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Bouquet of #Flowers by Camille Pissarro, 1873. #HighMuseumOfArt #Atlanta
#Photography #Painting

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Tree & windows. #HighMuseumOfArt #Atlanta
#photography #travel #eastcoastkin
#blueskyartshow
#blueskyphotography

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View of Atlanta from within the #HighMuseumOfArt.
#Photography.

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The many ramps of the High Museum of Art.
#HighMuseumofArt #Museum #Architecture #ClassicMono #Monochrome #Blackandwhite #B&W #PhotographersOfBluesky #PhotographersUnited #EastCoastKin #WilliamAdamsPhotograhy

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Made in 1945, this black-and-white lithograph sits within American artist Marion Greenwood’s broader commitment to figure-centered work that treats daily life as worthy of monumentality. Greenwood, known for her training in New York and abroad, her mural practice, and years of travel, brings public-scale seriousness into an intimate portrait format because even though the sitter is unnamed, she is not anonymous in feeling. 

The print shows a seated young Black woman. Her skin is rendered in rich, velvety tones, with soft highlights along her cheekbone, nose, collarbones, and the curve of her forearm. She holds her head high, chin gently lifted, and looks outward with a confident expression as if she’s meeting our gaze without performing for it. Her hair is swept up into a tall, wind-blown shape, adding height and movement to an otherwise quiet pose. She wears a loose, open-neck blouse that almost falls off one shoulder, revealing the strap and lace edge of an undergarment. The fabric is described with broad, chalky strokes that contrast with the darker modeling of her face and neck. Her left arm drapes over the back of a wooden chair, hand hanging loosely, while her left hand rests in her lap. A patterned skirt with dense dark, repeating marks anchors the lower portion of the image. Behind her, a pared-down interior space of suggested walls and a vertical edge like a window frame keeps our attention on her presence and posture.

The lithographic medium amplifies Greenwood’s empathy through pressure, grain, and contrast. As velour blacks build dignity, lighter passages leave room for breath and interiority. The girl’s lifted chin and resting hands read as both ease and resolve for an image of girlhood that resists sentimentality, offering instead quiet authority. In a decade marked by upheaval and return, Greenwood’s portrait suggests a different kind of “rural America” … not a backdrop, but a person who is steady, specific, and fully centered.

Made in 1945, this black-and-white lithograph sits within American artist Marion Greenwood’s broader commitment to figure-centered work that treats daily life as worthy of monumentality. Greenwood, known for her training in New York and abroad, her mural practice, and years of travel, brings public-scale seriousness into an intimate portrait format because even though the sitter is unnamed, she is not anonymous in feeling. The print shows a seated young Black woman. Her skin is rendered in rich, velvety tones, with soft highlights along her cheekbone, nose, collarbones, and the curve of her forearm. She holds her head high, chin gently lifted, and looks outward with a confident expression as if she’s meeting our gaze without performing for it. Her hair is swept up into a tall, wind-blown shape, adding height and movement to an otherwise quiet pose. She wears a loose, open-neck blouse that almost falls off one shoulder, revealing the strap and lace edge of an undergarment. The fabric is described with broad, chalky strokes that contrast with the darker modeling of her face and neck. Her left arm drapes over the back of a wooden chair, hand hanging loosely, while her left hand rests in her lap. A patterned skirt with dense dark, repeating marks anchors the lower portion of the image. Behind her, a pared-down interior space of suggested walls and a vertical edge like a window frame keeps our attention on her presence and posture. The lithographic medium amplifies Greenwood’s empathy through pressure, grain, and contrast. As velour blacks build dignity, lighter passages leave room for breath and interiority. The girl’s lifted chin and resting hands read as both ease and resolve for an image of girlhood that resists sentimentality, offering instead quiet authority. In a decade marked by upheaval and return, Greenwood’s portrait suggests a different kind of “rural America” … not a backdrop, but a person who is steady, specific, and fully centered.

