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Michael
Michael
@mdstamper.bsky.social
1 day ago
The picture’s emotional force lies in its stillness. German artist Georg Schrimpf, a major figure in Neue Sachlichkeit (the 1920s & 1930s "New Objectivity” art movement of the Weimar Republic), often painted people and places with a hush that feels both intimate and strangely remote. Two young women occupy a shallow interior space beside an open window. The woman at left sits sideways on the stone sill, her body angled outward toward the landscape. She wears a soft coral-pink short-sleeved top and a dark, nearly black skirt. Her head bends forward, chin lowered, as if studying the fields below. Her short brown hair curves into a neat bob. The woman at right stands in profile, leaning lightly against the inside wall. She wears a cream sleeveless blouse and a dark skirt. Her brown hair is pulled smoothly into a low knot. Her face is calm and watchful, with a long straight nose and steady gaze. Both figures have light skin softly modeled by muted light. At the far left, a green shutter opens onto a quiet rural view of a meadowland, a few trees, and blue-gray mountains beneath a pale sky. The paint surface is velvety and restrained with gentle edges. The open window suggests possibility, escape, reflection, or simply a pause between thoughts. The two women share the same threshold yet inhabit different inner states: one bowed inward, one alert and composed. Their closeness does not erase individuality. That tension gives the work its quiet psychological depth. Painted in 1937, the year after Schrimpf’s work was attacked in the Nazi campaign against so-called “degenerate” art, this serene scene can also be read as a subtle refusal of noise, aggression, and spectacle. Instead of ideology, he offers repose. Instead of heroics, he gives attention to ordinary presence and the charged silence between looking out and remaining within. In that calm, the painting is less a simple genre scene than a meditation on companionship, interior life, and the fragile dignity of peace.

The picture’s emotional force lies in its stillness. German artist Georg Schrimpf, a major figure in Neue Sachlichkeit (the 1920s & 1930s "New Objectivity” art movement of the Weimar Republic), often painted people and places with a hush that feels both intimate and strangely remote. Two young women occupy a shallow interior space beside an open window. The woman at left sits sideways on the stone sill, her body angled outward toward the landscape. She wears a soft coral-pink short-sleeved top and a dark, nearly black skirt. Her head bends forward, chin lowered, as if studying the fields below. Her short brown hair curves into a neat bob. The woman at right stands in profile, leaning lightly against the inside wall. She wears a cream sleeveless blouse and a dark skirt. Her brown hair is pulled smoothly into a low knot. Her face is calm and watchful, with a long straight nose and steady gaze. Both figures have light skin softly modeled by muted light. At the far left, a green shutter opens onto a quiet rural view of a meadowland, a few trees, and blue-gray mountains beneath a pale sky. The paint surface is velvety and restrained with gentle edges. The open window suggests possibility, escape, reflection, or simply a pause between thoughts. The two women share the same threshold yet inhabit different inner states: one bowed inward, one alert and composed. Their closeness does not erase individuality. That tension gives the work its quiet psychological depth. Painted in 1937, the year after Schrimpf’s work was attacked in the Nazi campaign against so-called “degenerate” art, this serene scene can also be read as a subtle refusal of noise, aggression, and spectacle. Instead of ideology, he offers repose. Instead of heroics, he gives attention to ordinary presence and the charged silence between looking out and remaining within. In that calm, the painting is less a simple genre scene than a meditation on companionship, interior life, and the fragile dignity of peace.

“Zwei Mädchen am Fenster (Two Girls at the Window)" by Georg Schrimpf (German) - Oil on canvas / 1937 - Nationalgalerie (Berlin, Germany) #WomenInArt #GeorgSchrimpf #Schrimpf #Nationalgalerie #NeueSachlichkeit #art #kunst #arte #arttext #BlueskyArt #PaintingOfWomen #GermanArt #GermanArtist #1930sArt

25 3 0 0
marclehmannart
marclehmannart
@marclehmannart.bsky.social
1 day ago
Post image Post image

Sold.
My portrait of Marilyn Monroe from a few years ago.
.
Drawn on a 29,7x42 cm /11.7x16.5 " sized 260g Craftpaper with Faber Castell Polychromos Coloured Pencils and Schmincke Watercolour
.
#art #portrait #MarilynMonroe #frankfurtart #hessenart #germanartist #marclehmannart

