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Patrick Kapty
Patrick Kapty
@patrickkapty.bsky.social
4 hours ago

#rainerfetting #art #grunesselbstportrait #jungewilde #neuewilde #germany #germanart #portrait #selfportrait #neoexpressionism #c1981

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Michael
Michael
@mdstamper.bsky.social
5 hours ago
Two young women move arm in arm through a crowded modern street, yet German artist August Macke makes them feel strangely calm inside the rush. The girl at left has bright reddish hair and turns her face away from us, her body angled forward as if she has just noticed something beyond the frame. Her companion, with dark hair pulled back, is shown in profile in a dress of deep red, rose, and brown. Their linked arms create the emotional center of the painting. Around them, the city breaks into splintered planes, sharp diagonals, flashes of yellow light, fragments of wheels, railings, figures, shopfront reflections, and bouquet-like bursts of color near the lower edge. Space feels unstable and alive. The girls are clearly human and solid, but nearly everything surrounding them seems to vibrate, flicker, and fracture into movement. That tension is the point. Macke sets human closeness against the speed and sensory overload of modern life. The Städel notes how strongly the painting reflects the impact of Italian Futurism and French Cubism as the city is all motion, geometry, duplication, and glare, while the girls remain comparatively classical and self-contained. They do not dissolve into spectacle. Painted in 1913, when Macke was in his mid-twenties and already one of the most gifted artists in the orbit of Der Blaue Reiter, the work shows how deftly he absorbed new avant-garde ideas without losing his warmth toward everyday people. He was especially responsive to French modernism and to Robert Delaunay’s color-driven experiments, yet he kept returning to scenes of strolling, shopping, looking, and being together. The sitters here are unidentified, but that anonymity adds to the painting’s modernity. They become both specific companions and emblems of urban friendship. Seen now, one year before Macke’s death in World War I at just 27, the picture feels powerful and fragile at once like an image of companionship held steady inside a dazzling, unstable world.

Two young women move arm in arm through a crowded modern street, yet German artist August Macke makes them feel strangely calm inside the rush. The girl at left has bright reddish hair and turns her face away from us, her body angled forward as if she has just noticed something beyond the frame. Her companion, with dark hair pulled back, is shown in profile in a dress of deep red, rose, and brown. Their linked arms create the emotional center of the painting. Around them, the city breaks into splintered planes, sharp diagonals, flashes of yellow light, fragments of wheels, railings, figures, shopfront reflections, and bouquet-like bursts of color near the lower edge. Space feels unstable and alive. The girls are clearly human and solid, but nearly everything surrounding them seems to vibrate, flicker, and fracture into movement. That tension is the point. Macke sets human closeness against the speed and sensory overload of modern life. The Städel notes how strongly the painting reflects the impact of Italian Futurism and French Cubism as the city is all motion, geometry, duplication, and glare, while the girls remain comparatively classical and self-contained. They do not dissolve into spectacle. Painted in 1913, when Macke was in his mid-twenties and already one of the most gifted artists in the orbit of Der Blaue Reiter, the work shows how deftly he absorbed new avant-garde ideas without losing his warmth toward everyday people. He was especially responsive to French modernism and to Robert Delaunay’s color-driven experiments, yet he kept returning to scenes of strolling, shopping, looking, and being together. The sitters here are unidentified, but that anonymity adds to the painting’s modernity. They become both specific companions and emblems of urban friendship. Seen now, one year before Macke’s death in World War I at just 27, the picture feels powerful and fragile at once like an image of companionship held steady inside a dazzling, unstable world.

“Zwei Mädchen” (Two Girls) by August Macke (German) - Oil on canvas / 1913 - Städel Museum (Frankfurt am Main, Germany) #WomenInArt #AugustMacke #Macke #StaedelMuseum #StädelMuseum #Staedel #art #arte #kunst #arttext #BlueskyArt #Expressionism #GermanArtist #GermanArt #1910sArt #DerBlaueReiter

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Jonathan Emmesedi
Jonathan Emmesedi
@jemmesedi.c.im.ap.brid.gy
1 week ago
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"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

