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Art History Animalia
Art History Animalia
@arthistoryanimalia.bsky.social
2 hours ago
intricate illustration of puffins diving underwater to catch fish, pen and black ink with painted orange highlights

intricate illustration of puffins diving underwater to catch fish, pen and black ink with painted orange highlights

#WorldPuffinDay :
Jessica Eggers (South Africa)
Atlantic #Puffins, 2026
Pen & Ink, Watercolor & Gouache on heavyweight paper
www.instagram.com/p/DVeEkzQDH5...
#BirdsInArt #WomenArtists #SciArt

55 9 1 1
Michael
Michael
@mdstamper.bsky.social
2 hours ago
Painted during artist Annette Nancarrow’s Mexico years, the picture reflects her engagement with Mexican visual culture without feeling like a travel image or ethnographic study. Instead, she distills form, color, and mood. One figure appears guarded and watchful. Another seems steadier, more inwardly assured. That subtle contrast creates a quiet emotional dialogue between them. Their closeness suggests companionship, kinship, or shared experience, but the painting leaves the exact relationship open, which gives it lasting intrigue. The duo are shown close together in the foreground, their heads inclined toward one another so that their shawls and shoulders almost form a single, compact mass. Both figures wear dark rebozo coverings in deep black, blue, violet, rust, and brown, arranged in angular folds that frame their faces. The woman at left has a pale, masklike face built from sharp planes of cream, gray, yellow, and blue as large eyes look outward and her face falls into shadow. The woman at right has warmer red, coral, and terracotta tones across her face, with arched brows, dark eyes, circular earrings, and a faint, knowing smile. They wear white patterned embroidered dresses. Behind them rises a compressed townscape of tan and cream buildings, domed towers, and terracotta roofs under a cool, cloudy sky. The paint surface is rough and visibly worked, with bold outlines and broken color that make the women feel both intimate and monumental. The angular faces and emphatic contours place the work within 20th-century modernism as the figures are simplified, but never flattened into symbols alone. Its warmth comes from color. Its force comes from design. And, its mystery comes from how much feeling is carried in the charged space between two faces while Nancarrow preserves individuality through tilt, gaze, and expression. The result is a painting about women with dignity and gravity … like they really are the true main characters of their own world.

Painted during artist Annette Nancarrow’s Mexico years, the picture reflects her engagement with Mexican visual culture without feeling like a travel image or ethnographic study. Instead, she distills form, color, and mood. One figure appears guarded and watchful. Another seems steadier, more inwardly assured. That subtle contrast creates a quiet emotional dialogue between them. Their closeness suggests companionship, kinship, or shared experience, but the painting leaves the exact relationship open, which gives it lasting intrigue. The duo are shown close together in the foreground, their heads inclined toward one another so that their shawls and shoulders almost form a single, compact mass. Both figures wear dark rebozo coverings in deep black, blue, violet, rust, and brown, arranged in angular folds that frame their faces. The woman at left has a pale, masklike face built from sharp planes of cream, gray, yellow, and blue as large eyes look outward and her face falls into shadow. The woman at right has warmer red, coral, and terracotta tones across her face, with arched brows, dark eyes, circular earrings, and a faint, knowing smile. They wear white patterned embroidered dresses. Behind them rises a compressed townscape of tan and cream buildings, domed towers, and terracotta roofs under a cool, cloudy sky. The paint surface is rough and visibly worked, with bold outlines and broken color that make the women feel both intimate and monumental. The angular faces and emphatic contours place the work within 20th-century modernism as the figures are simplified, but never flattened into symbols alone. Its warmth comes from color. Its force comes from design. And, its mystery comes from how much feeling is carried in the charged space between two faces while Nancarrow preserves individuality through tilt, gaze, and expression. The result is a painting about women with dignity and gravity … like they really are the true main characters of their own world.

“Two Women” by Annette Nancarrow (American) - Oil on canvas / c. 1940s - Taubman Museum of Art (Roanoke, Virginia) #WomenInArt #AnnetteNancarrow #Nancarrow #TaubmanMuseumOfArt #TaubmanMuseum #WomanArtist #AmericanArt #AmericanArtist #art #artText #arte #BlueskyArt #1940sArt #WomensArt #WomenArtists

12 2 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
2 hours ago
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#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage #Museum #iPhone #womenartists #Metmuseum #Louvre #NFT #dopamine #AI
The best guide to Impressionist paintings.
Download ImpressHue
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4 1 0 0
Noé Montes
Noé Montes
@noemontes.bsky.social
3 hours ago

#inuit #womenartists #dorsetfinearts

0 0 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
5 hours ago
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#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage #Museum #iPhone #womenartists #Metmuseum #Louvre
#dopamine #AI #NFT #VisionPro
The best guide to Post Impressionism
apps.apple.com/us/app/posti...

