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The St. Louis American
The St. Louis American
@stlouisamerican.bsky.social
7 hours ago
Preview
Where rock & roll meets ‘Revelations’ For its 60th anniversary, Dance St. Louis decided to dig deeper than presenting a performance. The organization commissioned a moment. That moment arrives April 10 and 11, when Ailey II returns to the Touhill Performing Arts Center with the St. Louis premiere of “Berry Dreamin’.” The new work is inspired by the life, music and […]

'Where rock & roll meets ‘Revelations’'

🖋 Kenya Vaughn | The St. Louis American
📸 Photo courtesy of Dance St. Louis

#stlamerican #stlnews #stlouis #DanceArt #ChuckBerry #AileyII #CommunityCelebration #TheTouhill

0 0 0 0
Michael
Michael
@mdstamper.bsky.social
1 week ago
Painted in 1913, this work is one of Latvian-born American artist Maurice Sterne’s major Bali paintings and one of the largest from his time on the island. Rather than isolating a single heroine, Sterne presents women as the visible force of ritual life: moving together, sustaining rhythm, and activating sacred space. At the center of this large nighttime scene, a circle of women moves in ritual dance. Their brown skin glows against deep blues, greens, and smoky violets, while white cloth wraps flash at the waist and hips. Several dancers raise their arms in curved, rhythmic gestures as others kneel or lean inward, making the whole composition feel tidal and musical. Faces are simplified rather than individualized, so the painting conveys communal movement, ceremony, and atmosphere. Sterne fills the surface with flickering brushwork and shifting patches of light, giving the dancers, trees, temple structures, and night air a vibrating, almost spiritual energy. The scene feels both observed and transformed like part performance, part memory, and part emotional response to Bali. The title suggests more than literal dance. “Elements” can be read as firelight, earth, air, night, sound, and body joining in one ceremonial event. That makes the painting less a straightforward document than an attempt to convey lived intensity like heat, motion, devotion, and collective presence. At the same time, it reflects an early 20th-century Western artist’s encounter with Bali, so it carries both admiration and distance. What remains powerful is its sense of shared energy with women not posed for passive viewing, but acting, circling, and transforming the space around them. The painting turns ceremony into atmosphere … and atmosphere into meaning.

Painted in 1913, this work is one of Latvian-born American artist Maurice Sterne’s major Bali paintings and one of the largest from his time on the island. Rather than isolating a single heroine, Sterne presents women as the visible force of ritual life: moving together, sustaining rhythm, and activating sacred space. At the center of this large nighttime scene, a circle of women moves in ritual dance. Their brown skin glows against deep blues, greens, and smoky violets, while white cloth wraps flash at the waist and hips. Several dancers raise their arms in curved, rhythmic gestures as others kneel or lean inward, making the whole composition feel tidal and musical. Faces are simplified rather than individualized, so the painting conveys communal movement, ceremony, and atmosphere. Sterne fills the surface with flickering brushwork and shifting patches of light, giving the dancers, trees, temple structures, and night air a vibrating, almost spiritual energy. The scene feels both observed and transformed like part performance, part memory, and part emotional response to Bali. The title suggests more than literal dance. “Elements” can be read as firelight, earth, air, night, sound, and body joining in one ceremonial event. That makes the painting less a straightforward document than an attempt to convey lived intensity like heat, motion, devotion, and collective presence. At the same time, it reflects an early 20th-century Western artist’s encounter with Bali, so it carries both admiration and distance. What remains powerful is its sense of shared energy with women not posed for passive viewing, but acting, circling, and transforming the space around them. The painting turns ceremony into atmosphere … and atmosphere into meaning.

