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Michael
Michael
@mdstamper.bsky.social
1 month ago
Two women are posed closely beneath a fruiting branch in an aristocratic garden setting. At left, a pale-skinned seated woman wears a wide straw hat trimmed with flowers, pearl earrings, and a warm brown satin gown with white lace sleeves and light blue ribbon bows down the bodice. She gathers oranges and red berries into a white apron lifted across her lap. Her posture is upright yet relaxed, and she looks off to her left. At right, a brown-skinned woman stands slightly behind and above her, wearing a black dress with white lace trim, layered necklaces, earrings, and a jeweled headpiece with feathers. She raises one arm to pluck an orange while her other hand rests on the seated woman’s shoulder. Their touching hands, shared fruit, and overlapping bodies create a strong sense of connection and mutual presence. The painting’s power is in that intimacy. The composition has long been read through hierarchical labels, but visually the two sitters are linked by gesture, ornament, and scale. The standing woman meets our gaze with striking steadiness and occupies the upper right of the composition with authority. The fruit-gathering motif can suggest pastoral leisure, abundance, and cultivated refinement, yet it also stages a social relationship. The Wadsworth notes that another version (in Belgium) was later altered to erase the woman of African descent, making this canvas especially important as evidence of Black presence within 18th-century British elite portraiture and as a reminder of how art history has been edited, renamed, and reinterpreted over time. Stephen Slaughter was an English portrait painter associated with elite patrons in Britain and Ireland, later serving as Surveyor and Keeper of the King’s Pictures under George II. Slaughter’s careful handling of satin, lace, pearls, and skin tones supports a composition whose historical significance extends to now as a rare and compelling image of closeness, status, and Black visibility in Georgian Britain.

Two women are posed closely beneath a fruiting branch in an aristocratic garden setting. At left, a pale-skinned seated woman wears a wide straw hat trimmed with flowers, pearl earrings, and a warm brown satin gown with white lace sleeves and light blue ribbon bows down the bodice. She gathers oranges and red berries into a white apron lifted across her lap. Her posture is upright yet relaxed, and she looks off to her left. At right, a brown-skinned woman stands slightly behind and above her, wearing a black dress with white lace trim, layered necklaces, earrings, and a jeweled headpiece with feathers. She raises one arm to pluck an orange while her other hand rests on the seated woman’s shoulder. Their touching hands, shared fruit, and overlapping bodies create a strong sense of connection and mutual presence. The painting’s power is in that intimacy. The composition has long been read through hierarchical labels, but visually the two sitters are linked by gesture, ornament, and scale. The standing woman meets our gaze with striking steadiness and occupies the upper right of the composition with authority. The fruit-gathering motif can suggest pastoral leisure, abundance, and cultivated refinement, yet it also stages a social relationship. The Wadsworth notes that another version (in Belgium) was later altered to erase the woman of African descent, making this canvas especially important as evidence of Black presence within 18th-century British elite portraiture and as a reminder of how art history has been edited, renamed, and reinterpreted over time. Stephen Slaughter was an English portrait painter associated with elite patrons in Britain and Ireland, later serving as Surveyor and Keeper of the King’s Pictures under George II. Slaughter’s careful handling of satin, lace, pearls, and skin tones supports a composition whose historical significance extends to now as a rare and compelling image of closeness, status, and Black visibility in Georgian Britain.

"Portrait of Two Women" by Stephen Slaughter (English) - Oil on canvas / c. 1750 - Wadsworth Atheneum Museum of Art (Hartford, Connecticut) #WomenInArt #art #artText #BlueskyArt #portrait #StephenSlaughter #Slaughter #1700s #WadsworthAtheneum #TheWadsworth #BritishArt #PortraitOfWomen #EnglishArtist

53 9 1 0
Nudo Artistico
Nudo Artistico
@artsex.bsky.social
1 month ago
Post image

#englishartist #caricature #satirist #artist #bawdy #cartoonist

Thomas Rowlandson (1756-1827)
Les baigneuses

8 1 0 0
Michael
Michael
@mdstamper.bsky.social
3 months ago
Painted when British artist Louise Jopling was an ambitious young professional—and pregnant with her son Lindsay, this self-portrait insists on seeing her as a working artist rather than a decorative sitter. She stages herself “through the looking-glass,” riffing on Lewis Carroll’s recent novel to suggest a passage between private and public identities as a woman who sits in her studio and the public painter whose image will hang in exhibitions. She depicts herself as a light-skinned woman artist sitting as she paints on an easel with her body turned slightly to the side so her gaze meets ours in a calm, steady look. She wears a pale blue dress with ruffled trim, a high white collar, and a matching blue-and-white cap perched over dark hair. A spray of yellow and russet flowers hangs at her chest, echoed by warm tones in her cheeks. Jopling balances a wooden palette loaded with bright dabs of paint on her lap, a fan of brushes gathered in her right hand as she works at an unseen canvas. We realize we are looking into a tall, dark-framed mirror. Behind her, a red-brown studio wall, a painted folding screen crowded with tiny figures, a yellow chest of drawers, a draped chair, and the vertical bar of her easel describe a lived-in, professional studio space. Jopling sent this picture to the Society of Lady Artists in 1875, while her companion canvas "A Modern Cinderella" appeared at the Royal Academy, evidence of her determination to claim space in institutions that still excluded women from membership. The folding screen, patterned textiles, and fashionable blue dress signal her place in cosmopolitan Victorian culture, yet the direct gaze, firm posture, and active hands quietly challenge assumptions about women’s roles. Shown in "Now You See Us: Women Artists in Britain 1520–1920," the painting restores Jopling to the story of British art as a pioneer who built an art school for women and helped future generations step through the glass of professional exclusion.