3 1 0 0
WomensArtForAll
WomensArtForAll
@womensartforall.bsky.social
11 hours ago
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Shelley #MuzylowskiAllen (.@ShelleyMuzylowskiAllen) #WomensArt #ArtByWomen #WomenArtists •Becoming The Blue•

1 0 0 0
@thesidekick2025.bsky.social
13 hours ago
Edge Of Humanity Magazine Presents Carla De Sousa The Breviary Of Decorum

#photography #portraitphotography #womeninphotography #feministart #femalegaze #contemporaryphotography #artphotography #photoproject #visualart #photoessay #fineartphotography #womenartists #bodypositivity #identity #conceptualart #artwork #photographylovers #creativephotography #visualstorytelling

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Michael
Michael
@mdstamper.bsky.social
13 hours ago
Two chorus dancers appear in close profile against a nearly black background, cropped at the chest so the eye goes first to their faces rather than to performance or costume. The woman in front closes her eyes, her expression tired, inward, almost private. Both wear translucent pink hats and matching pink stage dresses; their short bobbed hair, pale skin, sharply drawn noses, and vivid red lipstick stand out with theatrical clarity. Their shoulders angle in the same direction, but they do not read as identical showgirls. Instead, each face feels distinct, alert to a different emotional register. The picture is intimate rather than expansive because there is no stage set, no audience, and no spectacle of legs or motion. What remains is the pause between performances, when glamour slips and personhood returns. That shift is the painting’s quiet power. In Weimar Berlin, revue performers were often presented as decorative types, symbols of nightlife, modernity, and erotic display. German artist Jeanne Mammen, herself a famously independent artist and a keen observer of urban women, resists that flattening. Here she redirects attention from entertainment to exhaustion and from fantasy to labor. The Museum of Modern Art (Berlinische Galerie) in Berlin notes that the front figure carries Mammen’s own features and the second resembles her sister Mimi, which makes the image feel even more layered. This is not just a scene of performers, but a subtle meditation on self-projection, family resemblance, and the masks women were asked to wear in modern 1920s European city life. Instead of selling glitter, the painting reveals the human cost beneath it. The result is tender, unsparing, and deeply modern.

Two chorus dancers appear in close profile against a nearly black background, cropped at the chest so the eye goes first to their faces rather than to performance or costume. The woman in front closes her eyes, her expression tired, inward, almost private. Both wear translucent pink hats and matching pink stage dresses; their short bobbed hair, pale skin, sharply drawn noses, and vivid red lipstick stand out with theatrical clarity. Their shoulders angle in the same direction, but they do not read as identical showgirls. Instead, each face feels distinct, alert to a different emotional register. The picture is intimate rather than expansive because there is no stage set, no audience, and no spectacle of legs or motion. What remains is the pause between performances, when glamour slips and personhood returns. That shift is the painting’s quiet power. In Weimar Berlin, revue performers were often presented as decorative types, symbols of nightlife, modernity, and erotic display. German artist Jeanne Mammen, herself a famously independent artist and a keen observer of urban women, resists that flattening. Here she redirects attention from entertainment to exhaustion and from fantasy to labor. The Museum of Modern Art (Berlinische Galerie) in Berlin notes that the front figure carries Mammen’s own features and the second resembles her sister Mimi, which makes the image feel even more layered. This is not just a scene of performers, but a subtle meditation on self-projection, family resemblance, and the masks women were asked to wear in modern 1920s European city life. Instead of selling glitter, the painting reveals the human cost beneath it. The result is tender, unsparing, and deeply modern.

