Salvador & Gala Dali
gelatin silver print
1964
Richard Avedon (1923-2004)
USA

#photography #portrait #salvadordali #galadali #richardavedon #c1964 #gelatinsilverprint #surrealism #surrealistartist #art #portraitphotography #americanphotography #americanart

American artist Henry Mosler turns exhausting labor into something almost monumental. A diagonal rhythm of bodies, nets, and baskets gives the painting dignity and momentum, making two women workers feel heroic rather than picturesque. Set at Grandcamp on the Normandy coast and painted for the Paris Salon of 1881, the picture reflects a moment when artists were increasingly drawn to rural and coastal life, even as mechanization threatened older ways of working. At low tide, two fisherwomen stride toward shore across a beach strewn with wet sand, seaweed, tide pools, and black rocks. Both wear deep blue dresses, caps, and worn aprons with their dark hair tucked back from faces marked by fatigue and concentration. The woman at left walks barefoot, her pale foot pressing into the sand as she balances a long-handled net across her shoulders and supports a basket on her back. The woman at center-right wears dark lace-up shoes and carries a circular shrimp net in one hand while another basket hangs behind her hip. Their bodies lean forward with the weight of the day’s catch. Behind them, more shrimp fishers move through the shallow water, some bent to work, others heading in as their pale bonnets catching the last light. A broad evening sky glows with soft gold, rose, lavender, and gray, while the sea turns green-blue under the fading sun. Cincinnati Art Museum notes that Mosler painted the canvas in his Paris studio, yet he still captured the shifting light of early evening with remarkable sensitivity. Conservation later revealed that he reworked the sky, changing an earlier blue daytime setting into this more atmospheric sunset. That fading light deepens the sense of fatigue, endurance, and return. Mosler, a Prussian-born Jewish American artist who built an international reputation in Europe, gives these fisherwomen scale, weight, and presence. They are not accessories to the landscape. They are the subject, and the shore seems to yield to their hard-won passage.

"Return of the Shrimp Fishers" by Henry Mosler (American) - Oil on canvas / c. 1881 - Cincinnati Art Museum (Cincinnati, Ohio) #WomenInArt #HenryMosler #Mosler #CincinnatiArtMuseum #art #arttext #BlueskyArt #Realism #AmericanArtist #AmericanArt #WorkingWomen #SocialRealism #JewishArtist #1880sArt

Aaron Curry (b. 1972, San Antonio) makes sculptures and paintings whose relationship to modernism is productively fraught. Incorporating a wealth of elements from popular culture—science fiction, video games, cartoons—Curry has developed a body of work that is both a recognizable continuation of art historical narratives and a caustic, critical, and often hilarious take on the established order. In recent years he has produced a group of large-scale aluminum sculptures that upend the classical poise of Alexander Calder, foregrounding instead a surreal biomorphism and seemingly improvised compositional flair. These objects translate the hands-on immediacy of his earliest sculptures at a municipal scale, emphasizing the democratic fervor that animates his project. An ongoing collage of the lineages of Disney, Picasso, and Chicago Imagism, Curry’s work provides a funhouse-mirror vision of the future of the Western tradition. Curry has been the subject of solo exhibitions at Bass Museum of Art, Miami, FL (2018); Rubell Family Collection, Miami, FL (2014); CAPC Musée d’Art Contemporain de Bordeaux, France (2014); Lincoln Center for the Performing Arts, New York, NY (2013); and High Museum of Art, Atlanta, GA (2012). Recent group exhibitions include New Ground: Jacob Samuel and Contemporary Etching, Museum of Modern Art, New York, NY (2023); House in Motion / New Perspectives, de la Cruz Collection, Miami, FL (2023); Part 2: Au rendez-vous des amis: Modernism in Dialogue with Contemporary Art from the Sammlung Goetz, Pinakothek der Moderne, Munich, Germany (2021); and Jing’an Sculpture Park, Shanghai, China (2018). His work is in the permanent collections of institutions including the Hammer Museum, Los Angeles, CA; Minneapolis Institute of Arts, MN; Montreal Museum of Fine Arts, CA; Museum of Contemporary Art Chicago, IL; Seattle Art Museum, WA; and SFMOMA, San Francisco, CA. Curry lives and works in Los Angeles.

