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A young woman with light, warm-toned skin sits forward on a wooden stool, her legs wide apart with her ankles crossed near the floor. She wears a thin white slip that clings and wrinkles around her torso and upper thighs, its straps sliding toward the edges of her shoulders. Her dark hair is swept up loosely, casting small shadows across a softly modeled and blurry face that turns slightly to one side, eyes directed towards us. Broad, creamy strokes suggest the muscles of her arms and legs, while the chair’s angular legs cut sharply into the hazy studio space of greens, greys, and tans that dissolve at the edges like unfinished thoughts.

Probably painted soon after American artist Mitzi Melnicoff finished her studies at Temple University’s Tyler School of Art, this canvas shows an artist learning to regard herself without decorum. The slip, relaxed knees, and forward lean resist polite expectations for women’s self-images in the mid-1940s, while soft brushwork keeps the scene thoughtful rather than erotic. Melnicoff later worked as an illustrator and then taught at the Philadelphia College of Art, where she continued to explore the figure. This early self-portrait reads as a quiet, determined claim to her own body and artistic authority.

In 1968, Melnicoff was awarded the Pennsylvania Academy of the Fine Arts' Mary Smith Prize for a distinguished woman painter. Melnicoff first exhibited at Woodmere Art Museum (where this self portrait can be found) in 1961 when her work was included in “Young Artists of Philadelphia.” Shortly before she died, the Peale Galleries of the Pennsylvania Academy of the Fine Arts organized an exhibition called “Return To the Figure” in which Melnicoff's works were hung alongside those by Romare Bearden, Sidney Goodman, Alex Katz, and Philip Pearlstein.

A young woman with light, warm-toned skin sits forward on a wooden stool, her legs wide apart with her ankles crossed near the floor. She wears a thin white slip that clings and wrinkles around her torso and upper thighs, its straps sliding toward the edges of her shoulders. Her dark hair is swept up loosely, casting small shadows across a softly modeled and blurry face that turns slightly to one side, eyes directed towards us. Broad, creamy strokes suggest the muscles of her arms and legs, while the chair’s angular legs cut sharply into the hazy studio space of greens, greys, and tans that dissolve at the edges like unfinished thoughts. Probably painted soon after American artist Mitzi Melnicoff finished her studies at Temple University’s Tyler School of Art, this canvas shows an artist learning to regard herself without decorum. The slip, relaxed knees, and forward lean resist polite expectations for women’s self-images in the mid-1940s, while soft brushwork keeps the scene thoughtful rather than erotic. Melnicoff later worked as an illustrator and then taught at the Philadelphia College of Art, where she continued to explore the figure. This early self-portrait reads as a quiet, determined claim to her own body and artistic authority. In 1968, Melnicoff was awarded the Pennsylvania Academy of the Fine Arts' Mary Smith Prize for a distinguished woman painter. Melnicoff first exhibited at Woodmere Art Museum (where this self portrait can be found) in 1961 when her work was included in “Young Artists of Philadelphia.” Shortly before she died, the Peale Galleries of the Pennsylvania Academy of the Fine Arts organized an exhibition called “Return To the Figure” in which Melnicoff's works were hung alongside those by Romare Bearden, Sidney Goodman, Alex Katz, and Philip Pearlstein.

“Seated Self-Portrait” by Mitzi Melnicoff (American) - Oil on canvas / c. 1945 - Woodmere Art Museum (Philadelphia, Pennsylvania) #WomenInArt #MitziMelnicoff #Melnicoff #WoodmereArtMuseum #SelfPortrait #WomenArtists #art #artText #1940s #Woodmere #BlueskyArt #AmericanArtist #WomensArt #WomanArtist

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Debut single from Aidan Frenkel Based in New York State, newcomer Aidan Frenke is an eighteen-year-old singer-songwriter now stepping into the music world with an endearing sense of purpose. While many artists his age are still sear...

Aidan Frenkel makes entrance with debut single "No Peace"

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In this intimate artwork, American artist Violet Oakley captures a quiet moment of focused calm: a mature woman seated, caught in the gentle, rhythmic motion of crochet. Rendered in soft strokes of pastel and charcoal, the subtle interplay of light and shadow gives her face an expressive depth. Her eyes, poised and thoughtful, seem to peer inward—even as her hands remain engaged in the delicate craft of crocheting—suggesting concentration, patience, and perhaps a meditative ease in the ordinary act of creation.

The choice of medium—pastel for its softness and charcoal for its contrast—accentuates both the delicacy of her features and the tactile nature of her work. Rose-colored cheeks lend warmth to her fair—possibly luminous—complexion, while the muted background allows her figure to stand out, quietly commanding our attention.

This modestly sized piece feels intimate—like a glimpse through a window into a tranquil moment. It reflects Oakley’s capacity to honor quiet domesticity with the same reverence she brought to monumental public murals.

Oakley is best known as the first American woman to receive a public mural commission, turning the walls of the Pennsylvania State Capitol in Harrisburg into epic, Renaissance-inspired narratives imbued with ideals of peace, justice, and civic virtue. She channeled her belief that art could serve as a “spiritual tool” toward harmony, contributing illustrations and murals in service of both art and activism—including advocating for the League of Nations and the United Nations arms control in later years.

In her personal life, Oakley’s partnership with Edith Emerson, initially her pupil and later her lifelong companion, anchored both her creative studio and her later legacy. Emerson became director of Woodmere Art Museum and preserved Oakley’s memory and this “Untitled” work through the foundation she established after Oakley’s passing in 1961.

In this intimate artwork, American artist Violet Oakley captures a quiet moment of focused calm: a mature woman seated, caught in the gentle, rhythmic motion of crochet. Rendered in soft strokes of pastel and charcoal, the subtle interplay of light and shadow gives her face an expressive depth. Her eyes, poised and thoughtful, seem to peer inward—even as her hands remain engaged in the delicate craft of crocheting—suggesting concentration, patience, and perhaps a meditative ease in the ordinary act of creation. The choice of medium—pastel for its softness and charcoal for its contrast—accentuates both the delicacy of her features and the tactile nature of her work. Rose-colored cheeks lend warmth to her fair—possibly luminous—complexion, while the muted background allows her figure to stand out, quietly commanding our attention. This modestly sized piece feels intimate—like a glimpse through a window into a tranquil moment. It reflects Oakley’s capacity to honor quiet domesticity with the same reverence she brought to monumental public murals. Oakley is best known as the first American woman to receive a public mural commission, turning the walls of the Pennsylvania State Capitol in Harrisburg into epic, Renaissance-inspired narratives imbued with ideals of peace, justice, and civic virtue. She channeled her belief that art could serve as a “spiritual tool” toward harmony, contributing illustrations and murals in service of both art and activism—including advocating for the League of Nations and the United Nations arms control in later years. In her personal life, Oakley’s partnership with Edith Emerson, initially her pupil and later her lifelong companion, anchored both her creative studio and her later legacy. Emerson became director of Woodmere Art Museum and preserved Oakley’s memory and this “Untitled” work through the foundation she established after Oakley’s passing in 1961.

Untitled (Portrait of a Woman Crocheting) by Violet Oakley (American) - Pastel and charcoal on paper / 1923 - Woodmere Art Museum (Philadelphia, Pennsylvania) #WomenInArt #art #WomanArtist #artText #WomensArt #WomenArtists #pastelArt #charcoalArt #VioletOakley #Oakley #WoodmereArtMuseum #Woodmere

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Stmap auction close in a few hours ! China Junk cover for Bertha Deane Woodmere New York with correspondance Shantou Swatow

www.delcampe.net/fr/...

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#HistoricalPostcard #PostalHistory

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