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Michael
Michael
@mdstamper.bsky.social
5 days ago
James Sant was one of Victorian Britain’s best-known painters, celebrated especially for portraits of aristocratic women and children, and later served as Principal Painter in Ordinary to Queen Victoria. Here, instead of court display, he gives us a highly polished private moment. Two young women sit close together in a dense garden, framed by dark foliage and low pink blossoms that spill across the foreground. The woman at left has dark hair, pale skin, and a soft white dress edged with lace. She lowers her gaze with calm concentration as she steadies the other woman’s hand. The woman at right, fair and rosy, leans inward in a blush-pink dress trimmed with ribbons and flowers. Their heads nearly touch. The woman to the left gently removes a thorn from the other’s finger, turning a tiny hurt into the center of the scene. Sant paints skin, lace, petals, and fabric with velvety softness, so that careful, intimate, and unhurried touch becomes the picture’s real subject. The title tells us what has happened, but the painting’s emotional force lies in how quietly it happens as pain is answered by tenderness. The thorn suggests the old idea that beauty carries risk. Roses bloom, but they wound. The painting is less moral warning than study in feminine care, sympathy, and closeness. Because Sant so often idealized women in lush, refined settings, this work also fits late Victorian taste for sentiment, allegory, and cultivated beauty. Painted in 1887 and now in Manchester Art Gallery, it turns a fleeting sting into an image of mutual attention ... like an everyday act made poetic. We do not know the sitters’ identities from the collection record, but Sant makes them feel less like portraits of individuals than embodiments of affection, delicacy, and emotional reassurance.

James Sant was one of Victorian Britain’s best-known painters, celebrated especially for portraits of aristocratic women and children, and later served as Principal Painter in Ordinary to Queen Victoria. Here, instead of court display, he gives us a highly polished private moment. Two young women sit close together in a dense garden, framed by dark foliage and low pink blossoms that spill across the foreground. The woman at left has dark hair, pale skin, and a soft white dress edged with lace. She lowers her gaze with calm concentration as she steadies the other woman’s hand. The woman at right, fair and rosy, leans inward in a blush-pink dress trimmed with ribbons and flowers. Their heads nearly touch. The woman to the left gently removes a thorn from the other’s finger, turning a tiny hurt into the center of the scene. Sant paints skin, lace, petals, and fabric with velvety softness, so that careful, intimate, and unhurried touch becomes the picture’s real subject. The title tells us what has happened, but the painting’s emotional force lies in how quietly it happens as pain is answered by tenderness. The thorn suggests the old idea that beauty carries risk. Roses bloom, but they wound. The painting is less moral warning than study in feminine care, sympathy, and closeness. Because Sant so often idealized women in lush, refined settings, this work also fits late Victorian taste for sentiment, allegory, and cultivated beauty. Painted in 1887 and now in Manchester Art Gallery, it turns a fleeting sting into an image of mutual attention ... like an everyday act made poetic. We do not know the sitters’ identities from the collection record, but Sant makes them feel less like portraits of individuals than embodiments of affection, delicacy, and emotional reassurance.

“A Thorn amidst the Roses” by James Sant (British) - Oil on canvas / 1887 - Manchester Art Gallery (Manchester, England) #WomenInArt #JamesSant #Sant #ManchesterArtGallery #VictorianArt #arte #art #artText #19thCenturyArt #BritishArtist #BritishArt #VictorianPainting #RomanticRealism #1880sArt

