Two women are shown from very close range, filling the painting edge to edge. Their heads incline toward one another until the space between them nearly disappears, creating a feeling of privacy and trust. Each woman cradles a wide, white teacup in both hands. Their eyes are lowered, and their expressions are quiet, inward, and calm, as if the act of drinking is also a moment of rest. Both wear light cloths over their heads, painted in creamy white and muted green. The palette is warm and saturated as coral, rose, terracotta, brown, smoky black, and touches of cool green move across the canvas in broad, visible strokes. Their skin is rendered in warm peach-brown and rosy tones, and the hands are simplified but expressive, repeated across the lower half of the image like a rhythm. There is only color and gesture so the women’s shared presence is the whole subject. That intimacy is central to Filipino artist Anita Magsaysay-Ho’s art. She is celebrated for painting Filipina women with dignity, solidarity, and inner life, often focusing on everyday labor or communal ritual rather than spectacle. Here, tea drinking becomes more than a domestic act. It is a shared pause, a small ceremony of warmth, companionship, and replenishment. The women do not look out to meet us. Instead, they remain absorbed in their own moment, which makes the scene feel especially tender and self-possessed. Painted in 1957, the work belongs to Magsaysay-Ho’s mature modernist period, when she used flattened forms, rhythmic contour, and expressive color to distill experience rather than describe it literally. As the only woman associated with the Thirteen Moderns in the Philippines, she helped reshape modern Filipino painting while returning again and again to women’s worlds as sites of strength, beauty, and mutual care. This painting turns closeness itself into the subject with companionship as sustenance.

“Tea Drinkers” by Anita Magsaysay-Ho (Filipina) - Oil on canvas / 1957 - National Gallery Singapore #WomenInArt #WomensArt #WomanArtist #WomenArtists #AnitaMagsaysayHo #MagsaysayHo #AnitaMagsaysay-Ho #Magsaysay-Ho #NationalGallerySingapore #FilipinoArt #FilipinoArtist #arte #art #artText #1950sArt

purple and pink wave landscape patchwork, wave quilt, art quilt

I unpacked one of my Brother sewing machines and found the packet of fabrics that I had put aside to create this small 50 x 40 cm Wave Landscape Patchwork piece. I have been quietly working on this birthday gift which has been gifted so I can share. #quiltsky #artquilt #womanartist #wavequilts

mini dragon painting to test out water mixable oil paints for the first time. I typically paint in gouache or acrylic but I'm excited to see what effects I can get with this new medium ݁₊ ⊹ #traditionalart #womanartist #fantasy #ethereal #watermixableoils

Not alone

Shiva

A3 Carnet feuille noire
Crayons de couleurs Faber-Castell Blackwood

#drawing #artlovers #womanartist #art

Beautiful. Like and repost.
#art #artist #fineart #artboost #womanArtist #southwest

#FightThePatriarcy

#mitsukoswan #art #originalart #OC #OCart #watercolour #watercolourart #traditionalart #nsfw #nonsexual #inclusive #inclusiveart #inclusivebodies #queer #womanartist

Posting and looking at all this makes me wanna try painting myself, but I know I'm too much of a perfectionist 🥲💜
#mitsukoswan #art #originalart #OC #OCart #watercolour #watercolourart #traditionalart #nsfw #nonsexual #inclusive #inclusiveart #inclusivebodies #queer #blackwoman #womanartist

Some #HazbinHotel 💜

#mitsukoswan #art #fanart #watercolour #watercolourart #traditionalart #inclusive #inclusiveart #inclusivebodies #queer #womanartist

A felted teal and blue background behind an orange, gold, white, black and gray Siberian tiger alongside a lavender, brown and white birch tree.

My #textileart supports non-profits helping #endangeredanimals.
Ck out my shop⬇️

www.etsy.com/shop/Lorrain...

