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Painted in the 1930s, this portrait is less interested in likeness than in the architecture of looking. After travels in Europe, artist Helen Stewart wrote, “Art in Europe to-day is vital,” and she trained at André Lhote’s Paris academy, where students learned to build images through clear structure and proportion. Here, the sitter’s body and the room interlock as rectangles and vertical bands. A striped skirt becomes almost the same kind of plane as the background, collapsing depth into design. The bracing patterning and daring color contrasts nod to Henri Matisse, yet Stewart’s handling feels distinctly her quirky, poised, and modern. 

A woman sits, shoulders squared, looking slightly past us. Her skin is light-to-medium coffee brown with warm undertones. Dark eyes and arched brows give her face a calm, appraising intensity. She wears a vivid red dress with a deep V neckline and pink & red bow. Rounded sleeves carry bold white-and-red stripes with a blush-pink panel. Her short black hair is wavy and side-parted in a classic 1930s style. Her lips are painted raspberry red. One forearm rests across her lap with stacked bracelets circling her wrist. Behind her, the room is flattened into blocks of a speckled cream wall with a small green circle, and a broad red plane like a door. Matte brushwork simplifies fabric, skin, and furniture into confident planes of color. 

“Portrait of a Woman in Red” matches the “modern” women Stewart exhibited at the Macquarie Galleries in Sydney in 1934. Te Papa (the Museum of New Zealand) notes that this woman’s identity is unknown, which heightens the work’s tension as she reads as a modern woman with lipstick, cropped hair, direct gaze, yet is presented without a name. That anonymity could suggest both erasure and freedom as she becomes an emblem of interwar self-fashioning while also meeting us as an equal.

Painted in the 1930s, this portrait is less interested in likeness than in the architecture of looking. After travels in Europe, artist Helen Stewart wrote, “Art in Europe to-day is vital,” and she trained at André Lhote’s Paris academy, where students learned to build images through clear structure and proportion. Here, the sitter’s body and the room interlock as rectangles and vertical bands. A striped skirt becomes almost the same kind of plane as the background, collapsing depth into design. The bracing patterning and daring color contrasts nod to Henri Matisse, yet Stewart’s handling feels distinctly her quirky, poised, and modern. A woman sits, shoulders squared, looking slightly past us. Her skin is light-to-medium coffee brown with warm undertones. Dark eyes and arched brows give her face a calm, appraising intensity. She wears a vivid red dress with a deep V neckline and pink & red bow. Rounded sleeves carry bold white-and-red stripes with a blush-pink panel. Her short black hair is wavy and side-parted in a classic 1930s style. Her lips are painted raspberry red. One forearm rests across her lap with stacked bracelets circling her wrist. Behind her, the room is flattened into blocks of a speckled cream wall with a small green circle, and a broad red plane like a door. Matte brushwork simplifies fabric, skin, and furniture into confident planes of color. “Portrait of a Woman in Red” matches the “modern” women Stewart exhibited at the Macquarie Galleries in Sydney in 1934. Te Papa (the Museum of New Zealand) notes that this woman’s identity is unknown, which heightens the work’s tension as she reads as a modern woman with lipstick, cropped hair, direct gaze, yet is presented without a name. That anonymity could suggest both erasure and freedom as she becomes an emblem of interwar self-fashioning while also meeting us as an equal.

“Portrait of a Woman in Red” by Helen Stewart (New Zealand) - Oil on canvas / 1930s - Museum of New Zealand Te Papa Tongarewa (Wellington) #WomenInArt #WomensArt #WomanArtist #WomenArtists #HelenStewart #MuseumofNewZealand #TePapa #art #artText #NewZealandArt #NewZealandArtist #WomenPaintingWomen

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#showmeyourknits #ShadowBoxSocks by #HelenStewart 🧶 www.ravelry.com/projects/Kno...

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Gulp. I now have over 300 stitches on my needles. I’ll finish with 491, emphasis on the ONE. Danger, danger….

#pebblebeachshawl #helenstewart #curioushandmade #knit #showmeyourknits #laceknitting

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I love this yarn. It’s Cumbria by The Fibre Co. I started this shawl in another yarn and wasn’t happy with it. It’s looking much better now. The right yarn for the right project! #knitsky #knitter #cumbria #thefiberco #pebblebeachshawl #helenstewart #curioushandmade

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