“Revuegirls” by Jeanne Mammen (German) - Oil on cardboard / 1928-1929 - Berlinische Galerie (Berlin, Germany) #WomenInArt #WomensArt #WomenArtists #JeanneMammen #Mammen #BerlinischeGalerie #NeueSachlichkeit #art #artText #kunst #arte #GermanArtist #WomenPaintingWomen #WeimarArt #GermanArt #1920sArt

27 4 0 0
Art Herstory
Art Herstory
@artherstory.bsky.social
15 hours ago
A delicate drawing in watercolor of 2 pale pink roses on a stone ledge, attached to a leafy branch. In the lower left corner is a black and red beetle. In the middle left, a colorful butterfly alights on the end of a branch that sticks up in the air; it is depicted sideways, with wings straight up and its head facing toward the middle of the artwork. Above it, in the farther background, is a red or orange butterfly or moth in flight. On each side of the colorful butterfly are tiny winged insects. In about the middle of the painting, sitting on the same branch as the colorful butterfly and facing it, is a larger winged insect - maybe a dragonfly? - depicted from the side. On the right half of the work, above the rose leaves, is another butterfly, this one orange and black, with its head pointed down toward the leaves and its wings spread in flight. The artist's signature is on the face of the ledge near the lower right corner of the work: "Margareta D Heer Fecit."

A delicate drawing in watercolor of 2 pale pink roses on a stone ledge, attached to a leafy branch. In the lower left corner is a black and red beetle. In the middle left, a colorful butterfly alights on the end of a branch that sticks up in the air; it is depicted sideways, with wings straight up and its head facing toward the middle of the artwork. Above it, in the farther background, is a red or orange butterfly or moth in flight. On each side of the colorful butterfly are tiny winged insects. In about the middle of the painting, sitting on the same branch as the colorful butterfly and facing it, is a larger winged insect - maybe a dragonfly? - depicted from the side. On the right half of the work, above the rose leaves, is another butterfly, this one orange and black, with its head pointed down toward the leaves and its wings spread in flight. The artist's signature is on the face of the ledge near the lower right corner of the work: "Margareta D Heer Fecit."

Roses and Butterflies, c. 1650, by #MargarethaDeHeer (#MargaretaDeHeer; Dutch, 1603–1665). Held at the Stedelijke Kunstverzameling; source, www.facebook.com/female.artis... #artherstory #womenartists #hernaturalhistory

29 10 2 0
Lori Levin
Lori Levin
@lorilevin.bsky.social
16 hours ago
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Elisabeth Sonrel #morningart #womenartists

2 1 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
1 day ago
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#Art #Education #Baroque #Paris #Game #Quiz #Moscow #Hermitage
#Museum #iPhone #womenartists #Metmuseum #Louvre #dopamine #AI
The Best Guide to Baroque Paintings Download BaroqueArt
apps.apple.com/us/app/baroq...

2 1 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
1 day ago
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#Art #Education #App #Cubism #Paris #Game #Quiz #Moscow #Hermitage
#Museum #iPhone #womenartists #Metmuseum #Louvre
#dopamine #AI #NFT #VisionPro
The Best Guide to Cubism
apps.apple.com/us/app/cubis...

1 1 0 0
Art Herstory
Art Herstory
@artherstory.bsky.social
1 day ago
M. Gartside's abstract watercolor presentation of "orange."

M. Gartside's abstract watercolor presentation of "orange."

The Burlington Magazine has published Alexandra Loske’s shorter notice ‘Finding Miss Gartside: the abstract visions of a pioneering colour theorist’ in the April issue: www.burlington.org.uk/current-issue

#womenartists #artherstory

17 2 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
1 day ago
Post image

#Art #Education #App #Paris #Game #Quiz #Moscow #Hermitage #Zurich
#Museum #iPhone #womenartists #Metmuseum #MoMA #Vision Pro #DaDa #surrealism #dopamine #AI #NFT
The Best Guide to DaDa Art
apps.apple.com/us/app/dadaa...

3 1 0 0
Michael
Michael
@mdstamper.bsky.social
1 day ago
British-Nigerian artist Ṣọlá Olúlòde (Sola Olulode) made this work in 2020, after studying painting at Brighton, during a period when isolation and longing for touch shaped daily life. She said "Eternal Light" was “of a couple embracing each other,” expressing the physical closeness many people missed in lockdown like “an ode to our loved ones.” Set against a radiant field of saturated yellow, two Black figures are shown in a close embrace at the center of the canvas. One woman stands in front, head tilted inward, with eyes closed and long dark braids falling over one shoulder. A pale circular form, like a halo or luminous crown, rests across the upper forehead. Another woman leans forward to embrace her from behind, with a calm, inward expression. Her hair is gathered into rounded puffs. Both her arms meet across the chest of her companion. The taller woman reaches up to return the embrace as all four hands meet near her heart. Both wear warm red-orange patterned garments. Across the bodies and background, pale wax-resist marks and streaks cut through the paint like flashes of light, giving the scene a layered, glowing, and almost sacred atmosphere. The image could be maternal, familial, friendly, or romantic. Olúlòde leaves tenderness open rather than policing it. Her materials and wax-resist processes draw on batik and Yoruba adire textile traditions, giving the surface a stained, layered, handmade presence. The yellow does not just describe light. It becomes feeling itself like warmth, devotion, protection, and memory. In Olúlòde’s work, Black intimacy is not framed through struggle alone, but through care, softness, and joy. This painting turns embrace into atmosphere with love as shelter, radiance, and survival.

