#artreturned #DavidDrake #MuseumOfFineArtsBoston
Museum of Fine Arts Boston returns 19th century jar to heirs of Black potter David Drake, who created it while enslaved during the 1850s:
www.theartnewspaper.com/2025/10/29/m...
Before the next round of event announcements, I thought I’d share my very extended Johnson family gathered on the grand staircase of the Museum of Fine Arts in Boston. Quite the clan, right?
#familyreunions #fidelity #nedjohnson #roots
#museumoffineartsboston #MFA
#princesscheyenne #catstevens
Love Jackson Pollock. Here is his No. 10, 1949, along with a closeup, which is part of the wonderful collection in the #MuseumofFineArtsBoston. Have fun trying this at home. 😉
#photography #painting
#travel #eastcoastkin
#blueskyartshow
#blueskyphotography
#newrelease #newreleases #bookreview #bookreviews #cqjournal #cqbookreviews #design #designer #graphicdesign #graphicdesigner #advertising #editorial #designbook #artanddesign #artistbooks #artist #PrincetonUniversityPress #SFMOMA #exhibition #WalkerArtCenter #MuseumofFineArtsBoston #SuzanneJackson
New release @princetonupress
“Suzanne Jackson: What Is Love”
By Kellie Jones, Paulina Pobocha, and Taylor Jasper; edited by Jenny Gheith
First and foremost a painter, Suzanne Jackson has worked for six decades in a dizzying array of genres, including drawing, printmaking, poetry, dance, and theat…
“Hope” by English artist Sir Edward Coley Burne-Jones is a striking late work by one of the leading figures of the Pre-Raphaelite / Arts & Crafts movement. The painting was commissioned by Mrs. George Marston Whitin (Catharine Lasell Whitin) who originally requested a painting of a dancing figure; however, the artist who was freshly grieving the loss of his friend English poet, novelist, translator, and pioneering designer William Morris, proposed instead this allegory of hope. The painting personifies Hope as a chained, imprisoned figure indoors, yet not defeated. Despite her confinement with chains around her ankle and prison bars, she lifts one arm skywards, reaching toward the blue sky through a barred window. In her other hand, she holds a branch of apple blossoms, a traditional symbol of renewal and the promise of life. The upward gesture combats darkness; the blossoms suggest spring, rebirth, and fragile beauty. Burne-Jones based this oil painting on an earlier 1871 watercolor and a design for stained‐glass windows of the Christian Virtues Faith, Hope, and Charity. The vertical format of “Hope” recalls the scale and proportions of stained glass and textile panels, elements Burne-Jones often designed. The work carries deep symbolic resonance: Hope is constrained, yet not extinguished. The chain and bars denote suffering or limitation; the reaching toward light suggests aspiration, faith in what lies beyond immediate adversity. The apple blossom branch signifies a delicate but living hope. In historical context, Burne-Jones was working at a time (1890s England) when many artists, writers and thinkers were preoccupied with the role of moral and spiritual ideals in a changing, more secular, industrial world. “Hope” can be read both as personal mourning and as broader meditation on how one retains aspiration under constraint. After Mrs. Whitin’s death, her daughters donated “Hope” to the Museum of Fine Arts, Boston “in memory of Mrs. George Marston Whitin.”
“Hope” by Sir Edward Coley Burne-Jones (English) - Oil on canvas / 1896 - Museum of Fine Arts, Boston (Massachusetts) #WomenInArt #hope #art #artText #MFAboston #EdwardColeyBurne-Jones #Burne-Jones #artwork #OilPainting #WomanPortrait #BlueskyArt #EnglishArt #EnglishArtist #MuseumofFineArtsBoston
An outstanding lineup at the #bostonfrenchfilmfestival at the #museumoffineartsboston. #artsfuse
bit.ly/3UmPfJI
Jeanne "Jane" Nardal was an Afro Caribbean writer, philosopher, teacher, and political commentator from Martinique, West Indies. She and her sister, Paulette Nardal, are considered to have laid the theoretical and philosophical groundwork of the Négritude movement, a cultural, political, and literary movement, which first emerged in 1930s, Paris, France and sought to unite Black intellectuals in the current and former French colonies. The term "Négritude" itself was coined by Martiniquan writer-activist Aimé Césaire, one of the three individuals formally recognized as the "fathers" of the cultural movement, along with Senegalese poet Léopold Senghor and French Guianese writer Léon Damas. It was not until relatively recently, however, that the women involved in the Négritude movement, including Jane and Paulette Nardal, began to receive the recognition they were due. American artist Loïs Mailou Jones's painting "Jeanne, Martiniquaise" was completed in 1938 while the artist was in Europe on an extended sabbatical to study art. The portrait is a notable example of her work, showcasing a shift towards an expressive late Impressionist style. It reflects her move away from strict academic realism towards a style reminiscent of Camille Pissarro and early Henri Matisse. The composition is a close-up portrait of Jeanne, focusing on her head and upper body. The colors are muted, with earth tones and varying shades of brown, red, and green, creating a contemplative mood. The brushstrokes are visible, suggesting Jones’ painterly style. The framing is tight, emphasizing the subject's features and expression. Jeanne's face is characterized by a thoughtful expression and a focused gaze downward, and a muted palette of colors. Her head wrap is a combination of red and green stripes. Her clothing is detailed with a mix of patterns and colors. Jones captures the texture and depth of the clothing through both soft and strong brushstrokes.