“Mississippi Girl” by Marion Greenwood (American) - Lithograph on paper / 1945 - High Museum of Art (Atlanta, Georgia) #WomenInArt #WomensArt #WomanArtist #HighMuseumOfArt #Lithograph #BlackArt #AmericanArt #AmericanArtist #art #artText #artwork #Greenwood #HighMuseum #WomenArtists #MarionGreenwood

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Viktor & Rolf Exhibit at the High Museum of Art

1) invisible, avoidance
2) incomplete
3) ruffled
4) mood

#fashion #mood #viktorandrolf #highmuseumofart #invisible #incomplete #ruffled #mood #avoidance #sonyalpha #sigmalens

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A break from the world to soothe the soul.

Randomscribblingsnm.substack.com
Nicholes-randomscribblings.beehiiv.com

#randomscribblings #beehiiv #Viktorandrolf #highmuseumofart #fashionforward #photoessay

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52Frames: Rule of Thirds, EC -Symmetry. A (crowded) day at the @highmuseumofart made for a fun day of picture practice. None of these meet the extra challenge and #4 doesn't meet the challenge at all, but I kinda dig it.

#52frames, #52frames_ruleofthirds, #highmuseumofart, #sonyalpha, #sigmalens

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If you're in #Atlanta and want to take a break from everything I highly recommend the Viktor&Rolf exhibit at The High Musem. Very cool escapism for a little bit. #highmuseumofart

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The graceful chaise lounge in the background has the appearance of being fashioned of multiple small hexagonals making up the fabric cushionhing and the metal frame.

The graceful chaise lounge in the background has the appearance of being fashioned of multiple small hexagonals making up the fabric cushionhing and the metal frame.

Microstructures, Gradient Lounge, 2014
Copper and nickel plated 3D printed polyamide, silk, cotton and Merino wool
Joris Laarman Lab: Design in the Digital Age
2018 Exhibit High Museum of Art
iPhone photo 2018

#highmuseumofart #blackandwhitephotography

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#highmuseumofart #blackandwhitephotography

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In foreground chair has the appearance of woven metal. The graceful chaise lounge in the background has the appearance of being fashioned of multiple small hexagonals making up the fabric cushionhing and the metal frame.

In foreground chair has the appearance of woven metal. The graceful chaise lounge in the background has the appearance of being fashioned of multiple small hexagonals making up the fabric cushionhing and the metal frame.

Foreground, Adaptation Chair, Copper, 2014, In the rear the Microstructures Gradient Lounge, 2014
Joris Laarman Lab: Design in the Digital Age
2018 Exhibit High Museum of Art
iPhone photo from 2018
#highmuseumofart #blackandwhitephotography

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The bust of a sculpture of a woman is set on a block pedestal before a grid of windows that illuminate from behind, the sculpture centered, the periphery dropping into darkness.

The bust of a sculpture of a woman is set on a block pedestal before a grid of windows that illuminate from behind, the sculpture centered, the periphery dropping into darkness.

Portrait of Charles Cordier's "A Young Woman of Trastevere (Romaine du Trastevere, 25 Ans)" ca. 1860. High Museum of Art. 2015.

#highmuseumofart #blackandwhitephotography #sculpturephotography

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A view through an interior window to an exterior window, a mix of curves, straight lines and right angles.

A view through an interior window to an exterior window, a mix of curves, straight lines and right angles.

High Museum of Art, window, 2019, processed 2025

#blackandwhitephotography #atlantaphotography #highmuseumofart #highmuseum

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View from hall to a bench of a rest area within the restrooms area. Minimalism.

View from hall to a bench of a rest area within the restrooms area. Minimalism.

High Museum of Art, Restrooms, 2019, processed 2025

#blackandwhitephotography #atlantaphotography #highmuseumofart #highmuseum

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All low-contrast grays of a view from the Stent Family Wing to the snack bar in the Weiland Wing (main entrance lobby)

All low-contrast grays of a view from the Stent Family Wing to the snack bar in the Weiland Wing (main entrance lobby)

High Museum of Art, 2019, processed 2025

#blackandwhitephotography #atlantaphotography #highmuseumofart #highmuseum

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View of single bench with cushion.

View of single bench with cushion.

