A totally lifelike and incredibly artistic drawing of a horse on Denver Art Museum card stock that is absolutely a legit piece of art on display and wasn’t done in 20 minutes at a craft table.
“honse.” 2026. watercolor pencil on card stock. #denverartmuseum
#art #fineart #artstream #artreview #artdiscussion #artcritique #arttalk #americanart #emartinhennings #denverartmuseum #patricksaunders #patricksaundersfinearts #representationalart #realistart #landscapepainting #MuseumTourTuesday
A Crow (Apsáalooke) woman sits centered with her body turned only slightly as her face meets ours with a steady, composed gaze. Her skin is warm brown and her hair is parted and braided into two long plaits, the lower lengths wrapped for ceremony. She wears an elk-tooth cloak rendered in bold black, covered with dozens of pale, oval “teeth” that catch the light and suggest movement and sound. Bright red cuffs, collar, and a wide belt stand out while small white accents appear in her earrings and beadwork. Her hands are painted noticeably larger than her head and torso, resting in the foreground like an emphasized statement. She sits on a modern red chair before a flat wall, while a tipi scene in a frame appears behind her depicting it beneath a round moon (or sun). Heavy outlining and speckled paint spatters keep attention on the surface, making the portrait feel both intimate and monumental. Apsáalooke (Crow Nation) artist Kevin Red Star builds portraits that honor Crow life while refusing a single, fixed time. The Denver Art Museum notes that his figures can be assembled from multiple sources including old photographs, historic tribal enrollment rolls, and images he makes at ceremonies and feasts, so name, clothing, and setting can come from different moments. Here, the modern chair and ambiguous “window” of tipis place the sitter in the present while she wears tradition. The elk teeth (each one tied on individually in real regalia) signal value, skill, and community history. By enlarging them, Red Star makes their cultural importance impossible to overlook. He also uses a sun or moon as a Crow symbol to give the sense that his people are “planted,” even when the space feels like it might float. The deliberate distortion of the hands grants authority and presence, as if knowledge and care are literally what we meet first. Red Star, raised on the Crow Reservation and trained in formal painting, said you have to “know what you’re breaking before you break it.”
“Knows Her Medicine Crow Indian” by Kevin Red Star (Apsáalooke/Crow American) - Acrylic on canvas / 1981 - Denver Art Museum (Colorado) #WomenInArt #art #artText #artwork #DenverArtMuseum #KevinRedStar #RedStar #IndigenousWomen #Crow #Apsaalooke #PortraitofaWoman #indigeneousArt #NativeAmericanArt
Stamp of "Madonna and Child with Bird" with the painting on the stamp. The stamp is in focus.
Stamp of "Madonna and Child with Bird" with the painting on the stamp in the background. The painting is in focus.
"Madonna and Child with Bird" at the Denver Art Museum.
For Christmas, an #XtremePhilately post featuring the 2006 39¢ stamp (U.S. S.C. 4100) featuring "Madonna and Bird with Child," a Peruvian Colonial painting at the Denver Art Museum.
#ExtremePhilately #Philately #USStamps #StampCollecting #Christmas #DenverArtMuseum #PeruvianArt
This self-portrait shows American artist Jordan Casteel seated in a vinyl hospital-style chair, body angled slightly toward us while her gaze meets ours head-on. Her medium-brown skin is modeled with saturated strokes of orange, crimson, plum, and purple, giving her face a restless, shifting light. White glasses frame the artist’s steady eyes. A simple shirt and hospital IV emphasize vulnerability more than fashion as an IV line snakes from the upper edge of the image to her exposed forearm, where tape fixes the needle in place. Around and behind her, collaged drawings and handwritten notes from children crowd the wall with things like dinosaurs, hearts, and portraits labeled “Ms. Casteel” to create a halo of student voices. A patterned blanket spills across her lap, its concentric circles and bright yellows, reds, and greens echoing the layered textures of her paint. One parch of the blanket spells the word “hope” no lowercase. This self portrait chronicles a period when Casteel was managing a chronic health condition while teaching in Denver, Colorado just before going to graduate school at Yale. The medical setting makes illness visible, but the composition refuses to reduce her to a patient as she sits upright, centered, and monumental, surrounded by evidence of care from her students. Those collaged letters turn a clinic into a temporary classroom, insisting that her identities as artist, teacher, and Black woman remain intact even under fluorescent hospital lights. The thick, gestural brushwork and unconventional skin tones anticipate the portraits of family, neighbors, and Harlem community members that later made her well-known. Here, she tests that language on herself. By inviting us into an intimate, unglamorous moment, Casteel “returns the gaze” long before her breakthrough museum shows, asserting that Black women’s everyday struggles, tenderness, and resilience are worthy subjects for a large-scale contemporary painting.
