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brindusab1.bsky.social
@brindusab1.bsky.social
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brindusab1.bsky.social
brindusab1.bsky.social @brindusab1.bsky.social · Feb 4
🕊Peaceful Tuesday🕊

" ... what thrills me about trains is not their size or their equipment but the fact that they are moving, that they embody a connection between underneath places."
Marianne Wiggins

René Groebli b 1927 📷
Rail Magic Series
#PhotographyIsArt
🚂🚃🚃#TrainLovers🚃🚃🚂
brindusab1.bsky.social
🕊❄️🕊Peaceful weekend🕊❄️🕊

"I believe that political correctness can be a form of linguistic fascism, and it sends shivers down the spine of my generation who went to war against fascism."
P. D. James

Barbara Hepworth Sculptures
#NatiOggi
January 10, 2026 at 9:53 AM
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klausherdepe.bsky.social
Guten Morgen!
Gustave Courbet (1819–1877) 🎨 🇫🇷
Vase mit Flieder, Rosen und Tulpen, 1863 🖼️
Norton Simon Museum 🏛️
#FlowerFriday #ArtHistory #Stilllife #BskyArt #Museum #History
Vase mit Flieder, Rosen und Tulpen, 1863
January 9, 2026 at 6:11 AM
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mlfranciolini.bsky.social
Good morning Stephen 🌧☔️
January 6, 2026 at 11:09 AM
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mlfranciolini.bsky.social
#Roma #Rome #Italy #photography #CartolineRomane #RomanPostcards
January 6, 2026 at 11:17 AM
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blue-dreamer953.bsky.social
Abdelaziz Gorgi 🖌️was a Tunisian artist. He was one of the founders of the Tunis School of painting and one of the most prominent members of Tunisia's cultural scene.
January 9, 2026 at 9:37 AM
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blue-dreamer953.bsky.social
Abdelaziz Gorgi, pionnier de l'art moderne tunisien🖌️
La mariée
January 9, 2026 at 9:38 AM
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blue-dreamer953.bsky.social
TAPESTRY by Abdelaziz Gorgi ca. 2000 🖌️

By diverging from contemporary European styles and countering the colonial underpinnings of the Salon , the late artist Abdelaziz ...
January 9, 2026 at 9:43 AM
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blue-dreamer953.bsky.social
La peinture n’est pas muette.

"L’imagerie bidimensionnelle anecdotique se veut souvent une invitation à écouter le son du réel, son intensité, son rythme, son équilibre et son chaos"

Abdelaziz Gorgi🖌️
January 9, 2026 at 9:45 AM
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blue-dreamer953.bsky.social
Bom dia, boa sexta feira 🙏🏠❄️🪾🕊️
January 9, 2026 at 9:47 AM
brindusab1.bsky.social
☔️🕊☔️Peaceful Friday☔️🕊☔️

"Society cares for the individual only so far as he is profitable."
Simone de Beauvoir
#NatiOggi

Jan Verhas ( 1834-1896 ) Schools Procession 1878
#NatiOggi
January 9, 2026 at 10:12 AM
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annasaba78.bsky.social
#January9
#ReneeNicoleGood🕯️

I conti col passato?
Ogni cosa, fatture, ferite, rimorsi,
si è bruciata sulla riva dell’ultimo fiume
e nelle fiamme saltellavano lapilli d’identità
Perdonato il perdonabile, si viaggia leggeri.

