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Ukrainian artist Marie Bashkirtseff (Марія Башкирцева) painted this scene while studying in Paris, where women were still excluded from the École des Beaux-Arts and had to seek rigorous private instruction instead. The Académie Julian offered one of the few paths available, though at higher cost and with gendered limits still in place. Here, she turns the studio into a declaration that women are not muses or ornaments, but makers, observers, competitors, and professionals in training. 

A crowded art studio opens before us with a large room filled with women art students at work, almost all light-skinned, dressed in dark or muted day clothes with fitted jackets, long skirts, aprons, and hats. At the right, a young child model stands barefoot on a platform, wearing only a pale drape at the hips and one arm raised with a long stick. Around the child, students sit and stand at easels, sketching and painting with absorbed focus. One woman in black sits at the far right with her back turned, drawing on her lap. Others lean forward, compare studies, or pause with palette and brush in hand. A standing figure in black at left anchors the composition with striking authority, while a seated painter in deep blue holds a palette across her lap. The room itself feels intensely lived-in with pinned sketches, charcoal studies, a hanging lamp, draped black cloth, a skeleton for anatomy study, scattered brushes, bottles, and papers across the floor. The atmosphere is disciplined, busy, and serious rather than decorative.

The child model, the anatomy skeleton, and the ring of easels all emphasize labor and study. Painted when Bashkirtseff was still in her early twenties and fiercely ambitious, the work carries the urgency found in her writings about achievement, recognition, and the barriers facing women artists. Its power lies in the collective scene featuring not one heroine, but a room full of women claiming artistic space together.

Ukrainian artist Marie Bashkirtseff (Марія Башкирцева) painted this scene while studying in Paris, where women were still excluded from the École des Beaux-Arts and had to seek rigorous private instruction instead. The Académie Julian offered one of the few paths available, though at higher cost and with gendered limits still in place. Here, she turns the studio into a declaration that women are not muses or ornaments, but makers, observers, competitors, and professionals in training. A crowded art studio opens before us with a large room filled with women art students at work, almost all light-skinned, dressed in dark or muted day clothes with fitted jackets, long skirts, aprons, and hats. At the right, a young child model stands barefoot on a platform, wearing only a pale drape at the hips and one arm raised with a long stick. Around the child, students sit and stand at easels, sketching and painting with absorbed focus. One woman in black sits at the far right with her back turned, drawing on her lap. Others lean forward, compare studies, or pause with palette and brush in hand. A standing figure in black at left anchors the composition with striking authority, while a seated painter in deep blue holds a palette across her lap. The room itself feels intensely lived-in with pinned sketches, charcoal studies, a hanging lamp, draped black cloth, a skeleton for anatomy study, scattered brushes, bottles, and papers across the floor. The atmosphere is disciplined, busy, and serious rather than decorative. The child model, the anatomy skeleton, and the ring of easels all emphasize labor and study. Painted when Bashkirtseff was still in her early twenties and fiercely ambitious, the work carries the urgency found in her writings about achievement, recognition, and the barriers facing women artists. Its power lies in the collective scene featuring not one heroine, but a room full of women claiming artistic space together.

“Dans l’atelier” (In the Studio) by Марія Башкирцева / Marie Bashkirtseff (Ukrainian) - Oil on canvas / 1881 - Dnipro State Art Museum (Dnipro, Ukraine) #WomenInArt #WomensArt #WomanArtist #WomenArtists #MarieBashkirtseff #Bashkirtseff #DniproStateArtMuseum #arte #arttext #UkranianArtist #1880sArt

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#nudeart #sketchbook #sketch #studyart #women #ukranianartist

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To be honest this is my first fanart in my life :')
#bfdi #tpot #objectshow
#art #uaart #украрт #арт
#tpotone #one #укрхудожник #ukranianartist #fanart #objectshowcommunity
#osc

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#art #fineart #artstream #ukrainianpainting #ukrainianart #ukranianartist #repin #metmuseum #artreview #artcritique #arttalk #portrait #portraitpainting #portraitartist #representationalart #representationalartist #representationalpainting #representationalrealism #realism #realistart

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A magical work by Anna Veriki - “Flying fish” (2024), Oil on canvas, 120x140 cm

#beautifulbizarre #annaveriki #ukranianartist #ukranianart #Flyingfish #animalart #art

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Self-taught Ukrainian artist Kateryna Vasylivna Bilokur’s serene portrait depicts a light-skin young woman in a light blue embroidered blouse, adorned with a beaded necklace, holding a bouquet of wildflowers against a soft blue background of blossoming branches. The blues create a cool, dreamy atmosphere, emphasizing a contemplative nature. The combination of the woman, her clothing, and the flowers suggests a connection to nature and a feeling of springtime.

