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Michael
Michael
@mdstamper.bsky.social
2 days ago
Painted in 1864, this watercolor belongs to British artist Simeon Solomon’s early, ambitious engagement with classical and poetic subjects. Solomon, still a young artist in his twenties and closely associated with Pre-Raphaelite circles, turned to Sappho as a figure through whom desire, lyric beauty, and ambiguous identity could be imagined with unusual frankness. Two young women sit close together on a curved stone bench inside a lush, enclosed garden. At left, Erinna wears a soft rose-pink robe that slips from one shoulder, exposing part of her upper chest and emphasizing the tenderness and vulnerability of the pose. At right, Sappho leans in, dressed in warm yellow-gold drapery, her arm wrapped around Erinna as their faces nearly touch. Their dark hair, pale skin, and calm, inward expressions create a mood of stillness rather than drama. Around them, Solomon scatters symbolic details like petals and flowers on the ground, two doves perched behind them, a darker bird nearby, a small deer beside Erinna, and, near Sappho, the attributes of poetry and music. The figures feel both intimate and ceremonial, suspended in a private world of touch and affection. Victorian viewers often linked Sappho and Erinna romantically, even though that historical pairing is now understood to be anachronistic. That tension matters as the painting is not a documentary reconstruction of antiquity, but a 19th-century dream of female intimacy, literary companionship, and queer longing. Solomon makes that longing legible without making it crude. The doves suggest paired love. The darker bird introduces unease or interruption. The deer evokes a sacred, poetic realm. The result is delicate but radical. It's an image that treats closeness between women as cultured, beautiful, and emotionally serious rather than marginal. Tate acquired the work in 1980, and it remains one of Solomon’s most resonant pieces on desire, classicism, and imagined lesbian history.

Painted in 1864, this watercolor belongs to British artist Simeon Solomon’s early, ambitious engagement with classical and poetic subjects. Solomon, still a young artist in his twenties and closely associated with Pre-Raphaelite circles, turned to Sappho as a figure through whom desire, lyric beauty, and ambiguous identity could be imagined with unusual frankness. Two young women sit close together on a curved stone bench inside a lush, enclosed garden. At left, Erinna wears a soft rose-pink robe that slips from one shoulder, exposing part of her upper chest and emphasizing the tenderness and vulnerability of the pose. At right, Sappho leans in, dressed in warm yellow-gold drapery, her arm wrapped around Erinna as their faces nearly touch. Their dark hair, pale skin, and calm, inward expressions create a mood of stillness rather than drama. Around them, Solomon scatters symbolic details like petals and flowers on the ground, two doves perched behind them, a darker bird nearby, a small deer beside Erinna, and, near Sappho, the attributes of poetry and music. The figures feel both intimate and ceremonial, suspended in a private world of touch and affection. Victorian viewers often linked Sappho and Erinna romantically, even though that historical pairing is now understood to be anachronistic. That tension matters as the painting is not a documentary reconstruction of antiquity, but a 19th-century dream of female intimacy, literary companionship, and queer longing. Solomon makes that longing legible without making it crude. The doves suggest paired love. The darker bird introduces unease or interruption. The deer evokes a sacred, poetic realm. The result is delicate but radical. It's an image that treats closeness between women as cultured, beautiful, and emotionally serious rather than marginal. Tate acquired the work in 1980, and it remains one of Solomon’s most resonant pieces on desire, classicism, and imagined lesbian history.

"Sappho and Erinna in a Garden at Mytilene" by Simeon Solomon (British) - Watercolor on paper / 1864 - Tate Britain (London, England) #WomenInArt #SimeonSolomon #Solomon #TateBritain #art #artText #arte #Watercolor #Watercolour #VictorianArt #BritishArt #PreRaphaelite #Pre-Raphaelite #1860sArt