Painted when British artist Louise Jopling was an ambitious young professional—and pregnant with her son Lindsay, this self-portrait insists on seeing her as a working artist rather than a decorative sitter. She stages herself “through the looking-glass,” riffing on Lewis Carroll’s recent novel to suggest a passage between private and public identities as a woman who sits in her studio and the public painter whose image will hang in exhibitions. She depicts herself as a light-skinned woman artist sitting as she paints on an easel with her body turned slightly to the side so her gaze meets ours in a calm, steady look. She wears a pale blue dress with ruffled trim, a high white collar, and a matching blue-and-white cap perched over dark hair. A spray of yellow and russet flowers hangs at her chest, echoed by warm tones in her cheeks. Jopling balances a wooden palette loaded with bright dabs of paint on her lap, a fan of brushes gathered in her right hand as she works at an unseen canvas. We realize we are looking into a tall, dark-framed mirror. Behind her, a red-brown studio wall, a painted folding screen crowded with tiny figures, a yellow chest of drawers, a draped chair, and the vertical bar of her easel describe a lived-in, professional studio space. Jopling sent this picture to the Society of Lady Artists in 1875, while her companion canvas "A Modern Cinderella" appeared at the Royal Academy, evidence of her determination to claim space in institutions that still excluded women from membership. The folding screen, patterned textiles, and fashionable blue dress signal her place in cosmopolitan Victorian culture, yet the direct gaze, firm posture, and active hands quietly challenge assumptions about women’s roles. Shown in "Now You See Us: Women Artists in Britain 1520–1920," the painting restores Jopling to the story of British art as a pioneer who built an art school for women and helped future generations step through the glass of professional exclusion.

“Through the Looking-Glass” by Louise Jopling (English) – Oil paint on canvas / 1875 – Tate Britain (London, England) #WomenInArt #LouiseJopling #Jopling #TateBritain #TateMuseum #VictorianArt #WomensArt #WomanArtist #WomenArtists #art #artText #arte #BlueskyArt #mirror #EnglishArtist #SelfPortrait

69 10 1 0
barbara b.
barbara b.
@lunazuna.bsky.social
5 months ago
Post image

Frank Cadogan Cowper RA (16 October 1877 – 17 November 1958) was an English artist described as "The last of the Pre-Raphaelites."
Self-Portrait of the Artist in his Eightieth Year, 1957, Oil on canvas, 78.5 x 68cm (30¾ x 26¾ in.)
#EnglishArtist #BornOnTHisDay #SelfPortrait #OilOnCanvas

5 0 0 0
Michael
Michael
@mdstamper.bsky.social
6 months ago
“Hope” by English artist Sir Edward Coley Burne-Jones is a striking late work by one of the leading figures of the Pre-Raphaelite / Arts & Crafts movement. The painting was commissioned by Mrs. George Marston Whitin (Catharine Lasell Whitin) who originally requested a painting of a dancing figure; however, the artist who was freshly grieving the loss of his friend English poet, novelist, translator, and pioneering designer William Morris, proposed instead this allegory of hope. The painting personifies Hope as a chained, imprisoned figure indoors, yet not defeated. Despite her confinement with chains around her ankle and prison bars, she lifts one arm skywards, reaching toward the blue sky through a barred window. In her other hand, she holds a branch of apple blossoms, a traditional symbol of renewal and the promise of life. The upward gesture combats darkness; the blossoms suggest spring, rebirth, and fragile beauty. Burne-Jones based this oil painting on an earlier 1871 watercolor and a design for stained‐glass windows of the Christian Virtues Faith, Hope, and Charity. The vertical format of “Hope” recalls the scale and proportions of stained glass and textile panels, elements Burne-Jones often designed. The work carries deep symbolic resonance: Hope is constrained, yet not extinguished. The chain and bars denote suffering or limitation; the reaching toward light suggests aspiration, faith in what lies beyond immediate adversity. The apple blossom branch signifies a delicate but living hope. In historical context, Burne-Jones was working at a time (1890s England) when many artists, writers and thinkers were preoccupied with the role of moral and spiritual ideals in a changing, more secular, industrial world. “Hope” can be read both as personal mourning and as broader meditation on how one retains aspiration under constraint. After Mrs. Whitin’s death, her daughters donated “Hope” to the Museum of Fine Arts, Boston “in memory of Mrs. George Marston Whitin.”

“Hope” by English artist Sir Edward Coley Burne-Jones is a striking late work by one of the leading figures of the Pre-Raphaelite / Arts & Crafts movement. The painting was commissioned by Mrs. George Marston Whitin (Catharine Lasell Whitin) who originally requested a painting of a dancing figure; however, the artist who was freshly grieving the loss of his friend English poet, novelist, translator, and pioneering designer William Morris, proposed instead this allegory of hope. The painting personifies Hope as a chained, imprisoned figure indoors, yet not defeated. Despite her confinement with chains around her ankle and prison bars, she lifts one arm skywards, reaching toward the blue sky through a barred window. In her other hand, she holds a branch of apple blossoms, a traditional symbol of renewal and the promise of life. The upward gesture combats darkness; the blossoms suggest spring, rebirth, and fragile beauty. Burne-Jones based this oil painting on an earlier 1871 watercolor and a design for stained‐glass windows of the Christian Virtues Faith, Hope, and Charity. The vertical format of “Hope” recalls the scale and proportions of stained glass and textile panels, elements Burne-Jones often designed. The work carries deep symbolic resonance: Hope is constrained, yet not extinguished. The chain and bars denote suffering or limitation; the reaching toward light suggests aspiration, faith in what lies beyond immediate adversity. The apple blossom branch signifies a delicate but living hope. In historical context, Burne-Jones was working at a time (1890s England) when many artists, writers and thinkers were preoccupied with the role of moral and spiritual ideals in a changing, more secular, industrial world. “Hope” can be read both as personal mourning and as broader meditation on how one retains aspiration under constraint. After Mrs. Whitin’s death, her daughters donated “Hope” to the Museum of Fine Arts, Boston “in memory of Mrs. George Marston Whitin.”