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Michael
Michael
@mdstamper.bsky.social
2 months ago
Painted in 1904, this portrait comes from Welsh artist Augustus John’s early, high-intensity years, when he was gaining fame for psychologically charged likenesses. The title “Ardor” (“burning feeling” or “intensity”) guides the emotional register. This isn’t a neutral likeness so much as an intimate study of presence. The sitter is Dorothy “Dorelia” McNeill, a central figure in Augustus John’s life and work as his partner, muse, and subject of many portraits during the 1900s. A tightly framed oil portrait shows a young Dorelia from the chest up against a soft, smoky grey ground. She turns her head slightly while looking back toward our left, her dark eyes steady and alert. Her skin is fair/light with warm blush across both cheeks as bright highlights catch her forehead, nose, and cheekbones, giving her face a living sheen. Her dark hair is swept back from a high hairline and falls in loose curls at the temples. The mouth forms a small, closed-lip smile that is more private than performative while her raised brow line and half-lidded gaze add a hint of amused confidence. She wears a black, collarless jacket fastened with small round buttons, opened to a white blouse. The paint is most precise around the eyes and mouth. Elsewhere, edges soften and brushwork loosens, letting her face emerge from shadow without hard outlines. Fine surface cracking is visible across the background and hair. Dorelia’s sidelong glance and half-smile suggest she’s in on a thought we don’t fully share. With no props, jewelry, or setting to “explain” her, the painting insists on the authority of expression. She is not softened into sweetness or decorum, but presented as self-possessed … warm, watchful, and unyielding about the boundary between observer and observed. The restrained palette of charcoal, black, muted cream, and flesh tones, intensifies that effect, through small details like the tilt of her head, the pull of light on skin, and that one-of-a-kind, almost-spoken smirk.

Painted in 1904, this portrait comes from Welsh artist Augustus John’s early, high-intensity years, when he was gaining fame for psychologically charged likenesses. The title “Ardor” (“burning feeling” or “intensity”) guides the emotional register. This isn’t a neutral likeness so much as an intimate study of presence. The sitter is Dorothy “Dorelia” McNeill, a central figure in Augustus John’s life and work as his partner, muse, and subject of many portraits during the 1900s. A tightly framed oil portrait shows a young Dorelia from the chest up against a soft, smoky grey ground. She turns her head slightly while looking back toward our left, her dark eyes steady and alert. Her skin is fair/light with warm blush across both cheeks as bright highlights catch her forehead, nose, and cheekbones, giving her face a living sheen. Her dark hair is swept back from a high hairline and falls in loose curls at the temples. The mouth forms a small, closed-lip smile that is more private than performative while her raised brow line and half-lidded gaze add a hint of amused confidence. She wears a black, collarless jacket fastened with small round buttons, opened to a white blouse. The paint is most precise around the eyes and mouth. Elsewhere, edges soften and brushwork loosens, letting her face emerge from shadow without hard outlines. Fine surface cracking is visible across the background and hair. Dorelia’s sidelong glance and half-smile suggest she’s in on a thought we don’t fully share. With no props, jewelry, or setting to “explain” her, the painting insists on the authority of expression. She is not softened into sweetness or decorum, but presented as self-possessed … warm, watchful, and unyielding about the boundary between observer and observed. The restrained palette of charcoal, black, muted cream, and flesh tones, intensifies that effect, through small details like the tilt of her head, the pull of light on skin, and that one-of-a-kind, almost-spoken smirk.

“Ardor” by Augustus John (Welsh) - Oil on canvas / 1904 - Manchester Art Gallery (Manchester, England) #WomenInArt #ManchesterArtGallery #AugustusJohn #PortraitofaWoman #WomanPortrait #art #artText #artwork #BlueskyArt #OilOnCanvas #ArtOfTheDay #arte #OilPainting #WelshArt #BritishArt #WelshArtist

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Michael
Michael
@mdstamper.bsky.social
2 months ago
Painted during the years British artist Susan Isabel Dacre was studying and traveling between England, Paris, and Italy, this work sits in the 19th-century tradition of using “Italian” dress and youthful sitters to signal authenticity, locality, and feeling. A tight crop and an unguarded, sideways glance create a psychological portrait so we’re made aware of her interior life and of a world beyond the frame. Dacre’s work is a close-up portrait of a young girl shown from the chest up, turned three-quarters and looking sharply to our right, as if something off-canvas has caught her attention. Her skin is warm olive-tan under soft, naturalistic light while her dark brown eyes are wide and her lips part slightly, giving her expression a mix of alertness and uncertainty. Long black hair falls loose around her face and shoulders, crowned with fresh green leaves. A bright red two-strand coral necklace circles her neck as a white garment slips low across one shoulder and a brown patterned wrap is held in place by her other arm. The background is an atmospheric field of deep greens, painted loosely so her face and gaze feel intensely present. The leafy crown was likely a festival adornment (or a hint of laurel), while the vivid red necklace punctuates the composition like a protective charm expressing life, warmth, and individuality against the cool green ground. Seen through Dacre’s later commitment to women’s advancement, the painting’s quiet power is how it grants a working-class or rural-coded girl the dignity of attention. She is not posed for display, but caught mid-thought, self-possessed, and real. Dacre trained at the Manchester School of Art and later at the Académie Julian in Paris, building a practice grounded in close observation and painterly restraint. She was also a committed women’s suffrage activist and, with her friend Annie Swynnerton, helped found the Manchester Society of Women Artists.