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Michael
Michael
@mdstamper.bsky.social
2 days ago
German artist Lesser Ury was one of the earliest painters to make modern Berlin itself a major subject, and this picture shows why. Rather than describing every detail, he paints the city as sensation with damp air, passing traffic, fleeting encounters, and elegance amid transience. A broad Berlin avenue opens in a haze of pale light and wet air. Bare dark trees rise along both sides of the street. Horse-drawn cabs move along the roadway, their forms softened by mist and quick brushwork. On the sidewalks, pedestrians appear only in flashes of clothing. Near the front, two young women stand out from the muted city around them. They are fashionably dressed, slim and walking side by side with silhouettes sharper than the rest. Ury pulls the eye toward them with small but deliberate accents of red—one woman’s dress, the other’s lips ... so that they are almost like sparks inside a gray-brown atmosphere. The architecture behind them feels stately but softened, less a mapped location than a remembered impression of the Charlottenburg district in motion. The women are not incidental. They are the compositional and emotional center, embodiments of urban visibility, fashion, and self-presentation. The older horse cabs and classical façades suggest a city suspended between eras, where tradition and modern life overlap on the same street. Born into a Jewish family in Prussia and based for most of his career in Berlin, Ury became known for atmospheric views of cafés, rain-slicked streets, and city light. Here, late in his life, he turns Berlin into both theater and weather as an urban stage where women moving through public space become signs of speed, modernity, and the fleeting glamour of the metropolis. Ury died in 1931 before the Nazi era and World War II. Unfortunately, much of his work was later lost or destroyed under the Third Reich.

German artist Lesser Ury was one of the earliest painters to make modern Berlin itself a major subject, and this picture shows why. Rather than describing every detail, he paints the city as sensation with damp air, passing traffic, fleeting encounters, and elegance amid transience. A broad Berlin avenue opens in a haze of pale light and wet air. Bare dark trees rise along both sides of the street. Horse-drawn cabs move along the roadway, their forms softened by mist and quick brushwork. On the sidewalks, pedestrians appear only in flashes of clothing. Near the front, two young women stand out from the muted city around them. They are fashionably dressed, slim and walking side by side with silhouettes sharper than the rest. Ury pulls the eye toward them with small but deliberate accents of red—one woman’s dress, the other’s lips ... so that they are almost like sparks inside a gray-brown atmosphere. The architecture behind them feels stately but softened, less a mapped location than a remembered impression of the Charlottenburg district in motion. The women are not incidental. They are the compositional and emotional center, embodiments of urban visibility, fashion, and self-presentation. The older horse cabs and classical façades suggest a city suspended between eras, where tradition and modern life overlap on the same street. Born into a Jewish family in Prussia and based for most of his career in Berlin, Ury became known for atmospheric views of cafés, rain-slicked streets, and city light. Here, late in his life, he turns Berlin into both theater and weather as an urban stage where women moving through public space become signs of speed, modernity, and the fleeting glamour of the metropolis. Ury died in 1931 before the Nazi era and World War II. Unfortunately, much of his work was later lost or destroyed under the Third Reich.

“Berliner Straßenszene (Berlin Street Scene)" by Lesser Ury (German) - Oil on canvas / 1921 - Ben Uri Art Museum (London, England) #WomenInArt #LesserUry #Ury #BenUri #CityScene #ModernLife #art #artText #kunst #art #GermanArtist #Berlin #GermanModernism #WeimarArt #GermanArt #JewishArtist #1920sArt