“Hope” by Sir Edward Coley Burne-Jones (English) - Oil on canvas / 1896 - Museum of Fine Arts, Boston (Massachusetts) #WomenInArt #hope #art #artText #MFAboston #EdwardColeyBurne-Jones #Burne-Jones #artwork #OilPainting #WomanPortrait #BlueskyArt #EnglishArt #EnglishArtist #MuseumofFineArtsBoston

94 13 0 0
Michael
Michael
@mdstamper.bsky.social
6 months ago
Frances Samuel arrived in Sydney, Australia in 1832 with her widowed mother Lydia; younger brother Saul; and an uncle, Abraham Lyons to join her other uncles Samuel and Saul Lyons, both of whom had become prominent businessmen in the 1820s. Saul Lyons had come to Sydney a free settler; Samuel Lyons had arrived as a convict after receiving a life sentence for theft in 1814. Newspaper references about Frances indicate that she enjoyed a genteel existence in Australia for several years before returning to England with her mother in March 1841. She appears in this portrait by English artist Maurice Felton as a light-skinned young woman with dark hair styled in ringlets framing her face and pulled back. She wears a dark, possibly velvet, off-the-shoulder gown and a long thin gold necklace. Her expression is serious and composed, and her gaze is directed to our left. The background is a muted, dark brown. The overall feel is one of quiet dignity and sophistication. Felton, artist and doctor, traveled to Australia as the surgeon on a ship called the Royal Admiral which arrived in Sydney in September 1839. Felton enjoyed more success as a painter than a medical practitioner earning praise from the "The Australian" newspaper for his portraiture, "for faithfulness of likeness and brilliancy of execution, they rival the productions of many of our best artists at home." His work soon attracted the attention of arts patrons. In late 1841, Felton exhibited a number of portraits and "some beautiful views of the interior of the country." with a lottery, for one pound, whereby subscribers that won could own an example of "Mr Felton’s talents in the delightful art of painting." He passed away shortly thereafter at 39 in March 1842. Meanwhile, Frances Samuel returned to England that same month. She lived life there with her first husband and child passing away by 1861 and marrying again. She lived in Earl's Court until around 1900.

Frances Samuel arrived in Sydney, Australia in 1832 with her widowed mother Lydia; younger brother Saul; and an uncle, Abraham Lyons to join her other uncles Samuel and Saul Lyons, both of whom had become prominent businessmen in the 1820s. Saul Lyons had come to Sydney a free settler; Samuel Lyons had arrived as a convict after receiving a life sentence for theft in 1814. Newspaper references about Frances indicate that she enjoyed a genteel existence in Australia for several years before returning to England with her mother in March 1841. She appears in this portrait by English artist Maurice Felton as a light-skinned young woman with dark hair styled in ringlets framing her face and pulled back. She wears a dark, possibly velvet, off-the-shoulder gown and a long thin gold necklace. Her expression is serious and composed, and her gaze is directed to our left. The background is a muted, dark brown. The overall feel is one of quiet dignity and sophistication. Felton, artist and doctor, traveled to Australia as the surgeon on a ship called the Royal Admiral which arrived in Sydney in September 1839. Felton enjoyed more success as a painter than a medical practitioner earning praise from the "The Australian" newspaper for his portraiture, "for faithfulness of likeness and brilliancy of execution, they rival the productions of many of our best artists at home." His work soon attracted the attention of arts patrons. In late 1841, Felton exhibited a number of portraits and "some beautiful views of the interior of the country." with a lottery, for one pound, whereby subscribers that won could own an example of "Mr Felton’s talents in the delightful art of painting." He passed away shortly thereafter at 39 in March 1842. Meanwhile, Frances Samuel returned to England that same month. She lived life there with her first husband and child passing away by 1861 and marrying again. She lived in Earl's Court until around 1900.

"Miss Frances Samuel" by Maurice Felton (English) - Oil on canvas / 1840 - National Portrait Gallery (Canberra, Australia) #WomenInArt #art #Felton #MauriceFelton #artwork #PortraitofaWoman #AustralianArt #NPG #NationalPortraitGallery #OilPainting #artText #EnglishArtist #BlueskyArt #1840s #hair

51 7 1 0
Michael
Michael
@mdstamper.bsky.social
6 months ago
English painter and illustrator Arthur Hughes painted this striking Pre-Raphaelite depiction of young woman reclining in dense green grass, shown close up at half length. Her long copper-red wavy hair fans across the ground and her bosom. She wears a low-cut dark teal bodice with white lace trim and soft, billowing sheer sleeves. Floral bluebells loop her raised left wrist, and she loosely holds another stem near her face. Tiny pink blossoms dot the turf at the top edge. Her pale skin and large blue-gray eyes are rendered with meticulous detail while her hair, the clothing, and individual blades of grass appear crisp with brilliance. As part of the Pre-Raphaelite circle, Hughes was a painter admired for his tender treatment of youth, nature, and romantic subjects. By 1865, when he painted “In the Grass,” Hughes was in his early thirties, already established as one of the movement’s quieter but most poetic voices. He had trained at the Royal Academy Schools and exhibited early successes praised for their lyrical mood and intricate detail. At this point in his life, Hughes was married to his frequent model and muse Tryphena Foord and raising a young family, balancing the financial demands of illustration with the more precarious rewards of painting. “In the Grass” reflects his sensitivity to intimate, almost private moments: a figure woven into nature with an emphasis on stillness, texture, and innocence. Unlike his peers Millais or Hunt, Hughes favored gentleness over drama, creating paintings suffused with quiet melancholy and devotion. Though he never reached the fame of the leading Pre-Raphaelites, he had a lasting impact through his consistency of vision. His illustrations for publications influenced Victorian book art for many years, while his paintings oozing delicacy, emotional resonance, and technical care inspired later artists attuned to symbolic and lyrical imagery.

English painter and illustrator Arthur Hughes painted this striking Pre-Raphaelite depiction of young woman reclining in dense green grass, shown close up at half length. Her long copper-red wavy hair fans across the ground and her bosom. She wears a low-cut dark teal bodice with white lace trim and soft, billowing sheer sleeves. Floral bluebells loop her raised left wrist, and she loosely holds another stem near her face. Tiny pink blossoms dot the turf at the top edge. Her pale skin and large blue-gray eyes are rendered with meticulous detail while her hair, the clothing, and individual blades of grass appear crisp with brilliance. As part of the Pre-Raphaelite circle, Hughes was a painter admired for his tender treatment of youth, nature, and romantic subjects. By 1865, when he painted “In the Grass,” Hughes was in his early thirties, already established as one of the movement’s quieter but most poetic voices. He had trained at the Royal Academy Schools and exhibited early successes praised for their lyrical mood and intricate detail. At this point in his life, Hughes was married to his frequent model and muse Tryphena Foord and raising a young family, balancing the financial demands of illustration with the more precarious rewards of painting. “In the Grass” reflects his sensitivity to intimate, almost private moments: a figure woven into nature with an emphasis on stillness, texture, and innocence. Unlike his peers Millais or Hunt, Hughes favored gentleness over drama, creating paintings suffused with quiet melancholy and devotion. Though he never reached the fame of the leading Pre-Raphaelites, he had a lasting impact through his consistency of vision. His illustrations for publications influenced Victorian book art for many years, while his paintings oozing delicacy, emotional resonance, and technical care inspired later artists attuned to symbolic and lyrical imagery.

