#portraitofalady 47
#rembrandtvanrijn
#stopfemicide 🧡

#portraitofalady 46
#gerdawegener 1926
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#portraitofalady 45
#LaviniaFontana
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#portraitofalady 34
#GiovanniBoldini 1912
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#portraitofalady 33
#SandroBotticelli 1475
#stopfemicide 🧡

Painted when Japanese artist Kumagai Morikazu (熊谷守一) was still in his earlier, more tonal phase, this portrait prioritizes observation like how light reshapes a face moment by moment. The sitter is often identified as Ōe Hideko (later Kumagai Hideko), whom the artist would marry a few years later, lending the work a feeling of casual closeness rather than formality. Painted with vigorous, tactile handling rather than academic finish, she is seated close, shown from the waist up against a rough, vertically brushed brown background. Her dark hair is gathered high and back, with small reddish accents like a ribbon. Light falls across her forehead, cheeks, and nose in uneven patches while shadow pools around her eyes and jaw, giving her gaze a quiet intensity. She wears a loose, kimono in muted taupe and gray, with a cool blue layer peeking out. Her arms fold inward to suggest hands resting. The depiction is built from short strokes and thicker passages that keep the surface alive. Her expression is composed, slightly guarded, and alert to hold the psychological center of the picture. A dark palette and compressed space intensify that encounter so we’re invited to meet her as a person at a time when modern Japanese painting was negotiating realism, intimacy, and changing social roles for women in the Taishō era. Kumagai is often remembered for the radically simplified, luminous style of his later decades using flat planes of color, distilled outlines, and an almost meditative attention to everyday life (plants, insects, cats, and the quiet dramas of home). Works like this show the foundation of that later clarity and a disciplined eye for structure and a refusal to idealize the sitter. In the late 1910s, he was building his reputation within Japan’s modern painting world, testing how far he could push direct observation while still letting the paint itself carry emotion. The result is a portrait that feels intimate and unsentimental.

某夫人像 (Portrait of a Lady) by 熊谷守一 / Kumagai Morikazu (Japanese) - Oil on canvas / 1918 - Kumagai Morikazu Museum (Tokyo, Japan) #WomenInArt #KumagaiMorikazu #熊谷守一 #Kumagai #KumagaiMorikazuMuseum #熊谷守一美術館 #JapaneseArt #art #artText #BlueskyArt #JapaneseArtist #PortraitofaLady #arte #PortraitofaWoman

#portraitofalady 32
#PieterdeKempeneer ?
#stopfemicide 🧡

#portraitofalady 31
#FelixEdouardVallotton 1909
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#portraitofalady 40
#agnolobronzino 1530
#stopfemicide 🧡

I love the jewellery here - I don’t understand the thin black thread tied to a ring on what must be her wedding finger #tatebritain #stuarts #portraitofalady
@tate.bsky.social

Painted in 1992, this canvas belongs to Chinese artist Chen Yifei’s (陈逸飞) “Old Dreams of Shanghai” series, where realism becomes film-like nostalgia. After years working in the United States, he returned to Shanghai, China and began reimagining the city’s past. The sitter is not named in the exhibition materials, so she is likely an imagined “Shanghai beauty.” The young East Asian woman sits in a dim, studio interior, centered against a smoky brown-black background that softens the edges of the scene like an old film still. Her dark hair is parted in the middle and gathered into low side coils, accented with small red flowers. Her gaze turns slightly away from us, lips closed, expression calm and self-contained. She wears a richly patterned, traditional qipao dress with an embroidered high collar and a long robe in deep charcoal-blue with ornate cuffs over a lighter, floral panel that runs down the front. Across her lap, a patchwork of brocade fabrics falls in heavy folds of indigo, rust red, and muted gold stitched into bands and squares that catch the light. Her arms extend outward along a wooden chair’s arms in a wide, relaxed span as one hand loosely holds a round silk fan painted with pale blossoms and leaves. To her right (our left), on a small table, a wooden birdcage stands upright with small birds perched inside, their pale bodies barely lit. The fan, cage, and carved furniture frame her as the quiet anchor of the composition, while the softened light emphasizes texture of the satin sheen, stitched seams, lacquered wood, and the delicate ribs of the cage. The birdcage strikes a double note of ornament and care, but also display and constraint. Her wide, resting arms answer with quiet agency as she takes up space without performing for us. The floral fan repeats the language of refinement and what is shown or what is kept. Through shadow and texture, Chen turns portraiture into nostalgia’s frame for his vision of femininity.

