French artist Berthe Morisot turns winter into modern life though not a mythic figure crowned with snow, but a Parisienne who is fashionable, composed, and unmistakably of her time. A stylish young woman with light skin turns, looking back toward us with a steady, slightly guarded gaze. Her auburn-brown hair is swept up beneath a winter hat, and a small gold earring catches the light at her left ear. She wears a brown-olive coat with flickers of green and rust in the paint, and a soft, white fur or thick scarf blooms over her shoulder and chest. A small red accent like a ribbon or flower rests at her neckline. Her hands gather around a dark fur muff. Behind her, the background dissolves into pale, windy brushstrokes, suggesting cold air more than a specific place. The muff and wrap are practical warmth, yet they also create a boundary as her hands disappear into plush darkness while her face remains exposed, readable, and self-possessed. Morisot’s quick, feathery handling lets edges blur and reform, as if the scene is caught in a momentary glance on a gray day so winter is felt like atmosphere. Shown with its partner “Summer” at the 5th Impressionist exhibition in 1880, “Winter” stakes a claim for contemporary womanhood as worthy of serious painting that is public-facing, elegantly armored, and psychologically present. In 1880, Morisot was balancing professional visibility within the male-dominated Impressionist circle with the intimate demands of family life as she had married fellow artist Eugène Manet in 1874 and was also raising their young daughter, Julie. Her lived tension between intimacy and public persona as well as softness versus structure carries over into in this painting from 145 winters ago depicting a woman both observed and observing that meets us with quiet authority rather than during some superficial performance.

“Hiver (Winter, also known as Woman with a Muff)” by Berthe Morisot (French) - Oil on canvas / 1880 - Dallas Museum of Art (Texas) #WomenInArt #BertheMorisot #Morisot #BlueskyArt #WinterArt #WomensArt #WomanArtist #WomenArtists #art #artText #arte #FrenchArtist #DallasMuseumofArt #WomenPaintingWomen

Unsure of the details on this one, other than is was in the Islamic Arts section

Pig-form container Indonesia (Kalimantan) or Malaysia (Sarawak): Kayan or Kenyah people 19th century Ironwood

Vishnu as Varaha India: Madhya Pradesh, I0th century Sandstone

Claude-Joseph Vernet French. 1714-1789 A Mountain Landscape with an Approaching Storm 1775 Oil on canvas

Went to the DMA yesterday. Here’s a few images, for those curious! I’ll post more in replies.

#artmuseum #dallasmuseumofart #dallastx

Yayoi Kusama

Yayoi Kusama

Yayoi Kusama

Yayoi Kusama

✨ Infinity in every direction ✨

Visited the Yayoi Kusama: Return to Infinity exhibit at the Dallas Museum of Art — an incredible experience of light, reflection, and imagination.

#YayoiKusama #DallasMuseumofArt #ReturnToInfinity

#DallasMuseumOfArt

Japanese American artist Yasuo Kuniyoshi’s playful experiments across multiple paintings of “modern” bathers (aka swimmers) demonstrate the artist’s sly sense of humor and were born from summers at a coastal art colony in Ogunquit, Maine. We see a young curvaceous woman in a brown 1920s-style one-piece swimsuit, standing on a brown rock. The woman has large almond eyes, long straight black hair, and a bit of belly. She is prominently holding a cigarette in her right hand with her left hand behind her head. Her right leg is bent at the knee, and her left leg is straight as if she is surfing or simply posing for the artist. The background is a green and dark tone expanse under a blue sky and white clouds. Solid forms, a flattened sense of space, and a dark palette mark this work as belonging to Kuniyoshi’s early career. The tight swimsuit and small cigarette refer to newly relaxed norms of seaside behavior. For some, the boldly un-self-conscious bather next to a minuscule clamshell hints at famous Italian Renaissance works such as Sandro Botticelli’s 1486 “Birth of Venus.” Born in Okayama, Japan in 1889, Kuniyoshi immigrated to the United States in 1906 at 17, reportedly to avoid having to join the Japanese military. After a brief stay in Seattle and three years in Los Angeles, Kuniyoshi eventually moved to New York City, where he studied with American artists Robert Henri and Kenneth Hayes Miller. Although viewed as an immigrant, Kuniyoshi was very patriotic and identified himself as an American. He never received his citizenship due to exclusionary U.S. immigration laws. His first wife, American artist Katherine Schmidt, actually lost her American citizenship in 1919 due to her relationship with Kuniyoshi. They divorced in 1932 and a few years later he married American dancer and actress Sara Mazo. Despite being denied citizenship, during World War II, Kuniyoshi demonstrated his loyalty and patriotism for the United States as an anti-Japanese propaganda artist.