Museum Seating, Bench with Cushion, High Museum of Art
2019, processed 2025
I love museum seating.
#blackandwhitephotography #atlantaphotography #highmuseumofart #highmuseum

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View of two benches with cushions in a T-shape

View of two benches with cushions in a T-shape

Museum Seating, Benches with Cushions, High Museum of Art
2019, processed 2025
I love museum seating.
#blackandwhitephotography #atlantaphotography #highmuseumofart #highmuseum

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Inside the High Museum of Art in Atlanta. The building alone is a masterpiece.
#HighMuseum #HighMuseumOfArt #Atlanta #WindowsOnWednesday #ClassicMono #Monochrome #Blackandwhite #B&W #PhotographersOfBluesky #PhotographersUnited #EastCoastKin

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Video

Video from Sunday visit to the high museum of art atlanta and little bit of this special exhibit.
#highmuseumofartatlanta #highmuseumofart #ryojiikeda #ryojiikedaexhibition #ryojiikedadataverse #dataverse #dataexhibit #aroundforalimitedtime #museumnerd #artmuseumnerd #artmuseum

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Preview
High Museum Presents Faith Ringgold: Seeing Children - Picture Preview WHEN: June 27 – October 12, 2025 For more information visit the High Museum website. WHERE: High Museum of Art ​​1280 Peachtree Street,

A comprehensive exhibit -- magical!-- with theme of how Ringgold sees children- especially Black children-- Click the picture to see several more pictures and read more...

#HighMuseumofArt #FaithRinggold #AtlantaArt #PictureThisPostArt #PictureThisPostMuseums #AtlantaMuseums #BlackLivesMatter #art

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Video

#HighMuseumofArt
#Atlanta
#Sundayexhibition

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Kim Chong Hak, at the High Museum of Art. #contemporaryart
#blueskyart #koreanartist #highmuseumofart

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This masterful painting is from an ongoing series titled Hoodoo Assassins, which refers to an army of real and imaginary women created by American artist Renée Stout to protect a symbolic space she calls “The Parallel Universe” to find refuge during the past years of police violence and the resurgence of White supremacist terrorism. Her subjects channel the personas of subversive individuals who project a self-possession that exudes strength and resolve. Stout says, “while we may be in this mess, we don’t have to succumb to it and allow ourselves to be of it.”

Stout grew up in Pittsburgh, Pennsylvania where she received her B.F.A. from Carnegie-Mellon University. In 1985, she moved to Washington, D.C. and began to explore the spiritual roots of her African American heritage through her work. Eventually, Stout became the first American artist to exhibit in the Smithsonian’s National Museum of African Art. 

By combining personal experience from her immediate environment with inspiration drawn from belief systems of the African Diaspora and its descendants, Stout creates work that encourages self-betterment through examination, empowerment, and healing.

The painting style is realistic, but with colors that are rich and saturated enhanced by the textured paper which emphasizes the stunning African American woman against a chalky-white background. 

She wears a Magenta pink jacket with a stylized leopard print pattern and deep maroon trim along the edges. Her hair is styled in a high, elaborate updo with a hint of teal coloring sparkling with small, pearl-like embellishments which match her earrings and necklace displaying a ruby red and gold heart-shaped drop. Her beautiful large eyes are focused directly on us and draw our attention despite the perfection of her clear caramel skin, manicured eyebrows, perfect nose, and large slightly-smiling lips with muted rouge.

Her beauty, elegance, confidence, and direct gaze all demand -- and earn -- our attention.