Bones (Standing)
metal sheet
2009
Aaron Curry
LA, USA

#sculpture #contemporarysculpture #aaroncurry #americanart #americansculpture #losangeles #bones(standing) #c2009 #contemporaryart #art #postmodernism #postmodernsculpture

#SPRING & the Ashcan School
‘Springtime on the River’
Ernest Lawson (1873-1939). n.d.
#ErnestLawson #AshcanSchool #AmericanArt

#SPRING & the Ashcan School
‘Spring Promenade’
Maurice Prendergast (1858-1924). Pencil & watercolor. Ca. 1910-1911.
#MauricePrendergast #AshcanSchool #AmericanArt

Jacob Lawrence
American artist
1917-2000
Students and Books, 1966
Tempera on board
23 ⅞ x 35 ⅞ in.

#JacobLawrence
#Americanart

Kerry James Marshall
American artist
b 1955
Untitled (Vignette), 2012, detail

#KerryJamesMarshall
#Americanart

‘Street Scene: "King George Dies"’
Thomas Adrian Fransioli (1906-1997). Oil on canvas. 20.96 x 15.88 cm. 1952.
#ThomasFrancioli #AmericanArt #Precisionism #MagicalRealism #GeorgeVI

‘Beacon Hill’
Thomas Adrian Fransioli (1906-1997). Oil on canvas. 50.8 x 76.2 cm. Boston, Museum of Fine Arts. 1947.
#ThomasFrancioli #AmericanArt #Precisionism #MagicalRealism #BeaconHill #Boston

Candy 🍭 Land

#Chihuly
#glasswork
#art
#glassblowing
#americanart

#SPRING & the Ashcan School
‘Springtime, Harlem River’
Ernest Lawson (1873-1939).
#ErnestLawson #AshcanSchool #AmericanArt

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

"View of Alpine" -- Moya del Pino -- oil on masonite -- 1940.

A US Post Office mural created for Alpine, TX, by Jose Moya del Pino ( 1891- 1969) a Spanish born artist who worked for most of his life in Bay area California.

#Art #Painting #JoseMoyadelPino #USArt […]

[Original post on c.im]

‘Charles Sheeler (1883-1965) was born in Philadelphia. His education included instruction in industrial drawing and the applied arts at the School of Industrial Art in Philadelphia (1900–1903), followed by a traditional training in drawing and painting at the Pennsylvania Academy of the Fine Arts (1903–6). He found early success as a painter and exhibited at the Macbeth Gallery in 1908. He realised that he would not be able to make a living with Modernist painting; instead, he took up commercial photography, focusing particularly on architectural subjects. Sheeler painted using a technique that complemented his photography and has been described as “quasi-photographic". He was a self-proclaimed Precisionist, a term that emphasised the linear precision he employed in his depictions. As in his photographic works, his subjects were generally material things such as machinery and structures.’ image & text here above from https://poulwebb.blogspot.com/2021/01/fortune-magazine-part-3.html

#Fortune for #APRIL 1939
‘Silo’
Cover art by Charles Sheeler (1883-1965)
👉ALT
*Fortune*, April 1939
#FortuneCover #illustration #illustrationart #graphicdesign #CharlesSheeler #AmericanArt #precisionism #farm #farming #agiculture

#WPA #FederalArtProject #murals #AmericanArt #Harlem #GeorgetteSeabrooke #HarlemHospital #MNadir

#SPRING & the Ashcan School
‘Spring’
Ernest Lawson (1873-1939). Oil on canvas.
#ErnestLawson #AshcanSchool #AmericanArt

#SPRING & the Ashcan School
‘Spring’
Ernest Lawson (1873-1939). Oil on canvas. n.d.
#ErnestLawson #AshcanSchool #AmericanArt

Jared French -- Cavalrymen Crossing a River -- 1939.

>> French's central mural for the Parcel Post Building in Richmond, Virginia, is now displayed at the Lewis F. Powell Jr. United States Courthouse. "Life" magazine reported that French painted himself into the mural […]

[Original post on c.im]

#SPRING & the Ashcan School
‘Spring, Washington Square’
John French Sloan (1871-1951). Oil. 1928 & 1950
#JohnFrenchSloan #JohnSloan #AshcanSchool #AmericanArt #Manhattan #WashingtonSquare #GreenwichVillage

Alexander Calder
Untitled (Balloons) from XXe Siecle No 37, 1971
Lithograph in colours on paper

