Photo a Day: Day 354 of 365 - Portrait of an Artist
#photoaday #day354 #2025 #portraitofanartist #pkwilliams

31 days of The Beatles - “Rain“ from Revolver 1966

Turkish artist Feyhaman Duran always lovingly portrayed his wife and fellow artist, Güzin Duran. In this portrait signed in old script as “Feyhaman 29,” he captured Güzin with her head slightly tilted to one side, her auburn hair cascading in waves over her shoulders. She looks at us sincerely from beneath lowered eyelids, smiling warmly, bringing her full vitality to the canvas. She is both naïve and coquettish, if not sleepy, peeking at us from above, reminiscent of a sweet moment of banter between a wife and her husband. Güzin Duran was a talented Turkish painter and calligrapher. She was one of the first graduates of the School of Fine Arts and went on to produce many oil paintings, landscapes, and still life paintings, as well as calligraphy panels and calligraphy. There are more than 200 of her watercolor paintings in the Topkapi Palace Museum Painting Collection (Topkapı Sarayı Müzesi Resim Koleksiyonu'nda). She was born in 1898 in Istanbul, in the house of her grandfather, calligrapher Hacı Yahya Hilmi Efendi, in Süleymaniye. Her father was Naim Bey, one of the Chief Advisors of the Military Court of Cassation, and her mother was Naciye Hanım, one of the founders of the Esirgeme Association. The famous Turkish music theorist Rauf Yekta Bey was her uncle. She grew up privileged to take music, ornamentation, and painting lessons at an early age. She entered the İnas Sanayi-i Nefîse Mektebi , which trained important artists during World War I. In 1922, she won the European competition organized by the Ministry of Education and earned the right to be sent abroad for education, but she did not go because she was engaged to İbrahim Feyhaman, who was her teacher at the school at the time. They married on September 25, 1922. She exhibited her personal exhibition at the Fine Arts Academy in 1937. In addition to her painting, she worked as an art teacher for 37 years at 4 different girls schools in Istanbul.

Güzin Duran Portresi (Güzin Duran Portrait) by Feyhaman Duran (Turkish) - Oil on canvas / c. 1929 - Türkiye İş Bankası Resim Heykel Müzesi (Istanbul) #WomenInArt #art #ArtText #WomensArt #Duran #GüzinDuran #FeyhamanDuran #PortraitofanArtist #OilPainting #smile #laugh #spouse #TurkishArtist #bskyart

Portrait of an Artist
Not just brush to canvas — but heart, memory, chaos, and calm.
Every mark holds a thought, every layer a feeling.
This isn’t just what I see… it’s what I need to say.
Welcome to the world through my eyes.

#PortraitOfAnArtist #CreativeProcess #StudioLife #ArtInMotion

Croatian-Italian artist Erma Bossi was born Erma Barrera-Bossi in the city of Pula (now in Croatia), and received artistic training in Munich, Germany. She exhibited regularly with the expressionist art group "Neue Künstlervereinigung München" (New Artists' Association Munich) aka N.K.V.M. between 1909 and 1911, and with the German expressionist group "Blaue Reiter" (The Blue Rider) between 1911 and 1912. This portrait from around 1910 of fellow artist and wealthy benefactor Marianne von Werefkin is in the collection of the famous Lenbachhaus in Munich. Werefkin's father was from Russian nobility and her mother belonged to a family of Cossack princes. Werefkin was a private student of legendary Russian painter Ilya Repin who also painted a portrait of her in 1888. In 1892, Werefkin entered into a 27-year relationship with Alexej von Jawlensky. Werefkin was more advanced in painting than Jawlensky and decided to train and support the penniless military officer who was five years her junior. They moved to Munich in 1896 and one year later, she founded the "Bruderschaft von Sankt Lukas" (Brotherhood of St. Luke) in her "pink salon", whose members saw themselves in the tradition of the Guild of Saint Luke and which ultimately formed the nucleus of the N.K.V.M. and The Blue Rider. Bossi depicts Werefkin elegantly dressed in a pink gown and dark shawl, posing relaxed, yet refined on a yellow chair, looking away from us with a mix of confidence and introspection. Her flowing gown pools around her on the chair. She wears a black shawl over the dress which drapes softly from her shoulders, giving her an air of comfortable elegance. She also sports a wide-brimmed black hat adorned with pink, purple, and teal accents to add a touch of glamour. Her hair is dark and styled neatly under the hat. Werefkin's features are softly rendered with a hint of a smile playing on her lips while Bossi has chosen a color palette that complements Werefkin's attire and personality.