This masterful painting is from an ongoing series titled Hoodoo Assassins, which refers to an army of real and imaginary women created by American artist Renée Stout to protect a symbolic space she calls “The Parallel Universe” to find refuge during the past years of police violence and the resurgence of White supremacist terrorism. Her subjects channel the personas of subversive individuals who project a self-possession that exudes strength and resolve. Stout says, “while we may be in this mess, we don’t have to succumb to it and allow ourselves to be of it.” Stout grew up in Pittsburgh, Pennsylvania where she received her B.F.A. from Carnegie-Mellon University. In 1985, she moved to Washington, D.C. and began to explore the spiritual roots of her African American heritage through her work. Eventually, Stout became the first American artist to exhibit in the Smithsonian’s National Museum of African Art. By combining personal experience from her immediate environment with inspiration drawn from belief systems of the African Diaspora and its descendants, Stout creates work that encourages self-betterment through examination, empowerment, and healing. The painting style is realistic, but with colors that are rich and saturated enhanced by the textured paper which emphasizes the stunning African American woman against a chalky-white background. She wears a Magenta pink jacket with a stylized leopard print pattern and deep maroon trim along the edges. Her hair is styled in a high, elaborate updo with a hint of teal coloring sparkling with small, pearl-like embellishments which match her earrings and necklace displaying a ruby red and gold heart-shaped drop. Her beautiful large eyes are focused directly on us and draw our attention despite the perfection of her clear caramel skin, manicured eyebrows, perfect nose, and large slightly-smiling lips with muted rouge. Her beauty, elegance, confidence, and direct gaze all demand -- and earn -- our attention.

Hoodoo Assassin # 6 (the Chameleon) by Renée Stout (American) - Oil on handmade paper / 2019 - High Museum of Art (Atlanta, Georgia) #womeninart #art #womanartist #oilpainting #portrait #womensart #reneestout #HighMuseumofArt #artwork #fineart #africanamericanartist #blackwoman #africanamericanart

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Danish Romantic painter Vilhelm Kyhn’s oil-on-canvas “Girl at a Window” (sometimes referred as Day Dreams) is a “picture within a picture” featuring a young woman with shoulder-length blonde hair observing the snow-laden winter landscape from a large window from the comfort of her home while wearing warm long-sleeve casual attire. The theme of the woman or girl in a domestic interior at or near a window can be traced back to the 17th century and to the works of certain Dutch artists like Johannes Vermeer. 

During the Romantic Period in the early 19th century, this theme became central to the work of Northern European artists, especially those working in Germany and Denmark. This quietly poetic painting by Kyhn captures the spirit of Danish Golden Age painting and is the first painting by a Scandinavian artist to enter the High’s collection.

Danish Romantic painter Vilhelm Kyhn’s oil-on-canvas “Girl at a Window” (sometimes referred as Day Dreams) is a “picture within a picture” featuring a young woman with shoulder-length blonde hair observing the snow-laden winter landscape from a large window from the comfort of her home while wearing warm long-sleeve casual attire. The theme of the woman or girl in a domestic interior at or near a window can be traced back to the 17th century and to the works of certain Dutch artists like Johannes Vermeer. During the Romantic Period in the early 19th century, this theme became central to the work of Northern European artists, especially those working in Germany and Denmark. This quietly poetic painting by Kyhn captures the spirit of Danish Golden Age painting and is the first painting by a Scandinavian artist to enter the High’s collection.

Girl at a Window (aka Day Dreams) by Vilhelm Kyhn (Danish) - Oil on canvas / c. 1870 - High Museum of Art (Atlanta, Georgia) #womeninart #highmuseumofart #daydream #winterart #VilhelmKyhn #art #danishartist #oilpainting #womensart #artwork #fineart #winter #painting #daydreams #artoftheday #bskyart

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A visit to the High Museum here in Atlanta.

#HighMuseumofArt #atlanta #outside #outsideisfree
#blackartists #blackartwork

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Plan Your Visit: Open through Jan. 5, 2025. Members & Museum Pass holders enjoy free admission; tickets for non-members are $23.50.

Don’t miss your chance to experience this extraordinary exhibition before it closes! #PatternsInAbstraction #HighMuseumOfArt #Quilting #GeesBendQuilters

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“Invisible Man”
Atlanta High Museum of Art

#streetphotography #street #art #Atlanta #highmuseumofart #atlantaphotographer

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Walls, wood floor, empty space, a doorway on a light-filled, hall with windows beyond.

Walls, wood floor, empty space, a doorway on a light-filled, hall with windows beyond.

The High Museum of Art--sans people and art. Taken 2015. Processed 2019.

#highmuseumofart #photography #bwphotography #blackandwhitephotography #monochrome #atlanta

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#HighMuseumofArt Topia: U or Dys, You Decide! game. @ High Museum of Art,…

instagram.com/p/55NnrUwN5vyk…

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