#fabricart #quiltsky #embroidered #fabriccollage #sciart #onlybeautifulthings #uplift #craftivism #craftivist #caturday #cat #felted #artquilt #stitched #womanartist #embellished

Symmetry 💜
#mitsukoswan #art #originalart #OC #OCart #watercolour #watercolourart #traditionalart #nsfw #nonsexual #inclusive #inclusiveart #inclusivebodies #queer #womanartist

Pencil drawing of young girl with long hair, on black background

This is a pencil drawing for a friend 32cm x 24cm on Pastelmat. #pencilart #portraits #womanartist #womaninart #greatgiftideas #tradionalart

#mitsukoswan #art #originalart #OC #OCart #watercolour #watercolourart #traditionalart #nsfw #nonsexual #inclusive #inclusiveart #inclusivebodies #queer #womanartist

#art #dessin #drawing #pencildrawing #womanartist #artwork #soniahivert #contemporaryart #illustration #artgallery #artdaily #drawingart #artist #artiste #traditionalart #pendrawing #dessinfiguratif #dessinaucrayon #paperdrawing #poesie #poetry

just posted some dragon painting progress pics (mini oil paintings!), oil pastel sketches, and other works in progress (nymphs, ballerinas, & secret fantasy novel work) for my art practice on my patreon ݁₊ ⊹ #traditionalart #womanartist #fantasy #artprocess

Two women recline side by side on a sofa (one from the left and the other from the right) their bodies stretched across the canvas with the easy confidence of people who fully belong where they are. South African artist Zandile Tshabalala dresses them in leopard-print slips and gives them striking red lipstick, details that make the painting feel lush, glamorous, and confident. Their poses echo the long European tradition of the reclining nude, but this scene refuses passivity. These women are not offered up for our fantasy. They occupy the canvas on their own terms. The mood is both intimate and alert. Even in repose, they project control. The surface is decorative and bold, with color and pattern doing as much emotional work as anatomy. Rather than treating Black femininity as marginal or secondary, Tshabalala makes it central, sensuous, and unmistakably modern. That reversal is at the heart of the painting’s power. Born in Soweto , South Africa in 1999, Tshabalala has spoken about wanting to bring Black women forward in a history of art that so often pushed them to the edge or cast them in compromised roles. Here, she answers the old genre of the odalisque and reclining nude with a new image of beauty, leisure, and self-definition. Rest becomes a political and poetic space. The women do not need to explain themselves. Their presence is enough. In the context of "When We See Us," a landmark exhibition centered on Black self-representation and Black joy, the painting feels especially resonant. It is luxurious, yes, but also corrective like a declaration that softness, vanity, beauty, sensuality, and rest all belong within the visual language of Black life. Tshabalala turns a familiar art-historical format into something freer and more generous, replacing the outsider’s gaze with one grounded in dignity, pleasure, and self-possession.

“Two Reclining Women” by Zandile Tshabalala (South African) - Acrylic on canvas / 2020 - Zeitz MOCAA (Cape Town, South Africa) #WomenInArt #WomensArt #WomanArtist #WomenArtists #ZandileTshabalala #Tshabalala #ZeitzMOCAA #art #artText #MOCAA #BlackArtist #SouthAfricanArt #SouthAfricanArtist #BlackArt

BAMBI

"I am a woman.
No matter what my body looks like.
I am who I am and who I have always been.
Our gender identity must always be respected, however
we choose to live it.
Together with all my sisters.
Girls will be Girls."
#queer #womanartist #mitsukoswan #art

Two women sit close together on the ground amid dense, oversized leaves that press around them like a living backdrop. The woman at left faces us directly. She has dark hair parted at the center, small red earrings, a pale blue blouse, and a deep plum skirt. In her arms, she cradles a long orange squash, while several pale cut rounds of squash lie on the earth in front of the pair. The woman at right turns in profile toward her companion. She wears a vivid red-orange blouse and a dark skirt, her black hair pulled back smoothly. Both figures are built from rounded, weighty forms, with broad hands, strong forearms, and calm, self-contained expressions. Both women are painted with medium-to-deep brown skin tones, and American artist Lucretia Van Horn gives that brownness a warm, solid presence rather than treating it as incidental detail. The painting compresses space so that the women and the surrounding plants seem almost pressed against the picture surface, giving the scene an intimate yet monumental stillness. That sculptural stillness is part of the painting’s power. Van Horn does not treat these women as decorative types. She gives them gravity, dignity, and presence. JLW’s artist essay notes that “Two Women with a Squash” reflects the impact of Diego Rivera and other Mexican muralists on her work, especially in its flattened space, simplified modeling, and sympathetic treatment of women in a natural setting. Van Horn, born in St. Louis, Missouri in 1882 and later active in Berkeley’s modernist circles, had studied in New York and Paris before travel in Mexico reshaped her art. She assisted Rivera, absorbed his monumental approach to the human figure, and translated that influence into her own language. Here, sustenance, land, and womanhood are bound together as the squash is not just a still-life detail, but a sign of bodily nourishment, rural labor, and continuity with the earth.

