Good month to share "April Showers, Cosmic Journeys #21" by @luckystar.ai
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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
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#Art share. My painting, She Wore New Earrings© MSE
#ArtistOnBlueSky #ContemporaryArt #OilPainting #WomensArt #Southwest #Arizona #ArtByAWoman artistmelindaesparza.com
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Bodegón con flores silvestres en un jarrón, paleta, pinceles y caja de pinturas sobre una mesa.
Interior with field bouquet, artist’s paint box, palette and a half-smoked cerut. Bertha Wegmann 🎨.
Este cuadro me da una paz tremenda, como el día de hoy: no hay nada de movimiento en la calle, solo la lluvia.
#womensart #art #painting #pintoras
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White delicate paper cutting artwork in white with a scene of two figures in a garden with tall trees and an arched building
Joanna Koerten (Dutch 1630-1715) painter, draughtswoman, pioneer in the art of paper cutting (silhouettes) #womensart
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Three images featuring symmetrical neat patterns in different colours with flower like motifs
Hand ground watercolour on khadi paper by Zarah Hussain, artist who creates mathematically precise, geometric art inspired by Islamic Geometry #WomensArt
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Photo featuring a white woman dressed in white shirt and trousers sitting crossed legged against a huge textile artwork
Portuguese textile artist Vanessa Barragão's large-scale handwoven artworks using techniques of her ancestors such as latch hook, crochet and felt needle with recycled materials #womensart
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Photo of a sculpture in black of a squatting figure wirh arms around two infants, the sculpture is on a plinth in an interior
Käthe Kollwitz, Mother with two Children, 1932-1936, sculpture #WomensArt
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Print featuring a green jug on a chair filled with red tulips
'Jug of Tulips' by Vicky Oldfield, contemporary UK printmaker #WomensArt
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Pintura muy colorida llena de cosas. Otra vez lo he dicho 🤷🧟♀️. Creo que es de los que menos me gusta.
Odalan Ceremony in Bali. Kartika Affandi.
Feliz noche 🎨
#womensart #art #painting #pintoras
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Large collage by Julia Berkley of dark purple tail of large fish being chased by many, many little fish in rainbow colors against a background of blues, greens, white. All elements are hand-printed papers.
Happy moment in the midst of everything: this just sold to a private collector! We Are Many, 24" x 36" collage of all hand-printed papers.
#abstractart #abstractpainter #colorful #abstractartists #mixedmedia #artistsonbluesky #womensart #artyear
#collage #collageart #resist
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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
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#Art #Photography #Sculpture #WomensArt
Women behind the lens: ‘I grew up hating my natural hair. But I transformed that pain into something empowering’
Ivorian artist Laetitia Ky creates sculptural hairstyles…
@theguardian.com
www.theguardian.com/global-devel...
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WEDNESDAY ART SHARE
'Portrait of a young woman'
- available
www.ienvanderpol.nl/portrait-of-...
#Art #artist #kunst #Dutchart #Dutchartist #OutsiderArt #ArtCollector #ArtGallery #ArtLover #WomenArtists #WomensArt #WomeninArt #painting #schilderij #expressionist #essentialist #acrylic #portrait
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Stylised painting featuring a pink moon over green waves
"Pink Moon Over Water". Georgia O'Keeffe. 1923 #WomensArt #fullmoon #Pinkmoon
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'April', 1937, by Evelyn Dunbar, an oil painting following an original design for Country Life. © Liss Llewellyn Fine Art. Priv.Coll.
'April' from Country Life 1938 Gardener's Diary ph. © Christopher Campbell-Howes at the Royal Horticultural Society's Lindley Library
Title page 'A Gardener's Diary 1938' by Country Life ph. © Christopher Campbell-Howes at the Royal Horticultural Society's Lindley Library
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– April
from Country Life 1938 Gardener's Diary
and oil version
by Evelyn Dunbar (1906-1960)
#womensart
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Tarot card featuring a figure walking towards a cliff unknowingly
Rider-Waite (Rider-Waite-Smith) tarot, 1st edition (1909) designed by artist, illustrator and writer Pamela 'Pixie' Colman Smith - (The Fool card) #WomensArt #AprilFoolsDay
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Monochrome photograph featuring a white woman's face, she holds a jewellery piece resembling an eye to her right eye and another jewellery piece resembling lips and teeth to her mouth
Elsa Schiaparelli (1890-1973), Italian designer who collaborated with Surrealist Salvador Dali to create a number of items including jewellery #womensart
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Photo featuring two white women with large paper headdress incorporating fan shapes, sword shapes and buildings
The paper artworks of Asya Kozina who also designs life-sized sculptures, wedding dresses and masks, 100% out of paper #WomensArt
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