“In the grass” by Arthur Hughes (British) - Oil on board / 1865 - Sheffield Museums (England) #WomenInArt #art #Hughes #artwork #artText #ArthurHughes #BritishArtist #EnglishArtist #SheffieldMuseums #BlueskyArt #BritishArt #Pre-Raphaelite #PreRaphaelite #PaintingofaWoman #FineArt #OilPainting #1860s

57 9 1 0
Michael
Michael
@mdstamper.bsky.social
7 months ago
This self-portrait shows a light-skinned young woman seated indoors against a softly muted interior background. She gazes quietly outward, yet avoids our gaze. Her features are soft in warm tones, with cheekbones and a straight nose defined through subtle light and shadow. Under a large brown hat, her wavy auburn hair frames her face without drawing attention. She wears a plain, cream-colored dress with long flared lace sleeves and a black boa draped around her neck and side held in place with her right hand to expose a small wristwatch. Compositionally balanced, the artist’s face is centered and illuminated against the gently textured backdrop. The overall mood is calm, introspective, and quietly confident, as if the artist is considering her own reflection with a steady yet gentle gaze. English artist Lucinda Louise Mackay’s 1971 self portrait was painted at a time when Women’s Liberation was beginning to make a mark. She portrays herself as a somewhat alternatively fashion-conscious young woman of her time. Her long, casually dishevelled hair is complemented by the sensuously shaggy feather boa. The brushwork evokes gradations of grey and black as the boa variously catches the light. The pale features are painted immaculately as to appear initially like those of an antique porcelain doll, although there is nothing remotely doll-like in the artist’s still, self-assertive look. The prominent watch on her upraised right wrist may act as some kind of memento mori, marking the passage of time, passing of youth. Curiously, the colors Mackay wears are traditional, archetypal western colors of the wedding dress and of mourning. Mackay, raised in Scotland and trained at Edinburgh College of Art, uses controlled brushwork and measured tonal shifts to anticipate poised realism. The canvas doubles as personal record and cultural document: a young woman artist looking steadily at a collecting system learning to see her.

This self-portrait shows a light-skinned young woman seated indoors against a softly muted interior background. She gazes quietly outward, yet avoids our gaze. Her features are soft in warm tones, with cheekbones and a straight nose defined through subtle light and shadow. Under a large brown hat, her wavy auburn hair frames her face without drawing attention. She wears a plain, cream-colored dress with long flared lace sleeves and a black boa draped around her neck and side held in place with her right hand to expose a small wristwatch. Compositionally balanced, the artist’s face is centered and illuminated against the gently textured backdrop. The overall mood is calm, introspective, and quietly confident, as if the artist is considering her own reflection with a steady yet gentle gaze. English artist Lucinda Louise Mackay’s 1971 self portrait was painted at a time when Women’s Liberation was beginning to make a mark. She portrays herself as a somewhat alternatively fashion-conscious young woman of her time. Her long, casually dishevelled hair is complemented by the sensuously shaggy feather boa. The brushwork evokes gradations of grey and black as the boa variously catches the light. The pale features are painted immaculately as to appear initially like those of an antique porcelain doll, although there is nothing remotely doll-like in the artist’s still, self-assertive look. The prominent watch on her upraised right wrist may act as some kind of memento mori, marking the passage of time, passing of youth. Curiously, the colors Mackay wears are traditional, archetypal western colors of the wedding dress and of mourning. Mackay, raised in Scotland and trained at Edinburgh College of Art, uses controlled brushwork and measured tonal shifts to anticipate poised realism. The canvas doubles as personal record and cultural document: a young woman artist looking steadily at a collecting system learning to see her.

Self Portrait by Lucinda Louise Mackay (English) - Oil on canvas / 1971 - Ruth Borchard Collection (London, England) #WomenInArt #artText #WomanArtist #art #LucindaLouiseMackay #artwork #WomensArt #Mackay #PortraitofaWoman #EnglishArtist #LucindaMackay #bskyart #RuthBorchardCollection #RuthBorchard

33 6 0 0
Michael
Michael
@mdstamper.bsky.social
7 months ago
English painter Evelyn De Morgan (Mary Evelyn Pickering) features legendary Pre-Raphaelite muse Jane Morris (Jane Burden) who came out of "retirement" to pose for De Morgan including this thematic painting of a regal woman sitting pensively on an ornate throne, touching an hourglass, while an angelic figure plays a flute in a doorway, hinting at the passage of time and the fleeting nature of life. In 1924, De Morgan's sister British writer Anna Marie Diana Wilhelmina Stirling (aka Wilhelmina Stirling and the alias Percival Pickering), wrote that De Morgan identified the painting as "an echo of a movement in the Waldstein Sonata (Piano Sonata No. 21) of Beethoven." This is her description: "In an ancient chair, inlaid with ivory, a woman is seen seated. Behind her on the wall are glowing tapestries; a gold lamp of medieval design is suspended above her head. Her draperies, in wonderful hues of yellow and russet bronze, are thickly sewn with pearls, the delineation of which in correct perspective constituted a tour de force. Jewels of barbaric design accentuate the richness of her attire and gleam again from her quaint head-dress, beneath which shows the first indication of age -- her whitening locks. Meanwhile, with a brooding sorrow, her gaze is fixed upon an hourglass, clasped in her slender fingers, wherein the sands are swiftly running out: at her feet is a dying rose, and close to her lies a book on which are visible the words -- Mos Janua Vitae -- Death is the portal of life. So, too, unheeded by her, outside the open doorway stands the figure of life, the Immortal, piping joyously in the sunlight in robes of azure amid the blossoming flowers of spring." Jane Morris was an accomplished English embroiderer in the Arts and Crafts movement, but is fondly remembered as the model who embodied the Pre-Raphaelite ideal of beauty as the muse for 20 Dante Gabriel Rossetti paintings. She was also the model for De Morgan's popular 1903 "The Love Potion" painting.