33 7 1 0
@starless1974.bsky.social
3 days ago
Post image

The #art of #passover #pesach artuk.org/discover/art... #victorianart

1 0 0 0
Michael
Michael
@mdstamper.bsky.social
4 days ago
James Sant was one of Victorian Britain’s best-known painters, celebrated especially for portraits of aristocratic women and children, and later served as Principal Painter in Ordinary to Queen Victoria. Here, instead of court display, he gives us a highly polished private moment. Two young women sit close together in a dense garden, framed by dark foliage and low pink blossoms that spill across the foreground. The woman at left has dark hair, pale skin, and a soft white dress edged with lace. She lowers her gaze with calm concentration as she steadies the other woman’s hand. The woman at right, fair and rosy, leans inward in a blush-pink dress trimmed with ribbons and flowers. Their heads nearly touch. The woman to the left gently removes a thorn from the other’s finger, turning a tiny hurt into the center of the scene. Sant paints skin, lace, petals, and fabric with velvety softness, so that careful, intimate, and unhurried touch becomes the picture’s real subject. The title tells us what has happened, but the painting’s emotional force lies in how quietly it happens as pain is answered by tenderness. The thorn suggests the old idea that beauty carries risk. Roses bloom, but they wound. The painting is less moral warning than study in feminine care, sympathy, and closeness. Because Sant so often idealized women in lush, refined settings, this work also fits late Victorian taste for sentiment, allegory, and cultivated beauty. Painted in 1887 and now in Manchester Art Gallery, it turns a fleeting sting into an image of mutual attention ... like an everyday act made poetic. We do not know the sitters’ identities from the collection record, but Sant makes them feel less like portraits of individuals than embodiments of affection, delicacy, and emotional reassurance.

James Sant was one of Victorian Britain’s best-known painters, celebrated especially for portraits of aristocratic women and children, and later served as Principal Painter in Ordinary to Queen Victoria. Here, instead of court display, he gives us a highly polished private moment. Two young women sit close together in a dense garden, framed by dark foliage and low pink blossoms that spill across the foreground. The woman at left has dark hair, pale skin, and a soft white dress edged with lace. She lowers her gaze with calm concentration as she steadies the other woman’s hand. The woman at right, fair and rosy, leans inward in a blush-pink dress trimmed with ribbons and flowers. Their heads nearly touch. The woman to the left gently removes a thorn from the other’s finger, turning a tiny hurt into the center of the scene. Sant paints skin, lace, petals, and fabric with velvety softness, so that careful, intimate, and unhurried touch becomes the picture’s real subject. The title tells us what has happened, but the painting’s emotional force lies in how quietly it happens as pain is answered by tenderness. The thorn suggests the old idea that beauty carries risk. Roses bloom, but they wound. The painting is less moral warning than study in feminine care, sympathy, and closeness. Because Sant so often idealized women in lush, refined settings, this work also fits late Victorian taste for sentiment, allegory, and cultivated beauty. Painted in 1887 and now in Manchester Art Gallery, it turns a fleeting sting into an image of mutual attention ... like an everyday act made poetic. We do not know the sitters’ identities from the collection record, but Sant makes them feel less like portraits of individuals than embodiments of affection, delicacy, and emotional reassurance.

“A Thorn amidst the Roses” by James Sant (British) - Oil on canvas / 1887 - Manchester Art Gallery (Manchester, England) #WomenInArt #JamesSant #Sant #ManchesterArtGallery #VictorianArt #arte #art #artText #19thCenturyArt #BritishArtist #BritishArt #VictorianPainting #RomanticRealism #1880sArt

41 7 0 0
Dr Aisling Tierney
Dr Aisling Tierney
@irishashyt.bsky.social
1 week ago
Illustration of man and woman with flowers and text to the happy couple congratulations

Illustration of man and woman with flowers and text to the happy couple congratulations

Congratulations to the happy couple card 💐💕

Adapted from the Victorian illustrations in Walter Crane’s Queen Summer 1891

tephraarts.etsy.com/listing/4482...

#victorian #victorianart #artnoveau #marriage #engagement #victorianart

1 0 0 0
Neharu.h
Neharu.h
@neharuh.bsky.social
2 weeks ago
Post image Post image Post image

Vigil
#furry #furryanthro #furryart #furryartist #ibispaintart #anthro #characterdesign #classicalart #creatureart #darkart #wolffurry #wolf #wolfdrawing #sfwfurry #elegant #victorianart #classicart #gothic #oroginalcharacter #artfurry #furrywolf #furryfandom #ilustration #originalart #art

6 0 0 0
VoidPattern
VoidPattern
@voidpattern.bsky.social
3 weeks ago
Steampunk Gears - intricate brass gears and clockwork mechanisms.

Steampunk Gears - intricate brass gears and clockwork mechanisms.

Steampunk Gears. Brass, copper, and Victorian engineering.

