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Artist Susan Watkins turns a familiar tea scene into something quietly modern. The title itself (part French, part English) suggests cosmopolitan play, fitting for an American painter who trained in New York and Paris and built an international career at the turn of the century. Around 1903, she was already earning praise for her technical control and elegant interiors, even as women artists were often steered toward “acceptable” domestic subjects. 

Two young women sit at a small tea table beside doors with windows, their figures emerging from a dim, softly brown interior into cool afternoon light. The woman at left, in a pale rose dress with a dark sash, leans forward with one hand near her chin, listening intently. Across from her, a woman in a white blouse lifts a delicate blue-and-white teacup, her face and shoulders haloed by the brightness behind her. Between them are a teapot, cups, saucers, and small plates. At right, a green vase holds pink flowers, while glass bottles and serving pieces recede into shadow on a shelf. Outside the open doorway, blurred greenery glows in loose strokes. Their skin is fair in the filtered light, their hair swept up in softly structured early-20th-century styles. No sitter is identified here, and the painting’s intimacy comes partly from that uncertainty as we seem to enter not a formal portrait, but a private moment.

The domesticity is not trivial. Conversation, attention, and mood are the real subject. One woman speaks. The other measures the moment before replying. The white tablecloth and porcelain catch the light like stage props, but the emotional drama stays restrained, almost whispered. Watkins’s gift lies in that restraint. She makes the room feel lived-in and intelligent, a space where women’s interior lives matter. Later, she would say that meaningful work brought “the most lasting and most perfect happiness.” This painting feels shaped by that conviction to be disciplined, observant, and full of quiet self worth.

Artist Susan Watkins turns a familiar tea scene into something quietly modern. The title itself (part French, part English) suggests cosmopolitan play, fitting for an American painter who trained in New York and Paris and built an international career at the turn of the century. Around 1903, she was already earning praise for her technical control and elegant interiors, even as women artists were often steered toward “acceptable” domestic subjects. Two young women sit at a small tea table beside doors with windows, their figures emerging from a dim, softly brown interior into cool afternoon light. The woman at left, in a pale rose dress with a dark sash, leans forward with one hand near her chin, listening intently. Across from her, a woman in a white blouse lifts a delicate blue-and-white teacup, her face and shoulders haloed by the brightness behind her. Between them are a teapot, cups, saucers, and small plates. At right, a green vase holds pink flowers, while glass bottles and serving pieces recede into shadow on a shelf. Outside the open doorway, blurred greenery glows in loose strokes. Their skin is fair in the filtered light, their hair swept up in softly structured early-20th-century styles. No sitter is identified here, and the painting’s intimacy comes partly from that uncertainty as we seem to enter not a formal portrait, but a private moment. The domesticity is not trivial. Conversation, attention, and mood are the real subject. One woman speaks. The other measures the moment before replying. The white tablecloth and porcelain catch the light like stage props, but the emotional drama stays restrained, almost whispered. Watkins’s gift lies in that restraint. She makes the room feel lived-in and intelligent, a space where women’s interior lives matter. Later, she would say that meaningful work brought “the most lasting and most perfect happiness.” This painting feels shaped by that conviction to be disciplined, observant, and full of quiet self worth.

“Le Five O’Clock (Tea)” by Susan Watkins (American) - Oil on canvas / c. 1903 - Chrysler Museum of Art (Norfolk, Virginia) #WomenInArt #WomanArtist #WomenArtists #SusanWatkins #ChryslerMuseumOfArt #ChryslerMuseum #AmericanArt #art #artText #arte #teatime #WomenPaintingWomen #WomensArt #1900sArt

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Future Hollywood actress Audrey Hepburn lived in the Netherlands during WW2 where as a 15 yr old she bravely aided resistance groups against the Nazis by delivering papers and also messages to downed Allied pilots #WomensArt

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Yo, ajena a todo. Y caballitos tirando de ¿trineos? detrás. Voy a introspeccionar.

Yo, ajena a todo. Y caballitos tirando de ¿trineos? detrás. Voy a introspeccionar.

Qué día más raro.

Feliz noche 🎨.

Shut. Olga Terri.