English painter Evelyn De Morgan (Mary Evelyn Pickering) features legendary Pre-Raphaelite muse Jane Morris (Jane Burden) who came out of "retirement" to pose for De Morgan including this thematic painting of a regal woman sitting pensively on an ornate throne, touching an hourglass, while an angelic figure plays a flute in a doorway, hinting at the passage of time and the fleeting nature of life. In 1924, De Morgan's sister British writer Anna Marie Diana Wilhelmina Stirling (aka Wilhelmina Stirling and the alias Percival Pickering), wrote that De Morgan identified the painting as "an echo of a movement in the Waldstein Sonata (Piano Sonata No. 21) of Beethoven." This is her description: "In an ancient chair, inlaid with ivory, a woman is seen seated. Behind her on the wall are glowing tapestries; a gold lamp of medieval design is suspended above her head. Her draperies, in wonderful hues of yellow and russet bronze, are thickly sewn with pearls, the delineation of which in correct perspective constituted a tour de force. Jewels of barbaric design accentuate the richness of her attire and gleam again from her quaint head-dress, beneath which shows the first indication of age -- her whitening locks. Meanwhile, with a brooding sorrow, her gaze is fixed upon an hourglass, clasped in her slender fingers, wherein the sands are swiftly running out: at her feet is a dying rose, and close to her lies a book on which are visible the words -- Mos Janua Vitae -- Death is the portal of life. So, too, unheeded by her, outside the open doorway stands the figure of life, the Immortal, piping joyously in the sunlight in robes of azure amid the blossoming flowers of spring." Jane Morris was an accomplished English embroiderer in the Arts and Crafts movement, but is fondly remembered as the model who embodied the Pre-Raphaelite ideal of beauty as the muse for 20 Dante Gabriel Rossetti paintings. She was also the model for De Morgan's popular 1903 "The Love Potion" painting.

"The Hourglass" by Evelyn De Morgan (English) - Oil on canvas / 1904-1905 - De Morgan Foundation (Barnsley, England) #WomenInArt #WomanArtist #art #WomensArt #artText #FemaleArtist #WomenPaintingWomen #EnglishArtist #WomenArtists #EvelynDeMorgan #DeMorgan #DeMorganCollection #EnglishArt #JaneMorris

67 10 1 0
barbara b.
barbara b.
@lunazuna.bsky.social
8 months ago
Post image

Dame Laura Knight, (née Johnson), DBE RA RWS (4 August 1877 – 7 July 1970) was an English artist.
Circus Matinée, 1938, oil on canvas 83.8 x 114.3 cm, Perth & Kinross Council, UK
#FemaleArt #EnglishArtist #CircusArt #BornOnThisDay

2 0 0 0
Mia Blais-Côté (MiaQc)
Mia Blais-Côté (MiaQc)
@miaqc.bsky.social
8 months ago
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Gathering Wool by Henry Herbert La Thangue
#painting #englishartist

4 0 0 0
Patrick Saunders Fine Arts
Patrick Saunders Fine Arts
@patricksaunders.bsky.social
9 months ago

#art #fineart #artstream #arthistory #patricksaunders #patricksaundersfinearts #artreview #artcritique #arttalk #representationalart #representationalartist #representationalpainting #representationalrealism #realism #realistart #englishpainting #englishartist #stilllifepainting #annaairy

0 0 0 0
Michael
Michael
@mdstamper.bsky.social
9 months ago
Completed a year before English artist Thomas Cooper Gotch’s death, “The Exile” is shrouded in mystery. As of now, no one seems to know the identity of the sitter or about the suggestive, tantalizing title of her portrait. Who was she? What was the meaning of the artwork’s title? Do her eyes seem to follow me? She has a sense of mystery about her. What might have been a straight forward portrait is given added symbolism by the emotive title plus the exotic color and pattern of the tunic. The beautiful unidentified woman with light skin, dark eyes, full lips, and short dark hair is dressed in a vibrant and ornate garment. The clothing features a prominent floral pattern with various shades of pink and beige, adding a rich and decorative element to the attire. The background is a solid, intense red, which pushes our attention back to the young woman. The overall composition is simple yet striking, with the bold colors and the detailed pattern of the clothing being memorable. The atmosphere conveyed by the image is somewhat introspective or even regretful, perhaps due to her neutral expression and the intense, somewhat overpowering colors. The use of the red background gives a sense of drama and intensity, while the detailed floral pattern on the tunic adds an element of elegance and intricacy. The full title of the artwork is “The Exile, Heavy is the Price I Paid for love.” The model’s identify has always been a mystery, but one theory suggests she was Mary Cuzans, who was married to a friend of Alfred East. The striking image, full title of the painting, and her facial expression have created many theories about the painting’s meaning and it is always a topic of conversation among visitors and staff to the Alfred East Art Gallery which purchased the painting for £125 in 1932 at a memorial exhibition held for Gotch at the gallery.

Completed a year before English artist Thomas Cooper Gotch’s death, “The Exile” is shrouded in mystery. As of now, no one seems to know the identity of the sitter or about the suggestive, tantalizing title of her portrait. Who was she? What was the meaning of the artwork’s title? Do her eyes seem to follow me? She has a sense of mystery about her. What might have been a straight forward portrait is given added symbolism by the emotive title plus the exotic color and pattern of the tunic. The beautiful unidentified woman with light skin, dark eyes, full lips, and short dark hair is dressed in a vibrant and ornate garment. The clothing features a prominent floral pattern with various shades of pink and beige, adding a rich and decorative element to the attire. The background is a solid, intense red, which pushes our attention back to the young woman. The overall composition is simple yet striking, with the bold colors and the detailed pattern of the clothing being memorable. The atmosphere conveyed by the image is somewhat introspective or even regretful, perhaps due to her neutral expression and the intense, somewhat overpowering colors. The use of the red background gives a sense of drama and intensity, while the detailed floral pattern on the tunic adds an element of elegance and intricacy. The full title of the artwork is “The Exile, Heavy is the Price I Paid for love.” The model’s identify has always been a mystery, but one theory suggests she was Mary Cuzans, who was married to a friend of Alfred East. The striking image, full title of the painting, and her facial expression have created many theories about the painting’s meaning and it is always a topic of conversation among visitors and staff to the Alfred East Art Gallery which purchased the painting for £125 in 1932 at a memorial exhibition held for Gotch at the gallery.