Painted during the years British artist Susan Isabel Dacre was studying and traveling between England, Paris, and Italy, this work sits in the 19th-century tradition of using “Italian” dress and youthful sitters to signal authenticity, locality, and feeling. A tight crop and an unguarded, sideways glance create a psychological portrait so we’re made aware of her interior life and of a world beyond the frame. Dacre’s work is a close-up portrait of a young girl shown from the chest up, turned three-quarters and looking sharply to our right, as if something off-canvas has caught her attention. Her skin is warm olive-tan under soft, naturalistic light while her dark brown eyes are wide and her lips part slightly, giving her expression a mix of alertness and uncertainty. Long black hair falls loose around her face and shoulders, crowned with fresh green leaves. A bright red two-strand coral necklace circles her neck as a white garment slips low across one shoulder and a brown patterned wrap is held in place by her other arm. The background is an atmospheric field of deep greens, painted loosely so her face and gaze feel intensely present. The leafy crown was likely a festival adornment (or a hint of laurel), while the vivid red necklace punctuates the composition like a protective charm expressing life, warmth, and individuality against the cool green ground. Seen through Dacre’s later commitment to women’s advancement, the painting’s quiet power is how it grants a working-class or rural-coded girl the dignity of attention. She is not posed for display, but caught mid-thought, self-possessed, and real. Dacre trained at the Manchester School of Art and later at the Académie Julian in Paris, building a practice grounded in close observation and painterly restraint. She was also a committed women’s suffrage activist and, with her friend Annie Swynnerton, helped found the Manchester Society of Women Artists.

“Italian Girl with Necklace” by Susan Isabel Dacre (British) - Oil on canvas / c. 1874–1880 - Manchester Art Gallery (Manchester, England) #WomenInArt #ManchesterArtGallery #SusanIsabelDacre #Dacre #PortraitofaGirl #art #artText #BritishArtist #BlueskyArt #arte #WomensArt #WomanArtist #WomenArtists

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Michael
Michael
@mdstamper.bsky.social
3 months ago
Painted in 1934, this portrait balances realism with a deliberate, modern kind of refinement as British artist Clara Klinghoffer simplifies detail while heightening expression through contour, color, and pose. The title names the sitter as Giuseppina who is described in collection sources as a young Sicilian girl; however, the painting resists anecdote as there’s no obvious narrative prop and only a charged contrast of cool background and warm flesh, sculptural sleeves, and a vivid blue ring drawing our eyes to her hands. Shown from the waist up, a young woman, looks to our right, as if listening or thinking beyond the frame. Her skin is soft, pale-to-light tones with warm blush on the cheeks. Her features are refined and stylized including arched brows, long dark lashes, and a small mouth with glossy red lipstick. Her dark hair is smoothed back and gathered low at the nape, with a clean look emphasizing the elegant line of her forehead and neck. She wears a fitted dress in muted rose-brown and plum tones, with dramatic puffed sleeves and a slightly open neckline. Around the neck and cuffs, a textured band of golden-tan fur-like trim catches the light, echoing warmer notes in her face. Her hands rest together at the lower right showing red-painted nails and a prominent ring set with a deep blue stone. The background is a mottled blue-green field, brushed loosely so it creates an atmosphere rather than a specific room. That cool, sea-green backdrop makes her warm clothing and luminous face feel even more present. Klinghoffer, celebrated in her lifetime for formidable draftsmanship and psychologically alert portraiture, often gave her sitters a quiet, interior presence rather than theatrical gesture. Here, the turned head and distant gaze create a sense of privacy: we see her, but we don’t fully “have” her. In that tension—between display and autonomy—the work becomes not just a likeness, but a study of dignity, style, and the right to inwardness.

