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#goddess #Divinefeminine #womaninart #empowerment #feminineenergy

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Painted in 1910, this little-known oil painting aligns with American artist William Glackens’s Impressionist-leaning portrait manner with modern color, lively surface, and atmosphere prioritized over academic finish for an approach often discussed in relation to the brighter, Renoir-adjacent side of his practice within the Ashcan generation. 

It’s a waist-up portrait of a young woman posed frontally, her gaze steady and direct, set against a softly mottled field of teal, gray, lavender, and mossy green. Her skin is ghostly white with cool bluish shadows along the jaw and neck plus warm pink blooms across her cheeks, as if lit from within. Dark, carefully shaped brows anchor her expression. Her eyes are deep brown-black, outlined with a crisp, graphic emphasis that heightens her intensity. A rounded, very dark crimson hat frames her hair, with a small red feathery accent near the left side. Her clothing is simplified into bold color relationships like a deep green-black collar and a richly patterned orange-red shawl that arcs across her shoulders and forearms. One pale hand reaches diagonally toward the lower left, resting on the other arm which folds inward, creating a contained, self-possessed posture. Brushstrokes remain visible throughout, especially in the background, so edges soften and the woman seems to emerge from vibrating color rather than a defined room. 

The sitter is not identified and the title “Russian Girl” is best read cautiously as it may point to styling (hat, shawl, and an early-20th-century taste for “Russian” culture) more than it confirms nationality or biography. The portrait’s power comes from the balance it holds between the woman’s calm, guarded composure and a backdrop that refuses stillness via shifting hues and brushed veils of paint. As part of the permanent collection of Florida International University’s Frost Art Museum, the portrait is both an encounter with a person and a performance of modernity through color, mood, and title.

Painted in 1910, this little-known oil painting aligns with American artist William Glackens’s Impressionist-leaning portrait manner with modern color, lively surface, and atmosphere prioritized over academic finish for an approach often discussed in relation to the brighter, Renoir-adjacent side of his practice within the Ashcan generation. It’s a waist-up portrait of a young woman posed frontally, her gaze steady and direct, set against a softly mottled field of teal, gray, lavender, and mossy green. Her skin is ghostly white with cool bluish shadows along the jaw and neck plus warm pink blooms across her cheeks, as if lit from within. Dark, carefully shaped brows anchor her expression. Her eyes are deep brown-black, outlined with a crisp, graphic emphasis that heightens her intensity. A rounded, very dark crimson hat frames her hair, with a small red feathery accent near the left side. Her clothing is simplified into bold color relationships like a deep green-black collar and a richly patterned orange-red shawl that arcs across her shoulders and forearms. One pale hand reaches diagonally toward the lower left, resting on the other arm which folds inward, creating a contained, self-possessed posture. Brushstrokes remain visible throughout, especially in the background, so edges soften and the woman seems to emerge from vibrating color rather than a defined room. The sitter is not identified and the title “Russian Girl” is best read cautiously as it may point to styling (hat, shawl, and an early-20th-century taste for “Russian” culture) more than it confirms nationality or biography. The portrait’s power comes from the balance it holds between the woman’s calm, guarded composure and a backdrop that refuses stillness via shifting hues and brushed veils of paint. As part of the permanent collection of Florida International University’s Frost Art Museum, the portrait is both an encounter with a person and a performance of modernity through color, mood, and title.

“Russian Girl” by William Glackens (American) - Oil on linen / 1910 - Patricia & Phillip Frost Art Museum, FIU (Miami, Florida) #WomenInArt #FrostArtMuseum #FIU #WilliamGlackens #Glackens #PortraitPainting #WomanInArt #AmericanArt #artText #art #arte #Ashcan #AmericanArtist #AmericanImpressionism

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#rt #sketch #artist #digitalart #sketchart #womaninart #artisticexpression #femaleportrait #portrait #artcommunity #illustration #painting #digitalpainting #skeb

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phew, finally after weeks of obsessing over how to improve i've made a slight break through
#skeb #sketch #art #artist #digitalart #SketchArt #WomanInArt #ArtisticExpression #FemalePortrait #Sketching #ArtCommunity #CreativeProcess #Illustration #WomenArtists #ArtInspiration

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#portrait #portraitphotographie #shooting #art #modeling #France #womaninart #selfportrat #woman #noiretblanc
#blackandwhite
#photography
#photographie