#womensart #art #painting #pintoras

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#Art: Carlos y Pablo, agua y espuma (2024)
#Artist: María Fragoso Jara

#Art: Carlos y Pablo, agua y espuma (2024) #Artist: María Fragoso Jara

#Art: Carlos y Pablo, agua y espuma (2024)
#Artist: #MaríaFragosoJara (b.1995; #🇲🇽)
#ArtMovement/Style: #Figurativism #Contempory
Medium: Oil On Canvas
101.6 × 91.4 cm (40 × 36 in)

#DailyArt #TalkArt #Artsy
#ArtPost #FineArt #ArtHerstory #WomensArt

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beauty! #WomensArt

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Painting of different coloured tulips in two glass vases on a grey surface against a white background

Painting of different coloured tulips in two glass vases on a grey surface against a white background

Tulips, c. 2000 by Elizabeth Blackadder #WomensArt #April

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Harriet Love, contemporary stained glass artist #Womensart #Sunday 

@womensart1

Harriet Love, contemporary stained glass artist #Womensart #Sunday @womensart1

Harriet Love, contemporary stained glass artist #Womensart #Sunday

@womensart1

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Painting of flying birds in different colours and flying in different directions against a white background

Painting of flying birds in different colours and flying in different directions against a white background

'Les courants (the currents)' series by Montreal artist Dominique Fortin #WomensArt

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#WomensArt

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I took my mom to see the Amy Sherald “American Sublime” exhibition at The Whitney museum in NYC on her birthday (June 27) last year. Sublime, indeed!

#WomensArt 🖼️
#MorningArt 🖌️
#ArtSky 🎨
#BlackSky 🖤

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Una mujer de rojo fumando y haciendo un solitario.

Una mujer de rojo fumando y haciendo un solitario.

Queen of Hearts. Gerda Wegener.

Feliz día 🎨.

#womensart #art #painting #pintoras

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🌟 BlueSky trending hashtags (1h):

#国会正門前大行動0419 #photography #art #nsfw #섹블 #gay #tcmparty #womensart #noiralley #tokyorevengers #섹트 #hiskindofwoman #oc #デモ茶 #sunday

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Print featuring a white and gold sunrise through a woodland with tree trunks in silhouette and a forest floor of light purple flowers

Print featuring a white and gold sunrise through a woodland with tree trunks in silhouette and a forest floor of light purple flowers

'Bluebell Woodland' by contemporary Northumberland printmaker Rebecca Vincent #WomensArt

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🔥 BlueSky trending hashtags (30m):

#国会正門前大行動0419 #art #섹블 #tcmparty #noiralley #photography #gay #hiskindofwoman #nsfw #oc #bluelock #sunday #womensart #tossatnight #hairy

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🌟 BlueSky trending hashtags (1h) #16-30:

#섹트 #aiイラスト #womensart #노출 #oc #青空ごはん部 #가슴 #otd #육덕 #유부녀 #furry #デモ茶 #fanart #aiart #history

👇 #1-15 trending hashtags

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🔥 BlueSky trending hashtags (30m):

#dandadan #tcmparty #国会正門前大行動0419 #noiralley #hiskindofwoman #art #photography #nsfw #섹블 #technicolorterrors #womensart #섹트 #tossatnight #stevenuniverse #gay

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🚀 BlueSky trending hashtags (15m):

#tcmparty #noiralley #hiskindofwoman #国会正門前大行動0419 #technicolorterrors #photography #fanart #art #tossatnight #womensart #sunday #aiイラスト #mortuary #sketch #nsfw

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🚀 BlueSky trending hashtags (15m) #16-30:

#womensart #aiイラスト #nature #デモ茶 #pragmata #filmsky #cock #punk #sketch #thedomestics #toonami #bbb26 #oc #nude #cat

👇 #1-15 trending hashtags

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Stained glass artwork featuring a rural scene with fields and hills and two figures in the foreground riding a tandem bike on a track as the sun rises

Stained glass artwork featuring a rural scene with fields and hills and two figures in the foreground riding a tandem bike on a track as the sun rises

Harriet Love, contemporary stained glass artist #Womensart #Sunday

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Artwork featuring a standing central female figure in long dress created in a stylised way with intersecting lines and colours

Artwork featuring a standing central female figure in long dress created in a stylised way with intersecting lines and colours

The work of Margaret Macdonald Mackintosh (1866-1933) of the Glasgow School, who pushed the boundaries of Art Nouveau #WomensArt

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Monochrome photograph featuring the head and shoulders of a white woman facing left with short dark hair, wearing a shirt and jacket

