Tri Otto Engströmin exlibris, Akseli Gallen-Kallela, 1897, Finnish National Gallery http://kokoelmat.fng.fi/app?si=A+I+759%3A5
Folly or Saintliness, Ethel Reed, 1895, Smithsonian: American Art Museum Size: sheet: 20 3/8 x 14 7/8 in. (51.6 x 37.9 cm) Medium: heliotype on...
Head of a Woman, Alvar Cawén, Finnish National Gallery http://kokoelmat.fng.fi/app?si=A-1995-115
Best known for his sympathetic portrayal of urban life in New York in the early twentieth century, John Sloan began spending four months every summer in Santa Fe, New Mexico, starting in 1919.
Description Early in her career, Brooks adopted a muted palette primarily of black, white, and various subtle shades of gray, sometimes with highlights of ochre, umber, or red, strongly reminiscent of James McNeill Whistler whose paintings she admired. Her first exhibition in 1910 at the prestigious Durand-Ruel gallery in Paris established her reputation as an artist. One of the paintings, Azalées Blanches (White Azaleas), a nude reclining on a couch in the artist’s studio, elicited comparisons to Francisco Goya’s Naked Maja and Edouard Manet’s Olympia by contemporary critics. A painting from 1914, La France Croisée, a symbolic image of France at war, was compared to Eugéne Delacroix’s masterful Liberty Leading the People. Working in Paris at a time when Pablo Picasso and other modernist artists were challenging traditional approaches to art, Romaine Brooks maintained her independence from contemporary art movements. In the 1930s, Brooks began writing an autobiographical manuscript titled No Pleasant Memories, and created a number of imaginative line drawings as illustrations. The book was never published, and Brooks all but abandoned her art career by the late 1930s. Brooks’ exploration of gender and sexuality in many of her portraits led to renewed interest in her work in the 1980s, and her powerful images are still compelling to audiences today. This exhibition brings together 18 paintings and 32 drawings from the museum’s permanent collection, a number of which have not been seen for decades. Commentaries about the artworks were written by Joe Lucchesi, consulting curator for the exhibition and associate professor at St. Mary’s College of Maryland. He also was the curator for the exhibition Amazons in the Drawing Room: The Art of Romaine Brooks. Virginia Mecklenburg, chief curator, and Joann Moser, former deputy chief curator, selected the artworks on display. Visiting Information Smithsonian American Art Museum June 17, 2016 – October 2, 2016 Open Daily, 11:30 a.m.–7:00 p.m Free Admission Tour Schedule Polk Museum Of Art Lakeland, FL September 8, 2018 – December 9, 2018
Cleopatra (69 - 30 BCE), the legendary queen of Egypt from 51 to 30 BCE, is often best known for her dramatic suicide, allegedly from the fatal bite of a venomous snake.
This giclée print is reproduced on a smooth 230gsm acid-free, matte art paper using pigment-based archival inks. Available in the following sizes: 8″ x 10″ (203mm x 254mm) 16″ x 20″ (406mm x 508mm) Finished size includes a white 1-1.5cm border. Prints are supplied unframed. Laura At Sixteen – Original oil on canvas by Alice Pike Barney (1857 – 1931). Held at the Smithsonian American Art Museum, Washington DC, USA. https://www.si.edu/object/laura-shorturl.at/vMQWZ All images of the original artworks are in the public domain, allowing me to make modifications without copyright restrictions. I will always endeavour to provide information and links to the original artwork and show the original for comparison. I do not for a minute, believe my embellishments make the artwork better. However, I hope my little ‘twists’ help expose these beautiful paintings to a new audience. ________________________________________________________ SHIPPING All orders are printed and/or made on demand. Every effort will be made to complete your order in the least amount of time, but please allow a minimum of 2 weeks (plus shipping time) for delivery so as to avoid disappointment. If you need your order delivered more quickly, please add a note at checkout and I will do my utmost to fulfil your order in the required time.
Description The presentation of The Singing and the Silence coincides with two significant environmental anniversaries—the extinction of the passenger pigeon in 1914 and the establishment of the Wilderness Act in 1964—events which highlight mankind’s journey from conquest of the land to conservation of it. Although human activity has affected many species, birds in particular embody these competing impulses. Inspired by the confluence of these events, the exhibition explores how artists working today use avian imagery to meaningfully connect with the natural world, among other themes. While artists have historically created images of birds for the purposes of scientific inquiry, taxonomy or spiritual symbolism, the artists featured in The Singing and the Silence instead share a common interest in birds as allegories for our own earthbound existence. The 46 artworks on display consider themes such as contemporary culture’s evolving relationship with the natural world, the steady rise in environmental consciousness, and the rituals of birding. The exhibition’s title is drawn from the poem “The Bird at Dawn” by Harold Monro. Rachel Berwick’s large-scale, mixed-media installation, Blueshift, will be on public display for the first time as part of the exhibition, as will a temporary, site-specific mural James Prosek has created for the exhibition’s gallery space. A behind-the-scenes time-lapse video of the installation of this mural is available, along with other exhibition-related videos, on the museum’s YouTube channel. Artworks by each artist can be viewed in our online gallery, below. The exhibition was organized by Joanna Marsh, The James Dicke Curator of Contemporary Art. Visiting Information Smithsonian American Art Museum October 30, 2014 – February 22, 2015 Open Daily, 11:30 a.m.–7:00 p.m Free Admission
Together with her partner Susan Sontag, the celebrated photographer has long planned to do a book of places important to them both
Una Troubridge was a British aristocrat, literary translator, and the lover of Radclyffe Hall, author of the 1928 pathbreaking lesbian novel, The Well of Loneliness.
In Serviceman’s Wife, Ivan Olinsky painted a woman looking up expectantly, perhaps to greet her husband, who has just opened the door.
Stark hills seem to threaten the lush farms at their feet in this vivid painting of a Southern California valley.
With this self-portrait, Brooks envisioned her modernity as an artist and a person. The modulated shades of gray, stylized forms, and psychological gravity exemplify her deep commitment to aesthetic principles.