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My guest for today.
(And yes, she was magnificent.) #ElegantLady #ArtPhotography #WomanInArt #Lady #Photography

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artist: Maggie Vandewalle "ho ho hooo" in watercolors #art #womaninart #blueSkyArt #funny

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Un cuadro rectangular que está en posición vertical. Contiene varias áreas de formas geométricas y patrones, sin representar objetos reconocibles.
Una forma grande, que parece un rectángulo inclinado, ocupa la parte central de la pintura. Esta forma se extiende desde la parte inferior izquierda hasta la parte superior derecha. Dentro de esta forma inclinada, se distinguen otras figuras: en la parte superior izquierda de esta forma grande, hay un círculo. Debajo de este círculo, la superficie presenta un patrón de líneas curvas que se extienden. Hacia la derecha, dentro de la misma forma grande central, hay una sección con un patrón de muchas líneas verticales cortas y paralelas.
La parte superior y superior derecha del cuadro, por encima de la forma inclinada, está compuesta por una superficie con un patrón de muchos puntos pequeños, todos del mismo tamaño. Sobre esta área de puntos, en la parte superior derecha, hay un círculo grande y liso. En el lado inferior derecho de la pintura, hay una sección con un patrón de franjas verticales más anchas. La esquina inferior izquierda presenta formas irregulares que no siguen un patrón definido.
La forma grande inclinada en el centro es principalmente de color amarillo, con zonas en tonos de amarillo claro, amarillo más intenso y también algunos cuadrados marrones claros. El círculo grande dentro de esta forma, en la parte superior izquierda, es de un amarillo liso. La parte superior del cuadro es de color azul. El área de puntos en el fondo es una mezcla de verde y azul oscuro. El círculo grande y liso sobre esta área de puntos es de color azul claro. En la parte inferior derecha, las franjas verticales son de color rojo y rojo oscuro, con algunas líneas amarillas entre ellas. Pequeños cuadrados de color rojo y marrón se encuentran en la parte inferior, mezclados con las áreas amarillas.

Un cuadro rectangular que está en posición vertical. Contiene varias áreas de formas geométricas y patrones, sin representar objetos reconocibles. Una forma grande, que parece un rectángulo inclinado, ocupa la parte central de la pintura. Esta forma se extiende desde la parte inferior izquierda hasta la parte superior derecha. Dentro de esta forma inclinada, se distinguen otras figuras: en la parte superior izquierda de esta forma grande, hay un círculo. Debajo de este círculo, la superficie presenta un patrón de líneas curvas que se extienden. Hacia la derecha, dentro de la misma forma grande central, hay una sección con un patrón de muchas líneas verticales cortas y paralelas. La parte superior y superior derecha del cuadro, por encima de la forma inclinada, está compuesta por una superficie con un patrón de muchos puntos pequeños, todos del mismo tamaño. Sobre esta área de puntos, en la parte superior derecha, hay un círculo grande y liso. En el lado inferior derecho de la pintura, hay una sección con un patrón de franjas verticales más anchas. La esquina inferior izquierda presenta formas irregulares que no siguen un patrón definido. La forma grande inclinada en el centro es principalmente de color amarillo, con zonas en tonos de amarillo claro, amarillo más intenso y también algunos cuadrados marrones claros. El círculo grande dentro de esta forma, en la parte superior izquierda, es de un amarillo liso. La parte superior del cuadro es de color azul. El área de puntos en el fondo es una mezcla de verde y azul oscuro. El círculo grande y liso sobre esta área de puntos es de color azul claro. En la parte inferior derecha, las franjas verticales son de color rojo y rojo oscuro, con algunas líneas amarillas entre ellas. Pequeños cuadrados de color rojo y marrón se encuentran en la parte inferior, mezclados con las áreas amarillas.

Lynne Drexler. #mujeresenelarte
#arte #blueskyart
Stumps. 1968. #womaninart

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Este en mi #blobtober , con pigmentos naturales de acacia, romero, ceniza y tierra.

#arteynaturaleza #arteconplantas #pigmentonatural #ilustracion #ilustracionbotanica #pinturabotanica #womaninart

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New work I just finished
#art #modernart #womaninart

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American artist John White Alexander launched his career as an illustrator for Harper's Weekly, but like other young artists of his generation he advanced his training in Paris. “The Blue Bowl” was shown in Paris and Vienna before appearing at RISD’s annual Autumn Exhibition of 1904. Alexander’s sophisticated style was unique in America, presenting feminine subjects in flattened and asymmetric spaces combined with a fluid technique. 

