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🎨 #EdwinAustinAbbey, American painter and illustrator, was #BOTD 1 April 1852. #Art #Painting #Illustration

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American artist Edwin Austin Abbey’s title points to the women associated with the Passion and Resurrection story, often understood in Christian mythology as the women who remained near Christ’s death and tomb. Yale’s record does not identify each figure by name, so the painting works less as portraiture than as a meditation on collective witness, lament, and endurance. The restrained palette and spare setting intensify that feeling: grief here is vast, exposed, and almost liturgical. 

The three women occupy a barren, open landscape under a pale yellow sky. All wear long black veils and dark robes that seemingly merge with the muted earth. At left, one woman kneels upright with her hands clasped tightly at her waist. Her face is lifted skywards, her lips red against otherwise cool, gray flesh tones, and her expression feels stunned, prayerful, and exhausted. At lower right, another kneels with her head bowed, lifting the edges of her veil with both hands as if gathering herself inward. Behind them, a third figure stands tall and nearly engulfed in black drapery, one hand raised toward her mouth in grief. Blue hills cut across the background in a low band, and the foreground is rocky, dry, and sparse. Their bodies are separated, yet their shared posture, dress, and solemn stillness bind them into a single field of mourning.

Mary (mother of Jesus), Mary Magdalene, (devoted follower and witness), and Mary of Clopas (mother of James) are remembered for remaining faithful during the Crucifixion and visiting Christ’s tomb after his burial.

Abbey, a Philadelphia-born artist who spent much of his career in England, was celebrated for large narrative and historical works. Rather than dramatizing action, he stages emotion through spacing, drapery, and silence. The three women become distinct forms of sorrow showing upright resolve, inward collapse, and shrouded contemplation while the empty landscape suggests the spiritual aftermath of loss.

American artist Edwin Austin Abbey’s title points to the women associated with the Passion and Resurrection story, often understood in Christian mythology as the women who remained near Christ’s death and tomb. Yale’s record does not identify each figure by name, so the painting works less as portraiture than as a meditation on collective witness, lament, and endurance. The restrained palette and spare setting intensify that feeling: grief here is vast, exposed, and almost liturgical. The three women occupy a barren, open landscape under a pale yellow sky. All wear long black veils and dark robes that seemingly merge with the muted earth. At left, one woman kneels upright with her hands clasped tightly at her waist. Her face is lifted skywards, her lips red against otherwise cool, gray flesh tones, and her expression feels stunned, prayerful, and exhausted. At lower right, another kneels with her head bowed, lifting the edges of her veil with both hands as if gathering herself inward. Behind them, a third figure stands tall and nearly engulfed in black drapery, one hand raised toward her mouth in grief. Blue hills cut across the background in a low band, and the foreground is rocky, dry, and sparse. Their bodies are separated, yet their shared posture, dress, and solemn stillness bind them into a single field of mourning. Mary (mother of Jesus), Mary Magdalene, (devoted follower and witness), and Mary of Clopas (mother of James) are remembered for remaining faithful during the Crucifixion and visiting Christ’s tomb after his burial. Abbey, a Philadelphia-born artist who spent much of his career in England, was celebrated for large narrative and historical works. Rather than dramatizing action, he stages emotion through spacing, drapery, and silence. The three women become distinct forms of sorrow showing upright resolve, inward collapse, and shrouded contemplation while the empty landscape suggests the spiritual aftermath of loss.

“The Three Marys” by Edwin Austin Abbey (American) - Oil on canvas / c. 1906–1911 - Yale University Art Gallery (New Haven, Connecticut) #WomenInArt #EdwinAustinAbbey #Abbey #YaleUniversityArtGallery #Yale #ReligiousArt #BiblicalArt #art #artText #arte #PortraitofWomen #AmericanArtist #AmericanArt

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A ballpoint pen study of Edwin Austin Abbey, one of the masters of ink

#masterstudy #inkdrawing #drawing #edwinaustinabbey #art

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Hırs ve ihtirasın kısır döngüsünde sürekli büyümeye çalışanlar unutmamalı...

Büyümek için büyümek bir kanser hücresinin ideolojisidir.

Edwin Austin Abbey

#arachnoidmater #serkankaraismailoğlu #alıntı #edwinaustinabbey

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The Hag (1882)
#EdwinAustinAbbey
#witch #illustration #art

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Edwin Austin Abbey #edwinaustinabbey

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Dave Brown’s #RoguesGallery after #EdwinAustinAbbey @Independent on #Starmer #Corbyn #LabourParty #CorbynParty #NewParty #Socialism - political cartoon gallery in London original-political-cartoon.com

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A parody of classic illlustrator Edwin Austin Abbey's Penance of Eleanor, depicting a medieval woman in an elaborate dress and large headdress draped with black gauze being whispered to by an unsettling man dressed in crimson red; they hurry past a crowd of black garbed soldiers all carrying red spears. The artist has added a dachshund chasing them with a red ball.

A parody of classic illlustrator Edwin Austin Abbey's Penance of Eleanor, depicting a medieval woman in an elaborate dress and large headdress draped with black gauze being whispered to by an unsettling man dressed in crimson red; they hurry past a crowd of black garbed soldiers all carrying red spears. The artist has added a dachshund chasing them with a red ball.

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Dachshund #50. I'm drawing a dachshund every day until THE LISTENERS comes out on June 3rd.

This dachshund frolics through a piece by Edwin Austin Abbey, a contemporary of my boy John Singer Sargent, and, like me, largely self taught. He's one of my favs.

#edwinaustinabbey #dachshund #art

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Edwin Austin Abbey | "King Lear," Act I, Scene I | American | The Metropolitan Museum of Art

I was at the Met the other day and stopped dead in front of Edwin Austin Abbey’s King Lear, Act I, Scene I. I knew it was dramatic—but 10.5 feet long?! That painting isn’t just theatrical, it’s practically a stage. 🎭🖼️ #MetMuseum #EdwinAustinAbbey #KingLear #AmericanArt #OversizedDrama

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

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“Beach Scene with Man Resting in Shadow of Boat.” Edwin Austin Abbey (American; 1852–1911). Watercolor on grey-blue laid paper, mounted down, n.d. Yale University Art Gallery, New Haven, Connecticut.

#EdwinAustinAbbey
#eaabbey
#YaleUniversityArtGallery
@yaleartgallery

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