“Dance of the Elements, Bali” by Maurice Sterne (American, born Latvia) - Oil on canvas / 1913 - North Carolina Museum of Art (Raleigh, North Carolina) #WomenInArt #MauriceSterne #Sterne #arttext #art #BlueskyArt #DanceArt #dance #artwork #NorthCarolinaMuseumOfArt #NCArtMuseum #BalineseArt #1910sArt

40 5 0 0
Michael
Michael
@mdstamper.bsky.social
4 weeks ago
Three women occupy a spare interior that feels part backstage room, part stage set. At left, one dancer sits on a low support, her body relaxed but attentive, her head turned toward the others. She has deep brown skin, dark hair pulled back with a rose-pink scarf, and wears a bright pink dress over soft white ruffles that spill across her lap. At center, a second dancer stands in a luminous powder-blue gown, its gathered skirt swelling outward in tiers marked by pink rosettes plus bare shoulders and airy sleeves. Her posture is upright and poised. At right, a third dancer leans inward, her dark hair tied with a pink ribbon and her pale grey dress belted in blue. Behind them, a weathered wall shifts from cream and gold to a broad field of rusty red, while a turquoise table anchors the middle. Scottish artist William Russell Flint softens edges and lets brushwork breathe, so fabric, skin, and light feel alive. The women are dressed for a performance , but the scene itself is quiet, almost conversational. Instead of catching them in overt motion, Flint pauses them between movements, allowing attention to rest on mood, relationship, and individuality. Victoria, Ora, and Serafina are named as people, not merely as decorative “types,” even though some later reproductions circulated with outdated and racist wording that flattened their identities. Painted in 1948, the work belongs to a late, highly accomplished phase of Flint’s career, just after he was knighted in 1947. He was celebrated for graceful draftsmanship, theatrical interiors, and his ability to turn cloth, gesture, and light into atmosphere. Yet this painting has more gravity than charm alone. The seated woman’s inward focus, the central woman’s calm command, and the right woman’s attentive lean create a triangle that feels like a natural conversation all while the painting also invites questions about spectatorship, race, performance, and who gets to be seen as fully present within art history.

Three women occupy a spare interior that feels part backstage room, part stage set. At left, one dancer sits on a low support, her body relaxed but attentive, her head turned toward the others. She has deep brown skin, dark hair pulled back with a rose-pink scarf, and wears a bright pink dress over soft white ruffles that spill across her lap. At center, a second dancer stands in a luminous powder-blue gown, its gathered skirt swelling outward in tiers marked by pink rosettes plus bare shoulders and airy sleeves. Her posture is upright and poised. At right, a third dancer leans inward, her dark hair tied with a pink ribbon and her pale grey dress belted in blue. Behind them, a weathered wall shifts from cream and gold to a broad field of rusty red, while a turquoise table anchors the middle. Scottish artist William Russell Flint softens edges and lets brushwork breathe, so fabric, skin, and light feel alive. The women are dressed for a performance , but the scene itself is quiet, almost conversational. Instead of catching them in overt motion, Flint pauses them between movements, allowing attention to rest on mood, relationship, and individuality. Victoria, Ora, and Serafina are named as people, not merely as decorative “types,” even though some later reproductions circulated with outdated and racist wording that flattened their identities. Painted in 1948, the work belongs to a late, highly accomplished phase of Flint’s career, just after he was knighted in 1947. He was celebrated for graceful draftsmanship, theatrical interiors, and his ability to turn cloth, gesture, and light into atmosphere. Yet this painting has more gravity than charm alone. The seated woman’s inward focus, the central woman’s calm command, and the right woman’s attentive lean create a triangle that feels like a natural conversation all while the painting also invites questions about spectatorship, race, performance, and who gets to be seen as fully present within art history.

“Dancers, Victoria, Ora and Serafina” by William Russell Flint (Scottish) - Oil on canvas / 1948 - Dundee Art Galleries and Museums (Scotland) #WomenInArt #art #artText #WilliamRussellFlint #SirWilliamRussellFlint #DundeeArtMuseum #dancers #ScottishArtist #BlackWomenInArt #BritishArtist #DanceArt

41 6 0 0
Allie
Allie
@allie46.bsky.social
4 weeks ago
Post image

A Dance Beneath the Lights

#animeart #digitalart #animecouple
#romance #romanticart #animedance
#coupleart #animeillustration
#nightscene #romanticmoment
#danceart #characterart #illustration
#artistsondeviantart #aestheticart

1 0 0 0
Stephanie
Stephanie
@pinenipplequeen.bsky.social
1 month ago
Post image Post image