More than the Delft bowl of the title, the painting's true subject is the back of the model's gown, spread out as she bends to observe a fallen bloom. Executed with thin washes of color on roughly textured canvas, its sinuous curves and subtle patterning represent the height of Art Nouveau costume, transformed by the artist into an example of daring pictorial design.

A woman of fair complexion, her dark hair partially hidden beneath a wide, azure blue headband, has her gaze directed downward at a rather large, shallow bowl containing flowers in her hands. Her posture is slightly bent, suggesting a gentle intimacy with what she holds. Only a small portion of her face is visible; her soft features suggest youthfulness.

She is dressed in a long pale-sage gown that drapes beautifully around her slender form. The soft and delicate fabric, with a subtle pattern of scattered pale blue and darker green details, suggestive of flowers or leaves. The gown features a ruffled bodice and falls into many soft folds creating a visually stunning effect of movement and texture. A dark teal or blue sash cinches her waist, adding a touch of color contrast.

The canvas is technically a characteristic expression of the method which Alexander adopted to avoid the elaboration of detail which leads to excess of pigment: "using a coarse absorbent canvas and painting with a turpentine or petroleum medium, so that the roughly unglazed surface helps to avoid monotony and heightens the interest of every variation of brush work."

American artist John White Alexander launched his career as an illustrator for Harper's Weekly, but like other young artists of his generation he advanced his training in Paris. “The Blue Bowl” was shown in Paris and Vienna before appearing at RISD’s annual Autumn Exhibition of 1904. Alexander’s sophisticated style was unique in America, presenting feminine subjects in flattened and asymmetric spaces combined with a fluid technique. More than the Delft bowl of the title, the painting's true subject is the back of the model's gown, spread out as she bends to observe a fallen bloom. Executed with thin washes of color on roughly textured canvas, its sinuous curves and subtle patterning represent the height of Art Nouveau costume, transformed by the artist into an example of daring pictorial design. A woman of fair complexion, her dark hair partially hidden beneath a wide, azure blue headband, has her gaze directed downward at a rather large, shallow bowl containing flowers in her hands. Her posture is slightly bent, suggesting a gentle intimacy with what she holds. Only a small portion of her face is visible; her soft features suggest youthfulness. She is dressed in a long pale-sage gown that drapes beautifully around her slender form. The soft and delicate fabric, with a subtle pattern of scattered pale blue and darker green details, suggestive of flowers or leaves. The gown features a ruffled bodice and falls into many soft folds creating a visually stunning effect of movement and texture. A dark teal or blue sash cinches her waist, adding a touch of color contrast. The canvas is technically a characteristic expression of the method which Alexander adopted to avoid the elaboration of detail which leads to excess of pigment: "using a coarse absorbent canvas and painting with a turpentine or petroleum medium, so that the roughly unglazed surface helps to avoid monotony and heightens the interest of every variation of brush work."

“The Blue Bowl“ by John White Alexander (American) - Oil on canvas / 1898 - Rhode Island School of Design (Providence) #WomanInArt #art #artwork #artText #JohnWhiteAlexander #RISD #AmericanArt #AmericanArtist #BlueskyArt #OilPainting #bskyart #artbsky #PortraitofaWoman #RhodeIslandSchoolOfDesign

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A journey into the self, lit by shadow and fire.

#WatercolorPainting #MoodyArt #FeminineStrength #SunsetSilhouette #SpiritualArt #HealingThroughArt #SymbolicArt #ArtOfEmotion #ContemporaryWatercolor #MysticVibes #ReflectiveJourney #WomanInArt #DreamscapeArt #WalkIntoTheLight #VisualPoetry

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Before + After
From mess to magic ✨

Artist: Princes Arevalo

#sculpture #art #artist #contemporaryartist #recycleart #sustainable #greenart #green #nature #landscapeart #painting #handmade #womaninart

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A series of 8 paintings
Title: Glacial Beauty 1 to 8
Media: Acrylic, Ink & Charcoal
Support: Wood Panel
Sizes: Mixed Media
Available, DM me

Do you have a favorite? Leave a comment.