#AlexanderCalder
#Americanart
#lithograph

The title suggests emotional ease, but American artist Maxfield Parrish makes contentment feel constructed as much as felt. By 1927, he was one of the most famous image-makers in the United States, celebrated for painstaking technique, glowing layered color, and scenes that could move easily between fine art and mass reproduction. This picture belongs to his well-known “girls on rocks” era, a formula that became enormously popular through commercial commissions, including an Edison Mazda calendar. Two young women sit close together on a sunlit rocky ledge in a dreamlike landscape. The woman at left sits higher, her body turned three-quarters toward us, one knee drawn up and loosely encircled by her arms. Her other leg extends downward over the rock face, her bare foot suspended in open air. Her draped garment is warm brown with violet undertones, catching amber light across the shoulder and thigh. She has light skin and softly waved golden hair. She glances down at a second young woman beside her who has fair skin and darker brown hair and sits lower on the ledge in a pale lilac-pink dress. She leans slightly forward and tilts her face toward the sun, creating a quiet moment of each witnessing beauty. Behind them rises a massive field of deep violet shadow, broken only at the top by distant blue and rose-tinted mountains. Parrish paints the stone in glowing oranges, mauves, and purples, so that the figures seem held between warmth and coolness plus nearness and distance so nothing interrupts the mood. The painting sits between fantasy and advertising as well as intimacy and design. The women are calm, but they are also arranged with precision to become emblems of serenity in a modern visual marketplace hungry for beauty, light, and escape. Parrish’s gift was to make artifice feel effortless. The result is both tender and slightly unreal with companionship as atmosphere, leisure as ideal, and femininity transformed into a radiant, collectible dream.

“Contentment” by Maxfield Parrish (American) - Oil on masonite / 1927 - National Museum of American Illustration (Newport, Rhode Island) #WomenInArt #MaxfieldParrish #Parrish #MaxParrish #NMAI #NationalMuseumofAmericanIllustration #arte #art #artText #AmericanArtist #AmericanArt #1920sArt

#SPRING & the Ashcan School
‘Spring Hillside’
Ernest Lawson (1873-1939). Oil on canvas.
#ErnestLawson #AshcanSchool #AmericanArt

Source/Photographer:Archives of American Art, Smiths https://commons.wikimedia.org/wiki/File:WPA-Mural-Power-Eric-Mose-2.jpg

in the library can explain its design.’
@livingnewdeal.bsky.social
#GreatDepression #TheNewDeal #WPA #FederalArtProject #blackandwhitephotography #EricMose #AmericanArt #Bronx #GompersHighSchool #mural #FrescoSecco

James Denmark, "Daily Gossip," mixed media, 1975; Harvey B. Gantt Center for African-American Arts & Culture. #art #arte #mixedmedia #noai #blackhistory #blackculture #africanamerican #americanart #museum #artgallery

‘Paul Manship’s large figural groups are idealized and refer to mythic characters and stories. The artist used the same stylization in his animal sculptures as in his figural groups, but to different effect. In an intimate scale, this stylization accentuates the decorative quality of each animal. By exaggerating certain features or expressions, Manship also lets a little bit of their personalities peek through. This is especially visible in his gilded works, where the gold patina highlights the contours of the animal’s forms and their precise surface details. Many of Manship’s animal sculptures were originally created as part of his design for the gates of New York’s Bronx Zoo.’ https://americanart.si.edu/artwork/pelican-16003

#wildlife #biodiversityawareness #WorldWildlife
‘Pelican’ #PaulManship (1885-1966) & Angelo Colombo.
Gilded bronze on lapis lazuli base.
Smithsonian American Art Museum. 1932.
👉ALT
#biodiversity #ornithology #pelicans #sculpture #AmericanArt

#SPRING & #EASTER of 1926 - the Ashcan School
‘Easter Eve, Washington Square’ John French Sloan (1871-1951). Etching. 1926.
#JohnFrenchSloan #AshcanSchool #AmericanArt #Easter #Manhattan #WashingtonSquare

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

Koya Abe: Girl at Piano I from the series Duplication/American Original, Topology of Art Chapter 9 (2014), archival inkjet print. www.koyaabe.com

#koyaabe #popart #art #Japaneseart #Americanart

N.C. Wyeth
American artist
1882-1945
Herring!, ca. 1935
oil on canvas
48 1/8 x 52 1/8 inches

#N.C.Wyeth
#Americanart

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