Painted in 1934, this portrait balances realism with a deliberate, modern kind of refinement as British artist Clara Klinghoffer simplifies detail while heightening expression through contour, color, and pose. The title names the sitter as Giuseppina who is described in collection sources as a young Sicilian girl; however, the painting resists anecdote as there’s no obvious narrative prop and only a charged contrast of cool background and warm flesh, sculptural sleeves, and a vivid blue ring drawing our eyes to her hands. Shown from the waist up, a young woman, looks to our right, as if listening or thinking beyond the frame. Her skin is soft, pale-to-light tones with warm blush on the cheeks. Her features are refined and stylized including arched brows, long dark lashes, and a small mouth with glossy red lipstick. Her dark hair is smoothed back and gathered low at the nape, with a clean look emphasizing the elegant line of her forehead and neck. She wears a fitted dress in muted rose-brown and plum tones, with dramatic puffed sleeves and a slightly open neckline. Around the neck and cuffs, a textured band of golden-tan fur-like trim catches the light, echoing warmer notes in her face. Her hands rest together at the lower right showing red-painted nails and a prominent ring set with a deep blue stone. The background is a mottled blue-green field, brushed loosely so it creates an atmosphere rather than a specific room. That cool, sea-green backdrop makes her warm clothing and luminous face feel even more present. Klinghoffer, celebrated in her lifetime for formidable draftsmanship and psychologically alert portraiture, often gave her sitters a quiet, interior presence rather than theatrical gesture. Here, the turned head and distant gaze create a sense of privacy: we see her, but we don’t fully “have” her. In that tension—between display and autonomy—the work becomes not just a likeness, but a study of dignity, style, and the right to inwardness.

“Giuseppina” by Clara Klinghoffer (British) - Oil on canvas / 1934 - Manchester Art Gallery (England) #WomenInArt #ClaraKlinghoffer #Klinghoffer #ManchesterArtGallery #WomensArt #WomanArtist #WomenArtists #PortraitofaWoman #art #artText #BlueskyArt #BritishArtist #BritishArt #WomenPaintingWomen

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Shibui Shashin
Shibui Shashin
@shibui-shashin.bsky.social
4 months ago
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Plaster casts in the sculpture collection of Manchester Art Gallery - Manchester

#plasterCast #sculpture #art #manchesterArtGallery #classicMono

48 3 1 0
Stockport Academy
Stockport Academy
@stockportacademy.bsky.social
5 months ago
Post image Post image Post image Post image

Year 10 Textiles students had an inspiring trip to Manchester Art Gallery, exploring creative techniques and exhibitions to enhance their work.

They saw the connection between art, design, fashion, and textiles. 🎨🧵

#OpportunityToSucceed #Aspiration #ManchesterArtGallery

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Scot1
Scot1
@shabba1.bsky.social
8 months ago
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In Manchester yest. and enjoyed the #Oasis merch stalls in the square, #BarPop in #CanalStreet #Wagamama #ManchesterArtGallery #Pre-Raphaelites, #NorthernQuarter record shops, 80,000 people enjoying life and six (maybe seven?) people whining about something.
Manchester is wonderful. 🐝

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St John’s Radcliffe
St John’s Radcliffe
@stjohnsradcliffe.bsky.social
9 months ago
Post image

'Drawn to you' exhibit.
Some of our nursery art work is being displayed in the lions den at The Manchester art gallery until July 24th. If you're in Manchester why not take a look, its free entry. Can you guess the nursery teachers? #drawntoyou #manchesterartgallery
#GMCA
#mayorofgm

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PARIAH PRESS 🍷
PARIAH PRESS 🍷
@pariahpress.bsky.social
9 months ago
Post image

Three of @lindenarchives.bsky.social works are now on display as part of the #ManchesterArtGallery permanent collection.

Originally published in:
OUT & ABOUT WITH LINDEN
and
LINDEN ARCHIVES
pariahpress.com/books

There's a launch-luncheon happening today that we were not invited to.

#Photography

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Sue Comer
Sue Comer
@sucomer.bsky.social
1 year ago
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Discovered this wonderful artwork today at #manchesterartgallery by Ruth Murray #art #ruthmurray stunning!