Intricate clockwork mechanisms algorithmically assembled. Industrial beauty in every cog.

#GenerativeArt #Steampunk #GearArt #VictorianArt #IndustrialArt #VoidPattern

0 0 0 0
History and Heritage Yorkshire
History and Heritage Yorkshire
@handhyorkshire.bsky.social
3 weeks ago

That tension between Anglican restraint and a revived love of medieval richness is written right into the object. #PreRaphaelite #ArtsAndCrafts #VictorianArt

14 2 3 0
Michael
Michael
@mdstamper.bsky.social
3 weeks ago
In a broad marble marketplace washed with pale morning light, women gather in small, emotionally distinct groups. Several exhausted bacchants lie asleep or half-awake on the stone pavement, their bodies slack, their hair loosened, their white and cream garments slipping into soft folds around them. One red-haired woman leans forward as if just rising; another sits upright, dazed, while a townswoman in deep blue bends toward her with food or drink. At the left, women cluster around baskets and provisions. At the center and rear, more figures stand in calm, vertical lines beneath a garlanded wall and near a monumental doorway. The contrast is striking: some women are disheveled, collapsed, and vulnerable; others are composed, attentive, and protective. British artist Lawrence Alma-Tadema (born in the Netherlands) orchestrates the whole scene through textures like cool stone, translucent drapery, dark hair, warm skin, and the hush of dawn after a long night. The title refers not to the sleeping revelers alone, but to the civic women of Amphissa, whose compassion is the real subject. Alma-Tadema drew the scene from ancient Greek writer Plutarch’s account of the Thyiades, female followers of Dionysus, who wandered in ritual ecstasy from Phocis and fell asleep in Amphissa’s marketplace. Though the cities were hostile, the local women formed a protective barrier around them, fed them when they awoke, and helped them return safely. For a Victorian audience, this historical episode became a moral image of female courage, restraint, and mercy. Rather than staging battle or scandal, Alma-Tadema centers women caring for women across political and social difference. Painted in 1887, when he was at the height of his fame for lavish classical reconstructions, this work turns antiquity into an ethical drama. Civilization is not triumph or punishment, but collective tenderness while the cool marble and luminous fabrics make care itself look monumental.

In a broad marble marketplace washed with pale morning light, women gather in small, emotionally distinct groups. Several exhausted bacchants lie asleep or half-awake on the stone pavement, their bodies slack, their hair loosened, their white and cream garments slipping into soft folds around them. One red-haired woman leans forward as if just rising; another sits upright, dazed, while a townswoman in deep blue bends toward her with food or drink. At the left, women cluster around baskets and provisions. At the center and rear, more figures stand in calm, vertical lines beneath a garlanded wall and near a monumental doorway. The contrast is striking: some women are disheveled, collapsed, and vulnerable; others are composed, attentive, and protective. British artist Lawrence Alma-Tadema (born in the Netherlands) orchestrates the whole scene through textures like cool stone, translucent drapery, dark hair, warm skin, and the hush of dawn after a long night. The title refers not to the sleeping revelers alone, but to the civic women of Amphissa, whose compassion is the real subject. Alma-Tadema drew the scene from ancient Greek writer Plutarch’s account of the Thyiades, female followers of Dionysus, who wandered in ritual ecstasy from Phocis and fell asleep in Amphissa’s marketplace. Though the cities were hostile, the local women formed a protective barrier around them, fed them when they awoke, and helped them return safely. For a Victorian audience, this historical episode became a moral image of female courage, restraint, and mercy. Rather than staging battle or scandal, Alma-Tadema centers women caring for women across political and social difference. Painted in 1887, when he was at the height of his fame for lavish classical reconstructions, this work turns antiquity into an ethical drama. Civilization is not triumph or punishment, but collective tenderness while the cool marble and luminous fabrics make care itself look monumental.

“The Women of Amphissa” by Sir Lawrence Alma-Tadema (Dutch-born British) - Oil on canvas / 1887 - The Clark Art Institute (Williamstown, Massachusetts) #WomenInArt #LawrenceAlmaTadema #AlmaTadema #ClarkArt #VictorianArt #ClassicalArt #blueskyart #art #arttext #BritishArt #ClarkArtInstitute #1880sArt

46 7 2 0
Neharu.h
Neharu.h
@neharuh.bsky.social
3 weeks ago
Video

Sotto Voce timelapse
#furry #furryart #creatureart #anthro #furryartist #ibispaintart #fox #gothic #furryanthro #characterdesign #originalart #darkart #digitalart #classicalart #victorianart #artfurry #elegant #timelapse #furryfox #furryfandom

1 0 0 0
Jason D. Brawn
Jason D. Brawn
@jasondbrawn.bsky.social
4 weeks ago
Post image Post image Post image Post image

An insightful talk by Dr Sally North about the poet and artist Althea Gyles, who had associations with W.B. Yeats, Aleister Crowley and Oscar Wilde.

