Con el paso de los siglos, se le recuerda como uno de los grandes poetas del romanticismo.

#thomascampbell #poetasescoceses

A close, three-quarter portrait shows an unidentified Black woman seated against a soft, olive-brown background. Her skin is painted in warm, deep tones with gentle highlights along the cheeks and nose. She turns slightly toward us while looking outward with a steady, thoughtful gaze and eyes wide, lids relaxed, mouth closed, plus a calm, but guarded expression. Her hair is arranged in short, natural puffs and curls, and a white headscarf with red striping drapes from the crown behind. She wears a green dress with a crisp white collar and a small pink bow. The curved back of a red chair frames her shoulder. Brushwork is soft and blended in the face though looser in the clothing and background to keep our attention on her presence. Painted sometime between 1900 and 1914, this work stands out within English-born American artist Thomas C. Campbell’s practice, which is better known for pastoral and Smoky Mountains landscapes. The sitter’s name is not recorded, but the portrait’s quiet directness reads as an insistence on personhood for an individual rendered with care. Exhibited as part of the Tennessee State Museum’s conversation about the region’s early-1900s “progress” (economic growth, industrial development, civic pride, and cultural expansion) narratives, her composed stillness becomes a counter-image to the era’s louder public story including Knoxville’s boosterism alongside the realities of Jim Crow, the Great Migration, and the racial violence that erupted locally in 1919. Campbell was active in East Tennessee and helped elevate the Knoxville art scene. He later led the art program at Maryville College. Here, he brings an academic, portrait-minded attention. The restrained palette, close cropping, and unwavering eye contact make the painting feel less like a document of fashion or place and more like an encounter with a dignified, unsentimental record of someone who lived, and was seen, within that racially-charged historical Tennessee landscape.

“Untitled: Portrait of a Black Woman” by Thomas C. Campbell (English-American) - Oil on canvas / c. 1900–1914 - Tennessee State Museum (Nashville, Tennessee) #WomenInArt #ThomasCCampbell #ThomasCampbell #TennesseeStateMuseum #artText #art #BlueskyArt #portraitofawoman #BlackWomenInArt #AmericanArt

Good morning and reflective Thursday.
On this day of remembrance, how can you honor the past while choosing hope for the future?
“To live in hearts we leave behind is not to die.”
#ThomasCampbell
May hope and honor guide us forward. 🕯️
#VargasAndVargasInsurance #DorchesterMA #NeponsetRiver

#ThomasCampbell talks #YiWo on the #lookingsideways podcast with Matt Barr. Htt www.boardistan.com?p=65833

"To live in hearts we leave behind is not to die."

Poems: mypoeticside.com/poets/thomas...

✒ #ThomasCampbell, Scottish poet and academic, was #BOTD 27 July 1777. #Poetry #Literature

Knowing my limits—
that's the start,
a path to wisdom,
mind, and heart.

But building walls
that aren’t real,
trap the thoughts
that only conceal.

False beliefs can
veil my light,
weakening my strength,
coloring my sight.

🤍🤍🤍🤍

#poem #dailyaffirmation #ThomasCampbell #MyBigToe #love

“To live in hearts we leave behind is not to die.”

Poems: mypoeticside.com/poets/thomas...

✒️ #ThomasCampbell, Scottish poet, #DOTD 15 June 1844. #Poetry #Literature

Vivir en los corazones que dejamos atrás, es no morir.

#ThomasCampbell

My body is not conscious, but I am conscious.

I have a body, but I am not my body.

My body is only a container for my individuated unit of consciousness in this physical matter reality.

I must care for my container, but I won't be bound to it forever.

🤍🤍

#MyBigTOE #ThomasCampbell #consciousness