"out with lanterns" 8x10 painted in acrylic on panel

inspired by a line from emily dickinson ✧

#traditionalart #ethereal #womanartist #fantasy #whimsy

✏️Crayon sur papier sur papier/ Pencil on paper : A3 / 2026📃

#art #dessin #drawing #pencildrawing #womanartist #artwork #soniahivert #contemporaryart #illustration #artgallery #artdaily #drawingart #artist #artiste #blackandwhite #noiretblanc #traditionalart #paperdrawing #poesie #poetry

Tamara de Lempicka, "The Coffee Mill," oil on wood 1941; Musée d'arts de Nantes. #lempicka #tamaradelempicka #art #modernart #stilllife #oilpainting #arte #kunst #peintures #paintings #womanartist #femaleartist #museum #artgallery

The title is direct and documentary, almost journalistic. It names both the workplace and the city, insisting that this labor matters and belongs to the visible life of Cincinnati. American artist Caroline Augusta Lord was herself a Cincinnati artist, internationally trained in Paris and New York yet deeply attentive to ordinary local subjects. By 1911, she was an established painter and longtime teacher at the Art Academy of Cincinnati, and her series on Acme Laundry shows her turning serious artistic skill toward women’s paid work. A large industrial laundry room opens across the canvas, crowded with women at work. In the foreground, several figures are turned away from us, their backs broad under white aprons tied over long dark skirts and pale blouses. Beyond them, more women stand in rows at tables and machines, sorting, folding, pressing, or handling linens. The room feels busy but ordered as belts, wheels, work surfaces, and stacks of cloth create a rhythm of labor that pulls us deep into the space. Lord paints the collective effort. The women appear adult, white, and working class, dressed practically for early 20th-century wage labor. Their sleeves are rolled and their postures bent while a few visible faces show concentration. The atmosphere is bright yet strenuous, with steam-white fabric and aprons standing out. Rather than presenting domestic laundry in the home, she records laundry as industry: repetitive, physical, underpaid, and essential. The painting’s meaning lives in that tension between order and exhaustion, anonymity and solidarity. These workers are not romanticized, but neither are they diminished. Lord gives them scale, structure, and dignity. The composition has the balance of a history painting, yet its subject is everyday labor by women whose work was often overlooked. In that way, the canvas quietly argues that modern working women deserved the same artistic attention traditionally reserved for elites, myths, or men in public life.

"Acme Laundry in Cincinnati" by Caroline Augusta Lord (American) - Oil on canvas / 1911 - Canton Museum of Art (Canton, Ohio) #WomenInArt #WomensArt #WomanArtist #WomenArtists #CarolineAugustaLord #CantonMuseumOfArt #art #artText #laundry #AmericanArt #SocialRealism #WomenPaintingWomen #1910sArt

The title carries the emotional center of the work. “hello” and “goodbye” are not opposites, but part of a repeating cycle of arrival, attachment, departure, and beginning again. American artist Vanessa Osmon’s explores the lives of military spouses, most of whom are women, and the friendships and identities shaped by frequent relocation. In that context, this scene becomes more than a gathering of friends. It is a portrait of community made precious by its impermanence. A large, rose-red and wine-toned group portrait gathers around a white sofa in a domestic interior. Four women sit across the couch, relaxed but alert. One woman stands at left with an infant tucked into a front carrier. Another stands near the center; and at far right a woman in a dark coat balances a child on her hip while holding a bulky item streaked with red. Faces are loosely but carefully observed, individual rather than generic, while the room around them dissolves into rubbed, layered passages of pink, mauve, charcoal, and brown. The drawing lines remain visible through the paint, and drips fall toward the floor, giving the whole image a feeling of motion, memory, and instability. The women’s expressions range from warm and amused to tired, reflective, and guarded. Each seems caught in a lived moment of conversation, support, and endurance. The layered, partially unresolved surfaces suggest memory, change, and selves repeatedly rewritten by movement. The babies and close physical grouping underscore care work, mutual reliance, and the social labor of holding one another together. Even the warmth of the palette feels double-edged as tender and intimate, yet flushed with stress and ache. The painting’s meaning lies in that tension between the beauty of becoming close to others, and the pain of having to leave them again and again.