#textureart #asemicwriting #textureartist #womaninart #canadianart #abstract #intuitiveartist #merryclaude

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“Open,” and its partner work “Closed,” by African American artist and 2025 Baker Artists Awards recipient Monica Ikegwu are dewy, bright self-portraits that are reflective of the ways that clothing aids us in revealing and concealing. Ikegwu’s puffer jacket and all-red ensemble are nods to hip-hop fashion and the two paintings were featured in the 2023 Baltimore Museum of Art (BMA) groundbreaking exhibition “The Culture: Hip Hop and Contemporary Art in the 21st Century” that explored the conceptual, cultural, and aesthetic attributes that have made hip hop a global phenomenon and established it as the artistic canon of our time.

It is a striking portrait of a young Black woman, rendered in hyperrealistic style with exceptional attention to detail. She is the undeniable central focus against a solid, intense red backdrop.

Dressed entirely in varying shades of deep red, she wears a form-fitting, crimson-colored tank top styled as a cropped top, revealing a portion of her midriff. Her form-fitting bottoms are a matching deep red. Over this outfit, she wears a voluminous, quilted crimson puffer jacket. The “open” jacket drapes dramatically over her arms, adding texture and depth to the composition while allowing us to see her outfit beneath.

Her skin is depicted with a rich, dark tone, and her features are sharply defined. Her expression is one of confidence, bordering on defiance. Her eyes hold a direct gaze downward towards us, and her lips are painted with dark, glossy lipstick. Her textured hair is pulled back into a short loose ponytail, adding to her modern aesthetic. Her nails are painted a bright red, a small yet noticeable detail.

The deep reds create a sense of intensity and passion, while the woman's confident posture communicates strength and self-assurance. The hyperrealistic style adds to its impact, drawing us into her presence. The painting evokes a feeling of boldness, and displays a celebration of Black beauty and female empowerment.

“Open,” and its partner work “Closed,” by African American artist and 2025 Baker Artists Awards recipient Monica Ikegwu are dewy, bright self-portraits that are reflective of the ways that clothing aids us in revealing and concealing. Ikegwu’s puffer jacket and all-red ensemble are nods to hip-hop fashion and the two paintings were featured in the 2023 Baltimore Museum of Art (BMA) groundbreaking exhibition “The Culture: Hip Hop and Contemporary Art in the 21st Century” that explored the conceptual, cultural, and aesthetic attributes that have made hip hop a global phenomenon and established it as the artistic canon of our time. It is a striking portrait of a young Black woman, rendered in hyperrealistic style with exceptional attention to detail. She is the undeniable central focus against a solid, intense red backdrop. Dressed entirely in varying shades of deep red, she wears a form-fitting, crimson-colored tank top styled as a cropped top, revealing a portion of her midriff. Her form-fitting bottoms are a matching deep red. Over this outfit, she wears a voluminous, quilted crimson puffer jacket. The “open” jacket drapes dramatically over her arms, adding texture and depth to the composition while allowing us to see her outfit beneath. Her skin is depicted with a rich, dark tone, and her features are sharply defined. Her expression is one of confidence, bordering on defiance. Her eyes hold a direct gaze downward towards us, and her lips are painted with dark, glossy lipstick. Her textured hair is pulled back into a short loose ponytail, adding to her modern aesthetic. Her nails are painted a bright red, a small yet noticeable detail. The deep reds create a sense of intensity and passion, while the woman's confident posture communicates strength and self-assurance. The hyperrealistic style adds to its impact, drawing us into her presence. The painting evokes a feeling of boldness, and displays a celebration of Black beauty and female empowerment.

“Open“ by Monica Ikegwu (American) - Oil on canvas / 2021 - Baltimore Museum of Art (Maryland) #WomanInArt #WomenArtists #art #ArtText #WomanArtist #AmericanArtist #MonicaIkegwu #Ikegwu #WomensArt #BaltimoreMuseumofArt #AfricanAmericanArtist #HipHopFashion #artwork #AfricanAmericanArt #SelfPortrait

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Hit follow, drop a 💙, share, & comment. 

⚠️Image credit unknown. Traced to X, Pinterest,Instagram, TinEye,Google Lens. No copyright claimed.

