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Painted in Paris on October 18, 1937, this work is a “postscript” to "Guernica," Spanish artist Pablo Picasso’s response to the Spanish Civil War and the bombing of the Basque town of Gernika on April 26, 1937. The motif shifts from a mother screaming with her dead child in Guernica to a witness consumed by inconsolable mourning. 

A fractured bust-length portrait of a woman fills the frame, her head turned slightly left as if caught mid-sob. She grips a white handkerchief between splayed fingers as serrated teeth bite the cloth while tears streak like glassy wedges across her cheeks. Planes of acidic green and purple divide her face and a black coiffure and bow clamp the skull, and a narrow grey band behind her casts a hard shadow that boxes her in. The nose is cleaved into facets; the eyes are saucer-wide and off-axis, perched above the handkerchief’s peaks. Lines saw across blouse and collar, compressing fabric into shards. The palette of citrus yellows, teal, crimson, and black refuses mournful tones, intensifying the dissonance between brilliant color and unbearable grief. Every contour feels sharp to the touch including the claustrophobic strip of wall which makes the room ... and the sorrow ... tighten around her.

The model was likely photographer, Surrealist, and Picasso’s companion Dora Maar who documented the making of Guernica and became central to his late-1937 portraiture. Grief is constructed rather than sentimental so the hard geometry of fingers, teeth, and handkerchief turns weeping into architecture. This NGV version lacks the elaborate hat of Picasso's later "Weeping Woman" at the Tate museum, heightening its directness; the tight interior and cast shadow add a sense of confinement, echoing the war’s crushing pressure. Brilliant, “wrong” colors push against tragedy as beauty is made to bear witness to catastrophe and making political horror intimate and enduring.

Painted in Paris on October 18, 1937, this work is a “postscript” to "Guernica," Spanish artist Pablo Picasso’s response to the Spanish Civil War and the bombing of the Basque town of Gernika on April 26, 1937. The motif shifts from a mother screaming with her dead child in Guernica to a witness consumed by inconsolable mourning. A fractured bust-length portrait of a woman fills the frame, her head turned slightly left as if caught mid-sob. She grips a white handkerchief between splayed fingers as serrated teeth bite the cloth while tears streak like glassy wedges across her cheeks. Planes of acidic green and purple divide her face and a black coiffure and bow clamp the skull, and a narrow grey band behind her casts a hard shadow that boxes her in. The nose is cleaved into facets; the eyes are saucer-wide and off-axis, perched above the handkerchief’s peaks. Lines saw across blouse and collar, compressing fabric into shards. The palette of citrus yellows, teal, crimson, and black refuses mournful tones, intensifying the dissonance between brilliant color and unbearable grief. Every contour feels sharp to the touch including the claustrophobic strip of wall which makes the room ... and the sorrow ... tighten around her. The model was likely photographer, Surrealist, and Picasso’s companion Dora Maar who documented the making of Guernica and became central to his late-1937 portraiture. Grief is constructed rather than sentimental so the hard geometry of fingers, teeth, and handkerchief turns weeping into architecture. This NGV version lacks the elaborate hat of Picasso's later "Weeping Woman" at the Tate museum, heightening its directness; the tight interior and cast shadow add a sense of confinement, echoing the war’s crushing pressure. Brilliant, “wrong” colors push against tragedy as beauty is made to bear witness to catastrophe and making political horror intimate and enduring.

"Weeping Woman" by Pablo Ruiz Picasso (Spanish) – Oil on canvas / October 18, 1937 – National Gallery of Victoria (Melbourne, Australia) #WomenInArt #art #artText #artwork #Picasso #PabloPicasso #DoraMaar #Guernica #SpanishCivilWar #Cubism #BlueskyArt #ModernArt #arte #NGV #NationalGalleryofVictoria

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Quick work trip to #Naarm #Melbourne Mon-Tue.
Photo dump in progress.
#Photography #NGV #NationalGalleryofVictoria #monochrome #streetphotography

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Quick work trip to #Naarm #Melbourne Mon-Tue.
Photo dump in progress.
#Photography #NGV #NationalGalleryofVictoria #monochrome #architecture

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Quick work trip to #Naarm #Melbourne Mon-Tue.
Photo dump in progress.
#Photography #NGV #NationalGalleryofVictoria #Monochrome #architecture

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Quick work trip to #Naarm #Melbourne Mon-Tue.
Photo dump in progress.
#Photography #NGV #NationalGalleryofVictoria

An oppooolllllld altar from Italy.