"The Art of Hello and Goodbye" by Vanessa Osmon (American) - Mixed media on Arches oil paper mounted on aluminum / 2024 - Oklahoma State University Museum of Art (Stillwater, Oklahoma) #WomenInArt #WomensArt #WomanArtist #WomenArtists #VanessaOsmon #Osmon #arttext #art #arte #OKstate #OSUMuseumOfArt

From the website: “Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

Amy Sherald, "Well Prepared and Maladjusted," oil on canvas, 2008; private collection; photo: Hauser & Wirth National Museum of Women in the Arts. #art #paintings #blackhistory #blackculture #africanamerican #portrait #modernart #contemporaryart #womanartist #femaleartist #museum #artgallery

Quick morning practice…. Critique me please I’m learning and open to any tips or suggestions! #watercolor #womanartist #alwayslearning

A young woman with long black hair, her head resting in one hand, draws in a sketchbook. Outside a full moon over multi-story buildings seen thru a window. Her sketchbook is on a table as are a plugged in laptop, some garlic, a pottedblant and a schematic of a drinking glass.

By Mar Figueroa (Ecuadorian, b. 1993, raised in Jersey City), On a planting moon, I release what broke me, 2023, acrylic on canvas, 48 x 36 inches, ©️Mar Figueroa. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

Illustration from "Absolutely Amazing American Artists- Fidelia Bridges" written by Maria Ausherman #womanartist #19thcenturyartist #beach #birds #seacoast #illustrator #childrensbookillustrator #childrensbook

a beginning of a painting on a light pink background

a painting of a woman holding a star like a lantern, impressionist style in purples blues and pinks

the beginning → the end

"out with lanterns" acrylic on panel
#traditionalart #fantasyart #ethereal #womanartist

A night scene of a group of girls, bathed in light from candles, dressed in white, carrying pussywillows in a procession. From TikTok poster novikaslab: “Seraphima Blonskaya (1870–1947) was one of the first professional female painters in Ukraine, a pioneer who combined classical academic training with deep emotional insight. Born in Katerinoslav (today Dnipro), she showed artistic talent from a young age and was accepted into the prestigious Imperial Academy of Arts in St. Petersburg — a rare achievement for a woman in the late 19th century. There she studied under the renowned realist masters of the time, learning rigorous academic drawing and painting techniques while developing her own voice defined by grace, empathy, and a luminous sense of atmosphere.” Both Russia and Ukraine claim her as an artist, as she was born in in Verkhnodniprovsk, at that time part of the Russian Empire, but now in Ukraine. In 1875 her family moved to Taganrog, Russia. Most of her paintings belong to the collection of the Taganrog Museum of Art.

By Seraphima Blonskaya (1870-1947), Palm Sunday, 1900, Taganrog Museum of Art, Taganrog, Russia. Because palm trees do not grow in Russia, carrying blooming willow branches became the substitute for waving palm fronds. More info in ALT. #WomensHistoryMonth #womanartist #womenartists

Learning ink painting. ❤️🖤❤️
#foreverlearning #womanartist #ink

The painting captures a specifically British pre-wedding custom, the hen party, but artist Beryl Cook treats it as more than comic spectacle. She makes working-class and middle-class women the stars of public life by being visible, celebratory, self-possessed, and fully entitled to pleasure. Her art often centered women in pubs, clubs, cafés, and streets, recording the sociability of everyday life with affection rather than condescension. Five women cluster together in a tight, cheerful group, filling nearly the whole picture. Their bodies are rounded and buoyant, with Cook’s signature exaggeration making them feel larger than life, confident, and impossible to ignore. At the center is the bride-to-be, wearing a large tall white party hat trimmed with balloons, ribbons, and floral decorations. The others lean close around her in bright dresses and tops, their faces rosy, amused, and alert with shared excitement. Red lipstick, flushed cheeks, and glossy accessories heighten the mood of a night out before marriage. The scene feels crowded but affectionate, with no background distraction pulling attention away from the women’s camaraderie. Cook turns the group into a monument of laughter, ritual, and collective female presence. These are not idealized bodies or polished society beauties. They are vivid, social, ordinary women made unforgettable through humor, scale, and warmth. Made in 1995, “Hen Party II” belongs to Cook’s mature period, when her instantly recognizable style had become one of the most widely loved in Britain. A plausible real-life spark for this image survives in local Plymouth memory when a specific woman’s 1995 hen night reportedly inspired both this painting and a related work. That rootedness matters. Cook was not inventing fantasy women from a distance. She was observing the social worlds around her and transforming them into democratic icons. The humor is real, but so is the dignity for a record of female friendship and public joy.