“Two Women with a Squash” by Lucretia Van Horn (American) - Oil on canvas / c. 1930 - JLW Collection (Sun Valley, Idaho) #WomenInArt #WomanArtist #WomenArtists #LucretiaVanHorn #VanHorn #JLWCollection #arte #art #artText #AmericanArtist #AmericanArt #JLW #WomenPaintingWomen #WomensArt #1930sArt

Paper mosaic in progress! Create the textured papers, cut to size, glue on black board or paper. If you have any time on hand this will burn it up!

#art #mosaic #paperart #blueskyart #womanartist #artbywomen

I need to make another piece like this and I have browns, greens and camo colors available
#quiltsky #sewsky #upcycledart #womanartist #wavequilts
www.youtube.com/watch?v=rF8A...

Yayoi Kusama (b.1929), "Flowers," acrylic on canvas, 1996; photo: China Guardian Auctions, Hong Kong. #art #arte #modernart #flowers #acrylic #abstractart #abstractpainting #japaneseartist #femaleartist #womanartist #museum #artgallery

central park cherry blossoms en plein air (this was april 6 & they were at peak!) painting them quickly before they disappear 🌸 #traditionalart #womanartist #nyc #nyccherryblossoms #centralpark

This painting marked a turning point for American artist Amy Sherald in 2018, just after the national attention surrounding her portrait of Michelle Obama. It was the first work she made after that historic commission and one of the first in which her imagined world opened into a full landscape. Sherald said she had wanted for years to place figures in an open field, and the rocket arrived as a symbol of “unlimited potential,” but also as something coded in American culture as white and male. Here, she reclaims that symbolic space. Two young Black women stand barefoot in a wide field of dry yellow grass, seen mostly from behind as they hold hands. The woman at right turns her head back toward us, with a calm, direct, slightly questioning gaze. The other looks forward toward a rocket launch in the distance. Sherald paints both figures in her signature grayscale rather than naturalistic skin color, while their clothing carries vivid life. The woman on the left wears a white shirt with a high-waisted blue skirt. The other wears a striped dress in bright bands of pink, orange, yellow, and green, with a white bow at her hair. At the far left, a rocket lifts into the sky, its plume running almost like a vertical white scar or beacon beside them. The horizon sits low, making the sky feel immense and the figures quietly monumental. The two sitters were not celebrities but women Sherald met through a Baltimore school community, one a teacher and one a graduate, which matters. Everyday Black life, not spectacle, is the center of the picture. Their joined hands suggest solidarity, intimacy, and shared witness. The title stretches between machinery and mystery as well as between earthly limits and mental freedom. Sherald turns the “spaces in between” into a zone of dreaming, self-possession, and possibility for an image of Black womanhood not under scrutiny, but already sovereign.

"Planes, rockets, and the spaces in between" by Amy Sherald (American) - Oil on canvas / 2018 - Baltimore Museum of Art (Baltimore, Maryland) #WomenInArt #WomensArt #WomanArtist #AmySherald #Sherald #BaltimoreMuseumOfArt #artBMA #BMA #art #artText #BlackArt #AmericanArt #BlackArtist #WomenArtists

Mary Fedden (1915-2012), "The Marble Table," oil on canvas, 2003; photo: Christie's. #art #arte #modernart #paintings #peintures #kunst #stilllife #oilpainting #oiloncanvas #womanartist #femaleartist #museum #artgallery