British-Nigerian artist Ṣọlá Olúlòde (Sola Olulode) made this work in 2020, after studying painting at Brighton, during a period when isolation and longing for touch shaped daily life. She said "Eternal Light" was “of a couple embracing each other,” expressing the physical closeness many people missed in lockdown like “an ode to our loved ones.” Set against a radiant field of saturated yellow, two Black figures are shown in a close embrace at the center of the canvas. One woman stands in front, head tilted inward, with eyes closed and long dark braids falling over one shoulder. A pale circular form, like a halo or luminous crown, rests across the upper forehead. Another woman leans forward to embrace her from behind, with a calm, inward expression. Her hair is gathered into rounded puffs. Both her arms meet across the chest of her companion. The taller woman reaches up to return the embrace as all four hands meet near her heart. Both wear warm red-orange patterned garments. Across the bodies and background, pale wax-resist marks and streaks cut through the paint like flashes of light, giving the scene a layered, glowing, and almost sacred atmosphere. The image could be maternal, familial, friendly, or romantic. Olúlòde leaves tenderness open rather than policing it. Her materials and wax-resist processes draw on batik and Yoruba adire textile traditions, giving the surface a stained, layered, handmade presence. The yellow does not just describe light. It becomes feeling itself like warmth, devotion, protection, and memory. In Olúlòde’s work, Black intimacy is not framed through struggle alone, but through care, softness, and joy. This painting turns embrace into atmosphere with love as shelter, radiance, and survival.

"Eternal Light" by Ṣọlá Olúlòde aka Sola Olulode (British-Nigerian) - Ink, acrylic and wax on canvas / 2020 - Smithsonian National Museum of African Art (Washington, DC) #WomenInArt #WomensArt #WomenArtists #SolaOlulode #ṢọláOlúlòde #Olulode #arttext #smithsonian #NationalMuseumofAfricanArt #NMAfA

33 6 0 0
Alpha Kitty
Alpha Kitty
@alphakitty.bsky.social
1 day ago
Submerged forest photo by Sarah Hall Ladd

Submerged forest photo by Sarah Hall Ladd

4/13/1860 — b. Sarah Ladd, American photographer. Intl renown for her pictorial style landscapes of Oregon + the Columbia Gorge. Many works were published in mags + travel guides; member, Alfred Stieglitz’s fine art #photography Photo-Secession group #womenshistory #womenartists #womensart #PhotoSky

6 1 1 0
Art Herstory
Art Herstory
@artherstory.bsky.social
1 day ago
A C17th watercolor and gouache drawing of a thyme plant, including roots, from an album of drawings of 50 different plants. The label "Timelea" is written in black near the roots. At the top of the page is a longer 5-word label that begins with "Thymelea." In the top right corner "Timelea 39" is written.

A C17th watercolor and gouache drawing of a thyme plant, including roots, from an album of drawings of 50 different plants. The label "Timelea" is written in black near the roots. At the top of the page is a longer 5-word label that begins with "Thymelea." In the top right corner "Timelea 39" is written.

Timelea / Thymelaea, c. 1631, by #GiovannaGarzoni (Italian, 1600-1670). F.39 (seq. 88), Piante Varie, c. 1650, held at the @dumbartonoaks.bsky.social Research Library, doaks.org/resources/ra... #hernaturalhistory #womenbotanicalartists #artherstory #womenartists #InternationalPlantAppreciationDay

14 5 0 0
Jon Marshall
Jon Marshall
@omsweetom.bsky.social
1 day ago
Video

A Mari Monday GM w/ "Creation" by @mariinksarts.bsky.social 😍

Share #art, support artists, sustain culture

#ArtWins
💗 🎨📸 👨‍💻🎶

#DigitalArt #WomensArt #WomenArtists

1 0 0 0
Life Briefly
Life Briefly
@lifebrieflynews.bsky.social
1 day ago
Five photo books by women that challenge how we think about beauty

Five photo books by women that challenge how we think about beauty

Five photo books by women photographers challenge beauty culture through powerful portraiture and documentary work that reveals hidden contradictions.

lifebriefly.news/five-photo-books-by-wome...