“Hen Party II” by Beryl Cook (British) - Oil on board / 1995 - Glasgow Museums Resource Centre (Glasgow, Scotland) #WomenInArt #WomensArt #WomanArtist #WomenArtists #BerylCook #Cook #BritishArt #GlasgowMuseums #GlasgowMuseumsResourceCentre #artText #art #1990sArt #BritishArtist #WomenPaintingWomen

From ‘Beyond the Frame’: “It is a depiction of a young woman composing a poem at nighttime. The cherry trees of the title, whose blossom is so emblematic of Japanese culture and sensibility, are mostly hidden; they are merely silhouetted (with the exception of one trunk) and one explanation for this artistic decision is that they stand as a metaphor for the self-effacement expected of creative women – just as the blossom remains (largely) in shadow so the slate that the woman writes on is blank. It seems to make the point that she (the figure) is capable of conjuring the words whose beauty will reveal themselves just as surely as will the blossom reappear with the morning sunrise and just as surely as the artist achieves by depicting this scene in front of us. The work is remarkable for the way that it evokes the beauty of what lies in darkness, beauty from tones of charcoal grey and black, beauty from the antithesis of colour. Its theme is illumination, literal and figurative. The light from the candle in the large lamp lights up the face of the central figure as she looks for inspiration. The flame of inspiration lends her its glow – it burns brightly and floodlights the few visible blossoms to her right and left, both an encouragement and an enjoinder to create, while the lamp at the lower right lights up the sumptuous richness of her gown, its drapes connecting her to the grounded reality of the earth as her mind reaches closer to the celestial sphere of starier thought.” I think “starter” may be a typo, but I’m not sure what the writer intended. Perhaps “starry”?

By Japanese artist Katsushika Ōi (ca, 1800–after 1857, daughter of the more famous Katsushika Hokusai), Girl Composing a Poem under the Cherry Blossoms in the Night,” color on silk, Menard Art Museum. #WomensHistoryMonth #womenartists #womanartist #japaneseart #japaneseartist

No phones, no apps
We rush to market
To talk with friends

#painting #WomanArtist #poetry #beauty #eastcoastkin #community #humanity #Philippines

intuitive slow stitching guide - go with the flow by priganart

a selection of fabric threads

pouring beads on a collaged patchwork art piece

Just a slow dance with the fabrics and threads, listening to the music in your mind. Building textures and shapes where the feeling takes you, using fabrics, threads and beads. A guide.
#quiltsky #sewsky #collageart #intuitiveart #upcycledart #womanartist #artteacher

Philippine artist Anita Magsaysay-Ho was celebrated for paintings of Filipina women, especially women working together, and this 1955 work is one of her most ambitious group scenes. Rather than showing the market as a simple place of buying and selling, she turns it into a stage for human connection. Gesture matters as much as money. Fingers point, palms rise, bodies angle toward and away from one another, and the whole composition suggests that exchange is social, emotional, and communal, not merely commercial. The picture feels crowded, noisy, and alive. Women fill nearly the entire surface, pressed close together in a tight market scene. In the foreground, one woman in a white headscarf points sharply while another, in a deep red scarf, answers with both hands open, as if bargaining or protesting. Around them, many other women lean, turn, talk, watch, and carry goods. Baskets, greens, and bright yellow flowers gather at the bottom edge. Their faces are stylized rather than naturalistic as cheekbones are angular, eyes are wide or half-closed, and mouths open as if speech itself has become movement. Near the center, a hand grips a small bundle of cash. In the back, a single male figure appears, but the energy and authority of the space belong overwhelmingly to women. The painting is also quietly spiritual. One figure seems to lift an offering upward, and another appears withdrawn into thought, giving the scene a feeling that daily labor and belief can occupy the same space. That complexity makes the work memorable. It is lively and entertaining because it feels almost like overheard drama, but it is educational too, showing how Magsaysay-Ho transformed everyday Philippine life into modern art centered on women’s labor, dignity, and collective presence. Here, the marketplace becomes more than a place of trade. It becomes a shared world built through work, talk, ritual, and relationships.

“Talipapa” (In the Marketplace) by Anita Magsaysay-Ho (Filipino) - Egg tempera on board / 1955 - López Museum & Library (Pasig City, Philippines) #WomenInArt #WomensArt #WomanArtist #WomenArtists #AnitaMagsaysayHo #MagsaysayHo #Magsaysay-Ho #LopezMuseum #PhilippineArt #art #artText #PhilippineArtist

