A #SteamPop #Painting I painted a few years ago:
‘Back to the abandoned iron works’
2011 acrylic and oil blend on canvas 20"x16"
by www.JamieRoxx.us
This Sold Painting is Not Available.
#PopArt #GenrePainting #Steampunk #HistoricalFictionArt
Painted around 1880 and decades after An Gorta Mór (The Great Hunger in Ireland which lasted from 1845 to at least 1852 and was previously called the Great Famine), the work sits in Irish artist Thomas Alfred Jones’s “Irish Colleen” mode depicting an idealized image of rural Irish girlhood that blends endurance with visual lyricism. The bare feet, gathered fuel/food, and an exposed trail hint at labor and scarcity, yet the girls’ composed expressions and almost theatrical color accents (reds and tartans) steer the painting toward reassurance rather than reportage. Knighted in 1880 after starting as an abandoned child raised in Dublin, Jones depicts three young girls who dominate the foreground of a windswept mountain pass, seen as if we’re standing on higher ground. All three are barefoot on a stony path. Their skin appears light, their cheeks subtly warmed by low light. Each wears layered, work-worn clothing: long skirts, aprons, and heavy shawls pulled tight against the breeze. On the left, one girl’s vivid red skirt catches our eye. She carries a basket that is heavy with provisions gathered for the way home. In the center, a red-haired girl’s plaid shawl frames her face and shoulders with a pack slung across her back, shifting her posture forward with effort. On the right, the youngest clutches her apron’s gathered fold with one hand and grips her white shawl with the other, bracing against wind gusts. Behind them, Connemara opens into rugged, barren land washed in summer twilight that softens the hard terrain while the wind animates every hem, fringe, and fold. This might be a late-Victorian attempt to craft a dignified, marketable icon of “the West,” even as Connemara was widely associated with poverty and famine legacy. Wind becomes a quiet protagonist as it presses the girls together, turns their shawls into protective architecture, and makes care and kinship feel like the painting’s true subject showing three lives moving forward, burdened but unbroken.
“Connemara Girls” by Sir Thomas Alfred Jones (Irish) - Oil on canvas / c. 1880 - Ireland’s Great Hunger Museum, Quinnipiac University (Hamden, Connecticut) #WomenInArt #ThomasAlfredJones #IrelandsGreatHungerMuseum #IrishArt #GenrePainting #1880s #artText #art #BlueskyArt #IrishArtist #TheGreatHunger
A #SteamPop #Painting I painted a few years ago:
‘ Happenstance in the Abandoned IronWorks ’
2011 acrylic and oil blend on canvas 24"x18"
by www.JamieRoxx.us
This Sold Painting is Not Available.
#PopArt #GenrePainting #Steampunk #HistoricalFictionArt
A #SteamPop #Painting I painted a few years ago:
‘ Happenstance in the Abandoned IronWorks ’
2011 acrylic and oil blend on canvas 24"x18"
by www.JamieRoxx.us
This Sold Painting is Not Available.
#PopArt #GenrePainting #Steampunk #HistoricalFictionArt
The Lacemaker
Johannes Vermeer, 1670
“Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that’s good, it is the pure, final stage of art, the moment when it becomes more real than reality.”
~Arshile Gorky
#dutchbaroque #delftschool #dutchgoldenage #genrepainting #arthistory
Rundes Gemälde mit schlittschuhlaufenden Menschen im Gewand des 17. Jahrhunderts auf Eisfläche in einem niederländischen Dorf mit Schloss im Hintergrund.
Wer immer auch gesagt hat, dass Frauen in vergangenen Zeiten niemals Spaß hatten, dem solle gesagt sein: Nein, stimmt nicht. Sieht man hier.
Hendrik Avercamp, Winterliche Szene in der Nähe eines Schlosses, 1608-09, National Gallery, London
#art #artWork #artworkoftheday #genrepainting
A romantic genre winter scene: A street in the Netherlands with old dutch houses. People are hustling and bustling on the snowy street.