📸 @gfotos.de #danceportrait #dancephotography #aeriallife #danceart #dancerlife #dancersofinstagram #danceinmotion #portraitphotography #portraitvision #portraitmood #nycmodels #portraitsociety #portraitlover #portrait_shots #modelshoot #modellife #photoshoot #shootingday #mannheim

8 0 0 0
@eastonart.bsky.social
1 month ago
Video

The Movement
💃 She doesn't just dance — she ignites the sky. The Caribbean Carnival Dancer series is alive with motion, music, and magic. 🎆
Experience it at eastonblues.com
#CarnivalDancer #DanceArt #EastonBlues #CaribbeanVibes #CarnivalSeason #ArtInMotion #DancerArt

0 0 0 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
“Danseuses” feels less like a portrait of two specific people than an image of stage work with glamour built from repetition, endurance, and control. French artist Lucien Maillol depicts a pair of dancers simplified into strong volumes, their weight described through stance and counter-stance more than facial drama. It is both celebration and constraint as the dancers are vividly visible, yet emotionally self-contained and absorbed in their own rhythm, not ours. Two adult women occupy the foreground in a warm, brown-gold music hall or cabaret. Both have light skin and short dark hair tucked beneath wide, brick-red hats trimmed with small flowers. Their faces are softly modeled with stage makeup like rouged lips, shaded eyelids while their eyes angle downward, suggesting concentration rather than performance “to” us. Each wears long black gloves above the elbow and a deep, shimmering black dress with a plunging neckline. The skirts bloom into thick black tulle that becomes a dark cloud around their legs. Their bodies mirror one another in a synchronized step of knees bent, torsos angled, and arms extended as if holding balance and timing. Red high heels echo the hats, punctuating the movement with bright, sharp accents. The pairing matters as two bodies moving as one to depict chorus-line discipline and a way nightlife often turned women into coordinated spectacle. Yet their downcast focus complicates that because they appear absorbed in their own rhythm, poised between visibility and inwardness. That tension of being seen while staying self-possessed becomes the painting’s quiet charge. Maillol, born in Banyuls-sur-Mer in 1896, was in his early thirties when he made this work in 1928. That same year he exhibited paintings in Paris at Galerie Eugène Druet in a show explicitly listing “danseuses,” suggesting the subject belonged to his active artistic concerns rather than a single passing scene.

“Danseuses” feels less like a portrait of two specific people than an image of stage work with glamour built from repetition, endurance, and control. French artist Lucien Maillol depicts a pair of dancers simplified into strong volumes, their weight described through stance and counter-stance more than facial drama. It is both celebration and constraint as the dancers are vividly visible, yet emotionally self-contained and absorbed in their own rhythm, not ours. Two adult women occupy the foreground in a warm, brown-gold music hall or cabaret. Both have light skin and short dark hair tucked beneath wide, brick-red hats trimmed with small flowers. Their faces are softly modeled with stage makeup like rouged lips, shaded eyelids while their eyes angle downward, suggesting concentration rather than performance “to” us. Each wears long black gloves above the elbow and a deep, shimmering black dress with a plunging neckline. The skirts bloom into thick black tulle that becomes a dark cloud around their legs. Their bodies mirror one another in a synchronized step of knees bent, torsos angled, and arms extended as if holding balance and timing. Red high heels echo the hats, punctuating the movement with bright, sharp accents. The pairing matters as two bodies moving as one to depict chorus-line discipline and a way nightlife often turned women into coordinated spectacle. Yet their downcast focus complicates that because they appear absorbed in their own rhythm, poised between visibility and inwardness. That tension of being seen while staying self-possessed becomes the painting’s quiet charge. Maillol, born in Banyuls-sur-Mer in 1896, was in his early thirties when he made this work in 1928. That same year he exhibited paintings in Paris at Galerie Eugène Druet in a show explicitly listing “danseuses,” suggesting the subject belonged to his active artistic concerns rather than a single passing scene.