“Bather with Cigarette” by Yasuo Kuniyoshi (Japanese-American) - Oil on canvas / 1924 - Dallas Museum of Art (Texas) #WomenInArt #art #ArtText #OilPainting #womensart #YasuoKuniyoshi #Kuniyoshi #surfer #DallasMuseumofArt #kuniyoshi #smoking #国吉康雄 #JapaneseAmericanArtist #JapaneseAmericanArt #humor

#LaRevoluciónImpresionista #DMA #dallasmuseumofart #museodelpalaciodebellasartes from #Monet to #Matisse #Degas #Morisot #Gauguin #vincentvangogh #PietMondrian #Art #Arte #expo #exhibition #bestcompany #bestcouple #husbears #bears #gaybears #Daddy #Cub

#LaRevoluciónImpresionista #DMA #dallasmuseumofart #museodelpalaciodebellasartes from #Monet to #Matisse #Degas #Morisot #Gauguin #vincentvangogh #PietMondrian #Art #Arte #expo #exhibition #bestcompany #bestcouple #husbears #bears #gaybears #Daddy #Cub

In the Pumpkin Infinity Room by Yayoi Kusama. Glass pumpkins lit from the inside surrounded by mirrors.

At Yayoi Kusama’s Pumpkin Infinity Room at the Dallas Museum of Art.
#DallasMuseumofArt #YayoiKusama #art

#DallasMuseumOfArt #Dallas #Texas

Piet Mondrian (Dutch, 1872-1944), 'Farm Near Duivendrecht, In the Evening', c.1916, oil on canvas 80 x 106 cm.

#dallasmuseumofart #pietmondrian #duivendrecht

Kenyan artist Wangari Mathenge's “The Ascendants XVIII (She Is Here And So Are You)” was part of Mathenge's solo exhibition “You Are Here” at Pippy Houldsworth Gallery in 2021. The piece belongs to the artist's ongoing series in which figurative compositions explore hybridity across the continent and diaspora, reflecting on personal experience of movement between the two. This vibrant painting depicts a woman seated at a vanity, engrossed in reading a book. The scene is composed within a small room, likely a bedroom. The woman is positioned centrally, seated at a green vanity with a three-part mirror. The vanity is the focal point, and elements in the foreground and background are arranged to direct the viewer's gaze to the main subject. The framing is intimate, focusing on the woman and her immediate surroundings with patterned fabrics and pillows on the floor in front of the vanity adding depth and interest. The central figure is a mature dark-skinned woman wearing a reddish-orange headwrap and multicolored, patterned gown featuring a variety of vibrant and bold patterns and colors. The colors and prints reflect the artist’s African cultural influences. Lauded by Apollo Magazine, “(Women) in Mathenge’s explosively colorful domestic settings – replete with Kanga textiles and other signifiers of their subjects’ East African heritage – have agency, either contemplating themselves and their own thoughts or observing us, the viewer, with magnificent hauteur.” Mathenge was born in Nairobi, Kenya in 1973 and holds an MFA in Painting and Drawing from the School of The Art Institute of Chicago. Recent institutional exhibitions include Stretching the Body at Fondazione Sandretto Re Rebaudengo, Turin, and Black American Portraits, at LACMA, Los Angeles. Further collections include Nasher Museum of Art, NC; Weisman Art Museum, Minneapolis; Elie Khouri Art Foundation, Dubai; Christen Sveaas Art Foundation, Norway, and Fondazione Sandretto Re Rebaudengo, Turin.

The Ascendants XVIII (She Is Here And So Are You) by Wangari Mathenge (Kenyan) - Oil on canvas / 2021 - Dallas Museum of Art (Texas) #womeninart #womanartist #art #oilpainting #WangariMathenge #womensart #femaleartist #DMA #DallasMuseumofArt #KenyanArtist #womenpaintingwomen #Kenyan #artwork

Ross-posting to Bluesky and Mastodon simultaneously with a single app.
#picasso #dallasmuseumofart