Special thanks to @treadwells-books.bsky.social

#occultism #gothicartist #altheagyles #victorianart #poet

5 0 0 1
Mario Lanzas
Mario Lanzas
@mariolanzas.bsky.social
1 month ago
Post image Post image

The Deluge. Scene from ¨ANTEDILUVIAN¨: www.youtube.com/watch?v=LHsz... 🌊 This still from the animated short is now also available for prints 🌊 Here you can see the original painting that inspired this scene for comparison 🌊 #animation #retrosaurs #victorianart #paleontology #history #paleoart

18 5 1 0
William THE Duemler
William THE Duemler
@wduemler.bsky.social
1 month ago
Post image

Stolen Moment


#art #aiart #digitalart #aiartcommuníty #victorianart

4 0 0 0
Gsnsp
Gsnsp
@gsnsp.com
2 months ago
Preview
Picture of Dorian Gray: Oscar Wilde’s Scandalous Legacy How Oscar Wilde’s The Picture of Dorian Gray shocked Victorian England & why its themes of vanity and hidden sins define our modern selfie culture.

How The Picture of Dorian Gray Sparked a Victorian Scandal – and Why Oscar Wilde’s Novel Still Shapes Pop Culture #DorianGray #pictureofdoriangray #oscarwilde #oscarwildequotes #victorianart #victorian #victorianera www.gsnsp.com/picture-of-d...

0 0 0 0
Michael
Michael
@mdstamper.bsky.social
2 months ago
British artist Albert Joseph Moore takes his subject from the Song of Deborah in Judges 5 of the Christian bible, where Sisera’s mother waits at the window and cries through the lattice, “Why is his chariot so long in coming?” The story’s outcome is grim because Sisera has been killed by Jael, yet the painting lingers on the suspended moment before certainty arrives. What we see is the labor of waiting with attention sharpened into worry and hope pressed against dread. The model is Fanny Eaton, a Jamaican-born woman who posed for artists in the Pre-Raphaelite circle, placing a Black muse at the center of a Victorian “biblical” image and complicating ideas of who embodies sacred history. It’s a close view of a woman at a window, shown from the chest up in right-facing profile. Her deep brown skin is modeled with soft, naturalistic light as a warm highlight traces her forehead, cheekbone, nose, and the edge of her lower lip, while the far side of her face dissolves into shadow. Her dark hair is smoothed back and gathered behind. She wears a pale, loosely draped garment that slips open at the throat, and a dense, collar-like necklace of clustered beads that sits heavy on her shoulders. The woman leans forward, intent. One hand rises to a wooden window frame with her fingertips hovering near a narrow grid-like lattice, as if she is about to part it or is listening through it. Behind her, the space is quiet and dark, in reddish-brown and umber tones that keep attention on her face and gesture. Her expression is both alert and strained with eyes wide, brow slightly lifted, mouth gently set, as though she is holding her breath while watching the road. Painted early in Moore’s Royal Academy career, the work shows his early gift for restrained drama, precise observation, and harmonized color. It entered Tullie House through the 1949 bequest of Emily and Gordon Bottomley, and it still reads as a tender study of maternal vigilance.