Disclaimer: The uploaded artistic work—whether Artistic Photography, Fine Arts, Applied Arts, Visual Arts, Musical Arts, Digital Art, Sacred Art, or Contemporary Art—includes source information. Its origin—whether AI-generated or not—and its author remain unknown. This piece is shared solely for non-commercial and bona fide purposes, in recognition that intellectual property rights, including copyright, protect creativity and knowledge as part of human dignity. These rights ensure that authors, artists, and innovators can benefit from their work while society fairly accesses culture, science, and education. If any © concerns arise, please notify me, and I will promptly take appropriate action. Feel free to share comments if the information differs. Let’s keep it clear, friendly, and respectful.

Hit follow, drop a 💙, share, & comment. ⚠️Image credit unknown. Traced to X, Pinterest,Instagram, TinEye,Google Lens. No copyright claimed. Disclaimer: The uploaded artistic work—whether Artistic Photography, Fine Arts, Applied Arts, Visual Arts, Musical Arts, Digital Art, Sacred Art, or Contemporary Art—includes source information. Its origin—whether AI-generated or not—and its author remain unknown. This piece is shared solely for non-commercial and bona fide purposes, in recognition that intellectual property rights, including copyright, protect creativity and knowledge as part of human dignity. These rights ensure that authors, artists, and innovators can benefit from their work while society fairly accesses culture, science, and education. If any © concerns arise, please notify me, and I will promptly take appropriate action. Feel free to share comments if the information differs. Let’s keep it clear, friendly, and respectful.

I dwell in my own world—because this one feels too loud, too hollow, too full of ecpathy, indifference, evil, and dishonesty… and never mine.

#Art #ArtShareAndSupport #ArtSharing_Post #Drawing #ConceptualArt #DigitalArtist #IAArtist #ContemporAryart #WomanInArt

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Oil on canvas, 2025, F.G.
#art #oiloncanvas #womaninart

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Nude girl

Ink on grey paper 15 x 21 cm.

#girl #girlinart #womaninart #woman #drawing

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Close ups .. “There is no love without Justice.” #Digitialdrawing #Drawing #Photography #Collage #Acrylicpainting #mixedmedia #wilderman #womaninart #blueskyart #artyear #originalart #NancyCArt #NancyConnolly

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“There is no love without Justice.” #Digitialdrawing #Drawing #Photography #Collage #Acrylicpainting #mixedmedia #wilderman #womaninart #blueskyart #artyear #originalart #NancyCArt #NancyConnolly

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@suescottartist.bsky.social joins our small collection of #womaninart along with Mandy Paine Jen Orpin Holly Brodie and Kate Lycett

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Blue pink girl
#WatercolorPortrait #AquarelaRetrato #PortraitPainting #WatercolorArt #FemalePortrait #WomanInArt #WatercolorWoman #ContemporaryWatercolor #ModernWatercolor #FigurativeWatercolor #SketchbookArt #ArtLovers #EmergingArtist #WatercolorIllustration #CreativePortrait

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Vintage Postcard Fantaisie Easter Poisson Femme Horseshoe

www.cpaphil.com/en/c...

#EasterFantasy #VintageEaster #PoissonDAvril #SpringPostcard #HorseshoeCharm #FantasyIllustration #WomanInArt #HistoricalHolidays #PostcardCollector #ArtNouveauStyle

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Pastel picture of young woman with a pink shawl, the light reflecting on her face.

Pastel picture of young woman with a pink shawl, the light reflecting on her face.

This is a pastel painting of a young woman holding a candle. 24”x46” on Mi Teintes paper #art #womanartist #portrait #pastelart #womaninart #frmailpainter #fineart #traditionalart #greatgiftideas

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Oil painting of a mother soothing a baby gently holding his head into her shoulder .

Oil painting of a mother soothing a baby gently holding his head into her shoulder .

This is an oil painting titled “Mother’s Love”
As a mother I have soothing my child this way. I am sure mother all over the world can relate. #womanartist #womaninart #oilpainting #artstudio #art #greatgiftideas #artforsale #femalepainter #portrait #fineart #artwork #traditionalart

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Although the sitter in this vivid portrait by English society portraitist David Jagger is at present unknown, her hair style and clothing suggests she was perfectly au fait with the latest 1930s fashions, as exemplified in contemporary popular cinema and theater. 