Bilokur was born to a peasant family in 1900 in Bohdanivka, Ukraine. From early childhood, she was told that her destiny was to marry, have kids, care for the house, and work in the field. Bilokur’s desire to become an artist was unprecedented and perceived by her parents as dangerous.

When she was 6, her father bought her an alphabet book. By the end of the week, Bilokur learned how to read and memorized the entire book. Impressed by such progress, her parents decided there was no need for her to go to school. At 24, she applied to the Myrhorod Professional School of Artistic Ceramics and, later, to Kyiv Theatrical Professional School. She was rejected both times due to a lack of primary education. As Bilokur later wrote: “My primary, secondary, and high education ended with two alphabet books.”

As a youth, she drew art multiple times, but her parents always destroyed her work and beat her as punishment. Her desire to paint didn’t go away, no matter how much they tried. At 17, her parents demanded she choose a husband. She asked each suitor one question: “Will you allow me to paint?” They either laughed at her for being stupid or got angry that she would bring them shame. Not a single man agreed to let her paint. She never married.

At 34, a suicide attempt by Bilokur finally persuaded her parents to allocate a tiny room for art. However, they remained disapproving of it for the rest of their lives and viewed their daughter as a “failure.” By 1951, she was celebrated as a People's Artist of Ukraine.

Self-taught Ukrainian artist Kateryna Vasylivna Bilokur’s serene portrait depicts a light-skin young woman in a light blue embroidered blouse, adorned with a beaded necklace, holding a bouquet of wildflowers against a soft blue background of blossoming branches. The blues create a cool, dreamy atmosphere, emphasizing a contemplative nature. The combination of the woman, her clothing, and the flowers suggests a connection to nature and a feeling of springtime. Bilokur was born to a peasant family in 1900 in Bohdanivka, Ukraine. From early childhood, she was told that her destiny was to marry, have kids, care for the house, and work in the field. Bilokur’s desire to become an artist was unprecedented and perceived by her parents as dangerous. When she was 6, her father bought her an alphabet book. By the end of the week, Bilokur learned how to read and memorized the entire book. Impressed by such progress, her parents decided there was no need for her to go to school. At 24, she applied to the Myrhorod Professional School of Artistic Ceramics and, later, to Kyiv Theatrical Professional School. She was rejected both times due to a lack of primary education. As Bilokur later wrote: “My primary, secondary, and high education ended with two alphabet books.” As a youth, she drew art multiple times, but her parents always destroyed her work and beat her as punishment. Her desire to paint didn’t go away, no matter how much they tried. At 17, her parents demanded she choose a husband. She asked each suitor one question: “Will you allow me to paint?” They either laughed at her for being stupid or got angry that she would bring them shame. Not a single man agreed to let her paint. She never married. At 34, a suicide attempt by Bilokur finally persuaded her parents to allocate a tiny room for art. However, they remained disapproving of it for the rest of their lives and viewed their daughter as a “failure.” By 1951, she was celebrated as a People's Artist of Ukraine.

“Portrait de Nadezhda Bilokur” by Kateryna Bilokour (Ukrainian) - Oil on canvas / 1941 - National Museum of Decorative Art (Kyiv, Ukraine) #WomenInArt #art #WomanArtist #WomenArtists #WomensArt #ArtText #KaterynaBilokour #PortraitofaWoman #UkranianArt #UkranianArtist #blueskyart #Ukrainian #bskyart

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#UkranianArtist
Mariya Golub
Ukranian Botanical

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#UkranianArtist
Mariya Golub
Starry Beasts

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#UkranianArtist
Mariya Golub
Emerald Soul

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#UkranianArtist
Mariya Golub
Childhood Cottage

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#UkranianArtist
Mariya Golub

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Charades Game (1,2 &3), oil on canvas, 2024

Denis Sarazhin, Ukranian born, New York based artist

#charadesgame #denissarazhin #art #artist #contemporaryartist #ukranianartist #artworld
#oil #oilpainting #huile #öl #oleo #arte

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Стара картина, намальована десь на початку року.
Old painting, made in early 2024
#eldenring #art #oil #painting #armour #junohosdlow #ukranianartist #markamell #елденрінг #арт #картинамаслом #обладунок #джунохаслоу #украрт #маркамелл

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