #carnegieMuseumofArt #iphone

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Escheresque Museum

#photography #escheresque #carnegiemuseum #carnegiemuseumofart #stairs #lostPeople #geometrics #maze
#year2018 #iPhoneSE #pittsburghpa

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Shot in 2018 on an iPhone7. Used the Tiny Planet. Four people in front of four modern art paintings at the Carnegie Museum. It was serendipity. All were just the right distance from each other.

#photography #iphone7 #tinyPlanet #tinyPlanetApp #carnegieMuseumOfArt

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🔗siga.spainculture.us/news/events/lectures/in-...

#CarnegieMuseumOfArt #ArtAndImperialism #AtlanticWorld #ArtHistory #17thCenturyArt #18thCenturyArt #DecolonizingArtHistory #ArtAndEmpire #MuseumTalks #ArtDialogue #PittsburghArts #GlobalArtHistories

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“Black photojournalism is not just about capturing images, it’s about preserving the truth through our own lens,” said photographer and filmmaker Emmai Alaquiva. “It’s crystallizing the human spirit through cinematic and purposeful storytelling”

#CarnegieMuseumOfArt #Pittsburgh

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Essential viewing for scholars of early modern Hispanic art, colonial visual culture, and the Black Atlantic.
More info here:
🔗 siga.spainculture.us/news/events/...
#FaultLinesExhibition #ArtAndEmpire #VisualizingSlavery #CarnegieMuseumOfArt
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Bookcase designed by Joris Laarman. The shapes come from a snapshot of a simulation of fluid flow, laser-cut the aluminum layers, and then was assembled by hand.

Bookcase designed by Joris Laarman. The shapes come from a snapshot of a simulation of fluid flow, laser-cut the aluminum layers, and then was assembled by hand.

A Futurum bookshelf of painted wood, designed by Axel-Einar Hjorth.

A Futurum bookshelf of painted wood, designed by Axel-Einar Hjorth.

The design gallery at the Carnegie Museum of Art is really great! Here's two very different bookcases.

#bookcases #design #CarnegieMuseumOfArt

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Hall of Sculpture, Carnegie Museum of Art #carnegiemuseumofart #hallofsculpture

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RIP to Pittsburgh-born and CMU educated conceptual artist Mel Bochner (1940-2025). Here’s a 2013 pic of Helena standing in front of Bochner’s “Measurement Plant” (1969) at the Carnegie Museum of Art & a few others. Fab stuff.
#melbochner #conceptualart #carnegiemuseumofart #art #pittsburghartist

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#ElizabethPeyton, Ben Drawing, 2001, Oil on board, 10.1 x 8.2 inches (25.7 x 21 cm), Carnegie Museum of Art, Pittsburgh.

#ContemporaryArt #Portrait #Portraiture #Painting #ModernArt
#FigurativeArt #CarnegieMuseumOfArt

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Ochtervelt was a Dutch genre painter active mainly in Rotterdam where this painting was completed, but from 1674 he lived in Amsterdam. He was influenced by Pieter de Hooch and through him by Vermeer. 

Apart from a few portraits and some early "merry company" scenes, his paintings are almost all elegant upper-class interiors, in which he showed off a skill in painting silks and satins to rival that of Ter Borch. His figures are almost always extremely refined and frequently with a hint of sensuality.

In "Lady with a Servant and Dog," we are transported into a 1670s Dutch aristocrat's home detailed with fancy decor like a velvet green chair positioned near the center. In the background, other household members, a man and a woman, are in a hallway likely chatting about the young lady of the house. A portrait painting in an ornate frame hangs above the entryway, further enhancing the sense of opulence. A map on the wall is visible behind the women, adding depth.

Two women are the focal point. A young, elegantly dressed woman, the lady, in a coral-colored gown with gold embellishments stands prominently. Her posture and expression suggest a demure or optimistic mood. She's holding her left hand near her chest while the second reaches out towards the playful small black and white dog with floppy ears which is pawing at the skirt of her dress.  A second woman, the servant, is dressed in more modest attire—a grey or beige dress and white head covering—is next to a table covered in a beautiful dark blue cover. She appears arranging or inspecting jewelry or other items on the table.

Ochtervelt has meticulously rendered textures: the fabric of the dresses, the wood of the chair and floor, the metallic shine of the jewelry box. The lighting suggests a natural light source, illuminating the scene with soft shadows and highlights. The painting evokes a sense of intimacy and domesticity while still indicating wealth and social standing.

Ochtervelt was a Dutch genre painter active mainly in Rotterdam where this painting was completed, but from 1674 he lived in Amsterdam. He was influenced by Pieter de Hooch and through him by Vermeer. Apart from a few portraits and some early "merry company" scenes, his paintings are almost all elegant upper-class interiors, in which he showed off a skill in painting silks and satins to rival that of Ter Borch. His figures are almost always extremely refined and frequently with a hint of sensuality. In "Lady with a Servant and Dog," we are transported into a 1670s Dutch aristocrat's home detailed with fancy decor like a velvet green chair positioned near the center. In the background, other household members, a man and a woman, are in a hallway likely chatting about the young lady of the house. A portrait painting in an ornate frame hangs above the entryway, further enhancing the sense of opulence. A map on the wall is visible behind the women, adding depth. Two women are the focal point. A young, elegantly dressed woman, the lady, in a coral-colored gown with gold embellishments stands prominently. Her posture and expression suggest a demure or optimistic mood. She's holding her left hand near her chest while the second reaches out towards the playful small black and white dog with floppy ears which is pawing at the skirt of her dress. A second woman, the servant, is dressed in more modest attire—a grey or beige dress and white head covering—is next to a table covered in a beautiful dark blue cover. She appears arranging or inspecting jewelry or other items on the table. Ochtervelt has meticulously rendered textures: the fabric of the dresses, the wood of the chair and floor, the metallic shine of the jewelry box. The lighting suggests a natural light source, illuminating the scene with soft shadows and highlights. The painting evokes a sense of intimacy and domesticity while still indicating wealth and social standing.

Lady with Servant and Dog by Jacob Ochtervelt (Dutch) - Oil on canvas / 1671-1673 - Carnegie Museum of Art (Pittsburgh, Pennsylvania) #womeninart #dutchart #art #oilpainting #CarnegieMuseumofArt #artwork #JacobOchtervelt #womensart #Ochtervelt #painting #carnegie #cutedog #aristocratic #dutchartist

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#EdwinAustinAbbey #PenanceOfEleanor (Duchess of Gloucester) 1900. #CarnegieMuseumOfArt.

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Gertrude Abercrombie: The Whole World Is a Mystery, Carnegie Museum of Art, opens January 18, 2025.


Gertrude Abercrombie, Search for Rest, 1951, Collection of Sandra and Bram Dijkstra. Photo: Sandy and Bram Dijkstra

#gertrudeabercrombie
#Abercrombie
#carnegiemuseumofart

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