“The Exile: Heavy is the price I paid for love” by Thomas Cooper Gotch (English) - Oil on canvas / 1929-1930 - Alfred East Art Gallery (Kettering, England) #WomenInArt #art #ArtText #portraitofawoman #ThomasCooperGotch #Gotch #womensart #EnglishArtist #portrait #artoftheday #AlfredEastArtGallery

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ANDREW THOMAS
ANDREW THOMAS
@andrew-thomas10.bsky.social
10 months ago
Video

🎨🖌ME BY ARTISTS🖌🎨 NUDE ZOOM SESSION WITH STEVE #englishartist #menchesterartist #pencildrawingartist #eroticartist @steve-draws67.bsky.social
Video by ANDREW THOMAS

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Westcountry Artist - Tim Yorke-Dunne
Westcountry Artist - Tim Yorke-Dunne
@westcountryartist.bsky.social
11 months ago
Video

One last look over ‘Return to Vixen Tor’ before it gets packed up and dispatched to the United States. Featuring one of the most distinctive rock formations on Dartmoor. #oilpainting #landscapeoilpaintings #englishartist #dartmoorartist #dartmoorart #wildbritain #walkingbritain #landscape

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Adam Ditchburn-Schulz
Adam Ditchburn-Schulz
@adamandthemuses.bsky.social
11 months ago
Post image

This is William Blake
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Newton (1795)
By William Blake
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#art #artwork #arthistory #williamblake #englishart #englishartist #isaacnewton

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Adam Ditchburn-Schulz
Adam Ditchburn-Schulz
@adamandthemuses.bsky.social
11 months ago
Post image

This is William Blake
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Satan calling up his Legions (c1800)
By William Blake
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#art #artwork #williamblake #englishartist #paradiselost #johnmilton

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Michael
Michael
@mdstamper.bsky.social
11 months ago
English-born painter John Everett Millais portrays a young woman plainly dressed in the soft country colors of harvest time, holding a basket of hand-picked violet flowers conveying the innocence and fragility of youth. The model was budding actress Beatrice Buckstone, granddaughter of actor and comedian John Baldwin Buckstone. She posed for three of Millais’ works and was so noted for her beauty that the artist’s son John Guille Millais wrote years later, “Her face was simply perfect, both in form and color, and nothing could be more charming than the contrast between her bright golden hair and those big, blue-grey Irish eyes that peeped at you from under the shade of the longest black lashes that ever adorned the human face. The pictures for which she sat in no way exaggerated her beauty; they were but portraits of her own sweet self.” It is a work with a very sentimental atmosphere. The title is taken from the long-forgotten love poem “Catarina to Camoens” by female English poet Elizabeth Barrett Browning. The painting’s first owner was Everett Gray, the youngest brother of Millais’s wife, Effie, and it originally hung at the Gray family home, Bowerswell, near Perth, Scotland. Sir John Everett Millais was one of the founders of the Pre-Raphaelite Brotherhood (PRB), later known as the Pre-Raphaelites, which sought a return to the abundant detail, intense colors and complex compositions of Quattrocento Italian art. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. In his life, he experimented and matured through different styles, but it was only through his later works that he became successful and, as a result, was one of the wealthiest artists of his day.

English-born painter John Everett Millais portrays a young woman plainly dressed in the soft country colors of harvest time, holding a basket of hand-picked violet flowers conveying the innocence and fragility of youth. The model was budding actress Beatrice Buckstone, granddaughter of actor and comedian John Baldwin Buckstone. She posed for three of Millais’ works and was so noted for her beauty that the artist’s son John Guille Millais wrote years later, “Her face was simply perfect, both in form and color, and nothing could be more charming than the contrast between her bright golden hair and those big, blue-grey Irish eyes that peeped at you from under the shade of the longest black lashes that ever adorned the human face. The pictures for which she sat in no way exaggerated her beauty; they were but portraits of her own sweet self.” It is a work with a very sentimental atmosphere. The title is taken from the long-forgotten love poem “Catarina to Camoens” by female English poet Elizabeth Barrett Browning. The painting’s first owner was Everett Gray, the youngest brother of Millais’s wife, Effie, and it originally hung at the Gray family home, Bowerswell, near Perth, Scotland. Sir John Everett Millais was one of the founders of the Pre-Raphaelite Brotherhood (PRB), later known as the Pre-Raphaelites, which sought a return to the abundant detail, intense colors and complex compositions of Quattrocento Italian art. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. In his life, he experimented and matured through different styles, but it was only through his later works that he became successful and, as a result, was one of the wealthiest artists of his day.

“Sweetest eyes were ever seen” by John Everett Millais (English) - Oil on canvas / 1881 - National Galleries of Scotland (Edinburgh) #womeninart #art #oilopainting #JohnEverettMillais #Millais #artwork #womensart #EnglishArtist #Pre-RaphaeliteBrotherhood #Pre-Raphaelite #NationalGalleriesofScotland

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Michael
Michael
@mdstamper.bsky.social
11 months ago
The title of this painting by English artist Frank Cadogan Cowper references a genre of painting known as "vanitas," which was popular in the 16th and 17th centuries to remind viewers of their mortality and the fleeting nature of earthly possessions, taking their name from the biblical insistence that “all is vanity”. Cowper reminds us that neither the beautiful young woman in flowing red hair wearing luxurious clothes nor the ripe grapes in the background can flourish forever – in time, both will fade and die. The figure in this painting bears a strong resemblance to the models favored by Pre-Raphaelite Brotherhood artists Dante Gabriel Rosetti and John Everett Millais in the previous century. The clothes show a mixture of historic and contemporary fashion influences. The silver hand-mirror and string of pearls reflect the fashion of the early 20th century, but the predominant influence is Renaissance Italy. The woman wears a ferronière (jeweled headband) in a style that dates back to the 15th century, while the elaborate dress with its serpentine pattern is similar to one depicted in the Italian Renaissance artist Giulio Romano’s Portrait of Margherita Paleologo. Cowper was born in 1877 and studied at the Royal Academy Schools. He enjoyed significant critical acclaim early in his career, writing to his mother that "Vanity" and another painting exhibited at the RA in 1907 were “a terrific success. I am continually getting letters from people wanting to buy one or the other.” He was excited that the art dealer Joseph Duveen bought the work, adding “I can feel sure my work is good if he thinks it worth buying.” It seems Cowper was very attached to Vanity – after selling the painting, he bought it back in 1921 because it was one that he “really wanted to keep”. Eventually, his own vanity intervened and he gave the work to the RA Collection, to serve as an impressive legacy for future generations to admire after his death. After all, you can’t take it with you.