Inside a large factory canteen during World War I, women workers fill nearly the entire picture plane. To the left, tables are crowded with women in dark overalls and cloth caps, some seated shoulder to shoulder, some turned toward one another in conversation, some bent slightly with fatigue. To the right, a line forms at a serving counter. In the center, two young women walk toward us arm in arm, their bodies close and steady, while another woman beside them pauses and looks outward. Their clothing is practical rather than decorative with loose work dresses, aprons, caps, and sturdy dark shoes. Skin tones are mostly light, and the scene is lit by a soft industrial glow that catches faces, cuffs, and white cups in scattered points across the room. The space feels noisy, warm, and briefly relieved from labor, yet still disciplined by the rhythms of wartime production. English artist Flora Lion, a successful portrait painter, gained access during the First World War to factories in Leeds and Bradford and turned that access into something more than documentary record. Here, she paints not machinery but pause, appetite, exhaustion, companionship, and social change. The women are workers, but they are also individuals sharing fellowship in a newly public working world. The two central figures, linked arm in arm, carry much of the painting’s meaning including solidarity, confidence, and a new kind of visibility for women whose paid wartime labor altered everyday gender roles. The factory canteen itself matters too. It was part of a wider wartime welfare effort, meant to sustain productivity, but for many women it also meant regular hot meals and a measure of care inside harsh industrial life. Rather than glorifying war, Lion gives dignity to the home front and to the communal strength of women whose labor powered it.

“Women’s Canteen at Phoenix Works, Bradford” by Flora Lion (English) - Oil on canvas / 1918 - Imperial War Museums (London, England) #WomenInArt #WomensArt #WomanArtist #WomenArtists #FloraLion #ImperialWarMuseums #IWM #art #arttext #BlueskyArt #BritishArt #WWIart #arte #womenpaintingwomen #1910sArt

Klara Hasslwander (1876-1951), "Roses," gouache on paper, nd; Belvedere. #roses #flowers #stilllife #womanartist #womenshistorymonth #femaleartist #art #paintings #kunst #museum #artgallery

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

From the museum: “ Although unpretentious in its literal details, the scene nonetheless achieves an aura of elemental dignity. In a gesture of unaffected tenderness, a plain-featured woman wearing a simple cotton print dress embraces her sleepy toddler, a blond robust youngster of indeterminate sex dressed in a simple white cotton shirt and nestles the child firmly on her lap. The two figures are presented close-up, their contours filling the picture frame. Behind them the artist has rendered the barest of interior detail in vigorous, sketchy brushwork: cropped views of a straight back chair, a small cloth-draped wash stand holding an undecorated ewer and basin, and in the upper right-hand corner, the edge of a wood-shuttered window. Cassatt’s choice of subjects and setting evoked for her upper middle class audience a picture of the contemporary and the commonplace. The mother’s appearance suggested that of a country woman or domestic servant. She and her nondescript furnishings, as well as the studied casualness of impressionist brushwork removed the scene far from the sacred, picturesque, or refined realms familiar to concurrent Salon conceptions of motherhood. Cassatt also eschewed conventional sentimentality by imposing a solemnity of rhythm and stable unity upon the moment-to-moment sensations of touching, holding, and embracing. Conscious and unconscious caresses proceed in a litany of check against nodding head, small hand grasping mother’s chin, small relaxed hand and arm resting atop mother’s large anchoring hand, with the latter in its turn set atop her second hand as it muscularly grasps the baby’s thigh. The two bodies lean into one another forming an easy yet firm dovetail that functions compositionally and symbolically as an indissoluble unit.”

By Mary Cassatt (1844–1926), Mother and Child, ca. 1890, oil on canvas, 35 1/2 x 25 3/8 inches, Wichita Art Museum, Wichita, Kansas. The museum: “Mary Cassatt devoted much of her career to a modern redefinition of the ancient theme of motherhood.” #WomensHistoryMonth #womanartist #womenartists #art

Dance of the Old Men (a traditional dance from Michoacán, MX, that combines preHispanic and Catholic conquistadors’ traditions), acrylic on handmade paper.
#art #arte #kunst ##painting #pintura #illustration #ArteLatinAmericano #WomanArtist #Oaxaca #Mexico

an impressionist style painting of an enchanted forest, a woman holds out a star like a lantern

"I am out with lanterns, looking for myself"
- Emily Dickinson

"out with lanterns" 8x10" acrylic on panel, a painting process pic is on slide four.
#traditionalart #womanartist #fantasy #ethereal

An artwork depicting a young black woman, her hair braided. Her face is depicted as if painted with flowers, foliage. The palette is black, white, yellow against a background of green/turquoise. Artist's Statement: "As a fine artist and a hairstylist plaiting hair has always been part of my life. Over the years it has my area of research and art practice.I am fascinated by arrangements, patterns, and different textures. My mission has always been more than making women beautiful, I am committed through my work to portray a sense of confidence and contentment and reflect issues of shame, stereotypes and insults relating to hair, African hair.”

By South African artist Lebohang Motaung (born 1992), Expressive Roots, 2020, watercolor over linocut,
© Lebohang Motaung. For more, see artistproofstudio.co.za/pages/lebohang
#womanartist #womenartists #africanartist #art

A painting of a beautiful woman in nurse’s uniform of the World War II era. Dramatic lighting on the face. A quiet, thoughtful face.