30 6 0 0
Michael
Michael
@mdstamper.bsky.social
2 days ago
Two chorus dancers appear in close profile against a nearly black background, cropped at the chest so the eye goes first to their faces rather than to performance or costume. The woman in front closes her eyes, her expression tired, inward, almost private. Both wear translucent pink hats and matching pink stage dresses; their short bobbed hair, pale skin, sharply drawn noses, and vivid red lipstick stand out with theatrical clarity. Their shoulders angle in the same direction, but they do not read as identical showgirls. Instead, each face feels distinct, alert to a different emotional register. The picture is intimate rather than expansive because there is no stage set, no audience, and no spectacle of legs or motion. What remains is the pause between performances, when glamour slips and personhood returns. That shift is the painting’s quiet power. In Weimar Berlin, revue performers were often presented as decorative types, symbols of nightlife, modernity, and erotic display. German artist Jeanne Mammen, herself a famously independent artist and a keen observer of urban women, resists that flattening. Here she redirects attention from entertainment to exhaustion and from fantasy to labor. The Museum of Modern Art (Berlinische Galerie) in Berlin notes that the front figure carries Mammen’s own features and the second resembles her sister Mimi, which makes the image feel even more layered. This is not just a scene of performers, but a subtle meditation on self-projection, family resemblance, and the masks women were asked to wear in modern 1920s European city life. Instead of selling glitter, the painting reveals the human cost beneath it. The result is tender, unsparing, and deeply modern.

Two chorus dancers appear in close profile against a nearly black background, cropped at the chest so the eye goes first to their faces rather than to performance or costume. The woman in front closes her eyes, her expression tired, inward, almost private. Both wear translucent pink hats and matching pink stage dresses; their short bobbed hair, pale skin, sharply drawn noses, and vivid red lipstick stand out with theatrical clarity. Their shoulders angle in the same direction, but they do not read as identical showgirls. Instead, each face feels distinct, alert to a different emotional register. The picture is intimate rather than expansive because there is no stage set, no audience, and no spectacle of legs or motion. What remains is the pause between performances, when glamour slips and personhood returns. That shift is the painting’s quiet power. In Weimar Berlin, revue performers were often presented as decorative types, symbols of nightlife, modernity, and erotic display. German artist Jeanne Mammen, herself a famously independent artist and a keen observer of urban women, resists that flattening. Here she redirects attention from entertainment to exhaustion and from fantasy to labor. The Museum of Modern Art (Berlinische Galerie) in Berlin notes that the front figure carries Mammen’s own features and the second resembles her sister Mimi, which makes the image feel even more layered. This is not just a scene of performers, but a subtle meditation on self-projection, family resemblance, and the masks women were asked to wear in modern 1920s European city life. Instead of selling glitter, the painting reveals the human cost beneath it. The result is tender, unsparing, and deeply modern.

“Revuegirls” by Jeanne Mammen (German) - Oil on cardboard / 1928-1929 - Berlinische Galerie (Berlin, Germany) #WomenInArt #WomensArt #WomenArtists #JeanneMammen #Mammen #BerlinischeGalerie #NeueSachlichkeit #art #artText #kunst #arte #GermanArtist #WomenPaintingWomen #WeimarArt #GermanArt #1920sArt

33 7 0 0
Niall Ireland
Niall Ireland
@niallmce.bsky.social
2 days ago
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"Licht im Stillleben".
Credits: Elena Wuest
German artist. #Art #GermanArtist

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Slashpanda (Ashton)
Slashpanda (Ashton)
@slashpanda.bsky.social
3 days ago
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Nachträglich schöne Ostern! Das Bild hab ich verspätet dafür gezeichnet. :))

Mit der farbkombi hadere ich aber, ursprünglich sollte es ein Albino Labor hässchen werden. 😅🫠

#art #artist #germanartist #anime

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JohannesDoc 👨‍⚕️🇪🇺🏳️‍🌈
JohannesDoc 👨‍⚕️🇪🇺🏳️‍🌈
@giovanni44.bsky.social
6 days ago
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Hans von Marées (1837-1887) | Three Men in a Landscape
(c. 1874), oil on canvas.