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AyCaramba
AyCaramba
@aycarambabookscom.bsky.social
2 weeks ago
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Discover a Rare Piece of German Artistry
This charming antique bisque porcelain figurine, titled "Unsere Lieblinge!" (translated as "Our Favorites!"), is a beautiful example of early 20th-century German craftsmanship.
Own this piece of history here: aycarambagifts.etsy.com/listing/6288... #germanart

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Jonathan Emmesedi
Jonathan Emmesedi
@jemmesedi.c.im.ap.brid.gy
2 weeks ago
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Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

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Michael
Michael
@mdstamper.bsky.social
2 weeks ago
Painted in 1912, this work belongs to the brief, brilliant period when German artist August Macke was helping define German Expressionism while also shaping a language distinct from the more spiritual abstractions around Der Blaue Reiter. He was drawn to modern life, fashion, leisure, and the visual pleasure of people seen in parks, streets, shop windows, and gardens. Here, he turns a simple gathering of girls into a meditation on harmony, youth, and perception itself. Four girls gather closely beneath dense, dark green trees in a vivid, stylized garden. Their faces are simplified and softly downcast, giving the group a quiet, introspective mood. One girl at left wears a blue dress with angular white sleeves and dark hair framing her face. At center, a blonde girl in a rose-red dress stands with her head bowed. At right, another blonde girl in a broad yellow hat sits in profile, wearing blue and white. In the foreground, a fourth girl is seen mostly from behind, her long golden-orange hair falling over a pale white and pink garment. Around them, leaves, tree trunks, and sharp patches of green, black, blue, white, pink, and yellow compress the space so that the figures seem nestled into the landscape rather than separated from it. The fusion of person and environment is central to Macke’s art as modern life becomes lyrical, ordered, and fleeting. Macke once wrote of his delight in “the blazing sun and trees, shrubs, human beings,” and that generous joy feels present here. Made just two years before his death in World War I at age twenty-seven, "Vier Mädchen" carries both freshness and fragility for a modern vision of female companionship suspended in a world of radiant calm.

Painted in 1912, this work belongs to the brief, brilliant period when German artist August Macke was helping define German Expressionism while also shaping a language distinct from the more spiritual abstractions around Der Blaue Reiter. He was drawn to modern life, fashion, leisure, and the visual pleasure of people seen in parks, streets, shop windows, and gardens. Here, he turns a simple gathering of girls into a meditation on harmony, youth, and perception itself. Four girls gather closely beneath dense, dark green trees in a vivid, stylized garden. Their faces are simplified and softly downcast, giving the group a quiet, introspective mood. One girl at left wears a blue dress with angular white sleeves and dark hair framing her face. At center, a blonde girl in a rose-red dress stands with her head bowed. At right, another blonde girl in a broad yellow hat sits in profile, wearing blue and white. In the foreground, a fourth girl is seen mostly from behind, her long golden-orange hair falling over a pale white and pink garment. Around them, leaves, tree trunks, and sharp patches of green, black, blue, white, pink, and yellow compress the space so that the figures seem nestled into the landscape rather than separated from it. The fusion of person and environment is central to Macke’s art as modern life becomes lyrical, ordered, and fleeting. Macke once wrote of his delight in “the blazing sun and trees, shrubs, human beings,” and that generous joy feels present here. Made just two years before his death in World War I at age twenty-seven, "Vier Mädchen" carries both freshness and fragility for a modern vision of female companionship suspended in a world of radiant calm.

“Vier Mädchen” (Four Girls) by August Macke (German) - Oil on canvas / 1912 - Kunstpalast (Düsseldorf, Germany) #WomenInArt #AugustMacke #Macke #Kunstpalast #GermanExpressionism #GermanArt #art #artText #artwork #PortraitofWomen #Expressionism #BlueskyArt #Kunst #1910sArt #GermanArtist #GermanArt