The title of this painting by English artist Frank Cadogan Cowper references a genre of painting known as "vanitas," which was popular in the 16th and 17th centuries to remind viewers of their mortality and the fleeting nature of earthly possessions, taking their name from the biblical insistence that “all is vanity”. Cowper reminds us that neither the beautiful young woman in flowing red hair wearing luxurious clothes nor the ripe grapes in the background can flourish forever – in time, both will fade and die. The figure in this painting bears a strong resemblance to the models favored by Pre-Raphaelite Brotherhood artists Dante Gabriel Rosetti and John Everett Millais in the previous century. The clothes show a mixture of historic and contemporary fashion influences. The silver hand-mirror and string of pearls reflect the fashion of the early 20th century, but the predominant influence is Renaissance Italy. The woman wears a ferronière (jeweled headband) in a style that dates back to the 15th century, while the elaborate dress with its serpentine pattern is similar to one depicted in the Italian Renaissance artist Giulio Romano’s Portrait of Margherita Paleologo. Cowper was born in 1877 and studied at the Royal Academy Schools. He enjoyed significant critical acclaim early in his career, writing to his mother that "Vanity" and another painting exhibited at the RA in 1907 were “a terrific success. I am continually getting letters from people wanting to buy one or the other.” He was excited that the art dealer Joseph Duveen bought the work, adding “I can feel sure my work is good if he thinks it worth buying.” It seems Cowper was very attached to Vanity – after selling the painting, he bought it back in 1921 because it was one that he “really wanted to keep”. Eventually, his own vanity intervened and he gave the work to the RA Collection, to serve as an impressive legacy for future generations to admire after his death. After all, you can’t take it with you.

Vanity by Frank Cadogan Cowper (English) - Oil on panel / 1907 - Royal Academy of Arts (London, United Kingdom) #womeninart #art #portraitofawoman #oilpainting #RoyalAcademy #artwork #womensart #RoyalAcademyofArts #Pre-Raphaelite #FrankCadoganCowper #vanity #style #Cowper #EnglishArtist #EnglishArt

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barbara b.
barbara b.
@lunazuna.bsky.social
11 months ago
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Tristram Paul Hillier RA (11 April 1905 – 18 January 1983) was an English surrealist painter.
Une ferme abandonnée en Mayenne / An abandoned farm in Mayenne, 1981, oil on canvas, The Ingram Collection of Modern British and Contemporary Art
#BornOnThisDay #EnglishArtist #AbandonedHouse

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barbara b.
barbara b.
@lunazuna.bsky.social
11 months ago
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Mary Potter, OBE (9 April 1900 – 14 September 1981) was an English painter whose best-known work uses a restrained palette of subtle colours.
Portrait of two seated women with a cat and dog, oil on canvas, 68 x 57 cm
#BornOnThisDay #EnglishArtist

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Tracey Lewis
Tracey Lewis
@traceylewisart.bsky.social
1 year ago
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Another landscape idea I’ve been working on.

#playingwithpaint #artplay #upinthehills #ruraljamaica #Englishartist #jamaicanlife #jamaica #landscapepainting #londonerinjamaica #enjoyinglife #highvibration

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Tricia Jarman
Tricia Jarman
@triciawonders.bsky.social
1 year ago
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April from “The Months”
Elliot Hodgkin

#eliothodgin #april #april1
#eggtempera #englishartist
#newmonth

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S Godwin Studio | Wildlife Illustrator
S Godwin Studio | Wildlife Illustrator
@sgodwinstudio.bsky.social
1 year ago
I often use sharp mechanical pencils to sketch out ideas before inking, however, I sometimes press too hard on the paper and the lead piece goes flying across the room somewhere.

I often use sharp mechanical pencils to sketch out ideas before inking, however, I sometimes press too hard on the paper and the lead piece goes flying across the room somewhere.

I often use sharp mechanical pencils to sketch out ideas before inking, however, I sometimes press too hard on the paper making the lead piece break and fly across the room somewhere. 😀

#pencildrawing #workinprogress #ideasonpaper #wildlifeart #animaldrawing #sketchbook #illustration #englishartist

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Michael
Michael
@mdstamper.bsky.social
1 year ago
Dolly Varden appears in the 1840 novel “Barnaby Rudge” by Charles Dickens set around the time of the Gordon Riots in 1780. The daughter of the town locksmith, she is a young, flirtatious, well-dressed woman who ends up marrying Joe Willett. Charles Dickens described Dolly as: “The very pink and pattern of good looks, in a smart little cherry coloured mantle...a little straw hat…And she wore such a cruel little muff, and such a heart-rending pair of shoes.” Two years later, English artist William Powell Frith completed this portrait format painting depicting Dolly as a cheerful young woman in an off-white dress, crimson cloak, fuchsia stockings, and pointy black shoes while posing in a woodland. Her pale face is aglow with laughter beneath a straw hat held in place by a pink bow under her chin. She poses with her left hand playfully on her hip while a fur hand muff covers her right hand on the other side. During the early Victorian era there was a fashion for paintings based on works of theatre and literature, generally featuring popular characters and scenes. “Barnaby Rudge” was Dickens fifth published novel. Frith, a member of the art group known as “The Clique,” first met Dickens at the time of the painting. The two men established a friendship that lasted until the author's death in 1870. Frith finished at least four versions of the painting, including one for Dickens himself. The best known of these is this one in the Victoria and Albert Museum in South Kensington, London. The character inspired a fashionable outfit known as the “Dolly Varden,” popular in Britain and the United States between 1865 and 1870 then briefly in the 1880s.

Dolly Varden appears in the 1840 novel “Barnaby Rudge” by Charles Dickens set around the time of the Gordon Riots in 1780. The daughter of the town locksmith, she is a young, flirtatious, well-dressed woman who ends up marrying Joe Willett. Charles Dickens described Dolly as: “The very pink and pattern of good looks, in a smart little cherry coloured mantle...a little straw hat…And she wore such a cruel little muff, and such a heart-rending pair of shoes.” Two years later, English artist William Powell Frith completed this portrait format painting depicting Dolly as a cheerful young woman in an off-white dress, crimson cloak, fuchsia stockings, and pointy black shoes while posing in a woodland. Her pale face is aglow with laughter beneath a straw hat held in place by a pink bow under her chin. She poses with her left hand playfully on her hip while a fur hand muff covers her right hand on the other side. During the early Victorian era there was a fashion for paintings based on works of theatre and literature, generally featuring popular characters and scenes. “Barnaby Rudge” was Dickens fifth published novel. Frith, a member of the art group known as “The Clique,” first met Dickens at the time of the painting. The two men established a friendship that lasted until the author's death in 1870. Frith finished at least four versions of the painting, including one for Dickens himself. The best known of these is this one in the Victoria and Albert Museum in South Kensington, London. The character inspired a fashionable outfit known as the “Dolly Varden,” popular in Britain and the United States between 1865 and 1870 then briefly in the 1880s.