#hansvonmarées #germanartist #malenude #impessionism #idealism #kunstpalastduesseldorf

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Michael
Michael
@mdstamper.bsky.social
1 week ago
Two young women move arm in arm through a crowded modern street, yet German artist August Macke makes them feel strangely calm inside the rush. The girl at left has bright reddish hair and turns her face away from us, her body angled forward as if she has just noticed something beyond the frame. Her companion, with dark hair pulled back, is shown in profile in a dress of deep red, rose, and brown. Their linked arms create the emotional center of the painting. Around them, the city breaks into splintered planes, sharp diagonals, flashes of yellow light, fragments of wheels, railings, figures, shopfront reflections, and bouquet-like bursts of color near the lower edge. Space feels unstable and alive. The girls are clearly human and solid, but nearly everything surrounding them seems to vibrate, flicker, and fracture into movement. That tension is the point. Macke sets human closeness against the speed and sensory overload of modern life. The Städel notes how strongly the painting reflects the impact of Italian Futurism and French Cubism as the city is all motion, geometry, duplication, and glare, while the girls remain comparatively classical and self-contained. They do not dissolve into spectacle. Painted in 1913, when Macke was in his mid-twenties and already one of the most gifted artists in the orbit of Der Blaue Reiter, the work shows how deftly he absorbed new avant-garde ideas without losing his warmth toward everyday people. He was especially responsive to French modernism and to Robert Delaunay’s color-driven experiments, yet he kept returning to scenes of strolling, shopping, looking, and being together. The sitters here are unidentified, but that anonymity adds to the painting’s modernity. They become both specific companions and emblems of urban friendship. Seen now, one year before Macke’s death in World War I at just 27, the picture feels powerful and fragile at once like an image of companionship held steady inside a dazzling, unstable world.

Two young women move arm in arm through a crowded modern street, yet German artist August Macke makes them feel strangely calm inside the rush. The girl at left has bright reddish hair and turns her face away from us, her body angled forward as if she has just noticed something beyond the frame. Her companion, with dark hair pulled back, is shown in profile in a dress of deep red, rose, and brown. Their linked arms create the emotional center of the painting. Around them, the city breaks into splintered planes, sharp diagonals, flashes of yellow light, fragments of wheels, railings, figures, shopfront reflections, and bouquet-like bursts of color near the lower edge. Space feels unstable and alive. The girls are clearly human and solid, but nearly everything surrounding them seems to vibrate, flicker, and fracture into movement. That tension is the point. Macke sets human closeness against the speed and sensory overload of modern life. The Städel notes how strongly the painting reflects the impact of Italian Futurism and French Cubism as the city is all motion, geometry, duplication, and glare, while the girls remain comparatively classical and self-contained. They do not dissolve into spectacle. Painted in 1913, when Macke was in his mid-twenties and already one of the most gifted artists in the orbit of Der Blaue Reiter, the work shows how deftly he absorbed new avant-garde ideas without losing his warmth toward everyday people. He was especially responsive to French modernism and to Robert Delaunay’s color-driven experiments, yet he kept returning to scenes of strolling, shopping, looking, and being together. The sitters here are unidentified, but that anonymity adds to the painting’s modernity. They become both specific companions and emblems of urban friendship. Seen now, one year before Macke’s death in World War I at just 27, the picture feels powerful and fragile at once like an image of companionship held steady inside a dazzling, unstable world.

“Zwei Mädchen” (Two Girls) by August Macke (German) - Oil on canvas / 1913 - Städel Museum (Frankfurt am Main, Germany) #WomenInArt #AugustMacke #Macke #StaedelMuseum #StädelMuseum #Staedel #art #arte #kunst #arttext #BlueskyArt #Expressionism #GermanArtist #GermanArt #1910sArt #DerBlaueReiter

47 8 1 1
Zoli Aswad Osaze
Zoli Aswad Osaze
@zaswadosaze.bsky.social
3 weeks ago
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pieddepoule_selale
Im Café, 1964
Franz Xaver Fuhr (German,1898–1973)

@pieddepoule_selale #franzxaverfuhr #oldcityplace #regensburg #imcafé #germanartist

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Nudo Artistico
Nudo Artistico
@artsex.bsky.social
3 weeks ago
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#germanartist #art #artist