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Michael
Michael
@mdstamper.bsky.social
4 weeks ago
A group of women stride toward us along a glowing yellow street that tilts upward like a stage. Their bodies are elongated and angular, with sharp shoulders, tapering coats, and small black shoes that cut into the pavement like points. The central woman wears a deep green cloak and a wide black hat trimmed with pale yellow, her face long and pale, her eyes narrowed and unreadable. To the right, a figure in a lavender-gray coat leans forward with a cool, detached expression. To her left, a woman in saturated blue emerges from shadow, while two darker figures recede behind them in black and blue. Their faces are masklike rather than individualized, built from slashing planes of cream, peach, black, and tan. The street and buildings dissolve into jagged bands of acid yellow, green, and black, so the city feels unstable and rushing rather than fixed. The women appear elegant and highly visible, yet emotionally distant from one another and from us. Fashion, movement, and public display dominate the scene, but so do tension and unease. This painting belongs to German artist Ernst Ludwig Kirchner’s celebrated Berlin street scenes, made after his move from Dresden to Berlin, where modern city life became one of his most urgent subjects. In these pictures, fashionable women in extravagant hats often stand for more than individual sitters: they become emblems of metropolitan spectacle, commerce, desire, and alienation. Here the women’s beauty is deliberately hard-edged. Their bodies are elegant but tense, their faces alluring yet sealed off, their closeness theatrical rather than intimate. Kirchner’s acidic color, compressed space, and blade-like contours transform the street into a psychological zone where attention itself feels dangerous. Rather than offering a comfortable scene of women in public, Kirchner shows a city built from performance, vigilance, and restless energy.

A group of women stride toward us along a glowing yellow street that tilts upward like a stage. Their bodies are elongated and angular, with sharp shoulders, tapering coats, and small black shoes that cut into the pavement like points. The central woman wears a deep green cloak and a wide black hat trimmed with pale yellow, her face long and pale, her eyes narrowed and unreadable. To the right, a figure in a lavender-gray coat leans forward with a cool, detached expression. To her left, a woman in saturated blue emerges from shadow, while two darker figures recede behind them in black and blue. Their faces are masklike rather than individualized, built from slashing planes of cream, peach, black, and tan. The street and buildings dissolve into jagged bands of acid yellow, green, and black, so the city feels unstable and rushing rather than fixed. The women appear elegant and highly visible, yet emotionally distant from one another and from us. Fashion, movement, and public display dominate the scene, but so do tension and unease. This painting belongs to German artist Ernst Ludwig Kirchner’s celebrated Berlin street scenes, made after his move from Dresden to Berlin, where modern city life became one of his most urgent subjects. In these pictures, fashionable women in extravagant hats often stand for more than individual sitters: they become emblems of metropolitan spectacle, commerce, desire, and alienation. Here the women’s beauty is deliberately hard-edged. Their bodies are elegant but tense, their faces alluring yet sealed off, their closeness theatrical rather than intimate. Kirchner’s acidic color, compressed space, and blade-like contours transform the street into a psychological zone where attention itself feels dangerous. Rather than offering a comfortable scene of women in public, Kirchner shows a city built from performance, vigilance, and restless energy.

"Frauen auf der Straße" (Women on the Street) by Ernst Ludwig Kirchner (German) - Oil on canvas / c. 1915 - Von der Heydt Museum (Wuppertal, Germany) #WomenInArt #ErnstLudwigKirchner #Kirchner #VonDerHeydtMuseum #GermanExpressionism #1910sArt #art #artText #arte #BlueskyArt #GermanArt #GermanArtist

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Jonathan Emmesedi
Jonathan Emmesedi
@jemmesedi.c.im.ap.brid.gy
1 month ago
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Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann […]

[Original post on c.im]

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Mapejo
Mapejo
@mapejo.bsky.social
1 month ago

#germany #germanart #15thcentury #stjohnthebaptist #meninart #bust #beard

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Jonathan Emmesedi
Jonathan Emmesedi
@jemmesedi.c.im.ap.brid.gy
1 month ago
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I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of […]

[Original post on c.im]

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Jonathan Emmesedi
Jonathan Emmesedi
@jemmesedi.c.im.ap.brid.gy
1 month ago
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[Female nudity -- sexual activity]

Christian Schad -- Two Girls -- 1928 -- Oil on Canvas -- Private Collection

Another picture from the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s" that struck me was Christian Schad's 1928 "Two Girls" […]

[Original post on c.im]

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Jonathan Emmesedi
Jonathan Emmesedi
@jemmesedi.c.im.ap.brid.gy
1 month ago
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The Jeweller Karl Krall -- Otto Dix -- 1923 -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s, Krall was not only, as a chamber music amateur, musical, but was […]

[Original post on c.im]

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Carlton Hobbs LLC
Carlton Hobbs LLC
@carltonhobbsllc.bsky.social
1 month ago
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Set Of Eight Extremely Fine Woodcuts Of Ancient Hand Mirrors By Fritz Endell (1873–1955)

Carlton Hobbs LLC, Inv. No. 11751

carltonhobbs.com/piece/11751-...