Canadian artist Prudence Heward turns a familiar social scene into something psychologically charged. A pair of women are not decorative accessories on a gentleman’s evening out. They occupy public space on their own terms. That matters in 1928. The theatre becomes a modern arena of female independence, spectatorship, and self-possession, where women go not only to watch but also to be visible. Two young women sit side by side before a performance begins, seen from just behind, as if we occupy a row directly behind them. Their bare upper backs and necks catch a soft, creamy light that stands out against the dark theatre. Both wear black evening dresses cut low across the shoulders. The woman at left has a smooth, simple back, while the woman at right wears a dress with a sheer patterned panel that curls across the fabric in pale loops. Their chestnut-brown hair is parted and gathered into low, polished buns. The woman on the right turns slightly, her cheek and nose visible in profile as she holds a white program in one hand. Around them, other audience members dissolve into shadowy shapes. Deep red seat backs curve across the foreground with a midnight-blue garment partially over the right seat, while cool blue-gray walls rise in broad vertical bands on the stage. The museum notes that the sitters may be Marion and Elizabeth Robertson, the sisters of Beaver Hall Group artist Sarah Robertson, which adds an intimate, almost insider quality to the scene. Heward had returned from Paris only a short time earlier and was developing the bold, sculptural style that would make her one of Canada’s most incisive painters of women. Contemporary critics reduced the picture to “a study of décolleté,” but another praised its “originality” and “vigour.” That tension is still the point. The painting acknowledges the social gaze, yet refuses to flatten these women into spectacle. They feel alert, self-contained, and modern to be present in the crowd, but not absorbed by it.

“At the Theatre” by Prudence Heward (Canadian) - Oil on canvas / 1928 - Montreal Museum of Fine Arts (Montreal, Québec) #WomenInArt #WomensArt #WomanArtist #WomenArtists #PrudenceHeward #Heward #MontrealMuseumOfFineArts #art #arttext #WomenPaintingWomen #arte #CanadianArt #1920sArt #CanadianArtist

Been making sticker collages lately, a few of which are included in my Spring ‘26 issue of Siren Says.

Here are some more—including the og version of the 🌈 on the cover.

Be advised, many of the stickers have PG-13+ text.

#zine #zinesky #womanartist #punkart #analogart #goblincore #fairygrunge

Thai artist Jiab Prachakul is a compelling figurative painter because she makes quiet moments feel cinematic without turning them into melodrama. Born in Nakhon Phanom, Thailand, trained first in film, and self-taught as a painter, she often builds paintings from memory, photographs, friendship, and the emotional weather of diasporic life. This scene grew from time spent in Sauzon, Belle-Île-en-Mer, and its mood is about the charged space between people who know each other well. In bright coastal daylight, two women crouch on a pale quay beside still blue water. The woman at left turns away from us, her short dark bob and clear glasses outlined against the sky. She wears a loose white top and white trousers with dark socks and heavy black boots, her posture compact and inward. At right, a second woman in a sheer black top and dark cropped trousers crouches on the balls of her feet, also in sturdy black boots. Her blunt fringe and lightened hair ends catch the sun. Hoop earrings and sharply modeled cheekbones add to her alert, stylish presence. Between them, her hands extend forward and folding over one another. To their left are two wine glasses. A small boat drifts at left, while a lighthouse sits at the end of a long breakwater. Gold sparks of reflected sunlight skip across the water as the women’s shadows stretch behind them. The title promises easy intimacy, but the painting gives something subtler: companionship with room for privacy, glamour edged with thoughtfulness, and closeness that does not erase individuality. Prachakul’s attention to clothing, pose, and gesture makes identity feel lived rather than symbolic. The lighthouse and harbor suggest navigation, pause, and emotional bearings. This work also expands who inhabits contemporary painting with elegance, sensitivity, and psychological depth. It is not just a picture of two stylish women by the sea. It is a study in how relationships can be tender, self-possessed, and slightly mysterious all at once.

“Girlfriends” by Jiab Prachakul (Thai) - Acrylic on linen / 2022 - North Carolina Museum of Art (Raleigh, North Carolina) #WomenInArt #JiabPrachakul #Prachakul #NCMA #NorthCarolinaMuseumofArt #art #artText #arte #ThaiArt #ThaiArtist #AsianArt #WomensArt #WomanArtist #WomenArtists #WomenPaintingWomen

"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