George Grosz (1893–1959)
Weiblicher akt

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Michael
Michael
@mdstamper.bsky.social
4 weeks ago
Painted in 1912, this work belongs to the brief, brilliant period when German artist August Macke was helping define German Expressionism while also shaping a language distinct from the more spiritual abstractions around Der Blaue Reiter. He was drawn to modern life, fashion, leisure, and the visual pleasure of people seen in parks, streets, shop windows, and gardens. Here, he turns a simple gathering of girls into a meditation on harmony, youth, and perception itself. Four girls gather closely beneath dense, dark green trees in a vivid, stylized garden. Their faces are simplified and softly downcast, giving the group a quiet, introspective mood. One girl at left wears a blue dress with angular white sleeves and dark hair framing her face. At center, a blonde girl in a rose-red dress stands with her head bowed. At right, another blonde girl in a broad yellow hat sits in profile, wearing blue and white. In the foreground, a fourth girl is seen mostly from behind, her long golden-orange hair falling over a pale white and pink garment. Around them, leaves, tree trunks, and sharp patches of green, black, blue, white, pink, and yellow compress the space so that the figures seem nestled into the landscape rather than separated from it. The fusion of person and environment is central to Macke’s art as modern life becomes lyrical, ordered, and fleeting. Macke once wrote of his delight in “the blazing sun and trees, shrubs, human beings,” and that generous joy feels present here. Made just two years before his death in World War I at age twenty-seven, "Vier Mädchen" carries both freshness and fragility for a modern vision of female companionship suspended in a world of radiant calm.

Painted in 1912, this work belongs to the brief, brilliant period when German artist August Macke was helping define German Expressionism while also shaping a language distinct from the more spiritual abstractions around Der Blaue Reiter. He was drawn to modern life, fashion, leisure, and the visual pleasure of people seen in parks, streets, shop windows, and gardens. Here, he turns a simple gathering of girls into a meditation on harmony, youth, and perception itself. Four girls gather closely beneath dense, dark green trees in a vivid, stylized garden. Their faces are simplified and softly downcast, giving the group a quiet, introspective mood. One girl at left wears a blue dress with angular white sleeves and dark hair framing her face. At center, a blonde girl in a rose-red dress stands with her head bowed. At right, another blonde girl in a broad yellow hat sits in profile, wearing blue and white. In the foreground, a fourth girl is seen mostly from behind, her long golden-orange hair falling over a pale white and pink garment. Around them, leaves, tree trunks, and sharp patches of green, black, blue, white, pink, and yellow compress the space so that the figures seem nestled into the landscape rather than separated from it. The fusion of person and environment is central to Macke’s art as modern life becomes lyrical, ordered, and fleeting. Macke once wrote of his delight in “the blazing sun and trees, shrubs, human beings,” and that generous joy feels present here. Made just two years before his death in World War I at age twenty-seven, "Vier Mädchen" carries both freshness and fragility for a modern vision of female companionship suspended in a world of radiant calm.

“Vier Mädchen” (Four Girls) by August Macke (German) - Oil on canvas / 1912 - Kunstpalast (Düsseldorf, Germany) #WomenInArt #AugustMacke #Macke #Kunstpalast #GermanExpressionism #GermanArt #art #artText #artwork #PortraitofWomen #Expressionism #BlueskyArt #Kunst #1910sArt #GermanArtist #GermanArt

51 8 0 0
Phoenix Paint FG (Ger/Eng)
Phoenix Paint FG (Ger/Eng)
@phoenixpaintfg.bsky.social
1 month ago
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✨YOUR OC AS A TAROT CARD!✨

I'm creating a complete tarot deck & YOU can be a part of it! (A physical set will be available later)

To enter:

🖼️ Comment with your OC's name
❤️ Like & 🔁 Repost

✨Good luck! ✨

#ArtRequest #OC #Tarot #YCH #FantasyWorlds #GermanArtist #MLP

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Michael
Michael
@mdstamper.bsky.social
1 month ago
A group of women stride toward us along a glowing yellow street that tilts upward like a stage. Their bodies are elongated and angular, with sharp shoulders, tapering coats, and small black shoes that cut into the pavement like points. The central woman wears a deep green cloak and a wide black hat trimmed with pale yellow, her face long and pale, her eyes narrowed and unreadable. To the right, a figure in a lavender-gray coat leans forward with a cool, detached expression. To her left, a woman in saturated blue emerges from shadow, while two darker figures recede behind them in black and blue. Their faces are masklike rather than individualized, built from slashing planes of cream, peach, black, and tan. The street and buildings dissolve into jagged bands of acid yellow, green, and black, so the city feels unstable and rushing rather than fixed. The women appear elegant and highly visible, yet emotionally distant from one another and from us. Fashion, movement, and public display dominate the scene, but so do tension and unease. This painting belongs to German artist Ernst Ludwig Kirchner’s celebrated Berlin street scenes, made after his move from Dresden to Berlin, where modern city life became one of his most urgent subjects. In these pictures, fashionable women in extravagant hats often stand for more than individual sitters: they become emblems of metropolitan spectacle, commerce, desire, and alienation. Here the women’s beauty is deliberately hard-edged. Their bodies are elegant but tense, their faces alluring yet sealed off, their closeness theatrical rather than intimate. Kirchner’s acidic color, compressed space, and blade-like contours transform the street into a psychological zone where attention itself feels dangerous. Rather than offering a comfortable scene of women in public, Kirchner shows a city built from performance, vigilance, and restless energy.