#fritzendell #woodcut #woodblock #print #engraving #graphicart #germanart #handmirror #classical #neoclassical #worksonpaper #fineart

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SmellyNoises
SmellyNoises
@smellynoises.bsky.social
2 months ago
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Blue Rider spirit on your wall: Marc’s visionary style, curated month by month. https://bit.ly/4aAPuKH
#BlueRider #GermanArt #ArtHistory

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Michael
Michael
@mdstamper.bsky.social
2 months ago
Painted in Berlin, Germany in 1882, this oil painting turns a potentially fleeting act of service into a portrait with the gravity usually reserved for the socially elevated. The title frames her identity through labor, yet German artist Karl Gussow’s handling insists on personhood first through careful modeling of her face with tender translucence of skin, and a firm, capable hold on a heavy bowl of oysters. A young woman with fair, peach-toned skin is shown from the waist up, turned in profile and looking to our right. Her auburn-brown hair is swept back under a deep black headscarf dotted with tiny sprigs, the fabric tied into a broad knot behind her head. She wears a smoky cream blouse with puffed sleeves and a row of dark buttons down the front, softened by a sheer lavender-rose shawl that falls across her shoulders and chest. Her lips are painted a warm coral, and her expression is a mix of calm, poise, and intent. In both hands, she supports a wide blue-and-white ceramic bowl filled with pale oyster shells cradling glossy oysters, and a yellow lemon. The background is an uncluttered, warm beige, pushing attention toward her face, hands, and the offered food. Oysters, often considered a delicacy, desire, or luxury become a symbol of an economy where pleasure is carried by someone else’s steady arms. Meanwhile, the lemon suggests sharpness, appetite, and the ritual of preparation. By setting her against a bare backdrop, Gussow removes anecdote and spectacle, leaving an encounter. She is a young woman mid-exchange, dignified, self-contained, and momentarily monumental. At the Berlin Academy, Gussow was considered a superb teacher as the ‘Regenerator of Painting’. His most famous pupil was the German artist Max Klinger who became celebrated for his surreal series of a sinisterly animated "Glove." After Gussow left the Academy in 1880, he became a sought after Berlin-society portrait painter.

Painted in Berlin, Germany in 1882, this oil painting turns a potentially fleeting act of service into a portrait with the gravity usually reserved for the socially elevated. The title frames her identity through labor, yet German artist Karl Gussow’s handling insists on personhood first through careful modeling of her face with tender translucence of skin, and a firm, capable hold on a heavy bowl of oysters. A young woman with fair, peach-toned skin is shown from the waist up, turned in profile and looking to our right. Her auburn-brown hair is swept back under a deep black headscarf dotted with tiny sprigs, the fabric tied into a broad knot behind her head. She wears a smoky cream blouse with puffed sleeves and a row of dark buttons down the front, softened by a sheer lavender-rose shawl that falls across her shoulders and chest. Her lips are painted a warm coral, and her expression is a mix of calm, poise, and intent. In both hands, she supports a wide blue-and-white ceramic bowl filled with pale oyster shells cradling glossy oysters, and a yellow lemon. The background is an uncluttered, warm beige, pushing attention toward her face, hands, and the offered food. Oysters, often considered a delicacy, desire, or luxury become a symbol of an economy where pleasure is carried by someone else’s steady arms. Meanwhile, the lemon suggests sharpness, appetite, and the ritual of preparation. By setting her against a bare backdrop, Gussow removes anecdote and spectacle, leaving an encounter. She is a young woman mid-exchange, dignified, self-contained, and momentarily monumental. At the Berlin Academy, Gussow was considered a superb teacher as the ‘Regenerator of Painting’. His most famous pupil was the German artist Max Klinger who became celebrated for his surreal series of a sinisterly animated "Glove." After Gussow left the Academy in 1880, he became a sought after Berlin-society portrait painter.