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Chorlton Arts Festival
Chorlton Arts Festival
@cafchorlton.bsky.social
1 year ago

There is a meeting on Clean Air in Greater Manchester at #ManchesterArtGallery on 22nd March 12:00-16:00 run by @asthmaandlung.org.uk FREE

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Michael
Michael
@mdstamper.bsky.social
1 year ago
Full figure depiction of a female servant who is walking through the shadows of an arched entranceway. She is dressed in an exotic style, and the scenery behind her is Egyptian-looking, but her skin is pale and her features Western. She carries a tray on which is set two small cups and two small inverted glasses. Her dark hair is partly covered with a turban headdress which hangs darkly behind her head, framing her pale neck. She is dressed in richly exotic garments, patterned and worn in a layered and loose style tied at the waist with a wide sash, and ornamented with a necklace. Over these robes she wears a short navy jacket with gold leaf-pattern embroidery and gold trim. She stands with one foot placed on a step that leads out from the darkness of the entranceway into a sunlit foreground with a coloured mosaic tiled floor; the open door to the left is decorated with panels carved into geometric relief designs. The light from the walled garden beyond frames the subject. Palm trees and a minaret are visible beyond the garden wall.

Full figure depiction of a female servant who is walking through the shadows of an arched entranceway. She is dressed in an exotic style, and the scenery behind her is Egyptian-looking, but her skin is pale and her features Western. She carries a tray on which is set two small cups and two small inverted glasses. Her dark hair is partly covered with a turban headdress which hangs darkly behind her head, framing her pale neck. She is dressed in richly exotic garments, patterned and worn in a layered and loose style tied at the waist with a wide sash, and ornamented with a necklace. Over these robes she wears a short navy jacket with gold leaf-pattern embroidery and gold trim. She stands with one foot placed on a step that leads out from the darkness of the entranceway into a sunlit foreground with a coloured mosaic tiled floor; the open door to the left is decorated with panels carved into geometric relief designs. The light from the walled garden beyond frames the subject. Palm trees and a minaret are visible beyond the garden wall.

The Coffee Bearer by John Frederick Lewis (British) - Oil on panel / 1857 - Manchester (England) Art Gallery #womeninart #britishartist #painting #coffee #art #womansart #manchesterartgallery #artwork #johnfredericklewis #oilpainting #bskyart #bsky.art #coffeeart #lewis #artbsky #fineart

36 2 1 0
Blank
Blank
@blankphoto.bsky.social
1 year ago
Photo of artwork in front of Manchester Art Gallery. Lower half of photo shows the text below in gold against a black background. An opening at the top shows a busy pavement behind, with blurry elusive human figures shot in slow motion. Upper half of photo shows brightly coloured buildings and vegetation. Text on artwork: 'Understand that sexuality is as wide as the sea. Understand that your morality is not law. Understand that we are you. Understand that if we decide to have sex, whether safe, safer, or unsafe, it is our decision and you have no rights to our lovemaking.' (From 'A Your Own Risk')

Photo of artwork in front of Manchester Art Gallery. Lower half of photo shows the text below in gold against a black background. An opening at the top shows a busy pavement behind, with blurry elusive human figures shot in slow motion. Upper half of photo shows brightly coloured buildings and vegetation. Text on artwork: 'Understand that sexuality is as wide as the sea. Understand that your morality is not law. Understand that we are you. Understand that if we decide to have sex, whether safe, safer, or unsafe, it is our decision and you have no rights to our lovemaking.' (From 'A Your Own Risk')

LOOK BOTH WAYS

Manchester, UK, December 2024

#photography #urbanphotography #streetphotography #photographersofBSky #sexuality #LGBTQ #LGBTQIA #Manchester #ManchesterArtGallery

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Paintings of Manchester
Paintings of Manchester
@artofmanchester.bsky.social
1 year ago
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Rodin in Manchester Art Gallery Entrance Hall

Rob Pointon MAFA ROI

Oil On Board

©️Rob Pointon / Private collection

#Manchester #art #Oilpainting #ManchesterArtGallery #BritishArtist #paintingsofmanchester #Rodin

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