Forgot to post hashtags! #arthistory #WomensHistoryMonth #womanartist #womenartists And here’s another by Anna Zinkeisen, titled Night Duty, 1954 or before, oil on canvas, 76x63.5 cm, Bradford Museums and Galleries, Bradford, England. ©️Estate of Anna Katrina Zinkeisen.

This painting carries unusual force because Chinese artist Sun Duoci (孙多慈) centers women whose labor is physically demanding, socially necessary, and easy to overlook. Rather than sentimentalizing them, she gives them gravity and presence via bent backs, rough terrain, work-worn clothing, and quiet, alert faces that suggest endurance more than spectacle. Under a wide, clouded sky, several women work in a rocky, barren field, crouching or sitting low to the ground as they break and gather stones. The central figures wear layered dark clothing suited to cold weather including one woman in a white headscarf sitting upright with a grave, steady expression, while another in a muted red head covering turns toward a companion bent over her task in a pale gray jacket. At left, two more women recede into shadow, their forms nearly merging with the earth. A standing worker in blue appears farther back, and tiny figures continue laboring across the open land behind them. Bare trees, rough soil, and a distant building on the horizon create a stark rural setting. The women’s faces are weary but attentive, their bodies close to the ground, their gestures repetitive and practical. The palette of browns, grays, and subdued blues makes the air feel cold, dusty, and heavy with effort. The image fits closely with the realist concerns associated with the artist’s mentor (and rumored lover) Xu Beihong’s circle, where close observation of ordinary life became both an artistic and ethical commitment. The workers are not background types but the moral focus of the picture. Their arrangement forms a community of shared labor, while the subdued light and earth-toned atmosphere turn hardship into something monumental and sober. The title, “Women Workers,” broadens the painting’s meaning slightly beyond its more literal Chinese wording, allowing the scene to stand not only for stone-breaking itself but for women’s labor more generally.

”打石子的女工 (Women Workers)” by 孙多慈 / Sun Duoci (Chinese) - Oil painting / 1937 - Xu Beihong Memorial Museum (Beijing, China) #WomenInArt #WomensArt #WomanArtist #WomenArtists #SunDuoci #孙多慈 #Duoci #XuBeihongMemorialMuseum #ChineseArt #BlueskyArt #徐悲鸿纪念馆 #art #arte #artText #ChineseArtist #1930sArt

A striking portrait of British actress Elsa Lanchester, best known for her role as the Bride of Frankenstein. She has curly red hair and wears a low cut black garment. One hand gestures gracefully. At the lower left corner, we see what may be a bag, and what looks like a mink stole (not the coat or jacket, the neck and shoulder wrap, with the head of the mink still attached). From ArtUK: “Doris Zinkeisen won a scholarship to the Royal Academy Schools in 1917, where she quickly earned critical acclaim. Shrugging off the outcry surrounding the inclusion of women students in the 1921 RA Summer Exhibition, she embarked on a prestigious career and received many notable commissions, such as stage design work for Charles B. Cochran in the 1930s and murals for the RMS 'Queen Mary'. She also exhibited in the US, Paris and London, including at the ROI – to which she was elected in 1928. In 1938, she published 'Designing for the Stage'. During WWII, Zinkeisen was employed by the British Red Cross to record their activities in Europe. Her harrowing painting ''Human Laundry', Belsen: April 1945' – a lasting testament to the horrors of war – stands in stark contrast to the vibrant compositions she produced both before and after the war.”

By Doris Zinkeisen (1897-1991), ”Elsa Lanchester,“ oil on canvas, exhibited 1925, National Portrait Gallery, London. More info in ALT. I will share as a comment an article on her work documenting Bergen-Belsen after its liberation. #arthistory #WomensHistoryMonth #womanartist #womenartists

And another Catherine #womanartist 👍

A young white woman, wearing brown,with lace collar and cuffs, her braided hair swept back and coiled, holds a book and looks directly at the viewer with large, expressive eyes. Author/painter Giorgio Vasari wrote that she “has laboured at the difficulties of design with greater study and better grace than any other woman of our time, and she has not only succeeded in drawing, colouring, and copying from nature, and in making excellent copies of works by other hands, but has also executed by herself alone some very choice and beautiful works of painting.”

By Sofonisba Anguissola (ca. 1531/35-1625), Self Portrait, ca. 1554, Kunsthistorisches Museum, Vienna. She was an internationally successful artist at a time when that was no small accomplishment for a woman. More info in ALT. #WomensHistoryMonth #womanartist #womenartists #art