"Das Austernmädchen (The Oyster Girl)" by Karl Gussow (German) - Oil on beveled wood panel / 1882 - Walker Art Gallery (Liverpool, UK) #WomenInArt #art #artText #artwork #KarlGussow #Gussow #WalkerArtGallery #PortraitofaGirl #Naturalism #arte #WorkingWomen #GermanArt #GermanArtist #oysters #kunst

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Galerie Wittenbrink
Galerie Wittenbrink
@galeriewittenbrink.bsky.social
2 months ago
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"Poetische Räume" sind offiziell eröffnet. Vielen Dank an alle, die bei der Ausstellungseröffnung sein konnten.

Jan Holthoff
„POETIC SPACES“
AUSSTELLUNGSDAUER · 16. Januar - 28. Februar 2026

#art #kunst #gallery #galerie #neu #new #abstractart #munich #german #germanart #painting

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Patrick Kapty
Patrick Kapty
@patrickkapty.bsky.social
2 months ago
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"Circus"
mixed media on paper
Xanti Schawinsky, Bauhaus Germany 1924

A costume and prop design for the Bauhaus theater by artist Xanti Schawinsky.

#bauhaus #xantischawinsky #theaterdesign #costumedesign #artwork #art #mixedmedia #circus #circa1924 #germany #germanart #germandesign #modernism

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Your Friendly Neighborhood Pharologist
Your Friendly Neighborhood Pharologist
@pharology.bsky.social
3 months ago
A res octagonal pyramid lighthouse on spindly piles stands in a stormy sea, flying a red and white flag. A lone figure stands by the entrance. In the sea below is a lifeboat, crewed by nine men in oilskin coats and sou'wester hats.

A res octagonal pyramid lighthouse on spindly piles stands in a stormy sea, flying a red and white flag. A lone figure stands by the entrance. In the sea below is a lifeboat, crewed by nine men in oilskin coats and sou'wester hats.

#LighthouseArt of the Day

Carl Saltzmann (German, 1847-1923), #Lighthouse, n.d., oil on canvas.

Displayed at Narodowe Muzeum Morskie, #Gdańsk, Poland

🧵 1/2

#art #artsky #OilPainting #MarineArt #MaritimeArt #GermanArt

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The Ghost Monk
The Ghost Monk
@theghostmonk.bsky.social
3 months ago
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'The Shaman' by Sascha Schneider, 1901. Born in Russia, Schneider lived most of his life in Germany but fled to Italy to escape blackmail over his #homosexuality. He later explored the Caucasus with fellow painter Robert Dies. This may have been painted there.
#shamanism #magick #GermanArt #gayart

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Patrick Kapty
Patrick Kapty
@patrickkapty.bsky.social
3 months ago
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Oskar Schlemmer
Sculpture based on the Triadic Ballet
Bauhaus
circa 1930

#oskarschlemmer #bauhaus #circa1930 #sculpture #modernistsculpture #modernart #modernsculpture #triadicballet #germany #germanart #modernism #moderndesign #vintagemodern

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Alexa Carmichael 🇨🇦
Alexa Carmichael 🇨🇦
@alexacarmichael.bsky.social
3 months ago
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Gabrielle Münter
German Expressionist painter
1877-1962
Christmas Still LIfe, 1908

#GabrielleMunter
#Germanart

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Patrick Kapty
Patrick Kapty
@patrickkapty.bsky.social
3 months ago
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Oskar Schlemmer
Costumes for the Triadic Ballet
Bauhaus
1927

#oskarschlemmer #bauhaus #dated1927 #costumedesign #triadicballet #germany #germanart #modernism #moderndesign #vintagemodern

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Posterly Studio home decor
Posterly Studio home decor
@posterly10studio.bsky.social
4 months ago
Preview
Heidelberg Castle Bridge Vintage - Artful Vision Immerse yourself in the Romanticism of Germany with this exquisite vintage watercolor print of Heidelberg. This iconic view captures the magnificent Heidelberg Castle perched above the lush hills, ove...

www.artpal.com/Abdellahagra...
#HeidelbergCastle #GermanArt #KarlTheodorBridge #HeidelbergOldTown #VintageGermany #WatercolorPainting #EuropeanDecor #HistoricalArt #CastleView #TravelWallArt

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Annie, MLIS, Mercenary Librarian 🍄📚🥌
Annie, MLIS, Mercenary Librarian 🍄📚🥌
@dharmascholar.bsky.social
4 months ago
Cover of thr exhibition book for Modern Art and Politics in Germany 1910-1945, Masterworks from the Neue Nationslgalerie, Berlin. The cover features a close up and cropped portion of Christian Schad's oil painting Sonja. The subject, a woman with short, dark hair stares directly at the viewer. She wears a black dress with sheer overlay. A pink floral corsage on her left shoulder. (The entire painting shows that her legs are crossed and her right arm partially rests on the white covered table, holding a cigarette in a holder. A pack of Camel cigarettes is on the table.)