“Self-Portrait” by Jordan Casteel (American) - Oil & paper collage with ink, graphite, and colored pencil on canvas / 2012 - Jordan Casteel: Returning the Gaze, Denver Art Museum (Colorado) #WomenInArt #art #artText #DenverArtMuseum #SelfPortrait #BlackArt #BlackWomenArtists #Casteel #JordanCasteel
#cuadrodeldía Mujer lavando la ropa (Henry Robert Morland 1716-97) #DenverArtMuseum Denver #art El retratista inglés del XVIII destacó en temas cotidianos y de mujeres en faenas caseras. Su padre, mujer e hijo también eran artistas #FelizSábado
Image of the Pont Neuf on the Seine in Paris.
The Tuilleries in Paris
A frosted measure with fog
A view of a meadow in Éragny, where Pissaro lived, with a church spire in the background. He painted this scene many times of the year
A few of the dozens of pictures I took at the Camille Pissaro exhibit at the Denver Art Museum. I really recommend seeing this exhibit before it closes on 2/6/26. Many of the pieces are from museums around the world. Others are privately owned. #DenverArtMuseum #Pissaro
Bathed in magenta light, a pair of artists peek into the bottom edge of a mediocre selfie taken before a designed organic mass at Meow Wolf Convergence Station.
At the Denver Art Museum, an art enthusiast snaps a selfie that includes the top half of her head as her husband’s face appears along the left edge. They’re in front of a sculpture of a large broom and dust bin created Coosje van Bruggen and Claes Oldenburg.
The president of the Aaron of the Aaron C Packard fan club sneaks in the left side of this selfie taken with the photographer himself, who apprehensively poses on the right side of the photo. A large resin hyperphotomontage created by Packard hangs from the ceiling at this Untitled.10 exhibition.
On a day too sunny for selfies, a determined person squints into the frame on the left side. Over her left shoulder, another brave soul stands outside of the Sioux City Art Center.
Allow me to introduce you to the concept of the Selfie Paradox: the more fun I’m having, the worse my selfies get.
#klaireandaaron #meowwolf #denverartmuseum #untitled10 #siouxcityartcenter
Two smiling Black women stand side by side against a pale background, their bodies cropped at the knees so they command the seven-by-nine-foot canvas. On the left, a taller woman with hair pulled back, dressed in a white long-sleeved top and dark skirt cradles a small brown-and-white dog whose bright red collar gives the painting its name. The top of her head grazes the canvas edge as she leans toward her companion, laughing as she looks down at the dog. To the right, her friend, in a vertical striped dress of red, blue, black, and white, turns inward with one hand tucked casually into her pocket, her gentle smile and tilted head meeting the dog’s gaze. Boafo’s characteristic finger-painted, marbled skin contrasts with the smoother brushwork of clothes, dog, and background, heightening the sense of touch, warmth, and closeness shared among all three. Painted in 2021 while artist Amoako Boafo was working in Los Angeles and depicting close friends from his Ghanaian circle, "Red Collar" embodies the ethos of the exhibition "Soul of Black Folks" with Black subjects centered, relaxed, and gloriously themselves. The red collar quietly shifts focus from fashion spectacle to care, loyalty, and the everyday intimacies that structure Black life. Boafo reserves direct finger painting for skin and hair, marking Black bodies as sites of connection rather than consumption, while the monumental scale of the canvas elevates a simple moment of shared joy to the level of history painting. Traveling from gallery to museum, including its presentation in "Amoako Boafo: Soul of Black Folks" and in the Hornik Collection exhibition "Some Dogs Go to Dallas," the work anchors Boafo’s larger project of documenting Black friendship, glamour, and self-possession across continents, insisting that these relationships belong at the heart of contemporary art’s global narrative.