#VersiPerMe Pusterla
Fiumi nefrite vortici

©️tdjacks Sunset on the river
January 9, 2026 at 7:39 AM
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mdstamper.bsky.social
“Ruth St. Denis” by Alice Pike Barney (American) - Oil on canvas / 1910 - Smithsonian American Art Museum (Washington, DC) #WomenInArt #AlicePikeBarney #AliceBarney #Smithsonian #SmithsonianAmericanArtMuseum #WomensArt #WomanArtist #WomenArtists #artText #RuthDennis #RuthStDenis #WomenPaintingWomen
American artist Alice Pike Barney painted the celebrated dancer Ruth St. Denis (born Ruth Dennis) as modern performance was reshaping ideas of the “new woman” in American culture. St. Denis was gaining fame for theatrical solos that mixed stage spectacle with spiritual longing and imagined “Eastern” motifs. Her work would soon lead her to co-found the Denishawn company and school (1915) with Ted Shawn. The legendary dancer is depicted as a light-skinned woman posing with her torso angled back as if catching a spotlight mid-performance. She wears a low-cut, sleeveless gown of blue-green satin washed with chartreuse highlights. The fabric pools in broad, feathery strokes that suggest motion rather than stillness. A sheer, sparkling drape slips over her one shoulder and across her waist, dotted with tiny white flecks like sequins. Her dark hair is gathered under a silvery, beaded headscarf that frames her face. With softly arched brows, half-lidded eyes, and vivid red lips, she lifts her chin and looks up and away. She is poised, self-possessed, and slightly untouchable. One arm bends to plant a hand at her hip, keeping a dancer’s readiness. Behind her, warm browns sweep diagonally like curtains or vibrating air, while small dabs of light skim her cheekbones, neck, and bare upper chest. Edges blur at the hem and along her shoulders, so Ruth seems to emerge from atmosphere rather than a fixed room. Cool greens and blues in the costume flare against an amber background, and the painterly softness makes her body feel both present and in motion … like a remembered gesture held just long enough to be seen. Barney, an artist and arts patron active in Washington, DC, often presented women as public figures with interior force. Here, a swirling background and shimmering costume act like choreography including Ruth’s lifted chin and firm hand at the hip turning portraiture into performance, suggesting celebrity as self-invention and power.
January 9, 2026 at 8:07 AM
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blue-dreamer953.bsky.social
From my window, now 📷🌄
January 7, 2026 at 4:59 PM
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blue-dreamer953.bsky.social
Bom dia para todos 🙏🍂🪾🕊️🍁
January 8, 2026 at 7:54 AM
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blue-dreamer953.bsky.social
January 8, 2026 at 9:10 AM
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blue-dreamer953.bsky.social
#quote
January 8, 2026 at 9:10 AM
brindusab1.bsky.social
🕊☔️🕊Peaceful Thursday🕊☔️🕊
.
"Look up at the stars and not down at your feet. Try to make sense of what you see, and wonder about what makes the universe exist. Be curious."
Stephen Hawking
#NatiOggi

Lawrence Alma-Tadema (1867-1943) A Kiss 1891
#NatiOggi
January 8, 2026 at 10:20 AM
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blue-dreamer953.bsky.social
Pipe of Peace, 1864
James Stokeld • 🖌️

What a pertinent topic...which world leaders would smoke the peace pipe??🤔🤔🤔

Good afternoon,a peaceful evening 🙋🍂🏫💐
January 7, 2026 at 4:13 PM
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blue-dreamer953.bsky.social
The Valley of Tears
Pintura de Gustave Doré🖌️

" La « vallée de larmes » occupe tout l'espace physique et mental du spectateur mais la seule figure du Crucifié l'occulte en même temps par sa puissance volontaire comme l'humble David triomphe du géant Goliath"

Good morning dear Brindusa 🙏☔❄️💐
January 7, 2026 at 10:28 AM
brindusab1.bsky.social
☔️🕊☔️It's Wednesday☔️🕊☔️

"A state of war only serves as an excuse for domestic tyranny."
Aleksandr Solzhenitsyn