“Danseuses (Dancers)” by Lucien Maillol (French) - Oil on canvas / 1928 - Musée d’Art moderne de Paris (Paris, France) #WomenInArt #artText #arte #art #LucienMaillol #Maillol #MuseeDArtModerneDeParis #ModernArt #DanceArt #BlueskyArt #FrenchArtist #FrenchArt #dancer #1920s #Muséed’ArtModerneDeParis

54 11 0 0
Lanie Lanowitz
Lanie Lanowitz
@pressingstories.bsky.social
1 month ago

🌹 Spirit boost 🌹

#painting #womeninart #DanceArt #AfricanAmericanArtist #beauty #peace #hope #conservation

4 0 0 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
Painted around 1770 by a yet identified artist, this image is often linked to kathak, a North Indian dance tradition associated with courtly settings, where storytelling, music, and expressive gesture are woven into intricate turns and footwork. The painting compresses that complexity into one unforgettable instant: two bodies counterbalancing each other, trust made visible through clasped hands and mirrored posture. A near-empty background intensifies the choreography so nothing competes with their partnership while a circular cartouche seems like a stage spotlighting feminine virtuosity. Two young women dance as a matched pair inside an oval frame, suspended in mid-step above a small patch of green ground. Their hands meet twice: linked overhead and again at chest level to create a continuous loop of touch that anchors the motion. Both figures tilt forward at the waist, foreheads nearly aligned, eyes narrowed in concentration as if listening for the same rhythm. Their skin is a warm brown and features are finely drawn with dark, almond-shaped eyes and arched brows. Each dancer wears a translucent veil and flowing textiles that flare outward like wings including long scarves that stream behind them, edged with pale dots, while layered garments ripple at the hips and ankles. One wears mustard-yellow leggings while the other wears deep red. Bangles, earrings, and anklets adds bright points along wrists and feet. Below, a narrow band suggests a lotus pond, and small blossoms decorate the corners, keeping the focus on synchronized movement and shared presence. Whether read as performance or private joy, the work celebrates how dance can be both art and relationship involving timing, attention, and delight held together by touch, gaze, and breath.

Painted around 1770 by a yet identified artist, this image is often linked to kathak, a North Indian dance tradition associated with courtly settings, where storytelling, music, and expressive gesture are woven into intricate turns and footwork. The painting compresses that complexity into one unforgettable instant: two bodies counterbalancing each other, trust made visible through clasped hands and mirrored posture. A near-empty background intensifies the choreography so nothing competes with their partnership while a circular cartouche seems like a stage spotlighting feminine virtuosity. Two young women dance as a matched pair inside an oval frame, suspended in mid-step above a small patch of green ground. Their hands meet twice: linked overhead and again at chest level to create a continuous loop of touch that anchors the motion. Both figures tilt forward at the waist, foreheads nearly aligned, eyes narrowed in concentration as if listening for the same rhythm. Their skin is a warm brown and features are finely drawn with dark, almond-shaped eyes and arched brows. Each dancer wears a translucent veil and flowing textiles that flare outward like wings including long scarves that stream behind them, edged with pale dots, while layered garments ripple at the hips and ankles. One wears mustard-yellow leggings while the other wears deep red. Bangles, earrings, and anklets adds bright points along wrists and feet. Below, a narrow band suggests a lotus pond, and small blossoms decorate the corners, keeping the focus on synchronized movement and shared presence. Whether read as performance or private joy, the work celebrates how dance can be both art and relationship involving timing, attention, and delight held together by touch, gaze, and breath.

“Two women dancing” by Unknown artist (Indian) - Opaque watercolors on paper / c. 1770 - Asian Art Museum (San Francisco, California) #WomenInArt #AsianArtMuseum #IndianArt #SouthAsianArt #artText #art #BlueskyArt #watercolor #1770s #AsianArt #dancing #RajasthaniArt #BundiPainting #Kathak #DanceArt