"Red Collar" by Amoako Boafo (Ghanaian) - Oil on canvas / 2021 - Denver Art Museum (Colorado) #WomenInArt #DogArt #AmoakoBoafo #DenverArtMuseum #SeattleArtMuseum #GreenFamilyArtFoundation #HornikCollection #BlackArt #BlackWomen #GhanaianArt #ContemporaryArt #art #artText #artwork #BlueskyArt #Boafo
At #DenverArtMuseum I watched the video of Ana Teresa Fernandez’s performance titled Erasure. 43 people were disappeared for protesting in Mexico in 2014. As I watched, it spoke to my impressions of the current situation in the US. anateresafernandez.com/erasure/
At #DenverArtMuseum I spent time with Andrea Carlson’s exhibition. I found messages of ownership, colonialism, & the entitlement people feel they have to access everything. Accept that not everything is made for you to understand. Some spaces are not for you. www.denverartmuseum.org/en/exhibitio...
#Pissarro’s first major U.S. #retrospective in 40+ years to open soon zorz.it/hdCnt | #EvaBaron #CamillePissarro #artist #FirstImpressionist #DenverArtMuseum #exhibition #ArtHistorians #Impressionism
Denver Art Museum Daniel Sprick's Fictions: Recent Works (2014) Standring
www.ebay.com/itm/31728109...
#ebay #ebayfinds #uniquegifts #vintage #nostalgia #denverartmuseum #artbook #artshow #rentsdue #everythingmustgo #makeanoffer
This is a portrait of a young Japanese American woman presented from the chest up. Her dark hair has tendrils framing her face and some loose strands falling to her shoulders rendered with loose, expressive brushstrokes. Her skin tone is light with a subtle blush on her cheeks. Her expression is calm, her eyes directed slightly upward and to our right. Her lips are painted a bold, reddish-orange. She is wearing a collared shirt with a loosely-woven, plaid pattern in muted colors— primarily shades of grey, burgundy, and muted reddish-orange. The plaid pattern is not precisely uniform; the brushwork suggests a certain casualness in the texture of the fabric. The background is a very pale, almost off-white, and deliberately understated, focusing our attention entirely on the woman. Anti-Japanese racism in America following the 1941 bombing of Pearl Harbor by imperial Japan resulted in one of the nation’s most regrettable chapters. Under the guise of “national security,” roughly 120,000 Japanese Americans, 79,000 of them U.S. citizens, were identified by the government, given 6 days to put their affairs in order – sell houses, close businesses, contact family – collect what few possessions they could carry, then sent to remote military zones, mostly across the Western U.S. Anyone at least 1/16th Japanese was taken. Officially termed “relocation centers,” the prisoners were held in concentration camps full of innocent civilians with no charges made against them and held against their will, indefinitely, in miserable conditions, behind barbed wire and under armed guard. One of these camps was known as Amache, near Granada, CO, 220 miles southeast of Denver. One of the prisoners there was the Japanese-born American artist Tokio Ueyama … and another was this unidentified young woman who posed for this memorable oil portrait on January 17, 1944 at camp Amache.