Cover of thr exhibition book for Modern Art and Politics in Germany 1910-1945, Masterworks from the Neue Nationslgalerie, Berlin. The cover features a close up and cropped portion of Christian Schad's oil painting Sonja. The subject, a woman with short, dark hair stares directly at the viewer. She wears a black dress with sheer overlay. A pink floral corsage on her left shoulder. (The entire painting shows that her legs are crossed and her right arm partially rests on the white covered table, holding a cigarette in a holder. A pack of Camel cigarettes is on the table.)

An amazing exhibition. So happy to be able to see it. #GermanArt #DegenerateArt

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The Quarterpounder Burglar
The Quarterpounder Burglar
@thebeanburglar512.bsky.social
4 months ago
"Tod und die Lilienblume" translates to 'Death and the Lily Flower' in German. (I used google translate, kill me.)

"Tod und die Lilienblume" translates to 'Death and the Lily Flower' in German. (I used google translate, kill me.)

A self-portrait while using an irl reference photo with a body-shape most similar to mine. Decided to go for more of a mixed-media and emo-ish kind of feel since I've been kinda feelin' like crap. But hey, I'm okay now and I like this style. #Selfportrait #OCSky #MixedMedia #GermanArt #IbispaintX

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Tob Paintings
Tob Paintings
@tobpaintings.bsky.social
5 months ago
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Valentin 5
Acrylic paint on canvas
50x70cm

#acryliconcanvas #figurativeart #art #contemporaryart #kunst #painting #modernart #contemporarypainting #canvas #artworks #emergingartists #dailyart #figurativepainting #germanart #externsteine #teutoburgerwald

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Your Friendly Neighborhood Pharologist
Your Friendly Neighborhood Pharologist
@pharology.bsky.social
5 months ago
A red and white lighthouse is in the background of the painting, on a hill behind a cluster of trees. A curving bay is featured in the middle ground. A prominent, brightly colored yellow-ochre cliff or sand dune dominates the right side of the canvas. The foreground is characterized by large, dark blue and grey boulders and rocks. The work is rendered in bold, non-naturalistic colors with pronounced brushstrokes.

A red and white lighthouse is in the background of the painting, on a hill behind a cluster of trees. A curving bay is featured in the middle ground. A prominent, brightly colored yellow-ochre cliff or sand dune dominates the right side of the canvas. The foreground is characterized by large, dark blue and grey boulders and rocks. The work is rendered in bold, non-naturalistic colors with pronounced brushstrokes.

#LighthouseArt of the Day

Ludwig Kirchner (German, 1880-1938), #Lighthouse behind a bay, 1912, oil on canvas.

Private collection, via Ketterer Kunst, kettererkunst.de

#PharosFriday #ScapeDay #scape #landscape #art #artsky #kunst #Leuchtturm #OilPainting #GermanArt #DeutscheKunst

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barbara b.
barbara b.
@lunazuna.bsky.social
5 months ago
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Langensalza, German landscape and portrait painter, representative of Rhenish Expressionism.
Das Ungleiche Paar (the odd couple), 1922, Oil on cardboard, 47.5 × 38.5 cm. Kunstmuseum Bonn.
#ArtistBirthday #GermanArt #Expressionism

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Tob Paintings
Tob Paintings
@tobpaintings.bsky.social
5 months ago
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Fearless
Acrylic paint on canvas
58x78cm

#acryliconcanvas #figurativeart #art #contemporaryart #kunst #painting #modernart #contemporarypainting #canvas #artworks #emergingartists #dailyart #figurativepainting #germanart #newyork #WomenEmpowerment #GenderEquality #FearlessGirl #WomenInLeadership

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Jen G
Jen G
@jeng-art.bsky.social
5 months ago

#käthekollwitz #sculpture #germanart #emotions #art #museum #Bskyart

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