Portrait of Marianne von Werefkin by Erma Bossi (Croatian-Italian) - Oil on cardboard / c. 1910 - Städtische Galerie im Lenbachhaus (Munich, Germany) #WomenInArt #WomanArtist #PortraitofanArtist #FemaleArtist #womensart #MariannevonWerefkin #art #ErmaBossi #Bossi #Lenbachhaus #StädtischeGalerie

In October 1929, Hungarian-Indian painter Amrita Sher-Gil's family moved from Budapest to Paris where the 16-year-old joined the studio of French painter Lucian Simon at the Ecole des Beaux-Arts ... and she met fellow student Boris Taslitzky, two years her senior. Their shared love for art brought them together and Taslitzky’s memoirs reveal Sher-Gil was “his first passionate love.” Sadly, details of their romance are limited because the archive of Sher-Gil’s letters has a gap from 1929 until 1931 because her parents burned her old love “letters which should not have been left about by you, as they are of no use but of possible harm.” Remnants of their romance can be found in portraits they painted of each other in Simon’s studio like this close-up of Sher-Gil, with long, dark black hair parted in the middle that falls past her shoulders in loose waves covered by a white, ruffled bonnet. Sher-gil has dark, expressive eyes that appear sympathetic, yet focused while her eyebrows are dark and well-defined, arching naturally above her eyes. Her nose is straight with a rounded tip and her mouth is softly defined with deep red full lips. Their relationship came to a tragic end in 1932 when France faced an economic collapse, rampant corruption, and the rise of fascism. Taslitzky became a militant artist, documenting riot scenes on the streets while Amrita left Europe for India and began to grapple with her Indian roots. She passed away far to young in December 1941, but is now celebrated as one of India’s leading modernists. Beforehand, Sher-Gil lamented, “Boris’s story is terrible – he didn’t deserve it – one of those rare human beings who did not deserve it ... But, I don’t talk about it anymore, it’s too painful for me.” In November 1941, Taslitzky was arrested and interned as a Communist Jew in the Buckenwald camp in Germany (where his mother was killed). Taslitzky survived the war and his contribution to French painting history has now begun to be recognized.

"Portrait of Painter Amrita Sher-Gil" by Boris Taslitzky (French) - Oil on canvas / 1931 - Estate of Boris Taslitzky #WomenInArt #ArtText #art #oilpainting #portraitofawoman #portraitofanartist #AmritaSher-Gil #BorisTaslitzky #Taslitzky #artwork #womensart #FrenchArtist #artoftheday #love #romance

#slefportrait #cameranerd #photonerd #mindfulphotography #artist #portraitofanartist #canadianphotographer #creativephotography #photosky #risingartist #portraiture #play #arttherapy

Artist Statement, 2019/2020, oil on 24x20 canvas. #portraitpainting #oilpaintingoncanvas #paintingoncanvas #canvaspainting #catpainting #textpainting #textart #wordart #wordpainting #paintinginapainting #2020art #robertjharrispaintings #robertjharrisart #portraitofanartist #unbossed

Born in 1939, Lee Boon Ngan graduated from the Nanyang Academy of Fine Arts in 1965. Primarily known as an oil painter, she was one of the few active female painters in a period when the local art scene was a predominantly-male environment. A lifetime member of the Singapore Arts Society and known for still-life paintings of flowers, Ms Lee participated in both Singaporean and overseas exhibitions. It was through her brother and late artist Mr Lee Boon Wang that she met her future husband, Mr Chua Mia Tee, who, along with her brother, were key members of the Equator Art Society. This early portrait of Ms Lee as a high school student sitting in profile with a focused, almost stern, expression was one of the earliest portraits done by recent Nanyang Academy of Fine Arts graduate Chua. They got married in 1961. Chua sought to establish his own realism painting practice by exploring the idea of the ‘real’, for which the artist drew large inspiration from European classical realism, Russian and Chinese social realist art. In this ‘Portrait of a girl’ (who would later become his spouse), Chua painted with intimate detail the profile of the young woman, capturing not just her physical accuracy, but also her emotional state of being. More discerningly, this painting is art historically significant as it exemplifies Chua’s artistic intention of portraying close friends and contemporaries through intimate observations and close study. This work features another aspect of Chua’s realist practice, apart from the realistic representation of the working class that is charged with strong social messages.

Portrait of Lee Boon Ngan by Chua Mia Tee (Singaporean) - Oil on canvas / 1957 - National Gallery Singapore #womeninart #portrait #art #NationalGallerySingapore #oilpainting #fineart #ChuaMiaTee #womensart #singaporean #portraitofawoman #singaporeanart #LeeBoonNgan #realism #portraitofanartist

Large papier-mâché heart bright red with white stripes

Showing how large the papier-mâché heart is by placing it next to my head. It shows a large red heart with white stripes.

First large papier-mâché project for Valentine’s Day coming up. This will be placed in my garden.

#PaperMâchéArt #Valentine’sDayArt #PortraitOfAnArtist #Art #AcrylicArt #TactileArt #LowvisionArt