Indeed the sitter, whose anonymity adds to her mystique, looks not dissimilar to the American-Chinese actress Anna May Wong, and just as the origins of today’s fashions can be traced to prominent celebrities, this hair style – a jet-black bob with a heavy fringe – is most commonly associated in the public imagination with Wong.

When exhibited at Bankfield Museum in Halifax in August 1939, the local press reviewed the portrait with great admiration, commenting on the ‘smooth skin textures’ and the bold color scheme of reds, greens and blacks.

Combining glamorous realism with energetic artistic force, Jagger depicts a quite astonishingly beautiful young woman -- the perfect shape of her rouged lips, the arching penciled brows, her hair sleekly bobbed. And then her sheer physical beauty: the refined and elegant bone structure, the softness of her skin, the depth of her gaze. The simplicity and directness of the pose - and the tension in the line of her brow - are elements that help give the portrait immense power only matched in intensity by the ravishing colors.

This portrait was exhibited in the touring exhibition "The Art of the Jagger Family" from 1939 to 1940, which was devoted to the work of David, his sister Edith and that of their late brother, Charles Sargeant Jagger. Interestingly, a photograph formerly in the family’s possession, shows David and a lady (likely Edith), seated in front of a selection of works chosen for the exhibition including this stunning portrait.

Creating simple, but elegant art made the reclusive Jagger one of the most highly regarded society portraitists in London with an illustrious set of patrons, including Queen Mary and the actress Vivien Leigh.

Although the sitter in this vivid portrait by English society portraitist David Jagger is at present unknown, her hair style and clothing suggests she was perfectly au fait with the latest 1930s fashions, as exemplified in contemporary popular cinema and theater. Indeed the sitter, whose anonymity adds to her mystique, looks not dissimilar to the American-Chinese actress Anna May Wong, and just as the origins of today’s fashions can be traced to prominent celebrities, this hair style – a jet-black bob with a heavy fringe – is most commonly associated in the public imagination with Wong. When exhibited at Bankfield Museum in Halifax in August 1939, the local press reviewed the portrait with great admiration, commenting on the ‘smooth skin textures’ and the bold color scheme of reds, greens and blacks. Combining glamorous realism with energetic artistic force, Jagger depicts a quite astonishingly beautiful young woman -- the perfect shape of her rouged lips, the arching penciled brows, her hair sleekly bobbed. And then her sheer physical beauty: the refined and elegant bone structure, the softness of her skin, the depth of her gaze. The simplicity and directness of the pose - and the tension in the line of her brow - are elements that help give the portrait immense power only matched in intensity by the ravishing colors. This portrait was exhibited in the touring exhibition "The Art of the Jagger Family" from 1939 to 1940, which was devoted to the work of David, his sister Edith and that of their late brother, Charles Sargeant Jagger. Interestingly, a photograph formerly in the family’s possession, shows David and a lady (likely Edith), seated in front of a selection of works chosen for the exhibition including this stunning portrait. Creating simple, but elegant art made the reclusive Jagger one of the most highly regarded society portraitists in London with an illustrious set of patrons, including Queen Mary and the actress Vivien Leigh.

A Young Chinese Girl by David Jagger (English) - Oil on canvas / 1936 #womaninart #art #oilpainting #portraitofawoman #artwork #DavidJagger #EnglishArtist #portrait #fineart #EnglishArt #ChineseWoman #WomensArt #1930s #fashion #style #realism #portraitofalady #artoftheday #Jagger #BankfieldMuseum

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Saxophone It’s not Candy Dulfer but inspired by her. #saxophone #musician #watercolor #womaninart #Lilywashere

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Pastel drawing of actress Nichole K, her beautiful hair flowing around her face.

Pastel drawing of actress Nichole K, her beautiful hair flowing around her face.

This is a pastel portrait of Aussi actress Nicole K. Such a beautiful woman. This is an picture of when she was younger. framed, (so there is some reflection in the glass) 77cm x 97cm #womanartist #womaninart #art #pastelart #traditional #artforsale #artgallery #artstudio #artcollectors
#artwork

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Chinoiserie 4
#marialuisabasile #journalist #chinoiserie #art #illustration #digitalart #chinesenewyear #capodannocinese #portrait #womaninart #woman #mywork

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Chinoiserie 3
#marialuisabasile #journalist #chinoiserie #art #illustration #chinesenewyear #capodannocinese #gold #womaninart #woman

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