A group of women stride toward us along a glowing yellow street that tilts upward like a stage. Their bodies are elongated and angular, with sharp shoulders, tapering coats, and small black shoes that cut into the pavement like points. The central woman wears a deep green cloak and a wide black hat trimmed with pale yellow, her face long and pale, her eyes narrowed and unreadable. To the right, a figure in a lavender-gray coat leans forward with a cool, detached expression. To her left, a woman in saturated blue emerges from shadow, while two darker figures recede behind them in black and blue. Their faces are masklike rather than individualized, built from slashing planes of cream, peach, black, and tan. The street and buildings dissolve into jagged bands of acid yellow, green, and black, so the city feels unstable and rushing rather than fixed. The women appear elegant and highly visible, yet emotionally distant from one another and from us. Fashion, movement, and public display dominate the scene, but so do tension and unease. This painting belongs to German artist Ernst Ludwig Kirchner’s celebrated Berlin street scenes, made after his move from Dresden to Berlin, where modern city life became one of his most urgent subjects. In these pictures, fashionable women in extravagant hats often stand for more than individual sitters: they become emblems of metropolitan spectacle, commerce, desire, and alienation. Here the women’s beauty is deliberately hard-edged. Their bodies are elegant but tense, their faces alluring yet sealed off, their closeness theatrical rather than intimate. Kirchner’s acidic color, compressed space, and blade-like contours transform the street into a psychological zone where attention itself feels dangerous. Rather than offering a comfortable scene of women in public, Kirchner shows a city built from performance, vigilance, and restless energy.

"Frauen auf der Straße" (Women on the Street) by Ernst Ludwig Kirchner (German) - Oil on canvas / c. 1915 - Von der Heydt Museum (Wuppertal, Germany) #WomenInArt #ErnstLudwigKirchner #Kirchner #VonDerHeydtMuseum #GermanExpressionism #1910sArt #art #artText #arte #BlueskyArt #GermanArt #GermanArtist

74 16 1 0
Bubbleberry
Bubbleberry
@bubbleberry.bsky.social
1 month ago
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Letzte Erinnerung für die Zettelgesellschaft!
Die Notizblöcke sind nur noch heute so günstig!

#notizblock #germanartist #dinos

4 2 0 0
Foxy
Foxy
@foxyloona.bsky.social
1 month ago
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Persona Pop art 👀
Hope you like it

#ocart #Persona #Personaart #popart #germanartist #artistsupport

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Sim Barr
Sim Barr
@simpulse.bsky.social
1 month ago
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German Artist Ruprecht von Kaufmann.

Kaufmann's work is often a mixture of melancholy + humor. A dark unsettling beauty, hinting at mysterious stories.

#RuprechtvonKaufmann #kunst #artist #contemporaryart #germanartist #artworld #worldofart #künstler #modernart #contemporaryartist #painter #art

6 0 0 0
Sim Barr
Sim Barr
@simpulse.bsky.social
1 month ago
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German Artist Ruprecht von Kaufmann.

Kaufmann's work is often a mixture of melancholy + humor. A dark unsettling beauty, hinting at mysterious stories.

#RuprechtvonKaufmann #kunst #artist #contemporaryart #germanartist #artworld #germanpainter #künstler #modernart #contemporaryartist #painter

6 0 0 0
Sim Barr
Sim Barr
@simpulse.bsky.social
1 month ago
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#GermanArtist Ruprecht von Kaufmann.