John Anderson My Jo, John
James Stokeld (1827–1877)
Sunderland Museum & Winter Gardens
January 7, 2026 at 11:14 AM
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mdstamper.bsky.social
“Femme au chapeau… (Lady in a pink hat, blue apron)” by Rosalie Renaudin (French) - Ivory miniature / 1828 - Artcurial (Paris, France) #WomenInArt #RosalieRenaudin #Renaudin #Artcurial #PortraitMiniature #19thCenturyArt #WomensArt #WomenArtists #art #artText #arte #FrenchArtist #WomenPaintingWomen
French artist Rosalie Renaudin worked within a thriving Parisian market for portrait miniatures creating intimate images meant to be held, exchanged, and kept close. A partially preserved mount inscription, “Renaudin peintre… Rue de la Paix… à Paris,” suggests an artist advertising her address in a prestigious district, where clients commissioned likenesses as tokens of affection, status, or family memory. In this oval portrait miniature, an unidentified young woman with pale skin and brown curls faces us in three-quarter view, her expression calm and direct. She wears an extravagant, wide-brimmed pink hat crowned with a sculptural bow. A sheer veil of the similar rose tone falls along one side of her face and shoulder. Gold drop earrings glint beside her cheeks. Her dress is a bright pink bodice with a low, gently squared neckline and puffed white sleeves gathered into bands of pink ribbon. Around her neck, a narrow black ribbon is fastened with a gold clasp and drops to a gold cross pendant. A blue apron painted with soft shading and a striped edge covers her skirt, adding a practical note to the fashionable ensemble. Renaudin’s precise highlights describe satin ribbon, starched folds, and the ivory’s soft luminosity. The sitter’s styling performs a careful balance as the luxurious hat and jewelry signal refinement, while the blue apron and white cloth hint at domestic labor or virtuous practicality (an identity shaped by ideals of femininity as much as by fashion). Painted in 1828, the bold millinery and carefully revealed shoulders align with late-1820s taste for drama tempered by propriety. In choosing miniature on costly, luminous, and unforgiving ivory Renaudin also signals professional confidence in a genre where many women artists found both training and financial independence. Even without her name, the sitter reads as self-possessed and present, preserved through a woman artist’s close, disciplined attention.
January 7, 2026 at 3:26 AM
brindusab1.bsky.social
🕊☔️🕊Peaceful Tuesday🕊☔️🕊

"The three most important documents a free society gives are a birth certificate, a passport, and a library card."
EL Doctorow
#NatiOggi