Monochrome photograph featuring the head and shoulders of a white woman facing left with short dark hair, wearing a shirt and jacket

Portrait of pioneering Irish Modernist architect and designer Eileen Gray, Paris, 1926 by photographer Berenice Abbott #WomensArt

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Floral pattern embroidery against a black background with red pink and white flowers

Floral pattern embroidery against a black background with red pink and white flowers

Traditional Polish folk embroidery #WomensArt

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Sensual Saturday pm GM with "Wild Softness" by @marianphoto.ru 🫦
linktr.ee/Marianphoto

Share #art, support artists, sustain culture

#ArtWins
💗 🎨📸 👨‍💻🎶

#DigitalArt #WomensArt #WomenArtists

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The sky at sunset is reflected in still water, with a dark line of trees in the distance

The sky at sunset is reflected in still water, with a dark line of trees in the distance

Sunset over the Blackwater River in NH #BlueSkyArtShow #Edge #WomensArt #EastCoastKin
#PhotographersOfBluesky #NaturePhotography
#LandscapePhotographer #notAI

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#WomensArt

@traceytaylor.bsky.social @redxredxwhine.bsky.social

Starry starry night ✨

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🖌Fun line and watercolor house. Limited palette of 5 colors and fine liner. #Artist #Watercolor #WomensArt #Painting #HumanArt #NOAI

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“Wreath”, 11x14 inch acrylic on cradled panel. Trying to express the joys and sorrows of this spring and others. . #womensart, #figurativeart, #contemporaryart, #blueskyart

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Eva Frankfurther, a Jewish refugee who fled Nazi Germany as a child and later lived in Britain, often painted people who labored in the everyday public life of post-World War II London. Around this time, she worked at Lyons Corner House, and the museum identifies these uniforms as Lyons uniforms, tying this painting to the restaurant world the artist knew firsthand. 

Two Caribbean women in white waitress uniforms sit or lean closely together at a café counter. Their crisp crossover bodices and curved white caps mark them as workers, but Frankfurther gives far more attention to their faces, posture, and shared presence than to the setting. The woman at left, with medium-brown skin and softly waved dark hair, turns toward her coworker with lowered eyes and a tired expression. Her forearm stretches across the counter toward a small glass containing an amber drink. The woman at right, with deeper brown skin, looks in profile toward her companion as a small earring catches the light near her ear. Her hand holds a plain grey plate in the foreground. The background is a warm pink-beige wash, spare and quiet, so the women’s bodies, uniforms, and exchanged attention become the painting’s center of gravity. The mood is intimate, hushed, and observant.

Rather than treating the women as anonymous staff, she gives the unidentified women individuality, closeness, and emotional depth. Their mirrored arrangement suggests solidarity, but the painting does not sentimentalize service work so that fatigue, patience, and mutual recognition remain visible. In 1950s Britain, Caribbean migrants were reshaping the nation’s social and cultural life, often while facing racism and exclusion. Frankfurther’s painting quietly insists that these women belong at the center of modern British history. What might seem at first like a modest workplace scene becomes a portrait of dignity, migration, and human connection.

Eva Frankfurther, a Jewish refugee who fled Nazi Germany as a child and later lived in Britain, often painted people who labored in the everyday public life of post-World War II London. Around this time, she worked at Lyons Corner House, and the museum identifies these uniforms as Lyons uniforms, tying this painting to the restaurant world the artist knew firsthand. Two Caribbean women in white waitress uniforms sit or lean closely together at a café counter. Their crisp crossover bodices and curved white caps mark them as workers, but Frankfurther gives far more attention to their faces, posture, and shared presence than to the setting. The woman at left, with medium-brown skin and softly waved dark hair, turns toward her coworker with lowered eyes and a tired expression. Her forearm stretches across the counter toward a small glass containing an amber drink. The woman at right, with deeper brown skin, looks in profile toward her companion as a small earring catches the light near her ear. Her hand holds a plain grey plate in the foreground. The background is a warm pink-beige wash, spare and quiet, so the women’s bodies, uniforms, and exchanged attention become the painting’s center of gravity. The mood is intimate, hushed, and observant. Rather than treating the women as anonymous staff, she gives the unidentified women individuality, closeness, and emotional depth. Their mirrored arrangement suggests solidarity, but the painting does not sentimentalize service work so that fatigue, patience, and mutual recognition remain visible. In 1950s Britain, Caribbean migrants were reshaping the nation’s social and cultural life, often while facing racism and exclusion. Frankfurther’s painting quietly insists that these women belong at the center of modern British history. What might seem at first like a modest workplace scene becomes a portrait of dignity, migration, and human connection.