Kaufmann's work is often a mixture of melancholy + humor. A dark unsettling beauty, hinting at mysterious stories.

#RuprechtvonKaufmann #kunst #artist #contemporaryart #artworld #germanpainter #oilonlinoleum #künstler #modernart #contemporaryartist

6 0 0 0
DeadByTheDog
DeadByTheDog
@deadbythedog.bsky.social
1 month ago
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Little commission for @/home.of.alien (on Insta)
Rlly need to practice shading some more :,) if you've got any tips, pls lmk!
-[xxx]-
#germanartist #GermanFurry #furry #fursona #furryfandom #OC #FurryOC #Commission #ArtCommission #FurryCommission #Skull #SkullDog #K9 #Canine #ArtTips

8 1 0 0
Sunset Omen
Sunset Omen
@tp13mlc.bsky.social
1 month ago
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one of those when you don’t think, you just move/are moved
🤍🕊️
.

#ArtistsOnBlueSky #BlueSkyArtShow #BilateralArt #AbstractExpressionism #Painter #Art #Artist #WomensArtBlueSky #AbstractArtist #BlueSkyArt  #GermanArtist #german

8 0 0 0
DeadByTheDog
DeadByTheDog
@deadbythedog.bsky.social
1 month ago
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Can't stop drawing Skylanders 😔✋
Wouldn't this have been a cute #postcard for #Valentines? :,)
-[xxx]-
#germanartist #GermanFurry #furry #fursona #furryfandom #OC #FurryOC #FanArt #Skylander #Skylanders #EyeBrawl #SkylandersGiants #Giants #Valentine

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ANDREW THOMAS
ANDREW THOMAS
@andrew-thomas10.bsky.social
2 months ago
Video

🎨🖌ME BY ARTISTS🖌🎨 "I'M YOUR SIN". PENCIL ON PAPER by STEFAN #germanartist #artistfromgermany #pencildrawingartist #homoeroticartist #gayartist
Video by ANDREW THOMAS

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DeadByTheDog
DeadByTheDog
@deadbythedog.bsky.social
2 months ago
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Another Skylanders FanArt 😔✋
Drobot my beloved

-[xxx]-
#germanartist #GermanFurry #furry #fursona #furryfandom #OC #FurryOC #FanArt #Skylander #Skylanders #Mech #Mecha #Dragon #Robot #Drobot #Scalie #Scaly #activision #activisionSkylanders

6 0 1 0
Sim Barr
Sim Barr
@simpulse.bsky.social
2 months ago
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Men in Art

Osmar Schindler, German Artist (1867-1927)

#osmarschindler #kunst #painter #malefigures #themalefigure #art #artist #artworld #pintor #peintre #peinture #oilpainting #öl #huile #oleo #germanartist #germanpainter #künstler

7 1 0 0
Sim Barr
Sim Barr
@simpulse.bsky.social
2 months ago
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Men in Art

Osmar Schindler, German Artist (1867-1927)

#osmarschindler #kunst #painter #malefigures #themalefigure #art #artist #artworld #pintor #peintre #peinture #oilpainting #öl #huile #oleo #germanartist #germanpainter #künstler

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Thinkronicity ™
Thinkronicity ™
@thinkronicity.ispost.ing
2 months ago
Gentleman - Intoxication
Gentleman - Intoxication YouTube video by CLICK SUBSCRIBE MI PEOPLE DEM

One of the coolest German Reggae bands around, dare I say one of The best. This goes back a bit, but it was a bigger hit for him. Yes, sung in English. I believe still a Sony artist.

Intoxication
#Gentleman

#GermanArtist #Reggae
youtu.be/BtzGQIDOCkM?...