Willem Koekkoek, Winter Streetscene, circa 1880
Private Collection, Australia
#genrepainting ##art #painting #BlueSkyArt
Italian artist Giovanni Boldini painted this work in 1872, shortly after moving to Paris, at a time when the city was undergoing rapid transformation and the era known as the Belle Époque was beginning to take shape. A young white woman sits slightly turned on a green slatted park bench, framed tightly in a vertical view. Her brown hair is swept into a soft chignon, topped with a small hat trimmed with feathers or flowers. She wears a lustrous dark dress that pools into heavy folds, its sheen catching the light against frothy white cuffs and a pale blue ruffle at her throat. Her right hand rises to her lips in a half-thoughtful gesture, while her left arm wraps around a pink bundle like a shawl or bouquet resting in her lap. Beside her, a large straw basket tilts on the bench, its woven ribs echoing the bench’s rhythm. Behind her, dense shrubs, climbing greenery, and a scattering of red blossoms dissolve into quick strokes, while a pale sky glows above, turning the chic Bois de Boulogne into a softly blurred, rustling backdrop for this moment of pause. Boldini paints this woman at rest yet mentally in motion, catching her in that suspended instant when the mind wanders and the body forgets to pose. Her hand at her mouth, the turned-away gaze and slightly tense shoulders hint at shyness or worry, even as her fashionable dress and carefully arranged hair mark her as a participant in modern urban leisure. The public park evoked by the title “Bois” becomes a stage where middle-class women can stroll, sit and be seen. Brushwork quickens in the foliage and gravel path, echoing Impressionist experiments around him, while the figure remains sharply defined, a living portrait anchored in the middle of the scene. The panel fuses genre scene and society portrait, turning this unidentified sitter into one of the many anonymous, stylish women who animated the new Belle Époque city and claimed space and visibility within the rapidly changing city around them.
"Sulla panchina al Bois (On the Bench at the Bois)" by Giovanni Boldini (Italian) – Oil on panel / 1872 – Palazzo Blu (Pisa, Italy) #WomenInArt #GiovanniBoldini #Boldini #PalazzoBlu #BelleEpoque #art #artText #artwork #BlueskyArt #PortraitofaWoman #arte #ItalianArtist #GenrePainting #BelleÉpoque
Painted in Maris’s Amsterdam studio around 1906, this portrait once circulated under vague or openly racist titles that treated its sitter as an anonymous type rather than an individual. Later research in the artist’s archive including letters, photographs, and notes revealed that Maris himself repeatedly wrote her name as “Isabella,” prompting the Rijksmuseum to restore that title and center her identity. A young Black girl of about twelve or thirteen sits turned slightly toward us in a deep, cushioned armchair with gilded armrests carved as goat heads. She has warm brown skin, dark eyes, and tight curls that spill from beneath an enormous white bonnet trimmed with soft pink-red flowers and gauzy ribbons. Her blue-green satin dress shimmers with quick, loose strokes, its bodice and sleeves edged in pale lace. She holds open a pale gold folding fan with her right hand as her left fingertips rest on the fan’s tassel. A slim bracelet circles left her wrist and a small ring glints on her finger. Behind her, a tall mirror catches the back of her bonnet and dress so we see her twice at once, while the surrounding studio of dark wood, patterned upholstery, and a glimpse of rug falls into a warm brown haze that makes her face, fan, and costume seem to almost glow. These days, Isabella is read as a carefully observed portrait of a particular Black girl, dressed in theatrical 19th-century European finery that both flatters and distances her. The fan, mirror, and stage-like chair remind us that she is posing in the world of a white Dutch portraitist celebrated for images of fashionable women and children, yet the painting also insists on her dignity and presence. In museum galleries and print reproductions, "Isabella" has become a touchstone in conversations about how Black girls were seen and often unnamed in European art, and how reclaiming a sitter’s name can shift an entire story.