Gustave Doré The Acrobats (also known as Les Saltimbanques or The Wounded Child) 1874
#NatiOggi
January 6, 2026 at 5:50 AM
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mdstamper.bsky.social
“Marguerite Pilot of Deep River (Girl with Mulleins)” by Yvonne McKague Housser (Canadian) - Oil on canvas / c. 1936–40 - McMichael Canadian Art Collection (Kleinburg, Ontario) #WomenInArt #WomensArt #WomanArtist #YvonneMcKagueHousser #Housser #McMichaelCanadianArtCollection #WomenPaintingWomen
Marguerite Pilot was an Indigenous woman from Deep River, Ontario. She sits outdoors as if in thought with quiet authority and her presence honored not as a type or symbol, but as a person held in her own dignity and story. Canadian artist Yvonne McKague Housser’s modernist handling using simplified planes, restrained outlines, and carefully balanced color lets background landscape function less as “scenery” than as emotional weather. The young Marguerite is shown from the waist up, set outdoors against a wide, pale lake and layered blue-green mountains. She has medium-brown skin, straight black hair cut to the shoulders with a neat side part, and dark eyes sharing a steady, guarded calm. She wears a sleeveless, sunlight yellow dress that catches soft light, its brushwork visible in thin, chalky strokes. Her arms fold across her torso, one forearm angled up, the other resting low, creating a closed, protective shape that also feels like self-possession. On her left hand is a small turquoise ring. To the left, tall mullein stalks rise like candles, their yellow blooms and broad leaves painted in thick, emphatic greens. Dark conifer silhouettes punctuate the shoreline as rolling gray clouds press down, making the blues of the hills feel deeper and Marguerite’s presence more immediate. Her crossed arms and direct gaze hold a tension between being looked at and looking back, as if she is deciding how much of herself to yield to the portrait. Mullein, a hardy plant long associated with folk remedies and roadside endurance, becomes an eloquent companion because it signals healing, resilience, and a kind of stubborn persistence in place. Painted between 1936-1940, when Housser was an established teacher and a founding member of the Canadian Group of Painters including taking sketching trips and, in 1939, traveling to Taos to study dynamic symmetry, this portrait carries the confidence of a mature artist and the complexity of a subject who will not be sentimentalized.
January 3, 2026 at 11:49 PM
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mdstamper.bsky.social
“Portrait of a Girl” by Anita Magsaysay-Ho (Filipino) - Oil on board / 1952 - National Gallery Singapore #WomenInArt #AnitaMagsaysayHo #MagsaysayHo #AnitaMagsaysay-Ho #art #ArtText #NationalGallerySingapore #WomensArt #WomanArtist #WomenArtists #PhilippineArt #FilipinoArtist #WomenPaintingWomen
Painted in 1952, this portrait shows Filipino artist Anita Magsaysay-Ho blending close observation with modernist simplification and strong, rhythmic design. By the early 1950s she was a key voice in Philippine modernism and the only woman associated with the pioneering “Thirteen Moderns” of Filipino artists. A young girl is shown from the chest up, centered and facing forward. She has medium-brown skin, large dark eyes, and short black hair that curls into a rounded bob, with a few loose strands on her forehead. Her lips are painted a vivid coral-red. She wears a light, cool-toned garment of pale blue and gray with layered brushstrokes that slips slightly off one shoulder, revealing her collarbone. Both hands rise into the frame, holding a narrow coral-orange ribbon across her chest. Behind her, overlapping washes of blue, teal, and green suggest sea and sky without a fixed horizon. Near her shoulders, gift boxes tilt and stack in muted whites and grays. Atop them bloom starburst-like ribbon bows of warm orange-pinks lightly drawn and edges softened by the surrounding color. The surface appears gently weathered with faint vertical streaks and tiny speckles to make the paint feel atmospheric and tactile. Despite the dreamlike setting, the girl’s steady gaze and the deliberate placement of her hands keep the portrait intimate and quietly engaging. Instead of a crowded genre scene, Magsaysay-Ho presents a vibe via faceted planes and starburst bows that gather behind the young woman like pieces of memory, while the coral ribbon in the girl’s hands feels deliberately adjusted, secured, and claimed. Because the National Gallery Singapore does not identify the young lady, the portrait can perhaps stand alone as an ode to girlhood.
January 4, 2026 at 7:30 PM
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mdstamper.bsky.social
“Toscanai 80 éves nő (Eighty-year-old woman from Tuscany)” by Barabás Atala (Hungarian) - Oil on canvas / c. 1920–1923 - Hungarian National Gallery (Budapest) #WomenInArt #WomensArt #WomenArtists #AtalaBarabas #BarabásAtala #Barabas #ArtText #art #MNG #HungarianNationalGallery #WomenPaintingWomen
In this wonderful portrait by Hungarian artist Barabás Atala in the permanent collection of Magyar Nemzeti Galéria (MNG) known as the Hungarian National Gallery, an older woman faces us from a deep green background. Her skin is warm tan with olive undertones, mapped by fine lines at the eyes and mouth that suggest long work and hard weather. A red headscarf frames gray hair that falls back in soft folds, echoing the gentle curve of her brow. She wears a dark blue-gray dress with subtle vertical texture and a mustard-gold shawl crossed at the chest like a protective wrap. Her work-worn and steady hands are clasped firmly in front of her with one wrist threaded with a small dark rosary strand. The light is even and intimate, lingering on cheekbones, knuckles, and the faint smile that lifts the corners of her mouth. Nothing distracts from her tired, direct, and quietly amused gaze, as if meeting the painter with patience rather than performance. Barabás builds dignity through restraint with a limited palette, a plain ground, and a focus on expression over costume. The title names the sitter only by age and place (Tuscany) so the portrait reads less like a society likeness and more like a respectful encounter with an individual whose life is not otherwise recorded. Painted in the orbit of the artist’s Italy-facing interests, it feels like an homage to lived experience with age not as spectacle, but as authority. The soft smile complicates any simple story of hardship because it suggests humor, endurance, and self-possession. Even without a known name, the sitter is centered as a full person that is seen, held in light, and allowed to look back.
January 5, 2026 at 5:04 AM