42 8 1 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
Two Ghanaian women dance in close connection, their bodies angled toward each other as if mid-step in a shared rhythm. One bends low with her headwrap glowing in warm light. The other leans in, upright and steady, her patterned blue blouse catching our eye. Their skin tones are deep brown against a dark, nightlike backdrop. A large green circular form behind them is textured with tiny dot-marks and creates a haloed space that feels both intimate and expansive. White highlights skim across skirts and hips, turning fabric into moving light. The women’s hands meet near the center, making the dance feel like conversation rather than performance. The scene is just two people, close enough to exchange breath, weight, and timing. The green disk functions like a moon/world for an image of cycle, season, and return while its seedlike dots suggest growth and abundance. The surrounding dark field, sprinkled with small starbursts, places their movement inside a bigger order like night sky, spirit space, or cosmic time. The dancers’ looped poses (bend/lean; reach/receive) feel almost like call-and-response or a visual metaphor for community knowledge passed body-to-body. Even the choice to show one figure turned partly away protects interiority as we witness relationship and presence without demanding full access. American artist John Biggers’ Ghana works are often discussed as shaped by his deep engagement with West Africa after his 1957 UNESCO-supported travel, and this painting carries that ethos with dance not as decoration, but as a living archive. Biggers once wrote, “I began to see art… as a responsibility to reflect the spirit and style of the Negro people,” and here that responsibility appears as joy with gravity via two women grounded, radiant, and self-possessed inside a world that seems to turn with them.

Two Ghanaian women dance in close connection, their bodies angled toward each other as if mid-step in a shared rhythm. One bends low with her headwrap glowing in warm light. The other leans in, upright and steady, her patterned blue blouse catching our eye. Their skin tones are deep brown against a dark, nightlike backdrop. A large green circular form behind them is textured with tiny dot-marks and creates a haloed space that feels both intimate and expansive. White highlights skim across skirts and hips, turning fabric into moving light. The women’s hands meet near the center, making the dance feel like conversation rather than performance. The scene is just two people, close enough to exchange breath, weight, and timing. The green disk functions like a moon/world for an image of cycle, season, and return while its seedlike dots suggest growth and abundance. The surrounding dark field, sprinkled with small starbursts, places their movement inside a bigger order like night sky, spirit space, or cosmic time. The dancers’ looped poses (bend/lean; reach/receive) feel almost like call-and-response or a visual metaphor for community knowledge passed body-to-body. Even the choice to show one figure turned partly away protects interiority as we witness relationship and presence without demanding full access. American artist John Biggers’ Ghana works are often discussed as shaped by his deep engagement with West Africa after his 1957 UNESCO-supported travel, and this painting carries that ethos with dance not as decoration, but as a living archive. Biggers once wrote, “I began to see art… as a responsibility to reflect the spirit and style of the Negro people,” and here that responsibility appears as joy with gravity via two women grounded, radiant, and self-possessed inside a world that seems to turn with them.

“Ghana Women Dancing” by John Biggers (American) - Oil, acrylic, and chalk on canvas / 1968 - National Museum of African American History and Culture (Washington, DC) #WomenInArt #JohnBiggers #Biggers #NMAAHC #AfricanAmericanArt #art #artText #BlueskyArt #BlackArt #AfricanAmericanArtist #DanceArt

47 8 0 2
Kate T Fisher
Kate T Fisher
@katetfisherart.bsky.social
1 month ago
Post image

“Rain Forest 3”, gouache and pen on paper, 2024 (private collection)
A few years ago I began using continuous line drawing which added elements of surprise for me.
#gouache #art #abstractart #danceart

24 2 0 0
Michael
Michael
@mdstamper.bsky.social
1 month ago
A tall, narrow oil painting presents a young teen dancer standing barefoot against a cool gray-blue backdrop. She has long brown hair, with a red-orange flower tucked on the side, and her face tilts downward in quiet concentration rather than performance. Her green dress, cut very short above the knees, is patterned with pale diagonal streaks that read like light skimming fabric as it shifts. The brushwork is brisk and textured because the dress is built from layered strokes, while her features are simplified but expressive, with the eyes cast down and the mouth set neutrally, as if she is counting beats internally. Her hands rest on her hips, elbows angled out, giving her posture a rehearsal-room certainty. One leg crosses in front of the other, knees soft, creating a dancer’s poise … ready to pivot, step, or turn. Behind her, a dark, soft-edged shadow rises along the right side, echoing her outline and making her figure feel tactile and present. Dating this work to circa the 1960s fits the sitter’s abbreviated, mod-like silhouette and the painting’s economy of an image that feels like a captured moment rather than a staged tableau. Russian-born American artist Moses Soyer (Моисей Абрамович Сойер) often returned to dancers not as spectacle, but as people in the in-between like when practicing, waiting, or preparing. Here, the bright green acts like a spotlight you can wear or, perhaps, youth rendered as color, while the lowered gaze resists the idea of being “on display.” The crossed feet and planted hands suggest both confidence and effort like a body learning its own power through discipline. In that sense, the painting reads as a portrait of becoming or of a girl using movement to claim space, not for an audience, but for herself.