"Isabella (Young Woman with a Fan)" by Simon Maris (Dutch) - Oil on canvas / 1906 - Rijksmuseum (Amsterdam, Netherlands) #WomenInArt #art #artText #artwork #BlueskyArt #SimonMaris #Maris #Rijksmuseum #DutchArt #portrait #DutchArtist #AmsterdamArt #ArtOfTheDay #PortraitofaGirl #arte #GenrePainting
My newest slice of life painting…”It’s What’s For Lunch” 10 x 14 watercolor on paper. #blueskyart #art #genrepainting #dirtywaterdogs
#HereForCulture The fairy folk come dancing in the mists of autumn’s gold.
Their laughter in the rustling leaves, their secrets never told.
___
📷
Artist: Henri Matisse
Two Dancers, 1938
Private Collection
#expressionism #GenrePainting
Nicolaes Maes -- The Idle Servant -- 1655 -- Oil on panel -- National Gallery, London
A picture that I am fond of recollecting in my mind's eye. The chiaroscuro ensures that we pause to consider both the thoughts of the mistress about her servant and what the artists […]
[Original post on c.im]
Marie Rochegrosse in the Dining Room of Djenan Meriem (1904) - Georges Rochegrosse (1859–1938) #artnouveau #portrait #genrepainting
Bridal procession on the Hardangerfjord / Bridal journey in Hardanger (1848) - Adolph Tidemand (1814–1876) & Hans Gude (1825–1903) #genrepainting #romanticism
A pale young woman stands in a room beside an open window. She wears a gown combining soft pink and white fabrics, with a bustle and trailing train that pool gently on the floor. Her sandy brown hair is arranged modestly, and her left hand holds back a heavy drapery with golden exterior while her right rests by her side. Light streams through the window, casting soft illumination on the folds of her dress and the potted plants on a tall gold table immediately beside her. The wallpaper behind her is a cool blue-green with subtle patterning, echoing the curtain tones and lending depth to the interior. With a hint of a smile, she appears to be slyly paying attention to something outside. French artist Auguste Toulmouche, celebrated for his refined domestic scenes, composed this painting as a delicate interplay of interior and exterior worlds. By framing the figure partly in shadow and partly in daylight, Toulmouche invites us to dwell on questions of privacy, curiosity, and threshold moments. The gesture of pulling back the curtain seems loaded: is she peering outward in anticipation, reflecting inward, or simply caught mid-movement? At the time “Young Woman by a Window” was painted, Toulmouche (1829–1890) was an established figure in Parisian artistic circles, known for his refined depictions of fashionable women in carefully arranged interiors. Born in Nantes and trained in Paris, he achieved success, admired for his technical precision and elegant treatment of fabrics, décor, and gesture. His marriage to the cousin of Claude Monet linked him to the Impressionist circle, though Toulmouche himself remained loyal to the Academic style, catering to the tastes of wealthy collectors and a bourgeois audience that valued refinement and domestic ideals. He was often commissioned by patrons who appreciated his ability to blend genre painting with high-fashion portraiture, earning him a reputation as a painter of “elegant genre” works.
“Young Woman by a Window” by Auguste Toulmouche (French) – Oil on canvas / late 19th century – University of Michigan Museum of Art (Ann Arbor, MI) #WomenInArt #art #artText #artwork #AugusteToulmouche #Toulmouche #UMMA #PortraitofaWoman #BlueskyArt #FrenchArtist #AcademicRealism #GenrePainting
At the poultry stall on the Groenmarkt, The Hague (1868) - Petrus van Schendel (1806-1870) #romanticism #genrepainting
Kitchen Scene with the Supper in Emmaus (1618) - Diego Velázquez (1599–1660) #baroque #genrepainting
To Arms! 'Sweet bridal hymn, that issuing through the porch is rudely challenged with the cry 'to arms'' (1888) - Edmund Blair Leighton (1852-1922) #romanticism #genrepainting