“Jeanne, Martiniquaise” by Loïs Mailou Jones (American) - Oil on canvas / 1938 - Museum of Fine Arts (Boston, Massachusetts) #WomenInArt #art #WomanArtist #FemalePainter #ArtText #artwork #LoïsMailouJones #WomensArt #LoisMailouJones #AfricanAmericanArtist #WomenArtists #MFAB #MuseumofFineArtsBoston
Highlights from my recent visit to Boston
#OrvillePeck with the #BostonSymphonyOrchestra
#MuseumOfFineArtsBoston
As always, I never give myself enough time in Boston. Maybe next time? 🤔
@mfaboston Small in scale, Donatello’s “Madonna of the Clouds” is monumental in impact—powerful yet tender.
With only the most shallow carving, Donatello creates the illusion of fully rounded forms set into deep, continuous space.
#donatello
#mfaboston
#museumoffineartsboston
Untitled (woman in tiger-striped bikini and robe in beach crowd) | from the “Women are Beautiful” portfolio. Garry Winogrand (American; 1928–1984). Gelatin silver print, 1981. Museum of Fine Arts, Boston, Massachusetts.
#garrywinogrand
#winogrand
#museumoffineartsboston
#mfa
@mfaboston
In the mid-1980's, Scott Prior turned to family and home as his primary inspiration. Working both from life and from posed photographs, Prior captures domestic intimacy - in this case the compainshihp between his wife, Nanny, and their dog, Rose. The artist has said that: "Nanny and Rose and the subsequent paintings… are very personal. To me they are like large snapshot photos, and as a collection they have become a memory album of my life. It has been my belief that the painted intimacies of ordinary life must be recorded and celebrated."
Nanny and Rose by Scott Prior (American) - Oil on canvas / 1983 - Museum of Fine Arts Boston (Massachusetts) #womeninart #art #painting #mfaboston #scottprior #artwork #bskyart #bsky.art #artoftheday #americanwoman #americanart #museumoffineartsboston
@mfaboston ‘Tis the season...to visit your favorite work at the MFA ❄️
🎨: “At Dusk” (“Boston Common at Twilight”) (1885–86), Childe Hassam, oil on canvas.
#childehassam
#hassam
#museumoffinearts
#museumoffineartsboston
#bostoncommon
Katsukawa Shunshō Japanese, 1726-1792 Actors Ichimura Uzaemon IX as Kudo Suketsune (right), Ichikawa Yaozō Il as Soga no Gorō (center), and Sakata Hangorō II as Kobayashi Asahina (left), 1775 Woodblock print; ink and color on paper William Sturgis Bigelow Collection, 11.18950-2 Actor prints of the Katsukawa school were often issued in sets showing a group of actors from the same play, with one figure per sheet. Customers could buy only their favorite actor or purchase the entire group to make up a complete scene. In this triptych, a hero (center) confronts his father's murderer (right). A vision of future vengeance at the foot of Mount Fuji appears in the incense smoke.
social.20241216_141314.png Totoya Hokkei Japanese, 1780-1850 Mitsu no tomoe (Friends of the Three Capitals), 1832 Woodblock printed book; ink, color, and metallic pigment on paper Gift of Mrs. Jared K. Morse in memory of Charles J. Morse, catalogued 1997, 1997.567 In addition to single sheet surimono, Hokusai and his students designed illustrations for privately printed poetry books for the same customers. Like surimono, these poetry books were typically printed on heavier paper, often with metallic pigments or other special techniques. This book's theme combines two sets of items often mentioned in poetry and illustrated in prints: Japan's three major cities, Kyoto, Edo (present-day Tokyo), and Osaka; and the most beautiful sights in the world according to Chinese poetry: snow, moon, and flowers. Here, we see a full moon in Edo rising over a ferry boat on the Sumida River.
Spent much of yesterday in my happy place ( #NelsonAtkinsMuseumOfArt ) wandering through a travelling exhibit from the #MuseumOfFineArtsBoston : Hokusai: Waves of Inspiration.
A slow rolling thread 🧵 w/images from my phone & alt text scraped from the museum cards.
1/n
“Sandpipers on a Beach.” Okuhara Seiko (Japanese; 1837–1913). Woodblock print (ink and color on paper). Museum of Fine Arts, Boston, Massachusetts.
#okuharaseiko
#seiko
#museumoffineartsboston
#mfaboston
@mfaboston
海辺 (Beach). Sekino Jun’ichirô (Japanese; 1914–1988). Woodblock print, 1946. Museum of Fine Arts, Boston, Massachusetts.
#sekinojunichirō
#sekinojunichiro
#museumoffineartsboston
@mfaboston
#KawaseHasui (1883-1957)
Irises (Ayame), Showa period, 1930s
#Woodblock #inkandcolouronpaper
#MuseumofFineArtsBoston
“View of Coffin’s Beach (Ipswich Bay).” Fitz Henry Lane (American; 1804–1865). Oil on canvas, 1862. Museum of Fine Arts, Boston, Massachusetts.
#fitzhenrylane
#ipswichbay
#coffinsbeach
#museumoffinearts
#museumoffineartsboston
@mfaboston
#TsuzokuSaiyuki (1839-1892)
Bajie in Fish Form with the seven female demons (from the series' journey to the West).
#japanese #woodblock #MuseumofFineArtsBoston
#KitagawaUtamaro (early 1750s-1806)
Kitchen Scene (ca.179495
#japanese @woodblock #MuseumofFineArtsBoston
A woman in a kimono on a red cushion prepares tea for a ceremony. Her cat keeps warm under her kimono.
#EhagakiSekai
A night of waiting (1908)
#japanese #woodblock
#MuseumofFineArtsBoston