A tall, narrow oil painting presents a young teen dancer standing barefoot against a cool gray-blue backdrop. She has long brown hair, with a red-orange flower tucked on the side, and her face tilts downward in quiet concentration rather than performance. Her green dress, cut very short above the knees, is patterned with pale diagonal streaks that read like light skimming fabric as it shifts. The brushwork is brisk and textured because the dress is built from layered strokes, while her features are simplified but expressive, with the eyes cast down and the mouth set neutrally, as if she is counting beats internally. Her hands rest on her hips, elbows angled out, giving her posture a rehearsal-room certainty. One leg crosses in front of the other, knees soft, creating a dancer’s poise … ready to pivot, step, or turn. Behind her, a dark, soft-edged shadow rises along the right side, echoing her outline and making her figure feel tactile and present. Dating this work to circa the 1960s fits the sitter’s abbreviated, mod-like silhouette and the painting’s economy of an image that feels like a captured moment rather than a staged tableau. Russian-born American artist Moses Soyer (Моисей Абрамович Сойер) often returned to dancers not as spectacle, but as people in the in-between like when practicing, waiting, or preparing. Here, the bright green acts like a spotlight you can wear or, perhaps, youth rendered as color, while the lowered gaze resists the idea of being “on display.” The crossed feet and planted hands suggest both confidence and effort like a body learning its own power through discipline. In that sense, the painting reads as a portrait of becoming or of a girl using movement to claim space, not for an audience, but for herself.

“Girl in Green Dancing Dress” by Moses Soyer (Russian-American) - Oil on masonite / c. 1960s - Rose Art Museum (Waltham, Massachusetts) #WomenInArt #MosesSoyer #МоисейСойер #Soyer #SocialRealism #artText #dancer #arte #BlueskyArt #art #BrandeisUniversity #RoseArtMuseum #PortraitofaGirl #DanceArt

50 7 1 0
@busterjustis.bsky.social
2 months ago
Post image

Handcrafted ballet slippers antiqued mirror in distressed purple frame. Perfect for the dancer! etsy.me/2Rlm9Im #etsy #ballet #balletslippers #shabbychic #thenutcracker #dancer #dancestudio #danceart #theredshoes #balletcore #dance

2 1 0 0
@busterjustis.bsky.social
2 months ago
Post image

Handcrafted ballet slippers antiqued mirror in distressed purple frame. Perfect for the dancer! etsy.me/2Rlm9Im #etsy #ballet #balletslippers #shabbychic #thenutcracker #dancer #dancestudio #danceart #theredshoes #balletcore #dance

0 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"The Swan" hand-drawn in graphite from Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (Available wherever books are sold)
#swan #swanlake #passionandspirit #dance #dancequotes #danceart #giftideas #dancergifts

3 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image Post image

"The Shoes" in graphite from Passion & Spirit: The Dance Quote Book with Artwork by B.C. Hailes, now available!
#dance #dancers #dancebook #danceart #dancequotes #dancegifts #dancergifts #giftideas

3 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Charisma" hand-drawn in ink from Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (Available wherever books are sold)
#charismacarpenter #ballroomdancing #passionandspirit #dance #dancequotes #danceart #giftideas #dancergifts

3 0 0 0
@busterjustis.bsky.social
2 months ago
Post image

Handcrafted ballet slippers antiqued mirror in distressed purple frame. Perfect for the dancer! etsy.me/2Rlm9Im #etsy #ballet #balletslippers #shabbychic #thenutcracker #dancer #dancestudio #danceart #theredshoes #balletcore #dance