Dolly Varden by William Powell Frith (English) - Oil on canvas / 1842 - Victoria and Albert Museum (London, England) #womeninart #oilpainting #art #fineart #womensart #WilliamPowellFrith #artwork #CharlesDickens #Frith #EnglishArtist #EnglishArt #oiloncanvas #artoftheday #VictoriaandAlbertMuseum

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C E Jackson
C E Jackson
@ce-jaxon.bsky.social
1 year ago
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Day 14: The Museum of Women in the Arts asks us to name at least 5 women artists. For #WomensHistoryMonth, I am naming 1 a day.

#HelenBeatrixPotter 2/2
#EnglishArtist
#Illustrator
#Watercolor
#Naturalist
#WomenInArt
@artherstory.bsky.social

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C E Jackson
C E Jackson
@ce-jaxon.bsky.social
1 year ago
Post image Post image

Day 14: The Museum of Women in the Arts asks us to name at least 5 women artists. For #WomensHistoryMonth, I am naming 1 a day.

#HelenBeatrixPotter 1/2
#EnglishArtist
#Illustrator
#Watercolor
#Naturalist
#WomenInArt
@artherstory.bsky.social

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Patrick Saunders Fine Arts
Patrick Saunders Fine Arts
@patricksaunders.bsky.social
1 year ago

#art #fineart #artstream #patricksaunders #patricksaundersfinearts #artreview #artdiscussion #artcritique #arttalk #representationalart #representationalartist #representationalpainting #representationalrealism #realism #realistart #englishpainting #englishart #englishartist #williamlogsdail

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Michael
Michael
@mdstamper.bsky.social
1 year ago
Although the sitter in this vivid portrait by English society portraitist David Jagger is at present unknown, her hair style and clothing suggests she was perfectly au fait with the latest 1930s fashions, as exemplified in contemporary popular cinema and theater. Indeed the sitter, whose anonymity adds to her mystique, looks not dissimilar to the American-Chinese actress Anna May Wong, and just as the origins of today’s fashions can be traced to prominent celebrities, this hair style – a jet-black bob with a heavy fringe – is most commonly associated in the public imagination with Wong. When exhibited at Bankfield Museum in Halifax in August 1939, the local press reviewed the portrait with great admiration, commenting on the ‘smooth skin textures’ and the bold color scheme of reds, greens and blacks. Combining glamorous realism with energetic artistic force, Jagger depicts a quite astonishingly beautiful young woman -- the perfect shape of her rouged lips, the arching penciled brows, her hair sleekly bobbed. And then her sheer physical beauty: the refined and elegant bone structure, the softness of her skin, the depth of her gaze. The simplicity and directness of the pose - and the tension in the line of her brow - are elements that help give the portrait immense power only matched in intensity by the ravishing colors. This portrait was exhibited in the touring exhibition "The Art of the Jagger Family" from 1939 to 1940, which was devoted to the work of David, his sister Edith and that of their late brother, Charles Sargeant Jagger. Interestingly, a photograph formerly in the family’s possession, shows David and a lady (likely Edith), seated in front of a selection of works chosen for the exhibition including this stunning portrait. Creating simple, but elegant art made the reclusive Jagger one of the most highly regarded society portraitists in London with an illustrious set of patrons, including Queen Mary and the actress Vivien Leigh.

Although the sitter in this vivid portrait by English society portraitist David Jagger is at present unknown, her hair style and clothing suggests she was perfectly au fait with the latest 1930s fashions, as exemplified in contemporary popular cinema and theater. Indeed the sitter, whose anonymity adds to her mystique, looks not dissimilar to the American-Chinese actress Anna May Wong, and just as the origins of today’s fashions can be traced to prominent celebrities, this hair style – a jet-black bob with a heavy fringe – is most commonly associated in the public imagination with Wong. When exhibited at Bankfield Museum in Halifax in August 1939, the local press reviewed the portrait with great admiration, commenting on the ‘smooth skin textures’ and the bold color scheme of reds, greens and blacks. Combining glamorous realism with energetic artistic force, Jagger depicts a quite astonishingly beautiful young woman -- the perfect shape of her rouged lips, the arching penciled brows, her hair sleekly bobbed. And then her sheer physical beauty: the refined and elegant bone structure, the softness of her skin, the depth of her gaze. The simplicity and directness of the pose - and the tension in the line of her brow - are elements that help give the portrait immense power only matched in intensity by the ravishing colors. This portrait was exhibited in the touring exhibition "The Art of the Jagger Family" from 1939 to 1940, which was devoted to the work of David, his sister Edith and that of their late brother, Charles Sargeant Jagger. Interestingly, a photograph formerly in the family’s possession, shows David and a lady (likely Edith), seated in front of a selection of works chosen for the exhibition including this stunning portrait. Creating simple, but elegant art made the reclusive Jagger one of the most highly regarded society portraitists in London with an illustrious set of patrons, including Queen Mary and the actress Vivien Leigh.

A Young Chinese Girl by David Jagger (English) - Oil on canvas / 1936 #womaninart #art #oilpainting #portraitofawoman #artwork #DavidJagger #EnglishArtist #portrait #fineart #EnglishArt #ChineseWoman #WomensArt #1930s #fashion #style #realism #portraitofalady #artoftheday #Jagger #BankfieldMuseum

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jennajunipers
jennajunipers
@jennajunipers.bsky.social
1 year ago
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Gemma (Greyscale ver.) #digitalart #digitalartwork #digitalillustration #photoshop #photoshopart #illustration #characterart #fanart #fanartwork #gaming #gamingart #monsterhunter #monsterhunterwilds #monsterhuntergemma #monsterhuntersmithy #capcom #ukartist #englishartist #sotasty

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