“Portrait of a Woman in a Blue Turban” by French artist Eugène Delacroix, captures the essence of the Romanticism art movement through the artist’s romanticized vision of a woman of color. The young beauty glances to her right with a calm and reflective demeanor. She dons a vibrant blue turban that elegantly wraps around her head, drawing attention to her expressive eyes and the subtle contours of her face. Delacroix’s use of light and shadow gives her complexion a warm, lifelike quality. Her fancy attire suggests exoticism, which was often a theme in Romantic art, indicative of Europe’s fascination with the Orient at the time. Her dress is complemented by a brooch at the neckline, which, with its detailed rendering, provides a focal point and a hint of opulence against the simplicity of her garment. The brushwork is loose and expressive, which emphasizes emotion over precision. Delacroix uses the familiar conventions of Renaissance portraiture to lend a solemn dignity to the model. The solid pyramid formed by her body, set at a slight angle to the viewer, and the low horizon of the landscape behind her remind us of Leonardo da Vinci's Mona Lisa. The sitter's blue turban and paisley shawl seem to allude to her status as an exotic foreigner; however, these accessories were probably studio props, such as the elaborate jeweled brooch, which appears in another portrait Delacroix painted around the same time. Although we do not know the name of the sitter for this portrait, she was likely one of the non-European models that Delacroix employed during the 1820s while working on his monumental paintings of subjects drawn from Near Eastern history and Orientalist literature.

“Portrait d'une femme coiffée d'un turban bleu” by Eugène Delacroix (French) - Oil on canvas / c. 1827 - Dallas Museum of Art (Texas) #womeninart #portrait #art #oilpainting #womensart #EugèneDelacroix #fineart #portraitofawoman #Delacroix #frenchartist #DallasMuseumofArt #poc #womanofcolor #bskyart

The Guerrilla Girls open their first commercial gallery show in New York The feminist art collective’s commercial debut in their hometown, at Hannah Traore Gallery, is intended to introduce their activist work to a new generation

Wow! The first Guerilla Girls gallery show?! Wish I could see it. I feel very lucky to have met them once when they did a talk at the Dallas Museum of Art many years ago. It was an Art School dream come true! #guerillagirls #art #artschool #dallasmuseumofart
www.theartnewspaper.com/2025/01/17/g...

@dallasmuseumart Happy Brthday to the revolutionary Berthe Morisot. While her paintings were often described as “18th- century modernized,” Morisot’s image of an elegant, upper-class Parisienne — “Winter,” 1880 — was considered utterly contemporary.

#BertheMorisot
#Morisot
#dallasmuseumofart

What is it about art that makes one feel so amazing?!? Spent a few hours at the #DallasMuseumOfArt today with the family.

This painting of a woman combing her hair was celebrated in its time for its bold new aesthetic. The style, called “Cloisonnism,” was invented by Anquetin and the artist Emile Bernard. Imitating medieval stained-glass windows and Japanese woodcut prints, Cloisonnism features flat areas of solid color enclosed by dark outlines, such as the green contour that encircles the woman’s smooth white skin. The painting’s modernity also extends to its subject. Although images of women dressing are traditional within European art, the figure’s direct gaze, pronounced makeup, and parted lips are not typical. In the 19th century, these details alluded to the woman’s likely status as a courtesan, a sex worker who catered to upper-class patrons.

Woman at Her Toilette by Louis Anquetin (French) - Oil on canvas / 1889 - Dallas (Texas) Museum of Art #womeninart #painting #art #dallasmuseumofart #anquetin #artwork #bskyart #portrait #louisanquetin #bsky.art #cloisonnism #courtesan #artoftheday #frenchart #dma

“Beach Scene.” Maurice Prendergast (American, born Canada; 1858–1924). Oil on panel, ca. 1907–10. Dallas Museum of Art, Dallas, Texas.

#mauriceprendergast
#dallasmuseumofart
#prendergast
@dallasmuseumart

My daughter is coloring a Frida Kahlo page at the art exhibit and says, 'I’m going to give her eye shadow because she’s a baddie.' #dallasmuseumofart

“Squiggly Brushstrokes.” Sol LeWitt (American; 1928–2007). Gouache on paper, 1997. Dallas Museum of Art, Dallas, Texas.

#SolLeWitt
#LeWitt
#dallasmuseumofart
@dallasmuseumart.bsky.social

“Squiggly Brushstrokes.” Sol LeWitt (American; 1928–2007). Gouache on paper, 1997. Dallas Museum of Art, Dallas, Texas.

#SolLeWitt
#LeWitt
#dallasmuseumofart
@dallasmuseumart

OK I went to the #dallasmuseumofart today and as I'm leaving the Area that features art from the Asia-Pacific areas I pass this guy and my immature mind giggled a little art it's testicles, mainly because I want expecting it.

Finally made it to 1st Sunday’s @ #DallasMuseumOfArt #Sundayfunday 🖼️