British artist Albert Joseph Moore takes his subject from the Song of Deborah in Judges 5 of the Christian bible, where Sisera’s mother waits at the window and cries through the lattice, “Why is his chariot so long in coming?” The story’s outcome is grim because Sisera has been killed by Jael, yet the painting lingers on the suspended moment before certainty arrives. What we see is the labor of waiting with attention sharpened into worry and hope pressed against dread. The model is Fanny Eaton, a Jamaican-born woman who posed for artists in the Pre-Raphaelite circle, placing a Black muse at the center of a Victorian “biblical” image and complicating ideas of who embodies sacred history. It’s a close view of a woman at a window, shown from the chest up in right-facing profile. Her deep brown skin is modeled with soft, naturalistic light as a warm highlight traces her forehead, cheekbone, nose, and the edge of her lower lip, while the far side of her face dissolves into shadow. Her dark hair is smoothed back and gathered behind. She wears a pale, loosely draped garment that slips open at the throat, and a dense, collar-like necklace of clustered beads that sits heavy on her shoulders. The woman leans forward, intent. One hand rises to a wooden window frame with her fingertips hovering near a narrow grid-like lattice, as if she is about to part it or is listening through it. Behind her, the space is quiet and dark, in reddish-brown and umber tones that keep attention on her face and gesture. Her expression is both alert and strained with eyes wide, brow slightly lifted, mouth gently set, as though she is holding her breath while watching the road. Painted early in Moore’s Royal Academy career, the work shows his early gift for restrained drama, precise observation, and harmonized color. It entered Tullie House through the 1949 bequest of Emily and Gordon Bottomley, and it still reads as a tender study of maternal vigilance.

“The Mother of Sisera” by Albert Joseph Moore (British) - Oil on canvas / 1861 - Tullie House Museum and Art Gallery (Carlisle, England) #WomenInArt #art #artText #artwork #AlbertJosephMoore #TullieHouse #VictorianArt #BiblicalArt #BritishArt #OilPainting #BlueskyArt #BritishArtist #PortraitofaWoman

39 4 0 0
Raveast (Hommalia's Tales' Creator)
Raveast (Hommalia's Tales' Creator)
@raveast4rt.bsky.social
3 months ago
Post image Post image

Finally I've made MasQrade in Dark Fantasy's Characters that based from Gothlit called Frankenstein.
=======================================================
#masqradeindarkfantasy #frankenstein #frankensteinmonster #victorfrankenstein #oc #originalcharacters #mortician #gothlit #art #victorianart

4 0 1 0
Julie Shiel
Julie Shiel
@forgottenbeauty.bsky.social
3 months ago
Preview
forgottenbeauty Shop | Redbubble forgottenbeauty is an independent artist creating amazing designs for great products such as t-shirts, stickers, posters, and phone cases.

One day sale!
30% off tri-blend tees!
www.redbubble.com/people/forgo...
#art #illustration #vintagevibes #victorianart #fairytales #SALE #tee #tshirts #tshirtdesign #giftideas

4 0 0 0
Julie Shiel
Julie Shiel
@forgottenbeauty.bsky.social
3 months ago
Preview
forgottenbeauty Shop | Redbubble forgottenbeauty is an independent artist creating amazing designs for great products such as t-shirts, stickers, posters, and phone cases.

One day sale!
40% off iPhone cases!
www.redbubble.com/people/forgo...
#art #illustration #vintagevibes #victorianart #fairytales #Sale #phonecase #iphonecase

4 0 0 0
Julie Shiel
Julie Shiel
@forgottenbeauty.bsky.social
3 months ago

One day sale!
30% off Pullover Hoodies
www.redbubble.com/people/forgo...
#art #illustration #vintagevibes #victorianart #fairytale #hoodies #sales #wearableart

0 0 0 0
Julie Shiel
Julie Shiel
@forgottenbeauty.bsky.social
3 months ago
Preview
forgottenbeauty Shop | Redbubble forgottenbeauty is an independent artist creating amazing designs for great products such as t-shirts, stickers, posters, and phone cases.

One day sale!
30% off Classic Tees:
www.redbubble.com/people/forgo...
#art #illustration #vintagevibes #victorianart #fairytale #tshirts #sales #wearableart

3 0 0 0
Andi Brooks
Andi Brooks
@ghostlytales.bsky.social
3 months ago
Post image

King Cheer by James Godwin from the Illustrated London News of Saturday, December 24th, 1864.
#ChristmasIllustration #VictorianIllustration #ChristmasArt #VictorianArt #JamesGodwin #OldNewspapers

11 0 0 0
Nostalgic Confections
Nostalgic Confections
@nostconfect.bsky.social
3 months ago
This artwork is an original Nostalgic Confections Studio engraving, crafted in the precise monochrome Victorian style inspired by Thomas Nast’s 19th-century woodblock illustrations for Harper’s Weekly. The scene depicts two postal workers delivering confectioners’ parcels on a snowy evening. The composition features historically accurate 1880s attire, authentic period cross-hatching, gas-lamp illumination rendered through star-flare linework, and a storefront setting filled with barrels and winter greenery. This engraving is part of the Nostalgic Confections – Thomas Nast Engraving Series, celebrating historic confectionery culture through artisan-grade illustration craftsmanship. © 2025 Nostalgic Confections