Untitled (Amache Portrait) by Tokio Ueyama (Japanese American) - Oil on canvas / January 17, 1944 - Denver Art Museum (Colorado) #WomenInArt #art #artwork #TokioUeyama #Ueyama #portraitofaWoman #JapaneseAmericanArt #DenverArtMuseum #BlueskyArt #JapaneseAmerican #artText #JapaneseAmericanArtist
This elegant canvas by American artist Joseph Henry Sharp, "The Red Olla," features his beloved model, Crucita, posed in broad, clear light and seated on an adobe banco. She holds a peach-colored shawl in both hands and touches a large dark red clay jar (olla) with her right hand. The gesture embodies grace and affection portrayed with a sense of personal, reserved identity that Sharp allowed his favorite model to enjoy. Crucita seems deep in thought. When "The Red Olla" was exhibited in Cincinnati in January 1918, Sharp's favorite art critic, Mary L. Alexander, acknowledged its importance immediately. “The Red Olla…is really a most beautiful arrangement of Crucita: the fascination this picture has for one springs from many sources while the beauty of Crucita fairly haunts one and the arrangement and harmony of line are almost Whistleresque in its statement.” It is believed that Crucita posed for as many as 65 of Sharp’s paintings, from the time she was a young girl to a woman of middle age. The evolution of Sharp’s own painting style can also be traced through the progression of portraits of her. Eventually another young woman, Leaf Down, took Crucita’s place in Sharp’s paintings. A few months ago, I posted on Bluesky a painting by Sharp of Leaf Down. According to sales and exhibition records, this painting was first shown as "The Red Olla" in November, 1916 in an exhibition at the Traxel's New Gallery, then in January, 1918 at the Hotel Gibson in Cincinnati, Ohio, and in the 1924 exhibition "Mr. J. H. Sharp: Indian and Western Paintings" in Cincinnati at the Traxel Art Galleries. It was presented a fourth time in 1925 in An Exhibition of Paintings by the Taos Society of Artists at the Young's Art Galleries, Chicago, Illinois.
"The Red Olla" by Joseph Henry Sharp - Oil on canvas / c. 1916-1925 - Denver Art Museum (Colorado) #WomenInArt #art #Taos #JosephHenrySharp #artwork #BlueskyArt #AmericanArt #DenverArtMuseum #AmericanArtist #PortraitofaWoman #Indigenous #NativeAmerican #WesternArt #bskyart #oilpainting #artoftheday
Creepy ass dog with human eyes in the Denver Art Museum
Looks like a lil menace
#paintings #DenverArtMuseum #weirdanimals
A color photograph of the Denver Art Museum, shot from a low angle during sunset. The building is clad in sleek metal panels and shaped like a rising wedge, occupying most of the frame. Its surface reflects the vivid hues of the sky—fiery oranges, deep pinks, and soft purples—turning the structure into a glowing canvas. The image is tightly composed to emphasize the geometric form and color interplay, with no people visible. The museum feels less like a building and more like a sculptural surface—where architecture and atmosphere merge into pure visual expression.
#WordlessWednesday
#EastCoastKin #UrbanGaze #DenverArtMuseum #ColorStudy #Minimalism #Fujifilm #Photography
A city view - electric scooters and skyscrapers on a sidewalk in downtown Denver.
Art work inside the Mountain States Telephone & Telegraph Company Headquarters Building, downtown Denver. Telephone ablaze in a ‘crucible of science’; alchemist and his owl looking on. There is a definitely a certain kind of magic to telephony.
A sluggy-snail 🐌 The Tangled Self exhibition at Denver Art Museum (and me!).
Street view of downtown Denver - Walk sign on a lamppost, red brick building - possibly an old store with painted signage - ahead
Very much enjoying mooching around #Denver #Colorado 🇺🇸
It’s a fantastic city with an amazing #art scene. #DenverArtMuseum #DAM is a must see.
#Photography #City #Cityscape
A scene of children being abducted by nuns & Canadian Mounties. A girl in a blue dress is screaming.