#Photography #BeautyStandards #WomenArtists

1 0 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
2 days ago
Post image

#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage #Museum #iPhone #womenartists #Metmuseum #Louvre
#dopamine #AI #NFT #VisionPro
The best guide to Post Impressionism
apps.apple.com/us/app/posti...

1 1 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
2 days ago
Video

#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage #Museum #iPhone #womenartists #Metmuseum #Louvre #NFT #dopamine #AI
The best guide to Impressionist paintings.
Download ImpressHue
apps.apple.com/us/app/impre...

1 1 0 0
Michael
Michael
@mdstamper.bsky.social
2 days ago
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.

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

44 12 1 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
2 days ago
Video

#Art #Education #App #Paris #Game #Quiz #Moscow #Hermitage #Zurich
#Museum #iPhone #womenartists #Metmuseum #MoMA #Vision Pro #DaDa #surrealism #dopamine #AI #NFT
The Best Guide to DaDa Art
apps.apple.com/us/app/dadaa...

1 1 0 0
Art Herstory
Art Herstory
@artherstory.bsky.social
2 days ago
The Birth of Saint John the Baptist, c. 1635, by Artemisia Gentileschi; Prado Museum

The Birth of Saint John the Baptist, c. 1635, by Artemisia Gentileschi; Prado Museum

New post on the #ArtHerstory blog!

In "Women’s Depictions of Midwives in Early Modern Art," author, nurse & activist Jane Salvage discusses and interprets the role of midwives in birth scenes painted by early modern Italian #womenartists.
artherstory.net/womens-depic...

29 5 1 1
Carrie Suzanne 🇨🇦
Carrie Suzanne 🇨🇦
@carriesuze.bsky.social
2 days ago
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My latest painting!
16x20 acrylic on gallery depth canvas

“Sky Blue”

#art #artistsofbluesky #womeninart #painting #womenartists #horses #sky #expression

9 1 0 0
Jon Marshall
Jon Marshall
@omsweetom.bsky.social
2 days ago
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A GM to all and happy birthday to Katya Tsoy 😊
crowneddogs.space/senseofbodies
"Flower Lover 3" #photography

Share #art, support artists, sustain culture

#ArtWins
💗 🎨📸 👨‍💻🎶

#DigitalArt #WomensArt #WomenArtists

2 0 0 0
AFB Group
AFB Group
@coolxyzmedia.bsky.social
2 days ago
Video

#Art #Education #App #Cubism #Paris #Game #Quiz #Moscow #Hermitage
#Museum #iPhone #womenartists #Metmuseum #Louvre
#dopamine #AI #NFT #VisionPro
The Best Guide to Cubism
apps.apple.com/us/app/cubis...

3 1 0 0
Art Herstory
Art Herstory
@artherstory.bsky.social
2 days ago
A b&w print of 2 stalks of Easter lilies, with about 5 full blossoms and 5 buds. At the bottom is the number of the print (4/30), the title, and the artist's signature.

A b&w print of 2 stalks of Easter lilies, with about 5 full blossoms and 5 buds. At the bottom is the number of the print (4/30), the title, and the artist's signature.

Lily, 1934, by #ClareLeighton (#ClareVeronicaHopeLeighton; English-born American, 1898-1989), who was born #otd, Apr 12. Private collection? Sold by Marc Chabot Fine Arts, www.mcfinearts.com/products/200... #artherstory #womenartists

21 7 2 0
Goverdina Maria 🎨 📚 🇪🇺 💜
Goverdina Maria 🎨 📚 🇪🇺 💜
@ienvdpol.bsky.social
2 days ago

SUNDAY REPOST
#Art #artist #kunst #Dutchart #Dutchartist #OutsiderArt #Affordable #ArtCollector #ArtGallery #ArtLover #Kunstliefhebber #kunstkopen #WomenArtists #WomensArt #WomeninArt #painting #schilderij #expressionist #essentialist #acrylic #oilpainting #portrait

2 0 0 0
The Ghost Monk
The Ghost Monk
@theghostmonk.bsky.social
2 days ago
A white-furred humanoid with ape-like hands and feet and with a single horn growing from its head sits among bushes hung with multicoloured flowers.

A white-furred humanoid with ape-like hands and feet and with a single horn growing from its head sits among bushes hung with multicoloured flowers.

A unicorn of sorts by Haruko Maeda.
#unicorn #weird #weirdart #womensart #womenartists #artsky

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