This artwork is an original Nostalgic Confections Studio engraving, crafted in the precise monochrome Victorian style inspired by Thomas Nast’s 19th-century woodblock illustrations for Harper’s Weekly. The scene depicts two postal workers delivering confectioners’ parcels on a snowy evening. The composition features historically accurate 1880s attire, authentic period cross-hatching, gas-lamp illumination rendered through star-flare linework, and a storefront setting filled with barrels and winter greenery. This engraving is part of the Nostalgic Confections – Thomas Nast Engraving Series, celebrating historic confectionery culture through artisan-grade illustration craftsmanship. © 2025 Nostalgic Confections

Echo Repost - A snowy Victorian street, a wooden parcel of sweets, and two winter deliverymen—the newest engraving in our Thomas Nast–inspired series.

Full artwork:

thepalimpsest.nostalgicconfections.com/nostalgic-co...

#victorianart #heritagecraft

1 0 0 0
Nostalgic Confections
Nostalgic Confections
@nostconfect.bsky.social
3 months ago
This artwork is an original Nostalgic Confections Studio engraving, crafted in the precise monochrome Victorian style inspired by Thomas Nast’s 19th-century woodblock illustrations for Harper’s Weekly. The scene depicts two postal workers delivering confectioners’ parcels on a snowy evening. The composition features historically accurate 1880s attire, authentic period cross-hatching, gas-lamp illumination rendered through star-flare linework, and a storefront setting filled with barrels and winter greenery. This engraving is part of the Nostalgic Confections – Thomas Nast Engraving Series, celebrating historic confectionery culture through artisan-grade illustration craftsmanship.© 2025 Nostalgic Confections

This artwork is an original Nostalgic Confections Studio engraving, crafted in the precise monochrome Victorian style inspired by Thomas Nast’s 19th-century woodblock illustrations for Harper’s Weekly. The scene depicts two postal workers delivering confectioners’ parcels on a snowy evening. The composition features historically accurate 1880s attire, authentic period cross-hatching, gas-lamp illumination rendered through star-flare linework, and a storefront setting filled with barrels and winter greenery. This engraving is part of the Nostalgic Confections – Thomas Nast Engraving Series, celebrating historic confectionery culture through artisan-grade illustration craftsmanship.© 2025 Nostalgic Confections

Echo Repost - A snowy Victorian street, a wooden parcel of sweets, and two winter deliverymen—the newest engraving in our Thomas Nast–inspired series.
Full artwork:
thepalimpsest.nostalgicconfections.com/nostalgic-co...

#victorianart #heritagecraft
@confectyours.bsky.social

0 0 0 0
Nostalgic Confections
Nostalgic Confections
@nostconfect.bsky.social
4 months ago
This artwork is an original Nostalgic Confections Studio engraving, crafted in the precise monochrome Victorian style inspired by Thomas Nast’s 19th-century woodblock illustrations for Harper’s Weekly. The scene depicts two postal workers delivering confectioners’ parcels on a snowy evening. The composition features historically accurate 1880s attire, authentic period cross-hatching, gas-lamp illumination rendered through star-flare linework, and a storefront setting filled with barrels and winter greenery.© 2025 Nostalgic Confections

This artwork is an original Nostalgic Confections Studio engraving, crafted in the precise monochrome Victorian style inspired by Thomas Nast’s 19th-century woodblock illustrations for Harper’s Weekly. The scene depicts two postal workers delivering confectioners’ parcels on a snowy evening. The composition features historically accurate 1880s attire, authentic period cross-hatching, gas-lamp illumination rendered through star-flare linework, and a storefront setting filled with barrels and winter greenery.© 2025 Nostalgic Confections

A snowy Victorian street, a wooden parcel of sweets, and two winter deliverymen—the newest engraving in our Thomas Nast–inspired series. © 2025 Nostalgic Confections

Full artwork:
thepalimpsest.nostalgicconfections.com/nostalgic-co...

