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For Women's History Month, the US National Museum of Women in the Arts asks "Can you name 5 women artists?" I will name 31, & you can, too.
For March 31: South Africa's Irma Stern. (2/2)
#WomensHistory #NMWA #IrmaStern #Painter
@artherstory.bsky.social
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For Women's History Month, the US National Museum of Women in the Arts asks "Can you name 5 women artists?" I will name 31, & you can, too.
For March 31: South Africa's Irma Stern. (1/2)
#WomensHistory #NMWA #IrmaStern #Painter
@artherstory.bsky.social
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#peoplematchingartworks #irmastern #brückemuseum #stefandraschan #photography #contemporaryart #berlin
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#peoplematchingartworks #irmastern #brückemuseum #stefandraschan #photography #contemporaryart #berlin
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A young woman sits, filling the canvas in a tight, cropped view in a pose that feels both elegant and guarded. Her wavy black hair is gathered low at the neck, catching blue-green highlights in thick paint. Large, half-lidded eyes, ringed by violet shadow, hold a steady gaze beneath strong arched brows; her lips are closed, tinted a muted rose. She wears a white, thin-strapped camisole. Warm tan-and-brown skin is built from brisk strokes of peach, rust, and pale yellow, with cool green and purple dragged into the shadows. One arm folds across her chest, the forearm cutting a diagonal through the composition. Her hands rise near her cheek, fingers loosely bent as if pausing mid-thought. The surface is visibly worked with overlapping strokes, small ridges, and scraped passages that let underlayers breathe through. Behind her, a saturated violet ground is scored with a loose golden grid. Dated 1938, this portrait shows Irma Stern’s modernist compression of simplified forms, heightened color, and a direct encounter that refuses decorative sweetness. The title’s “Malay” label shows how identity can be assigned from the outside. Stern counters that flattening by making the sitter feel self-contained, watchful, fully present. The Brücke-Museum’s exhibition asks us to hold Stern’s contradictions together. She trained in Weimar and Berlin and was persecuted in Nazi Germany as a Jewish artist, but she was also a white South African working within colonial and apartheid-era power. In that light, the woman’s unflinching gaze might be a quiet refusal of easy categories.
“Young Malay Maiden with Black Hair” by Irma Stern (South African) - Oil on canvas / 1938 - Brücke-Museum (Berlin, Germany) #WomenInArt #IrmaStern #Stern #art #artText #artwork #WomensArt #WomanArtist #WomenArtists #BlueskyArt #PortraitofaWoman #BrueckeMuseum #SouthAfricanArtist #WomenPaintingWomen
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🎨 Irma Stern – Farben, Freiheit, Eigenwilligkeit.
Sie war und ist eine der bedeutendsten Künstlerinnen Afrikas.
Irma Stern malte gegen Konventionen, gegen Erwartungen, gegen die Enge ihrer Zeit.
Mehr über sie wie immer in meinem Blogartikel bei den […]
[Original post on troet.cafe]
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Painted in 1936, this portrait reflects artist Irma Stern’s fascination with the diverse communities of South Africa and her commitment to character over costume. Critics often note her “dignified” portrayals; here, the calm face, lowered eyes, and reed-filled setting suggest poise rather than spectacle. The jewelry and fine sari imply a sitter of some standing, likely from the Indian community established in Natal by the late 19th and early 20th centuries. Stern’s impasto scraped and laid on in quick, directional marks keeps the surface alive, especially in the sari’s creamy folds and the reeds’ vertical energy. A woman appears against tall, pale-green reeds, her head tilted slightly left, gaze lowered and thoughtful. Her medium-brown skin is modeled with thick, lively strokes. Her eyelids are heavy, almond-shaped, with dark lashes and a soft highlight along the brow. A deep-green sari blouse and a creamy pallu drapes diagonally across her chest, edged with a fine green line. A single red stud earring catches the light while at her neck hangs a pendant with a rosy stone in a gold setting. Her black hair is pulled back into a low knot. The background is a field of vertical, grass-like strokes, echoing the sari’s green and framing her quiet, dignified presence. Stern once wrote that travel and encounter “opened new doors of color”; even at home, she sought subjects whose presence sparked that chromatic charge. Exhibited as “An Indian Woman” at the Irma Stern Museum in 2020 and later titled “The Green Sari,” the work carries a layered history (it earlier appeared at auction as “Malay Lady in Green”), but Stern’s intent holds steady: to honor a modern woman with individuality and grace. As her reputation grew, Stern balanced local portraits with journeys abroad, refining a palette of greens, yellows, and warm earth tones that became signature in her mature style.
“The Green Sari” by Irma Stern (South African) – Oil on canvas / 1936 – Irma Stern Museum (Cape Town, South Africa) #WomenInArt #WomanArtist #IrmaStern #WomensArt #WomenPaintingWomen #WomenArtists #SouthAfricanArt #SouthAfricanArtist #BlueskyArt #OilPainting #FemaleArtist #art #artText #artwork
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Woche der Künstlerinnen: Irma Stern.
Ihre leuchtende Farbwelten und kraftvolle Ausdruckskraft machen sie zu einer Ikone der modernen südafrikanischen Kunst.
https://www.blog.der-leiermann.com/irma-stern/
#IrmaStern #Expressionismus #ArtHistory #WomenInArt […]
[Original post on troet.cafe]
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