“仕女与鸟笼 (Maiden with a Birdcage)” by 陈逸飞 / Chen Yifei (Chinese) - Oil on canvas / 1992 - Museum of Art Pudong (Shanghai, China) #WomenInArt #ChenYifei #陈逸飞 #Chen #MuseumOfArtPudong #浦东美术馆 #art #BlueskyArt #artText #ChineseArtist #ChineseArt #PortraitofaLady #arte #WomenInPortraiture #PortraitofaWoman

#portraitofalady 39
#ferdinandbol 1632
#boymansvanbeuningen
#stopfemicide 🧡

#portraitofalady 38
#LouiseElisabethVigeeLeBrun 1789
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#portraitofalady 37
#unknown 1410
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#portraitofalady 36
#BernardinoLuini 1520
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#portraitofalady 35
#aleksanderuurits1916
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#portraitofalady 34
#FrancisCotes (1726–1770)
#stopfemicide 🟧🟠🧡

#portraitofalady 33
#AngelicaKauffmann c.1781/82
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#orangetheworld dag 3
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#portraitofalady 32
#BarthelBruyntheElder 1539

#portraitofalady 31
#MicheleTosini 1555
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#PortraitOfALady by #HenryJames is far more than a domestic thriller... It also marked a revolution in the portrayal of women in literature, creating a heroine who is psychologically complex, outspoken, and determined not to be pinned down by Victorian moral standards. #BookSky #SecretLifeOfBooks

#portraitofalady 30
#TizianoVecelli 1550
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#FRITZVONUHDE 1890
#portraitofalady 28
#stopfemicide

Portret van Katharina von Bora door Lucas Cranach de Oude.Bron Collectie Galerie Jonckheere, Genève /Tom Haartsen

‘Kus me, Maarten’: Katharina von Bora share.google/jqDsnQCYbSaz...

Artikel in Parool over vrouw van Maarten Luther; van huisvrouw en ondernemer tot zondebok en feministisch icon: leuk om te lezen! Dit artikel is geschreven door Jan Pieter Ekker
#portraitofalady 28
#stopfemicide

#portraitofalady 27 #withflowers
#unknown ca.1750
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#portraitofalady 26
#MichaelDahl 1700
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#portraitofalady 25
#SandroBotticelli
(Firenze 1445-1510)
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#portraitofalady 24
#GiuseppeGhislandi of?
#stopfemicide

Dit schilderij was door de NAZI'S geroofd en is door #AD afgelopen september teruggevonden door een foto op Agentijnse Funda!

Painted in 1934, Thiếu nữ Huế (Hue Girl) — sometimes titled Lady — embodies Vietnamese artist Mai Trung Thứ’s refined synthesis of French academic training and Vietnamese poetics. A graduate of the École des Beaux-Arts de l’Indochine in Hanoi, Thứ moved to France, joining a generation of artists who navigated identity amid colonial modernity. His women, clothed in flowing áo dài and framed in muted tones, became emblems of cultural continuity in a rapidly changing world. Seated on a low reddish wooden bench, a young Vietnamese woman wears a high-collared, long-sleeved áo dài in pale grey. Her head tilts slightly to our left, eyes turned softly to the same side rather than toward us. Her warm light-brown skin is modeled gently; dark hair is swept up in a neat chignon (not loose on the shoulders). Her right hand rests across her lap as the left arm extends back with the hand relaxed over the bench edge, fingers loose. Her long tunic drapes over a layered skirt, its hem pooling at the seat. Behind her is a flat, textured ochre field with no drapery or furniture other than the bench. The mood is quiet and inward for a poised, thoughtful, and reserved portrait. The flattened ochre ground and restrained palette frame the unidentified sitter as a self-contained presence, while the delicate modeling and dignified pose express a tenderness central to his portraits. Through subtle elegance rather than overt resistance, Thứ bridged East and West, giving modern Vietnamese painting its lyrical voice. As art historian T.K. Sabapathy observed, Thứ’s portraits are “poised between nostalgia and renewal.” In “Hue Girl,” that balance endures like a serene vision of womanhood and homeland, distilled into light, fabric, and memory.

“Thiếu nữ Huế (Hue Girl)” aka “Lady” by Mai Trung Thứ (Mai Trung Thu) (Vietnamese) – Oil on canvas / 1934 – Singapore Art Museum #WomenInArt #art #artText #artwork #PortraitofaLady #MaiTrungThứ #MaiTrungThu #BlueskyArt #SingaporeArtMuseum #VietnameseArtist #VietnameseArt #1930s #PortraitofaWoman

OK, nog een #tweeineentje dan:
#fot_O_ktober
@jolanda.bsky.social
#tassen
#portraitofalady 23
#stopfemicide