“Individual perspectives,” our April 9 #art blast! features “Yuko Oda: Decaying into Bloom” at #GrotonSchool’s #BrodiganGallery; “Kate Conlon & Boyang Hou: Xylotheque’s Nocturne” at #Tufts University Art Galleries & “Yinka Shonibare: Sanctuary” at #Brandeis' #RoseArtMuseum: conta.cc/4bVUQR1.
If you haven't yet, check out the Photorealism in Focus exhibit at the Rose Art Museum.
There are a variety of artists, including Clio Newton, Idelle Weber, Audrey Flack & David Buchanan Parrish.
#art #finearts #artmuseum #roseartmuseum #photorealism #paintings #illustrations
Three women stand close together, barefoot, filling a tall canvas almost edge to edge. Their bodies form a compact triangular arrangement: a blonde woman at left in a loose white dress looks directly outward with a steady, almost challenging gaze. A central figure, with dark hair swept up, wears a deep red dress and lowers her head slightly, her face softened by shadow. At right, a woman with auburn hair in a blue-green dress turns toward the center, one hand at her hip. Their skin is painted in warm creams, pinks, and peach tones with rough, visible brushstrokes. The dresses cling and fold in broad, expressive passages of white, crimson, and teal. Behind them, the background dissolves into a storm of mauves, browns, blue-grays, and muted rose, giving the scene atmosphere, presence, and mood. The painting feels less like a portrait of three named individuals than a study in relationship, contrast, and emotional proximity. Each woman occupies her own psychological space: the left confronts the viewer, the central turns inward, and the right directs her attention across the group. Russian American artist Abraham S. Baylinson uses white, red, and green-blue to almost symbolically, suggest innocence, intensity, and cool reserve without settling into a single narrative. The closeness of their bodies implies solidarity, but their expressions resist easy harmony. Born in Moscow in 1882 and later active in New York, Baylinson was part of the early modernist circle around Robert Henri and the Society of Independent Artists. He painted figures with a balance of structure and looseness, often letting emotion emerge through brushwork rather than precise detail. In this work, the women are not idealized ornaments. They are substantial, self-possessed presences. The bare feet and unfussy setting remove markers of status and push attention toward gesture, stance, and human feeling. What remains is a vivid trio suspended between individuality and group identity.
“Three Standing Women” by Abraham S. Baylinson (Russian-American) - Oil on canvas / c. 1935-1939 - Rose Art Museum, Brandeis University (Waltham, Massachusetts) #WomenInArt #AbrahamBaylinson #АбрахамСоломонБайлинсон #Baylinson #RoseArtMuseum #BrandeisUniversity #artText #art #arte #WomenInPainting
In AS120, Claudia Fiks wrote, “Yinka Shonibare’s “The British Library” was a highlight of #ArtBasel Miami Beach. The British-Nigerian artist’s latest show, “ #YinkaShonibare: Sanctuary,” opens tonight at the #RoseArtMuseum at #Brandeis. Read Fiks’ ABMB review: artscopemagazine.com/2025/12/art-...
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
A young barefoot girl holding out a bowl stands facing us on a row of train tracks. Beneath her is evenly spaced wooden railroad ties washed in warm browns and dusty rose tones while the rails are painted a cool blue-gray that frames her like a narrowing corridor. She has medium-brown skin and straight black hair parted in the middle and braided into two thick plaits. Her face is calm but guarded heavy-lidded eyes, a firm mouth, and a stillness that reads as tired, resolute, and deeply focused. She wears a cream short-sleeved blouse with blue stitched trim along the neckline and sleeve hems. At her waist sits a wide, pale blue sash that bunches in folds over a long, dark skirt that falls to her ankles. Her feet are planted on the ties, toes splayed slightly, emphasizing the texture and hardness of the surface. Close to her chest, both hands cradle a rounded yellow bowl filled with clustered purple like fruit or gathered goods rendered with soft watercolor blooms. She is standing in a channel of movement and modern infrastructure that might imply passage, distance, and forces larger than a single life. The rails’ lines pull our eye backward, suggesting a path already laid down, while the girl’s front-facing stance and the holding up the bowl creates a tension between motion and pause. The vessel becomes a focal point of care and necessity as it symbolize basic food or the larger fragile margin of daily survival. Bare feet heighten vulnerability, yet Mexican artist Diego Rivera’s simplified, weighty forms lend her a quiet monumentality. She is not decorative, but dignified and not to be ignored. The tracks feel symbolic of social currents like labor, migration, and economic change while the girl’s steady grip and level stance insist on personhood within those currents. The sitter is not identified, allowing her to be both a child and part of Rivera’s broader meditation on Mexican girlhood seen at the intersection of tradition, work, and a rapidly transforming world.
"Young Mexican Girl" by Diego Rivera (Mexican) - Watercolor on paper / c. 1935–1937 - Rose Art Museum (Waltham, Massachusetts) #WomenInArt #DiegoRivera #Rivera #RoseArtMuseum #PortraitofaGirl #Watercolor #art #artText #BlueskyArt #ModernArt #LatinAmericanArt #MexicanArt #MexicanArtist #ArteMexicano
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"...where visual art collides with craft traditions, design sensibilities, and experimental modes of making..." click the picture to read the preview in Picture This Post magazine--
#RoseArtMuseum #BostonArt #BostonMuseums #PictureThisPostArt #PictureThisPostMuseums #art
Our March/ April 2025 19th Anniversary issue is now available and includes reviews of “The Art of Wallpaper Design” at the #RISDMuseum & Clara Wainright at the #RoseArtMuseum. Read managing editor @bgoslow.bsky.social's welcome statement: artscopemagazine.com/2025/03/a-ma...
#Art #newenglandart