“West Indian Waitresses” by Eva Frankfurther (German-born British) - Oil on paper / c. 1955 - Ben Uri Gallery & Museum (London, England) #WomenInArt #WomensArt #EvaFrankfurther #Frankfurther #BenUriMuseum #BenUri #WomenPaintingWomen #waitress #art #artText #arte #1950sArt #WomanArtist #WomenArtists

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Two stylish figures fill the frame so closely that their bodies and hats almost become the whole world of the painting. At left, one woman turns toward us with a poised gaze. Her pale blond hair is topped with a lavish hat trimmed in flowers and feathers, and her makeup, jewelry, and soft blush tones heighten the air of performance and glamour. At right, the second figure leans in, her face angled toward her companion, creating a private exchange inside a public display. Their shoulders nearly touch. One hand presents a rose at the center of the composition, while ribbons, fabric, feathers, and curls echo across the surface in creamy pinks, black, ivory, and warm red. Skin appears luminous and powdered, the features idealized but emotionally charged. The cropped composition makes the pair feel intimate, elegant, and slightly theatrical all at once.

Danish artist Gerda Wegener built her career around images of modern femininity, and by the mid-1920s in Paris she was painting women with a sophistication shaped by fashion, nightlife, and changing gender roles. This work depicts the artist with Lili Elbe (Gerda’s spouse and frequent model). Born Einar Wegener before transitioning, Lili Elbe was also a Danish artist. Gerda’s portraits of Lili became some of the most memorable images of femininity, performance, and self-invention in early 20th-century art.

The painting’s title uses cocottes (a French term that can suggest fashionable, flirtatious, or even courtesans) so the picture plays knowingly with glamour, performance, and desire. The rose at center is likely both invitation and symbol, while the compressed space turns adornment into emotional language. Rather than simply depicting two chic women in hats, Gerda offers a vision of femininity as artifice, intimacy, and self-fashioning that is exquisitely composed, slightly mischievous, and definitely radical for its time.

Two stylish figures fill the frame so closely that their bodies and hats almost become the whole world of the painting. At left, one woman turns toward us with a poised gaze. Her pale blond hair is topped with a lavish hat trimmed in flowers and feathers, and her makeup, jewelry, and soft blush tones heighten the air of performance and glamour. At right, the second figure leans in, her face angled toward her companion, creating a private exchange inside a public display. Their shoulders nearly touch. One hand presents a rose at the center of the composition, while ribbons, fabric, feathers, and curls echo across the surface in creamy pinks, black, ivory, and warm red. Skin appears luminous and powdered, the features idealized but emotionally charged. The cropped composition makes the pair feel intimate, elegant, and slightly theatrical all at once. Danish artist Gerda Wegener built her career around images of modern femininity, and by the mid-1920s in Paris she was painting women with a sophistication shaped by fashion, nightlife, and changing gender roles. This work depicts the artist with Lili Elbe (Gerda’s spouse and frequent model). Born Einar Wegener before transitioning, Lili Elbe was also a Danish artist. Gerda’s portraits of Lili became some of the most memorable images of femininity, performance, and self-invention in early 20th-century art. The painting’s title uses cocottes (a French term that can suggest fashionable, flirtatious, or even courtesans) so the picture plays knowingly with glamour, performance, and desire. The rose at center is likely both invitation and symbol, while the compressed space turns adornment into emotional language. Rather than simply depicting two chic women in hats, Gerda offers a vision of femininity as artifice, intimacy, and self-fashioning that is exquisitely composed, slightly mischievous, and definitely radical for its time.

“Deux cocottes avec des chapeaux (Two Cocottes with Hats)” by Gerda Wegener (Danish) - Oil on canvas / c. 1925 - ARKEN Museum for Moderne Kunst (Ishøj, Denmark) #WomenInArt #GerdaWegener #Wegener #WomensArt #WomanArtist #WomenArtists #ARKEN #ARKENMuseum #art #artText #arte #GerdaGottlieb #1920sArt

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