0 0 0 1
Michael
Michael
@mdstamper.bsky.social
2 months ago
Painted in Berlin, Germany in 1882, this oil painting turns a potentially fleeting act of service into a portrait with the gravity usually reserved for the socially elevated. The title frames her identity through labor, yet German artist Karl Gussow’s handling insists on personhood first through careful modeling of her face with tender translucence of skin, and a firm, capable hold on a heavy bowl of oysters. A young woman with fair, peach-toned skin is shown from the waist up, turned in profile and looking to our right. Her auburn-brown hair is swept back under a deep black headscarf dotted with tiny sprigs, the fabric tied into a broad knot behind her head. She wears a smoky cream blouse with puffed sleeves and a row of dark buttons down the front, softened by a sheer lavender-rose shawl that falls across her shoulders and chest. Her lips are painted a warm coral, and her expression is a mix of calm, poise, and intent. In both hands, she supports a wide blue-and-white ceramic bowl filled with pale oyster shells cradling glossy oysters, and a yellow lemon. The background is an uncluttered, warm beige, pushing attention toward her face, hands, and the offered food. Oysters, often considered a delicacy, desire, or luxury become a symbol of an economy where pleasure is carried by someone else’s steady arms. Meanwhile, the lemon suggests sharpness, appetite, and the ritual of preparation. By setting her against a bare backdrop, Gussow removes anecdote and spectacle, leaving an encounter. She is a young woman mid-exchange, dignified, self-contained, and momentarily monumental. At the Berlin Academy, Gussow was considered a superb teacher as the ‘Regenerator of Painting’. His most famous pupil was the German artist Max Klinger who became celebrated for his surreal series of a sinisterly animated "Glove." After Gussow left the Academy in 1880, he became a sought after Berlin-society portrait painter.

Painted in Berlin, Germany in 1882, this oil painting turns a potentially fleeting act of service into a portrait with the gravity usually reserved for the socially elevated. The title frames her identity through labor, yet German artist Karl Gussow’s handling insists on personhood first through careful modeling of her face with tender translucence of skin, and a firm, capable hold on a heavy bowl of oysters. A young woman with fair, peach-toned skin is shown from the waist up, turned in profile and looking to our right. Her auburn-brown hair is swept back under a deep black headscarf dotted with tiny sprigs, the fabric tied into a broad knot behind her head. She wears a smoky cream blouse with puffed sleeves and a row of dark buttons down the front, softened by a sheer lavender-rose shawl that falls across her shoulders and chest. Her lips are painted a warm coral, and her expression is a mix of calm, poise, and intent. In both hands, she supports a wide blue-and-white ceramic bowl filled with pale oyster shells cradling glossy oysters, and a yellow lemon. The background is an uncluttered, warm beige, pushing attention toward her face, hands, and the offered food. Oysters, often considered a delicacy, desire, or luxury become a symbol of an economy where pleasure is carried by someone else’s steady arms. Meanwhile, the lemon suggests sharpness, appetite, and the ritual of preparation. By setting her against a bare backdrop, Gussow removes anecdote and spectacle, leaving an encounter. She is a young woman mid-exchange, dignified, self-contained, and momentarily monumental. At the Berlin Academy, Gussow was considered a superb teacher as the ‘Regenerator of Painting’. His most famous pupil was the German artist Max Klinger who became celebrated for his surreal series of a sinisterly animated "Glove." After Gussow left the Academy in 1880, he became a sought after Berlin-society portrait painter.

"Das Austernmädchen (The Oyster Girl)" by Karl Gussow (German) - Oil on beveled wood panel / 1882 - Walker Art Gallery (Liverpool, UK) #WomenInArt #art #artText #artwork #KarlGussow #Gussow #WalkerArtGallery #PortraitofaGirl #Naturalism #arte #WorkingWomen #GermanArt #GermanArtist #oysters #kunst

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DeadByTheDog
DeadByTheDog
@deadbythedog.bsky.social
2 months ago
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IT'S THE ONE AND ONLY EMO-METAL WOLF WOLFGANG!!!

Also, tips and tricks are much appreciated!

-[xxx]-

#germanartist #GermanFurry #furry #fursona #furryfandom #OC #FurryOC #FanArt #Skylanders #SkylandersVillain #activision

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DeadByTheDog
DeadByTheDog
@deadbythedog.bsky.social
3 months ago
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Gift art for @/shitbag.dawg (on Insta)!
Should've been just a warm up sketch and then I worked on it a whole day 💀
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#germanartist #GermanFurry #furry #fursona #furryfandom #OC #FurryOC #GiftArt #FanArt #Neon #Canine #Dog #Unicorn #UnicornDog

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