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Quick work trip to #Naarm #Melbourne Mon-Tue.
Photo dump in progress.
#Photography #NGV #NationalGalleryofVictoria

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Ring Gymnast I, Eugène Jansson. Viewed at National Gallery of Victoria, 2025

#ngv
#melbourne
#gayartist
#gymnast
#nationalgalleryofvictoria

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This painting of a mature, fair-skinned woman reading is one of French artist Robert Delaunay’s nine versions of this theme. Delaunay rarely painted the nude figure, and the series devoted to the subject is unusual in his work. The element that connects Nude woman reading with the broader scope of Delaunay’s art is color.

In a series of Circular forms, painted by Delaunay in 1912, color is released from any association with reality and is used abstractly to create effects of movement and depth. The Circular forms are seen as the first non-representational paintings by a French artist. 

Unlike many other early twentieth-century abstractionists, however, Delaunay also continued to paint figurative works. In this category is the Nude woman reading, where the same color principles used in the abstract paintings are now applied to the human figure.

This boudoir scene of a woman with long sandy-blonde hair viewed from behind and seated reading at a dressing table wearing only black stockings and dark shoes is a finely tuned orchestration of color and form. 

The oval format of the image echoes and accentuates the soft, leaning curve of the woman’s body, and the curve of the oval is repeated in the lines of her hip and left leg. The curvilinear shapes of the body are present in miniature form in the pattern of the cloth on the dressing table. The color is a similarly balanced yet dynamic arrangement, based on the principles of complementary contrast, which were the foundation of Delaunay’s color theories.

Delaunay painted three versions of "Nude Woman Reading" aka "Nu à la lecture" between 1915 and 1920 and each one is a spectacular transformation. This, the first, is perhaps his finest with a beautiful depiction of a woman seemingly lost in thought with her back turned to the viewer, and her voluptuous figure and pose making for a striking element while her golden hair flows down her bare back and the colors from her room burst forth from the canvas.

This painting of a mature, fair-skinned woman reading is one of French artist Robert Delaunay’s nine versions of this theme. Delaunay rarely painted the nude figure, and the series devoted to the subject is unusual in his work. The element that connects Nude woman reading with the broader scope of Delaunay’s art is color. In a series of Circular forms, painted by Delaunay in 1912, color is released from any association with reality and is used abstractly to create effects of movement and depth. The Circular forms are seen as the first non-representational paintings by a French artist. Unlike many other early twentieth-century abstractionists, however, Delaunay also continued to paint figurative works. In this category is the Nude woman reading, where the same color principles used in the abstract paintings are now applied to the human figure. This boudoir scene of a woman with long sandy-blonde hair viewed from behind and seated reading at a dressing table wearing only black stockings and dark shoes is a finely tuned orchestration of color and form. The oval format of the image echoes and accentuates the soft, leaning curve of the woman’s body, and the curve of the oval is repeated in the lines of her hip and left leg. The curvilinear shapes of the body are present in miniature form in the pattern of the cloth on the dressing table. The color is a similarly balanced yet dynamic arrangement, based on the principles of complementary contrast, which were the foundation of Delaunay’s color theories. Delaunay painted three versions of "Nude Woman Reading" aka "Nu à la lecture" between 1915 and 1920 and each one is a spectacular transformation. This, the first, is perhaps his finest with a beautiful depiction of a woman seemingly lost in thought with her back turned to the viewer, and her voluptuous figure and pose making for a striking element while her golden hair flows down her bare back and the colors from her room burst forth from the canvas.

Nu à la lecture (Nude Woman Reading) by Robert Delaunay (French) - Oil on canvas / 1915 - National Gallery of Victoria (Melbourne, Australia) #WomenInArt #ArtText #art #OilPainting #Reading #RobertDelaunay #Delaunay #FrenchArtist #FrenchArt #womensart #artoftheday #boudoir #NationalGalleryofVictoria

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In the mode of art. Thank you for inviting me Cathy. I was impressed by the artist works. i had a wonderful time and i truly enjoyed our day. We must do it again in the future. #yayoikusama #nationalgalleryofvictoria

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Negishi Ayako’s ‘Waiting For Make-up’ or ‘Keshou o Matsu’ in the NGV Melbourne, Australia. Uses the puddling technique for its background.
Bijin-ga: category of Japanese art of beautiful people
#art #woodblock #NationalGalleryofVictoria #artgallery #freeexhibition #ink #japaneseart #pictorial

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“Sea Idyll.” Rupert Bunny (Australian; 1864–1947). Oil on canvas, ca. 1891. National Gallery of Victoria, Melbourne, Australia.

#rupertbunny
#bunny
#nationalgalleryofvictoria
#nationalgalleryofvictoria
@ngvmelbourne

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