"The Scream" by Cree artist Kent Monkman, is one of the very moving pieces in his exhibit, "History is Painted by the Victors," at the Denver Art Museum. The exhibit is thought-provoking & very timely as we see lives being destroyed by this administration. #KentMonkman #DenverArtMuseum
This painting is one of a series of sixteen at the Denver Art Museum in Denver Colorado showing ancient rulers of the Inca Empire. It is not only a family tree but a political tool. Since proof of aristocratic Inca blood entitled people to special privileges and freed them from paying taxes in the Spanish Colonial period, paintings were used to document and assert this heritage. The set of paintings ends with Francisco Pizarro, the Spanish “conqueror” of Peru in 1534, shown in his European armor. Although romanticized, the Inca male rulers wear the uncu, an exquisitely woven tunic, and an aberrant version of the llautu, the traditional royal headdress complete with red forehead fringe. The painting of the Inca queen, Mama Occollo, shows her wearing the traditional women’s mantle, or lliclla, a rectangular cloth worn across the shoulders so that the stripes appear horizontally across the back, and held in place by a tupu pin inserted horizontally in the front. The geometric textile patterns in all the paintings are reminiscent of tocapu designs on traditional Inca noble clothing, signifying rank and status. The Coya Mama Ocllo Coya (or just Mama Ocllo) was a princess and queen consort, Coya, of the Inca Empire by marriage to her younger brother, Sapa Inca Topa Inca Yupanqui in accordance with custom. She was the mother of Huayna Capac and Coya Cusirimay. Queen Mama Ocllo is described as a dominant figure, "desirous for wealth" and remembered for her stratagems by which she was to have wielded great influence upon the affairs of state. After the death of her spouse, Topa Inca Yupanqui, in 1493, her son and heir, Huayna Capac, was still a minor. The favorite concubine of her late spouse, Ciqui Ollco, attempted to place her son Capac Huari on the throne. Queen dowager Mama Ocllo prevented this attempted coup by planting the rumor that Ciqui Ollco was a witch and exiling Capac Huari to Chincheru, while her son, Huayna Capac, became the next Inca leader.
Mama Ocllo Huacco I Ccoya del Peru - After Marco Chillitupa Chávez (Peruvian) - Oil on canvas / 1830-1850 - Denver Art Museum (Colorado) #WomenInArt #art #ArtText #artwork #DenverArtMuseum #PeruvianArt #Queen #Peruvian #womensart #portraitofawoman #oilpainting #MamaOcllo #incan #coya #blueskyart
Poster for exhibition at Denver Art Museum. Man on horse.
Has anyone been to this yet?
#exhibition #artexhibit #denver #denverartmuseum #museums #InDenver #DenverArt
Artist Kent Monkman's alter ego, Chief Eagle Testickle, flips colonial narratives at the Denver Art Museum through Aug 17. Forty-one works challenge who gets to tell America's story—hidden rats included. Find out more:
1minutecritic.com/revisionist-...
#KentMonkman #DenverArtMuseum
🌙 Explore Korean ceramics at the Denver Art Museum this Saturday, May 17! Watch LEE Dong Sik demonstrate traditional moon jars, create your own mini jar, & join a tour of 'Lunar Phases: Korean Moon Jars' at 12:30 pm!
➡️ buff.ly/TT0JnYi
#denverartmuseum #LeeDongSik #moonjar #koreanart #asiaweekny
Ricoh GR3
Denver Art Museum in the morning light
#denver #denverartmuseum #griii #gr3 #ricoh #ricohgriii #ricohgr3 #photography #streetphotography
Works:
Bacchanal (detail), 2020, Private Collection.
The Triumph of Mischief (detail), 2007, National Gallery of Canada, Ottawa.
Pauline Shirt (Nimikiiquay), 2021, Kent Monkman Studio.
All works acrylic on canvas.
#kentmonkman #denverartmuseum #exhibition #montrealmuseumoffineart
3/3
Street Art. Denver Art Museum. March 2023. #iphone #photography #denverartmuseum #denver #art #museum #eastcoastkin
Elevator doors! The Denver Art Museum doesn’t just have an excellent collection of art and great hospitality, but their visitor experience includes creating an ambiance that extends to elevator doors! Love this museum! Have you been?
#visitorexperience #museum #denverartmuseum