1 0 0 0
@busterjustis.bsky.social
2 months ago
Post image

Ballet shoes distressed mirror. White on white with silver ribbon. Handmade etsy.me/2boYIub. #ballet #dance #balletslippers #danceart #handmade #dancestudio #enpointe #ballerina #decor #recital #nutcrackerballet #art #theredshoes #balletcore #etsystore

4 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Ecstacy" pencil drawing from Passion & Spirit: The Dance Quote Book
HailesArt.com
#dance #dancequotes #passionandspirit #danceart #ballet #artcommissions #dancergifts #GiftIdeas

4 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Spirit" in graphite pencil on Bristol board, done for Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (A great gift book for dancers)
HailesArt.com
#spiritualjourney #dancers #dance #dancequotes #danceart #ballet #giftideas #dancergifts

3 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Delicate" Prismacolor on toned paper, done for Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (A great gift book for dancers)
HailesArt.com
#delicate #dancers #dance #dancequotes #danceart #ballet #giftideas #dancergifts

2 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
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Ballet West dancers during a practice, titled "Intrigue"
HailesArt.com
#intrigue #dancers #passionandspirt #dance #dancequotes #danceart #giftideas #dancergifts

2 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Portrait of Dedication" hand-drawn art from Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (Available wherever books are sold)
HailesArt.com
#passion #spirit #practice #dance #dancequotes #danceart #giftideas #dancergifts

2 0 0 0
Stephanie
Stephanie
@pinenipplequeen.bsky.social
2 months ago
Post image

📸 @gfotos_de #danceportrait #dancephotography #aeriallife #danceart #dancerlife #dancersofinstagram #danceinmotion #portraitphotography #portraitvision #portraitmood #nycmodels #portraitsociety #portraitlover #modelshoot #photoshoot #shootingday #mannheim #frankfurt #karlsruhe #heidelberg

9 1 1 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image Post image

"Poise" pencil drawing from Passion & Spirit: The Dance Quote Book
HailesArt.com
#dance #dancequotes #passionandspirit #danceart #ballet #artcommissions #dancergifts #GiftIdeas

2 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Power" Prismacolor on toned paper, done for Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (A great gift book for dancers)
HailesArt.com
#power #passionandspirt #dance #dancequotes #danceart #ballet #giftideas #dancergifts

2 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Practice" hand-drawn art from Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (Available wherever books are sold)
HailesArt.com
#passion #spirit #practice #dance #dancequotes #danceart #giftideas #dancergifts

3 0 0 0
Brian C Hailes
Brian C Hailes
@bchailes.bsky.social
2 months ago
Post image

"Hula" in ink & graphite, done for Passion & Spirit: The Dance Quote Book with Artwork by Brian C Hailes (A great gift book for dancers)
HailesArt.com
#dance #dancers #hula #artofdance #dancequotes #danceart #giftideas #dancergifts

2 0 0 0
BeLaPho
BeLaPho
@belapho.bsky.social
2 months ago
Eine erwachsene Balletttänzerin ohne Kleidung posiert in einem minimalistischen Studio. Sie kniet mit einem Bein auf einem weißen Podest, das andere Bein ist nach hinten gestreckt und trägt eine Ballettspitze. Ihr Oberkörper ist nach vorne geneigt, die Hände ruhen auf einem zweiten, höheren Podest, der Kopf ist nach hinten gelegt. Der Hintergrund ist hell und schlicht, das Licht weich und gleichmäßig.

Eine erwachsene Balletttänzerin ohne Kleidung posiert in einem minimalistischen Studio. Sie kniet mit einem Bein auf einem weißen Podest, das andere Bein ist nach hinten gestreckt und trägt eine Ballettspitze. Ihr Oberkörper ist nach vorne geneigt, die Hände ruhen auf einem zweiten, höheren Podest, der Kopf ist nach hinten gelegt. Der Hintergrund ist hell und schlicht, das Licht weich und gleichmäßig.

Haut im warmen Licht, ein leises Spannen im Atemzug,
der Rücken offen, das Becken schwer von süßem Zug.
Zwischen Kraft und Hingabe flimmert stumme Lust,
ein Körper, der sich weiß, begehrt, bewusst.
#artphotography #fineartnude #bodyexpression #danceart #minimalism

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