#victorianart #heritagecraft

0 0 0 0
Arthur David Spota
Arthur David Spota
@adaspota.bsky.social
4 months ago
Post image

John Atkinson Grimshaw ~ Autumn Gold, 1882
#JohnAtkinsonGrimshaw #VictorianArt

18 5 1 0
@detoxima2025.bsky.social
4 months ago
Post image

Steam Piano of the Revolution

#IndustrialRevolution #SteamPiano #VictorianArt #MachineAge #TypographyArt

1 0 0 0
Michael
Michael
@mdstamper.bsky.social
4 months ago
Painted when British artist Louise Jopling was an ambitious young professional—and pregnant with her son Lindsay, this self-portrait insists on seeing her as a working artist rather than a decorative sitter. She stages herself “through the looking-glass,” riffing on Lewis Carroll’s recent novel to suggest a passage between private and public identities as a woman who sits in her studio and the public painter whose image will hang in exhibitions. She depicts herself as a light-skinned woman artist sitting as she paints on an easel with her body turned slightly to the side so her gaze meets ours in a calm, steady look. She wears a pale blue dress with ruffled trim, a high white collar, and a matching blue-and-white cap perched over dark hair. A spray of yellow and russet flowers hangs at her chest, echoed by warm tones in her cheeks. Jopling balances a wooden palette loaded with bright dabs of paint on her lap, a fan of brushes gathered in her right hand as she works at an unseen canvas. We realize we are looking into a tall, dark-framed mirror. Behind her, a red-brown studio wall, a painted folding screen crowded with tiny figures, a yellow chest of drawers, a draped chair, and the vertical bar of her easel describe a lived-in, professional studio space. Jopling sent this picture to the Society of Lady Artists in 1875, while her companion canvas "A Modern Cinderella" appeared at the Royal Academy, evidence of her determination to claim space in institutions that still excluded women from membership. The folding screen, patterned textiles, and fashionable blue dress signal her place in cosmopolitan Victorian culture, yet the direct gaze, firm posture, and active hands quietly challenge assumptions about women’s roles. Shown in "Now You See Us: Women Artists in Britain 1520–1920," the painting restores Jopling to the story of British art as a pioneer who built an art school for women and helped future generations step through the glass of professional exclusion.

Painted when British artist Louise Jopling was an ambitious young professional—and pregnant with her son Lindsay, this self-portrait insists on seeing her as a working artist rather than a decorative sitter. She stages herself “through the looking-glass,” riffing on Lewis Carroll’s recent novel to suggest a passage between private and public identities as a woman who sits in her studio and the public painter whose image will hang in exhibitions. She depicts herself as a light-skinned woman artist sitting as she paints on an easel with her body turned slightly to the side so her gaze meets ours in a calm, steady look. She wears a pale blue dress with ruffled trim, a high white collar, and a matching blue-and-white cap perched over dark hair. A spray of yellow and russet flowers hangs at her chest, echoed by warm tones in her cheeks. Jopling balances a wooden palette loaded with bright dabs of paint on her lap, a fan of brushes gathered in her right hand as she works at an unseen canvas. We realize we are looking into a tall, dark-framed mirror. Behind her, a red-brown studio wall, a painted folding screen crowded with tiny figures, a yellow chest of drawers, a draped chair, and the vertical bar of her easel describe a lived-in, professional studio space. Jopling sent this picture to the Society of Lady Artists in 1875, while her companion canvas "A Modern Cinderella" appeared at the Royal Academy, evidence of her determination to claim space in institutions that still excluded women from membership. The folding screen, patterned textiles, and fashionable blue dress signal her place in cosmopolitan Victorian culture, yet the direct gaze, firm posture, and active hands quietly challenge assumptions about women’s roles. Shown in "Now You See Us: Women Artists in Britain 1520–1920," the painting restores Jopling to the story of British art as a pioneer who built an art school for women and helped future generations step through the glass of professional exclusion.

“Through the Looking-Glass” by Louise Jopling (English) – Oil paint on canvas / 1875 – Tate Britain (London, England) #WomenInArt #LouiseJopling #Jopling #TateBritain #TateMuseum #VictorianArt #WomensArt #WomanArtist #WomenArtists #art #artText #arte #BlueskyArt #mirror #EnglishArtist #SelfPortrait

69 10 1 0
Margo
Margo
@margosimoneart.com
4 months ago
Post image

This little raccoon heard a strange sound!
#art #illustration #animalart #victorianart #watercolor

7 0 0 0